{ "instructions": [ { "date": [ { "earliest": 2011, "value": "2011-09-29", "latest": 2011, "primary": true } ], "note": "Complete", "author": "Shepherd, Rupert", "type": "CO Core Record QA" }, { "date": [ { "earliest": 2011, "value": "2011-09-29", "latest": 2011, "primary": true } ], "note": "Complete", "author": "Shepherd, Rupert", "type": "CO Extended Record 1 QA" }, { "date": [ { "earliest": 2011, "value": "2011-09-29", "latest": 2011, "primary": true } ], "note": "Extended Record 1", "author": "Shepherd, Rupert", "type": "CO" }, { "date": [ { "earliest": 2013, "value": "2013-09-30", "latest": 2013, "primary": true } ], "note": "Complete", "author": "Shepherd, Rupert", "type": "CO Core Record QA" }, { "date": [ { "earliest": 2013, "value": "2013-09-30", "latest": 2013, "primary": true } ], "note": "Core Record", "author": "Shepherd, Rupert", "type": "CO" } ], "note": [ { "type": "catalogue note", "value": "1. The handwritten label attached to the object has been identified by Julia Gresson as belonging to James Edge-Partington. Jennings, Rachel; 2017-01-05.\n2. Malagan posts are produced in association with the malagan funeral ceremonies of the people of northern New Ireland and the Tabar Islands. During their lives, northern New Irelanders acquire the rights to one or more of the vast variety of malagan designs. After death, their relatives usually conduct two funeral ceremonies to honour them, and commission carvers to produce wooden versions of those designs the deceased was entitled to. For the initial ceremony soon after their death, another style of carving to that here was generally used. The human figure type here, known as maramarua, was used in large and expensive collective memorial ceremonies, after which the spirits of several local relatives were considered released from their attachment to the village and their living relatives. The rich carvings themselves were then left in place to decay away, or (in later decades) sold on to foreign collectors. This object was acquired from James Edge-Partington in 1913 as part of an important collection of Pacific islands material (13.43 - 78).\nThanks to Fulimalo Pereira at the Auckland Museum (which holds a copy of Edge-Partington's documentation), we know that this object is E-P Number V17: 'An elaborate carved pillar or temple god in light wood coloured red, black and white, representing a grotesque human figure with fishes. New Ireland. Cutter. Sold to the Horniman Museum (L.C.C.)'. The Cutter referred to is most likely Eva Cutter, the daughter of William D. Cutter. She was an ethnographic and antiquities dealer in Great Russell Street, and later became the partner of W.D. Webster. She took over her father's firm during the 1890s, and retained her maiden name until 1922. Source: Rethinking Pitt-Rivers Website. Mills, Andy; 2012-05-21." } ], "loan": { "value": "N" }, "projects": [ "CollectionsOnline01", "CollectionsPeopleStories", "Highlights01", "OceaniaReview" ], "admin": { "processed": 1745604143571, "sequence": 7702626, "uid": "hmc-object-6478", "added": 1664628808955, "stream": "collections-online", "id": "object-6478", "source": "hmc", "uuid": "36424a9e-4154-35a9-b5a7-dc59351d47fa" }, "description": [ { "type": "catalogue description", "value": "Malagan funerary post of the maramarua type. Like other maramarua, the structure is basically anthropomorphic, and the figure is notable for the large kapkap ornament he wears in his breast. Two fish swim upwards from his feet towards his head. His ears are greatly enlarged and owl-like. The whole is elaborately painted in red, black, white and yellow, and the eyes are formed from the opercula of Turbo shells.