Catalogue of Objects - de Young Museum

Revised Bibiliography to the “Catalogue of Objects” in New Guinea Art: Masterpieces from
the Jolika Collection of Marcia and John Friede
Abramson, Jerry. “Style in New Guinea Highlands Shields.” Mankind 7 (1969): 59–66.
Adams, Laurie Schneider. Art across Time. Vol. 2, The Thirteenth Century to the Present.
Boston: McGraw Hill College, 1999.
Altman, R. C. Art of New Guinea: Sepik, Maprik and Highlands. Published in conjunction
with an exhibition arranged by the Museum and Laboratories of Ethnic Arts and
Technology, U.C.L.A., and the Ethnic Arts Council. Los Angeles: University of
California, The Ethnic Art Galleries, 1967.
American Museum of Natural History. Faces and Figures: Pacific Island Art from the
Collection of Jay C. Leff. Exh. cat. [New York: American Museum of Natural History,
1965.]
Apollinaire, Tzara, and Rousseau 1951. See Rousseau, Apollinaire, and Tzara 1951.
Aufenanger, H. “The Gerua Cult in the Highlands of New Guinea.” Anthropos 60 (1965):
248–61.
———. The Passing Scene in North-East New Guinea: A Documentation. Collectanea
Instituti Anthropos, vol. 2. St. Augustin bei Bonn: Anthropos Institute, 1972.
———. The Great Inheritance in Northeast New Guinea: A Collection of Anthropological
Data. Collectanea Instituti Anthropos, vol. 9. St. Augustin bei Bonn: Anthropos
Institute, 1975.
L’aventure de Pierre Loeb, la Galerie Pierre, Paris 1924–1964. Exh. cat., Musée d’Art
Moderne de la Ville de Paris and Musée d’Ixelles, Brussels. Paris: Musée d’Art
Moderne de la Ville de Paris, 1979.
van Baal, Jan. “The Cult of the Bull-Roarer in Australia and Southern New Guinea.”
Bijdragen tot de Taal-, Land- en Volkenkunde (Leiden), no. 119 (1963): 201–14.
———. Dema: Description and Analysis of Marind-Anim Culture (South New Guinea). In
collaboration with Father J. Verschueren. Koninklijk Instituut voor Taal-, Land- en
Volkenkunde, Translation series, vol. 9. The Hague: Martinus Nijhoff, 1966.
van Baal, Jan, K. W. Galis, and R. M. Koentjaraningrat. West Irian, a Bibliography.
Koninklijk Instituut voor Taal-, Land- en Volkenkunde, Bibliographical Series, no.
15. Dordrecht, Holland: Cinnaminson, 1984.
van Baaren, Theodorus. P. Korwars and Korwar Style: Art and Ancestor Worship in North-
West New Guinea. Paris: Mouton & Co. Publishers, 1968.

———. “Art of Geelvink Bay.” In Art of Northwest New Guinea, edited by Suzanne Greub,
17–56. New York: Rizzoli, 1992.
Barbier, Jean Paul. Indonésie et Mélanésie: Art tribal et cultures archaïques des Mers du
Sud. Collection Barbier-Müller. Geneva, 1977.
Barbier, Jean Paul, and Douglas Newton, eds. Islands and Ancestors: Indigenous Styles of
Southest Asia. New York: Metropolitan Museum of Art; Geneva: Barbier-Mueller
Museum, 1988.
Barbier-Mueller Museum. Shields: Africa, Southeast Asia and Oceania from the Collections
of the Barbier-Mueller Museum. Exh. cat. by Purissima Benitez-Johannot and Jean
Paul Barbier. Munich and New York: Prestel, 2000.
Basler, Adolphe. L’art chez les peuples primitifs: Afrique, Océanie, Archipel malais,
Amérique et Terres arctiques. Styles et civilisations. Paris: Librairie de France,
1929.
Bateson, Gregory. “Social Structure of the Iatmül People of the Sepik River,” parts 1–2.
Oceania 2 (March, June 1932): 245–91, 401–53.
———. Naven: A Survey of the Problems Suggested by a Composite Picture of the Culture
of New Guinea Tribe Drawn from Three Points of View. Cambridge: Cambridge
University Press, 1936. 2nd ed., Stanford: Stanford University Press, 1958.
van Beek, A. G. The Biami: People of Papua New Guinea. Boroko, P.N.G.: National
Cultural Council, 1980.
Behrmann, Walter. Im Stromgebiet des Sepik: Eine deutsche Forschungsreise in
Neuguinea. Berlin: A. Scherl, 1922.
Beier, Georgina. “Wosera Pottery Collection for the Wewak Pottery Museum.” Gigibori 3,
no. 1 (April 1976): 51–64.
Beier, Ulli, and Peter Aris. “Sigia: Artistic Design in Murik Lakes.” Gigibori 2, no. 2 (October
1975): 17–36.
Beier, Ulli, and Albert Maori Kiki. Hohao: The Uneasy Survival of an Art Form in the
Papuan Gulf. Melbourne: Thomas Nelson, 1970.
Bellier, Jean-Claude. Mélanésie. Exh. cat. Paris: [Galerie] Jean-Claude Bellier, 1974.
Benitez-Johannot, Purissima, and Jean Paul Barbier 2000. See Barbier-Mueller Museum
2000.
Beran, Harry. Art of the Massim Region of Papua New Guinea: From Private Collections in
New South Wales and Canberra. Exh. cat. Wollongong, NSW, Australia:
Wollongong City Gallery, 1980.

———. Betel-Chewing Equipment of East New Guinea. Princes Risborough, Aylesbury,
Bucks, UK: Shire Publications Ltd., 1988.
———. Mutuaga: A Nineteenth-Century New Guinea Master Carver. Wollongong, NSW,
Australia: University of Wollongong Press, 1996.
———. “Massim Lime Spatulas: By the Master of the Prominent Eyes.” The World of Tribal
Arts (Spring 1997): 68–76.
———. Massim: Spatules à chaux. Translated by Sylvie Reynolds. Exh. cat. Paris: Galerie
Meyer, 2000.
Beran, Harry, and Barry Craig, eds. Shields of Melanesia. Honolulu: University of Hawai’i
Press in association with Oceanic Art Society, Sydney, 2005.
Bergdolt, Friedrich. Kultur aus Holz und Stein: Kunstgegenstände aus Papua-Neuguinea.
Neuendettelsau: Freimund, 1986.
Bern, Kunsthalle. Kunst der Südsee. Exh. cat. Die Kunst Aussereuropäischer Kulturkreise,
Zweite Ausstellung. Bern: Kunsthalle Bern, 1952.
Berrin, Kathleen. Masterworks of New Guinea Art: Selections from the Marcia and John
Friede Collection. Exh. cat. San Francisco: California Palace of the Legion of
Honor, 2002.
Biebuyck, Daniel P., and Nelly van den Abbeele. The Power of Headdresses: A Cross-
Cultural Study of Forms and Functions. Brussels: Leopold III Foundation for
Exploration and Nature Conservation, 1984.
Biró, Lajos. Beschreibender Katalog der ethnographischen Sammlung Ludwig Biró’s aus
Deutsch-New-Guinea. 2 vols. Ethnographische Sammlungen des Ung.
Nationalmuseums / A Magyar Nemzeti Múzeum Néprajzi Gyüjteményei, 1, 3.
Edited and translated by Vilibáld Semayer. Budapest: V. Hornyánszky, 1899, 1901.
Blake, D. H. “Western District.” In Encyclopedia of Papua and New Guinea, edited by P.
Ryan, 1187–93. Melbourne: Melbourne University Press, 1972.
Boas, Franz. Primitive Art. New York: Dover Publications, 1955. Reprint of edition
published Oslo: H. Aschehoug, 1927.
Bodrogi, Tibor. “Yabim Drums in the Biró Collection.” In Folia Ethnographica (Budapest) 1
(1949–50): 205–22.
———. “Some Notes on the Ethnography of New Guinea: Initiation Rites and Ghost-Cult in
the Astrolabe Bay Region.” Acta Ethnographica Academiae Scientiarum
Hungaricae 3, nos. 1–4 (1953): 91–184.

———. “New-Guinean Style Provinces: The Style Province ‘Astrolabe Bay.’” In Opuscula
Ethnologica Memoriae Ludovici Biró Sacra, edited by Tibor Bodrogi and Lajos
Boglár, pp. 39–99. Budapest: Akadémiai Kiadó, 1959.
———. Oceanian Art with 160 photographs and 10 colour plates of objects in the custody
of the Ethnographical Museum of Budapest. Budapest: Corvina, 1959.
———. L’art de l’Océanie. Translated by H. Strauss. Paris: Gründ, 1961.
———. Art in North-East New Guinea. Budapest: Publishing House of the Hungarian
Academy of Sciences, 1961a.
———. “Style Provinces and Trading Areas in North and Northeast New Guinea.” In
Exploring the Visual Art of Oceania, edited by Sidney M. Mead, 265–77. Honolulu:
Pacific Arts Association, University Press of Hawai’i, 1979.
———. Törzsi M!vészet. Vol. 1, Ausztrália, Óceánia, Afrika. Budapest: Corvina Kiadó,
1981. Also published in German as Stammeskunst.
Borkent, Maarten. Papua New Guinea: Art Forms from the Markham, Ramu, and Keram
Valleys. Madang, Papua New Guinea: Ramse Traders, 1978.
Bounoure, Vincent. “Les Mundugumor; ou, l’Air des flûtes.” L’oeil 155 (1967): 1–7.
———. Vision d’Océanie. Exh. cat. Paris: Musée Dapper, 1992.
Bourgoin, Philippe. “Lime Spatulas from Massim.” The World of Tribal Arts 1, no. 4 (1994):
35–46.
———. “Marupai: Magic Amulets of the Papuan Gulf.” Art Tribal (Spring 1995): 55–60.
Bowden, Ross. Yena: Art and Ceremony in a Sepik Society. Pitt Rivers Museum,
University of Oxford, Monograph 3. Oxford: Pitt Rivers Museum, 1983.
———. “The Architecture and Art of Kwoma Ceremonial Houses.” In Sepik Heritage:
Tradition and Change in Papua New Guinea, edited by Nancy Lutkehaus et al.,
480–90. Durham, N.C.: Carolina Academic Press, 1990.
Bowers Museum. The Ruth and George C. Kennedy Collection of Ethnic Art. Exh. cat.
Santa Ana, Calif.: Bowers Museum, 1979.
Boylan, Chris, and Greta North. “Highlands Art of New Guinea.” The World of Tribal Arts 4,
no. 3 (Winter 1997): 72–83.
Bragge, L. “The Japandai Migrations.” In Sepik Heritage: Tradition and Change in Papua
New Guinea, edited by Nancy Lutkehaus et al., 36–49. Durham, N.C.: Carolina
Academic Press, 1990.
Breton, André. 1991. See Centre Georges Pompidou 1991.

British Museum. Handbook to the Ethnographical Collections. Oxford: Oxford University
Press, 1910.
Brizzi, Bruno, ed. The Pigorini Museum. Contributions by Maria Ornella Acanfora et al.
Rome: Quasar, c1976.
Brongersma, L. D., and G. F. Venema. To the Mountains of the Stars: The Story of an
Expedition to One of the Most Mysterious Regions in the World: The Interior of
Dutch New Guinea. Translated by Alan G. Readett. Garden City, N.Y.: Doubleday &
Company, 1963.
Brown, George. Melanesians and Polynesians: Their Life-Histories Described and
Compared. London: Macmillan and Co., 1910.
Bühler, Alfred. Kunststile am Sepik: Führer durch das Museum für Völkerkunde und
Schweiz. Museum für Volkskunde Basel. Exh. cat. Basel: Museum für Völkerkunde
und Schweizerische Museum für Volkskunde 1960.
———. Die Kunst Neu-Guineas. Introduction by Alfred Bühler; catalogue by Carl A.
Schmitz. Exh. cat. Basel: Kunsthalle Basel, 1962.
———. 1962. See also Bühler, Barrow, and Mountford 1962.
———. Museum Rietberg Zürich. Kunst der Südsee / Art of Oceania: Beschreibender
Katalog/A Descriptive Catalogue. Zürich: Atlantis Verlag, 1969.
———. Museum für Völkerkunde Basel und Schweizerischen Museum für Volkskunde
Basel. Ethnographische Kostbarkeiten: Aus den Sammlungen von Alfred Bühler im
Basler Museum für Völkerkunde. Basel: Museum für Völkerkunde und
Schweizerischen Museum für Volkskunde Basel, 1970.
Bühler, Alfred, Terry Barrow, and Charles P. Mountford. The Art of the South Sea Islands:
Including Australia and New Zealand. Art of the World. New York: Crown
Publishers, 1962.
Burawoy, Robert. Mélanésie. Exh. cat. Paris: Galerie Burawoy, 1976.
Burland, C. A. Man and Art. London: The Studio Limited, 1959.
———. Gods and Demons in Primitive Art. London: Hamlyn, 1973.
Buschan, Georg, ed. Illustrierte Volkerkunde. Berlin: Globus Verlag, 1923.
Cahiers d’art. Fascicule consacré à l’art des Océaniens, 4ème année, nos. 2–3 (March–
April 1929). Includes articles by Christian Zervos et al.
Cannes. Première exposition retrospective internationale des arts d’Afrique et d’Océanie.
Exh. cat. Cannes: Palais Miramar, 1957.

