North by Southwest: Native American Art From the Collection of I.S.K.Reeves V and Sara W. Reeves

NORTH BY SOUTHWESTNATIVE AMERICAN ART

From the Collection of I.S.K. Reeves V & Sara W. Reeves

NORTH BY SOUTHWESTNATIVE AMERICAN ART

From the Collection of I.S.K. Reeves V & Sara W. Reeves

April 18 – September 14, 2014

THE MENNELLO MUSEUM OF AMERICAN ARTOwned and operated by the City of Orlando

Orlando, Florida

This book is published on the occasion of the exhibitionNorth by Southwest: Native American ArtFrom the Collection of I.S.K. Reeves V & Sara W. Reeves,presented by The Mennello Museum of American Art, Orlando, Florida. April 18 – September 7, 2014

This exhibit is one in a series entitled “Art of the American West” that wascreated to celebrate the 15th Anniversary of the founding of the Museum. © 2014 The Friends of The Mennello Museum of American Artfor the benefit of The Mennello Museum of American Art. All rights reserved. No part of this publication may be reproduced, stored in retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. Sponsored by The Friends of the Mennello Museum of American Art Publication design and composition: Pitts • LaVigne AssociatesEditors: Frank Holt and Lindy ShepherdPhotography by Beverly Brosius Front cover: Tlingit Shaman’s Mask, circa 1920sHeight: 12 inches Width: 9 inches Published byThe Friends of the Mennello Museum of American Art900 East Princeton StreetOrlando, Florida 32803www.mennellomuseum.com

This exhibition is sponsored by the City of Orlando andthe Friends of The Mennello Museum of American Artwith funding from Orange County Government throughthe Arts & Cultural Affairs Program.

Webster’s defines a “connoisseur” as a person with knowledgeable and sophisticated discrimination, especially in the field of the arts or in matters of taste.

Having known Keith and Sara for more than 25 years, I would put them in this catagory. They have read, looked, discussed and immersed themselves in the field of Native American art. They have bought and traded objects, always with the goal of increasing the quality of their collection.

For the Central Florida community, they have always been generous with loans — they don’t just hide the objects for themselves, they want to share. This museum has been very fortunate — the current exhibit is the third in a series of exhibits that the Reeves have loaned to the museum. We have enjoyed Plains Indian Ledger Drawings, the art of the Florida Seminoles and now, a group of objects that were created by Native Americans living in the areas from the Southwest, through the Pacific Northwest and into Alaska.

While some of the objects have great spiritual and ceremonial value — totems, dance masks and effigy figures — there are others that reflect a less formal purpose, such as objects of adornment, children’s dolls and a model teepee.

Together these objects give the museum visitor a taste of fine craftsmanship and great spirit.

Frank HoltExecutive DirectorThe Mennello Museum of American Art

F O R E W O R Du

This North by Southwest exhibit consists of a limited representation of cultural artifacts from four distinct areas: the Far North, the Northwest Coast, the

Northern Plains and the Southwest. Within each of these areas existed -- and continues to exist -- several tribal entities; some were allied with their cultural neighbors, and some were their sworn enemies. This is the history of North America, divorced from non-Native American intrusion.

What is of interest is that these artifacts survived at all. Perhaps it was because of their intrinsic beauty, and that they were appreciated as art when they were collected. While beauty is generally considered to be “in the eyes of the beholder,” these objects do have universal appeal. It is important to understand that these artifacts were not made to be observed as art, but rather they were utilitarian or ceremonial in nature. Still, the mostly unknown makers clearly understood aesthetics. Many of the items have “power” and meaning; it being the responsibility of the collector and observer to understand such, and by doing so, we give continued meaning to otherwise inanimate objects.

From the aforementioned cultural regions, there are certain items in the collection that are particularly worthy of recognition. From the Far North, the fully articulated “Ivory Owl” is carved from walrus tusk. The head, wings and legs have all been designed and carved to move, a complex undertaking and an accurate representation of the real bird – it moves just as an owl moves and was probably made to respect its abilities of flight.

From the Northwest Coast, the “Tlingit Shaman’s Mask” was carved in the 1920s and reflects the respect given to land otters, considered to be intelligent beings. In order to acquire power, shaman (holy men) would collect their tongues, representative of their power, keeping them in a medicine bag or container. In this mask, we see that a shaman has died and two otters come to him to reacquire their power by inserting their tongues up the nostrils and into his brain, taking back their intelligence and essence.

