Tribal Masterworks

from America
and Beyond

Tribal Masterworks from

America and Beyond

Brant Mackley Gallery Exhibit

for
The Philadelphia Antiques Show
2008

Above:
Iroquois Bead Decorated Pouch
New York
Cloth, glass beads, thread
CA. 1820 1840

The Philadelphia Antiques Show

April 12 15th, 2008
The Navy Yard
Philadelphia, Pennsylvania
USA

www.philaantiques.com
The Navy Yard, Philadelphia Cruise Terminal at Pier One, 5100 South Broad Street

BRANT MACKLEY GALLERY

1017 Mount Alem Drive
Hummelstown, PA 17036
Office: 717-566-0780
Cellular: 717-554-2176
mail to: bmackley@verizon.net

Please visit the website at:

www.BrantMackley.com

COPYRIGHT 2008 BRANT MACKLEY GALLERY, ALL RIGHTS RESERVED

Acknowledgements:

I would like to offer my sincere gratitude to the dealer selection committee and
Josh Wainwright for the invitation to exhibit at The Philadelphia Antiques Show.
For his continued counsel and encouragement, I would like to thank David
Wheatcroft. Appreciation is extended to Steve Powers for his friendship, scholarly
dialog in the field of Woodland sculpture, and his contributions to this publication.
Special thanks to Casey Conway and Michael Evans, both friends can always
provide a laugh when the need exists. My humblest appreciation is extended to
Jeanne Collins-Shayter, graphic artist premier. Without her last minute efforts
this catalog would not have been realized.
Lastly, my family, to my mother and father, the ones who molded my appreciation
for tribal art, which ultimately became more than a career but rather my lifelong
avocation. To my wife Christine for her undetermined belief in me through all the
hurdles and obstacles I provide. Without your support, patience and understanding
I would not be the person I am today. And to my children Jasmine & Holden; their
youthful innocence and nave interest in tribal arts are a daily inspiration; may
your curiosity never cease!

Introduction:
It is with great pride that I am able to offer the following objects for exhibit at The Philadelphia
Antiques Show. As a youngster growing up in the antiques trade, The Show was the premier
event of the year to attend. My annual pilgrimage continued as a Temple University college
student; I still remember my excitement of the subway ride to the old 33rd Street Armory.
At that time Morning Star Gallery and Will Channings American Indian art offerings were the
highlights of my visit. It will be marvelous to once again have World native arts fully
represented at the events new location.
Objects have been selected from a variety of North American native cultures. Assembled are
exceptional examples of Woodland, Great Lakes, Plains, Eskimo, Northwest Coast, and finally
Southwestern art forms. Different mediums are explored with an emphasis on sculptural works
and pictorial Plains Indian drawings & beadwork.
Sculpture is the highpoint of the African and Oceanic offerings. The strength, confidence, drama,
and ultimate beauty of these works are beyond imagination when one considers the primitive
conditions of existence for these cultures. The products of their industry is a testament to
humankind and our ability to adapt to any world environs and still create functional objects
that in the end are great masterworks of art.
Fitting to The Philadelphia Antiques Shows maritime themed gallery exhibit I am offering three
tribally made objects that ultimately were owned by 18th19th century American-British seafarers.
The incised carved powder horn, scrimshaw whales tooth and wood effigy carved ball head club
(illustrated within) are exceptional examples of native produced objects acquired and further
crafted by their Euro-American owners in the period. The three pieces wonderfully dance
between the worlds of traditional tribal art and American folk art.

B R A N T

M A C K L E Y

G A L L E R Y

MENS WARSHIRT
Blackfoot, Flathead or Nez Perce
Montana, Oregon or Idaho
Ca. 1870 1880s
Native tanned hide, glass trade beads, ermine tails, trade cloth, thread
Size: 55" x 28"

Provenance:
Field collected by Major Lee Moorhouse (Thomas Leander
Moorhouse), of Pendleton, Oregon. Moorhouse was a noted
photographer of Native American Indians and served as the
Umatilla Reservation Indian Agent. The shirt is seen in
several images Moorhouse made of his collection of Native
objects; these photos are now housed in the archives of the
University of Oregon. Somehow the ownership of the shirt
was passed to Richard Henry Pratt. Pratt is best known for
founding the Carlisle Indian Industrial School in 1879

B R A N T

M A C K L E Y

G A L L E R Y

(Carlisle, Pennsylvania). Pratt served as an officer during the

US Civil War; after the war Pratt was assigned to the American
frontier during the Indian Wars conflict period. He went on to
become a commander of the Indian prison at Fort Marion, in
St. Augustine, Florida. His final assignment was the creation of
the controversial Carlisle Indian School. The shirt may have
been given or sold by Moorhouse to Pratt who definitely would
have been in correspondence as the result of Indian
children from Umatilla being sent to the Carlisle School.
The shirt descended through the Pratt family.

B R A N T

M A C K L E Y

G A L L E R Y

POTTERY OLLA
Hopi (Polacca period)
Arizona

Clay, mineral slip and glaze

CA. fourth quarter 19th century
Height: 5"
Diameter: 5"
Attributed to master artisan Fannie Nampeyo.

B R A N T

M A C K L E Y

G A L L E R Y

SMOKING PIPE
Bering Sea Eskimo, Chukchi
Siberia, Russia
Wood, lead, marine ivory, babiche
Ca. 19th century
Length: 13 "
Siberian Eskimo pipes have animated lines that
create the visual scene of speed; a modern equivalent
would be the Porsche 911 GT3! To produce such an
accomplished object of wood and metal in the
extreme harsh, stark conditions of the artic
is an amazing feat.

