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ProvenanceBruce Boyd, Seattle, Washington; private collection; Sotheby's, New York City, 1992
BibliographySotheby's. Sale 6297. 12 June 1992, lot 79.
Vincent, Gilbert T. "The Eugene and Clare Thaw Collection of American Indian Art." The Magazine Antiques. Vol CXLVIII, no. 1, (July 1995): p.66, pl.VII.
Vincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.63.
Penney, David W. Arts des Indiens d'Amerique du Nord. Paris: Terrail, 1998, p.152.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.265.
Murdock, Michelle, ed. 50 at 20: Masterpieces of American Indian Art from the Thaw Collection. Cooperstown, NY: Fenimore Art Museum, 2015, p. 23.
Fognell, Eva and Alexander Brier Marr, eds. Art of the North American Indians: The Thaw Collection at the Fenimore Art Museum, 2nd ed. Cooperstown, New York: Fenimore Art Museum, 2016, p. 285.
Culture
Pomo
Possibly
Wappo or Patwin
Possibly
Coast Miwok or Ohlone
Basket
Date1830-1860
DimensionsOverall (Not including handle): 7 × 11 in. (17.8 × 27.9 cm)
Object numberT0139
Credit LineGift of Eugene V. and Clare E. Thaw
Photograph by John Bigelow Taylor, NYC
Label TextLiving in small groups, these people of the coastal ranges north of San Francisco Bay were among the greatest basketmakers. Using both coiling and twining, they developed an inventory of special techniques. Many baskets were used in gathering and processing acorns and other foods, but the finest were made to participate in the extensive and complex ceremonies that enriched their lives. Ceremonial baskets were used both as gifts and in offerings. They were decorated with geometric designs and also with feathers and beads. The unbeaded spaces of this basket formerly were covered completely in red tufts of woodpecker head feathers, most of which have been destroyed by insects, although traces remain. Drilled disks of white clam shell are attached to the rim, originally with Native twine, later repaired. Designs are worked in three bands of triangles in white pony beads, replacing earlier white olivella shell beads in this type of basket. There are also blue and red beads on the base and drilled disks of white clamshell and pendants of abalone shell. The basket is coiled from right to left with three bunched rods and sewn tightly with split sedge roots. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)ProvenanceBruce Boyd, Seattle, Washington; private collection; Sotheby's, New York City, 1992
BibliographySotheby's. Sale 6297. 12 June 1992, lot 79.
Vincent, Gilbert T. "The Eugene and Clare Thaw Collection of American Indian Art." The Magazine Antiques. Vol CXLVIII, no. 1, (July 1995): p.66, pl.VII.
Vincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.63.
Penney, David W. Arts des Indiens d'Amerique du Nord. Paris: Terrail, 1998, p.152.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.265.
Murdock, Michelle, ed. 50 at 20: Masterpieces of American Indian Art from the Thaw Collection. Cooperstown, NY: Fenimore Art Museum, 2015, p. 23.
Fognell, Eva and Alexander Brier Marr, eds. Art of the North American Indians: The Thaw Collection at the Fenimore Art Museum, 2nd ed. Cooperstown, New York: Fenimore Art Museum, 2016, p. 285.
On View
On view