The “Headdress – Teton Sioux” from the Northern Plains is one of only two known to exist; the other resides in the respected Chandler-Pohat Collection. It was originally collected from John “Fast Horse” Passiack of the Standing Rock Reservation in South Dakota and is believed to date to the “reservation period” (1850-1887). Its rooster-hackle feathers, accompanied by smaller, contrasting feathers were examined by Smithsonian experts and identified as those of a Mute Swan (Cygnus olor), dyed to resemble those of an eagle. It is a complex and expressive artifact, which includes a seed-bead band of “tipi-forms,” red trade cloth, hide and horsehair; ermine skins drop in an iridescent arrangement that brought attention to the wearer/warrior. The headdress is, in that respect, the quintessential artifact of a Plains warrior.

From the Southwest, the Navajo (Diné) impersonator mask (hastsebaka), worn during the “Nightway Curing Ceremony,” is an important artifact that spoke to religious issues not fully understood by non-natives. According to tradition, this mask, consisting of animal hide, horsehair, pigment, shell attachments, hair and a small gourd, had the ability to transform the individual into the god figure -- he actually became the personification of that god, a fact recognized and believed by observers.

Each artifact in this exhibit has a history about why it was made and its true function. In a few examples, the individual makers are known, but most are left to be appreciated solely for their beauty, not their creator. Collectors thus have a responsibility not to merely acquire an artifact, but to make its story come alive and understood in its historical context. It is then that we can fully comprehend the importance, meaning and beauty.

I.S.K. Reeves VApril 2014

I N T R O D U C T I O Nu

Eskimo Ivory OwlCirca 1880-1890This articulated figure of walrus ivory is carved to represent an owl in flight. The wings, head and legs are attached to the body with metal pins, permitting movement. The owl is engraved and defined with black pigment, illustrating the different types of feathers that occur in the owl. Articulated or moveable figures such as this are rare and represent the Eskimo’s appreciation for the intelligence and hunting prowess of the owl.

Length: 5.5 inches Width: 6 inches (wing tip to wing tip)

The Inuit arrived by way of the Bering Straits, the former land bridge that connected North America to Siberia. Today, the Inuit people live primarily along the western

coast of Alaska, their traditional homeland.

In addition to the Inuit, other native people of Alaska include the Aleut and the Athabaskan, which are all represented in this exhibition. Their use of walrus ivory, whalebone, animal skin, wood and grasses illustrate a restraint appropriate when natural materials are scarce. Decoration is limited and primarily monochromatic, as is most of their environment during the winter season.

Prior to European contact by Russians in 1732, the art of these Native Americans included ornamented or sculptural utilitarian tools and implements. The post-contact period continued their unique creativity, represented primarily as ethnographic examples of native art collected by explorers, anthropologists and visitors.

These are a people not provided with an abundance of harvest and to whom life forces had great significance and power. The environment was harsh and unforgiving. One survived by learned skills, a deep understanding and appreciation of nature and a proper respect for the unknown, guided by “Spirits” that protected them.

Inuit ivory carving is art in a pure and subtle form. Decoration is limited, color almost non-existent, detail minimal – yet one immediately recognizes, understands and appreciates their sense of aesthetics. They understood the essence of what they wished to portray to such an extent, it must be admired and appreciated.

While most of native art was intended to be functional, art for art’s sake was not unknown. During the late 1940s,

as an example, they began to carve stone into that which they knew: bears, seals, fish and humans. These artistic expressions had precedents, such as stone lamps with recognizable forms of whales or other animals. In essence they carved stone to represent what they knew and, like many art forms, its expression was based upon tradition.

Masking was an equally important cultural form that evolved to be art. Masks were culturally important artifacts that were later created for sale to visitors, infrequent as they initially were. Similarly, baskets and ivory carvings, while originally utilitarian, evolved to become the artistic expression of talented individuals that found a market with non-natives. Earlier carvings were of a personal nature and were intended to appear to the spirit of the animal depicted and to show respect for their spirit.

It is the utilitarian object intended for personal use that commands this collector’s greatest admiration. The seal claw scratcher, as an example, comes alive when one understands why it was made. This is a tool that contributes toward human survival, allowing the hunter to “fool” the seal that he seeks as food. The seal, while seeking air from a hole in the ice, becomes concerned when it hears noises made as the hunter crawls toward the breathing hole. The hunter, spear in one hand, carries in the other hand the scraper, which has two seal claws attached. He uses this tool to scratch the ice, making a sound that a seal makes when enlarging its breathing hole. The seal, feeling safe, raises its head and falls victim to the hunter.

Hopefully, understanding the purpose of such a utilitarian object, one infused with native artistry, commands the proper respect of the viewer.

