tag:blogger.com,1999:blog-87437330622234462242024-03-19T05:59:22.829-04:00Historic Iroquois and Wabanaki BeadworkMid-1850s daguerreotype - the subject is holding an Iroquois floral-style beaded bag similar to the one on the right.Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.comBlogger49125tag:blogger.com,1999:blog-8743733062223446224.post-37524802332708352712020-07-02T20:14:00.006-04:002020-10-01T19:27:06.854-04:00Northeast Woodland Shields<p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt; text-align: left;"><span style="font-size: 12pt;"> What follows are
some of the latest designs I’ve been working on; something to occupy my time
during the covid epidemic. For Native peoples around the world, shields served
as a form of protection from both physical and spiritual harm. They are also strong symbols of good medicine. My </span><span style="font-size: 12pt;">intention is to create a series of shields, some inspired by designs on old Northeast Woodland beaded bags and others by animals or some other aspect of nature. Many of the old
beadwork designs had hidden meanings woven into them, cultural motifs to be preserved
for future generations.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt; text-align: left;"><span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>The earliest beadworkl has a spiritual
quality about it that is akin to fine art.<span style="mso-spacerun: yes;">
</span>Inaugurated at a time when the Northeast Woodland nations were
impoverished and struggling to continue under conditions of devastating
cultural loss, not only was each piece the product of hard work, but it was
also a stratagem of cultural resistance and continuance.<span style="mso-spacerun: yes;"> It was an art of survival.</span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt; text-align: left;"><span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>Historically, this work has been described
as a family undertaking that was performed when beadworkers gathered. As they
worked in a communal setting, they thoughtfully wove stories into
their designs, which told of what it meant to be Haudenosaunee or Wabanaki. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt; text-align: left;"><span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin: 0in 0in 3pt 0.5in; text-align: left;"><span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Beadwork was a bridge that united the
generations. As the younger beaders were learning their craft, their elders
would relate the oral histories of their families. The process of making
beadwork evokes memories and connects the Iroquois to their ancestors (From a
text panel in the “Across Borders” travelling exhibit). <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin: 0in 0in 3pt 0.5in; text-align: left;"><span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt; text-align: left;"><span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>On the surface, the bags were the canvas
upon which an artist displayed their technical skills and artistic vision.<span style="mso-spacerun: yes;"> </span>But below the surface, the power inherent in
a beautiful object was a central feature of life.<span style="mso-spacerun: yes;"> </span>Beadwork was a language through which artists
expressed their deepest beliefs about the universe.<span style="mso-spacerun: yes;"> </span>We may never know the full extent of their
meanings, but embedded within the designs are stories of a people told in
symbols and motifs that spoke of a sacred relationship with the natural
world.<span style="mso-spacerun: yes;"> </span>The shields are my humble attempt
</span><span style="font-size: 12pt;">to honor the creators of this original and
unique form of art with my own work.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 12pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><o:p></o:p></span></p><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicpBn7FF4Q5l7DHnhzYTBvGQ1PhyDa3dnTgYXPRpvljHMAd6PZjMxRiPNqYQrHSZ1O-0OicQj_FS6Xb2KUrxG1gjENQZ1D_kecp6h6i4XjW6w4L0U7svJrByIruqhfheKrItvEVTfrupPp/s1008/Figure+1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1008" data-original-width="680" height="781" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicpBn7FF4Q5l7DHnhzYTBvGQ1PhyDa3dnTgYXPRpvljHMAd6PZjMxRiPNqYQrHSZ1O-0OicQj_FS6Xb2KUrxG1gjENQZ1D_kecp6h6i4XjW6w4L0U7svJrByIruqhfheKrItvEVTfrupPp/w529-h781/Figure+1.jpg" width="529" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal" style="margin-bottom: 0in;"><span style="font-size: 12pt; line-height: 107%;">Figure 1 - While studying a selection
of old Iroquois beaded bags, I noticed that several of the ones that had a
prominent heart motif also included tri-lobed strawberry leaves in the design.
Given the importance and sacred value of strawberries in Iroquois culture, and
from conversations with contemporary Haudenosaunee beadworkers, I've come to understand that some of the heart motifs on the old bags were likely a
stylistic representation of the strawberry or heart berry. The old souvenir
bags functioned as a non-verbal medium for historic beadworkers to weave key
cultural concepts into their work and also served as a conduit to communicate
those ideas to future generations. When used in a covert way, these traditional
motifs allowed an artist to include these concepts in a way that was non-threatening to a 19th century patron. Although made for sale to
outsiders, the motifs recorded in the beadwork were a way to keep a tradition
alive and they were also a form of resistance to assimilation pressures. It was
a method of preserving key aspects of Haudenosaunee beliefs and traditions for
both present and future generations.</span></p></td></tr></tbody></table><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6FmnexTFjWF3G215P2ebYdqwm0DGtGqhi1CJzXkSP2TT-ekNPsu-jNjWYxjcjowAxNyAW4skGNG3OrP0dKlX9kkWzBVSLVrFHlSvbXL5Xyhuv0F4gjPHYALpY6yoJgEs9Izj2v0Z4_QHY/s587/figure+1+-+bag.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="587" data-original-width="443" height="625" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6FmnexTFjWF3G215P2ebYdqwm0DGtGqhi1CJzXkSP2TT-ekNPsu-jNjWYxjcjowAxNyAW4skGNG3OrP0dKlX9kkWzBVSLVrFHlSvbXL5Xyhuv0F4gjPHYALpY6yoJgEs9Izj2v0Z4_QHY/w470-h625/figure+1+-+bag.jpg" width="470" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><p class="MsoNormal" style="margin-bottom: 0in;"><span style="font-size: 12pt; line-height: 107%;">This early Haudenosaunee bag with the
heart or "heart berry" motif was the inspiration for the design in
figure 1. The bag dates to the first
quarter of the 19<sup>th</sup> century.<o:p></o:p></span></p></td></tr></tbody></table></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2gZVSLVu-ohM0AtFwc3SkmnL9VEo7SrTQi8cMOPI_sfY-DXndOyaR48mJtM2X4vAnKJlHRPXbkRzrgqdBSRRzXRMlfUAPeu0Qw6EF47KZJ4YDS-TWxKWEPc8jjUfnSxVjb_erv4g7i3bz/s1008/Figure+2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1008" data-original-width="682" height="781" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2gZVSLVu-ohM0AtFwc3SkmnL9VEo7SrTQi8cMOPI_sfY-DXndOyaR48mJtM2X4vAnKJlHRPXbkRzrgqdBSRRzXRMlfUAPeu0Qw6EF47KZJ4YDS-TWxKWEPc8jjUfnSxVjb_erv4g7i3bz/w530-h781/Figure+2.jpg" width="530" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><p class="MsoNormal" style="margin-bottom: 0in;"><span style="font-size: 12pt; line-height: 107%;">Figure 2 – This design is based on an
early Seneca bag with what might be interpreted as a whirling sun motif. <o:p></o:p></span></p></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrNuVVHW8ccCGgnKVry9QhZgaeuEZ1EhAIQC5Hxt91Dey0XrugNbX3cMiOVmUNdZfu8zzSdDeyaPFSBIaDLTQwe0cikIQ7KdliMZw3d0GthRfkGOUSRZWKQiG1UzHDqKipmgbwjgSieLLc/s2594/Figure+2+-+bag.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2594" data-original-width="2354" height="625" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrNuVVHW8ccCGgnKVry9QhZgaeuEZ1EhAIQC5Hxt91Dey0XrugNbX3cMiOVmUNdZfu8zzSdDeyaPFSBIaDLTQwe0cikIQ7KdliMZw3d0GthRfkGOUSRZWKQiG1UzHDqKipmgbwjgSieLLc/w568-h625/Figure+2+-+bag.jpg" width="568" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><p class="MsoNormal" style="margin-bottom: 0in;"><span style="font-size: 12pt; line-height: 107%;">This is the bag that was the
inspiration for the design in figure 2. The bag dates to the 1830-1840s period. <o:p></o:p></span></p></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr13yg2WfX7ryf0Kh7Kc6BvzSIu1QeFc9smgC06B08utZckpfsnVJnQch3qBwg5hnEkwjcAqQxVBIejwGs62VBkgmRcVh9jmYWslJrIkeTQW97QmlbEfwz6h4yyzXa24dZic_8DUIjGlul/s1027/Figure+3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1027" data-original-width="737" height="781" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr13yg2WfX7ryf0Kh7Kc6BvzSIu1QeFc9smgC06B08utZckpfsnVJnQch3qBwg5hnEkwjcAqQxVBIejwGs62VBkgmRcVh9jmYWslJrIkeTQW97QmlbEfwz6h4yyzXa24dZic_8DUIjGlul/w563-h781/Figure+3.jpg" width="563" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Figure 3 - Many contemporary Wabanaki
beadworkers see medicine plants in the designs that were woven onto their old
beaded bags: plants that could heal cuts and burns, break fevers, and a host of
other ailments. Wabanaki artists had to look no further than the nearby fields and and their gardens to
find inspiration for their beadwork designs.<o:p></o:p></span></p></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSJ_3MP5D_ikhPWB3hlv5C3K4ySn4PPvNeblXXyrc_WulPznBWx4xD83cSbKmtXMDL9xfR44MTbYkr0e7oLK0sKGP9AYHYY2CvNvnEcES9EED08tRbEB_Ur6IgqeRejnBjuX5ihyphenhyphenM4iWPr/s936/Figure+3+-+bag.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="936" data-original-width="855" height="625" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSJ_3MP5D_ikhPWB3hlv5C3K4ySn4PPvNeblXXyrc_WulPznBWx4xD83cSbKmtXMDL9xfR44MTbYkr0e7oLK0sKGP9AYHYY2CvNvnEcES9EED08tRbEB_Ur6IgqeRejnBjuX5ihyphenhyphenM4iWPr/w570-h625/Figure+3+-+bag.jpg" width="570" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">This is the bag, likely Mi'kmaw, that was the
inspiration for the design in figure 3.
A beautiful example with a bilaterally symmetrical design and linear
beadwork. The bag dates to the 1840s and has flora that likely represented
sacred or healing plants to the maker. It’s a beautiful example of Wabanaki
workmanship from this time period.<o:p></o:p></span></p></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsdmySA8zA9Qmja5jTVOz64Pa38C6hy5mx-sK1hx2_HxHgMua_GLc-qL-b92Apgqpk_wafPP2lqqQnoMdvFosK9r6_Qq9C0TC8C9SNv73i_TCvPtn4SyWMRjPQ98rkSIz-6nfkR4UBO4rc/s1008/Figure+4.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1008" data-original-width="688" height="781" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsdmySA8zA9Qmja5jTVOz64Pa38C6hy5mx-sK1hx2_HxHgMua_GLc-qL-b92Apgqpk_wafPP2lqqQnoMdvFosK9r6_Qq9C0TC8C9SNv73i_TCvPtn4SyWMRjPQ98rkSIz-6nfkR4UBO4rc/w533-h781/Figure+4.jpg" width="533" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Figure 4 – This piece is based on a mid-19<sup>th</sup>
century Tonawanda Seneca design. I did it as a tribute to Caroline Parker and her
family who were from Tonawanda. It’s unclear
if Caroline actually made the piece that inspired this design but a documented table cover in the
Rochester Museum and Science Center was made by her and there are
many similarities between the two pieces. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt;">There were several Parker family
beadworkers during the mid-19th century, notably Caroline Parker,
her mother Elizabeth, and Mariah, the wife of Caroline’s brother Levi. There
may have been others in their immediate circle of beadworkers as well.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt;">
Scholars, such as Ruth Phillips, have indicated that the rapid
shift from curvilinear and geometric designs to floral motifs in mid-nineteenth
century Iroquois work has been linked to Victorian fashion trends and women’s domestic
sphere (Phillips 1998). The floral style in this piece appears to be unique to
the mid-nineteenth century Seneca on the Tonawanda Reservation.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt;"> Lewis Henry
Morgan, an attorney from Rochester, New York, who was loosely affiliated with
New York State Cabinet of Natural History (NYSCNH), retained the Parkers to
produce examples of Seneca material culture for the NYSCNH, the predecessor to
the New York State Museum in Albany and the Parkers produced numerous examples
for the State collection. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt;">Morgan’s
correspondence with the Parkers indicates that Caroline made many of the items
that were supplied to the Cabinet of Natural History although some scholars
dispute this point as Caroline was attending school in Albany at the time and
wrote that she was overwhelmed with school work and other obligations. It’s
possible that the beadwork she provided was from an existing inventory and it’s
impossible to determine at this point how much of it was made by her or by
other members of her family.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt;">
The table cover in the Rochester Museum and Science Center is a documented
example of Caroline’s work and there are numerous other objects that have
survived that incorporate virtually identical floral motifs. Except for the table
cover, I’m not aware of any other documented examples of her work, but the bead
colors, delicacy and refinement of the designs and their stylistic similarity
to the table cover suggests that she could have made them; they represent
the highest level of 19<sup>th</sup> century Haudenosaunee beadwork.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt;">
Art historian Ruth Phillips has written that Caroline Parker’s work is
characterized by its flatness, great delicacy, relatively high degree of
naturalism, and its use of small, pastel, white, and translucent beads
(Phillips 1998:224).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt;"> Other distinguishing features on Tonawanda
Seneca bags include a tight band of beads along a scalloped perimeter.
Additionally, like the table cover, they incorporate some variation of the
dendrite or spray work along the perimeter of the flower that might symbolizes
the world tree from the Iroquois creation story. The large flower could be a
stylized representation of the sun depicted atop of the celestial or world tree
also from the creation story.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt;"><img border="0" data-original-height="1008" data-original-width="1012" height="499" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_aEAUAnFEzehFQT5iumWVDsNr-v9Us_o35gEDgpXSJQ7-qEwxCs8cWwe7Z1sRPc8MO9LHEmymc31AAt_T4GbML9mL39GLw1lKEXVj99SGiPqZYLiSMGKplJox1sE6wtO1BWMpJP8Ro6gX/w500-h499/Figure+4+-+bag.jpg" width="500" /></span></p>This is the bag I used as the inspiration for figure 4. It dates from the mid-19<sup>th</sup><span style="font-size: 16px;"> century and is in the Tonawanda Seneca style.</span><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt;"></span></p><div class="separator" style="clear: both;"><br /></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt;"> Altho</span><span style="font-size: 12pt;">ugh the Parkers adapted their
lifestyle to co-exist with Europeans and presented their work to Victorian
consumers in a way that was acceptable to them, they could still covertly
incorporate symbols in their work that had cultural significance to them. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0.1in; mso-para-margin-bottom: .6gd;"><span style="font-size: 12pt;"> “The art of flowering” – as the
Parkers termed it – is what they were noted for:</span><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin: 0in 0in 0.1in 0.5in; mso-para-margin-bottom: .6gd; mso-para-margin-left: .5in; mso-para-margin-right: 0in; mso-para-margin-top: 0in;"><span style="font-size: 12pt;">In doing this work,” Morgan
reported that “the eye and the taste are the chief reliances… In combining
colors certain general rules, the result of experience and observation, are
followed, but beyond them each one pursued her own fancy. They never seek
for strong contrasts, but break the force of it by interposing white, that the
colors may blend harmoniously. Thus light blue and pink beads, with white beads
between them, is a favorable combination; dark blue and yellow, with white
between, is another; red and light blue, with white between, is another; and
light purple and dark purple, with white between, is a fourth. Others might be
added were it necessary. If this beadwork is critically examined, it will be
found that these general rules are strictly observed; and in so far as beadwork
embroidery may be called a systematic art. The art of flowering, as they term
it, is the most difficult part of the beadwork, as it requires an accurate
knowledge of the appearance of the flower, and the structure and condition of
the plant at the stage in which it is represented (Morgan 1852:111).<o:p></o:p></span></p></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"></td></tr><tr><td class="tr-caption" style="text-align: center;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIHTG7JgrVlyCUH1nWdAu1bxBIu82UmJLxCrM22sgqgzJYHqQ5nc80Q6UDAQgkTBNfpfJaqZf4GWFvPI98gyGlMYmfS02SVJcy3txLYo2isrEQgjSOKlYh65y1GdtVM6GdDflceodkRN7z/s1008/Figure+5+with+spider.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1008" data-original-width="679" height="781" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIHTG7JgrVlyCUH1nWdAu1bxBIu82UmJLxCrM22sgqgzJYHqQ5nc80Q6UDAQgkTBNfpfJaqZf4GWFvPI98gyGlMYmfS02SVJcy3txLYo2isrEQgjSOKlYh65y1GdtVM6GdDflceodkRN7z/w529-h781/Figure+5+with+spider.jpg" width="529" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Figure 5 - Over the years, I’ve come across a small number of Haudenosaunee
beaded items that had designs that reminded me of insects. For this latest shield I used an old bag with what could be interpreted as a spider as my
inspiration.<p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Some days I think it is, but other days I’m not sure. It is certainly
an intriguing design and since many 19th century beadworkers covertly included
concepts in their work that had both personal and cultural meaning, there might
be something entomological to the design. Although many folks have a fear
of spiders, diverse tribal people around the world consider them sacred. The
Bhil and Mat people of central India have a great sense of connection between
the living and the dead. They believe that spiders are the spirits of their
ancestors. The Chibchas from the northeast highlands of Columbia and
present-day Panama are culturally similar to the Inca, and central to their
beliefs is that a departed soul uses the webs of spiders to cross the divide
from the physical to the spirit world. In North America, the Pueblo and Navajo
people have a great tradition about Spider Woman, who, according to their
traditions, was the first being in the world. She brought all life into
existence and connected herself to each of her creations through the threads of
her web.<o:p></o:p></p>
<p class="MsoNormal">Below, I’ve included a few other images with motifs that could be
interpreted as insects. Of course, it’s unclear if these designs actually
represent insects or were just a variation of the double-curve motif by their
maker. Today, our interpretation of these designs is not necessarily an
accurate representation of the maker’s original intent. <o:p></o:p></p></td></tr></tbody></table><div><br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="864" data-original-width="748" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOKgRc0w7P62Q81Gvy1ZTWCv2vqYvSx37rlXmkbJKpRnLGSXZUcLOWhoqYzk11n4z7fmWighSLvFdPfdM-wAquPn5u-61DeUV6d0V7PHx85qmmvCJIcTLe30RRlqFCFklkpPio56-17NO0/w433-h500/spider+bag.jpg" style="margin-left: auto; margin-right: auto; text-align: left;" width="433" /></td></tr><tr><td class="tr-caption" style="text-align: center;">This is the bag I used as my inspiration for figure 5. The design could be interpreted as an insect, possibly a spider. It's an early Seneca bag that dates to the first quarter of the 19th century.<br /></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmCSNF8rZwnEaW26fFl0qg3q8Zouzg10HvWY0F0OII8slc3Mp7v54hlkIrQ0886Iv7c2TROFILva6mswhigb5TxuequnFcaA485lkKkjgQRXmQegW77IUTS5WnjqgmNKEFuvz1ZgkMScrO/s335/Maine+State+Museum+bug+bag.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="335" data-original-width="305" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmCSNF8rZwnEaW26fFl0qg3q8Zouzg10HvWY0F0OII8slc3Mp7v54hlkIrQ0886Iv7c2TROFILva6mswhigb5TxuequnFcaA485lkKkjgQRXmQegW77IUTS5WnjqgmNKEFuvz1ZgkMScrO/w364-h400/Maine+State+Museum+bug+bag.jpg" width="364" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Another early bag, likely Seneca, with what could be interpreted as an insect design. From the Maine State Museum collection. <br /></td></tr></tbody></table> <br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="864" data-original-width="894" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM_lgQAm4_nFWW1ecVwaocWAP3lg2CqqAwwjbvLYAy-FTA7H87fQD3TnTX5rpHsCfBPuXPHMnA740FhcKhaXP70572MRJE-62WgAe36qBGeXg8FU2hzacRa3zdNk2fFuzVfvuWULDxs4nh/w400-h386/heart+bag+with+bug.jpg" style="margin-left: auto; margin-right: auto; text-align: left;" width="400" /></td></tr><tr><td class="tr-caption" style="text-align: center;">Another early Seneca bag with what could be an insect motif on the flap. Possibly from the first quarter of the 19th century.<br /></td></tr></tbody></table><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-RWCdKfEnVuZGcbMJbKcfmRvr8IqJBQXKHZYxiAfYW7P2S3OuATYtBu8Gd-lpTeBBL6tmanDOUo1hxGpFHlgSUmgUEVeUgr2Jqhu48C6QJV3ANKB4FGmWhuspirOoJAZ4RGlUVcyOv6T-/s864/watch+pocket.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="864" data-original-width="616" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-RWCdKfEnVuZGcbMJbKcfmRvr8IqJBQXKHZYxiAfYW7P2S3OuATYtBu8Gd-lpTeBBL6tmanDOUo1hxGpFHlgSUmgUEVeUgr2Jqhu48C6QJV3ANKB4FGmWhuspirOoJAZ4RGlUVcyOv6T-/w356-h500/watch+pocket.jpg" width="356" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">This is a mid-19th century Haudenosaunee watch pocket with a design that could represent a butterfly or a moth. <br /></td></tr></tbody></table><p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt;"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkHjYe_m73qlWxX5MiWA1XQtb6liE6AiOHHQMzNUw09uuRuNc0Zm02frG3NhzoCUaw5c6UrO79j8sNGOhW8xLP2K3o9NZ_Sf6C60d8omDztHevl_0u7gOoxXZmrtBMShlnsvsqd3f0ZDXF/s1008/Shield+005-color-E.jpg" style="display: block; margin-left: auto; margin-right: auto; padding: 1em 0px;"><img border="0" data-original-height="1008" data-original-width="679" height="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkHjYe_m73qlWxX5MiWA1XQtb6liE6AiOHHQMzNUw09uuRuNc0Zm02frG3NhzoCUaw5c6UrO79j8sNGOhW8xLP2K3o9NZ_Sf6C60d8omDztHevl_0u7gOoxXZmrtBMShlnsvsqd3f0ZDXF/w674-h1000/Shield+005-color-E.jpg" width="674" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><p class="MsoNormal"><o:p></o:p></p>Figure 6 - Many Native people consider the turtle a sacred symbol that
represents Mother Earth. The turtle’s long life, and hard shell are symbolic of
good health, perseverance and protection. As such it represents a powerful
theme for a shield.<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBDsqOmJTFKQjPsfdDiq3kkwJ1THjtCqojt9Qg41wdfQtf8LTtMQQq_SaFsRLLbUvl20ucGhmuygnghEghmBVZDOQ9jrSyCdrw4Gq0dsRmT9t9sXvHsM-2xDIbV4RqO5jYIpFncSjraapK/s1008/Shield+008-color-E.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1008" data-original-width="677" height="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBDsqOmJTFKQjPsfdDiq3kkwJ1THjtCqojt9Qg41wdfQtf8LTtMQQq_SaFsRLLbUvl20ucGhmuygnghEghmBVZDOQ9jrSyCdrw4Gq0dsRmT9t9sXvHsM-2xDIbV4RqO5jYIpFncSjraapK/w673-h1000/Shield+008-color-E.jpg" width="673" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><p class="MsoNormal">Figure 7 - My rendition of a thunderbird shield. The thunderbird is a
powerful spirit who has taken the form of a bird. The flapping of its wings
produced the sound of thunder and lightning bolts were believed to radiate from
its beak. It brought the rain which advanced all life on earth. <o:p></o:p></p></td></tr></tbody></table><p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt; text-align: center;"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbojGPN2agg9skHSf-gR7tE8fgiHCd0bJvOg-KeDZscd0B2yS_YCOp8iYoYu3g8CIPoxvbmjF6_sQgXfrKNu61Y8fBlrfIv1lF1HI7dgBDKhu8es70L0lSSlDkl_5Nv3id1l9VFZ4Mm7sV/s1008/Eagle+shield-E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1008" data-original-width="754" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbojGPN2agg9skHSf-gR7tE8fgiHCd0bJvOg-KeDZscd0B2yS_YCOp8iYoYu3g8CIPoxvbmjF6_sQgXfrKNu61Y8fBlrfIv1lF1HI7dgBDKhu8es70L0lSSlDkl_5Nv3id1l9VFZ4Mm7sV/w479-h640/Eagle+shield-E.jpg" width="479" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Figure 8 - Eagle shield. October 1, 2020<br /></td></tr></tbody></table><p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt; text-align: center;"><br /></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt;"><b><span><font size="5">References</font></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt;"><b><span style="font-size: 12pt;">M</span></b><b><span style="font-size: 12pt;">organ, Lewis Henry</span></b><b><span style="font-size: 12pt;"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt;"><span style="font-size: 12pt;">1850 “Report to the
Regents of the University, upon the Articles Furnished to the Indian
Collection.” In <i>The</i> <i>Third Annual Report of the Regents of
the University on the Condition of the State Cabinet of Natural History and
Antiquarian Collection, Annexed Thereto </i>pp. 63 – 93. Revised Edition:
Printed by Weed, Parsons and Company, Albany.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt;"><span style="font-size: 12pt;">1852 “Report
on the Fabrics, Inventions, Implements and Utensils of the Iroquois, Made to
the Regents of the University, Jan. 22, 1851; Illustrative of the Collection
Annexed to the State Cabinet of Natural History, with Illustrations.”
In <i>The Fifth Annual Report of the Regents of the University on the
Condition of the State Cabinet of Natural History and the Historical and
Antiquarian Collection, Annexed Thereto</i>, pp 68 – 117. Printed by Richard H.
Pease, Albany.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt;"><b><span style="font-size: 12pt;">Phillips, Ruth</span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 3pt;"><span style="font-size: 12pt;">1998 </span><i style="font-size: 12pt;">Trading
Identities: The Souvenir in Native North American Art from the Northeast, 1700
– 1900</i><span style="font-size: 12pt;">. University of Washington Press, Seattle and London: McGill-Queen’s
University Press, Montreal and Kingston.</span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: left;"><br /></div>Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com0tag:blogger.com,1999:blog-8743733062223446224.post-20532988215112997562018-08-18T14:08:00.000-04:002018-08-20T19:40:03.238-04:00A Possible Interpretation of the Heart Motif on 19th Century Haudenosaunee (Iroquois) Beaded Bags.<br />
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%;"> Some time ago my friend Yuriy sent me
digital files of Narragansett and Mohegan language documents in which the
strawberry was referred to as the “heart berry.” That made me curious about the
heart motif which is prominently featured on some early pieces of Haudenosaunee
beadwork and I wondered if the Iroquois also called the strawberry a "heart berry" and if those heart motifs were also a representation of the
“heart berry.” <o:p></o:p></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="line-height: 200%;">
Among the Haudenosaunee, strawberries are an important part of the
Gaiwiio, the “good word” or the gospel of the Seneca prophet Handsome Lake. As
the first seasonal berry to blossom, it</span><span lang="EN" style="line-height: 200%;"> holds cultural, spiritual and
medicinal importance for Iroquois people. It’s a link to the Sky World and </span><span style="line-height: 200%;">some believe the significance of
strawberries also stems from Handsome Lake’s first revelations during the strawberry
season and afterwards. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<span style="font-family: "arial" , "helvetica" , sans-serif; mso-fareast-font-family: "Times New Roman";">The
sacred quality of strawberries is certainly older than Handsome Lake. The
earliest of the wild strawberries are traditionally believed to have medicinal
value and are searched out and devoured. Strawberries are said to sprout along
the road to heaven, and … in all probability, the fact that Handsome Lake’s
angels spoke to him of strawberries reflects the influence of the strawberry
season on the content of his dream, and his subsequent endorsement of the
Strawberry Festival probably emphasized a custom already old (See: The<i> Death and Rebirth of the Seneca</i> by
Anthony Wallace, Vantage Books [1968]1972, page 13).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%;"> My friend Rosemary Rickard Hill, a Tuscarora
elder and longtime beadworker, told me that the strawberry is also called the
“heart berry” among the Haudenosaunee but the term has not been used in a while,
although its heart shape has long been recognized by them. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%;"> In looking over a selection of old
Iroquois beaded bags, I noticed that several of the ones that had a prominent heart
motif also included tri-lobed strawberry leaves in the design. Given the
importance and sacred value of strawberries in Iroquois culture, I have come to
the understanding that some of the heart motifs were likely a stylistic
representation of the strawberry. It’s very likely that the old souvenir bags
functioned as a non-verbal medium for historic beadworkers to weave key
cultural concepts into their work and also served as a conduit to communicate
those ideas to future generations. When used in a covert way these traditional
motifs allowed an artist to include important cultural themes in their work
that were non-threatening to a 19<sup>th</sup> century patron. Although made for sale to outsiders, the
themes recorded in the beadwork were a way to keep a tradition alive and a form
of resistance to assimilation pressures. It was a method of preserving key
aspects of Haudenosaunee beliefs and traditions for both present and future
generations.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="line-height: 200%;"> Artists have long been the culture bearers
of their respective Nations and the people best suited to record their
story. It’s a Native perspective that adds to our understanding of the
material and how the beadwork affects them as artists and as a community.</span><span style="line-height: 200%;">
<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%;"> Rosie Hill also said that the strawberry, along
with tobacco, were the medicines that Sky Woman brought to earth with her and, since
the strawberry is the first annual plant to bear fruit, it begins the life
cycle. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
</div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="line-height: 200%;"> </span><span style="line-height: 200%;"> What we know of Sky Woman comes to us from
the Iroquois origin story. There are some forty known versions of this account,
the earliest dating back to 1632, and although the details vary somewhat from
version to version, the main themes are unchanged. In the currently accepted version of the origin story, Sky Woman gives birth to a daughter who then gives birth to twin sons. </span>I believe the accepted or current version of the origin
story is much later than the one I referenced for this article. The earliest reference to the
Sky Woman giving birth to a daughter who then gave birth to the twins that I’m
familiar with is from the 3<sup>rd</sup> quarter of the 19<sup>th</sup>
century. Most of the bags in this article are from the 1<sup>st</sup> and 2<sup>nd</sup>
quarters of the 19<sup>th</sup> century. So I used a version of the origin
story that was written during that period, believing it would more accurately
reflect the meanings of the designs that artists were using on their bags at that time. The
version I used was by David Cusick, the first Native writer to record the
origin story. He was Haudenosaunee (Tuscarora) and no doubt recorded the
version that was the accepted version at the time his account was published (1827).
So what is important here is that the account of Sky Woman dying while giving
birth to twins, not her daughter, was written during the period when the bags
depicted were produced. So I believe that gives credibility to my interpretation
of the designs. The accepted version of the origin story may have changed
over time but when the bags were created, the version recorded by David Cusick was no doubt the
accepted view.</span><br />
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="line-height: 200%;"> In the Cusick version, Sky Woman descended
from the sky world into the darkness of the earth realm. She landed on what
would become turtle island (North America) and shortly thereafter gave birth to
twin boys, dying in the process. One of
her sons, the good twin, </span><span style="line-height: 200%;">brought light into the world by creating the
“tree of light,” on the top of which he affixed a great ball of light that he
made from his deceased mother’s face. This is certainly a metaphor for the sun
and on some bags the circle/sun motif likely represents the embodiment of Sky
Woman. This version of the origin story also relates that the moon and stars were
created from Sky Woman’s breast. Several early bags include a central sun
surrounded by stars, which might be a depiction of good twin’s creation (figure
1). </span></span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 200%;"><o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq2IpnpWgP0GvCmBaDrImgJFmqMm29TC8u_InhXX00l1F0dw787WH5itDPWMhlw40RFwS-O30eFIRj6lax0wrWTPOc1s6HRaDYS1Cn7VvpXJA1fiFjepZT0Hgp8B8r1NxSCYwY8zvUaiEx/s1600/fig1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="683" data-original-width="586" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq2IpnpWgP0GvCmBaDrImgJFmqMm29TC8u_InhXX00l1F0dw787WH5itDPWMhlw40RFwS-O30eFIRj6lax0wrWTPOc1s6HRaDYS1Cn7VvpXJA1fiFjepZT0Hgp8B8r1NxSCYwY8zvUaiEx/s640/fig1.jpg" width="547" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 200%;">Figure 1- Seneca type beaded bag,
circa 1830. A central sun surrounded by stars is depicted. According to the origin
story the “tree of light” was created from the face of Sky Woman and the stars and
moon were made from her breasts. This design could be an expression of the good
twin’s creation from the origin story and the large, central sun a metaphor for
Sky Woman herself.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="line-height: 200%;"> During the early-to mid-nineteenth century, a
number of Iroquois artists featured a heart motif in the designs of their
beaded bags.</span><span style="line-height: 200%;"> Non-Native patrons may
have </span><span style="line-height: 200%;">interpreted
this representation simply as a symbol of love. As early as 1797, <i>The Young Man’s Valentine Writer</i> was
published and it was full of sentimental verses for the young lover who was
unable to compose his own. Paper valentines, many of which were decorated with
a flaming heart that was similar to those on graven images of the Sacred Heart
of Jesus, became so popular in the early nineteenth century that they were
assembled in factories. Some of these Valentine cards even depicted Niagara
Falls in the center of the heart.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%;">
Many of the old Haudenosaunee beaded bags were sold in Niagara Falls, which
was a popular honeymoon destination, and were likely seen by visitors as a
charming gift for themselves or a loved one. Even though this was a form of
commoditized beadwork, the older artistic traditions regarding the overt
display of symbolic imagery did not disappear when souvenir items emerged but
rather their forms changed so that the symbolism was not as visible.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%;">
It’s very likely that many of the very earliest Haudenosaunee beaded
bags incorporated designs that were linked to the origin story and other
cultural beliefs. Motifs such as the sun, heart and tri-lobed strawberry motifs
in particular, when used together, are related to Sky Woman and these themes
are prevalent in many of the pre-1830 bags.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%;">
The traditional double-curve, diamond, heart, sun/circle, four-directional
and other organic motifs were often used in combination with one another and so
the complete story woven into an old design may never be fully known or
understood. Most of the old bags that incorporated a heart were made by the
Seneca, considered the most traditional of the Iroquois nations. They had a
strong belief in dreams and understood them to be a guide into their waking
lives. In all probability, some designs relate to a particular dream experience
known only to the artist, enhancing its transcendent nature to the maker. Since
revealing the precise meaning of a vision was to forfeit some of the powers it
conferred, our understanding of the significance of many traditional designs
may forever be clouded in mystery.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%;">
</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="line-height: 200%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
Below is a small collection of beaded items that incorporate a heart (or
heart berry) motif. They advance the notion that their makers were consciously incorporating
cultural themes in their work. I’m not suggesting that every depiction of a sun
or circle on a piece of early Haudenosaunee beadwork is a metaphorical representation
of Sky Woman but I think in those designs that include the heart and
accompanying strawberry-leaf motifs that it is a very possible interpretation. This
may also be the case in some designs that do not incorporate a heart but this
suggestion requires further study.</span><span style="font-family: "arial" , sans-serif; font-size: 12pt;"><o:p></o:p></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDsazd3nE6BODzWtV7WTANa5kOlrXlZJIFwVWDgBJZ0FRh9b6iDF6gLDjkY4BscXBQAWSGtWw2fME96IVQTH_JtQovCcgtUUFZnI7dC7Enpf24_CDsTpOAs4XRJi1rWDQIMEHiP339Wg78/s1600/fig2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="575" data-original-width="1008" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDsazd3nE6BODzWtV7WTANa5kOlrXlZJIFwVWDgBJZ0FRh9b6iDF6gLDjkY4BscXBQAWSGtWw2fME96IVQTH_JtQovCcgtUUFZnI7dC7Enpf24_CDsTpOAs4XRJi1rWDQIMEHiP339Wg78/s640/fig2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 200%;">Figure 2 – Seneca type beaded bag,
1800-1830. This is an intriguing bag with a heart motif on the front. Above the
heart, on the flap, is a large central sun that is surrounded by smaller suns
or stars. To me, this suggests a theme from the origin story. Here, the
metaphoric face of Sky Woman, in a celestial realm, is suspended above a “heart
berry.” The design on the back side appears to be a stylistic representation of
a strawberry plant, with tri-lobed strawberry-leaf motifs, tendrils and
possibly roots. The design is similar to an illustration of a strawberry plant
in figure 3 below. Here again a cultural theme is woven into the design of an
old bag that covertly records an important concept in Iroquois cosmology.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWnjGH0SD1QW6vBehZnVl8FnYmBVnxSAn3GoheLMmsH-y6MpjwkNCNkW79gkdi5qFNuUwk52uvZkJ2vbDqKDqxtjpFzRzO1hfzXcnAC3I74BvNKBNqswTzxKqqbdWv_ZnjlVpj-rtVQ9Gk/s1600/fig3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="683" data-original-width="963" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWnjGH0SD1QW6vBehZnVl8FnYmBVnxSAn3GoheLMmsH-y6MpjwkNCNkW79gkdi5qFNuUwk52uvZkJ2vbDqKDqxtjpFzRzO1hfzXcnAC3I74BvNKBNqswTzxKqqbdWv_ZnjlVpj-rtVQ9Gk/s640/fig3.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 200%;">Figure 3 – An illustration of a
strawberry plant with tri-lobed leafs, roots, berries, runners and a daughter
plant. A single plant could have multiple runners connecting it to numerous
daughter plants.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcOl9bmIfhiIdnzncBUBWh7NxXIvz5TCMDu4NazJ-Jq7S4QtZM_Zce14h5s4Cn9CO91y47JUMxQBKb6Q4Z6iZNCbEBG9uu1kTRjs-0UfTmvWylSgM1gfhYwRSSmwNcQrsM279dDw4z1zEx/s1600/fig4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="522" data-original-width="1008" height="330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcOl9bmIfhiIdnzncBUBWh7NxXIvz5TCMDu4NazJ-Jq7S4QtZM_Zce14h5s4Cn9CO91y47JUMxQBKb6Q4Z6iZNCbEBG9uu1kTRjs-0UfTmvWylSgM1gfhYwRSSmwNcQrsM279dDw4z1zEx/s640/fig4.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 200%;">Figure 4 – Seneca type beaded bag,
1800-1830. This piece has a large central heart or “heart berry” on the back side
and two smaller hearts connected to the larger one, possibly representing
daughter plants. There are tri-lobed strawberry-leaf motifs above the central
heart as well as on the front of the bag.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGm8Ud_bFAJAyztPJZnluZBSNYi1NUu8LH-ZaKHiHEkjTIRDYTRu33GYFXFfEhMaXexKzt7rp2_UGUUZDGOYZDsNQ5LJP_IkzQOIffQr0VKitVr5k36-K4GYxJOPsvaPUZGS4xjkVxlK5/s1600/fig5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1008" data-original-width="950" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGm8Ud_bFAJAyztPJZnluZBSNYi1NUu8LH-ZaKHiHEkjTIRDYTRu33GYFXFfEhMaXexKzt7rp2_UGUUZDGOYZDsNQ5LJP_IkzQOIffQr0VKitVr5k36-K4GYxJOPsvaPUZGS4xjkVxlK5/s640/fig5.jpg" width="602" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 200%;">Figure 5 – Seneca type beaded bag,
1800-1830. This early bag has a central heart motif as well as some tri-lobed strawberry-leaf
devices along the inside border.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik2GrgTzxmCq2Xbt04sq5iVauY9GtrnWDh4W2SvTraLrgg5J_-kioQ74_AT1adZjXDbbFIycsDQ99igZ6ambkLdmFZt0NXbB_x-lnSsGmwPxIWUXdR5PC-RwplVh9FT0OTaJ6g0-HHRzv8/s1600/fig6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="974" data-original-width="1008" height="618" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik2GrgTzxmCq2Xbt04sq5iVauY9GtrnWDh4W2SvTraLrgg5J_-kioQ74_AT1adZjXDbbFIycsDQ99igZ6ambkLdmFZt0NXbB_x-lnSsGmwPxIWUXdR5PC-RwplVh9FT0OTaJ6g0-HHRzv8/s640/fig6.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 200%;">Figure 6 – Tonawanda Seneca type
beaded bag, 1840s-1850s. Beaded bag with connected hearts and tri-lobed
strawberry-leaf motifs on the flap.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYi8au9KXjlYGfDnqYYpJcyeB9zfv0Lf3cem-5dTKXqXBzMGJmCMEesLi_Sj8HGyioKQX6Z3mFoIf4aAUgQDaU2LmQJwu1KeVITUWyvsitnugOhRee1z4R7fDkj3h7-fWPs6lIwF5YvORi/s1600/fig7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="511" data-original-width="1008" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYi8au9KXjlYGfDnqYYpJcyeB9zfv0Lf3cem-5dTKXqXBzMGJmCMEesLi_Sj8HGyioKQX6Z3mFoIf4aAUgQDaU2LmQJwu1KeVITUWyvsitnugOhRee1z4R7fDkj3h7-fWPs6lIwF5YvORi/s640/fig7.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 200%;">Figure 7 – Tonawanda Seneca type
beaded bag, 1840s-1850s. The heart on this piece is woven into a plant form,
perhaps representing a plant spirit or the “tree of light” with Sky Woman’s
face depicted as a heart. There are tri-lobed strawberry-leaf motifs on the
front of the bag.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9xqCY_p6tWQgDKF1MepNXlUJFkcqtpAduUTulQjqFS6opfeLZo73WH1nunApHv4v7IsXZWVvCVGL5UqBX2AXA8ypCpnGVSJl8AhyoWSEO0y6tO15KbuUpVmfv5qycTMU6NPS-zF66kIWl/s1600/fig8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="631" data-original-width="593" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9xqCY_p6tWQgDKF1MepNXlUJFkcqtpAduUTulQjqFS6opfeLZo73WH1nunApHv4v7IsXZWVvCVGL5UqBX2AXA8ypCpnGVSJl8AhyoWSEO0y6tO15KbuUpVmfv5qycTMU6NPS-zF66kIWl/s640/fig8.jpg" width="600" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 200%;">Figure 8 – Seneca type beaded bag,
1830s. A very symmetrical design that has a central sun inside the heart. The
sun could represent the “tree of light.” Arthur Parker has written that the linear
bead strings along the perimeter of a design represent the earth so a free
interpretation could be that this a representation of the sacred nature of the strawberry,
with Sky Woman at its center and that this sacred plant is central to the earth
and the health of its people. (See: </span><span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 200%;">“Certain Iroquois Tree Myths
and Symbols” by Arthur Parker in <i>American
Anthropologist</i>, 1912, vol. 14, p. 615).<o:p></o:p></span></div>
</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtRkjPdmIOGlQP1uRChspcg1jm9Ly09DsDdLzNkJjNmnKvlL6Qjyr7xhrjQ69apBMOOFjrpGP-G1zZLQkfh8nMF2HxX7yvGd-QDA7T1GdqtORjq_b6KHUzxzonv8LZDhAmYC8JkyZ47xx3/s1600/fig9.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="610" data-original-width="1008" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtRkjPdmIOGlQP1uRChspcg1jm9Ly09DsDdLzNkJjNmnKvlL6Qjyr7xhrjQ69apBMOOFjrpGP-G1zZLQkfh8nMF2HxX7yvGd-QDA7T1GdqtORjq_b6KHUzxzonv8LZDhAmYC8JkyZ47xx3/s640/fig9.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 200%;">Figure
9 – Beaded Bag by contemporary Mohawk Bear Clan artist Jacqueline
Clause-Bazinet. 2013. Contemporary Iroquois beadworkers continue to use the
strawberry motif in their designs. <o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaFu-GjY2p8cPaVSgem9OyOFoF0HerVpvfAqKMAb2fmwDpecIbC1dTycKaGcWXmuI7ZADag8WSr9xoXl4JxcKwLMnExB1kOCmGnUxV94K5rmRTX1hMJYByNVWDnerWtN2Qihy9h8AoPLu3/s1600/fig10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="329" data-original-width="1008" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaFu-GjY2p8cPaVSgem9OyOFoF0HerVpvfAqKMAb2fmwDpecIbC1dTycKaGcWXmuI7ZADag8WSr9xoXl4JxcKwLMnExB1kOCmGnUxV94K5rmRTX1hMJYByNVWDnerWtN2Qihy9h8AoPLu3/s640/fig10.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 200%;">Figure
10 – Beaded heart-shaped pincushion, circa 1850. Numerous Iroquois heart-shaped
pincushions are found. This particular example also has the tri-lobed
strawberry-leaf motif incorporated into the design.<o:p></o:p></span></div>
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<br />Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com0tag:blogger.com,1999:blog-8743733062223446224.post-44249128828061012192017-04-29T08:26:00.000-04:002018-03-27T06:51:26.793-04:00Art as a Healing Vehicle for Cancer 2<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
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<div style="background: white; margin-bottom: 4.5pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
<span style="color: #1d2129; font-family: "arial" , sans-serif;"><span style="font-family: "helvetica" , "arial" , sans-serif; font-size: 14px;">For the past few months I’ve been putting a book together about the cancer project I’ve been working on the past couple of years. I published it on Blurb, which is a print on demand (POD) publisher. That means they print just a single copy at a time, usually when someone orders one, unlike a traditional publisher who will print the entire edition all at once. The drawback to that is that it makes individual copies more expensive. You can preview the book <a href="http://www.blurb.com/b/8596273-art-as-a-healing-venicle-for-cancer" target="_blank">here</a>. My hope is that it will help others who are on their own journey with cancer. I’m not making a cent on this book. It’s offered at the price Blurb charges me per copy.</span></span><br />
<span style="color: #1d2129; font-family: arial, sans-serif;"> _____________</span><br />
<span style="color: #1d2129; font-family: "arial" , sans-serif;"><br /></span>
<span style="color: #1d2129; font-family: "arial" , sans-serif;">Do
you have cancer or are you a survivor? If so, please consider this offer. My
name is Gerry Biron, I’m an artist from southern Vermont and I have been doing
portraits of people for over 50 years. During that period, I exhibited my work in
over 400 shows nationwide where I won numerous first-place and best-of-show
awards, and have had my portraits of American Indians featured in seven museum
exhibits, most recently at the Castellani Museum of Art in Niagara Falls. In 2013, I was diagnosed with cancer and went through seven months of
chemotherapy and radiation treatments. As you can imagine, that changed my life
in a very dramatic way. It also changed my art and that development was what
sustained me throughout that period.</span><span style="color: #1d2129; font-family: "arial" , sans-serif;">The
</span><a href="http://iroquoisbeadwork.blogspot.com/2013/11/art-as-healing-vehicle-for-cancer.html" style="font-family: arial, sans-serif;" target="_blank">drawings I produced</a><span style="color: #1d2129; font-family: "arial" , sans-serif;"> while I was dealing with cancer became the basis for a
style of portraiture that strives to personify the subject’s spirit. It’s a
departure from my previous, </span><a href="http://www.gerrybiron.com/pages/newwork.html" style="font-family: arial, sans-serif;" target="_blank">representational work</a><span style="color: #1d2129; font-family: "arial" , sans-serif;"> and in a strange way, it was
a gift from my cancer. I decided that I would like to share this gift with
other cancer patients. So this is an appeal to anyone who is either going
through cancer treatments or has been through it. I’m asking if you would honor
me by allowing me to do your portrait that when it’s completed, I will honor
you in turn by giving it to you. For me, this is about creating a meaningful
portrait that tells your story and helps you in a small way in your struggle
with this disease. There is absolutely no charge for this.</span><span style="color: #1d2129; font-family: "arial" , sans-serif;">Honoring
ceremonies have long played a vital role in American Indian culture. American
Indians honor people for many reasons ranging from marriage, graduation and
other notable life accomplishments. It’s also done to provide courage and
determination to individuals who are on a journey conquering life’s
difficulties. People who are suffering with cancer need to be honored and
commended for their strength and resolve to overcome adversity. It’s important
for each of us to encourage those who are suffering from this illness; to look
out for each other is vital to our society and its existence.</span><span style="color: #1d2129; font-family: "arial" , sans-serif;">Art
is often born of human experience, both positive and negative. As an artist of
American Indian descent and a cancer patient myself, this is a way for me to
honor those who are going through a similar ordeal. I lost both my parents to
cancer as well as several good friends so this disease has touched me in more
ways than one. Every day, 5000 new cases of cancer are diagnosed; it’s become a
fact of life for many of us.</span><span style="color: #1d2129; font-family: "arial" , sans-serif;">My
wife and I live a healthy lifestyle. I studied martial arts for 30 years and we
were both runners for over 20 years. I've hiked the Long Trail in Vermont as
well as sections of the Appalachian trail, I still do yoga and hike every day,
and my wife and I eat a wholesome, organic diet, much of which we grow
ourselves, yet we both got cancer, and within a year of each other. It's a
mystery how or why this can happen but in a strange way, my cancer forced me to
change direction in my art, to develop a new style, and it especially taught me
to be more compassionate. I</span><span style="color: #1d2129; font-family: "arial" , sans-serif;">f
you’re interested in having your portrait done and you live within an hour
drive of Southern Vermont, message me and I will be in touch. I can come by
your home or we can meet in a mutually convenient place to discuss your
portrait. If you live further away than that, I would still be honored to do
your portrait but you would have to travel here. I would need less than an hour
of your time to do this. I would take some photographs of you and work from
them to create your portrait.</span><span style="color: #1d2129; font-family: "arial" , sans-serif;">Each
portrait is done in full color and the final size is 22 x 30 inches. It’s a
mixed-media, comprised of graphite and colored pencils and ink.</span><span style="color: #1d2129; font-family: "arial" , sans-serif;">Illustrated below are the finished portraits. Give this some thought and I hope to hear from some
of you. </span><span style="color: #1d2129; font-family: "arial" , sans-serif;">If you know of someone who is dealing with cancer and might have
an interest in this, please share it with them and if you can help support this project in any way, please visit my <a href="https://www.gofundme.com/art-as-a-healing-vehicle-for-cancer" target="_blank">GoFundMe</a> page.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjayXu4JXMJx0Kx3RbQ2g9VhqxhBtY0onB0nFpcQ9sE2toVz7BU0YdSXlvt5nLXEQivrtOKPI15y2SE3F6ovxXJM-dAnkYDob23q-01U5TBeXFPjh5ncpYFqMZO3jJSGq9f6uym1sAFQY8b/s1600/portrait-with-hat-E.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="821" data-original-width="1080" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjayXu4JXMJx0Kx3RbQ2g9VhqxhBtY0onB0nFpcQ9sE2toVz7BU0YdSXlvt5nLXEQivrtOKPI15y2SE3F6ovxXJM-dAnkYDob23q-01U5TBeXFPjh5ncpYFqMZO3jJSGq9f6uym1sAFQY8b/s200/portrait-with-hat-E.jpg" width="200" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , sans-serif;">I am in-between
cancer portraits right now so thought I would give a go at another
self-portrait, mostly because my wife JoAnne didn’t want to pose for another
one. I don’t blame her since I have
already done four portraits of her. So this is what you get when I’m left to my
own devices.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; line-height: 107%;">As some of you may know, I am still dealing with cancer; I’ve
had a low-level lymphoma since 2013 and chemo therapy, which I’ve had for a
more aggressive lymphoma, had no effect on it. This cancer is slow-growing but
eventually it will show its nasty face. <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; line-height: 107%;">I have had a fascination with crows since the 1980s when I
was doing research for a book on the 17<sup>th</sup> century southern New
England sachem, King Philip, also known as Pometacom, Metacom, Metacomet and by
a number of other variations. He was Pokanoket, one of many Native groups that
comprised what would eventually be known as the Wampanoag. I had a remarkable experience with a crow in
the swamp at Mount Hope where Pometacom was killed and so this piece is
personal to me and in many ways symbolically represents events that occurred that
day and how they transformed me.<o:p></o:p></span></div>
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<div class="msonormalmailrucssattributepostfixmailrucssattributepostfix">
<span style="font-family: "arial" , sans-serif;">It’s also related to
who I am today. Essentially this portrait is about life, death and
transmigration. According to Roger Williams who lived with the 17<sup>th</sup>
century Narragansett, the crow came from the Southwest, from the gardens of
Cautantowwit, their Great Spirit, and gave them the gift of corn; so his
appearance in Southern New England generated change. Williams also wrote that in the mythology of
the southern New England Indian, the crow was associated with the soul. As an
agent of both good and ill fortune, it commutes between the world of the living
and the world of the dead; as such, the crow's function was to guide your soul
at birth, into this world and then back again at death. They also teach us to
walk our own path, to speak our own truth, and to know our life’s mission. In
this piece the crow is preparing me for my own transmigration. I haven’t given
up on life but rather have accepted my circumstances. Fighting is a struggle;
acceptance brings peace and understanding. Our true selves are not physical
beings who experience occasional spirituality, but rather spiritual beings who
are having a physical experience. I believe that’s one of the great secrets of
life. Once you accept that, you are on your way to discovering your purpose in
life.<span style="font-size: 14pt;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOxcT7k3b3LkYb1ylipk9CE2_khstjRTCk9RXL5ifmWgF84fMjmWBFyixynedhmFKeqG_9V-NrPx_PRSaT6VXOovZPOzhd2O9lhIcTR63Mv3wOKz8okh4chIBvgvnB_g8J0AYHWGnXxiQh/s1600/cindy4forblog.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="432" data-original-width="366" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOxcT7k3b3LkYb1ylipk9CE2_khstjRTCk9RXL5ifmWgF84fMjmWBFyixynedhmFKeqG_9V-NrPx_PRSaT6VXOovZPOzhd2O9lhIcTR63Mv3wOKz8okh4chIBvgvnB_g8J0AYHWGnXxiQh/s200/cindy4forblog.jpg" width="169" /></a><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "arial" , sans-serif;">My portrait of Cindy Bowler, an exceptional
artist who has a great love for Abstract Expressionism. She received a BA in
Studio Art from the University of California, Santa Barbara, and her MFA from
Johnson State College and Vermont Studio Center in Johnson, Vermont. <o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "arial" , sans-serif;">Cindy was diagnosed with stage 4 breast cancer in
2015 and just recently completed her chemo and radiation treatments. </span><span style="font-family: "arial" , sans-serif;">She continues to take
infusions of immunotherapy drugs every three weeks, and will likely continue
them for the rest of her life.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">Cancer
has made Cindy realize that she has to take care of her body. “I had been on
auto pilot all my life and have not really been sick (except for toxic shock
when I was 21) or broken anything. I took my body for granted and relied on
natural medicines to stay healthy, such as herbs, acupuncture and homeopathy. I
used my own judgement as to what to do when I needed help.” <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">When
she was first diagnosed, surgery was recommended but instead she continued on a
regimen of natural medicine and her tumor grew and metastasized. It wasn’t
until then that she decided to undergo chemotherapy and enter the world of
allopathic medicine and hospitals. <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">Cindy
says that she sometimes feels bored, lonely and selfish. “However, I do keep
busy…and it is my mind that gets in the way. Now, I see my desires more
clearly. I see more of my friends and my daughter, have daily contact with my
mother through FaceTime and texting and feel loved. Daily, I notice the
awesomeness of my partner through the little things he does for us. I am
exploring what cancer means to me on a daily basis through the 100-day art
project I started right before my mastectomy and it ended right about the time
my radiation treatments ended. I joined an art collective, painted a mural and
have had 2 art shows.”<o:p></o:p></span></div>
<div class="Body" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "arial" , sans-serif;">Cindy says that one of
the great lessons of cancer is that it has made her more trusting of others
…especially professionals in the medical field. “Cancer has made me realize I
have lots of friends. And now I know if I want something, all I need to do is
ask. I’ve become more patient with people. We are all doing the best we can
with the baggage we carry. I can trust my instincts better now, life is more
precious and my dreams will get fulfilled in their own time,” says Cindy. “We
aren’t guaranteed time on earth. Each day is a new day, and everything is
temporary. Now more than ever, I believe that I can always be learning about
others…if I can be free from judgement while knowing myself, I can be free of
suffering from emotional issues. Everyday there seems to be something I am
grateful for….my life has more meaning now. I appreciate the texts from friends
I haven’t had contact with in 40 years, the vulnerability of those close to me,
the little surprises of love…I’m more grateful now.”<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">In the background of
Cindy’s portrait, I included one of her favorite drawings from the 100-day art
project she participated in. I didn’t’ want to replicate her work exactly but
rather wanted to incorporate the spirit of her art into her portrait. <span style="font-size: 14pt;"><o:p></o:p></span></span></div>
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<div class="Body">
Kate Collins is a retired school district administrator who moved
to Northampton, Massachusetts from Long Island about ten years ago. Her move to
Northampton came after her diagnosis of invasive lobular breast cancer and a challenging 6 months of chemo followed by 38 radiation treatments. Kate said “It
was exhausting, and I had every side effect there is to the chemo.” She left the expensive north shore of Long Island, moved to Northampton,
joined a Unitarian Universalists congregation and eventually broke up with her spouse, "who wasn’t able (and didn’t try) to understand what I’d gone
through—despite attempts to try to talk about cancer.”<o:p></o:p></div>
<div class="Body">
But the experience did have it’s up side. Kate said she “became
more compassionate and generous with other people. I became more grateful for each day I was
alive—even though I was in a sort of constant state of anxiety my first two
years, until I started meditating. I
began to consider my career, which was largely accidental. I thought about changing jobs or retiring
early. I retired a decade sooner than I
should have if I’d wanted my full pension.
But I did the math, and decided it was worth the loss of $$ to retire,
live simply and have the best rest of my life I could have. Now I have a less
complicated life that took some time to figure out. I live in a tiny cottage and tend a tiny but
lovely garden.” </div>
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<o:p></o:p></div>
<div class="Body">
Kate has become more involved in her community and contributes
her time to the Cancer Connection, a cancer survivor organization and a
fabulous resource for people living in the Pioneer Valley of western
Massachusetts, and the work is very meaningful to her.</div>
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<o:p></o:p></div>
<div class="Body">
Kate says that she has come to terms with her mortality. “I’ve already lived longer than I thought I
would, so every day is a gift.” She says “the number of people who held out
hands of helping or caring was amazing.
I lived professionally in a very large educational community. The love and support of so many people was
unexpected and moving. To learn that there were people I worked with who
actually loved me was astonishing. I
remember the first day back at school in September, when I was half way through
radiation. I had to hold a meeting of
about 50 of the district’s music and art teachers. To get past the cancer news, which at least
two thirds of the teachers knew about, I began by saying, ‘OK. Let’s get this
out there and over with: Your fearless
leader is officially a cancer survivor.’
They gave me a standing ovation followed by a few hugs. And then we got down to business.”</div>
<div class="Body">
<o:p></o:p></div>
<div class="Body">
Kate plays the guitar and used to play the flute quite well but
had to stop because of serious spinal column issues. She also writes poetry, and hopes to someday
produce enough to publish a column.</div>
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<o:p></o:p></div>
<div class="Body">
In my portrait of Kate, I included a Phoenix in the background to represent her rise from the ashes of cancer.</div>
<div class="Body">
<o:p></o:p></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">Nancy Eddy grew up in Chester, Vermont and still owns the
farm that her parents moved to in 1938. She graduated from Chester High School
in 1965 and went on to study nursing at the University of Vermont Medical School,
graduating in 1969 with a bachelor’s degree in nursing. After graduation, she
joined the Army Nurse Corps and served three years at Fort Jackson in South
Carolina and an additional year in South Korea, working with medical swage
patients. After her discharge from the military, she worked at Dartmouth
Hitchcock Medical Center for 34 years, retiring in 2010 to care for her mom who
had CVA, Cerebrovascular Accident (stroke).<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">Nancy was diagnosed with breast cancer in 2015 and since
her treatments all of her follow-up tests have been negative.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">Nancy is an avid reader and has a great love for her native
state of Vermont so I thought it would be appropriate to include a Vermont
theme in her portrait. The design in the background is based on the Vermont
state flag and includes the state’s coat-of-arms. This design was originally
used as the flag of the Green Mountain Boys and dates to around the time of the
American Revolution.<o:p></o:p></span></div>
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“My passions in life are to hear less about violence and
more about the goodness in the world; to hear less about our leaders acting
like children and having temper tantrums and more about responsible cooperation
in solving our problems; to hear less about the privileged and more about
taking care of our fiscal problems,” says Lois Miller. A registered nurse for
41 years, now retired, she owned a yarn shop in White River Junction, Vermont
for five years.<o:p></o:p></div>
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In 2011, she was diagnosed with ovarian cancer at Dartmouth
Hitchcock Medical Center where she had a total hysterectomy and a large tumor
removed. Eighteen weeks of intense chemo therapy followed by a further year in
a drug trial. This resulted in a
remission that lasted five years. In 2016 another small tumor was detected and
removed and a few other areas of concern were identified on a CT scan. So now she is on another trial chemo drug regimen
which will, in all probability continue until her cancer wins the battle,
“however this can take a long time and I can still have a good life,” says
Lois. <o:p></o:p></div>
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She says that cancer is a disease that promotes fear in
people. “Most people are afraid to even talk about it and especially the
emotions surrounding it,” says Lois. “For me, death hasn’t been the primary issue,
although the further I progress in the disease it may become so. What I’ve
found is that my outlook is different now and small things aren’t as big an
issue anymore. Watching my birds, knitting, creating designs and drawing have
become, not only more enjoyable to do but more important to take the time and
effort to enjoy. Reaching out to people, to do things with, is also more
important to me now. What scares me the most is how I will make it through to
the end without a partner or children to look out for me,” says Lois.<o:p></o:p></div>
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“Overall, I believe my cancer diagnosis was more positive
than negative because now I enjoy life more intensely. Interactions with people
are more real and meaningful. One doesn’t need to spend time and energy on
people that drain your soul,” says Lois.<o:p></o:p></div>
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She has started to volunteer at the Norris Cotton Cancer
Center teaching people to knit, one of her passions. In
fact, the background pattern in her portrait is one of her knitting designs.
She loves speaking with patients there and sharing stories about their journey
with cancer. <o:p></o:p></div>
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Since her diagnosis, Lois has become more aware of
alternative forms of medicine and their value, especially Reiki and massage.
She has even become a Reiki practitioner, a discipline that has opened her life
to many more positives experiences.<o:p></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> “I spent my life being a math teacher and eventually becoming a math consultant who trained entire school districts in Vermont in trying to improve math education and best practices on a district-wide basis,” says Nick Zachary. His professional interests lie in finding methods to unlock potential, joy, and critical thinking skills in students. Nick said that “as I was originally an Electrical Engineering student, I liked incorporating the sciences in my teaching to bring math to life and give it meaning. I was also a keen student of history and historical movements for human rights and dignity and always shared this with my students.”</span></div>
<span style="font-family: "arial" , sans-serif;"> Nick’s passion outside of work has been gardening. His sanctuary and meditation has been hundreds of hours a year planting, weeding, creating rich organic soil, and always learning something new from the earth. In Nick’s portrait, I included a Korean Hornbeam in the background, a bonsai he has been nurturing for about 20 years. Growing bonsais has been one of his many passions.</span><br />
<span style="font-family: "arial" , sans-serif;"> Nick says what he considers his greatest artistic skill, he discovered in college. “It caused me to change the path of my life when, after 3 years of Electrical Engineering studies, I transferred to the Liberal Arts, intending to be a teacher. During my years as an engineering student my greatest artistic ability was verbal; that I was born to be a story teller. Time after time, I found myself painting pictures with words to communicate some thought or idea to individuals or groups; to use logic and analogy to make a point; to defuse an argument; to get groups to agree on a path. I remember the night I knew I would become a teacher. I was walking in the Boston Common when a group of 5 or 6 high school students surrounded me and apparently had violence on their minds. As the conversation got testy and began to be physical, I looked up to the sky and saw the constellation Orion. Before long, I was teaching them about astronomy, vast stellar distances and times, and creating analogies to allow them to truly understand these concepts. One of them asked, ‘are you a teacher?’ I responded ‘no’ and they said, ‘well, you should be; you are better than the teachers we have.’ Instantly in my mind it occurred to me that I was put on earth to tell these stories and give meaning to guide young people. Since then, teaching has been my form of art and I am happiest when I am doing it.”</span><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span><br />
<span style="font-family: "arial" , sans-serif;"> In the Fall of 2009 Nick noticed a lump on his neck. “We watched it for a year,” said Nick, “assured it could be any number of innocuous things, but a biopsy in 2010 revealed Chronic Lymphocytic Leukemia. It is an incurable, but often treatable blood cancer in which the body produces ‘bad’ white cells that slowly accumulate in the lymph nodes and bone marrow. It can be an aggressive disease, but mine was progressing slowly, so I was told to just ‘live my life,’ with no treatment or drugs until it was warranted. By the end of 2015, anoyher biopsy revealed that my bone marrow was 85% cancer cells. I went through over 4 months of chemotherapy (using Bendustamine and Retuximab). I came through it very well. My hematologist told me that the cancer was 100% gone. Now the only questions are: 1) how long will it take to return, and 2) will it still be treatable by the same two drugs or will it have adapted?”</span><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span><br />
<span style="font-family: "arial" , sans-serif;"> I must say that the cancer transformed my life in many ways. My cancer team is convinced that lifestyle changes I made were instrumental in my strong recovery.<o:p></o:p></span><br />
<span style="font-family: "arial" , sans-serif;"> I had a four-part plan: vigorous physical cardio training and weight lifting workouts complemented by yoga and Tai-Chi classes. Changing to a vegan diet; no meat, no cheese, no dairy and eating mostly my own grown organic food and purchased organic. An intense focus on mindful meditation, stress reduction, and compassion for others; a reverence for the planet that gave us life.</span><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span><br />
<span style="font-family: "arial" , sans-serif;"> Nick says he’s come to think that most people don’t fully live their lives because they constantly carry a fear of death. “This experience with cancer, and my eventual mortality, has so intensified my ability to appreciate life; to ‘be in the moment;’ to smile and share love and joy. To show my appreciation for every breath and to communicate it to others. This last one is the really transformative one for me. I am so much more aware of my body; activities and thoughts that induce stress; that create a ground for cancer to take hold. I am so much more likely to smile and to remind myself of how unimportant are things that once would stress me. I love sharing this with everybody from the cash clerks at the supermarket to the lady next to me on the plane, to the person I smile at in passing on the street who ends up stopping and talking. I never really understood the Dalai Lama when he discussed the transformative power of Joy and Compassion; how you transform the world when you transform yourself.</span><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span><br />
<span style="font-family: "arial" , sans-serif;"> Ironically, some of the people closest to me had difficulty talking to me after my diagnosis. I was learning to focus on life, and breathing, and awareness of joy, while they were wallowing in fear and pity for me. I would tell them variations of the following: If I live for ‘only’ 3 more years, those years will be filled with calm, joy and love. If you live for another 25 years, will you have that many magic moments? How many of your moments will involve stress, fear or anger? Is it possible that my three years will be far more fulfilling than your 25 years? Why wouldn’t you want to live this way. If I am gone in 3 years, I will have gone truly happy and content.”</span><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span><br />
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<span style="font-family: "arial" , sans-serif;"> Nick feels blessed and lucky to have contracted CLL. “It is so clear to me now that there was a veil over my sight before the disease. Perhaps we have to face death to truly learn what living means. When you live your life fearing death, which I suppose is perfectly natural, you never get to lift the veil.”<o:p></o:p></span><br />
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">My portrait of Gary Sachs, an anti-nuclear activist from
Brattleboro, Vermont. Gary has devoted over fifteen years to activism and
fighting against Vermont Yankee, a nuclear power plant in Vernon, Vermont.
Trained as a licensed practical nurse, he once hosted a cable-access television
program that addressed nuclear issues in Southern Vermont.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">Gary was originally diagnosed in 2015 with an indolent
(slow growing), small B-cell lymphoma but after further consultation with the
Dana Farber Cancer Institute in Boston, it was determined that he had a large
B-cell lymphoma and started a regimen of chemo therapy. <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">Gary said “Vermont Yankee was shut down in December of 2014
and I was diagnosed in October of 2015. My treatments ended on April Fool’s day
in 2016.” He kept a journal of his ordeal and would channel healing images to
help him manage the chemo treatments. Dealing with cancer gave him an increased
sense of gratefulness for the beauty in his life. He said “I felt immense gratitude during treatments.
I became aware that I had over a decade fighting for the closure of the Vermont
Yankee nuclear reactor. Then I realized that I literally needed to make a
conscious choice to enter my fight against cancer if I was going to stay alive. I did that
and at times it felt like I was willing to grasp at any straw that said it
could kill my lymphoma.” <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">Having spent a considerable part of his adult life working
to shut down the local nuclear power plant, he is a man of </span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;">principles</span><span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"> and
was willing to accept incarceration for his beliefs. He says he is grateful to
have so many friends and a loving wife. It’s what sustained him through this
ordeal. Gary believes we should think, act and create the world in which we
wish to live. <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">My portrait of
Billy James Ledger, also known as Keya Akichita Weecha, Turtle Warrior Man, a
name given to him by the Lakota. Of Mi’kmaq and Abenaki descent, Billy lived on
the Dine Reservation in 1989 assisting Native people with many of their
day-to-day needs.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">A Navy veteran,
during his tour of duty he spent three months with a river boat crew out of Da
Nang during the Vietnam War. While there he also did gunfire support in the DMZ
where nine marines were accidently killed in what was called “friendly fire.”
This tragedy affected him deeply. He said that event was when he “quit loading
the guns and was introduced to the needle.” By the time he came back from
Vietnam, he was addicted to both drugs and alcohol and was an undeniably lost
soul. </span><span style="font-family: "arial" , sans-serif;"> </span><span style="font-family: "arial" , sans-serif;">He lived on the streets for about
eight years jumping around from job to job. Around 1980 he started turning his
life around. He met the Buddhist teacher, Thích Nhất Hạnh, at the Omega
Institute. “We had a veteran’s sangha and I still participate in it,” said
Billy. “I also hooked up with a Japanese Buddhist Order and they did prayer
walks which were politically based actions of prayer and consciousness
raising.”</span></div>
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<span style="font-family: "arial" , sans-serif;">With a degree
in Fine Arts and photography, Bill did free-lance work for a time in Boston.
He’s become politically active and worked with the Veterans for Peace group in
Boston and was very active against the war in Nicaragua and El Salvador where
he did humanitarian work, bringing medicines to the people of Nicaragua and
challenging the 1985 embargo against them.</span></div>
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<span style="font-family: "arial" , sans-serif;">After that,
Billy says he “was part of a witness bearing mission to Bosnia in 1993. In
1994, I participated in the Walk for Peace and Justice, which went from
Auschwitz, Poland to Hiroshima, Japan. I was also part of a Sacred Run from San
Francisco to Washington, DC and yet another in Australia, in support of
Aboriginal people. On another occasion I partook in a walk from Tennessee to
Washington, DC as well as several others.”</span></div>
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<span style="font-family: "arial" , sans-serif;">One morning in
2007 he awoke with a bad case of laryngitis and suspected there was more to it
than that. Bill said he went to the VA and they told him that he had the “Big C."
He told me he “had a small procedure done and the surgeon could not get all of
the cancer so I was scheduled for a partial laryngectomy. After that I could
still talk and had a good portion of my larynx left. By 2012, my cancer
returned and I knew it was time to have my larynx totally removed. I wasn’t
angry or sad, anxious or nervous. It was just another experience I was going to
have. I was in the prep room with a large group of friends, including my
surgeon, Dr. Louise Davies, and my buddy was drumming a warrior healing song.
As they were prepping me for surgery my last words were ‘I love you guys.’ When
I came around in recovery I was told that I essentially died on the operating
table but they were able to revive me. My surgery was seven hours long and I
was back in the gym three months later. I am now 31 years sober and cancer free
for five years. I love each breath of life and respect death as I do life.” </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-IWcTpLwIEznGz-DNcauZF9hUUg3tZG5Mqh5BvlR3hAdRJshEmU05343Fu0uiG94hNPzkfxLv4An3EheA-ku4EcBgvFrbJO0sYJx3NhyphenhyphenP4VLnl711GX6hF3o_ho_1yTS3ipQVA4Tqq5DD/s1600/IMG_5518e.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-IWcTpLwIEznGz-DNcauZF9hUUg3tZG5Mqh5BvlR3hAdRJshEmU05343Fu0uiG94hNPzkfxLv4An3EheA-ku4EcBgvFrbJO0sYJx3NhyphenhyphenP4VLnl711GX6hF3o_ho_1yTS3ipQVA4Tqq5DD/s200/IMG_5518e.jpg" width="143" /></a><span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">Before
I began Bill LaCour’s portrait I asked if he had a favorite color. He told me
he often wears red and that his sign was fire.
So that was my starting point. In the lower section of his torso is a
single, enlarged colo-rectal cancer cell, the cancer he was diagnosed with in
the beginning of Nov 2015; it had progressed to stage 2-3. “In December, I
started my journey of what would be months of chemo and radiation treatments,”
says Bill. “I realized I needed to find the best use of my treatment
time so I created a mantra; ‘kill the cancer, spare Bill; I will have no
adverse reaction to the chemo and radiation.’ I repeated this over and over
again.”<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">This
set the stage for how Bill would deal with his cancer and its later recurrence.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial" , sans-serif; font-size: 12.0pt;">“On June 5, 2016, tumors were
discovered on my liver, so surgery was scheduled and they were removed with
clear margins. When I started getting depressed, I knew it was time to see a
therapist, and get my head back on straight,” said Bill.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial" , sans-serif; font-size: 12.0pt;">After a few more months had elapsed,
two new tumors were found on his liver, plus 15-20 spots on his lungs. Bill
says “</span><span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">I
have come to terms with my mortality, which is very freeing. Reflecting on my
life, which has been wonderful, I feel very lucky. There are no regrets other
than the possibility of leaving my bride someday, whom I love dearly and
has to endure cancer from the sidelines as my caregiver and one who never has
time off.” <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;"> “By
luck or chance, and by running into the right people, I got a referral to Mount
Sinai Medical Center where I met with Doctor Bruckner who is world renowned in
his field. He has unique treatments and they are giving me hope.”<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">Bill
said that he “hates the cancer but the journey is amazing and so rewarding.
It’s the process that gets me through this, the compassion of family and
friends, the love that oozes out of everything. The resurfacing of friends with
whom I'd lost contact. This feeds me, strengthens me, gives me optimism,
gives me life with cancer.”<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">Bill
is a remarkable individual whose strength and resolve to overcome his adversity
make him a shining star. It was a gift to get to know him.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">My portrait of Ladd Butler, Chair, Board of Directors at
Turning Point of Windham County, in Brattleboro Vermont. It was back in
December of 1998 when Ladd first experienced an uninterrupted pain in his side,
along with an enlarged testicle but he ignored the symptoms and wrote them off
as simply job related stress. When he finally decided to go to the hospital,
tests showed that he had testicular cancer and would have to start a
chemotherapy regimen that consisted of five eight-hour days of treatment, then
off for a week, then five days on again etc. “I ended up having six rounds with
the cancer drug known as Cisplatin,” says Ladd. “My hair fell out after a
couple of weeks and I remember going to bed, turning out the lights and
thinking to myself, I have a really dark year ahead of me."</span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">Ladd said his family had a burial plot picked out for him and said he could be
buried there in case things went south. Ladd said “I still had a sense of
humor, which I find essential to living, and told my mother she better bury me
a little distance from the rest of them as I would be coming home late from
wherever and may wake them up, ha!”</span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;"> Things turned out well for Ladd as he survived the cancer and got a
second chance at life. “My niece sent me a camera back in 2000 and I
immediately got hooked on photography!” With a strong background in earth
science, marine biology and meteorology, Ladd was fascinated with nature and is
a keen observer of the natural world. His insightful eye is reflected in the
beautiful photographs he takes. “I knew life was a gift and surviving cancer
reinforced that,” says Ladd. “My photography is evolving as realize the more I
learn the less I know. I'm grateful to be alive and my cancer put me in a more
focused place, giving me a perspective of what priorities to pursue and to try
not to sweat the small stuff. I have learned the more you give away the more
you shall receive. I pass along my photos to share the beauty I see to others
with no expectations of payback. The only things we take with us when we leave
this world are the benefits derived from our good deeds as material goods are
left behind.</span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">In the background of Ladd’s portrait is my rendition of the
Leafy Sea Dragon (Phycodurus eques) a fish known for its colorful camouflage
and weedy-like appendages. This close relative of the Sea Horse uses its weedy
appendages to blend in with the seaweed that it lives in to fool predators. I
used one of Ladd’s photographs as my model. He said “There was an exposition of
the Leafy Sea Dragon at the Monterey Aquarium in October of 2009. They were
very peaceful looking creatures floating by me in a giant aquarium.... soothing
music was playing in the back ground which had a serene effect on the patrons gazing
upon them.” <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12pt;">A portrait of my father. Creating this piece was
surprisingly very therapeutic for me, at least in healing the wounds of a very
difficult relationship I had with him. He died from lung cancer in the 1980s. I haven't spent as much time
thinking about him since his death or about what
motivated him as I have the past few weeks.</span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">My grandmother Laura told me that he was a very unruly child and to bring discipline into his life, they sent him off to a Jesuit boarding school in
Canada. That experience was difficult for him and it certainly affected his adult behavior.
When he came home after his year of schooling, he had scars on his back from a
whipping he received. You could still see his scars as an adult. Later in life
I learned that he had been sexually abused by a priest and the whipping was to
keep him quiet.</span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;"> On another occasion, he and nine-year-old companion were running in a
large field near the school dormitory when it started to rain. They took
shelter beneath the only tree in the middle of the field. As the storm
intensified, they both clutched the tree to stay dry. One of the priests saw
them and started yelling at them to get back to the dormitory, asap.
Fortunately for me, my father listened and ran right back. His young companion,
no doubt more frightened than my father, chose to stay beneath the shelter of the tree and
even before my father made it back to the dormitory, the tree was hit by
lightning and his young companion was killed. Just a few seconds more and the
same would have happened to my father and I wouldn’t be telling you this story
right now. It’s amazing how fragile the threads are that connect us to our
past.</span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">Needless to say, his time there profoundly affected both his life and our dysfunctional relationship. But I have come to forgive him for the way he treated me and my
mother. He was just another human being with his own struggle in life. He dealt
with things as best he could. That's all any of us can do.</span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">I chose a southwest theme for his portrait as he retired to Arizona after many
years working as a salesman for Sears. He loved it out there so it seemed
appropriate to depict him that environment.</span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">This piece is of Caroline Naberezny. She is a 65-year-old
mother of two, grandmother of three and a widow who is currently undergoing
treatment for stage 3 Hodgkin’s Lymphoma. Caroline and her partner, Robert John
(RJ) of Westminster, are musicians. Caroline has sung in many choral groups and
plays several instruments. “Music has certainly been my saving grace during
life's hard times and has always led me to push myself further. There is never
a time when I don't have a song in my head,” says Caroline. She and RJ are a
part of the local musical community and they get together to jam with friends
as often as possible. “As our daily challenges get a little longer and tougher with this cancer,”
says Caroline, “we just laugh and say turn up the music!"</span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">My portrait of Rosemary Rickard Hill, a Tuscarora elder and
an exceptional beadworker and teacher. Rosie is also a cancer survivor. She
went through years of treatments for stage four dermatofibrosarcoma protuberans
(DFSP), a rare form of skin cancer; she is currently in remission. Rosie has
been beading since she was a child and learned her art by beading at her
mother’s side. She says her mission is to continue this great beading tradition
among the Haudenosaunee and to share it with others through teaching and
workshops. In my portrait of Rosie, I’ve incorporated one of her favorite pincushion
designs in the background and had the hummingbird motifs come alive; purple is
her favorite color.</span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">Chicago, "The Land of Lincoln", is where part of
Nakki Goranin’s journey began and where she was born. Her mother carried her
for six months of her pregnancy in Paris and it is with great affection that
she also calls that home. She was born into a family of great diversity. Her
parents and grandparents were born into a different culture and different countries.</span></span></div>
<div style="text-align: left;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">“I grew up only too aware of the struggles and fights for survival in European
and Russian wars that my family had to deal with,” writes Nakki. “I
followed what I hoped was my own destiny, in school majoring in fine arts
photography, writing and folklore.”</span></span></div>
<div style="text-align: left;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">Nakki says that “photography and photo history have been a running soundtrack
to my life. Over the years I acquired three vintage photobooths and created a
series of portraits and artwork (some of which have been acquired by major
museums). Also in the process, I wrote the first history of the photobooth,
(published by W.W. Norton,) titled, AMERICAN PHOTOBOOTH. I have lectured and
had exhibitions of my photobooth work in museums both Europe and the US.”</span></span></div>
<div style="text-align: left;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">Moving to Vermont and working as an artist was a chance for Nakki to gain a
spiritual freedom and identity. “When I received my first cancer diagnosis (to
be followed one month later by a second cancer, not related to the first), it
was a touchstone of sorts with my family history,” writes Nakki. “Unfortunately,
I had no surviving family to share what I saw as an irony, that here I too had
my own struggle to face. Hearing what was shocking news, we all make choices
with how to deal with this.” Nakki’s choice was to see this as an opportunity
to be strong, to test what is important to her and how she wants, need to live
her life. “I do not see myself as a victim or as a survivor. I am just a life
traveler, with a bigger river to traverse than I had expected. When I make that
big jump to get to the other side, I want to enjoy the leap, and have faith
that my feet will touch down.”</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3jbFRYcSLtoK_UfqP_CiDGgJ1ihAKYT9gOoMpcKiCscVz7NVHH7WjmqtVr5IxGNga0xEe1X1YHOj3MiY_0qG1WWZ2OI61iql1jHeezRpvEiUpGwx7LMeDxaOzkXfZ_ICsN8SbZHm2hCq4/s1600/JoAnne.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3jbFRYcSLtoK_UfqP_CiDGgJ1ihAKYT9gOoMpcKiCscVz7NVHH7WjmqtVr5IxGNga0xEe1X1YHOj3MiY_0qG1WWZ2OI61iql1jHeezRpvEiUpGwx7LMeDxaOzkXfZ_ICsN8SbZHm2hCq4/s200/JoAnne.jpg" width="166" /></a><span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"></span><br />
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">JoAnne has been interested in moths for years. They are
valuable pollinators and a food source for birds, bats and other wildlife. Only
a small percentage of the 12,000 species in North America are destructive and
most of those are not native but introduced.</span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">“It wasn’t until I started to photograph them and see the beautiful, intricate
designs on their wings, that I became obsessed” says JoAnne! “The more
knowledge I gain about moths, the more I want to learn.” The cecropia moth (Hyalophora cecropia) is North America's largest native moth.
They are amazing insects who go through a complete metamorphosis; a tiny egg
develops into a caterpillar who spins a cocoon of silk and emerges as a moth. JoAnne has gone through her own rebirth since her bout with cancer and that is
what I have tried to capture in her portrait. Her wings are made of cecropia
moths that have helped guide her through her journey.</span></span></div>
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="font-size: small;">The love of my life, I decided to do another portrait of JoAnne, this time with a burrowing owl as the theme. She is
passionate about owls and they are one of her favorite groups of birds. What I
attempted to do with this portrait was to merge her spirit with that of the
owl.“There’s something magical about an owl’s face and large eyes that seem to
look right into your soul,” says JoAnne. “Recently a great gray owl had been
sighted not too far from here. It’s one of the largest owls and usually found
much farther north. The day we saw it, there must have been 30 birders there,
most with cameras and binoculars, viewing this bird who didn’t seem to mind.”<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="font-size: small;">We’re lucky to
have barred owls living in the woods behind our home. We hear them hooting both
day and night (they’re diurnal) and on numerous occasions, JoAnne has had
encounters with them on walks in the woods. “They are either watching me from a
tree or silently flying through the woods. Finding nocturnal owls can be a
challenge but knowing the correct habitat makes the task easier. We’ve found
northern saw-whet and eastern screech owls this way,” says JoAnne. <o:p></o:p></span></span></div>
<br />
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<span style="font-family: "arial" , sans-serif;"><span style="font-size: small;">Her favorite
owl to see when visiting friends in Florida is the burrowing owl, who nest in
underground burrows made by ground squirrels or prairie dogs. They are small
owls with long legs and are active during the day.</span><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-4nVwbyUXdadqbokDIBrwSOH2oV4kCRpwIPGOuYCCFWsS0YV22XLW05WQyfssmFx6jWhpUmguDFzYElpM0QYI2pYmONLxtl34F7h5H726dIQvKryKofsLn17W_J4LKbnWxkiq3_D-nIrz/s1600/Cybele1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-4nVwbyUXdadqbokDIBrwSOH2oV4kCRpwIPGOuYCCFWsS0YV22XLW05WQyfssmFx6jWhpUmguDFzYElpM0QYI2pYmONLxtl34F7h5H726dIQvKryKofsLn17W_J4LKbnWxkiq3_D-nIrz/s640/Cybele1.jpg" width="490" /></a></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5fhq7kiq4b80wX-vV2Ly5CWfHw2-yqHewdkT3GulT3JaV-Ax3CElYv9qY59RwaYSKb4XgUmyNHqCThSFIUyue6AkCXvw2BLIeptT7Vv4EBRdCpXPndD6rdJMMlsP-vvk3O2cTCEXCIHuD/s1600/Cybele2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5fhq7kiq4b80wX-vV2Ly5CWfHw2-yqHewdkT3GulT3JaV-Ax3CElYv9qY59RwaYSKb4XgUmyNHqCThSFIUyue6AkCXvw2BLIeptT7Vv4EBRdCpXPndD6rdJMMlsP-vvk3O2cTCEXCIHuD/s200/Cybele2.jpg" style="cursor: move;" width="153" /></a><span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"></span><br />
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">Beautiful and enchanting, Cybele Derby is a masterful
specialist on edible wild foods. A longtime friend, she’s been intrigued with
the natural world for as long as she can remember. She incorporated wild foods
into her diet before it became trendy. An incredible artist in her own right,
this former art teacher loves to educate people about the uses of
culinary/herbal plants through lectures and weed walks. She’s
written/illustrated 3 books, produced 3 hour-long films, and has many short
videos on YouTube, all about wild edible plants. She believes foraged foods are
strong medicine; they helped her deal with a cancer diagnosis in 2001. Now in
remission, she’s even more committed to eating wild and locally. In my portrait of Cybele, the central female figure is a self-portrait
that she did some time ago. I’ve attempted to integrate it into my rendition
such that the viewer can’t tell where her portrait ends and mine begins. Cats have been her constant companions since childhood; she feels a deep
kinship with these mysterious, mystical creatures.</span></span></div>
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuXRaRpb7uocxkj5K_aD3UKoCqYBiA-JieGHS0LlWQht-Y5PcFKbNnitaLJ2ioU75f34elVojh2J-bMcj6FaJ5NbZJG5DPN0C2sfu2dnQULa4rqR7zduB89dAV1K6JDQmbCo5ou4trD1Oh/s1600/Windsong2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuXRaRpb7uocxkj5K_aD3UKoCqYBiA-JieGHS0LlWQht-Y5PcFKbNnitaLJ2ioU75f34elVojh2J-bMcj6FaJ5NbZJG5DPN0C2sfu2dnQULa4rqR7zduB89dAV1K6JDQmbCo5ou4trD1Oh/s200/Windsong2.jpg" width="176" /></a></div>
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<span style="font-family: "arial" , sans-serif; font-size: 13.5pt;">This is a
portrait of my good friend Windsong Blake who, for more than thirty years, was
the chief of the Assonet band of Wampanoag, in southeastern Massachusetts. He
is also dealing with prostate cancer. When friends from the Sundance community
in Potato Creek, South Dakota learned his PSA number had risen to an alarming
level, they came down to visit him and carried out a healing ceremony. Their
Lakota medicine people performed a sweat lodge ceremony for him and several
others who were also dealing with cancer. They blessed everyone with their sacred
feathers and songs and since that event, his PSA number has come down to an
acceptable level. So every morning Windsong burns some sage and gives himself a
blessing and thanks the spirits for his renewed health. As a Sundancer
himself, having gone through the ceremony four years in a row, Windsong is also
a modern day warrior and a master in the Okinawan martial arts style of
Uechi-ryu karate, holding the rank of Hachidan (eight-degree black belt).