\n\nThere is a label stuck on the pole on the lower section of the object, reading, 'NEW BRITAIN ARCH \/ FIGURE FROM A TEMPLE \/ N. IRELAND \/ No. V 17 \/ PL: 241 - 242'. This label has been identified as belonging to James Edge-Partington.", "primary": true }, { "date": [ { "earliest": 2016, "value": "2016-05-06", "latest": 2016, "primary": true } ], "attribution": { "date": [ { "earliest": 2016, "value": "2016-05-06", "latest": 2016, "primary": true } ], "attributor": "Logan, Natasha; curator", "source": "object" }, "sort": "01", "type": "description", "value": "Malagan funerary post of the maramarua type. Like other maramarua, the structure is basically anthropomorphic, and the figure is notable for the large kapkap ornament he wears in his breast. Two fish swim upwards from his feet towards his head. His ears are greatly enlarged and owl-like. The whole is elaborately painted in red, black, white and yellow, and the eyes are formed from the opercula of Turbo shells.\n\nThere is a label stuck on the pole on the lower section of the object, reading, 'NEW BRITAIN ARCH \/ FIGURE FROM A TEMPLE \/ N. IRELAND \/ No. V 17 \/ PL: 241 - 242'. This label has been identified as belonging to James Edge-Partington." }, { "attribution": { "attributor": "curator" }, "sort": "02", "type": "highlight (online)", "value": "This carving was collected by the anthropologist James Edge-Partington, who worked at the British Museum during the 1880s. He travelled throughout the Pacific collecting objects. The ancestor pole was given to the Horniman Museum as a gift in 1913.\n\nNew Ireland, an island in the Bismarck Archipelago northeast of Papua New Guinea, is known for its artistic traditions relating to the Malangan. Malangan are mortuary ceremonies and feasts to honour the dead. The term is also used for the sculptures used in these ceremonies, such as this one. The Malangan ceremonies can last from a few months to several years. Their purpose is to send the souls of the deceased to the realm of the dead, where they will become ancestor spirits. The Malangan sculpture provides a container for the spirit after death before becoming an ancestor. The sculptures are used in the final mortuary ceremony, when they are displayed for only a few hours before being burned or deposited in the forest to rot. Once the soul has left the Malangan its purpose is served and is allowed to decay in a similar fashion to the corpse. After contact with Europeans, Malangans were given to Western collectors as a way of disposal, contributing to the large amount of Malangan sculptures in Western museums. \n\t\nMalangans are made by specialist carvers commissioned by the family of the deceased. The designs may evoke memories of the clan's past, events associated with the deceased, or clan totems. The carver uses a description provided by the family and inspiration from dreams to create a new sculpture. Carving a Malangan can take up to three months. Motifs are carved into the wood until a round sculpture is formed and the frame is covered with painted patterns. The Malangan design is not meant to be a physical portrait of the deceased. The image portrays the ancestor the spirit is about to become." }, { "date": [ { "earliest": 2012, "value": "2012-06", "latest": 2006, "primary": true } ], "attribution": { "date": [ { "earliest": 2012, "value": "2012-06", "latest": 2006, "primary": true } ], "attributor": "Mills, Andy" }, "sort": "03", "type": "commentary (online)", "value": "Funerary carving, maramarua, used in Malagan ceremonies, northern New Ireland, Papua New Guinea.\n\nThe carvings formerly produced in the northern part of New Ireland and the Tabar Islands are justly famous among connoisseurs of World Art. They are remarkable in several different ways. These carvings were produced to play an important role in the malagan funeral rituals of the New Irelanders, and different kinds of carvings featured in each of the ceremony's two stages. Shortly after an individual's death, a small ceremony was held to release the village from a period of ritual restrictions caused by the death. At this ceremony, short and broad panel-like malagan carvings were created (kupkup ci malaga, or 'taboo-lifting carvings'). Months or even years later, a final mortuary ceremony was held. Perhaps a dozen or more vertical, post-like figures of the maramarua type shown here were carved, painted and set up in a specially designed malagan house. By this process, several deceased relatives could be commemorated collectively.