AMERICAN INDIAN LABEL COPY - The Nelson-Atkins...

American Indian Label Copy, November 13, 2009 The Nelson-Atkins Museum of Art

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AMERICAN INDIAN LABEL COPY WOODLANDS: PRE-CONTACT

Human Head Effigy Jar Late Mississippian Culture, Chickasawba Site, Mississippi County, Arkansas 1350–1550 Clay and pigment Purchase: the Donald D. Jones Fund for American Indian Art, 2003.11

The Mississippian culture, which flourished in the Southeastern Woodlands from 1000 to 1600, is recognized for the diversity and quality of its artistic production. Within this tradition, human head effigy jars are considered one of the greatest achievements. While many are thought to represent trophy heads, others, including this striking work, are believed to depict venerated ancestors. This compelling portrait is animated by the sensitive modeling of facial features and quiet intensity of gaze, which transform the stylized depiction into an emotionally charged image. Details of personal ornamentation include tattoos represented by incised designs, a red-painted crown, roached hair and pierced earlobes that once held earrings. The function of head effigy jars and the nature of their contents are unknown, but most show unmistakable evidence of use.

Ceremonial Blades Sedalia Culture, Pettis County, Missouri Late Archaic Period, 2500–1500 B.C.E. Flint Lent by the Bruce Hartman Collection, 1.2003.1, 1.2003.2

Found by a farmer plowing his field with mules, these flint blades originated with an ancient Woodland people who lived in the area of Sedalia, Missouri. Each one is expertly flaked to a remarkable thinness, with graceful tapering shapes and an evenly controlled, rippling texture across the surfaces. They are significantly larger than others of the type and far too delicate to have functioned as weapons or tools for hunting. Instead, they were valued for their elegant beauty and the symbolic meanings associated with their possession, presentation and ceremonial use.

Kneeling Human Effigy Jar Late Mississippian Culture, Bradley Site, Crittenden County, Arkansas 1350–1550 Clay Promised gift of John and Kay Callison in honor of the 75th anniversary of The Nelson-Atkins Museum of Art, 15.2006

In this finely sculpted ceramic vessel, the artist has portrayed the human form through a blending of stylized and realistic modeling. While the sharply rendered features of the figure serve to activate the smoothly rounded volume of the torso, the sensitively sculpted head, wrists and hands reveal a compelling human portrait. Figures of this type were depicted repeatedly by Mississippian artists and are believed by many scholars to represent a revered female deity known by various names depending on the specific Native American people, location and associated oral tradition.


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Shell Mask Gorget Late Mississippian Culture, Anton Rygh Site, Campbell County, South Dakota 1500–1700 Marine shell Purchase: acquired as a gift by friends in honor of Fred and Virginia Merrill, 2004.30

This austere, minimally carved and engraved, masklike ornament was made to be worn at the neck and shows considerable wear and polish from long use. The elongated nose is defined by subtle relief carving, while a delicately incised line across the top of the head, located just below a notched contour representing hair, is nearly worn away. The hole at the bottom originally held a suspension, possibly a feather. While such objects express Mississippian cosmology and world view, scholars have suggested they were associated with warrior societies and related rituals.

Axe Nebo Culture, Jackson County, Missouri Late Archaic Period, 2000–1000 B.C.E. Granite Lent by John and Kay Callison, 12.2005

The finest stone axes from ancient times were created as sculptural works, exhibiting a level of aesthetic sensitivity and craftsmanship extending far beyond the necessities of function. This suggests that such objects were infused with meaning beyond their use and value as tools. This example, found within the area that is now Kansas City, is distinguished by its finely proportioned contour, the perfect symmetry of its tapering form, its gently curving convex and concave surfaces and the maker’s carefully chosen, fine-grained stone. WOODLANDS: NORTHEAST & EASTERN GREAT LAKES

Coat Ojibwa, Ontario, Canada ca. 1789 Native leather, rawhide, pigment, porcupine quills, glass beads and deer hair Gift of Ned Jalbert in honor of the 75th anniversary of The Nelson-Atkins Museum of Art and funds from the exchange of William Rockhill Nelson Trust properties, 2008.1 This rare buffalo skin coat reflects a complex blending of Woodlands and Plains Indian artistic traditions—Northwestern Ojibwa, Manitoba Cree, Northeastern Plains and Metis—as well as European fashion. It also embodies the dynamic cultural exchange that characterized the beaver trade

during the North American Colonial period. Patterned after an English officer’s coat of the period of George III, garments of this type signified rank, wealth and prestige. This one is richly ornamented with loom-woven, embroidered and wrapped porcupine quillwork in geometric designs, and elaborately painted with abstract, geometric imagery. Like all others with recorded histories, it was presented to a prominent White official or visitor, reportedly in 1789, and probably represented a complex social exchange rather than a simple gift or collector’s acquisition.


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Ball-Head Club Eastern Great Lakes ca. 1700–1750 Wood (maple) Purchase: acquired through the generosity of Mick and Kathy Aslin and the M&I Bank Foundation, 2008.17

Ball-headed war clubs of the Woodlands and Eastern Plains peoples are among the most important forms of American Indian sculptural expression. This club incorporates the stylized image of a living creature within its form—an animal, almost certainly a panther, gripping a ball in its mouth. The composition is a common device, usually thought to represent the owner’s guardian spirit. Skillfully carved from the knots of trees and imbued with sacred associations, perfectly designed weapons such as this are elegant examples of the carver’s handling of restrained abstraction, proportion and balance.

Moccasins Huron, Quebec, Canada ca. 1830 Black-dyed native leather, moose hair and silk ribbon Bequest of Donald D. Jones, 2001.3.69.A,B

These finely embroidered moccasins are an early example of Native American art created for the tourist market. Young Huron women under the tutelage of Ursuline nuns in colonial Quebec developed a distinctive style of floral embroidery in the late 18th century, which was based on French Renaissance techniques and European floral designs. The resulting interaction evolved as an important source of income for Huron women in their production of souvenirs catering to the tastes of European and American travelers.

Bag Huron, Quebec, Canada ca. 1850 Wool cloth, moose hair, silk ribbon, glass beads and cotton cord From the Estelle and Morton Sosland Collection, 2009.41.23

Like the Huron moccasins nearby, this purse was created in response to the 19th century Victorian tastes of a growing North American tourist industry. Here, however, dark wool cloth has replaced black-dyed Native leather, and silk ribbon edging has been augmented by elaborate glass beadwork. The delicate moose hair petals and leaves are exquisitely rendered, contrasting effectively with rhythmic, undulating rows of beading outlining the panels and flap. The nearly pristine condition of this object allows us to see the quality of the moose hair’s original color.

Lidded Box Micmac, Nova Scotia or northern New Brunswick ca. 1840 Birchbark, wood, spruce root and dyed porcupine quills Gift of James E. Laramy, 2009.44.A,B


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Tab Bag Eastern Great Lakes ca. 1800 Black-dyed native leather, porcupine quills, metal cones, deer hair and silk ribbon Purchase: the Donald D. Jones Fund for American Indian Art, 2004.17 Black-dyed deerskin bags embroidered with porcupine quills were created throughout the Eastern Woodlands, Great Lakes and Prairie regions. They were used as containers for objects and materials associated with sacred power, healing and ritual societies. This rare example depicts various spirit

beings, or manitous, joined with abstract representations of supernatural power. Together they form a cosmological diagram—the visualization of a complex world alive with both visible and unseen forces. The manitous, represented as thunderbirds, turtles and humans, are conceived in perpetual conflict, a metaphor for the universal struggles inherent in the natural world, but their interaction also represents the essential balance formed within a cohesive universe. An early form originating prior to European contact, few bags of this type were produced after 1830.

Bird Effigy Feast Bowl Northeastern Woodlands, Algonquian 17th century Wood (elm) and pigment Gift of George Terasaki, 2004.32.2

The spiritual and cultural traditions of Woodlands peoples are powerfully embodied in feast bowls of this type. Carved from the burls of trees deemed sacred, these beautifully proportioned objects functioned as ritual vessels in nearly all religious ceremonies. The highly abstract, minimally carved bird’s head emerging from the rim of this work depicts a raptor, thereby establishing its identity as a Thunderbird, the great guardian spirit so often represented in Woodland art. The fragmented rim, eroded paint and glowing luster indicate great age and long use, revealing that this ancient bowl was revered for generations. WOODLANDS: SOUTHEAST

Shoulder Bag Seminole, Florida ca. 1830 Wool cloth, glass beads, silk ribbon and wool yarn Lent by Joanne and Lee Lyon, 39.2007 Ammunition pouches carried by 18th century British soldiers are believed to have inspired the creation of elaborate bandolier, or shoulder bags, which were worn as elements of men’s formal

dress. The objects were constructed entirely of trade materials, but the finely beaded designs of this bag are reminiscent of those found engraved and painted on shell and pottery by pre-contact Southeastern peoples. The cross-in-circle motifs have been variously interpreted as symbols of the sacred: cosmic space, the sun, the four directions and the central fire—all, essentially, representations of the Above World. The mythic swastika designs on the opposing strap are thought to represent the Great Serpent and powers of the Under World. Together, these elements express the duality of a balanced cosmos.

Maude Welch


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Eastern Cherokee, Qualla Boundary, North Carolina, 1894–? Double Snake Effigy Jar ca. 1935 Clay Gift of Bruce Hartman in memory of Wilma and Edward Hartman, Lee’s Summit, Missouri, 2008.70.1 In response to a developing tourist trade, a pottery revival emerged on the Qualla Boundary, the settlement of the Eastern Band of Cherokee, sometime between 1880 and 1920. Maude Welch is recognized as one of the most accomplished of the early artists. This simple jar is transformed by the representation of two snakes that engulf its shape, appearing to slither in and out of the burnished, black and tan, fire-clouded surface. The pattern was intentionally created through the firing process, further activating the visual dynamic of the work.

Lidded Basket Chitimacha, Louisiana ca. 1875 River cane and native dyes Purchase: the Donald D. Jones Fund for American Indian Art, 2004.33.A,B

The Chitimacha of Louisiana are the acknowledged masters of woven polychrome baskets of dyed river cane. This superb example, with its beautifully controlled rectilinear shape and carefully fitted lid, is ornamented with a meandering, scroll-like pattern inspired by ancient Mississippian pottery designs. Called Nactcua-aki, the design is said to represent alligator entrails. Created with the simplest technique called plaiting, this polychrome basket represents the highest development of the form called double weave. Here, one basket is essentially woven inside another and the two are then interwoven at the rim.

Melissa Darden Chitimacha, Louisiana, born 1968 Lidded Basket 2007 River cane and native dyes Purchase: the A. Keith Brodkin Fund for the Acquisition of Contemporary American Indian Art, 2007.29.A,B

Contemporary basket maker Melissa Darden is one of only four remaining artists to carry on the ancient tradition of Chitimacha basketry. The design ornamenting this award-winning, double-weave basket is called Four Corner Muscadine, and features large, four-pointed motifs representing smashed berries that splatter in four directions. Darden utilizes materials, native dyes and designs that have been passed down for more than three centuries, and she practices the same techniques as her ancestors, using only a knife, her teeth and hands as tools.


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WOODLANDS: WESTERN GREAT LAKES/PRAIRIE Effigy Feast Bowl Sisseton Dakota (Eastern Sioux), Minnesota ca. 1850 Wood and brass tacks Gift of Ned Jalbert, 2006.48

Feast bowls of the Santee Dakota are often associated with Eyah, a supernatural being known as the Glutton. They were used within ceremonies that included ritual ―eat all feasts,‖ in which great quantities of food were consumed. Eyah is most often depicted as some voracious animal, usually a bear, in which the spirit resides. Here, the creature’s head with brass-tack eyes rises up from the rim, its shoulders subtly defined at either side, thereby transforming the volume of the bowl into a sculptural metaphor for the creature’s body.

Effigy Feast Bowl Dakota (Eastern Sioux), Minnesota ca. 1850 Wood and brass tacks

Bequest of Donald D. Jones, 2001.3.78.1 Feast bowls of the historic Woodlands and Eastern Plains peoples represent an ancient sculptural tradition. The bowls were carved from burls, or knots, that formed in the trunks of a variety of hardwoods. Although difficult to carve, the dense, swirling, tightly patterned grain of burls resisted cracking and breaking, allowing carvers to achieve a remarkable thinness in the finished forms. The irregular, undulating rims of many bowls, including this one, are unquestionably intentional; it would appear the carvers sought to retain the organic structure and living presence of the tree.

Eugene Kapeyo Mesquakie, Iowa, 1930–2001 German Luger Effigy Spoon ca. 1950

Wood (maple?) Gift of Gaylord Torrence in honor of Harriette Lubetkin, 2006.41 Veterans have always been highly honored in Native American communities. It is believed that Eugene Kapeyo (himself a Korean War veteran) carved this spoon for one of his uncles who served during World War II. Individually owned spoons were traditionally used during religious feasts, and these were often embellished with an image important to the owner, usually a clan symbol, horse or spirit being. Kapeyo’s unusual depiction of a gun, undoubtedly a captured German weapon, continues the long tradition of Woodlands and Plains warrior art and the public display of military achievement.

Woman’s Blanket


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Osage or Oto, Oklahoma Early 20th century Wool cloth, silk ribbon and glass beads Purchase: Nelson Trust through exchange of the gifts of Mr. William L. Evans Jr., Mr. and Mrs. Robert Mann Jr., and other Trust properties, 89-38 For more than 200 years, the Indians of the Woodlands have preferred to create much of their decorated clothing from manufactured materials obtained in trade from Europeans and Americans. The technique of silk ribbon appliqué was first developed by women of the Great Lakes region in the late 18th century, and production spread into the Eastern and Southern Plains. A distinctive feature of Osage women’s blankets and those of the neighboring Oto is appliquéd or beaded human hands along the lower border. The design is thought to symbolize familial relations, spiritual power or simply friendship, prompting common use of the term friendship blanket. When worn and wrapped around the figure, the two outer bands were joined down the front and the hands and broad lower border encircled the wearer.

Bandolier Bag Ojibwa, Minnesota 1850 Wool and cotton cloth, glass beads, silk ribbon and cotton thread Gift of J. Wilson Nance and Martha T. Nance in honor of Mr. and Mrs. Reginald G. Thomson, 77-26/1 The beaded design of this exquisitely constructed, loom-woven bandolier bag bears the name Joseph

Lantre and the date November 11, 1850. Because objects of this kind were often made and presented as special gifts, it is likely the bag was either commissioned for Mr. Lantre or presented to him on that day. Made by women and worn predominantly by men on formal and ceremonial occasions, the finest bags were esteemed symbols of prestige for both makers and wearers. They were valued as material wealth and equally displayed the skill and effort required to produce such works.

