DOCSLIB.ORG

Sherwoods 2015Catalog

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sherwoods 2015Catalog Summer 2015 Sherwoods’ CEO, Mike Kokin, with grandson (and future CEO), Alex Cover: SF2618 Northern Plains Cradle, c. 1880-1890 A fully beaded cradle with all original materials and boards. Boards: 40” long, Cradle: 28” long. $65,000.00 9538 Eastern Sioux War Club Minnesota, c. 1850 The finest war club we’ve ever had from the mid-19th century. 1 Pictured on page 31, ART OF GRACE AND PASSION. 28 ⁄2” long. $75,000.00 (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 1. 7894 Comanche Hi-top Moccasins 19th Century Native tanned deer hide with cuffs and twisted fringe. Painted green ochre. German silver buttons. 1 19” high, 9 ⁄2” long. $16,000.00 2. (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com SF2617 Northern Plains War Shirt, 19th Century Classic design on antelope. Four beaded strips and bib. Ragged cut bottom with fringe. 38” long, 58” wide. $65,000.00 (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 3. 9341 Kiowa Woman’s Dress, Late 19th Century Buckskin dress with yellow ochre, cowrie shells, beadwork, and silk ribbons. Ex: Aronson Collection, NYC . 50” long, 30” wide. $24,000.00 4. (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com Front 9386 Lakota Pictorial Vest, c. 1880 Classic Ghost Dance style fully beaded vest on buffalo hide. Beaded designs of four American flags, horses, and a Thunderbird ornament this vest. All sinew sewn. Ex: Dennis Lessard Collection. 19” long, 15” wide. $29,500.00 Verso (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 5. 9406 Southern Cheyenne Moccasins, 19th Century A classic pair of Cheyenne moccasins. Painted red ochre vamps. Heavily fringed panel on one side, and on the back. 1 Yellow ochre on body. 10 ⁄2” long. $9,000.00 6. (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 7334 Plateau Dress, 19th Century A stunning woman’s dress on buffalo hide. Complex and elaborate beadwork in six colors. Same on verso. 48” long, 43” wide. $45,000.00 (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 7. 9096 Lakota Breast Plate 19th Century Four sections of bone hair pipes; eighteen rows of brass beads, and twelve rows of neck beads. A very fine Plains artifact. 1 26 ⁄2” long, 7” wide. $4,500.00 8. (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com SF2525 Northern Plains Small Medicine Bag, 19th Century 1 Classic Elk Dreamer design adds to this very rare artifact on buffalo hide. 6 ⁄2” long, 10” wide. $7,000.00 (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 9. Front 9374 Apache Medicine Bag, 19th Century Buffalo hide with fringe on three sides. Radiating red star in center on front. 1 1 12 ⁄2” long w/fringe, 7 ⁄2” wide. $3,750.00 Verso 10. (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 8647 Crow Medicine Parfleche Case, c. 1850 An extremely rare Crow Medicine Bag and contents. Buffalo hide. Ex: Museum Collection. 1 9 ⁄2” long, 9” wide. $12,000.00 (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 11. 9176 Crow Mirror Bag, 19th Century Classic Crow beaded design on buffalo hide. Bag itself lined on inside with old muslin. Hawk bells and eight tin cone drops. Ex: Richard Pohrt, Sr. Collection. 26” long w/fringe, 6” wide. $24,500.00 12. (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 9389 Cheyenne Tipi Bags, c. 1870 A rare matched pair of Cheyenne tipi bags in extraordinary condition. Beaded on front and sides. All sinew sewn on buffalo calf parfleche. Ex: Paul Dyck Collection. 14” long, 21” wide. $29,500.00 (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 13. 9390 Southern Arapaho Pipe Bag, c. 1870 Rare Southern Arapaho beaded pipe bag with three beaded tabs and fringe. All sinew sewn on yellow ochered buffalo calf hide. Ex: Adolf Spohr Collection. 25” long, 8” wide. $22,500.00 14. (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com t 8306 Micmac/Upper Mississippi Great Lakes Pipe Bowl & Stem 19th Century Black slate or black stone inlaid bowl and beaded pipe stem. Ex: Brant Mackley Collection 10” long $6,000.00 t 8279 Minnesota Ojibway Pipe Bowl & Stem, c. 1870 t Catlinite bowl inlaid with lead. Pipe stem is twisted, painted wood. 8274A Central Plains Ex: Mackley Collection Disk Pipe Bowl & Stem Ex: Jim Hart Collection Early historic 18th Century Ex: Conway Collection. 3 This pipe bowl and stem was part of a war bundle. 