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A brisk intertribal trade, give-aways, and undocumented collecting of most of these bandolier bags impede the identification of the various distinct styles. Despite the large number of these bags each of them is unique in its decoration, presenting evidence of the great skill and impressive imagination of the women who made them. (c.f. Maurer 1977, p.114, fig.108; Anderson and Hussey-Arnston 1986, p.65, fig.12). During the second half of the 19th century the time-consuming production of these colorful showpieces must have been a veritable cottage industry, undoubtedly stimulated by the demand from more western Indians, but also by the intense pre-occupation of the producing communities with ceremonial activities in those early years of reservation life. Indicative of wealth and social standing, bandolier bags were often worn in pairs by their owner, their straps crossing the chest. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
Exhibition History"Art Des Indiens D'Amerique Du Nord Dans La Collection D'Eugene Thaw," Mona Bismarck Foundation, Paris, France, Somogy Editions D'Art, January 21, 2000 - March 18, 2000.
"Treasures from the Thaw Collection," Wheelwright Museum of American Indian Art. Santa Fe, NM, May 1, 2000 - December 31, 2000.
"Life on a String: 35 Centuries of the Glass Bead," Corning Museum of Glass, Corning, NY, May 18, 2013 - January 5, 2014.
ProvenanceAcquired by Benson Lanford from a Mesquakie family at Tama, Iowa, in ca.1985; David Wooley, Corrales, Santa Fe, New Mexico; Toby Herbst, Santa Fe, New Mexico
BibliographyVincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.73.
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. 81.
Culture
Anishinaabe (Ojibwa)
Bandolier Bag
Datec. 1890
DimensionsOverall: 38 3/4 × 13 3/4 in. (98.4 × 34.9 cm)
Object numberT0017
Credit LineGift of Eugene V. and Clare E. Thaw
Photograph by John Bigelow Taylor, NYC
Label TextThe loomwoven beadwork on this bag and its shoulderstrap is a more elaborate version of the basic X motif that was popular on many of the earlier examples of Southwestern Ojibwa origin. The rather narrow panel of black velvet above the bag itself appears to be more characteristic for bandolier bags attributed to the Potawatomi and Menomini of Wisconsin, and so is the border of small and open white diamonds. The silk tassels on wooden cones are unusual and probably purchased ready-made from an upholstery shop.A brisk intertribal trade, give-aways, and undocumented collecting of most of these bandolier bags impede the identification of the various distinct styles. Despite the large number of these bags each of them is unique in its decoration, presenting evidence of the great skill and impressive imagination of the women who made them. (c.f. Maurer 1977, p.114, fig.108; Anderson and Hussey-Arnston 1986, p.65, fig.12). During the second half of the 19th century the time-consuming production of these colorful showpieces must have been a veritable cottage industry, undoubtedly stimulated by the demand from more western Indians, but also by the intense pre-occupation of the producing communities with ceremonial activities in those early years of reservation life. Indicative of wealth and social standing, bandolier bags were often worn in pairs by their owner, their straps crossing the chest. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
Exhibition History"Art Des Indiens D'Amerique Du Nord Dans La Collection D'Eugene Thaw," Mona Bismarck Foundation, Paris, France, Somogy Editions D'Art, January 21, 2000 - March 18, 2000.
"Treasures from the Thaw Collection," Wheelwright Museum of American Indian Art. Santa Fe, NM, May 1, 2000 - December 31, 2000.
"Life on a String: 35 Centuries of the Glass Bead," Corning Museum of Glass, Corning, NY, May 18, 2013 - January 5, 2014.
ProvenanceAcquired by Benson Lanford from a Mesquakie family at Tama, Iowa, in ca.1985; David Wooley, Corrales, Santa Fe, New Mexico; Toby Herbst, Santa Fe, New Mexico
BibliographyVincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.73.
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. 81.
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