Bandolier Bag Ojibwa, Minnesota, or possibly Mesquakie, Iowa ca. 1900 Cotton cloth, glass beads and wool yarn Purchase: the Donald D. Jones Fund for American Indian Art and gift of the Svacina Family, 2002.20.6 Bandolier bags are the largest and most elaborate beaded objects created by the women of the

Western Great Lakes and Prairie regions. Earlier types (see nearby) were made as utilitarian pouches, but later works such as this often functioned purely as decorative ornaments. The maker of this harmoniously colored piece appears to have derived her scrolling floral, potted plant and rooster motifs from Euro-American decorative arts, possibly printed textile patterns, folk painting or graphic illustration. The initials embroidered onto the lower straps indicate the object was intended for a specific person.

Knife Sheath Ojibwa, Minnesota ca. 1850

Native leather, glass beads, silk ribbon and cotton thread Gift of J. Wilson Nance and Martha T. Nance in honor of Mr. and Mrs. Reginald G. Thomson, 77-26/4


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Man’s Garters Eastern Great Lakes ca. 1820–1840 Glass beads and wool yarn Purchase: the Donald D. Jones Fund for American Indian Art, 2004.16.A,B

Cuffs Mesquakie, Iowa ca. 1925 Cotton cloth, glass beads and native leather Purchase: the Donald D. Jones Fund for American Indian Art and gift of the Svacina Family, 2002.20.1.A,B

During the late 19th century, many tribes used patriotic symbols in a variety of artistic forms to express various meanings. A design based on the Great Seal of the United States was embroidered on this pair of beaded dance cuffs; while the image itself is non-traditional, the artist has nonetheless expressed ancient Mesquakie concepts within her creation. The American eagle is a subtle replacement for the mythic Thunderbird, a powerful guardian spirit, while the iridescent white and purple glass beads recall wampum, early beads of clam shell often suffused with symbolic meanings.

Ki We Na Mesquakie, Iowa, 1900–1984 Vest ca. 1925 Native leather, glass beads, cotton cloth and metal sequins Purchase: the Donald D. Jones Fund for American Indian Art and gift of the Svacina Family, 2002.20.3

Health Guardian Doll Delaware, Indiana or Kansas Doll, ca. 1800 (clothing ca. 1860) Wood, pigment, human hair, wool and cotton cloth, silk ribbon, native leather, glass beads and metal Gift of Mr. and Mrs. Lee R. Lyon, 79-8/2

This revered figure was regarded as a protector and guardian of good health and a provider of blessings and good fortune. Referred to as ―our Grandmother‖ by Delaware peoples, dolls of this type belonged to individual families and were cared for with respect and veneration. These benevolent spirits were ceremonially honored each year with a feast and dance, at which time they were adorned with new clothes and jewelry. This carving is much older than the clothing she wears; her splendid dress is one of many sets of garments and jewelry presented to her over the years, all of which were placed within the trunk in which she was stored. The first Health Guardian doll was made following the vision of a young girl whose doll had come to life.


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Pipe Bowl Wyandot, Ohio ca. 1700-1800 Wood Bequest of Donald D. Jones, 2001.3.83

A number of early Eastern Woodlands sculptural works, notably pipe bowls, spoons and ladles, incorporate the image of a seated man holding a keg of liquor. This unusual pipe is set apart by the mask-like appearance of the figure’s face, which bears a strong resemblance to ceremonial masks created by the Delaware and Iroquois peoples. This suggests the figure represents a guardian spirit, facing the smoker. Among the Wyandot and related groups, liquor obtained in trade, particularly rum, was used within a ceremonial context to enhance visionary experiences.

Attributed to Alfred Kiyana Mesquakie, Iowa, 1877–1918 Turtle Effigy ca. 1912 Wood (walnut), native leather, feathers, bird bone whistle and root Lent by the St. Joseph Museums, Inc., 23.2008.4.A, B

This powerful carving was made by a Mesquakie artist to replicate a sacred object never intended for public display. It represents both a snapping turtle and manitou, or supernatural being, one of the underwater powers inhabiting the Mesquakie cosmos. The object is one of a small number of works created to assist an anthropologist who was studying Mesquakie mythology, religion and material culture. It provided the scholar, and now the outside world, with a view into a sacred realm. The original object is revealed only to appropriate tribal members during ritual use.

Prescription Sticks Potawatomi, Wisconsin or Kansas ca. 1850 Wood Bequest of Donald D. Jones, 2001.3.73, 2001.3.74 A healer, who could have been either a man or woman, consulted these prescription sticks as memory aids in preparing herbal medicines. The edges of both sides of each flat panel are delicately incised with linear pictographs that represent distinct plant species. While not a formal written language, the images were clearly understood by

the maker or others taught to interpret them. Groups of plants that would have been combined in complex formulas are separated by either incised dots or rectangular, X-filled bars.

Gunstock Club Mdewakaton Dakota (Eastern Sioux), Minnesota ca. 1840 Wood, pigment, brass tacks and iron blade Gift of Ed and Judy Benson in honor of the 75th anniversary of The Nelson-Atkins Museum of Art, 2008.68 This finely carved, classic war club purportedly belonged to Little Crow, the Dakota chief who

reluctantly led his people during the Minnesota Indian War of 1862. Distinguished by its elegant proportion and richly painted surface, the club is elaborately ornamented with brass tacks that define the contours of its form and the circular motifs within. The use of war clubs continued long after the acquisition of guns because of their effectiveness in hand-to-hand fighting and the sacred associations surrounding them.


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Bag Sauk, Oklahoma ca. 1875 Cotton and commercial wool yarn Purchase: the Donald D. Jones Fund for American Indian Art, 2005.6

The construction of this finger woven, twined bag is extremely complex, to the extent that it initially defied attempts by contemporary experts to determine how it was made. The design depicts rows of thunderbirds on one side and spirit-deer on the reverse, rhythmically floating within a surrounding field of shifting color, geometric pattern and visual texture. These pictorial elements are beautifully orchestrated; the subtlety of color modulation and textural relationships is unsurpassed in other textiles of this type. The attenuated, linear depiction of the thunderbirds is especially dramatic, evoking the lightning with which they are so closely associated.

Calumet (Pipe Bowl and Stem) Western Great Lakes/Eastern Plains ca. 1820 Wood, catlinite and lead Purchase: acquired through the generosity of Mick and Kathy Aslin and the M&I Bank Foundation in honor of the 75th anniversary of The Nelson-Atkins Museum of Art, 2008.28.A,B

The use of tobacco as a sacrament was a central feature of many American Indian cultures throughout North America. Pipe ceremonialism was highly developed in the Woodlands, Prairie and Plains regions, and pipe bowls and wooden stems were among the most important sculptural forms produced by Native American men. This finely carved calumet is distinguished by the undulating contour of the stem and its elegant proportion. The irregular linear pattern resulting from the exposed wood grain was used to great effect in both defining and emphasizing the stem’s rhythmic sculptural volumes.

Pipe Stem Dakota (Eastern Sioux), Minnesota or North or South Dakota ca. 1780–1820 Wood, porcupine quills, dyed native leather, deer hair, sinew and bird scalp Gift of Ned Jalbert, 2008.71.2

Pipes served as key objects in most religious ceremonies. They also functioned as powerful symbols in rituals establishing formal diplomatic ties, political alliances and trade relationships. This long, flat stem with a finely plaited, porcupine quill panel is typical of the large ceremonial pipes created for these purposes. The unusual design depicting two human figures that appear to be wearing hats may have been inspired by visiting dignitaries to whom such pipes were commonly presented.

Pipe Bowl and Stem Possibly Osage, Oklahoma ca. 1875 Catlinite and wood Bequest of Donald D. Jones, 2001.3.133.1,2

Most pipes made entirely of catlinite were produced by Lakota carvers, but the iconography of this work suggests an Osage origin. The depiction of the human head as the bowl continues a longstanding Plains and Woodlands tradition, but the stem, with its progression of human hands carved in relief along its length, is unusual. The hand was a principal motif in Osage art, usually representing war honors: deeds such as touching the enemy in battle, vanquishing another warrior in hand-to-hand combat or capturing an enemy. On Osage women’s blankets, however, they represent friendship and unity.


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Pipe Bowl Dakota (Eastern Sioux), Minnesota ca. 1820 Catlinite and lead Purchase: acquired through the generosity of Tony and Marti Oppenheimer and the Oppenheimer

Brothers Foundation in memory of Edward W. Hartman, 2004.31 Most Plains and Prairie pipe bowls from the post-European contact period were carved from catlinite, a soft, red-colored stone quarried in southwestern Minnesota. This bowl is elaborated with designs of lead inlay. The three architectonic forms comprising the crest along the shaft represent either houses or lodges that, together, appear to symbolize either a fort or village. The four lines at the top of the bowl were likely intended to represent the four sacred directions believed to converge at the ritual center of the universe.

Pipe Bowl Great Lakes or Prairie ca. 1800–1850 Catlinite Gift of George Terasaki, 2004.32.1

PLAINS:

Eagle Feather Headdress Northern Cheyenne, Montana ca. 1875 Eagle, hawk, owl and raven feathers, rawhide, native leather, wool and cotton cloth, glass beads, ermine skin, silk ribbon and horsehair Purchase: William Rockhill Nelson Trust, 31-125/38 Headdresses are among the most spectacular and compelling objects of all Native American ceremonial regalia. The man who wore this magnificent eagle feather war bonnet would have been known for his military achievement, personal valor and leadership. Each tail feather represents a

distinct honor earned in war by the wearer or other tribal members, and the headdress in its totality symbolizes the owner’s bravery, political stature and responsibility to the people. Only the greatest warriors would presume to wear one in battle or ceremonial events, and in pre-reservation times few men achieved this honor. By the beginning of the 20th century, however, eagle feather headdresses had become the prevailing symbol of Native American identity throughout North America, and much of their original significance was lost.

Man’s Shirt Crow, Montana, or possibly Nez Perce, Idaho ca. 1865 Native leather, pigment, glass beads, feathers, fur, hair, wool and sinew Lent by Ed and Judy Benson, 8.2007.1

Like the eagle feather headdress nearby, this shirt was originally worn by a man of military distinction and political stature. Garments of this type are commonly called scalp shirts because of the fringe of human hair. The hair locks were symbolic of the shirt-wearer’s brave deeds, and, with some tribes, they might represent the people of the tribe for whom the shirt-wearer was responsible. The garment is constructed of two deer skins in such a way that the legs of the animals remain visible, reflecting the Plains principle of minimally altering the natural shape of hides used for clothing. The beadwork, known as Transmontane style, developed among the Crow of Montana and Eastern Plateau groups as a result of trade and cultural exchange.


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Animal Skin Tobacco Bag Eastern Plains ca. 1840 Animal skin (probably black-footed ferret), native leather, porcupine quills, wool cloth, silk ribbon, bird claws, brass bells and buttons, glass beads, metal cones, feather and animal hair

Anonymous gift, 2002.24 The practice of transforming the whole skin of an animal into a bag used for storing tobacco and other materials was common throughout much of the Woodlands and Plains. The creatures’ pelts were usually elaborated with quillwork, beadwork and paint together with delicate suspensions of various materials. The addition of these decorative elements effected a remarkable transfiguration. Rather than disguising the presence of the animal, its lifelike presence was allowed to be predominant; the resulting image was that of a powerful spirit-being, honored and enhanced by splendid ornamentation. The eagle talon ―horns‖ affixed to the sides of the head symbolize sacred power.

Tobacco Bag Southern Arapaho, Oklahoma ca. 1890 Native leather, glass and metal beads and pigment Purchase: the Donald D. Jones Fund for American Indian Art, 2004.7

Tobacco Bag Southern Cheyenne, Oklahoma 1890 Native leather, glass beads, pigment, metal cones and dew claws Purchase: the Sacred Circles Fund and gift of Sheilah A. Philip, Gordon S. Philip and George Philip V, 2006.40 The designs on the front and reverse beaded panels of this Cheyenne bag depict a single human

surrounded by Thunderbirds—ancient, mythic, powerful spirit-helpers. The image evokes the individual’s search for spiritual guidance, one of the defining features of Plains culture. Here, a man stands with raised arms in the act of prayer, calling for sacred power. The design may also represent the Ghost Dance, where participants danced with outstretched arms in a trance-like state, seeking to see deceased relatives and the new world promised by the religion’s doctrine.

Tobacco Bag Kiowa, Oklahoma ca. 1890 Native leather, glass beads and pigment Gift of Berte and Alan Hirschfield, 2007.42 The geometric design forming the beaded panel of this rare Kiowa bag was almost certainly intended as a pictographic landscape. Across the bottom, a row of motifs including green triangles suggests the earth’s horizon. Above, radiating brightness within the pre-dawn, eastern

sky is a large red equilateral cross within a blue diamond—the morning star. Its four expanding points terminate in Latin crosses, now associated with Christianity. Collectively, the design may be symbolic of the Native American Church, which incorporates both the morning star and Christian imagery within its iconography.


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Attributed to Me-o-tzi (Young Grass That Shoots in the Spring) Southern Cheyenne, Colorado Tobacco Bag ca. 1865 Native leather, glass and brass beads and metal cones Daniel B. Dyer Collection courtesy of the Kansas City Museum— Union Station Kansas City, 2.2008.4 This tobacco bag is believed to have been owned by Black Kettle, the Southern Cheyenne peace

chief who was killed during General Custer’s infamous attack at the Battle of the Washita in 1868. According to the collector’s records, the bag was made by Black Kettle’s niece, Me-o-tzi. The young woman herself may have saved the object while surviving the attack, as much of the contents of the village were burned by Custer’s troops. This tobacco bag is the very embodiment of classic Cheyenne aesthetic principles—reserved, elegant and technically precise.

Tobacco Bag Cheyenne ca. 1840 Native leather, glass beads, porcupine quills, brass bells, metal cones and horsehair Promised gift of A.J. Grant, 57.2009 The use of tobacco in rituals was highly developed among Plains Indian peoples. Elaborate bags, often exquisitely detailed works of art, were produced by women to serve as containers for tobacco and, among some tribes, for pipe bowls and stems as well. Together with the pipe, such bags were carried by men on important occasions as an element of formal dress. Banded designs were common among many tribes, possibly referring to war honors, but for the Cheyenne, variants of the pattern had sacred connotations.