Uechi-ryu is notably based on the movements of three animals: the tiger, the
crane and the dragon. </span><span style="color: #1d2129; font-family: "arial" , sans-serif; font-size: 10.5pt;"> </span><span style="color: #1d2129; font-family: "arial" , sans-serif; font-size: 13.5pt;">The dragon, represented in the
background of his portrait, is symbolic of the practitioner breath from which
his power is derived.</span><span style="font-size: 13.5pt;"><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBYp0UlSsnt-kk_Wr6KKjT5KOfcgQbKGTPzys6sPI7GvmYRxQlUlGQCjbErDrYR3M_6DUhLr56Qyq7Cnr6aq8Yi-BJtOekASSmsgABgSO6AgmuH3AdLwbH7AYVXWDOiJcSMoSGKRweihiV/s1600/24e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBYp0UlSsnt-kk_Wr6KKjT5KOfcgQbKGTPzys6sPI7GvmYRxQlUlGQCjbErDrYR3M_6DUhLr56Qyq7Cnr6aq8Yi-BJtOekASSmsgABgSO6AgmuH3AdLwbH7AYVXWDOiJcSMoSGKRweihiV/s640/24e.jpg" width="488" /></a></td></tr>
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<div style="text-align: left;">
<span style="background: white; color: #1d2129; font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">My model for his piece is a
famous painting by the Dutch artist, Johannes Vermeer titled <i>The Girl with the Pearl Erring</i>. The bugs
are a metaphor for my internal menace, the cancer, and the dark and light stars on their
backs symbolize the duality of life, the yin and yang, light and dark, night and day, life and
death. The four stars in the background represents my connection to nature and
the universe and the four cardinal directions at the center of which is a
gateway to another realm.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBVwnhlXtauHLsFcdTWBCcktGAu-twwLfGg3TWvyP-NAR6EsSGPh5pgzi6KMFP_YrLzpfzpPnKvWIBgnfILet8AY3H4X6Qo9GXKeM3809qI2B5NFB3VhtU8JIWODyxtu23SPql2BiNybNi/s1600/21e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBVwnhlXtauHLsFcdTWBCcktGAu-twwLfGg3TWvyP-NAR6EsSGPh5pgzi6KMFP_YrLzpfzpPnKvWIBgnfILet8AY3H4X6Qo9GXKeM3809qI2B5NFB3VhtU8JIWODyxtu23SPql2BiNybNi/s640/21e.jpg" width="470" /></a></td></tr>
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<span style="background: white; color: #1d2129; font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">As I developed this style, I
continued exploring issues of life and death as they relate to art and cancer. My
model for this piece was Abraham Lincoln. Incorporated into his portrait are
prostate cancer cells. As the cells divide and invade his being he watches the
departure of his spirit, exemplified by the bird, as it flies off seeking
harmony with the universe.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUjsvnt9x4YMGobCMHgATGEde2lOKhhBUMdyZMwYE1Jiko-A0Ad3ymEM51I90-8uKMBwNSc32jLAMKc0td_3EgTMnSVTOZtRzPZs6ZLcBNPo4wbntFJF2hMOsz1V-JT_gM914t-6U7xa14/s1600/20e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUjsvnt9x4YMGobCMHgATGEde2lOKhhBUMdyZMwYE1Jiko-A0Ad3ymEM51I90-8uKMBwNSc32jLAMKc0td_3EgTMnSVTOZtRzPZs6ZLcBNPo4wbntFJF2hMOsz1V-JT_gM914t-6U7xa14/s640/20e.jpg" width="444" /></a></td></tr>
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<div style="text-align: left;">
<span style="background-color: white; color: #1d2129; font-family: "arial" , sans-serif; font-size: 12pt;">When I began experimenting
with this new style, I was exploring cancer from the perspective of art. As
alarming as a cancer diagnosis can be, on a microscopic level, individual
cancer cells can have a grim beauty. About 5000 new cases of cancer are
diagnosed worldwide, every day. That’s a scourge of epidemic proportions. To
date, nothing has been found that is proven to prevent every type of cancer but
if we avoided tobacco, con</span><span class="textexposedshow" style="color: #1d2129; font-family: "arial" , sans-serif; font-size: 12pt;">trolled our weight, got
enough physical exercise and took other steps to improve our health, our risk
for getting it would be much lower.</span><span class="apple-converted-space" style="color: #1d2129; font-family: "arial" , sans-serif; font-size: 12pt;"> </span></div>
<span style="background: white; color: #1d2129; font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"></span><br />
<div style="text-align: left;">
<span style="background: white; color: #1d2129; font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;"><span style="font-size: 12pt;">The subject in this painting is from a sketch of a
beautiful and intriguing woman by Leonardo Da Vinci. In my rendition, she has a
dark secret hidden deep inside her. Incorporated into the design is an
enlargement of a cervical cancer cell that was modeled from an actual one taken
with an electron microscope. Her eyes have a longing for things as they used to
be.</span></span></div>
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com0tag:blogger.com,1999:blog-8743733062223446224.post-80507339626731659632016-05-15T11:54:00.001-04:002023-07-24T05:52:58.217-04:00A Rare 19th Century Photograph of an Individual Wearing a Wabanaki Beaded Bag<div class="MsoNormal">
<span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 107%;">I’ve been a collector since I was a kid. I’m not sure what
motivates a child to start collecting; maybe it’s in our DNA. But I started collecting coins and stamps
when I was still in grade school and by the time I entered high school, I was
collecting vintage matchbooks, postcards, old cameras and photographs. The
coins, stamps, cameras and old matchbooks have long found new homes but my
lifelong obsession with old photographs continues. <o:p></o:p></span></div>
<div class="MsoNormal">
<span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 107%;">My interest in Northeast Woodland beadwork has focused my collecting
interest in the photographs and recently I found a very rare image that I would
like to share with you (figure 1). </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5qoaon_vFnhyYEOgc3XTat_6crx4o3OBiqhyzcFT4coad4WhxEG6pHZ4uDj6jvroVwXrR8JOmNmA1VvtLYYv-iTKtwvS7ugd69t9wsSVf7PHXGt-LQ9sV9ES2PWGfj3ijIudFQwmggGfh/s1600/fig.+1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5qoaon_vFnhyYEOgc3XTat_6crx4o3OBiqhyzcFT4coad4WhxEG6pHZ4uDj6jvroVwXrR8JOmNmA1VvtLYYv-iTKtwvS7ugd69t9wsSVf7PHXGt-LQ9sV9ES2PWGfj3ijIudFQwmggGfh/s640/fig.+1.jpg" width="392" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 1 - Carte-de-visit (CDV) of a young woman dressed in Wabanaki beadwork and wearing a Wabanaki beaded bag. From the 1860s. Photographer: M. G. Trask, Bangor, Maine.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuzkS_WlJiOIAmPxrZn6dNIb4wTLd79yjtGDMaPnOzypd1Yvs6GwMB0zrQWqbWluG_gyETzpVlfjbymzlPf_sJVREiOYGu2q2qmgFXa4KdtjMTIV4tqzh6bm80ReVdf0rgscUhR-BruhKk/s1600/fig.+1a.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuzkS_WlJiOIAmPxrZn6dNIb4wTLd79yjtGDMaPnOzypd1Yvs6GwMB0zrQWqbWluG_gyETzpVlfjbymzlPf_sJVREiOYGu2q2qmgFXa4KdtjMTIV4tqzh6bm80ReVdf0rgscUhR-BruhKk/s640/fig.+1a.jpg" width="392" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 1 detail.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilYMu3kAgrRPwUrpgeUW6UApqypgmFr8jIDXqkxwg4BRIuIRO5C5Gx64MEJnOh58wmQqyGf3L0PFmAoHgATTBm_POsJaUCWebmhzT0_xcP8dpwuXJ64rixRgE7GGxggoK3NPy0y9oj8QkV/s1600/fig.+1b.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilYMu3kAgrRPwUrpgeUW6UApqypgmFr8jIDXqkxwg4BRIuIRO5C5Gx64MEJnOh58wmQqyGf3L0PFmAoHgATTBm_POsJaUCWebmhzT0_xcP8dpwuXJ64rixRgE7GGxggoK3NPy0y9oj8QkV/s640/fig.+1b.jpg" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 1, bag detail.</td></tr>
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<span face=""arial" , sans-serif"><span style="font-size: 12pt; line-height: 17.12px;">I’m not sure if the subject is Wabanaki but her </span><span style="line-height: 17.12px;">accouterments</span><span style="font-size: 12pt; line-height: 17.12px;"> certainly are. Of particular interest to me in the photograph is the beaded bag the subject is wearing. In all the years I’ve spent collecting these old images, this is the only one I have found where the subject is, without doubt, wearing a Wabanaki beaded bag. In comparison, I have seen a hundred or more images where the subject was wearing an Iroquois beaded bag.<o:p></o:p></span></span></div>
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<span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 17.12px;">Over the years, I’ve seen many examples of Wabanaki bags in this style, often described as being vase shaped or in the shape of an inverted keyhole, and most were dated from about the 1870s to as late as 1900. This photograph is from the 1860s which indicates that they were being made at an earlier date. Stylistically, the bag is well-developed, so this form could have originated even earlier. This is only one style of Wabanaki beaded bag and other styles exists. Whether this represents the community or family they were from or is a style particular to the maker is unknown but the flowers and leaf patterns on the vase shaped bags are stylistically distinctive. Many of the flowers are daisy-like and can have as many as fifteen petals or as few as five and they usually have squared-off or gently rounded ends (figure 2).<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbU5Fhk4Y2BhiXj-Bhyphenhyphenb8U-UbtvG32DVhhWTlishyphenhypheneSGHma2mRSMNtTgOZHJdCzUw1Kl1OuCVB3InoIaImQfxAMLlYdMr2J4EILbcOQVPr_kWAbOgVJpB9vSq5sVffgDaK8CjaohG1AMsF/s1600/fig.+2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbU5Fhk4Y2BhiXj-Bhyphenhyphenb8U-UbtvG32DVhhWTlishyphenhypheneSGHma2mRSMNtTgOZHJdCzUw1Kl1OuCVB3InoIaImQfxAMLlYdMr2J4EILbcOQVPr_kWAbOgVJpB9vSq5sVffgDaK8CjaohG1AMsF/s640/fig.+2.jpg" width="440" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 2</td></tr>
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<span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 17.12px;">The leaf patterns on Wabanaki bags are often in the shape of a heart or ovate and usually fully beaded. Like the Iroquois, the Wabanaki also incorporated paper patterns over which their flower and leaf designs were beaded. The main stem of the floral design often rises from the center base of the bag in a flat bundle of beads, each string of which connects to a flower or leaf. These stems occasionally had bi-lobed or tri-lobed buds or ears connected to them. Generally, this style of Wabanaki bag didn’t have a two-bead or zippered edging along the outside, although they are sometimes seen with a beaded fringe like the one in the photograph.<o:p></o:p></span></div>
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<span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 17.12px;">Raised beadwork is a technique of beading that is generally associated with both the Tuscaroras and the Mohawks. The high style of raised beadwork employed by the Mohawks appears both on bags and other items of fanciful beadwork. It doesn’t appear in Haudenosaunee beadwork until the mid-nineteenth century. Interestingly, some of the Wabanaki bags in this style incorporate a type of raised beadwork. Some Wabanaki examples I have studied have a definite arch to the beads that was brought about by adding padding beneath the paper patterns (figures 3 and 4) and this technique is evident on many examples of 19th century Wabanaki beadwork. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB95hrlMpM_q5VOH4JcWGyY-4MMZ-FofSTrA6RosOKqc6KJQ9O1zuFvPrnZ9gtxUETLFjPiqDamTelm3qifjLwzrWJJok4eTOobtepfijh9NXM2ETJmKnsCGd-NhD4oBSoY0oWYCcNu-Ue/s1600/fig.+3a.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB95hrlMpM_q5VOH4JcWGyY-4MMZ-FofSTrA6RosOKqc6KJQ9O1zuFvPrnZ9gtxUETLFjPiqDamTelm3qifjLwzrWJJok4eTOobtepfijh9NXM2ETJmKnsCGd-NhD4oBSoY0oWYCcNu-Ue/s640/fig.+3a.jpg" width="636" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 3 - Example of a Wabanaki beaded bag with a form of raised beadwork</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6102P28SCQXA_7B_K2BTMwgCkUa1WfKk2eD2R8WFHseyr3DkigQhQ6q819r550TO2q2Xw02YpdSlSg_R_zSVsmmWGMPVeJef5Op92d-UnY6PMNws4taTlIwtDRDcbPpcvvADLgIqXBPXJ/s1600/fig.+3b.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6102P28SCQXA_7B_K2BTMwgCkUa1WfKk2eD2R8WFHseyr3DkigQhQ6q819r550TO2q2Xw02YpdSlSg_R_zSVsmmWGMPVeJef5Op92d-UnY6PMNws4taTlIwtDRDcbPpcvvADLgIqXBPXJ/s640/fig.+3b.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the bag in figure 3.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhAJExuZAm5PPgHbupWccfWp7hR2-74FZlc6EgAVaBVacgypjJO-tjQbLxjwwFn3aXegKnHyLMbMJ6FNrzmjR7h-0Nq3dUnh3NrShrH35T0c5hRPtUQCsQNuAaOZpSP_s7wrYyETvkl75c/s1600/fig.+4a.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhAJExuZAm5PPgHbupWccfWp7hR2-74FZlc6EgAVaBVacgypjJO-tjQbLxjwwFn3aXegKnHyLMbMJ6FNrzmjR7h-0Nq3dUnh3NrShrH35T0c5hRPtUQCsQNuAaOZpSP_s7wrYyETvkl75c/s640/fig.+4a.jpg" width="436" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 4 - Another example of a Wabanaki beaded bag with raised beadwork.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm4nnqE123-ERKcsM9MAxIBFb9knbTz4rSer8XkdozlzNDvIxK3B6tS8xODZk3IFsARlV0qKdVrO2ykM1FjkN4fzADGq4NOgXVFQKUZifFIf6oLtaAfAuDbrXFbJFOJoQlDgpd-DuGgQ0r/s1600/fig.+4b.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm4nnqE123-ERKcsM9MAxIBFb9knbTz4rSer8XkdozlzNDvIxK3B6tS8xODZk3IFsARlV0qKdVrO2ykM1FjkN4fzADGq4NOgXVFQKUZifFIf6oLtaAfAuDbrXFbJFOJoQlDgpd-DuGgQ0r/s640/fig.+4b.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the bag in figure 4.</td></tr>
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<span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 17.12px;">In comparison, some Tuscarora examples that employ a spiral weave, achieve this raised beadwork effect by beading over a single string of beads (see figures 5a-c).<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixjNNshEq94DfLopRIwsSGDokEXZ4k1S9bArECmoka747JPNRux8CInN6lPMsBZ67fUtEV1-xagza2H4sYHOFqMmKhAOv4UBc1_B60dZ38Rp-mtKo9KoBBiCqDUd-J9YVKUiSpAWmC8orP/s1600/fig.+5a.tif" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixjNNshEq94DfLopRIwsSGDokEXZ4k1S9bArECmoka747JPNRux8CInN6lPMsBZ67fUtEV1-xagza2H4sYHOFqMmKhAOv4UBc1_B60dZ38Rp-mtKo9KoBBiCqDUd-J9YVKUiSpAWmC8orP/s640/fig.+5a.tif" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 5a, showing a method of achieve raised beadwork in Tuscarora work.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9AFt4k4XCqx52ee2CXxpIjgcOYOGLbpvcXi1ZxdQ2e5pym2FNA9-hNUxNT9iEGzwhJHr2mb1eSOy5MKymRauYUCNhv6KDuDfkLeP0qLVkEYuXQusgGfGP0aGBIPgwYwSkeMD1uHfvB74u/s1600/fig.+5b.tif" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9AFt4k4XCqx52ee2CXxpIjgcOYOGLbpvcXi1ZxdQ2e5pym2FNA9-hNUxNT9iEGzwhJHr2mb1eSOy5MKymRauYUCNhv6KDuDfkLeP0qLVkEYuXQusgGfGP0aGBIPgwYwSkeMD1uHfvB74u/s640/fig.+5b.tif" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 5a</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVc-veQddnpWujQeJPPCrm0XB7up8IpkgqLN6AMaKyDW-6-ooBOvkQr2oecMsXS6Q-8gkaUZy2gCdDYNYGTnaXIS7b-CnH-oXhB-qAJr1mcj8gG32xNtsv9SftBa-McQ9t8V5kVoAE61DA/s1600/fig.+5c.tif" style="margin-left: auto; margin-right: auto;"><img border="0" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVc-veQddnpWujQeJPPCrm0XB7up8IpkgqLN6AMaKyDW-6-ooBOvkQr2oecMsXS6Q-8gkaUZy2gCdDYNYGTnaXIS7b-CnH-oXhB-qAJr1mcj8gG32xNtsv9SftBa-McQ9t8V5kVoAE61DA/s640/fig.+5c.tif" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 5b.</td></tr>
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<span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 17.12px;">It has been reported in the literature that raised beadwork is not exclusive to the Iroquois as it has also been observed in the beadwork of Algonquian Speaking tribes from Southern New England. Examples of late-nineteenth and early twentieth-century beadwork of the Mohegan and Niantic also employ a type of raised beadwork. See: Decorative Art of the Indian Tribes of Connecticut by Frank Speck, Canada Department of Mines, Memoir 75, Ottawa, 1915 and Beads and Beadwork of the American Indians by William Orchard [1929] 1975:Pl. XXXVII. It’s also been found on the work of the Montauk from Long Island and a form of raised beadwork has been identified on some Wabanaki beaded bags and hats from the second half of the nineteenth century. There was also a form of raised Berlin Work that was popular in Europe and America at the time the Iroquois were developing their own raised beadwork (Hartley 1859:87).<o:p></o:p></span></div>
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<span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 17.12px;">What follows is a representative sample of bags in the vase or inverted keyhole shape that illustrates the variability within this particular style. All of these date to the second half of the 19th century.</span></div>
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<span style="font-family: "times" , serif; font-size: 12pt;">If you have an interest in Northeast Woodland beadwork you
might find my book of interest. Titled: <a href="http://www.gerrybiron.com/pages/publications.html" target="_blank">A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron.</a> </span></div>
<div style="text-align: left;">
<span style="font-family: "times" , serif; font-size: 12pt;">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.</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
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<span style="font-family: "times" , serif; font-size: 12pt;">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.</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><o:p></o:p></span></div>
</div>
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<span style="font-family: "times" , serif; font-size: 12pt; line-height: 107%;">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.<o:p></o:p></span></div>
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<b>References Cited:</b></div>
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<span face=""calibri" , sans-serif">Hartley, Florence<o:p></o:p></span></div>
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<span face=""calibri" , sans-serif">1859 <i>Ladies Handbook of Fancy and Ornamental Work
Comprising Directions and Patterns for Working in Appliqué, Bead Work,
Braiding, Canvass Work, Knitting, Netting, Tatting, Worsted Work, Quilting,
Patchwork, & c. & c. </i>Illustrated with 262 engravings. John E. Potter, Publisher, Philadelphia.<o:p></o:p></span></div>
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com7tag:blogger.com,1999:blog-8743733062223446224.post-39919540503028137142016-02-15T11:49:00.000-05:002016-05-18T11:30:34.117-04:00Iroquois Floral Bags with Elongated Leaf Motifs (early to mid-1850s to the 1860s)<div class="MsoNormal">
<span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;">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 (</span><span style="color: red; font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">figure 1</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;">). The second is a Daguerreotype of a young girl with a slightly earlier
style of Iroquois bag that is decorated with ovate </span><span style="font-family: "arial" , sans-serif; font-size: 16px; line-height: 17.12px;">(somewhat egg-shaped) </span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;">floral motifs (</span><span style="color: red; font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;">figure 2</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;">).</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL-JRA-d_BAAJMyZCNoacpDOc6b14gFx0OD2GBvhW9_naiL0yNQyXmt9cqp7yyZHNY3Cd4QStbliNiyIqKuVlXOBtrUax5wbH-bm_tcYcv21fTpU2vxScityTmLNlLnJoyvHVd9af3Q3ij/s1600/figure+1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL-JRA-d_BAAJMyZCNoacpDOc6b14gFx0OD2GBvhW9_naiL0yNQyXmt9cqp7yyZHNY3Cd4QStbliNiyIqKuVlXOBtrUax5wbH-bm_tcYcv21fTpU2vxScityTmLNlLnJoyvHVd9af3Q3ij/s640/figure+1.jpg" width="387" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">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.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPP9G17bz7TWPHoQox5ICP1sXqPv59f6TaarmjinqIv2MPBYDp5CBiLPHl34marAzHLgT4EqaGcr1le-UAKkYUgXZ-EJZsVozzAaoxdHc-IkD6lUcsHNs1XWdYAg9PZZLWOtwjUW1q2K1G/s1600/figure+1+-+detail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPP9G17bz7TWPHoQox5ICP1sXqPv59f6TaarmjinqIv2MPBYDp5CBiLPHl34marAzHLgT4EqaGcr1le-UAKkYUgXZ-EJZsVozzAaoxdHc-IkD6lUcsHNs1XWdYAg9PZZLWOtwjUW1q2K1G/s640/figure+1+-+detail.jpg" width="516" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the bag in figure 1</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7lxtqEGp74fZ_uC-cKZbuR9Xqpa-9oh1p2YfpCSYD_wYrhPeNH41wQRkg11JhyphenhyphenSSeRWKZAc2-fEnRblJ1DFMQeSikDKgHWzZQSTqnTRHEPKvI_-zHsKXEnZhbTB6qcitF3PgCeUY0L6Li/s1600/figure2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7lxtqEGp74fZ_uC-cKZbuR9Xqpa-9oh1p2YfpCSYD_wYrhPeNH41wQRkg11JhyphenhyphenSSeRWKZAc2-fEnRblJ1DFMQeSikDKgHWzZQSTqnTRHEPKvI_-zHsKXEnZhbTB6qcitF3PgCeUY0L6Li/s640/figure2.jpg" width="536" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 2 - Circa 1850 Daguerreotype of a young girl with and Iroquois floral bag with ovate floral motifs and thick stems.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSGqNg66glYqmI7lb8UcrShIj0eO-oJpe9gMb2QFDj3EZCvi9D66-p2_sSbEWUZmFUH1CFGunCZjet7mwwzWVi-nPFrYm6aBchRHwKTkpNsAR8HC56Uf6tz-nj0WxWrXjqounuk07YrOB6/s1600/figure+2+-+detail+%25281%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSGqNg66glYqmI7lb8UcrShIj0eO-oJpe9gMb2QFDj3EZCvi9D66-p2_sSbEWUZmFUH1CFGunCZjet7mwwzWVi-nPFrYm6aBchRHwKTkpNsAR8HC56Uf6tz-nj0WxWrXjqounuk07YrOB6/s640/figure+2+-+detail+%25281%2529.jpg" width="504" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of the bag in figure 2</td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;">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 (</span><span style="color: red; font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;">figure 3</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;">). </span><span style="font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;"> </span><span style="font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;">(The</span><span class="apple-converted-space" style="font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;"> </span><span class="apple-style-span" style="font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;">Victorian
era</span><span class="apple-converted-space" style="font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;"> </span><span class="apple-style-span" style="font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;">began in June of 1837 with the
reign of</span><span class="apple-converted-space" style="font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;"> Queen</span><span class="apple-style-span" style="font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;"> Victoria and ended with her death in January, 1901). </span><span style="font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;">The
origin of this distinctive floral style has been studied by serious collectors
and researchers alike for some time now.</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;">
</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; text-align: left;">Evidence suggests it emerged during the late 1830s, in the waning years
of the classic period of Haudenosaunee beadwork.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjo3cD4vMJK89htd2iqiD6kWd_DC1gUNxoFpAYiSDrjMV9AtJ4HHuZOu3ZpxeIeLPbRsS_rw516l85jeL-FwhU-wrbFybIyuNKTyvoeXXSeoblG3les7hmsbRrYHmbBL502MGNCUQCpB_n/s1600/figure+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjo3cD4vMJK89htd2iqiD6kWd_DC1gUNxoFpAYiSDrjMV9AtJ4HHuZOu3ZpxeIeLPbRsS_rw516l85jeL-FwhU-wrbFybIyuNKTyvoeXXSeoblG3les7hmsbRrYHmbBL502MGNCUQCpB_n/s640/figure+3.jpg" width="510" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 3 - A group of Iroquois floral bags with ovate floral motifs and thick stems. Late 1840s to early 1850s.</td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">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-19<sup>th</sup>
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.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;">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 (</span><span style="color: red; font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">figure 4</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;">) but the style quickly
transitioned to using much thicker stems (</span><span style="color: red; font-family: "arial" , sans-serif; font-size: 12.0pt; line-height: 107%;">figure 5</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;">).</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKTiWgC5yCBSDlpW6M6f0whLvuFzV3vyNYb-1PN5f2WC75yIShQjsdcloQMTB-ymK8JSdJ71wGoH8cqYnbv5CSRhU13m9suMhp_B-t96PfBz6o8VBKl3amLquXa9gi_NZXopP1mcwN8vZg/s1600/figure+4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKTiWgC5yCBSDlpW6M6f0whLvuFzV3vyNYb-1PN5f2WC75yIShQjsdcloQMTB-ymK8JSdJ71wGoH8cqYnbv5CSRhU13m9suMhp_B-t96PfBz6o8VBKl3amLquXa9gi_NZXopP1mcwN8vZg/s640/figure+4.jpg" width="550" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">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.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXhyphenhyphenSXcyrHJLN42fq-tl25PCvR8vn1vhXlffJ-Alo6RgDRjJUUCZvDN8plwdD6d54Ext0TVx-uO29VIoBn4dpeWJp5fqusaTHmayuCsaI6I2oFSEX8dImfv5UNqYGgV74qoUt5MuaEhjYG/s1600/figure+5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXhyphenhyphenSXcyrHJLN42fq-tl25PCvR8vn1vhXlffJ-Alo6RgDRjJUUCZvDN8plwdD6d54Ext0TVx-uO29VIoBn4dpeWJp5fqusaTHmayuCsaI6I2oFSEX8dImfv5UNqYGgV74qoUt5MuaEhjYG/s640/figure+5.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">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. </td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;">Examples in the style of </span><span style="color: red; font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;">figure 5</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;"> also used ovate flowers. This style was popular from about the early 1840s until
about the mid-1850s.The bag illustrated in </span><span style="color: red; font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;">figure 1</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;"> employs a different floral technique that I describe as an
elongated leaf motif. Over the years, I’ve seen dated pieces from each of
these distinctive floral styles. The photographs and dated pieces of beadwork document’s
their evolution from designs with a single bead string stems that first appear in
the 1830s, through those with ovate florals in the 1840s and early 1850s finally
to examples with elongated leaf motif compositions from the about the mid-1850s
through the 1860s.</span><br />
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<span style="font-family: "arial" , sans-serif;">Unlike the earliest examples
with ovate floral designs that often had bilaterally symmetrical compositions (</span><span style="color: red; font-family: "arial" , sans-serif;">figure 6</span><span style="font-family: "arial" , sans-serif;">), examples with elongated
leaf motifs had asymmetrical compositions and the thick floral stems
are essentially gone. By the 1860s, beaded decorations are comprised primarily
of abstract bead clusters that barely suggested their floral or foliate
nature. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGeGyHHQdyQFeyQ5MhV-vG69FW4-7P-5p43wfSauuONwb5cjDcDjBWNCM-wO8tP63u5I8wGjRZX7Za7tRIZVxPMcv_7w3NAEddAueGD-ik3LUO3JtW880jfFu9sa0gHG0Y_P8fW4Q1VuiO/s1600/figure+6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGeGyHHQdyQFeyQ5MhV-vG69FW4-7P-5p43wfSauuONwb5cjDcDjBWNCM-wO8tP63u5I8wGjRZX7Za7tRIZVxPMcv_7w3NAEddAueGD-ik3LUO3JtW880jfFu9sa0gHG0Y_P8fW4Q1VuiO/s640/figure+6.jpg" width="564" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 6 - Iroquois beaded bag with ovate floral motifs in a bilaterally symmetrical design. Circa 1850.</td></tr>
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<span style="font-family: "arial" , sans-serif;">What follows is a gallery of
Iroquois floral bags with elongated leaf motifs along with several other old
images where the subject is holding one.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">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.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Detail of the bag in the previous image.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Early to mid-1850s Daguerreotype of a young girl with an Iroquois floral bag decorated with elongated leaf motifs.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPINnc7AluqbKOVZ1rQ_9DfpbteSs8pwjaP-c_oij6p7p_i7eyg6EIzB26MPLZUGwV3fPPblnnqQfbLsN9m6hXhX3AeKrFUp6FmGPQSnV500BeWsYoGSGG_6ucikS_q9mViusVh9Jdj_9F/s1600/figure15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPINnc7AluqbKOVZ1rQ_9DfpbteSs8pwjaP-c_oij6p7p_i7eyg6EIzB26MPLZUGwV3fPPblnnqQfbLsN9m6hXhX3AeKrFUp6FmGPQSnV500BeWsYoGSGG_6ucikS_q9mViusVh9Jdj_9F/s640/figure15.jpg" width="548" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Another Daguerreotype from the mid-1850s of a young girl with an Iroquois beaded bag decorated with elongated leaf motifs.</td></tr>
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<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">If you have an interest in Northeast Woodland beadwork you
might find my book of interest. Titled: <a href="http://www.gerrybiron.com/pages/publications.html" target="_blank">A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron</a>. </span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">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.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 107%;"><br /></span></div>
Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com0tag:blogger.com,1999:blog-8743733062223446224.post-55112486388988755432015-09-09T09:35:00.001-04:002021-09-22T09:46:02.647-04:00The Cultural Appropriation of American Indian Images in Advertising (1880s-1920)<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> The racist
ideology directed towards minorities in America is not a new phenomenon. Prejudiced
attitudes towards American Indians in particular date back at least to colonial
times. In this article, I’ll explore
this phenomenon through a group of advertisements that were produced from the
1880s until around 1920. As diverse as
the ads are, many are guilty of using culturally appropriated themes to sell
their products. Defined as the adoption of specific elements of one culture by
a different cultural group, cultural appropriation embodies the use of ideas,
symbols, artifacts, images, objects, etc. derived from contact between
different cultures. It often implies a
negative view towards the minority culture by the dominant one and is often
culturally insensitive. The examples
presented below are a reflection of the biases and prejudices of the day. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> Negative attitudes towards American
Indians continue to be perpetuated in the mass media evidenced recently by the sexy
fashion events produced by Victoria’s Secret where their models disrespectfully
dressed in pseudo American Indian attire that contained appropriated symbols
that are viewed as sacred to many Native people; and repeated calls to
eliminate racist Indian mascots in sports continues to fall on deaf ears. <o:p></o:p></span></div>
<span face=""arial" , "sans-serif"" style="font-size: 12pt; line-height: 115%;"> So why are advertisers so intent on
associating their products with American Indians? Unfortunately, there is no
simple answer to that question. Since the time of first contact, First Nations
people have been under intense pressure to assimilate into mainstream society. By
the turn of the twentieth century, the Indian wars had come to an end and many
Native people were struggling to adapt to a new way of life. Although the
military campaigns were over, a more subtle war over cultural identity was
underway. Evidence of this is reflected
in newspaper and magazine advertisements, as well as in journalistic articles
and state reports where Native people were often referred to in condescending
and disparaging terms (figure 1). </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxU3W81bogDaelRjV-WwufDxF_qswxy4pQX_Z6800N6m5ISa7vRd8ZshIjN3QH6frWU1kuUYzxvDyAbsjfIIKC2NwXyo-wULcB-k6b74diskkPdhz15oIc4vgmaVBCudcCSL1S_ZK35ae9/s1600/01e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxU3W81bogDaelRjV-WwufDxF_qswxy4pQX_Z6800N6m5ISa7vRd8ZshIjN3QH6frWU1kuUYzxvDyAbsjfIIKC2NwXyo-wULcB-k6b74diskkPdhz15oIc4vgmaVBCudcCSL1S_ZK35ae9/s640/01e.jpg" width="446" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;">
<span face=""arial" , sans-serif" style="font-size: 12pt;">Figure
1 – A 1908 advertisement in </span><i style="font-family: Arial, sans-serif; font-size: 12pt;">Munsey’s
Magazine</i><span face=""arial" , sans-serif" style="font-size: 12pt;"> for O’Sullivan heels. The ad juxtaposes an “uncivilized” Native (who
is referred to as a savage) kneeling before the onslaught of civilization.</span></div>
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<div>
<span face=""arial" , "sans-serif"" style="font-size: 12pt; line-height: 115%;"> A case in point is the
January 27, 1888 edition of the Cattaraugus Republican, a newspaper from
Salamanca, New York. It ran an extract from the Annual Report of the Superintendent
of Public Instruction for the State of New York by Andrew S. Draper and in his
concluding remarks, Draper’s prejudice toward the Indians is shamelessly
apparent. He wrote that “there are eight reservations [in New York], covering
more than 125,000 acres of land, as tillable and beautiful as any in the state.
Not an acre in a hundred is cultivated. Upon each reservation there is a tribal
organization which assumes to allot lands and to remove settlers at will, so
that no permanent improvements are possible. In numbers they are increasing
rather than dwindling away. The reservations are nests of uncontrolled vice,
where wedlock is commonly treated with indifference, where superstition reigns
supreme, and where impure ceremonies are practiced by pagans with an attendance
of both sexes and all ages, where there is no law to protect one or punish
another: where the prevailing social and industrial state is one of chronic
barbarism, and which the English language is not known or spoken by the women
and children, and by only part of the men. All this is in the heart of our
orderly Christian state.</span><!--EndFragment--> <span face=""arial" , sans-serif" style="font-size: 12pt; text-align: center;"> </span>
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> This state of things cannot go on indefinitely…
The state is undoubtedly bound by treaties formally entered into, but when
treaties perpetuate barbarism and protect vice, they should be broken. These
people are not to be considered as equals; they are unfortunates; they do not
know what is best for themselves; they are the children of the state… treaty
obligations should not forever protect Paganism in saying to Christian
civilization, ‘Thus far only shalt thou go, and no farther.’”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> Andre Lopez has demonstrated that In the
United States, “the press has been fortunate enough to be able to obscure its
most blatantly racist opinions beneath the cloud of public ignorance on this
subject. In the area of Native sensitivities, it has only been during the past
several decades, and even then only in the more liberal communities, that
blatant racism toward Native people has simply become less popular, less vogue.
Prior to this… the press dispatched attitudes in its reporting style which
reflected the true attitudes and popular beliefs of the American public. Among
those beliefs was… that Native peoples were ‘savages,’ that they were unclean,
somehow biologically and socially lacking in graces and manners, an inferior
people” (Lopez 1980: xi). <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> A short yet condescending newspaper article
in the August, 1894 issue of the Syracuse (New York) Standard, titled: A LOT OF
NONESENSE reported that “A great many people drove out to the Onondaga
reservation yesterday afternoon to see the Pagan Indians in council. There was
a pow-wow in the afternoon. The Indians rigged themselves up in all sorts of
grotesque outfits and capered around the Council house for the benefit of the
whites. It was called a religious ceremony.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> Missionary Scott of the Episcopal Church
doubts whether the Indians have come together for anything more than a good
time. He doesn’t believe that the chiefs know anything about the doctrines of
Handsome Lake. He himself has never been able to get two similar accounts of
the so-called prophet-teachings. In his opinion, there is more politics than
religion in this council.”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> It’s not hard to imagine how Native people
felt and reacted to these characterizations. In writing about the Iroquois in particular,
Lopez says that there were “Indian people who would react so strongly to the
stereotypes that they would become, in culture and behavior, more like white
people than the white people were. It was a case of the oppressed imitating
their oppressors in the (unconscious) hopes of escaping their oppression”
(Lopez 1980: xvii).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;"> </span><span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;">Beginning in the nineteenth century and
continuing throughout the 20th century, American Indian themes were
regularly used in print advertising. From about 1890 until World War 1, a
fashionable home-decorating trend was under way that Elizabeth Hutchinson
describes as “the Indian Craze” (Hutchinson 2009). During this period, mainstream
society developed a passion for collecting American Indian art objects and this
might account, in part, why advertisers often used Indian themes to sell their
products.</span><span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;"> </span><span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;">A diverse range of products were
promoted that, for the most part, had no connection at all to American Indians.
Indian themed advertisements for toys, tools, clothing, alcoholic beverages, food
products, toothpaste, bicycles, cameras, automobiles, tobacco, even vacation
trips were used to sell these and a host of other products; virtually no
segment of the commercial marketplace was exempt (</span><span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;">figure
2.)</span><span face=""arial" , "sans-serif"" style="font-size: 12pt;"> </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqDNDYHe94NSOfjTUEo_VX7rsEwvw8qb4R0-PrqrRCmZBMRKRq8FDrvgPb1mt2UKHt9mddKV4QFAQBp6sPqlMBooUxb3iJAWdvuwFmwZspd2nCE3-Q7M2Uycs8jLxuJySZgi6fnX7NPnRB/s1600/02e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqDNDYHe94NSOfjTUEo_VX7rsEwvw8qb4R0-PrqrRCmZBMRKRq8FDrvgPb1mt2UKHt9mddKV4QFAQBp6sPqlMBooUxb3iJAWdvuwFmwZspd2nCE3-Q7M2Uycs8jLxuJySZgi6fnX7NPnRB/s640/02e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
2 – An 1896 advertisement for the Syracuse Cycle Company of Syracuse, New York,
a company that produced bicycle wheels, and a 1907 advertisement for Sozodont
tooth powder and paste. Perhaps the Sozodont ad was trying to suggest their
product was natural although the ad text makes no mention of it. The reference
to their product being made for people of every civilized land (Indians were
not considered civilized during this period) is more deplorable. Perhaps they were suggesting that if Native people used their product that it would civilize them.</span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"><br /></span></div>
<!--EndFragment--><span face=""arial" , "sans-serif"" style="font-size: 12pt; line-height: 115%;">In many cases, this practice was used simply for the benefit of the
advertiser and in some cases to lampoon Native people (figure
3). </span></div>
<div>
<span face=""arial" , "sans-serif"" style="font-size: 12pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfmAuGj0gE67n_Urgd_smRlr43F-UzDFu7pvyEOMNZF6pgdPbOn2-3zGayQLBkHcGGlh-Q2TVcGiFFnrPakYBS7i9yxjlztlr07u7azDj_AeTKZivX3OmjaYFG6GoSNPJP1Sz5a_F9YHaI/s1600/03e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfmAuGj0gE67n_Urgd_smRlr43F-UzDFu7pvyEOMNZF6pgdPbOn2-3zGayQLBkHcGGlh-Q2TVcGiFFnrPakYBS7i9yxjlztlr07u7azDj_AeTKZivX3OmjaYFG6GoSNPJP1Sz5a_F9YHaI/s640/03e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
3 – An advertisement from 1889 for the American Cycles Co., of Chicago with a
caricature of an Indian on a high-wheeled bicycle following a
trail into the sunset. High wheelers were some of the first bicycles made and although they were
popular for only a short period of time, they are symbolic of the late
Victorian period.<o:p></o:p></span></div>
<!--EndFragment--></td></tr>
</tbody></table>
<div>
<span face=""arial" , sans-serif"><span style="font-size: 16px; line-height: 18.4px;"><br /></span></span><span face=""arial" , "sans-serif"" style="font-size: 12pt; line-height: 115%;"> It’s been argued that such
representations are actually “a continuing form of colonialism and oppression.”
That is, they effectively “shrink an extremely diverse community of over 565
tribes in the United States alone down into one stereotypical image of the
plains Indian” (Adrienne Keene, from an online interview in Al Jazeera’s <i>The Stream.</i> Adrienne is a Cherokee from
Oklahoma and the author of the <a href="http://nativeappropriations.com/" target="_blank">Native Appropriations blog</a>). </span><span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;">In many instances, the Indian themed advertisements are nothing short of
cultural appropriation and additionally, some were unabashedly racist (figure 4).<span style="color: red;"> </span></span><br />
<span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;"><span style="color: red;"><br /></span></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOqiXUl0j4Y96RpJvIfAiqs4RKgsjPkF-xr5eMKJ0vLokACdcQd-5MteZDcHMtTnXRcSuZmQa50ft0Wy3xLCLEUqN5vOO8wEhtMHTcEZIWZ5X-is4PecCof-3v_H1YvWJVRt2MJ922DAM/s1600/04e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOqiXUl0j4Y96RpJvIfAiqs4RKgsjPkF-xr5eMKJ0vLokACdcQd-5MteZDcHMtTnXRcSuZmQa50ft0Wy3xLCLEUqN5vOO8wEhtMHTcEZIWZ5X-is4PecCof-3v_H1YvWJVRt2MJ922DAM/s640/04e.jpg" width="414" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
4 – </span><span face=""arial" , sans-serif" style="font-size: 12pt;">A Ladies Home
Companion Magazine ad from 1896 for Sapolio, a company that produced soaps and
other cleaning products. </span><br />
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"><o:p></o:p></span></div>
</div>
</td></tr>
</tbody></table>
<br />
<span face=""arial" , "sans-serif"" style="font-size: 12pt; line-height: 115%;"> Victorians had a
sentimentalized view of Indian life derived from prints and magazine articles
in which Native people were often inaccurately depicted as still living in
quintessential harmony with nature. Indian encampment life was romanticized by
some writers, such as a Mademoiselle Rouche, whose account appeared in an 1859
edition of the Lady’s Newspaper (see: Phillips 1998:218–221).
Although the camp in her narration was apocryphal, it provided a romantic
attachment to an idealized life and advanced the exotic illusion that Native
people and their creations were the end product of this pastoral and bucolic existence.
Some of the Native attributes that advertisers hoped to associate with their merchandise
were naturalness, strength, purity, and that their products were authentically
American (figure 5.) </span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNrcDWowikPuNw6EU-XUh99bqP6vT9c3n-8T3mpyx7mOonKEcTtv09L2l5f5O5efQ6Snx6BwyAZ30I8hSuHcXmqOvhvlC9HhEkxRqFOKcT-3GusU0DgX833AEXetxvMv1Fn2RTW7SsjRz6/s1600/05e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNrcDWowikPuNw6EU-XUh99bqP6vT9c3n-8T3mpyx7mOonKEcTtv09L2l5f5O5efQ6Snx6BwyAZ30I8hSuHcXmqOvhvlC9HhEkxRqFOKcT-3GusU0DgX833AEXetxvMv1Fn2RTW7SsjRz6/s640/05e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
5 – An advertisement that appeared in a 1907 <i>Theatre Magazine</i>. </span><span face=""arial" , sans-serif" style="font-size: 12pt;">In other ads I have
seen from this company, Hiawatha (also known as </span><span face=""arial" , sans-serif" style="background: white; color: #252525; font-size: 12pt;">Ayenwatha)<b> </b></span><span face=""arial" , sans-serif" style="font-size: 12pt;">is usually
misrepresented as a woman. Hiawatha was a pre-historic Iroquois leader and
co-founder of the Iroquois confederacy. Accurate representations of Native
people were not of importance to most advertisers since Indians were generally
lumped into the same category. The subject’s clothing is not representative of
any Native group either as that style of outfit was mass-produced and offered
for sale by fraternal outfit manufacturers for theatrical </span><span face=""arial" , sans-serif" style="font-size: 12pt;"> </span><span face=""arial" , sans-serif" style="font-size: 12pt;">groups, circus’s</span><span face=""arial" , sans-serif" style="font-size: 12pt;"> </span><span face=""arial" , sans-serif" style="font-size: 12pt;">and fraternal organizations such as the
Improved Order of Redmen (IORM).</span><br />
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"><o:p></o:p></span></div>
</div>
</td></tr>
</tbody></table>
<span face=""arial" , "sans-serif"" style="font-size: 12pt; line-height: 115%;"><br /></span>
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> A 1918 advertisement for the United States
Tire Company from Seattle, Washington, has an agile and fit looking Indian
jumping across a fast moving stream towards a tire on the other side. In bold
letters, the ad reads: LITHE, SINEWY, ENDURING. UNITED STATES “ROYAL CORD”
TIRES. Advertisers weren’t shy about appropriating Native themes to bolster
their ad campaigns.</span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> Until about the middle of the nineteenth century, America was still a
rural, agricultural society but with the advent of the industrial age, people began
moving to cities. Life there offered advantages such as better and higher
paying jobs and access to services not available in rural areas but there were
also serious disadvantages. Sanitary conditions in most cities were miserable
to nonexistent and they became unhealthy places to live; many were ravaged by
epidemics such as cholera, influenza and typhoid.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">
By this time, the character of children, especially boys, was perceived by many
to be imperiled by an effeminate, post frontier urbanism (Deloria 1998:96).
Daniel Carter Beard, a cofounder of the Boy Scouts, believed that Indians
offered patriotic role models for American youth and some businesses echoed
these sentiments in their advertisements. In a 1920 promotion for Indian
bicycles from the Hendee Manufacturing Company, the same company that produced
the Indian motorcycle, the design depicts a boy and his father admiring a
bicycle in a showroom window. The advertising text reads in part; “The Indian
most certainly is the bicycle for every healthy, manly American boy,” and that
it “reminds one of the true-blooded race horse.” It suggests that the use of their
product would ultimately turn a soft and tender child into a real man.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">
Beginning in the late nineteenth century and until the 1980s,
thousands of magazine advertisements displayed images of Native people or
themes on their pages. These advertisements flourished during the period that
Elizabeth Hutchinson refers to as the “Indian Craze” – 1890 through 1915 (Hutchinson
2009). She describes how American Indian blankets, baskets, rugs, etc. could be
purchased directly from east cost department stores, from Native people
themselves, from agents and a host of other outlets. “Native American art was
seen as a distinctly superior form of decoration, in keeping with the
increasing nationalism and protectionism of the nation at the time. Native
American art allowed people of the United States to combine these nationalist
and colonialist interest, by appropriating the material culture of subjugated
indigenous people as an expression of national aesthetics. They embraced the
fact that Indian art was made out of local material and described its various
forms as a reaction to the national landscape. Most important, critics urged
collectors to buy Native products instead of sending money overseas. As one writer put it (in 1901), ‘Americans
send hundreds of thousands of dollars every year to Germany and Japan for
hampers, scrap baskets, clothes baskets, market baskets, work baskets, fruit,
flower, lunch and candy baskets, - money which, by every right, should be
earned by our needy, capable Indians’” (Hutchinson 2009:26). <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> A March 28, 1901 advertisement in the New
York Daily Tribune, for the Wanamaker’s Department Store, informed the public
that an Abenaki basket maker and her daughter would be demonstrating their skills
on their premises. There would be a selection of their baskets and other crafts
for sale. Below is the full text of the ad as it ran on that day. </span><br />
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"><br /></span>
<br />
<div style="text-align: center;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Indian Baskets and Their Makers.</span></div>
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "times new roman" , serif; font-size: 12pt;"> </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">We have an interesting exhibit of these
pretty baskets in our basement store. They have all been made by hand by the
Abanaquis Indians of Maine and Canada. A native Indian woman who speaks such
excellent English that we hesitate to call her a squaw is here making baskets
and other fancy articles. She has her little daughter with her, who is also
quite expert; and has made some baskets which she will show you.</span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;"> The wigwam is here, and is decorated in
savage style. Interesting to curiosity seekers; and yet the baskets and other
decorative things are very pretty and quite practical. This hint of some of the
articles: <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Baskets
are made of swamp ash and sweetgrass.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Price
of Baskets, 10c to $1.75<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Birch
Wood Canoes, 30c to $2.50<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Bows
and Arrows, 20c to $1.50<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Doll
Moccasins, 25c and 50c<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Large
Moccasins, $1.50 to $2.50<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Indian
Dolls, 40c to $2.25<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">John
Wanakaker – Formally A.T. Stewart & Co., <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Broadway,
Fourth Avenue, Ninth and Tenth Streets<o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<span style="font-size: 12pt;"><b><span style="font-family: "times" , "times new roman" , serif;"><br /></span></b></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> In her thesis, Hutchinson argues that
policy makers were influenced by the “Indian Craze” and came to understand that
“traditional” American Indian art was worth preserving. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> During this period, there were numerous,
well executed advertisements for the Santa Fe Railroad. Their service covered
the West, from Chicago to California and their advertisements advanced the idea
that the Native inhabitants of the southwest lived an idealized and romantic
life. A trip through Indian Country was publicized
as a pleasurable experience into a quaint and mystical world. Indian guides
were hired by the railroad and one ad in particular noted that “As the train
glides across New Mexico, your Zuni guide tells you about the legends of this
romantic land.”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt; line-height: 115%;"> Visitors to the American Southwest were
intrigued with the seemingly less hectic lifestyle of Native people and many
were intrigued by the complex religious beliefs, ceremonies, and especially the
crafts of their skilled artisans. This interest led to opportunities for Native
artisans to sell their creations and for tourists to acquire them (figure 6).</span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3OIlP6jZyW9pKCnFxG53_yczZmtGs6Tni86qk8wPdUD_OskqEOAZ20_ZaI7p1goeA5XGJGBUPlaINlGlxSlIUbZYGgkcV7nVPQExmu9gI7UbiTBiNMWaeMngvGIHDaxby7F2BXffT1Ev-/s1600/06e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3OIlP6jZyW9pKCnFxG53_yczZmtGs6Tni86qk8wPdUD_OskqEOAZ20_ZaI7p1goeA5XGJGBUPlaINlGlxSlIUbZYGgkcV7nVPQExmu9gI7UbiTBiNMWaeMngvGIHDaxby7F2BXffT1Ev-/s640/06e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
6 – Two well executed advertisements from 1902 for the Santa Fe Railroad.<o:p></o:p></span></div>
<!--EndFragment--><br /></td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> By the turn of the twentieth century,
Indian traders and dealers were sending mail-order catalogs to prospective
clients advertising the availability of the genuine, hand-made Indian goods
they had for sale. Anglo-Americans could also special order Native made items designed
to their liking and to be more harmonious with their home décor. So there was a
transcultural exchange taking place.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> Not only had the public at large developed
a passion for collecting American Indian art, but both children and adults
engaged in Indian play of some sort. Images from this period of non-Natives
dressed as Indians and participating in plays, pageants, etc. are common.
Advertisements also offered Indian play outfits for both children and adults (<span style="color: red;">figure 7</span>). <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuw3XUnq_6Ds5merADI4I21syh-MYRuTghVNYMWtzHsHi1mjRkFMQbWuFtj437MNhdLMB-OygJcidNRStFP5Vuzx5_plp3g6O4l2rMbP3KUkocYHI7HMjDnWp0C8yIga310ZHulRyKLi_q/s1600/07e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuw3XUnq_6Ds5merADI4I21syh-MYRuTghVNYMWtzHsHi1mjRkFMQbWuFtj437MNhdLMB-OygJcidNRStFP5Vuzx5_plp3g6O4l2rMbP3KUkocYHI7HMjDnWp0C8yIga310ZHulRyKLi_q/s640/07e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
7 – A page from a circa 1920 DeMoulin Brothers fraternal outfit catalog and a 1911
advertisement for Indian play suits from a company called “Little Folks.”<o:p></o:p></span></div>
<!--EndFragment--><br /></td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;"> Hutchinson identifies this
collecting fever as part of something larger that included the addition of
American Indian objects in museum exhibits, World’s Fairs, and the use of
“indigenous handcrafts as models for non-Native artists exploring formal
abstraction and emerging notions of artistic subjectivity” (Hutchinson 2009). A
cross-cultural interest developed during this period and many advertisements portrayed
Native people in a positive light. Some of the Santa Fe railroad ads in
particular were visually appealing, often showing the local Natives either working
on their craft or displayed wit</span><span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;">h it (</span><span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;">figure 8). </span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg23i5jC-9_vcXsBGadxAimfgrhm1i8pLt3O4lynfFmV9Z3Cl5R6XuLht8qKg4YhR7iirTR-wniOMRPEHDHLso9JAeCW2OSEa148WkXrQd0nc0Wnof3OSkXzTUENz0Rh44AfDw00hSm2sYH/s1600/08e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg23i5jC-9_vcXsBGadxAimfgrhm1i8pLt3O4lynfFmV9Z3Cl5R6XuLht8qKg4YhR7iirTR-wniOMRPEHDHLso9JAeCW2OSEa148WkXrQd0nc0Wnof3OSkXzTUENz0Rh44AfDw00hSm2sYH/s640/08e.jpg" width="452" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
8 – This <i>Travel Magazine</i>
advertisement from 1916 was for the Santa Fe Railroad.<o:p></o:p></span></div>
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</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt; line-height: 115%;">Not all ads from this period depicted Native people in a positive light.
An 1899 advertisement for the Savage Arms Company of Utica, New York boldly
stated that their rifles “Make Bad Indians Good” (figure
9).</span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiFKkJSJ85-CUypJ_GBcRp714jS3sZ_PWVHuLkW8ZRaLWyACczKy2ksfjLr_rKKmK_FYPTHWg40ZuC1Gl9o01dr-49v6jdA1Tno_6SACXHXbEQpDFjnnATbBDnhGZQEpudLs7CdsJilkbR/s1600/09e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiFKkJSJ85-CUypJ_GBcRp714jS3sZ_PWVHuLkW8ZRaLWyACczKy2ksfjLr_rKKmK_FYPTHWg40ZuC1Gl9o01dr-49v6jdA1Tno_6SACXHXbEQpDFjnnATbBDnhGZQEpudLs7CdsJilkbR/s640/09e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif""><span style="font-size: 12pt;">Figure
9 – A </span>blatantly<span style="font-size: 12pt;"> racist ad from the May 1899 issue of </span><i style="font-size: 12pt;">Cosmopolitan
Magazine</i><span style="font-size: 12pt;"> playing on the sentiment that the only good Indian was a dead
Indian.<o:p></o:p></span></span></div>
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</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> Drawing on a theme that was prevalent in
the late nineteenth century that “the only good Indian was a dead Indian,” this
sentiment is usually attributed to General Phil Sheridan. He was a career Army
officer and Union army general during the Civil War. In 1869, Comanche Chief
Tosawi reputedly told Sheridan that he (Tosawi) was a good Indian, to which
Sheridan replied, “The only good Indians I ever saw were dead.” His sentiment
became popular with the general public, and “Indian policy” for the
military. Even Teddy Roosevelt weighed
in on the matter in an 1886 speech: "I suppose I should be ashamed to say
that I take the Western view of the Indian. I don't go so far as to think that
the only good Indians are dead Indians, but I believe nine out of every ten
are, and I shouldn't like to inquire too closely into the case of the
tenth." The advertisement in figure 9 is
certainly echoing the sentiment of the time.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"> Some of the most remarkable and
memorable art of the last 100 years was created
by talented Illustrators who produced work for magazine print
advertisements, i.e. Norman Rockwell, J.C Leyendecker, and Harrison Fisher, the
creator of the Gibson Girl. The birth of
modern advertising began in mid-nineteenth century Philadelphia when Volney B.
Palmer created the first advertising agency. He understood that promoting and
selling a product worked best on a regimen of emotion, persuasion and good
sense. Advertising agencies emerged around the time of the industrial
revolution where they were used to help sell products and services. The reason for advertising, after all, was to
make the consumer connect with the brand and become a loyal customer. If there
was a developing “Indian Craze,” advertisers were going to capitalize on it. What follows is a gallery of advertisements
that were produced during this period. They’re not in any particular order but were
selected to explore the range of product advertised and how Native people were
represented in those ads. Bear in mind that this is just a small sampling of
the thousands of products that were promoted using Indian themes.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggmOwFnOSuxo0rkLl2doOxGtl8BuLShhQzItr4X2soV0V8wSHc0EYrkczpzzmB2rV8crZPQoUYsTZL58NmLzwxtIzWjXUY15RJcFLU9Z_BGXY4WuUMGgXU79Ujc8GFv-yprc45rYVoKySv/s1600/10e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggmOwFnOSuxo0rkLl2doOxGtl8BuLShhQzItr4X2soV0V8wSHc0EYrkczpzzmB2rV8crZPQoUYsTZL58NmLzwxtIzWjXUY15RJcFLU9Z_BGXY4WuUMGgXU79Ujc8GFv-yprc45rYVoKySv/s640/10e.jpg" width="590" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
10 – A <i>Scribner’s Magazine</i>
advertisement from May, 1910 for the Northern Pacific railroad.<o:p></o:p></span></div>
<!--EndFragment-->
<!--EndFragment--></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVcpHi5OTEAJjStnBt7KmZI8MHfclwhHJOqNFFkaClaimypIlyTOEWZGuv9LyBVNXbSEXIaw3uFDZcPIOcq0nouProAf9c56EWeRVMUZZvYAcOUHaWlOqiBfhpSOCJDAGoVRfdvPcGlFRs/s1600/11e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVcpHi5OTEAJjStnBt7KmZI8MHfclwhHJOqNFFkaClaimypIlyTOEWZGuv9LyBVNXbSEXIaw3uFDZcPIOcq0nouProAf9c56EWeRVMUZZvYAcOUHaWlOqiBfhpSOCJDAGoVRfdvPcGlFRs/s640/11e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
11 – Two advertisements for the Angelus Player-Piano by Wilcox and White
Company of Meriden, Connecticut; one from 1913 and the other from 1915.<o:p></o:p></span></div>
<!--EndFragment--></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT8MLh287pTGvgXVKJhZQLswDHiD06H2S8ZeLmd58SsTIiwCdUGKVTiogFXLSwKd76Zpisvse79nZKMSgQd1byMmXYCWzOfAOfqq6QSWWAUcUtfAg3iHTfondmeCbR9VTNCO04DxoVNpvK/s1600/12e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT8MLh287pTGvgXVKJhZQLswDHiD06H2S8ZeLmd58SsTIiwCdUGKVTiogFXLSwKd76Zpisvse79nZKMSgQd1byMmXYCWzOfAOfqq6QSWWAUcUtfAg3iHTfondmeCbR9VTNCO04DxoVNpvK/s640/12e.jpg" width="452" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
12 – An <i>American Cooking Magazine</i>
advertisement from 1915 for Red Wing grape juice. Here the advertisers are
using and Indian theme to suggest the purity of their product.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnpZWmt0y_jgRTHUnf2ZRTcAvgFSDklYPp3bfG9pZhDF0fN5GMVRABf95lDiggQnGTaTVrJ3pPDl9BpoRbzPGqQA3r70Ldt9VyUdE1qFlNWv_KKgqkn1Yk6F5yneyVZJhaZTd7tma2qHiC/s1600/13e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnpZWmt0y_jgRTHUnf2ZRTcAvgFSDklYPp3bfG9pZhDF0fN5GMVRABf95lDiggQnGTaTVrJ3pPDl9BpoRbzPGqQA3r70Ldt9VyUdE1qFlNWv_KKgqkn1Yk6F5yneyVZJhaZTd7tma2qHiC/s640/13e.jpg" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
13 – <o:p></o:p></span><span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;">Another flagrantly racist ad for Ivory Soap that ran in the </span><i style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">Youth’s Companion Magazine</i><span face=""arial" , sans-serif" style="font-size: 12pt; line-height: 115%;"> on March 27,
1884 suggesting that their product helped civilize Native people.</span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilWJLVxeV24uC4-dVbhLgcvO2AIzi8Iuw_h-CNyaVy7tnxkORYtEBUEaVjrfxRytziUDx3JTKg5poeQW40VLAqA-_DrjSZ65C4Y6hL5t_Ns7YRlt-ouw7hxuhwWyVinU7giNoKrgK3O77V/s1600/14e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilWJLVxeV24uC4-dVbhLgcvO2AIzi8Iuw_h-CNyaVy7tnxkORYtEBUEaVjrfxRytziUDx3JTKg5poeQW40VLAqA-_DrjSZ65C4Y6hL5t_Ns7YRlt-ouw7hxuhwWyVinU7giNoKrgK3O77V/s640/14e.jpg" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
14 – An 1897 advertisement for Pabst Milwaukee Beer that is touted as a
healthful tonic.<o:p></o:p></span></div>
<!--EndFragment--><br />
<o:p></o:p></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPs59V00wlTLjfG_eV-WwtkKBgCh28ZIMqslyZTou6zIz_7E9oDVwJ_76oc5zgm-s1Q-xNn_W88hgBs0yEeB1dYUHAjSS_dZkHlVfscnFCW8QV7Bm-bOY-ucxZQcFQNq7aB6Pdw38GEHGq/s1600/15e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPs59V00wlTLjfG_eV-WwtkKBgCh28ZIMqslyZTou6zIz_7E9oDVwJ_76oc5zgm-s1Q-xNn_W88hgBs0yEeB1dYUHAjSS_dZkHlVfscnFCW8QV7Bm-bOY-ucxZQcFQNq7aB6Pdw38GEHGq/s640/15e.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
15 – This Wabash Railroad advertisement ran in the July, 1900 issue of <i>Scribner’s Magazine</i>. The text informs
the reader that shooting the rapids of the St. Lawrence “made even the wild
heart of an Indian leap with excitement.”<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0nx73Uc6ls3HoJ-IRkbLocEgp8hfOeMXBtkGnPRcw7iv260-VdwGYKuYh-ZaAoa_-PcWcAfYfpytoWOGKxPGwqf8mijAhftQpw0xDYLFIFUAsTzXaRB7-QLpsLXiPI2oBYBA8FAqJL3qg/s1600/16e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0nx73Uc6ls3HoJ-IRkbLocEgp8hfOeMXBtkGnPRcw7iv260-VdwGYKuYh-ZaAoa_-PcWcAfYfpytoWOGKxPGwqf8mijAhftQpw0xDYLFIFUAsTzXaRB7-QLpsLXiPI2oBYBA8FAqJL3qg/s640/16e.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
16 – Another railroad advertisement from the May, 1904 issue of <i>Booklovers Magazine</i>.<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix2N02g7KgxjnCF8PLzohwNcpACuMO8o4PZhuKGE1_dlLMX88wTus7swEVBXHpsnD3xwnbk_JgJ8fo13U6pzDHmDMqnttbeoIJHEVtLgZ_QPLCUnBTRlSqPQ8CScfRGKtEFiCnj7gdd2iY/s1600/17e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix2N02g7KgxjnCF8PLzohwNcpACuMO8o4PZhuKGE1_dlLMX88wTus7swEVBXHpsnD3xwnbk_JgJ8fo13U6pzDHmDMqnttbeoIJHEVtLgZ_QPLCUnBTRlSqPQ8CScfRGKtEFiCnj7gdd2iY/s640/17e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
17 – Tobacco ads that featured American Indians were common. The ad on the left
is from a January, 1914 issue of the <i>World’s
Work Magazine</i>. The other is from the October, 1913 issue of <i>Popular Mechanics Magazine</i>.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmSRsDiOZDXbYpVGemYA1kjNh-E_MzdyC_VNV5B4s_tkS653kaSUGixQIvJoLpggejGZ81iJf_2p5wa45BYJmRysYtBxeOhXXqG_GXFiNarJSePOf68kiyraxIaZY5LuVjxAsMN9WyujXe/s1600/18e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmSRsDiOZDXbYpVGemYA1kjNh-E_MzdyC_VNV5B4s_tkS653kaSUGixQIvJoLpggejGZ81iJf_2p5wa45BYJmRysYtBxeOhXXqG_GXFiNarJSePOf68kiyraxIaZY5LuVjxAsMN9WyujXe/s640/18e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
18 – <o:p></o:p></span><span face=""arial" , sans-serif" style="font-size: 12pt;">This 1896
advertisement was for Palmer’s Arawawa style hammocks. I wasn’t able to
determine the meaning of the name Arawawa. It doesn’t appear to be of American
Indian origin and most references I found to it suggested it is Asian and
likely Japanese. So it’s a mystery why the advertisers chose to associate their
product with American Indians.</span><br />
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"><o:p></o:p></span></div>
</div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibU0UfwnfC0WymfMpgM1cSkop6IfKuuBNZNa3FzYic2vBHxIrW25TEuz3clz47PtASlZ0s6zVbTUcEtI-11fdD1VNCEM7z8C-U5LaBhyphenhyphenhdXix77cAAYOXZHOKJitW__9Eksr45YMSgmACT/s1600/19e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibU0UfwnfC0WymfMpgM1cSkop6IfKuuBNZNa3FzYic2vBHxIrW25TEuz3clz47PtASlZ0s6zVbTUcEtI-11fdD1VNCEM7z8C-U5LaBhyphenhyphenhdXix77cAAYOXZHOKJitW__9Eksr45YMSgmACT/s640/19e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
19 – This May, 1896 advertisement from the <i>Century
Illustrated Magazine</i> was for Eastman Kodak Company, of Rochester, New York.
I wonder if the Native people they featured in the ad were paid for the use of
their image or if they even knew it was used to promote the sale of a Kodak product.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR4qgVqRHpHvlljJrcjzGSwwFDhR2C_tETo5qQL3V5wxdU4lHU9o_xrzHUy4UQ84eq2G55buIUwNjTSAba5CF31FkjnPSV3hm62JGm0hL6lLjXn9dPKAeucCwJZUtUfD9MEDJtpmo2XDhK/s1600/20e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR4qgVqRHpHvlljJrcjzGSwwFDhR2C_tETo5qQL3V5wxdU4lHU9o_xrzHUy4UQ84eq2G55buIUwNjTSAba5CF31FkjnPSV3hm62JGm0hL6lLjXn9dPKAeucCwJZUtUfD9MEDJtpmo2XDhK/s640/20e.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
20 – This curious June, 1900 advertisement from <i>Scribner’s Magazine</i> suggested their product would prevent premature
baldness.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjMj4HWtXWtfoh0EhcDiKSBWt7DPctHnQLXWhgVGRL0OYa8xqt6kddn6BMEIjphjUBJq1YN1pohMUlBtzZVh4DDNcz_DoHuAg1NSiciG0Jd2m298qaZI40F6gswiXbgfBHHPoY9R2Pv2ul/s1600/21e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjMj4HWtXWtfoh0EhcDiKSBWt7DPctHnQLXWhgVGRL0OYa8xqt6kddn6BMEIjphjUBJq1YN1pohMUlBtzZVh4DDNcz_DoHuAg1NSiciG0Jd2m298qaZI40F6gswiXbgfBHHPoY9R2Pv2ul/s640/21e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
21 – This 1901 ad in <i>Harpers Magazine</i>
for the Lake Shore & Michigan Southern Railroad used a play on words in featuring
an Indian in a frying pan.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6HIUEvLelaeWl3m-hkXIaS4r3O4bBjqWzTuglJfW1_XkZTTm-LgqRjDtmOExn9kW0XpII1xMkREUzj8dtdRmg2M3C3giFXG6Gl9dx264vzTWCQlAGDdaGbjZz4GNChyz3c6MAlHHdFW2G/s1600/22e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6HIUEvLelaeWl3m-hkXIaS4r3O4bBjqWzTuglJfW1_XkZTTm-LgqRjDtmOExn9kW0XpII1xMkREUzj8dtdRmg2M3C3giFXG6Gl9dx264vzTWCQlAGDdaGbjZz4GNChyz3c6MAlHHdFW2G/s640/22e.jpg" width="444" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
22 – A caricature of an Indian is used in this Inland Printers magazine
advertisement from 1917. It advertised Indian Brand gummed papers.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX1fYR5jabnL3wNYs7orODQzGTJV07SMKfqufJXdYxvz0vM1F8uQH3m3oeYW-V3gxKBGQHd3X0b-xRqP2jT7F3jWl1Ss3Zr4jBSMmJtKYbUtzPSBlYXfwdXa0hqOp6JC9mlIB49ssaccaU/s1600/23e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX1fYR5jabnL3wNYs7orODQzGTJV07SMKfqufJXdYxvz0vM1F8uQH3m3oeYW-V3gxKBGQHd3X0b-xRqP2jT7F3jWl1Ss3Zr4jBSMmJtKYbUtzPSBlYXfwdXa0hqOp6JC9mlIB49ssaccaU/s640/23e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
23 – A Northern Steamship Co. advertisement that was featured in a 1904 <i>Outlook Magazine </i>advertisement. <o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5lG_T7qYrp9mh0_QuhKBq8bI2cMMNOLjk9BN8Mty-QvShHDYb5le02BzmW7kUTc-_iAXppPDoxwXQodd_fj8RJxGuVwlLcxtLf0gm9EO1XVt7zXGh62bWrQKzBG0z7dLfepw0NfS91Z8s/s1600/24e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5lG_T7qYrp9mh0_QuhKBq8bI2cMMNOLjk9BN8Mty-QvShHDYb5le02BzmW7kUTc-_iAXppPDoxwXQodd_fj8RJxGuVwlLcxtLf0gm9EO1XVt7zXGh62bWrQKzBG0z7dLfepw0NfS91Z8s/s640/24e.jpg" width="462" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
24 – This November, 1915 advertisement ran in <i>American Carpenter & Builder Magazine</i>. It featured a table saw
from the Oshkosh Manufacturing Company.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAsdjIvBZo8-xJdS781cJqkdPYrVZj6wikiu2LDtAIaRtVPm2LK9RTIyozetRAQSb2xONnb56yTONo3mbUEoh36FJdT-iZzHT6CGoga5Y2t56po7Bx8KUQy_CX3EOtsvlVdjjfAD_iouHc/s1600/25e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAsdjIvBZo8-xJdS781cJqkdPYrVZj6wikiu2LDtAIaRtVPm2LK9RTIyozetRAQSb2xONnb56yTONo3mbUEoh36FJdT-iZzHT6CGoga5Y2t56po7Bx8KUQy_CX3EOtsvlVdjjfAD_iouHc/s640/25e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
25 – Another Savage Arms Company advertisement, this one from June, 1901,
employs a double entendre as the Maine guides depicted in the ad were certainly
Wabanaki Natives.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcxClt93WiFZvZlR1NXk0uwPY1jLNTsh3fstjCnwPauYT0FiNHO2BQrEUFuP9mtNKGl14ivsroS-CybP7Ht2KV-avgcQpHJg30LO6SqC6tDV0gugPxJGYiFuW9w7q_m4OSoShXkgllzqY/s1600/26e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcxClt93WiFZvZlR1NXk0uwPY1jLNTsh3fstjCnwPauYT0FiNHO2BQrEUFuP9mtNKGl14ivsroS-CybP7Ht2KV-avgcQpHJg30LO6SqC6tDV0gugPxJGYiFuW9w7q_m4OSoShXkgllzqY/s640/26e.jpg" width="430" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
26 – There were a number of ads from this company that featured an Indian child
wearing the company’s shirt collars and cuffs. This ad is from an October, 1901
issue of <i>Century Magazine</i>. <o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0lzccyGh_4pl2ZEuPYQphqPoi1Hx3KmG5y2zuj7nmBbKwPBRaMr9KHFZ9FxpfRgC1DAA5Vs3cFGscoFU6vj8rel7oDJmfMSpLYQKsWyfT2YYMyPaHd3xaymjD4BjkPVJoatkkv_s8E1hc/s1600/27e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0lzccyGh_4pl2ZEuPYQphqPoi1Hx3KmG5y2zuj7nmBbKwPBRaMr9KHFZ9FxpfRgC1DAA5Vs3cFGscoFU6vj8rel7oDJmfMSpLYQKsWyfT2YYMyPaHd3xaymjD4BjkPVJoatkkv_s8E1hc/s640/27e.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
27 – A 1905 advertisement in <i>Country Life
in America Magazine</i> for Victor Talking Machines, the forerunner to RCA.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7eltlmxqdF8Wp_G0_w_M4qmg21UsTylikGxT_g7SquSG_dm42brDB1umyMWbNYYl8UEutVbMnf4RP6DpVOPQcTv9k5VSO4tg1IZY2IO6infkqjI7FTq73DBvJl8gR-NUgR7aMTiCR_f0y/s1600/28e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7eltlmxqdF8Wp_G0_w_M4qmg21UsTylikGxT_g7SquSG_dm42brDB1umyMWbNYYl8UEutVbMnf4RP6DpVOPQcTv9k5VSO4tg1IZY2IO6infkqjI7FTq73DBvJl8gR-NUgR7aMTiCR_f0y/s640/28e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
28 – Another railroad ad from the February, 1906 edition of <i>Scribner’s Magazine</i>. I have no idea why
there is an Indian depicted in this advertisement unless it’s suggesting the natural setting of this
Southern resort. <o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3_XVqsVTTemNLwRMgAHUCQyQJomAovmSCyjthAbyW5bk3uHqh3X1ihPJwKOpquxDlhexU2DnX6p76UCRYO-TihqYN20Gd6a1UvO_cV4qLQTcCfRDt_hwmN7VDDmsFDSqPEMv1qIWU89J0/s1600/29e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3_XVqsVTTemNLwRMgAHUCQyQJomAovmSCyjthAbyW5bk3uHqh3X1ihPJwKOpquxDlhexU2DnX6p76UCRYO-TihqYN20Gd6a1UvO_cV4qLQTcCfRDt_hwmN7VDDmsFDSqPEMv1qIWU89J0/s640/29e.jpg" width="460" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
29 – Cereal ads for corn products often featured American Indians themes like
this ad from the March, 1908 edition of <i>Century
Magazine</i>.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH5_5s4b2zHsdgNR6QCohegX4DXPxSdOqv_7rgxamF2m90lvKUv9qB_wKgFmPJrT7qmQ-7lsZjb2EKdfTMcclNImx3DyiAL2Eo2Xe3t414FcEmPa0zLwQFVHhOlkqqhJRe9uTpKZV4i48x/s1600/30e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH5_5s4b2zHsdgNR6QCohegX4DXPxSdOqv_7rgxamF2m90lvKUv9qB_wKgFmPJrT7qmQ-7lsZjb2EKdfTMcclNImx3DyiAL2Eo2Xe3t414FcEmPa0zLwQFVHhOlkqqhJRe9uTpKZV4i48x/s640/30e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
30 – This ad featured what was called “the latest society fad;” making Indian
style baskets. Directed towards well-to-do Euro-American women, it ran in the
December 6, 1902 edition of <i>Outlook
Magazine</i>.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOrp_k605L0sLq2mlUS2yLtR6etkBeei3XK_Qj9gNx4n11ZxHMooUAeUq5q2LwZKBcjOzQ2FWmomi6czjLvcJ30lWbZGILBaMmPBlWK2aDkfP7k9jSmKaWRFbV5H7Llihv_pBl4SGmdKYa/s1600/31e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOrp_k605L0sLq2mlUS2yLtR6etkBeei3XK_Qj9gNx4n11ZxHMooUAeUq5q2LwZKBcjOzQ2FWmomi6czjLvcJ30lWbZGILBaMmPBlWK2aDkfP7k9jSmKaWRFbV5H7Llihv_pBl4SGmdKYa/s640/31e.jpg" width="420" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
31 – Another ad from the April, 1917 issue of <i>The Ladies’ Home Journal</i> also offered non-Native women instructions
in making Indian style baskets.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih6rLzhmGkFOuC5_qvftGQiTCR2banYGGmmmJjBoZZyRMuBWvWDVNe7uhkCFN7S5kCV92MiGgyeyyE20SDb3m0XIO-BOtrFpD3r-WmN3rFKFjzsGketxEGpGkRl6kjn-NLBQshSkTqrL8p/s1600/32e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih6rLzhmGkFOuC5_qvftGQiTCR2banYGGmmmJjBoZZyRMuBWvWDVNe7uhkCFN7S5kCV92MiGgyeyyE20SDb3m0XIO-BOtrFpD3r-WmN3rFKFjzsGketxEGpGkRl6kjn-NLBQshSkTqrL8p/s640/32e.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
32 – This 1903 advertisement in the <i>Strand
Magazine</i> for Smith & Wesson revolvers highlights the usefulness of
their guns for self-defense by featuring a horseback rider shooting an Indian.
The Indian wars were long over by this time and the ad continued to reinforce the
sentiment that the only good Indian was a dead one.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu42LucJ2M8ufRCka1vdOAnKNXcJge4YMyYET9f3msTJeBy9kyv43zCOtKsTe-K_PwMlkBBq6sTrtfMIM0EtqX9FMNzAzq_8nosoncX4n6aR9XwkMrL_NG0qaLyNNyjjmvi-f7mpEFi8DA/s1600/33e.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu42LucJ2M8ufRCka1vdOAnKNXcJge4YMyYET9f3msTJeBy9kyv43zCOtKsTe-K_PwMlkBBq6sTrtfMIM0EtqX9FMNzAzq_8nosoncX4n6aR9XwkMrL_NG0qaLyNNyjjmvi-f7mpEFi8DA/s640/33e.jpg" width="466" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;">Figure
33 – This 1901 <i>McClure’s Magazine</i>
advertisement for the Lozier gas engine compares their motorized product to an
Indian canoe.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span face=""arial" , "sans-serif"" style="font-size: 12pt;">References Cited:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span face=""arial" , "sans-serif"" style="font-size: 12pt;">Deloria, Philip J.</span></b><span face=""arial" , "sans-serif"" style="font-size: 12pt;"> <i>Playing Indian</i>. New Haven & London:
Yale University Press. 1998.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span face=""arial" , "sans-serif"" style="font-size: 12pt;">Hutchinson, Elizabeth.</span></b><span face=""arial" , "sans-serif"" style="font-size: 12pt;"> <i>The Indian Craze</i>. Durham and London:
Duke University Press. 2009.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span face=""arial" , sans-serif" style="background: white; font-size: 12pt;">Keene, Adrienne. </span></b><span face=""arial" , sans-serif" style="background: white; font-size: 12pt;">From an online interview in Al
Jazeera’s <i>The Stream</i><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"><span style="background: white; mso-bidi-font-weight: bold;"><a href="http://www.thesociologicalcinema.com/videos/trending-on-indigenous-cultures-who-has-the-right-to-represent-whom">http://www.thesociologicalcinema.com/videos/trending-on-indigenous-cultures-who-has-the-right-to-represent-whom</a></span><span style="background: white;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , "sans-serif"" style="font-size: 12pt;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span face=""arial" , sans-serif" style="background: white; font-size: 12pt;">Lopez, Andre</span></b><span face=""arial" , sans-serif" style="background: white; font-size: 12pt;">. <i>Pagans in
Our Midst</i>. Akwesasne Notes, Mohawk Nation, Rooseveltown, New York. 1980.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span face=""arial" , sans-serif" style="background: white; font-size: 12pt;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span face=""arial" , "sans-serif"" style="font-size: 12pt;">Phillips, Ruth B.</span></b><span face=""arial" , "sans-serif"" style="font-size: 12pt;"> <i>Trading Identities: The Souvenir in Native
North American Art from the Northeast, 1700-1900</i>. Seattle: University
of Washington Press. 1999. <o:p></o:p></span></div>
<br />
<br />
<br />
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com0tag:blogger.com,1999:blog-8743733062223446224.post-56729013216157339682015-03-14T10:16:00.000-04:002017-07-05T10:51:15.399-04:00An Intriguing Narragansett & Wampanoag Image from 1925<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , sans-serif;"><span style="line-height: 30px;">Recently I came across another rare image of Southern New England Algonquins that was taken in 1923 and just included it below the original posting I did on the 1925 image. See Below.</span></span><br />
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<span style="font-family: "arial" , sans-serif;"><span style="line-height: 30px;">Original Posting - March 14, 2015</span></span><br />
<span style="font-family: "arial" , sans-serif;"><span style="line-height: 30px;">I've</span><span style="line-height: 150%;"> been a little behind lately in my blog postings because </span><span style="line-height: 30px;">I've</span><span style="line-height: 150%;"> been busy curating
a new exhibit on Iroquois and Wabanaki beadwork that will open this
spring. More on that in a future
posting. I did want to share with you a
compelling image that I came across recently. As a portrait artist, I am often
drawn (excuse the pun) to powerful images of people from times past and this one
certainly fits the bill. It’s one of the more intense group portraits that I
have seen in a long time. The inscription on the bottom of the photograph
reads: “N. E. Annual Pow-Wow of
Algonquin Indians. Providence, R.I. October 14, 1925.” The image was vaguely
familiar so I spent some time looking through my library and lo and behold, it
was published in 1975 in </span></span><i style="font-family: Arial, sans-serif; line-height: 150%;">The Narragansett
People</i><span style="font-family: "arial" , sans-serif;"><span style="line-height: 150%;"> by Ethel Boissevain, pages 76 & 77. In Boissevain book the image
is captioned: “Concerned Native Americans sustained a council of Eastern
Algonkian Indians for several years during the 1920’s. This 1925 photograph
shows a group of the Council composed of members of the Narragansett and
Wampanoag tribes.”<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "sans-serif";">I thought I would share the image with
you as some of you might recognize family members. The gaze on the face of many of these people is quite compelling and can cut right through you. </span><span style="font-family: "arial" , sans-serif;">I scanned the photo at a high
resolution and added many detail shots of the group. If anyone can identify someone I would love to hear from you. The photograph appears to have been taken in the
front of a Masonic lodge, most likely in Providence, RI as evidenced by the Square and Compass, the single most universally
identifiable symbol of Freemasonry, which is displayed on the wall of the
building behind the group. The photographer was L.W. Thurston, 166 Peace Street, Providence, RI.</span><br />
<span style="font-family: "arial" , "sans-serif";"><br /></span>
<span style="color: #3d85c6; font-family: "arial" , "sans-serif";">After I posted this two of the individuals depicted were identified as Nipmuck. I added that info below.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDaGooyqZDaWFskkJm6eGStnDt5IsorVpfexTjWm8G8RZk69QO-Z862_LN8fCoEo0RSqZnXBB-S759pG5IdKlYxnVibGQ1GN7IP1Uc5m6YkYp1gSMJTHWkMbXPCYG_vjvX6nHh4PXYUx0x/s1600/narragansett20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDaGooyqZDaWFskkJm6eGStnDt5IsorVpfexTjWm8G8RZk69QO-Z862_LN8fCoEo0RSqZnXBB-S759pG5IdKlYxnVibGQ1GN7IP1Uc5m6YkYp1gSMJTHWkMbXPCYG_vjvX6nHh4PXYUx0x/s1600/narragansett20.jpg" title="" width="440" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Two of the individuals in this image have been
identified. The woman on the left back row in front of the window is Sarah
Cisco Sullivan. She was the Sachem of the Hassanamisco Band of Nipmuc Indians
(now known as the Nipmuc Nation) during most of the 20th century. Her father, Chief
Cisco, is standing to the left of her wearing a plains-style headdress which
many men wore back then. Thank you Cheryll Toney Holley for this information.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Burne Stanley-Peters said that she and Slow Turtle knew
Sarah well. They knew her as Zara - Zara Cisco-Brough and she lived in the house
on the Hassanamisco Reservation. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqi34CPtvH_JsZ0PwIbQQO8ybRN1gSSHL-4vIYi2Vv2_LAWYAMFjtOH0CI2EY_rURocFSuHNxgEz72L0U3k_s-xSkV0J-5u6DR8RwUTwveQ1ZH25SQi_7reJ2liGdGH7iz0XqdC40trF3A/s1600/narragansett5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="544" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqi34CPtvH_JsZ0PwIbQQO8ybRN1gSSHL-4vIYi2Vv2_LAWYAMFjtOH0CI2EY_rURocFSuHNxgEz72L0U3k_s-xSkV0J-5u6DR8RwUTwveQ1ZH25SQi_7reJ2liGdGH7iz0XqdC40trF3A/s1600/narragansett5.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The individual on the far left of this detail shot is Leroy C. Perry, aka Chief Sachem Ousa Mequin, (Yellow Feather), a Wampanoag. He worked for Rudulf Haffenreffer as an educational interpreter at the King Philip museum in Bristol, RI (now the Haffenreffer Museum). I have several other images of him wearing that same headdress. In one of those images he sits at Metacom's seat, a large quartz outcropping on the grounds of the Haffenreffer Museum.</td></tr>
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New Posting - July 4, 2017</div>
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The following image was discovered recently which depicts some of the same individuals in the image above. It was taken by the same photographer, L. W. Thurston, of Providence, RI although it appears to be in a different location. This image is titled "Council of Algonquin Indians of N.E., Providence, RI, December 13, 1923. The image, like the one above, is 8 x 10 inches. I've included some detail images below the full-size photo so you can better see the details.</div>
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com5tag:blogger.com,1999:blog-8743733062223446224.post-8089093642383449822014-10-21T16:07:00.000-04:002016-05-18T11:33:21.455-04:00Iroquois Regalia During the 18th and 19th Centuries<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";"> In this blog posting we will examine some of the variations in historic
18<sup>th</sup> and 19<sup>th</sup> century Iroquois regalia through old
paintings, photographs and examples of early material culture. Since first contact
with Europeans, artists have depicted the Haudenosaunee wearing diverse attire;
the images below are by no means a complete visual record of those that exist
but should suffice in this brief review.
<o:p></o:p></span></div>
<span style="font-family: "arial" , sans-serif; line-height: 115%;"> The
dictionary defines “traditional” as “existing in or as part of a tradition;
long established, customary, time-honored, classic, accustomed, etc.” Today, what is generally considered
“traditional” Haudenosaunee regalia can trace its origins to early examples
from the 18<sup>th</sup> century, culminating with the work of Caroline Parker
in the mid-19<sup>th</sup> century (<span style="color: red;">figures 1 & 2</span>). </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq8yni1NH7LLYh0Qd6gd-0N_gfXoNYP2OvimNvmHsx6WARC4yolMPL0DxuzMVa742NPydatMfI1yvhEulW8Z1WQTUzY9j7wEfVV9QaCS3j6zeM_zssBOZgcYYEMFd4jkOauKOpOSgdu9gW/s1600/01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq8yni1NH7LLYh0Qd6gd-0N_gfXoNYP2OvimNvmHsx6WARC4yolMPL0DxuzMVa742NPydatMfI1yvhEulW8Z1WQTUzY9j7wEfVV9QaCS3j6zeM_zssBOZgcYYEMFd4jkOauKOpOSgdu9gW/s1600/01.jpg" width="490" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif";">Fig 1 – Circa 1850 daguerreotype of
Caroline Parker, a Seneca from the Tonawanda Reservation in western New
York. Private collection.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEADIe2f1aVWF7QCTutmDiMR5zh0NXwDeB19wG2yltGt7t5FhVq5kJUz4W_3Ci_UXZ-Wl9dQrLTPbUQkVpuxSyavH-0w4J_HJJxtzxsz7bGiX3WJyAwYuwCypV2Pr_R56x2MjSwACXze2d/s1600/02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEADIe2f1aVWF7QCTutmDiMR5zh0NXwDeB19wG2yltGt7t5FhVq5kJUz4W_3Ci_UXZ-Wl9dQrLTPbUQkVpuxSyavH-0w4J_HJJxtzxsz7bGiX3WJyAwYuwCypV2Pr_R56x2MjSwACXze2d/s1600/02.jpg" width="480" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif";">Fig 2 – Circa 1850 daguerreotype of
Caroline Parker, a Seneca from the Tonawanda Reservation in western New
York. Private collection.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">Caroline’s outfit has had a major
influence on the design of Seneca regalia and it has also been adopted by other
Six Nation peoples; it came about from a synthesis of European and Haudenosaunee
attire. Deborah Holler, in writing about
Caroline’s outfit, said “The navy blue
skirt, with the striking ‘celestial tree’ design in the corner and luminous
beaded border, incorporates the bold color aesthetic of the Iroquois in design
motifs that are traditionally representative of the feminine forces associated
with Skywoman, the first woman to inhabit earth in Iroquois culture. These two
images of Caroline can be seen as a formal statement of cultural identity that
became a prototype for the Seneca Women’s national costume. By incorporating
the highest fashion styles of the times into a bold statement of Seneca
womanhood, Caroline set a standard for fashion that has had lasting appeal for
Haudenosaunee artisans. The combination of Victorian and Native elements shows
her inventive adaptation of the Native aesthetic to European fashion goods, and
is a demonstration of Caroline’s adaptability in both worlds” (Holler
2011:15-16)<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; line-height: 115%;"> Some
of the earliest depictions we have of American Indians are allegorical
representations that served to symbolize concepts or ideas. That changed in
1710 when the Mohawks sent a delegation to England on a diplomatic audience
with Queen Anne (<span style="color: red;">figures 3 & 4</span>). </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSSeBZwOX5qXRYG3BQ2to-SOLxBpK-xx8wFbsrTXa0QCDu4MplA1uQ0fBqT8eMRt8tE8N35LDkdg-fzmlxHzTEaRd0QFrUbFFZbAcWjgCjTuhRsQgnAnAQmHa12g18GTXeVZ4Q9XXtLD7h/s1600/03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSSeBZwOX5qXRYG3BQ2to-SOLxBpK-xx8wFbsrTXa0QCDu4MplA1uQ0fBqT8eMRt8tE8N35LDkdg-fzmlxHzTEaRd0QFrUbFFZbAcWjgCjTuhRsQgnAnAQmHa12g18GTXeVZ4Q9XXtLD7h/s1600/03.jpg" width="432" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif";">Fig 3 – Some of the earliest
depictions we have of the Haudenosaunee are from a group of four paintings that
were done by Jan Verelst, a Dutch artist working in London. This portrait of
Tee Yee Neen Ho Ga Row (1660 – c. 1735) was made in 1710. He was a Mohawk chief
who went to London to meet with Queen Anne and her court. Except for his belt,
which is decorated with dyed moosehair in false embroidery, he is completely
dressed in European style clothing, with buckled shoes, lace breeches and a
fashionable coat. From the collection of the Library and Public Archives of
Canada.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">Fig 4 – Portrait of Sa Ga Yeath Qua
Pieth Tow, a Mohawk said to be the grandfather of Joseph Brant of Revolutionary
War fame. It was painted by Jan Verelst in 1710 when Sa Ga Yeath Qua Pieth Tow
visited London. His clothing is made primarily from European fabrics although
he wears bullnose moccasins that were decorated with porcupine quills, a belt
decorated with dyed moosehair in false embroidery and a leather pouch over that
belt. He also has some great tattoos, although their meaning is unknown. From
the collection of the Library and Public Archives of Canada.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; line-height: 115%;">Attacks on British
settlements by both the French and their Indian allies demonstrated to the
Crown that they needed to maintain the loyalty of their Iroquois allies. Stephanie
Pratt has written that “in the same way as Queen Anne’s ministers needed to
establish an appropriate settlement with the Iroquois, so those [artists] who
sought to represent them [in their work] needed to establish an appropriate
mode of depiction” (Pratt</span><span style="font-family: "arial" , sans-serif; line-height: 115%;"> </span><span style="font-family: "arial" , sans-serif; line-height: 115%;">2005:36). In
the case of the Mohawk chiefs illustrated in </span><span style="color: red; font-family: "arial" , sans-serif; line-height: 115%;">figures 3
& 4,</span><span style="font-family: "arial" , sans-serif; line-height: 115%;"> who, except for a few personal accoutrements, were not in traditional
regalia but rather are dressed in a combination of European and Native elements
in a manner designed to suit European dress standards. Their handlers were
provided with funds to ensure that the sachems’ had “the correct clothing to
wear before Her Majesty” (Pratt 2005:163). What the artist Verelst attempted to
show was how “the supposed gentlemanly and noble status of the Indian ‘Emperor’
might be constructed using portrait conventions. This nobility is entailed in
their stately poses and the relationship of the figure to landscape, indicating
‘ownership’ in European terms” (Pratt 2005:52-53). We see this Europeanizing of
Native people in portrait depictions throughout the 18</span><sup style="font-family: Arial, sans-serif; line-height: 115%;">th</sup><span style="font-family: "arial" , sans-serif; line-height: 115%;"> century.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8MzDDEJ9uvGjgXnQ6N3gzqxsXLdubtf-hZRIfcxone821ci47_Pr_EUB69lFyJhOkeQ_f0Xrr13H5vLE6pcFmi1OtVhEIhN9kzYnOhihnwoyn0TU2saZ09N86yJs8NrWDmUdvdkpepnrU/s1600/05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8MzDDEJ9uvGjgXnQ6N3gzqxsXLdubtf-hZRIfcxone821ci47_Pr_EUB69lFyJhOkeQ_f0Xrr13H5vLE6pcFmi1OtVhEIhN9kzYnOhihnwoyn0TU2saZ09N86yJs8NrWDmUdvdkpepnrU/s1600/05.jpg" width="490" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif";">Fig 5 – Oil on canvass painting titled
<i>The Indian Family</i>, by Benjamin
West. 1761. From a private collection in
England.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; line-height: 115%;"> </span><span style="font-family: "arial" , sans-serif;">
The artist Benjamin West was in Italy in 1761 where he took on a
commission to produce a painting for John Murray, a British aristocrat living
in Venice (<span style="color: red;">figure 5</span>). Although scholars consider
this image to be a generic piece, and the historical accuracy of his paintings
is disputed by others, the cultural artifacts depicted are accurate
representations of Northeast Woodland material from the period. Some of the items depicted are illustrated in
another of West’s paintings, notably <i>General
Johnson Saving a Wounded French Officer from the Tomahawk of a North American
Indian</i>, in the Derby Museum and Art Gallery in Derby, United Kingdom where
the male subject’s bag, the moosehair decorated knife sheath that hangs from
his neck and his tomahawk, are identical.
Although the items themselves are authentic, the fact that they appear
in more than one of West’s paintings suggests that they did not necessarily
belong to the subjects portrayed but were rather used by West as studio props
for his paintings. The decorations along the bottom of the woman’s dress in <span style="color: red;">figure 5</span>, which were likely done in a combination of
ribbon work and moosehair or porcupine quill embroidery, as well as the style
of her dress, are an incipient form of what would later emerge as the
“traditional” Haudenosaunee woman’s outfit.
Like the mid-19<sup>th</sup> century portraits of Caroline Parker, the
woman in this image wears decorated leggings, a blue overdress, skirt, blanket
and decorated moccasins in a dress style that is very similar to Caroline
Parker’s outfit. </span><span style="font-family: "arial" , sans-serif;">During
the 18<sup>th</sup><span class="apple-converted-space"> </span>century,
American Indians were often depicted with a blanket draped over their shoulder.
This practice likely originated with the use of bear, moose or deer skins robes
long before the introduction of the European blanket. The adoption of
ready-made, European trade goods was a practical consideration for Native
people because these items offered a perceived advantage over traditional
items.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNXn2N0as8beu16ViH2p67rni8hzcgh76SVREyN3qHdVpWoBMZ0IwVJpiZSyOsjuC_ZJtV_kMPJ7SAj_XTojFYnR4uBvcCtb2_m3ESI3WROSQ8Q9gqVcaKGQdmAexSrlqqPEZLSzYAJfnx/s1600/06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNXn2N0as8beu16ViH2p67rni8hzcgh76SVREyN3qHdVpWoBMZ0IwVJpiZSyOsjuC_ZJtV_kMPJ7SAj_XTojFYnR4uBvcCtb2_m3ESI3WROSQ8Q9gqVcaKGQdmAexSrlqqPEZLSzYAJfnx/s1600/06.jpg" width="492" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif";">Fig 6 – Portrait of Joseph Brant,
Thayendanegea, by George Romney, 1776 – the National Gallery of Canada, Ottawa.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">Fig 7 – Portrait of Joseph Brant by
Gilbert Stuart, 1786. From the collection of the Duke of Northumberland,
London.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">
</span><span style="font-family: "arial" , sans-serif;">Another Mohawk leader, Joseph Brant (</span><span style="color: red; font-family: "arial" , sans-serif;">figures 6
& 7</span><span style="font-family: "arial" , sans-serif;">) visited England in the late 18</span><sup style="font-family: Arial, sans-serif;">th </sup><span style="font-family: "arial" , sans-serif;">century on two
separate occasions, in part for securing the promise of restitution of Mohawk
lands after the American Revolution. Like the Mohawks in </span><span style="color: red; font-family: "arial" , sans-serif;">figures 3 & 4</span><span style="font-family: "arial" , sans-serif;">, he is also depicted wearing a
combination of European and Native elements. In </span><span style="color: red; font-family: "arial" , sans-serif;">figure
6</span><span style="font-family: "arial" , sans-serif;">, he is adorned in a pink shirt and what were likely wool breeches, in
addition to his Native raiment.</span><span style="font-family: "arial" , sans-serif;"> </span><span style="font-family: "arial" , sans-serif;">In
describing the symbolism behind this portrait, Stephanie Pratt says that
“Brant’s European garments combined with American Indian accoutrements… define
his figure as a warrior, rather than a leading sachem. If he wanted to be seen
as the latter, according to the colonial customs of the 1740s to 1760s, he
would sport a tailored coat, and possibly lace collar and cuffs, in the manner
of an English gentleman… [His outfit] in its combination of English and
Woodlands elements, speaks of Brant’s own position between two worlds…. What
distinguishes Romney’s picture is its cultural location within Mohawk attitudes
to England. As with his predecessors in 1710, Brant’s figure combines items of
European manufacture such as guns, hatchets, or pipes alongside the more
American Indian accoutrements such as earrings and the headdresses, not as a
costumier’s miscellany but as tokens of trade and good relations” (Pratt
2005:97-98). Native attire that combined trade items with Native made material
made sense on the American frontier where dry goods were scarce but would have
appeared exotic in England.</span><br />
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<span style="font-family: "arial" , "sans-serif";">Fig. 8 – A book engraving from 1774. </span><span style="font-family: "arial" , "sans-serif"; mso-fareast-font-family: "Times New Roman";">The
individual depicted could be an Iroquois as he is holding a wampum belt in his
extended hand and his headdress appears to be an early version of the gustaweh.
He is standing next to a large waterfall
(possibly Niagara). Private collection.</span><span style="font-family: "arial" , "sans-serif";"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";"> In another portrait of Brant (<span style="color: red;">figure 7</span>)
he is similarly dressed in a combination of European and Native attire. Old
images are also found in which individuals are wearing less formal (more
traditional?) attire but the older symbolic and allegorical representations
were never far from the surface (<span style="color: red;">figure 8</span>). In this
book illustration </span><span style="font-family: "arial" , "sans-serif"; mso-fareast-font-family: "Times New Roman";">the subject is holding a wampum belt
in his extended hand and his plucked scalp and feather top knot of hair could
be an early version of the gustaweh, an Iroquois man’s headdress. I’ve seen similar
18<sup>th</sup> century illustrations where the subject was identified as
Iroquois. He is standing next to a large waterfall (possibly Niagara). His
attire could be made from animal skins or it could be a European trade
textile. </span><span style="font-family: "arial" , "sans-serif";">Although the image may have been a fanciful depiction of
an Iroquois warrior, it appears that the artist got some of the details right. </span><span style="font-family: "arial" , sans-serif;">He doesn't appear to be wearing leggings. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">Fig. 9 – 18<sup>th</sup> century
leggings from the St. Lawrence Valley, possibly Iroquois. They are decorated
with porcupine quills and moosehair on black dyed buckskin. Collection history
unknown.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 11.0pt;">Fig. 10 – 18th
century Iroquois leggings on dyed deerskin, decorated with either porcupine
quills or moosehair embroidery, trade beads and silk ribbon work. National
Museum of the American Indian.<o:p></o:p></span></div>
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<span style="color: red; font-family: "arial" , sans-serif; line-height: 115%;"> </span><span style="font-family: "arial" , sans-serif; line-height: 115%;">Leggings have long been an integral part of
traditional Iroquois regalia. <span style="color: red;"> Figure 9</span> is a pair of late 18<sup>th</sup>
century leggings that are possibly Iroquois. Although they are simply decorated
with porcupine quills and moosehair, they are an honest representation of a “traditional”
clothing item from this period. In another pair of exceptionally
decorated leggings we get a better look at some early “traditional” motifs (<span style="color: red;">figure 10</span>). Along the bottom of the leggings is the
sinuous line representing the sky dome with the celestial tree above it and the
earth tree below. The leggings are also decorated with extensive ribbon work
and the square and diamond motifs appear to be done in either porcupine quills
or moosehair. These geometric designs had deep cultural meaning as they are
found on various items of early Iroquois material culture.</span><br />
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<span style="font-family: "arial" , sans-serif; line-height: 115%;"> Although not specifically part of someone’s
regalia, other 18<sup>th</sup> century items that were made by Iroquois
artisans, such as burden straps (<span style="color: red;">figures 11 & 12</span>),
aptly demonstrate some of the bold and colorful geometric design motifs that
were prevalent during this period. </span><span style="font-family: "arial" , sans-serif; line-height: 115%;">In an 18<sup>th</sup> century watercolor of a
Mohawk woman and child, she is wearing a burden strap across her forehead that is
holding her cradleboard (<span style="color: red;">figure 13</span>). She is dressed almost completely in European
trade goods. The lower border of her dress appears to be decorated with silver
brooches and silk ribbon appliqué.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-lBiKxReSGIn8JvcFtsbII6qlLJifxCGNLmkYREA5DuwYoSjNkMYcMr3LQqAEfzgrmD9GbE32bQzWJ0kXhPnlxjvov7MBh1N4vZ1dT2T0-e3asi7MmU4Yw9zAuoRKQd1ZgdZ56kmC_kU3/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-lBiKxReSGIn8JvcFtsbII6qlLJifxCGNLmkYREA5DuwYoSjNkMYcMr3LQqAEfzgrmD9GbE32bQzWJ0kXhPnlxjvov7MBh1N4vZ1dT2T0-e3asi7MmU4Yw9zAuoRKQd1ZgdZ56kmC_kU3/s1600/11.jpg" width="370" /></a></td></tr>
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<span style="font-family: "arial" , sans-serif;">Fig. 11 – Four burden
straps from the 18<sup>th</sup> century. (A)</span><span style="font-family: "arial" , "sans-serif";"> - Iroquois: from the Museum of Anthropology and
Ethnography, Russia. (B) - Iroquois or Huron – Mid- to late 18<sup>th</sup> c.
Made of hemp, dyed moosehair false embroidery and glass beads. (C) - Collected
in the St. Lawrence River valley, c 1775, and possibly Iroquois. It’s edged
with white imitation wampum. (D) - Iroquois, sometime before 1775. Colors are
orange, blue, black and white. Dyed Moosehair in false embroidery.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">Fig. 12 – Three Iroquois burden straps
. Circa 1780. Decorated with dyed moosehair in false embroidery. Most surviving burden straps are of Iroquois
origin although they were also made by the Huron and neighboring
Algonkians. Private collection.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">Fig. 13 – Mohawk woman with child – 18<sup>th</sup>
century watercolor by an unknown artist. Her attire is almost completely made from
European trade material. Collection history unknown.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;"> </span><span style="font-family: "arial" , sans-serif;">Another traditional item from the 18</span><sup style="font-family: Arial, sans-serif;">th</sup><span style="font-family: "arial" , sans-serif;">
century is the shoulder or bandoleer bag (</span><span style="color: red; font-family: "arial" , sans-serif;">figure 14</span><span style="font-family: "arial" , sans-serif;">).
They seem to have been in vogue during that period and this tradition continued
well into the 19</span><sup style="font-family: Arial, sans-serif;">th</sup><span style="font-family: "arial" , sans-serif;"> century. There are a number of examples of these
in 19</span><sup style="font-family: Arial, sans-serif;">th</sup><span style="font-family: "arial" , sans-serif;"> century photographs (<a href="http://iroquoisbeadwork.blogspot.com/2011/03/iroquois-bandolier-bags.html">see my blog posting on these</a>) but the
example in </span><span style="color: red; font-family: "arial" , sans-serif;">figure 14</span><span style="font-family: "arial" , sans-serif;"> is earlier and is decorated
with imitation or glass wampum beads. It’s another illustration of the use of
geometric designs in pieces of material culture from this period.</span><br />
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<span style="font-family: "arial" , "sans-serif";">Fig. 14 – Iroquois shoulder bag – pre
1778 – a vogue for these bags, with fronts made of imitation glass wampum
beads, existed at the end of the 18<sup>th</sup> century. The geometric designs
they display resemble those on belts and ornaments made of shell wampum. From
the collection of the Braunschweigisches Landesmuseum, Germany.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; line-height: 115%;"> </span><span style="font-family: "arial" , sans-serif; line-height: 115%;">In 1778, Thomas Davies painted a scene
near Quebec of an Indian encampment (</span><span style="color: red; font-family: "arial" , sans-serif; line-height: 115%;">figure 15</span><span style="font-family: "arial" , sans-serif; line-height: 115%;">).
