C/1958/1/5
Replica, Kantharos with wreaths, fillets, thyrsi
Hildesheim Germany
Roman
ca. 100 CE
Materials: silver
This object is a replica of a silver kantharos found in Germany in 1868. The original was a part of a large treasure of about 50 silver pieces found by Prussian soldiers in Hildesheim, Germany. Now known as the Hildesheim Treasure, there are numerous replicas in museums. The reason such a large amount of Roman silver was buried outside of Roman territory is unclear. Many scholars have attributed the objects to a Roman general who may have buried the treasure to keep it safe. Also, dating the pieces is difficult but many are thought to date back to the 1st century C.E.
Named for its shape, the kantharos has two handles on each side. The design on the piece depicts Dionysus, who was the Greek god of wine. The design also incorporates masks, grapevines, and lion decorations, typical of items associated the cult of Dionysus. Before World War II, the original pieces of silver are in Berlin. Replicas such as this one allow students and scholars to study pieces of art that are located in far away places or no longer exist.
E/1979/1/17
Akimel O’odham: Basket
North America
c. 1920
Material: Yucca, devil’s claw
This is an Akimel O’odham (or Pima) basket from the early 20th century. It is made of coiled yucca and devil’s claw. The Akimel O’odham are known for their skilled basket-weaving as well as the use of Squash Blossom and similar designs like the one on this basket. The Akimel O’odham are a group of American Indians living in an area consisting of what is now central and southern Arizona (USA) and Sonora (Mexico). The name means “river people.” They are thought to be culturally descended from the group archaeologically known as the Hohokam. The term Hohokam is a derivative of the O’odham words “Huhugam” (pronounced hoo-hoo-gahm) which is literally translated as “those who have gone before” but meaning “the ancestors.”
Currently, the majority of the population is based in the Gila River Indian Community (GRIC), although in historic times a large number of Akimel O’Odham migrated north to occupy the banks of the Salt River and formed the Salt River Pima-Maricopa Indian Community. Both tribes are confederations of two distinct cultures that include the Maricopa.
C/2001/1/42
Red Figure Lekythos
Southern Italy, Apulia
Apulian
Attributed to the Choes Painter
ca. 350 BCE
Materials: ceramic
This object is a red figure Apulian lekythos that is believed to have been painted by the Choes Painter. The Choes Painter is part of the Lecce Group of Apulian Red Figure vase painters. A similar lekythos, attributed to the Thrysus painter (also part of the Lecce Group) can be found in the Ure Museum, of the University of Reading.
Red Figure vase painting was developed in Athens around 530 BCE and quickly surpassed Black Figure vase painting in popularity. Attic Red Figure vases were highly prized trade items and by the mid-5th century BCE workshops specializing in Red Figure pottery began to be found in Greek colonial areas such as Southern Italy. Before long the Red Figure vases of Apulia were comparable in artistic quality with those produced in Athens.
Apulian vase painting is commonly divided into two main styles, the “Plain” style and the “Ornate” (or “Rich”) style. The “Ornate” style is found mainly on large vessels like volute kraters or amphorae and, like the name suggests, is characterized by elaborate painted scenes sometimes containing up to twenty human figures. “Ornate” style decoration also tends to use a wider range of colors in its decoration, including lots of yellow and white painted areas. Meanwhile, “Plain” style vases tend to be small and the decoration is kept simple, with typically no more than a few human figures. [Kate Barr]
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!
E/1955/9/29
Ohkay Owingeh Pueblo: Ceramic Moccasin
Southwest US
Date Unknown
Materials: Ceramic
This ceramic moccasin is from the Ohkay Owingeh Pueblo (renamed the Pueblo de San Juan de los Caballeros by the Spanish in the 1500s). Ohkay Owingeh literally means “Place of the Strong People.” During the periods of Spanish occupation (late 1500s to early 1800s), the Pueblo became a stronghold for neighboring Puebloans, so much so that it was said only an O’ke native could declare war for the Pueblo Indians. One of their most famous members, Popé, did just that and led the Pueblo Revolt of 1680! Today Ohkay Owingeh Pueblo serves as the headquarters of the Eight Northern Indian Pueblos Council.
The Ohkay Owingeh Pueblo is part of the Tewa linguistic group. Five other Pueblo groups share this language, including the Nambé, Pojoaque, San Ildefonso, Santa Clara, and Tesuque Pueblos. Recently, Puebloans such as Ester Martinez have worked to preserve the Tewa language and pass it on to new generations of Puebloans. To hear an audio sample of Tewa from the Tewa Pueblo Women’s Choir of New Mexico, click on the player above!
