Category Archives: Borrowing and Lending

News from Loans: What to see this month

7 September 2012 – 1.59pm

 Have you ever been curious about where Te Papa lends its collection items?  Well…. 

 If you are in Auckland then trot along to Objectspace to see 43 pieces of jewellery by Kobi Bosshard in the latest in the Objectspace Masters of Craft series exhibition.  Kobi Bosshard: Objectspace Masters of Craft opens to the public on Saturday 8 September 2012 and you have until 17 November 2012 to enjoy it.  If you are in Ponsonby at 11am on Saturday 27 September 2012 you have the opportunity to hear Justine Olsen, Curator Contemporary Decorative Arts at Te Papa talking about why Te Papa acquired a significant collection of Kobi Bosshard works, many of which feature in this exhibition.

Brooch, circa 1988, Dunedin. Bosshard, Kobi. Purchased 2002. Te Papa

 If you are in Wellington take the opportunity to see Te Papa collection items in one or both of the following exhibitions.

 The exhibition at the Adam Art Galley at Victoria University of Wellington titled Peripheral Relations: Marcel Duchamp and New Zealand Art 1960-2011 features 24 works from Te Papa’s collections.  Two of these works are by Marcel Duchamp himself.  They came to New Zealand as part of a bequest from Judge Julius Isaacs of New York, in 1983.  Judge Julius and his wife, Betty, knew Duchamp and one of my favourite works is the ‘readymade’ waistcoat that features personalised buttons that spell “B E T T Y”

Portrait of my wife (red scarf). Isaacs, Julius. Bequest of Judge Julius Isaacs, New York, 1983. Te Papa

 At Pataka: Porirua Museum of Arts & Cultures you can see the exquisite bird-shaped, scissor-like, jade implements from Te Papa’s collection in the exhibition Joe Sheehan: Stone Works 2002-2012. This exhibition opened on 25 August 2012 and you have until 25 November 2012 to visit.  It is definitely worth it!

“Final Cut” Assemblage, 2006, Wellington. Sheehan, Joe. Te Papa

 If you are in Dunedin you can see two of Te Papa’s paintings by A H O’Keeffe in the Dunedin Public Art Gallery exhibition A.H. O’Keeffe: Light in the Shadows.  The exhibition opens later in the month on 29 September 2012 and closes on to 9 December 2012.  Alfred O’Keeffe (1858-1941) is known for his spirited brushwork, explorations of light, and meditations on the passing of time. His works encompass portraiture, genre, still life and landscape.

The broken vase, 1929, Dunedin. O’Keeffe, A. H. Purchased 1972 with Ellen Eames Collection funds. Te Papa

 

Charlie, 1937, Dunedin. O’Keeffe, A. H. Gift of the New Zealand Academy of Fine Arts, 1938. Te Papa

 

By Jo Torr | Tagged , , , , , , , , , | Comments (0)

News from Loans: A Collection Returns Home

30 August 2012 – 11.20am

In any museum collection you will find items or entire collections that were lent at some point in the distant past, sometimes more than a hundred years ago.  It is always rewarding when a relationship is re-established with the owner and the items or collection can be returned to its rightful place.  This happened to us recently at Te Papa when the Masterton Museum collection was delivered to Aratoi: Wairarapa Museum of Art and History.  The story goes something like this… 

 The Masterton Museum was established in the early 1890s, initially just a display case in the Masterton Institute building but later housed in a building rented by the Masterton Central School.  By 1953 that building required extensive repairs and a deal was made with the Dominion Museum (now known as Te Papa) to “take over all the exhibits considered reasonably worth while, would restore them where practicable, label them and give them a home in Wellington.  Also that, should they be required at some future date if and when a new building were available, they would be returned to Masterton.” (Letter dated 8 September 1954)

 Nearly 60 years later a small contingent of Te Papa staff made their way over the Rimutaka mountains in a truck and car, carrying 148 items identified as the Masterton Museum collection.  We were met by Aratoi staff, Rangitane and Kahungunu who warmly welcomed us, and the collection, back to the Wairarapa.

The collection is wide in its composition and reflects the kind of collecting typical of the late nineteenth century.  The collection consists of taonga Māori; items collected in Australia, the Pacific, Africa, Egypt, and Asia; natural history specimens (including two Huia and a number of Moa bones), as well as items with a national historical significance and those closer to home with strong Masterton or Wairarapa connections.

