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© Brian
Hooker
2007.
The text
that
follows is
copyright.
Apart from
any fair
dealing
for the
purposes
of private
study,
research,
criticism
or review,
no part
may be
reproduced
without
prior
permission.
Images
must not
be copied
from this
web site.
NB1. For an enlargement
click on any thumbnail within a dashed border.
NB2.
Words
marked
with an
asterisk,
are
explained
in the
glossary
below.
Māori
are
renowned
for the
richness
and
elaboration
of their
visual
arts,
particularly
in wood,
fibre and
greenstone.
The value
of
greenstone
lies in
its beauty
and
hardness.
This is a
result to
a large
degree of
its
mineral
composition;
its main
characteristic
is the
matting
and
interweaving
of minute
mineral
fibres.
Greenstone
is a
beautiful
stone -
ranked as
semi-precious.
The
qualities
of
nephrite
and bowenite
are
discussed
under the
sub-heading
below,
"The
material
of tiki &
other
greenstone
pendants."
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Untitled
painting
of
John
Reinhold
Forster
and
George
Forster,
by
John
Francis
Rigaud,
oil
on
canvas;
1780.
The
Forsters
accompanied
Cook
on
his
1772-1775.
Their
collection
is
now
in
Pitt
Rivers
Museum,
Oxford
University.
|
One of the
best-known
types of Māori
object is
the
pendant or
hei tiki.
These
stylized
human
figures
are carved
of New
Zealand
nephrite
and were
hung from
the neck
on fibre
strings.
The eyes
of the
figure are
inlaid
with
haliotis
shell. It
is
uncertain
what hei
tiki
represent.
They have
been said
to
represent
the first
man, a
human
embryo, or
Hine-te-Iwaiwa
(the Māori
birthing
goddess)
in the
birthing
position.
Among Māori,
stories
are told
of
previously
barren
women who
conceived
after
being
given hei
tiki by
their
husbands
or other
relatives,
so it
seems that
there may
well have
been a
strong
association
between
hei tiki
and
fertility.
First
let us
look at
the story
of the
Hei-tiki.*
(Type "A"
in this
page under
the
heading
"Types" -
scroll
down to
Tiki-Types
.) Many
fallacies
surround
Hei-tiki.
One
account
relates
that they
are often
said to
represent
the human
embryo.
Another is
that they
are
generally
regarded
as
exclusively
an
ornament
for women.
The truth
is that
they first
represented
ancestors
and
embodied
the mana*
of
previous
owners.
Monkhouse's
observations
seem to
confirm
this
general
statement
although
his
explanation
refers to
ear
pendants.
(See
below
under
"Reports
by early
European
explorers."
Both Māori
men and
women wore
tiki.
Sometimes
adzes were
converted
into tiki
especially
after
first
contact
was made
with
Europeans
and when
metal
tools made
stone
implements
obsolete.
During
this
period
from about
1780 until
the 1860s
trade in
tiki
became
intense.
However,
it is
possible
to detect
tiki
converted
from
adzes.
Apparently
there was
no rule as
to which
direction
the head
rested in
a tiki -
left or
right. The
head is
always
sharply
bent but
occasionally
it could
incline to
the left
instead of
the more
usual
right. The
sex could
vary,
although
male was
more
common.
The
fishtail
feet could
take
slightly
different
inward
curls and
so also
could the
placement
of the
three-fingered
hands. The
aperture
for
hanging
was often
in
different
places so
that the
figure was
recumbent.
Variation
in size
was
enormous.
All tiki
are
intriguingly
different
which
might not
appear to
be the
case at a
passing
glance.
Tiki
received
personal
names and
were
regarded
as family
heirlooms.
The shape
is usually
related to
designs
used in
woodcarving
but they
were
adapted to
the
inflexible
nature of
greenstone.
The
material
of tiki
and other
greenstone
pendants
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Tiki
-
Forster
Collection
-
Pitt
Rivers
Museum,
Oxford
University. |
The name
greenstone
is
commonly
used to
describe
the
predominantly
greenish-coloured
rock from
which
Maori made
tiki and
other
pendants.
Colour in
tiki and
other
pendants
varies
from a
dark
greenish-black
through a
range of
leaf-green
hues to a
milky-white
celadon
tint.
New
Zealand
greenstone
is either
the
mineral
nephrite
or
bowenite*
(in Māori
- nephrite
is pounamu*
and
bowenite
is
tangiwai*).
The Maori
name for
the South
Island is
Te Wai
Pounamu).
