Alphabetical List of Carvers R to W

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3.1 Introduction 

This is a first attempt to synthesize all of the scattered information about individual Maori carvers. Of necessity, it obviously contains many errors and confusions which reflect the nature of the information presently available in the public domain. If nothing else, this attempt highlights the huge amount of research that is awaiting future scholars. This research needs to include the recording of information about standing meeting houses and their carvers, documenting carvings held in museum collections, linking archival and manuscript records with actual carvings, and especially by recording oral information and family papers about individual carvers still retained by families and descendants.

These references assembled here show how haphazard and skimpy have been the recording of individual carvers' names, their origins and iwi relationships, and their separate works, even in recent accounts of meeting houses by Maori writers. This listing also demonstrates how so much of the literature on individual Maori carvers has relied on and repeated a very limited corpus of original published information, even often repeating the same errors.

Carvers who worked into the mid- twentieth century are included. For the period after the 1950s not covered here, the need for better recording is even more pressing with so many carvers working and so many diverse projects being completed. One urgent lesson of this attempt at listing is that the names of carvers and the identification of each of their individual works is so quickly forgotten and confused. This is especially poignant in the case of the houses built by the carvers of the Rotorua School of Maori Arts and Crafts as recently as the 1930s, when one might have expected more detailed record keeping. At least, many of the present practising carvers are now keeping their own records of their work.

With so much confusion in this literature over first names, surnames and patronyms, it was decided to give the names of each carver in the order that they usually appear but then to list them alphabetically by the last (surname) name, with some cross-referencing by other commonly used names.

Entry framework: Name (with published variations) Birth-death dates and/or floruit dates Hapu Iwi Works with their dates References

Meeting houses are listed by name and opening date where known. Other objects are described as canoe, church, bowl, tokotoko etc. The list includes some carvings, pataka and meeting houses now known only from sketches, paintings and photographs. Only references referring to a person's carving activity are included, except for some references which give a photograph of the person or biographical information on the less well-known carvers. Therefore, for the better known and better documented personalities, many other references to their lives and activities are not included. References to the Maori Land Court records have not been included but information derived from this source is often incorporated into the more detailed recent published studies. Additional references to Maori Land Court information on carvers can be accessed through the Maori Land Court Minute Book Index Database established by University of Auckland.

Of necessity, this list is based on information of very variable quality and reliability, mainly because the sources are so diverse. These sources are a combination of oral history and documented history such as museum files and registers, published books and articles, Land Court records, theses, and private papers such as diaries and other manuscripts. Some of the information in these sources is actually based on attributions by Maori informants and more recently on attributions by academics. Compounding these problems are the basic sources of confusion resulting from different carvers with the same name, a carver known under different names, different spellings of same name, patronymy which results in the same name for father and son, patrons named as carvers, and famous carvers' names used as a shorthand term for their pupils or several lesser carvers. A common situation is the recording of several carvers working on a house, making it very difficult to identify the work of any one one individual.

For all of these carvers listed and especially for the more recent carvers, this is by no means a complete list of their works. Nevertheless, within the ethnic world of the nineteenth and early twentieth centuries, this list describes a unique situation where so many indigenous artists and their works can be identified (Neich 1997). At the very least, the hope is that this list may serve as a foundation for future research and may inspire others to continue with the recording.

3.2 Acknowledgements

Grateful thanks are due to Ngahuia Te Awekotuku, Matiu Baker, Deidre Brown, Antoine Coffin, Kelvin Day, Ngarino Ellis, Dean Flavell, Roger Fyfe, Arapata Hakiwai Sid Kereopa, John Laurie, David Simmons, Dorota Starzecka, Awhina Tamarapa, and Moira White for their help with this particular project. Much of this work has been carried out as part of a Royal Society of New Zealand Marsden Fund project entitled "Bringing Together Museums and Indigenous Knowledge".

3.3 References

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Author: Roger Neich, Curator of Ethnology, Auckland Museum / Professor of Anthropology, University of Auckland.  

Contact: Māori and Pasifika Services
File Last updated by Jenny Barnett l: Thursday, 01 July 2004