One of the more fascinating items is a circular ship’s biscuit made by G Wilkie & Co. Sydney. Ship’s biscuit, also known as hardtack, was a staple of a sailor’s diet.  It was usually made of flour, water and salt and double or triple baked to ensure it lasted on long voyages.  Sailor’s often had to soak the biscuit in liquid before they could consume it. 

Ship's biscuit. Photographer: Robert Clendon.Te Papa

Ship’s biscuit. Photographer: Robert Clendon.Te Papa

This particular ship’s biscuit is inscribed “from H.M.S. Galatea at Nelson NZ. April 1869. Captain H.R.H. Prince Alfred” giving us a tantalising glimpse into history.  Prince Alfred, the 4th child and 2nd son of Queen Victoria, joined the Royal Navy in 1858.  In 1866 he was given command of the HMS Galatea and he set off on a world tour in 1967.  The Galatea arrived in Nelson on 18 April 1869.  A newspaper reported “Various excursion parties in local steamers sailed around the ship.  The Prince lands at 10 o’clock today [19 April 1869].  A Maori dance takes place in the afternoon and a ball at night.”  The biscuit is inscribed on the back with a donor’s name; possibly “Mrs Boyes”, it’s too hard to make out.  We wonder how she came by the biscuit – perhaps she attended the ball…

 See the newspaper item

 There are other fascinating items in the collection and Aratoi are planning to include them in an exhibition later on in the year.  Wait until you see the cow hairballs or a drinking bowl that once belonged to the Hawaiian King Kalakawa (1836-1891).  How about a hue (gourd) reputedly taken in a raid at Parihaka in 1881 or a Crypto Bantum safety bicycle used in Masterton in 1903 by Mr Howarth?

 It is really warming to know that we were able to honour our 1954 agreement and see the collection return home.

By Jo Torr | Tagged , , , , | Comments (5)

Borrowing and Lending – Latest News

26 June 2012 – 4.28pm

Ruatepupuke II at the Field Museum Chicago

photo © Field Museum Chicago

In November 1992 Arapata Hakiwai was in the Field Museum of Natural History in Chicagohelping to re-install the Nāgti Porou whare whakairo Ruatepupuke II. Ruatepupuke II is an early example of East Coast carving that is unusual for its fully carved front façade and its shallow relief.
Most (but not all) of Ruatepupuke II has been at the Field Museum since they purchased it from the foremost German dealer of natural history specimens and ethnographic objects, J.F.G Umlauff of Hamburg, in 1905. Arapata helped to locate the missing carvings at the Peabody Museum at Salem, Massachusetts, Auckland Museum and Te Papa.
Te Papa has lent five carvings to the FieldMuseumso that Ruatepupuke II is presented to the world in its fabulous entirety. This loan is coming up for renewal now and we are in the process of extending it for another 5 years. 