\n\nThe designs of carvings were inspired by spirit helpers and sent to carvers in their sleep, and they often do have a strange, dreamlike quality to them. Like copyrights or patents, northern New Irelanders accumulated the right to make, use and sell particular malagan carving designs, building up a portfolio of designs over their lifetime. \n\nSome designs were inherited from one\u2019s parents, others were acquired at marriage, and others were simply bought. At death, each design that the deceased had acquired rights to use during their life was carved for them and set up in the malagan house. In this way, death was the culmination of a life's work, and the malagan carvings reflected both a person's social relationships, and their achievements in life. \n\nThrough the performance of the malagan ceremony, the spirits of the dead were released from their attachment to the places they had occupied in life, and the living were protected from the misfortune their neglect would bring about. Perhaps most remarkable of all, when this commemorative ceremony was completed, all of these labour-intensive carvings (and the ceremonial house containing them) were simply abandoned in the forest to rot away to nothing.\n\nThe funerary post is made of wood, shell, and mineral pigments. It was made in the late 19th century and was formerly in the private collection of James Edge-Partington." }, { "date": [ { "earliest": 1999, "value": "1999-06-25", "latest": 1999, "primary": true } ], "attribution": { "attributor": "curator" }, "historical": true, "sort": "04", "type": "commentary (online)", "value": "Malagan funerary post of the maramarua type.\n\nMalagan posts are produced in association with the malagan funeral ceremonies of the people of northern New Ireland and the Tabar Islands. During their lives, northern New Irelanders acquire the rights to one or more of the vast variety of malagan designs. After death, their relatives usually conduct two funeral ceremonies to honour them, and commission carvers to produce wooden versions of those designs the deceased was entitled to. For the initial ceremony soon after their death, another style of carving to that here was generally used. The human figure type here, known as maramarua, was used in large and expensive collective memorial ceremonies, after which the spirits of several local relatives were considered released from their attachment to the village and their living relatives. The rich carvings themselves were then left in place to decay away, or (in later decades) sold on to foreign collectors. This object was acquired from James Edge-Partington in 1913 as part of an important collection of Pacific islands material (13.43 - 78)." }, { "date": [ { "earliest": 1999, "value": "1999-06-25", "latest": 1999, "primary": true } ], "attribution": { "attributor": "curator" }, "historical": true, "sort": "05", "type": "description", "value": "ancestor post" } ], "language": [ "eng" ], "type": { "sub_type": [ "general" ], "scope": "WHOLE", "base": "object" }, "lifecycle": { "collection": [ { "collector": [ { "@link": { "role": [ { "value": "collector" } ], "attribution": { "date": [ { "earliest": 1913, "value": "1913", "latest": 1913, "primary": true } ], "attributor": "curator", "source": "accession registers" }, "type": "reference" }, "summary_title": "Edge-Partington, James", "admin": { "uid": "hmc-agent-1597", "id": "agent-1597", "uuid": "4038d353-fb31-3905-b725-4de2da15989b" }, "sort": "01" }, { "@link": { "source": "catalogue", "type": "literal" }, "summary_title": "Edge-Partington, James", "name": [ { "value": "Edge-Partington, James" } ] } ] } ], "creation": [ { "date": [ { "century": [ "19th" ], "role": [ { "value": "date made" } ], "attribution": { "attributor": "curator" }, "sort": "01", "earliest": 