30 ⁄4” long The bowl is attached to the stem with buffalo hide. $13,500.00 Lead inlay on bowl, done with an abstract effigy element. Ex: Larry Frank Collection; Ex: Conway Collection. 3 23 ⁄4” long. $20,000.00 (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 15. t 9546 Crow Parfleche Case, c. 1870 A very fine Crow parfleche on buffalo hide with vivid decoration in red, yellow, blue and green. 25” long, 14” wide. $7,500.00 t 9394 Shoshone/Bannock Parfleche Case, c. 1870 Mineral painted on buffalo hide parfleche in classic Wind River and Pointed Star designs. 25” long, 13” wide. $4,500.00 16. (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com t 9395 Nez Perce Parfleche Case Mid-19th Century A rare classic Nez Perce parfleche on buffalo hide with classic hour glass designs. Painted on the inside as well. 26” long, 13” wide. $5,000.00 t 9393 Blackfeet Parfleche Case, c. 1870 An early parfleche on buffalo hide in classic Blackfeet designs. Mineral painted. 13” long, 7” wide. $5,000.00 (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 17. 7861 San Ildefonso Polychrome Jar, c. 1880 1 A beautiful San Ildefonso Pueblo Polychrome Jar. 9 ⁄2” high, 11” wide. $15,000.00 18. (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 5926 Zia Pueblo Polychrome Olla, c. 1890-1900 Historic jar with exceptional geometric pattern and elegant form. 1 Jar is unusually thin-walled and is in excellent condition. 11 ⁄2” high, 13” wide. $11,500.00 (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 19. 8554 Acoma Jar, c. 1920 1 A very fine Acoma polychrome jar. Geometric decoration and two bands of stylized birds. 10 ⁄2” high, 13” wide. $10,500.00 20. (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com Side view Three quarter view 8094 Native American Ash Burl Bowl, c. 1780-1800 1 1 Rare Northeastern/Midwestern hand-hewn bowl. 8 ⁄2” high, 23 ⁄2” wide. $14,500.00 (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 21. 9269 Pueblo Dance Kilt, c. 1940-1950 A very fine example of a mid-century Pueblo dance kilt. Muslin canvas cloth, decorated with tin dance cones, and red ochre pigment. Kilt painted with figures of a water serpent and other deity figures. 27” high, 40” wide. $7,000.00 22. (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com SF2607 Central Plains Club, 19th Century An extremely rare club in the form of a “Flicker” with a spike in its mouth. Ornamented with brass tacks and painted with two dark bands across its body. 26” long. $19,500.00 (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 23. s 9018 Plains Stone War Club, c. 1875 A beautiful stone club, hide- wrapped haft, sinew sewn. Two inches of beadwork just above the stone. Ex: Drew Bax Collection. 1 30 ⁄2” long. $3,500.00 s 9414 Plains Stone War Club, 19th Century An early stone war club with hair drop. Haft covered in buffalo hide, sinew sewn. Polished stone head. Wrist strap. Two chips in the stone club. s 33” long. $5,200.00 9411 Plains Stone War Club, 19th Century A heavy hafted stone war club. Haft covered with buffalo hide, sinew sewn, and painted red. Quilled drop, wrist strap. 31 ” long. $6,200.00 24. (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com s 8112 Northern Plains Stone War Club, c. 1875 A very fine stone war club with faceted stone head. Wrapped buffalo hide haft. 29” long. $4,800.00 s 9412 Plains Stone War Club, 19th Century A large stone war club haft wrapped in buffalo hide. Hair drop and wrist strap. 31” long. $5,500.00 (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com 25. t 4674 Miniature Colt M1851 Navy Square Back Engraved with ivory grips. Cased with flask, bullet mold, and cap box. 1 1 7 ⁄2” wide, 3 ⁄2” deep. t $1,850.00 8944/8945 Miniature Colt M1851 Pair, Navy Square Back & Army Pearl and ivory grips. Antique 19th century case with flask and cap box. 1 1 7 ⁄2” wide, 4 ⁄2” deep. $2,500.00 t 6001 Miniature Colt M1861 Navy Cased Set Ivory grips, the guns have gold inlaid engraving. Cased with flask, bullet mold, and cap box. 3 3 10 ⁄4” wide, 5 ⁄4” deep. $3,200.00 26. (505) 988-1776 • email: [email protected] • www.sherwoodsspirit.com SF2622 Gros Ventres Rifle Case, 19th Century Fort Belknap Indian Reservation, Montana. Original beads along the opening and the bottom with red trade cloth trim on hide. Leather fringe and two tassels with red trade cloth. Ex: Richard A Pohrt, Sr. Collection; Note: Collection Tag attached. 40” long. $19,500.00 SF2623 Northern Plains Rifle Case, 19th Century Northern plains designs with beadwork. Sinew sewn.