Some of Ruatepupuke’s history:
Ruatepupuke II was built in Tokomaru Bay in 1880 and opened there on 23 September 1881. Ruatepupuke II replaced Ruatepupuke who was dismantled and hidden in 1828 to protect it from warring tribes. The carvings of Ruatepupuke were soaked in whale oil and hidden in the bed of the Mangahauini River. The riverbed moved and the carvings were subsequently lost. Both Ruatepupuke were built to honour and remember Ruatepupuke who brought the art of woodcarving from the domain of Tangaroa (god of the sea) to this world.
By the late 1880s or early 1890s Ruatepupuke II was sadly in disrepair and was sold to a dealer of ‘Māori curios’, Mr Hindmarsh. In the intervening period an Englishman reputedly owned Ruatepupuke II and it was he who sold it to Umlauff around 1902.
The Chicagomuseum bought Ruatepupuke II for 20,000 German marks (around US$5,000) in 1905. Ruatepupuke II was erected in the Field Museum in 1925 with parts that were not from the original whare. At that time the Field Museum wrote to James McDonald, Acting Director of the Dominion Museum (Te Papa) who referred them to Apirana Ngata, then MP for Eastern Maori District. Ngata contacted the people of Tokomaru Bay who wove 24 whariki that were subsequently shipped to Chicago.
In 1961 the doorway and window were glassed in so that the whare could be used as a large exhibition case to display the whariki and cloaks in a didactic display.
In 1974 the Field Museum invited Sidney Moko Mead to discuss alternative interpretations and this was the beginning of the pathway to the current reinstallation.  In 1986 Field Museum staff met face-to-face with people of  Tokomaru Bay as a result of the exhibition Te Maori being displayed there.  John Terrell then led a delegation of 18 Field Museum staff to Tokomaru Bay to continue the dialogue and the result was that Ruatepupuke II could stay in Chicago and be restored as a living meeting house and marae. 
A project team was established to undertake the restoration work and this was led by John Terrell, Carolyn Blackmon, Arapata Hakiwai, Cliff  Whiting and  Te Waka Toi of Creative New Zealand. John Terrell and Arapata were acted as the co-curators who undertook the research work and wrote the booklet on the history of Ruatepupuke. Two interns were also employed to carry out the conservation work – Hinemoa Hilliard and Hone Ngata. Arapata carried out valuable research that led to the discovery of old photographic images, written accounts of the opening, whakapapa and manuscripts that related to Ruatepupuke II. Tokomaru Bay people were actively involved in the dismantling of the whare that began in April 1992. New tukutuku panels were made at Tokomaru Bay and shipped over.  Missing carvings were located and Ruatepupuke II was formally opened to the public on 9 March 1993.
In 2007 a large contingent of Tokomaru Bay people including the kapa haka group Te Hokowhitu-a-Tu travelled to Chicago to celebrate the 126th celebration of Ruatepupuke. Maori television also travelled with them to make a documentary on its history.

Fom the first visit through to today there has been a great relationship established between the Field Museum, the Chicago Indian Centre, and the Te Whanau-a-Ruataupare tribe of Tokomaru Bay. The First Nation peoples in Chicago actively use Ruatepupuke for many of their important occasions with the support and approval from the Maori community in Chicago.

If you get the chance to go to Chicago pay Ruatepupuke II a visit.

http://www.pacificanthropology.org/ 
http://www.MaraeEncounters.org/ 

REF: Arapata Hakiwai and John Terrell  Ruatepupuke: A Maori Meeting House (The Field Museum: Chicago, Ill 1994)

Dynasty: Works by Octavia Cook at the Dowse Art Museum 

This exhibition tells the story of Auckland jeweller Octavia Cook’s fictitious jewellery company Cook & Co, a play on Tiffany & Co. The exhibition also reveals Cook’s new direction following the company’s staged demise. Documenting the company’s rise to fame, its alter ego, cheap take off, dramatic collapse and subsequent rebirth, Dynasty reflects all the dramas that family companies entail.
This exhibition includes 7 pieces of jewellery and 2 photographs from our collection.

An Inheritance of Monumental Sentiment [brooch], 2009, Auckland. Cook, Octavia. Purchased 2010. Te Papa

If you are in Lower Hutt between 28 July 2012 and 21 October 2012 it’s definitely worth checking out the exhibition. 

http://www.newdowse.org.nz/en/Exhibitions/Future-Exhibitions/Octavia-Cook-Dynasty/

 Eight O. Cooks motif brooch, 2006, Auckland. Cook, Octavia. Purchased 2006. Te Papa

By Catherine Halbleib | Comments (1)

Borrowing and Lending – Latest News

30 May 2012 – 9.24am

Coming up on 7 July 2012 is the opening of the first major group exhibition of contemporary Pacific art developed by Auckland Art Gallery Toi o Tāmaki.

Home AKL is a dynamic exhibition presenting works by Pacific artists, most of whom live in Auckland.

The exhibition reveals the increasingly significant role Pacific art plays inNew Zealand’s identity and cultural landscape, and includes work by more than 20 artists whose heritage derives from the Cook Islands, Fiji, Kiribati, Niue, Samoa, Tonga and Tuvalu.

‘New Zealand’s contemporary Pacific art reflects many distinctive voices, stories and perspectives – it’s urban, biographical and affected by its grass-roots community,’ says the Gallery’s Senior Curator, New Zealand and Pacific Art, Ron Brownson.

‘Home AKL is a unique exhibition presenting work by both contemporary and heritage Pacific artists. Heritage artists use traditional techniques and media while
often incorporating modern materials in their work.’

Artwork by three generations of Pacific artists show how these practitioners use personal experience to examine concepts of ‘home’ and belonging.