FA R N O R T Hu

Inuit Ivory FigureCirca 1900This is a small ivory figure of a male Inuit figure, arms held close to the side of his body. This figure was probably carved as an amulet, it could have been made by the father of a young girl, as they were known to have a number of dolls. It is also known that dolls were carved when a couple had been without children for a long time and desired a baby. The husband would carve a doll that was fed and cared for.

Height: 4.5 inches Width: 1.25 inches

Inuit Ivory BearCirca 1940sThe artist is unknown, but clearly was a person who not only understood the essence of a polar bear, but was equally an artist. This large-scale standing bear of highly polished walrus ivory has articulated ears and full facial features, all colored in black pigment. He seems to be posed such that he picks up the scent of a potential food source.

Height: 2.25 inches Length: 4.5 inches

Inuit Story KnifeCirca 1870-1880Story knives were called such, because they were utilized by young children to tell stories by carving in the snow or soft mud. Its use is demonstrated by the significant wear along the bottom of the blade. The handle has a series of indentations, more decorative than functional. These were, traditionally, a gift from the father to his child.

Length: 11.25 inches

Eskimo/Shaman’s PuppetCirca 1875The wooden head of this puppet is carved to realistically represent the facial features of an Eskimo. Behind the face is a deeply carved groove, presumably for attachment of a cloth or skin covering to conceal the hand of the shaman. At the top of the head are two holes which contained walrus whiskers or wooden rods or attachments, conjecturally restored.

The method of attaching the covering is a clear indication that this is a handheld puppet, presumably that of a shaman and not just a child’s doll. These were magical figures with the power and ability to cure illness in a society that deeply believed in such spiritual power.

Height: 2.5 inches Width: 1.5 inches (head only)

FA R N O R T H FA R N O R T H

Inuit Ivory WolfCirca 1930sCarvings of indigenous animals were a token of respect by the Inuit, who carved what they knew. This large carving in walrus ivory is a braying wolf, mouth colored in red, teeth bared, and nose, mouth and eyes painted in black. The posture indicates it is well-fed and clearly prepared to stand its ground.

Height: 3 inches

Shaman’s Mask of an EskimoCirca 19th CenturyThis is a transitional Pacific Eskimo mask, possibly of the Prince William Sound area. It contains features of both Eskimo (mouth and eyes) and Northwest Coast styles (eyebrows, lips and utilization of color). The mask exhibits great patina with worn areas where it was held in place by the wearer’s hands.

The mask was originally painted blue over a dark background with deep maroon/dark red lips and black eyebrows. It has great aesthetic strength and presence, reflective of its utilization as a shaman’s mask.


The native people of the Northwest Coast achieved a highly developed and sophisticated culture, rivaling any in the Americas. Abundant food sources along

the coast, such as salmon, candlefish and halibut, provided the basis for sociological differentiation. This produced shamans, artisans and different classes of people, from wealthy clan leaders to slaves. The first European contact by Cabrillo in 1542 did little to impact this diverse but rich culture.

Emblems, such as clan totems, were important symbols of social prestige in this culture. Mythology plays an equally important role, reflecting oneness with animals represented, be it a whale, salmon, raven, bear or beaver. Their art is deeply spiritual, and the excellence in their art continues to the present day; new generations of carvers, weavers and artists create artwork of a similar high quality to their ancestors.

Two pieces in this exhibition wonderfully illustrate the mythology -- the “Tilingit Shaman’s Face Mask” and the “Eskimo Mask.” Both of these masks, so spiritual in concept, are unequaled works of art. The Tlingit mask speaks to the premise of death, power and methodology. The land otters,

whose tongues were emblems of power and collected by the shaman to empower him, have returned to reclaim that power, that which was taken from them in a transfer from animal to man, who utilized that power in healing ceremonies. It is fitting that when the shaman dies, the spirit of the land otters return and use their tongues to reach into the brain of the dead shaman to take back their power.

The importance of shaman art also is exemplified in the “Crown,” which is a representation of either goat horns or the claws of a bear. Most known examples, rare though they are, are carved in greater detail, showing animal faces and forms, and were carved of the organic materials of the bear or goat horn. This example is carved of wood and simply painted. It was used in healing ceremonies, worn by the shaman as he or she utilized their power to heal the ill patient, sometimes “striking” the individual with the crown as a means of driving out the sickness.

Is this simple yet pure form of a crown representational of a more direct instrument of healing? Is simpler, in this case, more powerful? These are answers we shall never know, but knowing its basic meaning empowers us to understand this artifact and to appreciate its purpose.