Load more

Recommended publications
  • Table of Contents
    Dakota, Nakota, Lakota Life South Dakota State Historical Society Education Kit Table of Contents Table of Contents 1 Goals and Materials 2 Photograph List 3-4 Books and CDs in the Kit 5 Music CDs and DVD in the Kit 6 Erasing Native American Stereotypes 7-8 Teacher Resource 9-18 Bibliography 19-20 Worksheets Word Find 21 Word Find Key 22 Crossword Puzzle 23 Crossword Puzzle Key 24 Word Scramble 25 Word Scramble Key 26 Activities Reading an Object 27-28 Object Identification Sheet 29-35 Trek to Wind Cave 36-37 South Dakota Coordinates Worksheet 38 Comparing Families 39-40 Comparing Families Worksheet 41 What Does the Photo Show? 42-43 Beadwork Designs 44-45 Beadwork Designs Worksheet 46 Beadwork Designs Key 47 Lazy Stitch Beading 48-49 Lazy Stitch Beading Instructions / Pattern 50-51 What Do You Get From a Buffalo? 52-53 Buffalo Uses Worksheet 54 Pin the Parts on the Buffalo 55-56 Pin the Parts on the Buffalo Worksheet 57 Pin the Parts on the Buffalo Worksheet Key 58 Pin the Parts on the Buffalo Outline & Key 59-60 Create a Ledger Drawing 61-62 Examples of Ledger Drawings 63-66 Traditional & Contemporary: Comparing Drum 67-68 Groups Come Dance With Us: Identifying Powwow Dance 69-72 Styles 1 Dakota, Nakota, Lakota Life South Dakota State Historical Society Education Kit Goals and Materials Goals Kit users will: explore the history and culture of the Dakota, Nakota and Lakota people understand the changes brought about by the shift from buffalo hunting to reservation life appreciate that the Dakota, Nakota and Lakota culture is not something
    [Show full text]
  • Wandering Western Chests Native American Crate Teacher Lesson Plans, Grades 3 – 5
    Wandering Western Chests Native American Crate Teacher Lesson Plans, Grades 3 – 5 1700 Northeast 63rd Street Oklahoma City, OK 73111 (405) 478-2250 nationalcowboymuseum.org Native American Crate Contents Crate Inventory Schedule Your Class Visit to the Museum! The National Cowboy & Western Heritage Museum offers a Lesson Plans variety of on-site programs focusing on Native Americans. Symbols and Pictographs These programs were specifically created for grades K – 12 “Reading” Art and Artifacts as an extension of the Native American Crate. Museum docents conduct facilitated programs to engage students and reinforce curriculum. You may also bring students for a Artifact Reproductions* self-directed tour. Please call or email to discuss the best fit Animal Pelts (4): beaver, fox, rabbit, ermine for your class: (405) 478-2250 ext. 264 or Beaded Bag [email protected]. Beaded Rosette We look forward to seeing you and your students soon! Buffalo Horn Moccasins Porcupine Quills Stone Scraper Feathers (3): pheasant, turkey, faux eagle Quilled Medicine Wheel Woven Textile, Basket Pottery *Educator: Some objects are fragile or may be sharp. Instruct students to handle objects gently. Books Jingle Dancer by Cynthia Leitich Smith Doesn’t Fall Off His Horse by Virginia A. Stroud Gift Horse: A Lakota Story by S.D. Nelson Meet Christopher: An Osage Indian Boy From Oklahoma by Genevieve Simermeyer Images/Reproduction Artwork On Foam Core Smoke Talk, Charles M. Russell, oil on canvas, 1924 Teller of Tales, Martin Grelle, oil on canvas, 2002 The Hand Warmer, Tom Lovell, oil on canvas, 1973 Comanche Warrior, Silver Horn, Ledger paper and colored pencils, ca.
