Adorned | Te Papa

Museum of New Zealand

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AdornedWhakarakei

Adorned brings together paintings, prints, and cultural treasures to explore the art of adornment in Māori and Pacific cultures.

When | Āhea

24 Aug 2016 – 26 Feb 2017

Where | Ki hea

Level 5

Cost | Te utu

Free exhibition

Ages | TE REANGA

All ages

Accessibility | E wātea ana ki

Wheelchair accessible

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Artists, photographers, and printmakers have pictured Māori and Pacific peoples since the first encounters of British explorer James Cook between 1768 and 1779. Often these artists exaggerated their subjects’ exoticism through careful attempts to detail adornments, including tatau (Samoan customary tattoos) and tā moko (Māori customary tattoos). Into the late 19th century, artists also used taonga (treasures) as props to make their sitters appear ‘authentic’ to European audiences.

John Webber, Poedua (Poetua), daughter of Oreo, chief of Ulaietea, one of the Society Isles, 1785. Purchased 2010. Te Papa (2010-0029-1).
This arresting work was the first great portrait to present a Pacific woman to European audiences. But its genesis was an early clash of cultures.
While James Cook was anchored at Ra‘iatea (the Society Islands) on his third Pacific voyage, two of his crew deserted. To force the locals to help return them, Cook took Poetua captive, along with her brother, Ta-eura, and husband, Moetua. The pregnant Poetua posed for artist John Webber while on board.

John Webber, Poedua (Poetua), daughter of Oreo, chief of Ulaietea, one of the Society Isles, 1785. Purchased 2010. Te Papa (2010-0029-1).
This arresting work was the first great portrait to present a Pacific woman to European audiences. But its genesis was an early clash of cultures.
While James Cook was anchored at Ra‘iatea (the Society Islands) on his third Pacific voyage, two of his crew deserted. To force the locals to help return them, Cook took Poetua captive, along with her brother, Ta-eura, and husband, Moetua. The pregnant Poetua posed for artist John Webber while on board.

Robert Bénard, after Sydney Parkinson, Head of a New Zealand warrior (Tete d'un guerrier de la Nouvelle Zelande), circa 1780. Te Papa (1992-0035-2079).
Sydney Parkinson’s drawing of a tattooed Māori, made during British explorer James Cook’s first Pacific voyage (1768–71), excited European audiences and was widely reproduced.
While the profile may be more European than Maori, Robert Bénard’s engraving shows how carefully Parkinson detailed the man’s adornment. His facial moko (tattoo) is, unusually, a moko kiore, a pattern more commonly seen on the thigh – possibly a northern tribal variation that had disappeared by 1800.

Robert Bénard, after Sydney Parkinson, Head of a New Zealand warrior (Tete d'un guerrier de la Nouvelle Zelande), circa 1780. Te Papa (1992-0035-2079).
Sydney Parkinson’s drawing of a tattooed Māori, made during British explorer James Cook’s first Pacific voyage (1768–71), excited European audiences and was widely reproduced.
While the profile may be more European than Maori, Robert Bénard’s engraving shows how carefully Parkinson detailed the man’s adornment. His facial moko (tattoo) is, unusually, a moko kiore, a pattern more commonly seen on the thigh – possibly a northern tribal variation that had disappeared by 1800.

Maker unknown, Rei Niho Paraoa (sperm whale tooth pendant), 1500-1800. Bequest of Kenneth Athol Webster, 1971. Te Papa (WE001046).

Maker unknown, Rei Niho Paraoa (sperm whale tooth pendant), 1500-1800. Bequest of Kenneth Athol Webster, 1971. Te Papa (WE001046).

John Hall, William Hodges, The chief at Santa Christina, circa 1777. Bequest of Charles Rooking Carter, 1896. Te Papa (1992-0035-1805).
In April 1774, British explorer James Cook and his crew landed on Tahuata (Santa Cristina), one of the Marquesas Islands. There they met Honu, the highest-ranking chief of Vaitahu, who is shown in John Hall’s engraving in all his finery.
It was through objects, journal accounts, paintings, and engravings from Cook’s voyages that a fascinated British public was first introduced to Pacific people and their homelands. The coloured etching by Andrea Bernieri combines different images from Cook’s voyages, including a portrait of Honu.

John Hall, William Hodges, The chief at Santa Christina, circa 1777. Bequest of Charles Rooking Carter, 1896. Te Papa (1992-0035-1805).
In April 1774, British explorer James Cook and his crew landed on Tahuata (Santa Cristina), one of the Marquesas Islands. There they met Honu, the highest-ranking chief of Vaitahu, who is shown in John Hall’s engraving in all his finery.
It was through objects, journal accounts, paintings, and engravings from Cook’s voyages that a fascinated British public was first introduced to Pacific people and their homelands. The coloured etching by Andrea Bernieri combines different images from Cook’s voyages, including a portrait of Honu.

Maker unknown, pa`e kea (coronet), Marquesas Islands, circa 1900. Oldman Collection. Gift of the New Zealand Government, 1992. CC BY-NC-ND licence. Te Papa (OL000209)
Marquesan adornments were all worn on the head, the most tapu (sacred) part of the body and the site of a person’s mana (prestige).

Maker unknown, pa`e kea (coronet), Marquesas Islands, circa 1900. Oldman Collection. Gift of the New Zealand Government, 1992. CC BY-NC-ND licence. Te Papa (OL000209)
Marquesan adornments were all worn on the head, the most tapu (sacred) part of the body and the site of a person’s mana (prestige).