N O R T H W E S T C O A S Tu

Tlingit Shaman’s MaskCirca 1920sThis shaman’s mask is similar in concept to a mask (circa 1885) collected by G.T. Emmons at the Upper Chilcat Village, in Klukwan, Alsaka. The black eyebrows and mustache, defined with bear fur, emphasize the important features of the eyes and mouth. Shamans believed land otters to be intelligent beings and kept dried otter tongues in their medicine bags, reflective of their ability to transfer power to the owner, These two land otters curve their bodies around the cheeks and place their tongues into the nostrils of the dead shaman, taking back their knowledge and secrets at the moment when death occurs.

Height: 12 inches Width: 9 inches

N O R T H W E S T C O A S T

Northwest CoastShaman’s Figure: TlingitCirca 1870sThis polychrome wood carving is of a male figure, perhaps a warrior figure, with a wolf’s head mounted on his head, much like a helmet; similar to two other wolf heads mounted to his waist. His hands are tightly pressed to his chest. This is an early and expressive carving; a piece of Shaman art. The images are painted in shades of dark green, deep red and black, all exhibiting great patina and character.

Height: 11.75 inches


Kwakiutl Dancer This is a seated dancer created by the artist Patty Fawn, sister of the late renowned carver and storyteller Dan Lelooska. The dancer wears a traditional mask and is dressed in cedar bark, an exact replica of the type of masks worn today during the traditional dances and events. A real dancer would utilize a series of concealed strings to open and close the beak of the bird mask, making it appear to be alive.

Height: 11.5 inches Width: 11.5 inches Depth: 9.5 inches

Kwakiutl DancerThis raven mask was created by Patty Fawn, whose Kwakiutl name means “precious as copper.” The mouth of the raven, through a series of string attachments, can be opened and closed by the dancer, creating a loud clacking noise that is an integral part of the traditional Kwakiutl dance of the raven.

Originally part of the Val Zelst collection, and subsequently acquired at Cowan’s Auctions.

Height: 15.75 inches Width: 4 inches Depth: 11 inches


Totem FigureCirca 1920s-1930sMiniature totem figures were typically representatives of larger poles depicting tribal and/or family identification. This example, carved in wood and painted, is an eagle surmounting a killer whale. The artist/maker, while unknown, clearly understood the medium and utilized color to create the traditional forms that are so representative of Northwest Coast art.

Height: 9.25 inches


Kwakiutl Silver BraceletCirca 20th CenturyThis is a silver image of the marvelous mythical Thunderbird, the most powerful of all the “Spirits” who lived high in the mountains. Only the most powerful and prestigious of chiefs has the Thunderbird as a crest. Part of the power of the Thunderbird was its ability to eat whales, utilizing magical snakes attached under its wings. Knowing this power, a human whale hunter would paint part of this image on his canoe, then paint over it knowing that the whale could sense the power of the image, yet not exposing its power to everyone’s view.

Height: 2.75 inches Diameter: 1.25 inches

Northwest Coast: Silver BraceletCirca 1983A traditional silver bracelet with a killer whale design by the artist L. Wadhams, an accomplished silverworker in the Northwest. Earlier versions of bracelets, such as this example, were traditional gifts during potlatches, events in which the wealth of the givers would be given away as a means of gaining prestige and honor.

Height: 1.375 inches Diameter: 2.25 inches (widest)

Northwest Coast: Silver BraceletCirca 1860-1880This is a large, well-engraved silver bracelet of the type made as a gift during the potlatch ceremony. The figure appears to be that of a bear, a form utilized in many similar bracelets of this period. This example is closed at the back, with integral silver latches, an indication of the period of fabrication.

Height: 1.625 inches Diameter: 2.75 inches


To many of us, the Plains region conjures images of warrior people -- the Cheyenne, Sioux, Blackfoot, Crow and many others. These tribes have played

an important and dynamic role in the history of North America. With the introduction of the horse in the middle of the 17th century, their lives were radically altered. This was one of many contributing factors that led to a period of artistic expression typified by a magnificence of dress, weapons and shelter, as well as a diversity of objects of personal adornment.

This exhibition contains a variety of these objects, ranging from “ledger art” executed on paper to a “Cheyenne cradle” representative of the unrestrained use of beadwork that replaced earlier porcupine quillwork. While not a broad sampling of the vast variety of available art, these objects do provide a sense of their makers’ understanding of balance, color and proportion.

These items are generally more secular than those of the Northwest Coast region. They are more decorative and, in many instances, contain decoration for the sake of adornment and not necessarily for the purpose of providing a message. Reflecting the influence of the spirit world is a part of the process; it is important to note is that these artifacts were almost always made for personal use and adornment, and not items made for sale.