It is filled with details of encampment life. It also gives us a glimpse into
the mode of dress that many of the inhabitants wore. Many of the adults are attired
in garments that were made from European textiles and most also have a blanket
draped over their shoulders. Of particular interest are two of the women in </span><span style="color: red; font-family: "arial" , sans-serif; line-height: 115%;">figure 15a</span><span style="font-family: "arial" , sans-serif; line-height: 115%;"> who are wearing a peaked cap, not unlike
those the Wabanaki made.</span><br />
<span style="font-family: "arial" , sans-serif; line-height: 115%;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb8QzflNtPolgYw7z9oK06ALVchRRvXrEtwGdYne0MDyM96paDQpTxul-FUgk2H0XPyFbROqKProthZC7NvbKabS09kj6VvCrS79cpO7rlaD92HiG4CAoXmIjmrSnKm3JhXS_sYxUYpT63/s1600/15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb8QzflNtPolgYw7z9oK06ALVchRRvXrEtwGdYne0MDyM96paDQpTxul-FUgk2H0XPyFbROqKProthZC7NvbKabS09kj6VvCrS79cpO7rlaD92HiG4CAoXmIjmrSnKm3JhXS_sYxUYpT63/s1600/15.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">Fig. 15 – A watercolor over graphite
illustration titled: <i>A View near Point
Levy Opposite Quebec with an Indian Encampment</i> by Thomas Davies, 1788. From
the collection of the National Gallery of Canada. Possibly Mohawks or Hurons
from Lorette.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgREbBPIDwVH9g07fdOxiiXFOvJMqSFkbmt8JbZbzYkmr0F13ZP11To8-9kIrY3cvk0NQx3IpE5GHSOVLeKpWBpZvVvqrTA6i47DuUK1Av0hjqmJnh_S7Oqh4bUkAF5WDWluzgq0lJqFeYU/s1600/15a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgREbBPIDwVH9g07fdOxiiXFOvJMqSFkbmt8JbZbzYkmr0F13ZP11To8-9kIrY3cvk0NQx3IpE5GHSOVLeKpWBpZvVvqrTA6i47DuUK1Av0hjqmJnh_S7Oqh4bUkAF5WDWluzgq0lJqFeYU/s1600/15a.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 15a - detail view.</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZfsZKRhT7aHA16yD4YfYLilDNp5C4ymwAxFduO0JuQ4ME_XbjZkhIMRqqZ2BkvHSxLq17W-3KAQza40aV9qMyr4hK4pVPnnl89O2lkixFTXiJgLIDdbDo_D0srwsBzBGFzYF7J4flr5NB/s1600/15b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZfsZKRhT7aHA16yD4YfYLilDNp5C4ymwAxFduO0JuQ4ME_XbjZkhIMRqqZ2BkvHSxLq17W-3KAQza40aV9qMyr4hK4pVPnnl89O2lkixFTXiJgLIDdbDo_D0srwsBzBGFzYF7J4flr5NB/s1600/15b.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 15b - detail view.</td></tr>
</tbody></table>
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<br /></div>
<span style="font-family: "arial" , sans-serif; line-height: 115%;">In
another painting by Tuscarora artist Denis Cusick that was executed in 1822, (<span style="color: red;">figure 16</span>), the seated woman is also wearing a peaked
cap but this one appears to be decorated, possibly in beads. </span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir5aY2FougvSvNlV3HLR9fkPXp2b8JCt0C9b-zWZuTnP5wptFKG88PwC1bhbCyimmKupglgvqfvizcXiSv-2z6dPAtafexWugbEysm22H42wFKtXMwsRqR9o-azRMOt2SfUki6k_0zj7Kb/s1600/16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir5aY2FougvSvNlV3HLR9fkPXp2b8JCt0C9b-zWZuTnP5wptFKG88PwC1bhbCyimmKupglgvqfvizcXiSv-2z6dPAtafexWugbEysm22H42wFKtXMwsRqR9o-azRMOt2SfUki6k_0zj7Kb/s1600/16.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">Fig. 16 – Tuscarora village,
1822. Watercolor signed “Dennis Cusick,
son of the chief. Fecit.” Private
collection.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<span style="font-family: "arial" , sans-serif; line-height: 115%;"><br /></span>
<br />
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<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif"; mso-fareast-font-family: "Times New Roman";">I
am aware of at least one of these peaked caps/hoods that has survived (<span style="color: red;">figure 17</span>) and it does have similarities to the
Wabanaki examples. These caps are quite rare but their appearance in both the Quebec painting and the one from Tuscarora
suggests that they were made and used by more than one Haudenosaunee community
and this was no doubt a piece of “traditional” attire during this period. </span></div>
<div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_1UndGhZYm9z-HUEv7jMTy-11ScdnukQY6iCTEmS-eLdqQnKyOG1LwKEnEzVFDX83ivlCrw-VEDDBdt9kynEO9LCLenhQVRTfw77AXWQ4igIsus3Xp9DF1AKABOtwak1jvI_g5F5O-QBa/s1600/17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_1UndGhZYm9z-HUEv7jMTy-11ScdnukQY6iCTEmS-eLdqQnKyOG1LwKEnEzVFDX83ivlCrw-VEDDBdt9kynEO9LCLenhQVRTfw77AXWQ4igIsus3Xp9DF1AKABOtwak1jvI_g5F5O-QBa/s1600/17.jpg" width="268" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">Fig. 17 – Seneca headdress – late 18<sup>th</sup>
early 19<sup>th</sup> century. From the
collection of the American Museum of Natural History in NYC.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<span style="font-family: "arial" , "sans-serif"; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif"; mso-fareast-font-family: "Times New Roman";">The
standing woman’s dress in <span style="color: red;">figure 18</span> is also similar in style to the Caroline Parker example in <span style="color: red;">figures
1 & 2</span>, and the edge of the dress could be decorated with beadwork. <o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizF8F8cxDLll3rLH0nLcIoEjx1aNI6YFd5doAbHwxp2AJXDTUNH7ZkUgsnJEQiwDNxLzMpgq7b-SU1dbLPzsaViK9nRYz9Psi3eFSST851550pHmq4l8xDcqNJiF_HtzltYjJexacgchPl/s1600/18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizF8F8cxDLll3rLH0nLcIoEjx1aNI6YFd5doAbHwxp2AJXDTUNH7ZkUgsnJEQiwDNxLzMpgq7b-SU1dbLPzsaViK9nRYz9Psi3eFSST851550pHmq4l8xDcqNJiF_HtzltYjJexacgchPl/s1600/18.jpg" width="630" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">Fig. 18 – Christening of the Tuscarora
Asa Thompson – Watercolor attributed to Dennis Cusick, August 21, 1821. From
the collection of the National Museum of the American Indian, Washington, DC.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif"; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<br />
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif"; mso-fareast-font-family: "Times New Roman";"> As we get into the early 19<sup>th</sup>
century, we find a number of realist paintings, done by Iroquois artists that
give us a glimpse into the “traditional” dress styles from the period. In a watercolor painting by Denis Cusick </span><span style="font-family: "arial" , "helvetica" , sans-serif;">(<span style="color: red;">figure 18</span>) </span><span style="font-family: "arial" , "sans-serif"; mso-fareast-font-family: "Times New Roman";">we
see examples of both men’s and women’s dress styles from the early 1820s. The
bottom edge of the woman’s dress, which appears to be decorated in silk ribbon
work, might also be edged in beadwork. Unlike the man who is wearing pants, she
appears to be wearing leggings and both wear moccasins. The man has a frock
coat that is held closed by a hand-woven sash. In a more defined image from this period (<span style="color: red;">figure 19</span>) we can see a lot more detail in the men’s
outfits. It’s hard to say from the image if their leggings are beaded or simply
decorated in ribbon work but it may well be a combination of the two.<o:p></o:p></span></div>
<span style="font-family: "arial" , "sans-serif"; font-size: 11.0pt; line-height: 115%;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpZGwY-BqQABdclGHK5ay78eooTVEbA4ka7eKlDR7ok80FDRoQ99P1qX6N_m2pU0roga-3WCpOIXlKtPLDzuXRvsN5F_ybnLLL1VbmAmi4aRNXI9LZ5Uv-zfz80x0DhL2SfqM23kPjHHjA/s1600/19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpZGwY-BqQABdclGHK5ay78eooTVEbA4ka7eKlDR7ok80FDRoQ99P1qX6N_m2pU0roga-3WCpOIXlKtPLDzuXRvsN5F_ybnLLL1VbmAmi4aRNXI9LZ5Uv-zfz80x0DhL2SfqM23kPjHHjA/s1600/19.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 6pt;">
Fig. 19 – An undated photograph of a
now-lost watercolor of four Tuscarora men wearing sashes, perhaps by Thomas
Jacobs. Early-to mid-19<sup>th</sup> century. Titled: “<i>The
Intains</i> [sic]. <i>Tuscarora tribe</i>.” The
National Museum of the Anthropological Archives of the Smithsonian
Institution. <o:p></o:p></div>
</td></tr>
</tbody></table>
</span><br />
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";"> In 1833, the young Laura M. Sheldon of Barnet, Vermont, married the
Reverend Asher Wright, a preacher to the Seneca at the Buffalo Creek
Reservation, and she devoted the rest of her life to the Christian well-being
of the Iroquois. Very clever in devising
ways to get them to listen to her moralizing and religious instructions, she
would invite them to what we might now call a “tea meeting.”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt 0.5in;">
<span style="font-family: "arial" , "sans-serif";">They
were at the liberty to bring their needlework, which consisted in ornamenting
their deerskin moccasins with porcupine quills, or their broadcloth skirts and
leggings with beads, or perhaps fastening a quantity of silver brooches upon
their short gowns or hats. While thus occupied, she read and explained the
gospel truths in their own language, sang hymns with them, and frequently
encouraged them to tell her some story of old times. The simple repast, which
had really brought them there and held them through the afternoon, was then
served, and they went away to think of the “good words” that had been spoken to
them about the “new way” (Caswell 1892:65).<o:p></o:p></span></div>
<span style="font-family: "arial" , sans-serif; line-height: 115%;"> Two
Seneca ladies are depicted wearing an ample amount of silver broaches on their
collars in a circa 1860 tintype (<span style="color: red;">figure 20</span>).</span><span style="font-family: "arial" , sans-serif; line-height: 115%;"><br /></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_DXCp2eV-WEoaDSMdehhl6WoUHRybo1r0bqDM6az_L-oGkxx-LAKbeDUI2thE_fn1tKC7_XU_sbLlmZeI65EBOIrDUBJdxZYPt6uE2PR3o8N7UFA8GBEx5H7qvuoa_CbZkNB3UUoVdysv/s1600/20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_DXCp2eV-WEoaDSMdehhl6WoUHRybo1r0bqDM6az_L-oGkxx-LAKbeDUI2thE_fn1tKC7_XU_sbLlmZeI65EBOIrDUBJdxZYPt6uE2PR3o8N7UFA8GBEx5H7qvuoa_CbZkNB3UUoVdysv/s1600/20.jpg" width="390" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">Fig. 20 – Circa 1860 tintype of
two Seneca women in their traditional dress. Their collars are decorated with
silver brooches. Private collection.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqzs0teIMJ8BIBZpM4BE2R5GKciD6X7DgE5JfP5o_HleJPf-2s3sNiis1n6SFOjFgLRE1DYkQ9F2W1lJsRZSTLzz3St3mi1-Za8XklNf9WsSXOwuUg0tH0lZy4EjTHgUJDf1AMteWCFwOq/s1600/20a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqzs0teIMJ8BIBZpM4BE2R5GKciD6X7DgE5JfP5o_HleJPf-2s3sNiis1n6SFOjFgLRE1DYkQ9F2W1lJsRZSTLzz3St3mi1-Za8XklNf9WsSXOwuUg0tH0lZy4EjTHgUJDf1AMteWCFwOq/s1600/20a.jpg" width="546" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 20a - detail view</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6NdeEbnnM6eCT1iQ27sR5EeNqvi5diEVRnsnqrCVyiSFR2pdrcRC5eO332L_tqdlxyYNPkAmaTQ84T-OFczRJ31h6Ygia8hTaaP_Ti54BnwB8E-49twOum_cj_3OZlxTYzDHhqX5jlib2/s1600/20b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6NdeEbnnM6eCT1iQ27sR5EeNqvi5diEVRnsnqrCVyiSFR2pdrcRC5eO332L_tqdlxyYNPkAmaTQ84T-OFczRJ31h6Ygia8hTaaP_Ti54BnwB8E-49twOum_cj_3OZlxTYzDHhqX5jlib2/s1600/20b.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 20b - detail view</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh09cwoeomQVybwur80FRu7K1QmV1-R7daYkInKCkN2vcOfqz5GMMC5s0dtWte-auwsvyukZVzDbcfNKeWqHsh8EKyYSh8oc5bRyNqDHQx89WUO-_QpTRu3SR-jDYj_IDynh7_R3TUxIO9l/s1600/20c.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="552" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh09cwoeomQVybwur80FRu7K1QmV1-R7daYkInKCkN2vcOfqz5GMMC5s0dtWte-auwsvyukZVzDbcfNKeWqHsh8EKyYSh8oc5bRyNqDHQx89WUO-_QpTRu3SR-jDYj_IDynh7_R3TUxIO9l/s1600/20c.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 20c - detail view</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">Caroline Parker’s outfit in <span style="color: red;">figures 1 and 2</span> is also decorated in silver brooches.
Although none of the brooches depicted in these images are in the shape of a
heart, many 18<sup>th</sup> and early 19<sup>th</sup> century Iroquois brooches
were. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt 0.5in;">
<span style="font-family: "arial" , "sans-serif";">The
heart shaped brooch has been called the national badge of the Iroquois because
of its popularity among them. It is found in both single and double forms,
often surmounted by a crown. The design is thought to have come to North
America from Scotland, where it was a popular love token and betrothal symbol.
The “Luckenbooth” brooch, as it was known in Scotland, may have been introduced
by British-trained silversmiths such as Robert Cruickshank or James Hanna.
Another possibility is that the Indians requested the brooch after seeing it
worn by Scottish traders and settlers (Fredrickson and Gibb 1980:53).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">
The earliest heart-shaped brooches were manufactured in Europe as early
as the seventeenth century. “They were mostly used as luck tokens, or betrothal
gifts, and the choice of the heart shape … is sufficiently obvious (Parker 1910:354).”
Many were later made by Iroquois silversmiths who found their inspiration in
European models, and historically, the Iroquois continued fabricating them
until at least the 1860s. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt 0.5in;">
<span style="font-family: "arial" , "sans-serif";">Any
brooch pinned to the garment of a child was regarded by the Scotch as an
efficient charm against witches.…When the Iroquois silversmiths copied the
Scotch patterns they left off many things that were common in the original
patterns and interpreted the design as their own education, environment, or
customs dictated … (Parker 1911:285).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";"> The use of silver brooches as charms to ward off evil spirits was an
early component of many Native peoples’ traditional beliefs. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt 0.5in;">
<span style="font-family: "arial" , "sans-serif";">Silver
was a gift from the underworld with a natural luminosity – a quality much
revered by native people. They believed that the luminosity, especially in
ornaments of personal adornment, constituted a power that reflected or blocked
evil spirits and radiated the good powers of the sun and moon in the Upper
World. Reflective silver ornaments were placed at strategic locations on the
body by adults and children, the living, and the dead. Luminosity represented
knowledge and wisdom and gave life to inanimate objects. Iroquois ceremonial
masks have reflective surfaces at the eyes to give them life and the Naskapi
word for mirror translates as “see soul metal” (Hamilton 1995:49).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , sans-serif; line-height: 115%;"> About
the same time that Caroline Parker was photographed in the famous
daguerreotypes of her </span><br />
<span style="font-family: "arial" , sans-serif; line-height: 115%;">(<span style="color: red;">figures 1 & 2</span>), the
artist Thomas Jacobs produced a watercolor illustration of three Iroquois women
in traditional attire (<span style="color: red;">figure 21</span>). </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn0aFxXWT-D8z0yWeKxCSPRQX-jadv_z3kLmlkNOACOopxd3E3MnWFGT34Fau5bSxEa0TnLcBROx4RwJ66QxlphDWVyDoikJBjHXiA8Wr9ut-_TznJGyHaZFpKXE67xnc76b1nbUAaVDhh/s1600/21.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="526" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn0aFxXWT-D8z0yWeKxCSPRQX-jadv_z3kLmlkNOACOopxd3E3MnWFGT34Fau5bSxEa0TnLcBROx4RwJ66QxlphDWVyDoikJBjHXiA8Wr9ut-_TznJGyHaZFpKXE67xnc76b1nbUAaVDhh/s1600/21.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">Fig. 21 – Three Iroquois women in
colorful attire – Watercolor signed “Thomas Jacobs 1852.” Jacobs is a Seneca
name, and it may also be a Tuscarora name. The women’s apparel is typical of
mid-19<sup>th</sup> century formal dress, with silver brooches and beadwork
decoration.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">Their outfits appear to be embellished almost exclusively with silver brooches. In another watercolor from the same period (<span style="color: red;">figure 22</span>) the women’s outfits are also decorated with
silver brooches and additionally their leggings and dress appear to be beaded.
One of the unusual features of their outfits are the scarves/shawls they are wearing.
Some early 19<sup>th</sup> century observers mention these scarves but to the
best of my knowledge, none exist in either museum or private collections.<o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP2vr-RdyXFlXLfa9pH2TZDXhV8Yhf4qyZr3cn7ZKI7mZMXx7Zp__1gk_Bvu8zjeC_X-BPjExVMN1zKQDf7QVCeZrqrOseknRZgWk7mTlbH_JwG8IrUlqZbPdEFWGQcWyrNjUtodXKO7ld/s1600/22.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP2vr-RdyXFlXLfa9pH2TZDXhV8Yhf4qyZr3cn7ZKI7mZMXx7Zp__1gk_Bvu8zjeC_X-BPjExVMN1zKQDf7QVCeZrqrOseknRZgWk7mTlbH_JwG8IrUlqZbPdEFWGQcWyrNjUtodXKO7ld/s1600/22.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">Fig. 22 – Watercolor of four Iroquois
women, artist and date unknown. Looks to
be from the mid-nineteenth century. Private collection.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "sans-serif";"> Caroline Parker’s mid-19<sup>th</sup> century outfit in <span style="color: red;">figures 1 and 2</span> is clearly decorated with curvilinear
designs and floral motifs. None of the other outfits in the early images we
have examined in this posting, as well as others I have seen, are decorated
this way. By the mid-19<sup>th</sup>
century, floral beadwork replaced the abstract and geometrical designs that had
been the accepted art form among Iroquois traditionalist for centuries. Why
this happened may have its origins in Euro/American reasoning. In the early
nineteenth century non-Native girls were schooled to be pious, chaste,
submissive, patient, and adept at “every variety of needlework,” and to “have a
special affinity for flowers” (Welter 1966:165). During the same period, the Haudenosaunee incorporated
symbolic and representational floral imagery in their work and this development
came about rather suddenly. Although scholars have demonstrated eloquently that
flowers were related to Victorian ideals of womanhood (Phillips 1998), the sudden
emergence of this type of ornamentation is a fundamental question that has yet
to be fully explained.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">
Ted Brasser also points out that there is only scant evidence that
representational floral motifs, in Iroquois decorative arts, were in use prior
to the Revolutionary War. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt 0.5in;">
<span style="font-family: "arial" , "sans-serif";">Aboriginal
decorative designs were originally abstract and geometrical, but a curvilinear
art style became popular in the 1750s. This new art style was adopted by all
native peoples around French Quebec, suggesting that it was inspired by some
form of French art (Brasser 2009:71).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">
Others have argued that the complex foliate designs arrived in North
America with the French missionaries and fur traders and that they originate in
European decorative arts, introduced, in the French convents, by the Ursuline
nuns to their Indian students. The
course of instruction that was taught to young women in Europe and America that
Welter described above was no doubt adopted in the French convents as part of
the curriculum for their Indian students. These decorative ideas were
subsequently dispersed across the region as their Native students returned to
their scattered homes through the northeast (Barbeau 1930). Perhaps, as a partial concession to
ministerial educational programs, some Indian artists modified their
traditional iconography and adopted the floral imagery. The inspiration may
have been European floral designs, but Native aesthetics and cultural meaning
were incorporated into the final works of art. Ruth Phillips has suggested that
“the Western and Victorian association of flowers with ideal ‘feminine’
qualities of fragility, beauty, and godliness converged with traditional
Haudenosaunee associations of plants and the crops cultivated by women with the
sustenance of human life to create a shared visual artistic language” (Phillips
1998).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">
Flowers and plants did have a place in Iroquois ceremonial life,
although not necessarily in the forms depicted on clothing.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 6pt 0.5in;">
<span style="font-family: "arial" , "sans-serif";">The
fact that floral designs were adopted for ceremonial clothing indicates that
there had to be more to their use than mere imitation and commercial motives.
They had become an accepted part of the art style, and a source of group
identity (Harding 1994:26).<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: "arial" , "sans-serif";">
In summary, many believed that
the shimmering patterns, fashioned by the beads, attracted the spirits that inhabited
the woodlands of the Northeast. Richly decorated clothing was, after all,
intended to please benevolent spirits and to protect the wearer against harm
from malevolent ones. Clothing styles and fashion accessories change over time;
this is true in most cultures. The reasons for the change are varied and
sometimes complex. Jennifer Neptune, a
contemporary Penobscot artist, aptly points out that the floral motifs that
appear in Northeast Woodland beadwork were meant to convey a message about the
individual or group identity of those who created them. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6pt;">
</div>
<div class="MsoNormal" style="margin: 0in 0in 6pt 0.5in;">
<span style="font-family: "arial" , "sans-serif";">I
see medicine plants in the designs, and it’s obvious to me that people were
beading designs of plants that were highly valued to themselves, their
families, and their tribe. When I look at the floral designs I see plants that
ease childbirth, break fevers, soothe coughs and colds, take away pain, heal
cuts, burns, and bruises, and maintain general health.… A hundred years ago
plants were the main source of medicine for Natives as well as non-Natives.
With the knowledge and importance of these plants in our culture beadworkers
needed to look no further than their own backyards for their own floral
designs. A hundred years later these same plants are still in our backyards,
are still being used for healing, and are still being used to inspire our
beadwork designs (Faulkner, Prince & Neptune 1998:41).<o:p></o:p></span><br />
<span style="font-family: "arial" , "sans-serif";"><br /></span>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0n_sdPhKdLH0OJvfaWNE-f2jchvoxH9ikZghfvzoQFU8LPxlfq34vTFbeU37No2tuOGoR-85kH6Wks8-Sr6F_ipc5Z9CYWHLn5DrkI3PG4ebWKaeNA8wAxlYp6MshJN2xfD12cvC-VFe/s1600/book-cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0n_sdPhKdLH0OJvfaWNE-f2jchvoxH9ikZghfvzoQFU8LPxlfq34vTFbeU37No2tuOGoR-85kH6Wks8-Sr6F_ipc5Z9CYWHLn5DrkI3PG4ebWKaeNA8wAxlYp6MshJN2xfD12cvC-VFe/s1600/book-cover.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">If you have an interest in Northeast Woodland beadwork you
might find my book of interest. <a href="http://www.gerrybiron.com/pages/publications.html" target="_blank">Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron.</a> 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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">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.<o:p></o:p></span></div>
</td></tr>
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<span style="font-family: "arial" , "sans-serif";"><br /></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "arial" , "sans-serif";">REFERENCES
CITED<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "arial" , "sans-serif";">Barbeau, C. Marius<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1930 “The
Origin of Floral and Other Designs Among the Canadian and Neighboring Indians.”
Proceedings of the Twenty-third International Congress of Americanists, held at
New York, September 17 – 22, 1928. Nendeln/Leichenstein. (Krans reprint, NY
1968).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "arial" , "sans-serif";">Brasser,
Ted J.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">2009 <i>Native American Clothing – An Illustrated
History</i>. Firefly Books, Ltd. Richmond Hill, Ontario, Canada.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "arial" , "sans-serif";">Caswell,
Harriet S.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1892 <i>Our Life Among the Iroquois Indians</i>.
Congregational Sunday-School and Publishing Society, Boston and Chicago.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "arial" , "sans-serif";">Faulkner,
Gretchen Fearon, Prince, Nancy & Neptune, Jennifer Sapiel<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1998 “Beautifully
Beaded: Northeastern Native American Beadwork” in <i>American Indian Art Magazine</i>, Volume 24, Number 1, Winter edition. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "arial" , "sans-serif";">Fredrickson, N. Jaye and Gibb, Sandra<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1980 <i>The Covenant Chain</i> –<i> Indian Ceremonial and Trade Silver. </i>A catalog to a travelling
exhibition of the National Museum of Man. Published by the National Museum of
Canada / Ottawa.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "arial" , "sans-serif";">Hamilton,
Martha Wilson<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif";">1995 <i>Silver
in the Fur Trade 1689–1820. </i> Published by the author. Privately printed.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "arial" , "sans-serif";">Harding, Deborah<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1994 <i>Bagging the Tourist Market: A Descriptive
and Statistical Study of 19th Century Iroquois Beaded Bags</i>. Unpublished
Masters Thesis. Anthropology Department, University of Pittsburgh, Pittsburgh,
Pennsylvania.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "arial" , "sans-serif";">Holler,
Deborah R.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif";">2011 ‘The Remarkable Caroline G. Parker Mountpleasant,
Seneca Wolf Clan.” <i>Western New York Heritage, Volume 14, Number 1, Spring.<o:p></o:p></i></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "arial" , "sans-serif";">Parker,
Arthur C.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1910 “The
Origin of Iroquois Silversmithing” in <i>American
Anthropologist</i>, New Series, Vo. 12, No. 3, July-September.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1911 “Additional
Notes on Iroquois Silversmithing” in <i>American
Anthropologist</i>, New Series, Volume 13.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "arial" , "sans-serif";">Phillips, Ruth<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1998 <i>Trading Identities: The Souvenir in Native
North American Art from the Northeast, 1700 – 1900</i>. University of
Washington Press, Seattle and London: McGill-Queen’s University Press, Montreal
and Kingston.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<b><span style="font-family: "arial" , "sans-serif";">Pratt,
Stephanie<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">2005 <i>American Indians in British Art, 1700-1840.</i>
University of Oklahoma Press, Norman.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: "arial" , "sans-serif";">Welter,
Barbara<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif";">1966 “The Cult of True Womanhood 1820–1860.” <i>American Quarterly</i> 18(2), pt.I:151–174. <o:p></o:p></span></div>
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com16tag:blogger.com,1999:blog-8743733062223446224.post-39039311562458987802014-06-05T10:24:00.001-04:002014-06-16T07:39:41.945-04:00Mohawks, Abenakis and the Indian Encampments at Saratoga Springs & Lake George, NY<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";"> Saratoga Springs, like Niagara Falls, was
a tourist hub during the nineteenth and early twentieth centuries and it was
also the premier spa/resort area in the northeast. The interest in the purported
therapeutic value of the mineral spring waters of Saratoga dates back several
centuries. Tradition says that American Indians were visiting High
Rock Spring (<span style="color: red;">figure 1</span>) before the arrival
of Europeans to gain strength from the "Medicine Spring of the Great
Spirit." It’s unclear who the first non-Natives were to visit there,
however, Sir William Johnson, the colonial era Indian Superintendent, who was
wounded at the Battle of Lake George, was carried there by a group of Mohawks
in 1771. After a stay of several days, his health improved so that he was able
to walk during a portion of the return trip. Due to Sir William's distinguished stature, the reputation of the spring grew quickly.<o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Oko7LJ01ldYyw1jFbLztyLGI3_0mHeqbU-qqs2AWltsB0ecgG8zWpX3Cbd5Jw1FAj6y68E9tDY5fwLEQ-4ObF146iMSHa5bFkY5Q6DshCdT7J1qfnCQlX91HhFGExtP0ndYjMWcTVzNp/s1600/01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Oko7LJ01ldYyw1jFbLztyLGI3_0mHeqbU-qqs2AWltsB0ecgG8zWpX3Cbd5Jw1FAj6y68E9tDY5fwLEQ-4ObF146iMSHa5bFkY5Q6DshCdT7J1qfnCQlX91HhFGExtP0ndYjMWcTVzNp/s1600/01.jpg" height="640" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 1 –
This is one of many postcard versions of this painting depicting an Indian
family at High Rock Spring in Saratoga, NY. Postmarked 1907. <o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"> Early settlers built an inn at High Rock
spring and covered it with an enclosure (<span style="color: red;">figure 2</span>).
With the advent of the railroad in 1831, Saratoga quickly developed into a
tourist mecca (<span style="color: red;">figure 3</span>).</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxzfYkLONmcOep9REq-xKqJF2J0rU8irlTMWFdCDow2Wrixygg1zVmLKaYTdic0p6YwAXau6br-lZWt7DYfdAtU1gRv_wM9U_rxO1kgWAeSAEtZ22CosB7VfqG-_a4vl2ATFvlaRpouQP1/s1600/02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxzfYkLONmcOep9REq-xKqJF2J0rU8irlTMWFdCDow2Wrixygg1zVmLKaYTdic0p6YwAXau6br-lZWt7DYfdAtU1gRv_wM9U_rxO1kgWAeSAEtZ22CosB7VfqG-_a4vl2ATFvlaRpouQP1/s1600/02.jpg" height="632" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 2 –
One panel from a circa 1870 stereoview of the enclosure over High Rock Spring.
Photographer: C.S. Sterry of Saratoga Spring, NY.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSFY0MdJUh2o9cxUfFOEUtdHfV5eiz1PEPzruPsxsn6XA0VKZRz5TH32y3Dz5iCU-762dMk_gQ-m5ZTEa59U8zo_cfq6CUPNhz0l1TIxl9hW20ty1CiW4sCQAlJHLNjCrsDovB_uh15rz4/s1600/03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSFY0MdJUh2o9cxUfFOEUtdHfV5eiz1PEPzruPsxsn6XA0VKZRz5TH32y3Dz5iCU-762dMk_gQ-m5ZTEa59U8zo_cfq6CUPNhz0l1TIxl9hW20ty1CiW4sCQAlJHLNjCrsDovB_uh15rz4/s1600/03.jpg" height="412" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 3 –
Grounds of the Union Hotel, Opera House and Bath Houses, Saratoga Springs, NY,
1868.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"> </span><span style="font-family: Arial, sans-serif;">Despite the
hardships of travel, respite from cities ravaged by epidemics such as cholera,
influenza and typhoid, was considered healthful and beneficial. Most cities lacked
modern hygiene/sanitation practices; many were filthy and unhealthy places to
live, so there was a motive to travel. Resort areas such as Saratoga Springs
and Lake George, with their scenic beauty, clean air, and the reputed health
benefits of the mineral spring baths, became favorite destinations for the
well-to-do. Saratoga, in particular, quickly turned into a bustling social hub,
and as early as 1803, had a hotel catering to those seeking refuge from
oppressive metropolitan centers (</span><span style="color: red; font-family: Arial, sans-serif;">figure 4</span><span style="font-family: Arial, sans-serif;">). The mineral
springs of Saratoga were sometimes outfitted with elaborate stone-works —
including artificial pools,</span><a href="http://en.wikipedia.org/wiki/Retaining_wall" style="font-family: Arial, sans-serif;" title="Retaining wall"></a><span style="font-family: Arial, sans-serif;"> retaining walls, colonnades and roofs —
sometimes in the form of fanciful "Greek temples", gazebos or
pagodas. Others were entirely enclosed within spring houses (</span><span style="color: red; font-family: Arial, sans-serif;">figure 5</span><span style="font-family: Arial, sans-serif;">).</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEice_6LxcbUgQGhfQMHRAZzypMrFakf7_oUDw56zHKvYDv373mCoxwDgF2wv77eZSSlqFdr8sw1HUmZfJW2g3kN9CmHlN-_tgj_q9dFexRy0CiUW0tSpsBl-oeDuVQ5DoROPtqD7elSNvY_/s1600/04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEice_6LxcbUgQGhfQMHRAZzypMrFakf7_oUDw56zHKvYDv373mCoxwDgF2wv77eZSSlqFdr8sw1HUmZfJW2g3kN9CmHlN-_tgj_q9dFexRy0CiUW0tSpsBl-oeDuVQ5DoROPtqD7elSNvY_/s1600/04.jpg" height="488" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 4 – An
early French print (1829) of the burgeoning village of Saratoga Springs, NY.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicsc5TrfZKrf6MAD8ESeBFiNflQHuC72nwdnQNx64fNZalW4mGRkuN9z63Qb8pfkxoDLAon-C8yWuX8JQd2SHOuyOBgMYlUrACapAP7jsPF6PTwg_Xe_DHzPklKnbiIk4grljmtjD5uPNp/s1600/05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicsc5TrfZKrf6MAD8ESeBFiNflQHuC72nwdnQNx64fNZalW4mGRkuN9z63Qb8pfkxoDLAon-C8yWuX8JQd2SHOuyOBgMYlUrACapAP7jsPF6PTwg_Xe_DHzPklKnbiIk4grljmtjD5uPNp/s1600/05.jpg" height="430" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, sans-serif; text-align: start;"><span style="font-size: xx-small;">Figure 5 – An illustration from an August, 1873 edition of Frank Leslie’s Illustrated Newspaper. The caption reads: New York – The Hathorn Spring at Saratoga – Guests from the different Hotels “Taking the Waters” in the early morning. </span></span></td></tr>
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<span style="font-family: Arial, sans-serif;"><br /> The Saratoga Springs Visitor Center
website explains how the area offered other diversions to visitors as well. “Hot
air balloon ascensions, hops, balls, Indian encampments, and afternoon carriage
promenades down Broadway where people and horses were adorned in the latest
finery. The wide porches on the huge hotels were also part of the social scene,
a place for the influential to meet and mingle (</span><span style="color: red; font-family: Arial, sans-serif;">figures
6 and 7</span><span style="font-family: Arial, sans-serif;">). Many a business deal was sealed during an afternoon meeting
there. Excursions to Saratoga Lake were popular; lakeside strolls, steamboat
rides, or regattas were often followed by fine dining at a lake house
restaurant overlooking the water. Legend has it that during one such feast at
Moon’s Lake House, the potato chip was created in 1853.”</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrp5n3Rze9Irm10qf6ZtJ8SwZcECPA_ED5wLIjpjNkr3uONlYi18Nsj4vY4UON2SFX003zcxaIRt7iANO_lXFqbH_qxEnrMdL0VS7yGzl_BfXoDldnvYYYDceUJTrL_dW8JEJ3TFKNkCmf/s1600/06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrp5n3Rze9Irm10qf6ZtJ8SwZcECPA_ED5wLIjpjNkr3uONlYi18Nsj4vY4UON2SFX003zcxaIRt7iANO_lXFqbH_qxEnrMdL0VS7yGzl_BfXoDldnvYYYDceUJTrL_dW8JEJ3TFKNkCmf/s1600/06.jpg" height="466" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 6 –
1834 print illustrating the large porch on the plaza of Congress Hall in
Saratoga Springs. <span style="background: white;">Congress Hall was a large
resort hotel, which brought Saratoga Springs international fame as a health spa
and gambling site.<span class="apple-converted-space"> <o:p></o:p></span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimNSwYeXCVyFtMhbkC5S0y2OHCtOQO04WL33laQpDLn8s2GKvAF5UbgIH4dxs5iPoa-LytMqqLsrAfqN4jCJLntibuCy2RGfphyphenhyphenOSlg-jQ9cgZbmcZuBFe2GegJq2GeAW4YIrghdm1AaPk/s1600/07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimNSwYeXCVyFtMhbkC5S0y2OHCtOQO04WL33laQpDLn8s2GKvAF5UbgIH4dxs5iPoa-LytMqqLsrAfqN4jCJLntibuCy2RGfphyphenhyphenOSlg-jQ9cgZbmcZuBFe2GegJq2GeAW4YIrghdm1AaPk/s1600/07.jpg" height="640" width="590" /></a></td></tr>
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<span class="apple-converted-space"><span style="background: white; font-family: "Arial","sans-serif";">Figure 7 – On panel from a circa 1870
stereoview of an unidentified hotel in Saratoga Springs showing the hotel
piazza. Photographer: W.H. Baker of Saratoga Springs, NY.<o:p></o:p></span></span></div>
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<span style="font-family: "Arial","sans-serif";"> Elegant hotels were built for affluent
guests (<span style="color: red;">figure 8</span>) who were encouraged to walk,
soak-in the fresh air and of course “take in the waters.” In his history of
Saratoga County, Nathaniel Bartlett Sylvester wrote that “The hotels of
Saratoga are its pride and crowning glory. Nowhere else in the world can such a
splendid array be seen in the same city or village so near each other. And now, during these centennial years of the
first rude openings of the springs in the northern wilds, this whole village is
crowded with hotels, the largest, grandest, best appointed in the world, within
a stone's throw of each other, and glittering with more than oriental splendor
(<span style="color: red;">figure 9</span>). When all lighted up on a summer
evening, the streets filled with gay promenaders, - the wit, the wealth, the
fashion, and the beauty of half the world all there, - the scene presented is
like that of some fairy-land. Surely has some enchanter touched with magic wand
those old rude hotels of a century ago, and transformed them into palaces like
those famous in eastern story” (Sylvester 1878).<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQDtUDQB7ZT_Fe2t_xtS-_eaw-CRXMcAZgtZre25-6wq41OtluKhfZWC7YZU1vf9r00Xbhra0E8ZW1AvfOoTn41TXJnul5FeYbe1OVz5IQKp1HFSuE4fSgWQQM9cdGiU9B9c1mme8oAa6O/s1600/08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQDtUDQB7ZT_Fe2t_xtS-_eaw-CRXMcAZgtZre25-6wq41OtluKhfZWC7YZU1vf9r00Xbhra0E8ZW1AvfOoTn41TXJnul5FeYbe1OVz5IQKp1HFSuE4fSgWQQM9cdGiU9B9c1mme8oAa6O/s1600/08.jpg" height="424" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt;">Figure 8 –
An 1862 print of the Clarendon Hotel in Saratoga Springs. The History of
Saratoga County, NY has the following description of the hotel: <i>The Clarendon, the only hotel in Saratoga
Springs which is painted white, with green blinds, is a quiet summer home,
frequented by people of culture and refinement, seeking rest and recreation. It
will accommodate about three hundred and fifty people. The spring was purchased
with the hotel property, and is situated on its grounds. Its waters are
popular. Mr. Leland, the proprietor, is a younger member of the Leland family,
celebrated in connection with first-class hotels in America. The hotel is
situated on Broadway, near Congress Street, and in the neighborhood of Congress
grove</i>.<o:p></o:p></span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ_BUP3GWpLVWppbDfTiQkPSHSjO6L6MmWGqud3yZzYNF3tqPpDvpVLwn2Aurw-EIvhJXXhMfzpVCqbSsC2x7youdddDkbvmDAvZfJxwGjy55Oz7iC3L83ontK17oijMr313kgZebw99xY/s1600/09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ_BUP3GWpLVWppbDfTiQkPSHSjO6L6MmWGqud3yZzYNF3tqPpDvpVLwn2Aurw-EIvhJXXhMfzpVCqbSsC2x7youdddDkbvmDAvZfJxwGjy55Oz7iC3L83ontK17oijMr313kgZebw99xY/s1600/09.jpg" height="310" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt;">Figure 9 –
Circa 1870 stereoview revealing the splendor of the parlor in the Grand Union
Hotel.<o:p></o:p></span></td></tr>
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<span style="font-family: "Arial","sans-serif";"> Period photographs and engravings reveal
that there were several Indian encampments in and around Saratoga Springs. The Abenaki
and the Mohawk would set up for the summer at both Saratoga (<span style="color: red;">figures 10, 11 and 12</span>) and nearby Lake George (<span style="color: red;">figures 13 and 14</span>) where they sold their craft work as
souvenirs to area visitors. The encampment scene, with its many concession
stands, brings to mind images of modern-day arts and crafts fairs. Like their
ancestors, the 19<sup>th</sup> century Mohawk and Abenaki were drawn to the mineral
springs not just as vendors but because they also considered the healing
properties of the spring waters to be sacred. The mineral springs of Saratoga
were the only naturally carbonated spring waters east of the Rocky Mountains.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifvY9FVKwCZ3SRN0XkdmraD93N0eHXXLQgpaWq_g4lgfzIx0-rMnN_SJyHLr-aclR6hfa6On1aOzA3daaaz-9SmDcjfEK88e4TPGyZC6ZqbozD6MZp6zTknoUtGFXnFhkO_ejUQrkIFse1/s1600/10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifvY9FVKwCZ3SRN0XkdmraD93N0eHXXLQgpaWq_g4lgfzIx0-rMnN_SJyHLr-aclR6hfa6On1aOzA3daaaz-9SmDcjfEK88e4TPGyZC6ZqbozD6MZp6zTknoUtGFXnFhkO_ejUQrkIFse1/s1600/10.jpg" height="188" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt;">Figure 10 –
One panel from a circa 1870 stereoview of an Indian encampment at Saratoga
Springs. The two images on the right are close-ups revealing more details of
the individual concessions stands. I don’t see much beadwork but there are a
lot of bow’s hanging from the displays and some baskets can be seen on the
table tops. Photographer: D. Barnum, Cortland, NY.<o:p></o:p></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQqIU02qwSWu2IkSTXIjIL6bkDhQrlSAeQtGMrm7ZMIQ_FL0gwhCLT9NUTMrjv6xwL_HnNBcGKJK6MCNui2w4-9VgZuPNWSNt-w9EWKVFVoiNWa2TJ7vaea0sdmeuRe_i7YTjBbGfT6pYq/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQqIU02qwSWu2IkSTXIjIL6bkDhQrlSAeQtGMrm7ZMIQ_FL0gwhCLT9NUTMrjv6xwL_HnNBcGKJK6MCNui2w4-9VgZuPNWSNt-w9EWKVFVoiNWa2TJ7vaea0sdmeuRe_i7YTjBbGfT6pYq/s1600/11.jpg" height="186" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt;">Figure 11 -
One panel from a circa 1870 stereoview of an Indian encampment at Saratoga
Springs. The two images on the right are close-ups revealing more details of
the individual concession stands. Again, not much in the way of beadwork is
visible but bows and baskets seem to predominate the items that were for sale.
Photographer: Wm. H. Sipperly. <o:p></o:p></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNXfLaiV7n-OmkJlGFDzwjuu5SKhZr7B91koB_yiSD_pxOrxJLlqH_sE0MbvY7C5nq0b_N3AwJzTkcky5qp-k2RB-QprdaudamaxoIseq3AP0lqrVya6xDgl1QcyOSe0oBRjAPg7wdpo2W/s1600/12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNXfLaiV7n-OmkJlGFDzwjuu5SKhZr7B91koB_yiSD_pxOrxJLlqH_sE0MbvY7C5nq0b_N3AwJzTkcky5qp-k2RB-QprdaudamaxoIseq3AP0lqrVya6xDgl1QcyOSe0oBRjAPg7wdpo2W/s1600/12.jpg" height="226" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt;">Figure 12 -
One panel from a circa 1870 stereoview of the Indian encampment at Saratoga
Springs. The two images on the right are close-ups revealing more details of
the individual concession stands. One of the concession stands offered “bird
shooting.” The view was published by Edwards & Luce of Cortland, NY.<o:p></o:p></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNuGpoV3iOCnDoILDqK44VXj990Zuda7QIGi6H_ivNcJaGlUAi-FsES0MId98UXsKz5MW20OC2IJ1XMjVkOrl5CHlJj0bJWbXMnkDof4yriaR2xvivZZz6Px5XiW_F2ObUiMsqwDXDU7nJ/s1600/13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNuGpoV3iOCnDoILDqK44VXj990Zuda7QIGi6H_ivNcJaGlUAi-FsES0MId98UXsKz5MW20OC2IJ1XMjVkOrl5CHlJj0bJWbXMnkDof4yriaR2xvivZZz6Px5XiW_F2ObUiMsqwDXDU7nJ/s1600/13.jpg" height="384" width="640" /></a></td></tr>
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<span class="apple-converted-space"><span style="background: white; font-family: "Arial","sans-serif";">Figure 13 – Circa 1872 albumen print of
the Indian Encampment at Lake George. Photographer: Seneca Ray Stoddard </span></span><span style="background: white; font-family: "Arial","sans-serif";">(1844–1917)<span class="apple-converted-space">. <o:p></o:p></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin31z-dqeU8U_YXu5NsHNnR_0H49Tz4s3k1TyhriMRrYc4Z_hQD-gQqmcZg3YJzeqPfOEoNFV_52Q3L9dGEEfl28pMxUCPDaopjpoZ2G8Dc7iuzY_fsMpwnYyVriJzufm9iMEgjP08gmTy/s1600/14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin31z-dqeU8U_YXu5NsHNnR_0H49Tz4s3k1TyhriMRrYc4Z_hQD-gQqmcZg3YJzeqPfOEoNFV_52Q3L9dGEEfl28pMxUCPDaopjpoZ2G8Dc7iuzY_fsMpwnYyVriJzufm9iMEgjP08gmTy/s1600/14.jpg" height="226" width="640" /></a></td></tr>
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<span class="apple-converted-space"><span style="background: white; font-family: "Arial","sans-serif";">Figure 14 – </span></span><span style="font-family: "Arial","sans-serif";">One panel from a circa 1870 stereoview
of the Indian encampment at Lake George. The two images on the right are
close-ups revealing more details. Bows and baskets can be seen in this view as
the predominant items that were for sale.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";"><o:p></o:p></span></div>
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Emily
Rolandson wrote that:<span lang="EN"><o:p></o:p></span></div>
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One of the earliest camps was located at Pine Grove, near
North Broadway.... It was more like a festival where the Indians happened to
gather than an actual encampment, but Pine Grove set the standard for other
encampments of the area (<span style="color: red;">figure 15</span>). </div>
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The largest and most famous of these camps was located in
Congress Park. This encampment, also referred to as the Gypsy Camp, was
originally founded in 1848 where Broadway and Ballston Avenue meet. A band of
Indians arrived each year (probably from Canada) to staff the encampment. They
arrived in late spring, and stayed through the end of autumn or whenever the
first snow arrived. </div>
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The camp was moved to Congress Park in the 1870s, on the
corner of Circular Street and Spring Street. It remained there until 1902, when
Richard Canfield purchased the property and replaced the camp with the Italian
Gardens and Trout Pond of Congress Park (Rolandson 2005).</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW_vP0Q6Rgj1AVd3FxMgpjxaJxk5CxrXdx7RTEf5tTaWpkfrRIC8yKmViSqQ2AcYqi9tJKGiGE43f4xEklUfWjOIpdc6L2DLmdv3DmBpVUiHrIsJdzBcuQJf8ccVtogNJAY4d05O4qOK1E/s1600/15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW_vP0Q6Rgj1AVd3FxMgpjxaJxk5CxrXdx7RTEf5tTaWpkfrRIC8yKmViSqQ2AcYqi9tJKGiGE43f4xEklUfWjOIpdc6L2DLmdv3DmBpVUiHrIsJdzBcuQJf8ccVtogNJAY4d05O4qOK1E/s1600/15.jpg" height="508" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 15 –
An engraving of the Pine Grove Indian Camp in Saratoga Springs, NY. Published
in an 1876 issue of <i>Harpers New Monthly
Magazine</i>.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";"> Art historian Ruth Phillips interviewed a
number of beadworkers from the Mohawk community at Kahnawake who fondly recalled
the great quantities of material that were produced for an extended selling
stint at Saratoga Springs (Phillips 1998:65) and there are traditions among the
Abenaki that they were selling there as well.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";"> Todd DeGarmo, the Director of Folklife Programs,
Crandall Public Library, Glens Falls, NY has written that “summer resorts and
other tourist centers throughout the Northeast became ideal locations for
Native entrepreneurship. Beginning in the late 18<sup>th</sup> century with
mineral springs resorts, and continuing well into the 20<sup>th</sup> century
with roadside attractions, people of Abenaki and Iroquois descent actively
participated in the upstate [NY] tourist trade as hunting and fishing guides,
cooks, vendors of baskets and souvenirs, and players in pageants and
re-creations… Indian camps often became the center of this activity (<span style="color: red;">figure 16</span>). Located on the fringes of resorts, they
were visited by seasonal clients, often including prominent politicians and
industrialists of the day. The products offered were adaptations of traditional
arts: woodslore skills such as hunting, trapping, and guiding; and manufacture
of baskets from black ash and sweetgrass, deerskin moccasins, beaded whimseys,
and miniature birchbark canoes (DeGarmo 1993). You can read the entire article by
DeGarmo <a href="http://www.nyfolklore.org/pubs/news/newsltrs/1993-vol14-no2.pdf">here</a>.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsgnrU4yP6Pa4ApesKym8LaJMi30LQnaXlB9egNXgL4fIbce-9pMCumW7OqDseII6LWfWBK9wONKZnKUVF4fFlKqUNSWf47Q5k2U2VkmfPqwXTSUvThz2v-Yfp0YSC_E4s566qvwbQjELw/s1600/16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsgnrU4yP6Pa4ApesKym8LaJMi30LQnaXlB9egNXgL4fIbce-9pMCumW7OqDseII6LWfWBK9wONKZnKUVF4fFlKqUNSWf47Q5k2U2VkmfPqwXTSUvThz2v-Yfp0YSC_E4s566qvwbQjELw/s1600/16.jpg" height="212" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 16 –
The image on the left is one panel from a circa 1870 stereoview of an Indian
Camp in upstate New York. The other two images are detail enlargements. The Nation
of the people depicted is unclear; they are either Mohawks or Abenakis. Printed
on the back of the stereoview is the following: Scenery among the Thousand
Islands on the River St. Lawrence. From Crossmon House Photographic Studio.
Alexandria Bay, Jefferson County, N.Y. - A.C. McIntyre & Co., Artists.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";"> There were renowned Native guides in the
area such as Mitchell Sabattis (1824-1906) an Abanaki hunter and trapper who is
believed to have been a leading contributor to the development of the
Adirondack guide boat (DeGarmo 1993). <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";"> DeGarmo says that most of the Native
people who frequented the resort areas “remained anonymous, segregated into
enclaves throughout the region. The Fox Hill Indian settlement northwest of
Saratoga Springs, whose inhabitants worked in the white oak barrel factory and
usually traded at Batchlerville or Middle Grove is a case in point. Lake George
was home to descendant of the St. Francis Abenaki. Though they sent their children to the local
school … and buried their dead in the Catholic Church cemetery, they, too,
largely kept to themselves within their own section of town. Others made their
permanent homes in Canada on the reservations, with ties to the resorts. Each
to which they usually returned year after year….<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";"> DeGarmo goes on to say that “some [Indian]
families were sufficiently affluent to hire less independent basket makers,
such as single girls and widows, to make baskets during the winter and to
demonstrate basketry and tend shop at the resorts. Local people were also hired
to do household chores so the women could spend more time making baskets. By
the late 19<sup>th</sup> century the successful Abenaki basket makers are said
to have had the luxury of buying prepared splints from the French at
Pierreville and cleaned sweet grass, braided or plain, from the farmers who
cultivated it. Some even purchased from French women small sweetgrass baskets
such as thimble cases, scissors holders and pin cushions to be inserted into
the work baskets (DeGarmo 1993).</span><b><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif";"> Native people “set up booths at local
fairs and traveled to other resorts in the vicinity. The Fox Hill Indians made
the trip into Saratoga Springs to sell provisions to the large hotels. They
also marketed furs and wild medicinal plants, and sold homemade items to the
tourists, including baskets, snowshoes, moccasins, gloves and mittens and small
novelty birch bark canoes. The inhabitants of the Lake George Indian Encampment
(<span style="color: red;">figures 17, 18, & 19</span>) who were in the
basket and souvenir business on site, traveled to the smaller outlying hotels
to the north and at one time held classes in basket weaving for fashionable
guests at the exclusive hotels on Lake George. The late Andrew Joseph (born
1892), half Abenaki and a renowned black ash basket maker, was born at an
Indian Encampment in Saratoga Springs and learned the craft from his father, who sold baskets
every summer to the large hotels on Long Lake and Blue Mountain Lake in the
Adirondacks. Added attractions like the game, set-up-a-cent, pitting the bow
shooting skills of young boys against pennies set up by visitors, were used to
attract tourist to the Indian Camp in Saratoga Springs (DeGarmo 1993).</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4J1uSOX94bbyzvYmclMWaL2CATtt8_9GmWBoC28P7rVbbCsgHf26hlpR5TuCKIbqJNzNb9NxIc8667Qzlf9vRfYbfV0LFFcXPl3JzyTR-QpFLJc4a79o5iESxUpnFd-DXbhZvFL4b-1Iv/s1600/17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4J1uSOX94bbyzvYmclMWaL2CATtt8_9GmWBoC28P7rVbbCsgHf26hlpR5TuCKIbqJNzNb9NxIc8667Qzlf9vRfYbfV0LFFcXPl3JzyTR-QpFLJc4a79o5iESxUpnFd-DXbhZvFL4b-1Iv/s1600/17.jpg" height="640" width="630" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 17 –
One panel from a stereoview of what was likely an Abenaki basketmaker. Titled:
The Young Basket Maker, Lake George. Photographer: Seneca Ray Stoddard of Glens
Falls, NY. 1870s.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgki8mng7HyWFUAwETJBnxXzx0wNrVd3ygqvKmz8sPQO6KxNus7jdbxWhXyOK2ouHDFd9DLEhx6NMrvsgVaSlLT18fwuDhAZZULt0NQzYX2K4RRkluJjr6Rftunr5oGi5yT_Mniyv6KD7YF/s1600/18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgki8mng7HyWFUAwETJBnxXzx0wNrVd3ygqvKmz8sPQO6KxNus7jdbxWhXyOK2ouHDFd9DLEhx6NMrvsgVaSlLT18fwuDhAZZULt0NQzYX2K4RRkluJjr6Rftunr5oGi5yT_Mniyv6KD7YF/s1600/18.jpg" height="640" width="530" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 18 –
One panel from a stereoview of what was likely a group of young Abenakis. Titled: Group of Young Indians, Lake George.
Photographer: Seneca Ray Stoddard of Glens Falls, NY. 1870s.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWhC9Vi-0NQdZtq6kMPu_AkDkhuZ6evzSvSFxXpnZip9myZseTT8wRR-kLAAy0DpA9nP-PH9rycHZ5u_GRFro_7fJlupnoezaBWiNvU94A9S2w7M8wMognQYzFzI6LMQhLLWZtYvr-Rxxp/s1600/19a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWhC9Vi-0NQdZtq6kMPu_AkDkhuZ6evzSvSFxXpnZip9myZseTT8wRR-kLAAy0DpA9nP-PH9rycHZ5u_GRFro_7fJlupnoezaBWiNvU94A9S2w7M8wMognQYzFzI6LMQhLLWZtYvr-Rxxp/s1600/19a.jpg" height="464" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 19a –
Cabinet card of Peter Lawrences’ concession at the Indian encampment, Lake
George, NY. Dated August 6, 1892 on the back.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzG-fElJXu1yhmWvmocNHDbtMqpDi6asAz9yVNhuINCb3BdNvJUrhpOgMNXfjbLGXRCQ5mjs5peOgWYeSlyUl0O_47CwFRhokYPnaO4PqEd7P_hvbPxw_h-IRq-SsyxdqlkX-qf6tH-uWS/s1600/19b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzG-fElJXu1yhmWvmocNHDbtMqpDi6asAz9yVNhuINCb3BdNvJUrhpOgMNXfjbLGXRCQ5mjs5peOgWYeSlyUl0O_47CwFRhokYPnaO4PqEd7P_hvbPxw_h-IRq-SsyxdqlkX-qf6tH-uWS/s1600/19b.jpg" height="330" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 19b –
Detail view of the cabinet card in figure 19a. Some of his baskets can be seen
on the display table.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";"> Shooting skills were highly regarded
during this period. Entertainers who could perform exciting and dangerous feats,
such as those demonstrated by sharpshooters such as Annie Oakley and Prairie
Flower (<span style="color: red;">figure 20</span>), earned their fame in the
Wild West shows. Before the invention of movies, TV and the internet, Wild West
and medicine shows were one of the major entertainment events of the time and
that only added to the interest the public had in the abilities of Annie Oakley and other exciting entertainers.
The Ohio History Central website relates that “Oakley became known as
"Miss Annie Oakley, the Peerless Lady Wing-Shot (wing shots were experts
at shooting birds in flight).” In her act, Oakley routinely split a card in two
edge-wise with a single shot from thirty paces. She shot cigarettes out of her
husband's mouth and, on a tour of Europe, even performed this same act with
Crown Prince Wilhelm, who eventually became Kaiser Wilhelm II, the leader of
Germany. Oakley also shot dimes thrown into the air.”<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUoGwZQkhtUga44uShrXuGHNyCgqzXgRiSvzdP0onZNCdaGyUMFtdANmAdGskBwyqD_wDf1jIZ7kTP_EUdyle52ukaRtv99lN70ultx1ulmp9KjCH-oCbS1drQpT5srydvLTSa5GaIgJ-9/s1600/20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUoGwZQkhtUga44uShrXuGHNyCgqzXgRiSvzdP0onZNCdaGyUMFtdANmAdGskBwyqD_wDf1jIZ7kTP_EUdyle52ukaRtv99lN70ultx1ulmp9KjCH-oCbS1drQpT5srydvLTSa5GaIgJ-9/s1600/20.jpg" height="640" width="414" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";"> Figure 20 – Cabinet card, 4 x 5.8 inches.
1880-1890. Louisa Stump (aka Prairie Flower) was born on May 5, 1868 of
Iroquois parents from Kahnawake. She was an expert shot and traveled with the
Kiowa Medicine Company for a time. She also worked with several other shows
during that period. She was known to her friends as Rosy Gordon. Buffalo Bill
Cody called her "The Prairie Flower" when she worked for him. She
also awed the crowds with her trick shooting under the name "Texas
Lillie". Her picture appeared in the National Police Gazette on July 26,
1890, where she challenged all "wing shots" in the world.
Louisa died in the 1940s. Posed in this image with her husband, Louis
Belmont Newell. Private collection.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";"> These incredible feats of marksmanship
amazed and excited people and in many of the encampment images, shooting booths
can be seen where visitors could demonstrate their sharpshooting skills. The
detail shot in <span style="color: red;">figure 12</span> shows a tent with a
large sign across the top that reads “BIRD SHOOTING.” There are large targets
in the background and some bows are hung from a rafter on the right. <span style="color: red;">Figure 21</span> appears to be a shooting range at an Indian
encampment is Saratoga Springs. Several men can be seen in the center detail
shot holding rifles and one appears to be shooting at a target down range from
the booth. Target shooting can also be seen in the foreground of <span style="color: red;">figure 22</span>.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2vn6ClQ8r2HCJImrFA-LkvRG1JvZfBzfdNG40s2UvM0P4b5iNbgsRoncYykxzTsvZfAkmb0p4e9g8GGOm2xzjSFcZt8rveMoHq-fxJvaegLRkSyVfcYuvdDMkZFFcCKn-iD-KrC-ozq4M/s1600/21.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2vn6ClQ8r2HCJImrFA-LkvRG1JvZfBzfdNG40s2UvM0P4b5iNbgsRoncYykxzTsvZfAkmb0p4e9g8GGOm2xzjSFcZt8rveMoHq-fxJvaegLRkSyVfcYuvdDMkZFFcCKn-iD-KrC-ozq4M/s1600/21.jpg" height="222" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";"> Figure 21 – One panel from a circa 1870
stereoview of a shooting range at an Indian encampment in Saratoga Springs.
Photographer: Hall Brothers of Brooklyn, NY.<span class="apple-converted-space"><span style="background: white;"><o:p></o:p></span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiguUyn_D_FklqFNcXhKQ92iw6vGe0Z0hzvm4KYIEYigySg_yhErcKv9AytlFZlv2JR4FAAbQ3z0hn2k9lQ-HShpO80ZwFqD6JNVCcWvOlt6esaMejen_5dZVlNXpokSbakPQ3zvIr6ZR3X/s1600/22a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiguUyn_D_FklqFNcXhKQ92iw6vGe0Z0hzvm4KYIEYigySg_yhErcKv9AytlFZlv2JR4FAAbQ3z0hn2k9lQ-HShpO80ZwFqD6JNVCcWvOlt6esaMejen_5dZVlNXpokSbakPQ3zvIr6ZR3X/s1600/22a.jpg" height="444" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 22a –
Late 19<sup>th</sup> century lithograph of an Indian Encampment in Saratoga
Springs, NY. There are two large targets in the left foreground with both a man
and a woman shooting arrows at it. There are a number of Indian concession
stands visible in the background. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 22b –
Detail views from figure 22a. At detail (B) two Native individuals appear to be
mingling with visitors or perhaps they were just offering them something for
sale. There may also be commerce taking place in detail (C) between the two
Native individuals and what was no doubt another visitor. The right hand target
in this detail view appears to be a smiley face.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";"><span style="mso-spacerun: yes;"> </span>Some of the encampments in Saratoga
Springs appear to be quite large (<span style="color: red;">figure 23</span>) but
the range of items Native vendors offered for sale, especially beadwork, is not
always clear from the photographs. An interesting item that you rarely see in
collections today is the fans that Native people made (<span style="color: red;">figure
24c</span>). Visible along the top of the stereoview in <span style="color: red;">figure 24a</span>, each one appeared to have a different design. I don’t
recall ever coming across one of these although if I did, I might not have
recognized it as an item of Indian manufacture. <span style="color: red;">Figure
24</span> is also the only Saratoga image I’m familiar with that has some
beadwork in it. You can see what appears to be a floral decorated barrel purse on
the display table behind the seated woman in <span style="color: red;">figure 24b</span>.
The beadwork that Mohawk vendors sold there was not necessarily different from
the beadwork they sold in other venues although items with the beaded
inscription “Saratoga” are not that common (<span style="color: red;">figure 25</span>).
<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH295_DWIQOo3-qbg33WnxoROZ7cQ7dGOcjQx0W1FQFF3C5xXEZCD9i-yWxOB8l9Hszivu7TimC2Q28TFt9z5DkvQVTTyRIeGzcc3uKZ45GtUrVbYJxiRjkvnpMqrLeZDzSQIi6o_FNOWC/s1600/23a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH295_DWIQOo3-qbg33WnxoROZ7cQ7dGOcjQx0W1FQFF3C5xXEZCD9i-yWxOB8l9Hszivu7TimC2Q28TFt9z5DkvQVTTyRIeGzcc3uKZ45GtUrVbYJxiRjkvnpMqrLeZDzSQIi6o_FNOWC/s1600/23a.jpg" height="388" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 23a –
Circa 1905 photo of an Indian Encampment in Saratoga Springs, NY, possibly in
Congress Park. The scene appears to be just outside the encampment as a gateway
with large signs that reads “Indian Encampment Studio” can be seen in the middle/left
section of the photo (see the next image for more detail).<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJd6SXHQFUI-qhqv7zuU89Fy7EsNriwa2Q0TOE6o9zVqwzV_iJzHtAeWM5kX65ZYTcAOIEQnjqkF0oL1Brivlb9hpTYAhLmrp6_EQzE8Y-dSJmeGWpGtJtzfh_XIRTAZdwL2_acwU1Uo6o/s1600/23b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJd6SXHQFUI-qhqv7zuU89Fy7EsNriwa2Q0TOE6o9zVqwzV_iJzHtAeWM5kX65ZYTcAOIEQnjqkF0oL1Brivlb9hpTYAhLmrp6_EQzE8Y-dSJmeGWpGtJtzfh_XIRTAZdwL2_acwU1Uo6o/s1600/23b.jpg" height="364" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 23b –
Detail view of figure 16a. On display just below and to the left of the large
“encampment” sign are two large racks offering postcards for sale.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYuuDI24J7H6J-nJJqeITHijYkb-6B3OBhtUkA2lRHdT6ItWH_JYePRtvd-XgNBjD_cxaAp_DGYUSvMsCvNYD8zbpDiglvnBc4L3HRR9dprZCEvscnhHTDEHT0pUZNZxrqEA-DGhUM7g4m/s1600/24a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYuuDI24J7H6J-nJJqeITHijYkb-6B3OBhtUkA2lRHdT6ItWH_JYePRtvd-XgNBjD_cxaAp_DGYUSvMsCvNYD8zbpDiglvnBc4L3HRR9dprZCEvscnhHTDEHT0pUZNZxrqEA-DGhUM7g4m/s1600/24a.jpg" height="428" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 24a – An oversized stereo view of an Indian encampment in Saratoga
Springs titled: No. 51, Indian Encampment. Early 1880s. Photographer: Aaron
Veeder of Albany, New York. The three subjects in the foreground are possibly
Mohawks. The Bi-Centennial History of Albany (published in 1886) indicated that
Veeder had the leading photography studio in Albany alongside the Notman
Photographic Co., a branch of their Montreal studio. This publication also
indicated that Veeder made a successful transition from landscape photography
to portraiture in 1881, so this image likely dates to sometime after that.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivD0Wq10WEdpGZNdbxlT2UxmQG7Ft6PnyrSR4o98jroppQik0Ps5NkfNzKwVlkM6g4ghdgQQ9CHzZpIL2vWiacN2LsLrVzF7dzoEXn7icKObk3rylYsVJNyq5gzoSqLsDK_qr2cAOMjitH/s1600/24b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivD0Wq10WEdpGZNdbxlT2UxmQG7Ft6PnyrSR4o98jroppQik0Ps5NkfNzKwVlkM6g4ghdgQQ9CHzZpIL2vWiacN2LsLrVzF7dzoEXn7icKObk3rylYsVJNyq5gzoSqLsDK_qr2cAOMjitH/s1600/24b.jpg" height="470" width="640" /></a></td></tr>
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<span style="font-family: Arial, sans-serif;">Figure
24b – Detail view of figure 24a. What looks like a beaded barrel purse can be
seen on the display table in the background; fancy baskets can be seen in the
case behind the young lady on the right.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf6FnXWhkduKlqemYU0tMux-u3UX4w0CewvYV_pbT9XeeuPhhAvr0sZgESbWh2t93n_M614AE5MnUoBilsHaLST7EtgSsR3VUv_ZIi6x3pvTUbI7rcLPG1WdyLQYl3wtseBEFkIfKrpEzu/s1600/24c.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf6FnXWhkduKlqemYU0tMux-u3UX4w0CewvYV_pbT9XeeuPhhAvr0sZgESbWh2t93n_M614AE5MnUoBilsHaLST7EtgSsR3VUv_ZIi6x3pvTUbI7rcLPG1WdyLQYl3wtseBEFkIfKrpEzu/s1600/24c.jpg" height="112" width="640" /></a></td></tr>
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<span style="font-family: Arial, sans-serif;">Figure
24c – A group of Native made fans. It’s difficult to determine the construction
material from this image but they could have been made from basket making
material such as black ash, and made in a similar fashion to a lid that you
would find on a basket. They don’t appear to be the type that Huron were making
that were decorated with real feathers. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj49SNchbFmjTZPg6aZ8qluXzSOltHAzznWvXeZZ50KD9eBfaP3x4_DWLZRpg3XnUGL-CeJjiY62iRR29i_iWZE_vEORQDDGT5872TanxF-iYEPgnoe64qOeBJhpQ0OAWAdhFsQra93djcz/s1600/24d.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj49SNchbFmjTZPg6aZ8qluXzSOltHAzznWvXeZZ50KD9eBfaP3x4_DWLZRpg3XnUGL-CeJjiY62iRR29i_iWZE_vEORQDDGT5872TanxF-iYEPgnoe64qOeBJhpQ0OAWAdhFsQra93djcz/s1600/24d.jpg" height="640" width="528" /></a></td></tr>
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<span style="font-family: Arial, sans-serif;">Figure
24d – A tintype from the last quarter of the 19<sup>th</sup> century. The
subject is holding a fan and has another on his lap. These look similar to the
ones depicted in figure 24c although these appear to be the type that was made
from cut paper that would then fold down in an accordion style.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-of4x3gmmKi5VU63OT8f32s0jGpZKkynICImS-aUx-ZcwfWLCsNPZyz8JpMRrnwCuETQS9BrvCg7dpGajKWMcPpoRG8m-YmCVQUvi0cN15Fkz3P0ofvhUi7Ph7a5nWFYCv5ZVz0K5C8oo/s1600/25.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-of4x3gmmKi5VU63OT8f32s0jGpZKkynICImS-aUx-ZcwfWLCsNPZyz8JpMRrnwCuETQS9BrvCg7dpGajKWMcPpoRG8m-YmCVQUvi0cN15Fkz3P0ofvhUi7Ph7a5nWFYCv5ZVz0K5C8oo/s1600/25.jpg" height="510" width="640" /></a></td></tr>
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<span style="font-family: Arial, sans-serif;">Figure
25 – A six-lobed Mohawk pincushion with the beaded inscription that it was from
Saratoga. Dated 1903 in beads. From the collection of Karlis Karklins. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";"> The next two images both have the beaded
inscription that they were from Saratoga (<span style="color: red;">figures 26 & 27</span>).<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7yUm2ec21dmS4W7uOiDQ-scKarlb_-fdbVYc8DVD52D7KYaAWXWv_FvhySeSgrolD782Cvgp0sWTIl1S74os9ZUl_VyWqLm0bfYVvK_YAkRPkvD9vI89kySXpcIV0D1TT1Uk0DN9vNYGs/s1600/26.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7yUm2ec21dmS4W7uOiDQ-scKarlb_-fdbVYc8DVD52D7KYaAWXWv_FvhySeSgrolD782Cvgp0sWTIl1S74os9ZUl_VyWqLm0bfYVvK_YAkRPkvD9vI89kySXpcIV0D1TT1Uk0DN9vNYGs/s1600/26.jpg" height="540" width="640" /></a></td></tr>
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<span style="font-family: Arial, sans-serif;">Figure
26 – A beaded match-holder with the inscription that it was from Saratoga.
Dated 1900 in beads. From the collection of Karlis Karklins.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIvI7vJe820G9npfRLbeMHFAydmUFcMtAl16O5Nnl9GgrK8Lbq1v_RRPwNNWbkvCBLJ5tduoBNIdjhJBAdpf4unZd8B70XqIDPARjQp0FOAnP9JH5kJYkumrQmi0Tg1rzMF_0dmaJ3lEq-/s1600/27.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIvI7vJe820G9npfRLbeMHFAydmUFcMtAl16O5Nnl9GgrK8Lbq1v_RRPwNNWbkvCBLJ5tduoBNIdjhJBAdpf4unZd8B70XqIDPARjQp0FOAnP9JH5kJYkumrQmi0Tg1rzMF_0dmaJ3lEq-/s1600/27.jpg" height="530" width="640" /></a></td></tr>
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<span style="font-family: Arial, sans-serif;">Figure
27 – A lovely six-pointed pincushion in a star-like design with American flags
and the beaded inscription that it was from Saratoga. Not dated but appears to
be circa 1900. From the collection of Karlis Karklins. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Times New Roman";">Figure 28 – Another </span><span class="apple-converted-space"><span style="background: white; font-family: "Arial","sans-serif";">six-lobed pincushion in a star-like design with American
flags. When I first posted this image, something about the pincushion </span></span><span style="font-family: Arial, sans-serif;">looked a little odd to me but it wasn't until Karlis Karklins mentioned his suspicion about it that I decided to take it down. Karlis said that the cushion looked like it
had the center portion replaced, as the pink fabric didn't fit the space
correctly (you can see a darker, perhaps red fabric beneath it in several
places along the edges) and the beads were just too big.That pink fabric should extend to the edges of the points, and beneath the crystal beads but it appears to end at the margins of the crystal beads. The beads also appear
to me to be of a more recent vintage so I decided to take it down. </span><span style="font-family: Arial, sans-serif;">It was afterwards recommended that I put it back up so that we can have a discussion about it. So there you go. This piece is from the collection of Marnie Schreiber.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZg5a8scPtXWypDE9AryiJaHuoe_ujcwVW5mmoeA4m6gWS4-amcEvTkmdINjcNbxnlVZqYb9AoOCgZXCXWlPb273eyh_jEAK2IaRsFW7y255w2JBj-ZH0MhEc4nMskdU8e-6Ys21qqTbXC/s1600/29.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZg5a8scPtXWypDE9AryiJaHuoe_ujcwVW5mmoeA4m6gWS4-amcEvTkmdINjcNbxnlVZqYb9AoOCgZXCXWlPb273eyh_jEAK2IaRsFW7y255w2JBj-ZH0MhEc4nMskdU8e-6Ys21qqTbXC/s1600/29.jpg" height="539" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Figure 29 - Found recently in a western New York antique store mixed in among some other pieces of beadwork. The original pink fabric is almost completely moth eaten. Approximately 8 inches in diameter. Late 19th century.</span></td></tr>
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<b><span style="font-family: Arial, sans-serif; line-height: 115%;">References
Cited<span style="font-size: 12pt;"><o:p></o:p></span></span></b></div>
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<b><span style="font-family: Arial, sans-serif; line-height: 115%;"><br /></span></b></div>
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<b><span style="font-family: Arial, sans-serif; line-height: 115%;">DeGarmo,
Todd<span style="font-size: 12pt;"><o:p></o:p></span></span></b></div>
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<span style="font-family: Arial, sans-serif; line-height: 115%;">1993 <i>Indian Camps and Upstate
Tourism</i> in the New York Folk Lore Newsletter, Volume 14, number 2, summer
issue.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<b><span style="font-family: Arial, sans-serif; line-height: 115%;">Phillips, Ruth<o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif";">1998 <i>Trading
Identities: The Souvenir in Native North American Art from the Northeast, 1700
– 1900</i>. University of Washington Press, Seattle and London: McGill-Queen’s
University Press, Montreal and Kingston.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";"><br /></span></div>
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<b><span style="font-family: "Arial","sans-serif";">Rollinson, Emily<o:p></o:p></span></b></div>
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<span style="font-family: Arial, sans-serif; line-height: 115%;">2005 From
a paper titled: <i>Indian Encampments</i>
written under the advisement of Dr. William Fox (now retired), Skidmore College
– 2005. </span></div>
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<span style="font-family: Arial, sans-serif; line-height: 115%;"><br /></span></div>
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<b><span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">Sterngass,
Jon<o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">2001 <i>First Resorts: Pursuing Pleasure at Saratoga Springs, Newport, and
Coney Island. </i>Johns Hopkins University Press, Baltimore, MD. <o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: "Arial","sans-serif";">Sylvester,
Nathaniel Bartlett<o:p></o:p></span></b></div>
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<span style="font-family: "Arial","sans-serif";">1978 <i><a href="http://archive.org/details/historyofsaratog00sylv"><span style="color: windowtext; text-decoration: none; text-underline: none;">History of
Saratoga County, New York, with illustrations biographical sketches of some of
its prominent men and pioneers</span></a>.</i> Philadelphia, PA: Everts &
Ensign.</span><span style="color: #333333; font-family: "Arial","sans-serif"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com2tag:blogger.com,1999:blog-8743733062223446224.post-24509498015379590832014-02-09T16:15:00.000-05:002014-02-16T07:01:59.430-05:00Early Haudenosaunee (Iroquois) Watch Pockets<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">For nineteenth century consumers, there was no such thing
as too much. Their homes were richly decorated with multiple layers of both
common place and exotic possessions. The well-to-do collected souvenirs, needlework,
paintings, various curiosities such as archaeological and geological specimens,
seashells, antique weapons, etc., all integrated in a harmonious style we think
of today as Victorian. This included a fondness for all sorts of wall pockets. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Crafted throughout the Victorian era, there were
countless varieties. A popular decorative accessory, wall pockets came in
untold shapes and sizes; among them were teacups, parrots, irons, slippers, angels, and flowers, etc. (<span style="color: red;">figure 1</span>). </span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEJgDJtoZfdWuKaaMLw9Rtj5TBvnpRkIFtqaeDbpyWkGTpRxr3HD1i4xIozaJyecmpbl-G6lSRJGDC7A5F5QnikkS_s0JhGO4_JVS3Hx5aNE-4o_YRlL0rZGlkzIVI6UGLUemfjRC09zd8/s1600/01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEJgDJtoZfdWuKaaMLw9Rtj5TBvnpRkIFtqaeDbpyWkGTpRxr3HD1i4xIozaJyecmpbl-G6lSRJGDC7A5F5QnikkS_s0JhGO4_JVS3Hx5aNE-4o_YRlL0rZGlkzIVI6UGLUemfjRC09zd8/s1600/01.jpg" height="640" width="614" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Figure 1 – A group of three Victorian era photographs
each illustrating a mounted wall pocket in the background.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">They </span><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">were made from many different materials including
wood</span><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"> (<span style="color: red;">figure 2</span>)</span><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">, ceramic, glass, metal, fabric, Paper Mache, </span><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">etc. </span><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">and they hung on the walls of both common place
and fashionable homes. Some were made to hold a newspaper, matches, pocket
watches, mail, rosewater to perfume a room, embroidery or to safeguard any
number of functional or decorative trinkets.</span><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"> </span><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">They were a convenience that enhanced the decor
and added a sense of opulence.</span><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"> </span><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Those
that were used to secure a pocket watch will be the subject of this posting.</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Etgij9b-WslBa7ttPOSfpPMHovcKwGxs6t2ziYF-CpyXk3Z7ePZQ-Ytm1FvU4J23PTgZdRjzZARG1wJGGy5jcW5tk8Q3OgHFpCZgdtMO321W5bDvQTcKE84Xp2iXo8u7NF_8lw_q8zs9/s1600/02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Etgij9b-WslBa7ttPOSfpPMHovcKwGxs6t2ziYF-CpyXk3Z7ePZQ-Ytm1FvU4J23PTgZdRjzZARG1wJGGy5jcW5tk8Q3OgHFpCZgdtMO321W5bDvQTcKE84Xp2iXo8u7NF_8lw_q8zs9/s1600/02.jpg" height="612" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 4.8pt; mso-line-height-alt: 9.45pt;">
<span style="background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif;">Figure 2 – Victorian hanging pocket watch holder. 4 1/4”
square x 1 1/4” deep. Mahogany or
rosewood veneer. It would originally have had a beveled glass over the opening
and held in place by the brass door. The pocket watch was placed in the holder through
a back door and you could check the time while keeping it in a safe place and
displayed prominently.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"> </span><span style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">Watches
were considered a luxury in the nineteenth century so when not in use, they were
usually stored in a proper receptacle for protection and sometimes they were used
as a substitute for a small clock. This was the reason for making watch stands</span><span style="color: #333333; font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;"> (</span><span style="color: red; font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">figure 3 & 4</span><span style="color: #333333; font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">).</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9U1Wr3lbrg5kIAFc6_nvKq5L0SpgRJnaAouWQcXVrHQ0Jg33w8nYXtIOzqA8qdHwd3jwS0PUjd8efqAswNXgsFsOFK7rRzAzOy3rpRLCuMmFEtn4S8NSgHd0Bqvdy8XKH5seK-EWD8BTO/s1600/03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9U1Wr3lbrg5kIAFc6_nvKq5L0SpgRJnaAouWQcXVrHQ0Jg33w8nYXtIOzqA8qdHwd3jwS0PUjd8efqAswNXgsFsOFK7rRzAzOy3rpRLCuMmFEtn4S8NSgHd0Bqvdy8XKH5seK-EWD8BTO/s1600/03.jpg" height="486" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: Arial, sans-serif;">Figure 3 – </span><span style="background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif;">A Regency period,
brass inlaid, rosewood watch stand with a hinge section at the back for storing
a watch chain or fob.<span style="color: #47371e;"> <o:p></o:p></span></span></div>
</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1wkZ9kJJqEkPylr1wIIH-9OLmZBv9BpYPykzDq6XQ4zkr8-9kOnQZaQecxkH_OyxetCynGpOFNm7QkpdHcVap1bogP8ahKFcUSZPrw2dwlq9t5KjIE_q3i8xlOj0tOvxdl4IhJb0NS9ay/s1600/04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1wkZ9kJJqEkPylr1wIIH-9OLmZBv9BpYPykzDq6XQ4zkr8-9kOnQZaQecxkH_OyxetCynGpOFNm7QkpdHcVap1bogP8ahKFcUSZPrw2dwlq9t5KjIE_q3i8xlOj0tOvxdl4IhJb0NS9ay/s1600/04.jpg" height="446" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="background: white; font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Figure 4 – </span><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Glass
and metal watch holder/stand. Measures about 3” wide and 2 1/4” deep. It has
three thick beveled glass sides set in either brass or bronze. The inside has a
fabric cushion. Late nineteenth century. <span class="apple-converted-space"> </span><o:p></o:p></span></div>
</td></tr>
</tbody></table>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Wikipedia reports that “the concept of the wristwatch
goes back to the production of the very earliest watches in the 16th century…
From the beginning, wrist watches were almost exclusively worn by women, while
men used pocket-watches up until the early 20th century. This was not just a
matter of fashion or prejudice; watches of the time were notoriously prone to
fouling from exposure to the elements, and could only reliably be kept safe
from harm if carried securely in the pocket…”
By the early 20<sup>th</sup> century, pocket watches began to go out of
fashion. <o:p></o:p></span></div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Victorian era non-Native beadworkers produced
watch pockets that are similar to Native examples (<span style="color: red;">figures
5 & 6</span>) and the two may have developed simultaneously.</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkM3umJ7Qrxx353AUWpyjEo8iR2R5qiJOarfLZHs6svgwNFs4lQSmrjG-QIoYlpV-1kOVLuiuWRN6yxUcklmzriwwn8hHXPLU5EXmD1NCHveqYkuiOb-0QusisQ32v6Nc7pC6kvQIPqO80/s1600/05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkM3umJ7Qrxx353AUWpyjEo8iR2R5qiJOarfLZHs6svgwNFs4lQSmrjG-QIoYlpV-1kOVLuiuWRN6yxUcklmzriwwn8hHXPLU5EXmD1NCHveqYkuiOb-0QusisQ32v6Nc7pC6kvQIPqO80/s1600/05.jpg" height="640" width="390" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif;">Figure 5 – A beaded Victorian era, wool
Berlin Work, non-Native watch pocket. <o:p></o:p></span></div>
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<br />
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span style="color: #333333;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu6lw9Ppqxhyphenhyphen88qMQTeYM9pnLuSXxtmr7_stOCwc1-pJ6r5ym2O-_N8Nk5kzkZSbMJlyg-k_n_V7sSHmkMpykFcNcKTEjjc2ASY5TYse0HRXGxWoQ1muZDdfaANiDcHWXn1gqyh6Rp8zl9/s1600/06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu6lw9Ppqxhyphenhyphen88qMQTeYM9pnLuSXxtmr7_stOCwc1-pJ6r5ym2O-_N8Nk5kzkZSbMJlyg-k_n_V7sSHmkMpykFcNcKTEjjc2ASY5TYse0HRXGxWoQ1muZDdfaANiDcHWXn1gqyh6Rp8zl9/s1600/06.jpg" height="460" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="background-position: initial initial; background-repeat: initial initial;">Figure 6 – Two non-Native matching </span>Victorian watch holders and a matching
wall pocket. The wall pocket is approximately 11 x 6 inches (not including the
bead fringe) and the watch holders are approximately 7 x 4 inches (not
including the bead fringe). All are beaded on silk velvet.<o:p></o:p></div>
</td></tr>
</tbody></table>
</span></span><br />
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">These would have been mounted on a wall, usually<span style="color: red;"> </span>near the bed, and was a convenient overnight receptacle
for a pocket watch. Occasionally, one is found with an old photograph in it and
was likely used as a picture frame (<span style="color: red;">figure 7</span>).<o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyTSH1t8rUtB4Es-NLTQW77TtJpgCgptWStXCGZh57OjIIxIAn-stybhTjfIXwH5hkUcLEFACrXzXDHyzmZeOkdk1x2pG_96Qg_D3EdQXiufAfT0i2aM8d7OIvg2ZZ3umVLA6flKZ3Ybk-/s1600/07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyTSH1t8rUtB4Es-NLTQW77TtJpgCgptWStXCGZh57OjIIxIAn-stybhTjfIXwH5hkUcLEFACrXzXDHyzmZeOkdk1x2pG_96Qg_D3EdQXiufAfT0i2aM8d7OIvg2ZZ3umVLA6flKZ3Ybk-/s1600/07.jpg" height="640" width="380" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: Arial, sans-serif;">Figure 7 – Iroquois watch pocket in raised
beadwork, possibly Akwesasne Mohawk, 1860s-1870s; used as a picture frame for an old tintype.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">It’s unclear if Victorians introduced the idea of the
watch pocket or if savvy Iroquois beadworkers came up with the concept first
but there are numerous Haudenosaunee examples that have survived with examples
from the Mohawk, Tuscarora and Seneca. I suspect that many of these were sold
at Niagara Falls as we sometimes find examples with a note or inscription that
they were collected there (<span style="color: red;">figure 8</span>).<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">What follows is a small collection of watch
pockets that were sold by Iroquois artisans to Victorian consumers during the
nineteenth century.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWxOJmrzHvM0ZwPZlmbdSqfhXYmwymVMlsPNVx2zCsMJvnLyN8QXGYE5BwEH0bPeusWqR2674ZrwXWMIA9sG7VafhY4thuqQCpZ91TQObb4kCRkxjTcYV3LHe_tEuUWllpml6rkW5Pxor6/s1600/08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWxOJmrzHvM0ZwPZlmbdSqfhXYmwymVMlsPNVx2zCsMJvnLyN8QXGYE5BwEH0bPeusWqR2674ZrwXWMIA9sG7VafhY4thuqQCpZ91TQObb4kCRkxjTcYV3LHe_tEuUWllpml6rkW5Pxor6/s1600/08.jpg" height="488" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: "Arial","sans-serif";">Figure 8 – Watch pocket,
Tuscarora with the inscription on the back that it was collected at Niagara
Falls in 1857. <o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0U36OIlK0MPnVbWVpi2_fC4zwlQRLr5ig6b_VvlCGnup585_MEQk-h1IA68YICVPq-pm3aJWOQ7J4o5ES1-5U4_jaqMfKhbhL-GVEGogQCunSPHaEzhx3wXZ_-I-jr9-4OvJQwC5G9wKK/s1600/09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0U36OIlK0MPnVbWVpi2_fC4zwlQRLr5ig6b_VvlCGnup585_MEQk-h1IA68YICVPq-pm3aJWOQ7J4o5ES1-5U4_jaqMfKhbhL-GVEGogQCunSPHaEzhx3wXZ_-I-jr9-4OvJQwC5G9wKK/s1600/09.jpg" height="640" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: Arial, sans-serif;">Figure 9 – Iroquois watch pocket in the
Niagara floral style incorporating both flat and raised beadwork. Mid-19<sup>th</sup>
century.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFdaUiFRbF3nKCkVMvWH7BIaumsuSyErjLI-n_J9E78yzUfl5EQ83FaONSlgONU8ZI89yqKXWIehSQ3K0VOoWZAskOuRKanWGg8P0UP1wvJbLStsvvpGJ3U0BTIaOfNGwU5jF9O6h6mwDW/s1600/10.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFdaUiFRbF3nKCkVMvWH7BIaumsuSyErjLI-n_J9E78yzUfl5EQ83FaONSlgONU8ZI89yqKXWIehSQ3K0VOoWZAskOuRKanWGg8P0UP1wvJbLStsvvpGJ3U0BTIaOfNGwU5jF9O6h6mwDW/s1600/10.JPG" height="640" width="550" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: Arial, sans-serif;">Figure 10 – Iroquois watch pocket in a
variation of the Niagara floral style. Mid-19<sup>th</sup> century.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmF7nf-CjjgHR6byIVcHDwBbmGeVQx7dNQPL6gXFkYDIn_MO09dk1nV4D7-wbMIGCp7Emev2MLszbZnXoISKo29uaaosyktHKyH1PNo6Zdt_PrANhs-hVM0wBdz6jE_8Qc4B0WE0RoUZG2/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmF7nf-CjjgHR6byIVcHDwBbmGeVQx7dNQPL6gXFkYDIn_MO09dk1nV4D7-wbMIGCp7Emev2MLszbZnXoISKo29uaaosyktHKyH1PNo6Zdt_PrANhs-hVM0wBdz6jE_8Qc4B0WE0RoUZG2/s1600/11.jpg" height="490" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: Arial, sans-serif;">Figure 11 – Two similar Iroquois watch
pockets in flat beadwork with earlier motifs. Circa 1840s. Either Seneca or
Tuscarora.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOyB1D3En-jsfAf9WnYBn5ywiTHuw3AdaeeVvRZjPjqMQMUwm5MrpxnQpEIlt5VmlOkknWEbxCBPAOth7NKbidjgZYf0jRxya-UGrnsjkHfwFokQydj3G_cOp5jtVIXYXokDlEyVvU05u3/s1600/12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOyB1D3En-jsfAf9WnYBn5ywiTHuw3AdaeeVvRZjPjqMQMUwm5MrpxnQpEIlt5VmlOkknWEbxCBPAOth7NKbidjgZYf0jRxya-UGrnsjkHfwFokQydj3G_cOp5jtVIXYXokDlEyVvU05u3/s1600/12.jpg" height="544" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: Arial, sans-serif;">Figure 12 – A watch pocket collected at
Niagara Falls in 1851 with an unusual beaded motif. Either Seneca or Tuscarora.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI0nNdTkkawLQRN7umLCKZzRP3_KgTiMQCgA_x9FTXa1OzHkX2Zny_3897Pud_y9O_thHK8po2zB3pJO_t1gFMSoCHSKZrxESJEewMSYEo2GKyObNmmFz8xJDK1QFI7jdrTW73mKLccgsk/s1600/13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI0nNdTkkawLQRN7umLCKZzRP3_KgTiMQCgA_x9FTXa1OzHkX2Zny_3897Pud_y9O_thHK8po2zB3pJO_t1gFMSoCHSKZrxESJEewMSYEo2GKyObNmmFz8xJDK1QFI7jdrTW73mKLccgsk/s1600/13.jpg" height="640" width="386" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 115%;">Figure
13 – An exquisite and heavily beaded Tuscarora watch pocket in raised beadwork.
Circa 1860s. </span></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOZ2scWcbGqwMbZ5HGiZAH7oRJpeAqovwDZRh5foKipLEZPr6pejzX73BlUIl4gjTbWLbyNOz_vWkI_eueIJlpy_wx3vSVQSoNreHf2WbAm4cyDbjwqos5Js0yhtjzbV3VCBNhKCFcxFJJ/s1600/14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOZ2scWcbGqwMbZ5HGiZAH7oRJpeAqovwDZRh5foKipLEZPr6pejzX73BlUIl4gjTbWLbyNOz_vWkI_eueIJlpy_wx3vSVQSoNreHf2WbAm4cyDbjwqos5Js0yhtjzbV3VCBNhKCFcxFJJ/s1600/14.jpg" height="640" width="392" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: Arial, sans-serif;">Figure 14 – A non-Native watch pocket in
raised beadwork with similarities to Iroquois work. Circa 1860s.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixMz32Nl-N1IBuClV8RoThyphenhyphenA3PrUIolpQaqFI_CfbjbWTVZBBZWFdlxZdfYkggBYP8T9RkCUQ7wEEjGjrHCrSopWpRJX8Gu9NKzNjGDg4L9jggsHuqdxpJ4EDxxUD533SQFEkQwoqF2kyL/s1600/15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixMz32Nl-N1IBuClV8RoThyphenhyphenA3PrUIolpQaqFI_CfbjbWTVZBBZWFdlxZdfYkggBYP8T9RkCUQ7wEEjGjrHCrSopWpRJX8Gu9NKzNjGDg4L9jggsHuqdxpJ4EDxxUD533SQFEkQwoqF2kyL/s1600/15.jpg" height="640" width="492" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: Arial, sans-serif;">Figure 15 – Mid-19<sup>th</sup> century
Iroquois watch pocket. Possibly Seneca or Tuscarora.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ycR1S93mi_IU8y-s_MqTawaN5Wok1bjA2-N2d9Cp4voVt47oiP2vJmM42g-v4o8Zz3La7Cye15dUt1Fr6_AihBnzSJSmqGOlANArYESRTnFnuHcuSPOKmTKqqgmyVM_lzzjw-aEbn1nL/s1600/16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ycR1S93mi_IU8y-s_MqTawaN5Wok1bjA2-N2d9Cp4voVt47oiP2vJmM42g-v4o8Zz3La7Cye15dUt1Fr6_AihBnzSJSmqGOlANArYESRTnFnuHcuSPOKmTKqqgmyVM_lzzjw-aEbn1nL/s1600/16.jpg" height="640" width="462" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: Arial, sans-serif;">Figure 16 – Mid-19<sup>th</sup> century
Iroquois watch pocket. Possibly Mohawk.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnUzpz2DiC9py45DXIZLXMPwWCZdUgBbXNWgUR-VJdqj1HIhWEhoRM4gu-0kD_nWD_Io9iaIaOFb1QQTM_Tt8oggJmlJRtmXLI6BJ3GhrnRCxya1ZwtL0AXJmmcEP5ArGg6qUmJH5OUrSw/s1600/17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnUzpz2DiC9py45DXIZLXMPwWCZdUgBbXNWgUR-VJdqj1HIhWEhoRM4gu-0kD_nWD_Io9iaIaOFb1QQTM_Tt8oggJmlJRtmXLI6BJ3GhrnRCxya1ZwtL0AXJmmcEP5ArGg6qUmJH5OUrSw/s1600/17.jpg" height="640" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: Arial, sans-serif;">Figure 17 – Late 19<sup>th</sup>/Early 20<sup>th</sup>
century Mohawk wall pocket, possibly from Kahnawake, in the high style of raised beadwork.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg85-yhEnvTdZsiq2tLwgYpGnMysQviC1bp6sza4tX52HRJ2-SR5CgRx-LyWIEvwPuSkjtvgycz_sRg0hdnRofIGxVGCpy-xq_M4WXSX8tYEzfSyr_xhPOPXHXRt4P99KHXarynuB4vHbx8/s1600/18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg85-yhEnvTdZsiq2tLwgYpGnMysQviC1bp6sza4tX52HRJ2-SR5CgRx-LyWIEvwPuSkjtvgycz_sRg0hdnRofIGxVGCpy-xq_M4WXSX8tYEzfSyr_xhPOPXHXRt4P99KHXarynuB4vHbx8/s1600/18.jpg" height="570" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: Arial, sans-serif;">Figure 18 – Two late 19<sup>th</sup> century
Tuscarora wall pockets with bird motifs. From the collection of Grant Jonathan. <o:p></o:p></span></div>
</td></tr>
</tbody></table>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQTvd0o4LJADPmODAa0mm6HT9IxDSQkfYS8sw0eIrWo8a0q_Tuwp9586-eYLJHTYddKO4zq6XMUIuieXsb2StXBKuh1nTbNXGfQVmJpJWJ3cMQJqU9FC3VKS5-LWUuELBSvf2sFdXKVEbl/s1600/19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQTvd0o4LJADPmODAa0mm6HT9IxDSQkfYS8sw0eIrWo8a0q_Tuwp9586-eYLJHTYddKO4zq6XMUIuieXsb2StXBKuh1nTbNXGfQVmJpJWJ3cMQJqU9FC3VKS5-LWUuELBSvf2sFdXKVEbl/s1600/19.jpg" height="530" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: Arial, sans-serif;">Figure 19 – Two late 19<sup>th</sup> century
Tuscarora wall pockets with a bird and owl motifs. From the collection of Grant
Jonathan.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf7ykxFk3qdUY_X7qooEEvaJUk3ghUnzj6qd6aDolTM1V86laIHmxcT6WnPUQ_GuDbeZwMTHQN4sXsW6cp1u-k0trTzX4HCSJFlwplLQg9ZSAZXEJ8EXTOir1XLND8VYqusPuPO79yigAD/s1600/20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf7ykxFk3qdUY_X7qooEEvaJUk3ghUnzj6qd6aDolTM1V86laIHmxcT6WnPUQ_GuDbeZwMTHQN4sXsW6cp1u-k0trTzX4HCSJFlwplLQg9ZSAZXEJ8EXTOir1XLND8VYqusPuPO79yigAD/s1600/20.jpg" height="640" width="388" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="background: white; mso-line-height-alt: 5.5pt;">
<span style="font-family: Arial, sans-serif;">Figure 20 – An earlier Tuscarora wall pocket
beaded entirely in crystal beads (1860s-1880s). Originally, there would have
been a beaded fringe along the entire perimeter of the piece. From the collection
of Grant Jonathan.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV08ZnOXwAH-7SquuLqEdrFX4vXylp4mGAUkdFfDN7III4Cuu4ELh0J6mXBFC6Oc5D_MlM-VcvVzhFZgYsgvpZ5ECcOV2gjBscAfU74t1405JgH7LJeYJZ5A8lKQUF_cTLVXpbQiL87YXy/s1600/21.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV08ZnOXwAH-7SquuLqEdrFX4vXylp4mGAUkdFfDN7III4Cuu4ELh0J6mXBFC6Oc5D_MlM-VcvVzhFZgYsgvpZ5ECcOV2gjBscAfU74t1405JgH7LJeYJZ5A8lKQUF_cTLVXpbQiL87YXy/s1600/21.jpg" height="640" width="380" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 115%;">Figure
21 – Contemporary wall pocket, in raised beadwork, by Tuscarora artist Grant
Jonathan</span><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">. </span><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Grant’s work, as well as that of other Tuscarora
beadworkers, is a powerful reminder that they are not reviving an ancient art
form, or reintroducing it, but continuing an unbroken tradition into the present day. Tuscarora raised
beadwork has always been part of their community. Beadwork is a great
storyteller that expresses the maker’s relationship to each other; it also
speaks to their relationship with nature, other communities, and to their
traditions.</span></td></tr>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span></div>
Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com0tag:blogger.com,1999:blog-8743733062223446224.post-28685884218430159622013-12-27T16:28:00.000-05:002016-05-18T11:35:16.726-04:00A Mid-19th Century Tonawanda Seneca Style of Beadwork<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , sans-serif;"> Revised January 17, 2014</span><br />
<span style="font-family: "arial" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"> In
the collection of the <a href="http://www.rmsc.org/">Rochester Museum and Science Center </a>(RMSC) in Rochester,
New York is a table cover (<span style="color: red;">figures 1a and 1b</span>)
that was made by Caroline Parker, a Seneca from the Tonawanda Reservation in
Western New York. Although it is undated, stylistic comparison to other
similarly beaded items suggests it is from the mid-nineteenth century (<span style="color: red;">figure 2</span>). The most prominent feature on the piece in <span style="color: red;">figure 1</span> is the large, central floral motif that
distinguishes it stylistically from other floral work that was done during the mid-nineteenth
century. I believe this motif, and its variations are diagnostic of a style of
floral beadwork that was done on the Tonawanda Reservation in western New York
primarily by beadworkers in the Parker family; notably Caroline Parker, her
mother Elizabeth, and Mariah, the wife of Caroline’s brother Levi. There may
also have been others in their immediate circle of beadworkers involved in the
production of this style.</span><br />
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
1a – The center section of a table cover in the Rochester Museum and Science
Center collected by Lewis Henry Morgan and created by Caroline Parker. The
cover measures 4 feet by 5.5 feet. Photo by Deborah Holler.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
1b – Detail of the flower in figure 1. Photo by Deborah Holler.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";"> Deborah Holler has written that <o:p></o:p></span></div>
<br />
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<span style="font-family: "arial" , "sans-serif";">a
recent revival of interest in Iroquois beadwork by connoisseurs and art
historians has shed new light on Caroline Parker’s artistry in clothing and
textiles, widely acknowledged to be
pivotal in the 19<sup>th</sup> century cultural exchange between the Native
aesthetic and European influences. This developing aesthetic in clothing and
textiles became an inspiration for generations of Iroquois artists, as well as
the prototype for Seneca women’s “traditional” clothing styles. Thus Carrie
Parker, it can be argued, became an arbiter of change who walked in two worlds;
that of her traditional Tonawanda Seneca and Tuscarora communities, and that of
the highest social and political realms of white society (Holler 2011:9). [<i>You can read two excellent articles about
Caroline Parker by Deborah Holler in <a href="http://wnyheritagepress.org/magazine/past_issues.html">Western New York Heritage Magazine</a>, </i>Volume
14, Number 1, Spring, 2011<i> </i>and in <i><a href="http://www.aiamagazine.com/volume/171">American Indian Art Magazine</a></i>, Volume 37,
Number 4, Autumn, 2012.]<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
2 – Tonawanda Seneca. A beaded bag with
a diagnostic flower on the back. An old newspaper used as a stiffener during
the construction of the flap is dated February, 1848. <o:p></o:p></span></div>
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<span style="line-height: 150%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> During the classic period of Haudenosaunee
(Iroquois) souvenir beadwork (1800–1840s) bags, hats, moccasins and other fanciful
items featured curvilinear and geometric designs and organic motifs. During the
dawn of the Victorian era however, (<span class="apple-style-span">the Victorian era began in June of 1837 with the reign of</span><span class="apple-converted-space"> Queen</span><span class="apple-style-span"> Victoria and ended with her
death in January, 1901</span>) a major design transformation – the rise
of the Niagara floral style – took place in Haudenosaunee beadwork (<span style="color: red;">figure 3</span>). The origin of this floral style has long
been a topic of discussion among scholars and researchers and evidence suggests
it emerged during the late 1830s, in the waning years of the classic period of
Haudenosaunee beadwork. (See Chapter 4 in <a href="http://www.gerrybiron.com/pages/publications.html">A Cherished Curiosity: The Souvenir Beaded Bag in Historic Haudenosaunee(Iroquois) Art </a>for more on this transition.) </span><span style="font-family: "arial" , sans-serif; font-size: 12pt;"><o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
3 – An assortment of mid-19<sup>th</sup> century beaded bags in the Niagara
Floral style. These were made in most Iroquois beading communities and often sold at Niagara Falls.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";"> Scholars such as Ruth Phillips have
indicated that the rapid shift from curvilinear and geometric designs to floral
motifs in mid-nineteenth century Iroquois work has been linked to Victorian
fashion trends and women’s domestic sphere (Phillips 1998). During this period,
floral beadwork became the predominate style that would be made and sold by the
Haudenosaunee. The overwhelming evidence suggests that the floral motifs illustrated
in <span style="color: red;">figure 3</span> were produced in most Haudenosaunee beading
communities, but the floral style illustrated in <span style="color: red;">figures
1a & b</span> appears to be unique to the mid-nineteenth century Seneca on
the Tonawanda Reservation.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">[F]loral
imagery can also be linked to Haudenosaunee cosmology, beginning with Skywoman,
who is also called Mature Flower, and is the model for the image of
Haudenosaunee femininity. Once on Turtle
Island, Skywoman initiates the cycle of growth of the Three Sisters (corn,
beans and squash), as well as the use of powerful plant medicines, all of which
may be included in the symbolic representation of floral imagery (Holler
2012:62).<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";"> Caroline’s mother Elizabeth is believed to
have lived on the Cattaraugus Reservation before her move to Tonawanda and she may
have developed her commercial sewing and beadwork skills under the tutelage of
Laura Wright, the wife of the Rev. Asher Wright, a missionary to the Seneca at
Cattaraugus. Wright held classes and set up an industrial shop on the
reservation.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">[Wright’s]
next step in the plan for the [Seneca] women was to teach them to make garments
for sale, and with the money thus obtained buy more material… The women… had
become thoroughly interested and imbued with the healthful fascination of
earning something, and were clamorous for more work (Caswell 1892:205-206).<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";"> Mrs. Wright was also clever in devising
ways to get Seneca women to listen to her moralizing and religious instructions. Often, she would invite them to what we might
today call a “tea meeting.” <o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">They
were at the liberty to bring their needlework, which consisted in ornamenting
their deerskin moccasins with porcupine quills, or their broadcloth skirts and
leggings with beads, or perhaps fastening a quantity of silver brooches upon
their short gowns or hats. While thus occupied, she read and explained the
gospel truths in their own language, sang hymns with them, and frequently encouraged
them to tell her some story of old times. The simple repast, which had really
brought them there and held them through the afternoon, was then served, and
they went away to think of the “good words” that had been spoken to them about
the “new way” (Caswell 1892:65).<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "arial" , "sans-serif";">Because
her so called “tea meetings” were accompanied by the teaching of the gospel,
they were opposed by many Seneca traditionalists.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";"> Elizabeth Parker’s daughter Caroline was
born sometime before 1828 and she was known to her family as “Ga-ho-na, meaning
the Blue Bell” (Parker 1919:58). <o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">By
1855, when many white settlers around her were illiterate in English, and most
American Indians did not speak English with fluency, Caroline was teaching the
“3 R’s” to Indian children on the Tonawanda Reservation. Although the laws at
the time dictated that women could not own property, and very few of the
emerging middle class worked outside their homes, Caroline earned a living
teaching and occupied a cabin of her own on the reservation. She also worked on
her parents’ farm. As her brothers left home to serve in the U. S. military and
advance their careers, she managed the family business accounts, represented
her parents to public officials and corresponded with her brothers on all
aspects of family and community life. Caroline sometimes acted as a translator
of official business for the Tonawanda Chiefs and seems to have been something
of a political operative in times of crisis (Holler 2011:12).<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">In
1864, she married Tuscarora Chief John Mt. Pleasant and moved to the Tuscarora
Reservation. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
4 – Engraving of Lewis Henry Morgan, from the 1901 edition of his <i>League of the Hodenosaunee or Iroquois</i>.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";"> Lewis Henry Morgan (<span style="color: red;">figure 4</span>), an attorney from Rochester, New York, had
an inquisitive mind and a curiosity about the Haudenosaunee. He was also loosely
affiliated with New York State Cabinet of Natural History (NYSCNH). By chance,
he met Caroline’s younger brother Ely in a bookstore and a friendship ensued. Through
Morgan’s influence, the Parkers were retained to produce examples of Seneca material
culture for the NYSCNH, the predecessor to the New York State Museum in Albany.
