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The Museum has acquired some remarkable new pieces for both the ethnographic and fine art collections over the past year. The pieces listed below are just a sample of the magnificent works that have been and continue to be produced by Native artists from the Eastern Woodlands cultural tradition. Each piece is one more strand in the braid that unites past and present and helps to illustrate Native American art, culture and history.
Three early (1968-1972) acrylic paintings by Ojibwa artist Norval Morrisseau. Morrisseau is one of the most influential Native artists of the twentieth century. Born on the Sand Point reserve in Ontario Canada in 1932, Morrisseau was not formally trained in art and drew on his profound spiritual connection to the legends and stories of his parents and grandparents. During the late 1960s he originated a style of painting known as Woodland or Medicine painting where the internal spiritual forces of people and animals are shown as well as lines of power radiating out from them. The three pieces that the Museum has acquired are from this early and formative period (1968-1972) and are an excellent counterpoint to the piece that the Museum commissioned in 1998 that now hangs in the Creation Gallery.
"Chasing the Mnidoo" by Rabbett Strickland, Chippewa. Rabbett is quickly becoming a sensation in the Native American art field. He paints in a style that is loosely based on the Old Masters of the Italian Renaissance using multiple glazes and soft voluptuous figures. His inspiration is visions and dreams that reinterpret the stories of traditional Chippewa spirit beings.
A Cree wolf effigy wooden spoon, c.1940s. This effigy spoon illustrates how pre-contact traditions have continued as dynamic art forms into the modern era.
A pair of nineteenth century Iroquois leggings. These are typical nineteenth century woman’s leggings and are similar to pairs illustrated by Lewis Henry Morgan in the 1850s. They represent a style that has continued, with few modifications, to the present day.
A mid nineteenth century Iroquois belt from Canada. This belt is unique in its realistic depictions and use of the Canadian seal. It was beaded on a typical military belt of the period and was probably made as a presentation piece for an officer.
A group of complex and beautiful beaded items by Sam Thomas, Cayuga. These include two large beaded pin cushions and two beaded purses. Sam is recognized as one of the premier Iroquois beadworkers and has been a guest artist at MPMRC.
A soapstone sculpture, "Iroquois Law" by Onondaga artist Lloyd Gray. This wonderful piece, featured on the cover of this issue, depicts aspects of the Iroquois Great Law that unites the six tribes.
A beaded table centerpiece, Iroquois mid nineteenth century. This is one of the finest examples in our collections of Iroquois work that was produced for the Victorian era tourist trade.
A wonderful ash splint basket baby cradle, made by Maliseet artist Constance Bernard. These cradles were popular during the nineteenth century and often were made on request for specific clients by Native basket makers in northern New England. This is a rare and endearing form that only a few people continue to make.
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