Museum Expedition 1941, Frank L. Babbott Fund

Museum Expedition 1908, Museum Collection Fund

This is one of a pair of wolf (?) masks (see 08.491.8905b). Both are constructed of wood pieces nailed together to make flat sided, flat ended forms with painted faces. The two masks generally resemble each other; however, there are construction differences between them and the painted forms on each mask differ. Both have openwork frets along the top and cut out teeth. Remnants of cedar bark hair are inside the top frets on each mask. Both have ovoid eyes; however, one mask's eye area is infilled with black dots and the other's has solid red infill. A long, thick curved eyebrow arches over each eye on both masks; however, nostrils differ: one has nostrils with black over red painted geometric forms; the other has black painted swirled nostrils. There is uncertainty whether the pair represent wolves or serpents. They might be serpents for if the objects were wolves, they most likely would have no ears. The object (08.491.8905a) appears to be structurally stable except for the fabric attached at the front under the jaw. Also, the split cane bundles that represent fur (?) are dried and brittle. The proper left side of the mask appears to have been repainted. The mask is properly worn on the top of the head with the face forward.

These 10 clay balls are from Basket (08.491.8612) This set, made from materials found and growing around Clear Lake was used by hunters in balsa boats for killing waterfowl. The birds would have been secured by throwing stones with a sling or snared. The basket with the clay balls was commissioned by Stewart Culin. Almost all of these are similar to this, fairly coarse and quickly woven. The basket is filled with shredded tule and the balls are laid out on this when stored in the canoe. While the balls are not fired in a kiln there is some plant matter mixed with the clay and they are sun baked. (see also 06.331,8213 for sling)

The object is a coiled rectangular burden basket that tapers toward the base. It is decorated with animal forms and geometric designs in natural blonde and dyed red plant fiber. Under the zigzag design panel at the top of the basket, a reinforcing wood strip is partially broken with a section of approximately six inches missing. The broken ends of the strip were secured to the basket with linen thread by conservation. A buckskin handle or carrying strap is attached to one side of the basket. The handle on the other side was broken off and is missing with nothing but two end loops of skin remaining. The overall condition of the object is fair and stable. Some of the coiled ribs are abraded.

This Kachina has not been fully identified. He wears a helmet-style mask painted with zigzag designs and topped with feathers. He wears the cotton dance skirt, yarn ties on top of painted booties and yarn wrappings around his wrists. His snout protrudes, has painted teeth along the sides and a woven ring of plant material dangling from the end.

This cap was part of Brooklyn Museum curator Stewart Culin's personal collection but was originally owned by Frank Hamilton Cushing as part of his own Zuni clothing that he wore. Cushing's acceptance into the Zuni Bow Society was the culmination of his career. Cushing believed the Bow Priesthood to be the most powerful, elaborately organized of all associations. This cap of perforated buckskin is one of the badges of office in the priesthood. It is exceptionally finely crafted.

The arms of this Kachina doll are articulated. Its boots are painted on. It wears a ringlet of plant fiber as a headdress with feathers in the back and a painted skirt and sash. Wool yarn is tied around his wrists and calves.

Gift of Frederic B. Pratt

This collar is richly decorated with claws (bear's?) and fur appendages wrapped with quillwork and yarns. It might have been used for the singer to attract the Hoply People.