Carnegie Institute, Pittsburgh. Exotic Art from Ancient and Primitive Civilizations: Collection
of Jay C. Leff. [Text by Walter A. Fairservis Jr.]. Exh. cat. Pittsburgh, Pa.: Carnegie
Institute, 1959.
Carpenter, Edmund, ed. “Excerpt from Karl Schuster's Researches and Writings.” Res, no.
6 (Autumn 1983): 32–46.
———. Materials for the Study of Social Symbolism in Ancient & Tribal Art: A Record of
Tradition & Continuity Based on the Researches & Writings of Carl Schuster.
Assisted by Lorraine Spiess. 3 vols. in 12 books. New York: Rock Foundation,
1986–88.
Casanovas, A. Traces: Primitive and Modern Expressions. Exh. cat. New York: Jan Krugier
Gallery in collaboration with Arte y Ritual, Madrid, 2001.
Centre Georges Pompidou, Musée National d’Art Modern, Paris. André Breton: La beauté
convulsive. Exh. cat. by Agnès Angliviel de la Beaumelle, Isabelle Monod-Fontaine,
and Claude Schweisguth. Paris: Éditions du Centre Pompidou, 1991.
Chauvet, Stephen [Charles Stéphen-Chauvet]. Les arts indigènes en Nouvelle-Guinée.
Paris: Société d’Éditions Géographiques, Maritimes et Coloniales, 1930.
Christensen, Erwin O. Primitive Art. New York: Viking Press, 1955.
Claerhout, Adriaan G., and Annie Dorsinfang-Smets. Masques du monde / Het masker in
de wereld. Exh. cat. Brussels: Société Générale de Banque, 1974.
Clawson, H. Phelps. By Their Works: Illustrated from the Collections in the Buffalo Museum
of Science. Buffalo: Buffalo Society of Natural Sciences, 1941.
de Clercq, F. S. A. De West- en Noordkust van Nederlandsch Nieuw-Guinea. Tijdschrift
van het Nederlandsch Aardrijkskundig Genootschap. Leiden: P. W. M. Trap, 1893.
Coiffier, Christian, ed. Le Voyage de La Korrigane dans les mers du sud. Exh. cat.,
contributions by Jean-Claude Moreno et al., Musée de l’Homme, Museum National
d’Histoire Naturelle, 2001–2. Paris: Hazan, 2001.
Coiffier, Christian, et al. 2001. See Coiffier 2001.
Coleman, Winfield W., and Lynda Cunningham. Primitive Art of Melanesia. Sale cat.,
Summit Hotel, New York, February 20, 1975. Myers / Adams Auction, no. 10. New
York: Robert J. Myers, 1975.
Collection André Breton et Paul Éluard: Sculptures d'Afrique, d'Amérique, d'Océanie.
Auction catalogue, Alph. Bellier, commissaire-priseur, Hôtel Drouot, Paris, July 2–3,
1931.
Conru Primitive Art. The Colour of Melanesia. Exh. cat. London: Conru Primitive Art, 1999.

Cowling, E. “‘L’Oeil sauvage’: Oceanic Art and the Surrealists.” In Art of Northwest New
Guinea, edited by Suzanne Greub, 177–89. New York: Rizzoli, 1992.
Craig, Barry. “The Art Style of the Yellow River, West Sepik District, Papua New Guinea.”
Baessler-Archiv 23 (1975): 417–95.
———. Art and Decoration of Central New Guinea. Shire Ethnography 5. Princes
Risborough, Aylesbury, Bucks, UK: Shire Publications Ltd., 1988.
———. “Is the Mountain Ok Culture a Sepik Culture?” In Sepik Heritage: Tradition and
Change in Papua New Guinea, edited by N. Lutkehaus et al., 129–49. Durham,
N.C.: Carolina Academic Press, 1990.
Cranstone, B. A. L. Melanesia: A Short Ethnography. London: Trustees of the British
Museum, 1961.
———. “War Shields of the Telefomin Sub-District, New Guinea.” Man, n.s., 3, no. 4
(December 1968): 609–24.
Crawford, Anthony L. The Gogodala: People of Papua New Guinea. Boroko, P.N.G.:
National Cultural Council, in association with Robert Brown & Associates Pty. Ltd.,
1979.
———. Aida: Life and Ceremony of the Gogodola. Bathurst, Australia: Robert Brown &
Associates in association with The National Cultural Council of Papua New Guinea,
1981.
D’Albertis, Luigi Maria. New Guinea: What I Did and What I Saw. Vols. 1–2. London: S.
Low, Marston, Searle and Rivington, 1880.
D’Alleva, Anne. Arts of the Pacific Islands. New York: Harry N. Abrams, 1998.
van Damme, Wilfried, F. Herreman, and Dirk Smidt. Sculptuur uit Afrika en Oceanië: Een
keuze uit de collectives van leden van de Vereniging Vrienden van ethnografica /
Sculpture from Africa and Oceania: A Choice from the Collections of Members of
the Association of Friends of Ethnographica. Edited by Toos van Kooten and
Gerard van den Heuvel. Exh. cat. Otterlo: Rijksmuseum Kröller-Müller, 1990.
Dark, Philip J. C. Kilenge Life and Art: A Look at a New Guinea People. London: Academy
Editions; New York: St. Martin’s Press, 1974.
Davidson, Daniel Sutherland. Oceania: Oceanic Collections of the University Museum.
University Museum Bulletin 12, nos. 3–4. Philadelphia: University Museum,
University of Pennsylvania, 1947.
Davis, Starr, and Richard Davis. Tongues and Totems: Comparative Arts of the Pacific
Basin. A Comparison of Northwest Coast Indian Art with Art Forms of Other

Cultures around the Pacific Basin, with Special Reference to the Collection of the
Alaska International Art Institute. Anchorage: Alaska International Art Institute,
1974.
De Clercq, F. S. A. See de Clercq, F. S. A.
De Grunne, Bernard. See de Grunne, Bernard.
Della Santa, Elizabeth. Mélanésie. Brussels: Editions de la Connaissance, 1954.
———. 1955. See Wirz 1955.
———. Arts de la Mélanésie. Brussels: Musées Royaux d’Art et d’Histoire, 1958.
Dennett, Helen, and Paul Dennett. Mak bilong Sepik. Wewak, P.N.G.: Wirui Press, 1975.
Dongen, Paul L. F., Matthi Forrer, and William R. van Gulik, eds. Topstukken uit het
Rijksmuseum voor Volkenkunde / Masterpieces from the National Museum of
Ethnology. Leiden: Rijksmuseum voor Volkenkunde / National Museum of
Ethnology, 1987.
Dorsinfang-Smets, A. 1974. See Claerhout and Dorsinfang-Smets 1974.
———. L'Oce"anie: Histoire et culture. Brussels: Meddens, 1978.
Dosedla, Heinz-Christian. “Kunst und Künstler im zentralen Hochland von Papua-
Neuguinea.” Tribus, no. 27 (September 1978): 87–120.
van Duuren, David A. P. “Tropenmuseum, Amsterdam.” In Art of Northwest New Guinea,
edited by Suzanne Greub, 209–14. New York: Rizzoli, 1992.
Dwyer, Jane Powell, and Edward Bridgman Dwyer. Traditional Art of Africa, Oceania, and
the Americas. San Francisco: Fine Arts Museums of San Francisco, 1973. Based
on the collection in the M. H. de Young Memorial Museum, San Francisco.
Eastburn, David. The Southern Highlands, Papua New Guinea. Bathhurst, NSW, Australia:
Robert Brown & Assoc., 1978.
———. The Hewa: People of Papua New Guinea. Boroko, P.N.G.: National Cultural
Council, 1980.
Edge-Partington, James. An Album of the Weapons, Tools, Ornaments, Articles of Dress
etc. of the Natives of the Pacific Islands. Vol. 1. Manchester, England: Issued for
private circulation by James Edge-Partington and Charles Heape, 1890.
Edmundson, Anna, and Chris Boylan. Adorned: Traditional Jewellery and Body Decoration
from Australia and the Pacific. Photography by David Liddle. Sydney: Macleay
Museum, University of Sydney, 1999.
Egloff, Brian, ed. Pottery of Papua New Guinea: The National Collection. Exh. cat. Port
Moresby: Trustees, Papua New Guinea National Museum and Art Gallery, 1977.

van Emst, P. In de ban der voorouders: Kunst uit Australisch Niew Guinea, collectie P.
Wirz. Afdeling culturele en physische anthropologie, vol. 59. Amsterdam: Koninklijk
Instituut voor de Tropen, 1958.
Eoe, Soroi M. The Elema of the Gulf Province: People of Papua New Guinea. Bathurst,
NSW, Australia: Robert Brown & Associates, 1984.
Eyde, David B. “Cultural Correlates of Warfare among the Asmat of South-west New
Guinea.” Ph.D. diss., Yale University, New Haven, Conn., 1967.
Fagg, William B. The Tribal Image: Wooden Figure Sculpture of the World. London: British
Museum, 1970.
Falgayrettes, Christiane. Supports de rêves. Paris: Fondation Dapper, 1989.
Feldman, Jerome, ed. The Eloquent Dead: Ancestral Sculpture of Indonesia and Southeast
Asia. Exh. cat., Frederick S. Wight Art Gallery, U.C.L.A. Los Angeles: Museum of
Cultural History; Regents of the University of California, 1985.
Filer, Colin. “Diversity of Cultures or Culture of Diversity?” In Sepik Heritage: Tradition and
Change in Papua New Guinea, edited by N. Lutkehaus et al., 116–28. Durham,
N.C.: Carolina Academic Press, 1990.
Finsch, Otto. Ethnologische Erfahrungen und Belegstücke aus der Südsee:
Beschreibender Katalog einer Sammlung in K. K. Naturhistorischen Hofmuseum in
Wien. Annalen des K. K. Naturhistorischen Hofmuseums in Wien, vols. 3–8 (1888–
93). Vienna: Alfred Holder, 1893.
Firth, Raymond. Art and Life in New Guinea. London: Studio Limited; New York: Studio
Publications, 1936.
Force, Roland W., and Maryanne Force. The Fuller Collection of Pacific Artifacts. New
York: Praeger Publishers, 1971.
Forge, J. Anthony W. “Three Kamanggabi Figures from the Arambak People of the Sepik
District.” In Three Regions of Melanesian Art, 6–11. New York: Museum of Primitive
Art, 1960.
———. “Art and Environment in the Sepik; The Curl Lecture 1965.” Proceedings of the
Royal Anthropological Institute of Great Britain and Ireland for 1965 (pub. 1966):
23–31.
———, ed. Primitive Art & Society. London: Oxford University Press, 1973. Papers
delivered at a symposium sponsored by the Wenner-Gren Foundation for
Anthropological Research, held in Burg Wartenstein, June 27–July 5, 1967.

