I came across a couple of interesting old images recently that I thought readers might find of interest. The first is a carte-de-visite (CDV) of a young woman dressed as an Indian and wearing an Iroquois beaded bag (figure 1). The second is a Daguerreotype of a young girl with a slightly earlier style of Iroquois bag that is decorated with ovate (somewhat egg-shaped) floral motifs (figure 2).
|Figure 1 - 1860s CDV of a young woman wearing an Iroquois floral bag decorated with elongated leaf motifs. She was likely part of a theatrical production.|
|Detail of the bag in figure 1|
|Figure 2 - Circa 1850 Daguerreotype of a young girl with and Iroquois floral bag with ovate floral motifs and thick stems.|
|Detail of the bag in figure 2|
During the classic period of Haudenosaunee souvenir beadwork (1800–1840s), articles made by Iroquois artisans featured curvilinear and geometric designs and organic motifs. It’s not until the dawn of the Victorian era however that we begin to see the development of a distinctive floral style in Iroquois beadwork (figure 3). (The Victorian era began in June of 1837 with the reign of Queen Victoria and ended with her death in January, 1901). The origin of this distinctive floral style has been studied by serious collectors and researchers alike for some time now. Evidence suggests it emerged during the late 1830s, in the waning years of the classic period of Haudenosaunee beadwork.
|Figure 3 - A group of Iroquois floral bags with ovate floral motifs and thick stems. Late 1840s to early 1850s.|
Perhaps as an accommodation to Victorian fashion trends, the characteristic floral motifs in this style predominated the beadwork that was produced in many Haudenosaunee communities during the mid-19th century. Museum and private collections contain hundreds of examples that were either collected from or are attributed to the Tuscarora, Seneca, Onondaga, Oneida, and Mohawk. Because so many of these bags were sold at Niagara Falls, they are sometimes referred to as the Niagara floral style.
There are several variations within this floral style. The evidence suggests that the earliest examples used a single string of beads to delineate the stems (figure 4) but the style quickly transitioned to using much thicker stems (figure 5).
|Figure 4 - Early Iroquois floral bag beaded on silk. The stems are delineated by a single string of beads. Late 1830s. From the collection of Jeff Graybill.|
|Figure 5 - Detail from a beaded bag illustrating the thick flower stems and ovate flowers that were typical of Iroquois floral work from about the early 1840s to about the middle 1850s.|
|Figure 6 - Iroquois beaded bag with ovate floral motifs in a bilaterally symmetrical design. Circa 1850.|
|A CDV from the mid -1860s. This image was part of a larger group of CDVs by the same photographer that featured theatrical actors. The subject is wearing Iroquois moccasins and her bag is decorated with elongated leaf motifs.|
|Detail of the bag in the previous image.|
|Early to mid-1850s Daguerreotype of a young girl with an Iroquois floral bag decorated with elongated leaf motifs.|
|Another Daguerreotype from the mid-1850s of a young girl with an Iroquois beaded bag decorated with elongated leaf motifs.|
If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron.
Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5.
Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women.
In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art.