Tobacco Society Bag Crow, Montana ca. 1850–1860 Native leather, glass beads and pigment Gift of Mr. and Mrs. Charles Diker, 2008.69

Strike-a-Light Bag Kiowa, Oklahoma ca. 1875 Commercial and native leather, glass beads and metal cones Purchase: William Rockhill Nelson Trust, 33-1186 Because Plains Indian clothing had no pockets, specialized cases made to hang from the belt were created

for tools and personal effects. Strike-a-light bags were so named because they were made originally to hold flint, steel and tinder for fire-making, but they were also used during the early reservation era to store ration cards. The intricately beaded design incorporates a house-like image often seen on Kiowa beadwork, but its specific meaning remains unknown outside native oral tradition. The fringe of metal cones produced a soft, tinkling sound with the slightest movement.

Bag


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Ute ca. 1890 Native leather, glass beads and metal cones Gift of Daniel R. Anthony III and Eleanor Anthony Tenney, 50-73/77

Small beaded bags worn on a belt were produced over much of North America and were especially common throughout the Plains, Plateau and Southwest regions. The finest of these objects are jewel-like manifestations of design, color and texture. This bag reflects the unusual, even daring color relationships sometimes achieved by Ute women. The harmonious interplay of soft, middle-toned hues evokes the subtle coloration often experienced within the western landscape.

Dispatch Case Arapaho, Oklahoma or Wyoming ca. 1890 Commercial and native leather, glass and brass beads and metal cones Purchase: William Rockhill Nelson Trust, 33-1190

Beaded dispatch cases, similar to strike-a-light bags but larger, were made by Plains peoples during the early reservation era. Constructed from stiff, commercial saddle or boot leather, they were ideal

for transporting paper documents, which accounts for their name. Some were undoubtedly used for this purpose, but anthropologists who were collecting objects during the final decades of the 19th century describe them as containers for combs, paint-bags, mirrors and other toiletries. This example is notable for the elegance of its finely beaded design and delicate integration of diverse materials.

Kevin Pourier Oglala Lakota (Teton Sioux), South Dakota, born 1958 Warrior Shades – Buffalo Horn Rim Glasses 2008 Buffalo horn, stone, mother-of-pearl, metal and glass

Purchase: the A. Keith Brodkin Fund for the Acquisition of Contemporary American Indian Art, 2008.4

While these reading glasses are not without humor and irony, particularly with the words ―Rez Ban‖ inlaid on the inner frame, they are also quietly charged with spirituality and traditional associations. According to the artist, the buffalo’s spirit resides within the horn cap, the material that forms the foundation of the frames. The pale yellow and deep red sandstone used for inlay are derived from locations significant in Lakota history and myth, and the abstract, geometric designs reflect older Lakota quill and beadwork motifs.

Parfleche Case Crow, Montana ca. 1865 Rawhide, pigment and wool cloth Purchase: William Rockhill Nelson Trust (by exchange), 2009.45

Parfleche painting was traditionally women’s art and featured abstract, geometric imagery. However, a small but distinct class of rawhide containers was created by men. These paintings, like those on shields, were inspired by sacred visions and depicted supernatural powers. The images represented either the principal spirit-helper embodied within the contents of the case, or perhaps the vision itself. The painting on this parfleche depicts an eagle in profile, sitting within a field of vivid red; on either side is an unusual pattern of floating dark green forms within fields of bright yellow. The importance of the eagle in Plains Indian religious traditions is well understood, but without the explanation of the artist, now unknown, it is impossible to know the exact meaning of this dramatic image.


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Parfleche Envelope Lakota (Teton Sioux), North or South Dakota ca. 1885 Rawhide and pigment Gift of Barbara and Peter Gattermeir in honor of the 75th anniversary of The Nelson-Atkins Museum of Art, 2009.42.1

The parfleche—a container of folded or sewn rawhide elaborated with drawn and painted designs over the exposed surfaces—constitutes one of the great traditions of American Indian painting. Created by women and used for the storage and transport of families’ belongings, these light, unbreakable, weather resistant containers were integral to the nomadic life of Plains and Plateau peoples. Lakota parfleches are distinguished by their bold designs, saturated color and heavy black outlining. Most of the surface was covered with colored forms, and unpainted areas were integrated within the design as smaller, repeated elements. The symbolic composition of this envelope was favored and often repeated by Lakota women. The diamonds forming the principal element of the painting were said to represent the turtle or the breast of a turtle, a creature intimately connected with women’s sacred power.

Courting Flute Lakota (Teton Sioux), North or South Dakota ca. 1870 Wood, pigment, native leather and feather Purchase: the Donald D. Jones Fund for American Indian Art, 2002.5.3

The elk was closely associated with love and passion in many Plains Indian societies. As a part of courtship, Lakota suitors played flutes like this in imitation of the bull elk’s whistling call. Here, the carver has perfectly integrated the abstracted representation of the elk within the body of the musical instrument. The stylized image of the majestic animal is at once realistic and mythic, the perfect depiction of a calling elk: head extended with mouth open and antlers lying back across the outstretched neck. Remarkably, the expression on the face resonates with passion and longing—the emotional state associated with the flute’s purpose. The delicately carved, adjustable stop, a small block over the open slot near the mouthpiece, incorporates an owl facing the player.

Attributed to Tahdo (Medicine Sage) Kiowa, Oklahoma, 1879–1966 Cradle ca. 1915 Native leather, glass beads, pigment, cotton and silk cloth, wood and German silver Purchase: William Rockhill Nelson Trust, 33-1241

Of the many well designed and highly decorated American Indian cradles, those of the Kiowa are widely considered to be among the most elaborate and beautiful. Created by female relatives of the mother, these works are noted for an especially rich diversity of materials, textures and colors, all carefully orchestrated into harmonious, visually unified forms. Tahdo was considered a master cradle maker, both within her community and in early competitive beadwork exhibitions and is believed to have made at least eight full-sized cradles and many toy cradles during her life.


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Joyce Growing Thunder Fogarty Assiniboine/Sioux, Fort Peck Reservation, Montana, born 1950 Toy Cradle 1955 Native leather, glass and brass beads, cotton and wool cloth, wool yarn, wood, pigment and brass tacks Bequest of Donald D. Jones, 2001.3.7

Joyce Growing Thunder Fogarty is widely recognized as a master of contemporary beadwork. Together with her daughter, Juanita, who has also won wide acclaim, she looks back to her Plains ancestry in the creation of traditional forms. This toy cradle is patterned after those created by Kiowa and Comanche women of the late 19th and early 20th centuries yet represents the artist’s own, highly distinctive style. The beaded lizard hanging from its side replicates a protective amulet that would have originally contained a small piece of the child’s umbilical cord.

Doll Southern Arapaho or Cheyenne, Oklahoma ca. 1880 Native leather, glass beads, cotton cloth, pigment and wood Daniel B. Dyer Collection courtesy of the Kansas City Museum - Union Station Kansas City, 2.2008.1 This doll represents an Arapaho or Cheyenne warrior, quite possibly a little girl’s father or favorite uncle.

Its elaborate clothing, face painting, earrings and miniature bow case and quiver are all so meticulously detailed as to suggest the figure was intended as a specific portrait rather than a generalized depiction. Indeed, early dolls sometimes provide a wealth of ethnographic information regarding dress and ornamentation of their period. While dolls have always been created as toys, many were also produced for sale during the last quarter of the 19th century.

Vest Lakota (Teton Sioux), North or South Dakota ca. 1890 Native leather, glass beads and pigment Lent by Stephen Lister, 63.2009

Boy’s Shirt Crow, Montana ca. 1880 Native leather, glass beads, muslin and cotton cloth Gift of Daniel R. Anthony III and Eleanor Anthony Tenney, 50-73/46

The Plains peoples’ love for their children is vividly demonstrated in the care lavished upon special clothing intended to be worn during ceremonial occasions, parades and celebrations. Such garments also signified wealth and prestige. The bold geometric designs of this heavily beaded boy’s shirt were derived from those commonly painted on Crow rawhide containers, or parfleches, demonstrating that a common language of design was sometimes expressed in more than one medium. Among the Crow, the diamond was often associated with the lizard, which was regarded as a talisman.


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Woman’s Dance Cape Assiniboine, Montana or Saskatchewan, Canada ca. 1890–1900 Cotton cloth, glass beads, cowrie shells and native leather Purchase: William Rockhill Nelson Trust through exchange of the gifts of Daniel R. Anthony III and Mrs. Eleanor Anthony Tenney, Mr. Arthur Hobson in memory of Mrs. Pearl Hobson,

Katherine Harvey, Mrs. Anna Miller Hutchason, Lei Laurie and Roy Miller in memory of De Aun Lorts, Faye Blair, Dorothy Hopper and Zolona Moss in memory of Leith Stevens, Dr. Harry G. Kroll, Miss Lillian Rupert, Mrs. E. W. Bennison, Miss C. F. Bieber, Miss Gertrude Cain, Kate Mulhearn, Mrs. Richard R. Nelson, Mrs. Elizabeth Hubbard, Sister Irena Cornelius and Mrs. Edward G. McLean, 92-31 Developed during the reservation period of the late 19th century by Northern Plains and Plateau women, capes of this type were worn on ceremonial occasions over Euro-American style cotton dresses. They were made almost entirely of non-Native materials and replicated the beaded yokes of earlier hide garments at a time when animal skins were increasingly difficult to obtain. This cape is distinguished by its remarkable color, resulting from the transparent, silver foil-lined, green glass beads covering its surface. The effect in sunlight would have been dazzling—an unforgettable visual experience for those witnessing its appearance—and the hanging fringe of beads and shells would have created a soft rattling sound as the dancer moved.

Child’s Belt Set Southern Cheyenne, Oklahoma ca. 1884 Commercial and native leather, German silver conchas, glass beads, metal cones, cowrie shells, brass beads, bone hair-pipes, deer hair, pigment, shell, wooden bead, brass gear and metal key Daniel B. Dyer Collection courtesy of the Kansas City Museum – Union Station Kansas City,

2.2008.3 This child’s belt set is one of the most remarkable of its kind due to the profusion of beaded elements, resulting in a rich interplay of form, texture and color. Most women’s ensembles were much simpler, consisting of an awl case, strike-a-light bag, whetstone case and knife case. Worn by a three-year-old child, this set contains many objects that predated her birth and were undoubtedly passed down as heirlooms. The diamond-shaped navel amulet, a protective charm representing a lizard, would have been created at the time she was born.

Woman’s Boots Kiowa, Oklahoma ca. 1875 Native leather, rawhide, glass beads, German silver buttons and pigment Daniel B. Dyer Collection courtesy of the Kansas City Museum—Union Station Kansas City, 2.2008.5.A,B

One-piece boots that combined moccasins and leggings with folded tops were preferred by women throughout the Southern Plains. Also favored was the use of paint rather than extensive beadwork in the decoration of both men’s and women’s clothing. Kiowa and Comanche makers often joined two or more painted hues in a single item, utilizing the richly colored leather as a background for intricate linear bands of contrasting beadwork and metal buttons. On this pair, the painterly elements in the form of horizontal bands and dotted flaps are unusually elaborate.


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Woman’s Moccasins Lakota (Teton Sioux), North or South Dakota ca. 1890 Rawhide, native leather, porcupine quills, glass beads, cotton cloth and metal cones Purchase: William Rockhill Nelson Trust, 33-1182/1,2

The rarely seen imagery on this pair of porcupine-quilled women’s moccasins depicts Double Woman, the supernatural culture heroine believed to inspire Lakota women in the creation of their arts. Among the Oglala Lakota, it is recorded that Double Woman is associated with the origin of porcupine quillwork, and, because of this, quilling is considered sacred in traditional culture. This mystical being guided women by appearing in their dreams and revealing designs that were considered sacred by association. In oral tradition, Double Woman is usually described as one of twin sisters who are joined together by a cord, and in ceremonies she is embodied by two women considered especially blessed, who hold the ends of a rope from which hangs a ball or doll.

Woman’s Bag Arapaho, Oklahoma ca. 1850 Native leather, pigment and glass beads Gift of Gary Spratt, 2003.29.2.A-H

Women’s societies and guilds, whose members were responsible for the creation of various artistic forms imbued with sacred associations, existed in several Plains cultures. Work materials were often kept in special containers such as this, which could be visually powerful in themselves. Here, a deep, saturate red derived from native iron oxide pigment covers the entire surface of the bag. The paint itself is often associated with sacred power, and the resulting field of richly subdued color contrasts effectively with the shiny glass beads and stark, linear simplicity of the design.

Peyote Fan Plains ca. 1910 Eagle feathers, glass beads, native leather, pigment, brass wire, commercial sterling silver cross, heart and anchor pendants and commercial enameled pin Gift of Robert Blommer, 2003.30.2

Today as always, feathers are associated with spirituality and beauty in Native American thought. This eagle feather fan, and the others nearby were created for use in the Native American Church, sometimes called the Peyote Religion because of the plant’s use as a holy sacrament. It is evocative of the complex bird symbolism associated with the Church’s doctrine. Here, as with most Peyote fans, the maker has amplified the natural splendor of the feathers with the addition of beadwork, feather trimming and various suspensions and attachments symbolic of the Church.

Peyote Fan Plains ca. 1910 Eagle feathers, glass beads, native leather and copper alloy/German silver Gift of Robert Blommer, 2003.30.3


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Peyote Fan Plains ca. 1915 Eagle feathers, glass beads, native leather, pigment and German silver Gift of Robert Blommer, 2003.30.4

Peyote Fan Probably Navajo ca. 1920 Cormorant and chicken (?) feathers, glass beads, native leather, pigment and silver button Gift of Robert Blommer, 2003.30.5

Horned Headdress Pawnee, Nebraska ca. 1840 Native leather, cow horn, pigment, rabbit skin, mallard duck scalp, eagle and raven/crow feathers, wool cloth, horsehair and glass beads Anonymous gift, 2006.28.2 Horned headdresses embody and manifest spiritual power. They transformed the wearer into a

horned figure, reflecting an ancient Woodlands pictorial tradition whereby the addition of horns signified a supernatural being. The inspiration for this object likely originated in a man’s personal vision, in which a spirit helper instructed him in its creation and the elaborate complex of materials used in its construction. These elements— among them thinly carved and asymmetrically painted horns—symbolize the specific meanings and forces contained within the headdress, known only to the owner.

Lance Plains ca. 1825–1850 Steel, wood, brass wire, horsehair, wool yarn, woodpecker scalp and beak, eagle and hawk feathers, native tanned buffalo hide, porcupine quills and pigment

Anonymous gift, 2006.28.3 Many Indian weapons were conceived as works of art through the quality of their design, skill of construction and character of ornamentation, which often embodied or symbolized sacred powers. The shaft of this short lance is finely carved with two encircling expansions towards the outer ends, providing a means of grasping the weapon without slipping. This feature imparts a surprising tension to the elongated form, subtly transforming the object into a sculptural work imbued with life. This lance likely symbolized a rank of leadership within a warrior society. The fragility of the materials attached near the painted metal head suggests it may have been used principally as a coup stick used to touch the enemy, an act regarded as the highest war honor one could achieve.