James Cook
was given
the name
Tovy-poenammu
for the
South
Island
when he
carried
out the
first
European
circumnavigation
of New
Zealand in
1769-1770.
(See
below
under the
sub-heading,
"Reports
by early
European
explorers").
Nephrite
is found
in the
Taramakau-Arahura
region of
the South
Island;
the
Taramakau
River
flows
northwest
from the
Southern
Alps to
reach the
sea
between
Greymouth
and
Hokitika
and the
Aruhura
River
flows
northwest
and
reaches
the sea
northeast
of
Hokitika.
Some
nephrite
is also
found in
the
Wakatipu
area
Bowenite
is found
as beach
boulders
and
pebbles at
Anita Bay
in Milford
Sound.
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Forster
Collection
-
Pitt
Rivers
Museum,
Oxford
University. |
Since
the term
jade is
restricted
to
nephrite
and
another
distinct
mineral,
jadeite,
which is
not
present in
New
Zealand,
New
Zealand
greenstone
is either
nephrite
or
bowenite.
Thus, most
New
Zealand
greenstone,
the
nephrite
variety,
is jade.
eladon
tint
Maori
divided
greenstone
into the
following
main
varieties:
Kahurangi*
- green,
translucent,
highly
prized.
Kawakawa*
- green,
semi-translucent.
Inanga*
- whitish,
opaque.
(Hence
whitebait)
Tangawai*
-
translucent
bowenite
Since
April 1947
a
government
embargo
has
existed to
prevent
the export
of
unprocessed
greenstone.
(Reed) The
purpose of
this is to
conserve
stocks and
also to
encourage
local
manufacture
of replica
Maori
ornaments
including
tiki.
Craftsmanship
In
ancient
times
greenstone
was worked
by
abrasion,
with
water,
sand, and
sandstone.
An average
size tiki,
say about
two and a
half
inches
(about 6
cm),
required
hundreds
of hours
of labour.
For
crafting
tiki and
other
greenstone
pendants
from
greenstone,
Māori used
a number
of
different
tools:
Saws were
a thin
stone
assisted
by wet
abrasive
sand.
Files were
made from
a variety
of
material
including
sharkskin
for rough
polishing.
For
cutting,
the Māori
used dog's
teeth. For
final
polishing
other
skins were
used.
According
the Dodd
(1969,
361),
there were
ten
essential
kinds of
hand tools
and the
early
Polynesians
including
the Māori
used them
all except
one. (i.e.
the plane)
However,
Dodd
claims
they used
a tool,
replaced
today by
the
electric
needle
named the
tatu tool.
Māori
rapidly
lost the
art of
working
with
greenstone
and by the
end of the
19th
century it
was almost
a lost
art.
However, a
few
experts
remained
and passed
the art
down to
the
craftsmen
of today.
Reports by
early
European
explorers
The
first
knowledge
of New
Zealand
greenstone,
hei-tiki
and other
greenstone
pendants
was gained
during
James
Cook's
first
Pacific
voyage
when he
circumnavigated
New
Zealand in
1769-70 in
HMB
Endeavour.
An entry
relating
to
greenstone,
in Cook's
journal
for 31
January
1770,
reads:
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This
man
spoke
of
three
lands,
the
two
above
mentioned
which
he
call'd
Tovy-poenammu
[South
Island
of
New
Zealand]
which
signifies
green
Talk
or
stone
such
as
the
[y]
Make
their
tools
on,
or
ornaments
etca
…
(Beaglehole
1968,
243)
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On the
Endeavour
with Cook
was Joseph
Banks who
wrote in
his
journal in
March 1770
(in
describing
the
garments
and
ornaments
of the
Maori
people):
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…
and
the
men
often
had
the
figure
of a
distorted
man
made
of
the
before
mentioned
green
talk,
…(Beaglehole,
1962,
II,
17) |
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"The head of a chief of New Zealand, the
face curiously tataoud
[i.e. tattooed], or marked, according to
their manner",
copper engraving by Thomas Chambers
after a sketch
by Sydney Parkinson. Published in, Stanfield
Parkinson
(ed.) Journal of a voyage to the
South Seas,
in His Majesty's
ship, the Endeavour,
London, 177777, Pl. no. XVI.
This is a hand-coloured engraving. ref. Joppien & Smith, 1. 104A.
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An artist
on
the
Endeavour
(probably
Sydney
Parkinson)
prepared a
sketch,
which was
later
reproduced
as a
copper
engraving.
