73 Island off the Kenyan coast, which was preempted at the Goldet sale in 2001. As I did research on its history, I found that it had once belonged to well-known Boston painter Polly Thayer Starr. Several Côte d’Ivoire objects also come to mind, like an exceptional maternity fi gure and a Senufo initiation mask that is illustrated in the catalog for the Cleveland Museum’s recent Senufo Unbound exhibition. Both of these objects were acquired from Lyon dealer and collector Patrick Girard. For Oceania, we have added to our collection by Pauline Jaricot in Lyon in 1822 to raise money for evangelical work. It is made up of more than 2,000 objects from Africa, Oceania, Asia, and the Americas, all collected very early on, and includes a rare high-backed seat identifi ed as Kami (Tanzania) brought back by Monsignor Leroy between 1880 and 1890 (fi g. 10), as well as a beautiful Doe-Zamaro mwana hiti fi gure collected in the Bagamayo area of Tanzania by Father Baur (fi g. 11). From the same donation, we also have a fi ne group of North American Plains Indian objects collected in the fi rst half of the nineteenth century (fi g. 8), which includes an exceptional Osage headdress that was among the highlights of the Musée du Quai Branly’s Indiens des Plaines (Plains Indians) exhibition in 2014. T. A. M.: In addition to the old and varied collection that the Musée des Confl uences has inherited, does it have its own acquisitions plan? M. P.: Adding to the collection has been an integral part of the project since it got underway. In the area of ethnography, the museum’s fi rst director, Quebecer Michel Côté, who was here until 2010, placed emphasis on two areas. First, he promoted the acquisition of contemporary works by autochthonous peoples who use art to affi rm their cultural specifi city. These include the Inuit of the Arctic and the Aborigines of Australia. The objects we have in these two areas are among the ones our audiences most appreciate, and they are greatly in demand for temporary exhibitions. To give but one example, several artworks in our collection that were created by the Aboriginal Australians and the Torres Strait islanders will soon be sent to the Musée d’Ethnographie in Geneva for their L’Effet Boomerang (The Boomerang Effect) exhibition that will be on view from May 17, 2017, through January 7, 2018. The second focus was on acquisitions of objects that would qualitatively reinforce the collection as a whole. Restricting myself to speaking of the African and Oceanic collection, of which I am in charge, I would cite a beautiful chair from Lamu MUSÉE DES CONFLUENCES FIG. 5 (left): Ceremonial axe. Kanak, New Caledonia. Early 20th century. Jade, wood, coconut fi ber, fl ying fox fur, shell. Donated by Émile Guimet in 1912. Musée des Confl uences, inv. 60006908. © Pierre-Olivier Deschamps/ Agence VU’ – Musée des Confl uences, Lyon. FIG. 6 (above): Currency object with sculpted fi gure. New Caledonia. 20th century. Bark, wood, bone, shell, turtle shell, fl ying fox hair, vegetable fi ber, dyed cotton yarn. H: 19 cm. Musée des Confl uences, inv. 2003.9.1. © Pierre-Olivier Deschamps/ Agence VU’ – Musée des Confl uences, Lyon.
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