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Horse Dance Staff Lakota (Teton Sioux), North or South Dakota ca. 1865 Wood and pigment Purchase: the Donald D. Jones Fund for American Indian art and gift of

Donald Ellis, 2008.22 Horse effigies were traditionally carved to be carried in dances, both by successful horse raiders and by warriors honoring horses that had been killed or wounded in battle. Among the rarest and most evocative of Plains Indian sculptural expressions, these carvings were known among the Lakota as ―horse memorials‖ and paid tribute to animals that were respected and loved as comrades in war. The artist of this carving, using a single piece of wood, envisioned the animal as an elongated abstraction, concentrating his depiction on the slender beauty of the horse and its enduring spirit.

Butch Thunder Hawk Hunkpapa Lakota (Teton Sioux) North Dakota, born 1946 Horse Dance Staff 2003

Wood (cottonwood), rawhide, native leather, horsehair, brass tacks and native pigment Purchase: the Donald D. Jones Fund for American Indian art, 2004.6 Butch Thunder Hawk is inspired by the 19th-century carvings of No Two Horns, the most famous known maker of horse dance staffs. Here, Thunder Hawk has adopted the earlier carver’s classic representation of the horse: a stylized head at the leading end opposite the horse’s hoof, symbolizing the legs of the charging animal. The short, gently curved staff between the carved ends suggests the horse’s body. Thunder Hawk and No Two Horns share a Lakota heritage. Originally from Standing Rock Reservation, Thunder Hawk is the best-known, present-day carver of these forms.

Bear Effigy Club Yanktonai Sioux (Nakota), North or South Dakota ca. 1870 Wood, pigment, brass tacks, iron spike and native leather Bequest of Donald D. Jones, 2001.3.131 This club is believed to represent the elongated, highly stylized image of a bear, most likely the formidable Plains grizzly. It is one of a small group of stylistically similar carvings, one of which

belonged to a Yanktonai warrior named First Hail. This club may be one of his creations or that of another carver working within the same tradition and time period. Eastern Plains clubs with relatively straight handles and forward-facing effigies emerged from the long tradition of ball head clubs produced throughout much of the Central and Northeastern Woodlands.


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Amulet Northern Cheyenne, Montana ca. 1865 Native leather, glass beads and feather

Daniel B. Dyer Collection courtesy of the Kansas City Museum - Union Station Kansas City, 2.2008.2 This beaded amulet in the form of a lizard embodies a warrior’s guardian spirit and was worn tied in the hair as a protection against harm in battle. It belonged to the great Northern Cheyenne leader, Dull Knife, who was confined with his people at Fort Reno, Oklahoma, following their surrender in 1877, and was there collected by the Dyers. An eagle feather ornament is suspended from the lizard’s head, much like the hair ornaments sometimes worn by warriors, and the beaded circles at its shoulders and hips, with emanating lines down the legs, represent lightning.

Knife Sheath and Belt Northern Plains ca. 1875 Commercial leather, brass tacks and steel Lent by Ed and Judy Benson, 10.2003.2

Plains Indian men and women commonly carried knives as both tools and weapons, and the sheaths that held them were often elaborately decorated. This sheath and belt, created as an ensemble, is constructed entirely of Euro-American materials obtained through trade. Commercial or ―saddle‖ leather was often preferred for such items because it was extremely durable and did not stretch like buckskin nor tear as easily as rawhide. Brass tacks were widely used for elaboration, not only on leather, but also on wooden objects such as clubs, pipe stems and gun stocks.

Pictographic Dress Lakota (Teton Sioux), North or South Dakota ca. 1885 Muslin, graphite and pigment Lent by Conception Abbey, 36-1987/5 Among the Lakota, muslin dresses painted with battle scenes could be worn only by women who had lost relatives in war. This dress belonged to Silent Woman, whose brother, Bobtail Bear, had been killed in battle with the Crow. Painted by a male relative, the individual scenes covering the front and back of the dress represent Bobtail Bear’s military exploits and

accomplishments. While each side forms an overall pictorial composition, the various episodes represent distinct events separated in time and place. Bobtail Bear’s glyph, or name symbol, appears over many of the figures, thus identifying him in the actions portrayed. Other symbols—human hands (touching the enemy), human heads (slain enemies), pipes (war parties led by Bobtail Bear) and horse tracks (enemy horses taken)—represent additional war honors.


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Shield Arikara, North Dakota ca. 1850 Buffalo rawhide, native leather and native pigment Purchase: the Donald D. Jones Fund for American Indian Art, 2004.35 This object is a masterpiece of Plains Indian visionary painting. The deerskin cover of the heavy

rawhide shield is embellished with the image of a buffalo bull, the owner’s guardian spirit, which would have been revealed to him in a vision during a period of prolonged fasting and prayer. The painting depicts the very moment of spiritual encounter—the artist’s transcendent revelation and profound connection with the supernatural. The intensity of this experience is conveyed through the precise delineation of form; the sense of immediacy and gesture inherent in the handling of paint and visual texture; and the bold composition and unusual development of pictorial space. Most immediately, the artist’s vision is established through the dramatic depiction of the animal itself— upswept horns, iconic hoof and direct, unwavering gaze.

Silver Horn (Haungooah) Kiowa, Oklahoma, 1860–1940 To-hane-daugh and Party Carrying “Medicine” to Medicine Lodge, as captioned by D.P. Brown, 1883 (One of 75 drawings contained within a bound book) Graphite and colored pencil on paper

Gift of Mr. and Mrs. Dudley C. Brown, 64-9/14 Silver Horn was one of the most accomplished, innovative and prolific artists of his time. From 1870 to 1920, a period of traumatic change for Plains Indian cultures, he produced more than 1,000 works, pursuing a wide range of subjects, styles and materials. His depictions of war, hunting, courtship, mythic events, religious ceremonies—essentially all aspects of Kiowa tribal life—constitute a pictorial history of enormous depth and value. Although this group of 75 images is his earliest known book, it reveals Silver Horn’s fully realized, highly distinctive graphic style. The individual drawings are recognized as being among the most carefully and delicately rendered of all Silver Horn’s works.

Winter Count Brule Lakota (Teton Sioux), South Dakota ca. 1902 Ink and watercolor on muslin Gift of George Terasaki, 2005.30 Winter counts are pictorial, sequential histories created within a number of Plains tribes. Each image—symbol, object, figure or scene—represents an event by which an entire year, or winter, is counted and recorded in the history of the group. Framed within rectangles and organized as an inward-turning

spiral, these images served as a memory aid for the keeper of the count, who could recite the history they represented to others. In this way, all important personal and tribal events were recalled and placed in time relative to what had been documented in the images. The keeper’s narrative, an oral tradition, was an essential component in relating the meaning of each drawing. This count spans the years 1826 to 1902.


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SOUTHWEST:

Shield and cover Mescalero Apache, New Mexico, or Comanche, New Mexico and Texas ca. 1850 Buffalo rawhide, native leather, pigment, glass beads, horsehair, feathers, natural fiber and mountain lion claw Purchase: William Rockhill Nelson Trust, 33-1351/1,2

The history of this shield and cover is a reminder of the intermittent warfare and trade that characterized Native American and Spanish Colonial relationships throughout the early Southwest. Made by a Mexican or Colonial New Mexican artisan or by a Pueblo Indian, the heavy, two-ply buffalo hide shield was originally painted with an image of the Mexican second empire coat of arms (1823–1867) depicting an eagle grasping a snake in its beak. The shield was then acquired by a Plains

Indian, presumably through capture in war or trade, and over-painted with a protective design of circles and lightning. The Mexican image is slightly visible beneath the Plains painting. The shield’s yellow-painted deerskin cover, embellished with a secondary protective image, was added by the Plains owner.

Shield Ute, Colorado ca. 1860 Buffalo rawhide, native leather, pigment, wool cloth and eagle feather Lent by Ed and Judy Benson, 7.2004

Basket Western Apache, Arizona ca. 1885 Willow, devil’s claw and yucca root T1992-4

Once the railroad began bringing tourists to the Southwest in the 1880s, many Apache basket weavers directed their production towards this new market. This resulted in large numbers of exceptional works that were eagerly collected. The wear pattern on this monumental basket, however, suggests native use. Its complex, precariously balanced composition alternates vertical bands of diamonds with figures, V-shaped elements and equilateral crosses. At the shoulder, human figures stand atop horses. They alternate with mysterious figures depicted with headdresses and raised right hands, while their left hands are emphasized by enormous size. Below are alternating images of single and paired figures. The Apache maintain that such images have no symbolic or ritual significance, yet they evoke a vision of the world that is distinctly their own.


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First Phase Chief Blanket Navajo, Arizona or New Mexico ca. 1850 Handspun wool and indigo dye Purchase: William Rockhill Nelson Trust, 33-1430

First phase chief blankets are among the rarest and most visually dynamic of all Navajo textiles. A carefully balanced expression of compressed energy and absolute calm, they are sometimes considered the perfect embodiment of Navajo world view and aesthetics. In these weavings there is no stable foreground and background; rather, the elements continually shift within the compositional field, evoking a complex of harmony and change. The broad horizontal configuration of contrasting and subtly colored bands is not symbolic, but often described as a distillation of the Navajos’ desert plateau and mountain landscape. According to legend, Spiderwoman taught the Navajo to weave, and it is this mythic being, working through the individual weaver, who directs the growth of each textile. The name ―chief blanket‖ refers to the elevated stature of these textiles, which were highly prized by other tribes and eagerly acquired in trade.

Daisy Tauglechee Navajo, New Mexico, 1909–1990 Two Gray Hills Rug 1951 Handspun wool Gift of David T. Beals, 62-27 Daisy Tauglechee is regarded by many as the greatest Navajo weaver of the last century. She was

known for her ability to create exceptionally fine, beautifully orchestrated weavings and for her prominent role in developing the Two Gray Hills style. The type, which emerged in the 1920s as one of the regional reservation styles, is characterized by undyed wool—white, black, grays and browns; intricate, precisely rendered geometric designs, often with a central diamond motif; and extremely fine weave. Indeed, Tauglechee’s weavings often contain approximately 115 weft stitches per inch as compared to the conventional standard of 35. In this classic work, Tauglechee skillfully combined the neutral colors of the natural wool with a complex composition of interlocking geometric shapes. The result is an overall sensation of energy, balance and harmony, the essence of Navajo aesthetics.

Late Classic Serape Navajo, Arizona or New Mexico ca. 1865–1870 Wool: raveled cochineal-dyed, raveled indigo-dyed, handspun vegetal dyed and 3-ply Germantown yarn Purchase: William Rockhill Nelson Trust, 33-1431 Of all Navajo blanket types the serape is the only one not related to classic Pueblo textiles, which are

considered by many scholars to be the basis of Navajo weaving. In these dramatic works, Navajos appropriated Spanish and Mexican design elements—horizontally striped grids, diamond motifs and zigzag lines—incorporating them into complex, visually dynamic compositions. Late classic designs are more loosely organized than the tightly integrated arrangements that distinguish earlier serapes; also, most late classic weavings such as this feature a clearly defined background, which is often a vivid red. As a result, individual motifs appear to float apart from the ground. In this work, synthetically dyed, commercial wools acquired in trade augment the rich natural colors produced by the weaver.


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Concha Belt Navajo, Arizona or New Mexico ca. 1875 Silver and commercial leather Purchase: William Rockhill Nelson Trust (by exchange), 2008.58

The concha belt is one of the earliest and most characteristic of all Navajo silver ornaments. The form was derived from a mingling of Spanish and Plains Indian prototypes, but quickly developed according to Navajo aesthetics. As this group of belts reveals, the form—like all types of Navajo jewelry—evolved in style over time, from the earliest, open-centered conchas seen on the left; to those with closed centers; to those embellished with turquoise stones. However, regardless of the countless variations of stamping, repoussé and stone mounting that have been produced, the scalloped, stamped edge of the concha remains a standard feature. Later interpretations, such as Lambert Homer’s channel inlay belt on the right, retained the basic concha format but departed radically from the traditional form.

Concha Belt Navajo, Arizona or New Mexico ca. 1900 Silver and commercial leather Purchase: William Rockhill Nelson Trust, 33-897 Hosteen Goodluck Navajo, Arizona or New Mexico Concha Belt ca. 1930 Silver, turquoise and commercial leather Gift of Mrs. David T. Beals, 68-5/5

Lambert Homer Sr. Zuni, New Mexico, 1917–1972 Channel InlayBelt ca. 1955

Silver, turquoise and commercial leather Gift of Mrs. David T. Beals, 67-44/1

Shoulder Bag Navajo, Arizona or New Mexico ca. 1870 Commercial and native leather, glass beads, silver and brass tacks Purchase: William Rockhill Nelson Trust (by exchange), 2009.59


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Workshop of Slender Maker of Silver Navajo, Arizona or New Mexico Active 1880–1900 Squash Blossom Necklace ca. 1885 Silver, turquoise and cotton cloth Purchase: acquired through the generosity of Mr. and Mrs. Henry I. Marder, 2007.43

The squash blossom necklace is perhaps the best known of all American Indian jewelry forms. Created during the third quarter of the 19th century by Navajo silversmiths in response to Moorish, Spanish and Mexican traditions, the form spread to other tribes and has evolved in countless variants to the present day. This early necklace is attributed to Slender Maker of Silver, who, as a craftsman and innovator, was considered to be the best silversmith of his time. Details of construction, together with its heavy, powerful form derived from blacksmithing techniques, identify this as a product of his workshop. Significantly, the necklace’s original cordage is intact, indicating that it has suffered no loss or additions of components through restringing.

Squash Blossom Necklace Zuni, New Mexico ca. 1955 Silver and turquoise Gift of Mrs. David T. Beals, 68-5/8

Leekya Deyuse Zuni, New Mexico, 1889–1966 Fetish Necklace ca. 1935 Coral, shell, turquoise, jet, cotton cord and leather Gift of Mrs. David T. Beals, 68-5/12 Leekya Deyuse is acknowledged as the most famous fetish carver of the 20th century. He was considered one of the most important innovators of his time, and his carvings are widely

recognized for their technical perfection and subtle, undulating form. This magnificent work is the most elaborate fetish necklace he is known to have created, far surpassing others of the type in numbers of elements and sculptural mass. Each of the approximately 600 birds and animals was intricately carved, inlaid and hand-drilled for suspension, resulting in a masterpiece of American Indian jewelry.


