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ProvenanceJonathan Holstein, Cazenovia, New York
BibliographyVincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.158.
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. 178.
Culture
Apsaalooke (Crow)
Related Person
Thomas Crow and Company
Tubular Parfleche
Datec. 1890
DimensionsOverall: 16 × 5 in. (40.6 × 12.7 cm)
Object numberT0052
Credit LineGift of Eugene V. and Clare E. Thaw
Photograph by John Bigelow Taylor, NYC
Label TextCylinder-shaped parfleches were used to store rolled ceremonial headdresses, tipi flags, and medicine bundles--and later parade regalia. The bracket-shaped figures bordering the central field represent horse tracks and refer to the owner's success in capturing enemy horses; the column of short stripes may refer to the number of horse raids by this man. These symbols as well as the other designs have been drawn in the dark blue line that is typical in parfleche paintings of the Apsaalooke (Crow). However, the large circles around the upper part and the whole composition of the paintings are quite different from the traditional bold and angular patterns of the Apsaalooke. (c.f. Conn 1979, fig.164, Painter 1992, fig.113; Torrence 1994, fig.98) Several other examples suggest that this was a standard decoration for tubular parfleches which served as containers of a specific type of sacred objects, presumably related to horse raiding. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)ProvenanceJonathan Holstein, Cazenovia, New York
BibliographyVincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.158.
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. 178.
On View
On view