1850, "value": "late 19th century", "latest": 1900 }, { "century": [ "19th" ], "role": [ { "value": "date made" } ], "attribution": { "attributor": "curator" }, "historical": true, "sort": "02", "earliest": 1801, "value": "Late 19th century", "latest": 1900 }, { "source": "catalogue", "earliest": 1801, "value": "late 19th century", "latest": 1900 } ], "places": [ { "@link": { "role": [ { "value": "made or collected" } ], "attribution": { "attributor": "curator" }, "locale": "Northern New Ireland", "type": "reference" }, "summary_title": "New Ireland", "admin": { "uid": "hmc-place-620", "id": "place-620", "uuid": "7a47bfca-eab3-3c68-8404-ef696883c536" }, "sort": "01" }, { "@link": { "source": "catalogue", "type": "literal" }, "summary_title": "New Ireland, Papua New Guinea, New Guinea, Melanesia, Oceania", "name": [ { "value": "New Ireland, Papua New Guinea, New Guinea, Melanesia, Oceania" } ] } ] } ] }, "physicalDescriptors": [ { "note": "curator", "component": "part", "terms": "mineral pigment", "descriptor": "material", "@reference": { "@link": { "role": [ { "value": "material" } ], "type": "reference" }, "summary_title": "mineral pigment", "admin": { "uid": "hmc-term-1016354", "id": "term-1016354", "uuid": "e98eb632-8c3a-3b2c-a83f-d99c54494470" }, "sort": 2 }, "type": "material" }, { "note": "Opercula of Turbo petholatus. Curator", "component": "part", "terms": "shell", "descriptor": "material", "@reference": { "@link": { "role": [ { "value": "material" } ], "type": "reference" }, "summary_title": "shell", "admin": { "uid": "hmc-term-1016308", "id": "term-1016308", "uuid": "d70dcb44-62ad-3e14-b299-ecce51efdadb" }, "sort": 3 }, "type": "material" }, { "note": "curator", "component": "overall", "terms": "Turbo operculum", "descriptor": "material", "@reference": { "@link": { "role": [ { "value": "material" } ], "type": "reference" }, "summary_title": "Turbo operculum", "admin": { "uid": "hmc-term-1018672", "id": "term-1018672", "uuid": "99fc2a01-ea79-3a5d-ba52-22f43f01b1bc" }, "sort": 4 }, "type": "material" }, { "note": "Mills, Andy", "component": "overall", "terms": "wood", "descriptor": "material", "@reference": { "@link": { "role": [ { "value": "material" } ], "type": "reference" }, "summary_title": "wood", "admin": { "uid": "hmc-term-1015488", "id": "term-1015488", "uuid": "9374e5ef-ab0b-3b66-84bd-3f9728ed1f9a" }, "sort": 1 }, "type": "material" } ], "terms": [ { "@link": { "role": [ { "value": "object name" } ], "attribution": { "date": [ { "earliest": 1913, "value": "1913", "latest": 1913, "primary": true } ], "attributor": "curator", "source": "accession registers" }, "type": "reference" }, "summary_title": "ancestor posts", "admin": { "uid": "hmc-term-504722", "id": "term-504722", "uuid": "c44c5734-1904-3b13-87e9-0ad2c66975c1" }, "sort": "01" }, { "@link": { "role": [ { "value": "material" } ], "attribution": { "attributor": "curator" }, "type": "reference" }, "summary_title": "mineral pigment", "admin": { "uid": "hmc-term-1016354", "id": "term-1016354", "uuid": "e98eb632-8c3a-3b2c-a83f-d99c54494470" }, "sort": "02" }, { "@link": { "role": [ { "value": "material" } ], "attribution": { "attributor": "curator" }, "type": "reference" }, "summary_title": "shell", "admin": { "uid": "hmc-term-1016308", "id": "term-1016308", "uuid": "d70dcb44-62ad-3e14-b299-ecce51efdadb" }, "sort": "03" } ], "summary_title": "ancestor post", "legal": { "status": "permanent collection" }, "options": { "item_count": "1", "flag4": "N", "flag3": "N", "system_count": "0", "flag2": "Y", "option4": "OceaniaReview; CollectionsOnline01; Highlights01; CollectionsPeopleStories", "flag1": "N", "number1": "1" }, "appraisal": [ { "source": "catalogue", "@entity": "lifecycle" } ], "inscription": [ { "note": [ { "value": "Logan, Natasha; 2016-05-06." } ], "description": [ { "value": "The label is stuck to the pole on the lower section of the object." } ], "details": [ { "transcription": "NEW BRITAIN ARCH \/ FIGURE FROM A TEMPLE \/ N. IRELAND \/ No. V 17 \/ PL: 241 - 