Also
accompanying
Cook
during his
first
Pacific
voyage on
the
Endeavour
was
William
Brougham
Monkhouse.
Monkhouse's
journal
also
mentions
tiki:
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…
this
man
had
a
human
tooth
hanging
in
his
ear
-
and
a
piece
of
green
talk
about
two
&
half
inches
long,
and
an
inch
&
half
broad,
flat,
and
carved
into
the
figure
of a
most
uncouth
animal
of
fancy
-
the
head
occupied
one
half
the
figure,
somewhat
resembled
the
face
of a
monkey
-
and
reclined
to
the
right
side
so
the
other
part
of
the
figure
would
require
a
very
happy
imagination
to
liken
it
to
any
thing
that
would
give
an
idea
of
it -
however
this
was
called
a
monkey
face,
which
may
serve
to
distinguish
it
in
future
-
this
monkey
face
then
\
was
hung
round
our
friend's
neck
- I
forgot
to
mention
that
its
eyes
were
blazoned
with
pieces
of
Ear-shell
…
the
other
Man
…
He
had
a
narrow
slip
of
Jasper
talk
formed
somewhat
like
a
fresh
bean
hanging
to
his
ear
[Beaglehole,
581
re
kapeu
or
[Beaglehole,
581 re
kapeu or
TautaTautau
curved.]
- he
did
not
choose
to
part
with
it,
answering
in
excuse
that
he
wore
it
in
memory
of a
deceased
friend
-
his
words
were,
that
it
was
the
tooth
of a
deceas'd
person.
We
see
they
wear
human
teeth
most
commonly
in
the
ears
-
his
calling
this
piece
of
talk
by
that
name,
only
shewed
that
it
was
wore
on
the
same
account,
therefore
equally
to
be
preserved.
(Beaglehole
1968,
581) |
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The French
explorer
J. F. M.
de
Surville,
in command
of the
St Jean
Baptiste,
visited
the
northern
part of
New
Zealand,
in
December
1769. An
entry in
de
Surville's
journal
for 18
December
1769
reads:
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… by
way
of
ornament
they
hang
around
their
necks
a
greenish
stone
like
glass
which
represents
a
devil
figure
- I
cannot
describe
it
clearly."
(Olivier
&
Hingley,
225.) |
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In 1772
another
Frenchman,
Marc-Joseph
Marion
visited
New
Zealand
and. In
command of
the two
ships in
the
expedition,
the
Mascarin
and
Marquis
de
Castries,
Marion
called
first at
Spirits
Bay. He
later
anchored
in the Bay
of
Islands.
Jean Roux
an ensign
on board
the
Mascarin
kept a
journal of
the visit
and an
entry in
June 1772
records:
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… in
the
middle
of
their
houses
they
have
planted
a
big
post,
which
is
carved
with
a
hideous
figure,
…
Other
than
that
each
chief
and
various
other
natives
wear
round
their
necks
a
green
stone
as
broad
as a
hand
on
which
the
same
figure
is
engraved."
(Ollivier,
165)
(Below
-"Tacouri"
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"Tacouri" The illustration is
Plate 2 in
Julien-Marieb Crozet Nouveau
voyage
à
la mer du sud,
commencé sous les
ordres
de M. Marion [ ... ]; & achevé,
après la mo
r de cetofficier,
sous ceux de M. Duc1esmeur.
Cette
relation a été rédigée
d'après
les
plans et journaux de M. Crozet.
On
a joint à ce voyageun
extrait de celui de
M.
de Survilledans les
mêmes
passages. Paris, Barrois l'aÎllé, 1783
Marion Dufresne
set up headquarters
for his
expedition in the Bay of
Islands.
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Permission
of the Alexander Turnbull Library must be
obtained
before any re-use of this image. |
René
Primavère
Lesson
accompanied
Louis
Isidore
Duperrey's
La
Coquille
expedition
to New
Zealand in
1824. An
entry in
his
journal
written in
April 1824
records: I
bought
some of
the jade
fetishes
...
(Sharp,
59)
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Chazal,
Antoine,
1793-1854
:Nouvelle-Zelande.
No
203.
Toki.
Patou-patou.
Dent
de
poisson
marin
que
les
zelandais
portent
suspendue
a
leur
oreille
...
Flute.
Hamecon
des
naturels.
[1825
or
1826].Watercolour. Maori greenstone
axe with carved wooden handle, a greenstone patu, a shark's
tooth
earring,
a carved wooden flute and a large bone and flax-bound fish-hook.
