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These combs are rectangular, with the upper part carved in the shape of a human animal, or bird. The image of the single horse may relate to the first appearance of European horses in Seneca country in the late 1600s. Two other combs show the conventional theme of two identical animals opposite each other, but it is most unusual that these animals have their faces turned away from each other. Combs were worn by both men and women, and by children. Apart from their utilitarian function, they served as hair ornament. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
Exhibition History"On the Trails of the Iroquois, Kunst-und Ausstellungshalle der Bundesrepublik Deu," Germany, October 18, 2013 - January 6, 2014; Martin-Gropius-Bau, Germany, March 22, 2013 - August 4, 2013.
"American Indian Art from the Fenimore Art Museum: The Thaw Collection," The Metropolitan Museum of Art, New York, NY, May 9, 2017 - October 8, 2017.
"American Indian Art from the Fenimore Art Museum: The Thaw Collection," Munson-Williams-Proctor Arts Institute, Utica, NY, October 13, 2018 - December 31, 2018.
"American Indian Art from the Fenimore Art Museum: The Thaw Collection," Mitchell Gallery, St John's College, Annapolis, MD, February 28, 2020 - April 26, 2020.
ProvenanceHarry L. Schoff, 1930s; Lester and Clarence Bill, Canandaigua, New York; F. Llewyln Casterline Collection, Belmont, New York; Jonathan Holstein, Cazenovia, New York
BibliographyVincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.20.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.43.
Miller, Angels L., Janet C. Berlo, Bryan J. Wolf and Jennifer L. Roberts. American Art, History, and Culture Identity Encounters. Upper Saddle River, NJ: Pearson Prentice Hall, 2008, pg. 34.
Sylvia S. Kasprycki, On the Trails of the Iroquois. Bonn: Kunst-und Ausstellungshalle de Bundesrepublik Deutschland, Bonn, 2013, p.132.
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. 26.
Culture
Seneca (Haudenosaunee)
Effigy Comb
Date1670-1687
MediumMoose or elk antler
DimensionsOverall (Object Dimensions): 4 1/4 × 2 7/8 in. (10.8 × 7.3 cm)
Object numberT0024
Credit LineGift of Eugene V. and Clare E. Thaw
Photograph by John Bigelow Taylor, NYC
Label TextSince late pre-contact times the Haudenosaunee (Iroquois) have carved effigy-decorated combs from wood, bone, and antler. After acquiring metal tools in the 17th century, the carvings and engravings on these combs became more elaborate with finely cut teeth, particularly among the Haudenosaunee nations of Seneca and Cayuga. (c.f. Wray 1963, pp. 38-39, pl.1, fig.6; Lyford 1945, p. 23, pl.15). Some 275 of such combs have been recovered from Seneca sites. However, as very similar effigy combs were made as well by the Neutral, Erie, and Susquehanna, some of the combs found in Seneca country may have belonged to captives following the defeat and subjugation of these neighboring tribes by the Seneca. The carving of these combs reached its peak in development between 1650 and 1700, after which they slowly went out of fashion.These combs are rectangular, with the upper part carved in the shape of a human animal, or bird. The image of the single horse may relate to the first appearance of European horses in Seneca country in the late 1600s. Two other combs show the conventional theme of two identical animals opposite each other, but it is most unusual that these animals have their faces turned away from each other. Combs were worn by both men and women, and by children. Apart from their utilitarian function, they served as hair ornament. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
Exhibition History"On the Trails of the Iroquois, Kunst-und Ausstellungshalle der Bundesrepublik Deu," Germany, October 18, 2013 - January 6, 2014; Martin-Gropius-Bau, Germany, March 22, 2013 - August 4, 2013.
"American Indian Art from the Fenimore Art Museum: The Thaw Collection," The Metropolitan Museum of Art, New York, NY, May 9, 2017 - October 8, 2017.
"American Indian Art from the Fenimore Art Museum: The Thaw Collection," Munson-Williams-Proctor Arts Institute, Utica, NY, October 13, 2018 - December 31, 2018.
"American Indian Art from the Fenimore Art Museum: The Thaw Collection," Mitchell Gallery, St John's College, Annapolis, MD, February 28, 2020 - April 26, 2020.
ProvenanceHarry L. Schoff, 1930s; Lester and Clarence Bill, Canandaigua, New York; F. Llewyln Casterline Collection, Belmont, New York; Jonathan Holstein, Cazenovia, New York
BibliographyVincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.20.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.43.
Miller, Angels L., Janet C. Berlo, Bryan J. Wolf and Jennifer L. Roberts. American Art, History, and Culture Identity Encounters. Upper Saddle River, NJ: Pearson Prentice Hall, 2008, pg. 34.
Sylvia S. Kasprycki, On the Trails of the Iroquois. Bonn: Kunst-und Ausstellungshalle de Bundesrepublik Deutschland, Bonn, 2013, p.132.
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. 26.
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