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114 come from the area between the Yuat and Keram Rivers. One was acquired by Picasso in 1944, after having belonged to Georges Miré and Louis Carré (fi g. 22), and before that to Arthur Speyer. It can be seen hanging on the wall alongside fi ve Biwat fl ute stoppers in a photograph of the latter’s collection (fi g. 24). The second fi gure is of strikingly similar manufacture and is now in the Robert and Lisa Sainsbury Collection (fi g. 25), having once belonged to Walter Bondy and Pierre Loeb (Rousseau 1951: 69). There is enough material in private hands that collectors can still dream of someday fi nding a fi gure collected by Ernest Wauchope and photographed by Charles van den Broek. CONCLUSION Of the some fi fteen large fi gures discussed above that are known today, two are now in private collections. Eight of the fi fteen were collected by Ernest Wauchope; however, the objects that appear in the van den Broek photograph are not exclusively in the Australian Museum. Did Wauchope sell some of the objects he collected to other institutions or private collectors in October of 1935? Did the Australian Museum later divest itself of some pieces? No evidence indicating that transactions of this kind took place is known to exist. The majority of the sculptures FIG. 21 (left): Gable sculpture for a ceremonial house. Wood. H: 90.2 cm. The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979. The Metropolitan Museum of Art, 1979.206.1488. FIG. 22 (right): Sculptural fragment. Wood. H: 45 cm. Musée Picasso, Paris, inv. MP3638. From Picasso’s personal collection (acquired in 1944). © RMN-Grand Palais (Musée du Quai Branly). Photo: Béatrice Hatala. FEATURE


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