Although many of these items were destroyed in a devastating 1911 fire, Morgan
had illustrations made of the beaded items, in full color, which were published
in two reports for the State of New York (Morgan 1850, 1852) as well as in a
1901 reprint of his classic work on the Iroquois (Morgan 1901). Morgan also
kept examples of Caroline’s beadwork for himself, some of which were later
returned to the New York State Museum and others to the Rochester Museum and
Science Center. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";"> Regarding Caroline’s dress (<span style="color: red;">figures 5 & 6</span>), that was collected for the state,
Morgan wrote:<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">This
is without question the finest specimen of Indian beadwork ever exhibited. Next
to the article itself the plate will furnish the best description. It was made
by Miss Caroline G. Parker (Ga-Ha-No), a Seneca Indian girl, now being educated
in the State Normal School, to whose finished taste, and patient industry the
State is indebted for most of the many beautiful specimens of beadwork
embroidery now in the Indian collection. (Morgan 1852:110–111).<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";"> During the approximately three month
period between November 1849 and the end of January 1850, the Parkers provided
Morgan with over 200 items, of which about 16 pieces were beadwork. These were
collected by Morgan for the Third Regents Report. Morgan’s correspondence with the Parkers
indicates that Caroline made many of the items that were supplied to the
Cabinet of Natural History in Albany although some scholars dispute this point
as Caroline was attending school in Albany at the time and wrote that she was
overwhelmed with school work and other obligations. More than likely, the
beadwork that was provided to the state was from an existing inventory and it’s
impossible to determine at this point how much of it was made by Caroline or by
other members of her family.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";"> One of Caroline’s relations wrote that there
was a “what-not” or curio cabinet that her mother Elizabeth kept at the family
farm. One shelf contained a display of “fancy Indian beadwork,” presumably made
by Elizabeth, but there is no description of it (Parker 1919:194). Elizabeth
also “made very fine bead-work too and Aunt Carrie [Caroline] learned from her”
(Parker 1919:235). <o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
5a – Illustration of a dress made by Caroline Parker and featured in the Fifth
Regents Report to the State of New York, 1852.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
5b – An illustration of Caroline wearing the same dress. From the front plate in
Morgan’s 1901 edition of his <i>League of
the Hodenosaunee or Iroquois</i>.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnm2HC_jTELXwsqBh2SbeM56wrNr80tTRZFqZpn-cuthp4YxBKyN26lm7tZv1BkDonYFfQCuDQlt2Om5dOYLaFIGiNjDhgrojVmi8GTUOgwxclxbGTrx_MGwkr5-G4JIqAyIrHtZhracbL/s1600/06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnm2HC_jTELXwsqBh2SbeM56wrNr80tTRZFqZpn-cuthp4YxBKyN26lm7tZv1BkDonYFfQCuDQlt2Om5dOYLaFIGiNjDhgrojVmi8GTUOgwxclxbGTrx_MGwkr5-G4JIqAyIrHtZhracbL/s640/06.jpg" width="432" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
6 – Circa 1850 daguerreotype of Caroline wearing that dress.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN1XNhTxP_2OyCJ7dXomi_tHyW_t-LOXXi7CT7j44JdAdV-lrGsMsrf_sLmM-eZyKeZ8ko_AOpsgOIXW87jSnW1_3pw60H6blcuYDTJl1YA0LLez3c6KVWb2MJJZsju3EEiFg4XqsElSC2/s1600/07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN1XNhTxP_2OyCJ7dXomi_tHyW_t-LOXXi7CT7j44JdAdV-lrGsMsrf_sLmM-eZyKeZ8ko_AOpsgOIXW87jSnW1_3pw60H6blcuYDTJl1YA0LLez3c6KVWb2MJJZsju3EEiFg4XqsElSC2/s640/07.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
7 – Image on left is a detail of the bag in figure 6. The bag on the right is
the one illustrated in Morgan’s report to the Regents of the State of New York.
They appear to be the same bag. <o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif";"> The beaded bag that Caroline is holding
in <span style="color: red;">figure 6</span> is virtually identical to the colored
illustration in <span style="color: red;">figure 7</span>. Beaded bags in this
style are seen in both museum and private collections. They usually have a
scalloped flap and a scalloped lower edge, as well as several strings of beads
sewn in a tight band along the perimeter (<span style="color: red;">figure 8</span>).
The scalloping along the edge of these bags may have originated in response to
the Victorians’ love for scalloped borders as it’s rare to find a Haudenosaunee
bag with scalloped edges that predates the Victorian era.</span><span style="font-family: "calibri" , "sans-serif";"> </span><span style="font-family: "arial" , "sans-serif";">The Schedule of Articles that Morgan donated to the State
of New York in 1849 included five varieties of Ga-ya-ah [work bags] and six
varieties of Got-gwen-da [pocket books] (Tooker 1994:277) so it would seem that
Morgan collected a range of bag styles from the Tonawanda Seneca.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif";"> The floral design in <span style="color: red;">figure 1</span> is a documented example of Caroline’s work and
there are numerous objects that have survived that incorporate a virtually
identical floral motif in the design (<span style="color: red;">see figures 11,
12 & 22</span>). Except for the example in <span style="color: red;">figure 1</span>,
there are no records that assure us Caroline made any of the other items but the
bead colors, delicacy and refinement of the designs and their stylistic
similarity to the design in <span style="color: red;">figure 1</span> suggests to
me that there is a good possibility that she did; they represent the highest
level of Haudenosaunee beadwork.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif";"> Art historian Ruth Phillips has written
that Caroline Parker’s work <span style="background: yellow; mso-highlight: yellow;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "arial" , "sans-serif";">is
characterized by its flatness, great delicacy, relatively high degree of
naturalism, and its use of small, pastel, white, and translucent beads
(Phillips 1998:224).<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEhMivoIEAMrkNC9BKHWNGzMewSirBvWuN7_LbVOYnG0K-g0SxEfMRZuESy0HU9a_SrABr-TQHUmAe0FC74jvP5ezTzy28M97ESVTQ8ciaDmh4i5xbl_qFwHXVgtbudMATL3ARhyKc0ndq/s1600/08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEhMivoIEAMrkNC9BKHWNGzMewSirBvWuN7_LbVOYnG0K-g0SxEfMRZuESy0HU9a_SrABr-TQHUmAe0FC74jvP5ezTzy28M97ESVTQ8ciaDmh4i5xbl_qFwHXVgtbudMATL3ARhyKc0ndq/s640/08.jpg" width="582" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
8 – A group of mid-19<sup>th</sup> century bags that are stylistically similar
to the one in figure 7. Each has a scalloped lower edge and several strings of
beads sewn in a tight band along the perimeter.<o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif";"> In Morgan’s Fifth Regents Report to the
State of New York, he illustrates a pincushion that he collected from the
Parkers (<span style="color: red;">figure 9</span>) which is very similar to one that
was collected at Niagara Falls in 1850 (<span style="color: red;">figure 10</span>).
They both have similarities to the large floral design described above and
likely represent a Tonawanda Seneca style, though not necessarily one that was
made by the Parkers. Beadworkers seldom worked in isolation so there might have
been some borrowing of ideas and designs among mid-nineteenth century Tonawanda
beadworkers which would account for the similarities in their work. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0EU7Nt5gKGBmiVN5Cvjrs2dbU36to3QWWtBhMzl_iFfJFbWZ9WZge56Ny8VAowCJPjtGR4GWhcs7XKg_lp4sE7yV2RGrhRn82bQj2J65tIN-iUyhquJz8vTlfIWmD93eTQiUq8drPFlkx/s1600/09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0EU7Nt5gKGBmiVN5Cvjrs2dbU36to3QWWtBhMzl_iFfJFbWZ9WZge56Ny8VAowCJPjtGR4GWhcs7XKg_lp4sE7yV2RGrhRn82bQj2J65tIN-iUyhquJz8vTlfIWmD93eTQiUq8drPFlkx/s640/09.jpg" width="610" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
9 – Pincushion collected from the Parkers and illustrated in Morgan’s Fifth
Regents Report to the State of New York January 22, 1851, Plate 19.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisNnBFomzsw3Z3qI-R1S5T0tf-GOXMdb1ewii96GG8fXqCpkPF7pWn9L-pI3E73vUknfWOiwqPkk6bZKExO1V2agI9G8fRIRFSi68u3IKAa4GOS4F-f4X7fRjR8XbdYFLubB-T7py3_TUE/s1600/10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisNnBFomzsw3Z3qI-R1S5T0tf-GOXMdb1ewii96GG8fXqCpkPF7pWn9L-pI3E73vUknfWOiwqPkk6bZKExO1V2agI9G8fRIRFSi68u3IKAa4GOS4F-f4X7fRjR8XbdYFLubB-T7py3_TUE/s640/10.jpg" width="630" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
10 – Tonawanda Seneca pincushion, 6 inches wide. An inked inscription on the back reads:
“Bought at the Bath House on Bath Island, Falls of Niagara, Sept. 27, 1850.”
There is also a name after the date but it’s barely legible, although it
possibly says Peterman. Bath Island was one of several islands in the Goat
Island complex. Access to Goat Island was from Bath Island where a visitor
would first have to pay a toll. There was a concession at the Bath Island Toll
House that sold so called “Indian curiosities.” The close similarity of this pincushion
to the one illustrated Morgan’s Fifth Regents Report suggests that it could
have been made by the Parkers or someone in their immediate beading circle.<o:p></o:p></span></div>
</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW-wbKATMbSLzEliI1PGELA84vhQ3wAfpI3xp1mWxr1Hjvd0z4K__FAJTM4HROoUZgYOXzZD7PagLzMhE9vTiaaIoVYeI8IlKdrfNN3iFNEu-deN-WYrXnyii4F_2EYmpBAx2dfTmGuy7X/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW-wbKATMbSLzEliI1PGELA84vhQ3wAfpI3xp1mWxr1Hjvd0z4K__FAJTM4HROoUZgYOXzZD7PagLzMhE9vTiaaIoVYeI8IlKdrfNN3iFNEu-deN-WYrXnyii4F_2EYmpBAx2dfTmGuy7X/s640/11.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Figure 11 – From the
collection of <a href="http://memorialhall.mass.edu/home.html">Memorial Hall Museum,</a> Deerfield, Massachusetts. The similarity of
the flower to the one in figure 1 is striking.</span></td></tr>
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<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> The
bags in <span style="color: red;">figures 12</span> through <span style="color: red;">17</span> also have a variation of that large, central floral
motif. Other distinguishing features on these bags include a tight band of
beads along a scalloped perimeter. Additionally, like the table cover in <span style="color: red;">figure 1</span>, they incorporate some variation of the dendrite
or spray work along the perimeter of the flower that might symbolizes the world
tree from the Iroquois creation story (Parker 1912:616-620). The large flower
could be a stylized representation of the sun depicted atop the celestial or
world tree also from the creation story. Although the Parkers adapted their
lifestyle to co-exist with Europeans and presented their work to Victorian
consumers in a way that was acceptable to them, they could still covertly
incorporate symbols in their work that had cultural significance to them. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMhtyrrSRAPjsvQv8-2dnMqQDntXnp0sl4uXCBcwxt0ua1691C0om5RLH78sy28EwaWjIxfM0d1gNwhGEwCZ9sIviptvY_yFEXhOvPvG10ANIhr9opdMJVJKoen2vglE9KtE3NMlkZaIAq/s1600/12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMhtyrrSRAPjsvQv8-2dnMqQDntXnp0sl4uXCBcwxt0ua1691C0om5RLH78sy28EwaWjIxfM0d1gNwhGEwCZ9sIviptvY_yFEXhOvPvG10ANIhr9opdMJVJKoen2vglE9KtE3NMlkZaIAq/s640/12.jpg" width="574" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<span style="font-family: "arial" , "sans-serif";"><span style="font-size: x-small;">Figure
12 – Beaded bag, likely Tonawanda Seneca, mid-19<sup>th</sup> century.</span><span style="font-size: 12pt;"><o:p></o:p></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrbccGR53eChpx0tFmyfylYn6Z-evU0uJmWIYwXyv0Tnetx_vH_FpHJARdjq7cnHB7RoyfRMf_T1boz7xWFH5zeS_LHXr8SqMHE00H6WmVKvcr08Cicp6y6YUO1TM1XgB3mZzN8bx6NMWB/s1600/13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrbccGR53eChpx0tFmyfylYn6Z-evU0uJmWIYwXyv0Tnetx_vH_FpHJARdjq7cnHB7RoyfRMf_T1boz7xWFH5zeS_LHXr8SqMHE00H6WmVKvcr08Cicp6y6YUO1TM1XgB3mZzN8bx6NMWB/s640/13.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<span style="font-size: x-small;"><span style="font-family: "arial" , "sans-serif";">Figure
13 – Beaded bag, likely </span><span style="font-family: "arial" , sans-serif;">Tonawanda</span><span style="font-family: "arial" , sans-serif;"> </span><span style="font-family: "arial" , sans-serif;">Seneca, mid-19</span><sup style="font-family: Arial, sans-serif;">th</sup><span style="font-family: "arial" , sans-serif;"> century.</span></span></div>
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<div class="MsoNormal" style="line-height: 150%;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguzHcah-nOyWY0hgy9_oBgrKoJ-pOVsDhFf7hUVVERL5LXSXSoaZObQhEuWGFwsJW7jxxgVW7k1cvQTdIcOeBAcR2TZV_WYsua5TloE2NqlbMVmLJdpCP7k289kE7ivyMOu10mI6f7G0nZ/s1600/14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguzHcah-nOyWY0hgy9_oBgrKoJ-pOVsDhFf7hUVVERL5LXSXSoaZObQhEuWGFwsJW7jxxgVW7k1cvQTdIcOeBAcR2TZV_WYsua5TloE2NqlbMVmLJdpCP7k289kE7ivyMOu10mI6f7G0nZ/s640/14.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<span style="font-size: x-small;"><span style="font-family: "arial" , "sans-serif";">Figure
14 – Beaded bag, likely </span><span style="font-family: "arial" , sans-serif;">Tonawanda</span><span style="font-family: "arial" , sans-serif;"> </span><span style="font-family: "arial" , sans-serif;"> Seneca, mid-19</span><sup style="font-family: Arial, sans-serif;">th</sup><span style="font-family: "arial" , sans-serif;"> century.</span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhXnjgtLKxsHHH8Os_DjwXSMq_hgDSTZSkbUBVPLhv7gIA_KK-LKSde9J3dSPXKzTjpmcjf1CI18tmtvyfZrKnZC_Dib_AOXgYbt3wUG6IekBE5E7gqK89ivl4pmaP5CTb0Xj_vXIGIxBy/s1600/15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhXnjgtLKxsHHH8Os_DjwXSMq_hgDSTZSkbUBVPLhv7gIA_KK-LKSde9J3dSPXKzTjpmcjf1CI18tmtvyfZrKnZC_Dib_AOXgYbt3wUG6IekBE5E7gqK89ivl4pmaP5CTb0Xj_vXIGIxBy/s640/15.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<span style="font-size: x-small;"><span style="font-family: "arial" , "sans-serif";">Figure
15 – Beaded bag, likely </span><span style="font-family: "arial" , sans-serif;">Tonawanda</span><span style="font-family: "arial" , sans-serif;"> </span><span style="font-family: "arial" , sans-serif;">Seneca, mid-19</span><sup style="font-family: Arial, sans-serif;">th</sup><span style="font-family: "arial" , sans-serif;"> century.</span></span></div>
</td></tr>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoRIm616Ro7Wrd57lMzMEecIj19A2XPo5VUOc4C1mQ_rty_Kr0xsVNiE2Sp2my6PLfyNqALeu5JtLAZIprSk65km34-fTiUZvmK56BeJWJNCM4k_68GTiLBLLXpV8jugFFCPBWqd1AOqQN/s1600/16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoRIm616Ro7Wrd57lMzMEecIj19A2XPo5VUOc4C1mQ_rty_Kr0xsVNiE2Sp2my6PLfyNqALeu5JtLAZIprSk65km34-fTiUZvmK56BeJWJNCM4k_68GTiLBLLXpV8jugFFCPBWqd1AOqQN/s640/16.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<span style="font-size: x-small;"><span style="font-family: "arial" , "sans-serif";">Figure
16 – Beaded bag, likely </span><span style="font-family: "arial" , sans-serif;">Tonawanda</span><span style="font-family: "arial" , sans-serif;"> </span><span style="font-family: "arial" , sans-serif;">Seneca, mid-19</span><sup style="font-family: Arial, sans-serif;">th</sup><span style="font-family: "arial" , sans-serif;"> century.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicpCdNBaD8-eSEPykA4NDnQN_TYviruB10bm97xBBtk8zHMEhkKipqph1yg0Oy2kbSrReSnD6vOVDmh8fEBHWlMvBEWYxbvvpkESo8dXu_GyselqVl_0JZ2OyIuM-YY0vyDOcyATW7boQ_/s1600/17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicpCdNBaD8-eSEPykA4NDnQN_TYviruB10bm97xBBtk8zHMEhkKipqph1yg0Oy2kbSrReSnD6vOVDmh8fEBHWlMvBEWYxbvvpkESo8dXu_GyselqVl_0JZ2OyIuM-YY0vyDOcyATW7boQ_/s640/17.jpg" width="586" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<span style="font-size: x-small;"><span style="font-family: "arial" , "sans-serif";">Figure
17 – Beaded bag, likely </span><span style="font-family: "arial" , sans-serif;">Tonawanda</span><span style="font-family: "arial" , sans-serif;"> </span><span style="font-family: "arial" , sans-serif;">Seneca, mid-19</span><sup style="font-family: Arial, sans-serif;">th</sup><span style="font-family: "arial" , sans-serif;"> century.</span></span></div>
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<span style="font-family: "arial" , sans-serif; line-height: 150%;"> </span><span style="font-family: "arial" , sans-serif; line-height: 150%;">“The art of flowering” – as the Parkers
termed it – is what they were noted for:</span><br />
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "arial" , "sans-serif";">In
doing this work, the eye and the taste are the chief reliances, as they use no
patterns except as they may have seen them in the works of others. In combining
colors certain general rules, the result of experience and observation, are
followed, but beyond them each one pursued her own fancy. They never seek for strong contrasts, but
break the force of it by interposing white, that the colors may blend
harmoniously. Thus light blue and pink beads, with white beads between them, is
a favorable combination; dark blue and yellow, with white between, is another;
red and light blue, with white between, is another; and light purple and dark purple,
with white between, is a fourth. Others might be added were it necessary. If
this beadwork is critically examined it will be found that these general rules
are strictly observed; and in so far as beadwork embroidery may be called a
systematic art. The art of flowering, as they term it, is the most difficult
part of the beadwork, as it requires an accurate knowledge of the appearance of
the flower, and the structure and condition of the plant at the stage in which
it is represented (Morgan 1852:111).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "calibri" , "sans-serif";"> </span><span style="font-family: "arial" , "sans-serif";"><o:p></o:p></span></div>
</div>
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<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLMRniGZtBFI6kC1RZxUzoCkX-bPDjvzThE5ySBi3qh6uEF9CkIQjsrbEZXBs4M15pe5Bbufhb-kxb1wLvDr9uqvQkd-Dh9buq9LUUYikqb2ZSy1TVzIEnV4ZDNGCb19YOwF5smGwRB_UL/s640/18.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
18 – Beaded Glengarry hat on red wool Stroud with a green silk ribbon edging. Mid-19<sup>th</sup>
century. The top panel incorporates the large diagnostic flower. Other flowers
are depicted in various stages of blossoming, a characteristic found on work by
the Parkers.<o:p></o:p></span></div>
</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXUD5n0SdREeZEgyvepVCk3bO0TUySojpmxhsPauygzlUVSkZFoJ3SBxZ_WTENzdHeLo6scGBfC6JTyE82M3G0iwvlCpDlV1U6W_p9gy5jpZTW60txIqQ_LeCCMY-HmUtOmr1SWSxAc7ke/s1600/19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="566" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXUD5n0SdREeZEgyvepVCk3bO0TUySojpmxhsPauygzlUVSkZFoJ3SBxZ_WTENzdHeLo6scGBfC6JTyE82M3G0iwvlCpDlV1U6W_p9gy5jpZTW60txIqQ_LeCCMY-HmUtOmr1SWSxAc7ke/s640/19.jpg" width="640" /></a></td></tr>
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<div class="MsoEndnoteText">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
19 – Large beaded pillow in the Tonawanda Seneca style. <o:p></o:p></span></div>
</div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> We
are not limited to examples of beaded bags in our search for items with this
characteristic flower. <span style="color: red;">Figures 18 – 20</span> highlight
other examples of souvenir art with this diagnostic element. The Glengarry hat
in <span style="color: red;">figure 18</span>, although missing the dendrite or
spray work along the perimeter of the flower, incorporates other elements that
point to a Tonawanda origin and possibly to Caroline Parker. In many of the
objects that can be stylistically attributed to the Parkers, flowers are often
represented in different stages of blossoming and that feature is most apparent
on the side panels of the hat. The large flower on the top could also be a
stylistic representation of the sun mounted atop the world tree. <span style="color: red;">Figure 19</span> is a large pillow which again shows the
characteristic central floral element with the dendrite or spray work. This is
surrounded by many strings of beads in a scalloped perimeter very much like the
beaded bags. Other features are the flowers that are represented in different
stages of blossoming. The piece in <span style="color: red;">figure 20</span> is
a lovely tri-fold, calling card wallet shown opened. There are also numerous pieces that don’t
have the large central flower but incorporate other elements that are seen in
examples that do (<span style="color: red;">figure 21</span>).</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrdN9R1XKuZypWEEAPZmqyDluLibzpqAtf440U9z7PFSS9hfypDmQmMqAmuIfE_pKOetLDDbX6evmp16XDkTrkrO_qI3QRBpayOUYNirGJdg5TPkwFJnk9gc6YB_5Mxh4dSWaTHDKRhGZC/s1600/20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrdN9R1XKuZypWEEAPZmqyDluLibzpqAtf440U9z7PFSS9hfypDmQmMqAmuIfE_pKOetLDDbX6evmp16XDkTrkrO_qI3QRBpayOUYNirGJdg5TPkwFJnk9gc6YB_5Mxh4dSWaTHDKRhGZC/s1600/20.jpg" width="366" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
20 – Tri-fold calling card wallet with the diagnostic flower.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip2tEfQ2BHiTa-Cp3sPlEUoYc7IuUnj5oLLEaoTGU6MbXQrfPUo0a_ltGMldjZWj9_dgH1-33s94udSHkadM6iCruGaXhn4fuTyZfVExOkulDESvxUq9MI_T6Qkx04M21JWHVf1fT_26gE/s1600/21.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip2tEfQ2BHiTa-Cp3sPlEUoYc7IuUnj5oLLEaoTGU6MbXQrfPUo0a_ltGMldjZWj9_dgH1-33s94udSHkadM6iCruGaXhn4fuTyZfVExOkulDESvxUq9MI_T6Qkx04M21JWHVf1fT_26gE/s640/21.jpg" width="550" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
21 – A group of beaded items without the large diagnostic flower yet still
incorporating other elements found on examples that do.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzA6coNJUGZ_ijH_hKB7J1VbpD3Q9xv__2WDGoMVqYTB3MpINoNoU-6RX11YsxNxGNE4b1VerZMtp9HwcI3e197b2fzaiQeMwZuAFeKNbyL57AU2FEY4vo187hksFGc-kUPxG3NOFu-pn6/s1600/22.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzA6coNJUGZ_ijH_hKB7J1VbpD3Q9xv__2WDGoMVqYTB3MpINoNoU-6RX11YsxNxGNE4b1VerZMtp9HwcI3e197b2fzaiQeMwZuAFeKNbyL57AU2FEY4vo187hksFGc-kUPxG3NOFu-pn6/s1600/22.jpg" width="640" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
22 – Beaded bag/satchel, Tonawanda Seneca type (both sides shown), dark blue
velvet, glass beads, silk ribbon edge binding; circa 1850. The cord strap is
wrapped with silk ribbon, in a similar fashion as the one in figure 24. 12
inches high by 12 inches wide. The similarity of the large central flower to
the one in figure 1 suggests to me that it could be the work of Caroline
Parker. The beading technique and the
floral patterns on the side with the flap are nearly identical to those on a
skirt in the Rochester Museum and Science Center, number 70.89.61 that is
attributed to Caroline Parker (See: Phillips 1998:225, fig. 6.23). <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "arial" , sans-serif; line-height: 150%;">
</span><span style="font-family: "arial" , sans-serif; line-height: 150%;">Perhaps two of the most striking pieces that incorporate floral elements
attributable to the Parkers are the large bags/satchels in </span><span style="color: red; font-family: "arial" , sans-serif; line-height: 150%;">figures 22 </span><span style="font-family: "arial" , sans-serif; line-height: 150%;">and</span><span style="color: red; font-family: "arial" , sans-serif; line-height: 150%;"> 23</span><span style="font-family: "arial" , sans-serif; line-height: 150%;">.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFcA05aQuAagRV3rRp2F5xG21Egh3MR-pJaw0PigWkGnwB5VTSRtQl6xr_EzALbF5lv8a4goF0tqGvdXeaIS6GR2DVFdb1Lp-8rZaL-DJURxw_IxgV7FqDeiYlsC7nJqICG3RkVkWno8f/s1600/23.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXFcA05aQuAagRV3rRp2F5xG21Egh3MR-pJaw0PigWkGnwB5VTSRtQl6xr_EzALbF5lv8a4goF0tqGvdXeaIS6GR2DVFdb1Lp-8rZaL-DJURxw_IxgV7FqDeiYlsC7nJqICG3RkVkWno8f/s640/23.jpg" width="640" /></a></td></tr>
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<div class="MsoEndnoteText">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
23 – B<span style="color: #222221;">eaded bag/satchel, Seneca type </span>(both
sides shown). <span style="color: #222221;"> Glass beads, red velvet, green silk ribbon
edge binding. Mid-19<sup>th</sup> century. </span>11.3 inches high x 14 inches wide.
Originally from the estate of William Waldegrave Palmer (1859–1942), the Second
Earl of Selborne and the son of Roundell Palmer (1812–1895), the first Earl of
Selborne. Remarkably similar to an example attributed to the Parkers and
illustrated in the Fifth Regents Report to the State of New York; see figure
24. <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">The example in <span style="color: red;">figure 22</span>
is from a remarkable collection that was illustrated in the publication titled:
<i>Pleasing the Spirits</i> by Douglas C.
Ewing in 1982, figure 252 although there is no known record linking it directly
to Caroline. The bag in <span style="color: red;">figure 23</span> is from the
estate of William Waldegrave Palmer, the Second Earl of Selborne (1859 –
1942). Palmer served for a time as High
Commissioner to South Africa and before that was Under Secretary to the British
Colonies. This bag could have belonged
to his father Roundell Palmer (1812 – 1895), the First Earl of Selborne, who
may have been one of the many foreign dignitaries that were frequent visitors
to the Parker/Mt. Pleasant homestead near Niagara Falls. What is remarkable
about this example is its similarity to a satchel illustrated in Morgan (<span style="color: red;">figure 24</span>).</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-tUluA2OdCbYBXv1QUQOqDVWCu2L6j9c9rqJoP9CbfdXyra1z0MI4niSGXTvlGXzNl0U_bVjV32_Urs4EW-sqI3JCt2iwV_Jwb99s8kq6Y5RIPjk2PRquv-LKrFlGobGNgGPcz5YV6fgN/s1600/24.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-tUluA2OdCbYBXv1QUQOqDVWCu2L6j9c9rqJoP9CbfdXyra1z0MI4niSGXTvlGXzNl0U_bVjV32_Urs4EW-sqI3JCt2iwV_Jwb99s8kq6Y5RIPjk2PRquv-LKrFlGobGNgGPcz5YV6fgN/s640/24.jpg" width="430" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoEndnoteText">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Figure
24 – Beaded satchel attributed to the Parker's and illustrated in the <i><span style="color: #222221;">Report on the
Fabrics, Inventions, Implements and Utensils of the Iroquois</span></i><span style="color: #222221;">, Made to the Regents of the University, Jan. 22, 1851,
by Lewis Henry Morgan, plate 18.<o:p></o:p></span></span></div>
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<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif";">Morgan
described the satchel in his 1850 Tonawanda field notes as a beautiful example
of Seneca beadwork.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "arial" , "sans-serif";">Upon
one side of the lower figure is designed to represent a rosebush, with its
flowers at different stages of maturity from those [which] are just opening to
those [which] are in full bloom. The success of the imitation although not
perfect by any means is yet quite striking. It is quite easy to detect the opening
rose in the bud at the left. The same thing is attempted on the rose at the
top. On the reverse side are two stars, which as specimens of fancywork, are
certainly very tastefully and ingeniously made. It is an imitation of the
ordinary travelling bag of the whites, and not an Indian article. [As quoted
in: (Tooker 1994:152–153)].<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<br />
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif";"> The beading technique used for the floral
decorations on both Palmer’s bag and Morgan’s satchel appears identical, and
each depicts flowers that are in various stages of blossoming. Even the method used to create the stems is
distinctive, comprised of adjacent and repeated bead segments which create the
illusion that the beads are twisted together. Morgan indicated in his notes that
the Parkers sent him five of these sizable bags in 1849. Both these bags were conceivably made by the
same hand, and possibly by one of the Tonawanda Parkers.<o:p></o:p></span></div>
</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaMXMvmJJ_pePEb2ldEADxRo-PlJLF58VP4VaMzgw_dPkZEBuj426iP21WQ8i2BOn_rDjbAj_1LQBmlqqDGGNBP3AMfwtbFTJn9lnzP3ZT8KCgzG1a77049GnOCFC73-ZrGxLZZnT79ZpX/s1600/25.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaMXMvmJJ_pePEb2ldEADxRo-PlJLF58VP4VaMzgw_dPkZEBuj426iP21WQ8i2BOn_rDjbAj_1LQBmlqqDGGNBP3AMfwtbFTJn9lnzP3ZT8KCgzG1a77049GnOCFC73-ZrGxLZZnT79ZpX/s640/25.jpg" width="464" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Figure 25 – Late 19<sup>th</sup>
century cabinet card of Caroline Parker wearing a dress with beaded
decorations, possibly by her own hand. </span></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif";"> Caroline (figure
25) died in 1892 and her obituary appeared in the <i>New York Times</i>. <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">
<b><span style="font-family: "arial" , "sans-serif";">A
Noted Indian Woman Dead. </span></b></div>
<div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">
<b><span style="font-family: "arial" , "sans-serif";">The Widow of the Chief of the Six Nations.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "arial" , "sans-serif";">Lockport,
N.Y., March 20. – The death of Caroline Mountpleasant, wife of the late chief
of the Six Nations, John Mountpleasant, yesterday, aged sixty years, removes
one of the most prominent Indian women of the time. Mrs. Mountpleasant was a
sister of the celebrated Indian General Parker, now of New York, who served so
gallantly in the civil war, earning his title of brigadier General.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "arial" , "sans-serif";">The
deceased had received an academic education and was well read in literature,
particularly regarding Indian matters. She proved of great help to her husband
in his efforts to elevate and educate the various tribes of the Six Nations.
Mrs. Mountpleasant, after his death, retained her home with the Tuscaroras, on
the reservation, where her influence in religious, educational, and commercial
matters was strongly felt. Her home was a large finely appointed house in the
midst of the reservation, very picturesquely situated. It was one of the most
complete museums of Indian relics and curiosities, and was visited by thousands
of prominent American and noted English and foreign tourists. The other
appointments of the place, such as barns and out-dwellings, were on a mammoth
scale.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoEndnoteText" style="margin-left: .5in;">
<span style="font-family: "arial" , sans-serif;">The funeral of the dead Indian woman will be
held to-morrow (<i>New York Times</i>, March
21, 1892, page 4).<span style="font-size: 12pt;"><o:p></o:p></span></span></div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoEndnoteText">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0n_sdPhKdLH0OJvfaWNE-f2jchvoxH9ikZghfvzoQFU8LPxlfq34vTFbeU37No2tuOGoR-85kH6Wks8-Sr6F_ipc5Z9CYWHLn5DrkI3PG4ebWKaeNA8wAxlYp6MshJN2xfD12cvC-VFe/s1600/book-cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0n_sdPhKdLH0OJvfaWNE-f2jchvoxH9ikZghfvzoQFU8LPxlfq34vTFbeU37No2tuOGoR-85kH6Wks8-Sr6F_ipc5Z9CYWHLn5DrkI3PG4ebWKaeNA8wAxlYp6MshJN2xfD12cvC-VFe/s1600/book-cover.jpg" /></a></td></tr>
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<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">If you have an interest in Northeast Woodland beadwork you
might find my book of interest. <a href="http://www.gerrybiron.com/pages/publications.html" target="_blank">Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron</a>. </span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">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.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">REFERENCES
CITED<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif";">Biron,
Gerry<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">2012 <i>A Cherished Curiosity: The Souvenir Beaded
Bag in Historic Haudenosaunee (Iroquois) Art</i>. Published by the author.
Saxtons River, Vermont.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif";">Caswell,
Harriet S.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1892 <i>Our Life Among the Iroquois Indians</i>.
Congregational Sunday-School and Publishing Society, Boston and Chicago.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif";">Holler,
Deborah<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">2011 “The
Remarkable Caroline G. Parker Mountplasant, Seneca Wolf Clan<i>.”</i>
<i>Western New York Heritage Magazine</i>,
Vol. 14, No. 1, Spring.</span><br />
<span style="font-family: "arial" , "sans-serif"; line-height: 150%; text-align: justify; text-indent: 0px;">2012 “Fashion, Nationhood and Identity: T</span><span style="font-family: "arial" , sans-serif; line-height: 150%; text-align: justify; text-indent: -0.5in;">he
Textile Artistry of Caroline G. Parker.” </span><i style="font-family: Arial, sans-serif; line-height: 150%; text-align: justify; text-indent: -0.5in;">American
Indian Art Magazine</i><span style="font-family: "arial" , sans-serif; line-height: 150%; text-align: justify; text-indent: -0.5in;">, Volume 37, Number 4, Autumn.</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif";">Morgan, Lewis Henry<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1901 League of the Hodenosaunee or Iroquois, A New
Edition, with Additional Matter. Edited and Annotated by Herbert M. Lloyd.
Volume I & II. Dodd, Mead and Company, New York.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1850 “Report
to the Regents of the University, upon the Articles Furnished to the Indian
Collection.” In <i>The</i> <i>Third Annual Report of the Regents of the
University on the Condition of the State Cabinet of Natural History and
Antiquarian Collection, Annexed Thereto </i>pp. 63 – 93. Revised Edition:
Printed by Weed, Parsons and Company, Albany.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1852 “Report
on the Fabrics, Inventions, Implements and Utensils of the Iroquois, Made to
the Regents of the University, Jan. 22, 1851; Illustrative of the Collection
Annexed to the State Cabinet of Natural History, with Illustrations.” In <i>The
Fifth Annual Report of the Regents of the University on the Condition of the
State Cabinet of Natural History and the Historical and Antiquarian Collection,
Annexed Thereto</i>, pp 68 – 117. Printed by Richard H. Pease, Albany.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";"> </span><span style="font-family: "arial" , sans-serif; line-height: 150%;">Parker,
Arthur C.</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1912
“Certain Iroquois Tree Myths and
Symbols” in the <i>American Anthropologist</i>,
Vol. 14.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1919 <i>The Life of General Ely S. Parker, Last
Grand Sachem of the Iroquois and General Grant’s Military Secretary</i>. The
Buffalo Historical Society, Buffalo, New York.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">Phillips, Ruth<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1998 <i>Trading Identities: The Souvenir in Native
North American Art from the Northeast, 1700 – 1900</i>. University of
Washington Press, Seattle and London: McGill-Queen’s University Press, Montreal
and Kingston.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif";">Tooker,
Elizabeth<o:p></o:p></span></div>
<div style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "sans-serif";">1994 <i>Lewis
H. Morgan on Iroquois Material Culture</i>. The University of Arizona Press.<o:p></o:p></span></div>
</div>
</div>
Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com2tag:blogger.com,1999:blog-8743733062223446224.post-72782762644616936832013-12-02T09:29:00.000-05:002013-12-02T09:29:07.575-05:00The Wabanaki and the Plymouth (Mass) Tercentenary of 1921<div class="MsoNormal">
<span style="font-family: Arial, sans-serif;">From June to
September of 1921, the town of Plymouth, Massachusetts celebrated the three
hundredth anniversary of the landing of the Pilgrims with their Tercentenary
Pageant. Although most of the country celebrated this event in 1920, many
believed that beginning with November 1920, the celebration should continue for
an entire year. Half a million dollars was appropriated by Congress to put on the event and political figures were on hand to eulogize the Pilgrims and their exploits. T</span><span style="font-family: Arial, sans-serif;">he pageant employed over
1000 costumed actors and a trained chorus of 300 voices which presented famous
incidents in the life of the pilgrims.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Timothy
Messer-Kruse wrote, in Ohio’s Bicentennial, that<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: Arial, Helvetica, sans-serif;">History was then a
pastiche of myth and misrepresentation. The Pilgrims were depicted as
enterprising, law-abiding, selflessly Christian – though perhaps somewhat dour
– and overly temperate people. What historians tell us about their intolerant
theocratic tendencies, their good fortune at landing at the site of an
abandoned Indian village with corn still standing in the fields, their
incessant bickering among themselves (they would become the most litigious
community in America), or their typical pre-modern habits of life (Increase Mather
wrote: “Drink is in itself a good creature of God, and to be received with
thankfulness...” was, of course, absent. So little attention was given to
actual history in this event that pilgrims were depicted nobly on horseback
when, in fact, no horses took passage on the Mayflower.</span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Perhaps a
little known aspect of Wabanaki culture was their participation in the Plymouth
Tercentenary in 1921. The following announcement in the <i>Old Colony Memorial</i> of July 15, 1921 mentions that the
Passamaquoddy from Maine would be in attendance. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: "Arial","sans-serif";">One of the most picturesque
attractions of the town in connection with the tercentenary is the camp of the
Passamaquoddy Indians at Little Pond in Morton Park, and beginning tomorrow,
Saturday afternoon at 3 o’clock, there will be water sports on the pond
followed by war dances in full native costumes. The public is invited without
charge… one of the large motor busses is making frequent trips from the town
center to the camp at the reasonable charge of thirty-five cents for the round
trip.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">In writing
about this announcement in their book titled <i>Celebrating Ethnicity and Culture – American Festive Culture from the
Revolution to the Early 20<sup>th</sup> Century, </i>the authors point out that
it<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: "Arial","sans-serif";">reads like a commercial for an early
variant of a (post)modern theme park, with Native Americans as true-to-life
actors and fashionable leisure-time entertainment for the sight-seeing
tercentenary celebrants. Coming to Plymouth “under a contract with the
Tercentenary Committee,” the members of the Passamaquoddy tribe and their
display of Native American culture “turned out to be one of the most popular
attractions of the Tercentenary Celebration,” and the “success of the village”
was cited to justify the contract price (<i>Old
Colony Memorial</i> September 9, 1921). The ethnocentric paternalism of this
appropriation of Native American culture shows in the “picturesque” quality of
the display and in the stereotypification in the <i>Old Colony Memorial</i> (September 9, 1921) on the occasion of the
closing of the site: “The Indians were a fine lot of people. Plymouth people
who came in contact with them found them honest and upright. They are a kindly
and intelligent lot of folks.” <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">The Penobscot
were also present there as the June 23, 1921 edition of the Hamptons Union
newspaper (Hampton, New Hampshire) indicated that large crowds were present at
Hampton Beach when Newell Tomah and Johnnie Ranco <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: Arial, Helvetica, sans-serif;">who were travelling
down the coast in a birch bark canoe to attend the Pilgrim tercentenary at
Plymouth, put in from the sea for a rest. J. A. Tucker, newly elected secretary
of the Board of Trade, who had been notified that the Indians would pass the
beach sometime Sunday, was on the lookout all day and when he sighted the canoe
passing Boar's Head, one mile out to sea, a boat was sent out to invite the
Indians in.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: Arial, Helvetica, sans-serif;">As the canoe
containing the braves came riding in on the waves opposite the Casino a large
crowd congregated at the edge of the breakwater to receive them. After drawing
their canoe far up on the sands, the Indians were taken to the band stand,
where a band concert was in progress and introduced to the large assembly by
Secretary Tucker. The braves acknowledged the loud cheering that followed with
bows, and Ranco, who acted as spokesman for the two, gave a brief detailed story
of the trip as far as they had gone.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Arrayed in the
feathers, paint, buckskin, and beads of their forefathers, the braves had left
the reservation at Indian Island, Me., 12 miles up the river from Bangor, Me.,
on Monday, the 13th, on the first lap of their 300 mile voyage to Plymouth.
Their departure from Indian Village was made the occasion of a parade,
congratulations, music by an Indian band, and an address by several "white
chiefs of the town". Thirty Indian families left Indian Island at the same
time for the same destination, but Tomah and Ranco were the only two to travel
by sea in a canoe.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: Arial, Helvetica, sans-serif;">There is no stormier
stretch of American Atlantic coast than that between Penobscot bay and Cape
Cod. While passing around Pemaquid point the two Indians encountered waves 30
feet high. Ranco stated that they knew that their ancestors cruised all along
the Atlantic shore from Passamaquoddy bay to Boston in birch bark canoes
without mishap and they, Ranco and Tomah, felt safe in their birch canoe,
although it is only 17 ½ feet long and 30 inches wide.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: Arial, Helvetica, sans-serif;">The Indians carried
a complete camping outfit, sleeping ashore, putting in at convenient harbors.
Both are noted Penobscot River woodsmen and log drivers and used to rough water
on the big lakes. Both speak excellent English. They stated that the reception
at Hampton was the best given them at any place they had landed since the start
of their trip and because of this they decided to make their stop at Hampton
Beach last overnight, renewing their journey early the next morning.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 2pt 0.5in;">
</div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Following the
introduction of the braves they were treated to their first aeroplane ride. The
three passenger plane, piloted by "Bob" Fogg, bore the bronzed
natives over to Salisbury beach and back. On returning the Indians stated that
the ride was much too short and that riding in an aeroplane was much less
hazardous than manning a canoe over 30 foot waves. Following the aeroplane ride
they erected their wigwam and received visits from hundreds.</span></div>
<div style="background: #FFFFFA; margin-bottom: 2.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">A Wolfeboro,
New Hampshire photography magazine reported that thirty Passamaquoddy Indians,
including William Neptune, their former governor, would also be travelling to
Plymouth.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: "Arial","sans-serif";">They will take along their wigwams,
birch-bark canoes, costumes and war-implements, and will manufacture baskets,
give war and peace dances, and take part in pageants. This will be interesting
news to camera visitors who may have but a slight personal acquaintance with
the descendents of the original Americans. <i>Photo
Era Magazine – The American Journal of Photography</i> - May 1921, Wolfeboro,
New Hampshire, page 266.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<br />
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">There were
numerous real photo postcards taken of this event and below is a small sampling
of them, mostly from my personal collection, that gives us a glimpse into this seldom
explored aspect of Wabanaki history.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju_ehycAa4cKDMMVLnKLryzKNEpguGWMzwkxOrpNyOtiXgF4EUxk_yRG98Po7OYWPYm9PBlUV1qgGbpyPIiwEPxY2qMx7-SqIktpRVv2gNLaEeK0Cdbg45DIdTeGLMGCM8wdwBfLvTzSb3/s1600/01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju_ehycAa4cKDMMVLnKLryzKNEpguGWMzwkxOrpNyOtiXgF4EUxk_yRG98Po7OYWPYm9PBlUV1qgGbpyPIiwEPxY2qMx7-SqIktpRVv2gNLaEeK0Cdbg45DIdTeGLMGCM8wdwBfLvTzSb3/s640/01.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 1 – Taken
at the boat landing on Indian Island in Old Town, Maine. Preparing to leave for
the Tercentennial Celebration in Plymouth, Massachusetts. Seated in the canoe
are Newell Tomah and Johnnie Ranco. An old inscription on the back reads: Old
Town, Maine to Plymouth, Mass. Stopped at Hampton Beach, NH.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsmf2I6F0B1ZeqI0mCUXi6XdIYxSkCiR71gThwy91DlCm8gjdPBqIXCwC_OTGGVeBfhH-bmbLXR9BQ3x6jvSOYQAM9AGOxZ90C31yPHBGfoNGuIrtvSSL_NgFqVzNkVhh10f7_iWGZvzsl/s1600/02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsmf2I6F0B1ZeqI0mCUXi6XdIYxSkCiR71gThwy91DlCm8gjdPBqIXCwC_OTGGVeBfhH-bmbLXR9BQ3x6jvSOYQAM9AGOxZ90C31yPHBGfoNGuIrtvSSL_NgFqVzNkVhh10f7_iWGZvzsl/s640/02.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 2 – Pictured
are Newell Tomah and Johnnie Ranco. An old ink inscription on the back reads: “This
picture was taken in Old Town, Me. Talked with the prince as he called himself.
Sits in the rear. Canoe made of birch bark and they paddled it to Plymouth last
summer from Old Town. A distance I think of 300 miles – his skin was very dark.
A real red Indian. The princess was very pretty and shy.”<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnTgQhxVYfUjOEgQt9oQKfDfMwh3VXtpreYzV5ioSEGZPlDP_lInxUoZev391oPZWkjK5oSzIhnV3xvCVa2ZnIP9wRWI_XV994h1u0ZXQlCEMjULth4e0RCwxC-UvRZ7JFZDkSrNUUPjQh/s1600/03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnTgQhxVYfUjOEgQt9oQKfDfMwh3VXtpreYzV5ioSEGZPlDP_lInxUoZev391oPZWkjK5oSzIhnV3xvCVa2ZnIP9wRWI_XV994h1u0ZXQlCEMjULth4e0RCwxC-UvRZ7JFZDkSrNUUPjQh/s640/03.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 3 – Another
postcard of Newell Tomah and Johnnie Ranco.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIX_E_0dJjhxdBjNh3FyJI8Cx4fnSZDjQau7VOrad3sanKOWOvnFr_afM2B9xECXbHWtHSbFRmnLWrZOQoNPrVEWyQI91MpSpqf6z9sjXLcZYsNG_7hUWpfqWycizzCeBYxOhuavOV0ipp/s1600/04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIX_E_0dJjhxdBjNh3FyJI8Cx4fnSZDjQau7VOrad3sanKOWOvnFr_afM2B9xECXbHWtHSbFRmnLWrZOQoNPrVEWyQI91MpSpqf6z9sjXLcZYsNG_7hUWpfqWycizzCeBYxOhuavOV0ipp/s640/04.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 4 – <span style="background: white;">Passamaquoddy Canoe built by Sylvester Gabriel
(Passamaquoddy), en route from Pleasant Point to Plymouth, Massachussetts, for
the Plymouth tercentennial. Paddlers are William Neptune (on left) and Horace
Nicholas (on right).</span><o:p></o:p></span></div>
</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_BFPOiwXZ5xt9W4KaZONrRhhVokHsGKnCUdYbZEb8Wc67LsV2bm-sn7hxjCUcjzcuKJq4qTEmKBA65ivcFr7LhsVUfIrf9sa4OzxccMFRlcqfSPBhYUXOJXzPMpHYOBOGDj9kH7OaQueN/s1600/05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_BFPOiwXZ5xt9W4KaZONrRhhVokHsGKnCUdYbZEb8Wc67LsV2bm-sn7hxjCUcjzcuKJq4qTEmKBA65ivcFr7LhsVUfIrf9sa4OzxccMFRlcqfSPBhYUXOJXzPMpHYOBOGDj9kH7OaQueN/s640/05.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 5 – Another
postcard of Newell Tomah and Johnnie Ranco. Note on back says: Taken in
Plymouth.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKjdVZpEOlnfsKaTFY0OiK14hIdAsteDgyWpvracJhaJpha_sqYmzvBfyWj3ezZwvw0IgwJKB8ijjTlFE6oLM-itSysiIoIJSwp7CuQBf5ZPplMrr-1re7GV_dcOwE9Jeg3v_cko8_sPJa/s1600/06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKjdVZpEOlnfsKaTFY0OiK14hIdAsteDgyWpvracJhaJpha_sqYmzvBfyWj3ezZwvw0IgwJKB8ijjTlFE6oLM-itSysiIoIJSwp7CuQBf5ZPplMrr-1re7GV_dcOwE9Jeg3v_cko8_sPJa/s640/06.jpg" width="640" /></a></td></tr>
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<span style="font-family: Arial, sans-serif;">Figure 6 –
Titled “The Departure.” The individual on the right is Chief Lewey. I’m not
certain how many canoes the Passamaquoddy sent to the Plymouth Tercentenary. From
what I could gather, the Penobscot sent only one. This card is from the same
period and the individuals depicted are different from those in figure 4. One
account indicated that many of the Indians who participated traveled to Boston
by train although I’m not sure how they got to Plymouth from there.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZezZ2VJS3hNEtA5q20AlCk8Qa38cmO2GfK6kATOafx9XXmRQMse183YGEiLjUNvFRrYlH5hcJhPDuFF4iyUyyFaTNGPPExmYZr89YFCBmhy6xj8_Cr-e-SBoBA4RWbBtGXvWQW3zvHPmB/s1600/07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZezZ2VJS3hNEtA5q20AlCk8Qa38cmO2GfK6kATOafx9XXmRQMse183YGEiLjUNvFRrYlH5hcJhPDuFF4iyUyyFaTNGPPExmYZr89YFCBmhy6xj8_Cr-e-SBoBA4RWbBtGXvWQW3zvHPmB/s640/07.jpg" width="404" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 7 –
Newell Tomah and Johnnie Ranco, the two Penobscots who canoed from Old Town,
Maine to Plymouth. It’s uncertain if this was taken before their departure or
after they arrived.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTa8owvOsA5F3v6ljYvoHUPyWdLp_Bnxkk2PBq3hVvwv89pJ-Tm2tyg2aFt11IF7ZXZJWnQMhcR0O9f26ibUZVHtDKCaZakwXjr1DPvUFvJZ1SL-5qsVORfBFkKm-7pWxxi5bHqEq_268U/s1600/08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTa8owvOsA5F3v6ljYvoHUPyWdLp_Bnxkk2PBq3hVvwv89pJ-Tm2tyg2aFt11IF7ZXZJWnQMhcR0O9f26ibUZVHtDKCaZakwXjr1DPvUFvJZ1SL-5qsVORfBFkKm-7pWxxi5bHqEq_268U/s640/08.jpg" width="640" /></a></td></tr>
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<span style="font-family: Arial, sans-serif;">Figure 8 –
Group of Passamaquoddy who traveled to the Plymouth Tercentenary. Chief
Neptune is seated in the center with the large bandoleer across his chest.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi6vkeASXl4n7Me40_YERxbfcMgwE8_hQRDparbPgkUHfExPK-mHT17Xu_7crkFX_rIxU8BzogteGcRT6tz4jGqDDD2Gn6XWdmtbZ_hL0QJUvuUE_6RthOPRyeqcYeZJcF6rvrAu-EW_2D/s1600/09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi6vkeASXl4n7Me40_YERxbfcMgwE8_hQRDparbPgkUHfExPK-mHT17Xu_7crkFX_rIxU8BzogteGcRT6tz4jGqDDD2Gn6XWdmtbZ_hL0QJUvuUE_6RthOPRyeqcYeZJcF6rvrAu-EW_2D/s640/09.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 9 –
Another real photo postcard of them standing.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyvj3dSOdQFE5UnJcJanQB_MWD7oMG_cInJ-MN3fMhp91Qhq8WqLREkypVUTKS8NPFcrygUEXf65z4pRAR5W92jtCEaeQ5XYgcWX75-DxcM1g4aZt6TuNra-yHyi6RTNpyqdl6us461dIh/s1600/10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyvj3dSOdQFE5UnJcJanQB_MWD7oMG_cInJ-MN3fMhp91Qhq8WqLREkypVUTKS8NPFcrygUEXf65z4pRAR5W92jtCEaeQ5XYgcWX75-DxcM1g4aZt6TuNra-yHyi6RTNpyqdl6us461dIh/s640/10.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 10 –
John Dana, Passamaquoddy, at the Indian village in Plymouth.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyOO3XZTjKd2rwQS06aFaZnJonIFDPar4NOldJuhivoG8b7CHJvwq550fSaqcuYiSgic9ppgfcoKT9HXPug1LEx0RcG9vbb3YILWeUl8jAgIv1cnhxVxN8sRyBwpY6TCIBMFJAW4LaHtMU/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyOO3XZTjKd2rwQS06aFaZnJonIFDPar4NOldJuhivoG8b7CHJvwq550fSaqcuYiSgic9ppgfcoKT9HXPug1LEx0RcG9vbb3YILWeUl8jAgIv1cnhxVxN8sRyBwpY6TCIBMFJAW4LaHtMU/s640/11.jpg" width="400" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 11 –
Another postcard of John Dana. A few baskets can be seen inside the bark
dwelling in the background.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEnkHePwMSBBOAJixTEvycPf7wF_b2MkgiTp_vZdYqDmX_4mWxxvMloV1RDrtmpFQ0t8h5eo_ALLUNtnPgRznADg2LEoXO4cnjTiNUmblt0_nxKh9_Rbc-NONMqU06Coky3mmX8NFdXWa8/s1600/12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEnkHePwMSBBOAJixTEvycPf7wF_b2MkgiTp_vZdYqDmX_4mWxxvMloV1RDrtmpFQ0t8h5eo_ALLUNtnPgRznADg2LEoXO4cnjTiNUmblt0_nxKh9_Rbc-NONMqU06Coky3mmX8NFdXWa8/s640/12.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 12 – A
family of Passamaquoddy standing before their tent at the Tercentenary. Inked
date on the back is Sunday, July 17, 1921.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcmVGQc5GaZaj7s2aVrAsXq9jcBDY_UlNDvMBwc7-cmAHbI0oFk-ZwaqZO6BthCm-8cr6SJ5MoXXmeeNjejW3J5MS5vInWmtncTFAQ38eyD8meqOanXjn38ObC6vH6_DYJRSDWkPJBB4zQ/s1600/13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcmVGQc5GaZaj7s2aVrAsXq9jcBDY_UlNDvMBwc7-cmAHbI0oFk-ZwaqZO6BthCm-8cr6SJ5MoXXmeeNjejW3J5MS5vInWmtncTFAQ38eyD8meqOanXjn38ObC6vH6_DYJRSDWkPJBB4zQ/s640/13.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 13 – A
group of Passamaquoddy standing by the canoe they used to get to Plymouth.
Standing on the far left is Chief Neptune. He was a skillful basketmaker,
trapper, fisherman, musician, and orator.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihEK205NH5gJtoawLFrqK0r1ytHfR-xl6mNpMyyywE-HRWV2CZTUPXvWMOQTZI_soZMggXlhF-xMo0HcLrM-CHRGlZ1TAMRptuALUu9Fl8JZkfaZKqerbe3pufDBSFUSvek44SP5YLkStd/s1600/14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihEK205NH5gJtoawLFrqK0r1ytHfR-xl6mNpMyyywE-HRWV2CZTUPXvWMOQTZI_soZMggXlhF-xMo0HcLrM-CHRGlZ1TAMRptuALUu9Fl8JZkfaZKqerbe3pufDBSFUSvek44SP5YLkStd/s640/14.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 14 –
Pictured in this real photo postcard is Horace Nicholas and his family,
Passamaquoddy. This is Joseph Nicholas’s parents and older siblings. Joseph was
a Passamaquoddy representative to the Maine legislature. In his retirement he
ran a basket shop at Pleasant Point and said his family sold “novelty” goods at
Massachusetts fairs. A beautiful selection of their baskets can be seen in this
image. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiadQsT9jeTa55WSWT577Z2sLDZJOwZwxW4yWaZmEI8AciTWZ77-wNM8MAlHnl7aWh33Bdrh6EpTBLJpPouUidkL4yYzK-Z0RccsqQBWpaKl9oJzdhAVl7Ip6r0EeENKp6j1v9JkJpDzVPc/s1600/15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiadQsT9jeTa55WSWT577Z2sLDZJOwZwxW4yWaZmEI8AciTWZ77-wNM8MAlHnl7aWh33Bdrh6EpTBLJpPouUidkL4yYzK-Z0RccsqQBWpaKl9oJzdhAVl7Ip6r0EeENKp6j1v9JkJpDzVPc/s640/15.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Figure 15 – This is
another real photo postcard of Horace Nicholas and his family. In addition to
the baskets pictured is a selection of root clubs. This postcard was mailed to
someone in Canaan, New Hampshire on August 16, 1921 and it contained the
following hand written note: “V. & I motored here today – Indian village is
about a mile from the town. Afterwards parked on Pageant ground at the water’s
edge, lunched, & saw boat leave for Boston.”</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsGxR6-UARPV24YtT1anZgyfvgQk78_nYWZdzNKj4PyKqum2CFAQpOCqRn9BckWo2oS5FPYt6auu_EhQihzcG4-dlyIYtZdVmZfOFLCVRKDdTmDDgeymXkGnCrVYRcla-kDOA31UPyP7tA/s1600/16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsGxR6-UARPV24YtT1anZgyfvgQk78_nYWZdzNKj4PyKqum2CFAQpOCqRn9BckWo2oS5FPYt6auu_EhQihzcG4-dlyIYtZdVmZfOFLCVRKDdTmDDgeymXkGnCrVYRcla-kDOA31UPyP7tA/s640/16.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 16 –
Two young Passamaquoddy girls - Liza Dana (on left) and Mariah Lewey (on right)
daughter of Chief Lewey.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9kilWVYYeAcUEZN0Ap2IlXSkkZ_rsX_Sdwrx2dJ6ke0v1ZI1fVIDBJIIlfnwK8mXKJI7lM_Jld0ue1DkH2kP0tS6s5sRX6OsHEkQ2NyKNsWZD6RxdwbyC8XEGn6KTwgUi0oQXGIfWJm-a/s1600/17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9kilWVYYeAcUEZN0Ap2IlXSkkZ_rsX_Sdwrx2dJ6ke0v1ZI1fVIDBJIIlfnwK8mXKJI7lM_Jld0ue1DkH2kP0tS6s5sRX6OsHEkQ2NyKNsWZD6RxdwbyC8XEGn6KTwgUi0oQXGIfWJm-a/s640/17.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 17 –
Real Photo postcard of the Chief Lewey and family at the Pilgrim Tercentenary
in 1921. A few baskets can be seen on the table inside the tent. The young
Mariah Lewey is also wearing a beautiful beaded cap.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh25dObkCcn8ZilUNQpDmUncEtqnz2qk_Gh_JzpjguDmESZymutCZ1X1ozeWzDna4942DFa9eVkxwOyjHCYL0dFqS39p8V2Lm6U30QmL1TVoLsxDKAkLUj2z8BULC5T9T82ptZtDVbkxCqE/s1600/18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh25dObkCcn8ZilUNQpDmUncEtqnz2qk_Gh_JzpjguDmESZymutCZ1X1ozeWzDna4942DFa9eVkxwOyjHCYL0dFqS39p8V2Lm6U30QmL1TVoLsxDKAkLUj2z8BULC5T9T82ptZtDVbkxCqE/s640/18.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 18 –
Real photo postcard of Joseph Nicholas and his wife, Penobscots, selling baskets
at the Tercentenary.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixT95ptIO6K2FK8RgLaAnUOjziPfVusy9OXjekZN0FloHSlUjWCuif_QZWPgkXJH0Q_xIlO0MlgW6jyTsr_XedYI4Exe1zGYtEWIsx8VyEqJM8G8J7z6ujZbTfGw98seV2WSqvHTMYBEiw/s1600/19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixT95ptIO6K2FK8RgLaAnUOjziPfVusy9OXjekZN0FloHSlUjWCuif_QZWPgkXJH0Q_xIlO0MlgW6jyTsr_XedYI4Exe1zGYtEWIsx8VyEqJM8G8J7z6ujZbTfGw98seV2WSqvHTMYBEiw/s640/19.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 19 –
John Dana (on the right) and Tom Saccobi (on left) demonstrating their archery
skills.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 20 –
Another image of Tom Saccubie. There must have been a question as to his age
and the spelling of his name as it is different on this card from the previous
one.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 21 –
Real photo postcard of a group of Passamaquoddy at the Plymouth Tercentenary
Indian encampment. Both women are holding baskets and additionally, the woman
seated is smoking a pipe.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 22 –
Scene near the Indian encampment at the Tercentenary. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 23 –
Joseph Neptune and his wife, Passamaquoddy. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 24 –
Passamaquoddy chief Lewey. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 25 –
Joseph Nicholas and family, Penobscots from Old Town, Maine.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 26 –
Horace Nicholas (on left); Joseph Nicholas (center); Joseph Neptune (on right),
Penobscots from Old Town, Maine.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 27 – Chief
Neptune and some of his family members, Passamaquoddy at the Tercentenarys’
Indian village.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 28 – An
unidentified Native family at the Tercentenary. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 29 –
The Grand Finale of the Tercentenary on the waterfront in Plymouth,
Massachusetts.<o:p></o:p></span></div>
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com0tag:blogger.com,1999:blog-8743733062223446224.post-54793806439924622612013-11-24T09:37:00.000-05:002017-11-01T12:24:48.089-04:00Wabanaki basketry<div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Since I was a
teenager I have been collecting old post cards and other antique images of
Native people from the Northeast. They’re an incredible window into a time gone
by. Some postcards were produced and sold by Native people themselves. Occasionally
old cards are found that feature a Native person with a stack of them in hand
that they were likely selling to tourists visiting one of the many vacation
destinations in the Northeast where Native people could be found selling their baskets.
<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">There are
many Native basket makers today who are continuing what is one of the oldest,
and most viable traditional arts practiced by the Wabanaki, and following in
the footsteps of their ancestors. Producing baskets for resale dates back to at
least the 1700s when the making and selling of baskets became an important
means of survival for Native people. Usually made from ash splints, some of the
earliest examples were strictly utilitarian. By the mid-nineteenth century, so-called
“fancy baskets” with interesting shapes and weaves and often dyed in bright
colors were produced, and the images that follow is just a small sampling from
my collection. Most of these images are from the late nineteenth and early
twentieth centuries and most feature Wabanaki (Penobscot, Passamaquoddy,
Maliseet, Mi’kmaq and Abenaki) basketmakers. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit6BLzg0QljHROez6WZcjfn1jUCjT_7xTGqSbaANggab3rrMGWwhro9LL3MqH04hSw0DZIXXHm8V0YjZE5u_v-18MLrPeupk939vCNwOCJ8AjRDUTuoQfKEThcYo74jqrIYnpISgUX9C33/s1600/01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit6BLzg0QljHROez6WZcjfn1jUCjT_7xTGqSbaANggab3rrMGWwhro9LL3MqH04hSw0DZIXXHm8V0YjZE5u_v-18MLrPeupk939vCNwOCJ8AjRDUTuoQfKEThcYo74jqrIYnpISgUX9C33/s640/01.jpg" width="640" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif";">Figure 1 –
Real Photo postcard of the Indian Basket Store on Indian Island, Old Town,
Maine. 1920 -1940. This was located at the boat landing on Indian Island and
was likely the precursor to Chief Poolaw’s Teepee, a basket store that was
later located on the same site. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7z8cA7oxw8-tcdhO2l2xIO3GVLYcI4_m3BTd0_pNOk1SxiAMwtQ8kYijGoyumA_H-U5Ziyvcx9fTPYCcSASU3wsu1zVrEYjPuyNUFA_k0CvbbkxGuhoBM8Lj1Azchb5l-CZinigvp1rmu/s1600/02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7z8cA7oxw8-tcdhO2l2xIO3GVLYcI4_m3BTd0_pNOk1SxiAMwtQ8kYijGoyumA_H-U5Ziyvcx9fTPYCcSASU3wsu1zVrEYjPuyNUFA_k0CvbbkxGuhoBM8Lj1Azchb5l-CZinigvp1rmu/s640/02.jpg" width="402" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif";">Figure 2 –
Real Photo postcard of Chief Poolaw and his wife Lucy Nicolar, aka Princess
Watawaso, in front of their Teepee basket store. Lucy was born on Indian Island
in 1882 and her winters were likely spent making baskets which she and her
family sold to tourist in Kennebunkport, Maine during the summer. Circa 1950.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhLBijMYNv4M-56Nk30G309Rr_cAYXCEJDJX2YBAuoDansz5RBg_I9Q5D7xLwevpK7bHr_viOaLojGTAtLxTn4hpa5oEqzBcOL63shtT63-2zchpo52H1nQzTQl2pzdhrehje09MP6Vm56/s1600/03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhLBijMYNv4M-56Nk30G309Rr_cAYXCEJDJX2YBAuoDansz5RBg_I9Q5D7xLwevpK7bHr_viOaLojGTAtLxTn4hpa5oEqzBcOL63shtT63-2zchpo52H1nQzTQl2pzdhrehje09MP6Vm56/s640/03.jpg" width="640" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif";">Figure 3 –
Real Photo postcard of Chief Poolaw and his wife Lucy inside the Teepee basket
store, showing a wide variety of the fancy baskets they offered for sale.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsMrAI3uVU7ZoYR58XxCJHjIqMRuunlf2_ktmH7TfLEhyopS78wt9FMyex_g2FAXH5lSJbhj-8MHlQ3-gzOTTRmPNaa1U15NC_BuPEfZy67Mi2zQ25yfhDXSuOEE7ZBKaBUdx_Tz6bZBHN/s1600/04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsMrAI3uVU7ZoYR58XxCJHjIqMRuunlf2_ktmH7TfLEhyopS78wt9FMyex_g2FAXH5lSJbhj-8MHlQ3-gzOTTRmPNaa1U15NC_BuPEfZy67Mi2zQ25yfhDXSuOEE7ZBKaBUdx_Tz6bZBHN/s640/04.jpg" width="430" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 4 – Real
Photo postcard of Bruce Poolaw, aka Chief Poolaw, a Kiowa entertainer from
Oklahoma inside the Teepee basket store. He married Lucy and together they
built the Teepee store. Circa 1950.<o:p></o:p></span></div>
</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKgS4eBGFlflCPya0tCl0BgZqgOqriljpTJ18Xmsjm1QefVyrBb82EaZotQqCnTeG_Id8VOemVE6_DU2xIfqrT677nx66bocoQxcFXkuN01IbQmtRfYU7epZObj-VnPc0IQugYZfB6uYWG/s1600/05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKgS4eBGFlflCPya0tCl0BgZqgOqriljpTJ18Xmsjm1QefVyrBb82EaZotQqCnTeG_Id8VOemVE6_DU2xIfqrT677nx66bocoQxcFXkuN01IbQmtRfYU7epZObj-VnPc0IQugYZfB6uYWG/s640/05.jpg" width="392" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 5 –
Real Photo postcard titled “From Chief Poolaw’s Basket Store.” These women were
no doubt some of the basketmakers who were supplying his shop. Circa 1950.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZNN0ZDmfj7C9_gGdhdy288rZmJduzFI2aDo7A1d087reqDu8Duw1rnGz6gjfpDuQPt4RbycPjrwxg-T_jNX63087E4NrmQTXAPkdTU0RNOv-AF8mViGPIWA_5tDl10865OfbTsaKqhWLx/s1600/06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZNN0ZDmfj7C9_gGdhdy288rZmJduzFI2aDo7A1d087reqDu8Duw1rnGz6gjfpDuQPt4RbycPjrwxg-T_jNX63087E4NrmQTXAPkdTU0RNOv-AF8mViGPIWA_5tDl10865OfbTsaKqhWLx/s640/06.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 6 –
Business Card from George Hunt, the Indian agent to the Penobscot, who also ran
a shop in Old Town, Maine where he sold Penobscot baskets and other novelty
items. An early view of Indian Island and the boat landing can be seen on his
card. Circa 1900.<o:p></o:p></span></div>
</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF9tA2-F-0Iv3B7N_DVjwWi0P6YRgOVa_3AfYDq2rdOGDV9wrABcEvYVRkOhP4haRu9beUhNnB9Cd5s3CgzCSW88AY-Kf3P5YBGUheZQPFVGX2K8T1H2B0Dgf7FTv5Qq1mtTkXgamsz7zP/s1600/07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF9tA2-F-0Iv3B7N_DVjwWi0P6YRgOVa_3AfYDq2rdOGDV9wrABcEvYVRkOhP4haRu9beUhNnB9Cd5s3CgzCSW88AY-Kf3P5YBGUheZQPFVGX2K8T1H2B0Dgf7FTv5Qq1mtTkXgamsz7zP/s640/07.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 7 –
Real Photo postcard of Mamie Joseph on the right, Russell Joseph, a.k.a. Russel
Joe, and Maime’s sister Frances Joseph Sapiel, Indian Island, Old Town, Maine.
Circa 1907. <o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuMqB94HJxOSR-Y8JBUp2ctSfGP2fGgMSiwcg4mLKQmIKJCXyK7btCo9EZ5Kloe0x9_tjH3Is-To-zFYdHdBV4D9OEMpoznJK_m3PRWO4GlGcKRE-2SmgK1Ao9PhZu_dC9Bmx3Mp-w8DHN/s1600/08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuMqB94HJxOSR-Y8JBUp2ctSfGP2fGgMSiwcg4mLKQmIKJCXyK7btCo9EZ5Kloe0x9_tjH3Is-To-zFYdHdBV4D9OEMpoznJK_m3PRWO4GlGcKRE-2SmgK1Ao9PhZu_dC9Bmx3Mp-w8DHN/s640/08.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 8 –
Real Photo postcard of Mamie Joseph (seated) and her sister Frances Joseph
Sapiel (holding a basket) outside their home on Indian Island. Circa 1910.<o:p></o:p></span></div>
</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXaFhyphenhyphen0q1rGyzXnkjVCDt4OckNZOQaNiHjgUYdSdrpgqqaw6tFW2LMcy0zS0m-JkLQ_StwpfeL0IpOrlskXCjWsYWekm75f7F0No4X6Vycmf6u5pfH6ehZUU7yqf5tzQXL55oOy9_CylLF/s1600/08a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="566" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXaFhyphenhyphen0q1rGyzXnkjVCDt4OckNZOQaNiHjgUYdSdrpgqqaw6tFW2LMcy0zS0m-JkLQ_StwpfeL0IpOrlskXCjWsYWekm75f7F0No4X6Vycmf6u5pfH6ehZUU7yqf5tzQXL55oOy9_CylLF/s640/08a.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 8a –
Detail of Figure 8.<o:p></o:p></span></div>
</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgroHz9cZFyBy-Iq90qxvM5TIufuzBB3Jn6bLQZYCmjVrQvXucVTLAoaeFuOVpOgwe-GV1Ml3RCYG3Bt_25NHKJxhpqNn3Jtmx8kykN7L556BbjUovgFl-zRKftYri_fVP38oYzlY4XOlQB/s1600/09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgroHz9cZFyBy-Iq90qxvM5TIufuzBB3Jn6bLQZYCmjVrQvXucVTLAoaeFuOVpOgwe-GV1Ml3RCYG3Bt_25NHKJxhpqNn3Jtmx8kykN7L556BbjUovgFl-zRKftYri_fVP38oYzlY4XOlQB/s640/09.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 9 –
Real Photo postcard. Basketmaking, Indian Island, Old Town, Maine. The
individual seated on the steps may be Governor Joe Francis. Postmarked, Sept.
11, 1911. <o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxPgr81c4CQ0tuUfJpOmtJaaLTD5srhDQUc61Lc4Uq0z7Ff5XddN-c4ZAPZ7jDxVavBksvFXgKC3YGQEOhAINQbDe_jnbOYZFkmsn7pbJvCmvUJjohNWG0WjUyPNInkHw89FKCL8jlpyrB/s1600/10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxPgr81c4CQ0tuUfJpOmtJaaLTD5srhDQUc61Lc4Uq0z7Ff5XddN-c4ZAPZ7jDxVavBksvFXgKC3YGQEOhAINQbDe_jnbOYZFkmsn7pbJvCmvUJjohNWG0WjUyPNInkHw89FKCL8jlpyrB/s640/10.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 10 –
Real Photo postcard titled “Splitting Ash for Baskets and Braiding Grass.
Indian Island, Old Town, Maine.” Circa 1910.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWDupfrCgmqImivbT9CAYHjIEBMJy2J-MqkJE0dUSPtrX-snQ8jTdOnQC92iNyiEQ6CV850oQx2xQ7mzipAca0Ii7nBDYaqRfz_lQ87E8bIoTQxKnGAKqtSp0ihv4bfpDokd5_ZcKCdhYU/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWDupfrCgmqImivbT9CAYHjIEBMJy2J-MqkJE0dUSPtrX-snQ8jTdOnQC92iNyiEQ6CV850oQx2xQ7mzipAca0Ii7nBDYaqRfz_lQ87E8bIoTQxKnGAKqtSp0ihv4bfpDokd5_ZcKCdhYU/s640/11.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 11 –
Real Photo postcard showing a display of Penobscot baskets. Old inscription on
the back reads: “Old Town, Maine, July 6, 1936.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMzsOqKO5Cou5ohvI32-vkykicvvag-Rqp4boic2rsTyhwpXs0ZX002Ol6EOdNtEsjUz2nkBh6BrBgdt0p1qABZhNNtK7y7ZKt7C__uKlhw4BzJ_hm7fd-vdjOIEzZX8XBvnxqEeZFPKfF/s1600/12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMzsOqKO5Cou5ohvI32-vkykicvvag-Rqp4boic2rsTyhwpXs0ZX002Ol6EOdNtEsjUz2nkBh6BrBgdt0p1qABZhNNtK7y7ZKt7C__uKlhw4BzJ_hm7fd-vdjOIEzZX8XBvnxqEeZFPKfF/s640/12.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 12 –
Real Photo postcard. Similar to figure 11. <o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhubgTtq1oIe57c9vky1QmnHg9inp_dtwJ6y20mD5xBEFDyqDxOhnWk3IxOuCe-JrAu4Hd1pfCBb6d78UytrtbjIMAjaYQcgz1DnCYQn-SbIBy9FxG4_yj2skivitNf57LilMqu5zgwtLp/s1600/13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhubgTtq1oIe57c9vky1QmnHg9inp_dtwJ6y20mD5xBEFDyqDxOhnWk3IxOuCe-JrAu4Hd1pfCBb6d78UytrtbjIMAjaYQcgz1DnCYQn-SbIBy9FxG4_yj2skivitNf57LilMqu5zgwtLp/s640/13.jpg" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 13 – Real
Photo postcard of Clara Neptune and some of her beautiful baskets. Circa 1912.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6nycqdpnrMefqImYmKRa0AueKnz2uj0-qhmwd5hNdKGIsWVkOedUKk6ZwJp5Cs34vvIU-ynN_IOGJML4MC5zvw_1RCbpRBRVuDYhDDz3YyHvtgTtFpt8h9GR3tkfUg8TrdYMmiuy_lN6a/s1600/14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6nycqdpnrMefqImYmKRa0AueKnz2uj0-qhmwd5hNdKGIsWVkOedUKk6ZwJp5Cs34vvIU-ynN_IOGJML4MC5zvw_1RCbpRBRVuDYhDDz3YyHvtgTtFpt8h9GR3tkfUg8TrdYMmiuy_lN6a/s640/14.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 14 –
Real Photo postcard titled: “Famous bowmaker Newall and wife” with a fine
display of baskets nearby. Indian Island, Old Town, Maine. 1920s.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhidQn7TB4kysKeC4sit6pyhCXaCEcPFCVkYEQ-3ClLX2eogU_KAAk35iaVhYzQim_xlaE2Xh2-Ppgv_DS34IkjevHDOntdgcy6Q9ByzhahVpvH0plhsfXHeLa-vzWTK_EuIMvimh4dRag1/s1600/15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhidQn7TB4kysKeC4sit6pyhCXaCEcPFCVkYEQ-3ClLX2eogU_KAAk35iaVhYzQim_xlaE2Xh2-Ppgv_DS34IkjevHDOntdgcy6Q9ByzhahVpvH0plhsfXHeLa-vzWTK_EuIMvimh4dRag1/s640/15.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 15 –
Real Photo postcard of Sylvia Stanislaus (died 1938) selling her baskets near
the Farragut Hotel at Rye Beach, New Hampshire. She and her husband Stephen and
son Francis lived in the Penobscot community on Mattanawcook Island near
Lincoln, Maine until 1910. Her husband served as tribal governor for several
terms. Sylvia is said to have been a Passamaquoddy orphan. She represented the
Penobscot at the Chicago World’s Fair in 1893 and again at the San Francisco
Exposition in 1906. Card is postmarked Sept. 7, 1911.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI4opAJyj-xbtu6TWI791GsamsH2hNWxs9e3wwFfy3sbWoFZ15HyMbAA1ec4ny5t8qCRTC2cM6iZPtF1TXR79Gd5vmfIkwc9vbqkgIKLelhKBDd5UzqmlXTG746uCAi7eOFWTGAa2OaoG7/s1600/16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI4opAJyj-xbtu6TWI791GsamsH2hNWxs9e3wwFfy3sbWoFZ15HyMbAA1ec4ny5t8qCRTC2cM6iZPtF1TXR79Gd5vmfIkwc9vbqkgIKLelhKBDd5UzqmlXTG746uCAi7eOFWTGAa2OaoG7/s640/16.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 16 –
Another Real Photo postcard of Sylvia Stanislaus. Old inscription on the back
lists some of the baskets that someone had purchased from her: “I had waste
basket, flower basket, bark baby basket, vegetable basket, and Ken - pie
basket, sewing basket.” Circa 1920. <o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG8h0Fo9YiVFwdE9bu19DLMX4z2ImYfDPycCVaZSsRYmjvwlukNpEumjGqF7QCfgBnhW7uxlwMNYx-UAQmxbNKIsu8gNk4mvmUkrQbFK11QC6i8W2IZg1Ae9egwEUe-p5hYi88u0cKlnVY/s1600/17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG8h0Fo9YiVFwdE9bu19DLMX4z2ImYfDPycCVaZSsRYmjvwlukNpEumjGqF7QCfgBnhW7uxlwMNYx-UAQmxbNKIsu8gNk4mvmUkrQbFK11QC6i8W2IZg1Ae9egwEUe-p5hYi88u0cKlnVY/s640/17.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 17 –
Real Photo postcard of Pauline Shay’s basket display. No location indicated. 1927-1940.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxtwjeS5047UlWR8SzvPciPfDSjacnFpZOm83P8UtR9Uo2Iyxin0rcHDYz13z3lidXBR_Y24U2Z8ep-tDuel3k88mJBXMWCuaatZCH2mR7vYqoCX9bA3-It6nMnTyLqViqSZdPvc5dryGn/s1600/18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxtwjeS5047UlWR8SzvPciPfDSjacnFpZOm83P8UtR9Uo2Iyxin0rcHDYz13z3lidXBR_Y24U2Z8ep-tDuel3k88mJBXMWCuaatZCH2mR7vYqoCX9bA3-It6nMnTyLqViqSZdPvc5dryGn/s640/18.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 18 –
Real Photo postcard of a Penobscot basket display in Lincolnville, Maine. Circa
1950.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMWqaGeSnsnWO9SSU1HbR6KNBmdr8Qvo9Nq-bkDO-rZqgGNq5zcTIVVSRYmf_ohbGoQUDScBDTeVXCnBOf7LCVrqVRxqV4CQmEhlMI7C0PaJt3ZVS1wvsdBNxBgnJj-YHyRZ12xwUfIMrT/s1600/19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMWqaGeSnsnWO9SSU1HbR6KNBmdr8Qvo9Nq-bkDO-rZqgGNq5zcTIVVSRYmf_ohbGoQUDScBDTeVXCnBOf7LCVrqVRxqV4CQmEhlMI7C0PaJt3ZVS1wvsdBNxBgnJj-YHyRZ12xwUfIMrT/s640/19.jpg" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 19 –
Real Photo postcard of Chief Blue Jay and Blanche Perham. An inscription,
rubber stamped on the back of the card reads: The Indian Work Shop on the
Penobscot Reservation, Old Town, Maine. It lists that war clubs, baskets and
canoes were available in their shop. Circa 1940.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirGAzTCtG3LKapxehBn65ncbulZbRbWDGivWCuf5L4sJiaTKfKOJz7gY5NSQpWxq-uv8tU8VDSJU6j_r3CHxo4D3k0Wp1NhwBug_S1wOCYaM1Qha7dX-LR9uTNmJELGlnHnvc4lHUTqpHC/s1600/19a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirGAzTCtG3LKapxehBn65ncbulZbRbWDGivWCuf5L4sJiaTKfKOJz7gY5NSQpWxq-uv8tU8VDSJU6j_r3CHxo4D3k0Wp1NhwBug_S1wOCYaM1Qha7dX-LR9uTNmJELGlnHnvc4lHUTqpHC/s640/19a.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 19a –
A business card from Chief Blue Jay’s store. Slightly earlier than the image in
figure 19.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUtM6Mc7YoKSbhv4XUEP4L0tuhCfq9Aqrpsg1kaA02V4ERHhX1uSFeWRnhwiCh3kVZEkVS0Cly8_fLQCmVzV_XZPkD5lVGsf1y9Jsbqu2rWfqxpPluWuo8hWajgy0SdRcNM16kMBBwMRim/s1600/20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUtM6Mc7YoKSbhv4XUEP4L0tuhCfq9Aqrpsg1kaA02V4ERHhX1uSFeWRnhwiCh3kVZEkVS0Cly8_fLQCmVzV_XZPkD5lVGsf1y9Jsbqu2rWfqxpPluWuo8hWajgy0SdRcNM16kMBBwMRim/s640/20.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 20 – A
printed postcard illustrating the Indian village in Bar Harbor, Maine where
many Wabanaki sold their baskets to area visitors. Circa 1905.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtW3Ggh-fiVS3Nuev6kidBeKZQ5o8pwcv6Nc1WzE35ow0QDvc8eFXUnZC8Iwvs4xf42HjilGCxQPV5p1_eKQ6NlMy6XexJCpsx8zXXx1j5cM94lQmqUq8EqOeEbwoT-VmqkbVUgoDeqRgB/s1600/21.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtW3Ggh-fiVS3Nuev6kidBeKZQ5o8pwcv6Nc1WzE35ow0QDvc8eFXUnZC8Iwvs4xf42HjilGCxQPV5p1_eKQ6NlMy6XexJCpsx8zXXx1j5cM94lQmqUq8EqOeEbwoT-VmqkbVUgoDeqRgB/s640/21.jpg" width="414" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 21 –
Real Photo postcard of an unidentified Wabanaki basket maker working on a
splint basket. Circa 1940.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgSUJv8BbxTvj9uTdgzkIsu8rHaX6-j898aFxB5EKITeHsIrXy2yTYqcLTqQH3xwan0RZFOVylYbAKfzUwytV_G5V-JlJOqTAWFXPO9YXb-LP7CpLHIE-zLdh3QrXf4ImPYgFXKi4866HK/s1600/22.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgSUJv8BbxTvj9uTdgzkIsu8rHaX6-j898aFxB5EKITeHsIrXy2yTYqcLTqQH3xwan0RZFOVylYbAKfzUwytV_G5V-JlJOqTAWFXPO9YXb-LP7CpLHIE-zLdh3QrXf4ImPYgFXKi4866HK/s640/22.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 22 –
Printed postcard of three Penobscot basket makers. Printed text on the back
reads: Souvenir Card, Penobscot Indian Reservation, Indian Island, Maine.
1940s.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijNSASxSP3HfgwJsnK_eONXp44b9HP0P1eMlw10Mz4q5w336mCST9KXBMYMr1TRZLgR81h9loIxWyZakAQN-tBSLXB4X_7VffZ9_DujHIW70FCNoYF5FN2mZ9C_j6dXFKre9GW8bUYsCAo/s1600/23.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijNSASxSP3HfgwJsnK_eONXp44b9HP0P1eMlw10Mz4q5w336mCST9KXBMYMr1TRZLgR81h9loIxWyZakAQN-tBSLXB4X_7VffZ9_DujHIW70FCNoYF5FN2mZ9C_j6dXFKre9GW8bUYsCAo/s640/23.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 23 –
An old glass slide of Molly Susep and Mary Moil, Indian Island, Old Town,
Maine. Made by Edward Little Rogers, of Boston. Circa 1900. I wish this one was
in better shape but it is what it is.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFW16eDIL7a7LrOhRQVmMaltsclKKRTD_XcZvoQYxa4iyTYMFfaQvQgezFJTVF-3Zeq0iwA9TdP0NhZHJV0ts6g4dILP9MqVQdvihz_ntB1Gzx7OAZmThh8A_UCJ0m-tQWLcTMXh7j84jS/s1600/24.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFW16eDIL7a7LrOhRQVmMaltsclKKRTD_XcZvoQYxa4iyTYMFfaQvQgezFJTVF-3Zeq0iwA9TdP0NhZHJV0ts6g4dILP9MqVQdvihz_ntB1Gzx7OAZmThh8A_UCJ0m-tQWLcTMXh7j84jS/s640/24.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 24 –
From June to September of 1921, the town of Plymouth, Massachusetts celebrated
the three hundredth anniversary of the landing of the Pilgrims with their
Pilgrim Tercentenary Pageant. In conjunction with this a number of Wabanaki
travelled from Maine to Plymouth to take part in the pageantry and many Real
Photo postcards exist of the event. Pictured in this Real Photo postcard is
Horace Nicholas and his family. This is Joseph Nicholas’s parents and older siblings.
He was a Passamaquoddy representative to the Maine legislature. In his
retirement he ran a basket shop at Pleasant Point and said his family sold
“novelty” goods at Massachusetts fairs. A beautiful selection of their baskets
can be seen in this image. 1921.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZwnUvNyuDmpg8sYxXRR_v2CcZXbBvlMXusmCxO9sPtIX7I3dINkinTeMuXuBVdZ7R5KbVVURoC_Kr-Lz5oneAQXfAFQNTlYTigmGsANXFOnwvzAAsUuktzsIT1PscvKwUQo60g1baGCXR/s1600/25.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZwnUvNyuDmpg8sYxXRR_v2CcZXbBvlMXusmCxO9sPtIX7I3dINkinTeMuXuBVdZ7R5KbVVURoC_Kr-Lz5oneAQXfAFQNTlYTigmGsANXFOnwvzAAsUuktzsIT1PscvKwUQo60g1baGCXR/s640/25.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 25 –
This is another Real Photo postcard from the Plymouth Tercentenary Pageant and
Horace Nicholas and his family is also pictured here. This postcard was mailed
to someone in Canaan, New Hampshire on August 16, 1921 and it contained the
following hand written note: V. & I motored here today – Indian village is
about a mile from the town. Afterwards parked on Pageant ground at the water’s
edge, lunched, & saw boat leave for Boston. <o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc3bC_fqCHV0KpMYNV8FUmG_EWu-vKlVn5NzlHyoENiP_yRnvKKJUPWMrX_D8lnSkT5xUM8bVU0LxcULRp75DoKhw0qy0JnACOmFvK5cGFtLFVuTDrmLQmeDnuTHZakmuXELpoOQwlKz7L/s1600/26.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc3bC_fqCHV0KpMYNV8FUmG_EWu-vKlVn5NzlHyoENiP_yRnvKKJUPWMrX_D8lnSkT5xUM8bVU0LxcULRp75DoKhw0qy0JnACOmFvK5cGFtLFVuTDrmLQmeDnuTHZakmuXELpoOQwlKz7L/s640/26.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 26 –
Real Photo postcard of a Passamaquoddy family at the Pilgrim
Tercentenary in 1921. A few baskets can be seen on the table inside the tent.
The young girl is also wearing a beautiful beaded cap.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ZiFuwaSDnhQBtK3ij25czUlBnGrU9oCUQ7wJy-7-Fle8Ng2q3AHIkGzlH6X6KARRVGm1xqKpR_6bdY5mTu77GFkgIcg_suQfdlCJTruIwSn3lf_sYZLNUvUT6pVe0hQSdNj0AeMx1Qng/s1600/27.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ZiFuwaSDnhQBtK3ij25czUlBnGrU9oCUQ7wJy-7-Fle8Ng2q3AHIkGzlH6X6KARRVGm1xqKpR_6bdY5mTu77GFkgIcg_suQfdlCJTruIwSn3lf_sYZLNUvUT6pVe0hQSdNj0AeMx1Qng/s640/27.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 27 –
Real Photo postcard of a group of Passamaquoddy at the Plymouth Tercentenary
Indian encampment. Both women are holding baskets. 1921.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvxCAn0FCIY4_S0cU0sKUmcXOi-1NHwVpxvVW_0zxeuYDeA5A5nYSjtohXZDDYCN_pjd6uHCBLDTeqrlJ34_cAVTR6QbrXyJTh4V0G-KdL4Zh42C4dDq91CyqAebIjFRwXoHQhENshF746/s1600/28.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvxCAn0FCIY4_S0cU0sKUmcXOi-1NHwVpxvVW_0zxeuYDeA5A5nYSjtohXZDDYCN_pjd6uHCBLDTeqrlJ34_cAVTR6QbrXyJTh4V0G-KdL4Zh42C4dDq91CyqAebIjFRwXoHQhENshF746/s640/28.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 28 –
Real Photo postcard of Chief William Neptune and his wife making baskets.