———. “The Problem of Meaning in Art.” In Exploring the Visual Art of Oceania, edited by
Sidney M. Mead, 278–86. Honolulu: Pacific Arts Association, University of Hawai’i
Press, 1979.
———. “The Power of Culture and the Culture of Power.” In Sepik Heritage: Tradition and
Change in Papua New Guinea, edited by N. Lutkehaus et al., 160–70. Durham,
N.C.: Carolina Academic Press, 1990.
Fraser, Douglas F. “Mundugamor Sculpture: Comments on the Art of a New Guinea Tribe.”
Man 55 (February 1955): 17–20.
———. Torres Straits Sculpture: A Study in Oceanic Primitive Art. Outstanding
Dissertations in the Fine Arts. New York: Garland Publishing, 1978. Originally the
author’s Ph.D., Columbia University, New York, 1959.
Fuhrmann, E. Neu-Guinea. Schriften-reihe Kulturen der Erde; Material zur Kultur- und
Kunstgeschichte aller Völker, vol. 14. Hagen, Germany: Folkwang-Verlag, 1922.
———. New Guinea: People and Art. Translated by Walter E. J. Tips. Bangkok: White
Lotus Press, 1999.
Galerie Albert Loeb. 1979. See L’Aventure de Pierre Loeb 1979.
———. Il y a cent ans . . . Pierre et Édouard Loeb naissaient le 24 septembre 1897: Leur
histoire à travers des documents, des écrits et des photographies. Exh. cat. Paris:
Galerie Albert Loeb, 1997.
Galerie Kamer. Arts d’Océanie. Exh. cat. Paris: Galerie Kamer, 1966.
———. Qualité. Exh. cat. Paris: Kamer & cie., n.d. [197-]
Galerie Nationale du Grand Palais. La rime et la raison: Les collections Menil (Houston–
New York). Deux générations de collectionneurs. Exh. cat. Paris: Réunion des
Musées Nationaux, 1984.
Galerie Pigalle. Afrique, Océanie. Exposition d’Art Africain, d’Art Océanien. Exh. cat. Paris:
Galerie Pigalle, 1930.
Galerie Surréaliste, Paris. Tableaux de Man Ray et Objets des Îles. Exh. cat. Paris:
Éditions Surréalistes, 1926.
Galis, K. W. Papuans van de Humboldt-Baai. The Hague: J. N. Voorhoeve, 1955.
———. “Nogmaals Sentani.” Kultuurpatronen 10–11 (1968–69): 58–95.
Gardi, René, with Alfred Bühler. Sepik: Land der sterbenden Geister. Bilddokumente aus
Neuguinea. Bern, Stuttgart, and Vienna: Alfred Scherz Verlag, 1958.
———. Tambaran: An Encounter with Cultures in Decline in New Guinea. London:
Constable and Company Ltd., 1960.

Gastaut, Henri, et al. Le crane: Objet de culte, objet d’art. Exh. cat. Marseille: Musée
Cantini, 1972.
Gathercole, Peter, Adrienne L. Kaeppler, and Douglas Newton. The Art of the Pacific
Islands. Exh. cat. Washington, D.C.: National Gallery of Art, 1979.
Gerbrands, Adrian A. (ed.). The Asmat of New Guinea: The Michael Clark Rockefeller, with
His Ethnographic Notes and Photographs Made among the Asmat People during
Two Expeditions in 1961. Documented by a Pictorial and Descriptive Catalogue of
the Objects He Collected. New York: Museum of Primitive Art, 1967.
———. “The Concept of Style in Non-Western Art.” In Tradition and Creativity in Tribal Art,
edited by Daniel P. Biebuyck, 58–70. Berkeley and Los Angeles: University of
California Press, 1969.
Geurtjens, H. Op zoek naar oermenschen. Roermond: J. J. Romen, 1934.
Gewertz, Deborah B. Sepik River Societies: A Historical Ethnography of the Chambri and
Their Neighbors. New Haven: Yale University Press, 1983.
Goldman, Philip. Hunstein—Korowori: Sculpture from the Sepik Hills, New Guinea. Exh.
cat. London: Gallery 43, 1971.
Graburn, Nelson H. H., ed. Ethnic and Tourist Arts: Cultural Expressions from the Fourth
World. Berkeley: University of California Press, 1976.
Greub, Suzanne, ed. Authority and Ornament: Art of the Sepik River, Papua New Guinea.
Exh. cat. Basel: Tribal Art Centre, 1985.
———, ed. Expressions of Belief: Masterpieces of African, Oceanic, and Indonesian Art
from the Museum voor Volkenkunde, Rotterdam. New York: Rizzoli, 1988.
Published in conjunction with an exhibition at the Museum of Fine Arts, Houston,
and other cities.
———, ed. The Art of Northwest New Guinea: From Geelvink Bay, Humboldt Bay, and
Lake Sentani. New York: Rizzoli, 1992.
de Grunne, Bernard. Art Papou. Exh. cat., Maison de la Culture de Woluwé-St. Pierre,
Brussels. Brussels: Louis Musin Éditeur, 1979.
Guhr and Neumann 1985. See Neumann and Guhr 1985.
Guiart, Jean. The Arts of the South Pacific. Translated by Anthony Christie. The Arts of
Mankind, vol. 4. New York: Golden Press, 1963.
Haberland, Eike. “Schilde vom oberen Sepik aus den Völkerkunde-Museen Frankfurt am
Main und Stuttgart.” Tribus, no. 12 (December 1963): 105–21.

———. “Zum Problem der ‘Hakenfiguren’ der südlichen Sepik Region in Neuguinea.”
Paideuma 10 (1964): 52–71.
———. “Holzplastiken und Ethnographica aus der Maprik-Sepik-Zwischenregion.”
Abhandlungen und Berichte des Staatlichen Museums für Volkerkunde Dresden 25
(1965): 79–94.
———. The Caves of Karawari / Grotten der Karawari-Berge / Caves du Haut Karawari.
Exh. cat. New York: D’Arcy Galleries, 1968.
———. 1974. See Haberland and Seyfarth 1974.
Haberland, Eike, and Siegfried Seyfarth. Die Yimar am oberen Korowori (Neuguinea).
Studien zur Kulturkunde, vol. 36. Wiesbaden: Franz Steiner Verlag, 1974.
Haddon, Alfred C. The Decorative Art of British New Guinea: A Study in Papuan
Ethnography. Cunningham Memoirs, no. 10. Dublin: Academy House, 1894.
———. Reports of the Cambridge Anthropological Expedition to Torres Straits. Vol. 5,
Sociology, Magic, and Religion of the Western Islanders. Cambridge: University
Press, 1904.
———. Reports of the Cambridge Anthropological Expedition to Torres Straits. Vol. 6,
Sociology, Magic, and Religion of the Eastern Islanders. Cambridge: University
Press, 1908.
———. Reports of the Cambridge Anthropological Expedition to Torres Straits. Vol. 4, Arts
and Crafts. Cambridge: University Press, 1912.
———. “The Agiba Cult of the Kerewa Culture.” Man 18 (1918): 177–83.
Hála, József, and Gábor Vargyas, eds. Horst von Bandat, a Hungarian Geologist in
Western New Guinea. Occasional Papers in Anthropology, vol. 4. Budapest:
Ethnographical Institute of the Hungarian Academy of Sciences and Hungarian
Geological Survey, 1992.
Harding, Thomas G. Voyagers of the Vitiaz Strait: A Study of a New Guinea Trade System.
American Ethnological Society, Monograph, vol. 44. Seattle: University of
Washington Press, 1967.
Hauser-Schäublin, Brigitta. “Mai-Masken der Iatmul, Papua New Guinea,” [part 1].
Verhandlungen der Naturforschenden Gesellschaft in Basel 87–88 (1976–77): 119–
45. Offprint ed., Basel, 1976.
———. Frauen in Kararau: Zur Rolle der Frau bei den Iatmul an Mittelsepik, Papua New
Guinea. Beiträge zur Ethnologie, vol. 18. Basel: Ethnologisches Seminar der
Universität und Museum für Völkerkunde, 1977.

———. “Mai-Masken der Iatmul, Papua New Guinea,” [part 2]. Verhandlungen der
Naturforschenden Gesellschaft in Basel 92 (1981): 47–54.
———. “The mai-Masks of the Iatmul, Papua New Guinea: Style, Carving, Process,
Performance, and Function.” Oral History 11, no. 2 (1983): 1–53. English translation
and abridgment of 1976–77 and 1981: 47–54.
———. “Schweinefleisch und Totenseele: Zer Bedeutung des Schweines in der Kultur der
Abelam, Papua New Guinea.” Verhandlungen der Naturforschenden Gesellschaft in
Basel 94 (1984): 335–65.
———. “Not for Collection: Ephemeral Art.” In Authority and Ornament: Art of the Sepik
River, Papua New Guinea, edited by Suzanne Greub, 27–31. Exh. cat. Basel: Tribal
Art Centre, 1985.
———. Kulthäuser in Nordneuguinea. Abhandlungen und Berichte des Staatlichen
Museums für Völkerkunde Dresden, Forschungsstelle, 43; Monographien 7. Berlin:
Akademie-Verlag, 1989.
———. Leben in Linie, Muster und Farbe: Einführung in die Betrachtung
aussereuropäischer Kunst am Beispiel der Abelam, Papua-Neuguinea. Basel:
Birkhäuser-Verlag, 1989.
———. “In the Swamps and on the Hills: Traditional Settlement Patterns and House
Structures in the Middle Sepik.” In Sepik Heritage: Tradition and Change in Papua
New Guinea, edited by N. Lutkehaus et al., 470–479. Durham, N.C.: Carolina
Academic Press, 1990.
Heermann, Ingrid. “Ozeanien.” In Ferne Völker, frühe Zeiten: Kunstwerke aus dem Linden-
Museum Stuttgart, Staatliches Museum für Völkerkunde. Vol. 1, Afrika, Ozeanien,
Amerika, by Friedrich Kussmaul et al., pp. 131–220. Stuttgart: Linden-Museum,
1982.
———. Un musée des trois continents: Art d’Afrique, d’Océanie, d’Amérique. Collection
ethnographique du Linden-Museum de Stuttgart. Exh. cat. Brussels: Société des
Expositions du Palais des Beaux-Arts, 1983.
———. Linden-Museum Stuttgart: Südsee-Abteilung. Stuttgart: Linden-Museum, 1989.
———, as editor. Form, Colour, Inspiration: Oceanic Art from New Britain. Stuttgart:
Arnoldsche, 2001.
Heermann, Ingrid, and Ulrich Menter. Schmuck der Südsee: Ornament und Symbol.
Objekte aus dem Linden-Museum, Stuttgart. Exh. cat., Linden Museum, Stuttgart,
and other German museums. Munich: Prestel, 1990.

Heijnes, H. Nederlands Nieuw-Guinea: Van stenen tijdperk naar moderne samenleving.
The Hague: Ministerie van Zaken Overzee, 1959.
Helfrich, Klaus. “Kopfjagd und Ahnenschädel.” In Asmat: Mythos und Kunst im Leben mit
den Ahnen, pp. 161–77. Exh. cat. Berlin: Museum für Völkerkunde, Staatliche
Museen zu Berlin, Preussischer Kulturbesitz; 1995.
Herle, Anita, and Jude Philp. Torres Strait Islanders: An Exhibition Marking the Centenary
of the 1898 Cambridge Anthropological Expedition. Exh. cat. [Cambridge]:
University of Cambridge Museum of Archaeology and Anthropology, 1998.
Hersey, Irwin. Indonesian Primitive Art. Singapore: Oxford University Press, 1991.
Hides, Jack Gordon. Papuan Wonderland. London: Blackie & Son Ltd., 1936.
Hoeltker, Georg. See Höltker, Georg.
Hogbin, Ian. The Island of Menstruating Men: Religion in Wogeo, New Guinea. Chandler
Publications in Anthropology and Sociology. Scranton, Pa.: Chandler Publishing
Company, 1970.
Holdsworth, David. The Highlands. Port Moresby: Robert Brown & Associates, 1974.
Holmes, J. H., Rev. “Introductory Notes to a Study of the Totemism of the Elema,” parts 1–
2. Man 5 (1905): 2–6, 17–20.
Höltker, Georg. “Das Geisterhaus bei den Bosngun am unteren Ramu River, Neu-Guinea.”
Jahrbuch des Museums für Völkerkunde zu Leipzig 22 (1966): 17–39.
———. “Abermals: Mutter-Kind-Motiv und Verwandte Vorstellungen in der Holzplastik
Neuguineas.” In Menschen und Kulturen in Nordost-Neuguinea: Gesammelte
Aufsätze: Festschrift, Herrn Prof. Dr. Georg Höltker zu seinem 80. Geburtstag vom
Anthropos-Institut gewidmet, 193–229. Studia Instituti Anthropos, vol. 29. St.
Augustin bei Bonn: Verlag des Anthropos-Institut, 1975. Originally published in
Jahrbuch des Museums für Völkerkunde zu Leipzig 27 (1970): 134–59.
Holton, George (photographer), and Kenneth E. Read. The Human Aviary: A Pictorial
Discovery of New Guinea. New York: Scribner, 1971.
Honolulu Academy of Arts. An Exhibition of Oceanic Arts from Collections in Hawaii. Exh.
cat. Honolulu: Honolulu Academy of Arts, 1967.
Hoogerbrugge, Jac. Sentani-Meer: Mythe en ornament. Kultuurpatronen / Patterns of
Culture, vol. 9. Delft: Ethnographisch Museum, 1967.
———. Ukiran-ukiran kayu Irian Jaya / The Art of Woodcarving in Irian Jaya. Jayapura:
Regional Government of Irian Jaya, in cooperation with United Nations
Development Programme, Jakarta, 1977.