    [Show full text]
  • University of Oklahoma
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE SOUTHERN CHEYENNE ORTHODOXY: A STUDY IN MATERIALITY A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By JOHN PAUL LUKAVIC Norman, Oklahoma 2012 SOUTHERN CHEYENNE ORTHODOXY: A STUDY IN MATERIALITY A DISSERTATION APPROVED FOR THE DEPARTMENT OF ANTHROPOLOGY BY ____________________________________ Dr. Daniel C. Swan, Chair ____________________________________ Dr. Sean O‘Neill ____________________________________ Dr. Kristin Dowell ____________________________________ Dr. Gus Palmer, Jr. ____________________________________ Dr. Warren Metcalf © Copyright by JOHN PAUL LUKAVIC 2012 All Rights Reserved. I dedicate this dissertation to those Cheyenne people who sacrifice their time and effort to fulfill their obligations, and to those who gave me an opportunity to understand. ACKNOWLEDGEMENTS First and foremost, I want to thank the orthodox Cheyennes with whom I worked for trusting me with their knowledge and charging me to produce something useful for their community. From the earliest phases of my research, members of the Cheyenne-Arapaho Tribes of Oklahoma accepted me into their homes and treated me well. The members of the Littlehawk family, especially David and Leb Ramos, Charlotte McLaughlin-Rooks, and Sherri McLaughlin Mackay, accepted me warmly into their family. David became both my brother and close friend, and the guidance he provided to this study was invaluable. I am also grateful to members of the Whiteshield family, particularly the late Elizabeth Pendleton Whiteshield, Kerwin Whitesheild, Roberta Whiteshield, and Michelin Butler and her two daughters. The contributions of members of the Blackbear, Black, Miles, Hart, and Yellowman families helped to guide this study and to them I am thankful.
    [Show full text]
  • Ethnology of the Blackfeet. INSTITUTION Browning School District 9, Mont
    DOCUMENT RESUME ED 060 971 RC 005 944 AUTHOR McLaughlin, G. R., Comp. TITLE Ethnology of the Blackfeet. INSTITUTION Browning School DiStrict 9, Mont. PUB DATE [7 NOTE 341p. EDRS PRICE MF-$0.65 HC-$13-16 DESCRIPTORS *American Indians; Anthologies; Anthropology; *Cultural Background; *Ethnic Studies; Ethnolcg ; *High School Students; History; *Instructional Materials; Mythology; Religion; Reservations (Indian); Sociology; Values IDENTIFIERS *Blackfeet ABSTRACT Compiled for use in Indian history courses at the high-school level, this document contains sections on thehistory, culture, religion, and myths and legends of theBlackfeet. A guide to the spoken Blackfeftt Indian language andexamples of the language with English translations are also provided, asis information on sign language and picture writing. The constitutionand by-laws for the Blackfeet Tribe, a glossary of terms, and abibliography of books, films, tapes, and maps are also included. (IS) U S DEPARTMENT OF HEALTH EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO DUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIG INATING IT POINTS OF VIEW OR OPIN IONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EOU CATION POSITION OR POLICY le TABLE OF CONTBTTS Introductio Acknowledgement-- Cover Page -- Pronunciation of Indian Names Chapter I - History A Generalized View The Early Hunters 7 8 The Foragers The Late Hunters - -------- ----- Culture of the Late Hunters - - - - ---------- --- ---- ---9 The plains Tribes -- ---- - ---- ------11 The BlaLkfeet
    [Show full text]
  • Visual & Performing Arts Program, SJUSD
    VViiissuuaalll && PPeerrffoorrmmiiinngg AArrttss PPrrooggrraamm,,, SSJJUUSSDD AArrttss CCoonnnneeccttiiioonnss Title/Description of Lesson Parfleche Carrier (Crafts of the American Indians of the Plains region of America) Grade Level: 5th Grade (Integrates History-Social Science, Math and Visual Art) Lesson Links Objectives/Outcomes Materials and Resources Vocabulary Procedures Criteria for Assessing Student Learning California Standards in Visual & Performing Arts California Standards for Integrated Subject Other Resources Presentation on the Parfleche Plains Indians and the Bison Uses Worksheet Objectives/Outcomes (Return to Links) • Students will learn about one of many items that were made by the Plains Indians from buffalo hide and used in their daily. • Students will learn that the Indians used geometric design as both decoration and in a practical sense as a map. • Students will make a craft piece of the Indians made from buffalo hide and learn that they can be simple, beautiful and very useful. Materials and Resources (Return to Links) Visual & Performing Arts Program, SJUSD Author: Larry Williams Page 1 of 11 Art Connections Last Updated: 7/17/2011 • 1 piece of 18”x24” (brown kraft paper.. or a brown paper bag from the grocery store) per student • Black, white, red, blue, yellow crayons..(also helpful to have Sanguine or Sienna traditional earth pigment pastels. They are a red clay color. They can be purchased at any art supply store.) • Sprayable fixative (for economy, you can purchase inexpensive Aqua-Net hair spray.) • Ruler • Pencil • Jute string or brown yarn. • Hole punch Background Information Plains Indians (From Wikipedia, the free encyclopedia) The Plains Indians are the Indigenous peoples who live on the plains and rolling hills of the Great Plains of North America.
