"War Art & Ritual | Shields from the Pacific" by Bill Evans with Andrew Tavarelli, Steven G. Alpert, Harry Beran, Barry Craig, Natalie Wilson, Robyn Maxwell, and Kevin Conru

Dayak, probably Iban, 19th century. (Detail) Image courtesy of Bill Evans — Dayak, probably Iban, 19th century. (Detail)
Image courtesy of Bill Evans

WAR ART & RITUAL

Shields from the Pacific

by Bill Evans

Contributions from Andrew Tavarelli, Steven G. Alpert, Harry Beran, Barry Craig, Natalie Wilson, Robyn Maxwell, and Kevin Conru

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Published by William Nathanial Evans (Sydney, Australia) | June 2019.

One of the more exciting books to be published of late is Bill Evans’ War Art & Ritual | Shields from the Pacific. In two richly appointed volumes, shields from Asian and Australian museums, as well as pieces from Bill's own collection are featured. Contributive essays from Andrew Tavarelli, Steven Alpert, Robyn Maxwell, Harry Beran, Kevin Conru, Barry Craig, Natalie Wilson and Crispin Howarth expound on traditions ranging from an artist's perspective and appreciation of shields as an art form, to diverse articles on Dayak, Balinese, and various New Guinea shield traditions ranging into those of island Melanesia.

In over 500 pages many shields are being published for the first time. Bill is well-known to many of us as an excellent sleuth, who has put together some exemplary material for this publication. His tenacious quest is the result of over forty years as a consultant, vendor, appraiser, auction specialist, and collector. He has contributed articles on diverse museum collections and subjects within the field, including a chapter in the well-received Shields of Melanesia (2002). This coming August, the Queensland Art Gallery (QAGOMA) is featuring forty early Queensland shields from Bill's collection in a major exhibition of Australian Indigenous art. War Art & Ritual | Shields of the Pacific amply shows that great shields in both the museum and private realm are still often overlooked and underappreciated. This book is an alluring invitation and lasting reference work on this subject matter.

— Steven G. Alpert, founder of Art of the Ancestors

War Art & Ritual | Shields from the Pacific Volume 1 | Island Southeast Asia Image courtesy of Bill Evans — War Art & Ritual | Shields from the Pacific
Volume 1 | Island Southeast Asia
Image courtesy of Bill Evans

Within War Art & Ritual | Shields from the Pacific, there are seven essays that offer original scholarship and different ways of looking at shields.

War Art & Ritual | Shields from the Pacific Volume 2 | Melanesia Image courtesy of Bill Evans — War Art & Ritual | Shields from the Pacific
Volume 2 | Melanesia
Image courtesy of Bill Evans

“Shields: An Appreciation” by Andrew Tavarelli was written from the eyes of an artist and connoisseur of Indonesian art and both the layman and the scholar will benefit from his premise that “these objects have a voice of their own.” Steven Alpert’s article, “Dayak Shields: Courting and Defying Death,” gives an historical overview of Dayak shields while also providing original research on their construction based on interviews with Dayak elders in Sarawak. “Shields of Bali: A Legacy of Majapahit” by Robyn Maxwell describes the use of shields in the ceremonial life of a fourteenth-century Majapahit culture, that continued on in the lone outpost of Bali well into the twentieth century. The essay by the Melanesian art expert and Professor of Philosophy Harry Beran, “Why Paint Shields?” examines in depth the literature and contradictory theories on this complex and fascinating subject.

Barry Craig’s article “Subsistence Strategies, Settlement Patterns, and the Form and Use of War Shields in The Sepik, Madang, and Highlands Regions of Papua New Guinea” breaks new ground and is an important monograph from the most acknowledged expert on the art and culture of New Guinea living today. Natalie Wilson in “The Weapons of War have Eyes” explains in a very informative essay how the Phantom, a comic book character, came to be considered immortal in the Wahgi Valley and of the rituals of warfare that were practiced in the Central Highlands of New Guinea well into the second half of the twentieth century. Finally, Kevin Conru’s article on the shields of New Britain and the Solomons provides a basic framework for understanding the types and uses for these visually arresting "Picassoesque" shields from large archipelagos spreading into the Pacific from the eastern coast of New Guinea. In addition, this publication contains a wealth of early photos, watercolors, lithographs, and engravings.

