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FIG. 1 (top): Headrest. Iatmul people, Middle Sepik (possibly Blackwater River). Late 19th/early 20th century.Ex Michael Graham-Stewart, London/Auckland.Wood, pigment. L: 55 cm.

FIG. 2 (right): Michael Martin, Melbourne, 2016.

Tribal Art Magazine: What was your fi rst exposure to tribal art?Michael Martin: I have been interested in natural history, particularly birds, since I was very young. I fi rst went to Papua New Guinea in late 1979 as a medical student to work in the hospital in Mount Hagen in the Western Highlands. I have always been interested in birds of paradise, so my goal was to not only gain experience at the hospital but to also look for these rare birds. I have since been back several times and have now seen thirty-fi ve of the forty-two known species in the wild. During this fi rst trip, I got to know a little about the people of Papua New Guinea and see some of their art. At that time, I was offered only tourist pieces. Everyone said that all the old art had already been collected, so I didn’t even look for it. If only I knew then what I know now! There was still great art to fi nd, but it took people like Michael Hamson, who were able to venture deep into the fi eld, to fi nd it. After returning from New Guinea, I made an effort to see Oceanic art in museums, and my interest was kindled.

Interview by Jonathan Fogel

TRIBAL people

By profession Michael Martin is a radiologist and by avocation a serious collec-tor of New Guinea and Polynesian art. Because he is based in Melbourne, he is not an especially familiar face at auctions and galleries in Europe and the United States, but his reach is long, and over the last decade and a half he has developed a well-chosen collection of artworks that includes a number of noteworthy and iconic examples. He has a particular affi nity for objects that are early, masterfully rendered, and that demonstrate clear signs of use and care from their original owners. We had the pleasure of sharing a fi ne lunch with him on a sunny afternoon at an old bistro in Par-is during the most recent Parcours des Mondes and chatted about his interests.

Michael MartinNative of Oceania

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FIGS. 7a and b (below): Goodenough Island and Michael Martin and guides at its summit, December 1981. Author’s photo.Measuring 20 x 30 km, Goodenough Island is one of the steepest islands in the world. The center of the island is Mount Vineuo, an extinct volcano rising to 2,536 m at its peak.

FIG. 3 (center left): Female head. Inyai-Ewa people, Korewari River, Middle Sepik. 19th century or earlier.Ex D’Arcy Galleries, Maurice Bonnefoy (1920–1998), New York (illustrated in Caves of the Karawari, 1968, fi g. 44); Hans and Suzanne Greub, Basel; Sotheby’s, Paris, June 2007; Christie’s, Paris, June 2013.Wood. H: 34 cm.

FIG. 4 (right): Aripa.Inyai-Ewa people, Korewari River, Middle Sepik. 19th century or earlier.Ex D’Arcy Galleries, Maurice Bonnefoy (1920–1998), New York (illustrated in Caves of the Karawari, 1968, fi g. 104); James Barzyk, Chicago.Wood. H: 110.5 cm.

FIGS. 5a and b (center left and below): Part of Martin’s collection of rare natural history books, including George Dawson Rowley’s Ornithological Miscellany, 1875–1878.Three volumes, London: Trübner & Co., Bernard Quaritch & R.H. Porter (contemporary red morocco binding).

FIG. 6 (left): Plate showing Drepanoris albertisi (D’Albertis’ bird of paradise) from R. Bowdler Sharpe’s Monograph of the Paradiseidae, or Birds of Paradise, and Ptilonorhynchidae, or Bower-birds, 1891–1898.Two volumes. London: Taylor and Francis for Henry Sotheran (inlaid contemporary binding).

T. A. M.: When did you acquire your fi rst object and from whom? M. M.: At fi rst I just looked at Oceanic art in museums. It didn’t occur to me that people actually collected it. I have been a serious collector of eighteenth- and nineteenth-century color-plate natural history books all my life and have been lucky to form a very large collection of these. At all times my priority has been trying to fi nd the best copy of all of the rarest books. Even though I didn’t know any tribal art collectors, eventually I came to realize that I wanted to collect Oceanic art. I fi nally took the plunge and began by buying some pieces at a Sotheby’s sale in Melbourne in the early 2000s. The fi rst piece I bought was a very old and beautifully patinated New Caledonian bird beak club, which I still have. After that I began to search the internet for dealers and discovered Tribal Art magazine.