Likely taken on the Passamaquoddy Reservation. Taken sometime between 1927-1940.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJUnhBDU38RQuBPZGsd784YY2tvLlZtehstG247u4KzKfQF55hhbkfkcOgaDZG4fTCE5PiIDb1xyx38Z9LBgpf6Ee0PrRSXOlPqptNks0EVrW_pYp8YFsStuDyvpw2ESb0arKuYeBxiqS/s1600/29.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJUnhBDU38RQuBPZGsd784YY2tvLlZtehstG247u4KzKfQF55hhbkfkcOgaDZG4fTCE5PiIDb1xyx38Z9LBgpf6Ee0PrRSXOlPqptNks0EVrW_pYp8YFsStuDyvpw2ESb0arKuYeBxiqS/s640/29.jpg" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 29 –
Real Photo postcard of Peter Stanley, a Passamaquoddy basket maker. He died
sometime in the 1960s. Text at the bottom of the image reads: Basket Maker,
Passamaquoddy Reservation, Pleasant Point, Maine. This image is from the 1930s
– 1940s.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSx6r0MEVBcD8kkb9ZLjL9hyphenhyphenErTnB88G3o5otI84gvJiH1ZMjLF0mQqhR0nnX8XyauRMOXD3OqQrDwhAy7BvbOGZEMSfFjrGoYmNc54vnmR59mfjj0NZNv9uzy2uKP4nAFQ71Kl14qTsa/s1600/30.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSx6r0MEVBcD8kkb9ZLjL9hyphenhyphenErTnB88G3o5otI84gvJiH1ZMjLF0mQqhR0nnX8XyauRMOXD3OqQrDwhAy7BvbOGZEMSfFjrGoYmNc54vnmR59mfjj0NZNv9uzy2uKP4nAFQ71Kl14qTsa/s640/30.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 30 – Albumen photograph of a group of Wabanaki at the spiritualist
camp in Onset, Massachusetts. A Mrs. Weston was the president of the
spiritualist camp and she had Wabanaki friends from both the Skowhegan, Maine
area as well as from Nova Scotia attend her Spiritualist Group in Onset. The
individuals in this image are believed to be Mi’kmaq from the Annapolis Royal
area of Nova Scotia. Two Mi’kmaq women, Mary Tony and Mary Paul, were among
this group and are possibly the women depicted in this image. Numerous baskets
can be seen in the image. Photographer: Burrell, of Brockton, MA. Dated 1879. <o:p></o:p></span></div>
</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt-7bgvM-OmHLTVQiyAiAQ6wZnQZGyCHv1cK4iHwBfni01u17KwQ4mvwP4KxJENSGiVWcB1xDKdoomrJriD4BA_kZyCri-6kPB3u9u6TGZBOdfUpoTsMTRT0EX6btg8ZDsBobp4yEclkp6/s1600/31.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt-7bgvM-OmHLTVQiyAiAQ6wZnQZGyCHv1cK4iHwBfni01u17KwQ4mvwP4KxJENSGiVWcB1xDKdoomrJriD4BA_kZyCri-6kPB3u9u6TGZBOdfUpoTsMTRT0EX6btg8ZDsBobp4yEclkp6/s640/31.jpg" width="606" /></a></td></tr>
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<span style="font-family: "arial" , sans-serif;">Figure
31 </span><span style="font-family: "arial" , "sans-serif";">– <span style="background: white; color: #333333;">One
panel from a stereo view depicting a group of Wabanaki basket makers camped at
the foot of Mt. Kineo, on Moosehead Lake, Piscataquis County, Maine.
Photographer: C.A. Paul of Skowhegan, Maine. Numerous baskets, model canoes,
bark containers and other souvenir items can be seen in the image. Circa 1870.<o:p></o:p></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MK8om4vBTR4PgLZjX9H00EkZdvkUIkkxoLZXq7blkdL_BC-Z4LU16EXZWiNJUYdXlz4dw5se1F4lW4Tuxv38X9yDxh1bQ8r-y41NOXPBBMSWSyD6hN7uGtAlCJEGncFKA0OJsam1B9SN/s1600/32.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MK8om4vBTR4PgLZjX9H00EkZdvkUIkkxoLZXq7blkdL_BC-Z4LU16EXZWiNJUYdXlz4dw5se1F4lW4Tuxv38X9yDxh1bQ8r-y41NOXPBBMSWSyD6hN7uGtAlCJEGncFKA0OJsam1B9SN/s640/32.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: white; color: #333333;">Figure 32 – Printed Postcard. </span>From left to right :</span><span class="hps"><span lang="EN"><span style="font-family: "arial" , "helvetica" , sans-serif;">Aimé</span></span></span><span lang="EN"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <span class="hps">Msadoques</span>, <span class="hps">(1884-1949)</span> <span class="hps">splits</span> <span class="hps">an
ash</span> <span class="hps">splint</span> <span class="hps">while</span> <span class="hps">Ambroise O'Bomsawin</span> <span class="hps">(1886-1980)</span> <span class="hps">and Elie</span> <span class="hps">Wawanolett</span> <span class="hps">(1883-1944)</span>
<span class="hps">stand ready to</span> <span class="hps">pound</span> <span class="hps">the trunk of</span> <span class="hps">ash</span>. 1930s. </span></span><span style="background-color: white; color: #333333; font-family: "arial" , sans-serif;">From the Odanak Reserve in Quebec, Canada. </span><span lang="EN"><span style="font-family: "arial" , "helvetica" , sans-serif;">My thanks to Chris Siouiw at the <o:p></o:p></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Musée des Abénakis for the identification.</span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhTJeFScdgOPlTqW8vT7tHP4CmcVBFaWmHoLe6tQx5uRm-bMr8wDxBqoFY3g8p7uCVRFtdNYHrgsvLqTwDjhK_4KtzaXh-Lrn8iXoQ2jC9_TyTpbyWu3cinsDU8WHhivxqYOsiRXGIMkxm/s1600/33.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhTJeFScdgOPlTqW8vT7tHP4CmcVBFaWmHoLe6tQx5uRm-bMr8wDxBqoFY3g8p7uCVRFtdNYHrgsvLqTwDjhK_4KtzaXh-Lrn8iXoQ2jC9_TyTpbyWu3cinsDU8WHhivxqYOsiRXGIMkxm/s640/33.jpg" width="392" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="background: white; color: #333333; font-family: "arial" , "sans-serif";">Figure 33 – Printed postcard. </span>Dora O'bomsawin (1889-1952).<br />
<br />
<span style="background: white; color: #333333; font-family: "arial" , "sans-serif";">From the Odanak Reserve in Quebec, Canada. 1930s. <o:p></o:p></span><span lang="EN"><span style="font-family: "arial" , "helvetica" , sans-serif;">My thanks to Chris Siouiw at the <o:p></o:p></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Musée des Abénakis for the identification.</span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuyu6EAI9wGdm-LV4tLdCkdRemlDSrP9y8IJn3Q0DizeWgYloRUN1RgLgZhwtlCw2nSkH0yONXjvpUUTjztmImjVZDSE8kgpblCMO_4IVR9aM2OGlDDgcv0bYlfRdzVGkGX1EhsUw9hmzg/s1600/34.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="534" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuyu6EAI9wGdm-LV4tLdCkdRemlDSrP9y8IJn3Q0DizeWgYloRUN1RgLgZhwtlCw2nSkH0yONXjvpUUTjztmImjVZDSE8kgpblCMO_4IVR9aM2OGlDDgcv0bYlfRdzVGkGX1EhsUw9hmzg/s640/34.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="background: white; font-family: "arial" , "sans-serif";">Figure 34 – This circa 1900 printed image is identified as Caroline
(Tahamont) Masta by </span><span style="font-family: "arial" , "sans-serif";">Christopher
Roy. No other information is available.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LhtGFWuOlXGTUM7FeN8aR5QtwbCwTotIehDLrxL6nSrkrk4_LzCObM-UcUSjJDJkRfzwBRuls0emF2n6cEBZ0QI8Vi1_9Ix0-KI91yTxq_rRB4j5OOmq6Z0bohehWPjB7FdYy9PLtGvM/s1600/35.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LhtGFWuOlXGTUM7FeN8aR5QtwbCwTotIehDLrxL6nSrkrk4_LzCObM-UcUSjJDJkRfzwBRuls0emF2n6cEBZ0QI8Vi1_9Ix0-KI91yTxq_rRB4j5OOmq6Z0bohehWPjB7FdYy9PLtGvM/s640/35.jpg" width="494" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Figure 35 –
The two printed postcards are of Abenaki craftspeople with a display of their
handicrafts in Bethlehem, New Hampshire.
The top card is postmarked 1908. The individuals in the lower image,
also taken in Bethlehem, NH were identified by Christopher Roy as follows:
Robert Robert Wawanolett, Florence Lagrave (later Florence Benedict),
Hermine (Wawanolett) Msadoques, Walter Lagrave, Mary Jane Lagrave (later
Mary Jane Sioui), Maud Msadoques (later Maud Hannis), Georgina Roy (French Canadian
with an Abenaki step-father), and Louise Msadoques. <span lang="EN">Chris Siouiw at the <o:p></o:p></span>Musée des Abénakis added the following information: the group in the lower postcard is <span class="hps"><span lang="EN">Hermine</span></span><span lang="EN"> <span class="hps">Wawanolett’s family
(1868-1955)</span>. She is <span class="hps">sitting on the floor</span> at the <span class="hps">left</span>. <span class="hps">(1868-1955)</span>. She was the wife of <span class="hps">Samuel</span> <span class="hps">Msadoques</span> <span class="hpsatn">(</span>1860-1942).</span>Lower card is circa 1915.</span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAEaBZ-dD8OdxK-BccEJSTebyt6f2OVPRUyaOdDBwY_n4lUlSDilEup6x4eZbDaJQXh1-MVS4WI-eVQprGpLSYz8wN5aKnkdVQ_rBa1EgUi30u0v5g6nQBppw3IITP-K0RvEBFUCrMPEw8/s1600/36.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAEaBZ-dD8OdxK-BccEJSTebyt6f2OVPRUyaOdDBwY_n4lUlSDilEup6x4eZbDaJQXh1-MVS4WI-eVQprGpLSYz8wN5aKnkdVQ_rBa1EgUi30u0v5g6nQBppw3IITP-K0RvEBFUCrMPEw8/s640/36.jpg" width="624" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 36 –
One panel from a stereo view depicting a family of Abenaki basketmakers with
their display of fancy baskets at Echo Lake, in New Hampshire. Photographed by
the Kilburn Brothers of Littelton, New Hampshire. This image dates from the
last quarter of the 19th century.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVDGARxYHxgxuljVl0So7na1YZ4bS6cQshn-TG8mo2AvcxFS9jAyjCZ-yB956zXi8BB2B8dIEQf_sxfn47y6h-RGo2dAkyCyfKOxWCA3D2vhObQWwBuF8VM-p0b0iiKWwnf0MVuSd9ldhx/s1600/36a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVDGARxYHxgxuljVl0So7na1YZ4bS6cQshn-TG8mo2AvcxFS9jAyjCZ-yB956zXi8BB2B8dIEQf_sxfn47y6h-RGo2dAkyCyfKOxWCA3D2vhObQWwBuF8VM-p0b0iiKWwnf0MVuSd9ldhx/s640/36a.jpg" width="382" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 36a –
Detail of the baskets in figure 36.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaKiZDysw0OFqEvaxrqMniGIOAwD6MkFYh1X7nLp3Dq-ksRrIMpd99rcaOB8YS4wExBe6K3jJxODKfPOqt9Y112Y8kDsYnbCkbt_pmvO5Uhyphenhyphenlb4HxDb1IDwEyxt55odJWxBlnmPBgdMJrs/s1600/37.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaKiZDysw0OFqEvaxrqMniGIOAwD6MkFYh1X7nLp3Dq-ksRrIMpd99rcaOB8YS4wExBe6K3jJxODKfPOqt9Y112Y8kDsYnbCkbt_pmvO5Uhyphenhyphenlb4HxDb1IDwEyxt55odJWxBlnmPBgdMJrs/s640/37.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 37 –
Real Photo postcard of Sipsis, identified as an Abenaki basket maker. The sign
at the base of the basket display reads: Genuine Indian Baskets hand made by
the Penobscot and Passamaquoddy Indians. Image is copyright 1934 by C.T.
Bodwell.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBYFvCYU5YrVLnbmCzEnwOITIeHqQrSEn-6AoHmIrmzx7zNT1mw0rIeAg90gOYrp50wMug4j9JJC3LeJC9XbP0Gd-rUbF_7L54Za6W6WNHKyqIHzzIitlbHXkBYLGRzZqYln4ssW_z3twh/s1600/38.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBYFvCYU5YrVLnbmCzEnwOITIeHqQrSEn-6AoHmIrmzx7zNT1mw0rIeAg90gOYrp50wMug4j9JJC3LeJC9XbP0Gd-rUbF_7L54Za6W6WNHKyqIHzzIitlbHXkBYLGRzZqYln4ssW_z3twh/s640/38.jpg" width="402" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 38 – A
circa 1900 advertisement of an Indian souvenir shop in Yarmouth, Nova Scotia
that likely sold baskets.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwoRv0rG_Xj8tY8wHDhpOEWGHagj9yZGUU3OpH69uj2wpihTlOebevtaj2UrXgv44Q3vt3jeRicannRvgcJvMJQ66qYOl4OcfWWsPquLyyXKjUqUx1ThKUOlklbd5sohOpA1fcT1pHWm07/s1600/39.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwoRv0rG_Xj8tY8wHDhpOEWGHagj9yZGUU3OpH69uj2wpihTlOebevtaj2UrXgv44Q3vt3jeRicannRvgcJvMJQ66qYOl4OcfWWsPquLyyXKjUqUx1ThKUOlklbd5sohOpA1fcT1pHWm07/s640/39.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 39 –
Real Photo postcard of a Mi’kmaq group that highlights many basketmakers.
1927-1940.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZlst99cUlfnTudlaTB6-BtZdUajzV2GhlqnG4VdPKno7fRh_vXVEf7fggbUCskwXs6wujWXHnHwirKQkCyIioa8kaFyWkzmgvvF9p0VrpytP8t9AlkEcsN12w_Ll7eJB7YF8HJc_s1lCn/s1600/40.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZlst99cUlfnTudlaTB6-BtZdUajzV2GhlqnG4VdPKno7fRh_vXVEf7fggbUCskwXs6wujWXHnHwirKQkCyIioa8kaFyWkzmgvvF9p0VrpytP8t9AlkEcsN12w_Ll7eJB7YF8HJc_s1lCn/s640/40.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 40 –
Printed postcard of a Mi’kmaq camp, Rocky Point, Prince Edward Island, Nova
Scotia. The seated individual in the foreground is holding two fancy baskets.
Card is postmarked 1906.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPXHR_8YeewTwOaiG83QR6QxtXyiVlq7OHHEaSi4EVP2obaZF9mOdivMJZ3mxCee7tGWh0lAWjBzzunR6oqP32o4wiv7aChL5bq6qtNSgi7p1P0V2dxWGIjLnsqms7POE1NfOxOyB-Xbci/s1600/41.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPXHR_8YeewTwOaiG83QR6QxtXyiVlq7OHHEaSi4EVP2obaZF9mOdivMJZ3mxCee7tGWh0lAWjBzzunR6oqP32o4wiv7aChL5bq6qtNSgi7p1P0V2dxWGIjLnsqms7POE1NfOxOyB-Xbci/s640/41.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 41 -
Real Photo postcard of Mi’kmaq chief Noel and his wife. Between them is a
display of their baskets. Circa 1910.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX3UhqIs4Pi6nYqqW1RNTqOidtw-Q6LnMuqZAeOhjkchdN6UbMUzBMiEqZl1cBl452Jvksypspl6pGl0uGcqeEx2M_N-65s3EvBZR7y_uCeJkeg963rnCSMtEG904os0Gsr9mj3K7A0skc/s1600/42.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX3UhqIs4Pi6nYqqW1RNTqOidtw-Q6LnMuqZAeOhjkchdN6UbMUzBMiEqZl1cBl452Jvksypspl6pGl0uGcqeEx2M_N-65s3EvBZR7y_uCeJkeg963rnCSMtEG904os0Gsr9mj3K7A0skc/s640/42.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 42 –
Real Photo postcard of a Mi’kmaq camp in Nova Scotia with an assortment of
splint baskets and weaving material visible in the background. Circa 1905.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyjmcDrPFHI0r5uuZr2TKKRqWBNxKCwu_uy0PDTEMuqWiSpJ3rRIe12eN2yOwRwH0v_PXIpLc3X_uRZsHOrTgBUQMP2Jh8W6ciPYJhyXD4wo4qY5TW4xmxl25TB4s8K0qo1vwkjCuF5D1w/s1600/43.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyjmcDrPFHI0r5uuZr2TKKRqWBNxKCwu_uy0PDTEMuqWiSpJ3rRIe12eN2yOwRwH0v_PXIpLc3X_uRZsHOrTgBUQMP2Jh8W6ciPYJhyXD4wo4qY5TW4xmxl25TB4s8K0qo1vwkjCuF5D1w/s640/43.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 43 – A
printed postcard of two Mi’kmaq children from Baie Ste-Marie, Nova Scotia. Circa
1910.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIFVqPfRUmdw5S8QgoXUg5ZRpBrK2s_NuhSrcxqCDLz4FAnO183qX6B-2Vgw08mq08q4MiFdLd5ggW_LEV-_gWVmD1Fp0Iq9pBHRwglrCI5ILPtjdLE5BvkD3wNrZZdgrXpm0Zi1nzB_w3/s1600/44.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIFVqPfRUmdw5S8QgoXUg5ZRpBrK2s_NuhSrcxqCDLz4FAnO183qX6B-2Vgw08mq08q4MiFdLd5ggW_LEV-_gWVmD1Fp0Iq9pBHRwglrCI5ILPtjdLE5BvkD3wNrZZdgrXpm0Zi1nzB_w3/s640/44.jpg" width="382" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 44 –
Printed postcard of three Mi’kmaq basket makers from Chester, Nova Scotia. Circa
1905.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjejRbIcSk8YLaxXfJnp-cf3bvL81dZ-Yo-DFMdXtjCOeMlY2lJ_QUUCwqiDDmIQmcFDc-YOnKJMeyfMxMPYJKalD4wdz3uxV9yb04kXf0a4GUuUTYLg7XxF4eYjHD1xjSMSn7YHjrePm0d/s1600/45.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjejRbIcSk8YLaxXfJnp-cf3bvL81dZ-Yo-DFMdXtjCOeMlY2lJ_QUUCwqiDDmIQmcFDc-YOnKJMeyfMxMPYJKalD4wdz3uxV9yb04kXf0a4GUuUTYLg7XxF4eYjHD1xjSMSn7YHjrePm0d/s640/45.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 45 –
Real Photo postcard of Chief Jim Meuse of Bear River, Nova Scotia selling
baskets with his family. Circa 1910.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUHQMxvjn-salOL96Erm_4pEm3TA4V_SyvUJrXhsDSPB4h_nNINi-IL0RxcdV_Mczk4RWyoog_l007rnLrWPpuKel7A_Hdh71H_SEfRvwtmSlz-qLHFKFcYDiw-B8xKy7yLutg4YzI1Q4k/s1600/46.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUHQMxvjn-salOL96Erm_4pEm3TA4V_SyvUJrXhsDSPB4h_nNINi-IL0RxcdV_Mczk4RWyoog_l007rnLrWPpuKel7A_Hdh71H_SEfRvwtmSlz-qLHFKFcYDiw-B8xKy7yLutg4YzI1Q4k/s640/46.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 46 –
Printed postcard of two Mi’kmaq women marketing their baskets. Published by the
Yarmouth Portrait Company in Yarmouth, Nova Scotia. Circa 1910.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdVmh_z5O4V25FlpR1y1C5a8JMCDWH9KMqbwVk1iolWUZwlxLX8ofnm-lVti6czMRfyNcN9A4Hycc348-WphEJe9tffZ9bnwIWDuog63sBESfFQrOxiko6vTAbpoiniqCrfn16TMiv6-zN/s1600/47.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdVmh_z5O4V25FlpR1y1C5a8JMCDWH9KMqbwVk1iolWUZwlxLX8ofnm-lVti6czMRfyNcN9A4Hycc348-WphEJe9tffZ9bnwIWDuog63sBESfFQrOxiko6vTAbpoiniqCrfn16TMiv6-zN/s640/47.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 47 –
Real Photo postcard of a Mi’kmaq camp in Chester, Nova Scotia. Beautiful
assortment of baskets on display. Dated 1907.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS7VUWu6VksfoXF_uEHiw2uxK-Nx9HAHCMvWj1fxzirTHq76eoWZ_kMooGLPujnGdIjq0zOlWoGTMQ1w964rKLRC2-6At4osBHJDesW9BcxWsTS5NyZ7G6K9zXJz1bAlxmFxfNfasp_5C8/s1600/48.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS7VUWu6VksfoXF_uEHiw2uxK-Nx9HAHCMvWj1fxzirTHq76eoWZ_kMooGLPujnGdIjq0zOlWoGTMQ1w964rKLRC2-6At4osBHJDesW9BcxWsTS5NyZ7G6K9zXJz1bAlxmFxfNfasp_5C8/s640/48.jpg" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 48 –
Tintype of two unidentified individuals. They could be Mohawks or Abenaki.
Beautiful pedestal basket on the right with fancy weave. Not sure why all the
short branch segments are in the larger baskets. 1860s – 1870s.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL25gyLA6P8og691mgzpQOocyNjcIl8ucDHzdZAf7gIkrTiaTxufSpRgk_q-5m01AHW-L1ep3qbvwkM5HSPQMYbeGT1aWfOpjLwpUKQW7w4tH61-M1J2QUTiIVnpMOx9D6-vvdctNLoSA7/s1600/49.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL25gyLA6P8og691mgzpQOocyNjcIl8ucDHzdZAf7gIkrTiaTxufSpRgk_q-5m01AHW-L1ep3qbvwkM5HSPQMYbeGT1aWfOpjLwpUKQW7w4tH61-M1J2QUTiIVnpMOx9D6-vvdctNLoSA7/s640/49.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "arial" , "sans-serif";">Figure 49 –
Real Photo postcards of two Native basket weavers working for the Eastern
States Packaging Company in Peterborough, New Hampshire. No other information
available. Circa 1910.<o:p></o:p></span></div>
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com2tag:blogger.com,1999:blog-8743733062223446224.post-26770385011310818792013-11-03T09:56:00.000-05:002014-02-07T08:41:59.156-05:00Art as a Healing Vehicle for Cancer <div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Arial","sans-serif";">2013
was a difficult year.</span><span style="font-family: Arial, sans-serif;"> As some of you already know, in the
spring I was diagnosed with a low grade lymphoma, a type of blood cancer
affecting the lymph system. Since I wasn't experiencing any of the symptoms of the disease I
was told the best approach was to wait until they manifested themselves before
beginning treatment. The oncologist said it could be years before symptoms
occurred, so that was good news, if there is any good news to be had in a
cancer diagnosis. </span><span style="font-family: "Arial","sans-serif";"><o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif"; mso-fareast-font-family: "Times New Roman";">A few weeks later I developed a pain
that shot down the inside of my leg and I thought I had pulled a groin muscle. It
got to the point where the discomfort was keeping me awake at night so I went
in for more tests. A CAT scan indicated I had a lesion on my pelvis and I was
sent for a consultation with an orthopedic
specialist. A biopsy indicated the<span class="apple-converted-space"> </span>lesion
was cancerous and I was told it was eating away at my pelvis and this was the likely
the source of my pain. It turned out to be an aggressive lymphoma (different
from the low grade lymphoma I was diagnosed with weeks earlier). My oncologist
started me right away on chemotherapy. </span><span style="font-family: Arial, Helvetica, sans-serif;">The worst part for me was that the
cancerous lesion ate a hole in the bone before it was discovered. Since it was near
my hip, they didn’t want me putting any weight on it for fear it could break. So
as a precaution they had me on crutches or in a wheelchair for the six months I
did chemo. That was a big pain in the butt. I spent the
spring and summer going through six, three-week cycles of chemotherapy. It was
quite an ordeal and something I hope I never have to do again. The most recent
PET scan indicated that any remaining lymphoma cells were undetectable and
below the sensitivity level of the instruments they used to measure them; that’s
the best outcome you can have! Now I have to go in for four weeks of daily radiation
treatments to kill any residual cancer cells that the chemo might have missed. Unfortunately,
I still have the low grade lymphoma so I’m not totally out of the woods yet and
there is a 25% chance that the aggressive lymphoma could return in three to
five years; that also means there is a 75% chance that it won’t. Believing from
the onset that the lymphoma had likely compromised the integrity of my hip, I
was told that I should anticipate hip replacement surgery when chemotherapy was
over. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In early October I had an encouraging meeting with my orthopedic surgeon who said the post-chemo x-rays and my last CAT scan indicated that the weight bearing portion of my hip joint was not compromised by the cancer as they originally suspected. He thought it would be safe to forego the hip replacement and recommended I slowly start adding weight-bearing to that leg again and start walking; which I have been doing for a few weeks now. I've certainly developed a new appreciation for what people confined to a wheelchair have to deal with on a daily basis.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">My lack of mobility made it difficult
to get down to my studio to work on my portraits of contemporary </span><a href="http://www.gerrybiron.com/pages/new_work/02_niio_perkins.html" style="font-family: Arial, Helvetica, sans-serif;">Native beadworkers</a><span style="font-family: Arial, Helvetica, sans-serif;"> so that
project was put on hold. By late summer I was wasting a lot of time sitting on
the living room couch staring out the window or watching TV so I decided to do
something productive. I got a drawing pad out and started doing some pen and
ink sketches. The technique involves juxtaposing and overlapping thousands of
tiny dots with a fine-tipped, felt tip pen, to create the modeling
or shading you see on the pieces. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Art is often born of human
experience, both positive and negative. These sketches were unlike any of my representational
portraits of Native people that are well planned out and can take hundreds of
hours to execute; these are very graphic and produced almost spontaneously in
comparison. The earliest ones were done in a single sitting of just a few
hours. When I began to sketch I had no idea what would come out – I would just
start to draw and the result was perhaps a reflection of my psychological state
at the time. All the sketches tend to be faces in some form; some take on an alien, bird or animal-like appearance.
Don’t ask me what they mean as I haven’t figured it out yet. They were just my
way of dealing with the cancer and bringing a face to it. Perhaps
they represent different faces of my lymphoma and are part of the healing
process in my daily battle with cancer. My first reaction to them was how
bizarre, curious, weird and fantastic they were. As I progressed, the designs
became more complex and I worked on them from six to eight hours a day, usually
getting one completed in two to three days. They started as a way to pass
the time but eventually developed into something more. I was determined to not
let the cancer prevent me from doing something I loved. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The
“faces” can be a little spooky, even to me, but cancer is a scary disease. There
were times when I wondered if all this chemo was worth it. It did kill the
cancer but it also killed part of my spirit. I've come to see the sketches as a mechanism
that is not only giving a face to my cancer but is helping me cope with it on a
psychological level. It’s also helping to restore my spirit. Each represents a
dialogue between my subconscious mind and my healing body. Each
expresses a different visual voice; an expressive image. Perhaps
these sketches are the vehicle through which the psychological component of my
cancer will be culled from my mind – the chemo culling it from my body. To me,
they appear to be
"drawing" out the many faces of my cancer.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The pieces are illustrated below in
the order they were created so you can see how the faces evolved from the alien-like
images into mask-like forms. When I got to the twenty-third image I thought I
was done with them, incorporated the text "the end" into the design, and put my sketch pad and pens away. But after a
couple of weeks, they were calling me back. Maybe the images have a spirit of
their own that is guiding me to produce more of them for my healing to be
complete, so number 24 represents the beginning after "the end." <o:p></o:p></span><span style="font-family: Arial, Helvetica, sans-serif;">I've haven’t commented on any of the images in the captions because you’re probably better off interpreting them for yourself. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwL3Qmr78eLu6Bh7kOcl1iV7FjYu4Q-RfnIaWyPyeTtKOZaSXJHhwSl9cKo8ywRVnKepHrME7-AlW9fDK5wSY0JkgkJ-2F_6OESAwbGruASp5stCPysZmL7jzwhQAMItYiXiBai8Fdd39W/s1600/01E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwL3Qmr78eLu6Bh7kOcl1iV7FjYu4Q-RfnIaWyPyeTtKOZaSXJHhwSl9cKo8ywRVnKepHrME7-AlW9fDK5wSY0JkgkJ-2F_6OESAwbGruASp5stCPysZmL7jzwhQAMItYiXiBai8Fdd39W/s640/01E.jpg" height="640" width="498" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#1</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifaQCFDeR6pOFrlu7TJQpdR_5mAqal_deHnX1OHGZcKwPhkcYDs7rqIpgfXg5kadHteYJaakHkzI4Pl8vjaC0FkjgCdO_RvBbe6brQojHq5Ae5-ztKx_-4jQG1M3j0nNeaTlxLm6ndmUCF/s1600/02E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifaQCFDeR6pOFrlu7TJQpdR_5mAqal_deHnX1OHGZcKwPhkcYDs7rqIpgfXg5kadHteYJaakHkzI4Pl8vjaC0FkjgCdO_RvBbe6brQojHq5Ae5-ztKx_-4jQG1M3j0nNeaTlxLm6ndmUCF/s640/02E.jpg" height="640" width="503" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#2</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjTSd9Kqir1kkbNJdsHvOcHOHPN1SJATLUZ53-DtHGhDCrKP1nlQBR6fuLYprd6z1v2JUgPNuvXU_vWuRZvj8XwrZpy2qGJC9DLai0P_RZgTCFmk7lpDDo7pPY_QNs-EZosuuMsLogmUSS/s1600/03E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjTSd9Kqir1kkbNJdsHvOcHOHPN1SJATLUZ53-DtHGhDCrKP1nlQBR6fuLYprd6z1v2JUgPNuvXU_vWuRZvj8XwrZpy2qGJC9DLai0P_RZgTCFmk7lpDDo7pPY_QNs-EZosuuMsLogmUSS/s640/03E.jpg" height="640" width="497" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#3</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT2djJ4cb9iMkWCuFy4lYvv2yaqbH8ybPZeKp6hvWOe2N_5PAlfrj7MDbsvz2GgMv3Cd4p-kvjctgkSU5xziwTFyG9ifrJIgnE3sbRHsrBugVKCz611qGpGOxdCGbapzeC48vSis5nQeVZ/s1600/04E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT2djJ4cb9iMkWCuFy4lYvv2yaqbH8ybPZeKp6hvWOe2N_5PAlfrj7MDbsvz2GgMv3Cd4p-kvjctgkSU5xziwTFyG9ifrJIgnE3sbRHsrBugVKCz611qGpGOxdCGbapzeC48vSis5nQeVZ/s640/04E.jpg" height="640" width="504" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#4</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv4F2n0jJaML3MQXMkMoKK-Jv6z_Ca1IKxWG7HyJI9MQI7bjAWl3yEN3GpErBWkTdZxxDa5GrNZ_gLqbHuhurK3q8KeBeTf_77-cpEx1nzh3LthENaZ_kr_aO0Ka1idj1cCrT40JlwnmdM/s1600/05E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv4F2n0jJaML3MQXMkMoKK-Jv6z_Ca1IKxWG7HyJI9MQI7bjAWl3yEN3GpErBWkTdZxxDa5GrNZ_gLqbHuhurK3q8KeBeTf_77-cpEx1nzh3LthENaZ_kr_aO0Ka1idj1cCrT40JlwnmdM/s640/05E.jpg" height="640" width="505" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#5</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr7KRws7EenhmI9-0wJBJlAv00SiB3dyNt7-l50r1LBAwgk7aY82z85hM9Z2253I5Gy4YxoU38Xpc_Pe0fikSbj8eVlg05yFtCa9_CO53Q3I_sjJCPy14S4LUU59BlnaaHfExc4kHhqaRb/s1600/06E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr7KRws7EenhmI9-0wJBJlAv00SiB3dyNt7-l50r1LBAwgk7aY82z85hM9Z2253I5Gy4YxoU38Xpc_Pe0fikSbj8eVlg05yFtCa9_CO53Q3I_sjJCPy14S4LUU59BlnaaHfExc4kHhqaRb/s640/06E.jpg" height="640" width="505" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#6</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5o2PgaK2OA78pb8SG98ncfylOcPsZxR0HhiJPRn75pdepTd8Hl4DX7ttLB8TN55GAmA9b5CsjDzERJriKt95sG7bKhyFmyLD0IvREqZi9NVRC8RTPrCIXyOEqddIzAxhkcaWuN1UvlShn/s1600/07E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5o2PgaK2OA78pb8SG98ncfylOcPsZxR0HhiJPRn75pdepTd8Hl4DX7ttLB8TN55GAmA9b5CsjDzERJriKt95sG7bKhyFmyLD0IvREqZi9NVRC8RTPrCIXyOEqddIzAxhkcaWuN1UvlShn/s640/07E.jpg" height="640" width="497" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#7</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW_DegtPJ10yeaGFGTe_qI9VV5SwU3SfAiAX86ZjMmsX0unHBLvnvDIviwT0JwHkzWOah35huVg8hUw0k0FaspdIxlIQ2ex2CGpOs94_LOyFWlH1mjhs59y-TShRwU5irD37IN2O_Lw96H/s1600/08E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW_DegtPJ10yeaGFGTe_qI9VV5SwU3SfAiAX86ZjMmsX0unHBLvnvDIviwT0JwHkzWOah35huVg8hUw0k0FaspdIxlIQ2ex2CGpOs94_LOyFWlH1mjhs59y-TShRwU5irD37IN2O_Lw96H/s640/08E.jpg" height="640" width="501" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#8</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz3V4mYFEqSCC38XglI0Ds8T2e9YtIVfz8gtubJR5rIW2dQ1s9XnKYabu9QzeaxBgzlBwwh7eRAUGjd62V1kkJ4rVIP_8cjFQ_IIkAHXeDHO27Hpm9cSBfHukPccaimCi5HwWJ2GcPsBZB/s1600/09E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz3V4mYFEqSCC38XglI0Ds8T2e9YtIVfz8gtubJR5rIW2dQ1s9XnKYabu9QzeaxBgzlBwwh7eRAUGjd62V1kkJ4rVIP_8cjFQ_IIkAHXeDHO27Hpm9cSBfHukPccaimCi5HwWJ2GcPsBZB/s640/09E.jpg" height="640" width="494" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#9</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ2SchDiIeXGIjmg4IVrXVDBy9FgwjNFVBulFQKC4Su2xXrEbrSuwpn54wV_dBL5kFgm61FXuKQEvOguddTc9xGqdhnz6R7mEOKrwbxnoXF04bgVbzjl4a4L7DdNWpuTkEvLtv1QdlqGGR/s1600/10E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ2SchDiIeXGIjmg4IVrXVDBy9FgwjNFVBulFQKC4Su2xXrEbrSuwpn54wV_dBL5kFgm61FXuKQEvOguddTc9xGqdhnz6R7mEOKrwbxnoXF04bgVbzjl4a4L7DdNWpuTkEvLtv1QdlqGGR/s640/10E.jpg" height="640" width="503" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#10</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjjTTKHOqoo7aBmHkncdhdJJbtxhcKzvGEiZ03D_gC4tWM0zgeOQFAa8DRaxGxmokS2MY3UmxXnechJ2C6yKgTZPWPXa0O00E1C38xjOrWSCQxFK1Wu-VqdKk8i1_RqZB2ZMQ5Na11WJbL/s1600/11E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjjTTKHOqoo7aBmHkncdhdJJbtxhcKzvGEiZ03D_gC4tWM0zgeOQFAa8DRaxGxmokS2MY3UmxXnechJ2C6yKgTZPWPXa0O00E1C38xjOrWSCQxFK1Wu-VqdKk8i1_RqZB2ZMQ5Na11WJbL/s640/11E.jpg" height="640" width="508" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#11</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7gzfUfsCYEzNtEun90o7VUNpX4sY0UxGD1Gwdc6kUGJZDH6vidVHc2UUbaY_PBlM4Avsem41aL40Q_NRWkcjZ8SXKRmEWCFxziIDXxXbrAmI2ZUvDLZwn5EaAX_KY-VUBTAFpW7UIFDrU/s1600/12E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7gzfUfsCYEzNtEun90o7VUNpX4sY0UxGD1Gwdc6kUGJZDH6vidVHc2UUbaY_PBlM4Avsem41aL40Q_NRWkcjZ8SXKRmEWCFxziIDXxXbrAmI2ZUvDLZwn5EaAX_KY-VUBTAFpW7UIFDrU/s640/12E.jpg" height="640" width="497" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#12</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP-DV_vyRADOxmqDSt94YeyVP2YjZIlbrtC_39PE4MQllwxwKutEV8eIqYngl37lR_qGr_kO8rhO4UUsajMxKJg3mwz3M0wUwyN3XGi36lOgX2p1LOqlQ64bAZFu5UcDzNhmOJvqWHcWdU/s1600/13E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP-DV_vyRADOxmqDSt94YeyVP2YjZIlbrtC_39PE4MQllwxwKutEV8eIqYngl37lR_qGr_kO8rhO4UUsajMxKJg3mwz3M0wUwyN3XGi36lOgX2p1LOqlQ64bAZFu5UcDzNhmOJvqWHcWdU/s640/13E.jpg" height="640" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#13</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdInoAldLXocbrkZnX1T_BktO2zj5xgDu2-eBXl23ySDlrqrnHvfGvbW8adyW7VUMd2dkW7xJJ8WqAWxPQF_p40gmehsL80YvdXTonEyQAWZ8XLuYR1u1dhgTIYuLtPYwxg3at84y7Chvq/s1600/14E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdInoAldLXocbrkZnX1T_BktO2zj5xgDu2-eBXl23ySDlrqrnHvfGvbW8adyW7VUMd2dkW7xJJ8WqAWxPQF_p40gmehsL80YvdXTonEyQAWZ8XLuYR1u1dhgTIYuLtPYwxg3at84y7Chvq/s640/14E.jpg" height="640" width="511" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#14</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbLzVk9shhYgMq8CfEJuSkW901oCzFjk6e4wwSG6nFsaACahWwinUGk5LJ-TFW5Or0t51Jjo5z3uVxc2-qRCDvOZ8fs3pawnQVxC2qjHJ9Ew4n5dEHfwDF1PiI3iHEMFiMdWgBxaXilY8q/s1600/15E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbLzVk9shhYgMq8CfEJuSkW901oCzFjk6e4wwSG6nFsaACahWwinUGk5LJ-TFW5Or0t51Jjo5z3uVxc2-qRCDvOZ8fs3pawnQVxC2qjHJ9Ew4n5dEHfwDF1PiI3iHEMFiMdWgBxaXilY8q/s640/15E.jpg" height="640" width="505" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#15</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsacv7h7mkZo2b2D0DoqCXDhuW9XUg5N-phF9dzSPpcIIDFM1Kr_oyX6bSiWp1Tn-vI2bp09ySA0Tf04tN3OlOgQkwNcD1MF5gl4A-fc-lXRasg9vmzTkUXQNqBsBLe8WCkpZCKWtpBL5D/s1600/16E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsacv7h7mkZo2b2D0DoqCXDhuW9XUg5N-phF9dzSPpcIIDFM1Kr_oyX6bSiWp1Tn-vI2bp09ySA0Tf04tN3OlOgQkwNcD1MF5gl4A-fc-lXRasg9vmzTkUXQNqBsBLe8WCkpZCKWtpBL5D/s640/16E.jpg" height="640" width="508" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#16</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcwy97qmzItCwSGVxiwHTGeCTBzbGT4_gdnFMBE2PhJerBRS1Yjz7M_-GGQFHUgf_uTFdLhNgZU8CzRr5JIvgCccwiKrZpuVubHxzP5JYi8WSRZ6JUVU5wQPWxTAltrjwhoBXiBYFXQWpK/s1600/17E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcwy97qmzItCwSGVxiwHTGeCTBzbGT4_gdnFMBE2PhJerBRS1Yjz7M_-GGQFHUgf_uTFdLhNgZU8CzRr5JIvgCccwiKrZpuVubHxzP5JYi8WSRZ6JUVU5wQPWxTAltrjwhoBXiBYFXQWpK/s640/17E.jpg" height="640" width="502" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#17</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisg_BOB2Zck7nztJvDuLcpNffK93ixi8xjWBCDeYXfwEFpzT1-du6WT4mRxU124hzeNA6lBzD7a_tK2DQRoVSoRB7S59YfrQNbouhiZ3B4qnwagKM5XPHKTcbC1v8m3wN7x2j4sOFWA415/s1600/18E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisg_BOB2Zck7nztJvDuLcpNffK93ixi8xjWBCDeYXfwEFpzT1-du6WT4mRxU124hzeNA6lBzD7a_tK2DQRoVSoRB7S59YfrQNbouhiZ3B4qnwagKM5XPHKTcbC1v8m3wN7x2j4sOFWA415/s640/18E.jpg" height="640" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#18</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7X0XAkJKXpETB1pUJk6hsey7qAD0l-PyifCs23cj14v7h4FaJSUK2LUVTsKYO_4UntspHHXyutAX4BWrwuCW-_mzJSNMJLgCTV4usBBqQRCJ_5ROwMPO9fKeza1rtM4_YW4KupN4ub-6l/s1600/19E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7X0XAkJKXpETB1pUJk6hsey7qAD0l-PyifCs23cj14v7h4FaJSUK2LUVTsKYO_4UntspHHXyutAX4BWrwuCW-_mzJSNMJLgCTV4usBBqQRCJ_5ROwMPO9fKeza1rtM4_YW4KupN4ub-6l/s640/19E.jpg" height="640" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#19</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiURsHmV_ibrvrXf9mwUOKUdupBfJaSNBjnAh_Ft1hOYBNqB77HyfunutgEeGHoEaFgJUDkkvLriPhkI2gfGhtIPisF50iYb24tYgxZesFt2kyhyvEzhH6Tuwqq39IGZDmLkTqef8Xt_gR6/s1600/20E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiURsHmV_ibrvrXf9mwUOKUdupBfJaSNBjnAh_Ft1hOYBNqB77HyfunutgEeGHoEaFgJUDkkvLriPhkI2gfGhtIPisF50iYb24tYgxZesFt2kyhyvEzhH6Tuwqq39IGZDmLkTqef8Xt_gR6/s640/20E.jpg" height="640" width="504" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#20</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-QLKzpHewjcxNVUl-bs6MUREI95Fc__YIPYGbNbn0O8600MgGmlVV-sc9EbRLgIftKfestWnX0YSzau1B-ZhImNUcCsmeKIXJzkPm-p5YPAZwLKbJUQ4nhqOob6qpncWXBdTwhYa3C2cx/s1600/21E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-QLKzpHewjcxNVUl-bs6MUREI95Fc__YIPYGbNbn0O8600MgGmlVV-sc9EbRLgIftKfestWnX0YSzau1B-ZhImNUcCsmeKIXJzkPm-p5YPAZwLKbJUQ4nhqOob6qpncWXBdTwhYa3C2cx/s640/21E.jpg" height="640" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#21</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Ddzxfa9_PST5s5iHv81YgNUb3-WIn-EEuq-qZUuNgxUSZb7-jP1y6Aa77U8JTExVcepEdExe1drO2PYodmeRJh64oTFzKIJny-3l0lcBLiIzLk0WHdULibeggo39PzBzSRzGDz-FTMW2/s1600/22E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Ddzxfa9_PST5s5iHv81YgNUb3-WIn-EEuq-qZUuNgxUSZb7-jP1y6Aa77U8JTExVcepEdExe1drO2PYodmeRJh64oTFzKIJny-3l0lcBLiIzLk0WHdULibeggo39PzBzSRzGDz-FTMW2/s640/22E.jpg" height="640" width="503" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#22</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiisl4k7cIn7TMlZpXktFOKntZcVPWi2kiAM1x7WtWnb6cYSIKFGqyP1BilUGG1i9zs0CxquViPAP7FLR_ufvAZenMN3rU7kTeJxE-N1xOqYVMJ_ybeVR1fwWkvwy0hWzhkK7Kc-ro-Nj7E/s1600/23E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiisl4k7cIn7TMlZpXktFOKntZcVPWi2kiAM1x7WtWnb6cYSIKFGqyP1BilUGG1i9zs0CxquViPAP7FLR_ufvAZenMN3rU7kTeJxE-N1xOqYVMJ_ybeVR1fwWkvwy0hWzhkK7Kc-ro-Nj7E/s640/23E.jpg" height="640" width="507" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#23</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv-f437xjZHpYpV39_S1JrM4Xf4Z78acD892IQEbJhduIRxYZ56uajV_NmkSOS3tdcB3ZBdOjQ-sI_DR73HsAaelA04HrmrV2uC_A1_SSh2w_KxT3vQBLWtYV1v7iE-_e3K1CfZNk29IFY/s1600/24E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv-f437xjZHpYpV39_S1JrM4Xf4Z78acD892IQEbJhduIRxYZ56uajV_NmkSOS3tdcB3ZBdOjQ-sI_DR73HsAaelA04HrmrV2uC_A1_SSh2w_KxT3vQBLWtYV1v7iE-_e3K1CfZNk29IFY/s640/24E.jpg" height="640" width="501" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#24</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN9AOIrO5fBUQySvQSN9qm0dHm59f9v7j2OGq5oP6D3UtrPeLjnQloDjR0Zn-4xgzdgRGFu0zZqr0lyWAYI1B8fQ0eaKdtTtXoRTVL8h-7w6bngLgrwnPMBZEcRx2NG9UquwaYxMTGigQZ/s1600/25E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN9AOIrO5fBUQySvQSN9qm0dHm59f9v7j2OGq5oP6D3UtrPeLjnQloDjR0Zn-4xgzdgRGFu0zZqr0lyWAYI1B8fQ0eaKdtTtXoRTVL8h-7w6bngLgrwnPMBZEcRx2NG9UquwaYxMTGigQZ/s640/25E.jpg" height="640" width="505" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#25</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigTJs3HsFAYZm7V0H_dIYYXeAyaUqymgPMIiXYAhCe3jE6Ns2D4ylxQepwdG1k4B0jh7mFxm3v8SuxsS1slFtkb9qwzXqGSwwli1QSy7QPaQhComenlH8f4c7d6bOvYVKzuJ_lWIpvqjvw/s1600/26E.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigTJs3HsFAYZm7V0H_dIYYXeAyaUqymgPMIiXYAhCe3jE6Ns2D4ylxQepwdG1k4B0jh7mFxm3v8SuxsS1slFtkb9qwzXqGSwwli1QSy7QPaQhComenlH8f4c7d6bOvYVKzuJ_lWIpvqjvw/s640/26E.jpg" height="640" width="503" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#26</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLZ-p1ukycJOtfFGBNvyLKtDFh82-xMsY18tRgXUtXcfJiAsBVJ5kke_rnrvOPzh0f6aHxEWA0X-Wpnm_Pq8A3t2JQKUc9_a4DBqY8Glsg7YSzJUGXHNPnEeySg_toAI2Lts_0kYPg3iMD/s1600/27E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLZ-p1ukycJOtfFGBNvyLKtDFh82-xMsY18tRgXUtXcfJiAsBVJ5kke_rnrvOPzh0f6aHxEWA0X-Wpnm_Pq8A3t2JQKUc9_a4DBqY8Glsg7YSzJUGXHNPnEeySg_toAI2Lts_0kYPg3iMD/s640/27E.jpg" height="640" width="504" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#27</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiSsLONZY-azxWiuPxTSYAcVUmIdgpn4t7UMYzsCdkiW5uJZgAIsW-jYzf77DLGPhFdRjO1zmw84J6bO9xmbnhsoVpP96lBEZ2pOheyMTteMcBQP0hysrArlaMwWQqxpfkqALsDkZUJbVY/s1600/28E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiSsLONZY-azxWiuPxTSYAcVUmIdgpn4t7UMYzsCdkiW5uJZgAIsW-jYzf77DLGPhFdRjO1zmw84J6bO9xmbnhsoVpP96lBEZ2pOheyMTteMcBQP0hysrArlaMwWQqxpfkqALsDkZUJbVY/s640/28E.jpg" height="640" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#28</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI2yycA_HJLfeTMTD0rJrdkFCsaAaQjaVlZ6orWxn3fGOWmTwXjRY-IZT24fygXYOh9mVl5hyphenhyphenW2Uyhj6RcOEcjBhDTnOaHFMBiGmas5lPv8TZqThMdPBueym-r8cEQwj2diCyPs_i1iD5Z/s1600/29E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI2yycA_HJLfeTMTD0rJrdkFCsaAaQjaVlZ6orWxn3fGOWmTwXjRY-IZT24fygXYOh9mVl5hyphenhyphenW2Uyhj6RcOEcjBhDTnOaHFMBiGmas5lPv8TZqThMdPBueym-r8cEQwj2diCyPs_i1iD5Z/s640/29E.jpg" height="640" width="504" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#29</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitzk8H7935B9x0HfapaXPLZ_vjqyjN_6ISeMfml4_SP_fYCqu0TW9sDYr1wQWKSQdIoLP4oLGzKwVumkqIIbu_USFObPSx8ZNy3fWWz3Ao4JNR1k0MeID232nxzDls_lhw0zPNkuAjD97G/s1600/30E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitzk8H7935B9x0HfapaXPLZ_vjqyjN_6ISeMfml4_SP_fYCqu0TW9sDYr1wQWKSQdIoLP4oLGzKwVumkqIIbu_USFObPSx8ZNy3fWWz3Ao4JNR1k0MeID232nxzDls_lhw0zPNkuAjD97G/s640/30E.jpg" height="640" width="504" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#30</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggqPDuLzPP3DCJ5c5cz6tBVMiye6m8d6ZvRt2YEy1zS-PwbQsPpxzlrOphF0nIKsgK9nQoi6CK3zuqO9APIKER-LEX3OxNCGULBs0dAN5bSdKjG6MnHxmL-w2_kGxBSJQh-xHgnTOcicEP/s1600/31E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggqPDuLzPP3DCJ5c5cz6tBVMiye6m8d6ZvRt2YEy1zS-PwbQsPpxzlrOphF0nIKsgK9nQoi6CK3zuqO9APIKER-LEX3OxNCGULBs0dAN5bSdKjG6MnHxmL-w2_kGxBSJQh-xHgnTOcicEP/s640/31E.jpg" height="640" width="504" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#31</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEganV0gtY_gnHxc65n-Zg07JwPThmlvBE7NxbXulLdpvfh-tAgl-1w-Yn_SfCdUsK1wd5CvoXuVqHiSzgfIIXv3bPITVrpJfucc9AZCWVcAgNhmF-5FbH9vxC_jPJpF90uS0P-cyPSLbCzW/s1600/32E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEganV0gtY_gnHxc65n-Zg07JwPThmlvBE7NxbXulLdpvfh-tAgl-1w-Yn_SfCdUsK1wd5CvoXuVqHiSzgfIIXv3bPITVrpJfucc9AZCWVcAgNhmF-5FbH9vxC_jPJpF90uS0P-cyPSLbCzW/s640/32E.jpg" height="640" width="506" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#32</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilTSKdzO7lCPb9FSa0EHDltrJ8VvJ3OcHh0FPRYKJLskiggwyDlBn64yh9GYa8_ytgedms8fDlpqHmpd21kMt-0bEQZK56FGTEMiuKMu32ZsMcaAfCmBiWsaKY8vM5YbsOLnX6u3cYEvan/s1600/33E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilTSKdzO7lCPb9FSa0EHDltrJ8VvJ3OcHh0FPRYKJLskiggwyDlBn64yh9GYa8_ytgedms8fDlpqHmpd21kMt-0bEQZK56FGTEMiuKMu32ZsMcaAfCmBiWsaKY8vM5YbsOLnX6u3cYEvan/s640/33E.jpg" height="640" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#33</td></tr>
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com7tag:blogger.com,1999:blog-8743733062223446224.post-88585761816778995702013-10-20T10:24:00.000-04:002016-05-18T11:37:13.075-04:00Puzzle Pouches<div class="MsoNormal" style="line-height: 150%; margin-bottom: 2.0pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;"> The bags in <span style="color: red;">figure
1</span> are generally referred to as puzzle pouches. The name comes from the
split thongs that ingeniously extend from the top to form a puzzle-lock that
kept the bag closed.</span><!--EndFragment--> </div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYNXCL1JsmFniKU6K7MC_1IS2SNxl0UYtZf-tg7rEXdOQv_CPsBDO_yZSNP88Kf3NZTWl13qyulSf7M0GgykfOtfn7uW4jHo7JmvWiVVHdmArgQeTbtk-k3-X0nruX3UNQsfzFiMpXuQj9/s1600/01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="552" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYNXCL1JsmFniKU6K7MC_1IS2SNxl0UYtZf-tg7rEXdOQv_CPsBDO_yZSNP88Kf3NZTWl13qyulSf7M0GgykfOtfn7uW4jHo7JmvWiVVHdmArgQeTbtk-k3-X0nruX3UNQsfzFiMpXuQj9/s640/01.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 1 -
A group of early bags on animal hide. These are generally referred to as puzzle
pouches. Early to mid-nineteenth century.<o:p></o:p></span></div>
</td></tr>
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<div class="MsoNormal" style="line-height: 150%; margin-bottom: 2.0pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Though little has
been published about them, they appear to have been popular in places where the
French first established their missions.
Speck pictures two in his monograph on the Iroquois (<span style="color: red;">figure 2</span>).</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFFibXOgXpR0J8Pt40n-QemQ2WKdF5h0EjOD4EoccfDah4D_EznM3xhocXr8JwuA0C4Wwa6ZlumDVxFL2sV29onIK3jA7E9ln45SV9YwTA7LwQmP4umK3m8UMeA16aAjG9icA0-C1A6J76/s1600/02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFFibXOgXpR0J8Pt40n-QemQ2WKdF5h0EjOD4EoccfDah4D_EznM3xhocXr8JwuA0C4Wwa6ZlumDVxFL2sV29onIK3jA7E9ln45SV9YwTA7LwQmP4umK3m8UMeA16aAjG9icA0-C1A6J76/s640/02.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 2
- Photo from Speck’s monograph on the Iroquois illustrating two puzzle pouches.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 2.0pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">The one on the left is
on black buckskin, moosehair decorated on one side only and fringed with white
beads. He says it was collected in the Iroquois area. The one on the far right
is also on buckskin, covered on both sides with dyed porcupine quills and edged
with beads. Speck indicates that some of the dyes used were in part commercial
which would suggest a mid-nineteen century date for this piece. He suggests
that the pouch is most likely of Algonkian origin (Speck [1945] 1982:6). The
pouch on the left is quite early and possibly from the last quarter of the
eighteenth century.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxGIcDQL3WlJEhCNLUTmqx8SptntBrcrO9TFKS8cK_UnYuaE5vYbhExBEMgxnUFACc4ugPMi3-3dSX3xePmNq_FkoG7alZq9wvG14Zjs6IGnCJ7ViwoiaNc5D5_2NRdX_t9Cc-469vKBWF/s1600/03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxGIcDQL3WlJEhCNLUTmqx8SptntBrcrO9TFKS8cK_UnYuaE5vYbhExBEMgxnUFACc4ugPMi3-3dSX3xePmNq_FkoG7alZq9wvG14Zjs6IGnCJ7ViwoiaNc5D5_2NRdX_t9Cc-469vKBWF/s640/03.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Fig. 3 - Puzzle pouch,
dated 1834. From the Berkshire Museum collection. </span></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 2.0pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;"> The <a href="http://berkshiremuseum.org/">Berkshire Museum</a> in Pittsfield,
Massachusetts, has a dated example with an old note that reads: “Procured by
R.C. Baldwin of the Western Indians in 1834” (<span style="color: red;">figure 3</span>).
This pouch has a turtle motif on one side and a central sun motif on the other.
Both Haudenosaunee and Algonquian speaking groups in the northeast were making
these bags and over time, their use spread as far west as the Great Lakes and
beyond (<span style="color: red;">figures 4 and 5</span>).</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDyQxAC3RJKZ2QlPY59V8qOBw7o4bzWJ1oVh8LGsGLAXjNfJmOaMGdKgAvlK7eLZpkB7d54NjeHGvhj4XKNZREglIStt07mUrqwa2OksiasoTuQNqkx6PlyOrDUvaI9FM5BtD6GlXPyHjI/s1600/04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDyQxAC3RJKZ2QlPY59V8qOBw7o4bzWJ1oVh8LGsGLAXjNfJmOaMGdKgAvlK7eLZpkB7d54NjeHGvhj4XKNZREglIStt07mUrqwa2OksiasoTuQNqkx6PlyOrDUvaI9FM5BtD6GlXPyHjI/s400/04.jpg" width="329" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 4 -
Puzzle pouch, possibly Sioux. Late 19<sup>th</sup> to early 20<sup>th</sup>
century.<o:p></o:p></span></div>
</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEienXUv2pOVsrGHx8scl0stJPPZ4QlPzKVRqMtLQGO0_ryvNGrzQ0yK3fMcpGwlBCmHqYLA94EIX8ZQMtngc5joGGdH7f7p-gCaV89Nv-D36v8_kewnwKHyZ_H8nmT71JtqGFuYS0E9666I/s1600/05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEienXUv2pOVsrGHx8scl0stJPPZ4QlPzKVRqMtLQGO0_ryvNGrzQ0yK3fMcpGwlBCmHqYLA94EIX8ZQMtngc5joGGdH7f7p-gCaV89Nv-D36v8_kewnwKHyZ_H8nmT71JtqGFuYS0E9666I/s640/05.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Fig. 5 - Puzzle
pouch, possibly Crow, c. 1920.</span></td></tr>
</tbody></table>
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<div class="MsoNormal" style="line-height: 150%; margin-bottom: 2.0pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">The undulating design
along the perimeter of the pouch in <span style="color: red;">figure 6 </span>is
similar to the celestial dome motif on the Iroquois bag in <span style="color: red;">figure 7 </span>but the central motif on this puzzle pouch
looks Delaware. The Delaware were guests of the Oneidas in the early 1700s, and
after the Revolutionary War some of them removed to the Six Nations Reserve in
Canada where this bag might have originated.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR0XWkYu_W2WZjTc3SICVR1JXdefCU1duUU49vOrNzE0_19524RmFhpXzbfAQkLp4N-yeO1wbFVJ28jnmoTRBm6i68WdRk6V98GgaKX1lkWVydiCHFLNeY3ACxKi5mOcyENfdq4OYWHysk/s1600/06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="532" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR0XWkYu_W2WZjTc3SICVR1JXdefCU1duUU49vOrNzE0_19524RmFhpXzbfAQkLp4N-yeO1wbFVJ28jnmoTRBm6i68WdRk6V98GgaKX1lkWVydiCHFLNeY3ACxKi5mOcyENfdq4OYWHysk/s640/06.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 6
- Puzzle pouch, both sides shown; possibly Delaware. Glass beads (white, pink
and grey), and a silk ribbon edge binding. Early nineteenth century.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 2.0pt;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrWGqiVmldJCaRmYCyCCcf4NBLINcBMpHS2L1kY09ufn5vsRYD19STJDEcVYLRBsDqUkUY8k9Ck7puDXsyCz26Aj9F4vlWt_nN__zEOIglF3MfdiW_4_uj8W2lTYdEsfm2MyJMgDJRbd8g/s1600/07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrWGqiVmldJCaRmYCyCCcf4NBLINcBMpHS2L1kY09ufn5vsRYD19STJDEcVYLRBsDqUkUY8k9Ck7puDXsyCz26Aj9F4vlWt_nN__zEOIglF3MfdiW_4_uj8W2lTYdEsfm2MyJMgDJRbd8g/s640/07.jpg" width="542" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 7 -
Beaded bag Haudenosaunee type, possibly Seneca. Glass beads, black velvet
fabric, silk ribbon edge binding. 7 inches high by 6.5 inches wide. Circa 1830. The undulating celestial dome
motif along the perimeter of this bag is most often encountered on clothing.
This is an uncommon application of the design on a beaded bag. Inside the
sky-dome is a tri-lobed motif that may be a representation of the earth-tree
from the Haudenosaunee creation story. It’s very similar to a border design on
a skirt in the Rochester Museum and Science Center (no. 70.89.61) attributed to
the Seneca beadworker Caroline Parker.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-size: 12pt; line-height: 115%;"> Puzzle pouches date back to the late
eighteenth century and they may have been inspired by the miser or stocking
purses that were popular as early as the mid-eighteenth century (<span style="color: red;">figure 8</span>).</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_HpTU7C3zZ3p-RbI0bjmZTUdTANB-XaRoU20eoLA9_7Eq_pdVpya4PEiJ9W-sMnzwmpz5wjevDb8HYditUQP4ILQFMqfWeMTSzDteDgaSyVhX4yWdgZhsbFyNiQgci1L_TeqwJNeMo_nM/s1600/08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_HpTU7C3zZ3p-RbI0bjmZTUdTANB-XaRoU20eoLA9_7Eq_pdVpya4PEiJ9W-sMnzwmpz5wjevDb8HYditUQP4ILQFMqfWeMTSzDteDgaSyVhX4yWdgZhsbFyNiQgci1L_TeqwJNeMo_nM/s640/08.jpg" width="622" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Fig. 8 – Two ladies
miser purses. Mid-nineteenth century. </span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-size: 12pt; line-height: 115%;">Although
referred to as miser purses today, they were formally known as "long
purses," "short purses" or "gentlemen's purses." </span><span style="font-size: 12pt; line-height: 115%;">Similar to the puzzle pouches, miser purses were
used to hold coins that were inserted into a central, slotted opening. The
coins were then held secure by rings that were slid down over the outside of
the purse, to guard against the coins falling through the slit. Women generally
wore them hung over a belt. Men’s purses were up to three times longer than a
woman’s purse and men generally kept them in a pocket. Some scholars consider
them a revival of the medieval practice of carrying coins in the extremities of
an old sock. Like the puzzle pouches,
the design ensured that coins were secure and difficult to lose. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhViemjnil7LB18sTjbcHHmzDhrrekxqLpw7tRvmLrm_hOFRn-wZtml49Bp8CizCf_2NOF8wHS6UvmhZFPBZACp-2EUvCNyx55qJk-jN0yxpfln0VosGnWUuD3Xu8z5xPMKnxbgw5xpPW1/s1600/09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhViemjnil7LB18sTjbcHHmzDhrrekxqLpw7tRvmLrm_hOFRn-wZtml49Bp8CizCf_2NOF8wHS6UvmhZFPBZACp-2EUvCNyx55qJk-jN0yxpfln0VosGnWUuD3Xu8z5xPMKnxbgw5xpPW1/s640/09.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 9
- Puzzle pouch, possibly Haudenosaunee, glass beads (blue and white), silk edge
binding and silk inlays. 4.2 inches
wide. Early nineteenth century.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-size: 12pt; line-height: 115%;"> </span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;"> </span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;">The bag in </span><span style="color: red; font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;">figure 9
</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;">is</span><span style="color: red; font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;"> </span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;">another early example and the surface
of the bag is decorated with porcelain white and translucent blue beads and
edged with a green silk ribbon. It also has silk ribbon inlays. On some early Iroquois
beaded bags the overall field of decoration is monochromatic with the designs
created in all white or nearly all white beadwork, in a characteristically
linear fashion (see figure 3.4 in </span><i style="font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">A
Cherished Curiosity</i><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;">). Beaded on the front of </span><span style="color: red; font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;">figure
9</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;"> is a row of inverted triangles; on the reverse the triangles are
beaded along the left and right margins of the pouch. The example in the
Berkshire Museum has similar triangles along the perimeter. The
anthropologist Frank Speck describes a comparable motif on a Wabanaki wampum
belt from the same period that he said represented the tribal wigwams of the
Penobscot, Passamaquoddy, Maliseet and Mi’kmaq (Speck 1915:501). Of course this
is no assurance that the triangles on the puzzle pouches had the same connotation.
Other designs, such as the diamond, sun, four-directional cross and
double-curve motifs are found on both late-eighteenth century and early-nineteenth
century examples of material culture and these designs may have a shared
sensibility. It’s not likely their signification changed just because the
medium they were applied to did. Some early souvenir bags have these same
beaded triangles and this could be diagnostic of Iroquois work (</span><span style="color: red; font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;">figure 10</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;">).</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFD8JdmViUT3sXXQ7ODxT-4Tee0M9RP2Vu3loeSaaDkKc-Jvy4VGqGZHGt11Rk3Fn5eVZ0KnjAKnnUBxRLR4id9FWJJGC0SDPkvzzKEu01g_v2zqYFr43ZJQvMQENCFx_Bf_qktEk6o7zk/s1600/10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFD8JdmViUT3sXXQ7ODxT-4Tee0M9RP2Vu3loeSaaDkKc-Jvy4VGqGZHGt11Rk3Fn5eVZ0KnjAKnnUBxRLR4id9FWJJGC0SDPkvzzKEu01g_v2zqYFr43ZJQvMQENCFx_Bf_qktEk6o7zk/s640/10.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Fig. 10 - Beaded bag,
Northeast Woodland type, likely Haudenosaunee. Glass beads, black velvet fabric
and silk ribbon edge binding. 7.6 inches high by 6.8 inches wide. Circa 1830s.
Similar to a bag in the Rochester Museum and Science Center, Rochester, NY
(#C268) that is attributed to the Seneca of Buffalo Creek.</span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;"><br /></span></div>
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;"> </span><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">The anthropologist Arthur
Parker informs us that two parallel bead strings along the perimeter of a
design on Seneca work represent the earth (Parker 1912:613). So the triangles on
this piece could be literally interpreted as tribal wigwams sitting on terra
firma, or more broadly they could represent a village or a Nation.</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPLGPuJ7huyjUhyx2mQR-OoJyOcwMemqx1Ie5Vk0hgJaQ8MAxEiCp0VLUWK3XYp01F2kr2vh8JpwyCR9WvdnZmXDsvdL31r4yL2JhYYTzASWWrQXGFURKQ5MlOcuyyXskeWJd2vlbILyu9/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="586" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPLGPuJ7huyjUhyx2mQR-OoJyOcwMemqx1Ie5Vk0hgJaQ8MAxEiCp0VLUWK3XYp01F2kr2vh8JpwyCR9WvdnZmXDsvdL31r4yL2JhYYTzASWWrQXGFURKQ5MlOcuyyXskeWJd2vlbILyu9/s640/11.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 11
- Puzzle pouch, possibly Haudenosaunee. Glass beads, mostly white with a
scattering of red, green, black and blue, 3.4 inches wide. Early to
mid-nineteenth century.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<span style="font-family: "arial" , sans-serif; font-size: 12pt;"> The example in </span><span style="color: red; font-family: "arial" , sans-serif; font-size: 12pt;">figure
11</span><span style="font-family: "arial" , sans-serif; font-size: 12pt;"> is decorated mostly with white beads with a scattering of green, red,
blue, and black beads. It came with an old, hand-written note that reads: “My
grandfather bought this when he was peddling wooden ware out west among the
Indians of an Indian girl.” In the early
nineteenth century (when this bag was made), “out west” was likely a reference
to the Niagara frontier. The central sun-like feature on one side of this pouch
could be a representation of the celestial or world tree from the Haudenosaunee
creation story (see </span><i style="font-family: Arial, sans-serif; font-size: 12pt;">A Cherished Curiosity</i><span style="font-family: "arial" , sans-serif; font-size: 12pt;">
for more info on this) and the reverse of the pouch has beaded triangles. This
seems to have been a common design element on pieces from the first half of the
nineteenth century.</span><br />
<div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5PeXee4ra7JW-364Q_khqVrlI9xgDHulvSChX9rZmN-cCLfQ9n6NSccg4S2_IsdUC8FzXiP_xtWz3PdyHgagT-tdrqxyiapxbdO2yAlCZ3qdIWinxQGcVIPbfTNql8CNVtQE_hlqR1mJY/s1600/12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="630" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5PeXee4ra7JW-364Q_khqVrlI9xgDHulvSChX9rZmN-cCLfQ9n6NSccg4S2_IsdUC8FzXiP_xtWz3PdyHgagT-tdrqxyiapxbdO2yAlCZ3qdIWinxQGcVIPbfTNql8CNVtQE_hlqR1mJY/s640/12.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 12
- Two diminutive double puzzle pouches, possibly Haudenosaunee. The larger
pouch is 3.2 inches wide, the smaller one is 2.2 inches wide. First half of the
nineteenth century.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;"> The construction of the double puzzle
pouches in <span style="color: red;">figure 12</span> are more like the miser
pouches described above that were made to hang over a belt. The diminutive size
of the pouch in <span style="color: red;">figure 12a</span> suggests that it may
have been made for a doll and the beading style points to a 1830s date. It also
has the beaded triangles along the top flap. <span style="color: red;">Figure 12b </span>also
has the triangles on both sides of the bag. Puzzle pouches were almost
exclusively beaded on hide, unlike bags that were made for the souvenir trade which
were usually beaded on cloth.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , sans-serif;"><span style="font-size: 12pt; line-height: 115%;"> </span><span style="font-size: x-small;"><span style="line-height: 115%;">It’s
also possible that Caroline Parker, the Seneca beadworker from the Tonowanda
Reservation in western New York, produced puzzle pouches. In January of 1850,
Lewis Henry Morgan traveled from </span></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: x-small; line-height: 115%;">the Tonawanda Reservation to Albany where he
delivered a number of objects that he collected from Caroline Parker. She
gifted Morgan’s brother-in-law, Charles T. Potter, a purse, which he
acknowledged in a letter dated January 20, 1850, to Caroline. In it he writes
that her kind present was “very beautiful and acceptable… We could not open the
purse for a good while, it is very ingenious. I shall value it very much
indeed” (Tooker 1994:68).</span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga4jdHRfOIRVFKqZGO3QGojqkmx2XTUeRfcCHHpQQgXcbw3omYO-q9Kj_lF0Gkvb93Y7qVxJyMxiNEWLGODla8mduCmhL6oxUcf-1RjBOTV_mR_Ouc8RK_9HuBX2aWjSztCsWws8JsFvxY/s1600/13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga4jdHRfOIRVFKqZGO3QGojqkmx2XTUeRfcCHHpQQgXcbw3omYO-q9Kj_lF0Gkvb93Y7qVxJyMxiNEWLGODla8mduCmhL6oxUcf-1RjBOTV_mR_Ouc8RK_9HuBX2aWjSztCsWws8JsFvxY/s1600/13.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Fig. 13 - Three
mid-nineteenth century Seneca puzzle pouches. These all incorporate a central
floral motif that is similar to the one on the pincushion in figure 14. </span></td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;"> It’s impossible to know what this piece
looked like or if it was actually a puzzle pouch although the description
suggests that it was. A number of mid-nineteenth century Seneca puzzle pouches
exist (<span style="color: red;">figure 13</span>) but it would be conjecture to
attribute them to Caroline Parker. She and her immediate family are given credit for producing
most of the beadwork that was illustrated in Lewis Henry Morgan’s Regents
Reports to Cabinet of State (NY) that appeared in the early 1850s. One item is a pincushion (<span style="color: red;">figure 14</span>) with a central
floral/star motif that is similar to those depicted on the pouches in <span style="color: red;">figure 13</span>.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvHrmViMMaaDAUFwI9qIf6NKqFJlfuubZal6EDQ6zcF0iWOjowzzBOYUuECxj86z8c88KlLGAucp_2kuh-D9ruwDGA3sH4IHiM98Jc5ZfG94OtbvA6-yFVA7Q8JMkrKvQXheh8iGHJ0xBH/s1600/14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvHrmViMMaaDAUFwI9qIf6NKqFJlfuubZal6EDQ6zcF0iWOjowzzBOYUuECxj86z8c88KlLGAucp_2kuh-D9ruwDGA3sH4IHiM98Jc5ZfG94OtbvA6-yFVA7Q8JMkrKvQXheh8iGHJ0xBH/s640/14.jpg" width="610" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 14
- Illustration of a pincushion from Morgan’s fifth regent’s report, 1851, plate
18.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;"> </span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;"> </span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;">There are still many unanswered questions
about puzzle pouches and very few documented examples exist. Perhaps in time,
we will learn more about them. What follows is a small gallery of puzzle
pouches that I have come across, many of which are of unknown origin.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhz1KXbFS5-ldlXqp9om5_lqCifAfnS5ZUE3F9XfbesCDdKsacXDyUDqfwYB_WWPyISn56vF3L4LRdVditiU1MN13fe4e5frzCgnkgbBwSQLN22q73etSEmSZYKZvgT1e3cRnYSXFmqDUb/s1600/15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="441" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhz1KXbFS5-ldlXqp9om5_lqCifAfnS5ZUE3F9XfbesCDdKsacXDyUDqfwYB_WWPyISn56vF3L4LRdVditiU1MN13fe4e5frzCgnkgbBwSQLN22q73etSEmSZYKZvgT1e3cRnYSXFmqDUb/s640/15.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 15
- Puzzle pouch, mid to late nineteenth century. Possibly Delaware.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaIc0O2Ki5a_vw1ulrd3GNGu-7J5XvdDedLkceLg9p885bbWkVs4nXT7U7G2Tjt-qMIJPDYeAH_JyvE_0BfRzP0caS9eg9cP48TdXjvvzwPcj5ek6i5LpgeAnNib35myly-p8VlOuq0QNy/s1600/16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="562" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaIc0O2Ki5a_vw1ulrd3GNGu-7J5XvdDedLkceLg9p885bbWkVs4nXT7U7G2Tjt-qMIJPDYeAH_JyvE_0BfRzP0caS9eg9cP48TdXjvvzwPcj5ek6i5LpgeAnNib35myly-p8VlOuq0QNy/s640/16.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 16
- Puzzle pouch, mid to late nineteenth century.<o:p></o:p></span></div>
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHJqg2Fmu-IysFgw9uSSsrWFf7zdS3Fcwtkme8HZwGTXO2tu6wG7t6EyWiThWqrFSgLmdqDTmsH1Qauqlo1voBc_BgiSgQ7GTr-q-cL1zByijZ25d5Hgul-XMlj1gdVdGbRORgSs9bzb1n/s1600/17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="630" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHJqg2Fmu-IysFgw9uSSsrWFf7zdS3Fcwtkme8HZwGTXO2tu6wG7t6EyWiThWqrFSgLmdqDTmsH1Qauqlo1voBc_BgiSgQ7GTr-q-cL1zByijZ25d5Hgul-XMlj1gdVdGbRORgSs9bzb1n/s640/17.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 17
- Puzzle pouch. Possibly Meskwaki/Fox. <o:p></o:p></span></div>
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8j8fk7lk6pZmvG8A58cyjxsD000uqSSeCkz4BbL40H8mlmiuHYpDjAkIdhF00gMtLB-ACX6b-2aVCyRmNdy_bUH1UIWFwN9DggZYB4ylBMb8SJuuMdDQIupT3-stoTJTBSFiNK99HAHwQ/s1600/18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8j8fk7lk6pZmvG8A58cyjxsD000uqSSeCkz4BbL40H8mlmiuHYpDjAkIdhF00gMtLB-ACX6b-2aVCyRmNdy_bUH1UIWFwN9DggZYB4ylBMb8SJuuMdDQIupT3-stoTJTBSFiNK99HAHwQ/s640/18.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 18
- Puzzle pouch. Looks to be mid-19th century. No other info available.<o:p></o:p></span></div>
</td></tr>
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRF6Ch9CG8G25AodU_0Kx7-PgG3Hu1z2SgpRk5F64eHoAWJkgMuC-TOda-PDs5_O0YjmG2At7PI2_0mg2dX7bAAx5jdUIyX4BszeDJMB_N3LmgCWivrBPOd783HqnkdqtxXDBtsOVYKHo6/s1600/19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRF6Ch9CG8G25AodU_0Kx7-PgG3Hu1z2SgpRk5F64eHoAWJkgMuC-TOda-PDs5_O0YjmG2At7PI2_0mg2dX7bAAx5jdUIyX4BszeDJMB_N3LmgCWivrBPOd783HqnkdqtxXDBtsOVYKHo6/s640/19.jpg" width="522" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig 19 -
Puzzle pouch, second half of the nineteenth century. Possibly Potawatomi. <o:p></o:p></span></div>
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtBKM747z5T1Otx5GR6BNNMULt-SR3lq1-PWI903AOTVhnz7fXz1RRzyoT_J1CAuo1HwZ0VxktbkuZkLl-rykoYi1ZbbtatlXl2jBG00f3PUwynEcdSCWhOKgvv1IYimykbhfwZVUEz7WV/s1600/20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtBKM747z5T1Otx5GR6BNNMULt-SR3lq1-PWI903AOTVhnz7fXz1RRzyoT_J1CAuo1HwZ0VxktbkuZkLl-rykoYi1ZbbtatlXl2jBG00f3PUwynEcdSCWhOKgvv1IYimykbhfwZVUEz7WV/s640/20.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Fig. 20
- Puzzle pouch, mid to late nineteenth century. <o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;"><br /></span>
<span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;"><br /></span>
<span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;">Instructions for making a puzzle pouch can be found on this <a href="http://www.nativetech.org/clothing/pouch/puzzlepouch/puzzlepouchinstructions.html">website</a>.</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0n_sdPhKdLH0OJvfaWNE-f2jchvoxH9ikZghfvzoQFU8LPxlfq34vTFbeU37No2tuOGoR-85kH6Wks8-Sr6F_ipc5Z9CYWHLn5DrkI3PG4ebWKaeNA8wAxlYp6MshJN2xfD12cvC-VFe/s1600/book-cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0n_sdPhKdLH0OJvfaWNE-f2jchvoxH9ikZghfvzoQFU8LPxlfq34vTFbeU37No2tuOGoR-85kH6Wks8-Sr6F_ipc5Z9CYWHLn5DrkI3PG4ebWKaeNA8wAxlYp6MshJN2xfD12cvC-VFe/s1600/book-cover.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">If you have an interest in Northeast Woodland beadwork you
might find my book of interest. <a href="http://www.gerrybiron.com/pages/publications.html" target="_blank">Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron.</a> </span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">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.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;"><br /></span>
<span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;"><br /></span>
<span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 115%;"><br /></span></div>
<b><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">References Cited</span></b></div>
<div>
<b><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;"><br /></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Biron,
Gerry<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">2012 <i>A
Cherished Curiosity: The Souvenir Beaded Bag in Historic Haudenosaunee
(Iroquois) Art</i>. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Morgan,
Lewis Henry<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">1850 “Report to the Regents of the University, upon
the Articles Furnished to the Indian Collection.” In <i>The</i> <i>Third Annual Report of
the Regents of the University on the Condition of the State Cabinet of Natural
History and Antiquarian Collection, Annexed Thereto </i>pp. 63 – 93. Revised
Edition: Printed by Weed, Parsons and Company, Albany.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">1852 “Report on the Fabrics, Inventions,
Implements and Utensils of the Iroquois, Made to the Regents of the University,
Jan. 22, 1851; Illustrative of the Collection Annexed to the State Cabinet of
Natural History, with Illustrations.” In
<i>The Fifth Annual Report of the Regents of
the University on the Condition of the State Cabinet of Natural History and the
Historical and Antiquarian Collection, Annexed Thereto</i>, pp 68 – 117. Printed
by Richard H. Pease, Albany.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Parker,
Arthur C.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">1912 “Certain
Iroquois Tree Myths and Symbols” in the <i>American
Anthropologist</i>, Vol. 14<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Speck,
Frank<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">1915 “The
Eastern Algonkian Wabanaki Confederacy” in the <i>American Anthropologist</i>, Vol. 17.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -33.75pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;"> [1945] 1982 “The
Iroquois – A Study in Cultural Evolution.” <i>Cranbrook
Institute of Science Bulletin</i> Twenty-Three. Second Edition.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">Tooker,
Elisabeth<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">1994 <i>Lewis
H. Morgan on Iroquois Material Culture. </i>University of Arizona Press.<o:p></o:p></span></div>
Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com7tag:blogger.com,1999:blog-8743733062223446224.post-87574781224626980622013-08-04T09:12:00.000-04:002013-08-30T08:10:53.853-04:00Teweelema, Betty’s Neck and Wampanoag Rye-straw Basketry<div class="MsoNormal">
<span style="background-color: #b6d7a8; font-family: "Arial","sans-serif";">On August 23, I added three new images of the rye-straw baskets at the end of this post.</span><br />
<span style="font-family: "Arial","sans-serif";"><br /></span>
<span style="font-family: "Arial","sans-serif";">The following
account is a departure from my usual posting on Iroquois or Wabanaki beadwork; this
is for my Wampanoag friends.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";"><br /></span></div>
<span style="font-family: Arial, sans-serif; line-height: 115%;">In May of 1879, three Wampanoag women (<span style="color: red;">figure 1</span>), Zerviah Gould Mitchell (1807-1898) and her
two unmarried daughters, Melinda, aka Teweelema (1836-1919) which means “Bride
of the Forest” (Vigers 1983:26), and Charlotte, aka Wootonekanuske (1848-1930),
moved from North Abington, Massachusetts to a fifteen acre plot of ancestral
land at Betty’s Neck, in Lakeville, Massachusetts.</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJdgob8OF7cBghMZKQ5gh0K6UJxkTlLpv4hcwg_WXJAUen7-t8c5q4JOzdv5cLfnpAx9YqLImmEvi4BjTE5oKDolX0IDLyboW5MSYbF5J7EjA1HZNgkm2xAdrXcwOl8iNyUqkJ8Wbzffpf/s1600/01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJdgob8OF7cBghMZKQ5gh0K6UJxkTlLpv4hcwg_WXJAUen7-t8c5q4JOzdv5cLfnpAx9YqLImmEvi4BjTE5oKDolX0IDLyboW5MSYbF5J7EjA1HZNgkm2xAdrXcwOl8iNyUqkJ8Wbzffpf/s640/01.jpg" width="442" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 1 –
Cabinet photo of Zerviah Gould Mitchell (seated) with her daughters Melinda
(Teweelema) on the left and Charlotte (Wootonekanuske) on the right in front of
their home at Betty’s Neck in Lakeville, Massachusetts. Photo dated 1883. Private collection.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">The area was
so named for one of their ancestors, Assowetough, daughter of John Sassamon, the
seventeenth century Wampanoag, who accepted the English name of Betty. Located
on the picturesque shores of Lake Assawompsett, the artist Walter Gilman Page
described the place in 1890 as <o:p></o:p></span></div>
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</div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Arial","sans-serif";">beautifully
situated, and it abounds in Indian legends… At a distance of five miles or
thereabouts from the village [Lakeville], one leaves the main road and turns
off into a lovely winding woodland lane, by a rippling brook, and further on an
old dilapidated sawmill. A mile or so, and a sudden bend brings you to the
cottage door, where Mrs. Mitchell accords you a pleasant welcome… From the
doorway you look out over a field of waving corn; beyond that the line of the
woods; and if the trees did not grow so thickly, you might catch glimpses of
the placid bosom of the lake. Nothing disturbs the profound stillness which
reigns about, save the cry of the blue-jay or the distant tinkle of a cow bell
(Page 1891:642-643).</span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Arial","sans-serif";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Before the
Mitchell’s moved to Betty’s Neck, the property sat idle for many years and
sections of it had been encroached upon by squatters and others who now
considered the area their own. From the Mitchell’s first arrival, land disputes
arose and other parties turned up with deeds claiming the land was theirs. With
the will to settle the controversy, Teweelema filed a petition with the state
of Massachusetts in 1904 <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: "Arial","sans-serif";">for the registration of title to
certain tracts of land lying within the limits of Betty’s Neck, a point lying
between Assawampsett and Pocksha Ponds, in Lakeville, which, at a meeting of
the Proprietors of Assawampsett Neck, May 11, 1697, was laid out, as part of
lands then rightly belonging to the Indians, to one Betty Sausaman, under whom
the respondents claim title by devise and descent.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: "Arial","sans-serif";">The respondent, Melinda Mitchell, a
woman of intelligence and education, and a well known authority on matters of
Indian history and tradition in this locality, appears officially in this case
in full Indian costume, with paint, feathers, and wampum, as the Princess
Teweelema, and claims the land in her Indian right as being the last remaining
property of the aborigines, land which has never come under the private
dominion of the white man… The respondents trace… their descent from
Wattuspaquin, otherwise known as the Old Black Sachem... [who married the]
sister to King Philip… [they] conveyed this property to the Indian Assowetough,
known to the English as Betty, by a deed which ran to the said Betty “forever
and especially her eldest daughter.” Betty later by her will devised this
property to her eldest daughter and her heirs forever, and of the said eldest
daughter the present respondents are the only living heirs. Betty’s grand-daughter and her descendants
have ever since lived on a portion of the land where there still stands a house
occupied by these respondents (Davis 1901: 176-177).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLGZl1gcspTYNDMBRiKzMP9L7CKEXWLLRcZMb5U47dmQmsFtor90zjDTbFmrpWI_vZE_-9fsFFnkcYugpPXaDlRXk6DCXHu1DqiIfCCzMfOdt_bDr5sa-RnwAqxit7VfQa3YIdSZv4kgmF/s1600/02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLGZl1gcspTYNDMBRiKzMP9L7CKEXWLLRcZMb5U47dmQmsFtor90zjDTbFmrpWI_vZE_-9fsFFnkcYugpPXaDlRXk6DCXHu1DqiIfCCzMfOdt_bDr5sa-RnwAqxit7VfQa3YIdSZv4kgmF/s640/02.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Figure 2 – US
Topographic map of Assawompsett Pond (at the time the largest body of water in
Massachusetts) indicating the approximate location of the original Mitchell
homestead.</span><!--EndFragment--> </td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 3 – A
survey map drawn in 1895 of the Mitchell’s property at Betty’s Neck. <o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif; line-height: 115%;">Betty’s Neck (<span style="color: red;">figures 2 & 3</span>) was the home of three Wampanoag
women who were descendents of the seventeenth century sachem Massasoit, aka Ousamequin
<span style="background-color: white;">(c. 1581 – 1661), </span>the
leader of the Wampanoag at the time of the Pilgrims first landing.</span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 4 –
Large albumen photograph of Zerviah Gould Mitchell. 1870s. Private collection. <o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif; line-height: 115%;">The elder in this
trio, Zerviah Gould Mitchell was a full-blooded Wampanoag (Vigers 1983:26) (<span style="color: red;">figure 4</span>), and was the first woman of color to apply
to Wheaton College. In 1824, at the age of seventeen, she married Thomas C.
Mitchell who was half Cherokee and half English and they lived in North
Abington for many years. Mr. Mitchell was a merchant seaman who was often away
from home for up to three years at a stretch; he died in 1859. Together they
had eleven children, five of whom were still living when Zerviah and her two
daughters moved to Betty’s Neck.</span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 5 –
Printed image of Alonzo Mitchell, brother of Melinda and Charlotte. Circa 1905.
From Scott 1905:395. <o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif; line-height: 115%;">In addition to
Melinda and Charlotte, there was brother Alonzo (1850 – ?) (<span style="color: red;">figure 5</span>) who worked for a time in the shoe shops of
Brockton. He often vacationed with his sisters at Betty’s Neck but sometime
around 1905, he took up permanent residence with them.</span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 6 –
Tintype of Emma (Mitchell) Safford, at about 26 years of age, taken at the time
of her marriage to Jacob B. Safford, of Ipswich, Massachusetts, 1873. From a
copy in the collection of the Museum of the American Indian.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">Figure 7 –
Large photograph of Emma </span><span style="font-family: Arial, sans-serif;">(Mitchell)</span><span style="font-family: "Arial","sans-serif";"> Safford of Ipswich, Massachusetts, one of five
siblings of Melinda and Charlotte. Photo by the anthropologist Frank Speck and
dated 1923. Emma was a basketmaker and also did beadwork. Private collection.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">There were
also two other sisters, Emma J. Mitchell (c.1846 - 1935) who married Jacob C.
Safford of Ipswich, Massachusetts in 1873 (<span style="color: red;">figures 6
and 7</span>), and a Mrs. Zerviah G. Mitchell who married Joseph C. Robinson in
1854. Zerviah Robinson often tarried under the roof of Melinda and Charlotte at
Betty’s Neck (Vigers 1983:26).<o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif; line-height: 115%;">Zerviah Gould Mitchell
taught her children “the techniques of straw and wood splint basketry, some
historical legends, medicinal and divining knowledge, and a firm attachment to
their family land and Wampanoag lineage” (Simmons 2002). Lydia Tuspaquin, aka
Lydia Squin, was Zerviah’s grandmother and she was born at Betty’s Neck in the
eighteenth century. The remains of her home were still standing at the turn of
the twentieth century (<span style="color: red;">figure 8</span>). All of her
married life was spent at Betty’s Neck where she gave birth to five children.
Her daughter Phebe (1770 – 1839) was Zerviah’s mother. Phebe’s first marriage
was to Silas Rosier, a Mashpee Indian with whom she had two sons. After her first
husband’s death, she married Brister Gould of Abington in 1797. They had seven
children of which Zerviah was the second to the last born (Peirce 1878:215-218). The elder Lydia Tuspaquin lived at Betty’s
Neck until the early 19<sup>th</sup> century and “claimed great skill in the
healing art, and was in the act of gathering herbs for medicinal purposes, when
she fell from a high bank into Assawompsett Pond and was downed” (Vigers
1983:19). </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXuBcgPAd2EmGiZFM2lvW_TG57eFOcjimROnlQK2h5fhP2lHlkKeN8FqfB38B7zIA5ztFU5TJGvzg5vFB-ZctJuqR3NJJ5-xL5zo_A662hQvPt1HHf79KjPxj8ORMVVZ_QQL4TlZ8U4EQ2/s1600/08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXuBcgPAd2EmGiZFM2lvW_TG57eFOcjimROnlQK2h5fhP2lHlkKeN8FqfB38B7zIA5ztFU5TJGvzg5vFB-ZctJuqR3NJJ5-xL5zo_A662hQvPt1HHf79KjPxj8ORMVVZ_QQL4TlZ8U4EQ2/s640/08.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 8 –
Printed postcard, circa 1910. Alonzo Mitchell standing in the doorway of the
remains of Lydia Tuspaquin home at Betty’s Neck. At the time the picture was
taken the dwelling was over 200 years old.<o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif; line-height: 115%;">On his blog on
Middleboro and Lakeville history, Michael Maddigan writes that Zerviah Gould Mitchell
published her <i>Indian History, Biography
and Genealogy, Pertaining to the Good Sachem Massasoit of the Wampanoag Tribe,
and His Descendants</i> in 1878. “Depicting her Native ancestors as men and
women of dignity, honor and integrity, in sharp contrast to long-held negative
stereotypes of Native peoples, Mrs. Mitchell was successful in prompting a
reconsideration of Wampanoag history and a thoughtful reevaluation by
introspective whites of their previous conceptions of Native peoples and Native
history. Writing in the preface to the work, Mrs. Mitchell stated – ‘Before
going to my grave I have thought it proper to be heard in behalf of my
oppressed countrymen, and I now, through the medium of the printing press, and
in book form, speak to the understanding and sense of justice of the reading public.’
To the end of her life, her nemesis would be social injustice and racial
inequality. You can read more about Zerviah’s accomplishments in his <a href="http://nemasket.blogspot.com/2011/01/zerviah-gould-mitchell.html" target="_blank">blog</a>. </span><span style="font-family: Arial, sans-serif; line-height: 115%;">She died peacefully
at Betty’s Neck in 1898 at the advanced age of ninety one.</span></div>
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<span style="font-family: "Arial","sans-serif";">The
Mitchell’s move to Betty’s Neck was no small undertaking. The land had to be
cleared and tilled; a house, barn and other outbuildings erected, and a source
of income had to be derived. <o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">From
this home they went out to earn their livelihood – by selling the baskets,
brooms, and beaded work which they had made and the vegetables they had raised.
