tribal masterworks from america and beyond

8/16/2019 Tribal Masterworks From America and Beyond

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Tribal Masterworks

from Americaand Beyond

Tribal Masterworks

from Americaand Beyond


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Brant Mackley Gallery Exhibit

for

The Philadelphia Antiques Show

2008

Above:Iroquois Bead Decorated Pouch

New York

Cloth, glass beads, threadCA. 1820–1840

Tribal Masterworks from

America and Beyond


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The Philadelphia Antiques Show

April 12–15th, 2008

The Navy Yard

Philadelphia, Pennsylvania

USA

www.philaantiques.com

The Navy Yard, Philadelphia Cruise Terminal at Pier One, 5100 South Broad Street

BRANT MACKLEY GALLERY

1017 Mount Alem Drive

Hummelstown, PA 17036

Office: 717-566-0780

Cellular: 717-554-2176

mail to: [email protected]

Please visit the website at:

www.BrantMackley.com

COPYRIGHT 2008 BRANT MACKLEY GALLERY, ALL RIGHTS RESERVED


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Acknowledgements:

I would like to offer my sincere gratitude to the dealer selection committee and

Josh Wainwright for the invitation to exhibit at The Philadelphia Antiques Show.

For his continued counsel and encouragement, I would like to thank David

Wheatcroft. Appreciation is extended to Steve Powers for his friendship, scholarlydialog in the field of Woodland sculpture, and his contributions to this publication.

Special thanks to Casey Conway and Michael Evans, both friends can always

provide a laugh when the need exists. My humblest appreciation is extended to

Jeanne Collins-Shayter, graphic artist premier. Without her last minute efforts

this catalog would not have been realized.

Lastly, my family, to my mother and father, the ones who molded my appreciation

for tribal art, which ultimately became more than a career but rather my lifelong

avocation. To my wife Christine for her undetermined belief in me through all the

hurdles and obstacles I provide. Without your support, patience and understanding

I would not be the person I am today. And to my children Jasmine & Holden; their

youthful innocence and naïve interest in tribal arts are a daily inspiration; may

your curiosity never cease!


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Introduction:

It is with great pride that I am able to offer the following objects for exhibit at The Philadelphia

Antiques Show. As a youngster growing up in the antiques trade, The Show was the premier

event of the year to attend. My annual pilgrimage continued as a Temple University college

student; I still remember my excitement of the subway ride to the old 33rd Street Armory.

At that time Morning Star Gallery and Will Channing’s American Indian art offerings were the

highlights of my visit. It will be marvelous to once again have World native arts fully

represented at the event’s new location.

Objects have been selected from a variety of North American native cultures. Assembled are

exceptional examples of Woodland, Great Lakes, Plains, Eskimo, Northwest Coast, and finally

Southwestern art forms. Different mediums are explored with an emphasis on sculptural works

and pictorial Plains Indian drawings & beadwork.

Sculpture is the highpoint of the African and Oceanic offerings. The strength, confidence, drama,

and ultimate beauty of these works are beyond imagination when one considers the primitive

conditions of existence for these cultures. The products of their industry is a testament tohumankind and our ability to adapt to any world environs and still create functional objects

that in the end are great masterworks of art.

Fitting to The Philadelphia Antiques Show’s maritime themed gallery exhibit I am offering three

tribally made objects that ultimately were owned by 18th–19th century American-British seafarers.

The incised carved powder horn, scrimshaw whale’s tooth and wood effigy carved ball head club

(illustrated within) are exceptional examples of native produced objects acquired and further

crafted by their Euro-American owners in the period. The three pieces wonderfully dance

between the worlds of traditional tribal art and American folk art.