T. A. M.: Does the process of collecting relate in some way to your profession as a radiologist? M. M.: Very much so. I decided to become a radiologist because it allowed me to fuse my interests in art, science, and medicine. My mother was an artist and I grew up in a house that was full of her paintings. I felt a

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natural affi nity for art and natural history, but I chose medicine as a career because it seemed to offer an enormous number of options. As a radiologist, I spend my time looking at images. I enjoy the challenge of interpretation, which involves analyzing what is important and then making decisions based on my own judgment. The same applies to collecting tribal art. I love the excitement of looking at art and trying to understand how good it is. Some pieces can have an initial impact that wanes the more one looks at them. Others have an inner power and strength that glows brighter the more one looks at them. That is great art! Also, learning to differentiate what is genuinely old and real from what is not is also part of the challenge and enjoyment.

T. A. M.: You largely focus on New Guinea and Polynesian art. Why this as opposed to African art, for example? M. M.: I also love African art, but there are several reasons why I collect Oceanic art. The fi rst is because of my love for the wildlife of the region and my initial contact with the people of Papua New Guinea. I love the history of travel and exploration of the natural world, which is why I have been such a keen collector of early travel and natural history books. So much of the wildlife in this region is unique and there is enormous variety, which is why it’s so fascinating. A comparable observation can be made about the people of New Guinea. It has more languages per capita there than anywhere else on earth because the different cultural groups remained isolated from each other for so long. This amazing diversity is refl ected in their art. This kind of cultural and artistic diversity also can describe Oceania as a whole. As an Australian, I feel like I’m part of the region of Oceania, and I feel naturally attracted to wanting to know more about its peoples and cultures.

Within this context of such enormous variety, the hard part is fi nding really great examples. In the past, Australia has been a good source for old Oceanic art. This has become less true in recent years, but things

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FIG. 8 (left): Ancestor memorial fi gure.Central Papuan Gulf, Papua New Guinea. 19th or early 20th century.Ex Carlo Monzino (1931–1996), Lugano.Overmodeled ancestral skull with original bone septum ornament and dog tooth headdress, fi berwork fi sh trap, bark belts, shell ornaments, bone dagger, and billum bag, all belonging to the ancestor. H: 97 cm.

FIG. 9 (above left): Shield. Kiriwina Island, Trobriand Islands, Papua New Guinea. 19th century.Ex Wayne Heathcote, Miami; John and Marcia Friede (Jolika Collection), Rye/San Francisco; Sotheby’s, Paris, December 2007.Wood, pigment. H: 74 cm.

FIG. 10 (above right): Shield. Astrolabe Bay, Papua New Guinea. 19th century.Ex Linden Museum, Stuttgart; by exchange to Munich dealer Brett Schneider on June 23, 1969; Gallery 43, Philip Goldman, London; Peter Bruckmann, London; Michael Graham-Stewart, London.Wood, pigment. H: 91 cm.

made for use (as opposed to made for sale to foreigners) and thus ones that the makers and owners took great pride in.

Provenance is an added attraction and one that is important but not essential to me. Provenance provides a piece a history and a backstory that can greatly add to an object’s appeal and value. When and by whom it was collected and who has owned it are important factors. That said, undiscovered masterpieces can turn up in all areas of art, but, for a variety of reasons, this is more common in tribal art than most other areas. Learning to appreciate a piece on its own merits in the absence of any known provenance can be challenging but also exciting and eventually very satisfying.

T. A. M.: Are there any particular dealers or other people you have met who have especially infl uenced the directions that you have taken?M. M.: When I fi rst started collecting, I met Crispin Howarth. This was long before he

still turn up. With regard to African art, one important reason why I don’t pursue it is that there are no signifi cant collections in Australia, which makes it impossible to gain extensive hands-on experience with it there. I travel extensively and look at a lot of art overseas, but it’s still both nice and informative to be able to visit and talk to local collectors and dealers.

T. A. M.: What do you look for in an object? What makes it satisfying for you? M. M.: I’m interested in shape and form, but what I really want is for a piece to move me. When I encounter a piece that grabs my attention, makes me turn my head, and I can’t stop looking at it, l know I have found something special. Seeing a great piece of art is like encountering a very beautiful woman—it is impossible not to be distracted or to have one’s attention diverted. Originality and use within the culture that created the artwork also are vitally important to me. I’m only interested in owning pieces that have been

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FIG. 11 (left): Mask. Tami Islands, Morobe Province, Papua New Guinea. 19th century.Provenance: Melbourne Savage Club (acquired prior to 1912); John and Marcia Friede (Jolika Collection), Rye/San Francisco; Bonhams 2014.Wood, pigment. H: 34 cm.