242" } ], "language": [ "English" ], "location": "label", "sort": "01", "type": "inscription" } ], "categories": [ { "type": "category1", "value": "Anthropology: Ethnography" } ], "measurements": { "note": [ { "value": "overall mm: 1104.9 ht. Check measurement type and value" } ], "display": "overall: 1100 mm x 150 mm x 180 mm", "attribution": { "attributor": "Collections Conservation and Care Section", "type": "display" }, "count": "1", "sort": "01", "dimensions": [ { "type": "catalogue dimensions", "value": "overall: 1100 mm x 150 mm x 180 mm", "primary": true }, { "units": "in", "dimension": "height", "value": "43 1\/2" }, { "units": "mm", "dimension": "height", "value": "1104.9" }, { "units": "in", "dimension": "depth", "value": "7 1\/16" }, { "units": "mm", "dimension": "depth", "value": "180" }, { "units": "in", "dimension": "height", "value": "43 5\/16" }, { "units": "mm", "dimension": "height", "value": "1100" }, { "units": "in", "dimension": "width", "value": "5 7\/8" }, { "units": "mm", "dimension": "width", "value": "150" } ] }, "identifier": [ { "accession_number": "13.43", "type": "accession number", "value": "13.43", "primary": true }, { "sort": "01", "type": "old Horniman accession number", "value": "489" }, { "sort": "02", "type": "old 1-3 code", "value": "23;j;" }, { "sort": "03", "type": "Horniman laboratory number", "value": "7579" }, { "sort": "04", "source": "Lab book database", "type": "Horniman laboratory number", "value": "7579" }, { "note": [ { "value": "On the label attached to the pole on the lower section of the object. Thanks to Fulimalo Pereira at the Auckland Museum (which holds a copy of Edge-Partington's documentation), we know that this object is E-P Number V17: 'An elaborate carved pillar or temple god in light wood coloured red, black and white, representing a grotesque human figure with fishes. New Ireland. Cutter. Sold to the Horniman Museum (L.C.C.)'. Logan, Natasha; 2016-05-06." } ], "sort": "05", "source": "object labels", "type": "collector's number", "value": "V17" } ], "collection": "Anthropology", "multimedia": [ { "processed": { "preview": { "resizable": true, "format": "jpeg", "modified": 1312803674000, "location": "175\/999\/preview_13_43__002_PS.jpg", "type": "image", "measurements": { "filesize": { "units": "bytes", "value": 29889 }, "dimensions": [ { "units": "pixels", "dimension": "height", "value": 76 }, { "units": "pixels", "dimension": "width", "value": 56 } ] } }, "feature": { "resizable": true, "format": "jpeg", "modified": 1312803674000, "location": "175\/999\/feature_13_43__002_PS.jpg", "type": "image", "measurements": { "filesize": { "units": "bytes", "value": 37697 }, "dimensions": [ { "units": "pixels", "dimension": "height", "value": 373 }, { "units": "pixels", "dimension": "width", "value": 273 } ] } }, "large": { "resizable": true, "format": "jpeg", "modified": 1312803674000, "location": 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object" } ], "portion": "whole", "attribution": { "attributor": "Documentation Section", "type": "publication" }, "type": "reference" }, "legal": { "credit": "Horniman Museum and Gardens \u00a9 Heini Schneebeli" }, "admin": { "uid": "hmc-media-175999", "id": "media-175999", "uuid": "eeeb5753-8a01-3417-87b3-84b993de921a" }, "sort": "01", "title": [ { "type": "caption", "value": "General view of object no. 13.43." } ], "type": "image" }, { "processed": { "preview": { "resizable": true, "format": "jpeg", "modified": 927195788000, "location": "75\/386\/preview_13_43__001_DS.jpg", "type": "image", "measurements": { "filesize": { "units": "bytes", "value": 1480 }, "dimensions": [ { "units": "pixels", "dimension": "height", "value": 76 }, { "units": "pixels", "dimension": "width", "value": 51 } ] } }, "feature": { "resizable": true, "format": "jpeg", "modified": 927195788000, "location": "75\/386\/feature_13_43__001_DS.jpg", "type": "image", "measurements": { "filesize": { "units": "bytes", 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