Skip to main content
Carved of spruce (an often-used and under-recognized wood), the bowl of this spoon splays widely out into a pointed oval form, almost as if imitating the actual functional widening that takes place in making a ladle of sheep horn. An overall relationship of form can be seen between wooden spoons and their horn counterparts. Not only the bowl sections are related in shape, but the handle stems of each type curve upward in the same organic spiral. Here a fantastic human-like image, ribs exposed and arms at his sides (perhaps a shaman or guardian spirit), is carved looking forward in a typically geometric Lower Columbia face form. An unidentified animal figure is incorporated into the image, and the sculptural definition of the shapes and pierced areas is clean and clear throughout. Traces of red ochre remain from a treatment that once enhanced the carved images. The red pigment suggests that a spoon such as this may once have been used in a ritual fashion in root feasts and related observances, or possibly in household use among important families. George Gibbs, who traveled through the Columbia Basin in 1850, made a drawing of an elaborate sculpture on the stern of a Chinookan burial canoe that bears very similar characteristics to those seen on surviving examples of spoons and ladles. (Smithsonian, NAA: 2854-F6) What was once a widespread and varied tradition is now diminished to a handfull of objects. Very little has survived as a record of Lower Columbia River monumental wood sculpture, but early images by Gibbs and Canadian artist Paul Kane provide a glimpse of what once existed. Kane sketched and painted house interiors and other scenes that depict large, accomplished carvings in this unusual and remarkable style. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
ProvenanceJonathan Holstein, Cazenovia, New York
BibliographyVincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.299.
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. 316.
Culture
Wishxam or Wasco
Ladle
Date1820-1860
MediumSpruce
DimensionsOverall: 4 × 5 × 7 1/4 in. (10.2 × 12.7 × 18.4 cm)
Object numberT0149
Credit LineLoan from the Eugene V. and Clare E. Thaw Charitable Trust
Photograph by John Bigelow Taylor, NYC
Label TextWood as well as horn has served as the medium for spoons and ladles in the Columbia River Basin as in all areas of the Northwest Coast. Though it is a much less durable material, a number of striking and beautiful examples have survived from the very early periods. (c.f. Wingert 1948, pl. 63; Sainsbury 1978, fig. 289 & Feder 1971, p. 27, fig. 6). Such is the case with this ladle, a very intriguing sculpture in extremely fine condition. Saturation with the oils of use has given the wood a varnish-like sheen and rich honey color.Carved of spruce (an often-used and under-recognized wood), the bowl of this spoon splays widely out into a pointed oval form, almost as if imitating the actual functional widening that takes place in making a ladle of sheep horn. An overall relationship of form can be seen between wooden spoons and their horn counterparts. Not only the bowl sections are related in shape, but the handle stems of each type curve upward in the same organic spiral. Here a fantastic human-like image, ribs exposed and arms at his sides (perhaps a shaman or guardian spirit), is carved looking forward in a typically geometric Lower Columbia face form. An unidentified animal figure is incorporated into the image, and the sculptural definition of the shapes and pierced areas is clean and clear throughout. Traces of red ochre remain from a treatment that once enhanced the carved images. The red pigment suggests that a spoon such as this may once have been used in a ritual fashion in root feasts and related observances, or possibly in household use among important families. George Gibbs, who traveled through the Columbia Basin in 1850, made a drawing of an elaborate sculpture on the stern of a Chinookan burial canoe that bears very similar characteristics to those seen on surviving examples of spoons and ladles. (Smithsonian, NAA: 2854-F6) What was once a widespread and varied tradition is now diminished to a handfull of objects. Very little has survived as a record of Lower Columbia River monumental wood sculpture, but early images by Gibbs and Canadian artist Paul Kane provide a glimpse of what once existed. Kane sketched and painted house interiors and other scenes that depict large, accomplished carvings in this unusual and remarkable style. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
ProvenanceJonathan Holstein, Cazenovia, New York
BibliographyVincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.299.
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. 316.
On View
Not on view