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MEN’S WARSHIRT

Blackfoot, Flathead or Nez Perce

Montana, Oregon or Idaho

Ca. 1870–1880’s

Native tanned hide, glass trade beads, ermine tails, trade cloth, thread

Size: 55" x 28"

B R A N T M A C K L E Y G A L L E R Y

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Provenance:

Field collected by Major Lee Moorhouse (Thomas Leander

Moorhouse), of Pendleton, Oregon. Moorhouse was a noted

photographer of Native American Indians and served as the

Umatilla Reservation Indian Agent. The shirt is seen in

several images Moorhouse made of his collection of Native

objects; these photos are now housed in the archives of the

University of Oregon. Somehow the ownership of the shirt

was passed to Richard Henry Pratt. Pratt is best known for

founding the Carlisle Indian Industrial School in 1879


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(Carlisle, Pennsylvania). Pratt served as an officer during the

US Civil War; after the war Pratt was assigned to the American

frontier during the Indian Wars conflict period. He went on to

become a commander of the Indian prison at Fort Marion, in

St. Augustine, Florida. His final assignment was the creation of

the controversial Carlisle Indian School. The shirt may have

been given or sold by Moorhouse to Pratt who definitely would

have been in correspondence as the result of Indian

children from Umatilla being sent to the Carlisle School.

The shirt descended through the Pratt family.


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POTTERY OLLA

Hopi (Polacca period)

Arizona

Clay, mineral slip and glaze

CA. fourth quarter 19th century

Height: 5½ " Diameter: 5"

Attributed to master artisan Fannie Nampeyo.



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9Siberian Eskimo pipes have animated lines thatcreate the visual scene of speed; a modern equivalent

would be the Porsche 911 GT3! To produce such an

accomplished object of wood and metal in the

extreme harsh, stark conditions of the artic

is an amazing feat.


SMOKING PIPE

Bering Sea Eskimo, Chukchi

Siberia, Russia

Wood, lead, marine ivory, babiche

Ca. 19th century

Length: 13½ "


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LARGE FOOD/GRAIN STORAGE OLLA

Zia PuebloNew Mexico

Ca. first quarter 20th century

Clay, mineral slip and glaze

Attributed to Rosalia Medina Toribio who was a noted

maker of large food storage vessels amongst the Zia.

Ref. Harlow & Lanmon


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Provenance:

George Tersaki, New YorkAlexander Acevado, New York

Masco Collection, Michigan

These porcupine quill decorated mittens are similar to examples

collected by Nathan Sturges Jarvis at Fort Snelling between

1823-1836. Ref. Feder I have never seen such fine small quills

used on another Native American object; this maker had

the confidence of a master artisan.

QUILL DECORATED HIDE MITTENS

Red River Metis or Chippewa

Ca. 1820–1840

Native tanned hide, porcupine quills, wool fabric, sinew, thread

Circa: 1820–1850

Length: 9¾ "



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NORTHWEST COAST

D-ADZ HANDLE

Washington, British Colombia

or Alaska

Whalebone, black pigment paint

Ca. 19

th

century Height: 7 ¾ "

Provenance:

Found in attic of New York estate



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FALSE FACE MASK

Iroquois

Wood, paint, tin, cloth,

horsetail

Circa 1800–1850

Height: 10¼ "

Provenance:

Field collected in the 19th century

by Chauncey W. Crandall, New York

Private Natural History Museum, New York

Richard Rockford, New York

A very early example of the form; accordingto George Hammel of the New York StateMuseum “My impression is (date) second quarter of the

19th century, possibly a quarter century earlier. The maskreminds me of the Faces collected by Lewis H. Morgan in themiddle of the 19th century.” The mask retains period hair (notshown) and suspension cords; these accoutrements are normallymissing from 19th century masks. Interestingly the artist retainedcarving marks on the lower lip, in a dance this treatment creates afaceted shimmering effect in the light. One of the masks Morgancollected displays this same feature and is likely by the same maker Ref. Fenton

PHOTO CREDIT: BOB SKALKOWSKI


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HEDDLE WOVEN GARTER WITH HUMAN IMAGERY

Chippewa or other Great Lakes culture

Ca. 1820–1840

Wood thread, glass trade pony beads

Length: approx. 33" (with fringe) , bead panel 10" x 2⅝ "


Provenance:Alan Silberberg, Massachusetts

Similar examples are now housed at The Detroit Institute of Arts from the Chandler-Pohrt

Collection. Ref. Penney The seven human figures created with pony beads and wool

trade yarn harken to an earlier time when similar imagery would seen in the shell bead

wampum belts of the 18th century.


