« The Speck collection contains nine tobacco pouches. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p12. « The remaining seven tobacco pouches are rectangular in shape and close with semi-circular flaps. »Ibis « Another is made of tanned moose skin edged with green cotton tape and a tie of the same material. There are beaded floral designs on the flap and the front and a row of yellow and white beads on the sides and around the edge of the flap (fig. 20d). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p13, fig 20d (p.48). « Speck (1935, pp. 190-191) has noted that for the Montagnais, the symbolic pictorial representation of a plant or animal was equivalent to the actual plant or animal and those portrayed were believed to come under the control of the individual human spirit. Dreams played a major part in suggesting the relationship between specific animals or plants and an individual. The spirit was strengthened by having its dream promptings obeyed and success in subsistence activities was thereby assured. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.10.

« Before the acquisition of breech-loading firearms, the Montagnais-Naskapi, like other Indians, used muzzle-loading percussion guns. These required the carrying of shot pouches, of which there are are five in the Speck collection. The size of the shot pouch was determined by the size of a hunter's fist, since he would be reaching in for a hand-full of shot (Speck, 1935, p. 213). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.11. « The fifth pouch is somewhat different, being made of heavy wool felt with seams bound with red cotton tape. On the inner edge of the binding are two rows of purple silk-wrapped cording. Instead of a shoulder strap, there are two loops for attachment to a belt. On the front is a floral design in red, white, blue, and green seed beads (fig. 20a). » « Speck (1935, pp. 213-215) notes that the period during which shot pouches were used most extensively corresponded with the availability, at posts of the Hudson's Bay Company, of beads and a variety of cloth fabric of different colors. Thus the pouches, which were made by women, became one of the most important vehicles for Montagnais artistic expression. As with other decorated objects made and used by these Indians, the designs on shot pouches served as the means by which the spirits of individual owners achieved control over game animals. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.11. « Speck (1935, pp. 190-191) has noted that for the Montagnais, the symbolic pictorial representation of a plant or animal was equivalent to the actual plant or animal and those portrayed were believed to come under the control of the individual human spirit. Dreams played a major part in suggesting the relationship between specific animals or plants and an individual. The spirit was strengthened by having its dream promptings obeyed and success in subsistence activities was thereby assured. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.10.

« Before the acquisition of breech-loading firearms, the Montagnais-Naskapi, like other Indians, used muzzle-loading percussion guns. These required the carrying of shot pouches, of which there are are five in the Speck collection. The size of the shot pouch was determined by the size of a hunter's fist, since he would be reaching in for a hand-full of shot (Speck, 1935, p. 213). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.11. « Two pouches, both of which appear to have seen considerable use, are made of black wool felt, the seams being bound with cotton tape. Buttons are provided to fasten the flaps. One pouch, from Kiskisink, has a shoulder strap of the same material as the pouch (fig. 20b), while the strap on the second is made of moose skin. This pouch has a smaller pouch sewn to the front just below the flap, which was probably intended for percussion caps (fig. 21b). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.11, fig 21b (p.49). « Speck (1935, pp. 213-215) notes that the period during which shot pouches were used most extensively corresponded with the availability, at posts of the Hudson's Bay Company, of beads and a variety of cloth fabric of different colors. Thus the pouches, which were made by women, became one of the most important vehicles for Montagnais artistic expression. As with other decorated objects made and used by these Indians, the designs on shot pouches served as the means by which the spirits of individual owners achieved control over game animals. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.11.

Small carved model pole. Partly painted. Figures are: thunderbird at top, with an animal face painted on its body, standing on a crouching bear (lower feet not shown). Pole is nailed onto the base from below with one nail. The wings are one separate piece of wood, attached to the pole at the back with a single nail. The back is unpainted and has a stamp with the following: "Made in Canada by Ellen Neel & the Totem Carvers - Kwakiutl Indians".

secondary

Unifacial cobble chopper

patinated

grey; surface dirt; seems ground/smoothed on ventral surface; chip CR

beige; flake off CR chips CR