A range of media, including painting, sculpture, photography, video and adornment has been selected. Alongside artwork from the Gallery’s collection and loans, Home AKL will feature 13 new commissions, five of which are heritage fine art.

Artworks include those by prominent Pacific artists – Lonnie Hutchinson, Ioane Ioane, Shigeyuki Kihara, Andy Leleisi’uao, Paul Tangata and Teuane Tibbo – and emerging talents such as Leilani Kake, Janet Lilo and Siliga David Setoga. The five heritage fine art collectives come fromFiji, Kiribati, Niue, Samoa, Tonga and Tuvalu.

HOME AKL features a magnificent painting from the Te Papa Collection – Puss Puss by Teuane Tibbo.

‘It is impossible to consider New Zealand art today without taking account of the influence of the Pacific,’ says Home AKL Associate Curator Ema Tavola of Fresh Gallery Otara. Also working with the Gallery on this exhibition are Associate Curators Nina Tonga and Kolokesa Māhina-Tuai.

Home AKL‘s opening day will be celebrated with free entry to the exhibition, music and performances. A family friendly Big Day Art will also be held with art workshops inspired by the exhibition. Over the course of Home AKL, the exhibition’s supporting visitor programme will include free artist talks, film screenings and a seminar.

By Sabine Schulte | Comments (0)

Tokelau Expo – a different loan request

19 April 2012 – 2.56pm

A few months ago we received a rather unusual loan request, on the surface the request looked quite straight forward however on closer inspection  it was going to be rather challenging.

First of all the Community Mafutaga Tupulaga Tokelau Porirua had asked if they could borrow some of the Tokelauan taoga in the Te Papa Pacific Collection for a big Easter Festival held every two years, this year  organised by the local Tokelau community in Wellington. As the community isn’t an institution (which we usually lend to) and because they only wanted the objects for a few hours on Easter Sunday we needed to treat this request a bit differently.

The situation was discussed with the Pacific Curator, Collection Manager and Loans Officer to see how best we could accommodate theIslandcommunity . It was decided quite quickly that we wanted to support the community and enhance the relationships with the group. Further discussions followed concerning the selection of items, organising staff to be available to assist and deliver collection items in a safe and  timely manner.

After a few meetings it was agreed that 17 distinctive Tokelauan taoga, 2 historical images and a secure display case would be provided by Te Papa. This way we could guarantee a safe environment for the objects as well as letting the community reconnect with their treasures on such a special occasion.

Vaka (model canoe), Tokelau. Maker unknown. Acquisition history unknown. Te Papa

Vaka (model canoe), Tokelau. Maker unknown. Acquisition history unknown. Te Papa

A lot of planning, organising and hands on work were necessary to make this loan happen but it was definitely worth it and a great way to support the community.

On Easter Sunday everything was transported to Te Rauparaha Arena  Porirua for the Tokelau Community Culture and Career day Expo. This was seen as a very successful initiative giving the Tokelau people and the wider community the opportunity to share experiences with these unique taoga as well as profile Te Papa in the community.

Lyn looking after the Te Papa stall © Te Papa

And the best proof is to read what a member of the Tokelau Community has to say about the event:

“ People were excited to see the items in the Te Papa display case, and some shared some interesting facts about the Tuluma (storage container) and the Papa (weaving block) in particular.

The men especially, could tell straight away the quality of the Tuluma, where it was made, when it was made, and what type of wood was used to make it.  They shared that the Tuluma was a very significant piece of equipment for the Tokelau people back in the day, because it held and protected their livelihood – Fishing.  Anything from nets to hooks were kept in the Tuluma “

“..It is made to be water and air tight, with the aim that nothing would be lost, or damaged in that container, when a boat went under water…”  The tuluma is rarely used today because of the more modern equipment, and people were excited to see such a large one held by Te Papa.

The Papa, was small compared to some of the ones that the women have seen in the islands.  The weaving block is used to hold and wrap the flax around it to tighten the woven piece and keep it neat and tidy.

The Expo on Sunday ran from 2.30 – 6.30pm and it was an opportunity for the Tokelau people to network, mix and mingle and share knowledge in the different fields that were represented there that day.

Bands played, free sweets were given out, and there were competitions and prizes given out throughout the day. Thanks to marketing team we were able to give away 5 double passes to the Unveiled exhibition throughout the Expo. It was great!

