Armadillo Basket
North America
20th Century
Materials: Armadillo shell
This basket is made from the shell of a nine-banded armadillo. The back of the armadillo forms the body of the basket and the looped tail forms the handle. The nine-banded armadillo is the only North American species of armadillo. Prior to 1850, the nine-banded armadillo was not found north of the Rio Grande river. In the past 150 years, however, armadillo populations have increased greatly in southern portions of the United States, and members of the species have been spotted as far north as Illinois. Armadillos generally live in temperate climates due to the lack of body fat and insulation against the cold. They are the only living mammals with shells and they subsist on insects, plants, and fruit.
The armadillo basket was popularized in the early 20th century by basketmaker Charles Apelt. Baskets, such as this one, were first displayed at the World’s Fair in 1902 and were an instant hit. Charles Apelt started the first armadillo farm in the United States and raised the animals for commercial purposes, producing baskets, lampshades, and smoker stands for tourists and collectors until the 1970s. Armadillo shells have also been used in other countries to make utility objects like musical instruments and food containers.
What do you think about this basket? Share your thoughts and enjoy getting to know the Story Behind the Object!
Pomo Tribes: Feather Basket
North America
Early 20th Century
Materials: Feathers, Grasses
This object is a Pomo feather basket from the early 1900s. The “Pomo” name was originally ascribed to Indian tribes living in the area of present day California during the turn of the century, though researchers have since noted that over 70 different groups were represented by the name. Basketry techniques and styles were similar among the groups, however, especially in the production of feather baskets. This basket is small and measures only 3 inches wide (about the size of a baseball). It features a coiled construction– formed by small bundles of grasses stitched into a spiral to create the round shape and coiled body of the basket.
The yellow feathers on the basket come from the Western Meadowlark (see figure left). The Western Meadowlark is a North American species of the blackbird family. It lives in grassland areas primarily west of the Great Plains. The red feathers on the basket come from the Acorn Woodpecker (see figure right). The Acorn Woodpecker is a species of woodpecker that lives in the western and southwestern portions of the United States. Pomo baskets are produced by both men and women. Basketmakers collect the bright yellow feathers of the meadowlark and the small red feathers of the woodpecker with respect and reverence for the birds. In fact, many Pomo basketmakers, such as Mabel McKay, regard feather baskets as living entities in themselves and are careful to honor the spirit of the baskets. Just like the birds represented in the baskets, Pomo feather baskets are unique and come in many different types. They serve a variety of purposes and have been produced for ceremonial and religious contexts, daily use, and even tourism.
What do you think about this basket? Share your thoughts and enjoy getting to know the Story Behind the Object!
C/2001/1/16
Black Figure Lekythos Greece
Attic
Attributed to the Athena Painter
ca. 450-430 BCE
Materials: ceramic
This object is a black figure Attic lekythos that is believed to have been painted by the Athena Painter. Lekythos, is the name that is used to describe a piece of Greek pottery that is cylindrical in shape with a single vertical handle. Lekythoi have a slender neck and a slightly larger mouth. It is thought that lekythoi were mainly used to hold oil or perfume, commonly used during religious ceremonies.
Painted Greek vases are known from as early as the second millennium BCE, and pottery was produced all over the Greek world. Early on there were countless local styles, but by the middle of the six century BCE the vases of Attica and its capital Athens had exceeded in quantity and quality those of their nearest rivals. This Attic supremacy lasted for a century and a half and survived many wars and political upheavals. After the Peloponnesian war Attic pottery went into a slow but steady decline, though vase painting continued in other parts of the Greek world.
The painted scene on this object depicts three warriors. They are shown as black figures with details etched through the paint and into the ceramic underneath. Moving counterclockwise from the handle, the first figure is standing with a shield in his left hand and a spear in his right. He is facing to the right and appears to be attacking the second figure. The second figure is crouching and facing the first figure. He holds a shield in his right hand, as if in defense, and a spear in his left. The third figure is facing the other two and is standing. He holds a shield in his right hand and has a spear drawn back in his left.
In black-figure vase painting, the decoration was applied by painting on a slip that turned black during firing, while the background was left the color of the clay. Vase painters added details to their decorations by incising parts of the painted slip or by adding small areas of white and purple. The white and purple areas were painted with mixtures of pigment and clay. In order to complete the pot, a special three stage firing process was used. During the first, oxidizing stage, air was allowed into the kiln, turning the whole vase the color of the clay. In the subsequent stage, green wood was introduced into the chamber and the oxygen supply was reduced, causing the object to turn black in the smoky environment. In the third stage, air was reintroduced into the kiln, causing the unpainted portions of the pot to turn back to orange while the painted areas remained black. The following is a video illustrates how Greek pottery was made.
The Athena Painter specialized in lekythoi and many pieces that have been attributed to this artist depict the goddess Athena in the painted decoration. The Athena Painter was one of only a few artists that continued to work in the black figure style after the red figure technique became popular. Other examples of pieces attributed to the Athena Painter can be found in the National Archaeological Museum in Athens, the Mildred Lane Kemper Art Museum, the Baltimore Museum of Art, and many others. [Kate Barr]
E/1982/11/341
Pima Tribe: Basket
North America
c. 1930
Materials: Devil’s Claw, Willow, Grass
This is a double-necked basket from the Pima (Akimel O’Odham) tribe in present day Arizona. Pima baskets are known for their fine detail and tightly woven materials that make them waterproof without the aid of tar or sealant. This basket is woven from devil’s claw, willow, and grasses. It contains a geometric pattern and measures approximately 13″ x 6″ x 7″.
The devil’s claw plays an important role in the production of Native American basketry. The naturally dark color of the devil’s claw is often used to weave contrasting designs on the body of the basket. Gathering the devil’s claws, however, can be a dangerous task! Devil’s claws have sharp ends and can easily puncture or poke if picked up the wrong way (see picture). The use of devil’s claw plants in basketry requires skill and patience–something Anna Moore Shaw learned at a young age. Anna Moore Shaw was a Pima woman born in the late 1800s. She wrote an autobiography describing growing up as a Pima girl and learning the art of Pima basket making. She explains how the process began with gathering the materials for production. It could take several weeks and involve many members of the tribe to gather all the materials needed for basket making. Once gathered, the materials had to be prepared. The devil’s claw, for example, had to be placed in water to soften the thorns and then stripped with a sharp awl (a tool like the one seen here). The grasses were separated and the cattail were split by the basket weaver’s teeth! Then the baskets were created, with woven patterns representing flowers (such as the squash blossom seen here) or spiritual elements (such as the geometric design seen here).
What do you think about the designs on this basket? Share your thoughts and enjoy getting to know the Story Behind the Object!
[Lauren Simons]
Ethnology @ SNOMNH is an experimental weblog for sharing the collections of the Division of Ethnology at the Sam Noble Oklahoma Museum of Natural History.
E/1982/11/403
C/2001/1/16