With their wares they were frequent visitors at Sampson’s Tavern, here in
Lakeville, and at the summer resort of Onset, where Teweelema also sold
fortunes (Vigers 1983:24-25).<o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif; line-height: 115%;">It’s unclear what kind of beadwork they were
making. Gladys Tantaquidgeon interviewed their sister Emma Safford in 1930 who
was living in Ipswich, Massachusetts and she acquired a beaded basket from her
which is now in the collection of the Museum of the American Indian (<span style="color: red;">figure 9</span>).</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTuIKku8nCGCncRZ8ykqSwo5ireERsDOVyLRYSKQrJrMEJmzevSFM1M7XaEsTbVc2AFkISJSft-AVWfMih0JqX9U1WK4oMen87nylYyuD5o04NL3JuGyscHDHoNjVaPByx7rMp0PBCmj2c/s1600/09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTuIKku8nCGCncRZ8ykqSwo5ireERsDOVyLRYSKQrJrMEJmzevSFM1M7XaEsTbVc2AFkISJSft-AVWfMih0JqX9U1WK4oMen87nylYyuD5o04NL3JuGyscHDHoNjVaPByx7rMp0PBCmj2c/s640/09.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 9 –
Beaded basket; beaded on wire. Acquired from Emma Safford in 1929 by Gladys
Tantaquidgeon. 3 inches wide by 2 inches deep. From the collection of the
Museum of the American Indian.<o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif; line-height: 115%;"><br /></span></div>
<span style="font-family: "Arial","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span>
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<span style="font-family: Arial, sans-serif; line-height: 115%;">It was made of dark
red and green beads, three inches in diameter and two inches deep and was woven
on wire (Tantaquidgeon 1930:482). Another example of Emma’s beadwork is
illustrated in <span style="color: red;">figure 10</span>. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBxwJ12WqRT_CIv-C9ropl1aWDtacFWVKrnpYv-Z38HPp6zKHv2gnUYgc3RK3NR6mCOAdhXtGWnRseVu394dWRXU21wLtejilPMoRoF9-BT2luxm244R1wT9GhX09jOhQGPkNuUD1U8IlH/s1600/10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBxwJ12WqRT_CIv-C9ropl1aWDtacFWVKrnpYv-Z38HPp6zKHv2gnUYgc3RK3NR6mCOAdhXtGWnRseVu394dWRXU21wLtejilPMoRoF9-BT2luxm244R1wT9GhX09jOhQGPkNuUD1U8IlH/s640/10.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Figure 10 – Beaded basket,
beaded on wire; approximately two inches in height. This piece had an old tag
attached to it when purchased indicating it was made by Emma Safford. Circa
1930. Private collection.</span></td></tr>
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<span style="font-family: Arial, sans-serif; line-height: 115%;">I’m not familiar with
any examples of beadwork that can be attributed to either Melinda or Charlotte
although I’ve seen one reference that they sold moccasins but it’s unclear if
they were also making them. In an old stereoview of Teweelema, she is wearing a
pair of Iroquois style moccasins (<span style="color: red;">figure 15</span>).</span><!--EndFragment--> </div>
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<span style="font-family: "Arial","sans-serif";">Soon after
their move to Betty’s Neck and with little outside help, Melinda and Charlotte commenced
work on their homestead (<span style="color: red;">figure 11</span>).<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">It
was a modest affair at the start, as the family intended making Abington their
winter quarters, but the moment the residents of the “Neck” began showing
resentment at the presence of the Indians in their midst, the Mitchells’
fighting blood was up in a flash, and they resolved to remain there for all
time. As the family prospered additions were made to the house (<span style="color: red;">figure 12</span>) until to-day [1905] it is a good sized,
conveniently arranged dwelling (Scott 1905:395).<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOzmNy6fO2HWi-hA0NXNl51PC9UbGYy1YBzg65OiHz3LtR5_PL2tfXGhbKbb5O_V-dIhKOUStcXdRw-SaWkYZE_Uli8XjOXYlN7IAZS8713lYfn_Nydahxg5gHT_2fo46N7Gi27DLDgf_9/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOzmNy6fO2HWi-hA0NXNl51PC9UbGYy1YBzg65OiHz3LtR5_PL2tfXGhbKbb5O_V-dIhKOUStcXdRw-SaWkYZE_Uli8XjOXYlN7IAZS8713lYfn_Nydahxg5gHT_2fo46N7Gi27DLDgf_9/s640/11.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Arial, sans-serif; line-height: 115%;">Figure 11 – Large
albumen photograph of the Mitchell homestead at Betty’s Neck. Early 1880s. Photographer:
L.B. Shaw, landscape photographer, Elmwood, Massachusetts.</span><!--EndFragment--> <span style="font-family: Arial, Helvetica, sans-serif;">Private collection</span>.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinZFlE4LAWaw8_kE31yQ09GN_mUENAzxqAHS5xzjBFRmfx9og8rsnHkowngH7Xc-iW90y7tyZjD3Wl3J5zsgAV16TO_eU2NhV-s1cD1m1MOwgXPwfkhfV2U2IKGCxqxMGwyNy7JmvgiS42/s1600/12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinZFlE4LAWaw8_kE31yQ09GN_mUENAzxqAHS5xzjBFRmfx9og8rsnHkowngH7Xc-iW90y7tyZjD3Wl3J5zsgAV16TO_eU2NhV-s1cD1m1MOwgXPwfkhfV2U2IKGCxqxMGwyNy7JmvgiS42/s640/12.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Figure 12 – Circa
1900 image of the Mitchell homestead at Betty’s Neck showing building
improvements over the 1880s image in figure 11. Private collection.</span></div>
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<span style="font-family: Arial, sans-serif; line-height: 115%;"><br /></span></div>
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<span style="font-family: Arial, sans-serif; line-height: 115%;">Once the land was cleared, these slender women
chopped down trees, uprooted stumps, dragged logs, raised livestock, planted
and gathered crops and stored a winter cache. </span><span style="font-family: Arial, sans-serif; line-height: 115%;">A visitor to the site
in 1905 described generously stocked barns and poultry sheds, lush fields and
gardens along with a strawberry patch (Scott 1905:395). They even had time to
build several camps along the shore of Lake Assawompsett which they rented to
summer boarders to raise additional income. During the summer season, they
would travel to Onset, on Cape Cod where they found a ready market for their farm
produce. They also sold the baskets they made during the winter months as well
as patent medicines. Additionally, they attended fairs and Teweelema was well
known as a fortune teller.</span> </div>
<div class="MsoNormal">
<span style="font-family: Arial, sans-serif; line-height: 115%;">Teweelema (<span style="color: red;">figures 13, 14 and 15</span>) graduated from Abington High
School and Union Academy.</span><!--EndFragment--> </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1BxSlluct3RfjBD7ljFfPDn6uAFptly4NwSNFkuvuNOF353N5WzqHKbVbjKjr_XUUf00Un4qimNpyArTVEvUdR1Swe_5x7T13mTdn4wlve2RXlbLkJoQVxBNrg5YfCR3uQDLsge8eBKIG/s1600/13.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1BxSlluct3RfjBD7ljFfPDn6uAFptly4NwSNFkuvuNOF353N5WzqHKbVbjKjr_XUUf00Un4qimNpyArTVEvUdR1Swe_5x7T13mTdn4wlve2RXlbLkJoQVxBNrg5YfCR3uQDLsge8eBKIG/s640/13.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 13 –
Circa 1906 real photo post card of Teweelema likely taken at Betty’s Neck. Private collection.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJNfY9NoR4xmi5ZEAWOpEauoHI2qxm0uFkrt_25onFU1ZWmrI1HJlQJerrwH21KfI-Glqr_e7x0BgUqChEykUcWyzKPq-lWItuJn0EFxPy4s1j2UulTaEYnNXWnucqHLHcK_rncW9PL07b/s1600/14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJNfY9NoR4xmi5ZEAWOpEauoHI2qxm0uFkrt_25onFU1ZWmrI1HJlQJerrwH21KfI-Glqr_e7x0BgUqChEykUcWyzKPq-lWItuJn0EFxPy4s1j2UulTaEYnNXWnucqHLHcK_rncW9PL07b/s640/14.jpg" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 14 –
Printed postcard of Teweelema taken by F.W. Glasier, in 1906. The card incorrectly
identifies her as the last living descendant of Massasoit; she was outlived by
at least two of her siblings. Private collection.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLMtH_92jFX0ksx-V_SBsw1B5cpUmBvK0BtKqh3hBHbE72g5V6hyWaoMwV0_g81vLiTLakVA-eCqtfXhJ8wgOvBgM0yCWb2ezSeQ3lEfF9O6bhIZV6i10aiTQ0YZmz6jsuYoP_yFauLH44/s1600/15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLMtH_92jFX0ksx-V_SBsw1B5cpUmBvK0BtKqh3hBHbE72g5V6hyWaoMwV0_g81vLiTLakVA-eCqtfXhJ8wgOvBgM0yCWb2ezSeQ3lEfF9O6bhIZV6i10aiTQ0YZmz6jsuYoP_yFauLH44/s640/15.jpg" width="630" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Figure 15 –
Stereoview of Teweelema, circa 1880, taken by C.M. Couch of Concord, New
Hampshire. In this image she is wearing a pair of Iroquois styled moccasins.</span><!--EndFragment--> <span style="font-family: Arial, Helvetica, sans-serif;">Private collection.</span></td></tr>
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<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Charlotte (<span style="color: red;">figure 16</span>) attended school at both Abington and
Cambridge. Charles Scott, writing about them after a visit to Betty’s Neck in
1905 said that both<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Arial","sans-serif";">adopted
their native dress, always appearing in public with blankets over their
shoulders, great strings of beads around their necks, gaudy sashes at either
belt or shoulder, embroidered leggings and moccasins, an elaborate headdress of
feathers indicative of their rank, fluttering over all. The curiosity of the
children when they visited the city amounting to almost impudence at times,
forced Lottie [Charlotte], as a means of diverting attention, to abandon this
dress. Melinda, however, never goes out unless arrayed in full Indian costume
(Scott 1905:396).<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgHCji2WjW3Kqm9ilZfHaP1sToel7vXJmRgwZbJ7jgvkbf7Sy3cBmqlc6cS9v4zg3Vfupd6aIaD3UcYEQeNf6y72d058V266xozTz59HrSvHxW_8VLMnxdRB9cQxeqs-DfQvDwydRGe9vf/s1600/16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgHCji2WjW3Kqm9ilZfHaP1sToel7vXJmRgwZbJ7jgvkbf7Sy3cBmqlc6cS9v4zg3Vfupd6aIaD3UcYEQeNf6y72d058V266xozTz59HrSvHxW_8VLMnxdRB9cQxeqs-DfQvDwydRGe9vf/s640/16.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 16 –
Printed image of Charlotte (on the left) and Melinda presumably in the doorway
of their home on Betty’s Neck, circa 1905. From Scott 1905:393. <o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Arial","sans-serif";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, sans-serif; line-height: 115%;">Charlotte was known to have an unsettling effect
on visitors.</span><!--EndFragment--> <span style="font-family: Arial, sans-serif;">Lucy Lillie,
who visited the Mitchell’s at Betty’s Neck in 1885 later wrote that</span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Arial","sans-serif";">while
she talked, she looked at us from under her half-veiled eyelids with a curious
kind of contempt, as though she felt our race entirely inferior to her own, and
I am not sure but that as we drove away a sense of her superiority did not
impress us more than anything else (Lillie 1885:828).<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Charlotte was
keenly aware of her history. She was descended from Massasoit and respected her
great uncle Metacom, aka King Philip, for his effort to resist the injustices
done to their people. She so admired Metacom that she took his wife’s name,
Wootonekanuske, as her own. The highlight of her life came in 1921 when she was
chosen to unveil the statue of Massasoit, in Plymouth, Massachusetts (Vigers
1983:27).<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, sans-serif; line-height: 115%;">Charlotte also kept a
journal (presently in the Dyer Memorial Library collection in Abington, Massachusetts)<span style="color: #333333;"> </span>that covers the
period from January 2 through March 15, 1896. It documents the pragmatic,
day-to-day details of farm life, household activities and relationships with
family and neighbors. There are only causal references to her Wampanoag
heritage found in comments about making baskets, preparing Indian medicines,
and fortune-telling. On January 27, she wrote that it was a sunny day and that
she and Melinda “have been working on baskets. We put the cows out and Lin put
them up.” On March 2 she reported that
Melinda “got ready to color straw but didn’t have enough cut up to color,” a
reference to her dying rye-straw for basket making. Regarding their involvement in producing
patent or Indian medicines, she wrote on February 4 that a “Mr. Lee wanted two
bottles more of the same kind of medicine he had before.” A few days later,
after a trip to Middleboro, she wrote that “I got some wormwood for Lin to go
in her medicine and a box of headache tablets.” On February 13, a woman by the
name of Jones drove to the homestead with her daughter and grandchild. Charlotte’s
entry for that day indicated that both visitors “had their fortunes told and
bought a bottle of medicine. All came to $1.50.” Unfortunately, she is silent
regarding the concepts or procedures involved in Teweelema’s fortune telling.
Teweelema was also known to frequent the home of one Lakeville residence to
gather flagroot for her medicinal tonics (Vigers 1983:27).</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, sans-serif; line-height: 115%;">The interior of the
Mitchell home was captured in a rare photograph taken in 1893 (<span style="color: red;">figure 17 and 18</span>).</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWDuDP-aKlE_eAc_ijcjfDNOlI9IV9OZQrx38DiZ-6GZeOvo3IFR_xYzxcCvZhh-FWZmiWs9E_40vgxfmqROuCrATMJSvCVVjftcbE-0Yt-bqpWCMalCRSi4GfaY2EnsaDE36vdL55iktU/s1600/17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWDuDP-aKlE_eAc_ijcjfDNOlI9IV9OZQrx38DiZ-6GZeOvo3IFR_xYzxcCvZhh-FWZmiWs9E_40vgxfmqROuCrATMJSvCVVjftcbE-0Yt-bqpWCMalCRSi4GfaY2EnsaDE36vdL55iktU/s640/17.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Figure 17 – Interior
view of the Mitchell home at Betty’s Neck, circa 1893. Seated on the left is
Zerviah. On the far right is Melinda (Teweelema) and immediately behind her is
Charlotte (Wootonekanuske). In the lower right hand corner there is a partial
image of a seated man. This could be their brother Alonzo. On the table behind
Charlotte is a group of rye-grass baskets that they were working on. Photographer: L.B. Shaw, landscape
photographer, Elmwood, Massachusetts.</span><!--EndFragment--> <span style="font-family: Arial, Helvetica, sans-serif;">Private collection.</span></td></tr>
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<div class="MsoNormal">
<span style="font-family: Arial, sans-serif; line-height: 115%;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYLfFI2JraL7uqYQzQa5N2VHmxIjCFpgjvp8wtt7xq0Q6PkhKBUy_5g1H04Aa50_0KcNvsKkB2AQDhtoN11otYXk7ad0Tpu7BtWgtV2btEHJonriiNHZl0PSQFxNUgvna2CGVjMKqamS0A/s1600/18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYLfFI2JraL7uqYQzQa5N2VHmxIjCFpgjvp8wtt7xq0Q6PkhKBUy_5g1H04Aa50_0KcNvsKkB2AQDhtoN11otYXk7ad0Tpu7BtWgtV2btEHJonriiNHZl0PSQFxNUgvna2CGVjMKqamS0A/s640/18.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 18 –
Detail view of the baskets in figure 17. The miniature basket on the far right
of the table has a domed top, a technique they were known for in their
rye-grass basketry. See: figure 20 for another example with a domed top.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">The artist
Walter Gilman Page spent some time there in 1890 and reported that <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Arial","sans-serif";">the
room was evidently a place where one could eat, drink, and be merry; since it
was kitchen, dining-room and–containing a piano, which was certainly a
surprise–could, I suppose, be called a music-room. A door leads to an L
containing the sleeping-rooms, one on the ground floor… and the other above,
reached by means of a “Jacob’s ladder,” as Mrs. Mitchell facetiously termed it
(Page 1891:643).<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, sans-serif; line-height: 115%;">This image is quite remarkable as it gives us a
glimpse into their private lives. Both Melinda and Charlotte are in the process
of weaving a basket. On the small table behind them is an assortment of their finished
rye-straw baskets. Teweelema, seated at the far right, appears to have just
started a basket as the splints are still awaiting the weavers. The small size,
checkerboard pattern and somewhat square shape of those on the table were
typical of a style of rye-straw baskets the Mitchells were known for. When the Mohegan
scholar Gladys Tantaquidgeon interviewed their sister Emma Safford in 1929, she
was still in possession of a small collection of baskets that she made in her
youth which Tantaquidgeon said were carefully preserved with other family
treasures.</span><!--EndFragment--> </div>
<!--EndFragment--><br />
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Tantaquidgeon
recognized them as representative of a type hitherto undescribed by writers on
the subject who have dealt with the Northeast (Tantaquidgeon 1930:475)</span><span style="font-family: Arial, sans-serif;">.</span><span style="font-family: "Arial","sans-serif";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: Arial, sans-serif;">According to the testimony of Mrs. [Emma] Safford, the manufacture
of baskets with several materials and in several types persisted in her family
until about 1875, when, after being married, she abandoned the interesting
art. Up to that time they were
constantly engaged in the process and were known to have frequently supplied
stores with large orders of miniature straw baskets, numbering as many as
twelve dozen at one time </span><span style="font-family: "Arial","sans-serif";">(Tantaquidgeon
1930:479-481)</span><span style="font-family: Arial, sans-serif;">. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">The straw’s preparation
for use was as follows:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Arial","sans-serif";">It
was soaked in water and split. Purple seems to have been used exclusively for
the dyed portion, and the specimens show the pleasing effect produced by
combining this with the natural color of the straw. The technique employed in
fashioning these baskets was the simple checker weave; the width of the straw,
both upright and horizontal strands, being about three-eighths of an inch (Tantaquidgeon
1930:482).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "Arial","sans-serif";"><br /></span></div>
<span style="font-family: Arial, sans-serif; line-height: 115%;">The image in <span style="color: red;">figure 17</span>
was likely staged as well as there are no basket materials, such as splints, weavers
or grasses visible anywhere. </span><span style="font-family: Arial, sans-serif; line-height: 115%;">There are no basket
moulds either. Maine basketmakers for instance, made many of their baskets over
forms or moulds so the basket shapes could be replicated. The Mitchell’s
rye-straw baskets, which were much more delicate than the ash splint basket the
Maine Indian were producing, were likely made free-hand and without moulds.
This image was taken in the mid-1880s and Charlotte’s diary, cited above,
indicated that they were still dying straw for baskets in 1896, so this would
confirm that the Mitchells at Betty’s Neck were still producing rye-straw
baskets after Emma’s marriage and move to Ipswich around 1875.</span><!--EndFragment--><br />
<div>
<span style="font-family: Arial, sans-serif; line-height: 115%;">The Museum of the
American Indian in NYC has two of Emma Safford’s baskets in their collection (<span style="color: red;">figure 19, 20, 21 and 22</span>) as well as a collection of
photographs of several others. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiHNVuvGrecjPiG-vwv4O_bM9W2xVEvFupN8y6qEkSCWnrKpkqqRGkoAbaa2Fr2-nNasqZZo-Lsn2ZrIifXgOMD7sh7SfVLS7PiMsLkw3Ki5GW8uGjiPbdbYS5_lQs5RhGQfPBgPkW3D9/s1600/19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiHNVuvGrecjPiG-vwv4O_bM9W2xVEvFupN8y6qEkSCWnrKpkqqRGkoAbaa2Fr2-nNasqZZo-Lsn2ZrIifXgOMD7sh7SfVLS7PiMsLkw3Ki5GW8uGjiPbdbYS5_lQs5RhGQfPBgPkW3D9/s640/19.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 19 – Miniature
basket made by Emma Safford, a Wampanoag living in Ipswich, Massachusetts and
one of five sibling of Zerviah Mitchell. Circa 1870. Rye-straw and aniline
dyes. Photo taken by Gladys Tantaquidgeon in 1929. Photo courtesy of the Museum
of the American Indian, Heye Foundation. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZqZ69K5gRfkT6KX-UmdYoYvUUZErCKvlK6Ed3D8ijRN7oxSkqHbfMlPaLOQtC_Uh4B7Og3ba-7EYytHjbsLZnfTb-2DPpv8XgUi7S4d8bx7FsUkqNST8dDlE2tV9xNoGQfxBMLEjGWGIa/s1600/20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZqZ69K5gRfkT6KX-UmdYoYvUUZErCKvlK6Ed3D8ijRN7oxSkqHbfMlPaLOQtC_Uh4B7Og3ba-7EYytHjbsLZnfTb-2DPpv8XgUi7S4d8bx7FsUkqNST8dDlE2tV9xNoGQfxBMLEjGWGIa/s640/20.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Figure 20 – Miniature
basket made by Emma Safford, a Wampanoag living in Ipswich, Massachusetts. Circa
1870. Rye-straw and aniline dyes. Length is approximately eight inches.
Collected from Emma Safford in 1929 by Gladys Tantaquidgeon. From the
collection of the Museum of the American Indian. </span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAS6Wzj-aDSRv72b5AThQKLx7ZKoSzj1wB-1YGwl6k5h3exHwB3byuoldQt2_h_9k-LALUi2MESoa_PWX97511fYjq-zfOOEt1aG1sMAatfZ_ZvrHSFe5CAkCKpOCOe9Aova0QtFoEwDKP/s1600/21.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAS6Wzj-aDSRv72b5AThQKLx7ZKoSzj1wB-1YGwl6k5h3exHwB3byuoldQt2_h_9k-LALUi2MESoa_PWX97511fYjq-zfOOEt1aG1sMAatfZ_ZvrHSFe5CAkCKpOCOe9Aova0QtFoEwDKP/s640/21.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 21 – Miniature
basket made by Emma Safford, a Wampanoag living in Ipswich, Massachusetts.
Circa 1870. Rye-straw and aniline dyes. Collected from Emma Safford in 1929 by
Gladys Tantaquidgeon. From the collection of the Museum of the American Indian.<o:p></o:p></span></div>
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</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAVVwTUfMTYG-Tv0nkWZeKerbV3K3K-zslTuzoMLcP-ikSzY53IEcT_A8epgbAtATmdVlQ1O4U6W2dzQMlF7-h-shuq8hYdjj_NZP27azwV1gK24m_2RL1_HtwcagGT6RuYNbSGXwyqE9b/s1600/22.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAVVwTUfMTYG-Tv0nkWZeKerbV3K3K-zslTuzoMLcP-ikSzY53IEcT_A8epgbAtATmdVlQ1O4U6W2dzQMlF7-h-shuq8hYdjj_NZP27azwV1gK24m_2RL1_HtwcagGT6RuYNbSGXwyqE9b/s640/22.jpg" width="528" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 22 – Miniature
basket made by Emma Safford, a Wampanoag living in Ipswich, Massachusetts.
Circa 1870. Rye-straw and aniline dyes. 3.25 by 2.5 inches. From Indian Notes,
volume 7, number 4, 1930, page 480.<o:p></o:p></span></div>
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<div>
<span style="font-family: Arial, sans-serif; line-height: 115%;">Stylistically, <span style="color: red;">19 & 20</span> are like those in <span style="color: red;">figure
17 </span>and Emma, who was also taught by her mother Zerviah, likely worked
with similar materials and in a similar style to her siblings at Betty’s Neck. She told Tantaquidgeon that the material used
in the manufacture of these baskets was cultivated by her father and that it
was in all probability the common rye-straw of commerce (<span style="color: red;">figure 23</span>) (Tantaquidgeon 1930:480-481).</span><!--EndFragment--> </div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9w31ZXGcCHAmAZblr5BfLPH_PCS3HSf4oDNCimSq-L8QNx6pcaS2_2KzS-ELeR6Wwj3XE96YKUfHXssVHF13uoczPTmih7G2EsX5_FQiRkrIFKPx3jJCJKTNrz5GjY3E5FN3b54kwoVNP/s1600/23.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9w31ZXGcCHAmAZblr5BfLPH_PCS3HSf4oDNCimSq-L8QNx6pcaS2_2KzS-ELeR6Wwj3XE96YKUfHXssVHF13uoczPTmih7G2EsX5_FQiRkrIFKPx3jJCJKTNrz5GjY3E5FN3b54kwoVNP/s640/23.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 23 – <span style="color: #333333;">An annual form of ryegrass that was similar to the type
the Mitchell’s used to weave their baskets.</span><o:p></o:p></span></div>
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<div>
<span style="font-family: Arial, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Arial, sans-serif;">“Data
pertaining to the straw-grass articles… indicate that the production of this
particular type of basket receptacle persisted among certain of the more conservative
mainland Wampanoag until a much later date than had been supposed”
(Tantaquidgeon 1930:476-478).</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">She says
that most of Emma’s baskets were dyed with a purple commercial dye which seems
to have been a favorite color (Tantaqidgeon 1930:482). Emma’s baskets in the Museum
of the American Indian were donated to them by Tantaquidgeon. Although most of
them are identified as dyed-straw baskets, a similar example is labeled as
being made from ash splints so they were working in more than one medium.</span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Charlotte
Mitchell held legal title to a 15-acre tract until her death on 29 April 1930,
whereupon the estate went to her sisters, Lydia Mitchell (residence unknown)
and Emma J. Safford, of Ipswich. Massasoit’s lineage surrendered this land
finally and completely in October, 1943, for nonpayment of back taxes (Simmons
2002).<o:p></o:p></span></div>
<span style="font-family: Arial, sans-serif; line-height: 115%;">The land was later owned and farmed for some 50
years by a local cranberry growing operation. When the price of cranberries
fell, the company decided to sell the land. The Town of Lakeville acquired 292
acres of Betty’s Neck and set conservation restrictions on the other 150 acres,
at a cost of $8.4 million. The remaining 38 acres was purchased for $600,000 by
the Trust for Public Lands.</span><br />
<div>
<span style="font-family: Arial, sans-serif; line-height: 115%;">Betty’s Neck is
considered a sacred site by many traditional Wampanoag. Windsong Blake (<span style="color: red;">figure 24</span>), who for many years was the Wampanoag chief
of the Assonet band, lives nearby and we have walked the grounds of Betty’s
Neck on numerous occasions. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhghgBXaaqsSo16AB4K7aYP8zPlxmpILcJgVb6gOGUYbm1UsyXaB_y2aKR-smcF8RsbMEGAWazsbP81muYNReVlHgdXO26ilS5nchcNgxUVzAHEJ6ylcDKMmFYTkdjxD6YJmRyhdoC4DOGq/s1600/24.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhghgBXaaqsSo16AB4K7aYP8zPlxmpILcJgVb6gOGUYbm1UsyXaB_y2aKR-smcF8RsbMEGAWazsbP81muYNReVlHgdXO26ilS5nchcNgxUVzAHEJ6ylcDKMmFYTkdjxD6YJmRyhdoC4DOGq/s640/24.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 24 –
Photo of Chief Alden “Windsong” Blake at the entrance to Betty’s Neck, in
Lakeville, Massachusetts. Circa 2009.<o:p></o:p></span></div>
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<div>
<span style="font-family: Arial, sans-serif; line-height: 115%;">The woodlands there
have a certain reverence about them. There’s an intangible quality about
the place; something you can’t quite put your finger on, a presence that can be
felt yet is just out of reach. Perhaps it’s the spirit of Teweelema and
her ancestors walking the grounds of their ancient homeland. A number of years
ago I painted a portrait of Teweelema (<span style="color: red;">figure 25</span>)
and although the beaded bag I depicted her with is done in the Wabanaki style,
I selected it because the design is suggestive of a face, perhaps that of the
forest spirits that still dwell in the backwoods of Teweelema’s ancestral
homeland. This is what I set out to capture in her portrait. You can see more
of my portraits by following this link to my <a href="http://www.gerrybiron.com/pages/newwork.html" target="_blank">website</a>. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqC0z0D2z_bfKwDtUUq6XMZqTvPmPazEriY4MbYAVQpogDm3VQ5M06WQAnKCF_S1MEjROo0Pr72Nym9-qQBezkdsbpKyh9lgfyPcZx8IpzGGeNLTZ071XDjinariVIfgCU0VH3k2t8bzM-/s1600/25.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqC0z0D2z_bfKwDtUUq6XMZqTvPmPazEriY4MbYAVQpogDm3VQ5M06WQAnKCF_S1MEjROo0Pr72Nym9-qQBezkdsbpKyh9lgfyPcZx8IpzGGeNLTZ071XDjinariVIfgCU0VH3k2t8bzM-/s640/25.jpg" width="472" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Figure 25 –
Portrait of Teweelema, by Gerry Biron. 27 x 37 inches, 2006. Mixed media:
graphite and colored pencils, acrylic, watercolor and ink.<o:p></o:p></span></div>
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<div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">My special
thanks to Sara Turnbaugh for her help in identifying the Mitchell’s straw grass
baskets. Here is a link to her new book on <a href="http://www.amazon.com/American-Indian-Baskets-Building-Collection/dp/0764344048/ref=sr_1_1?ie=UTF8&qid=1377864554&sr=8-1&keywords=American+Indian+Baskets%3A+Building+and+Caring+for+a+Collection" target="_blank">Indian baskets</a>.<o:p></o:p></span><br />
<span style="font-family: "Arial","sans-serif";"><br /></span>
<span style="background-color: #b6d7a8; font-family: "Arial","sans-serif";">Below are three new images of rye-straw baskets that were made by either the Mitchell women living at Betty's Neck or their sister Emma Safford living in Ipswich, Massachusetts. The baskets are quite small and I provided three images of each. From the collection of Peter Corey.</span><br />
<span style="background-color: #b6d7a8; font-family: "Arial","sans-serif";"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbBmyalrdJ8p8dk_GRnbzTngalVylghaxzAnm1TFr8IAmyab_FVXxK2V0vvlq_op12aspGbQtIUV6MAzu2r4yAJ7-SHDG_dnzWJ5T2QLeAQFPz7zvMuqzbaUUCa7hbXAjruw8lw3dJsrH9/s1600/rye-straw-1a-E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbBmyalrdJ8p8dk_GRnbzTngalVylghaxzAnm1TFr8IAmyab_FVXxK2V0vvlq_op12aspGbQtIUV6MAzu2r4yAJ7-SHDG_dnzWJ5T2QLeAQFPz7zvMuqzbaUUCa7hbXAjruw8lw3dJsrH9/s640/rye-straw-1a-E.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 1 A</td></tr>
</tbody></table>
<span style="background-color: #b6d7a8; font-family: "Arial","sans-serif";"><br /></span></div>
<div class="MsoNormal">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAjIBNk7k3g2KD3aWmKqbMbSL8UkNDpwkGvdt-PKFpt7GrfGjEUe-KuXeZtIDvoY1bjyDMY-JuSNJVKSYjozLAz2JloJxV3sgs3L12fsKeCSCV25uOLhSxN_SWH3MS0xGewjqEZ_LtH-EC/s1600/rye-straw-1b-E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAjIBNk7k3g2KD3aWmKqbMbSL8UkNDpwkGvdt-PKFpt7GrfGjEUe-KuXeZtIDvoY1bjyDMY-JuSNJVKSYjozLAz2JloJxV3sgs3L12fsKeCSCV25uOLhSxN_SWH3MS0xGewjqEZ_LtH-EC/s640/rye-straw-1b-E.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 1 B</td></tr>
</tbody></table>
<span style="font-family: "Arial","sans-serif";"><br /></span></div>
<div class="MsoNormal">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyrcpTguNwHym32hxRQu-cY_6RfCyv4UlInvamtdhsEDnJ4-70pr3uKO-f2JgTAUuPjz25IG00MANW8qfCtmlOT1RmLOHcvQw7HVL1288XZ6wh4LliEN9bnzXN3zdAaNbun1uWx8k5H4zj/s1600/rye-straw-1d-E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyrcpTguNwHym32hxRQu-cY_6RfCyv4UlInvamtdhsEDnJ4-70pr3uKO-f2JgTAUuPjz25IG00MANW8qfCtmlOT1RmLOHcvQw7HVL1288XZ6wh4LliEN9bnzXN3zdAaNbun1uWx8k5H4zj/s640/rye-straw-1d-E.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 1 C</td></tr>
</tbody></table>
<b><span style="font-family: "Arial","sans-serif";"><br /></span></b>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPK2NvuhMWUrhguF61PRNEJopYDynBTchlsNDzZiKnpMXe1RNWl4pqfsIvB3Lo7UKUPd24qiWnp3Z1B7OdLaQLQ_mpXyS4s0QIzrnU5RiLuNQm5-kR5CPvTgQtVLtRqcgczXi18ztYdMZW/s1600/rye-straw-2b-E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPK2NvuhMWUrhguF61PRNEJopYDynBTchlsNDzZiKnpMXe1RNWl4pqfsIvB3Lo7UKUPd24qiWnp3Z1B7OdLaQLQ_mpXyS4s0QIzrnU5RiLuNQm5-kR5CPvTgQtVLtRqcgczXi18ztYdMZW/s640/rye-straw-2b-E.jpg" width="590" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 2 A</td></tr>
</tbody></table>
<b><span style="font-family: "Arial","sans-serif";"><br /></span></b>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggphyAYZXCgsuD2cZVrCnLrARnb-Dy_stqUXJvTpAUR70C7kPPPRskVuy3w8zj2PTytrK2r3sTctOehHyWq_9Yibpu2JMBsJlQPOWZbnMuf1XrTA8FgD9WIL-LQBU-3kpsjx5xyVwOIVNz/s1600/rye-straw-2a-E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="592" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggphyAYZXCgsuD2cZVrCnLrARnb-Dy_stqUXJvTpAUR70C7kPPPRskVuy3w8zj2PTytrK2r3sTctOehHyWq_9Yibpu2JMBsJlQPOWZbnMuf1XrTA8FgD9WIL-LQBU-3kpsjx5xyVwOIVNz/s640/rye-straw-2a-E.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 2 B</td></tr>
</tbody></table>
<b><span style="font-family: "Arial","sans-serif";"><br /></span></b>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwnjOaC5ejQUfSPQW-od4IwQBUU5SbGNG_FKXmg_EQ1ULSeybb4kdiaSQEsd3AxKeIA3MWFfwAu5i0R5NlUMBVKvgI-oYQ05DiBqgh-EYnPMydFo72G8kh_18ZdZwSB5SQ1qdmGS9hlepH/s1600/rye-straw-2d-E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwnjOaC5ejQUfSPQW-od4IwQBUU5SbGNG_FKXmg_EQ1ULSeybb4kdiaSQEsd3AxKeIA3MWFfwAu5i0R5NlUMBVKvgI-oYQ05DiBqgh-EYnPMydFo72G8kh_18ZdZwSB5SQ1qdmGS9hlepH/s640/rye-straw-2d-E.jpg" width="590" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 2 C</td></tr>
</tbody></table>
<b><span style="font-family: "Arial","sans-serif";"><br /></span></b>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-CMBUajIHcue3frPeUpi5cSOQo0Fg9vkWohONrjS6t2alDrlOcxbO1WYi_I8lVJVD-vX6uhHzmLD2VewFV50fHpQkOos8Nvp_WRT1egKm4_oKexecRBsDYRKoiAmLcRaHVS7OBOuqEvMr/s1600/rye-straw-3a-E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="582" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-CMBUajIHcue3frPeUpi5cSOQo0Fg9vkWohONrjS6t2alDrlOcxbO1WYi_I8lVJVD-vX6uhHzmLD2VewFV50fHpQkOos8Nvp_WRT1egKm4_oKexecRBsDYRKoiAmLcRaHVS7OBOuqEvMr/s640/rye-straw-3a-E.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 3 A</td></tr>
</tbody></table>
<b><span style="font-family: "Arial","sans-serif";"><br /></span></b>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_wWHldJ-WWTM5OMF8EZnfSoyAg0sds7lPjn_q5Xf3JpR2kDggthsLipBOvbbzRtr-UBl5T8ev5npeeTHen2pE0ggNm9T8Q7mWrWTIHiB9O3Dug6wXEe6lwrOlgySZNCoDgRB8IdfCKjiK/s1600/rye-straw-3b-E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_wWHldJ-WWTM5OMF8EZnfSoyAg0sds7lPjn_q5Xf3JpR2kDggthsLipBOvbbzRtr-UBl5T8ev5npeeTHen2pE0ggNm9T8Q7mWrWTIHiB9O3Dug6wXEe6lwrOlgySZNCoDgRB8IdfCKjiK/s640/rye-straw-3b-E.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 3 B</td></tr>
</tbody></table>
<b><span style="font-family: "Arial","sans-serif";"><br /></span></b>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPeW22ez0kpD96JYm618RpAbBldFcizWKrwpL1wjuIsivoW2LSTvRKs6TiVKdIPSze_BhIJVsh-6BgzYaD6_pM9Cghu5e2nMH5-LXsCzyaj1iF60OsDcfHWyTb6-gWt_qKcghyZytCH03A/s1600/rye-straw-3c-E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="610" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPeW22ez0kpD96JYm618RpAbBldFcizWKrwpL1wjuIsivoW2LSTvRKs6TiVKdIPSze_BhIJVsh-6BgzYaD6_pM9Cghu5e2nMH5-LXsCzyaj1iF60OsDcfHWyTb6-gWt_qKcghyZytCH03A/s640/rye-straw-3c-E.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 3 C</td></tr>
</tbody></table>
<b><span style="font-family: "Arial","sans-serif";"><br /></span></b>
<b><span style="font-family: "Arial","sans-serif";"><br /></span></b>
<b><span style="font-family: "Arial","sans-serif";">References cited:<o:p></o:p></span></b><br />
<b><span style="font-family: "Arial","sans-serif";"><br /></span></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Arial","sans-serif";">Davis, Charles Thornton, Judge of the
Land Court<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif";">1909 <i>Massachusetts Land Court Decisions 1898-1908</i>
- Henry A. Wyman, Trustee et al., vs. Melinda Mitchell et al. Plymouth,
October, 1904. Little, Brown and Company, Boston.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif";">Lillie, Lucy C.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif";">1885 “An
Indian Journey” in <i>Harper’s New Monthly
Magazine</i>, pp 813-828.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Arial","sans-serif";">Page, Walter Gilman<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif";">1891 “A
Descendant of Massasoit,” an article published in <i>The New England Magazine, </i>Volume 3, No.5, January.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif";">Peirce, Ebenezer W.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif";">1878 <i>Indian History, Biography and Genealogy:
Pertaining to the Good Sachem Massasoit of the Wampanoag Tribe, and his
Descendants.</i> Published by Zerviah Gould Mitchell, North Abington,
Massachusetts<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Arial","sans-serif";">Scott, Charles T.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif";">1905 “The
Last of the Wampanoags,” an article published in <i>The New England Magazine</i>, Volume 33, No. 4, December. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Arial","sans-serif";">Simmons, William S.<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">2002 <i>From Manifest Destiny to the Melting Pot:
The Life and Times of Charlotte Mitchell, Wampanoag</i>. Department of
Anthropology, Brown University. Article published online:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif";"> <a href="http://smithsonianrex.si.edu/index.php/sca/article/view/348">http://smithsonianrex.si.edu/index.php/sca/article/view/348</a><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Arial","sans-serif";">Tantaquidgeon, Gladys<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-indent: -.5in;">
<span style="font-family: "Arial","sans-serif";">1930 Newly
Discovered Straw Basketry of the Wampanoag Indians of Massachusetts. <i>Indian Notes</i>, volume 7, no. 4, October,
1830.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Arial","sans-serif";">Vigers, Gladys DeMaranville<o:p></o:p></span></div>
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<span style="font-family: "Arial","sans-serif";">1983 <i>History of the Town of Lakeville,
Massachusetts</i>. Lakeville Historical Commission.<o:p></o:p></span></div>
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com0tag:blogger.com,1999:blog-8743733062223446224.post-49605397879100290492013-07-09T11:35:00.000-04:002016-05-18T11:39:12.740-04:00“FROM NIAGARA FALLS” and Tuscarora Beadwork<div class="MsoNormal">
During the nineteenth century, the western New York
Haudenosaunee, particularly the Tuscaroras, were on the frontlines of the
world’s most exciting and emerging tourist market. Occasionally on late-nineteenth and
early-twentieth-century beaded bags, but more often on related items of Iroquois
fancy beadwork such as picture frames, pincushions, sewing cases, match
holders, good-luck horseshoes, etc., sentimental inscriptions were written out
in beads. Common phrases were “Think of Me”, “Forget Me Not”, and “Remember Me”
along with numerous variations and many pieces dated in beads. It’s not clear
exactly when this practice began but an Iroquois bag was exhibited in the Across
Borders: Beadwork in Iroquois Life exhibit bearing a beaded 1830 date. You
can see the bag in this <a href="http://iroquoisbeadwork.blogspot.com/2011/03/dated-19th-century-iroquois-beadwork.html" target="_blank">blog posting</a>; it’s the earliest piece dated in beads
that I am aware of.</div>
<div class="MsoNormal">
Many other pieces also included the names of the locations
where they were sold, such as “Montreal”, “Saratoga Springs” and “Niagara Falls”.
In this blog posting, I will explore the
origins of the beaded inscription “From Niagara Falls” in Tuscarora work and
why it suddenly appeared in their beadwork around 1860. </div>
<div class="MsoNormal">
Prior to 1860, we
sometimes see a hand-written inscription on an inside flap or on the back of a
piece of beadwork that indicates the item was “From Niagara Falls.” Sometimes a
piece is accompanied by an old note indicating that it was purchased there. </div>
<div class="MsoNormal">
The Revolutionary
War (1775-1783) compelled the curtailment of the Haudenosaunee’s traditional
life style and forced many communities to find new ways to subsist. After the
Revolutionary War, reservations were established in western New York and in southern
Ontario. Each one of these reservations
would subsequently produce souvenirs for the emerging tourist trade at Niagara
Falls. As colonialist incursions increasingly undermined traditional ways of
life, the Iroquois developed survival strategies, the most successful of which was
making articles for sale at Niagara Falls, where tourists flocked to witness
the grandeur of nature. Iroquois artists made souvenirs and also useful
objects, such as moccasins, hats, pincushions, and various types of containers. We
may never know exactly when they began producing beadwork for the souvenir
trade, but the dating of the earliest material suggests it began soon after the
end of the Revolutionary War. </div>
<div class="MsoNormal">
Travelers to the
area were confronted by the presence of the Haudenosaunee and many actually
sought them out. The traditional arts that existed prior to the American
Revolution changed, and in many cases disappeared, to be replaced by the
emergence of hybrid styles of commoditized beadwork that in the early
nineteenth century were sold predominately at Niagara Falls.</div>
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</div>
<div class="MsoNormal">
One of the
earliest Haudenosaunee souvenir beaded bags that was collected at the Falls is
illustrated in figure 1. </div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOSy7RRiKjX2I26CaG60t7EJaFzx74ioA7X-a4xhCI0_InmsJ-f0oEUx1rECjBMxjwYg1BumuadbQqkc4f22sYfrZUWHuWgkMTNilCo12iPDUCMptp1GAypuQwO6o2CfQiDR3QzA6OwM3S/s1600/fig+01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOSy7RRiKjX2I26CaG60t7EJaFzx74ioA7X-a4xhCI0_InmsJ-f0oEUx1rECjBMxjwYg1BumuadbQqkc4f22sYfrZUWHuWgkMTNilCo12iPDUCMptp1GAypuQwO6o2CfQiDR3QzA6OwM3S/s640/fig+01.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 1 – Beaded bag
collected at Niagara Falls in the first quarter of the 19th century. Both sides shown. Either Seneca or
Tuscarora. An old, hand-written note
that came with the bag indicated it was collected at the Falls around 1794. The
note reads: “This bag was given to me in
August, 1919 by Miss Blake of Cape May – She is 88 years old and said the bag
was brought from Niagara Falls 125 years ago by a relative – It was made by
Indian women – Grace May Lissenden.”</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "calibri" , sans-serif; line-height: 115%;">According to a note left by a prior owner, the
bag was acquired in 1794, which seems rather early for this style of purse. It’s
most likely from the first quarter of the nineteenth century as it is stylistically
similar to a bag in the New York State Museum in Albany, that was collected in
1807 (see figure 3.5 in A Cherished Curiosity).
Another early bag was collected in Lewiston, New York near the Tuscarora
Reservation (figure 2). </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi86nchHgh7wzJ7Y8IGSnFYk0hWR1ijgPw9nuLrd15ID-Lpo6nyT69LonZgBHj0askQWdkwjXv7NHU1gOF5HdVR-6qakKYastOb-V-QBTD9GVWnG6VNGkq_ujXUOBUA5YcsaGtgAjV6_Sl-/s1600/fig+02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi86nchHgh7wzJ7Y8IGSnFYk0hWR1ijgPw9nuLrd15ID-Lpo6nyT69LonZgBHj0askQWdkwjXv7NHU1gOF5HdVR-6qakKYastOb-V-QBTD9GVWnG6VNGkq_ujXUOBUA5YcsaGtgAjV6_Sl-/s640/fig+02.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 2 – Early 19th century beaded bag, likely Tuscarora, that
was collected by the anthropologist F.G. Speck in Lewiston, NY in 1916. From
the collection of the Canadian Museum of Civilization, Hull, Quebec, item #
III-I-1075.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
The earliest published
reference I am familiar with to beadwork being sold at Niagara Falls is found
in the New England Magazine, Number 8, February 1835, pages 91-96. In an
article titled “My Visit to Niagara Falls” by Nathaniel Hawthorne, he writes:</div>
<div class="MsoNormal">
<span style="font-family: "calibri" , sans-serif; line-height: 115%;">“After
dinner – at which, an unwonted and perverse epicurism detained me longer than
usual – I lighted a cigar and paced the piazza, minutely attentive to the
aspect and business of a very ordinary village. Finally, with reluctant step,
and the feeling of an intruder, I walked towards Goat Island. At the
toll-house, there were further excuses for delaying the inevitable moment. My
signature was required in a huge ledger, containing similar records
innumerable, many of which I read. The skin of a great sturgeon, and other fishes,
beasts, and reptiles; a collection of minerals, such as lie in heaps near the
falls; some Indian moccasins, and other trifles, made of deer-skin and
embroidered with beads;… all attracted me in turn. Out of a number of twisted
sticks, the manufacture of a Tuscarora Indian, I selected one of curled maple,
curiously convoluted, and adorned with the cared images of a snake and a fish.
Using this as my pilgrim’s staff, I crossed the bridge.”</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 115%;"> In August of 1843, another article appeared in a western Massachusetts newspaper about the Tuscarora. </span><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> We find an interesting
letter from a correspondent of the N.Y. American, the following account of a
visit of Mr. Adams, during his late northern tour, to the Indians of the
Tuscarora “reservation.”</span></div>
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> “A most agreeable incident
of our visit has been the presence of the illustrious ex-President, John Quincy
Adams. He arrived late on Saturday evening, after a long, rapid and fatiguing
journey, by way of Montreal and Ogdensburg, and yesterday morning, accompanied
by Gen. Peter B. Porter, and other friends, went to the Tuscarora reservation,
and attended the public worship of the Indians—many of whom, before and during
the service, were lying in picturesque groups under the trees about the chapel,
with their broadcloths blankets, their ears, hats, leggings and moccasins
glittering with beads, medals, and other finery. The little papooses were
snugly strapped to flat boards about as long as themselves, with only the head
exposed, encased like little Egyptian mummies, except that they were bandaged
with embroidered scarlet instead of cerements—They were in the laps of the
squaws or suspended on their backs, or leaned up against trees or rocks, much
as you would place an umbrella against the wall or in a corner—They lolled
their little tawny heads about, and with their bright black eyes gazed
wonderingly over the beautiful domains of their fathers.</span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> “In the chapel the sermon
was rendered in to the Indian language, sentence by sentence, by the chief. The
congregation were about as somnolent as white Christians are apt to be; and the
new blue silk shawl, in which (instead of her blanket) a young and beautiful squaw
has enveloped herself, produced about as much “sensation” among the other dark
belles, as any similar splendor would among the paler beauties of a city
congregation. The singing by the Indians was delightful, and I have rarely
heard sweeter and softer voices. After
the services were concluded, the ex-President was desired to address them. When
it was announced that he would do so, the Indians looked and listened with
great intentness. Mr. Adams’s unpremeditated discourse was admirable, and
delivered with much feeling and effect. The chief rendered it, as he had done
the sermon, sentence by sentence, in the Indian language.</span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> “Mr. Adams alluded to his
advanced age, and to this being the first time that he had ever looked upon
their beautiful fields and forest—that he was truly happy to meet them there
and join with them in the worship of our common Parent—reminded them that in
years past he had addressed them from the position which he then occupied in
language at once that of his station and his heart, as “his children”—and that
now, as a private citizen, he heard them in terms of equal warmth and
endearment as his “brethren and sisters.” He alluded with a simple eloquence
which seemed to move the Indians much, to the equal care and love with which God
regards all his children, whether savage or civilized, and to the common
destiny which awaits them hereafter, however various their lot here. He touched
briefly and forcibly on the topics of the sermon which they had heard, and
concluded with a beautiful and touching benediction upon them. Among the elders
of the congregation were several who had
fought at Fort Erie, Chippewa and Lundy’s Land, under General Porter, to whom
they look up with affection and reverence as their steady friend, and as the ‘great
counselor and warrior’” (From: The Pittsfield Sun, Pittsfield, Massachusetts, August 17, 1843, page 2). I would like to thank Grant Wade Jonathan for bringing this article to my attention. </span></div>
</div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 115%;"> Nineteenth-century
travelers were most likely to find the “cherished curiosities” they were
seeking at Niagara Falls. The best views
of the cataract were from Goat Island, but to get there, an 1839 guide book
informs the traveler that they would first have to cross the bridge to Bath
Island, then “ascend the bank, enter the toll-house, and pay the charge of
twenty-five cents each; which gives the individual the privilege of visiting
the island during his stay at the Falls, or at any time thereafter for the
current year (fig. 2a). </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCv1hL0fRZaPAcvY8W7wUjAWA258sUydotsxq9VqMSM4qiqsW9gNqtffB8ujk8RHl8ZvaiaJXyEXMulvkOAH7UljQWT_SW5ysJrz3S3GevLf3EWBLw9t2KboVHh8EAPc4nVwTlb37bpCeq/s1600/fig+02a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCv1hL0fRZaPAcvY8W7wUjAWA258sUydotsxq9VqMSM4qiqsW9gNqtffB8ujk8RHl8ZvaiaJXyEXMulvkOAH7UljQWT_SW5ysJrz3S3GevLf3EWBLw9t2KboVHh8EAPc4nVwTlb37bpCeq/s640/fig+02a.jpg" width="608" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 2a – One panel from a stereoview of the bridge to
Goat Island and what looks like a vendor in the foreground selling souvenirs(?)
to visitors. The building in the left background is Walker’s Bazaar, one of
many places at the Falls where souvenirs of your visit could be purchased. To
the left of this building is a clothes line with someone’s laundry hanging out
to dry. Circa 1870.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "calibri" , sans-serif; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 115%;">They register their names, and look at the
Indian and other curiosities,” in the bath house that was operated by a Mr.
Jacob, “which are kept there for sale; and generally make some purchases, as
remembrances of the Falls, or for presents to friends or children” (DeVeaux
1839:56). DeVeaux goes on to say that “Niagara Falls has also become a mart for
Indian curiosities. Of the same
gentleman [Mr., Jacob] may be obtained moccasins, worked with beads and
porcupine quills. Indian work pockets, needle cases, war clubs, bark canoes,
maple sugar in fancy boxes ornamented with quills, & c” (DeVeaux 1839:163). </span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> Some uncertainty
remains over the attribution and dating of early Haudenosaunee fancy souvenir
beadwork because of the lack of well-documented examples. It’s often difficult
to attribute tribal identity to a piece because of the meager ethnographic
evidence and the extensive trading that occurred between Native communities. </span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> Additionally, the
Iroquois sometimes wholesaled their work to middlemen, shopkeepers, and to
other Indians; designs and motifs were borrowed and exchanged between Native
communities. Added to this is the movement of pieces by tourists. So extensive
was the trade with the Tuscarora that</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">"…they were unable to manufacture enough souvenirs to meet
the demand. So they became middle men buying the beaded pouches, moccasins,
baskets, etc., from the Mohawks of Caughnawaga, St. Regis, and Lake of Two
Mountains, from the Senecas on their neighboring reservations in New York
State, from the Iroquois at Six Nations, from the Ottawa, the Algonquin at
River Desert (Maniwaki), and others" (Dodge 1951:4).</span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-size: 11pt;"><span style="font-family: "calibri" , sans-serif;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Figures
3 & 4 are two other mid-19th century bags with hand-written inscriptions indicating
that they were acquired at Niagara Falls.</span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZDZ5dzR9IChyphenhyphenrNyZMpwMtbIp1r3j-PGDTQA7gCf9cBTwZt8_qh5YGNWdJWaQjyI-pWHP2Bl9fHrCsi9_JOkpySEfM7zpWVhf5sW1IEwEvDW-2cRNvFZXqLKe9FCK-UYX-aXGWrqJDkCzN/s1600/fig+03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="580" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZDZ5dzR9IChyphenhyphenrNyZMpwMtbIp1r3j-PGDTQA7gCf9cBTwZt8_qh5YGNWdJWaQjyI-pWHP2Bl9fHrCsi9_JOkpySEfM7zpWVhf5sW1IEwEvDW-2cRNvFZXqLKe9FCK-UYX-aXGWrqJDkCzN/s640/fig+03.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 3 – Beaded bag collected at Niagara Falls in 1843. The
inked inscription on the inside of the bag reads: Goat Island, Niagara Falls,
August ’43. Possibly Tuscarora as they were known to have the exclusive rights
to sell their beadwork on Goat Island.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "calibri" , sans-serif; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimN_ak5WSEAFc6mAnMykKnwzUzC1OishpIoQD45EaN-IzZat6FFS8Yi_A0jQB8xAn15iWNjhktIX9OxB9pI_us_QNb4ciD_4_VCVaeclU-1Q0XWokMSzszIflDC5GHFYHpLQ4KO739aK3E/s1600/fig+04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimN_ak5WSEAFc6mAnMykKnwzUzC1OishpIoQD45EaN-IzZat6FFS8Yi_A0jQB8xAn15iWNjhktIX9OxB9pI_us_QNb4ciD_4_VCVaeclU-1Q0XWokMSzszIflDC5GHFYHpLQ4KO739aK3E/s640/fig+04.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 4 – A beaded bag in the Parker style collected at
Niagara Falls in 1846. </div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "calibri" , sans-serif; line-height: 115%;"> Sometime
in the early 1840s, a new style of beadwork emerges that likely had its roots
in Niagara Falls, and possibly with the Seneca (See A Cherished Curiosity for
more information about the development of the Niagara Floral Style). Examples
of beaded hats, moccasins, bags (fig 5) and a host of other items were done in
this style which became the predominate beadwork style produced in many
Haudenosaunee communities during the second and third quarters of the 19th
century. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG8NtI-UmHDUodIvw7acKih25deerdr97P1FD9wRDazcI6VGTHJ74rnEcXnyn1N9AgvGs5Nqb9-_W3GoWgBZD7Pr33SrBNg322Y4g1Smu6baY92jSptLNcUH7aMIVE1QLDsbt1F7_t8e8d/s1600/fig+05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG8NtI-UmHDUodIvw7acKih25deerdr97P1FD9wRDazcI6VGTHJ74rnEcXnyn1N9AgvGs5Nqb9-_W3GoWgBZD7Pr33SrBNg322Y4g1Smu6baY92jSptLNcUH7aMIVE1QLDsbt1F7_t8e8d/s640/fig+05.jpg" width="430" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 5 – Beaded bag in the Niagara floral style from the Sturbridge
Village (MA) collection. An old, hand-written note inside the bag reads: “This
bag was bought of the Indians in 1852 at Niagara Falls by grandpa Allen.” An
old catalog card reads: “ex. coll. The Quinebaug Historical Society.”</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "calibri" , sans-serif; line-height: 115%;">The historical record of attributed examples
points to the fact that these were made in most Iroquois communities, although
the details that allow us to distinguish an example that is say Tuscarora,
Seneca or Mohawk is less clear. For as long as I have been collecting and
researching Iroquois beadwork (almost 30 years), this style has been referred to
by people in the antiques field as the “Niagara Floral Style”. This can lead to
some confusion as some non-Natives think there was a tribe called the Niagara but
there isn’t. The term, as I’ve always understood it, doesn’t refer to a
specific Nation but rather to a style of beadwork that was often sold at the
Falls. Additionally, to add to the
confusion, the fancy beaded picture frames, pincushions, sewing wallets,
good-luck horseshoes, beaded canoes, beaded birds, etc. that the Tuscarora sold
at the Falls beginning in the second half of the nineteenth century, are sometimes
referred to as Niagara beadwork. The Tuscarora and others do not agree with the
use of the term “Niagara beaded” when it applies to their beadwork. They feel it’s
culturally insensitive and if collectors and museums are going to call Mohawk
beadwork by its name, the same should be true of Seneca and Tuscarora beadwork.
They consider the term to be deceiving and inappropriate.</span></div>
<div class="MsoNormal">
Another style of
beadwork that was sold in Niagara Falls, beginning in the 1850s, was beaded
primarily with crystal beads and usually on a red fabric ground (fig. 6). This
particular piece has a hand-written inscription on the back indicating it was
collected in July, of 1857. </div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9fyYNkae2oOReNjmb_ifdKVzt1RvI8WRtdzJqPFriuxjYW-0Kdt7gnjvNL_MP3_U2Hpvu0fgpVFEansInu_baqG8lJyc1ZT9AAlkRwpU_N3d8V94c0tKydrMtQamCibURcML-lqwrhHeA/s1600/fig+06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9fyYNkae2oOReNjmb_ifdKVzt1RvI8WRtdzJqPFriuxjYW-0Kdt7gnjvNL_MP3_U2Hpvu0fgpVFEansInu_baqG8lJyc1ZT9AAlkRwpU_N3d8V94c0tKydrMtQamCibURcML-lqwrhHeA/s640/fig+06.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 6 – Watch pocket, Tuscarora with the inscription on
the back that it was collected at Niagara Falls in 1857. </div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "calibri" , sans-serif; line-height: 115%;"> By
about 1860, another development arose in the beadwork that was produced for
sale to travelers who visited the Falls. Now we begin to see more pieces that
contain dates and sentimental inscriptions, beaded onto the piece itself, and
especially prominent is the beaded addition of the place of purchase, such as “From
Niagara Falls” (figs 7 & 7a). </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmUcqa00uzitAj3nx7uYEdevIdRxgBNGxWNxpQJkeJpc2InQMSyoeubr1y70kcPZ1rM8KfxqOr5hUHymlAOUUcoEfxQFvWnLbyUa8zEC5gFCXFc9BGln7W99Dski794YPZQXaMj5nJgL3G/s1600/fig+07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="552" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmUcqa00uzitAj3nx7uYEdevIdRxgBNGxWNxpQJkeJpc2InQMSyoeubr1y70kcPZ1rM8KfxqOr5hUHymlAOUUcoEfxQFvWnLbyUa8zEC5gFCXFc9BGln7W99Dski794YPZQXaMj5nJgL3G/s640/fig+07.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 7 – One panel from a circa 1860 stereo view that
illustrates numerous items of fancy work that was offered for sale at Niagara
Falls. The sewing wallet on the left side of the table has the inscription
“Present From Niagara Falls.” See figure
7a for a detail view of this piece.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "calibri" , sans-serif; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNn81kNp7LU6WXQyi6prJ-sdCXSiesL5GBAHLOJRF-BNazay27gsZwRaiOvaOHCqX7tV74PaQJoRK4SF3i_bbiO11ky-ncs-xPdHKT1vqF8Q_X2tPzdnjKXkLPi-HMv0DYq_urKp1eMaMw/s1600/fig+07a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNn81kNp7LU6WXQyi6prJ-sdCXSiesL5GBAHLOJRF-BNazay27gsZwRaiOvaOHCqX7tV74PaQJoRK4SF3i_bbiO11ky-ncs-xPdHKT1vqF8Q_X2tPzdnjKXkLPi-HMv0DYq_urKp1eMaMw/s640/fig+07a.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 7a – Detail view of the sewing wallet in figure 7.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "calibri" , sans-serif; line-height: 115%;">Like many of the pieces from the 1850s, they were
also embroidered primarily with crystal beads. The sewing wallet in figure 8
has a similar inscription, although on this example it is not beaded onto the
piece but rather appears to be applied in the form of a rubber stamp or printed
onto it. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6r-QbrYBTXhJBZOh53tl19aE47x070mXe-H6ntpeHN40dF61HMRK6DwrXo4r48mkYrduyUznm7zK4LddENyBN8_1JHk8iY2as92l481zdlJaVL3vW0SmLmViyErMSKDVKbytQM4E1lavj/s1600/fig+08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6r-QbrYBTXhJBZOh53tl19aE47x070mXe-H6ntpeHN40dF61HMRK6DwrXo4r48mkYrduyUznm7zK4LddENyBN8_1JHk8iY2as92l481zdlJaVL3vW0SmLmViyErMSKDVKbytQM4E1lavj/s640/fig+08.jpg" width="564" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 8 - The beautiful Tuscarora sewing wallet pictured is
completely decorated in crystal beads. There is either a rubber stamp or a printed
inscription on the inside that reads: “A Present from Niagara Falls 1860.” I
suspect the Tuscarora were not rubber stamping inscriptions onto their
creations which suggest that this piece may have been sold in one of the many
souvenir shops at the Falls and it may have been added by the shop that sold
it.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "calibri" , sans-serif; line-height: 115%;">It also incorporates the use of the term
“present” but this designation appears to have been dropped from pieces produced
after the early 1860s to simply “From Niagara Falls,” “From Niagara,” or
“Niagara Falls.” The sewing wallet in figure 9 is very similar to the one in figure
8 and here we can see “Present From Niagara Falls” and a date of 1862 beaded
onto the piece. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh-wbT7CLlxjyNjgs96jSKXpbv_J2UhnqXULAJCZaL02Tv2X2wazjertHSlb_RGzVjJIVk07Pcr3gAYoyJR8Y_R3Uu3oqWq9uLt6NcP-OH0IgiUYGKK83255VYmL3cdwT3WJi_ZJOzKpz4/s1600/fig+09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh-wbT7CLlxjyNjgs96jSKXpbv_J2UhnqXULAJCZaL02Tv2X2wazjertHSlb_RGzVjJIVk07Pcr3gAYoyJR8Y_R3Uu3oqWq9uLt6NcP-OH0IgiUYGKK83255VYmL3cdwT3WJi_ZJOzKpz4/s640/fig+09.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 9 – Sewing wallet with the inscription “Present From
Niagara Falls” beaded in metal beads. This piece is also dated 1862 in metal
beads.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;"> </span><span style="font-family: "calibri" , sans-serif; line-height: 115%;"> Why
did “From Niagara Falls” suddenly appear beaded on pieces of Tuscarora work
about this date? Did a traveler request it and the practice stuck? There were
non-Indian made souvenirs sold to tourists in the bazaars at the Falls, many of
which were imported, and some of them included the “From Niagara Falls” cachet
(fig 10). The reason why the Tuscarora started using it about this time is
still unclear although by adding “From Niagara Falls” to their work, the
beadwork may have taken on a new purpose; primarily to distinguish it from the
work of outsiders. Perhaps a shopkeeper suggested its use as travelers wanted a
memento that reminded them of their trip and where they had been. There may
have been other factors that led to its use as well as we shall see below.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqNpUSbW00nxkANmzdtilG3Tciym_PDSaD1hAt4ARIM4cxJtYWw9-3r5fqY-tCM6CEVhtwTtb_oVqtDs_k9z_9ZVSgLJUZMpvcnZHM5T9lA1cITFnTLRBnYTEIliIeXR8e6kkVlikDay5j/s1600/fig+10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqNpUSbW00nxkANmzdtilG3Tciym_PDSaD1hAt4ARIM4cxJtYWw9-3r5fqY-tCM6CEVhtwTtb_oVqtDs_k9z_9ZVSgLJUZMpvcnZHM5T9lA1cITFnTLRBnYTEIliIeXR8e6kkVlikDay5j/s640/fig+10.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 10 – Non-Native made clamshell purse with
hand-painted flowers and the “From Niagara Falls” cachet. Second half of the
nineteenth century.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> The Niagara Falls
scholar, Karen Dubinsky, relates that </span></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">“Edward Roper, visiting Niagara for a second time in the
1890s, noted, “There are the same Indians about as of old; they say the squaws
come generally from ‘ould Oirland’ [Ireland].” Many visitors complained about
“Irish Indians” or “Indian curiosities” made in New York or England or France,
or later, of course, Japan), and by the 1890s one of the popular guide book
series edited by Karl Baedeker was warning readers that “the bazaar nuisance [at
Niagara] continues in full force…. Those wishing Indian curiosities should buy
them from the Indians themselves” (Dubinsky 1999:64-65).</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> The composer
Jacques Offenbach, while on a trip to the Falls in the 1870s, wrote that after
having enjoyed the spectacle of Niagara Falls </span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">“I
crossed the bridge and set foot on Canadian soil. Here, I had been told, I
would see Indians. I expected to find savages, and was surprised to find only
dealers in bric-a-brac. They were hideous, I confess; they looked quite ferocious,
I admit also: but I doubt whether they were genuine Indians. However that may
be, they surrounded me on all sides, offered me bamboos, fans, cigar holders,
and pocket-books of a doubtful taste… Nevertheless, I made a few purchases; but
I verily believe I brought back into France some curiosities which had been
procured at the selling out of some Parisian bazaar” (Offenbach 1875:168).</span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> Mark Twain also complained
about the Indians at the Falls in the 1860s, believing most of the ones he
encountered were Irishmen disguising themselves as Indians for the sole purpose
of selling bogus Indian souvenirs to tourists and he wrote a satirical essay
about it titled <a href="http://xroads.virginia.edu/~DRBR/niagara.html" target="_blank">“Niagara.” </a></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> One of the
reasons travelers came to Niagara Falls in the nineteenth century was to see
Indians (Dubinsky 1999: 60-61). For those making the journey, Niagara
represented a pure and pristine environment, which was seen as healthful and
invigorating but, just as the Falls became a symbol of America, the Indian
became a symbol of the Falls and an icon of this untamed wilderness.</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> Karen Dubinsky
writes that:</span></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">“The passion for colleting Indian ‘curiosities’ also signals
something of the ambivalent relationship between whites and Native people in
the contact zone…. Female beadwork vendors, such as the often-photographed
sisters Delia and Rihsakwad Patterson, proved a great hit, for visitors seemed
as interested in the merchants as the goods” (Dubinski 1999:66). </span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> But
there were other forces at work during this period that could turn a visit to
the Falls into a harrowing and costly experience; hackmen, swindlers and
con-artists of every sort preying on the unsuspected. Most points of interest at
the Falls, such as the Cave of the Winds, The Inclined Railway, the Ferry to
Canada and Prospect Park, crossing the bridges to either the Canadian or
American side, The Whirlpool Rapids, The Burning Spring, Lundy’s Lane Battle
Ground Observatory, and a host of other attractions charged visitors an
admission fee or a toll. In some places, travelers were led to believe
admission was free and only when they tried to leave were they charged a fee –
to the chagrin of many. To complete the Niagara Falls experience, travelers
were not required to visit each point of interest but they were often
intentionally taken there by deceitful hackmen where they had to pay the toll
or admission fee. Hackmen, or carriage drivers, (fig. 11), worked for the hotels,
and other large business establishments at the Falls and they had arrangement
with the owners of many area attractions to bring them visitors. </span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkt1e8nfX045TKFn8mq0DQnd5We7bxA1aCqMT_41g8XHLNKMhGk2rzcNmBJlQ_eN2e4VseWckHT-PHc4NLNZg5snLGDEb4IG_QzkjmGtjL4vEMXKiklBpJFsJh6gBlMan67-BRA-7bwN-A/s1600/fig+11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkt1e8nfX045TKFn8mq0DQnd5We7bxA1aCqMT_41g8XHLNKMhGk2rzcNmBJlQ_eN2e4VseWckHT-PHc4NLNZg5snLGDEb4IG_QzkjmGtjL4vEMXKiklBpJFsJh6gBlMan67-BRA-7bwN-A/s640/fig+11.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 11 – Circa 1860 ambrotype of a hackman and his
carriage ferrying visitors around the Falls.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "calibri" , sans-serif; line-height: 115%;">They would drive them around to the different
sites but what was unknown to most travelers is that the hackmen were actually
paid a commission, usually 50% of the admission fee, to get them there. So
rather than take a visitor directly to their desired destination, the hackmen
had a strong incentive to take them to every other attraction first, to get
their commissions, before taking them to their requested station.</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> In his 1884 Complete
Tourist Guide to Niagara Falls, David Young wrote, warning visitors that </span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">“[As] it had ever been… swindling has become more systematic
than in former days, and the public will be surprised when they find who are
connected with it. It is gradually driving visitors from the place, and has
given Niagara Falls a name not to be coveted by the poorest hamlet in
Christendom. For instance, a gentleman arrives at Niagara Falls and puts up at
one of the principal hotels and depends upon his Host for directions in
visiting the various points of interest in the vicinity. He naturally expects
reliable information, but the chances are he will be deceived. It may be and
often is the case, that someone in connection with the hotel is connected with
one or more of the points of interest on either or both sides of the river. He
goes to the office and asks for information concerning the points of interest,
and there, only such points as are of in the interest of the hotel or of those
connected with the hotel, are pointed out to him as points of interest visited
by the great multitude, while all other points are represented as not being
worth the time to go and see.” </span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">“Immediately
he is put into a hack, the driver mounts his seat, and the individual has
really commenced his sight-seeing. The driver who knows his business as well as
the pedagogue knows his multiplication table, plies his victim… with marvelous
narrations of the events and occurrences that have taken place at those points
which they intend visiting, thus drawing the man’s mind away from other points
that the driver knows he dare not drive to on pain of INSTANT DISMISSAL. Should
the gentleman mention any other point, he is promptly discouraged, is told that
the place is not worth seeing or that it is not safe to visit, and should he
still insist upon going, the driver would be compelled, point blank, to refuse
to take him, and should the party yet persist in going he would have to walk or
procure another hack” (Young 1884: 3-4).</span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> The hackmen were
not the only ones taking advantage of visitors. Gift shops and bazaars were
notorious for charging foreigners, unfamiliar with the local area, considerably
more than the usual price for goods. </span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Cigars that cost a cent and a half each are sold for twenty
cents. Lager beer goes up to ten cents a glass; pop the same, and everything
else in proportion. Ornaments that come from England are sold to the stranger
as Table Rock ornaments, and fabulous stories are told of the difficulty
experience in procuring them (Young 1884:16).</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> Bogus items were
routinely sold as genuine and if a hackman brought a traveler to one of these
shops he would also get a commission on the sale of items his passengers
purchased. Hackmen controlled the lines of business – the shops and attractions
they favored would succeed – others not willing to pay their commissions were
doomed to failure. Throughout all this, the Tuscarora continued producing
exquisite examples of their beadwork. They also sold their work through shops
in Niagara Falls. It’s unclear what sort of arrangements they may have had with
area establishments but a local businessman – perhaps one slighted by a
hackmean – might have suggested the addition of the beaded “From Niagara Falls”
as a way to offer his customers something unusual; a genuine keepsake from
Niagara Falls that confirmed they had actually been there and was made by the
very exotic people that many Victorians had come to see. Since the early
nineteenth century</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Native peoples have been woven into the natural history of
Niagara Falls. Along with waterfalls and wax museums, Native people were
established as tourist attractions, extensions of the natural landscape. The
tourist gaze is created by symbols and signs, and thus one’s journey consists
of collecting—visually, through souvenirs or photograph—the appropriate
symbols. And nothing was a more important signifier of North America than the
peoples of the First Nations (Dubinski 1999:61).</span></div>
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</div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> As the Niagara
area developed, civic officials were concerned that growth be balanced among
the different sectors of the economy and not centralized on tourism. Focusing on balanced development was a way of
establishing distance from the old days of tourist gouging and by 1919, the
local Chamber of Commerce actually encouraged local manufacturers to advertise that
their products were made in Niagara Falls.
What follows is a gallery of Tuscarora pieces that contain the beaded “From
Niagara Falls” on the work. As we will see later, the Tuscarora were not the
only Native people selling at the Falls and using the “From Niagara Falls” cachet
(figs 12-26).</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC8-a4AVFCqDFRTs2UBGWGhBFBH52JbLgKyGL8ewnH6BBo5QJqD7MTg3yqv5cheVer1xGPHkbYqyaItKLRFL-Oe9BJS6adaixqxmmnNZ9euGl55i80zgoUFDXe_Wro6582dURs9_TZPHAX/s1600/fig+12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC8-a4AVFCqDFRTs2UBGWGhBFBH52JbLgKyGL8ewnH6BBo5QJqD7MTg3yqv5cheVer1xGPHkbYqyaItKLRFL-Oe9BJS6adaixqxmmnNZ9euGl55i80zgoUFDXe_Wro6582dURs9_TZPHAX/s640/fig+12.jpg" width="490" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 12 – One panel from a circa 1870 George Barker
stereoview of a group of Tuscarora women selling beadwork at the Falls. The
Victorian lady on the left is considering the purchase of a Tuscarora barrel
purse. </div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMvd0e9ZEr-lA5y4De9euUDH2OP7k9xZMVbopLXkDXDVNYfjvnoCL3JcdmDq58ydt2jb6K6ePvk58KJ5pz-uuDD7-GlIOXYN_FNrPD-UudeYFX_gItrdp4-jl8qwpqV5zCxqOZy-g0QXJg/s1600/fig+13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMvd0e9ZEr-lA5y4De9euUDH2OP7k9xZMVbopLXkDXDVNYfjvnoCL3JcdmDq58ydt2jb6K6ePvk58KJ5pz-uuDD7-GlIOXYN_FNrPD-UudeYFX_gItrdp4-jl8qwpqV5zCxqOZy-g0QXJg/s640/fig+13.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 13 – A Tuscarora barrel purse decorated with an owl
and a squirrel, themes often seen on Tuscarora beadwork. Last quarter of the
nineteenth century.</div>
</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifBYnc6BBd0CRVLWWBF3njZCHfHLmZiducjwEQF7XsgBzticpK0xJZZZVkbUH6giwcjPPunwuN_G6ANyB-TCckzRQq_d6v-CH_HO6-gzI3e0YLEBH00D32rQp8gb53EyS7g9yKGcgJ2IJl/s1600/fig+14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifBYnc6BBd0CRVLWWBF3njZCHfHLmZiducjwEQF7XsgBzticpK0xJZZZVkbUH6giwcjPPunwuN_G6ANyB-TCckzRQq_d6v-CH_HO6-gzI3e0YLEBH00D32rQp8gb53EyS7g9yKGcgJ2IJl/s640/fig+14.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 14 – Two Tuscarora beaded boots with the From Niagara
Falls cachet. Circa 1900.</div>
</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivKh2cwIPC8Jau9OeSMx9NR-1MoDX2r1AQmGcn3bMpSzyWyuJ7Co5kpY7We4nbqRAUwrZTZkpsUaJl5JKLcrsC27R7zi1A33wdkU2WltIvJLEjDwJssa0ypIYk1GIVOImHk5ru65t3tSvn/s1600/fig+15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivKh2cwIPC8Jau9OeSMx9NR-1MoDX2r1AQmGcn3bMpSzyWyuJ7Co5kpY7We4nbqRAUwrZTZkpsUaJl5JKLcrsC27R7zi1A33wdkU2WltIvJLEjDwJssa0ypIYk1GIVOImHk5ru65t3tSvn/s640/fig+15.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 15 – Two Tuscarora sewing wallets. Their similarity
suggests that they were likely made by the same person. Circa 1900.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijBZakbMfRL08KHOrXMMcSMOke0WklsLGZAle2enKEEOCxXA_xnGEr4M8O4LfUBtiwMrBZxBmtBVZ19ffiIONf_QBn_V9Zt6vpKaIQgyN4VhYy77bZ1cC-m4vw1qvXc1Tvl96cqiV8rlI5/s1600/fig+16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijBZakbMfRL08KHOrXMMcSMOke0WklsLGZAle2enKEEOCxXA_xnGEr4M8O4LfUBtiwMrBZxBmtBVZ19ffiIONf_QBn_V9Zt6vpKaIQgyN4VhYy77bZ1cC-m4vw1qvXc1Tvl96cqiV8rlI5/s640/fig+16.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 16 – Tuscarora barrel purse. Last quarter of the
nineteenth century. Birds are prominent on many of the pieces from this period.</div>
</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHwJXLipGcqw6LLi8BxPrRrksZuucnWbbLAaa0e6zCWRjsykCXtSTvVGpJ0I9x6C7kRFFE1_pJDalMYunpCi_Bc-fVb7r57XOX0idNORi2k-vmv69Cgum9nyVIU0ugZTtrtkvfibqqDPaS/s1600/fig+17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHwJXLipGcqw6LLi8BxPrRrksZuucnWbbLAaa0e6zCWRjsykCXtSTvVGpJ0I9x6C7kRFFE1_pJDalMYunpCi_Bc-fVb7r57XOX0idNORi2k-vmv69Cgum9nyVIU0ugZTtrtkvfibqqDPaS/s640/fig+17.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 17 – Tuscarora purse decorated in crystal beads. 1860s
-1880s. The front side of the purse has a basket motif at the bottom, sometimes
seen on Tuscarora pieces from this time period. The round motifs on both sides of
the bag, with the central bugle bead, is called a birds nest motif by the
Tuscarora.</div>
</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBYVerLnMkNk9Ll1tKsYFJaSNNZawUdoAKc_pzzmzG52EQd3XzTvG18Ha9NDo2VrbPVUwIjmlpZZpna5Fzt_IZXh8VTWylvcGR1XCby_k7-37BDK4hb22VCjREZkjoMAzkVgV6762Qoqvj/s1600/fig+18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBYVerLnMkNk9Ll1tKsYFJaSNNZawUdoAKc_pzzmzG52EQd3XzTvG18Ha9NDo2VrbPVUwIjmlpZZpna5Fzt_IZXh8VTWylvcGR1XCby_k7-37BDK4hb22VCjREZkjoMAzkVgV6762Qoqvj/s640/fig+18.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 18 – A group of six Tuscarora sewing wallets
decorated with crystal beads. 1860s-1880s.</div>
</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-uEepP5Hu-K1gMsKdJfInIbORlo72ijhuYCCpP0zhdSH0xVfHfNWvCRYfbIGBueJtB6Ymz_e4ZqsqWLVpx06sAraMbQDNzGqhRFYhOyxHzddb1azo2ZUDBK2hEAl6zadEvJFfrZuqeenp/s1600/fig+19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-uEepP5Hu-K1gMsKdJfInIbORlo72ijhuYCCpP0zhdSH0xVfHfNWvCRYfbIGBueJtB6Ymz_e4ZqsqWLVpx06sAraMbQDNzGqhRFYhOyxHzddb1azo2ZUDBK2hEAl6zadEvJFfrZuqeenp/s640/fig+19.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 19 – Two Tuscarora sewing wallets decorated with
crystal beads. 1860s-1880s.</div>
</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-dDbJpV-0XYRDtEMbgSDo9TbW0qouKLLzHtAOkWK3Z8hs_F8hxMNOkkI_qIbvGhp-pXk1VOxxzRDKsDAjVQlpIM_RJEz31g9CECpUZXSReyQpw9T3LLvdlua07Cfhf9Q1pwXBHCRSw0s8/s1600/fig+20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-dDbJpV-0XYRDtEMbgSDo9TbW0qouKLLzHtAOkWK3Z8hs_F8hxMNOkkI_qIbvGhp-pXk1VOxxzRDKsDAjVQlpIM_RJEz31g9CECpUZXSReyQpw9T3LLvdlua07Cfhf9Q1pwXBHCRSw0s8/s640/fig+20.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 20 – A Tuscarora beaded bird dated 1899. </div>
</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirrC-dqK6JsDVJkxrgyRuW0nL_nH-4rpgJN66dtxlv5qvDLoK132cEjflQLdTCqetHlJXgQ8s5sFraT5rHlxbpnpIrfO01cg1ncv1WjhJcDvCL7-HVSgeRE-nyl4tyVqBLB5vxBP2wuagD/s1600/fig+21.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirrC-dqK6JsDVJkxrgyRuW0nL_nH-4rpgJN66dtxlv5qvDLoK132cEjflQLdTCqetHlJXgQ8s5sFraT5rHlxbpnpIrfO01cg1ncv1WjhJcDvCL7-HVSgeRE-nyl4tyVqBLB5vxBP2wuagD/s640/fig+21.jpg" width="550" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 21 – An exceptional “Good Luck” horseshoe, possibly Mohawk,
and decorated mostly in amber colored beads - dated 1905.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg_J6uIVEtwQg_wqsnlJSwaplvbizFX4ZzKJzOU7VyVv3dD-xpmWhy-nRpsgmmGC_WFfbM2otF1HdaJ8Xl-N0WzTbp2zkj90MtTmBwbG9iAJoa8k_qwDuGsRFajzakQW2kfnikvGLuzO_M/s1600/fig+22.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg_J6uIVEtwQg_wqsnlJSwaplvbizFX4ZzKJzOU7VyVv3dD-xpmWhy-nRpsgmmGC_WFfbM2otF1HdaJ8Xl-N0WzTbp2zkj90MtTmBwbG9iAJoa8k_qwDuGsRFajzakQW2kfnikvGLuzO_M/s640/fig+22.jpg" width="472" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 22 – Beaded picture frame, Tuscarora with bird and
leaf motifs. Circa 1900.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0fAY9T7b3tQdzjV9kBkTRBKL8ibRY-WlL9jQRHO5dnvgeh0weD9rXAddBYh_b9EKxF5Byp2J_64Wipu_8jJEaZCAQo09PkcFYkVgUb0dHapzJfyZzhb981OkmDiG8V9M-gvErplZerzmH/s1600/fig+23.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0fAY9T7b3tQdzjV9kBkTRBKL8ibRY-WlL9jQRHO5dnvgeh0weD9rXAddBYh_b9EKxF5Byp2J_64Wipu_8jJEaZCAQo09PkcFYkVgUb0dHapzJfyZzhb981OkmDiG8V9M-gvErplZerzmH/s640/fig+23.jpg" width="474" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 23 – Beaded picture frame, Tuscarora with bird, leaf
and birds nest motifs. Circa 1900.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhviLiuAwJ2trcdPJ5MeNs-sOLwHCYsaHYTHs3UGHo1iDY3B_6ghchHFUQ9HLXZ3Qxw14l1gAH5qggOzCtBr4M0-mxaEvTXOb69SE160z3xtAQZa_WnR4l5UdlLKkSL2CDC9GFD_D64TD6_/s1600/fig+24.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhviLiuAwJ2trcdPJ5MeNs-sOLwHCYsaHYTHs3UGHo1iDY3B_6ghchHFUQ9HLXZ3Qxw14l1gAH5qggOzCtBr4M0-mxaEvTXOb69SE160z3xtAQZa_WnR4l5UdlLKkSL2CDC9GFD_D64TD6_/s640/fig+24.jpg" width="462" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 24 – Beaded picture frame, Tuscarora with bird and
leaf motifs. Circa 1900.</div>
</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwc9bNMYE0gjTezsfmyGIBjITFyKwydygwb_o4hWQ4hrxVeTSa5Oi_O8VSJUEKBAqmNl5X7ukS-CCoAtob8rd8g7le1hoqQwZkfp3YcNoJBbpoTZ0FY6kprkFm3KOurZ86FfG_5_R0_QzS/s1600/fig+25.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwc9bNMYE0gjTezsfmyGIBjITFyKwydygwb_o4hWQ4hrxVeTSa5Oi_O8VSJUEKBAqmNl5X7ukS-CCoAtob8rd8g7le1hoqQwZkfp3YcNoJBbpoTZ0FY6kprkFm3KOurZ86FfG_5_R0_QzS/s640/fig+25.jpg" width="462" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 25 – Beaded picture frame, Tuscarora with bird and
leaf motifs. Circa 1900.</div>
</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIq6R9GxkKb10rCddACHBuWAyZIBCuG6TmPXATdT3ra55TTbmx5zNMWwP-chZrUPn9VOgt2Z8Whv1d1RzoCdiaWVn1Xe5Il6J5dZva3uuIQh7w_xBdToXQFEdNg2d6EwK3LG_wItFhSkhW/s1600/fig+26.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIq6R9GxkKb10rCddACHBuWAyZIBCuG6TmPXATdT3ra55TTbmx5zNMWwP-chZrUPn9VOgt2Z8Whv1d1RzoCdiaWVn1Xe5Il6J5dZva3uuIQh7w_xBdToXQFEdNg2d6EwK3LG_wItFhSkhW/s640/fig+26.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 26 – Beaded bag with bird motif. 1900-1910.</div>
</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> By 1900, some
Tuscaroras were objecting to the competition they were getting from the Mohawks.
An article published in The Niagara Falls Gazette in July of 1900, reported
that:</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">“[T]wo squaws have come to Niagara from Montreal, Quebec,
says the local correspondent of the Buffalo Commercial, and have taken up a
stand in the park [Prospect Park] close beside the faithful Tuscarora women. Of
course the latter object, but they have so far said little. The Canadian
squaws, it is said, brought five big trunks of work with them this season, and
they have already announced that next year, Pan-American year, they intend to be
on deck May first.</span></div>
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</div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The Tuscarora squaws cannot see why the white man’s law does
not protect them, as well as the products of the whites. Furthermore the
Tuscaroras point out that years ago Tuscaroras were faithful to the Stars and
Stripes … [a reference to their participation in the War of 1812 for the
American cause.] People who learned of the situation in the park yesterday
plainly stated that they thought the Montreal squaws should be asked to retire
to Victoria Park … [on the Canadian side.] Public sentiment is that the
Tuscarora should be undisturbed by foreign competition” (Niagara Falls Gazette
July 28, 1900:6).</span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;"> </span><span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> The
Mohawks were also adding the “From Niagara Falls” cachet to some of their work
(figs 27 & 28). </span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgclck3Upc8IWC2tWxf18mh702PSb2hzcIQM07SGyMKKQzVY8vv3mjEPoVUcrJerfM7HxNd3V0Xgvy8J-Rh5NmocPyghhjPCi7ZeRY9ZprSS42397y3Lgwof8m4MWzxB70zr8C941viNTEO/s1600/fig+27.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgclck3Upc8IWC2tWxf18mh702PSb2hzcIQM07SGyMKKQzVY8vv3mjEPoVUcrJerfM7HxNd3V0Xgvy8J-Rh5NmocPyghhjPCi7ZeRY9ZprSS42397y3Lgwof8m4MWzxB70zr8C941viNTEO/s640/fig+27.jpg" width="614" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 27 – Mohawk box purse with the From Niagara Falls
cachet. 1890s-1910.</div>
</td></tr>
</tbody></table>
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<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitrOxKiHxjdaf8wtgO6yi1AvP_A27SURcv90vANGjluyMG1zkVD5GfCR9e9jvPYwcLFj5mWr8jfDBJdHbhbDoFo64OlcvJqVzdVzqlPW_9DiXPbDvyLV6DuPlv5ofEX-a8aug4yHL-HGv7/s1600/fig+28.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitrOxKiHxjdaf8wtgO6yi1AvP_A27SURcv90vANGjluyMG1zkVD5GfCR9e9jvPYwcLFj5mWr8jfDBJdHbhbDoFo64OlcvJqVzdVzqlPW_9DiXPbDvyLV6DuPlv5ofEX-a8aug4yHL-HGv7/s640/fig+28.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 28 – Mohawk beaded boot with the From Niagara Falls
cachet. Circa 1900.</div>
</td></tr>
</tbody></table>
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<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">There was also the Six Nations Indian Store
located at the foot of the bridge that led to Bath and Goat Islands (fig 29) and
they, like many of the local bazaars and gift shops, carried work from Nations
other than the Tuscarora. The Tuscarora had the exclusive right to sell on Goat
Island, but elsewhere at the Falls, especially in the shops, there was work
available from a host of diverse Indian Nations. In 1843, Theodore Hulett published
a guidebook to the Falls titled Every Man His Own Guide to the Falls of Niagara,
or the Whole Story in a Few Words, to Which is Added a Chronological Table
Containing the Principal Events of the Late War Between the United States and
Great Britain; Third Edition, Faxon & Co., Buffalo, and it gives a detailed
list of the Indian Nations that were supplying his shop with work. There is
also the possibility that Pawnee Bill, the Wild West showman, hired Plains
Indians to produce so-called Iroquois whimsies that were purported to be sold
in shops at Niagara Falls. <a href="http://iroquoisbeadwork.blogspot.com/2011/04/pawnee-bill-and-his-connection-to.html" target="_blank">This link will take you to a blog posting I did onthat some time ago.</a></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilRSReZx_iKZk_OnYu0vDJvI-UXK91d4ravG-MzNTYELxAjl28Zt7su6Xp5hbHvNe2eYzpUMaVwwjU7cP7tu24B4vc814rKxA1PKSSjGxv7ocASOZpEqnOhvJEBwe3bruv2H_lYwarbDfH/s1600/fig+29.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilRSReZx_iKZk_OnYu0vDJvI-UXK91d4ravG-MzNTYELxAjl28Zt7su6Xp5hbHvNe2eYzpUMaVwwjU7cP7tu24B4vc814rKxA1PKSSjGxv7ocASOZpEqnOhvJEBwe3bruv2H_lYwarbDfH/s640/fig+29.jpg" width="630" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 29 – One panel from a stereoview of the Six Nations
Indian Store, located in Tugby’s & Walkers variety store at the foot of the
bridge to Bath Island which led to Goat Island. Early 1860s. Published by E.A.
Anthony, & Company, New York City.</div>
</td></tr>
</tbody></table>
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<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
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<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> The
Tuscarora continued to make pieces throughout the twentieth century (figs 30-39)
that were embellished with the “From Niagara Falls” cachet. </span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigr47UTJckGDzNvu09EPZmqnJz56J4k0KJCxSEAFvOlgyWRfabK1Kas3sgIOPyv5XbD_2yLFDH6sIfKS03NgvKP8QLn966khUqznWXDkuE3kWHct38qEYF02HwQ7L3Pm_CK8OSAMAa-HOo/s1600/fig+30.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="542" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigr47UTJckGDzNvu09EPZmqnJz56J4k0KJCxSEAFvOlgyWRfabK1Kas3sgIOPyv5XbD_2yLFDH6sIfKS03NgvKP8QLn966khUqznWXDkuE3kWHct38qEYF02HwQ7L3Pm_CK8OSAMAa-HOo/s640/fig+30.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 30 – Beaded boot with bird motif. It appears to be
dated 1911 although it should be 1941 as there are some missing beads on that
digit. Tuscarora.</div>
</td></tr>
</tbody></table>
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<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
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<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjHAVfSrB8Wopf0yDCEAkeaSttpyJsp2lnZQKUx9j_QFrvOtx8JnrGmNBY31K1C54x_1wl55_WA1b4ya9E5zVs9RnEuWEpYu9_tjcDaWlQOlvXE4QvRRlafyfONS5SIM0RYa0s0wvtBk8p/s1600/fig+31.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjHAVfSrB8Wopf0yDCEAkeaSttpyJsp2lnZQKUx9j_QFrvOtx8JnrGmNBY31K1C54x_1wl55_WA1b4ya9E5zVs9RnEuWEpYu9_tjcDaWlQOlvXE4QvRRlafyfONS5SIM0RYa0s0wvtBk8p/s640/fig+31.jpg" width="440" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 31 – Two Tuscarora beaded boots, dated 1900 and 1906.
Their similarity suggests that they might have been produced by the same maker.</div>
</td></tr>
</tbody></table>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjniGQcWjijjYZH_fefoK42-niSK29NWrE5vfBHIp8owO-QTSSTPI6oqsJ_BXCMGiiwjcoSQTdENeHz_JMHihC6Te_G0pos7T815GG4tmeXwlPtP-2zjyxd_yxAJXlIsbSRTVdvydGA82-n/s1600/fig+32.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjniGQcWjijjYZH_fefoK42-niSK29NWrE5vfBHIp8owO-QTSSTPI6oqsJ_BXCMGiiwjcoSQTdENeHz_JMHihC6Te_G0pos7T815GG4tmeXwlPtP-2zjyxd_yxAJXlIsbSRTVdvydGA82-n/s640/fig+32.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 32 – (a) Photograph of an unidentified family. Circa
1920. The child is holding the beaded purse illustrated in the image on the
right. (b) Beaded bag, Tuscarora, with a squirrel motif; both sides shown.
Approximately 3.5 inches by 5 inches. </div>
</td></tr>
</tbody></table>
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<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjID8awULRCH9BaX9RJtHGlqnjfaSYxmkzIzAVCPm21V6KquuonDqEIn8_Ac5ZMeAKxRoZfZSY-dVSpHZ1z8WWQzGO1rOleREGow6IpdOftpQrJR8gMJs2asV27agpXOZdt5KdU4iEFX5PB/s1600/fig+33.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjID8awULRCH9BaX9RJtHGlqnjfaSYxmkzIzAVCPm21V6KquuonDqEIn8_Ac5ZMeAKxRoZfZSY-dVSpHZ1z8WWQzGO1rOleREGow6IpdOftpQrJR8gMJs2asV27agpXOZdt5KdU4iEFX5PB/s640/fig+33.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 33 – Beaded Tuscarora purse dated 1939. </div>
</td></tr>
</tbody></table>
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<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK30H3Q4Gx5CJX0QUjELomvK9wHTeZFfsSJFcx7Vt0hvNo8cQpl_GCQ_cBCY8KCCjM1hYH6g_1Ic0E4CefVt-pN0RnBRZh-4OfSPv_ak52FCgZ_crB8Hvl3iHfBe7RWAQlF3FlHo7IHswJ/s1600/fig+34.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK30H3Q4Gx5CJX0QUjELomvK9wHTeZFfsSJFcx7Vt0hvNo8cQpl_GCQ_cBCY8KCCjM1hYH6g_1Ic0E4CefVt-pN0RnBRZh-4OfSPv_ak52FCgZ_crB8Hvl3iHfBe7RWAQlF3FlHo7IHswJ/s640/fig+34.jpg" width="590" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 34 – Beaded heart-shaped pincushion, Tuscarora, dated
1937.</div>
</td></tr>
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<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn5YVHx9fQvsMXeWW3Tw6C-ukiVPj0M_rLmeTrrwuOJBT1RFxa0OY1VTfdGuqO7X-hoWqVfVWyhDRgAx_ADLM0Q3D2ONZnRIgPXTwVeap7Do4pmeoZMIi9c57j7ThEhYRl1E3TYG8wdbjZ/s1600/fig+35.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn5YVHx9fQvsMXeWW3Tw6C-ukiVPj0M_rLmeTrrwuOJBT1RFxa0OY1VTfdGuqO7X-hoWqVfVWyhDRgAx_ADLM0Q3D2ONZnRIgPXTwVeap7Do4pmeoZMIi9c57j7ThEhYRl1E3TYG8wdbjZ/s640/fig+35.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 35 – A beautiful Tuscarora beaded bag with a bird
motifs on the both the front and back. Dated 1939.</div>
</td></tr>
</tbody></table>
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<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq9-IPZ8i1Fc5-BjVMLLKe84eU9VG3Qx3DFdpVF-zzRqZRljmgeXjsQGWmXj53NOdS4OQ9_4pDwPjI5g2Lc8RRC3zTSAHDXHHBY2-o9UgrNuycDk74MfoW1bZKYfsoslFT8faufsFEQc7K/s1600/fig+36.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq9-IPZ8i1Fc5-BjVMLLKe84eU9VG3Qx3DFdpVF-zzRqZRljmgeXjsQGWmXj53NOdS4OQ9_4pDwPjI5g2Lc8RRC3zTSAHDXHHBY2-o9UgrNuycDk74MfoW1bZKYfsoslFT8faufsFEQc7K/s640/fig+36.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 36 – Beaded Tuscarora boot with an animal motif.
Dated 1932.</div>
</td></tr>
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<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY2FiMvdkzT3_JvrpU73F6TI1Ty00ibbd6L2FViSeqeHNAJ4IF8vI4UoCYLLrBzeruTsYivXP-Bre5Br0dypePioA3BTIDH6vd4nhQULZ2LaR_uozLJmcXut_kSQPP-SlLZJYFht4Sv8Ai/s1600/fig+37.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY2FiMvdkzT3_JvrpU73F6TI1Ty00ibbd6L2FViSeqeHNAJ4IF8vI4UoCYLLrBzeruTsYivXP-Bre5Br0dypePioA3BTIDH6vd4nhQULZ2LaR_uozLJmcXut_kSQPP-SlLZJYFht4Sv8Ai/s640/fig+37.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 37 – Three Tuscarora beaded boots dated 1928, 1981
and 2000.</div>
</td></tr>
</tbody></table>
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<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPMMUnURNEoeZEHMCegT3AOQ9YNqSe8sR23af9n1DTmIyfAMi34wQovx_z9zCfi9QmUdwzZU_j5EPe7rHlBOwZAtMrtCs4izWVvUemgrQGxzTxXm6M0AFnvIMv6XtqQrwBM1cboXdQH8hA/s1600/fig+38.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="622" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPMMUnURNEoeZEHMCegT3AOQ9YNqSe8sR23af9n1DTmIyfAMi34wQovx_z9zCfi9QmUdwzZU_j5EPe7rHlBOwZAtMrtCs4izWVvUemgrQGxzTxXm6M0AFnvIMv6XtqQrwBM1cboXdQH8hA/s640/fig+38.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">Figure 38 – Three Tuscarora beaded pincushions
from the 1960s</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYj0A8jjcNKICajIFJctxKeTkkmkmVKAtYgvACys3reI5AKgN-SacVULPny0zK-DGBUuNLTtcI5i_KPQ9GFKGattiAxZMNiWT18PYUqhdtXnH_xyjjLgpf3MmcU04eI-u-GxuKe-WKjniO/s1600/fig+39.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYj0A8jjcNKICajIFJctxKeTkkmkmVKAtYgvACys3reI5AKgN-SacVULPny0zK-DGBUuNLTtcI5i_KPQ9GFKGattiAxZMNiWT18PYUqhdtXnH_xyjjLgpf3MmcU04eI-u-GxuKe-WKjniO/s640/fig+39.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 39 – Beaded pincushion by Tuscarora artist Grant
Jonathan. 2009.</div>
</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://raisedbeadwork.wix.com/tuscarorabeadclass" target="_blank">Rosemary Hill</a> (fig 40), one of the foremost
beadwork artist and teachers at Tuscorara recalled a conversation with her
mother telling her of a woman named Viola Russell who lived on the reservation.
This would have been in the 1930s and early 1940s. </span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1EvbZNWeaed8CQYy2yN5XOhMddOfbK05cSyptHzMy6B_3S-_utJj6nf3pIwvZdgK_QqIgVPMO1fgSiGHrttaEisNPkQTmt2ewi1RUoDWGKBJ9aWVSHAwKnW-IICVTbHumALoyiy7fQUXd/s1600/fig+40.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1EvbZNWeaed8CQYy2yN5XOhMddOfbK05cSyptHzMy6B_3S-_utJj6nf3pIwvZdgK_QqIgVPMO1fgSiGHrttaEisNPkQTmt2ewi1RUoDWGKBJ9aWVSHAwKnW-IICVTbHumALoyiy7fQUXd/s640/fig+40.jpg" width="592" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
Figure 40 – Portrait of Rosemary Rickard Hill, a Tuscarora
artist and teacher with one of her exceptional beaded vases. In 2011, this
piece was selected by the Museum of Arts and Design, in New York City, to be
featured in their summer 2012 exhibit titled Changing Hands III.</div>
</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: left;">
<span style="line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">“Viola was an elderly woman at that time and her
and her husband would go up to the park [Prospect Park] at Niagara Falls and
sell the beadwork,” relates Rosemary. “The beadwork she sold there was from four
different Tuscarora women. One was my great-grandmother Delilah Bissell, on
my mother’s side. My great-grandmother also had a bark stand at end of her
driveway where she sold her beadwork on the reservation. My mother said
different people went to help Viola out and sometimes Viola’s husband would go.