Te Papa stall © Te Papa

By Catherine Halbleib | Also posted in Uncategorized | Comments (2)

Borrowing and Lending – Latest News

30 March 2012 – 10.42am

In March, Te Manawa opened a new exhibition called Now & Then.  The exhibition explores the trends and themes of New Zealand fine art photography in the past four decades. Te Papa is lending a contemporary photograph by Natalie Robertson to this exhibition. W15/4.4 Te Kooti Road is from her 1998 series The prophets.
The exhibition runs until 10 June 2012.

Tuluma (container), Tokelau. Gift of A J Crowther, 1983. Te Papa

Usually we only lend to other museums or similar institutions but occasionally, and on a case by case basis, we make an exception. Recently we have been approached by the Tokelau Community Mafutaga Tupulaga Tokelau Porirua. The community will hold the 2012 Tokelauan International Festival in Porirua with the theme “Mai na matua, mo ki tatou, ki na fanau” (Learning from yesterday, living today, and hope for tomorrow). Part of the festival is a small art andhistory exhibition. For this exhibition, they asked us if they could borrow some of our collection items. We love the idea of supporting local communities and after some internal discussions about how we can make it happen we came up with a solution that suits both parties. We will not only lend the objects but also provide the display case to protect the objects and provide a safe environment during the festival.

The Festival is on over the Easter Weekend at the Te Rauparaha Arena in Porirua

Pupu (coconut shell container), circa 1964, Tokelau. Gift of Keith Murray, 1999. Te Papa

Pupu (coconut shell container), circa 1964, Tokelau. Gift of Keith Murray, 1999. Te Papa

By Catherine Halbleib | Also posted in Uncategorized | Comments (0)

Borrowing and Lending – Latest News

1 March 2012 – 10.46am

 

Coming up on 27 April 2012 is the opening of another wonderful exhibition at City Gallery Wellington. John Ioane: Poly wants a cracker features a powerful installation from the Te Papa collection.

The title of John Ioane’s installation Poly wants a cracker plays with the language and standards imposed on Pacific cultures by colonizing Western powers. For example Poly – Polynesian; cracker – a derogatory expression, originally meaning an ‘outlaw’ and later a ‘poor white’ in parts of the Southern U.S.A. A cracker is also a merchant food item introduced to the Pacific by Western traders.

John Ioane’s work deals with the sexual division between male and female imposed on Pacific Island cultures by colonialism. When faced with the traditional carvings of the penis in Pacific Island cultures, missionaries organised the removal of these progenitive penises. Here the visitor is literally faced with penises: but these are not Pacific, they are fleshy pink western sex toys, surrounded by leis, representing the female. John plays with the notions of power inherent in the relationships between male and female, Western and “other” cultures, which often assume the “female” role when faced with domination. John speaks of desiring respect for the Pacific notion of woman of today and of the future; for her role to be more than a “lay”.

Serenading the “lay-ed” penises is a mannequin specially constructed with a 1950’s head but modern body referencing the Pacific stereotypes that crystallised in the kitsch of the 1950’s that still haunt our notions of the “Pacific”. This hula boy is named “Sale” – this title can be read as a Polynesian name, or a commodity; for sale.
The sexuality of the word “Sale” is ambiguous. This “Sale” references the embarrassing nature of some Polynesians to be accepted as trophies of a predominantly Western intellectual and social merit system with its economic comforts.

Poly wants a cracker will be on display at City Gallery Wellington until 10 June 2012.

By Sabine Schulte | Comments (0)

Borrowing and Lending – Latest News

2 February 2012 – 12.23pm
Pou whakairo (freestanding carved figure), ca 1840, Maker unknown. Oldman Collection. Gift of the New Zealand Government, 1992. Te Papa

Pou whakairo (freestanding carved figure), ca 1840, Maker unknown. Oldman Collection. Gift of the New Zealand Government, 1992. Te Papa

A pou tokomanawa from our Oldman collection which was on display in Copenhagen is now going to be on display in Seattle from 14 February to 29 April 2012. Art Centre Basel created, in collaboration with Ny Carlsberg Glyptotek, Copenhagen and Seattle Art Museum, Seattle the exhibition Gauguin and Polynesia: An Elusive Paradise. The exhibition will examine the complex and dynamic relationship between the artworks of Paul Gauguin and the Polynesian art he encountered after his arrival in Tahiti in 1891.  

