Ernest Wauchope 117 20. The two objects, numbered 1559 and 1560 in the inventory of objects collected by the La Korrigane expedition, are described in notes taken in situ as “wooden statuettes that were apparently used as stoppers for sacred fl utes.” 21. The Anduar belonged to the same linguistic group as the villages of Kambrindo, Kanduanum, and Moiem in the Angoram area. 22. Cf. above, letter dated June 22, 1935, to the Australian Museum. 23. It is likely that the number of conical elements once had a meaning or signifi cance which has now been forgotten. 24. This type of trickster is known as Moiem in the Middle Sepik River region. BIBLIOGRAPHY Bateson, Gregory, 1936. Naven. La cérémonie du naven, translated into French by J. P. Latouche and N. Safouan, Paris: Éditions de Minuit. Beran, Harry, 2006. Twenty Sculptures by a Mystery Hoaxer of New Guinea Art (unpublished). Catalog for the auction at the Hôtel Drouot, 1961. Collection océanienne du voyage de la Korrigane 1934– 1936, 4–5 December 1961. Coiffi er, Christian, 2001. Le voyage de La Korrigane dans les mers du Sud. Paris: Hazan/MNHN. ———, 2013. “Des bagages de Margaret Mead à ceux de La Korrigane, la curieuse histoire d’une grande peinture biwat conservée au musée du quai Branly,” Tribal Art magazine, winter 2013, no. 68, pp. 124–127. ———, 2014. Régine van den Broek. Une artiste à bord de La Korrigane, Paris: Somogy Éditions d’Art. Firth, Raymond, 1936. Art and Life in New Guinea, London/New York: The Studio Limited/The Studio Publications. Fortune, Kate, 1998. Malaguna Road. The Papua and New Guinea Diaries of Sarah Chinnery, Canberra: National Library of Australia. Friede, John; Gregory Hodgins; Philippe Peltier; Dirk Smidt; and Robert L. Welsch, 2005. New Guinea Art. Masterpieces from the Jolika Collection of Marcia and John Friede, Milan: Fine Arts Museums of San Francisco/5 Continents Éditions, 2 volumes. Guiart, Jean, 1967. “Art primitif et structures,” Journal de la Société des Océanistes, vol. XXIII, no. 23: 1–9, fi g. 1–11. Hooper, Steven (ed.), 1997. Robert and Lisa Sainsbury Collection, Pacifi c, African, and Native North American Art, New Haven/London/Norwich: Yale University Press, in association with the University of East Anglia, vol. II. Hourdé, Charles-Wesley, 2013. Catalog Paris, Collection Jolika. Chefs-d’oeuvre de Nouvelle-Guinée provenant des Fine Arts Museums de San Francisco, Wednesday, 19 June 2013, Paris: Christie’s. Howarth, Crispin, 2015a. Myth + Magic: Art of the Sepik River, Papua New Guinea, Canberra: National Gallery of Australia. ———, 2015b. “Chefs-d’oeuvre des collections australiennes, Mythe et magie, l’art du fl euve Sepik,” Tribal Art magazine, no 76, pp. 96, 105. Kaufmann, Christian; Philippe Peltier; and Markus Schindlbeck, 2015. Tanz der Ahnen. Kunst vom Sepik in Papua-Neuguinea, Berlin/Zurich/Paris: Martin-Gropius- Bau, Museum Rietberg, Musée du Quai Branly. Kelm, Heinz, 1968. Kunst vom Sepik, Berlin: Museum für Völkerkunde, Neue Folge 15, vol. III. Laumann, Karl, 1952. “Vlisso, der Kriegs-und Jagdgott am unteren Yuat River, New Guinea,” Anthropos, XLVII, pp. 897–908. McDowell, Nancy, 1991. The Mundugumor, from the Field Notes of Margaret Mead and Reo Fortune, Washington, DC, and Londons, Smithsonian Institution Press. Mead, Margaret, 1963. Moeurs et sexualité en Océanie, Paris: Plon. Muensterberger, Werner, 1979. Universalité de l’art tribal, Geneva: Barbier-Muller Collection. Nasser & Co, 2010. Art of the South Seas, New York, Nasser & Co Gallery. Newton, Douglas, 2000 “Sculpture de la région du fl euve Sepik,” in Jacques Kerchache (ed.), Sculptures. Afrique, Asie, Océanie, Amériques, Paris: Réunion des Musées Nationaux/Musée du Quai Branly, pp. 298–301. Peltier, Philippe, 1984. “From Oceania,” in William Rubin (ed.), “Primitivism” in 20th Century Art, New York: The Museum of Modern Art, vol. 1, pp. 99–123. Peltier, Philippe and Floriane Morin, 2006. Ombres de Nouvelle-Guinée. Paris/Genève: Somogy Éditions d’Art/ Musée Barbier-Mueller. Price, Sally, 1988. “Arts primitifs regards civilisés,” Gradhiva, no. 4, pp. 18–27. Rousseau, Madeleine, 1951. “L’Art Océanien, sa présence,” introduction by Paul Rivet, text by G. Apollinaire and T. Tzara. Paris: APAM, Le musée vivant, no. 38. Schindlbeck, Markus, 2012. Gefunden und Verloren, Arthur Speyer, die Dreissiger Jahre und die Verluste der Sammlung Südsee des Ethnologischen Museums Berlin, Ethnologisches Museum Staatliche Museen zu Berlin. Schmitz, Carl A., 1971. Oceanic Art. Myth, Man, and Image in the South Seas, New York: Harry N. Abrams, Inc., Publishers. Specht, Jim, 1988. Pieces of Paradise, Australian Natural History, Sydney, The Australian Museum Trust, suppl. no. 1. Stensager, Thomas Otte, 2012. “L’expédition Monsunen. Chronique d’une aventure danoise,” in Tribal Art magazine, autumn, no. 65, pp. 74–83. Van den Broek d’Obrenan, Charles, 1939. Le voyage de La Korrigane, Paris: Éditions Payot. Welsch, Robert L., 2013. “La statue biwat de la collection Jolika,” in Catalogue Paris, Collection Jolika. Chefsd’oeuvre de Nouvelle-Guinée provenant des Fine Arts Museums de San Francisco, Wednesday 19 June 2013, Paris: Christie’s, pp. 34–35. FIG. 26: View of part of the collection of Arthur Speyer. From Schindlbeck, 2012: 111. Reproduced by permission of Jeanette Speyer.
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