———. “Maro Paintings of Lake Sentani and the Humboldt Bay.” In The Art of Northwest
New Guinea, edited by Suzanne Greub, 127–39. New York: Rizzoli, 1992.
———. 1992. See also Kooijman and Hoogerbrugge 1992.
———. “Notes on the Art of Barkcloth Painting in the Jayapura Area, Irian Jaya,
Indonesia.” In Pacific Material Culture: Essays in Honour of Dr. Simon Kooijman on
the Occasion of His 80th Birthday, edited by Dirk A. M. Smidt, Pieter ter Keurs, and
Albert Trouwborst, 167–79. Mededelingen van het Rijksmuseum voor Volkenkunde,
Leiden, no. 28. Leiden: Rijksmuseum voor Volkenkunde, 1995.
Hooper, James T., and Cottie A. Burland. The Art of Primitive Peoples. New York:
Philosophical Library, 1954.
Hooper, Steven, ed. The Robert and Lisa Sainsbury Collection. Vol. 2, Pacific, African, and
Native North American Art. New Haven: Yale University Press, in association with
the University of East Anglia, Norwich, 1997.
Hopps, Walter. The Menil Collection: A Selection from the Paleolithic to the Modern Era.
Introduction by Walter Hopps. New York: H. N. Abrams, 1987.
Huppertz, Josefine. “Zum Schädelkult in Porapora (NO-Neuguinea).” Verhandlungen der
Naturforschenden Gesellschaft in Basel, no. 86 (1977): 207–36.
———. Mobul: Der Stammvater der Kambot-Leute in Nordost-Neuguinea. Aulendorf:
Studienkolleg St. Johann, 1981.
———. Begegnungen zweier Welten: Aus den Anfängen der Steyler Missionsgesellschaft
in Deutsch-Neuguinea ab 1896. Waldeck: Siebenberg-Verlag, 1998.
Hurley, Frank. Pearls and Savages: Adventures in the Air, on Land and Sea in New
Guinea. New York: G. P. Putnam’s Sons, 1924.
Idriess, Ion L. Drums of Mer. 12th ed. Sydney: Angus & Robertson Ltd., 1944.
Indiana University Art Museum. Affinities of Form: The Raymond and Laura Wielgus
Collection of the Arts of Africa, Oceania, and the Americas. Exhibition booklet by
Diane Pelrine. [Bloomington, Ind.]: Indiana University Art Museum, 1993.
Jacobs, Karen. In Kamoro Art: Tradition and Innovation in a New Guinea Culture, edited by
Dirk Smidt. Amsterdam: KIT Publishers; Leiden: Rijksmuseum voor Volkenkunde,
2003.
Jan Krugier Gallery / Arte y Ritual 2001. See Casanovas 2001.
Jeudy-Ballini, Monique. “The Ritual Aesthetics of the Sulka.” In Form, Colour, Inspiration:
Oceanic Art from New Britain, edited by Ingrid Heermann, 106–15. Stuttgart:
Arnoldsche, 2001.

———. L'art des échanges: Penser le lien social chez les Sulka (Papouasie Nouvelle-
Guinnée). Lausanne: Payot, 2003.
Joppien, Rüdiger. “Sir Oswald Walter Brierly's First Arrival of White Men amongst the
Islands of the Louisiade Archipelago: A Nineteenth-Century Painting of New Guinea
and Related Sketches.” In Essays Presented to Bernard Smith, edited by Anthony
Bradley and Terry Smith. Melbourne: Oxford University Press, 1980.
Juillerat, Bernard. La révocation des Tambaran: Les Banaro et Richard Thurwald revisités.
Paris: CNRS Éditions, 1993.
Kaeppler, Adrienne L. “Papuan Gulf Masks from the Village of Muru.” Baessler-Archiv, n.s.,
11 (April 1964): 361–73.
———. 1979. See Gathercole, Kaeppler, and Newton 1979.
Kaeppler, Adrienne L., Christian Kaufmann, and Douglas Newton. L’art océanien. Art et les
grandes civilizations, 23. Paris: Citadelles & Mazenod, 1993.
———. Oceanic Art. Translated by Nora Scott and Sabine Bouladon, with Fiona Leibrick.
New York: Harry N. Abrams, 1997.
Kaeppler, Adrienne L., and Don Niles. “The Music and Dance of New Guinea.” In The
Garland Encyclopedia of World Music, vol. 9, Australia and the Pacific Islands,
edited by Adrienne L. Kaeppler and J. W. Love, 472–87. New York: Garland
Publishing, 1998.
Kamma, Freerk C., and Simon Kooijman. Romawa Forja, Child of the Fire: Iron Working
and the Role of Iron in West New Guinea (West Irian). Mededelingen van het
Rijksmuseum voor Volkenkunde, Leiden, no. 18. Leiden: E. J. Brill, 1973.
Kaspru!, Aloys. The Tribes of the Middle Ramu and the Upper Keram Rivers (North-East
New Guinea). Studia Instituti Anthropos, vol. 17. St. Augustin bei Bonn, Germany:
Anthropos-Instituts, 1973.
Kaufmann, Christian. Über Kunst und Kult bei den Kwoma und Nukuma (Nord-Neuguinea):
Einige Ergebnisse der Sepik-Expedition 1965–1967. Verhandlungen der
Naturforschenden Gesellschaft in Basel, vol. 79, no. 1. Basel: Museum für
Volkerkunde, 1968.
———. Das Töpferhandwerk der Kwoma in Nord-Neuguinea: Beiträge zur Systematik
primärer Töpfereiverfahren. Basler Beiträge zur Ethnologie 12. Basel: Pharos-
Verlag Hansrudolf Schwabe AG, 1972.

———. “Art and Artists in the Context of Kwoma Society.” In Exploring the Visual Art of
Oceania, edited by Sidney M. Mead, 310–34. Honolulu: Pacific Arts Association,
University of Hawai’i Press, 1979.
———. Ozeanische Kunst: Meisterwerke aus dem Museum für Völkerkunde Basel. Exh.
cat., Kunstmuseum Basel. Basel: Birkhäuser Verlag, 1980.
———. “Sepik Art: An Essay; the Context of the Present Exhibition.” In Authority and
Ornament: Art of the Sepik River, Papua New Guinea, edited by Suzanne Greub,
14–18. Exh. cat. Basel: Tribal Art Centre, 1985.
———. “Swiss and German Ethnographic Collections as Source Materials: A Report on
Work in Progress.” In Sepik Heritage: Tradition and Change in Papua New Guinea,
edited by Nancy Lutkehaus et al., 587–95. Durham, N.C.: Carolina Academic
Press, 1990.
———. “Paul Wirz and the Appreciation of New Guinea Art.” In The Art of Northwest New
Guinea, edited by Suzanne Greub, 141–54. New York: Rizzoli, 1992.
———. 1997. See Kaeppler, Kaufmann, and Newton 1997.
———. Korewori: Magic Art from the Rain Forest. Translated from German by Robert
Williamson. Exh. cat. Basel: Museum der Kulturen; Belair, S.A., Australia: Crawford
House, 2003.
Kelm, Heinz. Kunst vom Sepik. 3 vols. Berlin: Museum für Völkerkunde, 1966–68.
ter Keurs, Pieter. “Some Remarks on Seafaring, Trade, and Canoe-Construction of the
Siassi of Mandok Island (Papua New Guinea).” Baessler-Archiv, n.s., 37 (1989):
373–400.
———. “Tami Art and the Siassi Trade Network (Papua New Guinea): An Enquiry into the
Relationship between Trade and the Development of Art Styles.” In The Language
of Things: Studies in Ethnocommunication in Honour of Professor Adrian A.
Gerbrands, edited by Pieter ter Keurs and Dirk Smidt, 113–28. Mededelingen van
het Rijksmuseum voor Volkenkunde, Leiden, no. 25. Leiden: Rijksmuseum voor
Volkenkunde, 1990.
Kiki, Albert Maori. “Marupai: An Art Form from Orokolo.” Gigibori 1, no. 1 (December 1974):
1–11.
Kirk, Malcolm. “Journey into Stone Age New Guinea.” National Geographic 135, no. 4
(April 1969): 568–92.
———. Man as Art: New Guinea. Photographs by Malcolm Kirk; introduction by Andrew
Strathern. New York: Viking Press, 1981.

Kjersmeier, Carl. Ny Guineas kunst / Art in New Guinea. Copenhagen: Gjellerups, 1948.
Knauft, Bruce M. South Coast New Guinea Cultures: History, Comparison, Dialectic.
Cambridge: Cambridge University Press, 1993.
Koch, Gerd. Kultur der Abelam: Die Berliner “Maprik”-Sammlung. Veröffentlichungen des
Museums für Völkerkunde Berlin, n.s., vol. 16, Abteilung Südsee 8. Berlin: Museum
für Völkerkunde, 1968.
———. Südsee: Führer durch die Ausstellung der Abteilung Südsee. Berlin: Museum für
Völkerkunde, 1969.
Kocher Schmid, Christin. “Catalogue of Plates.” In Authority and Ornament: Art of the Sepik
River, Papua New Guinea, edited by Suzanne Greub, 177–210. Basel: Tribal Art
Centre, 1985.
Kondwal, Aipe, and Garry Trompf. “The Epic of the Komblo, Western Highlands Province.”
Oral History 10, no. 1 (1982): 88–116.
Konrad, Gunter, and Ursula Konrad, eds. Asmat: Myth and Ritual, the Inspiration of Art.
Contributions by Petrus Goo, Klaus Helfrich, Gunter Konrad, Ursula Konrad,
Giancarlo Ligabue, Edi Sedyawati, Dirk A. M. Smidt, Alphonse A. Sowada, Paul M.
Taylor, and Carolina Winkelmann. Translated from the 1995 German ed. by John S.
Southard. Venice: Erizzo Editrice, 1996.
Konrad, Gunter, Ursula Konrad, and Tobias Schneebaum. Asmat: Leben mit den Ahnen.
Steinzeitliche Holzschnitzer unserer Zeit / Asmat: Life with the Ancestors. Stone
Age Woodcarvers in Our Time. Glashütten/Ts.: Friedhelm Brückner, 1981.
Konrad, Ursula, Alphonse Sowada, and Gunter Konrad. Asmat: Perception of Life in Art.
The Collection of the Asmat Museum of Culture and Progress. Contributions by
Yufentius Biakai, Gunter Konrad, Ursula Konrad, Eva Raabe, Dirk Smidt, Alphonse
Sowada, and Nick Stanley. Mönchengladbach, Germany: B. Kühlen Verlag, 2002.
Kooijman, Simon. “Art of Southwestern New Guinea: A Preliminary Survey.” In “New
Guinea,” Antiquity and Survival 1, no. 5 (1956): 343–72.
———. The Art of Lake Sentani. Exh. cat. New York: Museum of Primitive Art, 1959.
———. “The Art Areas of Western New Guinea.” In Three Regions of Primitive Art, by
Hallam L. Movius Jr., Simon Kooijman, and George Kubler, 41–59. Lecture Series,
no. 2. New York: Museum of Primitive Art, 1961.
———. “Material Aspects of the Star Mountains Culture: Scientific Results of the
Netherlands New Guinea Expedition, 1959.” Nova Guinea: Anthropology, nos. 2–3
(1962): 15–44.