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Leekya Deyuse Zuni, New Mexico, 1889–1966 Leaf Necklace ca. 1935 Silver, turquoise and coral Gift of Mrs. David T. Beals, 67-44/4

Necklace Pueblo, New Mexico ca. 1890 Clamshell, spiny oyster shell, turquoise, jet, native leather and cotton Purchase: William Rockhill Nelson Trust (by exchange), 2009.46

Ketoh (Bow Guard) Zia, New Mexico ca. 1935 Silver, brass, copper, bone, jet, turquoise, commercial and native leather and pigment Purchase: acquired through the generosity of Mr. and Mrs. Henry I. Marder, 2003.6.1

From earliest times, Native American archers have protected their wrists from the snap of the bowstring by a leather band. When metals became readily available in the 1860s, the Navajo began to attach decorative metal plaques to the leather, and, eventually, Pueblo smiths began to produce the form as well. Today, long after their use as functional wrist guards has ceased, Navajo and Pueblo men continue to wear ketohs as decorative jewelry during dances, ceremonies and special occasions. This ketoh functions as an expression of Pueblo religious thought. The artist has created an altar-like representation of stepped clouds, rain, cloud deities and sun rays, all transformed into the image of a katsina through the addition of triangular eyes.

Ketoh (Bow Guard) Panel Cochiti or Santo Domingo, New Mexico ca. 1885 Silver and copper Purchase: acquired through the generosity of Mr. and Mrs. Henry I. Marder, 2003.6.2

Ketoh (Bow Guard) Navajo, Arizona or New Mexico ca. 1900 Silver, turquoise, commercial and native leather Purchase: the Donald D. Jones Fund for American Indian Art, 2008.63

Tom Burnsides Navajo, Arizona, 1917–1957 Ketoh (Bow Guard) ca. 1950 Silver, turquoise and commercial leather Purchase: William Rockhill Nelson Trust (by exchange), 2009.31


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Ketoh (Bow Guard) Navajo, Arizona or New Mexico ca. 1900 Silver, turquoise, and commercial leather Purchase: William Rockhill Nelson Trust (by exchange), 2009.32.3 Bracelet Navajo, Arizona or New Mexico ca. 1885

Silver and turquoise Lent by Alyce Frank, 52.2009 The Navajo first learned to work iron and silver from Mexican smiths in the 1850s. By the 1860s ornaments reflecting the influence of Spanish, Mexican and Plains Indian forms and techniques began to appear; and by the 1880s, the art was widespread and flourishing. Initially made for Native consumption, the production of Navajo silverwork increased dramatically with growing tourist demand to become world-famous. This heavy, cast silver bracelet is representative of the early style in its limited use of turquoise, simple stamp work and scroll-like forms at the sides created by classic blacksmithing techniques.

Bracelet Navajo or Zuni, Arizona or New Mexico ca. 1900

Silver and turquoise Lent by Ross Frank, 51.2009

Bracelet Zuni, New Mexico ca. 1930 Silver and turquoise

William Rockhill Nelson Trust and gift of Trattoria Nostrani, Santa Fe, New Mexico, 2009.32.2

Frank Dishta Zuni, New Mexico, 1902–1954 Channel Inlay Bracelet ca. 1940 Silver and turquoise Purchase: William Rockhill Nelson Trust (by exchange), 2009.32.1

Mosaic Inlay Pin Zuni, New Mexico ca. 1935 Silver, turquoise, jet and shell Purchase: the James E. Laramy Art Acquisition Fund, 2008.64


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Dan Simplicio Zuni, New Mexico, 1917–1969 Mosaic Inlay Pin ca. 1940 Silver, jet, turquoise, spondylous shell and mother-of-pearl

Gift of Eleanor Tulman Hancock, 2008.62

Lonnie Vigil Nambe, New Mexico, born 1949 Micaceous Pottery Jar 2007 Clay Purchase: gift of the Ann and Sigurd Anderson Family and Lonnie Vigil and Family, 2007.27.1

Lonnie Vigil’s work is often described as bridging past and present. He uses hand-built techniques and firing methods practiced by Pueblo peoples for hundreds of years, yet his innovative forms reflect awareness of world ceramic and sculptural traditions. Vigil is singularly credited with reviving unpainted, micaceous pottery and establishing its credibility as a contemporary art form. Micaceous clay is so rich in the mineral mica that the addition of temper—the material added to the clay to prevent shrinking and cracking during drying and firing—is not required. Mica’s tiny gold-colored flakes impart a softly glowing, subtly textured surface to the finished ceramic. Historically, potters from the northern New Mexico Pueblos are recognized as masters of pure form, a tradition readily visible in this monumental jar.

Roxanne Swentzell Santa Clara, New Mexico, born 1962 Kosha Appreciating Anything 1997 Clay and pigment Purchase: the Donald D. Jones Fund for American Indian Art, 2003.22

Recognized as one of the leading contemporary Native American artists, Roxanne Swentzell continues the long tradition of Pueblo figurative sculpture, which includes objects produced for both ritual purposes and the tourist market. Collectively, these works affirm religious beliefs that have defined and sustained much of Pueblo Indian artistic creation from the earliest times to the present. This figure—a Pueblo clown, or Kosha— is a sacred being that appears in religious dances and performs numerous roles within the ceremonial structure. Often Kosha teach through their actions. This clown stares intently at his hand as though realizing for the first time its complexity and, through it, perhaps, the mystery of life: reminding us that reflection is frequently the prelude to wisdom.

Diego Romero Cochiti, New Mexico, born 1964 A True Tale 2005 Clay and pigment

Purchase: the A. Keith Brodkin Fund for the Acquisition of Contemporary American Indian Art, 2005.20

The content of Diego Romero’s work covers a broad spectrum, including the most sensitive issues of politics, history, religion, ethnicity and personal struggle. One of his recurrent themes is the history of Colonial New Mexico and the conquest of Pueblo peoples. The subject of this work is a well-known episode that continues to resonate with Pueblo people today as a potent reminder of Spanish oppression. The image depicts two soldiers, accompanied by a priest, executing a sentence imposed upon a number of Acoma men in 1599 in retaliation for the deaths of soldiers killed at the Pueblo months earlier. More broadly, the work references the invasion of the Americas by European empires, the inevitable clash of cultures, the destruction and subjugation of indigenous peoples and the paternalism and brutality sometimes exercised by Church and State in achieving these ends.


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Helen Baca Shupla Santa Clara, New Mexico, 1928–1985 Melon Jar 1984 Clay Gift of John A. Morgan, 2002.21.9

This superb jar represents the highest achievement of master potter Helen Baca Shupla. She is famous for her elegantly shaped, finely polished melon jars, a ribbed form that is difficult to achieve. Unlike the nearly mechanical perfection that characterizes much contemporary Pueblo pottery, Shupla’s jars retain the organic quality and sculptural power of earlier modeled forms. Marks of stone polishing are visible on the surface of this work, adding depth and richness to its remarkable color.

Jason Garcia Santa Clara, New Mexico, born 1973 Corn Maiden #8 2008 Clay Gift of Bruce Hartman in memory of James Biffar, Omaha, Nebraska, 2008.70.2

Jason Garcia’s subtly colored ceramic tile depicts a young Pueblo woman, a participant in one of the many religious ceremonies held in Pueblo communities throughout the year. Standing before one of the village kivas, a ceremonial structure associated with ongoing traditional life, she has paused between dances and is now momentarily focused on her cell phone. The image is a sharp reminder that many Indian peoples who remain committed to their Native heritage live in two worlds, constantly negotiating the balance between mainstream life outside tribal communities and traditional responsibilities within.

Jar Kiua Polychrome Santo Domingo or Cochiti, New Mexico ca. 1770 Clay, pigment and native leather Purchase: William Rockhill Nelson Trust, 33-1140

The perfect union of three-dimensional form and two-dimensional design characterizes the finest Pueblo ceramics. Such a precisely balanced relationship of volumetric shape and painted imagery may be seen in this monumental 18th century storage jar. The rawhide strip around the neck was secured there long ago to stabilize a crack at the rim. Beneath the hide and partly hidden may be seen the pale red, stylized heads of birds, which perhaps reference the triangular shapes below as highly abstracted feather motifs. This concept may extend to the star-like designs of the mid-body, but often such imagery expresses a number of simultaneous meanings, all of which are associated with water, fertility, germination and growth—elements that sustained life for the Pueblo peoples.


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Jar Santa Ana Polychrome Santa Ana, New Mexico ca. 1820 Clay and pigment Purchase: William Rockhill Nelson Trust, 33-1157

Many scholars regard this beautiful jar as the finest of all existing Santa Ana ceramic works. The overall composition, a powerfully conceived construct of bold singular shapes, complex configurations and delicately painted details reflects the work of a true master. The painted design shares elements found on many Pueblo jars of the early 1800s. Most dominant are the stepped figures, which join with interlocking hatched and solid motifs containing smaller unpainted elements. Large diamonds, repeated arcs, triangles, a number of rectangular eyes and spiral forms that may represent feathers complete the pattern. This imagery, while highly abstract, is known to be emblematic of ritual symbolism and religious belief. The jar’s deep color is enhanced by the lustrous patina of great age and long use.

Jar Socorro Black on White Anasazi (Ancestral Pueblo), New Mexico 1000–1300 Clay and pigment Purchase: acquired through the generosity of Mr. and Mrs. Henry I. Marder, F88-10

The Pueblo peoples of the American Southwest have a long tradition of ceramic arts now considered among the most accomplished in the world. It first flourished around 1,000 years ago within the ancient Anasazi and Mimbres cultures and stands today as an unbroken continuum in both forms and techniques. This monumental jar is exemplary of the hand-built, finely proportioned volumetric shapes that characterize much of the ware. The painted design defines four distinct areas of the jar’s form: the neck, shoulder, body and underbody; each has been treated as a separate field, which together establishes a unified pictorial composition.

Prayer Bowl Kiua Polychrome Cochiti, New Mexico ca. 1820 Clay and pigment Bequest of Donald D. Jones, 2001.3.130

Jar Polacca Polychrome Hopi, Arizona ca. 1890 Clay and pigment Gift of John A. Morgan, 2002.21.3

This mysterious little jar is painted with the image of four bears, a representation rarely found in Hopi ceramics. Each animal has a heartline—the line running from the mouth to the chest, terminating in the area of the heart. Other features, such as teeth and claws are emphasized. The use of this jar is unknown; it may have had a ceremonial function or may have been made for sale to outsiders who were visiting the Hopi villages in ever increasing numbers during the last decades of the 19th century.


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Jar Kiua Polychrome Cochiti, New Mexico ca. 1780 Clay and pigment

Bequest of Donald D. Jones, 2001.3.34 Jar Acoma Polychrome Acoma, New Mexico ca. 1890 Clay and pigment Gift of Daniel R. Anthony III and Eleanor Anthony Tenney, 50-73/8

Nampeyo Hopi-Tewa, Arizona, 1860–1942 Jar Polacca Polychrome ca. 1890 Clay and pigment

Lent by the Anthropological Research and Cultural Collections, The University of Kansas, 3.2007.1 Nampeyo was the first American Indian woman to gain widespread personal recognition for her pottery outside her community. She is famous not only for the extraordinary quality of her work but also for her revival of prehistoric Sikyatki-style pottery, which dramatically influenced the ceramic style of the entire Hopi-Tewa Pueblo from the late 1800s to the present. Interestingly, this magnificent jar is neither a traditional Hopi form nor design. Rather, it would appear to be Nampeyo’s interpretation of a classic Acoma or Zia Pueblo pot in both shape and imagery—a large, high-shouldered jar embellished with four birds and stylized plants enclosed by an undulating rainbow. The feather designs and other motifs on the neck are typically Hopi.

Pottery Figure Cochiti, New Mexico ca. 1880 Clay and pigment Lent by the Anthropological Research and Cultural Collections, The University of Kansas, 3.2007.2 This monumental ceramic figure derives from an ancient tradition of Pueblo figurative sculpture. It

was created in response to the increasing tourist trade brought about by the coming of the railroad in 1880 and the economic opportunities it presented. The most impressive works of this type were produced at Cochiti Pueblo. They depict a variety of Indian, Spanish and Anglo characters that inhabited or visited nearby Santa Fe and the Rio Grande valley during the period. Many of the representations, including cowboys, priests, businessmen, actors and circus performers, are characterized by a sense of caricature and mockery. Others seem to have been intended as straightforward portraits. This imposing figure is, by all appearances, an opera singer gesturing grandly during his performance.


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Maria Poveka Martinez San Ildefonso, New Mexico, 1887–1980 Julian Martinez San Ildefonso, New Mexico, 1885–1943 Plate ca. 1930

Clay and pigment From the Estelle and Morton Sosland Collection, 2009.41.24 Maria Poveka Martinez is perhaps the most famous of all American Indian artists. With her husband, Julian, who painted the designs on the pottery she created, Maria achieved international acclaim for her innovation and brilliant artistry. They are best known for creating black-on-black ware, in which a matte-black design was painted upon a highly polished black vessel. Maria and Julian were often inspired by ancient Pueblo designs, reflected in this composition formed by a pair of opposed creatures, a device commonly found on bowls from the Mimbres culture. Here, two mountain lions are activated by geometric, relief-painted designs, curving tails and a lightning-like configuration of the rear legs. The animals join with the outer triangular shapes to create a sense of contained energy and circular movement.

Manta-dress Hopi, Arizona ca. 1870 Wool and indigo dye Gift of David and Linda Cook, David Cook Galleries, Denver, CO, 2009.43 Among the Hopi, where men are the weavers and this superb textile was created, the manta-

dress was the daily utilitarian garment of women until the early 1900s. Sewn up one side and part of the top and secured at the waist by a woven sash, the weaving was worn as a wraparound dress; it was also used by both sexes as a shoulder blanket. The dark, exquisitely modulated coloration is the most distinguishing characteristic of these weavings. The striking relationship of natural browns and indigo blue is combined with a subtle, richly textured surface and simple composition to form a textile of remarkable beauty. This weaving is further elaborated by four bands, each comprised of four raised lines known to the Hopi as ―hills and vales.‖

Katsina Sash Hopi ca. 1875 Handspun cotton, wool yarn and cloth

Purchase: Nelson Trust, 33-1257 Woven around 1875, this dance sash is one of the earliest surviving textiles of its kind. It is constructed of two cotton bands embellished at the ends in wool with a technique called brocade embroidery. The two identical bands were joined at the top by loose stitching, forming a long sash of the type worn by male dancers in most Pueblo ceremonies and by many of the Pueblo supernatural beings called Katsinas. The design itself, comprised of elements that have remained unchanged to the present, represents the mask of the Broad Face Katsina. While weaving was done historically in all Pueblos, many ceremonial textiles such as this were woven by Hopi men and traded to other communities.