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MOOSE HAIR EMBROIDERY POUCH ON BLACK DYED BUCKSKIN

Huron

Canada

Ca. 1820–1840

Black dyed native tanned hide, dyed moosehair, silk ribbon, thread

Length: 100" Width: 90"


Provenance:

John & Valerie Arieta, EnglandWilliam Guthman, Connecticut

An amazing pouch created from the recycled cuffs of a pair

of Huron moccasins. Pouches crafted from reused parts are

common amongst Plains Indian collections but to my

knowledge this is the only Woodlands Indian example known.


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HUMAN EFFIGY PIPEGreat Lakes Region

Maple wood with lead inlays

18th–early 19th century

Length: 4⅜ "

Provenance:

Terrance Kelley, England

Taylor Dale, New Mexico

Will Channing, New Mexico

Wellington Collection, New York

Trotta-Bono, New York

Acquisition, Inc., New Jersey

Fuller Collection, Ohio

This pipe is a true masterwork, exceeding all

expectations in form, patina, and age. A classic

Woodland’s effigy face with a dramatic strength;

we rarely see this object form executed in wood.

Likely more wooden pipes were created in the

period but did not survive the trials of time

hence the existence of mostly stone

effigy pipes today. The powerfully

rendered presence and

original maker’s intent

of this object speaks

for itself.

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NORTHWEST COAST STAFF

Haida or Tlingit

British Columbia or Alaska

Wood (alder), wrought iron

Mid 19th century

Length: 34½ "

Provenance:

Paul Gray, New York

Joe Kinker, Missouri


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PLATEAU GIRL’S DRESS

Nez PerceWashington, Idaho, Oregon or Montana

Native tanned hide, glass beads,

shell discs, thread

Ca. late 19th century

Height: 37" Width: 35"

Provenance:Descended in native familyArthur & Margianne Erickson, Oregon



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NORTHWEST COAST

FROG CLAN

OCTOPUS POUCH

Tlingit

Alaska

Trade wool & cotton

fabric, glass beads,

thread, yarn

Ca. 1890–1910

Length: 20"

Provenance:

Arthur & Margianne Erickson, Oregon

A beautifully executed octopus pouch from one of the most under-rated

beadwork traditions in North America; collectors and dealers alike usually

think of wood sculpture when considering Northwest Coast art. This

artistic medium (beadwork) was slow to fully develop on the Coast but

ultimately a stylistically unique and accomplished practice was established.

Likely, the pouch was owned by a member of the frog clan who was

associated with six potlatches as designated by the blue circle

designs above the amphibian’s head.


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CHEST/SHOULDER YOKE

Eskimo

Alaska

Wood, pigment

Ca. 19th century

Length: 16⅝ "

Provenance:

Charles Miles Collection, California

(Illustrated in Miles’ title Indian & Eskimo

Artifact of North America)

Ramona Morris, Virginia



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Plains Indian hide painting is a tradition that dates to the

pre-European contact period. Historic evidence demonstrates

the evolving medium peaks in the pictographic form during

the 19th century; regrettably by the 20th century the form

nearly vanishes. Cadzi Cody is considered one of the last great

masters of hide painting. His use of color and ability to make

PLAINS INDIAN HIDE PAINTING

Wind River Shoshone, WyomingArtist: Cadzi Cody

Elk hide, pigments

4th Quarter 19th century

Size: approx. 76" x 66"


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his figures appear in motion are traits of his superior ability. He is also known for

his masterful visual representation of historic Plains Indian dress and accoutrement.

While this example has previously been dated circa 1890–1900, it is my belief the

hide is an early example by the artist based on the constrained color palette

and types of pigment used. Cody’s work is found in many museum

collections throughout the world.


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THE PHILADELPHIA

METHODIST’S PIPETOMAHAWK

Philadelphia, Pennsylvania

18th century

Wrought iron, walnut wood

Length 19"

Provenance:

Descended through the Boardman

family, IrelandDonald Ellis Gallery, Canada

An extraordinary presentationpipe tomahawk of the fashion usedby Eastern Woodland Indians andcolonial settlers in the 18th century.Dated 1772, the weapon was a giftfrom Joseph Pilmore (his initials areon the blade) toRichardBoardman,bothMethodist laypreachers sentfrom England to Philadelphia by JohnWesley (an early leader in theMethodist Church) in 1769. Theirmission was to “go forth in the nameof the Lord, and preach the gospel in

the waste places of the wilderness and seek after those

who have no shepherd.” Ref. PilmoreThe 1772 gift presentation is suggestive of the cross-country mission in which the preachers were about toembark. Wesley was unhappy that both preachers werestaying too close to home (Philadelphia & New York) intheir ministering efforts and needed travel in the fieldin search of more needy subjects. Likely Pilmore gaveBoardman the tomahawk for personal protection whentraveling. The “passing of the pipe” was an importantprotocol of the period between natives and colonials.Pilmore may have considered this important socialcustom when choosing the gift. The tomahawk bladeis wrought iron with hand engraved inscriptions and

original walnut wood haft. There would have beenan iron mouthpiece on the end of the haft, either lostor discarded (these were commonly removed becausethe iron created an unpleasant taste when smokingthe pipe). Possibly a singularly unique feature is a pipebowl clean out pick; the pick threads into the head forstorage and provides a decorative finial Ref. Stevenson.Colonial rifleman used similar picks to removecarbon buildup in the spark hole on firearms.The decorative styling of the

pick, along with the walnut woodhaft, and engraving type suggest aPennsylvania clock makermay have crafted the pipetomahawk for Pilmore.


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PLAINS HIDE DOLL

CrowMontana

Ca. 1880–1900

Hide, cloth, bead

Height: 19⅝ "


Provenance:

James Reynolds, an early 20th century

businessman from Sheridan Wyoming,

originally collected the doll. Reynolds owneda hardware store established around 1905,

which sold and traded goods to the Crow Indians.

His collection of native objects descended through

the family and finally was dispersed in the 1990’s.

Terry Winchell, Wyoming

Bruce & Ilene Johnson, Colorado


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COMPLEX SAMPLER ––

TREE OF LIFEWITH BIRDS

Navajo

Arizona or New Mexico

Germantown wool yarn

Ca. 1890

Size with fringe:

34" x 23"

Provenance:

Joan & David Wenger,

Pennsylvania

A small group of Navajo“complex” textiles were producedusing commercially made Germantown yarn fromthe mills of the Pennsylvania town bearing the same name.Most commonly seen are blankets and rugs in less elaborate

patterns; “complex sampler” is the term collectors and dealerscoined to refer to these beautiful rare weavings. Always smallin size and meant as wall or table art from the inception; it isremarkable to think the complexity involved in hand weavinga textile with this fine detail outside in the desert undera hutch of twigs and branches. Complex samplerstook more time to produce than a simplerdesign blanket three or four times larger.


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POWDER HORN

Micmac or Penobscot

Maine, New Brunswick or Nova Scotia

18th century

Horn, wood, metal

Length: 12"

Provenance:

Jim Dresslar Collection, Indiana

Fuller Collection, Ohio

Micmac and Penobscot natives of the far Northeast maritime regions

produced very complex engraved powder horns for their own use an

for trade to colonials. The imagery relates to what is referred to as

the “double-curve” motif, the basic component of early decorative

native artwork from the Eastern Woodlands. Ref. Speck Engraved is

“Robert J. Mercer,” likely a different Mercer owned the horn before

Robert, as a ghost image appears under this name from the pervious

owner. The Indian maker applied the caribou motif but the

mermaid and skiff image is added later by a Mercer or another artist.

One assumes the later artist was involved in the maritime trades

because of the nautical nature of the secondary motifs.



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PLAINS INDIAN

MIRROR POUCH

Nez Perce or Shoshone

Circa 1840–1860

Native tanned hide, pony

& seed glass beads, sinew

Length: 18"

(without suspension strap)


Plains Indian warriors often

kept their coveted trade mirrorsin a special pouch. Mirrors

were used to apply face

pigment before going on the

infamous “war trail.”

This example is exceptional with

classic Eastern Plateau features and

Crow influence in both color

palette and graphic design.


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HUMAN FACE EFFIGY BALL CLUB

American or English Sailor CarvedUnknown (tropical) species of wood

18th–first half 19th century

Length: 22"

SCRIMSHAW DECORATED

WHALE’S TOOTH

American-Portuguese Sailor Carved

Sperm whale’s toothMid-19th century

Length: 5½ "

Provenance:

Ex. Private Tribal Art Collection, New York

Rick Gallagher, New York

The following two objects would rightly be considered part

of the Euro-American folk art tradition but extends into thegreater tribal art world as well. These pieces exemplify the

interplay between global native groups and merchant

sailors who were in contact regularly as the result of early

trade and whaling industries of the late 18th and 19th

centuries. Both objects were first crafted and owned by

native hands, originating in the South Pacific (scrimshaw

tooth) and Africa (effigy ball club).