The power of a piece of “ledger art,” as an example, is unlocked when the viewer understands the “code” of this

unique art form. According to custom, warriors in the mid- to late-1800s could not brag of their individual combat exploits, which were generally personal acts with one warrior in battle with another of a differing culture. Warriors could, however, become members of a society, and by drawing on acquired ledger books of paper, they could “tell the story” of what had transpired. These drawings were shared with fellow warrior society members, and this cultural process was not considered to be bragging or inappropriate.

Each drawing is a battle story, depicted in a code or convention that was understood by fellow society members. How a horse’s tail was tied, for instance, could illustrate that this horse had been prepared for war. An antagonist drawn upside-down was a means of communicating that he had been killed. The conventions are contained throughout the drawing, and convey the past, the present and the future – the eventual outcome. By knowing the convention, we understand what transpired and can only be amazed by these personal acts of bravery.

When one considers many of the other artifacts on display, including the shields, the skull crackers and the weapons, as well as articles of adornment, such as moccasins, breastplates and the feathered headdress, we also can understand and appreciate the items depicted in the drawings.

N O R T H E R N P L A I N Su

Bear Warrior Society Shirt(Nez Perce, Blackfeet?)Circa 1845-1850This is a Plains/Plateau war shirt of a type worn by members of the Bear Society, possibly of the Blackfoot culture. It was acquired by the Crow people, by trade or capture and subsequently adorned with Crow Tobacco Society medicine packets. It is decorated with applied color, porcupine quills, glass beads (seed beads and pony beads), human scalp locks, metal attachments, fur (mountain lion and wolf), feathers and the noted medicine packets.

Subjected to a detailed analysis by a variety of recognized experts of Native American artifacts of this nature, it is believed to be of the first half of the 1800s.

It was acquired by Bernard Thomas of Sheridan, Wyoming in the 1940s, as a gift from the Crow. Thomas (1918-1994) was an accomplished Western artist who befriended the Crow who lived just to the north of his home and studio in Sheridan. They would bring him gifts and artifacts of importance, recognizing that he was accurately depicting their life of an earlier period, in an accurate and respectful manner.

The fabric cylinder served as the container for the shirt.


N O R T H E R N P L A I N S N O R T H E R N P L A I N S

Arapaho Model TipiCirca 1920Tipi models were made for young girls, much as miniature bows and arrows were made for boys. Progressively larger tipis were given as gifts as they progressed in age. This Arapaho model tipi from the Kansas/Nebraska area is made of trade cloth, with native tanned hide used for the door flap, decorated with two blue triangular elements. The poles are willow, with the closure originally secured with nine (two missing) wooden lacing pins along the door. This example has the two ear flaps open; when these were closed, it indicated that a visitor was not welcome.

Height: 23 inches Width: 11.5 inches (at base)

Miniature ParflecheThis is an exact miniature duplicate of a parfleche—a hide container or envelope—utilized by several Plains tribes to store clothing and food. Typically made of buffalo hide, they were painted by women in geometric designs of an almost contemporary nature. They acquired the name parfleche, from the French, translating as “to deflect an arrow,” because women would utilize them as shields if their village was attacked.

Length: 3.5 inches Width: 2.25 inches

N O R T H E R N P L A I N S

Plains/Plateau DollCirca 1885This is a child’s small buckskin doll with a fringed traditional dress, and an attached necklace of light-green seed-beads, and a leather belt decorated with blue and green beads. The small head has attachments of braided horsehair, sewn to indicate a central part. The doll’s small arms are formed of tightly rolled rawhide.

Length: 4.5 inches Width: 2.25

Plains Female DollCirca 1870-1880A young girl’s doll, of female form, wearing a red cloth dress with yoke in off-white cloth, both sewn with thread. The face is decorated with beaded eyes (blue), nose (yellow) and mouth (red) with hair wrapped around the neck. The legs are of similar red cloth with attached moccasins of hide. Dolls, such as this large example, were a prized possession of young girls and were gifts from female members of the family.

Height: 16.75 inches Width: 12 inches (arms extended)


Ledger Art DrawingCirca 1875This is a colored-pencil drawing on a page from an accounting ledger, depicting two mounted figures. The warrior on the left is labeled as a “Kaw” (Kansas) Indian, the other individual being the artist, a Cheyenne Warrior. His hair is decorated with an eagle feather and he bears a war shield, a spear and carries a pistol. The spear, or lance, is reversed, indicating that the Cheyenne is counting coup, merely touching his opponent, which was considered by Plains Warriors to represent greater honor and bravery than the act of killing.