Ohkay Owingeh 2009
This ceramic moccasin is small, measuring only 3.5 x 3.0 inches (about the size of a Post-it® note), and is chipped on the toe. A small groove is etched around the base of the moccasin to differentiate the sole from the rest of the body. The body of the moccasin is slipped in red clay, and the sole, in brown clay. In pottery production, slips are similar to glazes. The process of slipping requires that the pottery be dipped in colored clay, fired, and then stone-polished to achieve luster and shine. There are no maker’s marks or signatures on the piece, and the date of production is unknown. According to some historians, “San Juan” pottery production ceased in the early 1900s, with the exception of occasional pieces for sale or trade, like this piece. If you have more information about moccasin pottery, or can help identify the maker of this piece, let us know. And enjoy getting to know the Story Behind the Object!
E/1956/6/2
Navajo Tribe: Cooking Pot
Southwest US
19th Century
Materials: Ceramic
This cooking pot is an example of Navajo pottery from the early 1800s. Navajo pottery has been in production for hundreds of years and is unique from the pottery of many other American Indian tribes in that it does not exhibit the artistic designs traditionally associated with Indian pottery (compare to the example of Hopi pottery below). Painted designs were prohibited due to a belief that they would bring misfortune to the tribe. Navajo pottery was produced primarily by women, though in recent years this has changed with the work of male artists such as Jimmy Wilson. The process of making Navajo pottery is unique. Unlike other tribes, the Navajo do not grind old shards of pottery for reuse in new pieces. This comes from the belief that old pottery shards belong to Anasazi ancestors. Also unique to the Navajo tradition is the practice of covering pottery pieces with melted piñon pitch after firing. The coating gives Navajo pottery a dark appearance and distinct smell.
Navajo pottery was not recognized for its artistic value until the 1950s when artists such as Rose Williams attracted the attention of museum markets and pottery fairs. Today, however, there are many collectors of Navajo pottery and interest in its production has been revived. Museums now display Navajo pottery and schools offer lessons on Navajo pottery techniques. Many Navajo artists fire their pieces one at a time, outside in a traditional fire pit. The process involves the whole family, as individual members are responsible for digging the clay, coiling/pinching the vessel, gathering the pitch, and tending the fire.
The following is a video excerpt of Michelle Williams, granddaughter of Rose Williams, explaining how she makes contemporary Navajo pottery. Check it out and enjoy learning the Story Behind the Object! [Lauren Simons]
E/1982/11/284
Modoc Tribe: Utility Basket
North America
20th Century
Materials: Cattail, Twine
This basket is from the Modoc Tribe of Oklahoma. The Modoc Tribe was a small band located along what is now the California-Oregon border. They were primarily engaged in hunting, fishing, and gathering though evidence of a less nomadic lifestyle exists in the remains of subterranean houses along the coast. They are probably most recognized for the resistance efforts of Captain Jack, a Modoc warrior who, with only 60 men, held off hundreds of US Army troops for several months during the mid 1800’s. Captain Jack was eventually captured and hanged, and the Modoc were relocated to a reservation in northeastern Oklahoma in the 1870’s. Baskets such as this one were initially used for gathering and collecting food items, though by time the tribe was relocated, Modoc basketry was produced primarily for trade and sale.
This basket is an example of the kinds of containers that were made from natural materials like tule and cattail. On this basket, the plaiting forms a checkerwork pattern with strips of black- and yellow-dyed cattail. The warp and weft are woven at right angles to form the body of the basket (see figure). The rim of the basket consists of four braids, and braided cords of cattail are attached to each side for handles.
Basketry was central to the Modoc way of life. In addition to utility uses, basketry served ceremonial and religious purposes. In fact, one Modoc creation story centers on a basket used by the creator “Kumush” to carry spirit bones from the underworld and create tribes on earth. Baskets were also used ceremonially in events commemorating marriages, births, and deaths. Baskets like this one would have been used to gather food sources like huckleberries, sugar pine seeds, wild onions, and camas. The camas root was a staple food for peoples of the American northwest. The bulbs were harvested only when the plant was flowering because its blue petals distinguished it from the “Death Camas”—a similar, but poisonous, plant with white flowers. The camas root was prepared much like a yam or sweet potato and recipes are still in use today!
Learn more about Modoc basketry or check out language projects to hear soundbytes and get 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.
central and southern Arizona (USA) and Sonora (Mexico). The name means “river people.” They are thought to be culturally descended from the group archaeologically known as the 
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