The text in French beside the earring continues 'et a laquelle
ils
attachent
les idees les plus superstitieuses, les femmes l'en servent
pour
se
dechirer
l
e visage dans leurs ceremonies de deuil" (Translation: and to which
they attachthe most superstitious ideas, the women use them to
cut their faces in their mourning ceremonies). The text alongside
the
flute marks "A. Ouverture. B. tres petit trou" (Translation:
A. apertureB. Very small hole [at the end of the flute]).Chazal,
Antoine,
1793-1854 :Nouvelle-Zelande. No 203. Toki. Patou-patou. Dent de
poisson marin que les zelandais portent suspendue a leur oreille ..
. Flute. Hamecon des naturels. [1825 or 1826] Reference number:
C-082-085 Part of Chazal, Antoine 1793-1854 :[Watercolours
and proof engravings and aquatints after drawings by
Jules LeJeune for Duperrey's Voyage autour du monde .
.. Paris, 1822 - 1825] (C-082-001/130)
(Text
above
from
National
Library
of
New
Zealand.) |
|
Permission
of the Alexander Turnbull Library must be
obtained
before any re-use of this image.
[Reference number: C-082-085] |
In
another
reference
describing
the
geographical
makeup of
New
Zealand,
Lesson
notes:
Cook, on
information
given him
by the New
Zealanders,
adopted
the name …
Tawai-poenamou
for the
southern
[island].
…
Tawai-pouna-mou
means the
whale (tawai)
which
makes the
green
jade.
Sharp
refers
(page 91):
… the name
is usually
taken to
mean TeWaipounamu
"The Water
of
greenstone",
referring
to the
fact that
the best
greenstone
(pounamou)
came from
the South
Island.
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"Nouvelle Zélande. Pilogue de l anse de
l'Astrolabe. (Baie Tasman.), Pirogue du canal de l'Astrolabe".
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Plate number 35 in, Voyage de la corvette l'Astrolabe exécuté
par ordre du roi, pendant les années 1826-1827-1828-1829, sous le
commandement... de M. J. Dumont d'Urville ...[Dumont
d'Urville, Jules-Sebastien-Cesar], Paris, 1833. (1830-35) Lithograph.
Courtesy
National
Library
of
Australia. |
The
French
explorer
Dumont
d'Urville
visited
New
Zealand in
the
corvette
l'Astrolabe,
in 1827.Two
Maori
accompanied
the
explorer
during
part of
his
northward
voyage off
the east
coast. An
entry in
d'Urville's
journal
for 30
January
1827
records:
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[the
two
Māori]
told
me
that
pounamou,
th
green
jade
of
which
they
make
their
which
they
make
their
most
precious
ornaments
and
instruments,
is
found
in
the neighbourhood.
They
explained
several
times
that
in
the
southern
island
pounamou
was
found,
but
not
pigs,
whereas
on
the
contrary,
in
the
northern
island
pigs
were
found,
but
no
pounamou.
(Wright,
107) |
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The
main types
of
greenstone
pendants
Greenstone
ornaments:
(See
the
glossary
below) A,
hei tiki;
B, hei
matau; C,
pekapeka;
D,
marakihau;
E, tautau;
F, kuru;
G, flat
pendant;
H,
'kinked'
pendant;
I, 'bird'
pendant;
J, adze
pendant.-
(Figure 62
(Page 85)
from Janet
Davidson
The
Prehistory
of New
Zealand
(Auckland:
Longman
Paul Ltd.,
1984. -
by
permission.)
For a
further
range of
shapes and
types, the
interested
reader
should
consult
Chapter 4
"Māori
Amulets"
in, Henry
Devenish
Skinner
Comparatively
Speaking
(Dunedin:
University
of Otago
Press,
1974); the
chapter
includes
illustrations
of
pendants
and deals
extensively
with
the
subject.
Glossary
(References are in the bibliography - see below.)
Amulet. A charm carried about the person; a medicine
supposed to have occult operation. (Chambers, 41.)
Bowenite.
Named after G. T. Bowen 19th century American
mineralogist who analysed it. A mineral consisting of a
hard, compact light-green serpentine resembling
nephrite. (Websters, 262.)
Gem.
Commonly a mineral or organic substance that is cut and
polished and used as an ornament. Jade comes within the
broad scope of the tern gem. The qualities sought in
gems are beauty, rarity, and durability. The unit of
weight used for gems is the metric carat (200 mg).
