page v

Acknowledgements

As with any project of this nature, there are many people to whom my thanks are due; for their help, advice, encouragement kindness.

I would like to thank Mrs Googie Te Weurangi Tapsell (nee Whareaitu), Mrs Huna Kiwhangara Broughton (nee Whareaitu) and Mrs Cecilia Te Heipiwhara Lewis (nee Tapsell) and their families, of Maketu — for sharing with me stories of their great grandfather and great great grandfather, Horatio Gordon Robley; and their memories of his son, Hamiora Tu Ropere, and grandchildren, Te Heipiwhara Tu and Hepata Tu. The time spent at Maketu and Matapihi with members of Robley's family was, finally, the human link which breathed life into the dry processes of research. Thank you.

For their hospitality and kindness I would also like to thank Mr Paul Gear, and Mrs Bubby Tamihana Thompson, both of Matapihi.

To my mother and father, and to Lynne and Frith; thank you for your encouragement, support and patience.

My enquiries and requests for research material have at all times been considerately answered and promptly met by the staff of many institutions throughout New Zealand; and in Britain, the United States of America, Canada, the German Democratic Republic, and Australia. For their help, advice and frequent suggestions I am most grateful.

page vi

I would especially like to thank Anna Bibby, who made work at the Hawke's bay Art Gallery and Museum, Napier, a pleasure; David R. Simmons, Ethnologist at the Auckland Institute and Museum, for his generous help; the Manuscript staff at the Alexander Turnbull Library, Wellington; Marion Minson and Moira Long of the Art Room, Alexander Turnbull Library; Betty McFadgen, Warwick Wilson and Michael Fitzgerald of the National Museum of New Zealand, Wellington; Ms K.A. Coleridge, Special Materials Librarian at the victoria University of Wellington Library; the Manuscript staff, and Tim Garrity of the Art Room, at the Hocken Library, University of Otago, Dunedin; Mrs Joan Woodwood of the Canterbury Museum, Christchurch; Ian Thwaites, Gordon Maitland and the Library staff, Auckland Institute and Museum; Ronald Brownson and Roger Blackley, at the Auckland City Art Gallery; Mr R. Standish, Director of the Tauranga District Museum and Historical Village; Mrs Jinty Rorke at the Tauranga Archives; Wendy Harcent, Ethnologist at the Otago Museum. Special thanks are due to Stephen Shannon of the Durham Light Infantry Museum in Durham, England; and to Philip Gifford at the American Museum of Natural History, New York, for his help with my attempts to clarify catalogue details for the Museum's collection of Mokamokai, purchased from Robley in 1907.

Of the many individuals who have helped me, I am especially grateful to my supervisor, Michael Dunn, who has readily answered any questions I have had; the late Theo Schoon, for so generously sharing with me his understanding of moko and his appreciation of Robley's work; Mr Paki Harrison, Master Carver at the University of Auckland marae, for his kind advice; Mr T.E.R. Hodgson of Wellington, who kindly allowed me to study articles of correspondence in his collection; Mr J.A.W. Steedman of Tauranga, who advised me on a number of genealogical matters; Malcolm Ross, for his support and many contributions to my research; Victoria Mertoni-Robson, for her love; and, not least, Judie Henderson for her wonderful typing.

Finally I would like to thank Ron for his inimitable help, Roger for keeping me on line and Jah Bunny for his Love.