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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.
ProvenanceMalcolm Grimmer, Santa Fe, New Mexico
BibliographyVincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.40.
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. 53, fig. 38.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.160.
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. 155.
Culture
Tsitsistas/Suhtai (Cheyenne)
Bag
Date1885-1890
DimensionsOverall (Includes Fringe): 16 × 6 × 25 1/2 in. (40.6 × 15.2 × 64.8 cm)
Object numberT0076
Credit LineGift of Eugene V. and Clare E. Thaw Charitable Trust
Photograph by John Bigelow Taylor, NYC
Label TextLong edge-beaded tabs around the upper rim of tobacco bags are characteristic of Tsitsistas/Suhtai (Cheyenne) design. (c.f. Penney 1992, figs. 93,111 & 112; Maurer 1993, figs. 83, 139 & 229) Although early examples usually have four tabs, bags from the 1860s and later tend to have more tabs below the beaded rim, such as this example. Beadwork on the lower part of the bag and the vertical strip covering the seam is done in a fine lazy-stitch technique. The stepped-triangle pattern is distinctive for beadwork of about 1890. The small elongated diamond shapes above the panel of beadwork represent eagle feathers and refer to sacred blessings. In contrast to these features of the late 19th century, the bottom fringe is old-fashioned. Many Tsitsistas/Suhtai bags do not have the panel of quill-wrapped strips that were so popular on the central Plains. Instead, tin jinglers and long fringes often start directly from the bottom of the bag. The strips of red cloth are seldom seen and appear to substitute for tassels of red-dyed hair. Among the Tsitsistas/Suhtai, the production of quill- and beadwork was restricted to women who were members of craft guilds. These organizations played a conservative role in the development of the tribal art style. (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.
ProvenanceMalcolm Grimmer, Santa Fe, New Mexico
BibliographyVincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.40.
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. 53, fig. 38.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.160.
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. 155.
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