    [Show full text]
  • Gibson, Jeffry
    !" ! Follow us Published 14/09/2016 Share: ! ! Je!rey Gibson: ‘I was so angry I washed my canvases in the laundromat’ The artist talks about being any angry young artist, his earlier determination not to be viewed as an American Indian artist, and the practice he has evolved over the years, which combines traditional Native American art with contemporary styles by LILLY WEI Jeffrey Gibson (b1972, Colorado) is a multidisciplinary artist who is a member of the Mississippi Band of Choctaw Indians and half Cherokee. He earned his Master of Arts degree in painting at the Royal College of Art, London in 1998 and his Bachelor of Fine Arts in painting from the School of the Art Institute of Chicago in 1995. His work is in the permanent collection of the Museum of Fine Arts, Boston, the Smithsonian, Washington, The Art Museum in Modern Times the National Gallery of Canada, the Nasher Museum of Art, North Carolina, Crystal – book review Bridges Museum of American Art, Bentonville, Arkansas, and the Denver Art Museum, among others. Recent solo exhibitions include the SCAD Museum of Art, Savannah, Georgia, the National Academy Museum in New York, the Institute of Contemporary Art in Boston and the Cornell Fine Arts Museum. He has participated in Greater New York, Prospect New Orleans and Site Santa Fe. Gibson is on the faculty at Bard College, a past TED Foundation Fellow and Joan Mitchell Grant recipient. He was brought up in the United States, Germany, South Korea, England and elsewhere. This range of global cultural influences is evident in a practice that suavely combines traditional Native American art with contemporary styles.
    [Show full text]
  • Chapter 4 Programs, Events, Presentations, Storytimes, and Puzzles
    2018 CHAPTER 4 PROGRAMS, EVENTS, PRESENTATIONS, STORYTIMES, AND PUZZLES Programs Programs, Events, Presentations, Storytimes 3,2,1 Blast Off for Little Ones PK Create out-of-this-world atmosphere by dangling lights, stars, planets, and tinsel from the ceiling. Encourage little ones to explore the room at different learning stations. • MakerSPACE Space Station: Create the frame of the space station using giant boxes, and make sure to make the station open and wide enough for little ones to play inside. They will have a BLAST making the “guts” of the space station using materials such as boxes, strips of tape, old key boards, calculators, PVC pipe, bubble wrap, memory cards, RAM, glow-in-the-dark stars, and other supplies that will spark children's imaginations. Include a communication station that has old telephones, headphones, and computer monitors that little ones can use to call planet Earth. • Planet Exploration: Have little ones make pictures in the moon sand (giant wading pools full of sand) with the different-size moon rocks (painted rocks). They can pile them high, bury them, weigh them on a scale, analyze them with a magnifying glass, or anything they can come up with. • Extraterrestrial Space Bags: Create a station where little ones can explore different space-themed sensory bins and bags. For example, a bag of small rocks can be space sand, a bag of cooked pasta can be alien tentacles. Have a station where parents/caregivers can make their own bags to take home and use with their little ones. 39 Clues Scavenger Hunt C [ages 8–12] The characters in 39 Clues visit many strange and interesting places around the world.
