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Fan2012.92.59

The Elizabeth Cole Butler Collection.

Culture
Inuit
Material
feather and plant fiber
Holding Institution
Portland Art Museum
View Item Record
Gift Basket2009.9.23

The Elizabeth Cole Butler Collection.

Culture
Pomo
Material
willow, sedge root, clamshell bead, magnesite bead, abalone shell, meadowlark and quail feather
Made in
“West-Central California” ?
Holding Institution
Portland Art Museum
View Item Record
Amikuk Mask2006.10

Phillip Charette, whose Yup'ik name Aarnaquq was handed down in his family, is an artist who sees inspiration in traditional forms and creates visually potent statements using a variety of contemporary media. Historically, Yup'ik shamans used Amikuk masks in their healing ceremonies as a portal to travel into the spiritual world. Although the traditional style of Yup'ik mask was carved from wood, Charette uses a range of ceramic techniques to achieve the desired results and even models the clay to simulate the adze marks that appear on the surface of wooden masks. He researches every detail and each aspect has a symbolic reference. For example, the white paint around the eyes represent snow goggles and the red on the lips and interior of the nostrils represents blood, signifying the mask's strength, while the porcelain teeth are a reminder of the dangerous and powerful beings that inhabit the spiritual world.

Culture
American and Yup'ik
Material
raku, horsetail fired clay, porcelain, glass bead, red oak, feather, rawhide hide and paint
Holding Institution
Portland Art Museum
View Item Record
Mongwu, the Owl Katsina2004.63

Gift of the McFarland Family on the occasion of the 80th Birthday of James C. McFarland.

Culture
Pueblo and Hopi
Material
cottonwood tree root, paint, leather and feather
Holding Institution
Portland Art Museum
View Item Record
Gift Basket91.95.35

Feathered baskets were an important trade item and a symbol of wealth among the Pomo. They were considered appropriate gifts at special occasions and were used as offerings at funerals and mourning ceremonies. The brightly colored feathers, added to the basket as it is made, provide a design mosaic, while the basketry foundation is left plain. Flat saucer-shaped hanging baskets, like this one, were originally decorated only in red feathers. The addition of other colors and patterns was an innovation that began around 1900 as a reponse to collectors' wishes. Handmade clam shell beads added around the rim along with triangular pieces of abalone shell as pendants increased the traditional value of the basket. Magnesite beads were sometimes used as an alternative to clam shell beads. Referred to as "Indian gold," magnesite is white when it comes out of the ground. Pomo men would ceremonially heat it over a fire - causing the magnesite to turn a golden orange color - before working it into beads.

Culture
Pomo
Material
willow, sedge root, clamshell bead, abalone shell, quail feather, mallard feather and meadowlark feather
Made in
“West-Central California” ?
Holding Institution
Portland Art Museum
View Item Record
Basket91.95.34

The Pomo are seven distinct cultural groups that historically occupied the California coast from south of the Russian River northward to the Fort Bragg area and inland to the region around Clear Lake. Although the Pomo made a variety of baskets, they are best known for finely coiled baskets such as these. The basket on the left is constructed with a three-coil foundation. The woven designs on Pomo baskets are usually geometric; figurative designs are rare. Pomo weavers often add feathers and clam shell beads as further ornamentation. The dark plumes are quail topknots, frequently used as accents around the basket rims. The red feathers, from the acorn woodpecker, are very fine; each tuft on the basket is made of several feathers that have been twisted together.

Culture
Pomo
Material
willow, sedge root, bulrush root, cotton string, clamshell bead, quail feather and woodpecker feather
Made in
California, USA
Holding Institution
Portland Art Museum
View Item Record
Basket91.95.25

The Yokuts are some forty to sixty linguistically related tribal groups that historically lived in the San Joaquin valley and adjacent Sierra Nevada foothills of California. They made a variety of coiled basketry forms, including jars with distinct flat shoulders and short, vertical necks. Figurative and representational motifs woven in red and black were common, as were the quail topknots that adorned many Yokuts baskets. The interlocking diamond pattern on the shoulder of this basket is meant to represent a rattlesnake.

Culture
Yokuts
Material
sedge grass, redbud, brackenfern root, grass and quail feather
Made in
“Central California” ?
Holding Institution
Portland Art Museum
View Item Record
Hair Drop90.33.10

The Elizabeth Cole Butler Collection.

Culture
Interior Salish and Nez Perce
Material
dyed cedar root, hair, metal and feather
Made in
“Plateau” ?
Holding Institution
Portland Art Museum
View Item Record
Huxwhukwamł (Mask of the Huxwhukw)89.52.2

The huxwhukw, or mythical Raven, represents one of the supernatural associates of Baxwbakwalanuksiwe’, the cannibal spirit, which appears in the form of birdlike masks in the tseyka, or red cedar-bark ceremony. These masks are commissioned as part of the inherited privilege of being a hamat’sa society initiate. The masks and the dances in which they are worn pacify and tame the hamat’sa, who personifies the cannibal spirit and the insatiable nature of life, and who ultimately exhibits the honored behavior of a high-ranking person. The articulated beaks clap dramatically during a performance, accompanied by the dancers’ characteristic cries.

Culture
Kwakwaka'wakw
Material
red cedar wood, paint, feather, raffia and dye
Made in
Northwest Coast, Canada ? or Northwest Coast, USA ?
Holding Institution
Portland Art Museum
View Item Record
Bonnet87.70.23

The Elizabeth Cole Butler Collection. Collected: Elizabeth Cole Butler

Culture
Interior Salish and Nez Perce
Material
bead, feather and cotton
Made in
Plateau, North America
Holding Institution
Portland Art Museum
View Item Record