Dayak, Dutch Borneo, possibly Ngaju, ca 1900. Image courtesy of Bill Evans — Dayak, Dutch Borneo, possibly Ngaju, ca 1900.
Image courtesy of Bill Evans

Dayak, possibly Ngaju, 19th century. Image courtesy of Bill Evans — Dayak, possibly Ngaju, 19th century.
Image courtesy of Bill Evans

Dayak, probably Iban, 19th century. (Front) Image courtesy of Bill Evans — Dayak, probably Iban, 19th century. (Front)
Image courtesy of Bill Evans

Dayak, probably Iban, 19th century. (Back) Image courtesy of Bill Evans — Dayak, probably Iban, 19th century. (Back)
Image courtesy of Bill Evans

Sa'dan Toraja, Sulawesi, stylized buffalo, buffalo hide, 19th century. Image courtesy of Bill Evans — Sa'dan Toraja, Sulawesi, stylized buffalo, buffalo hide, 19th century.
Image courtesy of Bill Evans

Trobriand Islands, New Guinea, 19th century, inv. no. E02059 (1893), Australian Museum, Sydney. Image courtesy of Bill Evans — Trobriand Islands, New Guinea, 19th century, inv. no. E02059 (1893), Australian Museum, Sydney.
Image courtesy of Bill Evans

Mentawai Islands, Siberut Island, , ca 1900 or earlier. Image courtesy of Bill Evans — Mentawai Islands, Siberut Island, , ca 1900 or earlier.
Image courtesy of Bill Evans

Sulka people, New Britain, ca 1900, inv. no. E60384, Australian Museum, Sydney. Image courtesy of Bill Evans — Sulka people, New Britain, ca 1900, inv. no. E60384, Australian Museum, Sydney.
Image courtesy of Bill Evans

Northern Luzon, Kalinga people, ca 1900. Image courtesy of Bill Evans — Northern Luzon, Kalinga people, ca 1900.
Image courtesy of Bill Evans

Bali, ceremonial shield, ca 1930. Image courtesy of Bill Evans — Bali, ceremonial shield, ca 1930.
Image courtesy of Bill Evans

Geelvinck Bay, Northwest New Guinea, Korwar dfance shield, 19th century. Image courtesy of Bill Evans — Geelvinck Bay, Northwest New Guinea, Korwar dfance shield, 19th century.
Image courtesy of Bill Evans

Sumba island, eastern Indonesia, hide and stingray skin, early 20th century. Image courtesy of Bill Evans — Sumba island, eastern Indonesia, hide and stingray skin, early 20th century.
Image courtesy of Bill Evans

Motu or Malu, Central Province, New Guinea, 19th century. Image courtesy of Bill Evans — Motu or Malu, Central Province, New Guinea, 19th century.
Image courtesy of Bill Evans

Elema people, Papuan Gulf, 19th century, inv. no. A.46688, South Australian Museum, Adelaide. Image courtesy of Bill Evans — Elema people, Papuan Gulf, 19th century, inv. no. A.46688, South Australian Museum, Adelaide.
Image courtesy of Bill Evans

Bill Evans

Bill Evans has specialized in tribal art and textiles in Sydney since 1978. For over 40 years, he has acted as a dealer, consultant, auction specialist, valuer, and collector. He has written numerous articles including Sydney's Hidden Treasure, The Macleay Museum The World of Tribal Art Autumn 1995 The Pacific Gallery at the South Australian Museum, The World of Tribal Art, Summer 1998 and Queensland Shields in the Queensland Museum; Tribal Art Magazine, Spring 2009.

He has also contributed a chapter on shields from the Solomon Islands in the publication Shields of Melanesia; 2002. He has put together major collections of early Aboriginal shields that now reside in the National Gallery of Victoria and the National Gallery of Australia.

In August of this year, the Queensland Art Gallery (QAGOMA) will include a collection of 45 early Queensland shields from Bill's collection in a major exhibition of Australian indigenous art.

Education:

Bachelor of Arts, Magna Cum Laude in History from the University of Minnesota 1969.

Disclaimer: This is not a sponsored post. Art of the Ancestors does not receive a commission should any of our readers purchase the aforementioned book.

Art of the Ancestors is a strictly non-commercial educational platform and has no vested interest in the professional activities of the author listed above. Their opinions are their own.

News 2Steven G. AlpertJuly 5, 2019Art of the Ancestors, Steven G. Alpert, Asian Art, Island Southeast Asian Art, Oceanic Art, Asiatica, Ethnographica, Ethnographic Art, Art Collection, Fine Art, Primitive Art, Indonesian Art, Tribal Art, Eyes of the Ancestors, Dr. Reimar Schefold