    [Show full text]
  • Introduction: Indian Art of the Northern Plains
    Plains Indian Art Trunk Curriculum 1 Plains Indian Art of the Northern Plains Traveling Trunk Curriculum Photo 1: NA.202.1139 Plains Indian Art Trunk Curriculum 2 Table of Contents Section 1 Introduction: Plains Indian Art of the Northern Plains page 3 Section 2 List of Objects page 8 Section 3 Descriptions of Art Forms and Objects page 9 Section 4 Plains Indian Art Curriculum page 27 Section 5 Suggested Readings page 30 Section 6 Suggested Children’s Literature page 32 Section 7 Photograph Descriptions page 34 Section 8 Glossary page 37 Photo 2: NA.111.6 Original Concept Developed By: George Horse Capture and Lillian Turner First Revised Edition Upgraded By: Adriane Strenk, BBHC Intern and Joy Comstock, Director of Education Second Revised Edition Written and Edited By: Megan Smith, K-12 Curriculum and Digital Learning Specialist and Rebecca West, Curator of the Plains Indian Museum (2011) Original Project Made Possible with the Support of the Wyoming Council for Humanities First Revisions Made Possible by a Grant from the Pacific Corp Foundation Second Revisions Made in the Memory of Laura Newcomer Plains Indian Art Trunk Curriculum 3 Section 1 Introduction: Plains Indian Art of the Northern Plains Background Long before Christopher Columbus’ arrival to the New World in 1492, Native Americans lived throughout this country, and inhabited areas that met their needs. These Native Americans lived on habitable land from the frozen Arctic to the southern tip of South America, settling into areas and regions. Here they developed advanced cultures using the materials and the environment around them. The first people inhabiting the plains were hunters.
    [Show full text]
  • Paper Bag Parfleche Lesson
    Grade: 4th Topic/Lesson Title: Paper Bag Parfleche New York State Visual Art Standards: Standard 1: Creating, Performing and Participating in the Arts: Students will actively engage in the process that constitute creation and performance in the arts and participate in various roles in the arts. Standard 2: Knowing and Using Arts Materials and Resources: Students will be knowledgeable about and make use of the materials and resources available for participation in the arts in various roles. Standard 4: Understanding the Cultural Dimensions and Contributions of the Arts: Students will develop an understanding of the personal and cultural forces that shape artistic communication and how the arts in turn shape the diverse cultures of past and present societies. Objectives: Art Production: Students will create a paper bag parfleche by measuring and folding a paper bag. The bag will be decorated with crayons. Art History: Students will discuss the history behind the Plains Indian Parfleche bag and think about what these bags might have been used for. Visual References: Pictures of Parfleche Bags Teacher sample Other Motivational Strategies, References and Materials: Teacher Sample References: http://www.windhistory.org/exhibits/ShoshoneArt/parfleche/index.html A Gallery of Shoshone Parfleche. Materials and Supplies: Paper bags Construction paper crayons Yarn Glue Cardboard Hole puncher Ruler Pencils Erasers Techniques to Demonstrate DAY ONE and TWO: • Show the students’ how to separate seems from the bag so that it will lay flat. • Show the student’s how to crinkle the bag to show texture. • Show the students how to fold and cut the paper bag. • Instruct the students’ to fold the bag in half and pour a small amount of glue on one side of the fold (making sure they put the glue on the side with the label.) • Show the students’ how to use a piece of cardboard or something flat they spread the glue across and fold the bag again.
    [Show full text]
  • History Into Art and Anthropology History Into Art and Anthropology
    HISTORY INTO ART AND ANTHROPOLOGY HISTORY INTO ART AND ANTHROPOLOGY Published in 2012 by the Snite Museum of Art, University of Notre Dame 2 3 4 5 Map: Base Map modified from Mark H. Brown and W.K. Felton,The Frontier Years: L. A. Huffman, Photographer of the Plains, 1955, front piece. 6 7 CONTENTS 11 Director’s Acknowledgments 12 Curator’s Acknowledgments 15 Foreword JOANNE M. MACK 21 Preface JOANNE M. MACK 26 The Father Lindesmith Collection: History, Anthropology, and Art JOANNE M. MACK 36 The Relationship between Myth, Native American and Western Material Culture, and American Identity in Father Lindesmith’s Collection BETHANY MONTAGANO 54 The White Swan Muslin: Deeds of Honor CANDACE S. GREENE 68 Father Lindesmith, Fort Keogh, and the Native Americans of Montana JOANNE M. MACK 85 Native American Objects in the Exhibition 132 Bibliography 136 Index 8 9 DIRECTOR’S ACKNOWLEDGMENTS I am deeply grateful to Curator of Native American Art and Associate Professor of Anthropology Joanne Mack for organizing this exhibition and publication. Shortly after arriving at the University of Notre Dame in 1997, Dr. Mack became fascinated by the Father Lindesmith collection of Native American art at the university’s Snite Museum of Art. Since that time, she has been indefatigable in researching Lindesmith, his collecting, the documentation accompanying his 1899 gifts to Notre Dame, and the subsequent distribution of portions of the collection to a private individual. I marvel at what Dr. Mack and her undergraduate students have discovered about the man and his collection, and what the information they have found tells us about nineteenth-century Native Americans and Euro-Americans vis-à-vis the myth of the American West.
