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The tribal origin of this doll is problematic. Former owners have assumed that Dr. Macaulay acquired this doll from Huron Indians while he was stationed in Quebec. It is more likely, however, that he received this doll while he was living in Niagara-on-the-Lake between 1792 and 1805; not far from Iroquois and Delaware Indians living on the Grand River. Masks painted half red-half black were used by both tribes, but carved wooden dolls are known only from the Delaware people. Annually given a new dress, female dolls were honored in the Delaware Doll Dance, but the former existence of male dolls was remembered by elderly Delawares circa 1900. Treated with respect these dolls were believed to bring good health. The red and black painting of this doll supports its sacred identity. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
ProvenanceAccording to family tradition, the figure is one of two given to Dr. James Macaulay, garrison surgeon of the Queen's Rangers, in gratitude for treating a Native chief about 1792; descended in family; Christie's, London, England 1991, lot 18; Taylor A. Dale, Santa Fe, New Mexico
BibliographyChristie's, (London) December 3, 1991, lot 18.
Vincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.22.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.42.
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. 31.
Culture
Haudenosaunee (Iroquois)
Possibly
Mississauga
Miniature Figure
Date1790-1800
DimensionsOverall: 4 3/4 × 1 1/4 × 10 in. (12.1 × 3.2 × 25.4 cm)
Object numberT0030
Credit LineGift of Eugene V. and Clare E. Thaw
Photograph by John Bigelow Taylor, NYC
Label TextThe carved wooden figure has articulated shoulders, elbows, legs, and knees and is dressed in typical Eastern Woodland clothing: a fringed buckskin shirt, leggings, and vamp-moccasins, decorated with some quillwork. The red and black face painting on the doll may relate to Haudenosaunee (Iroquois) masks, with red symbolizing the east and black the west, or morning and afternoon. Some Lenape masks were also colored red and black. The quilled outlining on the moccasin vamps bear only a generic relationship to known Haudenosaunee and Wendat (Huron) styles. The flattened pate of the doll together with glue residue on the unpainted back of the head may indicate the existence of a roach and spreader, now lost.The tribal origin of this doll is problematic. Former owners have assumed that Dr. Macaulay acquired this doll from Huron Indians while he was stationed in Quebec. It is more likely, however, that he received this doll while he was living in Niagara-on-the-Lake between 1792 and 1805; not far from Iroquois and Delaware Indians living on the Grand River. Masks painted half red-half black were used by both tribes, but carved wooden dolls are known only from the Delaware people. Annually given a new dress, female dolls were honored in the Delaware Doll Dance, but the former existence of male dolls was remembered by elderly Delawares circa 1900. Treated with respect these dolls were believed to bring good health. The red and black painting of this doll supports its sacred identity. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
ProvenanceAccording to family tradition, the figure is one of two given to Dr. James Macaulay, garrison surgeon of the Queen's Rangers, in gratitude for treating a Native chief about 1792; descended in family; Christie's, London, England 1991, lot 18; Taylor A. Dale, Santa Fe, New Mexico
BibliographyChristie's, (London) December 3, 1991, lot 18.
Vincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.22.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.42.
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. 31.
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