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Fetish Rio Grande Pueblo, New Mexico ca. 1650–1850 Stone, turquoise and trace of pigment Purchase: the Donald D. Jones Fund for American Indian Art, 2004.8

Fetishes are objects, either natural or man-made, which are believed to possess spiritual power capable of affecting individuals’ lives. This small fetish represents a human figure, presumably a female, with breasts inlaid with turquoise and incised lightning on the lower torso. Made of softly glowing, translucent stone, the material evokes the appearance of a towering, light-filled thundercloud—a direct reference to rain and all that it provided. Fetishes were initially an integral part of religious observances intended to ensure good health, fertility, rain and bountiful crops, successful hunting, and other blessings of life. While fetishes are still maintained, and newly created, by traditional Pueblo peoples today, carvers began to produce fetishes for the tourist market during the early decades of the 20th century.

Animal Fetish Taos, New Mexico ca. 1600–1800 (attachments 20th century) Stone, pigment, cotton, cotton string, bird claw, feathers and plant material Gift of Ronald J. Slowinski, 2006.37

Bear Fetish Mimbres, New Mexico and Arizona or Casas Grandes, Chihuahua, Mexico 1050–1400 Stone and pigment Purchase: William Rockhill Nelson Trust, 62-35/2

Leekya Deyuse Zuni, New Mexico, 1889-1966 Bear Fetish 1940–1950 Turquoise, shell, coral, jet and sinew Purchase: the Donald D. Jones Fund for American Indian Art, 2004.5

Altar Figure Anasazi or Mogollon (Ancestral Pueblo), New Mexico 13th century Stone and pigment Gift of Mr. and Mrs. Lee R. Lyon, 80-46/2


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Ahöla Katsina Doll Hopi, Arizona ca. 1885 Wood (cottonwood), pigment, cotton cloth and wool yarn Gift of Daniel R. Anthony III and Eleanor Anthony Tenney, 50-73/1 For the Hopi and some other Pueblo groups, katsinas are supernatural beings who represent the life force or quintessence of an object or thing. As invisible forces, katsinas manifest themselves in the

natural world through a multitude of physical forms and natural phenomena. These are given reality in the villages through their appearance in masked ceremonials and dances. They are also visualized through carved figures known as katsina dolls, which are presented to young girls during the dances. Since the late 19th century, great numbers have been created for the outside market as well. This venerable katsina reflects the original splendor of the painted mask with its broad, fanning headdress of eagle feathers. Ahöla represents Alosaka, one of the germ gods who control the growth and reproduction of all things.

Tablita (Woman’s Dance Headdress) Acoma or Taos, New Mexico ca. 1865 Wood, pigment, native leather and commercial cotton string Promised gift of Fifi White in honor of Marc Wilson, 23.2002 Headdresses of this type, known as tablitas, are worn by Pueblo women in many ceremonial dances. This is one of a set of approximately 16 that purportedly came to Taos from Acoma Pueblo, perhaps

by exchange, during the third quarter of the 19th century. The 16 were carved in different configurations, but each represented towering, stepped clouds over the landscape. All were carved of hand-adzed wood and painted with native pigments, with blue-green sky above and yellow ochre earth below, separated by a red ochre band that may represent the dawn or dusk. CALIFORNIA FAR WEST:

Basket Chumash, California ca. 1820 Juncus rush and sumac Purchase: William Rockhill Nelson Trust, 31-125/127 Chumash baskets are among the rarest of all California Indian types. Spanish settlers arriving in

the late 1700s forced nearly all of the Chumash into missions, where their population diminished and cultural practices such as basket weaving were stifled and slowly eradicated. The flaring form, tight weave and intricate geometric pattern of this basket are typical of the finest Chumash artistry, and its size and shape indicate that it may have been used as a serving bowl or presentation piece. The warm, richly variegated background results from the natural hue of the juncus plant.


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Basket Kawaiisu, California ca. 1900 Willow, devil’s claw, yucca, quail topknot feathers and wool Purchase: William Rockhill Nelson Trust, 33-1272

Bottleneck baskets were made by several tribes inhabiting the central valley of southern California. These highly valued objects were exchanged as gifts, used to hold personal treasures and presented as payment to healers. Here, the highly compressed diamond-banded rattlesnake design accentuates the curvature of the vessel. Similarly, the zigzag band encircling the flattened shoulder and vertical ―ant trails‖ at the neck accentuate additional elements of the basket’s form. The addition of quail feathers and wool emphasizes the basket’s angularity while adding additional components of texture and color.

Feather Basket Pomo, California ca. 1900 Willow, sedge root, feathers, clam shell beads and abalone Lent by the St. Joseph Museums, Inc., 23.2008.5

This ―jewel basket‖ exemplifies the consummate skill of a master weaver. The various birds’ feathers were held in place by the intricate fiber stitches of the coiling process used to form the basket. The richly colored, softly gleaming feathered surface formed the convex exterior design seen from below when the object was suspended high in the lodge or when inverted to be placed upon a funeral pyre. Quail topknot feathers protrude from the rim, and shell pendants dangle freely, adding dimension and extending the design and visual movement beyond the basket’s woven edge.

Basket Pomo, California ca. 1880 Willow, sedge root, feathers, abalone and glass and clam shell beads Purchase: William Rockhill Nelson Trust, 33-1335

As this highly embellished basket demonstrates, Pomo weavers achieved complicated visual effects with diverse materials. The layered star-shaped pattern enhances the mosaic of textures created by fiber, shell, feather and glass beads. Feather baskets were frequently made to honor the dead. During cremations or at memorial ceremonies one year following a death, baskets were burned along with other possessions of the deceased. In part, these funerary traditions account for the rarity of older works.

Woman’s Hat Hupa, California ca. 1900 Hazel shoots, woodwardia and maidenhair fern and bear grass Purchase: William Rockhill Nelson Trust, 33-1295

The importance of women’s basketry hats is indicated by the fact that even after the Hupa and related groups began wearing Euro-American clothes, hats remained the last surviving article of native dress. Worn during ceremonial events, these beautiful objects reflected the owner’s status and taste. The progression of dissimilar yet harmonious geometric motifs encircling this hat establishes a visual reversal of figure and background. Tribal aesthetics dictated that harmony be established between the large, dominant pattern on the side of the hat and the smaller motif at the rim.


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Woman’s Hat Kawaiisu, California ca. 1900 Willow, marsh grass, bracken fern and yucca root Purchase: William Rockhill Nelson Trust, 33-1296

Basket Panamint Shoshoni, California ca. 1900 Willow, sumac and devil’s claw Purchase: William Rockhill Nelson Trust, 33-1327

Basket Pomo, California ca. 1880 Willow, sedge root, rosebud bark, quail topknot feathers and clam shell beads Purchase: William Rockhill Nelson Trust, 31-125/69 This enormous, tightly woven basket is distinguished by its beautiful surface, richly modulated color and dynamic, swirling pattern that subtly expands and

contracts in relation to the curvature of the form. It represents one of the world’s greatest basketry traditions, developed by the Pomo peoples of California. Here, baskets were indispensible to every phase of life. They were used for storing material possessions and preparing food, and they were critical elements of religious rituals and every dimension of social life, especially celebrations of birth, puberty, marriage and death. Their creation provided women the opportunity for artistic expression as well as the display of knowledge, industry and technical skills, all of which were highly valued within their communities.

Basket Pomo, California ca. 1890 Willow, sedge root, bulrush root, quail topknot feathers and clam shell and glass beads Lent by the Bruce Hartman Collection, 24-1997/2

Spectacular baskets heightened the grandeur of public celebrations and ceremonial events. Usually intended for presentation, such objects signified wealth and prestige. Pomo ceremonies in which this basket may have played a role include the passage of boys and girls into adulthood; weddings; births; funerals and feasts with neighboring groups. This masterpiece required careful planning and expertise, and it was only after securing and preparing the necessary raw materials to support her conception that the weaver could produce a creation of such dramatic scale and visual complexity. The finely woven, light-dark pattern, together with the varied surfaces of fiber, quail feathers and clam shells, result in a stunning interplay of pattern, form and texture. Oblong, boat-shaped forms are often identified as receptacles for ritual paraphernalia.


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Man’s Dance Headdress Pomo, California ca. 1890 Flicker feathers, plant fibers, wool and cotton string Promised gift of Fifi White in honor of Gaylord Torrence, 44.2009.1 The Pomo peoples’ rich ceremonial life is embodied in this delicate, intricately constructed feather headdress, one of several elaborate types created within central and northern

California cultures. The blossom-like cluster of feathers was attached to a wooden hoop, which was secured to the back of a man’s head by inserting a wooden pin into a hair net. The headdress was probably worn in ceremonies celebrating first fruits and harvests or in rituals enacted to prevent death.

Toy Cradle and Doll Mono, California ca. 1920 Willow, redbud, pigment, commercial doll, mohair, wool and cotton cloth, glass beads, commercial cordage, feathers and dried plant material Gift of Noveta and Ivan Goldberg, 2009.58

PLATEAU/GREAT BASIN:

Bow Case and Quiver with Bow Nez Perce, Idaho ca. 1880 Otter skin, wool cloth, muslin, glass beads and ermine with wooden bow Lent by Ed and Judy Benson, 8.2007.2.A-H Bow case and quiver sets were critical objects in the lives of pre-reservation Native American men. Even after the acquisition of guns through trade, the bow remained an important weapon and was preferred for hunting buffalo. Of the many types of bow case-quivers produced throughout the

Plains and Plateau regions, none were more visually spectacular than those created by the Nez Perce and neighboring groups. This example is constructed of three otter skins, typical of the most elaborate evolution of the form. It was made according to the widespread Plains/Plateau principle of minimally altering the natural shape of the skins, which may be seen here in the hanging tails that form the backing of the elaborately beaded tabs. Finely balanced both visually and functionally, such highly decorated cases were reserved for dress occasions.


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Cornhusk Bag Plateau ca. 1900 Cornhusk, hemp and yarn Purchase: acquired through the generosity of Delores DeWilde Bina and Robert F. Bina in honor of the 75th anniversary of The Nelson-Atkins Museum of Art, 2008.23

Flat-woven bags are the best known of all the varied forms of basketry produced throughout the Plateau region. Originally used for gathering and storing edible tubers, these bags constituted one of the foremost artistic expressions of women. Eventually, the containers were adapted as women’s handbags, becoming a standardized element of formal dress and an essential part of both traditional attire and personal identity. The superb craftsmanship of this bag is most readily visible in the fineness of the weave. The maker’s artistic vision is revealed in the carefully balanced composition, beautifully variegated coloration of natural and dyed fibers and intricately detailed, spatially complex design.

Parfleche Envelope Western Plateau, Washington or Oregon ca. 1900 Rawhide and pigment Gift of Barbara and Peter Gattermeir in honor of the 75th anniversary of The Nelson-Atkins Museum of Art, 2009.42.2

The production of parfleches, like the horse and the nomadic way of life it provided Plains peoples, extended into the Plateau region through trade and cultural exchange. Although the tradition of parfleche painting is fundamentally one of geometric abstraction, a small number of works with floral imagery emerged in the late 19th century, undoubtedly derived from beaded designs. The maker of this rare envelope, while innovative, has retained the organizational structure usually found in this form of painting—a bilateral and latitudinal symmetry of composition and a repetition of design on each flap.

Man’s Moccasins Plateau, probably Nez Perce, Idaho ca. 1890 Native leather, rawhide, glass and metal beads and pigment Purchase: the Donald D. Jones Fund for American Indian Art, 2002.23.A,B

Tobacco Bag Ute, Colorado ca. 1875 Native leather, glass beads and wood Gift of the Donald E. McGrath Family, 2009.56

Basket Chilcotin, British Columbia ca. 1875 Cedar root, willow, bear grass, cherry bark and native leather Purchase: William Rockhill Nelson Trust, 33-1261

Imbrication is a basketry technique unique to the Cascade mountain region, which results in an outer surface of small, rectangular blocks covering the coil foundation forming the basket. Other characteristics of Chilcotin baskets seen here are the rectangular base and straight, flaring sides; a willow reinforcing rod added to strengthen the rigid form; and an overall pattern of geometric or figurative elements. The design on this basket combines both elements, which is not uncommon, but the image of hunters shooting at game animals may be unique.


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Basketry Wallet Lower Columbia River region, probably Chinook ca. 1820–1830 Bear grass Purchase: the Donald D. Jones Fund for American Indian Art, 2009.18

Basketry is an ancient form of creative expression among the cultures that inhabited the Plateau region, but few examples made prior to 1850 have survived. This rare, finely twined container is representative of that early tradition. It is distinguished by its elegant design, softly glowing golden color and remarkable texture. The row of human figures across the bottom is configured with one of each pair slightly overlapping the other as though its arm is around a partner. Through this simple device, the weaver has communicated an expression of human connection—perhaps a ceremony or joined couples; or an image symbolic of friendship or group unity.

Bowl Wishxam/Wasco, Columbia River Oregon and Washington ca. 1800–1850 Bighorn sheep horn

From the Estelle and Morton Sosland Collection, 2009.41.8 Horn bowls were carved from a section of the rough curled horns of bighorn sheep. The horn was softened through steaming or boiling, then spread and carved into shape, and finally relief-carved and incised with designs. On the sides and raised ridge across the bottom of the bowl are six humanoid faces, distinguished by their rounded brow line, oval eyes and wide, toothed mouth. These faces, stylistically distinct from those usually found on bowls of this type, are reminiscent of petroglyphs, or rock carvings, found in the Columbia River region.

Bowl Wishxam/Wasco, Columbia River Oregon and Washington ca. 1800–1850 Bighorn sheep horn From the Estelle and Morton Sosland Collection, 2009.41.9

Wishxam and Wasco horn bowls are among the most expressive sculptural objects created in the Plateau region. Their use is not well understood, but based on their comparative rarity and profuse and presumably symbolic decoration, they likely served a ceremonial purpose. The bowls may have figured into the annual cycle of edible roots and the Root Feasts, which marked the beginning of the harvest for the community. On the sides of this bowl and on the raised ridge across the bottom are geometrically structured human faces and skeletal figures integrated with linear bands of zigzag design. The straight brow line, straight-sided nose, straight cheek and small, diamond-shaped eyes and mouth are typical features of human representation throughout the Columbia River region.


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NORTHWEST COAST:

Attributed to John Robson Haida, British Columbia, ca. 1846–1924 Model Totem Pole ca. 1890 Wood (yew) and pigment From the Estelle and Morton Sosland Collection, 2009.41.14 The large-scale production of model totem poles developed in the late 19th century in response to a growing tourist market. The monumental, full-sized poles were icons of native culture, and visitors to the

region were fascinated by their impressive scale and complex imagery. Some early models were based on the larger carvings, while others appear to be original compositions of well known clan crest emblems and mythic, supernatural beings. This expertly carved pole was made by one of the best known carvers and exemplifies the finest of the tradition.

