Otterskin Bag

Datec. 1890

MediumOtter pelt, cotton cloth, porcupine quills, silk ribbons, glass beads, brass bells, steel button, native blue clay pigment

DimensionsOverall: 5 3/4 × 34 in. (14.6 × 86.4 cm)

Object numberT0011

Credit LineGift of Eugene V. and Clare E. Thaw Charitable Trust

Photograph by John Bigelow Taylor, NYC

Label TextIn the western Great Lakes area, whole otter pelts were utilized as medicine bags by the members of a religious organization called the Grand Medicine Society. (c.f. Harrison 1989, p.82, fig.7; Torrence and Hobbs 1989, fig.28; Radin 1970, pl.5; Lowie 1910, p.294). In the 19th century the ceremonies of this cult group focused upon the pursuit of a long and healthy life. In mythic times the otter had served as an intermediary between a culture hero and mankind in the introduction of this ceremonial. By means of these otter bags every new member of the society was "shot" and brought back to life again during his or her initiation. Among the Winnebago this shooting rite was believed to change the candidate into a reincarnation of a deceased member. Thus the otter served as the carrier of this sacred power. Feathers or ribbons attached to the nose of the otter skin and panels of beadwork on the paws and tail distinguish these medicine bags from secular utility bags. The open line beadwork on black cloth is a continuation of a rigidly symmetrical style executed in quillwork on black-dyed skin until the 1830s. Both in quillwork and in beads this art style was utilized by several tribes in the Wisconsin area until the 1860s, when bolder and more colorful designs became more popular. The old style did not disappear, however, as indicated by examples of the Mesquakie, Potawatomi and Winnebago from the early decades of the 20th century. This particular bag probably dates back to that period. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
ProvenancePurchased in 1978 from the Green family, Winnebagos at Wisconsin Dells, Wisconsin, whose ancestors had used this bag in the Medicine Dance Society; Gaylord Torrence, Des Moines, Iowa; David Wooley, Corrales, New Mexico and Toby Herbst, Santa Fe, New Mexico
BibliographyVincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.16.

Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.80.

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. 70.

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