http://www.seattleartmuseum.org/exhibit/exhibitDetail.asp?WHEN=UPCOMING&eventID=20873

 

City Gallery Wellington will open The Obstinate Object: Contemporary New Zealand Sculpture exhibition on 24 February 2012. This exhibition is part of the  New Zealand International Arts Festival.
From our collection Ritual by Don Driver will be included in this exhibition

Ritual, 1982, New Plymouth. Driver, Don. Purchased 1989 with New Zealand Lottery Board funds. Te Papa

Ritual, 1982, New Plymouth. Driver, Don. Purchased 1989 with New Zealand Lottery Board funds. Te Papa

http://citygallery.org.nz/upcoming-exhibitions3/

By Catherine Halbleib | Comments (0)

Borrowing and Lending – Latest News

19 December 2011 – 11.13am

In an exhibition that might raise as many questions as it provides answers, Brian Easton, curator of The Makers of Modern New Zealand 1930 – 1990 exhibition at the New Zealand Portrait Gallery, welcomes the element of debate that could emerge from his choice of subjects.

Dr Easton, economist, writer (author of The Nationbuilders) and social commentator, confronted the monumental task of selecting portraits of sixty New Zealanders who reflect the development of the nation from 1930-1990.

“It was important that the selection extended far beyond the capital’s base of bureaucrats, civil servants, and politicians” he said. “Given pivotal factors like the Great Depression, the post-war boom, broader opportunities for Maori and for women, the flourishing of the Pacific nations, the arts, and professional sports, along with diminished emphasis on Britain and the growth of self determination and national identity, the picture of the nation has changed hugely in the last sixty years.”

Portraits of key figures in commerce, politics, education, law, and the arts are represented. But so too are portraits of lesser known but significant people who symbolise important elements of the period, such as the increasing importance of Maori and women in our public life. “Viewed collectively and usually chronologically, the portraits tell their own story about the development of the nation over the turbulent and transformational 60 years.

“There may be many surprises about who is represented, as well as those who are not- this is not a parade of ‘celebrities’. Rather it is of New Zealanders who have made a major and long- lasting contribution to New Zealand’s development and whose contributions and achievements illustrate exceptional forces for change over the years represented in the exhibition” Easton said.

A work print of Dame Whina Cooper taken by Ans Westra in the 1980s is part of this exciting exhibition which will be on display until 12 February 2012.

[Dame Whina Cooper], 1980s, New Zealand. Westra, Ans. Purchased 1993 with New Zealand Lottery Grants Board funds. Te Papa

Dame Whina Cooper, 1980s, New Zealand. Westra, Ans. Purchased 1993 with New Zealand Lottery Grants Board funds. Te Papa

By Sabine Schulte | Comments (0)

Borrowing and Lending – Latest News

1 December 2011 – 10.41am
Silhouette portrait. 1780 - 1800, England. Maker unknown. Gift of Mrs R. K. Dell on behalf of the Estate of Miss Winifred Mary Mather, 1975

Silhouette portrait. 1780 - 1800, England. Maker unknown. Gift of Mrs R. K. Dell on behalf of the Estate of Miss Winifred Mary Mather, 1975

Adam Art Gallery has opened a new exhibition this November: Shadowgraphs: Photographic Portraits by Len Lye. The exhibition runs from 19 November to 18 December 2011 and comprehensive presents a selection of the cameraless photographic portraits made by Len Lye in 1947. Lye’s photographs will be contextualised with other material, including silhouettes, phrenological busts, relevant books and magazines, and botanical contact prints. One silhouette from our collection is included in the exhibition. The silhouette is a portrait of an unknown lady.  Her hairstyle and costume indicate a production date of 1780 – 1800.

Last week Puke Ariki opened a new iwi exhibition, Mutunga: Our legacy l Our challenge l Our future. The exhibition showcases the Ngati Mutunga Iwi history of settlement, adversity, and triumphs.  The exhibition explores how these have created a unique iwi identity through adaptation, innovation, tribal leadership, and whakapapa. It features 6 taonga of Te Papa’s collection, for example this beautiful Turuturu whatu.

Turuturu whatu (weaving peg), 1800, New Zealand. Maker unknown. Oldman Collection. Gift of the New Zealand Government, 1992. Te Papa

 
By Catherine Halbleib | Comments (0)
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