Bill Reid Haida, British Columbia, 1920–1998 Model Totem Pole ca. 1965 Argillite From the Estelle and Morton Sosland Collection, 2009.41.26

This extraordinary carving is one of only four argillite model totem poles by renowned Northwest Coast artist Bill Reid, who is perhaps best known for his large public sculptures. Continuing a tradition of model poles begun around 1880, Reid has created a tour de force in this intricately detailed, complex composition depicting an eagle, frog, human figures, bear mother and cubs, and killer whale. Argillite, utilized by Haida carvers since at least the 1820s, is dense, carbonaceous shale that is black in color, smooth in texture and medium soft in hardness.

Fish/Seal Club Haida, British Columbia ca. 1830–1860 Wood

From the Estelle and Morton Sosland Collection, 2009.41.15 Clubs of this type were commonly used for killing seals and sea otters taken with harpoons, as well as halibut and salmon. Few, however, were as elaborately decorated as this finely balanced carving. The club is covered with imagery carved in relief representing a sea lion, one of the region’s strongest and most efficient sea hunters. The expertly conceived design, while abstract, clearly depicts the features of the animal’s head as well as its body, joints and flippers along the sides of the club’s shaft.

Knife Possibly Tlingit, Southeast Alaska ca. 1830 Wood (walnut), abalone, copper and cordage

Purchase: William Rockhill Nelson Trust, 31-125/5


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Headdress Frontlet Nuxalk (Bella Coola), British Columbia ca. 1870 Wood (alder), pigment, abalone, brass and glass mirror From the Estelle and Morton Sosland Collection, 2009.41.3 Long-beaked birds are frequently the subject of Nuxalk frontlets. The main figure of this carving appears to be a raven, with the small face, hands and feather shapes extending above the head

seeming to represent the bird’s tail. Another notable characteristic of many Nuxalk carvings is the presence of mirrors, held in place by brass disks, which represent the irises of the eyes. These would have created a dramatic flash as they reflected the firelight in the performance house. The deep blue color is also a typical feature.

Raven Rattle Haida, British Columbia ca. 1830–1860 Wood, pigment and iron nails

Gift of Mrs. Frederic James, 61-74 Renowned Northwest Coast scholar Bill Holm has remarked that the raven rattle is the best known, least understood and most controversial of all Northwest Coast objects. According to the earliest recorded native authorities, rattles of this type have always been known as a chief’s dancing rattle. Many scholars, however, believe the form began as a powerful shaman’s object. Raven rattles are distinguished by their complex, integrated form. The overall configuration represents a raven; reclining on its back is a human whose tongue is joined with the beak of a second facing raven, symbolizing the transfer of supernatural knowledge and power. On the breast is a face of a third bird with recurved beak, which likely represents yet another manifestation of the mythic raven.

Raven Rattle Kwakwaka’wakw (Kwakiutl), British Columbia ca. 1870–1890 Wood (probably alder), pigment and cordage From the Estelle and Morton Sosland Collection, 2009.41.17

Bracelet Tlingit, Southeast Alaska ca. 1890 Copper and abalone

Lent by the St. Joseph Museums, Inc., 23.2008.6 Bill Reid Haida, British Columbia, 1920–1998 Pair of Bracelets ca. 1975 22 Karat Gold From the Estelle and Morton Sosland Collection, 2009.41.18.1, 2009.41.18.2


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Man’s Tunic Tlingit, Southeast Alaska ca. 1900 Wool cloth and glass beads Bequest of Donald D. Jones, 2001.3.92

Late in the 19th century, Tlingit dancers began wearing bead-decorated clothing and ornaments based on a style derived from interior Athapaskan neighbors to the east. Woolen cloth was utilized as the foundation of flat bags with tabs, dance collars and bibs and tunics such as this. These striking garments were constructed with contrasting panels on the lower borders, cuffs and yokes, which were embroidered with abstract floral and curvilinear beaded motifs. This shirt is further elaborated with a pair of solidly beaded clan crest figures representing woodworms.

Raven Clan Hat Tlingit, Southeast Alaska ca. 1880 Wood, pigment, native leather, wool and abalone From the Estelle and Morton Sosland Collection, 49.2008.6

Worn at traditional events, this impressive headdress embodies the mythology of Raven in Tlingit culture. The small red block in the beak is thought to represent the box containing daylight, which Raven released to mankind. Such headdresses reinforced clan history and evoked the strength, spirit and memory of ancestors associated with the object over generations. Here, the head of the bird is carved wood, painted and inlaid with abalone shell, while the body, outspread wings and dropping tail are constructed of hide cloth and shell. The overall configuration suggests the ―dancing‖ performance sometimes observed in ravens.

Primrose Adams Haida, British Columbia, born 1926 Robert Davidson Haida, British Columbia, born 1946 Painted Basketry Hat ca. 1978

Split spruce root and pigment From the Estelle and Morton Sosland Collection, 2009.41.19 This collaborative work continues the long Northwest Coast tradition of woven and painted rain hats. The weaving technique divides the hat into two distinct areas, separated by a line just above halfway from the rim to the top of the crown. Above, the weave is smooth, while below a subtle, textural geometric pattern has been created. Davidson’s precisely painted design represents a shark, one of the important clan emblems of the Haida people. The painted image is perfectly composed to fit the hat’s conical form. The shark’s broad face dominates the front, while its compressed, highly abstracted body fills the remaining space.

Isabel Rorick Haida, British Columbia, born 1955 Basketry Hat ca. 1995 Spruce root From the Estelle and Morton Sosland Collection, 2009.41.27


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Cecelia Savey Nuu-chah-nulth (Nootka), British Columbia, born 1942 Whaler’s Hat ca. 1991 Red cedar bark and bear grass From the Estelle and Morton Sosland Collection, 2009.41.20

Basket Tlingit, Southeast Alaska ca. 1890 Spruce root and dyed grasses Purchase: William Rockhill Nelson Trust, 33-1322

Tlingit women produced thin, flexible twined baskets of finely split spruce roots, decorated in a technique called false embroidery. In this form of embellishment, bleached and dyed grass stems were wrapped around the spruce root wefts at every stitch, forming multicolored designs and a subtle change in surface texture. Most Tlingit baskets, like this large, exquisitely woven piece, feature geometric compositions organized in three successive bands, with identical motifs in the upper and lower bands. Here, the top and bottom designs join visually to form bold but static cross and block-like forms. In contrast, an encircling, golden yellow band filled with stepped chevrons appears to overlay these motifs, providing a strong sense of horizontal movement.

Frances Williams Nuu-chah-nulth (Nootka), British Columbia, 1919–1996 Basket ca. 1992 Bear grass, cedar bark and dye From the Estelle and Morton Sosland Collection, 2009.41.22

Baskets with designs comprised of multiple figures are known among Makah weavers as ―pattern baskets‖, as translated into English. They were originally created so that a maker could record the variety of designs and stitch patterns that she had developed or inherited in her lifetime. As these baskets became known and sought after by collectors, weavers began to create them for sale as well as their own use. Like many of the type, the imagery encircling this basket includes an amazing array of animals, birds, fish, men and canoes.

Lidded Basket Makah or Nuu-chah-nulth (Nootka), Washington or British Columbia ca. 1900 Bear grass, red cedar bark and dye From the Estelle and Morton Sosland Collection, 2009.41.21.A,B

The weave of this extraordinary warp-twined basket is 3 to 4 times as fine as what was usually done by Makah and Nuu-chah-nulth basket makers and represents the pinnacle of the tradition. The imagery is typical of a figurative style originating around the turn of the century, when basket collecting among Victorian women was at its height. On top of the basket’s lid is a canoe filled with whalers, towing a harpooned whale back to the village. Perched on the taut tow line is a small bird, while directly across is a much larger white-headed bird, perhaps an eagle but more likely a thunderbird, which is traditionally associated with whales and whaling. A similar design encircles the basket’s circumference.


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Lidded Basket Makah, Washington ca. 1910 Bear grass and rye

Gift of Aletha Simon, 2009.57.A,B Label to go into case 1 with wooden chest and boxes: CLAN CRESTS IN NORTHWEST COAST ART Many carved, painted and woven Northwest Coast works of art feature designs representing the owner’s clan. These images, called clan crests, are totemic emblems that denote ancestry, rank, social position and prestige. The privilege of using a crest could be acquired by birth, marriage or purchase, and in this regard crests might represent wealth as well. A clan crest is more, however, than an image. It also consists of a proper name, usually referring to an animal or spirit, and an oral narrative that explains the family’s relationship to that creature. Not all Northwest Coast imagery depicts clan crests, however. Other designs are representations of creatures and spirits so conventionalized and abstract that it is impossible to identify them with certainty.

Attributed to Captain Richard Carpenter Heiltsuk (Bella Bella), British Columbia, 1841–1931 Chest ca. 1880 Wood (red and yellow cedar), pigment and metal hinges Purchase: William Rockhill Nelson Trust through exchange of the gifts of Mrs. Frank Paxton

in memory of Frank Paxton Sr., Arthur Hobson in memory of Pearl Hobson, Anna Miller Hutchason, Daniel R. Anthony III and Eleanor Anthony Tenney, Mrs. Gordon Hurlbut, Rachel Hutcheson, Mrs. J. Henry Johnson and Mrs. Franklin Studebaker Riley; and other Trust properties, 70-31 The construction of this chest and others nearby is unique to the Northwest Coast culture area. The four sides of the container were created from a single plank of hand-adzed wood. The board was then cut across the width in three places, steamed and bent to form three of the corners. The remaining fourth corner was rabbeted and pegged (or sewn), forming the closed shape. The sides were then pegged or sewn to the bottom. A separate lid was made to fit the top.

Box Drum Tlingit (with probable Tsimshian painting), Southeast Alaska ca. 1850–1870 Wood (red cedar), pigment and iron nails From the Estelle and Morton Sosland Collection, 49.2008.8 Box drums are large percussion instruments, often suspended, that produce a low, booming sound when struck with either a fisted hand or padded beater. Their broad sides were often

painted with the highly conventionalized imagery distinctive of Northwest Coast cultures. This formalized system of representation, known as form-line, has ancient origins and is distinguished by a preponderance of ovoids, circles and curved contours. Principal elements of the painting are defined by heavy black outlines, which organize the component parts of the design; secondary elements are defined in red and spaces within the form-lines are filled in with ovoid and stylized ―U‖ shapes. Most compositions are symmetrical, but not all. The painting on this drum may represent a kingfisher or possibly the more frequently depicted raven.


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Chest Heiltsuk (Bella Bella) or Haisla, British Columbia ca. 1860–1890 Wood (red cedar), pigment and iron nails From the Estelle and Morton Sosland Collection, 49.2008.9.A,B

Lidded Box Nuu-chah-nulth (Nootka) ca. 1850 Wood (western red cedar) and pigment From the Estelle and Morton Sosland Collection, 2009.41.5.A,B

Willie Seaweed (Hihlamas) Kwakwaka’wakw (Kwakiutl), British Columbia, 1873–1967 Copper ca. 1920 Copper and pigment From the Estelle and Morton Sosland Collection, 2009.41.10

Objects of this type are so named in the English language because of the material from which they are made. They are unique to the Northwest Coast culture area and functioned within the region as symbols of wealth and prestige. There are various theories regarding their symbolism, including the representation of human beings. The Kwakwaka’wakw, for example, refer to the upper part as the face, the lower section as the hips and the T-shaped ridge as the backbone. This copper is painted black, and the image is created by leaving lines and forms of unpainted copper as negative areas. The design, which features wing feather motifs in the two lower sections, represents an eagle or thunderbird.

Mary Ebbetts Hunt (Anisalaga) Tlingit, Southeast Alaska, 1823–1919 Chilkat Robe ca. 1880–1900 Mountain goat wool, commercial wool yarn and yellow cedar bark From the Estelle and Morton Sosland Collection, 49.2008.16

This magnificent textile is of a type highly esteemed throughout the Northwest Coast and long associated with nobility. These robes, sometimes called dancing blankets, were created by women using extremely complex twining techniques that enabled them to produce the curvilinear shapes forming the composition. The designs, woven in mountain goat wool and shredded cedar bark, copied painted images on wooden pattern boards produced by men. Mary Hunt was recognized as a master weaver who created at least ten other robes related to this one, each of which was said to require more than a year to complete. This textile is distinguished by her singular use of color, clearly influenced by Kwakwaka’wakw (Kwakiutl) artistic style, which incorporates a vivid green, red and pink in addition to the traditional white, black and yellow.


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Shaman’s Apron Tlingit, Southeast Alaska ca. 1890–1903 Native leather, pigment and deer hoofs From the Estelle and Morton Sosland Collection, 49.2008.15

Shamans from many Northwest Cost tribes employed fringed waist garments such as this in their practice. The painting, typical of classic Northwest Coast style, represents a bear in a split depiction. The head, made of two profiles, occupies the center of the composition, with the toothed mouth extending outward from either side. Other parts of the bear, including nostrils, shoulder joints, elbows, forelegs and clawed feet are represented as well. In the center of the bear’s head is an ovoid-shaped face, perhaps depicting the rear end of the bear or a subsidiary spirit figure and its attached feet. The deer hoofs attached to the ends of the fringe make a resonant rattling noise when the shaman is in motion.

Corner-Oriented Box Tlingit, Southeast Alaska ca. 1810–1840 Wood (probably spruce with red cedar bottom), pigment and spruce root From the Estelle and Morton Sosland Collection, 49.2008.7

The designs of this relief-carved and painted box are corner-oriented. In this compositional structure, the center line of each of two compositions occupies opposite corners of the box. Consequently, each pair of the box’s four sides forms a complete image that is visually joined at the corner’s edge, with the design appearing bent in the middle. When the viewer faces a corner, therefore, a complete design composed of highly stylized, interconnected creatures becomes visible. The beings depicted within these flowing, precisely designed compositions are impossible to identify with certainty but probably represent ancient protective spirits.

Beaver Effigy Chair Heiltsuk (Bella Bella), British Columbia ca. 1865 Wood (probably spruce and yew) and pigment Gift of Ralph T. Coe, 80-42/1 Although this remarkable chair may first appear to be of Euro-American manufacture that was then altered by a Northwest Coast carver, it was actually carved in its totality by a Heiltsuk artist.

An ingeniously conceived trans-cultural object, it may have been made for either a Heiltsuk chief or a non-native person or official. The seat is relief-carved in the image of a beaver, which holds a piece of wood in its mouth that simultaneously forms the front edge of the chair and whose tail extends upwards as part of the chair’s back support. The paint is a combination of native and commercial pigments.