I know Viola was Tuscarora but I’m not sure about her husband. My mother
said they would go by horse and buggy and sometimes stay with friends or
rent a hotel room. Viola ran the show,” says Rosie. She also said that Viola
didn’t buy the items she acquired from the Tuscarora women but did take a small
commission on the beadwork that she sold.</span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> Rosemary also
recalled another point that is of interest here. “In the 1970s, there was a
shop in Niagara Falls that was selling Tuscarora beadwork and the shop owner
asked my friend, Penny Hudson, to re-date old beaded pieces that he had in his
shop, you know with beads. He told her his person who was doing it had moved,
and he needed someone to take over the task, but Penny refused.” Why this shop
owner felt it necessary to re-date older pieces is unclear but this brings the
dating of some twentieth century pieces into question. </span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> For Tuscarora
artists, beadwork was a form of artistic, spiritual, and cultural expression
and their designs recorded the workings of their spirit. Beyond their intrinsic
beauty, the beadwork has a value as a medium through which a living tradition
was maintained. The art survives, and the traditions continue as a testament to
the beauty of the human spirit, exemplified by their craft. </span></div>
<div class="separator" style="clear: both;">
</div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> I would like to thank
Grant Jonathan at Tuscarora for allowing me to use images of some of his old
pieces in this blog posting.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0n_sdPhKdLH0OJvfaWNE-f2jchvoxH9ikZghfvzoQFU8LPxlfq34vTFbeU37No2tuOGoR-85kH6Wks8-Sr6F_ipc5Z9CYWHLn5DrkI3PG4ebWKaeNA8wAxlYp6MshJN2xfD12cvC-VFe/s1600/book-cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0n_sdPhKdLH0OJvfaWNE-f2jchvoxH9ikZghfvzoQFU8LPxlfq34vTFbeU37No2tuOGoR-85kH6Wks8-Sr6F_ipc5Z9CYWHLn5DrkI3PG4ebWKaeNA8wAxlYp6MshJN2xfD12cvC-VFe/s1600/book-cover.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">If you have an interest in Northeast Woodland beadwork you
might find my book of interest. <a href="http://www.gerrybiron.com/pages/publications.html" target="_blank">Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron.</a></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"> 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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">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.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">REFERENCES CITED</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Across Borders: Beadwork in Iroquois Life exhibit was a
traveling exhibition of Haudenosaunee beadwork organized and circulated by the
McCord Museum of Canadian History, in partnership with the Castellani Art
Museum of Niagara University, and the Iroquois communities of Kahnawake and
Tuscarora. It opened at the McCord in June, 1999, and travelled to
several other venues until February, 2003.</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Biron, Gerry</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">A Cherished Curiosity: The Souvenir Beaded Bag in Historic
Haudenosaunee (Iroquois) Art. 2012.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">DeVeaux, S.</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">The Falls of Niagara or Tourist’s Guide to this Wonder of
Nature, William B. Hayden, Buffalo. The Press of Thomas & Co. 1839.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Dodge, Ernest S.</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">“Some Thoughts on the Historic Art of the Indians of
Northeastern North American,” Massachusetts Archaeological Society Bulletin,
13, vol. 1, 1951.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Dubinsky, Karen</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">The Second Greatest Disappointment: Honeymooning and Tourism
at Niagara Falls. Published by Rutgers University Press, New Brunswick, New
Jersey. 1999.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Offenbach, Jacques</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Offenbach in America. Notes of a Travelling Musician. New
York: G. W. Carleton & Co., Publishers. Paris: C. Levy. 1875</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Young, David</span></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">The Humbugs of Niagara Falls Exposed With a Complete Tourist
Guide, Giving Hints That Will Enable the Visitor to Avoid Imposition. Likely
published by the author. Suspension Bridge, New York. 1884.</span></div>
Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com0tag:blogger.com,1999:blog-8743733062223446224.post-54446290113754935812013-06-22T12:49:00.000-04:002013-06-22T12:49:07.973-04:00A Letter from Niagara Falls in 1840<h1>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;">On September 21, 1840, someone by the name of
Rose, from Rochester, New York penned a letter to her aunt Clara, describing a
recent trip to Niagara Falls. In the
letter she describes her excursion to both the Canadian and American sides of
the Falls and mentions purchasing some articles, presumably beadwork, from a
Tuscarora woman on Iris (Goat) Island. It’s one of the earliest accounts of an
encounter with a Native beadseller at the Falls that I am familiar with. The original
letter was four pages long but only the first page (<span style="color: red;">figure
1</span>) is illustrated to give you a flavor of her handwriting, as the text
is very hard to read in some places. I transcribed the entire letter and you
can read it below. It gives you a compressed taste of the period and what it
was like for a well-to-do family to spend some time at the Falls during that
early period. I added a few photographs
and illustrations to support the text. The letter is transcribed as found, with
all the misspellings and conventions of the day.<o:p></o:p></span></h1>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCP3_PsstY2Ap82d74-nRV-3l6pfbbBmQMuTIEv3fukhIedcUGd75yTy2FWatDp24z5-Zq_fvukO1OLVMp9RhJ28BoVEu0uqlo2xFJqfGcDPeUl61QSR40hRqQutMpgkUvgg58A04O4L97/s1600/Fig.+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCP3_PsstY2Ap82d74-nRV-3l6pfbbBmQMuTIEv3fukhIedcUGd75yTy2FWatDp24z5-Zq_fvukO1OLVMp9RhJ28BoVEu0uqlo2xFJqfGcDPeUl61QSR40hRqQutMpgkUvgg58A04O4L97/s640/Fig.+1.jpg" width="507" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Fig. 1 – The
first page of a four page letter describing a trip to Niagara Falls in 1840.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-bidi-font-weight: bold;"><br /></span></div>
<div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">To:<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Mrs. Clara
Burhidge<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">406 Greenwich
Street<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">New York<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="font-family: "Arial","sans-serif";">[page 1]</span></b><span style="font-family: "Arial","sans-serif";">
<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 3.0in; text-indent: .5in;">
<span style="font-family: "Arial","sans-serif";">Rochester Sept. 21st 1840.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Dear Aunti,<o:p></o:p></span></div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"> We arrived
here last night after a hard weeks work. I wrote Mary H from Niagarra. I requested her to carry the letter
immediately to our house. I am affraid
that her letter will not reach NY before this one. We received Aunt Cornelia’s on yesterday
week. we had been anxiously expecting it
for some days & when it did come we were half wild with joy. Mary’s letter will give you some account of
our sojourn in her Majesty’s dominions.
It rained when we arrived at the falls & it rained when we
left. The sun shone for 10 minits just
after we arrived & showed us one magnificent rainbow. Mama & L went to Lundie’s Lane the
afternoon of our arrival. It was so wet
& muddy that I did not go. – They came home laden with relics. The first view of the cataract. –
disappointed us all. – (<span style="color: red;">figure 2</span>).</span></div>
<div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2fUogAZMrpG3HaiU5sSVVI2Cjj-CcWArK_kG179FKbd8Q4xSPwGOZe4y-PUqeClWURj8cGfir-qIl8NKiW8zCcXPS2pTg8YEdZVRsPGiK4DCTwYbeWvtE7DonTMXhJ0oWccx7wXC7k74W/s1600/Fig.+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2fUogAZMrpG3HaiU5sSVVI2Cjj-CcWArK_kG179FKbd8Q4xSPwGOZe4y-PUqeClWURj8cGfir-qIl8NKiW8zCcXPS2pTg8YEdZVRsPGiK4DCTwYbeWvtE7DonTMXhJ0oWccx7wXC7k74W/s640/Fig.+2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Fig. 2 – Full
plate Ambrotype taken at the Falls. Circa 1860.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br /></span></div>
<div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">I had been at the Clifton house (<span style="color: red;">figure 3</span>) half an hour before I thought of the roar,
of which I had heard so much. Jane, Mrs.
C & myself arrose at 5 the next morning & went to Table rock. We remained on the English side untill noon,
when we crossed to the other side (<span style="color: red;">figure 4</span>). </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQm_LkH36-L0aAvImJXriYC2MwPxq3mHdHKvAjRpYhN6P6_T27JtbCAIFIg17JGBH0XjGG7AiOaXZuFqeylyunCENPX81dDcegLuVeyfu0yp3WgDBDu6tstjtg_kNLwE0WmKdeURclnPNf/s1600/Fig.+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQm_LkH36-L0aAvImJXriYC2MwPxq3mHdHKvAjRpYhN6P6_T27JtbCAIFIg17JGBH0XjGG7AiOaXZuFqeylyunCENPX81dDcegLuVeyfu0yp3WgDBDu6tstjtg_kNLwE0WmKdeURclnPNf/s640/Fig.+3.jpg" width="524" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Fig. 3 –
Circa 1880s trade card advertising the Clifton House, located on the Canadian
side of the Falls, where the writer of the letter was staying.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJYNVLdYArzW-7eb74W2vuTALFFmEvJNmKaWeMwdUj5d00mQUAOF2CN70Qd6RwxtiEpQnNWd6HfToqcV0lYbeEs7UTkzTQKt4PcW-uUQ5bq6QOhxzZ6YeA6GExz6d4NWCJXfkDX2tgSLqr/s1600/Fig.+4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJYNVLdYArzW-7eb74W2vuTALFFmEvJNmKaWeMwdUj5d00mQUAOF2CN70Qd6RwxtiEpQnNWd6HfToqcV0lYbeEs7UTkzTQKt4PcW-uUQ5bq6QOhxzZ6YeA6GExz6d4NWCJXfkDX2tgSLqr/s640/Fig.+4.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Fig. 4 – The
Upper Suspension Bridge, which connected both sides of the Falls, was built in
1869, almost thirty years after Rose crossed over to the American side. In the
early 1840s, two businessmen, Thomas Clark and Samuel Street, owned and
operated a ferry service, which took people back and forth across the river
until the Upper Suspension Bridge was built. Their ferry managed to move in on
a thriving Native-run ferry service, for Native men had taken passengers across
the river in canoes since the 1820s. It’s unclear which method she used to
cross over.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br /></span></div>
<div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Here we spent the day. We traversed Iris
(formally Goat) island from one end to the other. We crossed all the little <b>[page
2]</b> bridges leading from that island to the smaller ones who surround it. We
assended the tower [Terrapin’s] (<span style="color: red;">figure 5</span>). </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8d7PnpxRwgGAlztyE7siDdxdKicnIGvM6F7t7nfCdqTKEwflDZLUw_Edi-tbNoABILj02y5HMURYRT4YQAvMttk-odLIMOS_EANi3_GCNS8wbSZdZtxZsWQeXRFGAVqeM_tPjdfYDMXhK/s1600/Fig.+5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8d7PnpxRwgGAlztyE7siDdxdKicnIGvM6F7t7nfCdqTKEwflDZLUw_Edi-tbNoABILj02y5HMURYRT4YQAvMttk-odLIMOS_EANi3_GCNS8wbSZdZtxZsWQeXRFGAVqeM_tPjdfYDMXhK/s640/Fig.+5.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";">Fig. 5 – Terrapin
Tower was built in 1829 on Goat Island at the eastern edge of the
Horseshoe Falls. The circular shaped tower was forty feet tall and twelve feet
in diameter. It was constructed of rough stone gathered locally. Access to the
tower cost an additional 10¢. A winding staircase led to a small door at the
top. Here was an outside circular balcony guarded by a heavy metal railing. It
provided an unparalleled view of the Falls and the gorge below.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Arial","sans-serif";"> In 1872, Terrapin Tower was purposely
blown apart, not because it had become unsafe, but rather not to compete with a
planned new tower at the recently purchased Prospect Park by a new company. The
plans for a new tower subsequently fell through and the replacement tower was
never built. Citizens tried unsuccessfully to get the Tower at Terrapin Point
replaced. The timber walkway remained in existence for many years following the
destruction of Terrapin Tower and it was still in existence as late as 1905.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"> </span></div>
<div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">We went into all the museums. – We went up &
we went down & round. we walked
& climbed & run, & slipped & tumbled, sometimes with the wind
& sometimes with the water. On Iris [Goat]island
we saw an Indian & squa of the Tuscarora tribe of whom we bought (<span style="color: red;">figure 6</span>). No
matter what you shall see when we get home. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY8rJ1WYfLczicTUBmqNv8Q44A4-9L7OPqp6jFdDDyI0ZIYB_N9RwfqMOGpSYiREG4XW0ixeXJiAEvo3Mua7s5IAUaNJrvFYN0DJdIorotW9OXuvj6HUs60yYMb9oMIQyiLnvIINejVdcW/s1600/Fig.+6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY8rJ1WYfLczicTUBmqNv8Q44A4-9L7OPqp6jFdDDyI0ZIYB_N9RwfqMOGpSYiREG4XW0ixeXJiAEvo3Mua7s5IAUaNJrvFYN0DJdIorotW9OXuvj6HUs60yYMb9oMIQyiLnvIINejVdcW/s640/Fig.+6.jpg" width="640" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif";">Fig. 6 –
Stereo view taken by the British photographer William England for the London
Stereoscopic Company in 1859. The title of the view (on the back) is a “Group
of Indian Women at Bead Work – Scene on Goat Island, Niagara.” This is the
earliest stereoview that I’m familiar with of a group of Tuscarora women
selling at the Falls. There is a later group of stereoviews of Tuscarora women
selling beadwork at the Falls that was taken by photographer George Barker.
Most have orange mounts and they all date to around 1870.<o:p></o:p></span></div>
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<div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"> </span><span style="font-family: Arial, sans-serif;">At 3 PM we
went to the hotel on the American side to wait for the cars to conduct us to
Bufula [Buffalo]. – We were all delighted beyond measure with the falls.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">Even mama is more than satisfied.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">The only drawback to her happiness, was that
Aunt Cornelia was not there.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">I believe
she has made arrangements with the hotel keeper to accomodate the whole family
next summer for a month at a time.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">She
has selected the site for her country residence on the Island.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">The journey had almost cured her of her
desire to leave NY, but now she says that if such a thing should happen Niagara
is the spot.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">We took the cars from
Bufalo at Nia.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">At Tantawanta Creek there
was a break in the road where we had the pleasure of alighting from the cars in
as heavy a rain as ever fell the mud was about 12 inches deep.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">Here we had an opertunity of displaying our
agility in leaping from log to log to gain the other train of cars now &
then a miss step would bring us one shoe loss in the mud.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">We got to B about 9 as tiered dusty, yet mery
a set as were ever launched from an omnibus.</span><span style="font-family: Arial, sans-serif;">
</span><span style="font-family: Arial, sans-serif;">–– Here we remained all day and saturday. We like B much it is so like
NY. – We took </span><b style="font-family: Arial, sans-serif;">[page 3]</b><span style="font-family: Arial, sans-serif;"> dinner with Mrs. Carheart.– Miss Patty was at
their sister’s.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">she is a compleet
boarding school miss.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">We took tea with
Mrs. Lacy I like her very much. When we were in Toronto I wished for the boys
to see the review of the English trops.</span><span style="font-family: Arial, sans-serif;">
</span><span style="font-family: Arial, sans-serif;">I was affraid however that the splendor of their uniforms might have
corrupted their patriotism.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">But when we
got to B we saw another review.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">There
were about 500 men reviewed.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">It was
field day.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">The children would have been
delighted to see the horses fly round the ground with the rapidity of
lightning, draging the canons behind them then they would form & fire.
First the infantry would give a feu de joy.</span><span style="font-family: Arial, sans-serif;">
</span><span style="font-family: Arial, sans-serif;">& then the artillery would rattle. At B we met a gentleman & 2
ladies from Cleveland acquaintances of Mr Willard. They were going home &
asked us to accompany them but the lake is so rough that it is uncertain when
the boats would leave, besides traveling on Erie is very dangerous at this time
of year. I do not think we shall go to Montreall</span><b style="font-family: Arial, sans-serif;"> </b><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">L declares she will not go on board of a
steamer until we get to Albeny. We are going this week to see Mrs. Grey. – Tell
L Moore that she is a good girl to finish her bag so soon.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">I should like to have her with me very soon
& tell me all about L Clavin’s marriage.</span><span style="font-family: Arial, sans-serif;">
</span><span style="font-family: Arial, sans-serif;">I have written this letter to you both because I forgot Aunt Cornelia’s
when I suppose Rose is quite a woman now.</span><span style="font-family: Arial, sans-serif;">
</span><span style="font-family: Arial, sans-serif;">Mrs. G has given me a sort of dolls crib for her & is about as long
as this sheet of paper and half as wide. I wish Aunt Clara would prepare the
bedding for it before we return.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">I have
not room to tell you all I wish to.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">Pray
do write immediately.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">How is L’s
foot.</span><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: Arial, sans-serif;">Tell Uncle B that I can</span></div>
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<b><span style="font-family: "Arial","sans-serif";">[page 4a] </span></b><span style="font-family: "Arial","sans-serif";"> 2 or 3 numbers for the truth of my statement
respecting the peaches. Ask him how
politics go they say here that there is no hope for Matty & we began to
think so far we have seen only 3 Locos since we came west. Tell L that I guess Arthur has his eye on
her. – Is Mr Robers married yet. – would
not he like an intercessor. Let us know
what is going on in the church. Mr G has introduced us to an itinerant New
preacher. A Mr Roberts. He appears to be a very fine man has preached
in our city & knows Mr Gayger Mr
LeFevre & the parsens He came &
spent the afternoon & evening with us to
<b>[page 4b]</b> talk of
Whitaker, Between Lockport & this place we saw 2 of our churches. Tell Aunt Ann that in the presents which we
smugeled from Canada she was not forgotten. Kiss all the children &
remember us to all those we should remember. Tell Bridget she must take good
care of Aunt C & Lydia. Where did
Mrs Baldwin get her scandal. – That is it.
Write the day after you get this if possible & believe me your Rose.
<o:p></o:p></span></div>
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Mama has sent her a box of Cat Prints & an other
of her old school notes.</span><div style="text-align: center;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">END</span></div>
Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com0tag:blogger.com,1999:blog-8743733062223446224.post-3791849620532758812013-05-19T09:46:00.000-04:002013-05-19T13:54:06.249-04:00The Sanitary Commission Fair and Caroline Parker<br />
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Please read the <span style="background-color: red;">ADDENDUM</span> at the end of the posting.</span><br />
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Over the past few years, an intriguing group of images from the Sanitary Commission Fair in Albany, New York have surfaced that depict a group of non-Natives who are dressed in outfits incorporating Iroquois designs along with examples of their beadwork. One dress in particular, worn by a Mrs. Clinton Ten Eyck (figure 1a), appears to be the identical dress worn by Caroline Parker, a Seneca beadworker, in a famous daguerreotype of her (figure 2).</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQLaV9ZR3XiP1RbQuya1_UpiHHKXzyvxahPRJJ2rS97qK_sOl6yHlUA0BcnOC-1wdGRtiWeXTSa6qgszMahlKK0cr3DUGex43B8tl4oPCXcjaAVKYsvi4Oca4H1EpCvNC7snrGAhk-8NxQ/s1600/01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQLaV9ZR3XiP1RbQuya1_UpiHHKXzyvxahPRJJ2rS97qK_sOl6yHlUA0BcnOC-1wdGRtiWeXTSa6qgszMahlKK0cr3DUGex43B8tl4oPCXcjaAVKYsvi4Oca4H1EpCvNC7snrGAhk-8NxQ/s640/01.jpg" width="492" /></a></td></tr>
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<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Figure 1 – Large, albumen photograph of a group of
enactors at the Sanitary Commission Fair, Albany, New York – February, 1864. No
photographer indicated. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqXEcyrPXyVZVc_LeZ678slx_v-T3rgxfeF2ViLYhXm97-I-h_cxWTEu7mOT4BPBKeUjypTtEHKx2HGoB2RWoIVZZi27Hx9S8mYQPG_r6q32OxWF3h4nwBDl0besxYf1pyT52ySAci8zDU/s1600/02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqXEcyrPXyVZVc_LeZ678slx_v-T3rgxfeF2ViLYhXm97-I-h_cxWTEu7mOT4BPBKeUjypTtEHKx2HGoB2RWoIVZZi27Hx9S8mYQPG_r6q32OxWF3h4nwBDl0besxYf1pyT52ySAci8zDU/s640/02.jpg" width="432" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Figure
2 – Daguerreotype of Caroline Parker, circa 1850. I reversed the image so that
it can be viewed laterally correct. Daguerreotypes images are normally a
reversed image, depicting the subject as if it were in a mirror. The only way
the photographer could get a correct orientation was to copy the image with a
second daguerreotype, or to make the original daguerreotype using a reversing
prism or mirror system. Besides the complexity, another problem with a
reversing mirror was if the image was taken outdoors it could be subject to
movement by a breeze which would cause a blurred image. So typically people
just lived with a flipped or inverted image. By reversing the orientation of
this image Caroline is seen as she would have appeared to us in person and it’s
easier to see how the design on her dress is identical to those on the dress in
figure 1a.</span></td></tr>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Wikipedia reports
that the United States Sanitary Commission was created during the
Civil War to improve conditions for Union soldiers. It was a private relief
agency, created by federal legislation, to support sick and wounded soldiers.
It operated across the North, enlisted thousands of volunteers, and raised its
own funds. Union ladies did fund-raising fairs in cities across the north,
where paintings, photographs, and a host of other donated items were auctioned or
sold to support the war effort.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Besides raising money
and collecting donations, volunteers worked as <a href="http://en.wikipedia.org/wiki/Nurses" title="Nurses"><span style="color: windowtext; text-decoration: none; text-underline: none;">nurses</span></a>,
ran <a href="http://en.wikipedia.org/wiki/Kitchens" title="Kitchens"><span style="color: windowtext; text-decoration: none; text-underline: none;">kitchens</span></a> in
army camps, administered <a href="http://en.wikipedia.org/wiki/Hospital_ship" title="Hospital ship"><span style="color: windowtext; text-decoration: none; text-underline: none;">hospital
ships</span></a>, <a href="http://en.wikipedia.org/wiki/Old_soldiers%27_home" title="Old soldiers' home"><span style="color: windowtext; text-decoration: none; text-underline: none;">soldiers' homes</span></a>, lodges, established places of rest
for traveling or disabled soldiers, made uniforms, and organized Sanitary Fairs
to support the Federal army with funds and supplies. It was hard work; many women
had to travel great distances and at times found themselves in unpleasant
situations. Some of the more prominent women involved in these fairs included <a href="http://en.wikipedia.org/wiki/Louisa_May_Alcott" title="Louisa May Alcott"><span style="color: windowtext; text-decoration: none; text-underline: none;">Louisa May
Alcott</span></a>, <a href="http://en.wikipedia.org/wiki/Almira_Fales" title="Almira Fales"><span style="color: windowtext; text-decoration: none; text-underline: none;">Almira Fales</span></a>, <a href="http://en.wikipedia.org/wiki/Eliza_Emily_Chappell_Porter" title="Eliza Emily Chappell Porter"><span style="color: windowtext; text-decoration: none; text-underline: none;">Eliza Emily Chappell Porter</span></a>, <a href="http://en.wikipedia.org/wiki/Katherine_Prescott_Wormeley" title="Katherine Prescott Wormeley"><span style="color: windowtext; text-decoration: none; text-underline: none;">Katherine Prescott Wormeley</span></a> and
others.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The first Sanitary
Fair occurred in Chicago, in the fall of 1863, and it included a six-mile-long
parade of militiamen, bands, political leaders, delegations from various local
organizations, and a contingent of farmers who donated carts full of their
crops. The fairs generally involved large scale exhibitions, including displays
of art, mechanical technology, and period rooms. Many of these displays were
based on the history that local communities held in common. Different localities
often competed with one another over their contribution to the national cause
which brought a sense of pride to the community. <o:p></o:p></span></div>
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<span style="font-size: large;"><span style="font-family: Georgia, Times New Roman, serif;">Except for figure 2, the photographs in this
posting originated from a Sanitary Fair that was held in Albany, New York in
1864. It was reported, in the <i>Evening
Journal</i> of February 29, 1864, that over the duration of the Fair, the
individual concession booths had raised an estimated $50,000 for the cause.
There were thirty plus booths at the Albany event including the Yankee Booth,
Shaker Booth, Oriental Booth, Spanish Booth, Russian Booth, Gipsy Booth, Saratoga
Springs Booth, the Ice Cream Booth, and of particular interest to us, the
Indian Wigwam. The image in figure 1 is of a group of enactors who were overseeing
that booth. The Fulton County (NY) newspaper cited above had the following
entry about it:</span><span style="font-family: Arial, sans-serif;"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, sans-serif;"><span style="font-size: x-small;">THE INDIAN WIGWAM. <o:p></o:p></span></span></div>
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<span style="font-family: Arial, sans-serif;"><span style="font-size: x-small;">The Wigwam is one of the chief lions of the Bazaar. It
has, probably, attracted larger crowds than any other "Shop" in the
building. Its budget of curious things is peculiarly rich. A mere enumeration
of the articles makes one's head swim. Moccasins, of rich texture and exquisite
workmanship; Bows and Arrows; Pipes; Stuffed Birds and Animals; belts of
Wampum; Scarves and head ornaments; Baskets, Reticules, Purses, Portmonnies,
stacks of other curious wares too numerous to mention</span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: x-small;">. </span><span style="font-size: 12pt;"><o:p></o:p></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">In a reference to the
outfits that the enactors were wearing and the individual personalities they
were representing, it went on to state:</span><span style="font-family: Arial, sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif;"><span style="font-size: x-small;">The personations are admirable. Costumes, ornaments,
paint, war-whoop, are wonderfully Indianiah. So perfect is the ambulation and
so life-like the acting, that one fancies, for the moment that a band of
Aboriginals have actually encamped in the Bazaar. The characters of the
chieftainnees, “Nokomas,” “Minnehaha,” “Wawatasa,” “Opechee,” “Pocahontas,” and
“Metamora” are strikingly “done.” The names of the <i>dramatis persona</i> are as follows:—Mrs. J. L Johnson, Manneoka; Mrs.
Clinton Ten Eyck, Miss Mount Pleasant [Caroline Parker took the surname
Mountpleasant after her marriage to Tuscarora chief John Mountpleasant]; Mrs.
Karalake, Hiawatha; Mr. C Thomas, Metamora; Miss Groot, Pocahontas; Miss
Little, Wawatasa; Miss Swan, Owassa; Miss Netterville, Minnehaha; Miss
Redfield, Winona; Miss Wilson, Opechee; Miss Steele, Nokoma; Miss Taylor,
Tawashagunshee.</span><span style="font-size: 10pt;"><o:p></o:p></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The importance of the Fair in Albany was
demonstrated by a publication called <a href="http://www.nysl.nysed.gov/ep/pdfs/canteennewsletter.pdf" target="_blank">TheCanteen </a>that was published specifically to advertise the Fair and cover
events that transpired there. <o:p></o:p>It contained a diagram of the floor
plan of the building along with lists of advertisers, items donated, food menus
available to patrons, a description of each of the booths, anecdotes from
soldiers who were fighting in the war, etc. Regarding the Indian Wigwam, it had
this to say:</span></div>
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<span style="font-family: "Arial","sans-serif";"><o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif;"><span style="font-size: x-small;">THE WIGWAM <o:p></o:p></span></span></div>
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<span style="font-family: Arial, sans-serif;"><span style="font-size: x-small;">Is one of the best regulated and most attractive places
in the Bazaar. It is a life picture of Indian life. The ladies who preside
there have made a decided hit. The hut itself is a curiosity as a work of art;
the decorations are such as become a forest home. The managers evince a keen
appreciation of the character, habits of life, sources of amusement, listless
inactivity, pride and fondness for dress and display of the tribes they personate.
They present the Indian character to the life. The hut is hung with trophies of
war and of the chase. The canoe is drawn up waiting the opening of the streams;
the snow-shoes are near the door and ready for any emergency. Bows and arrows,
baskets, bead work, in all the varied forms, are here and well displayed. The
wanderers from the St. Regis tribe who visit us and encamp on the island over
the river annually [Starbuck Island?], never display a greater variety of their
handiwork than do the fair denizens of the Wigwam, who have made their home
with us for a few days. We give below the names of those who occupy the Wigwam,
together with their Indian names: Mrs. J. I. Johnson, Manneoka; Mrs. Clinton
Ten Eyck, Miss Mount Pleasant: Mr. S. Karslake, Hiawatha; Mr. C. Thomas,
Metamora; Miss Groot, Pocahontas j Miss Little, Wawatasa; Miss Swan, Owassa;
Miss Netterville, Minnehaha ; Miss Redfield, Winona; Miss Wilson, Opechee ;
Miss Steele, Nokoma; Miss Taylor, Tawashagunshee.</span><span style="font-size: 10pt;"><o:p></o:p></span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3wFgIVf5lqbfY_rN5eVDO0idnmU-iqJ5rD1R-pEXxokjFLnCL3E_Zu3DAmu5JUArwrQkhyphenhyphenkpowNfmCH7F-eqrFrGcVJ4g8aMx_i6tNlIgy01qND0yriE49Q6chcUMW-2z8NE0ycTw89WX/s1600/03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3wFgIVf5lqbfY_rN5eVDO0idnmU-iqJ5rD1R-pEXxokjFLnCL3E_Zu3DAmu5JUArwrQkhyphenhyphenkpowNfmCH7F-eqrFrGcVJ4g8aMx_i6tNlIgy01qND0yriE49Q6chcUMW-2z8NE0ycTw89WX/s1600/03.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="text-align: left;">
<span style="background-color: ivory; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">Figure 3 – An illustration
of a very similar dress that was made by Caroline Parker’s and illustrated in one of Lewis Henry Morgan’s regent’s reports to
the state of New York in the mid-19<sup>th</sup> century. <o:p></o:p></span></div>
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<br />
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">It’s interesting to
note that the text above was reporting that Akwesasne [St. Regis] Mohawk were selling in Albany, around this
time, and possibly on Starbuck Island. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Upon examination, the
dress that Ten Eyck is wearing in figure 1a appears to be the same one that
Caroline Parker is wearing in figure 2. Around 1850, Lewis Henry Morgan
acquired a substantial number of beaded pieces from Caroline for the New York
State Cabinet of Natural History (predecessor to the New York State Museum in
Albany). So it’s possible they lent the dress to Ten Eyck for the fund raiser (figure
3). </span><span style="font-family: Arial, sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSImqDuWEJspPCcVFTXpJKcrnONUz1CKm_fhC8R9Q6-dxQTFZstjNCsLSg2qbSEDxFCWmjMbs0K10-f2Y0iJp7snq04J_qokrwLNEyTzKBfydQkw3e94Oqt0_Pe9LGzZtGm5YmWlfELZsb/s1600/04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSImqDuWEJspPCcVFTXpJKcrnONUz1CKm_fhC8R9Q6-dxQTFZstjNCsLSg2qbSEDxFCWmjMbs0K10-f2Y0iJp7snq04J_qokrwLNEyTzKBfydQkw3e94Oqt0_Pe9LGzZtGm5YmWlfELZsb/s1600/04.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="text-align: left;">
<span style="background-color: ivory; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 12pt; line-height: 115%;">Figure 4 – Carte-de-visite
(CDV) </span><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">of
a group of enactors at the Sanitary Commission Fair, Albany, New York,
February, 1864. Photographer: J.H. Abbott, Albany, New York. <o:p></o:p></span></div>
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</tbody></table>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Another photograph of
this same group of enactors (figure 4) was likely taken at the same time figure
1 was taken as the images are nearly identical. A detail view of one of the
bags in these images is illustrated in figure 5. Two similarly styled Iroquois bags
are illustrated in figure 6. These bags, as well as the one in the image, are
earlier than the date of the photograph (1864). Stylistically, the bags date to
the 1830s. So the enactors are wearing a variety of items from different time periods
such as bags from the 1830s, Caroline Parker’s dress from around 1850, and the
hat of the subject in figure 1d from the 1860s.</span><span style="font-family: Arial, sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-eua-gASwfimylwAMSfsIKph3gCrAwDAnTmvoEx0CkVHpoD7TT0D6szbnirNQYJe7oNOwxkby6DADrBd1YHy422mhJq4g7GvIkG2HrIf77x25W9SuB3J6dE0z33NpGgaaJDfWzSEpR7S/s1600/05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-eua-gASwfimylwAMSfsIKph3gCrAwDAnTmvoEx0CkVHpoD7TT0D6szbnirNQYJe7oNOwxkby6DADrBd1YHy422mhJq4g7GvIkG2HrIf77x25W9SuB3J6dE0z33NpGgaaJDfWzSEpR7S/s640/05.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Figure 5 – Detail view of the beaded bag in figure 1b.
This same bag can also be seen in figure 4.<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyVdZjohrN8TWFymd21khHBsnpQShw53iHAj21S6qJW7vzF8lizbYGJRL1S2MxSFVjQ94oxhKaKdgY1-OUVObHKjDPpQpnfyqM8qk_exW1mk80_vycQ7MDjVmddqayWxePvS_tHsqCBpch/s1600/06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyVdZjohrN8TWFymd21khHBsnpQShw53iHAj21S6qJW7vzF8lizbYGJRL1S2MxSFVjQ94oxhKaKdgY1-OUVObHKjDPpQpnfyqM8qk_exW1mk80_vycQ7MDjVmddqayWxePvS_tHsqCBpch/s640/06.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Figure 6 – Two beaded bags in the same style as the one
in figure 5. Both of these bags date to the 1830s. <o:p></o:p></span></div>
<!--EndFragment--></td></tr>
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<span style="font-size: large;"><span style="font-family: Georgia, 'Times New Roman', serif;">In another image from
the same year, and taken by the same photographer, J. H. Abbott, of Albany, New
York, has a different group of enactors from this same Fair. Two of the women (fig.
7a & 7c) have beaded bags. The young boy (fig. 7b) is wearing a multi-panel
hat that has floral decorations in the Niagara style. Figure 8 is a detail view
of the bag in figure 7a. A similarly styled bag is illustrated in figure 9. This
style of bag is contemporary to the image. The bag in figure 7c is in the
</span><a href="http://www.gerrybiron.com/pages/thunder/beadwork/08_niagara.html" style="font-family: Georgia, 'Times New Roman', serif;" target="_blank">Niagara floral style.</a></span></div>
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<br /></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPk-8P2QWMqtml6pro-6EpUAzMkHwjL-G2YFPfz-e35-7JjgA5v8_4MDSLR0Ao5tqPyC0ufaj62m3mcEasRwdi7OnIgpwVQOCUWBL4v7bW4hkhhNmdZ3duvGX6rhnQinmgzQJe3IwNUpTg/s1600/07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPk-8P2QWMqtml6pro-6EpUAzMkHwjL-G2YFPfz-e35-7JjgA5v8_4MDSLR0Ao5tqPyC0ufaj62m3mcEasRwdi7OnIgpwVQOCUWBL4v7bW4hkhhNmdZ3duvGX6rhnQinmgzQJe3IwNUpTg/s1600/07.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Figure 7 – CDV of a different group of enactors at the
Sanitary Commission Fair, Albany, New York, February, 1864. Photographer: J.H.
Abbott, Albany, New York. <o:p></o:p></span></div>
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<div style="text-align: center;">
<br /></div>
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 22.22222328186035px;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqCowAsE01xSIhEDXVwQG9XuUCJd2VPjnmRWQTGGBfaOHb9y8f1wBmu_3cw9jJe386yQWvjTTC8Fxej1I1ASIumg9nLpAv5WMHwYhqnerheDTy7EpxevFWZxJDLs72fj4hg5vwW9rMXJSn/s1600/08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="610" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqCowAsE01xSIhEDXVwQG9XuUCJd2VPjnmRWQTGGBfaOHb9y8f1wBmu_3cw9jJe386yQWvjTTC8Fxej1I1ASIumg9nLpAv5WMHwYhqnerheDTy7EpxevFWZxJDLs72fj4hg5vwW9rMXJSn/s640/08.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Figure
8 – Detail of the beaded bag in figure 7a.</span></td></tr>
</tbody></table>
</span><br />
<div style="text-align: center;">
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 22.22222328186035px;"><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 22.22222328186035px;"><br /></span></span></div>
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 22.22222328186035px;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhegDGkqEYL6z_xaARMifgchAqhEbuqLXoDVTctV2oqknLOE30HX6T0tGBeTyFCEX7B16cgyCm9WnU4Kq8589HnUfKSW4nnOgfcYPwyCfd5bSHPlN6REfj9ONYaF2Jjh_haXaCxX7shRC4_/s1600/09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhegDGkqEYL6z_xaARMifgchAqhEbuqLXoDVTctV2oqknLOE30HX6T0tGBeTyFCEX7B16cgyCm9WnU4Kq8589HnUfKSW4nnOgfcYPwyCfd5bSHPlN6REfj9ONYaF2Jjh_haXaCxX7shRC4_/s640/09.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Figure 9 – A similar beaded bag to the one in figure 8.
This bag is totally embellished in crystal beads and two strings of white beads and the one in figure 8 may
have been as well. Bags in this style that were decorated with crystal beads
and occasionally in a combination of both crystal band white beads were popular
from the 1850s through the 1880s.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
</span><br />
<div style="text-align: center;">
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 22.22222328186035px;"><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 22.22222328186035px;"><br /></span></span></div>
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 22.22222328186035px;">
</span><span style="font-size: large;"><span style="line-height: 115%;"><span style="font-family: Georgia, Times New Roman, serif;">Another
interesting image from this group is figure 10. These same three individuals
are also part of the group in figure 7. This image affords us a better view of
the boy’s Niagara style hat and beaded bag. </span></span><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 115%;">Some
of the elements in the woman’s outfit, such as the large flower on her headband
and the one on her dress, above her bust line, appear to be beaded and this may
be a Mohawk diagnostic (See: A Cherished Curiosity for more info on this).Yet
the designs on her dress, although unusual, look Seneca. High magnification
reveals that most of the decorations on her outfit are done in fabric appliqué
and are not beaded. The wide band on her dress, with the diamond motifs, is
bordered with a twisted cord. Even the large diamond with double-curves and
semi-floral motif to the right of it appears to be made up from some kind of
braided band. This could have been done for efficiency as her outfit may have
been made specifically for the Sanitary Fair.</span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCqxEfq2k8AhkfXwvsyji55oxNyIff45cCZ_vdOw725G4Rb-XdjEJP2TbyZpw8Cge40xAbDcdyaflTBkeGq3PfCctwtgUxOlJUYS86x1o5t6GKQmH-q4T1_9ZKVXCmETK-8kAB6WRWYkJ6/s1600/10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCqxEfq2k8AhkfXwvsyji55oxNyIff45cCZ_vdOw725G4Rb-XdjEJP2TbyZpw8Cge40xAbDcdyaflTBkeGq3PfCctwtgUxOlJUYS86x1o5t6GKQmH-q4T1_9ZKVXCmETK-8kAB6WRWYkJ6/s1600/10.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Figure 10 – A cabinet card of what might be a mother and
her children. The same boy is depicted in both figures 11 and 12 although he is
wearing a different bag in those images. This same group is also depicted in
figure 7. No photographer or location indicated but likely taken in February,
1864 at the time of the Sanitary Commission Fair in Albany, New York.<o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Figure 11 is of the
same young boy in figure 10; figure 12 depicts the same man pictured on the far
left in figure 7. In figure 12, we have a much better view of his bandolier
bag.<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif7-O5BarJsDZAHyvA8R5xYkO2iJvlhaULsqiK2KhN1paRrQwHrdIfect_yTwHbf-v6cjfY2tWtKYmtMYsQoYRb4qWbr89KgymHVAi6amcFDmon4B9CxDDrkP6h7BqgTgGJW7611glmy-l/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif7-O5BarJsDZAHyvA8R5xYkO2iJvlhaULsqiK2KhN1paRrQwHrdIfect_yTwHbf-v6cjfY2tWtKYmtMYsQoYRb4qWbr89KgymHVAi6amcFDmon4B9CxDDrkP6h7BqgTgGJW7611glmy-l/s1600/11.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Figure
11 – CDV of the young boy depicted in figures 7, 10 and 12. He has a late
Niagara floral style beaded bag attached to his belt and a multi-panel Iroquois
beaded hat, also in the Niagara floral style. Photographer: S. J. Thompson,
Albany, New York.</span></td></tr>
</tbody></table>
<div style="text-align: center;">
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCV58myUHPwYrRi0L9k8XB1wqdsui1NYutlXQ_difxBvLV5teCKgOnzbyvqT0RA1PkgFByOGIh2KyYjP_pWN_RO3ouFi_BiTMlBeFjoyp3ulX7VmQuk3UGaj87Q7OU8GgGdwDsHQ1sv_SC/s1600/12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCV58myUHPwYrRi0L9k8XB1wqdsui1NYutlXQ_difxBvLV5teCKgOnzbyvqT0RA1PkgFByOGIh2KyYjP_pWN_RO3ouFi_BiTMlBeFjoyp3ulX7VmQuk3UGaj87Q7OU8GgGdwDsHQ1sv_SC/s1600/12.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; line-height: 115%;">Figure 12 – CDV of the same young boy depicted in figure
11 and what is presumably his father. The father is wearing a large bandolier
bag at his side (a better view of his bag can be seen in figure 7). Both the
father and son are wearing Haudenosaunee moccasins decorated in the Niagara
floral style.<o:p></o:p></span></div>
</td></tr>
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<div style="text-align: center;">
<br /></div>
<br />
<div class="MsoNormal" style="margin-bottom: 6pt;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">It’s especially of
interest that Caroline Parker, the Seneca beadworker, was included in the list
of historical characters that these enactors were representing. The year of the
Fair is the same year that she was married to Tuscarora chief John
Mountpleasant. During this period, her celebrated brother, General Eli Parker,
was an officer on then General Grant’s Civil War staff. Deborah Holler writes that</span><span style="font-family: Arial, sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 6pt 0.5in;">
<span style="font-family: Arial, sans-serif;"><span style="font-size: x-small;">…historians and scholars of the Iroquois have speculated
on her role in the political upheavals surrounding the Seneca land battles of
the 19<sup>th</sup> century and wondered about her friendship with the renowned
ethnographer Lewis Henry Morgan. In addition, a recent revival of interest in
Iroquois beadwork by connoisseurs and art historians has shed new light on
Caroline Parker’s artistry in clothing and textiles, widely acknowledged to be
pivotal in the 19<sup>th</sup> century cultural exchange between the Native
aesthetic and European influences. This developing aesthetic in clothing and
textiles became an inspiration for generation of Iroquois artists, as well as
the prototype for Seneca women’s “traditional” clothing styles. Thus Carrie
Parker, it can be argued, became an arbiter of change who walked in two worlds;
that of her traditional Tonawanda Seneca and Tuscarora communities, and that of
the highest social and political realms of white society (Holler 2011:9).<o:p></o:p></span></span></div>
<br />
<span style="font-size: large;"><span style="line-height: 115%;"><span style="font-family: Georgia, Times New Roman, serif;">She
was certainly a well know and a recognized figure in Albany society, not a
small undertaking for an Indian woman in that day and age.</span></span></span></div>
<div>
<span style="font-size: large;"><span style="font-family: Georgia, Times New Roman, serif;"><span style="line-height: 34.4444465637207px;"><br /></span></span></span>
<br />
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><b>References Cited</b><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><b><br /></b></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Biron,
Gerry<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">2012 <i>A
Cherished Curiosity: The Souvenir Beaded Bag in Historic Haudenosaunee
(Iroquois) Art. </i>Published by the author.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Holler,
Deborah<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;">2011 The Remarkable Caroline G. Parker
Mountpleasant, Seneca Wolf Clan in <i>Western
New York Heritage</i> magazine. Volume 14, Number 1, Spring 2011.</span><span style="font-family: Arial, sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: Arial, sans-serif;"><span style="background-color: red; font-size: x-large;">Addendum</span><span style="font-size: 12pt;"><o:p></o:p></span></span></b></div>
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<h3>
<span style="line-height: 115%;"><span style="font-family: Georgia, Times New Roman, serif;">In looking over the photographs, after posting them
online of course, I noticed a small detail that I overlooked and as small as it
is, it changes everything. The floral motif on Ten Eyck’s dress (figure 4), (she
is the lady standing in profile on the far right), should have five round
flowers but it has only four and one stem can be seen ending abruptly, with the
flower missing. That same floral arrangement on the dress in figures 1 through
3 has five flowers. So the dress that Ten Eyck is wearing might be a
reproduction. The question is: was the beadwork on the dress under construction
at the time the photo was taken, (likely using the original dress as their
model) or, was she wearing the actual dress but by the time this image was
taken, it had become damaged and somehow the flower fell off or was removed. Any
thoughts? </span></span></h3>
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com3tag:blogger.com,1999:blog-8743733062223446224.post-33989633076462702032013-01-28T12:46:00.000-05:002016-05-18T11:42:02.571-04:00Iroquois Medicine Men<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">On September 30, 2013 I did a major revision to both the
text and images in this blog posting to correspond with
an article I wrote for <a href="http://www.whisperingwind.com/">Whispering Wind Magazine</a> on the same topic (volume 42,
#1, 2013). This posting also has additional images that space constraints would
not allow in the published article.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<b><span style="font-family: "arial" , sans-serif;"><span style="font-size: large;">Haudenosaunee (Iroquois) Participation in 19<sup>th</sup>
Century Medicine Show</span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: large;">s</span><span style="font-size: 12pt;"><o:p></o:p></span></span></b></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">O</span><span style="font-family: "arial" , "sans-serif";">n the back of a recently discovered
image, the subjects are identified as “Running
Antelope and family, Warm Spring Indians, from Galion, Ohio” (<span style="color: red;">figure 1</span>) (the Warm Spring Indian Reservation is
located in Oregon).<span class="MsoEndnoteReference"> </span>In at least one other image
of Running Antelope and his family (<span style="color: red;">figure 2</span>),
they are identified as Mohawks from Caughnawaga, (today called Kahnawake) near
Montreal. Their clothing, which is idendical in both images, and the motifs
depicted in their beadwork would also suggest that they are Mohawks. The inked note on the back of <span style="color: red;">figure 1</span> is faded and it appears to be from the
period; so why was this Iroquois family
identified as Warm Spring Indians? The answer to this intriguing question is veiled
in the history of patent medicines.<o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRhtooLGM1S31jGwsVuHygwDhxyul4i1ze22Y7sOafoj9dc881E0UOEqHrK0OZP9ehIL6by6jEuLC5Vv27CF65uQEJ4jX-f8iCrqdrH8ZVdVY7p9Y1KonqgIEaZ7eJpAUGq4gN6WS-2aiP/s1600/01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRhtooLGM1S31jGwsVuHygwDhxyul4i1ze22Y7sOafoj9dc881E0UOEqHrK0OZP9ehIL6by6jEuLC5Vv27CF65uQEJ4jX-f8iCrqdrH8ZVdVY7p9Y1KonqgIEaZ7eJpAUGq4gN6WS-2aiP/s640/01.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 1 –
Cabinet Card, 4.5 x 6.5 inches. Circa 1890. Identified on the front as Running
Antelobe (sp) and Family. Period note on the back reads: “The Warm Spring
Indians, Galion, Ohio. Running Antelope and family.” Both sides shown. Private
collection.</div>
</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5EjSFLgBc08SQn3F4B6Nl_5ze4OXleGKBX91uWoc7UIbHTAoRurHcX3Wgcpjs949hYXqU4JKbAJtIztzBCS75hZ7fCLUKufFmK-7reBI4gr6SKB6fUlwvWOA_6dpLNJyWGu2ithwrQucj/s1600/02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5EjSFLgBc08SQn3F4B6Nl_5ze4OXleGKBX91uWoc7UIbHTAoRurHcX3Wgcpjs949hYXqU4JKbAJtIztzBCS75hZ7fCLUKufFmK-7reBI4gr6SKB6fUlwvWOA_6dpLNJyWGu2ithwrQucj/s640/02.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 2 –
Cabinet Card, 4.5 x 6.5 inches. Circa 1890.
The subjects are identified on the back, in a period note, as Running
Antelope, Caughnawaga [Kahnawake] Indian Sharpshooter. Photographer: E.J.
Potten, Mansfield, Ohio. Both sides shown. Private collection.</div>
</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "sans-serif";"> The story of patent medicines begins in seventeenth century England with
the Crowns’ issue of a patent for Anderson’s Scots Pills. The inventor, a
Scottish doctor named Patrick Anderson, claimed he got the recipe in Vienna. He
subsequently relinquished the formula to his daughter who later conveyed it to
a Dr. Thomas Weir, in 1686, who produced and sold the tonic as a laxative (Dary
2008:244).<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">
English patent medicines found their way to the New World with the first
colonists, but these early settlers soon discovered it was cheaper to make them
here, rather than import them from Europe, so a home-spun, American patent
medicine industry was born. This was facilitated by the fact that few Americans
trusted doctors, many of whom still used implausible treatment methods such as
purging and bloodletting. In a new country, with few trained doctors,
self-medication for practically every illness known to man was a way of life
that few questioned. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif"; mso-no-proof: yes;"> In 1715, a patent for distilling corn was issued
to Thomas and Sybilla Masters. In addition to purifying the corn, their petition
indicated that “…the said Corn so refined is also an Excellent Medicine in
Consumptions & other Distempers” (Armstrong and Armstrong 1991:159). They received a license for the first “patent”
or over-the-counter medicine in America and it had the distinction of being
called <i>Tuscarora Rice</i>.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , sans-serif; line-height: 115%;"> By the
mid-nineteenth century most drug stores, many of which were owned and operated
by doctors with questionable credentials, had generous supplies of elixirs on
hand that claimed to cure ailments such as dysentery, malaria, small pox,
yellow fever and consumption (tuberculosis of the lungs). This was the heyday
for patent medicines in America and the countryside was replete with peddlers
hawking remedies that claimed to cure virtually every ailment known to man. Between
1865 and 1900, hundreds of traveling salesmen were touring the country selling
patent medicines. In an effort to attract crowds and spur interest in the sale
of their products, they began providing entertainment with their offerings and
the “medicine show” was born (<span style="color: red;">figure 3 and 3a</span>). They were a garish fusion of carnival-like
entertainment and sales pitch. The pitchman was often surrounded by performers
drawn from the circus, traveling theater troupes and minstrel shows. Before
radio, movies and television, these medicine shows were a leading form of
entertainment in both urban areas and remote towns across America. Alarmingly, they were also the foremost
providers of health care.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJK2ON3zwSwt0LsbWFZfsqUw5mJt28ElM0pPqxjnBICufdXJ2OD_tnQpSZcMbWmxD1_YQMDFjeHtxnn3X34YaZIK35cdturBvbVjapb4BiltQTWqULWUfWTbM3qcChX2kHkG_SfaokZyVW/s1600/03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJK2ON3zwSwt0LsbWFZfsqUw5mJt28ElM0pPqxjnBICufdXJ2OD_tnQpSZcMbWmxD1_YQMDFjeHtxnn3X34YaZIK35cdturBvbVjapb4BiltQTWqULWUfWTbM3qcChX2kHkG_SfaokZyVW/s640/03.jpg" width="608" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 3 –
Oversized cabinet card of an Indian Medicine Show in Philadelphia,
Pennsylvania. 5 inches high by 8 inches wide. Late nineteenth century. The
stage was for the firm’s pitchman, who extolled the virtues of their products.
The second man from the left is holding a small, rectangular box, as is the
young boy seated in the foreground. This was likely the Indian remedy or tonic
they were hawking. The dress style of the lady on the far right helps us to
date this image. The skirt is draped in
pleats, asymmetrically to one side, in a style that was popular for a short
time between 1887 and 1888. Photographer: C.M. Fowler & Co., Albany, New
York. Private collection.</div>
</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYFKLG3IXfpp3-_Q0suLOFTcWIiE05ifOmarphW7BGzgKDxfpL70lHO6hM-OqA52dw_vNWlX6H6R5Ie7ZbTYQd73ZPNFADC8vtm_D_Z0YLD6pVRzt1jOrmgtcflWFre3I7MVsV9LRwH3dZ/s1600/03a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYFKLG3IXfpp3-_Q0suLOFTcWIiE05ifOmarphW7BGzgKDxfpL70lHO6hM-OqA52dw_vNWlX6H6R5Ie7ZbTYQd73ZPNFADC8vtm_D_Z0YLD6pVRzt1jOrmgtcflWFre3I7MVsV9LRwH3dZ/s640/03a.jpg" width="490" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 3a –
Cabinet card, 4.5 x 6.5 inches. Circa 1890. Displayed is the main tent of the
Oregon Indian Medicine Company. No location indicated. Private collection.</div>
</td></tr>
</tbody></table>
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<span style="font-family: "arial" , sans-serif; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Through most of their history, patent medicines enjoyed a
free-flowing existence. No government agency required that medicine makers
prove their tonics were effective or even safe. No law stopped them from
listing on the labels or in advertisements whatever “cures” happened to be in
fashion at the time, or required a list of ingredients or warnings on the
labels (Armstrong and Armstrong 1991:160).<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">
These shows were fueled by advertisements that contained unproven claims
and the use of scare-tactics was common. One particular ad for Ka-ton-ka, a
blood, kidney, liver and stomach medicine, included a long checklist of
symptoms for kidney disease such as: “an unusual desire to urinate at night;
appetite alternately ravenous and meager; acid, bitter taste, with furred
tongue in the morning; intense pain, upon sudden excitement, in the small of
the back; indescribable crawling feeling up and down the back with extreme
nervous irritability; annoying and perplexing loss of memory, even of common
things,” were among the twenty-two manifestations included in the advertisement.
It went on to state that “any number of the above symptoms, which too long
neglected, will certainly terminate in Bright’s disease… (described by modern
medicine as acute or chronic nephritis). Delay, therefore, in removing the
above symptoms is exceedingly dangerous. They are the commonest order, and
their very commonness encourages fatal neglect” (Edwards 1884:32). <o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYYTORWvwJ8A6NyqDatULvY3hMqBQ_XLENY7CWpdrK-uRAbql02DJQwMnAk-sTRFIC0_IpGYn2yfmMw5xg2Umdv9P4rOLU5zIYvBEtX1g9T7vbk4bBsKUM7BZ6Q8FeYxu5hrp5IaLo9hZ4/s1600/04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYYTORWvwJ8A6NyqDatULvY3hMqBQ_XLENY7CWpdrK-uRAbql02DJQwMnAk-sTRFIC0_IpGYn2yfmMw5xg2Umdv9P4rOLU5zIYvBEtX1g9T7vbk4bBsKUM7BZ6Q8FeYxu5hrp5IaLo9hZ4/s640/04.jpg" width="370" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 4 –
Trade Card for Kickapoo Indian Remedies, 2.75 inches wide by 4 inches
long. Both sides shown. 1880s-1890s.
Many of the Indian trade cards from the late nineteenth century depicted scenes
of Indian life, battles, etc. suggesting their products came from a healthful
and vigorous people. Private collection. </div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> Every print medium was used to promote the company’s products such as trade
cards (<span style="color: red;">figure 4</span>), handbills, posters,
newspapers, magazines, etc. A late
nineteenth century handbill for Dr. S. P. Townshend’s extract of Sarsaparilla
reinforced the notion that no embellishment or distortion of the facts was too
farfetched; no statements about benefits or cures too outrageous. It claimed
that his tonic was “The wonder blessing of the age and the most extraordinary
medicine in the world!” It unabashedly went on to describe how<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">The great beauty of the superiority of this Sarsaparilla
over all other medicines is, that while it eradicates the disease, it
invigorates the body… It not only purifies the whole system and strengthens the
person, but creates new, pure and rich blood; a power possessed by no other
medicine, it has performed within the last three years, more than 150,000 cures
of severe cases of disease; at least 20,000 were considered incurable
(Armstrong and Armstrong 1991:166).</span><span style="font-family: "arial" , "sans-serif";">
<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
Americans wholeheartedly believed that Indians had a deep knowledge of
natural medicine and were skilled in its use. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">One facet of the infatuation with the Romantic West
reflected that Indian life illustrated by Longfellow in “Hiawatha.” As a Child
of Nature, the American Indian was Learned in Nature’s Secrets, fathoming
mysterious herbs and roots, capable, through Nature’s Direction, of controlling
disease and thereby leading a ridiculously healthy existence (Clark and Clark
1971:vii).</span><span style="font-family: "arial" , "sans-serif";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
Populations in the East in particular, believed in the efficacy of
Indian medicines and unscrupulous promoters capitalized on this. Firms that
incorporated an Indian theme in their medicine shows had the most success.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
Company representatives had to present at least the perception of
authenticity in merchandising their products, especially if they were hawking
purported “Indian Medicines.” Non-Indian enactors who performed in these events
had to look and dress like Indians as many popular products had indigenous or
Native American sounding names. Products
such as Allen’s Indian Blood Corrector, Dr. Seneca’s Gall Remedy, Dr. Roger’s
Indian Fever Cure, Aztec Pile Cure and Dr. Kilmer’s Indian Cough Cure
Consumption Oil claimed to ameliorate cancer, syphilis, kidney disease and a
host of other ailments. These were just a few of the thousands of remedies that
were offered for sale with names that implied they were an indigenous cure for
practically any illness known to man. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">
The medicine shows were the forerunners of the Wild West shows and The
Kickapoo Indian Medicine Company and the Oregon Indian Medicine Company were
two of the largest. They chose a different approach to selling and took the
medicine shows to another level by including actual Native performers who were
paid, on average, $30 a month for their services (<span style="color: red;">figure
5</span>). Native people were employed by these outfits to demonstrate Indian
life which gave the company’s patent medicines an air of authenticity. Many product advertisements claimed that
their “medicines” were “MADE BY INDIANS; USED BY INDIANS, AND SOLD BY INDIANS.”<o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3c1lo9DPdPufP2_vYoWjvMiwU4LSTfXwaMeWpbuG-o0Kxg6DMlHsD7sqERsk_d4MGBuyVb7OE3o0wHMgZ6HrUr0ZKkXJxuyNANYHFacZdXkIuNryyXrOjC9P5_q4kNirK5rAy8iTkxNt5/s1600/05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3c1lo9DPdPufP2_vYoWjvMiwU4LSTfXwaMeWpbuG-o0Kxg6DMlHsD7sqERsk_d4MGBuyVb7OE3o0wHMgZ6HrUr0ZKkXJxuyNANYHFacZdXkIuNryyXrOjC9P5_q4kNirK5rAy8iTkxNt5/s640/05.jpg" width="420" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 5 –
Cabinet card, 4.5 x 6.5 inches. A group of Iroquois medicine show entertainers.
Period inscription on the back of the card reads: Caughnawaga [Mohawk] Indians
with the Kickapoo Medicine Company. Season 1891. R.W. Telford, Manager. Private
collection.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> One of the founders of the Kickapoo Indian Medicine Company, Texas Jack
Bigelow, claimed to have been nursed back to health, from a deadly prairie
fever, by a medicine prepared by the Native family that found him. He alleged that they shared the formula with him
for a remedy that was made from rare ingredients that were difficult to acquire
and hard to prepare. In reality, Bigelow’s Segwa tonic was simply a mixture of mundane
herbs, roots, aloe, baking soda, sugar and of course alcohol (a primary
ingredient in many patent medicines), all purchased from a pharmaceutical firm.
It wasn’t the ingredients that made this tonic famous; it was the promotion and
the patent medicine companies were very good at this.<o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNVj630fzjQFrVRPf3jsd-geEb0l0xBcJREbH_9hrxLnoKCgfpmvdp9mULH4lkGAHQ_ZS09WynIqV5Aut20noK4sIOdgdjk6DD9JCj0TD90qm3nj-xtyQNGTivKAyKDohBOpCinj0oCrIH/s1600/06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNVj630fzjQFrVRPf3jsd-geEb0l0xBcJREbH_9hrxLnoKCgfpmvdp9mULH4lkGAHQ_ZS09WynIqV5Aut20noK4sIOdgdjk6DD9JCj0TD90qm3nj-xtyQNGTivKAyKDohBOpCinj0oCrIH/s640/06.jpg" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 6 –
Small pamphlet advertising the products of the Kickapoo Medicine company. An
illustration of the fictional “Bright Eyes” appears on the cover. Private
collection.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> The Kickapoo’s founders even created a brand for themselves in the form
of an Indian princess by the name of Bright Eyes (<span style="color: red;">figure
6</span>).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Healy and Bigelow were masters of image and promotion. As
devotees of the great Barnum, they followed many of his practices, such as
decorating every inch of the building and adopting a mascot. Unlike Jumbo
[Barnum’s elephant], the Kickapoo mascot required no upkeep – she was
fictional. Her name was Little Bright Eyes, an Indian princess who appeared in
the company’s literature. Healy and Bigelow played the exotica card for all it
was worth, publishing countless ads, pamphlets, and magazines built around the
romantic Indian who was in perfect harmony with the environment, never got an
illness he couldn’t cure, and was the physical and spiritual superior of the
white man (Anderson 2000:63).</span><span style="font-family: "arial" , "sans-serif";">
<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
The fictional Bright Eyes no doubt spurred real life counterparts (<span style="color: red;">figure 7</span>). In this image of a group of Mohawks, both
women have the name Bright Eyes beaded along the bottom of their dresses. In a
circa 1894 image from the Library of Congress collection and illustrated in
Trading Identities, by art historian Ruth Phillips, a similarly dressed woman
is posing with a troupe of Mohawk entertainers from the St. Regis [Mohawk]
Indian Show Company. Phillips writes that <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">the photograph documents the semiotic complexity
characteristic of clothing worn in touristic performances. While the crown-like
headdress worn by the woman refers to the standard Indian princess image, the
prominent tree of life on the skirt pictures and preserves a key symbol of
Iroquois cosmology and oral traditions (Phillips 1998:15).</span><span style="font-family: "arial" , "sans-serif";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , sans-serif; line-height: 115%;"> In
both photographs, the women are wearing comparable dresses that have a
variation of the “tree of life” motif, and in at least one other photograph of
the Bright Eyes troupe, they are identified as Mohawks.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlIl40Qcomu7MRSBQsbkSjEEV22WWwMQUHoXVFa8elr4M7-PWMfooNySpoHbYMXYuzuCTaFytg-CXhCftR9vvqgc_5seWW5JMnHI9VTiFlUBHosNxgXyFuwdL5Fjyj937z8fp4NGD1V8Sf/s1600/07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlIl40Qcomu7MRSBQsbkSjEEV22WWwMQUHoXVFa8elr4M7-PWMfooNySpoHbYMXYuzuCTaFytg-CXhCftR9vvqgc_5seWW5JMnHI9VTiFlUBHosNxgXyFuwdL5Fjyj937z8fp4NGD1V8Sf/s640/07.jpg" width="414" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 7 –
Cabinet card, 4.5 x 6.5 inches. Possibly a group of Akwesasne Mohawk
entertainers from the Saint Regis Indian Show Company. Both women have “Bright
Eyes” beaded along the bottom of their dresses. Private collection. </div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
Healy and Bigelow were accomplished promoters and they got the greatest
showman of their day, Buffalo Bill, to endorse their most famous product. He
was quoted in advertisements claiming “Kickapoo
Indian Sagwa... is the only remedy the Indians ever use, and has been known to
them for ages. An Indian would as soon be without his horse, his gun or blanket
as without Sagwa,”<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
The <a href="http://bigelowsociety.com/rod2001/kicapoo3.htm">Bigelow Society </a>indicates that the Kickapoo Indian Medicine Company<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , sans-serif;">claimed over eight hundred employees by the late 1880's. Alas, the
actual Indians were never Kickapoos but primarily Eastern tribes like the
Iroquois and tribes from the West like the Sioux, Blackfoot, and Cherokee. A
few were hired from reservations, as was done by Cody, and some were enticed
away from Buffalo Bill's Wild West.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
</div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
Company representatives traveled ahead of the show to a target city,
with advance publicity, to stir up interest in an upcoming event. Rallies were
held in front of drug stores to promote the company’s products and special
displays were set up in store windows with posters and a sampling of the
company’s remedies. There were usually Indians on hand at these events to
ensure the authenticity of the company’s products (<span style="color: red;">figure</span>
<span style="color: red;">8</span>). In this image, a young Indian family is
standing before Hurds Pharmacy in Fairfield, Maine. Behind them is a display of
Indian beadwork, suspended across the storefront window, perhaps offered for
sale as a way for them to earn extra income? There is also a poster for the
Kickapoo tonic, Segwa in the lower right hand corner of the window.<o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiIJHG252INrJn4C15odnwf8FiIcicxuqX9H3NXmucDdydZlQvIOOtANrtITzHPQ2_Fp35eyfJIJOeCPcP2ZKedTvVHxZXtbI1JuT25rakuGDdWYsU5MtHovYyOJw224So-H_ufaFqdF-G/s1600/08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiIJHG252INrJn4C15odnwf8FiIcicxuqX9H3NXmucDdydZlQvIOOtANrtITzHPQ2_Fp35eyfJIJOeCPcP2ZKedTvVHxZXtbI1JuT25rakuGDdWYsU5MtHovYyOJw224So-H_ufaFqdF-G/s640/08.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "calibri" , sans-serif; font-size: 11pt; line-height: 115%;">Figure 8 </span><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">–
Real Photo Post Card, 3.5 x 5.5 inches. Circa 1910. A young Indian family standing in front of
Hurd’s Pharmacy in Fairfield, Maine. On another postcard of this same family group
and in front of this same store, they are identified as Chief Big Thunder and
Princess Talikeno and daughter, Lightning Talikeno. Talikeno was possibly Iroquois.
Text on the back of the card indicates that they “had entertainments and
advertised Kickapoo remedies.” A poster for Kickapoos’ Indian Segwa, a blood,
liver, stomach and kidney renovator, is seen in the lower right hand corner of
the store window. Private collection. </span></td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> Once a show came to town, a typical performance ran for about two hours
and it didn’t follow any particular format (<span style="color: red;">figure 9</span>).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">On the bill could be displays of marksmanship, broad
ethnic comedy steeped in rough stereotypes, magic, stunts and acrobatics,
dancing, or perhaps a strongman. Entertainments would make up about two thirds
of the show. The performers worked on a stage with a runway into the crowd and
a canvas backdrop with painted scenes of nature and life among the Native
Americans. On the lip of the stage might be glass jars with repulsive-looking
tapeworms suspended in clear liquid. The huge worms, said to be removed from
prominent local citizens, were actually purchased from stockyards. Tapeworm
expellers–need it be said?–were big sellers (Armstrong and Armstrong 1991:177).</span><span style="font-family: "arial" , "sans-serif";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
</div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
In another cabinet card that depicts Iroquois performers in these
medicine shows, the seated child on the right is holding a box containing a
bottle of Kickapoo Segwa, the company’s most popular patent medicine (<span style="color: red;">figure 9a</span>). It’s hard to see in the image but the box
has the word SEGWA across the top. I’ve
often wondered if these old photos were done as advertisement for the Wild West
and Medicine show promoters because images like these gave them at least an air
of authenticity since they had real Indians working for them. This also
suggested to their patrons that their patent medicines were authentic as well
and made by the Indians, a totally fabricated notion of course.<o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh14dqOeWtgJ1MScQFWVLKa_hRg5CtbG1qsyxD12ZknM6MNexrdG0mUbSMmQouDTX12eTE_EBINDA0l92Vx4q8Twxt5v5HouwmMCfRuVzaCIefWIBeNxxHDub9voMayJa8ceiKz_1PxXDzE/s1600/09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh14dqOeWtgJ1MScQFWVLKa_hRg5CtbG1qsyxD12ZknM6MNexrdG0mUbSMmQouDTX12eTE_EBINDA0l92Vx4q8Twxt5v5HouwmMCfRuVzaCIefWIBeNxxHDub9voMayJa8ceiKz_1PxXDzE/s640/09.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 9 - Cabinet card, 4.5 x 6.5 inches. Circa
1890. A group standing before a stage display for the Kickapoo Indian Medicine
company. Based on the clothing and beadwork style, the three individuals on the
far left may be Iroquois. No photographer or location indicated. Private
collection.</div>
</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCkbxSVGoO1fj6H7WnzAWVJQUOF3SBamK58Cv-W6_O45F8AxuGoGouCIg9PLv6FADpbDOI0sL_V4TDXcGVI-m3qWaKAhA3JN69uiT0FOuAcfB6cn5Nz7KB5t9Iu5__yFFAoBNNz0hqTOyn/s1600/9a.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCkbxSVGoO1fj6H7WnzAWVJQUOF3SBamK58Cv-W6_O45F8AxuGoGouCIg9PLv6FADpbDOI0sL_V4TDXcGVI-m3qWaKAhA3JN69uiT0FOuAcfB6cn5Nz7KB5t9Iu5__yFFAoBNNz0hqTOyn/s640/9a.JPG" width="424" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">Figure 9a – Cabinet card, 4.5 x 6.5 inches.
Circa 1890. A group of Iroquois performers, possibly Akwesasne Mohawks, working
for the Kickapoo Medicine Company. The child seated at the right is holding a
package containing a bottle of Segwa, the company’s most popular patent
medicine. Photographer: Dorge, Minneapolis, MN. </span></td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> There were star performers on the Medicine Show circuit. One such
individual was Nevada Ned Oliver. As the manager and head scout of the Kickapoo
Indian Medicine Company he was usually seen wearing buckskins, a fancy,
wide-brimmed hat and long hair. During a typical performance he would introduce
the company’s troupe of Indians to the crowd, and it was reported that they would
acknowledge him with nothing more than a grunt. When the final Indian appeared
on stage, he delivered an oration, in his Native language, which Nevada Ned interpreted.
Typically, Ned’s translation described how the Indian medicine they were
offering to the crowd had saved the lives of untold numbers of Native people.
After the sales pitch was delivered, the Indians would move about the crowd to
sell the company’s remedy. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
Nevada Ned Oliver once admitted
that he had never been within 2000 miles of Nevada. In addition to his job as
show manager, he was also a trick shot and in his spare time he wrote crime
novels. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Oliver was also honest enough to laugh at himself. As the
manager (Indian agent) of the Kickapoo show, Oliver was supposed to translate
the speeches, given in various Native American languages… But, as he later
wrote, “what the brave actually said, I never knew, but I had reason to fear
that it was not the noble discourse of my translation…</span><span style="font-family: "arial" , "sans-serif";"><span style="font-size: xx-small;">” (Armstrong and Armstrong 1991:180). </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
</div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
Quite a few nineteenth century photographs have survived that depict
Native people who were involved in these medicine shows and in many of them the
subjects are Iroquois (<span style="color: red;">figures 10 and 11</span>). <o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM8LZ85woohWUERxdSW8HPZpkyoxIxu9UjaWlDFKsjnLj80yJEMCn0xDMFDjHmBtmDUXogYSPC-2P4sKb3rjokWp2hS4-BhSRoxX2HsXe9iAPKLdLFluj-ef2Wh2R_0x_fzNyPKBjdJ-xv/s1600/10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM8LZ85woohWUERxdSW8HPZpkyoxIxu9UjaWlDFKsjnLj80yJEMCn0xDMFDjHmBtmDUXogYSPC-2P4sKb3rjokWp2hS4-BhSRoxX2HsXe9iAPKLdLFluj-ef2Wh2R_0x_fzNyPKBjdJ-xv/s640/10.jpg" width="414" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 10 – Cabinet card, 4.5 x 6.5 inches. Circa
1890. The
subjects are identified on the back as Mohawks. Photographer: A. B. Comstock,
Waverly, New York. Private collection.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUSso9dcKCYbX6qOFf0G0JUXiuBoN-Mxsa1F5crSd3AQn-OxTTXnUSNFF9xvbbsbvab-A14o_b9-GUgxXH1snsNhZM58kBhkeJ-pOu9ijcbeDIJYMF0sGZfJ12JtLpBkLfE-Ol1NDJDyF3/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUSso9dcKCYbX6qOFf0G0JUXiuBoN-Mxsa1F5crSd3AQn-OxTTXnUSNFF9xvbbsbvab-A14o_b9-GUgxXH1snsNhZM58kBhkeJ-pOu9ijcbeDIJYMF0sGZfJ12JtLpBkLfE-Ol1NDJDyF3/s640/11.jpg" width="414" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 11 –
Cabinet card, 4.5 x 6.5 inches. Circa 1890. The subjects are identified on the
back as Seneca. Photographer: Chas. Latham, Bradford, Pennsylvania. Bradford
was located just a few miles from the Seneca Reservation in Salamanca, New
York. Private collection.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> The 1892 New York State census indicated that the use of traditional
medicine practices among the Iroquois had almost disappeared by this date and
that many were now involved in the medicine shows. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">The days of the old “medicine man” have passed away.
Young men from each of the reservations including Chief Philip T. Johnson, of
Tuscarora, are “travelling men” for so-called Indian medicines, and make
themselves welcomed and successful through the prestige of their Indian
character and good address (Donaldson 1892:50).</span><span style="font-family: "arial" , "sans-serif";"> <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
This same statistical study also listed 20 Mohawks from Akwesasne as
traveling show men and no doubt there were many more from Kahnawake, in Canada,
who were not included in the New York census. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif"; font-size: 11.0pt; line-height: 115%;"> </span><span style="font-family: "arial" , sans-serif; line-height: 115%;"> Not
only were the Iroquois performing in the medicine shows, but some of them were
involved in the direct sales of these medicines. The Department of Indian
Affairs in Ottawa, Canada, reported that the Mohawk from Kahnawake were
“engaged in the extensive manufacture of beadwork … [and] in 1903 several residents of Caughnawaga
were making good profit by selling patent medicines in Canada and the United
States” (Department of Indian Affairs 1967:19).</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKLrlrLeUJZFyRiK6cFKa5YwSIRU4edtS2zS5fjXkZ4ZXj3VhkLaBKA8wQwFLplP7kDcm79XEy6wGhNG9r6EhV1oI7p6sPgdrAACwrEllH2gtLYYSCcOomNA97VKatpfLj9btWk1koVulo/s1600/12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKLrlrLeUJZFyRiK6cFKa5YwSIRU4edtS2zS5fjXkZ4ZXj3VhkLaBKA8wQwFLplP7kDcm79XEy6wGhNG9r6EhV1oI7p6sPgdrAACwrEllH2gtLYYSCcOomNA97VKatpfLj9btWk1koVulo/s640/12.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">Figure 12 – Circa 1890 advertising photograph
for the patent medicine Ka-Ton-ka. 4.5 x 6.5 inches. Portrait of Chi-la-kaw,
Wounded Wolf, an Iroquois working for the Oregon Indian Medicine Company. Both
sides shown. Private collection.</span></td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> Another interesting image from the same period (<span style="color: red;">figure
12</span>) holds the key to the significance of many of these old images. The
subject, identified as Chi-la-Kaw, is wearing an Iroquois style yoke or collar and
his headpiece has Mohawk elements to it yet he is posing for the Oregon Indian
Medicine Company which was located just a short distance from Seneca
Reservation in Salamanca, New York.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
The Oregon Indian Medicine Company was founded by Colonel Thomas Augustus
Edwards who was born in 1832 in Saugerties, New York. By his twenty-third
birthday, he was already on a career in the entertainment business when he became the manager for the Spaulding and Roger's Circus. At the outbreak of the Civil War, he was hired by the government
to track down blockade runners. He was captured and held prisoner for a time
and carried out a daring escape. Towards the end of the war, he became a
government scout and in 1866, during the Snake War, he travelled to Oregon. It
was on this campaign that he met the Cayuse scout, Donald McKay (<span style="color: red;">figure 13</span>).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">It was in Oregon that Edwards learned about Indian medicine
through Dr. William C. McKay, one of four sons of Alexander McKay… McKay was a
physician to the Indians. His brother, Donald McKay was a prominent scout and
Indian fighter. Both men had Indian wives. Both McKays returned east with
Colonel Edwards about 1874, taking with them a party of Warm Spring Indians.
Edwards and the Indians toured Europe and then New England demonstrating Indian
skills and customs. In 1876 he took the Indian show to the Centennial
Exposition in Philadelphia. It was there that he began selling Indian medicines
(Dary 2008:259).</span><span style="font-family: "arial" , "sans-serif";"> <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
</div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
In a circa 1888 advertising booklet for the Oregon Indian Medicine
Company (OIMC) titled <i>Luk-Cay-Oti –
Spotted Wolf</i>, one page is devoted to their celebrated manager, along with a
general description of the origins of his company and the preparation of its
products.<o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyewYSCGAVT-cat4rF8CoKLn55xgIQKJSqVIHKOgynIUioZviyvkOFi-u62iyxZyU6y64lKtj1kZrVbOzftHMWeHG2dq9ygB7-C3au6_dLG1TOSuwi98y73njJfQhbftJ6g4wiVDOi5PSZ/s1600/13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyewYSCGAVT-cat4rF8CoKLn55xgIQKJSqVIHKOgynIUioZviyvkOFi-u62iyxZyU6y64lKtj1kZrVbOzftHMWeHG2dq9ygB7-C3au6_dLG1TOSuwi98y73njJfQhbftJ6g4wiVDOi5PSZ/s640/13.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 13 - <span style="background: white; color: #333333;">Stereoview
(circa 1873) of Donald McKay, captain of the Warm Spring Indian scouts during
the Modoc War (1872-1873). Photographer: Louis Heller, Yreka, California. </span>Private
collection.</div>
</td></tr>
</tbody></table>
<div align="center" class="MsoNormal" style="margin-bottom: 3pt; text-align: center;">
<b><span style="font-family: "arial" , "sans-serif";">Warm Spring Indian Show<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Col. Edwards has seen much of frontier life, and is
perhaps the best posted man on Indian life, Indian customs and habits in this
country. He has been the Manager of the Lava Bed Heroes since 1876; and their
great success in selling their Medicines is largely due to his skilful and
energetic management…The Warm Spring Indians never employ white performers to give
their exhibitions. By this one feature alone the public can know the imitators.
The standing figure of Donald McKay is on every bottle of Ka-Ton-Ka, printed in
colors on a white wrapper. The ingredients of Ka-Ton-Ka are all gathered by the
Warm Spring Indians in Oregon and Washington Territory. They prepare them in
their own peculiar manner; and no druggist can duplicate that simple Indian
preparation from his extensive stock of drugs, and all his experience and
knowledge combined. If the white people could only enjoy the splendid heath of
the Indian, what a happy race they would be; what money they could save in
doctor’s bills, and what misery they would avoid (Edwards c1888:5).</span><span style="font-family: "arial" , "sans-serif";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
The OIMC was originally based in Pittsburgh, Pennsylvania and their
principal cure-all was a tonic called Ka-ton-ka. In 1882, the company moved to Corry,
Pennsylvania and was in full operation by 1885. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
Edwards claimed his business partners in this venture were the McKays
from the Warm Spring Reservation, in Oregon. Donald McKay worked for both the
US Army and the Bureau of Indian Affairs as the captain of the Warm Spring
scouts during the Modoc War (1872-73). His
success in this endeavor earned him a good deal of publicity and fame with the
public. He eventually left his life as a government scout and embarked on a
career in both the Medicine shows and Wild West shows. McKay’s step-mother, Isabelle Montour, was
Iroquois and during the 1880s, he and his wife (Susan) and daughter (Minnie)
toured the country promoting products for Edwards and the Oregon Indian Medicine
Company. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
Edwards took advantage of McKay’s notoriety and used the old Indian
scout’s likeness in many of the company’s advertisements. Although their
operation was not as extensive as that of the Kickapoo Indian Medicine Company,
they did have several shows touring the country at the same time. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
Around 1888, Edwards published a list of the Indians that toured with
him in his medicine shows.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="margin-bottom: 3pt; text-align: center;">
<b><span style="font-family: "arial" , "sans-serif";">
Names of the Indians Comprising
this Troupe.</span></b><span style="font-family: "arial" , "sans-serif";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Donald McKay’s Heroes of the Lava Beds. Indian Warriors,
Indian Squaws, Indian Papooses, Indian Braves, Indian Interpreters, Indian
Children, Indian Trailers [Trackers], Indian Scouts. Chief American Horse,
Tribal Chief. Ae-Le-Ta or Dove Wing and
Papoose. Scar-Face Bear, Great War Chief. Spotted Wolf, Pawnee Athlete. Ka-Kos-Ka,
Medicine Man. Swift Runner, over 80 years old. Oc-A-La, Good Woman. Kaw-Sha-Gans,
Red Wild Cat. Red Leaves, Half Breed Interpreter. Fluttering Willow, the Mother
Squaw. Sul-Te-Wan, Bright Sun. Wi-Ne-Mah, Mountain Bird. These Indians have
been traveling twelve years, two years of which they spent in Europe. Their
Entertainments consists of the Manners, Habits, Customs, and Ceremonies of a
Race of People once powerful, now nearly extinct (Edwards c1888:7).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , sans-serif; line-height: 115%;"> Many
of the same names appeared in a late-nineteenth century advertisement that was posted
in the Altoona Tribune, an Altoona, Pennsylvania newspaper (<span style="color: red;">figure 14</span>). The ad was taken out by the Oregon Indian
Medicine Company to advertise the upcoming appearance of the Warm Spring
Indians in Altoona. The announcement indicated that the Indians would perform
at the Opera House and their Indian medicine men would be curing patrons, free
of charge. The Indian’s were presumably doing this with the company’s patent
medicines. A number of the Indians listed in the Altoona advertisements were Iroquois
as I will point out below.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjR7V5-ewhzz5ZVb9u6G-uWOn-HIuAvAO9VJBma0FhbFILqFJI82KPXb25KYBfUISefR6FShK-2t2YCnU1ueAj_xUjyaGfP4486Gouvcfij9gIitS3B3s08Q9pbMP8V4W8EOvIj_SgCY0k/s1600/14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjR7V5-ewhzz5ZVb9u6G-uWOn-HIuAvAO9VJBma0FhbFILqFJI82KPXb25KYBfUISefR6FShK-2t2YCnU1ueAj_xUjyaGfP4486Gouvcfij9gIitS3B3s08Q9pbMP8V4W8EOvIj_SgCY0k/s640/14.jpg" width="602" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 14 – Replica
of an advertisement that appeared in the Altoona Tribune around 1885-1890. This
was an Altoona, Pennsylvania newspaper that was advertising an appearance of
the Warm Spring Indians at the Opera House. Original from the collection of
John Odell.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> In 1886, Buffalo Bill’s Wild West show played on Staten Island, in New
York and the Oglala chief American Horse (<span style="color: red;">figure 15</span>)
had replaced Sitting Bull as the Indian star of the show. That winter Buffalo
Bill’s troupe also performed at Madison Square Garden (Scarangella McNenly
2012:25). The Altoona Opera House advertisement
indicates that American Horse would be appearing in Altoona and the <i>Luk-Cay-Oti</i> booklet mentions that he was
a member of the Oregon Indian Medicine Company.
Did Colonel Edwards somehow entice American Horse to leave Buffalo Bill’s
Wild West show to perform in his medicine show? It’s not likely. As the Oregon Indian Medicine
Company grew, Edwards hired more Native entertainers and his company’s
proximity to the Seneca Reservation, in Salamanca, New York may have provided a
ready resource of Iroquois representatives or a gateway to other Iroquois
reservations.<o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZGbz6ab70ydTueKUVrTgSc13caxT5eZbswxbfdgzNYv3DjUfgkxyBgc_P_B0AeNT4X42x4FHlV9PZenCNdvbIUwGm0sFuPB9cJ54CvwlcLMY0alwu0j9C8em5w-0Wgri5JDKloqhELyHz/s1600/15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZGbz6ab70ydTueKUVrTgSc13caxT5eZbswxbfdgzNYv3DjUfgkxyBgc_P_B0AeNT4X42x4FHlV9PZenCNdvbIUwGm0sFuPB9cJ54CvwlcLMY0alwu0j9C8em5w-0Wgri5JDKloqhELyHz/s640/15.jpg" width="482" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 15 – Studio
portrait, 7 x 9 inches. 1898. This is the American Horse who toured with
Buffalo Bill in his Wild West show. Photographed at the U.S. Indian Congress of
the Trans-Mississippi and International Exposition in Omaha, 1898. Photographer:
Frank A. Rinehart (ca. 1862-1928) or his assistant Adolph F. Muhr (ca.
1858-1913). Private collection. <span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;"><o:p></o:p></span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> During this period, the entertainment business played an important role
in the lives of many Native people as it provided them with another means to
earn a living. It was also important for another reason; the Wild West and
Medicine shows were a way for Native people to maintain many of their traditions.
The Office of Indian Affairs (OIA) together with Indian schools such as
Carlisle (as well as the church run residential schools in Canada), discouraged
Indian participation in these events because they believed the shows were
counterproductive to their assimilation efforts. Show promoters on the other hand encouraged
these performances as they were good for business. For the Indians, it was a
way to openly engage in their traditional dances and ceremonies, thereby
overtly circumventing the work of the churches and the OIA. Kahnawake Mohawks
in particular had a good deal of experience in the entertainment business and
show recruiters sought them out because “people there were well suited to the
industry and participated willingly” (Scarangella McNenly 2012:104-105).</span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> Chi-la-Kaw, pictured on the advertising card in <span style="color: red;">figure
12</span>, is listed on the Opera House advertisement. Dove Wing, a
sharpshooter from Kahnawake, is also slated to appear. In the <i>Luk-Cay-Oti</i> booklet she is described as<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">…one of the prominent features of this show… Her voice is
a marvel. She produces those sweet, plaintive, melodious cadences, so peculiar
to her race. When the troupe are singing their – wild and weird songs – the
voice of Dove Wing can be heard like the rippling of water, soothing and
modifying the wild tones into musical harmony (Edwards c1888:13)</span><span style="font-family: "arial" , "sans-serif";">.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , sans-serif; line-height: 115%;"> </span><span style="font-family: "arial" , sans-serif; line-height: 115%;">Dove
Wing is pictured in several nineteenth century cabinet cards and in at least
two of them she is depicted with American Horse and Scar Face Bear (</span><span style="color: red; font-family: "arial" , sans-serif; line-height: 115%;">figure 16 and 17</span><span style="font-family: "arial" , sans-serif; line-height: 115%;">)</span><span style="font-family: "arial" , sans-serif; line-height: 115%;">.</span><span style="font-family: "arial" , "sans-serif";"> <o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi37E_HysZu7nmVls-Pb4tnmroBCNPo7vMaK1cbRrNPTuW5UFl-BY31BgNVv-rlkqJrVGGBaEWD5pVpECX3jFk268JxadLV4UENKkGlpK9v-qaRRoewFyOPu-tYYnQpKkfGYbyc9LLp2ndB/s1600/16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi37E_HysZu7nmVls-Pb4tnmroBCNPo7vMaK1cbRrNPTuW5UFl-BY31BgNVv-rlkqJrVGGBaEWD5pVpECX3jFk268JxadLV4UENKkGlpK9v-qaRRoewFyOPu-tYYnQpKkfGYbyc9LLp2ndB/s640/16.jpg" width="402" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 16 – Cabinet
Card, 4.5 x 6.5 inches. Circa 1890. Depicted from left to right: Scar Face
Bear, American Horse and Dove Wing, Mohawks from Kahnawake. Photographer: Smith
and Hodson, St. Mary’s, Ohio. Private collection. </div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd9O30VQZUSxGfzPMlz2K8B4sPjoGCYax96WvfaPHDqaYlp2TJaLLg5cKDJQ69l82Cxq674XN85L6IHfZOJSYp_GQus5ldWYHhOf-dbE7pZaS5k-7pXd4RzgQGXKr7iqvQbMYRyaUu8u6w/s1600/17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd9O30VQZUSxGfzPMlz2K8B4sPjoGCYax96WvfaPHDqaYlp2TJaLLg5cKDJQ69l82Cxq674XN85L6IHfZOJSYp_GQus5ldWYHhOf-dbE7pZaS5k-7pXd4RzgQGXKr7iqvQbMYRyaUu8u6w/s640/17.jpg" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 17 –
Cabinet Card, 4.5 x 6.5 inches. Circa 1890. The individuals depicted are Angus
Montour (1851-1928), aka American Horse and his wife Dove Wing. Although American
Horse was christened Angus, his Mohawk name was Twanietanekan, meaning the Two
Snow Hills. He was a notable Mohawk chief who took part in several European
tours with a Wild West Show. Several
years after the death of Dove Wing he was at The Hague, in the Netherlands,
with a troupe of Indian entertainers, where he met Johanna Elisabeth van
Dommelen. They fell in love and before long they were married. Afterwards he
moved back to Kahnawake with his new bride (Altena 2009). Seated beside him in
this image is his first wife, Charlotte “Sara” Beauvias, aka Dove Wing. She
died in 1902. Photographer: Keethler, from Cynthiana, Kentucky. Private
collection.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">She was American Horse’s wife (Edwards
c1888:1) and in both images she is wearing the same under dress with the
identical border design along the bottom and her facial features are identical.
The American Horse she is depicted with clearly not the same chief who
participated in Buffalo Bill’s Wild West Show (<span style="color: red;">figure 15</span>).
<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , sans-serif; line-height: 115%;"> The
American Horse that Dove Wing is depicted with is the Mohawk deer clan chief
Angus Montour. Other identified images of him confirm this. Considering his
promotional skills, it’s quite possible that Col. Edwards gave Angus Montour the
name American Horse so that he could take advantage of the Oglala chief’s
notoriety. </span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> Scar Face Bear, who is wearing a wide-brimmed hat in <span style="color: red;">figure 16</span>, is also depicted in <span style="color: red;">figure 18 </span>wearing the same hat. The <i>Luk-Cay-Oti</i> booklet
describes him as a Warm Spring Indian. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Scar Faced Bear, hero of the Lava Beds, [his exploits in
the Modoc War are described in the Luk-cay-oti booklet although they are not
presently verifiable<span class="MsoEndnoteReference"> </span>] is a Warm Spring
Indian. While he is ignorant of the lore learned from books, he has learned
much from the great teacher, Nature, and in plain forest and mountain craft he
is unexcelled. He is an unerring shot, a splendid trailer [tracker], a good
horseman, and possessed of an abundance of that cool courage so essential to an
Indian. In the course of his career he has passed through adventures of the
most startling and hazardous description, though he rarely speaks about
himself, and what we have learned of his history was gleaned by dint of much
questioning in conversations around the camp-fire. Physically he is a splendid
specimen of manhood. His body is covered with scars received in battle; he is
tall, broad-shouldered, deep-chested, and as strong as a mountain lion (Edwards
c1888:18).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , sans-serif; line-height: 115%;">
Even though he is described as a Warm Spring Indian on the back of <span style="color: red;">figure 18</span>, in reality, Scar Face Bear was also a
Mohawk entertainer from Kahnawake and he has descendents that are living there
today. </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTxvtMNSyItpgAi17z6eY4WhsMHYPRXq2JSkiydpBe9WBktTbX-9LX0e0yx-4ET4Z4hfiiBmpU1CRJ78POb_zSLzG1_OLvnpKHIQx8OQIJ5spPW-kWbUApEM61J6hq-aufhGwXAb64wDEO/s1600/18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="542" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTxvtMNSyItpgAi17z6eY4WhsMHYPRXq2JSkiydpBe9WBktTbX-9LX0e0yx-4ET4Z4hfiiBmpU1CRJ78POb_zSLzG1_OLvnpKHIQx8OQIJ5spPW-kWbUApEM61J6hq-aufhGwXAb64wDEO/s640/18.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 18 –
Carte-de-visite, 2.5 x 4 inches of Scar Face Bear (both sides shown). A period
note on the back reads: “Scar-Faced-Bear. Accurate rifleman and celebrated
war-chief. Ashland, Ky. July 1886. Of the Warm Spring Tribe.” This suggests
that he was working for the Oregon Indian Medicine Company. His name can also
be seen beaded onto his yoke. Private collection.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> Along with American Horse, Chi-la-Kaw and Dove Wing, the Altoona Opera
House advertisement also list’s Kaw-shaw-gan, (the Red Wild Cat). The <i>Luk-Cay-Oti</i> booklet has a fanciful and
perhaps somewhat apocryphal characterization of him. <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="margin-bottom: 3pt; text-align: center;">
<b><span style="font-family: "arial" , "sans-serif";">Kaw-Shaw-Gance or Red Wild Cat.<o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="margin-bottom: 3pt; text-align: center;">
<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Kaw-Shaw-Gance, or Red Wild Cat, is a full blooded Indian
of the Warm Spring tribe of Indians, whose reservation is located in Crook
County, Oregon. He was one of the seventy-one who were employed by the
Government to conquer the Modocs in 1873. He distinguished himself as a warrior,
brave, fearless and persevering. The conquering of Capt. Jack and his hostile
band was due to the courage, cunning and subtlety of Warm Spring Indian scouts.
Red Wild Cat was foremost in his zeal and ambition to show the soldiers what
stuff he was made of, and he received personal recognition from Gen. Davis, to
whom he turned over some of the prisoners that he had captured. He has been
traveling with the Indians, introducing their Indian Ka-Ton-Ka for several
years. He is a valuable exponent of the rights of the Indians, and represents
manners, habits and customs of his race. He exhibits in his appearance on the
stage the characteristics that distinguished him during the Modoc war –
bravery, dash and courage (Edwards c1888:10).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
The following narrative describes the birth of the character Red Wild
Cat and reveals that he was not a Warm Spring Indian as Edwards claimed but
rather an Iroquois. In an 1889 account of the exploits of William Glazier, John
Owens writes that:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">At one time he [Glazier] joined another eccentric
character named Tom Lolar, an Indian of the Seneca tribe, whose lands in the
long ago of Indian history bordered the blue waters of Lake Seneca in central
New York. This peculiar pair proceeded to electrify certain rural communities
in their immediate neighborhood with huge posters, announcing that on a given
night:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Kaw-shaw-gan-ce, or The Red Wild Cat, The Great Chief of
the Walaitipu Indians, now traveling for the benefit of his tribe, proposes to
exhibit to an enlightened public the trophies won by his braves, in their
battles with other ferocious tribes beyond the Rocky Mountains, and the Great
Chief will likewise give an exhibition of the WAR DANCES OF HIS NATION.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Accordingly, upon the night in question, Tom Lolar, as
“Kaw-shaw-gan-ce,” and Henry Glazier as ticket agent, reaped such an excellent
harvest that the latter concluded to start a “live Indian” upon his own account
(Owens 1889:51).</span><span style="font-family: "arial" , "sans-serif";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , sans-serif; line-height: 115%;"> Tom Lolar no doubt invented Kaw-Shaw-Gance for
the purpose of entertaining audiences and the financial remuneration that
ensued. Col. Edwards alleged that he participated in the Modoc War and the
capture of Captain Jack but that is presently unverifiable. He was most likely
the individual described as the Warm Spring Kaw-Shaw-Gance on the Altoona Opera
House advertisement and in the <i>Luk-Cay-Oti</i>
booklet. Edwards did this no doubt to bolster his case that all of his
entertainers were from out west and therefore more exotic than if he claimed
they were from a local tribe. In an engraving of Kaw-Shaw-Gance in the <i>Luk-Cay-Oti</i> booklet, his attire has many
Iroquois elements to it, including a jacket that is quite similar to the one on
the man in <span style="color: red;">figure 11</span>,
complete with beaded collar and cuffs in the Iroquois style (Edwards c1888:10). </span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdvLFTL8TYPRvk5JUJYl1jIiHc0QmJb4ctXDjeh6azeCCX_Biyvk5fSvqkirVkfQctJRbTIXD4uI0OZfhZGPuiDxPjzZvsId3RpSxtjWexBs3zJIpmqZDfXcPKewBVsYCZEgUg54ggeNrO/s1600/19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdvLFTL8TYPRvk5JUJYl1jIiHc0QmJb4ctXDjeh6azeCCX_Biyvk5fSvqkirVkfQctJRbTIXD4uI0OZfhZGPuiDxPjzZvsId3RpSxtjWexBs3zJIpmqZDfXcPKewBVsYCZEgUg54ggeNrO/s640/19.jpg" width="414" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 3pt;">
Figure 19 –
Cabinet card, 4 x 5.8 inches. 1880-1890. Louisa Stump was born on May 5, 1868
of Iroquois parents from Kahnawake. She was an expert shot and traveled with
the Kiowa Medicine Company for a time. She also worked with several other shows
during that period. She was known to her friends as Rosy Gordon. Buffalo Bill
Cody called her "The Prairie Flower" when she worked for him. She
also awed the crowds with her trick shooting under the name "Texas
Lillie". Her picture appeared in the National Police Gazette on July 26, 1890,
where she challenged all "wing shots" in the world (wing shots were
experts at shooting birds in flight). Louisa died in the 1940s. Posed in this image with
her husband, Louis Belmont Newell. Private collection.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> Prairie Flower, (<span style="color: red;">figure 19)</span> is not listed
in the <i>Luk-Cay-Oti</i> booklet but she is
featured in the Altoona Opera House advertisement. Louisa Stump (born in 1868;
died in the 1940s), aka Prairie Flower, aka Texas Lillie, was a Mohawk from Kahnawake.