Gems
are usually cut to bring out their colour and brilliance
and to remove flaws. Jade, which is the main subject of
this web site is not a precious stone but a semiprecious
stone.
Greenstone. (1) A vague name for any compost basic
or intermediate igneous rock. (Chambers, 550) (2) A wide
term, usually comprising the greenish-coloured eruptive
rocks containing feldspar and hornblende (or augite),
such as diorite, melaphyre, etc. [also nephrite] Oxford,
888.
"Green
talk". Description or term for greenstone used on
the Endeavour in 1769-1770. (See Beaglehole,
1962, & Beaglehole, 1968.)
Hei.
Pendant. (Dodd, 343.)
Hei-matau. Neck pendant in the form of a fishhook
(Davidson, 1984, 243), or perhaps derived from a
fishhook. (Barrow, 118) - See "B" in Figure 62,
in the page under the heading Types.
Hei-tiki. The full and correct name for tiki. (1)
According to Skinner the name was in two parts; hei
meaning pendant (as in hei-matau: fishhook) and tiki.
Skinner explains that the word tiki in this sense has
its common meaning of human form. (Skinner, 46-47.) (2)
Neck pendant in the form of a stylised human figure.
(Davidson, 1984, 243.) (3) Anthropomorphic pendant
(Barrow, 1972, 118) - See "A" in Figure 62, in
this page under the heading Types.
Inanga. Whitish, opaque. (Hence whitebait)
Jade.
The common name for either of two minerals, both white
to green in colour, used as gems. Jadeite NaA(SiO3)2,
rarer and costlier, is found in Myanmar, China, Japan,
and Guatemaia. Also nephrite. (See below.) Jade has been
particularly prized by the Chinese and Japanese as the
most precious of gems. (Columbia on-line Encyclopaedia.)
and aluminium, closely resembling nephrite in
appearance. (Oxford, 1125.)
Kahurangi - green, translucent, highly prized.
(Williams, 84-6.)
Kawakawa - green, semi-translucent. A dark variety
of greenstone. (Williams, 110-4.)
Kia-ora. A Maori greeting meaning in general "good
health," "good day" etc. Widely used in New Zealand
today.
Kuru.
Kurukuru. A straight type of greenstone pendant.
(Freeman & Geddes, 52.) (The most common type found in
archaeological sites.) - See "F" in Figure 62, in this
page under the heading Types - click on Types in the top
panel.
Mana.
1) An unknown or mystical power associated with
persons and things. Widely used in New Zealand today in
respect of influential or highly regarded persons. 2)
Authority, prestige, power. (Davidson, 243.)
Marakihau. A type of greenstone ornament perhaps
resembling a tiki. (See Davidson, 85; Freeman & Geddes,
52.) - Also see "D" in Figure 62, Page "4-Types"
(This page))
Māori. The original inhabitants of New Zealand.
Maoritanga. The traditions and ideals and culture of
the Maori people. (Webster, 1379)
Nephrite. The mineral jade, in the narrowest sense -
an old charm against kidney disease. - (Chambers, 849.)
Nephrite Ca2(Mg,Fe)5Si8O22(OH,F)2 occurs in New Zealand,
Central Asia, Siberia, and parts of North America.
Pekapeka. Type of ornament. (Davidson, 243- Skinner,
49; Freeman & Geddes, 53.) - See "C" in Figure
62, in this page under the heading Types.
Pendant. Anything hanging, especially for ornament:
a hanging ornament worn on the neck. For greenstone
pendant shapes - See Figure 62, in the page
under the heading Types.
Pounamu, Paonomu, Pounamou. Maori name for
greenstone.
Rei.
Pendant ornament (Barrow, 118.)
Rei-puta. Type of pendant (Skinner, 49; Freeman &
Geddes, 52.)
Serpentine. A soft, usually green mineral, a
hydrated magnesium silicate, occurring in winding veins
and in masses, formed by alteration of olivine, etc.: a
rock (in full, serpentine-rock), commonly an altered
peridotite. Composed mainly of the mineral serpentine.
(Chambers, 1184.)
Tangawai - translucent bowenite.
Tautau. A type of greenstone pendant. - See "E" in
Figure 62, in the page under the heading Types.
Tiki.
(See Hei-tiki.)
Bibliography
(Barrow) Barrow, T.
Art & Life in Polynesia
(Wellington: A. H. & A. W Reed, 1972)
(Beaglehole, 1962) Beaglehole, J. C. (ed)
The Endeavour Journal of Joseph Banks (Sydney: The Trustees of the Public Library
of New South Wales in Association with Angus &
Robertson, 2 vols, 1962).
