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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.
ProvenanceHarry G. Beasley, Cranmore Ethnographical Museum, Chislehurst, Kent, England; Rene Rasmussen, Paris, France (on loan to Musee de l'Homme, Paris, 1930-1972); Pierre Bovis, San Francisco, California; George Terasaki, New York City
BibliographySotheby's. Sale No. 6061, September 25 & 26, 1990, Lot 208.
Vincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.24.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.60.
Maurer, Evan M. The Native American Heritage: A Survey of North American Indian Art. Chicago: Art Institute of Chicago, 1977, p. 109, fig. 98.
Perriot Francoise, and Slim Batteux, trans. Arts des Indiens d'Amerique du Nord: Dans la Collection d'Eugene et Clare Thaw. Paris: Somogy editions d'Art, 1999, p. 19, fig. 6.
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. 41.
Culture
Wendat (Huron)
Knife Sheath
Datec. 1830
DimensionsOverall: 3 3/4 × 11 in. (9.5 × 27.9 cm)
Object numberT0036
Credit LineGift of Eugene V. and Clare E. Thaw
Photograph by John Bigelow Taylor, NYC
Label TextIn the late 18th century, an elaborate floral style developed among Wendat (Huron) living near Quebec City (cf. Hodge 1973, pp. 12-13, fig. 31-36; Roth 1909, fig. 10; Turner 1955, frontspiece, p. 76; Feder 1965, fig. 27C). Instructed by French nuns in French Renaissance embroidery, Wendat women developed a distinct style of their own. The quality and complexity of this style reached its height in the 1840s, expressed in moosehair embroidery on black-dyed buckskin and on birchbark. Knife sheaths, moccasins, purses, back trays, and a variety of other items decorated in this manner were extremely popular in a lively trade with British and other visitors. The retention of porcupine quillwork on this sheath suggests an early date in this development. Notice the belt loop conforming to European custom; Native people of this region carried their knife sheaths hanging on the chest from a neckstring. (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.
ProvenanceHarry G. Beasley, Cranmore Ethnographical Museum, Chislehurst, Kent, England; Rene Rasmussen, Paris, France (on loan to Musee de l'Homme, Paris, 1930-1972); Pierre Bovis, San Francisco, California; George Terasaki, New York City
BibliographySotheby's. Sale No. 6061, September 25 & 26, 1990, Lot 208.
Vincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.24.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.60.
Maurer, Evan M. The Native American Heritage: A Survey of North American Indian Art. Chicago: Art Institute of Chicago, 1977, p. 109, fig. 98.
Perriot Francoise, and Slim Batteux, trans. Arts des Indiens d'Amerique du Nord: Dans la Collection d'Eugene et Clare Thaw. Paris: Somogy editions d'Art, 1999, p. 19, fig. 6.
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. 41.
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