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157 (1916–1919) founded by Pierre Albert-Birot, which Apollinaire, who himself had founded Les Soirées de Paris (1912–1914), contributed to and worked on. 14. Letter of 1917 (DOCOR 2011.0.63) (D.0.065.Ms), Paul Guillaume archives, Alain Bouret Collection, Musée de l’Orangerie. 15. The captions that appeared for these objects in this fi rst work on the aesthetics of art nègre were composed much later by expert Jean-Louis Paudrat. 16. After the poet’s death, Guillaume continued to publish articles on the subject in Arts à Paris. The important exhibition at Galerie Devambez in 1919 and the internationally recognized Fête Nègre at the Théatre des Champs Elysées attest to the fact that he stayed the course he and Apollinaire had established. Plate XXIII. Paul Guillaume Collection. MASK WITH FOUR FACES, called “M’Bol,” from the Upper Djaddi region (Gabon), Pahouin people. Used in celebrations of the “N’Gui,” a secret society composed of all of the aristocratic castes in Upper Gabon (Pahouin, Bakota, Bakulis). This spirit maintains power through murder, terror, and menace. Plate XXIV. Paul Guillaume Collection. MASK WITH TWO FACES, called “Angoumba,” from the banks of the Abongha (Komo Gabon). Pahouin people; Essissone tribes. Used in Tam-Tam ceremonies and for certain special dances, called “Nagedjones” by the natives, held at the full moon. Women are not allowed to participate. Plate XIX. (See fi g. 8.) Plate XX. M. de Vlaminck Collection. STATUE FROM SUDAN. Plate XXI. “KENIE,” great fetish of the “Toma” cultures (Upper Guinea). The Toma ask it for success in their undertakings and for glory in battle. Plate XXII. “TIKI” GODS.


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