Previously in the collection of Carl S. Dentzel, Director of the Museum of the Southwest, then the personal collection of Ken Canfiled who was a collector/dealer in Santa Fe, New Mexico.

Height: 6.75 inches Width: 14.5

Ledger Art Drawing:Buffalo Meat (Oe Wotoh)Circa 1876-1877Buffalo Meat was captured on April 3, 1875, at the Cheyenne Agency, Indian Territory and imprisoned at Fort Marion in May 1875. He was described as being a “Ringleader,” who fought the Osage, enemies of the Cheyenne. His gliff (visual image or drawing of his name) consisted of buffalo meat drying on a rock.

This is a complex drawing of a group of Cheyenne Warriors, all dressed in a variety of accoutrements, with Buffalo Meat holding a sword, greeting a Pawnee under a flag of truce. Or, the Pawnee, his horse wounded twice and is bleeding, is in the act of surrendering.


Ledger Art Drawing: Howling Wolf (Honanistto)Circa 1876-1877Howling Wolf was a warrior with the Bowstring Society of the Cheyenne and noted as a “Leader of Raids.” He was captured and transported to Fort Marion (Florida) in April 1875 and released in 1877. His ledger art was considered to be exceptional, and he was the only such artist who produced ledger art works in the pre-reservation period, while at Fort Marion and in the post-Fort Marion period.

This is a drawing of a warrior society gathering, with the society leaders presented on horseback, one being identified as “Roman Nose,” a famous Cheyenne warrior. The feathered lances, with their distinctive bent feature, are representations of those carried by the Bowstring Society.



Plains Headdress — Teton SiouxCirca 1900This is a man’s feathered bonnet, commonly called a “headdress.” Those are rooster hackles attached by leather thongs and red trade cloth with horsehair attachments. There are 15 ermine skins attached along the bottom edge, with a beaded strip of geometric design at the front of the headdress. The glorious feathers are from a Mute Swan and were dyed, as identified by experts at the Smithsonian National Museum of National History.

Height: 24 inches (top to bottom of ermine drops)


American FlagThis is a well-executed beaded flag, probably utilized (originally) on a man’s pipe bag and dates to the late reservation period (circa 1890-1915). The owner of the pipe bag considered the beadwork of such quality that it was retained, despite having been removed from its original bag. Beaded flags are relatively common to the artifacts of the Plains people, especially in the aftermath of the Plains Wars when a variety of tribal entities were subdued by the U.S. Government.



Hopi Mud-Head MaskCirca 1895-1910Worn by Koyemsi, “the mud head clown,” this mask is for the most common Hopi clown. He appears in mixed Kachina dances, while occasionally a group of Koyemsi appear in a dance of their own. It is made with reddish-brown pigment on leather, an applied tubular snout and eyes, and four large cloth balls simulating gourds attached to the sides, top and rear (missing). The mask exhibits extensive use with several repair patches.

Height: 13.5 inches

The people of the Southwest appear to have been in place for a much longer period than most tribal entities in North America. The Spanish first made contact

with some of these cultures while searching for legendary wealth. The Spaniards brought devastation and cultural intrusion, which was alien to these secular tribal societies. Their geographic isolation has, in many respects, been the basis for their continued existence, and they remain today as one of the most traditional people.

It is of interest to note that many of the Pueblo people, as well as the Hopi, have origins that trace back to areas of present-day Mexico; it was during the early pre-contact period that they migrated into the Southwest. Like many Native American people, where they are living today is generally not their original “place of being.”

The Pueblos and the Hopi adopted their culture and way of life to these “new” areas and utilized available resources to enhance their life as represented, as an example, by their unique pottery. Some of their modern artists, in that regard, have achieved international fame, such as Maria Martinez of San Ildefonso Pueblo and Nampeyo of the Hopi. These are artifacts of the historic period and represent the excellence of pottery-making, a cultural process of adapting to local environments and available resources by creating utilitarian and artistic artifacts.

The Navajo, an entirely different culture, are equally well-known for their textiles, with early blankets being woven

with such quality as to rival or surpass any in the world. These wonderful Germantown textiles are included in the exhibition and are known as “eye dazzlers” because of their fluidity, motion and vibrant use of color.

The art of basketry, particularly at the hands of the Apache and Pima, became highly developed and evolved in the mid-1800s. Baskets were avidly sought by early collectors and visitors who appreciated the artistic value and excellence. The Apache were of a different genetic stock and were, in large measure, feared by those who lived in proximity; yet their artifacts were acquired by Pueblo peoples during periods, be they ever so brief, when peace prevailed. It is of interest to note the similarities between some of the Southwest cultural artifacts to those of the Northern Plains tribal entities. The tobacco bag, for example, is similar to tobacco bags from the Plains cultural area.