———. Art, Art Objects, and Ritual in the Mimika Culture. Mededelingen van het
Rijksmuseum voor Volkenkunde, Leiden, vol. 24. Leiden: E. J. Brill, 1984.
Kooijman, Simon, and Jac. Hoogerbrugge. “Art of Wakde-Yamna Area, Humboldt Bay, and
Lake Sentani.” In The Art of Northwest New Guinea, edited by Suzanne Greub, 57–
126. New York: Rizzoli, 1992.
Kunst van Afrika, Oceanië, Amerika. Keuze uit de verzamelingen van het Etnografisch
Museum van de stad Antwerpen. Edited by Adriaan Claerhout. Exh. cat., Paleis
voor Schone Kunsten, Brussels, and other cities 1966–67. Antwerp: Etnografisch
Museum, 1966.
Kussmaul, Friedrich. Kunst der Südsee: Sepik und Neu-Irland aus den Sammlungen des
Linden-Museums für Völkerkunde in Stuttgart. Exh. cat. Karlsruhe: Badisches
Landesmuseum, 1969.
Lacey, R. J. “Abel.” In Encyclopaedia of Papua and New Guinea, vol. 1: 1–2. Melbourne:
Melbourne University Press in association with the University of Papua and New
Guinea, 1972.
Landtman, Gunnar. The Kiwai Papuans of British New Guinea: A Nature-Born Instance of
Rousseau’s Ideal Community. London: MacMillan and Co., 1927.
———. Ethnographical Collection from the Kiwai District of British New Guinea in the
National Museum of Finland, Helsingfors (Helsinki): A Descriptive Survey of the
Material Culture of the Kiwai People. Helsinki: Commission of the Antell Collection,
1933.
Laroche, M. “Notes sur quelques ornaments de pirogue de la Nouvelle-Guinée hollandaise,
Baie de Walkener.” Journal de la Société des Océanistes 5, no. 5 (December
1949): 105–15.
Laumann, Karl, S.V.D. “Vlísso, der Kriegs- und Jagdgott am unteren Yuat River,
Neuguinea.” Anthropos 47 (1952): 897–908.
———. “Geisterfiguren am mittleren Yuat River in Neuguinea.” Anthropos 49 (1954): 27–
57.
Laverty, Peter. Introduction. In Aboriginal and Melanesian Art, curated by Tony Tuckson.
Exh. cat. Sydney. Sydney: Art Gallery of New South Wales, 1973.
Lawes, Bruce. New Guinea Art: The Bruce Lawes Collection. Exh. cat. Oakland, Calif.:
Western Association of Art Museums, 1976.
Lawrence, David. “Customary Exchange across Torres Strait.” Memoirs of the Queensland
Museum 34, part 2 (1994): 241–446.

Laycock, Donald C. The Ndu Language Family (Sepik District, New Guinea). Linguistic
Circle of Canberra. Publications, ser. C, Books, no. 1. Canberra: Australian National
University, 1965.
Leenhardt, Maurice. Folk Art of Oceania. Translated from French by Michael Heron. Paris:
Les Éditions du Chêne; New York: Tudor Publishing Company, 1950.
Le Fur, Yves. La mort n’en saura rien. Exh. cat., Musée National des Arts d'Afrique et
d'Océanie, Paris. Paris: Éditions de la Réunion des Musées Nationaux, 1999.
Lenars, Charles, Josette Lenars, Andrew Strathern, and Pamela J. Stewart. Nouvelle
Guinée: Danses de la couleur. Paris: Hazan, 2004.
Le Roux, C. C. F. M. See le Roux, C. C. F. M.
Lewis, A. B. Decorative Art of New Guinea: Incised Designs. Edited by Berthold Laufer.
Anthropology Design Series, no. 4. Chicago: Field Museum of Natural History,
1925.
———. Carved and Painted Designs from New Guinea. Edited by Berthold Laufer.
Anthropology Design Series, no. 5. Chicago: Field Museum of Natural History,
1931.
———. Decorative Art of New Guinea. Consisting of the Two Complete Publications:
Decorative Art of New Guinea, Incised Designs; and Carved and Painted Designs
from New Guinea. New York: Dover Publications, 1973.
Lewis-Harris, Jacquelyn. Art of the Papuan Gulf. Saint Louis Art Museum Bulletin, n.s., 22,
no. 1 (Winter). St. Louis: Saint Louis Art Museum, 1996.
Linton, Ralph, and Paul Stover Wingert. Arts of the South Seas. New York: Museum of
Modern Art, 1946.
Lipset, David. Mangrove Man: Dialogics of Culture in the Sepik Estuary. Cambridge:
Cambridge University Press, 1997.
Lommel, Andreas. “The Art of Oceania.” In Prehistoric and Primitive Art, by Luis Pericot
Garcia, John Galloway, and Andreas Lommel. New York: Abrams, 1967.
Losche, Diane. The Abelam: A People of Papua New Guinea. Sydney: Australian Museum,
1982.
Lowman, Cherry. Displays of Power: Art and War among the Marings of New Guinea; with
a Design Analysis of Maring Shields, by Alexander Alland Jr. Museum of Primitive
Art Studies, no. 6. New York: Museum of Primitive Art, 1973.
von Luschan, Felix. Beiträge zur Völkerkunde der deutschen Schutzgebiete. Berlin: Verlag
Dietrich Reimer, 1897.

Lutkehaus, Nancy, Christian Kaufmann, W. E. Mitchell, Douglas Newton, L. Osmundsen,
M. Schuster, eds. Sepik Heritage: Tradition and Change in Papua New Guinea.
Durham, N.C.: Carolina Academic Press, 1990.
Maaz, Klaus. Abelam. Die magische Welt der Abelam: Kunst und Kult in Papua New
Guinea. Exh. cat. Detmold: Lippisches Landesmuseum, 1989.
Mackay, Roy D. The Western Highlands, Papua New Guinea. Bathurst, NSW, Australia:
Robert Brown & Associates, 1984.
MacKenzie, Maureen Anne. “The Telefol String Bag: A Cultural Object with Androgynous
Forms.” In Children of Afek: Tradition and Change among the Mountain-Ok of
Central New Guinea, edited by Barry Craig and David Hyndman, 88–108, 252–58,
269–79. Oceania Monographs, no. 40. Sydney: University of Sydney, 1990.
———. Androgynous Objects: String Bags and Gender in Central New Guinea. Chur,
Switzerland: Harwood Academic Publishers, 1991.
Maksic, Sava, and Paul Meskil. Primitive Art of New Guinea, Sepik River Basin. Worcester,
Mass.: Davis Publications 1973.
Malinowski, Bronislaw. “War and Weapons among the Natives of the Trobriand Islands.”
Man 20 (January 1920): 10–12.
———. Argonauts of the Western Pacific: An Account of Native Enterprise and Adventure
on the Archipelagoes of Melanesian New Guinea. London: G. Routledge & Sons
Ltd., 1922.
———. “Stone Implements in Eastern New Guinea.” In Essays Presented to C. G.
Seligman, edited by E. E. Evans-Pritchard et al., 189–96. London: Kegan Paul,
Trench, Trubner & Co., Ltd., 1934.
Mamiya, Christin J., and Eugenia C. Sumnik. Hevehe: Art, Economics and Status in the
Papuan Gulf. Exh. cat. Monograph Series, no. 18. Los Angeles: Museum of Cultural
History, U.C.L.A., 1982.
Matthiessen, Peter. Under the Mountain Wall: A Chronicle of Two Seasons in the Stone
Age. New York: Viking Press, 1962.
May, Patricia. “Art Styles among the Boiken.” In Sepik Heritage: Tradition and Change in
Papua New Guinea, edited by Nancy Lutkehaus et al., 501–10. Durham, N.C.:
Carolina Academic Press, 1990.
May, Patricia, and Margaret Tuckson. The Traditional Pottery of Papua New Guinea.
Sydney: Bay Books Pty. Ltd., 1982.

May, Ronald J. Kaikai aniani: A Guide to Bush Foods, Markets, and Culinary Arts of Papua
New Guinea. Bathurst, NSW, Australia: Robert Brown & Associates, 1984.
McFarlane, Samuel. Among the Cannibals of New Guinea: Being the Story of the New
Guinea Mission of the London Missionary Society. London: London Missionary
Society, 1888.
Mead, Margaret. The Mountain Arapesh. Vol. 2, Arts and Super-naturalism. Garden City,
N.Y.: Natural History Press, 1970.
Mead, Sidney M., ed. Exploring the Visual Art of Oceania: Australia, Melanesia,
Micronesia, and Polynesia. Honolulu: University Press of Hawaii, 1979.
Melanesian Art. Exh. cat., Art Gallery of New South Wales. Sydney: Edwards & Shaw,
1966.
Menter, Ulrich. “Shields: Art for War and Dance.” In Form, Colour, Inspiration: Oceanic Art
from New Britain, edited by Ingrid Heermann, 130–43. Stuttgart: Arnoldsche, 2001.
———. Ozeanien: Kult und Visionen. Verborgene Schätze aus deutschen
Völkerkundemuseen. Edited by Rainer Springhorn. Published in conjunction with an
exhibition held at the Lippisches Landesmuseum, Detmold. Kataloge des
Lippischen Landesmuseums Detmold, vol. 10. Munich: Prestel, 2003.
Metropolitan Museum of Art, New York. Art of Oceania, Africa, and the Americas from the
Museum of Primitive Art. Exh. cat. by Robert Goldwater, Douglas Newton, Julie
Jones, and Tamara Northern. New York: Metropolitan Museum of Art, 1969.
Meyer, Adolf B. Masken von Neu Guinea und dem Bismarck Archipel. Konigliches
Ethnographiches Museum zu Dresden, [Publicationen], vol. 6. Dresden: Stengel &
Markert, 1889.
Meyer, Adolf B., and Richard Parkinson. Schnitzereien und Masken vom Bismarck-Archipel
und Neu-Guinea. Publicationen aus dem Königlichen Ethnographischen Museum
zu Dresden, vol. 10. Dresden: Stengel, 1895.
Meyer, Anthony J. P. Oceanic Art / Ozeanische Kunst / Art océanien. Vol. 1. Cologne:
Konemann, 1995.
———. Oceanic Headrests: Sleep with the Ancestors / Appuie-nuque océaniens: Dormir
avec les ancêtres. Exh. cat. translated by Manuel Benguigui. Paris: Galerie
Meyer—Oceanic Art, 2004.
Miklouho-Maclay, N. N. “Ethnologische Bemerkungen über die Papuas der Maclay-Küste
in Neu-Guinea,” parts 1–2. Natuurkundig Tijdschrift voor Nederlandsch-Indië 35
(1875): 66–93; 36 (1876): 294–334.

———. New Guinea Diaries, 1871–1883. Translated from Russian by C. L. Sentinella.
Madang, P.N.G.: Kristen Press 1975.
Moore, David R. The Torres Strait Collections of A. C. Haddon: A Descriptive Catalogue.
London: British Museum Publications Ltd., 1984.
———. Arts and Crafts of Torres Strait. Princes Risborough, Aylesbury, Bucks, UK: Shire
Publications Ltd., 1989.
Moore, David R., and Charles V. Turner (photographer). Melanesian Art in the Australian
Museum. Sydney: Trustees of the Australian Museum, 1968.
Moriarty, S. G. “Art of the New Guinea Highlands.” In Aboriginal and Melanesian Art,
curated by [Tony Tuckson]. Exh. cat. Sydney: Art Gallery of New South Wales
1973.
Mosby, Tom, and Brian Robinson. Ilan Pasin / This Is Our Way: Torres Strait Art. Exh. cat.
Cairns, QLD, Australia: Cairns Regional Gallery, 1998.
Moschner, Irmgard. Melanesien und Polynesien: Führer durch die Ausstellung. Vienna:
Museum für Völkerkunde, 1963–66.
———. 1967. See Museum für Völkerkunde, Vienna, 1967.
Moyne, Walter Edward Guinnes, Baron. Walkabout; a Journey in Lands between the
Pacific and Indian Oceans, by Lord Moyne. Introduction by Alfred C. Haddon.
London: W. Heinemann, 1936.
Muensterberger, Werner. Primitive Kunst aus West- und Mittelafrika, Indonesien,
Melanesien, Polynesien, und Nordwest Amerika. Munich: Wilhelm Goldmann, 1955.
———. Universality of Tribal Art / Universalité de l'art tribal. Geneva: Barbier-Müller
Collection, 1979.
Musée d’Art Moderne, Paris, 1979. See L’aventure de Pierre Loeb 1979.
Musée de l’Homme, Paris. Chefs-d’oeuvre du Musée de l’Homme. Exh. cat. Paris: Caisse
Nationale des Monuments Historiques, 1965.
———. Arts primitifs dans les ateliers d’artistes. Exh. cat. Paris: Société des Amis du
Musée de l’Homme, 1967.
Museum für Völkerkunde, Vienna. Die ozeanischen Sammlungen. Text by Irmgard
Moschner. Vienna: Museum für Völkerkunde, 1967.
Museum of Primitive Art, New York. Three Regions of Melanesian Art: New Guinea and the
New Hebrides. New York: Museum of Primitive Art, 1960.
———. The Raymond Wielgus Collection. Foreword by Robert Goldwater; introduction by
Raymond Wielgus. Exh. cat. New York: Museum of Primitive Art, 1960a.