............. (1968) Beaglehole, J. C.
(ed.),
The Journals of Captain James Cook on His
Voyages of Discovery - The Voyage of the Endeavour
1768-1771
(Cambridge: The Hakluyt Society, 1968.)
(Best) Best, Elsdon, The Maori As He
Was - Reprint Edition (Wellington: A.R.
Shearer, Government Printer, 1974.
(Chambers) Chambers 20th Century Dictionary
- New Edition (ed. by E M Kirkpatrick), Edinburgh,
1983.
(Davidson) Davidson, Janet, The
Prehistory of
New
Zealand
(Auckland: Longman Paul, 1984.)
(Dodd) Dodd, Edward, Polynesian Art
(London: Robert Hale & Co., 1969.)
(Freeman & Geddes) Freeman, J. D. & W. R.
Geddes (eds) Anthropology in the South Seas (New Plymouth: Thomas Avery & Sons,
1959.)
(Ollivier) Ollivier, Isabel (transcript.
& translat.) Early Eyewitness Accounts
of Maori Life 2 Extracts from Journals
relating to the visit to
New Zealand
in May-July 1772 of the French ships Mascarin and
Marquis de Castries under the Command of M.-J.
Marion du Fresne, with an Appendix of charts &
drawings compiled by Jeremy Spencer
(Wellington: Alexander Turnbull Library Endowment Trust with
Indosuez New Zealand Ltd., 1985.)
(Ollivier & Hingley) Ollivier, Isabel &
Cheryl Hingley (transcript. & translat.)
Early Eyewitness Accounts of Maori Life 1
Extracts from Journals Relating to the Visit to
New Zealand of the French ship St Jean Baptiste in
December 1769 Under the Command of J.F.M. de
Surville, with an Appendix of Charts & Drawings
Compiled by Jeremy Spencer
(Wellington:
Alexander Turnbull Library Endowment Trust in
association with the National Library of Ne
(Oxford)
The Shorter Oxford English Dictionary
- Revised & Ed. By C.T. Onions, third ed.,
(Oxford: Clarendon Press, 2 vols, 1972-1983.)
(Reed) Reed, J. J. "Greenstone" (in) A.
H. McLintock (ed.) An Encyclopaedia of New Zealand
vol. 1, 875 (Wellington: R. E. Owen, Govt.
Printer, 1966.)
(Sharp) Sharp, Andrew (ed.)
Duperrey's visit to
New Zealand in 1824
(Wellington: Alexander Turnbull Library, 1971.)
(Skinner) Skinner, Henry Devenish,
Comparatively Speaking - Studies in Pacific
Material Culture 1921-1972 (Dunedin:
University of Otago Press, 1974.)
(Websters) Webster's Third New International
Dictionary of the English Language Unabridged
(Chicago: Encyclopaedia Britannica, 1971.)
(Williams) Williams, Herbert W., A
Dictionary of the Maori Language (Wellington:
A. R. Shearer, Govt. Printer, 1975.)
(Wright) Wright, Olive (ed.) New
Zealand 1826-1827 from the French of Dumont
D'Urville (Printed by the Wingfield Press for
Olive Wright, 1950.)
Further
reading
Johann Reinhold Forster, Observations
made during a voyage round the World
(Honolulu: University of Hawaii Press,
1996; first published 1778) George
Forster, Voyage round the World in His
Britannic Majesty's Sloop
Resolution (Honolulu: University of
Hawaii Press, 1998; first published 1777).
Peter Gathercole, 'From the Islands of the
South Seas 1773-4: An Exhibition of a
Collection Made on Capn Cook's Second
Voyage of Discovery by J. R. Forster - A
Short Guide' (Oxford: Pitt Rivers Museum,
no date [1970]). Peter Gathercole,
Adrienne L. Kaeppler and Douglas Newton,
The Art of the Pacific Islands
(Washington, DC: National Gallery of Art,
1979). Adrienne L. Kaeppler, 'Artificial
Curiosities': An Exposition of Native
Manufactures Collected on the Three
Pacific Voyages of Captain James Cook, R.N.
(Honolulu: Bishop Museum Press, 1978). D.
C. Starzecka (ed.), Maori Art and
Culture (London: British Museum Press,
1996). Nicholas Thomas, Oceanic Art
(London: Thames and Hudson, 1995).Text by
Jeremy Coote. □
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