FIG. 12 (below): Dance paddle. Solomon Islands. 19th century.Wood. H: 81 cm.

FIG. 13 (top right): Helmet mask.Witu Islands, New Britain, Papua New Guinea. 19th century.Ex Sotheby’s 1981; Gilbert Manley, Durham, United Kingdom; Christie’s, Paris, June 2009. Wood, pigment. H: 55 cm.

FIG. 14 (bottom right): Korwar headrest.Geelvink Bay, West Papua, Indonesia. 19th century.Ex Michael Graham-Stewart, London/Auckland.Wood. H: 18.5 cm.

became a curator at the National Gallery in Canberra, but his deep knowledge and enthusiasm for Oceanic art were infectious and greatly inspired my interest. Dealers like Michael Hamson, Anthony Meyer, and Kevin Conru also have been very helpful. They all have deep knowledge and an eye for Oceanic art that has been refi ned through a combination of fi eld experience and deep research in the literature. Indeed, Anthony’s book Oceanic Art, which was published in 1996, is what actually got me thinking seriously about owning Oceanic art. Michael’s wonderful catalogs, which included essays contributed by a variety of experts, have been a signifi cant contribution to the

literature on Oceanic art in recent years and have allowed me to get to know the art of Papua New Guinea much better. Kevin’s books on the art of the Solomon Islands and the Bismarck Archipelago, among others, have done the same.

In Australia, Chris and Anna Thorpe have been especially helpful. Their deep love and knowledge of Oceanic art are inspiring. They share a very good eye and I am constantly impressed by their ability to fi nd great pieces, sometimes with amazing provenances, that have been missed by others. Our dinners together have been a highlight of my enjoyment of Oceanic art.

T. A. M.: Does your location in Australia affect your acquisitions? M. M.: Yes. As we all know, the centers for tribal art are Western Europe and North America, and this is where the major dealers and auction houses are. This makes it hard for me to view pieces prior to auction or to see them in a dealer’s gallery unless I happen to be there at the time. The internet has made it much easier to get pictures and condition reports quickly and easily, but it is still not the same as seeing a piece in real life. Having said that, I do now fi nd that it is easier to judge what a piece will be like from a photo than I could in the past. This makes it easier to be more confi dent in buying, but I would still prefer to be able to see and touch a piece before I acquire it.

T. A. M.: A pair of your objects was displayed in interesting circumstances recently. Tell us about that.M. M.: About ten years ago the Melbourne Savage Club sold seven pieces of old Oceanic art to John Friede. I have been fortunate in recent years to be able to acquire three of them. Two of these are a pair of Tami

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masks that were acquired by the club prior to 1912. Throughout their long life in the club and prior to being sold, they hung on either side of one of the fi replaces in the main reception room. I am a member of the Savage Club, and in February 2016 we held a dinner to allow several of us to help the other club members better understand the wonderful legacy the club has in its collection of Oceanic art. It was a successful evening that provoked a lot of interest. For the event, my masks were rehung in their original positions, and those attending the dinner were asked to “spot the mystery guests.” No one fi gured it out since they were focused on looking for people, but once the masks were pointed out, old members were very happy to see them again.

T. A. M.: What do you see as the next step in your collection? M. M.: Trying to fi nd the best pieces possible! As a book collector, I have always searched for the fi nest copies in the best possible original bindings. To achieve this, I have had to constantly upgrade. This is harder to do in Oceanic art, since it takes time to compile a strong reference library, to see the range of art available, and to meet other collectors.

Meeting Claus Schmidt-Luprian and seeing his collection was a pivotal point in my career as a collector of Oceanic art. His vibrant enthusiasm and deep knowledge are matched only by the quality of the pieces in his collection. It reinforced all the feelings I have gained over a lifetime of collecting. To really get to know and understand an area of art and then to search for the most beautiful examples of it is inspiring. It makes me recall a comment by Jean Paul Barbier-Mueller, I believe, which essentially was, “The goal of every collector should not be to end up with a collection of thousands of pieces like me, but with the best thirty to forty that they can acquire.”

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