She was a sharpshooter who worked with several Wild West and Medicine Shows
during her entertainment career, among them Buffalo Bill’s and the Kiowa
Medicine and Vaudeville Company of Steamburg, New York, which was located just
a short distance from the Seneca Reservation in Salamanca. She was married to
Louis Belmont Newell, aka Rolling Thunder, that at least one source identifies
as Wabanaki.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";"> The
photographic and written record indicates that entire Indian families worked
and travelled together in both the Medicine Shows and Wild West shows. Native
performers, photographed in their best regalia, were making statements of their
identity, even if these images were taken to promote the company and convey an
air of authenticity on the medicine shows and their patent medicines.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
So this brings us back to the original Mohawk image of Running Antelope
and his family (<span style="color: red;">figure 1</span>). Why were they
identified as Warm Spring Indians? It’s clear that they, along with many other
Iroquois, were working for the Oregon Indian Medicine Company. It’s not likely the general public had a
personal interest in the specific tribal origin of the company’s
representatives; their interest was in the company’s patent medicines and the
entertainment value of their shows. Since the company’s advertisements always
claimed their representatives were Warm Spring Indians, the public more than
likely regarded all the Indians that worked for them as such, hence the note on
the back. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">
In a letter by Donald McKay to his half-brother Dr. William McKay in Oregon,
he admits that whenever he encountered people asking about the veracity and
efficacy of the company’s Indian medicines that<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">I tel them that you git the old wemen to gather the ruts
[roots] and dry it and you send it to me and they all think it so (Clark
1971:xiv).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , sans-serif; line-height: 115%;">
Perhaps the most revealing comment about the efficacy of patent
medicines comes from the founder of the Oregon Indian Medicine Company himself.
In his later years, Col. Edwards, “with creaking joints, maneuvered himself in
a barber chair,” when a local resident of Corry, Pennsylvania asked: “Why not
take some of your own medicine?” The old colonel replied: “That ain’t made to
take. It’s made to sell” (Clark 1971:xix).</span><br />
<span style="font-family: "arial" , sans-serif; line-height: 115%;"><br /></span>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0n_sdPhKdLH0OJvfaWNE-f2jchvoxH9ikZghfvzoQFU8LPxlfq34vTFbeU37No2tuOGoR-85kH6Wks8-Sr6F_ipc5Z9CYWHLn5DrkI3PG4ebWKaeNA8wAxlYp6MshJN2xfD12cvC-VFe/s1600/book-cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0n_sdPhKdLH0OJvfaWNE-f2jchvoxH9ikZghfvzoQFU8LPxlfq34vTFbeU37No2tuOGoR-85kH6Wks8-Sr6F_ipc5Z9CYWHLn5DrkI3PG4ebWKaeNA8wAxlYp6MshJN2xfD12cvC-VFe/s1600/book-cover.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">If you have an interest in Northeast Woodland beadwork you
might find my book of interest. <a href="http://www.gerrybiron.com/pages/publications.html" target="_blank">Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron.</a> </span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">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.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<span style="font-family: "arial" , sans-serif; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , sans-serif; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<b><span style="font-family: "arial" , "sans-serif";">References
Cited:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">Altena, Marga<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">2009 “The
Lady and the Indian: Representing an Inter-ethnic Marriage in Dutch and
Canadian News Media (1906-1928).”<i> </i>Published
in the <i>International Journal of Canadian
Studies/Revue international d’ètudes canadiennes 38.<o:p></o:p></i></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">Anderson, Ann<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">2000 <i>Snake Oil, Hustlers and Hambones – The
American Medicine Show</i>. McFarland & Company, Publishers. Jefferson, NC.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">Armstrong, David and Armstrong,
Elizabeth<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1991 <i>The Great American Medicine Show, Being an
Illustrated History of Hucksters, Healers, Health Evangelists and Heroes from
Plymouth Rock to the Present.</i> Prentice Hall, New York.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">Clark, Keith and Donna<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1971 <i>Daring Donald McKay or The Last War Trail of
the Modocs</i>. Oregon Historical Society, Portland, Oregon.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">Dary, David<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">2008 <i>Frontier Medicine from the Atlantic to the
Pacific, 1492-1941</i>. Alfred A. Knopf,
New York.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">Department of Indian Affairs (DIA)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1967 <i>Department
of Indian Affairs and Northern Development – Indians of Quebec and the Maritime
Provinces (An Historical Review)</i>. DIA, Indian Affairs Branch, Ottawa,
Canada.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
<span style="font-family: "arial" , "sans-serif";">Donaldson, Thomas<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1892 <i>The
Six Nations of New York – Cayugas, Mohawks (Saint Regis), Oneidas, Onondagas,
Senecas, Tuscaroras. Eleventh Census of the United States</i>. Robert P.
Porter, Superintendent. <i>Extra Census
Bulletin</i>. Indians. Washington, D.C. United States Census Printing Office.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">Edwards,
Col. T.A.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1884 <i>Daring
Donald McKay, or the Last War-Trail of the Modocs. The romance of the life of
Donald McKay, government scout, and chief of the Warm Spring Indians.</i> Third
Edition. An advertising booklet published by The Herald Printing and Publishing
Company, Ltd. Erie, PA.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">c1888 <i>Luk-Cay-Oti
- Spotted Wolf</i>. An advertising booklet published by the Oregon Indian
Medicine Company, Corry, PA.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">Odell,
John<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1997 <i>Indian
Bottles and Brands</i>. Published by the author.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">Owens,
John Algernon<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1889 <i>Sword
and Pen; or Ventures and Adventures of Willard Glazier (the Soldier-Author) in
War and Literature: Comprising Incidences and Reminiscences of his Childhood;
his Checkered Life as a Student and Teacher; and his Remarkable Career as a
Soldier and Author; Embracing also the Story of his Unprecedented Journey from
Ocean to Ocean on Horseback; and an Account of his Discovery of the True Source
of the Mississippi River, and Canoe Voyage Thence to the Gulf of Mexico.</i>
P.W. Ziegler & Company, Publishers. Philadelphia.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">Phillips,
Ruth B.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">1998 <i>Trading
Identities – The Souvenir in Native North American Art from the Northeast,
1700-1900.</i> University of Washington Press, Seattle and London.
McGill-Queen’s University Press, Montreal and Kingston.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">Scarangella
McNelly, Linda<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 3pt;">
</div>
<div class="MsoNormal" style="margin: 0in 0in 3pt 0.5in; text-indent: -0.5in;">
<span style="font-family: "arial" , "sans-serif";">2012 <i>Native
Performers in Wild West Shows from Buffalo Bill to Euro Disney</i>. University
of Oklahoma Press.<o:p></o:p></span></div>
Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com2tag:blogger.com,1999:blog-8743733062223446224.post-24709520501130911332013-01-03T10:57:00.001-05:002016-05-18T11:43:36.997-04:00Wabanaki Beadwork - Part 2<span style="font-family: "arial" , sans-serif; font-size: large;"><b><a href="http://iroquoisbeadwork.blogspot.com/2013/01/wabanaki-beadwork-part-1.html" target="_blank">Follow this link to Part 1</a></b></span><br />
<span style="font-family: "arial" , sans-serif; font-size: 11pt;"><br /></span>
<span style="font-family: "arial" , sans-serif; font-size: 11pt;"> Wabanaki beaded bags from the
mid-nineteenth century often employed bilaterally symmetrical designs that are
relatively linear in their execution and incorporated limited areas of solid
bead fill (figure 18). The inverted keyhole shape is occasionally encountered during
this period and examples often include the double-curve motif. Early bags that were beaded over paper
patterns are not known to exist. Empirical studies indicate that like the
Haudenosaunee, the earliest Wabanaki bags had linear designs and no areas of
solid bead fill. The paper patterns appear to be a feature found on later bags
and for the most part on the vase or inverted keyhole-shaped examples.</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdBZtyDDbWSBN6yiavSwZQnB-sJyc9y44G98plHIPA5W8Ixpe7qt9N8ORbSGgz6uT8Qb7pMbLA8cf2IFdeazLzmWscNnBou04FkGjZ4En_rGIQNG44bdgHXh-zKsjdI636d6l2-Ymw0y0p/s1600/figure-18e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdBZtyDDbWSBN6yiavSwZQnB-sJyc9y44G98plHIPA5W8Ixpe7qt9N8ORbSGgz6uT8Qb7pMbLA8cf2IFdeazLzmWscNnBou04FkGjZ4En_rGIQNG44bdgHXh-zKsjdI636d6l2-Ymw0y0p/s640/figure-18e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 18 – Beaded bags, Wabanaki type. Glass beads, black velvet fabric, silk
ribbon edge binding. Approximately 6 inches high by 5.4 inches wide. 1840s – 1860s.
Maritime area bags from this period usually had bilaterally symmetrical designs
and they rarely had paper patterns beneath the beads. Bag (c) is from the
collection of Naomi Smith.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<span style="font-family: "arial" , sans-serif; font-size: 11pt;"> </span><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> </span><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">A beaded stitch along the
outside edge binding is uncommon on Wabanaki bags. Earlier examples are similar
to the hexagonal shape found on early Iroquois work (figure 19). As a general
rule, the earliest inverted keyhole-shaped bags have bilaterally symmetrical
designs while those on later examples are asymmetrical. Virtually all the
inverted keyhole-shaped bags I’ve seen incorporated motifs that were solidly
filled with beads, suggesting their construction postdates the hexagonal-shaped
examples.</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsSawR-092C_LMfUvt7gIa2zpA-DuRxIyE2Ys2xs54_A-i332QNNynUy5G6krIDca2QXgu_58cq4wQuS7xFW34YnYqG_TRFT9voTYnMpYv7De_PJbluMyrpt0-DHgh_lxptAFY6gFY2c07/s1600/figure-19e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsSawR-092C_LMfUvt7gIa2zpA-DuRxIyE2Ys2xs54_A-i332QNNynUy5G6krIDca2QXgu_58cq4wQuS7xFW34YnYqG_TRFT9voTYnMpYv7De_PJbluMyrpt0-DHgh_lxptAFY6gFY2c07/s640/figure-19e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 19 </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">–
Beaded bags, Wabanaki type. Glass beads, black velvet
fabric, silk ribbon edge binding. Approximately 6.3 inches high by 6.2
inches wide. Circa 1840s. None of these incorporate the use
of paper patterns beneath the beads. Bag (b) is from the collection of Naomi
Smith.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<div class="separator" style="clear: both; text-align: left;">
</div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> A very early Wabanaki bag is
illustrated in figure 20. The
double-curve figures on this piece consist of both inward and outward turning
curves that are in symmetrical opposition. This bag is hard to date because
it’s such a rare example, but the overall symmetry and linearity of the design
points to an early date, certainly no later than 1840 and possibly a decade or
two earlier. The scallop-shell motif is
very unusual. The beautiful symmetry of this piece is more typical of Wabanaki
work than that of the Haudenosaunee and the beaded fringe along the bottom is a
very rare treatment.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgol0ChM7AIJGS5SdaTRs4LlmmCHa2oXSSNZDqPj2OepUnpz4fSByVzj9XC395i4MV5MIvKX5En5wfDnW490mD6aKz30JehWsy-jUsOXyxOghgzd3g8-5Ms8F2a8ED9eiWaTmnfqglDWZI_/s1600/figure-20e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgol0ChM7AIJGS5SdaTRs4LlmmCHa2oXSSNZDqPj2OepUnpz4fSByVzj9XC395i4MV5MIvKX5En5wfDnW490mD6aKz30JehWsy-jUsOXyxOghgzd3g8-5Ms8F2a8ED9eiWaTmnfqglDWZI_/s640/figure-20e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 20 </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">–
Beaded bag, early Wabanaki type. Glass beads, red
wool broadcloth, silk ribbon edge binding (both sides shown), cotton lining.
8.2 inches high (not counting fringe) by 7 inches wide. Pre-1840. An early
bilaterally symmetrical bag with a scallop shell design. The fringe along the
bottom is a rare treatment.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> <o:p></o:p></span><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> </span><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Interpreting the designs in
the beadwork is difficult as they were often very personal. The neighboring
Naskapi and Montagnais often attributed a design inspiration to a specific
dream. As one Penobscot artist remarked to the anthropologist Frank Speck, in
the early twentieth century, </span><i style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">“The idea of
a design comes into the mind by itself and if you do not make it, you lose it,
and it never comes back again”</i><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> (Speck 1927:59).</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ad6N97nw4RobJZZAnJtVE3XLklTmWockLl301zSWqa-WaSNd4-7Pc38RbNuBO8rU3dMcyBQ-qQQEzF0oGVQYusWzaRBdQ9CnBz2U4ShkILzWBGOQ-ecg7KWlKMjeqa1KAuOuaeScIErJ/s1600/figure-21e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ad6N97nw4RobJZZAnJtVE3XLklTmWockLl301zSWqa-WaSNd4-7Pc38RbNuBO8rU3dMcyBQ-qQQEzF0oGVQYusWzaRBdQ9CnBz2U4ShkILzWBGOQ-ecg7KWlKMjeqa1KAuOuaeScIErJ/s640/figure-21e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-family: "arial" , sans-serif; font-size: 10pt;">Figure 21 – Beaded Bag,
Wabanaki type, possibly Penobscot or Passamaquoddy. Glass beads, red wool
broadcloth, silk ribbon edge binding. 6 </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">inches
in height by 5.9 inches in width. Mid-nineteenth century. The bag outline is a
variation of the inverted keyhole shape. From the collection of the <a href="http://mainestatemuseum.org/" target="_blank">Maine State Museum</a>.</span></td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"><br /></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"><o:p></o:p></span></div>
<br />
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<span style="font-family: "arial" , sans-serif; font-size: 11pt;"> Figure 21 illustrates a variation of the
inverted keyhole shape on an unusual bag from the <a href="http://mainestatemuseum.org/" target="_blank">Maine State Museum</a>. Donald
Scotomah, the tribal historian for the Passamaquoddy in Maine, attributes it to
either the Penobscot or Passamaquoddy.</span><!--EndFragment--> <o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFNk69rg0G5FzlN_hC4Fvwlpwy_c0tY-WJoguhLG8N4AQ2Yte79TlV4ZRcZc8iQQwm0AsPeT9Plloo24AeBC0hFejggrDbqGpA-tnI3RWxxGm3pNEPRWRX-n9rYrNL0ZvNWhdAJ_6BhPp7/s1600/figure-22e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFNk69rg0G5FzlN_hC4Fvwlpwy_c0tY-WJoguhLG8N4AQ2Yte79TlV4ZRcZc8iQQwm0AsPeT9Plloo24AeBC0hFejggrDbqGpA-tnI3RWxxGm3pNEPRWRX-n9rYrNL0ZvNWhdAJ_6BhPp7/s640/figure-22e.jpg" width="568" /></a></td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 22 </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">– <i>The Basketmaker.</i> My portrait of Mamie
Joseph. Colored and graphite pencils, acrylic, watercolor and ink. 28 inches
high by 27 inches wide. Completed in 2003. Mamie was a Penobscot artist and
basketmaker from Indian Island in Old Town, Maine. In
this piece I’ve endeavored to capture the indelible spirit of one Penobscot
artist. Though she is no longer with us, her art survives as a testament to the
beauty of the human spirit, exemplified by her craft.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> A similar bag is depicted in my
portrait of Mamie Joseph (figure 22), a nineteenth-century Penobscot artist and
basketmaker from Indian Island, in Old Town, Maine. There is a long tradition
of basket making among the Penobscot (figure 23a and b). While continuing to
make utilitarian baskets, late nineteenth-century basket weavers began
producing forms that were smaller, more portable, and highly decorated. They
recognized the Victorian fondness for elaboration and produced baskets that
were embellished with decorative weaves, dyed splints and sweetgrass and these
forms have become known as “fancy baskets.”<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKgD6r4zLu7vpwlCuLuo_sBPUUo9djqxLuWXB1jmd_kWAcDk3HmZgj-Bnk7eAYzXZFXNZVBondlTITAEcX-pUOeWkAu1wIKTXzeOcP1crvBcZtBa4MvFe2n5WNmDhfCkws7GBG-gUElNLs/s1600/figure-23ae.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKgD6r4zLu7vpwlCuLuo_sBPUUo9djqxLuWXB1jmd_kWAcDk3HmZgj-Bnk7eAYzXZFXNZVBondlTITAEcX-pUOeWkAu1wIKTXzeOcP1crvBcZtBa4MvFe2n5WNmDhfCkws7GBG-gUElNLs/s640/figure-23ae.jpg" width="640" /></a></td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 23a –
Real Photo Post Card of Maime Joseph in her home on Indian Island in Old Town,
Maine. 3.5 </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">inches high by 5.5 inches wide.
Circa 1907.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPGVDFyHXwa0L12SusXi3PO4sffFZxMGTDJFwbD6MwH7QJsfATK2t0QOsvFBou7UDGHcQDn6vwe_HHy6iPxNBLCRyrZ2UH1rG1u7CuxLR8lhbNemXbGle4zsX1lX_HXlACgSdPH3ihDvSK/s1600/figure-23be.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPGVDFyHXwa0L12SusXi3PO4sffFZxMGTDJFwbD6MwH7QJsfATK2t0QOsvFBou7UDGHcQDn6vwe_HHy6iPxNBLCRyrZ2UH1rG1u7CuxLR8lhbNemXbGle4zsX1lX_HXlACgSdPH3ihDvSK/s640/figure-23be.jpg" width="640" /></a></td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 23b –
Real Photo Post Card of two Penobscot women from Indian Island, in Old Town,
Maine. One is splitting ash for baskets, the other is weaving sweetgrass. 3.5 </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">inches
high by 5.5 inches wide. Circa 1920.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> </span><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">During the nineteenth century, Bar
Harbor, Maine, was one of the largest resort communities on the east coast and
it was also a primary summer market where the Wabanaki sold their crafts (figure
24). Both the Penobscot and Passamaquoddy had encampments there. Others sold
souvenirs to tourists on Indian Island in Old Town, Maine, while some travelled
to resort areas along the coast to market their work.</span><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> </span><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Like the Haudenosaunee, Wabanaki artists were
savvy entrepreneurs and took advantage of every opportunity to sell their imaginative
creations. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9_Svj7dwz6gLVvCJyro7Une2nlXCEVdU7fGuNzu7Fu9BddZhaUHbsr9tTupqKTuYHp6gD7gzcfMMbsIHFf1Hh7mA2ujMIhpipn7-HSu-zewU2-7fypOOtqT0-SQlDfSFfBrXnfYdrE-G-/s1600/figure-24e.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9_Svj7dwz6gLVvCJyro7Une2nlXCEVdU7fGuNzu7Fu9BddZhaUHbsr9tTupqKTuYHp6gD7gzcfMMbsIHFf1Hh7mA2ujMIhpipn7-HSu-zewU2-7fypOOtqT0-SQlDfSFfBrXnfYdrE-G-/s1600/figure-24e.jpg" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 24 – One panel of a
stereo view depicting a Wabanaki encampment titled: <i>“Indian Tents, Bar Harbor, Mt. Desert, Me.”</i> The detail view depicts
several Wabanakis with examples of their baskets. Circa 1870. Photographer:
M.B. Bradley, Bar Harbor, Mt. Desert, Maine.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt;"> Several old photographs suggest that some
Wabanakis were loosely connected with the <a href="http://en.wikipedia.org/wiki/Spiritualist" target="_blank">spiritualist movement</a>. In the second
half of the nineteenth century, a wealthy woman by the name of Mary Colburn
Weston organized a spiritualist group in Onset, Massachusetts. In the summer,
she travelled from her home on Cape Cod to Skowhegan, Maine, where she
befriended many of the local Indians. She also had contacts with the Mi’kmaq in
Nova Scotia and arranged for some of them to come to Onset where they set up
camp, sold their baskets and participated in the activities of the spiritualist
church (figure 25a and b).</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh61bgLLHNbt7WJjuBpicRqePPrjTS0pDjrKBfNFSStKZ4Pz6nULjFI0UVsbLEdEjEoTT4XpuqHZOFH3fL4OMogBlWdGQzFdfA_Us9hU4Wrrvsh2LvRiq3g-198Cnb-aqk22Flcs5lBDtK5/s1600/figure-25ae.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh61bgLLHNbt7WJjuBpicRqePPrjTS0pDjrKBfNFSStKZ4Pz6nULjFI0UVsbLEdEjEoTT4XpuqHZOFH3fL4OMogBlWdGQzFdfA_Us9hU4Wrrvsh2LvRiq3g-198Cnb-aqk22Flcs5lBDtK5/s640/figure-25ae.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">Figure 25a – Printed postcard of Mrs. Mary
Colburn Weston, the head of a spiritualist group at Onset, Massachusetts. 3.5 inches high by 5.5 inches wide. The card is
titled: <i>“Mrs. Weston, President of the
Wigwam, and Indian friends, Onset, Mass.”</i>
The Indians were Wabanaki either from Maine or Nova Scotia. The church
building can be seen in the inset. Copyright 1906 by Samuel J. Smith, Onset,
Massachusetts.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFsFDNSePB08i4auXg9k7eMsjcKT17fSEEEjZd3-Hn5e15M8gm-8nBe1ROD9ROYFFlNYXz9uzdlNph4tOLIzRDcrxXjBFiGguYsswgkf5rbNwh-d_Fu41tdQ8yEzkwC-LI947deuSvIvYK/s1600/figure-25be.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="449" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFsFDNSePB08i4auXg9k7eMsjcKT17fSEEEjZd3-Hn5e15M8gm-8nBe1ROD9ROYFFlNYXz9uzdlNph4tOLIzRDcrxXjBFiGguYsswgkf5rbNwh-d_Fu41tdQ8yEzkwC-LI947deuSvIvYK/s640/figure-25be.jpg" width="640" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 25b – 1879 albumen
photograph of a group of Wabanakis at the Spiritualist Camp in Onset,
Massachusetts. Although Mrs. Weston had Wabanaki friends from the Skowhegan,
Maine area who attended her Spiritualist Group in Onset, these individuals were
Mi’kmaq from the Annapolis Royal area of Nova Scotia. Two Mi’kmaq women, Mary
Tony and Mary Paul, were among this group and are believed to be the women
depicted in this image. Photographer: Burrell, of Brockton, MA.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="font-size: 11pt; line-height: 150%;"> Though the Penobscot
decorated their personal attire with beads, in none of the many old photographs </span><span style="font-size: 14.44444465637207px; line-height: 21.111112594604492px;">I've</span><span style="font-size: 11pt; line-height: 150%;"> studied are beaded souvenirs seen offered for sale (figure 26a & 26b).
Though the beadwork that decorated traditional Penobscot clothing and </span></span><span class="apple-style-span" style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">accoutrements</span><span style="font-family: "arial" , sans-serif;"><span style="font-size: 11pt; line-height: 150%;"> was as skillfully done and as
aesthetically pleasing as that of any of the Wabanaki beadworkers, Speck noted that
most of the area tribes regarded the Penobscot more for their wood-carving
abilities. <o:p></o:p></span></span><br />
<span style="font-family: "arial" , sans-serif;"><span style="font-size: 11pt; line-height: 150%;"><br /></span></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt;">Their work
manifests care and skill, the intrinsic merit of their designs and their
technique apparently entitling them to rank among the best native wood carvers
in the north. Compared with the adjacent tribes the Penobscot are quite profuse
in artistic decorations. It is indeed rather unusual to find tools and other
wooden objects among the Penobscot which have not some ornamentation, either
purely aesthetic or combined with utility in the form of cross-hatching or
series of triangles which serve to make the hand-hold firmer (Speck 1927:
55-56).<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<br />
<div style="line-height: 11.25pt; margin-bottom: .0001pt; margin: 0in;">
</div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-line-height-alt: 11.25pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"> </span></span><span style="font-family: "arial" , sans-serif; line-height: 11.25pt;"><span style="font-size: x-small;">Regarding
their beadwork he says:</span></span></div>
<span style="font-size: x-small;"><u1:p></u1:p>
</span><br />
<div style="line-height: 11.25pt; margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin: 0in 0in 0.0001pt 0.5in;">
<span style="font-family: "arial" , sans-serif;"><span style="font-size: x-small;">Whereas, prior to a period dating
back only some thirty years (late nineteenth century), the aesthetic impulses
of these Indians expressed themselves in the production of beautiful bead and ribbon
work designs. Now since there is hardly any beadwork done in the village, they
find artistic expression in the
construction and designing of splint and sweetgrass baskets (Speck 1927:56).</span></span><span style="font-size: 5.5pt;"><o:p></o:p></span></div>
<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrtaTZlBb6mjzq96rpkRngehL8S8XsrfhNduUlDos8ZUm4aQPJ6crryxDE4J8aYr_9fH_kZRVpuhuyUSbqmyGvEZ4dOB8xQEnw8wtF7oyO56FA-JioY-JM8x0pMOn2PvCszFeOkziWRi2T/s1600/figure-26ae.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrtaTZlBb6mjzq96rpkRngehL8S8XsrfhNduUlDos8ZUm4aQPJ6crryxDE4J8aYr_9fH_kZRVpuhuyUSbqmyGvEZ4dOB8xQEnw8wtF7oyO56FA-JioY-JM8x0pMOn2PvCszFeOkziWRi2T/s640/figure-26ae.jpg" width="640" /></a></td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 26a </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">–
Real Photo Post Card of a Penobscot handiwork display in Old Town, Maine. 3.5 inches high by 5.5 inches wide. Dated on the
back: July 6, 1936. Most of the pieces offered for sale are either baskets or
items made from birch bark.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 26b – Two Real Photo
Post Cards of Sylvia Stanislaus, a Penobscot baketmaker. 3.5 inches high by 5.5 inches wide. The top image is
dated 1911 and is at the Farragut Hotel at Rye Beach, New Hampshire where she
regularly sold her work. The lower image was taken in 1921. She represented the
Penobscot at the 1893 Columbian Exposition, in Chicago, and again in San
Francisco, in 1906. She died in 1938. Though the images were taken about ten
years apart, she was still using the same textile to cover her display table.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> It is possible that the
beautiful beadwork Speck mentions was made for sale to tourists, but he could
have been referring to the decorations found on their raiment. There is enough
ambiguity in his statement for the question to remain open. The lack of adequately
documented Penobscot souvenir bags and other beaded tourist items suggests that
this was not a thriving activity among them. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt;">Beadwork
flourished among those groups who had ready access to material and who received
enough remuneration from their work to make their handiwork economically
viable. For the Penobscots, beadwork was largely reserved for internal use – to
decorate personal regalia, such as peaked caps, headbands, cape collar and cuff
sets, coat and dress lapels and skirts worn for special occasions (Faulkner
1998: 37). </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdNbu_ysEZ1coF10vC87q8I2_yMmQaVPRovYvDSa6_yl99P9HDdQSViwG3LUHrhohMSBXFf__hJfoPp0essjJHodqH89612lgNbrQ4khuT1Bc3q-5OLV5Q3MXKgzKpvuAt5k0Dltsa860E/s1600/figure-27e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdNbu_ysEZ1coF10vC87q8I2_yMmQaVPRovYvDSa6_yl99P9HDdQSViwG3LUHrhohMSBXFf__hJfoPp0essjJHodqH89612lgNbrQ4khuT1Bc3q-5OLV5Q3MXKgzKpvuAt5k0Dltsa860E/s1600/figure-27e.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 27 – Real Photo Post
Card of Joe Francis, a Penobscot wearing a large beaded chief’s collar with a
deer motif. 5.5
inches high by 3.5 inches wide. Circa 1912. Photographer: A.F. Orr, Old
Town, Maine.<o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Fannie Hardy Eckstorm wrote that the Penobscot <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: .5in;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">“. . . were not masters of beadwork”
(Eckstorm [1932] 1980:31). She says that
“examples of more elaborate work are rare, although the Indians still have the
broad collar with a running deer on the front of it, which is passed on from
one governor to another as a badge of office [figure 27]. There used to be many pictures of Indians
wearing this collar of heavy beadwork, coming half-way down the breast. It has
even been photographed on a woman, who would have no right to wear it [figure 28].
How old it may be, it is impossible to tell; pictures of it probably go back as
much as sixty years, and no doubt the collar is much older” (Eckstorm [1932]
1980:32).<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMYwwW9Q9gFTRXTOmeJ_1nkxHClxzrVJrNh7ApwMVeBLExEWzAKGPAZvI8Aak9oYT9vjdkZ-k4Zikc5kwdm-hx3-R6-8HqH7mnpj1ARzBlKDdTS7w_idG1ZT-wg6rCyj2QLPfURulmfyTJ/s1600/figure-28e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMYwwW9Q9gFTRXTOmeJ_1nkxHClxzrVJrNh7ApwMVeBLExEWzAKGPAZvI8Aak9oYT9vjdkZ-k4Zikc5kwdm-hx3-R6-8HqH7mnpj1ARzBlKDdTS7w_idG1ZT-wg6rCyj2QLPfURulmfyTJ/s1600/figure-28e.jpg" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 28 – Real Photo Post
Card of Clara Neptune, a Penobscot elder, wearing the same beaded chief’s
collar depicted in figure 27.
5.5 inches high by 3.5 inches wide. Circa
1912. Photographer: A.F. Orr, Old Town, Maine.<o:p></o:p></span></div>
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<br /></div>
<span style="font-family: "arial" , sans-serif; font-size: 11pt;"> The two designs on either side of the deer
appear to be trees [figure 29]. The motifs are uncommon and generally not seen
on souvenir beadwork. Even the treatment of the leaf motifs, with the dark
center band, is unusual on Wabanaki work. There are also two, large circular
floral-like motifs done in a quasi-Mohawk style of raised beadwork that have
thick bundles of beads dangling from the center.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcc9dbCgy8dOFsSiTkrxN4S6kU1C-jiqtbLNVxRu-vR1G61EtlX5U2H2mqJ2CKijtqXuzMgqxtGxoA9LQaJrERBqDZaV_qjKaYVyRPAzhO6QYCECnrnrtwnJRGERoiZQKeJZv_0FzIsZvc/s1600/figure-29e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcc9dbCgy8dOFsSiTkrxN4S6kU1C-jiqtbLNVxRu-vR1G61EtlX5U2H2mqJ2CKijtqXuzMgqxtGxoA9LQaJrERBqDZaV_qjKaYVyRPAzhO6QYCECnrnrtwnJRGERoiZQKeJZv_0FzIsZvc/s640/figure-29e.jpg" width="640" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 29 – Detail of the
chief’s collar. <o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Eckstorm goes on to say:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt;">Considerable
cheap beadwork, largely pincushions made of beads cut from glass rods, [bugle
or embroidery beads] used to be sold by our Indians, but it was not made by
them and had no claim to merit. A small amount of minor work was done for sale
such as watch cases and pocket cases, the beads being small and predominantly
light blue, with some vermilion and white ones for accents. This may, or may
not, have been Penobscot work, though one piece which I particularly recall was
no doubt local. . . <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt;">The result
of a cursory examination of the small amount of material available or
remembered, is an opinion that after they ceased to wear wampum belts. . . [they] did very little good beadwork. To them beads were merely a finish used on
clothing to give contrast and vivacity to the work. The most elaborate examples
were some of the collars and pointed revers [a coat lapel or trimmings to
suggest one] worn by the men either separately or attached to coats. Here the
ornamentation was often profuse and striking, but unless the ‘double-curve’
patterns were employed, it had little design. Women were apt to use beadwork on
their moccasins and leggings, or on their caps, possibly on detached collars
after the old wampum collars were given up (Eckstorm [1932] 1980:33-34).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<span style="font-family: "arial" , sans-serif; font-size: 11pt;"> Two circa 1900 George Hunt business cards
lists the items the Penobscot had for sale and beadwork is not on the list (figures
30 & 31). Their specialty was making baskets and other wood derived items
and the photographic evidence suggests that they were not heavily involved in
the production of souvenir beadwork.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDarS0KetDKsw1YPOImzrOhy-Ug23tKl60YIn4IFxTN_VxqKMbf3s26KwyPME3lZxf2VmtuSbN1aH_3KZViAgZNi3qlyvp44nrfFlBHe6s0C2AI7m5lrDxTMezFRxRctp1aua8qgDcJ2Xk/s1600/figure-30e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDarS0KetDKsw1YPOImzrOhy-Ug23tKl60YIn4IFxTN_VxqKMbf3s26KwyPME3lZxf2VmtuSbN1aH_3KZViAgZNi3qlyvp44nrfFlBHe6s0C2AI7m5lrDxTMezFRxRctp1aua8qgDcJ2Xk/s640/figure-30e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-family: "arial" , sans-serif; font-size: 10pt;">Figure 30 – Business card
for George H. Hunt, the Indian agent for the Penobscot in Old Town, Maine. 2.75
</span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt;">inches high by 4.5 inches wide. Circa 1900. Hunt
ran an agency store in Old Town where he sold Indian novelty items that were
made by the Penobscot. A distant view of the Penobscot village, on Indian Island,
can be seen on the card.</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-1BP3rgU9pbtEb5YfAe50P8Kkx0b89IYjSbseN6vDKHvmwZG7GcwHxjDAdI09kKsZU_eD_46bLIEk8CwiMIdZsnC3HLINX3pRYjyaMoClCynsINNpwuFYBB4qZtaTkuSBYs5Fcda38OTi/s1600/figure-31e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-1BP3rgU9pbtEb5YfAe50P8Kkx0b89IYjSbseN6vDKHvmwZG7GcwHxjDAdI09kKsZU_eD_46bLIEk8CwiMIdZsnC3HLINX3pRYjyaMoClCynsINNpwuFYBB4qZtaTkuSBYs5Fcda38OTi/s640/figure-31e.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 31 – Another business card for George H. Hunt, the Indian
agent for the Penobscot, on Indian Island, in Old Town, Maine. 3.5 inches
high by 5.5 inches wide. Circa 1900. This card list’s the Penobscot items he
had for sale.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0n_sdPhKdLH0OJvfaWNE-f2jchvoxH9ikZghfvzoQFU8LPxlfq34vTFbeU37No2tuOGoR-85kH6Wks8-Sr6F_ipc5Z9CYWHLn5DrkI3PG4ebWKaeNA8wAxlYp6MshJN2xfD12cvC-VFe/s1600/book-cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0n_sdPhKdLH0OJvfaWNE-f2jchvoxH9ikZghfvzoQFU8LPxlfq34vTFbeU37No2tuOGoR-85kH6Wks8-Sr6F_ipc5Z9CYWHLn5DrkI3PG4ebWKaeNA8wAxlYp6MshJN2xfD12cvC-VFe/s1600/book-cover.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">If you have an interest in Northeast Woodland beadwork you
might find my book of interest. <a href="http://www.gerrybiron.com/pages/publications.html" target="_blank">Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron.</a> </span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">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.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 11pt;"><br /></span></b>
<b><span style="font-family: "arial" , sans-serif; font-size: 11pt;"><br /></span></b>
<b><span style="font-family: "arial" , sans-serif; font-size: 11pt;">References Cited in Part 1 & 2<o:p></o:p></span></b></div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Bourque, Bruce J and Labar, Laureen A.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">2009 <i>Uncommon Threads: Wabanaki Textiles, Clothing, and Costume</i>. Maine
State Museum in association with University of Washington Press. Seattle and
London<o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoEndnoteText">
<b><span style="font-family: "arial" , sans-serif; font-size: 11pt;"> </span></b><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Department of Indian Affairs</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">1967 <i>Department of Indian Affairs
and Northern Development – Indians of Quebec and the Maritime Provinces (An
Historical Review)</i>. Published by the DIA, Indian Affairs Branch, Ottawa ,
Canada <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; mso-outline-level: 1;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Eckstorm, Fannie Hardy<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">[1932] 1980 <i>The Handicrafts of the
Modern Indians of Maine</i>, published by Robert Abbe Museum, Bar Harbor,
Maine. Printed by Jordan – Frost Printing Co., Bangor, Maine.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Faulkner, Gretchen Fearon & Prince, Nancy & Sapiel, Jennifer<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">1998 <i>Beautifully Beaded: Northeastern Native American Beadwork</i> in American
Indian Art Magazine, Volume 24, Number 1, Winter edition. <o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoEndnoteText">
<b><span style="font-family: "arial" , sans-serif; font-size: 11pt;"> </span></b><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Johnson, John W.</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">1861 <i>Life of John W. Johnson who was Stolen by the Indians when three years
of age, and identified by his father twenty years afterwards</i>. Related by
himself. Biddeford, Maine.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; mso-outline-level: 1;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Speck, Frank<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">1927 <i>Symbolism in Penobscot Art</i>. Anthropological Papers of the American
Museum of Natural History. Volume XXIX, Part II. Published by the American
Museum of Natural History, New York City.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; mso-outline-level: 1;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Wallace, Wilson D. and Wallace, Ruth Sawtell<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">1955 <i>The Micmac Indians of Eastern Canada</i> – University of Minnesota
Press, Minneapolis.<o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoEndnoteText">
<b><span style="font-family: "arial" , sans-serif; font-size: 11pt;"> </span></b><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Whitehead, Ruth Holmes</span></div>
<div class="MsoNormal" style="line-height: 150%; mso-outline-level: 1;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">2001 <i>The Traditional Material Culture of the
Native Peoples of Maine</i> in Bruce Bourque, <i>Twelve Thousand Years: Native Americans in Maine</i>. Lincoln:
University of Nebraska Press.<o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoEndnoteText">
<span style="font-family: "arial" , sans-serif; font-size: 11pt;"> </span><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Willoughby, Charles C.</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">1905 <i>Textile Fabrics of the New England Indians,</i> in American
Anthropologist, New Series, Volume 7, F. W. Hodge, Editor, Lancaster, PA.<o:p></o:p></span></div>
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com2tag:blogger.com,1999:blog-8743733062223446224.post-42755858020078246742013-01-03T10:01:00.000-05:002016-05-18T11:45:05.993-04:00Wabanaki Beadwork - Part 1<br />
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> The Wabanaki are the “People
of the Dawn” or the “Dawn Land People,” the name they called themselves.
Traditionally, subsistence for the Wabanaki was based on hunting and gathering.
After European settlement and the eighteenth-century wars between the French
and English, they were forced to settle on reservations. The rapid growth of
non-Indian settlements during the early nineteenth century also placed
substantial pressure on the Wabanaki. This compelled Native communities to
devise a new survival strategy.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> Making wood splint baskets is
perhaps the oldest native craft produced by the tribes in this region and
images of the Wabanaki and their baskets appear in paintings and prints from as
far back as the eighteenth century. Willoughby reports that the earliest
explorers and settlers of New England make no mention of splint baskets among
the native population, though at least eight other varieties are mentioned
(Willoughby 1905:85). Ruth Holmes Whitehead writes that <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt;">Splint
baskets, too, are apparently a European introduction, first taken up as a
commercial product in the late eighteenth century… [Furthermore] there are no
surviving precontact basket fragments in wood splints, and they are not
mentioned in any seventeenth-century source (Whitehead 2001: 292-293).<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> The depletion of game on the
reservations became a turning point as the men had to find other means of
providing for their families. By the nineteenth century, some had become
lumberjacks and worked on the big river drives. Others hired themselves out as
guides and untold numbers worked in the lumber mills or in shoe factories.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> Since the seventeenth
century, the sale of small, decorative items had been a limited source of revenue
for Indian women but as interaction with European settlers increased, they
developed a new line of native arts and crafts that became a significant source
of income for many Indian households.
Baskets comprised the greatest percentage of this trade (figure 1).<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW1iaVtv66nrb9j1npLQg8BMlkyAcVHRdyZl_FuwbshyphenhyphenE_GAd0hU0E4nKMcQ-JtmhFPRk25aGYtKokZQb1R9XxaeH8cznkVwGbOwi5ufmaJYjM7I3LbkmLLxA3GVnoF2J8NdKqZiRIiKEC/s1600/figure-01e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW1iaVtv66nrb9j1npLQg8BMlkyAcVHRdyZl_FuwbshyphenhyphenE_GAd0hU0E4nKMcQ-JtmhFPRk25aGYtKokZQb1R9XxaeH8cznkVwGbOwi5ufmaJYjM7I3LbkmLLxA3GVnoF2J8NdKqZiRIiKEC/s640/figure-01e.jpg" width="640" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 1 – Real Photo Post
Card (RPPC) of Mi’kmaq chief Noel and his wife. Between them is a display of
their baskets. 3.5 inches high by 5.5
inches wide. Circa 1910.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> Some Wabanaki became quite
nomadic in their pursuit of a living from their crafts while others used Indian
middlemen to sell their work. As early as 1827, it was reported that a group of
Passamaquoddy’s were camped at the Battery in New York City selling their
“domestic manufactures” (Source: American Advocate, July 21, 1827).<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> In 1833, John W. Johnson, a
three year old white settler’s child from Hollis, Maine, was kidnapped by a
family of Mi’kmaq. He quickly adopted their lifestyle and spent most of his
life among the Wabanaki. In 1861, he published an account of his life as an
Indian. His narrative attests to the itinerant life style of many members of
the culture he came to embrace (Johnson 1861). <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt;"> </span><span style="font-family: "arial" , sans-serif; font-size: 11pt;">In the winter of 1840 Johnson travelled to
Prince Edward Island with his Mi’kmaq family to sell baskets and fancy articles
to sailors who docked in the seaside ports. In the summer of 1846 he was on
Cape Breton Island for the winter making baskets and fancy boxes decorated with
porcupine quills, which his family sold from $1 to $15 each, depending on how
elaborately decorated they were.</span><span style="font-family: "arial" , sans-serif; font-size: 11pt;"> </span><span style="font-family: "arial" , sans-serif; font-size: 11pt;">In
March of the following year, he managed to obtain passage on a steamer to
Boston where he took up residence in a boarding house. On some days he would
set up his display of baskets on the Boston Common and offered his wares to
anyone who was interested. At other times he sold them by going from house to
house. From Boston he travelled to New Bedford and Fall River, Massachusetts
then to Providence, Rhode Island, and eventually to New York, where he disposed
of the balance of his stock. And so went his life. When he ran out of inventory
he would catch a steamer back to Halifax where he acquired more fancy work from
his brethren to sell in the markets he had developed along the east coast. In
1848, he met an Old Town, Maine, Penobscot by the name of Frank Loring or “Big
Frank,” aka “Big Thunder” as he was customarily known (figure 2).</span><span style="font-family: "arial" , sans-serif; font-size: 11pt;"> </span><span style="text-align: center;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: 11pt; line-height: 150%;">Loring acted as an agent for a travelling company of Indian
entertainers. When John Johnson was in Old Town, he procured some Indian
outfits and proceeded to New York where he </span><span style="font-size: 14.44444465637207px; line-height: 21.111112594604492px;">traveled</span><span style="font-size: 11pt; line-height: 150%;"> about for a time with Big
Frank, performing in his Indian theatrical group.</span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBObK5ls45KNtqJHk2QuQXSv21KB2gZtrfqCrH2oiRLSyl2hHNuATq6aiZ0xAEqv40rUhiQOw1rNoCgc23DP0Grjygk49NIgVNvj4NRoQJUI6o_SQJigZBcmeLcji_pQakys_TWYFatubj/s1600/figure-02e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBObK5ls45KNtqJHk2QuQXSv21KB2gZtrfqCrH2oiRLSyl2hHNuATq6aiZ0xAEqv40rUhiQOw1rNoCgc23DP0Grjygk49NIgVNvj4NRoQJUI6o_SQJigZBcmeLcji_pQakys_TWYFatubj/s1600/figure-02e.jpg" /></a></td></tr>
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<span style="font-size: 10pt; line-height: 150%;">Figure 2 – Printed Post Card
of Frank Loring, aka “Big Frank” or “Big Thunder,” a Penobscot chief and
showman. 5.5 inches high by 3.5 inches wide. Circa 1912. Old Town, Maine. <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt;"><span style="font-size: 11pt; line-height: 150%;"> Perhaps in response to the
nineteenth-century timber industry, which brought about a deferential change in
the traditional lifestyle of the Penobscot, many Wabanaki were unwilling or
unable to settle down as farmers or work in the lumber mills. So a transient
lifestyle as entertainers or as artisans, making and selling baskets and other
wood derived crafts became a viable alternative.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt;"><span style="font-size: 11pt; line-height: 150%;"> Resort areas in Vermont and
New Hampshire were frequent destinations for these Algonquian speakers seeking
outlets for their baskets and other souvenir items. The Passamaquoddy and Penobscot from Maine
frequently travelled to resort destinations to sell their work (figure 3). In
this circa 1870 stereoview by C. A. Paul of Skowhegan, Maine, a group of
Indians can be seen camped at the foot of Mt. Kineo, on Moosehead Lake. The image is rich with examples of early
fancy baskets, birch bark canoe models and several bark containers. </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzZmo8zGTqoIpaqeNnuetbw06xD31yzY7gPCED_0oADUvXjn-XZ521JktVB_iCS751t1lTe3Qb6eDQZi6HjmR12WmTYWz_awsQ7DxvNiEsbcPDlf7owZ8Pb6EnM_0myDK8uF86xA6pJw3f/s1600/figure-03e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzZmo8zGTqoIpaqeNnuetbw06xD31yzY7gPCED_0oADUvXjn-XZ521JktVB_iCS751t1lTe3Qb6eDQZi6HjmR12WmTYWz_awsQ7DxvNiEsbcPDlf7owZ8Pb6EnM_0myDK8uF86xA6pJw3f/s640/figure-03e.jpg" width="604" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: 10pt;">Figure 3 – One panel from a stereo view
depicting a group of Wabanaki basket makers camped at the foot of Mt. Kineo, on
Moosehead Lake, Piscataquis County, Maine. Photographer: C.A. Paul of
Skowhegan, Maine. Numerous baskets, model canoes, bark containers and other
souvenir items can be seen in the image</span></td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt;"><span style="font-size: 11pt; line-height: 150%;"> </span><span style="font-size: 11pt; line-height: 150%;"> </span><span style="font-size: 11pt; line-height: 150%;">Other groups of Abenaki were
selling their baskets throughout the resort areas in the White Mountains and in
Vermont (figure 4).</span><span style="font-size: 11pt; line-height: 150%;"> </span><span style="font-size: 11pt; line-height: 150%;">By the end of the
nineteenth century,</span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt;"><span style="font-size: 11pt;">A few families
among the Abenakis of St. Francis still hunted at this time, though game was
becoming increasingly scarce. Their principal industry was basket-making and
fancy work. They worked at handicrafts all winter and in June most of the
families went to sell their wares at various summer resorts in the United
States, especially along the Atlantic coast and in the White Mountains (figure 5).
Around the turn of the century they lost the long standing privilege of
carrying their wares to the United States duty-free and this removed their most
profitable market. Around the same time the establishment of a National Park in
their area brought about restrictions of hunting and fishing and the Indians
had to turn more attention to agriculture (Department of Indian Affairs
1967:20).</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB1-pXEakRDamPmTn6jiV6_nwKDfkP4dUmpt5GvNippkYxFUjzKafXvK0ioLFSR4SUKBe3xzuUrN8zWG-M06goitldR7UMR5B2Lx1GPTth6N0OLpmay1AI0akK8zBgioEnCGay4ebT5B1s/s1600/figure-04e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB1-pXEakRDamPmTn6jiV6_nwKDfkP4dUmpt5GvNippkYxFUjzKafXvK0ioLFSR4SUKBe3xzuUrN8zWG-M06goitldR7UMR5B2Lx1GPTth6N0OLpmay1AI0akK8zBgioEnCGay4ebT5B1s/s1600/figure-04e.jpg" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 4 – Two printed post
cards of a group of Abenakis selling their handicrafts in the White Mountains
of New Hampshire.<i> </i> 3.5 inches high by 5.5 inches wide. Circa
1910.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGUm5Fz2obKanLqlVQDbYJeQq2MDFUsS1z_ahvnyTfqvwJhN7uqmZfNFAy3p_vrJxjOoRSt7NE0ppcJrXAAu0VlJ5jNpxPDvi78YjcRV9iugPgUCjXzliAw8mqEuHtt87FrW97bs-fJZT_/s1600/figure-05e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGUm5Fz2obKanLqlVQDbYJeQq2MDFUsS1z_ahvnyTfqvwJhN7uqmZfNFAy3p_vrJxjOoRSt7NE0ppcJrXAAu0VlJ5jNpxPDvi78YjcRV9iugPgUCjXzliAw8mqEuHtt87FrW97bs-fJZT_/s1600/figure-05e.jpg" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 5 – Carte-de-Visite titled: <i>Indian Camp at Franconia</i> (New Hampshire). 4 inches high by 2.5
inches wide. Circa 1860s. Possibly a group of Abenakis. Numerous baskets can be
seen on the table.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> It’s unclear if the western
Abenaki were involved in making and selling souvenir beadwork during the
nineteenth century such as bags, hats and what are generally referred to as
whimsies. Baskets, birch bark canoe
models, bark containers and other wood derived items appear to have been the
mainstay of their commoditized crafts. In a rare handbill, pasted to the inside
cover of a book on the Abenaki and English language, is an advertisement for
the handicrafts that the Abenaki had for sale in the summer of 1893 (figure 6).<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 6 – A
rare handbill advertising hand-made Abenaki Indian wares in Intervale, New
Hampshire. 6 inches high by 4 inches wide. Circa 1893.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> Their eastern relatives in
Maine, New Brunswick and Nova Scotia did produce beadwork for the souvenir
trade as well as for personal use. The
beadwork the Wabanaki made for themselves varied over time. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt;">[They] gave
their textiles and costumes, in particular, more exuberant ornamentation than
other Northeastern groups. It would have distinguished them at formal
gathering. For example, Micmacs used a particular T-shaped element; Maliseet
double curves often had tightly coiled terminals; Penobscot examples often
included a stepped design; and both Penobscot and Passamaquoddy beadwork
sometimes used a motif of contiguous lozenges possibly derived from the Ottawa…
These ethnic markers would be readily identifiable to the members of many
tribes who attended diplomatic gatherings … or the grand council fire (Bourque
and Labar 2009:82-83).<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibFZEbbeV1rbW03_qEcSLYnggLOfhNoKUiWnXOA7sXBiOg6oseEP8nVSp4Gl9JpFrkj_Ysw9qI644vH73sI4CyzKT0GO-8Ccmw6QC8i4tCNrAeL1_TQl2iGgo37f6DV416RIkDgRyGX0M0/s1600/figure-07e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibFZEbbeV1rbW03_qEcSLYnggLOfhNoKUiWnXOA7sXBiOg6oseEP8nVSp4Gl9JpFrkj_Ysw9qI644vH73sI4CyzKT0GO-8Ccmw6QC8i4tCNrAeL1_TQl2iGgo37f6DV416RIkDgRyGX0M0/s640/figure-07e.jpg" width="624" /></a></td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 7 –
Beaded Bags, Wabanaki type, vase or inverted keyhole shape. Glass beads, black
velvet fabric, various materials used for the edge binding. The bag in the
center is 6.2 </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">inches high by 5.2 inches wide.
<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> Wabanaki commoditized
beadwork had features that varied from those seen on Iroquois work. Beaded bags
for instance, were often in the shape of a vase or an inverted keyhole (figure 7),
though there are variations to this (figure 8a and 8b). The flowers and leaf
patterns on the vase shaped bags are stylistically distinctive. Many of the
flowers are daisy-like and can have as many as fifteen petals or as few as five
and they usually have squared-off or gently rounded ends (figure 9). There
doesn’t appear to be as many of these bags as the Haudenosaunee examples,
perhaps because the Wabanaki were more involved in the basket trade.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6dcktbDuNUqgfrdZkvV8LZmx3pQXjIpAqp8-lrOWvnDzauPkAtmuxkNsFvTykeZ4f_D1cdJ7dq3a1ILFcAOBef60-LkXfOxjfrvcqvmuPAxseP5fmbhouDlK0eUiYBH7hoLwASkyiBFHL/s1600/figure-08ae.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6dcktbDuNUqgfrdZkvV8LZmx3pQXjIpAqp8-lrOWvnDzauPkAtmuxkNsFvTykeZ4f_D1cdJ7dq3a1ILFcAOBef60-LkXfOxjfrvcqvmuPAxseP5fmbhouDlK0eUiYBH7hoLwASkyiBFHL/s640/figure-08ae.jpg" width="528" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="line-height: 150%; text-align: left;">
<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 8a –
Beaded Bag, Wabanaki type. Glass beads, red wool broadcloth, green silk edge
binding. 5.7 </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">inches high by 5.5 inches wide.
Second half of the nineteenth century.
The bag outline is a variation of the vase or inverted keyhole shape.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdTGsIX3ivF3RHdaTBnXMtMFTzuxzrYnTM-1R3CZ1l4LUuj5xRdJGpC4erV1TjtVPCuvJNNSi7YS1LB1LVorHczu61fHbXsnCzhBWJ0Sx_s9BO2unvufKcRKvlP65jEFvW9UUmIx57_UNb/s1600/figure-08be.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdTGsIX3ivF3RHdaTBnXMtMFTzuxzrYnTM-1R3CZ1l4LUuj5xRdJGpC4erV1TjtVPCuvJNNSi7YS1LB1LVorHczu61fHbXsnCzhBWJ0Sx_s9BO2unvufKcRKvlP65jEFvW9UUmIx57_UNb/s640/figure-08be.jpg" width="492" /></a></td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 8b –
Beaded Bag, Wabanaki type. Glass beads, red wool broadcloth band, red velvet
extended top with drawstring, deer hide lining. 6 inches high by 5.5 inches
wide. Second half of the nineteenth century.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> The leaf patterns on Wabanaki
bags are often in the shape of a heart or ovate and usually fully beaded (figure
10). Like the Iroquois, the Wabanaki
also incorporated paper patterns upon which their flower and leaf designs were
beaded. The main stem of the floral design often rises from the center base of
the bag in a flat bundle of beads, each string of which connects to a flower or
leaf. These stems occasionally had bi-lobed or tri-lobed buds or ears connected
to them (figures 9 & 10). Generally,
this style of Wabanaki bag didn’t have a two-bead or zippered edging along the
outside.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjePwJDV41X9H45cmdfNwBtURcXoKacwRT8zwortP8KLafWkzlvhS4jWJZcaTXeIebd-brScoNpSh44wz8Y4yjKJOwMBwimL1x-gHVY7UzQ1Tn9syv5sUzb0j7j_rK3RGC14O_pinskLAM5/s1600/figure-09e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjePwJDV41X9H45cmdfNwBtURcXoKacwRT8zwortP8KLafWkzlvhS4jWJZcaTXeIebd-brScoNpSh44wz8Y4yjKJOwMBwimL1x-gHVY7UzQ1Tn9syv5sUzb0j7j_rK3RGC14O_pinskLAM5/s1600/figure-09e.jpg" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 9 – Detail view
illustrating some of the unique design elements found on Wabanaki beaded bags.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ZUZ6x-Fzi94uycCv4CIjUHiryiBrDpxBsthj9Zwgg129Bn5ARlvylm3Xm9yWFAqHj-TKa7d9YCprlAYrPhpLmqz_Q6ObOQc9ETNn3RjtXnm1dvvkj5lQ0HpDbu4bYUjPrrc2m7wQ2MZa/s1600/figure-10e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ZUZ6x-Fzi94uycCv4CIjUHiryiBrDpxBsthj9Zwgg129Bn5ARlvylm3Xm9yWFAqHj-TKa7d9YCprlAYrPhpLmqz_Q6ObOQc9ETNn3RjtXnm1dvvkj5lQ0HpDbu4bYUjPrrc2m7wQ2MZa/s640/figure-10e.jpg" width="486" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 10 – Beaded Bag, Wabanaki type, inverted keyhole shape. Glass
beads, black velvet fabric, brown velvet edge binding. 6.75 inches high
by 5.75 inches wide. Third quarter of the nineteenth century. A
beautiful example with a thistle design and examples of heart-shaped leaves.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> </span><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Jennifer Neptune, a Penobscot
artist, points out that some of the repeated motifs seen on early souvenir bags
were meant to convey a message about the individual or group identity of those
who created them.</span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt;">I see
medicine plants in the designs, and it’s obvious to me that people were beading
designs of plants that were highly valued to themselves, their families, and
their tribe. When I look at the floral designs I see plants that ease
childbirth, break fevers, soothe coughs and colds, take away pain, heal cuts,
burns, and bruises, and maintain general health.… A hundred years ago plants
were the main source of medicine for Natives as well as non-Natives. With the
knowledge and importance of these plants in our culture beadworkers needed to
look no further than their own backyards for their own floral designs. A
hundred years later these same plants are still in our backyards, are still
being used for healing, and are still being used to inspire our beadwork
designs (Faulkner, Prince & Neptune 1998:41).<o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> A rare and beautiful example
of Wabanaki beadwork is a bag with a large sun motif as the focal point of the
design (figure 11). This piece incorporates a limited color palette, suggesting
an earlier date. The other side of the
bag has three symmetrically placed daisy-like flowers with 12 petals, each
connected to the center base of the bag by a single string of white beads. Some
of the floral elements along the stem and at the top are suggestive of the
double-curve motif.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghqkA-K_7M-nUZ0qg7Vpih3o6GkdpeT287H-DWkT9fTKBIRFR_JPNbZDrOusrKFoUvBaT7Fv1HlOJmrbEQjMjBlV0MKvTzGiIO1qnyRShxFL3AxFwA44ZzcPg9E26W40Ttm9JZhimBiSQb/s1600/figure-11e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghqkA-K_7M-nUZ0qg7Vpih3o6GkdpeT287H-DWkT9fTKBIRFR_JPNbZDrOusrKFoUvBaT7Fv1HlOJmrbEQjMjBlV0MKvTzGiIO1qnyRShxFL3AxFwA44ZzcPg9E26W40Ttm9JZhimBiSQb/s640/figure-11e.jpg" width="640" /></a></td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 11 –
Beaded Bag, Wabanaki type, inverted keyhole shape (both sides shown). Glass
beads, black velvet fabric, silk ribbon edge binding and carrying strap, cotton
lining. 6.2 </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">inches high by 5.2 inches wide.
Circa 1850. The tassel is made entirely
of faceted metal beads and may not be original to the bag but it could have
been added by the original owner.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> The vast majority of these bags
are identified as Maliseet and occasionally they are assigned to the
Passamaquoddy or the Mi’kmaq. Rarely is this style clearly attributed to the
Penobscot. Images of people wearing vase
or inverted keyhole-shaped bags are also quite rare (figure 12).<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI7OwuiNguOqoZKWd8PHQTo93jRMzgNOjKFCR-bZrdNs4KPrxl8NaJuZBo_SmVI0pRBEkwr42Lm__lNycLx7gWe153hL-zLgO6SSftkqWIgfd7p2K5XcjPuMxqpCgiH7UVSDlVJTGSG6UL/s1600/figure-12e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI7OwuiNguOqoZKWd8PHQTo93jRMzgNOjKFCR-bZrdNs4KPrxl8NaJuZBo_SmVI0pRBEkwr42Lm__lNycLx7gWe153hL-zLgO6SSftkqWIgfd7p2K5XcjPuMxqpCgiH7UVSDlVJTGSG6UL/s640/figure-12e.jpg" width="536" /></a></td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 12 – Daguerreotype,
3.3 inches high by 2.3 inches wide. Mid 1850s. A young girl with what might be
a Wabanaki bag in the inverted keyhole or vase shape.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> </span><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Two rare examples of a
Mi’kmaq bag are illustrated in figure 13.</span><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">
</span><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">So few of these exist that just a single beadworker may have made them.
The contour on one is similar to the Haudenosaunee hexagonal shape, but the
sides on this example are curved rather than segmented. The internal designs
are also much more symmetrical and curvilinear than those seen on Haudenosaunee
work. Both of these bags are beaded onto red wool serge, of the type generally
seen on Canadian military uniforms, and the beads on both are strung with
horsehair. A similar bag is illustrated in </span><i style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 150%;">The
Micmac Indians of Eastern Canada </i><span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">by Wallace and Wallace, page 82. It’s
pictured alongside other articles of traditional Mi’kmaq dress attire, such as
beaded trousers, moccasin vamps, epaulets, and women’s caps. Perhaps so few of
these exist because they were made for personal use and not to be sold as
souvenirs.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMYeKgb-Y-7P5QyaxJ95ydvFH3oHgb0xSvpcJ5ULtiXOALZNgt7KhMu5i08d9rCqt93pg4TVHSbJtbFLlOTWIwIOa7tr0tLeBsClIizDRl0W1tE6UYd2ZTlYu-pan4M9jW2AcNYyJMAuAC/s1600/figure-13e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMYeKgb-Y-7P5QyaxJ95ydvFH3oHgb0xSvpcJ5ULtiXOALZNgt7KhMu5i08d9rCqt93pg4TVHSbJtbFLlOTWIwIOa7tr0tLeBsClIizDRl0W1tE6UYd2ZTlYu-pan4M9jW2AcNYyJMAuAC/s1600/figure-13e.jpg" /></a></td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 13 –
Beaded Bags, Mi’kmaq type. Glass beads sewn onto red wool serge of the type
seen on Canadian military uniforms. The bag with the metal frame (both sides
shown), is 6 </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">inches high by 6 inches wide. The other bag (both sides
shown) is 5.75 inches high by 6.125 inches
wide and it once had a blue silk ribbon edge binding. Both are circa 1840s. The beads on both bags are strung on
horsehair. The similarity of the curvilinear designs, bead colors and
construction methods suggest that both were made by the same artist. The bag
without the metal frame is from the collection of Richard Green. <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt;"> A very rare Mi’kmaq bag (figure 14) was
found with the following old note: <i>“The
work of Molly Muise wife of Governor of the Mic Mac Tribe in Annapolis”</i>.
She is reputed to have lived to a great age and was so respected by her white
neighbors that they erected a tombstone in her memory. She was born in Digby
County, Nova Scotia, sometime in the third quarter of the eighteenth century
and lived on the Bear River Indian Reserve, so this bag could date to the late
eighteenth or the early nineteenth-century. A mid-nineteenth-century tintype of
her in the <a href="http://nativeheritageproject.com/2012/05/21/mikmaq-portraits-collection-from-the-nova-scotia-museum/" target="_blank">Nova Scotia Museum</a> is believed to be the earliest portrait of a
Mi’kmaq woman by a photographic process (figure 15).</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0k2oBG90oYdKu1bPiQel-TCiZYi_DBO-X5gdupRC11hfTzZfqindXN-kYEteJYnzSwPcvosBj6X3DLAdMdxegLkwSlnN1VbNGGfloP1CuRdJQNuY5gQ6r0CjtLJ7bFxtIUnvMDBG_Vim9/s1600/figure-14e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="542" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0k2oBG90oYdKu1bPiQel-TCiZYi_DBO-X5gdupRC11hfTzZfqindXN-kYEteJYnzSwPcvosBj6X3DLAdMdxegLkwSlnN1VbNGGfloP1CuRdJQNuY5gQ6r0CjtLJ7bFxtIUnvMDBG_Vim9/s640/figure-14e.jpg" width="640" /></a></td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 14 –
Beaded bag, early Mi’kmaq type. Glass beads, three red wool broadcloth panels,
three black velvet panels (both sides shown). Green silk sides and extended
top. Cotton lining.</span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;"> 7.25 inches
high by 5 inches wide by 2.75 inches thick. Circa 1800. A very rare and early
Native made drawstring reticule. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxdZUlBBtWmqlbVNpAE7K8_LZ9UisNIR9b5Q4TM_yQc3tktTbm0balyCvHRt5pEBnrmkHnC5pzhO8P2H5b2csMbtTH7F0USecMseXCWrtLZfVQwMG5x-PkBOjLCDlRhvNewBDsKEuKo8hY/s1600/figure-15e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxdZUlBBtWmqlbVNpAE7K8_LZ9UisNIR9b5Q4TM_yQc3tktTbm0balyCvHRt5pEBnrmkHnC5pzhO8P2H5b2csMbtTH7F0USecMseXCWrtLZfVQwMG5x-PkBOjLCDlRhvNewBDsKEuKo8hY/s1600/figure-15e.jpg" /></a></td></tr>
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<span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">Figure 15 – Tintype of Molly
Muise. Mid-nineteenth century. From the collection of the Nova Scotia Museum.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 11pt;"> Like the Haudenosaunee, the Wabanaki had
favorite venues for selling their work. In a classic turn-of-the-century
postcard titled <i>“Indians on the
Reservation near Fredericton, New Brunswick”</i> (figure 16) a group of what
were likely Maliseet were standing by the edge of the St. John River. The wide panel along the bottom of the
woman’s dress was beautifully beaded with floral motifs that are very similar
to those on the Wabanaki bag in figure 17. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghPhcGSHxiGGn61I7nPLk8QlMB2ki4HJvf0TOfv-oap2NDyE8sVM9JkZCDMaRa7zszZgpR96pjXIgo98pWfJ262KGgI6tYIsQ69y4l6MuHdX4WGzEO2jpaGlUhKWe09VIpzX7JR2pHCXie/s1600/figure-16e.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghPhcGSHxiGGn61I7nPLk8QlMB2ki4HJvf0TOfv-oap2NDyE8sVM9JkZCDMaRa7zszZgpR96pjXIgo98pWfJ262KGgI6tYIsQ69y4l6MuHdX4WGzEO2jpaGlUhKWe09VIpzX7JR2pHCXie/s640/figure-16e.jpg" width="640" /></a></td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 16 – A
circa 1880 image printed on a circa 1913 post card titled: <i>“Indians on the Reservation near Fredericton, N. B.” </i>3.5 </span><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 150%;">inches wide by 5.5 inches
high. The original photo was taken during a St. Anne’s Day celebration at
Kingsclear, New Brunswick. Likely a group of Maliseet. Photographer: William
Taylor of Fredericton.<o:p></o:p></span></div>
</td></tr>
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<span style="font-family: "arial" , sans-serif; font-size: 10pt; line-height: 150%;">Figure 17 – Beaded Bag, Wabanaki type, inverted keyhole shape, possibly
Maliseet. Glass beads, black velvet fabric, silk ribbon edge binding, cotton
lining. 6.3 inches high by 5.2 inches wide. The second half of the nineteenth century. The
floral motifs on this bag are quite similar to those along the bottom panel of
the woman’s dress in figure 16.<o:p></o:p></span></div>
</td></tr>
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<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> Fredericton, New Brunswick,
was likely one of those centers where beadwork flourished. It was the
Provincial capital and would have been a destination for travelers. Located on
the St. John’s River, a transportation lifeline on an early fur-trade route, it
attracted many people to its fertile shores. For hundreds of years the Maliseet
would seasonally hunt, fish and grow corn and squash along its banks. They
established a permanent settlement there in 1847. The St. Mary’s Indian Band of
Maliseet and the Kingsclear First Nations Band are still located nearby. <o:p></o:p></span></div>
<div class="MsoNormal">
<div style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"> On Prince Edward Island, Mi’kmaq
basketmakers often travelled to the mainland for their basket material as it
was in limited supply locally. The <span class="apple-style-span">accessibility</span>
of beads may account, in part, for the regional development of beadwork.
Beading supplies were likely more available in or near the larger cities. For
those not willing or able to travel, basketmaking was perhaps a better
alternative, especially if basketmaking supplies could be harvested nearby. <o:p></o:p></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;"><br /></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><a href="http://iroquoisbeadwork.blogspot.com/2013/01/wabanaki-beadwork-part-2.html" target="_blank">Follow this link to Part 2</a></span></div>
</div>
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<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">If you have an interest in Northeast Woodland beadwork you
might find my book of interest. <a href="http://www.gerrybiron.com/pages/publications.html" target="_blank">Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron.</a> 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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">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.<o:p></o:p></span></div>
</td></tr>
</tbody></table>
<b><span style="font-family: "arial" , sans-serif; font-size: 11pt;"><br /></span></b>
<b><span style="font-family: "arial" , sans-serif; font-size: 11pt;"><br /></span></b>
<b><span style="font-family: "arial" , sans-serif; font-size: 11pt;">References Cited in Part 1 & 2<o:p></o:p></span></b></div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Bourque, Bruce J and Labar, Laureen A.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">2009 <i>Uncommon Threads: Wabanaki Textiles, Clothing, and Costume</i>. Maine
State Museum in association with University of Washington Press. Seattle and
London<o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; mso-outline-level: 1;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Department of Indian Affairs <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">1967 <i>Department of Indian Affairs
and Northern Development – Indians of Quebec and the Maritime Provinces (An
Historical Review)</i>. Published by the DIA, Indian Affairs Branch, Ottawa ,
Canada <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; mso-outline-level: 1;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Eckstorm, Fannie Hardy<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">[1932] 1980 <i>The Handicrafts of the
Modern Indians of Maine</i>, published by Robert Abbe Museum, Bar Harbor,
Maine. Printed by Jordan – Frost Printing Co., Bangor, Maine.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Faulkner, Gretchen Fearon & Prince, Nancy & Sapiel, Jennifer<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">1998 <i>Beautifully Beaded: Northeastern Native American Beadwork</i> in American
Indian Art Magazine, Volume 24, Number 1, Winter edition. <o:p></o:p></span></div>
<div class="MsoEndnoteText">
<b><span style="font-family: "arial" , sans-serif; font-size: 11pt;"> </span></b><b style="line-height: 150%;"><span style="font-family: "arial" , sans-serif; font-size: 11pt;"> </span></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Johnson, John W.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">1861 <i>Life of John W. Johnson who was Stolen by the Indians when three years
of age, and identified by his father twenty years afterwards</i>. Related by
himself. Biddeford, Maine.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; mso-outline-level: 1;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Speck, Frank<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">1927 <i>Symbolism in Penobscot Art</i>. Anthropological Papers of the American
Museum of Natural History. Volume XXIX, Part II. Published by the American
Museum of Natural History, New York City.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; mso-outline-level: 1;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Wallace, Wilson D. and Wallace, Ruth Sawtell<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">1955 <i>The Micmac Indians of Eastern Canada</i> – University of Minnesota
Press, Minneapolis.<o:p></o:p></span></div>
<div class="MsoEndnoteText">
<b><span style="font-family: "arial" , sans-serif; font-size: 11pt;"> </span></b><b style="line-height: 150%;"><span style="font-family: "arial" , sans-serif; font-size: 11pt;"> </span></b></div>
<div class="MsoNormal" style="line-height: 150%; mso-outline-level: 1;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Whitehead, Ruth Holmes<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-outline-level: 1;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">2001 <i>The Traditional Material Culture of the
Native Peoples of Maine</i> in Bruce Bourque, <i>Twelve Thousand Years: Native Americans in Maine</i>. Lincoln:
University of Nebraska Press.<o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">Willoughby, Charles C.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , sans-serif; font-size: 11pt; line-height: 150%;">1905 <i>Textile Fabrics of the New England Indians,</i> in American
Anthropologist, New Series, Volume 7, F. W. Hodge, Editor, Lancaster, PA.<o:p></o:p></span></div>
<br />
<br />Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com0tag:blogger.com,1999:blog-8743733062223446224.post-66862391186703467622012-11-30T16:54:00.001-05:002012-12-06T09:43:53.555-05:00Handsome Lake's Obituary<div class="separator" style="clear: both; text-align: center;">
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I came across this recently and thought some of you might
find it of interest. To the best of my knowledge, it's the first published
report of the death of Handsome Lake, a great leader and prophet, who
played a major role in reviving traditional religion among the Haudenosaunee
(People of the Longhouse), or Six Nations Iroquois Confederacy. He preached a
message that combined traditional Haudenosaunee religious beliefs with a
revised code meant to revive traditional consciousness to the Haudenosaunee
after a long period of cultural disintegration following colonization. This
message was eventually published as the "Code of Handsome Lake" and
is still practiced today. This obituary was published just a few weeks after his
death in August of 1815 in the Niles' Weekly Register, a publication from
Baltimore, Maryland. </div>
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<br />Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com0tag:blogger.com,1999:blog-8743733062223446224.post-4358739594010089942012-08-28T16:16:00.000-04:002013-09-30T20:40:34.790-04:00New Book on Iroquois Beaded Bags<br />
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<span style="color: #333333; mso-bidi-font-family: Tahoma;"><span style="font-size: large;"><b>A Cherished Curiosity: The Souvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art</b></span></span></div>
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<span style="color: #333333; mso-bidi-font-family: Tahoma;"><br />
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<span style="color: #333333;"> Since the early 19<sup>th</sup> 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. These bags</span><span class="apple-style-span"> played a crucial role in the subsistence of many Indian families during the 19<sup>th</sup> century. T</span>his 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.</div>
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The beaded bags are considered in the context of art, fashion, and the tourist economy. Illustrated with over one hundred and sixty of the most important and exquisite examples, 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 long neglected and misunderstood area of American Indian art. </div>
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Hard Cover with Dust Jacket - 8.5 x 11 inches. 184 pages.</div>
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Limited printing of only 1500 copies. The book can be ordered from me directly through my website: <a href="http://www.gerrybiron.com/pages/publications.html">http://www.gerrybiron.com/pages/publications.html</a></div>
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Below is a sampling of pages from the book so you can preview it before purchasing. </div>
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.comtag:blogger.com,1999:blog-8743733062223446224.post-39348072087192771432012-07-20T17:33:00.007-04:002016-05-18T11:55:29.479-04:00Iroquois Beaded Bags with a Metal Frame and a Selection of Recently Uncovered Old Photographs<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>On July 8, 2014 I made some changes to this posting.</b></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Non-Native purses have been around since at least the 16<sup>th</sup> century. They are known by many names; among them the pocketbook, the purse, chatelaine, the handbag, and the reticule. There was also a man’s travelling bag called a handbag or satchel, although this was a piece of luggage but during the 19<sup>th</sup> century, the term “handbag” came to describe a larger version of a woman’s purse. The earliest handbags that were designed for women featured compartments, a sturdy handle, metal frames and fastenings all inspired by men’s travelling bags. By the mid-19<sup>th</sup> century, Berlin woolwork purses with floral and geometric design were also at the height of their popularity. But of all the bags that have come in and out of fashion over the years, perhaps none has been more cherished than the beaded bag.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Sandy Levins, the director of programming at the Camden County Historical Society, wrote: <i>Beaded bags, whether handcrafted or commercially produced, have been in vogue in North America for well over 200 years and in Europe for much longer. In the late 1300s, the English poet Geoffrey Chaucer described one in "The Miller's Tale," the story of a love affair between an Oxford student and a carpenter's wife. Of the female character he wrote: “By her belt hung a purse of leather tasseled with green and beaded with Italian beads…."<o:p></o:p></i></span></div>
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<i><span style="font-family: "georgia" , "times new roman" , serif;">The earliest beaded bag was usually knitted in a drawstring style called a reticule, which also became known as an “indispensable” because it developed a universal popularity almost overnight. So popular was the reticule, it became an absolute “must” for fashionable ladies in 19th century Europe where the Empress Josephine, internationally known for her sense of fashion, carried a reticule with her at all times. Romantic figures, pastoral scenes, and flora and fauna became common themes rendered in the tiniest of beads.<o:p></o:p></span></i></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><i>Between 1820 and 1830, beaded bags supported by metal frames came into vogue. Coming primarily from France and Austria, the frames were made of everything from pinchbeck, an alloy of copper and zinc made to look like gold, to tortoiseshell. Chains, often formed of decorative, ornate links, were attached to the frames.</i> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc6PUonPhzvTc1De24MEnBXYkJv_aY08sIDLJW1PFun2lS_3ZKIQhmzWv8AYC0gFgB_DRHsr8PWEgg68gYoZbfYKPiVYsiu_4XrFiPecmVqABjlRMu84Evy0DXxcV980DsopmmBXK2GF0j/s1600/01.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc6PUonPhzvTc1De24MEnBXYkJv_aY08sIDLJW1PFun2lS_3ZKIQhmzWv8AYC0gFgB_DRHsr8PWEgg68gYoZbfYKPiVYsiu_4XrFiPecmVqABjlRMu84Evy0DXxcV980DsopmmBXK2GF0j/s640/01.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 1 – A metal frame for a beaded bag from the late 19th century.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo_dopsSo8mAAdtLyXbws4TpWP0C9bLsf2p-JFz6m4kxC7Fcrmgunpa0DryoB-H5i06D3xtME22P6Q6OBVWme5HF5U4l1SaDcxipn4bL94dgOs7Gdhwk33vpKfHd-yGxfmsDHjKQBM4C7e/s1600/02.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo_dopsSo8mAAdtLyXbws4TpWP0C9bLsf2p-JFz6m4kxC7Fcrmgunpa0DryoB-H5i06D3xtME22P6Q6OBVWme5HF5U4l1SaDcxipn4bL94dgOs7Gdhwk33vpKfHd-yGxfmsDHjKQBM4C7e/s640/02.JPG" width="424" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 2 – A non-Native bag embroidered with beads and with a metal frame. Late 19th - early 20th centuries.</td></tr>
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Figure 3 – A non-Native Native bag embroidered with beads and with a metal frame. Late 19th-early 20th centuries.</div>
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Figure 4 – A non-Native bag embroidered with beads and with a metal frame. Dated 1846 in beads although the frame is from the late 19th century.</div>
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<span style="font-family: "georgia" , "times new roman" , serif;">During the first few decades of the 19<sup>th</sup> century, purse design was at its height. Napoleon’s wife Josephine was a purse aficionado and designers worked tirelessly to please her and her court with an endless array of purses. Unique shapes, materials and construction methods were a hallmark of the time and it’s during this period that purses with metal frames came into being.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Occasionally, we come across Native made beaded bags that have the same metal frames that are found on European bags which raises the question; were they originally designed into the bags by Native artisans because they were fashionable, or were they added later by someone else? Paula Higgins, a member of the Antique Purse Collector's Society and the co-author of a book on antique and vintage purses titled <a href="http://www.amazon.com/Passion-Purses-1600-2005-Paula-Higgins/dp/0764326171">A PASSION FOR PURSES </a>has shed some light on this. She informed me that the purses pictured in this posting, that have a metal twist clasp, all date after the 1870s. Collectors of antique purses have been aware that many purses, which would include those made by Native artisans, were mounted or re-mounted on later frames. It was a common practice as framed purses gained popularity in the late 19th century. So essentially, the owners recycled the bags and put them on more contemporary frames. This practice continued on into the early 20th century. The only exception is the bag in the Daguerreotype in figure 12. Paula has informed me that this frame, which is barely visible, has a chain which is classic 1840s and seen on many purses from that period. These frames are shaped like an eyebrow but with less of a curve and it is made of steel, as is the chain. So this frame is contemporary to the bag pictured and might have been added by the Native artisan who made the bag.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiFxirgUWsD2ykerlmF4dRxUEDWoZF3iiOuJ_aFZvvhTUBBwg-l3WdcuCcOgjAZx-wXo96E0i54-pjcT3VQB1GwtzH4GHWlLCj3H9hA1BuHnfyapbjW2BnZkKp5_h_v1PM7rWNGljhdYJ2/s1600/05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiFxirgUWsD2ykerlmF4dRxUEDWoZF3iiOuJ_aFZvvhTUBBwg-l3WdcuCcOgjAZx-wXo96E0i54-pjcT3VQB1GwtzH4GHWlLCj3H9hA1BuHnfyapbjW2BnZkKp5_h_v1PM7rWNGljhdYJ2/s400/05.jpg" width="381" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 5 – An Iroquois beaded bag with a metal frame. The bag is from the 1830s; the metal frame is from the late 19th century. </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Figure 6 – An Iroquois floral bag in the Niagara style with ovate florals and a metal frame. <br />
The bag is circa 1850; the metal frame is circa 1920.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Figure 7 – An Iroquois floral bag in the Niagara style with elongated leaf motifs and a metal frame. The bag is from 1855-1860; the frame from the late 19th century.</td></tr>
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Figure 9 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the frame is from the late 19th century.</div>
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<tr><td class="tr-caption" style="text-align: center;">Figure 10 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the metal frame is from the late 19th century.</td></tr>
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Figure 10a – Detail of the metal frame in figure 10. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzQjSVuUgDo8UO5YFcb1d6ZJA4SfPOltlWBC4LXRCB9Uf8eR56yuyBnc3ggM5K8gz3r1R5SZWzC0m5cuukK7i8Q07X7Qdk0KUntfgMA9GujPe0h2Zom0uBQXmmSRJnwEw1Di6QMvS2HFiY/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzQjSVuUgDo8UO5YFcb1d6ZJA4SfPOltlWBC4LXRCB9Uf8eR56yuyBnc3ggM5K8gz3r1R5SZWzC0m5cuukK7i8Q07X7Qdk0KUntfgMA9GujPe0h2Zom0uBQXmmSRJnwEw1Di6QMvS2HFiY/s640/11.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 11 – A rare example of a Mi’kmaq beaded bag with a metal frame. The bag is circa 1840s; the frame from the late 19th century. Glass beads sewn onto red wool serge of the type seen on Canadian military uniforms. The beads are strung on horsehair.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Figure 12 – Daguerreotype. Late 1840s to early 1850s. The subject is holding an Iroquois beaded bag with a metal frame at the top. </td></tr>
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In July of 2011, I did a posting that illustrated a collection of 19<sup>th</sup> century images of women and young girls who were photographed with an Iroquois beaded bag. </div>
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These old images testify to the prestige and the prevailing taste for Haudenosaunee beadwork during the middle decades of the nineteenth century and it speaks to the especially high regard Victorian women held for these purses, an appreciation that would contribute to the preservation of the beaded bags now so prized by collectors.</div>
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I’m always on the lookout for these old images and below is a new group that has surfaces since the previous posting. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBZwa4DvV7UKGXAI6vhRwnnyD630zvk3qddnODEAp46mTrZ8qey1TVoRb3MpnorLvT1o4-oczNFLW81y-kTQPDuoqWOa0KZ_NawDNP16WioDQbU6CENRzYOrsbJV9Uw20L8-BwXZO1ieK7/s1600/13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBZwa4DvV7UKGXAI6vhRwnnyD630zvk3qddnODEAp46mTrZ8qey1TVoRb3MpnorLvT1o4-oczNFLW81y-kTQPDuoqWOa0KZ_NawDNP16WioDQbU6CENRzYOrsbJV9Uw20L8-BwXZO1ieK7/s640/13.jpg" width="478" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 13 – Daguerreotype – 1840s. The young girl has a Mohawk style beaded bag. See figure 14 for an example of a similar bag. I originally dated this image to circa 1860 but Karen Augusta, a textile expert, thinks the clothing style the young girl is wearing could be as early as the 1840s. This would push back the dating of this style of purse by at least two decades.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMquDLBipMNReeCfL93aa6DUkuYN7dSjUMMdu0RxcQfIP1Bq3UGFYZjkThHMPgwgf9Oir9tVNZxH_TE9BAn3oMW_FselOAk2mmxih3mhYRA3m4Hix2CotmejuHuEFA7rr5e65rg2MqICBC/s1600/14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMquDLBipMNReeCfL93aa6DUkuYN7dSjUMMdu0RxcQfIP1Bq3UGFYZjkThHMPgwgf9Oir9tVNZxH_TE9BAn3oMW_FselOAk2mmxih3mhYRA3m4Hix2CotmejuHuEFA7rr5e65rg2MqICBC/s640/14.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 14– Beaded bag, possibly Kahnawake Mohawk, 1840s-1860s. Similar to a bag illustrated in a document in the research files of the Iroquois Museum in Howes Cave, New York that was collected at Caughnawaga, circa 1860. This bag is similar to the one illustrated in figure 13.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN9Il53mXpg_bu0n8KMoU_rYFduh8TLESVcN6nYBkg1PmhFkfFJOBJqDyYRyYUCVjDFsGlt1c9GBipanH2YzvmiqxyPASO4LvunmYkrkb-NepV0_mD92y_k-s7XiWIrtP7rNMNbV624Zll/s1600/15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN9Il53mXpg_bu0n8KMoU_rYFduh8TLESVcN6nYBkg1PmhFkfFJOBJqDyYRyYUCVjDFsGlt1c9GBipanH2YzvmiqxyPASO4LvunmYkrkb-NepV0_mD92y_k-s7XiWIrtP7rNMNbV624Zll/s640/15.jpg" width="548" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 15 – Hand tinted daguerreotype – young girl with ringlets in her hair and a white pinafore. Mid-1850s. She has an Iroquois floral bag that is similar to the one in figure 16.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk9J55ewBIXWuRzlHj3KTnSKdekfoUlS72YsBauTGIjnDAFYjeB9MpmKrjW0smwmZYiZywkN1n7Wgdrda2qE44q2bfLqlDuVz7k9YTDhyphenhyphenjBbOvsS6ZRYCzqMn6AmeBVMnGFrwe7J-S075I/s1600/16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="566" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk9J55ewBIXWuRzlHj3KTnSKdekfoUlS72YsBauTGIjnDAFYjeB9MpmKrjW0smwmZYiZywkN1n7Wgdrda2qE44q2bfLqlDuVz7k9YTDhyphenhyphenjBbOvsS6ZRYCzqMn6AmeBVMnGFrwe7J-S075I/s640/16.jpg" width="640" /></a></td></tr>
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Figure 16 – Iroquois floral bag, mid-1850s. Similar to the one in figure 15.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1HVd7BbPtin6gZu-NwAmC4hHiixdzsSY42zEVdBhO6Wy9O-ldz7zVM8XGJAEwClP2FUiVhh4vR6qr5R1uCoLzcx-CKUkvmUUnKxF6WJb26bd2ilzTdGrbh6lGowzPJ7Y1wQparpihsYZ_/s1600/17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1HVd7BbPtin6gZu-NwAmC4hHiixdzsSY42zEVdBhO6Wy9O-ldz7zVM8XGJAEwClP2FUiVhh4vR6qr5R1uCoLzcx-CKUkvmUUnKxF6WJb26bd2ilzTdGrbh6lGowzPJ7Y1wQparpihsYZ_/s640/17.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 17 – A rare Daguerreotype of three children in fancy dress. Fancy dress is what costume parties were called in the 19th century. They were immensely popular and many had dress-up themes from earlier decades or centuries. This image is hard to date because the costumes are from different time periods. The young girl wears a circa 1850 dress. The boy on the right may be wearing a Renaissance outfit which would be a bit later. So this could be 1850s - 1860s. The young lady has a Mohawk beaded bag similar in style to the one in figure 18.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBcPw0ulL2zWOPoMzeSF2BujeQ_p50nT7oMpT8lNtwAdNFdXIl00ShbZ_6w7Fsg4KrlcPE0EYI3z_hlC4TwQDfFIyiqNrT1HMrSxINksSim4usYc4vVgXVaeIDHvQpCibi6164SpWexAg9/s1600/18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBcPw0ulL2zWOPoMzeSF2BujeQ_p50nT7oMpT8lNtwAdNFdXIl00ShbZ_6w7Fsg4KrlcPE0EYI3z_hlC4TwQDfFIyiqNrT1HMrSxINksSim4usYc4vVgXVaeIDHvQpCibi6164SpWexAg9/s640/18.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 18 – A Mohawk style beaded bag with similarities to the one in figure 17.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_5spYE_cx8BL_l4Ipu7iLjcXEfPpto6xPtLJnxXcj6N2de3_ScHot22dWxxjES-tPohhyvM18Oba6c368XlXOvHzWAmcyd1IuxRSEIx4w8plEJjMDu3LrlUsec6_3NSHc4rarVTEyaS3w/s1600/19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="578" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_5spYE_cx8BL_l4Ipu7iLjcXEfPpto6xPtLJnxXcj6N2de3_ScHot22dWxxjES-tPohhyvM18Oba6c368XlXOvHzWAmcyd1IuxRSEIx4w8plEJjMDu3LrlUsec6_3NSHc4rarVTEyaS3w/s640/19.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 19 – A carte-de-visite from the Civil War. There is a two-cent revenue tax stamp on the back that is dated August 14th, 1864 – likely the day the image was taken. The photographer was H. A. Upthegrove of Crown Point, Indiana. The young girl with the bag is identified as Matilda Farwell. She has an Iroquois beaded bag that is quite similar to the one in figure 20.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIgWgvesRy4JiItiSYndNY2pMHeVbxvqot6DWJ_eD1o2kyKe8JnI5QVJkUIrZ4qjuGNDoKIjWXFGVkmik9m6Xdcl9th3CRpGhaUQwHTjacYpJiu6uR4GkiXNSMxIp5GODVb1cRACGjjll_/s1600/20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="582" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIgWgvesRy4JiItiSYndNY2pMHeVbxvqot6DWJ_eD1o2kyKe8JnI5QVJkUIrZ4qjuGNDoKIjWXFGVkmik9m6Xdcl9th3CRpGhaUQwHTjacYpJiu6uR4GkiXNSMxIp5GODVb1cRACGjjll_/s640/20.jpg" width="640" /></a></td></tr>
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Figure 20 – An Iroquois beaded bag that is quite similar to the one in figure 19.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxlTHl3C7zNREiJnZvv4peZyRS8VJCePyekeREBui3QB6S9_ruGFxL9ugByEl4P9Ac1L5YEwD9_HQ27Za3mhmpSyQZTeCjfCBLD69vcR3Op_lm_oymS6KwUI7ZISaPWK-lgHsKJbpCYj1c/s1600/21.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxlTHl3C7zNREiJnZvv4peZyRS8VJCePyekeREBui3QB6S9_ruGFxL9ugByEl4P9Ac1L5YEwD9_HQ27Za3mhmpSyQZTeCjfCBLD69vcR3Op_lm_oymS6KwUI7ZISaPWK-lgHsKJbpCYj1c/s640/21.jpg" width="536" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 21 – Ambrotype – late 1850s of a well dressed and fashionable young woman with an Iroquois floral bag that is decorated with elongated leaf clusters. Her bag is similar to the one in figure 22.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg08fJ245Y3y6_kbug2YLDMJc1PSbOnFlRBHf1GawDJVQGP3iQSBr5fiheDzNxER89TTm7cPEaRPMFOKpBCBZBIoa-rCevuFsU7EndGVdnlM_ct05OBfQncgDloLN1rF8aoeaF6oDoWM9bY/s1600/22.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg08fJ245Y3y6_kbug2YLDMJc1PSbOnFlRBHf1GawDJVQGP3iQSBr5fiheDzNxER89TTm7cPEaRPMFOKpBCBZBIoa-rCevuFsU7EndGVdnlM_ct05OBfQncgDloLN1rF8aoeaF6oDoWM9bY/s640/22.jpg" width="518" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 22 – An Iroquois beaded bag. 1855-1860. Similar to the one in figure 21.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRspuDpdNnz2URk5s1gAUS10KjlQQCYPfzFBmLDBPJo_9xIvnhSQs4D7v1xX0oFSGkp_11qvoGtKoOzeTkDVEWwqDLvpUP2FbmtHzIvB6IuVDnKFOBQRAKCeTv4DdSqcVTZ0UByx3-zIJ9/s1600/23.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRspuDpdNnz2URk5s1gAUS10KjlQQCYPfzFBmLDBPJo_9xIvnhSQs4D7v1xX0oFSGkp_11qvoGtKoOzeTkDVEWwqDLvpUP2FbmtHzIvB6IuVDnKFOBQRAKCeTv4DdSqcVTZ0UByx3-zIJ9/s640/23.jpg" width="534" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "calibri" , sans-serif; font-size: 11pt; line-height: 115%;">Figure 23 – Early 1860s Ambrotype. This <span style="color: #222221;">is a</span> rare post mortem image of a child with an Iroquois beaded bag that is similar to the one in figure 20. Post mortem photography was in common use in the 19<sup>th</sup> century as a way to memorialize a loved one. Since mortality rates were very high during this period, especially among children, t</span><span style="background-color: white; font-family: "calibri" , sans-serif; font-size: 11pt; line-height: 115%;">hese photographs served less as a reminder of one’s mortality than as a cherished memento to commemorate the deceased.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0EQZqoCUTQcXVR1ZYSAZLJy-W7-s8iF8Coo4Yzc07KdYdsUPggYiMGSpcX361VYP0FH49vsm0_gvp_SmVbt3hFLdBIK91WtnoRRTFBS8cjYYJf1tcU9CT6eX9rr-skhcIHDatcCCQeOk1/s1600/24.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0EQZqoCUTQcXVR1ZYSAZLJy-W7-s8iF8Coo4Yzc07KdYdsUPggYiMGSpcX361VYP0FH49vsm0_gvp_SmVbt3hFLdBIK91WtnoRRTFBS8cjYYJf1tcU9CT6eX9rr-skhcIHDatcCCQeOk1/s640/24.jpg" width="510" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 24 – A lovely circa 1860 tintype of a young lady with an Iroquois beaded bag.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-family: "calibri" , sans-serif; font-size: 11pt; line-height: 115%;">Figure 25 – An unusual tinted tintype of a young man dressed in buckskins. He is wearing an Iroquois floral bag. He might be dressed for a play or some other event. What’s with that hat he’s wearing?</span> </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Figure 26 – A later cabinet card that was a copy of a mid-1850s daguerreotype. Both young women have similar Iroquois floral bags.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBzJnNwseEYvso7YQZHYC38U4GN7zGlslp2Ggnm4m-f3pI4N4V9SHLdYTNy0QO_NooxEln1B2sH0U7-mNhA_SsbG68X1JRtxgNcLzGmjpnEN_8tLyRYsI09CLq5zaUnQsSJalWX-wc790F/s1600/27.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBzJnNwseEYvso7YQZHYC38U4GN7zGlslp2Ggnm4m-f3pI4N4V9SHLdYTNy0QO_NooxEln1B2sH0U7-mNhA_SsbG68X1JRtxgNcLzGmjpnEN_8tLyRYsI09CLq5zaUnQsSJalWX-wc790F/s640/27.jpg" width="464" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 27 – A circa 1910 group photograph of four individuals that are decked out in beads. The young woman on the left is wearing an outfit that is quite similar to those offered for sale in the catalogs for the Improved Order of Redmen. She is also holding a Mohawk box purse with an owl motif. The older gentleman’s trousers are totally beaded as is the young boys vest!</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ2gHMzYAZjTFH2eHGpCTlyX6-HH-jY8hmQeeuBFuJcHlX3EyDY_cAN6URCcxfbGRjus7RlRjQh3YjHg14jYQyslPMdI4AFXgdEAa6SpsXWBjDKKtwa9o1q4JAopeNWVjsLNgEufOClJE4/s1600/28.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ2gHMzYAZjTFH2eHGpCTlyX6-HH-jY8hmQeeuBFuJcHlX3EyDY_cAN6URCcxfbGRjus7RlRjQh3YjHg14jYQyslPMdI4AFXgdEAa6SpsXWBjDKKtwa9o1q4JAopeNWVjsLNgEufOClJE4/s640/28.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 28 – This painting of the Wykes children was done in 1852 by the Rev. David Bulle of Sidney, Ohio. The young girl on the left has an Iroquois beaded bag. The design on the bag has similarities to the one in figure 29. Photo courtesy of Marguerite Riordan.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7FKuJ9SzEQBzsRTWdzAY5flyw8C3x46isWRa7iCYo3WfiyzV3-RAT-DvU9PG6LZF_lE9I-EIe6PoiMm2N4NeGl_f_z3585UpfaliZWfgjOWFqQFrxHJFKMHnZ6tI77CeIuagQXXYwNGe/s1600/29.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7FKuJ9SzEQBzsRTWdzAY5flyw8C3x46isWRa7iCYo3WfiyzV3-RAT-DvU9PG6LZF_lE9I-EIe6PoiMm2N4NeGl_f_z3585UpfaliZWfgjOWFqQFrxHJFKMHnZ6tI77CeIuagQXXYwNGe/s640/29.jpg" width="557" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 29 – Iroquois beaded bag. 1840s-1850s. Approximately three inches in diameter.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Ul4z9sIuoRANtYevM4QRE531N2FU8OK7Zsdpi7KE7HbzNjbXIr9c4ZIy9Usjrj7ieJl-vd5Wgfe0dKe5gYvWYBLRSLjpS4b2WJ107hSZhSJTPTi9alTX00ORYU8cOZ9DCRmmCmpY6B1S/s1600/30.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Ul4z9sIuoRANtYevM4QRE531N2FU8OK7Zsdpi7KE7HbzNjbXIr9c4ZIy9Usjrj7ieJl-vd5Wgfe0dKe5gYvWYBLRSLjpS4b2WJ107hSZhSJTPTi9alTX00ORYU8cOZ9DCRmmCmpY6B1S/s640/30.jpg" width="474" /></a><br /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Figure 30 – This final entry is a rare stone lithograph of the young Black Hawk, the grandson of Black Hawk, late war chief of the Sac and Fox nations. This lithograph dates to approximately 1840-1850. It was made by the American lithographer and photographer Napoleon Sarony (1821-1896) of New York. Sarony began his lithography business in 1843 after an apprenticeship as an illustrator with Currier & Ives. In this image Black Hawk is wearing a beaded Glengarry hat and he has a bandolier across his chest which likely supported a large bag. Old images of individuals wearing a Glengarry are quite rare and I have seen less than a handful over the years. This one is exceptionally rare and testifies that what is generally seen as souvenir or tourist beadwork was also worn and highly regarded by Native people as well.<br /></span></td></tr>
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<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">If you have an interest in Northeast Woodland beadwork you
might find my book of interest. <a href="http://www.gerrybiron.com/pages/publications.html" target="_blank">Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron.</a> 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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span style="font-family: "Times",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">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.</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "Times",serif; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";">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.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">My thanks to Karen Augusta for
helping me date some of the old images. <o:p></o:p></span></div>
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Iroquois and Wabanaki Beadworkhttp://www.blogger.com/profile/02270256985923888385noreply@blogger.com1