    [Show full text]
  • Plains Indian Studies
    Plains Indian Studies A COLLECTION OF ESSAYS IN HONOR OF JOHN C. EWERS AND WALDO R. WEDEL A^ -^ DOUGLAS H. UBELAKER and HERMAN J. VIOL " ''hm SMITHSONIAN CONTteUTIONS TO ANTHROPOLOGY JM*^>T^ SERIES PUBLICATIONS OF THE SMITHSONIAN INSTITUTION Emphasis upon publication as a means of "diffusing knowledge" was expressed by the first Secretary of the Smithsonian. In his formal plan for the Institution, Joseph Henry outlined a program that included the following statement: "It is proposed to publish a series of reports, giving an account of the new discoveries in science, and of the changes made from year to year in all branches of knowledge." This theme of basic research has been adhered to through the years by thousands of titles issued in series publications under the Smithsonian imprint, commencing with Smithsonian Contributions to Knowledge in 1848 and continuing with the following active series: Smithsonian Contributions to Anthropology Smithsonian Contributions to Astrophysics Smithsonian Contributions to Botany Smithsonian Contributions to the Earth Sciences Sm/thsonian Contr/butions to the Marine Sciences Smithsonian Contributions to Paleobiology Smithsonian Contributions to Zoology Smithsonian Studies in Air and Space Smithsonian Studies in History and Technology In these series, the Institution publishes small papers and full-scale monographs that report the research and collections of its various museums and bureaux or of professional colleagues in the world of science and scholarship. The publications are distributed by mailing lists to libraries, universities, and similar institutions throughout the world. Papers or monographs submitted for series publication are received by the Smithsonian Institution Press, subject to its own review for format and style, only through departments of the various Smithsonian museums or bureaux, where the manuscripts are given substantive review.
    [Show full text]
  • PARFLECHES How Native Women Pushed the Envelope of Abstraction
    PARFLECHES How Native Women Pushed the Envelope of Abstraction By America Meredith (Cherokee Nation) EFORE PIET MONDRIAN the senior curator of American Indian helped found the De Stijl move- art at the Nelson-Atkins Museum of Art, ment, before Kazimir Malevich Torrence curated The American Indian Bpenned The Non-Objective Parfleche: A Tradition of Abstract Painting World, before Wassily Kandinsky at the Des Moines Art Center, with a cata- painted Composition I, even before logue, back in 1994. Torrence strives to the rise of modernism, there was the teach new generations to appreciate this parfleche. Indigenous women from the once widespread art form. Great Plains, Plateau, Great Basin, and While closely associated with the Southwest painted abstract imagery onto Great Plains, parfleches come from rawhide containers to create bold, graphic other areas including the Plateau, Great artworks meant to be seen from a distance Basin, Southwest, Subarctic, and Prairie and meant to be seen in motion. Using cultural regions. Tribes as far south as a visual vocabulary of simple shapes and the Lipan Apache of Southern Texas and a limited palette, they created a corpus as far north as the Tsuu T'ina of Alberta of paintings that continue to amaze and made parfleches, as did tribes as far west confound audiences today. as the Wasco, Wishram, and Tenino of Unlike those early 20th-century Washington and Oregon. European abstract painters, the Native While parfleches predated the women who painted parfleches did not 16th-century Spanish reintroduction of create “art for art’s sake.” Indigenous the horse, the art form flourished with the artists, like the overwhelming majority rise of horse culture in the Western United of artists throughout world history, above Lakota artists, Parfleche States and Canada.
    [Show full text]