———. The Lipchitz Collection. Introduction by Jacques Lipchitz. Exh. cat. New York:
Museum of Primitive Art, 1960b.
———. The John and Dominique de Menil Collection. Exh. cat. New York: Museum of
Primitive Art, 1962.
———. The Robert and Lisa Sainsbury Collection. Exh. cat. New York: Museum of
Primitive Art, 1963.
———. Masks and Sculptures from the Collection of Gustave and Franyo Schindler. Exh.
cat. New York: Museum of Primitive Art, 1966.
———. See Newton and Baker 1969.
Museum voor Land- en Volkenkunde, Rotterdam. Kunst uit Melanesië. Rotterdam:
Gemeente-Drukkerij, 1951.
Neich, Roger. Basketwork Fertility Figures from the Western Enga and Nearby Groups,
Western and Southern Highlands, Papua New Guinea. National Museum of New
Zealand Records vol. 1, no. 2. Wellington: National Museum of New Zealand, 1975.
Neuhauss, Richard. Deutsch Neu-Guinea. 3 vols. Berlin: Verlag Deitrich Reimer, 1911.
Neumann, Peter, and Günter Guhr. Ethnographisches Mosaik: Aus den Sammlungen des
Staatlichen Museums für Völkerkunde Dresden. 2nd ed. Berlin: Deutscher Verlag
der Wissenschaften, 1985.
Newton, Douglas. Art Styles of the Papuan Gulf. Exh. cat. New York: Museum of Primitive
Art, 1961.
———. Malu: Openwork Boards of the Tshuosh Tribe. Studies, no. 2. New York: Museum
of Primitive Art, 1963.
———. “Oral Tradition and Art History in the Sepik District, New Guinea.” In Essays on the
Verbal and Visual Arts, edited by June Helm, 200–215. American Ethnological
Society, Proceedings of the Annual Spring Meeting 1966. Seattle, [1967].
———. New Guinea in the Collection of the Museum of Primitive Art. The Museum of
Primitive Art Handbooks, no. 2. New York: Museum of Primitive Art; dist. by
Greenwich, Conn.: New York Graphic Society, 1967.
———. Crocodile and Cassowary: Religious Art of the Upper Sepik River, New Guinea.
New York: Museum of Primitive Art, 1971.
———. Massim: Art of the Massim Area, New Guinea. New York: Museum of Primitive Art,
1975.

———. “Prehistoric and Recent Art Styles in Papua New Guinea.” In Exploring the Visual
Art of Oceania, edited by Sidney M. Mead, 32–57. Honolulu: Pacific Arts
Association, University of Hawai’i Press, 1979.
———. 1979. See also Gathercole, Kaeppler, and Newton 1979.
———. “The Art of Africa, the Pacific Islands and the Americas.” The Metropolitan Museum
of Art Bulletin 39, no. 2 (Fall 1981).
———. “Shields of the Manambu (East Sepik Province, Papua New Guinea).” Baessler-
Archiv, n.s., 35, no. 1 (1987): 249–59.
———. “Mother Cassowary’s Bones: Daggers of the East Sepik Province, Papua New
Guinea.” Metropolitan Museum Journal 24 (1989): 305–25.
———. “Introduction to Part Eight: Visual and Aural Arts.” In Sepik Heritage: Tradition and
Change in Papua New Guinea, edited by Nancy Lutkehaus et al., 467–69. Durham,
N.C.: Carolina Academic Press, 1990.
———. “Materials for an Iatmul Chronicle. Middle Sepik River (East Sepik Province, Papua
New Guinea). Baessler Archiv, n.s., 45 (1997): 367–85.
Newton, Douglas, et al. 1993. See Kaeppler, Kaufmann, and Newton 1993.
———. 1997. See Kaeppler, Kaufmann, and Newton 1997.
Newton, Douglas, and Herbert Baker. The Herbert Baker Collection. Exh. cat. New York:
Museum of Primitive Art, 1969.
Newton, Douglas, and Hermione Waterfield. Sculpture: Chefs-d’oeuvre du Musée Barbier-
Mueller. Geneva: Imprimerie Nationale, 1995. English ed.: Tribal Sculpture:
Masterpieces from Africa, South East Asia, and the Pacific in the Barbier-Mueller
Museum. Geneva, 1995.
Nicolas, Alain. Art papou: Austronésiens et Papous de Nouvelle-Guinée. Exh. cat. Musée
d’Arts Africains, Océaniens, Amérindiens, Centre de la Vieille Charité, Marseille.
Paris: Réunion des Musées Nationaux; Marseille: Musées de Marseille, 2000.
Norick, Frank A. “An Analysis of the Material Culture of the Trobriand Islands Based upon
the Collection of Bronislaw Malinowski.” Ph.D. dissertation, University of California,
Berkeley, 1976.
Nuoffer, Oskar. Quetschkolben von Berlinhafen (Kaiser Wilhelmsland). Abhandlungen und
Berichte des Königl. Zoologischen und Anthropologisch-Ethnographischen
Museums zu Dresden 15, no. 1. Leipzig: Teubner, 1917.
O’Hanlon, Michael. Reading the Skin: Adornment, Display and Society among the Wahgi.
London: British Museum Publications Ltd., 1989.

———. Paradise: Portraying the New Guinea Highlands. London: British Museum Press,
1993.
O’Hanlon, Michael, and Robert L. Welsch, eds. Hunting the Gatherers: Ethnographic
Collectors, Agents and Agency in Melanesia, 1870s–1930s. Oxford: Berghahn
Books, 2001.
Papua New Guinea Public Museum and Art Gallery. Guide to the Collection. Port Moresby:
Papua New Guinea Public Museum and Art Gallery, 1974.
Parsons, Lee A. Ritual Arts of the South Seas: The Morton D. May Collection. Exh. cat. St.
Louis: Saint Louis Art Museum, 1975.
Pelrine, Diane M. 1993. See Indiana University Art Museum 1993.
———. Affinities of Form: Arts of Africa, Oceania, and the Americas from the Raymond
and Laura Wielgus Collection. Introduction by Roy Sieber. Munich: Prestel-Verlag.
Published in conjunction with an exhibition organized by the Indiana University Art
Museum and circulated by the American Federation of Arts, 1996–97.
Peltier, Philippe. “Jacques Viot, the Maro of Tobati, and Modern Painting: Paris–New
Guinea, 1925–1935.” In Art of Northwest New Guinea, edited by Suzanne Greub,
155–75. New York: Rizzoli, 1992.
———. “Maison des hommes; maison des autres.” In Le Pacifique-Sud aujourd’hui:
Identités et transformations culturelles, edited by Serge Tcherkézoff and Françoise
Douaire-Marsaudon, 83–109. Paris: CNRS Éditions, 1997.
———. “Un art consommé: La chasse aux têtes dans la vallée du Sepik, Papouasie-
Nouvelle-Guinée.” In La mort n’en saura rien, edited by Yves Le Fur, 49–58. Exh.
cat. Paris: Éditions de la Réunion des Musées Nationaux, 1999.
———. “The Sepik” In Arts of the South Seas: Island Southeast Asia, Melanesia,
Polynesia, Micronesia. The Collections of the Musée Barbier-Mueller, edited by
Douglas Newton, 188–205. Munich: Prestel, 1999.
Penkowski, Josef. “Pontificio Museo Missionario-Ethnologico.” In The Vatican Collections:
The Papacy and Art, 226–41. New York: Metropolitan Museum of Art, 1982.
Phelps, Steven. Art and Artefacts of the Pacific, Africa, and the Americas: The James
Hooper Collection. London: Hutchinson & Co. Publishers Ltd., 1976 (c. 1975).
Philp, Jude. Past Time: Torres Strait Islander Material from the Haddon Collection, 1888–
1905: A National Museum of Australia Exhibition from the University of Cambridge.
Exh. cat. Canberra: National Museum of Australia, 2001.

Philsooph, H. “Open Structures: Aspects of Cross-Cultural Influence in the Sepik in
Relation to Southeast Asia, India, and the Middle East.” In Sepik Heritage: Tradition
and Change in Papua New Guinea, edited by Nancy Lutkehaus et al., 87–115.
Durham, N.C.: Carolina Academic Press, 1990.
Pickell, David. Kamoro: Between the Tides in Irian Jaya. Photography by Kal Muller.
Jakarta: Aopao Productions, 2001.
Portier, André, and François Poncetton. Décoration océanienne. Paris: Librairie des Arts
Décoratifs, [1930].
Pratiknyo, Hartoyo, ed. Sentani: Old and New in the Land of Clear Water. Jakarta: Jakarta
Post ; Etnodata, 1995.
Pretty, G. L. “A Turtle Shell Mask of Torres Straits Type in the Macleay Museum.” Records
of the South Australian Museum 14 (1963): 421–25.
Rawson, Philip S. Primitive Erotic Art. New York: G. P. Putnam’s Sons, 1973.
Réal, Daniel. La décoration primitive. Vol. 2, Océanie. Paris: A. Calavas, 1922.
Reche, O. Der Kaiserin-Augusta-Fluss. Vol. 1 of Ergebnisse der Hamburger Südsee-
Expedition 1908–1910. Hamburg: L. Friederichsen, 1913.
Reichard, Gladys A. Melanesian Design: A Study of Style in Wood and Tortoiseshell
Carving. 2 vols. New York: Hacker Art Books, 1969. Originally published New York:
Columbia University Press, 1933.
van Renselaar, H. C. Asmat Art from Southwest New Guinea. Royal Tropical Institute, no.
121; Department of Cultural and Physical Anthropology, no. 55. [Amsterdam:
Koninklijk Instituut voor de Tropen, 1956]. Unpaged.
Rhoads, J. W. “For Want of a Chopper: Research on Sago Prehistory in New Guinea.” In
Sago-76: Papers of the First International Sago Symposium, "The Equatorial
Swamp as a Natural Resource," 5–7 July 1976, Kuching, Malaysia, edited by
Koonlin Tan, 31–38. Kuala Lumpur: Kemajuan Kanji Sdn. Bhd., 1977.
Rijksmuseum. Papuan Art in the Rijksmuseum. Amsterdam: Rijksmuseum, 1966.
Rocchi, Carla. Mostra dell’arte dell’Oceania. Exh. cat. Museo Preistorico Etnografico “L.
Pigorini.” Rome: De Luca, 1971.
Rockefeller, Michael Clark. 1967. See Gerbrands 1967.
Rogers, E. S. New Guinea: Big Man Island. Toronto: Royal Ontario Museum, 1970.
Rosenthal, F. “New Guinea.” In Early Chinese Art and the Pacific Basin, Columbia
University, Department of Art History and Archaeology, 50–52. New York:
Intercultural Arts Press, 1968.