The tooth has a period suspension hole bi-conically drilled by a South Seas native; the tooth would

have been suspended on a sinnet fiber cord and worn as a prestige necklace. The additions of

scrimshaw family scenes, along with “Liberty,” and the American & Hawaiian flags, are clearly the

result of a sailor who collected the tooth in trade from a native. “Manuel Francis”, the tooth’s subject,

is possibly the Portuguese-American sailor who later settled in Martha’s Vineland (pending furtherresearch, ref. Bishop Museum documents). Francis was in the South Pacific as part of the mid

19th century whaling industry, departing from Hawaii on a number of sailing vessels.

The club is a “bald-head” style, probably first created in Southern Africa and later

embellished by the sailor/original field collector of the object. The “W.B.” initials harkens

the imagination of the trials and tribulations of the infamous Captain William Bligh,

who we know had repeated stopovers in South Africa. The faces are captured

so wonderfully the naïve folk style of the period.


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HUMAN MALAGAN FIGURE

New Ireland Province,

Papua New Guinea

Melanesia

Wood, pigments, bee’s wax, shell,

plant fiber & seeds

Late 19th century

Height: 29 1 ⁄ 4"

Provenance:Roberta Entwhistle, England Janet Fleisher, Pennsylvania

Human malagan figures are used to honor deceasedperson in New Ireland; the “sculpture image that looks

human is most probably not a portrait of someone.” Ref. Gunn This is why many of the faces we see onexisting malagans are so similar, the carvers are notattempting to portray specific individuals but ratherhonor their memory. This carving departs from theclassic facial presentation with a much more raretreatment of bee’s wax over-modeling, a possible attempt

to depict a specific individual. A similar example with facialwax and open arm stance is housed at the Musee Barbier-Mueller. Ref. Mattet


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PLANK HEADDRESS

Africa, Senufo

Wood, wire, pigments

Ca. 1920–1930

Size: 24" x 28"

Provenance:Norman Hurst, HurstGallery, MassachusettsPrivate Collection

Senufo plank headdresses are one

of my favorite object forms.

Rarely available on the open market,

this example exemplifies how basic

primal human imagery in silhouette

form can become a powerful visual

statement. Similar use of static

human imagery can be found

throughout the world…on a rock

petroglyph in the AmericanSouthwest…or a Tongan club from

the Pacific South Seas. A similar

headdress was in the collection

of Georges De Menil, New York

when Goldwater wrote his

landmark text Senufo Sculpture

from West Africa in 1964.


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POLYNESIAN HEADREST

Tonga

Wood, sinnet fiber

Ca. 18th early–19th century

Length: 15"

Provenance:Michael Auliso, Tribalmania, CaliforniaCasey & Laurie Conway Collection, Arizona

I love to see native objects with period repairs. Tongan headrests

are an ubiquitous form in most Oceanic collections and the

variations we see in greater Oceania and Africa seem endless.

The native ingenuity in repairing the broken leg of this piece is

incredible. The use of braided sinnet (palm leaf fiber) cordage

and wood pegs results in a repair of unbelievable durability.


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HEDDLE PULLEY

GuroAfrica, Ivory CoastWood, nut19th century Height: 6¼ "

Provenance:New York City DealerFinlayson Collection, Toronto, Canada, illustrated and exhibitedHuman Images through the Ages from the Finlayson Collection,The Art Gallery of York University, 1976. William Jamieson, Canada



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HEDDLE PULLEY

BamanaAfrica, Mali

Wood, pigment, wire

1st Quarter 20th century

Height: 10"

Provenance:Harold Rome Collection, New York, NY

Peter Michael Boyd, WA


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POLYNESIAN WAR CLUB

Tonga Islands

Wood

Ca. first half 19th century

Length: 42"

Provenance:

Charles Mack, MassachusettsAbraham & Paula Rosman, New York

Paul Gray, New York

The natives on the Tongan Islands

had a very complex warfare tradition.

Weapons served a dual role of

functionality and as prestige objects.

