Dick S. Ramsay Fund

Size: adult; probable wearer: male. Wool (camelid), warp-faced plain weave; wool, silk, and metallic (on linen core) embroidery; wool plain-weave appliqué (European?). One of only a few known Spanish Colonial embroidered tunics composed of a single length of warp-faced plain weave camelid wool with a subtle herringbone pattern. It is dark brown in color with broad stripes of red at the sides and embroidered designs at the neck opening and the bottom. In several places the embroidery is covered by small appliqués of cloth. The warp threads alternate narrow stripes of yarns spun in the "S" direction with narrow stripes of yarns spun in the "Z" direction. The result is a subtle striping effect throughout the fabric called l'loque. Contemporary Andean weavers believe l'loque keeps the "spirit" of the cloth contained. On one side, the border design consists of two Inca warriors amid three pairs of heraldic animals; on the other side three Incas are portrayed attended by musicians and women offering flowers. Embroidered above the head of the central Inca is a rainbow. The heraldic animals and Inca warriors on the other side are sewn with silver threads in a dense composition that resembles European textile designs, while the Incas and their attendants are sewn in bright colors with each figure standing out clearly against the background in an arrangement similar to the painted designs on native drinking cups (keros). The bottom edges of both sides are the same. They are embroidered with a row of small rectangular patterns that recall the tocapu designs woven on pre-Conquest Inca tapestry tunics. The neck of the tunic is also decorated with tocapu-like designs and floral motifs; on one side below the neck opening is an appliqué of a double-headed eagle of European derivation. It is possible that some of the embroidery is a recent addition; however, the appearance of the garment convincingly indicates prolonged use.

The backs of these mittens and the thumbs are quilled with red, light blue, white, and purple porcupine quills in a floral design. The main composition is symmetrically arranged around an equal-armed, eight pointed element on a quadrate layout. The effect is of a flowering plant bursting into blossoms toward the fingertips so that the design is oriented towards the wearer. Design elements consist of the double curve cross, the trefoil, tear drop shaped and heart shaped motifs. A smaller curvilinear floral and leaf is embroidered on the thumb. Clustered on a single stem, similar design elements appear in blue, red, white, and purple. The cuffs are made of dark blue Stroud cloth decorated at the border with beads and ribbon. From the upper third of the cuff, proceeding toward the fingers, the ornaments are arranged: a scalloped design of white beads, each point terminating in a trilobal design; then a field of red ribbon; followed by a simple line of single white beads; a narrow band of gold or dark yellow ribbon; and finally a border of two lines of white beads. Blue and white bird quills decorate the seams. See supplementary file in Arts of Americas office.

Sun (Tawa) Kachina Doll. This Kachina is carved from one piece of cottonwood root. This Kachina has a large circular headdress of carved white feathers with black tips surrounding a circular face. The face has the bottom half blue with black slits for eyes, triangle for mouth and two parallel lines on either side of mouth. The top of face is bisected with yellow, black and red stripes making a forehead design. The back of the headdress has real feathers. Across his back is a silk ribbon bandolier. The carved wood sash in back has carved fox pelt. The figure has a flesh colored chest with Pl breast yellow and PR breast turquoise. He wears a carved dance kilt and boots. His knees wear leather leg bands decorated with bells and yarn. His raised PR arm and hand holds a gourd rattle and his lowered PL arm and hand carries a flute. This Kachina is very rarely seen in public because thir performance is part of sacred ceremonies reserved only for specific clans. Tawa, a spiritual being seldem appears.Tawa (Sun) kachina dancer wears a radiating headdress made from yucca fibers, and carries a gourd rattle and a flute. He may appear in mixed kachina dances but this is unusual as he rarely appears in major public events. Tawa does not belong to any specific men’s kiva group but will appear on request in their sacred ceremonies. All the stories about him relate to his interactions with people and animals and how he contributed to earth’s creation.

Fully dressed doll with a coconut husk base, beaded necklace and earrings.This type of doll was created extensively for the burgeoning tourist market during the ealry 1900s.

Brooklyn Museum Collection

Brooklyn Museum Collection

This is called a frame hand drum. There is a modern scarf tied around the hide struts in the back where a person would hold it.In very poor condition.

Designs made up of incised lines and pierced or "cut out' shapes elaborate the form of this flattened section of elk antler. The upper end of this hair ornament is a carved, elongated semi-circle, rounded at the top, but it is cut at the bottom to suggest the form of two figures which emerge at the shoulders, as if headless, with slightly flexed knees. The figures' torsos have cut triangular shapes pointing downwards. The elongated, lower section of the ornament is pierced with circles, a semicircle, narrow or linear crescents, and two pointed ovals. Each of the "cut-outs" is surrounded with an incised outline, most of them rubbed with red pigment, with the following exceptions: the inner legs of the two figures, on the shins from the knee to the ankle, are rubbed in black. A horn shaped outline is also rubbed in black. At the rounded end, beyond the bone tube is a cross, cut through the flat piece of antler. A faded ribbon, now off-white, is tied to the bone tube and a thin piece of thong is knotted underneath the tube, on the unornamented side of the antler plate. The spreader has lost any remnant of feathers or woodpecker beak that once may have adorned it coming out of the femural bone tube.

Charles Stewart Smith Memorial Fund