Rousseau, Madeleine, Guillaume Apollinaire, and Tristan Tzara. L’art océanien: Sa
présence. Contributions by various authors. Collection “Le Musée vivant,” no. 38.
Paris: APAM, 1951.
le Roux, C. C. F. M. De Bergpapoea’s van Nieuw-Guinea en hun woongebied. 2 vols.
Leiden: E. J. Brill, 1948–50.
Roy, Claude. Arts sauvages. Serie Art, no. 1. New York: Universe Books, 1957.
van Royen, Harry. Pater Petrus Vertenten msc (1884–1946): Een veelzijdig missionaris.
[Borgerhout: Missionarissen van het Heilig Hart], 1996.
Rubin, William, ed. “Primitivism” in 20th Century Art: Affinity of the Tribal and the Modern. 2
vols. Exh. cat. New York: Museum of Modern Art, 1984.
Ryan, D’Arcy J. “Some Decorated Fighting-Shields from the Mendi Valley, Southern
Highlands District of Papua.” Mankind 5 (1958): 243–49.
Saidenberg Gallery. Beyond Europe: Sculptures of “Other Cultures” from the Collection of
Ben Heller, Inc. Exh. cat. New York: Saidenberg Gallery, 1971.
Sainsbury, Robert. The Robert and Lisa Sainsbury Collection. Sainsbury Centre for Visual
Arts. Norwich, England: University of East Anglia, 1978.
Salvi, Sergio. “La Melanesia: Popoli, lingue, stati.” In Oceania Nera: Arte, cultura e popoli
della Melanesia nelle collezioni del Museo di Antropologia e Etnologia di Firenze,
49–56. Exh. cat., Palazzo Vecchio. Florence: Cantini & C., 1992.
van der Sande, G. A. J. Nova Guinea. Vol. 3, Ethnography and Anthropology. Leiden: E. J.
Brill, 1907.
Schefold, Reimar. Versuch einer Stilanalyse der Aufhängehaken vom Mittleren Sepik in
Neu-Guinea. Basler Beiträge zur Ethnologie, vol. 4. Basel: Pharos-Verlag, 1966.
Schieffelin, E. L. The Sorrow of the Lonely and the Burning of the Dancers. New York: St.
Martin’s Press, 1976.
Schindlbeck, M. “Tradition and Change in Kwanga Villages.” In Sepik Heritage: Tradition
and Change in Papua New Guinea, edited by Nancy Lutkehaus et al., 232–40.
Durham, N.C.: Carolina Academic Press, 1990.
Schmeltz, J. D. E. “Beiträge zur Ethnographie von Neu-Guinea,” parts 1–5. Internationales
Archiv für Ethnographie 8 (1895): 153–69, 238–44.
———. “Beiträge zur Ethnographie von Neu-Guinea,” parts 6–7. Internationales Archiv für
Ethnographie 9 (1896): 113–29.
———.“Beiträge zur Ethnographie von Neu-Guinea,” parts 8–9. Internationales Archiv für
Ethnographie 16 (1904): 194–244.

———. “Beiträge zur Ethnographie von Neu-Guinea,” parts 10–11. Internationales Archiv
für Ethnographie 17 (1905): 194–220.
Schmidt, P. W. “Beiträge zur Ethnographie des Gebietes von Potsdamhafen (Deutsch-
Neuguinea).” Globus 84 (1903): 76–81, 110–13, 123–27.
Schmitz, Carl A. “Zwei Telum-Figuren aus der Astrolabe Bai in Nordost-Neuguinea.” Tribus
8 (October 1959): 57–65.
———. Oceanic Sculpture: Sculpture of Melanesia. The Acanthus History of Sculpture.
Greenwich, Conn.: New York Graphic Society, 1962.
———. Wantoat: Art and Religion of the Northeast New Guinea Papuans. Translated from
German by Mrs. G. E. van Baaren-Pape. Art in Its Context: Studies in Ethno-
Aesthetics. The Hague: Mouton & Co., Publishers, 1963.
———. Oceanic Art: Myth, Man and Image in the South Seas. New York: Harry N. Abrams,
1971.
Schneckenburger, Manfred, organizer. Weltkulturen und moderne Kunst: Die Begegnung
der europäischen Kunst und Musik im 19. und 20. Jahrhundert mit Asien, Afrika,
Ozeanien, Afro- und Indo-Amerika. Exh. cat. by Siegfried Wichmann et al.
Organisationskomitee für die Spiele der XX. Olympiade. Munich: Haus der Kunst;
Verlag Bruckmann, 1972.
Schneebaum, Tobias. Asmat Images from the Collection of the Asmat Museum of Culture
and Progress. [Agats, Irian Jaya]: Asmat Museum of Culture and Progress, 1985.
———. Where the Spirits Dwell: An Odyssey in the New Guinea Jungle. New York: Grove
Press, 1988.
———. “The Areas of Asmat Artifacts.” In Art and Identity in Oceania, edited by A. Hanson
and L. Hanson, 36–43. Honolulu: Pacific Arts Association, University of Hawai’i
Press, 1990.
Schoffel, Alain. Arts primitifs de l’Asie du Sud-Est: Assam, Sumatra, Bornéo, Philippines.
Collection Alain Schoffel. Meudon: A. et F. Chaffin, 1981.
Schoonheyt, L. J. A. Boven-Digoel. Batavia: Koninklijke Drukkerij de Unie, 1936.
Schultze[-Jena], Leonhard Sigmund. Forschungen im Innern der Insel Neuguinea (Bericht
des Führers über die wissenschaftlichen Ergebnisse der deutschen
Grenzexpedition in das westliche Kaiser-Wilhelmsland 1910). Mitteilungen aus den
deutschen Schutzgebieten, Ergänzungsheft, vol. 11. Berlin: Ernst Siegfried Mittler
und Sohn, 1914.

Schultze-Westrum, Thomas. Neuguinea: Papua—Urwelt im Aufbruch. Bern: Kümmerly &
Frey Geographischer Verlag and B L V Verlagsgellschaft, 1972.
Schuster, Carl, 1986–88. See Carpenter 1986–88.
Schuster, Gisela. “Aibom Genealogy as History.” In Sepik Heritage: Tradition and Change
in Papua New Guinea, edited by Nancy Lutkehaus et al., 20–22. Durham, N.C.:
Carolina Academic Press, 1990.
Schuster, Meinhard. “Aspects of the Aibom Concept of History.” In Sepik Heritage:
Tradition and Change in Papua New Guinea, edited by Nancy Lutkehaus et al., 7–
19. Durham, N.C.: Carolina Academic Press, 1990.
Schuster, Meinhard, and Gisela Schuster. “Hakenfiguren der Bahinemo (Nord-
Neuguinea).” In Festschrift für Robert Wildhaber zum 70. Geburtstag am 3. August
1972, edited by Walter Escher, Theo Gantner, and Hans Trümpy, 628–39, 801–3.
Basel: G. Krebs; Bonn: Komm. Rudolf Habelt, 1972.
Seligmann, C. G. The Melanesians of British New Guinea. Cambridge: Cambridge
University Press, 1910.
Sénépart, Ingrid. La longue marche des crocodiles: Voyage au pays des Papous.
Montpellier: Indigène Éditions, 2000. Published on the occasion of the exhibition,
“Art papou: Austronésiens et Papous de Nouvelle-Guinée,” Musée d’Arts Africains,
Océaniens, Amérindiens, Marseille.
Serra, Eudald, and Alberto Folch. The Art of Papua and New Guinea. New York: Rizzoli,
1977.
Shack, William A. The Kula: A Bronislaw Malinowski Centennial Exhibition. Exh. cat.
Berkeley: Robert H. Lowie [now the Phoebe Hearst] Museum of Anthropology,
1985.
Siers, James. Papua New Guinea. Wellington, New Zealand: Millwood Press, 1981.
Sillitoe, Paul. “The Art of War: Wola Shield Designs.” Man, n.s., 15 (1980): 483–501.
———. Made in Niugini: Technology in the Highlands of Papua New Guinea. London:
British Museum Publications in association with the University of Durham
Publications Board, 1988.
Simpson, Colin. Adam with Arrows: Inside New Guinea. 2nd ed. London and Sydney:
Angus & Robertson, 1954.
Sinclair, James Patrick. The Highlanders. Milton, QLD, Australia: Jacaranda Press, 1971.
———. The Arts of Papua New Guinea. Port Moresby: R. Brown, 1977.

Smidt, Dirk. The Seized Collections of the Papua New Guinea Museum. N.p.: Creative Arts
Centre, Papua New Guinea Museum, 1975.
———. “Kominimung Shields.” In Art and Artists of Oceania, edited by Sidney M. Mead
and Bernie Kernot, 137–61. Mill Valley, Calif.: Pacific Arts Association,
Ethnographic Arts Publications, 1983.
———. “Oceanië / Oceania.” In Topstukken uit het Rijksmuseum voor Volkenkunde /
Masterpieces from the National Museum of Ethnology, edited by Paul L. F. van
Dongen, Matthi Forrer, and William R. van Gulik, 251–85. Leiden: Rijksmuseum
voor Volkenkunde, 1987.
———. “Catalogus Oceanië / Catalogue Oceania.” In Sculptuur uit Afrika en Oceanië: Een
keuze uit de collectives van leden van de Vereniging Vrienden van ethnografica /
Sculpture from Africa and Oceania: A Choice from the Collections of Members of
the Association of Friends of Ethnographica, edited by Toos van Kooten and
Gerard van den Heuvel, 220–364. Exh. cat. Otterlo: Rijksmuseum Kröller-Müller,
1990.
———. “Kominimung Sacred Woodcarvings (Papua New Guinea): Symbolic Meaning and
Social Context.” In The Language of Things: Studies in Ethnocommunication in
Honour of Professor Adrian A. Gerbrands, edited by Pieter ter Keurs and Dirk
Smidt, 77–112. Mededelingen van het Rijksmuseum voor Volkenkunde Leiden.
Leiden: Rijksmuseum voor Volkenkunde, 1990.
———. “Symbolic Meaning in Kominimung Masks.” In Sepik Heritage: Tradition and
Change in Papua New Guinea, edited by Nancy Lutkehaus et al., 511–22. Durham,
N.C.: Carolina Academic Press, 1990.
———. “Rijksmuseum voor Volkenkunde, Leiden.” In Art of Northwest New Guinea, edited
by Suzanne Greub, 191–207. New York: Rizzoli, 1992.
———, ed. Asmat Art: Woodcarvings of Southwest New Guinea. Contributions by Adrian
A. Gerbrands, Jac. Hoogerbrugge, Gunter Konrad, Ursula Konrad, Adriaan Lamme,
Dirk A. M. Smidt, René Wassing, Gerardus A. Zegwaard. Leiden: Rijksmuseum
voor Volkenkunde in association with C. Zwartenkot, Amsterdam, 1993.
———, ed. Kamoro Art: Tradition and Innovation in a New Guinea Culture. Essay by Jan
Pouwer; contributions by Karen Jacobs. Amsterdam: Kit Publisher; Leiden:
Rijksmuseum voor Volkenkunde, 2003. Published on the occasion of the exhibition
“Papua leeft! Ontmoet de Kamoro.”
———. “Korwar: Powerful Images of the Dead.” Arts and Cultures 4 (2003): 140–61.

Smidt, Dirk, and Noel Mc Guigan. “An Emic and Etic Role for Abelam Art (Papua New
Guinea): The Context of a Collecting Trip on Behalf of the Rijksmuseum voor
Volkenkunde, Leiden.” In Artistic Heritage in a Changing Pacific, edited by Philip J.
C. Dark and Roger G. Rose, 121–41. Honolulu: Pacific Arts Association, University
of Hawai’i Press, 1993.
Sneekes, Jan. Mijn eerste baby. Sittard: Aartsbroederschap van O. L. Vrouw van het H.
Hart, 1991.
Société Générale de Banque 1974. See Claerhout and Dorsinfang-Smets 1974.
Solheim, Wilhelm G., II. “Korwar of the Biak.” In The Eloquent Dead: Ancestral Sculpture of
Indonesia and Southeast Asia, edited by Jerome Feldman, 147–60. Exh. cat.,
Frederick S. Wight Art Gallery, U.C.L.A. Los Angeles: Museum of Cultural History;
Regents of the University of California, 1985.
Specht, Jim. Pieces of Paradise. Australian Natural History Supplement, no. 1. Sydney:
Australian Museum, 1988.
Specht, Jim, and John Fields. Frank Hurley in Papua: Photographs of the 1920–1923
Expeditions. Bathurst, NSW, Australia: Robert Brown & Associates, 1984.
Speiser, Felix. “Über Keulenformen in Melanesien.” Zeitschrift für Ethnologie 64 (1932):
74–105.
Stanek, Milan. “Social Structure of the Iatmul.” In Sepik Heritage: Tradition and Change in
Papua New Guinea, edited by Nancy Lutkehaus et al., 266–73. Durham, N.C.:
Carolina Academic Press, 1990.
Sterly, Joachim. “Über den Gerua-Kult im Zentralen Hochland von Neuguinea.” Baessler-
Archiv, n.s., 25 (1977): 1–82.
Sterr, Josef. Zwischen Geisterhaus und Kathedrale: Unter Steinzeit-Menschen der Südsee.
Mödling bei Wien: St. Gabriel-Verlag, 1950.
Stöhr, Waldemar. Melanesien: Schwarze Inseln der Südsee. Exh. cat. Cologne:
Rautenstrauch-Joest-Museum für Völkerkunde der Stadt Köln; J. P. Bachem,
1971–72.
———. Kunst und Kultur aus der Südsee: Sammlung Clausmeyer Melanesien.
Ethnologica, n.s., vol. 6. Cologne: Rautenstrauch-Joest-Museum für Völkerkunde
der Stadt Köln, 1987.
Strathern, Andrew. The Rope of Moka: Big-Men and Ceremonial Exchange in Mount
Hagen, New Guinea. Cambridge Studies in Social Anthropology, vol. 4. Cambridge:
Cambridge University Press, 1971.

