References
- Adovasio, J. M. 1977. Basketry technology: a guide to identification and analysis. Chicago: Aldine Publishing Company.
- Beadell, Jon. 2007. Personal Communication. Center for Conservation and Evolutionary Genetics, National Zoological Park, Smithsonian Institution, Washington, DC.
- Brain, R., and A. Pollock. 1971. Bangwa funerary sculpture. London: Gerald Duckworth and Co. Ltd.
- Eyo, E. 1981. Catalogue number 102. In For spirits and kings: African art from the Paul and Ruth Tishman Collection, ed. S. Vogel. New York: The Metropolitan Museum of Art.
- Farris Thompson, R. 1981. Catalogue number 104. In For spirits and kings: African art from the Paul and Ruth Tishman Collection, ed. S. Vogel. New York: The Metropolitan Museum of Art.
- Herreman, F. 2000. Sculptural modes of representing coiffures. In Hair in African art and culture, ed. R. Sieber, and F. Herreman. New York: Prestel. 46–57.
- Hoadly, R. B. 1990. Identifying wood: Accurate results with simple tools. Newtown: The Taunton Press.
- Julien, S. 1999. An investigation into skin-covered masks in the Horniman Museum: Materials, techniques, and problems of long-term conservation. Unpublished report held in the Collections Conservation and Care Section. London: Horniman Museum.
- Julien, S. 2000. Saving our skins: Long-term care of masks from the Cross River Region. Journal of Museum Ethnography 12: 115–24.
- Nicklin, K. 1974. Nigerian skin-covered masks. African Arts 7(3, November): 8–15, 67–8, 92.
- Nicklin, K. 1978. Catalogue number 5. In Twenty-five African sculptures, ed. J. Fry. Ottawa: National Gallery of Canada and National Museums of Canada.
- Nicklin, K. 1979. Skin-covered masks of Cameroon. African Arts 12(2, February): 54–9, 91–2.
- Nicklin, K. 1981. Catalogue number 99. In For spirits and kings: African Art from the Paul and Ruth Tishman Collection, ed. S. Vogel. New York: The Metropolitan Museum of Art, Harry N. Abrams, Inc.
- Nicklin, K. 1983. Traditional preservation methods: Some African practices observed. Museum 35(2): 123–30.
- Nicklin, K. 1984. Cross River studies. African Arts 18(1, November): 24–7, 96.
- Nicklin, K. 2000. Quest for the Cross River skin-covered mask: Methodology, reality and reflection. In Re-visions: new perspectives on the African collections of the Horniman Museum, ed. K. Arnaut. London: Horniman Museum and Gardens; Coimbra: Museu Antropólogico da Universidade de Coimbra. 189–207.
- Nicklin, K., and J. Salmons. 1988. Ikem: The history of a masquerade in southeast Nigeria. In West Afrcian masks and culture systems, ed. S. L. Kasfir. Tervuren: Koninklijk Museum Voor Midden-Afrika. 126–49.
- Partridge, C. 1905. Cross River natives. London: Hutchinson and Co.
- Wilson, Don E. 2007. Personal Communication. Curator, Mammals, National Museum of National History, Smithsonian Institution, Washington, D.C.
Further Reading
- Campbell, K. F. 1983. Nsibidi update/Nsibidi actualize. Arts d'Afrique Noire 47(automne): 33–46.
- Dalziel, J. M. 1948. The useful plants of west tropical Africa. London: The Crown Agents for the Colonies.
- Nicklin, K., and J. Salmons. 1984. Cross River art styles. African Arts 18(1, November): 28–43, 93–4.
- Schädler, K.-F. 1984. Ekoi. München: Panterra.
- Sieber, R., and B. Hecht. 2002. Eastern Nigerian art from the Toby and Barry Hecht Collection. African Arts 35(1, Spring): 56–77, 95–6.
- Poynor, R. 2001. Cross River, Cameroon Grasslands, and Gabon. In History of art in Africa, eds. M. Blackmun Visonà, R. Poynor, and H. M. Cole. New York: Harry N. Abrams. 330–65, 534.