During the historic period an art form evolved: works of art on paper by such legendary artists as Harrison Begay, Tonita Pena, J.D. Roybal, Red Robin and Pop Chalee. Included in this exhibit, in addition to those well-known artists, are paintings by several young Navajo (Diné) students, originally collected by a young teacher/anthropologist when she taught at their school in the early 1940s. Their works of art are as well-executed and as expressive as those of the acknowledged artists, yet they apparently did not continue to utilize their talents after completing school. The inclusion of these paintings in this exhibit is intended, in part, to honor and share their talent.

S O U T H W E S Tu

Zia Pueblo Water JarCirca 1900This polychrome olla is from Zia Pueblo, New Mexico. Water jars of this type have a concave base with basalt rock temper, typical of Zia pottery. The design is a “flying bird,” executed in red with double banding encircling and separating the red base from the design.

Height: 9.25 inches Width: 10.5 (widest area)

Hopi Figural Dish PlateThis is a pottery figural dish representing a Polik Mana mask made by the legendary Hopi-Tewa potter Nampeyo (1860-1942), also known as “Old Lady Nampeyo” to distinguish her from the numerous members of her family who are also potters. The painting of the Katsina mask is an image she utilized on several occasions, and is called the “Polik Mana” or “Butterfly Mother.” She achieved significant fame during her lifetime, and was recognized as one of the greatest potters of the Southwest.

Diameter: 10.5 inches

San Ildenfonso Pueblo: MariaCirca 1930-1932This exceptional bowl of unusually large proportions was made by Maria Martinez, the artist whose work is internationally recognized for excellence. This bowl was collected in 1932 by Wilhelmine Elizabeth Meissner, while she was traveling through the Southwest. According to her son, “She purchased several pieces from a dealer at a trading post who recommended each as an appropriate and important representation of Southwestern Pueblo pottery.”


San Ildenfonso Pueblo: “Marie” VaseCirca 1920sMaria (Marie) Martinez, the most famous of Pueblo pottery artists, created this vase in the early 1920s. It is decorated with an Avanya, a horned water serpent, which her husband Juilian interpreted as the first rush of water coming down on arroyo, or dry creek bed. The Avanya is considered a symbol of thanksgiving for water and rain. The tongue of the serpent represents the lightening that occompanied the thunderstorms. Signed, in pencil. “Marie.”

Height: 11.25 inches Width: 8.5 (at shoulder)

Southwest: Pueblo Plate: Romana San Ildenfonso PuebloCirca 1930-1932A platter/plate by Romana (Romana Sanchez Gonzales) considered to be “...one of the most respected potters of her generation,” credited with being the inspiration for Rose (Gonzales) and who was her mother-in-law. This exceptional example was collected by Wilhelmine Elizabeth Meissner, “while travelling through the Southwest on the way to the Olympics held in Los Angeles in 1932.”


S O U T H W E S T S O U T H W E S T

Cochiti Pottery Skunk1977This large-scale pottery skunk was made by the Cochiti artist Mapuwaah or “Wild Rose.” Inez Ortiz, as she is generally known, is the sister of legendary potter Virgil Ortiz. It was commissioned as a present for Sara Reeves, becoming part of an extensive collection of pottery skunks created by Native American artists living in various pueblos in the Southwest.

Height: 6.25 inches Length: 4.75 inches Depth: 2.5 inches

Hopi Pottery SkunkThis family group of three pottery skunks was made by Susie Elvira Maha Youvella (1922-1995) of First Mesa and Walpi on the Hopi Reservation in northern Arizona. Susie was an accomplished and award-winning artist. Her work is in the collection of several museums. She adopted Sara Reeves into the Parrot Clan in an emotional ceremony atop First Mesa, and named her “Kachin’ Mama (Kachina Girl),” an exceptional honor for a non-Hopi.

Height: 6.75 inches Width: 4 inches Depth: 4 inches (tallest figure)

Southwestern Child’s Blanket: Navajo (Diné)Circa 1895This is a child’s transitional blanket, consisting of seven bands of red wool, each decorated in diagonal serrated lines, in multicolors. A textile of this quality represents a “labor of love” from the weaver to the child. Few such examples have been collected from this period when Navajo textile artistry was considered to be in decline.