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Charles Edenshaw Haida, British Columbia ca. 1839–1924 Presentation Canes Left to right: ca. 1900–1910, ca. 1885, ca. 1900–1910 Wood (crabapple), whale ivory, silver and abalone From the Estelle and Morton Sosland Collection, 2009.41.12, 2009.41.13, 2009.41.11

Charles Edenshaw is perhaps the best known and most accomplished of all Haida artists of the historic period. His works are known for their superb artistry and craftsmanship, and both his creations and extensive knowledge of Haida traditions were eagerly sought by museums and anthropologists. These canes are three of perhaps a dozen elaborate versions he is known to have produced over a 25-year period. Most were made for presentation or as gifts to important and respected officials and dignitaries.

All three canes feature finely carved whale ivory handles set into engraved silver ferrules. The two outer canes date from Edenshaw’s later period (ca. 1900–1910) and include geometric designs that transition into crabapple wood shafts carved with spiral snakes and abalone-inlaid branch nubs. The handle of the cane on the left depicts a well known Haida myth— the story of Raven discovering Mankind in a clamshell—while the handle on the right is carved with shamanistic imagery. An earlier version (ca. 1885) in the center portrays a human hand holding a whale; here, the image of a sea lion rather than snakes wraps around the shaft.

Beau Dick Kwakwaka’wakw (Kwakiutl), British Columbia, born 1955 Moogamhl (Four Face Mask) ca. 1993 Wood, pigment and cedar bark Gift of Barbara and Peter Gattermeir in honor of the 75th anniversary of The Nelson-Atkins Museum of Art, 2009.42.4.A-D

The general name for this type of mask is Moogamhl, which means Four-Face mask. Like most of its kind, it is a combination of the Crooked Beak mask (central face), two Raven masks (one each side), and a Huxwhukw mask (top center). These last three masks represent the cannibal-bird associates of Baxbaxwalanuksiwe, the cannibal spirit that energizes the dancers in the Hamatsa initiation ceremony, an elaborate winter ritual of four nights’ duration. The three spirit-birds are also represented in the series of Hamatsa dances by separate masks, and Moogamhl might appear in their company, providing one’s family linage owned the privilege. Beau Dick produces masks for ceremonies as well as exhibition and is known for his carving versatility in various stylistic traditions.

Possibly by Naakushtáa, artist of the Dak’laweidí clan Tlingit, Gaanaxteidi clan, Southeast Alaska Active early 19th century Swan Mask ca. 1800–1830 Wood, pigment, abalone, native leather and ermine From the Estelle and Morton Sosland Collection, 49.2008.1

The identification of this mask as the representation of a swan has probably come down to us from the last native owners. Swans are not a commonly represented Tlingit clan crest, and the meaning of this powerful carving and the context in which it was used are unknown outside native oral history. The artist has revealed a human presence as well, realized through the naturalistic ears. The beak is hinged with leather, which would have allowed it to open during performances, giving the mask a lifelike appearance in the firelight. This dramatic effect would have been further intensified by the reflective abalone shell inlays, which amplify the sculpture’s complex arrangement of curvature, planes, ridges and subtle hollows.


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Shaman’s Mask Tlingit, Southeast Alaska ca. 1830 Wood and pigment Bequest of Donald D. Jones, 2001.3.93 Shaman’s Mask Tlingit, Southeast Alaska ca. 1830 Wood and pigment Bequest of Donald D. Jones, 2001.3.94 Sea Bear Mask Tlingit, Southeast Alaska ca. 1890 Copper, abalone and native leather Lent by the St. Joseph Museums, Inc., 23.2008.7

Sea Urchin Transformation Image Kwakwaka’wakw (Kwakiutl), British Columbia ca. 1890–1920 Wood, pigment, brass-plated steel hinges, cordage and nails From the Estelle and Morton Sosland Collection, 2009.41.2

The concept of transformation—the ability to change from one form to another—is fundamental to the religious beliefs of many Pacific Northwest Coast cultures. The term also refers to the portrayal of two or more aspects or identities within a single representation. Transformation is expressed in countless and varied forms of Northwest Coast art, but seldom more vividly than in articulated masks and performance objects such as this. In works of this kind, the outer image is made of two or more hinged parts that enabled the dancer to open it during the ceremony, revealing a second image within. Either suspended or supported from below and manipulated by cords, the object was transformed from sea urchin to human, which must have been both memorable and dramatic.

Shaman’s Headdress Frontlet Tlingit, Southeast Alaska ca. 1820 Wood, pigment, abalone and human hair Purchase: William Rockhill Nelson Trust, 31-125/33

Worn on the forehead as part of a ceremonial headdress, this striking mask-like image represents one of the helping spirits of a Tlingit shaman. The object enabled the healer to assume the powers of the spirit helper who was being called upon for assistance. It also embodied the concept of transformation between human and bird. Although the features are stylized according to Tlingit sculptural conventions, this small powerful carving gives physical presence to the supernatural and resonates with a sense of life.


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Attributed to Albert Edward Edenshaw Haida, British Columbia, 1810–1894 Bear Headdress Frontlet ca. 1850 Wood, pigment and abalone From the Estelle and Morton Sosland Collection, 2009.41.4

Headdress frontlets are carved wooden plaques that form the primary element of elaborate ceremonial headdresses. Positioned above the forehead of the wearer, they were attached to a semi-cylindrical framework made of wood or whale baleen, which was further ornamented with various materials from the creatures of the earth, sky and sea. This carving represents a bear sitting on its haunches with its forefeet held upward. The small human faces carved in the bear’s ears are likely references to mythological tales of marriage between bears and humans, which brought about the origin of certain Haida clans.

Dzunukwa Mask or Gikamhl (Chief’s Mask) Kwakwaka’wakw (Kwakiutl), British Columbia ca. 1870 Wood (alder), pigment, human hair and bear hide From the Estelle and Morton Sosland Collection, 2009.41.1 Dzunukwa, or Wild Woman of the Woods, is a creature believed to carry off wandering or

misbehaving children. She is thought to be larger than human, completely hairy like a bear, nearsighted, often sleepy in the daytime and reclusive. Stories of her presence in the nearby forest are intended to keep small children close to home. This dramatic mask is considered one of the most masterful of all depictions of Dzunukwa. Its highly sculpted features—slanting, slit-shaped eyes set deep within sockets formed by a projecting beak-like nose, heavy overhanging brow and prominent, highly polished cheekbones—convey the convincing impression of a half-animal, half-human creature of the forest. The hollow cheeks and pursed, open mouth evoke her haunting cry.

Bowl Haida, British Columbia ca. 1820 Wood and abalone Bequest of Donald D. Jones, 2001.3.96

Seal Bowl Haida, British Columbia ca. 1850 Wood and opercula Purchase: William Rockhill Nelson Trust, 31-125/34

Bowls carved in the image of a seal with arched back and extended head and rear flippers were the favored containers for seal oil of northern Northwest Coast peoples. The bowl’s form paid homage to the life and spirit of the animals that were the source of this essential food, which was eaten as an accompaniment to dried fish. The dark, glossy surface of infused grease is evidence of long use. Opercula shells, inlaid along the wide, low-curving, undercut rim, serve to emphasize its graceful sweep.


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Bent-Corner Bowl Heiltsuk (Bella Bella) or Haisla, British Columbia ca. 1850-1870 Wood (maple or alder) and opercula From the Estelle and Morton Sosland Collection, 2009.41.6

Bowl Tlingit, Southeast Alaska ca. 1880 Mountain sheep horn Purchase: William Rockhill Nelson Trust, 31-125/35 Spoon Haida or Tsimshian, British Columbia ca. 1840–1860 Mountain goat horn, cow horn and metal pin From the Estelle and Morton Sosland Collection, 2009.41.16

Spoons of this type were used on formal occasions. Embellished with images depicting clan crests and family myths, the minute, precisely carved figures are arranged just as they were on monumental totem poles. Here, a human figure—a woman, identified by her flowing hair and the labret in her lower lip—sits atop an eagle or thunderbird; above her are what appear to be four creatures, perhaps baby birds; two more creatures, possibly a bird and a small mammal are poised above them. The handle of this two-piece spoon is made from the curved, tapering horn of a mountain goat, while the flaring bowl was made from that of a cow. The relief carving covering the bottom is a rare feature.

Spoon Kwakwaka’wakw (Kwakiutl), British Columbia ca. 1890 Mountain goat horn and metal pins Purchase: William Rockhill Nelson Trust, 31-125/36

ARCTIC:

Seal Bowl Chugach (Alutiiq), Southcentral Alaska ca. 1780–1820 Wood (probably alder or birch) From the Estelle and Morton Sosland Collection, 2009.41.7

This graceful carving represents a sleek, swimming seal, gliding beneath the water with head and rear flippers extended. The bowl’s elegant simplicity and perfectly proportioned form are unsurpassed within the tradition. The artist’s intently felt representation of the seal functions as an homage to the animal upon which the people depended so greatly. Expanding this concept, the bowl’s low oval form, typical of Chugach style, appears to represent a seal’s open body, which provided the oil the bowl was intended to contain. The artist’s consummate skill is especially visible in his handling of the narrow rim, carved in two delicate parallel ridges. A similar double line within the bowl, together with shallow depressions, activates the interior surface.


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Sculpture Nunavimmuit, Inukjuak (Port Harrison) Quebec, Canada ca. 1955–1960 Serpentine Purchase: the Donald D. Jones Fund for American Indian Art, 2008.27

This dramatic sculpture represents an Eskimo hunter struggling to his feet beneath the weight of two seals he has taken. The compressed energy and tension conveyed in the figure and the expression on the hunter’s face—in the struggle of the moment and yet transcendent—create an emotional intensity rarely achieved in contemporary Eskimo carvings. This individual hunter’s triumph, enacted countless times over thousands of years, references the enormous challenge of survival in the most difficult natural environment on the face of the earth.

Bow Drill Inupiaq, Alaska ca. 1820 Walrus ivory and pigment

Purchase: the Donald D. Jones Fund for American Indian Art, 2002.5.2 Small-scale, engraved ivory objects have served for millennia as the principal means of pictorial expression among Eskimo peoples. The bow drill was an essential tool in traditional culture, and this particular work is notable for both the quality of its drawing and the unusually wide range of subject matter. Indeed, the world of the Alaskan Eskimo is fully revealed in the minute, complex imagery and compositional progressions that cover its four-sided surface. Depictions of masks, spirit forms, shamanistic transformation and ceremonial dances are joined with those of migrating birds, hunting, fishing, village life and domestic scenes.

Toggle Inupiaq, Alaska ca. 1880 Walrus ivory Purchase: the Edward W. Hartman Memorial Fund, 2004.27

From ancient times to the present day, Eskimo artists have created an unbroken tradition of small-scale ivory sculpture. This exquisitely detailed utilitarian implement depicts two seals’ heads facing in opposite directions. Each is remarkably realistic in form and expression, and so distinctive in appearance as to appear to be individual portraits. The startling sense of life animating this tiny sculpture reflects the carver’s intimate knowledge and close observation of his subject as well as his skill and sensitivity as an artist.

Earl Mayac Inupiaq, Alaska, born 1938 Transformation Carving ca. 1975 Ivory and pigment

Bequest of Donald D. Jones, 2001.3.84.A,B In this contemporary carving the hunter and prey are joined as one, an ancient concept among many Native American hunting peoples. Through ceremony, ritual acts and even finely decorated clothing intended to please prey animals, hunters affirmed their unity with the spirit world and the creatures upon which their existence depended. Here, however, the skill and bravery of the lone, parka-clad hunter crawling across the ice and the potential ferocity of the polar bear are equally expressed, perhaps posing the question: Who is the hunter and who is the hunted?


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Women’s Boots Eskimo, probably West Greenland ca. 1890 Native leather and cotton thread Lent by St. Joseph Museums, Inc., 23.2008.3.A,B

These woman’s outer boots are representative of the finely designed, highly functional and intricately tailored clothing produced by Eskimo women throughout the Arctic. Such clothing was critical to survival in the region’s harsh climate, but its production also served as women’s primary medium of expression. The intricate geometric pattern on this pair was created through the ancient technique of mosaic skin appliqué and reflects the highest level of craftsmanship and artistic vision.

Richard Frederick Hutchinson Inupiaq, Barrow, Alaska, born 1972 Basket ca. 1995 Baleen and walrus ivory From the Estelle and Morton Sosland Collection 2009.41.25.A,B

The walrus ivory finial of this contemporary basket evokes a seal popping up from the water or looking up at the viewer from a hole in the ice. The basket is woven from baleen, a glossy, horn-like material taken from the upper jaw of the bowhead whale. In both materials and execution, Hutchinson has effectively emphasized the contrast between the smooth, softly rounded surfaces of the carved ivory seal and the intricately woven, spiraling textured pattern of the baleen. The remarkable fineness and evenness of weave distinguish this delightful object.

Man’s Leggings Athapaskan, probably Slavey or Slavey-Metis, Northwest Territories, Canada ca. 1875 Wool cloth, glass and metal beads Purchase: the Donald D. Jones Fund for American Indian Art, 2005.13.2.A,B

Seal Mask Yup’ik, Southwest Alaska ca. 1890 Wood, pigment and feathers Purchase: William Rockhill Nelson Trust, 31-125/61

Eskimo masks appeared, and are best understood, within the context of elaborate ceremonials and festivals that included dance, gesture, song and drumming. This mask depicts a seal, as seen by its facial features and the flippers attached at the sides of the head, but it also represents simultaneously the animal’s yua, or soul, and the souls of all seals. The face is vaguely human as well. In addition to representing the spirit of the animals depicted, many masks also expressed the ability of creatures and humans to change form, a common shamanistic theme. Masks were based on the visions of shamans, who either carved the mask themselves or directed the carving. The projecting, upward-turned rod with circular rings represents bubbles rising to the surface of the water.


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Seal Masks Yup’ik, St. Michael area, Alaska ca. 1890 Wood, pigment, wolf fur and native leather Lent by the St. Joseph Museums, Inc., 23.2008.1, 23.2008.2

This pair of masks embodies the pan-Arctic belief in the duality of physical being and spirit in which all beings, including animals, possess a soul, or yua. It has been recorded that the upper, box-like form of masks of this type represents the spirit of the seal depicted below. However, it is also known that a mask was not identified with the soul of a single animal but with the vital force representing the immortality and continuum of all the individual spirits of that genus which has lived, was living, or was to live. Yup’ik masks were sometimes created in sets of two or three and were used by shamans to facilitate communication and movement between the domains of human and animal, living and dead.

Skull Mask Probably Yup’ik, reportedly collected at Point Barrow, Alaska ca. 1890 Wood and pigment Lent by the St. Joseph Museums, Inc., 23.2008.2

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