———. In Encyclopaedia of Papua and New Guinea, edited by Peter Ryan, p. 788.
Carlton,Vic.: Melbourne University Press in association with the University of Papua
New Guinea, 1972.
Strathern, Andrew, and Pamela J. Stewart. “The Spirit Is Coming!”: A Photographic-Textual
Exposition of the Female Spirit Cult Performance in Mount Hagen, Papua New
Guinea. Ritual Studies Monograph Series, no. 1. Pittsburgh: Deixis Publishing
Foundation, 1999.
Strathern, Stewart, and Lenars 2004. See Lenars, Strathern, and Stewart 2004.
Strathern, Andrew J., and Marilyn Strathern. Self-Decoration in Mount Hagen. Art and
Society Series. Toronto: University of Toronto Press, 1971.
Strauss, Hermann. In collaboration with Herbert Tischner. Die Mi-Kultur der Hagenberg-
Stämme im östlichen Zentral-Neuguinea. Monographien zur Völkerkunde, vol. 3.
Hamburg: Kommissionsverlag Cram, De Gruyter, 1962.
———. The Mi-Culture of the Mount Hagen People, Papua New Guinea. Edited by G.
Stürzenhofecker and Andrew J. Strathern. Ethnology Monographs, no. 13.
Pittsburgh: Department of Anthropology, University of Pittsburgh, n.d. [1990?].
Translation of 1962.
Swadling, Pamela. “Sepik Prehistory.” In Sepik Heritage: Tradition and Change in Papua
New Guinea, edited by Nancy Lutkehaus et al., 71–86. Durham, N.C.: Carolina
Academic Press, 1990.
———. Plumes from Paradise: Trade Cycles in Outer Southeast Asia and Their Impact on
New Guinea and Nearby Islands until 1920. Contributions by Roy Wagner and Billai
Laba. Coorparoo, QLD, Australia: Papua New Guinea National Museum in
association with Robert Brown & Associates, 1996.
Swadling, Pamela, et al. The Sepik-Ramu. Boroko, P.N.G.: Papua New Guinea National
Museum; distributed by Gordon and Gotch, 1988.
von Sydow, Eckart. Die Kunst der Naturvölker und der Vorzeit. Propyläen-Kunstgeschichte,
1. Berlin: Propyläen-verlag, 1923.
Tavarelli, Andrew, ed. Protection, Power, and Display: Shields of Island Southeast Asia
and Melanesia. Exh. cat. Boston: Boston College Museum of Art, 1995.
Tcherkézoff, Serge, and Françoise Douaire-Marsaudon, eds. Le Pacifique-Sud aujourd’hui:
Identités et transformations culturelles. Paris: CNRS Éditions, 1997.
Thorpe, W. W. “Ethnological Notes, No. II.” Records of the Australian Museum 17 (1930):
348–55.

Thurnwald, Richard. Bánaro Society: Social Organization and Kinship System of a Tribe in
the Interior of New Guinea. Memoirs of the American Anthropological Association 3,
no. 4, pp. 251–391. Lancaster, Pa.: New Era Printing Co. for the American
Anthropological Association, 1916.
———. Die Gemeinde der Ba"naro; Ehe, Verwandtschaft und Gesellschaftsbau eines
Stammes im Innern von Neu-Guinea. Aus den Ergebnissen einer Forschungsreise
1913–15. Stuttgart: Verlag von Ferdinand Enke, 1921. Published also in Der
Zeitschrift für vergleichende Rechtswissenschaft 38, no. 3 (1920), and 39, nos. 1–2
(1921).
Tiesler, Frank. “Die Kurässe Neuguineas.” Abhandlungen und Berichte des Staatlichen
Museums für Völkerkunde Dresden 41 (1984): 46–85.
Tischner, Herbert. Eine Ethnographische Sammlung aus dem östlichen Zentral-Neuguinea
(Hagen-Gebirge, Wagi-Tal, Ramu). Mitteilungen aus dem Museum für Völkerkunde
Hamburg, vol. 21. Hamburg: Kommissionsverlag Friederichsen, de Gruyter & Co.,
1939.
———. Oceanic Art. New York: Pantheon Books, 1954.
———. Kulturen der Südsee: Einführung in die Völkerkunde Ozeaniens. Hamburg:
Hamburgisches Museum für Völkerkunde und Vorgeschichte, 1958.
———. Dokumente verschollener Südsee-Kulturen. Nürnberg: Naturhistorische
Gesellschaft Nürnberg e. V., Abteilung für Volkerkunde, 1981.
Tuzin, Donald F. The Cassowary’s Revenge: The Life and Death of Masculinity in a New
Guinea Society. Chicago: University of Chicago Press, 1997.
Uberoi, J. P. S. Politics of the Kula Ring: An Analysis of the Findings of Bronislaw
Malinowski. Manchester: Manchester University Press, 1962.
Ucko, Peter J. “Penis Sheaths: A Comparative Study. The Curl Lecture 1969.” Proceedings
of the Royal Anthropological Institute, London, 1969, 24A–D, 25, 27–67.
University of Hawai’i at Manoa. Selection 1: Art Collections in Hawaii. Exh. cat. Honolulu:
Dept. of Art, University of Hawai’i at Manoa, 1976.
Van Baal, Jan. See van Baal, Jan.
Van Baaren, Th. See van Baaren, Th.
Van Damme, Wilfried. See van Damme, Wilfred.
Vandercook, John W. Dark Islands. New York: Harper & Brothers, 1937.
Van Duuren, David A. P. See van Duuren, David A. P.
Van Emst, P. See van Emst, P.

Vargyas, Gábor. “Lime Spatulae from the Massim Area of South-East New Guinea in the
Ethnographical Museum, Budapest.” Acta Ethnographica Academiae Scientiarum
Hungaricae 29 (1980): 427–62.
———. “Art of Astrolabe Bay: History of Research, Results and Future Research Tasks.” In
Art and Performance in Oceania, edited by Barry Craig, Bernie Kernot, and
Christopher Anderson, 246–53. Honolulu: Pacific Arts Association, University of
Hawai’i Press, 1999.
Vatter, E. Religiöse Plastik der Naturvölker. Frankfurt am Main: Frankfurter Verlags-Anstalt,
A.G., 1926.
Von Luschan, Felix. See von Luschan, Felix.
Von Sydow, Eckart. See von Sydow, Eckart.
Voorhoeve, C. L., and S. A. Wurm. “Western Province, with Gulf and Chimbu (Simbu)
Provinces (Papua New Guinea).” In Language Atlas of the Pacific Area, part 1, New
Guinea Area, Oceania, Australia, edited by S. A. Wurm and Shir" Hattori, map. 12.
Canberra: Australian Academy of the Humanities in collaboration with the Japan
Academy, 1981.
Walker Art Center. An Exhibition of “Unpopular” Art: A WPA Project. Exh. cat. Minneapolis:
Walker Art Center, 1940.
Wardwell, Allen. Primitive Art from Chicago Collections. Exh. cat. Chicago: Art Institute of
Chicago, 1960.
———. Primitive Art in the Collections of the Art Institute of Chicago. Chicago: Art Institute
of Chicago, 1965.
———. The Raymond and Laura Wielgus Collection. Exh. cat. Chicago: Arts Club of
Chicago, 1966.
———. The Art of the Sepik River. Exh. cat. Chicago: Art Institute of Chicago, 1971.
———. Island Ancestors: Oceanic Art from the Masco Collection. Seattle: University of
Washington Press in association with the Detroit Institute of Arts, 1994.
Wassmann, Jürg. “The Nyaura Concepts of Space and Time.” In Sepik Heritage: Tradition
and Change in Papua New Guinea, edited by Nancy Lutkehaus et al., 23–35.
Durham, N.C.: Carolina Academic Press, 1990.
Webster, Elsie M. The Moon Man: A Biography of Nikolai Miklouho-Maclay. Berkeley:
University of California Press, 1984.

Webster, W. D. Catalogue of Ethnological Specimens; European and Eastern Arms &
Armour; Prehistoric and Other Curiosities. On Sale by W.D. Webster. Bicester,
Oxon: W. D. Webster, miscellaneous dates 1895–98.
Welsch, Robert L., ed. An American Anthropologist in Melanesia: A. B. Lewis and the
Joseph N. Field South Pacific Expedition, 1909–1913. 2 vols. Honolulu: University
of Hawai’i Press, 1998.
Wheatcroft, Wilson. New Guinea Art and Crafts: The Charles Rand Penney Collection.
N.p.: C. R. Penney, 1988.
Whiting, John W. M. Becoming a Kwoma: Teaching and Learning in a New Guinea Tribe.
New Haven: Yale University Press, 1941.
Williams, F. E. Papuans of the Trans-Fly. Oxford: Clarendon Press, 1936.
———. Drama of Orokolo: The Social and Ceremonial Life of the Elema. Oxford:
Clarendon Press, 1969.
———. “The Vailala Madness” and Other Essays. Edited by Erik Schwimmer. Honolulu:
University of Hawai’i Press, 1977.
Williamson, Robert Wood. The Ways of the South Sea Savage: A Record of Travel &
Observation amongst the Savages of the Solomon Islands & Primitive Coast &
Mountain Peoples of New Guinea. London: Seeley, Service & Co., 1914.
Wilson, Lindsay. Thathilgaw Emeret Lu: A Handbook of Traditional Torres Strait Islands
Material Culture. Brisbane: Department of Education, 1988.
———. Kerkar lu: Contemporary Artefacts of the Torres Strait Islanders. Brisbane:
Department of Education, 1993.
Wingert, Paul S. Art of the South Pacific Islands. London: Thames and Hudson, Ltd., 1953.
———. Primitive Art: Its Traditions and Styles. New York: Oxford University Press, 1962.
Wingert, Paul S., and Douglas R. Fraser. The Alan Wurtzburger Collection of Oceanic Art.
Exh. cat. Baltimore: Baltimore Museum of Art, 1956.
Wirz, Paul. Die Marind-anim von Holländisch-Süd-Neu-Guinea.Vol. 1, part 1, Die materielle
Kultur der Marind-anim, sowie die Herausbildung der totemistisch-sozialen
Gruppierungen. Hamburg: L. Friederichsen & Co., 1922.
———. “Anthropologische und ethnologische Ergebnisse der central Neu-Guinea
Expedition 1921–1922.” Nova Guinea 16, Ethnographie (1924–34), book 1: 1–148.
———. Die Marind-anim von Holländisch Süd-Neu-guinea.Vol. 1, part 2, Die religiösen
Vorstellungen und die Mythen der Marind-anim sowie die Herausbildung der
totemistisch-sozialen Gruppierungen. Hamburg: L. Friederichsen & Co., 1925.

———. Dämonen und Wilde in Neuguinea. Stuttgart: Strecker und Schröder, 1928.
———. Bei liebenswürdigen Wilden in Neuguinea. Stuttgart: Strecker und Schröder, 1929.
———. Wildnis und Freiheit: Aus dem Tagebuch eines Weltvaganten. Stuttgart: Strecker
und Schröder Verlag, 1933.
———. “Beiträge zur Ethnographie des Papua-Golfes, Britisch-Neuguinea.” Abhandlungen
und Berichte der Museen für Tierkunde und Völkerkunde zu Dresden 19, no. 2
(1934): 1–103, pls. xvii–xxviii.
———. “La signification du serpent et de l’oiseau sur le Territoire du Sépik (Nouvelle-
Guinée).” Translated from German by E. Della Santa. Bulletin des Musées Royaux
d’Art et d’Histoire (1955): 1–14.
———. Kunst und Kult des Sepik-Gebietes (Neu Guinea): Unter besonderer
Berücksichtigung einer daselbst in den Jahren 1950 und 1953 erworbenen
Sammlung. Amsterdam: Koninklijk Instituut voor de Tropen, 1959.
Zegwaard, Gerardus A. “Headhunting Practices of the Asmat of Netherlands New Guinea.”
American Anthropologist 61 (December 1959): 1020–41.
Zervos, Christian. 1929. See Cahiers d’art 1929.
Zimmerman, Andrew. “Selin, Pore, and Emil Stephan in the Bismarck Archipelago: A
‘Fresh and Joyful Tale’ of the Origin of Fieldwork.” Pacific Arts, nos. 21–22 (July
2000): 69–84.