Only a warrior with the greatest

success and wealth could commissiona fully decorative carved weapon.

The best of these have glyphs

depicting zoomorphic and

anthropomorphic imagery.


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Provenance:

Maryland estate

Michael & Jan Stinchcomb Collection, Maryland

Wood feast and poi (a fermented food product made from crushed taro root)bowls or “calabashes” are an important part of the Hawaiian native hierarchicalsystem. Ownership of bowls of varying types, sizes and wood species constituteda form of wealth and prestige to these native peoples. The vessels were used overgenerations and part of their inherent beauty is the skilled native repairs. Surely

the use of the wood butterfly in repair of Hawaiian calabashes must have hadsome influence on the work of 20th century furniture craftsman GeorgeNakashima. Ref. Jenkins

CALABASH FEAST BOWL

Hawaiian

18th – early 19th century

Kamani wood, koa wood, copper wire, native pitch

Height: 8" Diameter: 16½ "


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CEREMONIAL MASK

Himalayan cultureNepal

Wood, pigment

Ca. 18th–19th century

Height: 10"

Provenance:Robert Brundage, California James Gavigan, VirginiaRobert Banks, Maryland


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Bibliography:

Conway, Casey, Personal correspondence-February 2008, Kingman, Arizona, 2008.

Feder, Norman, Art of the Eastern Plains Indian – The Nathan Sturges Jarvis Collection, The Brooklyn Museum,Brooklyn, New York, 1964.

Fenton, William, The False Faces of the Iroquois, University of Oklahoma Press, Norman, Oklahoma, 1987.

Goldwater, Robert, Senufo Sculpture from West Africa, The Museum of Primitive Art, New York, 1964.

Greenwood, Michael, Human Images through the Ages from the Finlayson Collection, York University, Toronto,Canada, 1976.

Gunn, Michael, New Ireland, Art of the South Pacific , Saint Louis Art Museum, Musee du quai Branly,5 Continents Editions, Saint Louis, Missouri, Paris, France, Milan Italy, 2006.

Hammell, George, personal letter to Richard Rockford, New York State Museum, Albany, 1999.

Harlow, Francis & Lanmon, Dwight, The Pottery of the Zia Pueblo, School of American Research Press,Santa Fe, New Mexico, 2003.

Jenkins, Irving, The Hawaiian Calabash, Kegan Paul International Limited, London, 1989.

Mattet, Laurence, Arts of Africa and Oceania, Highlights from the Musee Barbier-Mueller , Musee Barbier-Mueller,Geneva, 2007.

Miles, Charles, Indian & Eskimo Artifact of North America, Bonanza Books, New York, 1963.

Oldman, W. O., The Oldman Collection of Maori Artifacts, (reprint) The Polynesian Society, Auckland, 2004.Penney, David, Art of the American Indian Frontier , University of Washington Press, Seattle & London, 1992.

Phelps Steven, Art and Artifacts of the Pacific, Africa and the Americas, The James Hooper Collection,Hutchinson & Co, Limited, London, 1976

Pilmore, Joseph, The Journal of Joseph Pilmore-Methodist Itinerant , for years of 1769-1774, Message PublishingCo., Philadelphia, Pennsylvania, 1969.

Speck, Frank, Symbolism in Penobscot Art , (reprint) Tucquan Publishing, Hummelstown, Pennsylvania, 2001

Stevenson, Scott, personal correspondence, (co-producer of video/dvd For War or Peace: A History of the PipeTomahawk), Landenberg, Pennsylvania, 2007 & 2008.


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Provenance:

W. O. Oldman, EnglandHeye Foundation, New York

William Wildschut, Montana

Stella Foote Collection, Montana

John Molloy, New York

John Painter, Ohio

Illustrated in American Indian Artifacts,

The John Painter Collection

BALL HEAD WAR CLUB

Eastern Plains or Western Great Lakes

Maplewood, iron, hide, porcupine quills

Ca. 1800-1830

Length: 24"



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Credits:

Images: Bill Bishop, Impact Xposure, Mechanicsburg, PA

unless otherwise noted.

Bob Skalkowski, Middletown, PA

for Iroquois mask and Wood effigy pipe.

Iroquois Bead Decorated PouchNew York


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tribal masterworks from america and beyond

Documents