Length: 50.5 inches Width: 34 inches

Navajo Germantown Eyedazzler TextileCirca 1880-1890This finely woven textile of pre-dyed wool was prepared in Germantown, Pennsylvania, and was made available to the Navajo by traders on or near the reservation. Textiles of this quality are called “eye dazzlers” because the overall design literally dazzles the eye with a fluidity of motion unique to Navajo textiles. It is made of four-ply commercial yarns of white, green, red, blue, dark blue and orange-brown. It’s woven on a red background, with crosses and terraced elements, and finished with wool fringe.

Length: 48 inches Width: 31 inches

S O U T H W E S T S O U T H W E S T

Navajo God Impersonator Mask Circa 1915-1920This type of mask is worn during the Nightway Curing Ceremony by the Navajo while impersonating deities and are utilized to compel the attention of the Holy People. It is made of leather, hide, pigment, gourd, fur and horsehair. This male mask — or hastsebaka — is painted blue to represent the sky, with a lower band painted yellow, symbolic of twilight. The mouth is the tip of the gourd, surrounded by a strip of fox fur representing vegetation.

Height: 21 inches Width: 11.5 inches

Zuni (Acoma?) MaskCirca 1930This is possibly a Zuni mask of Thlelashoktipona. In artistic expression, it resembles Zuni or Acoma work, but the snout could have been made by a Hopi. The stylized clouds, as ears, are executed in yellow, black, red and white. The mask is constructed of saddle leather painted green and laced with thongs.

Height: 8.75 inches Width: 7 inches

S O U T H W E S T

Southwestern Painting: Red RobinCirca 1930-1940This watercolor is titled “Dance at Taos Pueblo” by Red Robin, who was born in 1918 and resided in Taos Pueblo and Santa Fe, New Mexico. He claimed a relationship with several tribal entities, yet his actual origins remain unknown. His watercolors, however, demonstrate a clear understanding of the culture of Taos and its ceremonial and cultural life.


S O U T H W E S T

Southwestern Painting: PopChaleeCirca 1945-1950This is the image of a young Navajo (Diné) and his burro, titled “Wood to Keep the Home Warm,” by Pop Chalee/Flower Blue, a Tiva name given to her by a Taos Pueblo relative. At an early age, she was influenced by Albert Looking Elk, a cousin who was an accomplished artist. She studied with Dorothy Dunn at the Santa Fe School and subsequently achieved international fame.


S O U T H W E S T

Southwestern Painting: Jimmi WillardCirca 1935-1945This is a traditional Navajo (Diné) scene; he holds in his arms a young lamb and faces east, as indicated by the doorway entry to his hogan, whose entrance always faced east to greet the morning sun. Originally collected by Mary Louise McGregor, who taught at Red Rock School, in Northeastern Arizona, as a young college graduate.


S O U T H W E S T

THE MENNELLO MUSEUM OF AMERICAN ART

FOUNDERS

Michael A. MennelloThe Honorable Marilyn Logsdon Mennello (1925-2006)

The Honorable Glenda E. Hood

FRIENDS BOARD OF DIRECTORS

David Cross, PresidentJim Southhall, Treasurer

Vanessa Ketcham, SecretaryAndrea Batchelor

Patrick ChristiansenSusan Gall

Sandy HostetterMary C. KennyPaul Lartonoix

Bob LeBlanc, Ex-officioHoward Marks

Adam McKinnonGenean McKinnon

Joy SabolJohn Schell

Nancy SchwalbRoss SilverbachMichael Stewart

EMERITUS BOARD MEMBERS

Joyce Ann AppelquistRobert Bourne

Helen DoneganGerry GarciaJoyce GreenJudson GreenGlenda HoodClarence OtisSylvia OverbyJohn Rigbsy

CITY OF ORLANDO COMMISSIONERS

Buddy Dyer, Mayor, City of OrlandoJim Gray, District 1

Tony Ortiz, District 2Robert Stuart, District 3Patty Sheehan, District 4Regina I. Hill, District 5

Samuel B. Ings, District 6

CITY-APPOINTED BOARD OF TRUSTEES

Alexandra Steele, ChairpersonJeffrey Gitto, Vice Chairperson

Suzanne BarnesTeresa CampbellWes Featherston

John MansillaMichael A. Mennello

Alexandra SteeleJohn UppercoLynda WilsonAndre Young

MUSEUM STAFF

Frank Holt, Executive DirectorChristine Vazquez, Office Manager

Genevieve Bernard, Curator of EducationLindy Shepherd, Public Relations Manager

Anne Peoples, Staff AssistantKathryn Sullivan, Staff Assistant

Documents

North by Southwest: Native American Art From the Collection of I.S.K.Reeves V and Sara W. Reeves