Maker unknown, Pu Taiana (Ear ornament), Oldman Collection. Gift of the New Zealand Government, 1992. CC BY-NC-ND licence. Te Papa (OL000214/2b)

Maker unknown, Pu Taiana (Ear ornament), Oldman Collection. Gift of the New Zealand Government, 1992. CC BY-NC-ND licence. Te Papa (OL000214/2b)

Major General Horatio Robley, Arawa soldier warning off. Maketu Pa, September 1865, 1865. Bequest of Horace Fildes, 1937. Te Papa (1992-0035-1703).
The warrior performing a traditional wero (challenge) is a dynamic, powerful figure. His full face moko (tattoo) and puhoro (scroll pattern) thigh moko suggest he is a tribal expert of high birth.

Major General Horatio Robley, Arawa soldier warning off. Maketu Pa, September 1865, 1865. Bequest of Horace Fildes, 1937. Te Papa (1992-0035-1703).
The warrior performing a traditional wero (challenge) is a dynamic, powerful figure. His full face moko (tattoo) and puhoro (scroll pattern) thigh moko suggest he is a tribal expert of high birth.

Louis John Steele, Portrait of a young Māori woman with moko, 1891. Purchased 1995 with Ellen Eames Collection funds. Te Papa (1995-0015-1).
Louis Steele’s unidentified Māori woman is dressed entirely in customary fashion, despite being painted in 1891, by which time such attire would have been unusual. She presents an idealised image of Māori beauty. The pounamu hei tiki (New Zealand nephrite pendant in human form) round her neck, kuru (ear pendant), and korowai (cloak with black cords) are possibly props from Steele’s studio.

Louis John Steele, Portrait of a young Māori woman with moko, 1891. Purchased 1995 with Ellen Eames Collection funds. Te Papa (1995-0015-1).
Louis Steele’s unidentified Māori woman is dressed entirely in customary fashion, despite being painted in 1891, by which time such attire would have been unusual. She presents an idealised image of Māori beauty. The pounamu hei tiki (New Zealand nephrite pendant in human form) round her neck, kuru (ear pendant), and korowai (cloak with black cords) are possibly props from Steele’s studio.

Gottfried Lindauer, Māori girl, circa 1874. Acquisition history unknown. Te Papa (1936-0036-1).
Gottfried Lindauer’s unidentified Māori girl, most likely painted for herself and her family 17 years earlier, presents a perfect image of assimilation. Her clothing is elegant and impeccably tailored, and her pounamu earrings are a contemporary design. She appears confident and ready for the challenges of a rapidly changing New Zealand.

Gottfried Lindauer, Māori girl, circa 1874. Acquisition history unknown. Te Papa (1936-0036-1).
Gottfried Lindauer’s unidentified Māori girl, most likely painted for herself and her family 17 years earlier, presents a perfect image of assimilation. Her clothing is elegant and impeccably tailored, and her pounamu earrings are a contemporary design. She appears confident and ready for the challenges of a rapidly changing New Zealand.

Maker unknown, kapeu (ear pendant) New Zealand, 1600-1850. Oldman Collection. Gift of the New Zealand Government, 1992. Te Papa (OL000095/1).
Join Māui as he shares stories for tamariki based on taonga from the Te Papa collection

Maker unknown, kapeu (ear pendant) New Zealand, 1600-1850. Oldman Collection. Gift of the New Zealand Government, 1992. Te Papa (OL000095/1).
Join Māui as he shares stories for tamariki based on taonga from the Te Papa collection

Thomas Andrew, Thinking Woman, 1890-1910. Te Papa (O.001021).
In 1891, New Zealand photographer Thomas Andrew moved to Sāmoa and set up a studio in Apia. Sāmoa was a major trading centre and tourist destination, and there was a growing demand for souvenir images of island scenes.
Andrew photographed palm trees and lagoons, but also made studio portraits like these. To satisfy the market for exotic imagery, he often posed his subjects in customary costume surrounded by artefacts.

Thomas Andrew, Thinking Woman, 1890-1910. Te Papa (O.001021).
In 1891, New Zealand photographer Thomas Andrew moved to Sāmoa and set up a studio in Apia. Sāmoa was a major trading centre and tourist destination, and there was a growing demand for souvenir images of island scenes.
Andrew photographed palm trees and lagoons, but also made studio portraits like these. To satisfy the market for exotic imagery, he often posed his subjects in customary costume surrounded by artefacts.

Thomas Andrew, Unknown Samoan woman, circa 1896. Gift of Alison Beckett and Robert McPherson, 1996. Te Papa (O.001309/01).
In 1891, New Zealand photographer Thomas Andrew moved to Sāmoa and set up a studio in Apia. Sāmoa was a major trading centre and tourist destination, and there was a growing demand for souvenir images of island scenes.
Andrew photographed palm trees and lagoons, but also made studio portraits like these. To satisfy the market for exotic imagery, he often posed his subjects in customary costume surrounded by artefacts.

Thomas Andrew, Unknown Samoan woman, circa 1896. Gift of Alison Beckett and Robert McPherson, 1996. Te Papa (O.001309/01).
In 1891, New Zealand photographer Thomas Andrew moved to Sāmoa and set up a studio in Apia. Sāmoa was a major trading centre and tourist destination, and there was a growing demand for souvenir images of island scenes.
Andrew photographed palm trees and lagoons, but also made studio portraits like these. To satisfy the market for exotic imagery, he often posed his subjects in customary costume surrounded by artefacts.

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