B R A N T

10

M A C K L E Y

G A L L E R Y

LARGE FOOD/GRAIN STORAGE OLLA

Zia Pueblo
New Mexico
Ca. first quarter 20th century
Clay, mineral slip and glaze

Attributed to Rosalia Medina Toribio who was a noted

maker of large food storage vessels amongst the Zia.
Ref. Harlow & Lanmon

B R A N T

M A C K L E Y

G A L L E R Y

QUILL DECORATED HIDE MITTENS

Red River Metis or Chippewa
Ca. 1820 1840
Native tanned hide, porcupine quills, wool fabric, sinew, thread
Circa: 1820 1850
Length: 9 "
Provenance:
George Tersaki, New York
Alexander Acevado, New York
Masco Collection, Michigan
These porcupine quill decorated mittens are similar to examples
collected by Nathan Sturges Jarvis at Fort Snelling between
1823-1836. Ref. Feder I have never seen such fine small quills
used on another Native American object; this maker had
the confidence of a master artisan.

11

B R A N T

M A C K L E Y

G A L L E R Y

NORTHWEST COAST
D-ADZ HANDLE
Washington, British Colombia
or Alaska
Whalebone, black pigment paint
Ca. 19th century
Height: 7"
Provenance:
Found in attic of New York estate

B R A N T

M A C K L E Y

G A L L E R Y

FALSE FACE MASK

Iroquois
Wood, paint, tin, cloth,
horsetail
Circa 1800 1850
Height: 10 "
Provenance:
Field collected in the 19th century
by Chauncey W. Crandall, New York
Private Natural History Museum, New York
Richard Rockford, New York
A very early example of the form; according
to George Hammel of the New York State
Museum My impression is (date) second quarter of the
19th century, possibly a quarter century earlier. The mask
reminds me of the Faces collected by Lewis H. Morgan in the
middle of the 19th century. The mask retains period hair (not
shown) and suspension cords; these accoutrements are normally
missing from 19th century masks. Interestingly the artist retained
carving marks on the lower lip, in a dance this treatment creates a
faceted shimmering effect in the light. One of the masks Morgan
collected displays this same feature and is likely by the same maker
Ref. Fenton
PHOTO CREDIT: BOB SKALKOWSKI

13

B R A N T

M A C K L E Y

G A L L E R Y

HEDDLE WOVEN GARTER WITH HUMAN IMAGERY

Chippewa or other Great Lakes culture
Ca. 1820 1840
Wood thread, glass trade pony beads
Length: approx. 33" (with fringe), bead panel 10" x 2"

Provenance:
Alan Silberberg, Massachusetts
Similar examples are now housed at The Detroit Institute of Arts from the Chandler-Pohrt
Collection. Ref. Penney The seven human figures created with pony beads and wool
trade yarn harken to an earlier time when similar imagery would seen in the shell bead
wampum belts of the 18th century.

B R A N T

M A C K L E Y

G A L L E R Y

MOOSE HAIR EMBROIDERY POUCH ON BLACK DYED BUCKSKIN

Huron
Canada
Ca. 1820 1840
Black dyed native tanned hide, dyed moosehair, silk ribbon, thread
Length: 100"

Width: 90"

Provenance:
John & Valerie Arieta, England
William Guthman, Connecticut
An amazing pouch created from the recycled cuffs of a pair
of Huron moccasins. Pouches crafted from reused parts are
common amongst Plains Indian collections but to my
knowledge this is the only Woodlands Indian example known.

15

B R A N T

M A C K L E Y

G A L L E R Y

B R A N T

M A C K L E Y

G A L L E R Y

HUMAN EFFIGY PIPE

Great Lakes Region
Maple wood with lead inlays
18thearly 19th century
Length: 4"
Provenance:
Terrance Kelley, England
Taylor Dale, New Mexico
Will Channing, New Mexico
Wellington Collection, New York
Trotta-Bono, New York
Acquisition, Inc., New Jersey
Fuller Collection, Ohio

This pipe is a true masterwork, exceeding all

expectations in form, patina, and age. A classic
Woodlands effigy face with a dramatic strength;
we rarely see this object form executed in wood.
Likely more wooden pipes were created in the
period but did not survive the trials of time
hence the existence of mostly stone
effigy pipes today. The powerfully
rendered presence and
original makers intent
of this object speaks
for itself.

17

B R A N T

NORTHWEST COAST STAFF

Haida or Tlingit
British Columbia or Alaska
Wood (alder), wrought iron
Mid 19th century
Length: 34 "
Provenance:
Paul Gray, New York
Joe Kinker, Missouri

18

M A C K L E Y

G A L L E R Y

B R A N T

M A C K L E Y

PLATEAU GIRLS DRESS

Nez Perce
Washington, Idaho, Oregon or Montana
Native tanned hide, glass beads,
shell discs, thread
Ca. late 19th century
Height: 37" Width: 35"
Provenance:
Descended in native family
Arthur & Margianne Erickson, Oregon

G A L L E R Y

19

B R A N T

M A C K L E Y

G A L L E R Y

NORTHWEST COAST
FROG CLAN
OCTOPUS POUCH
Tlingit
Alaska
Trade wool & cotton
fabric, glass beads,
thread, yarn
Ca. 1890 1910
Length: 20"
Provenance:
Arthur & Margianne Erickson, Oregon
A beautifully executed octopus pouch from one of the most under-rated
beadwork traditions in North America; collectors and dealers alike usually
think of wood sculpture when considering Northwest Coast art. This
artistic medium (beadwork) was slow to fully develop on the Coast but
ultimately a stylistically unique and accomplished practice was established.
Likely, the pouch was owned by a member of the frog clan who was
associated with six potlatches as designated by the blue circle
designs above the amphibians head.

20

B R A N T

M A C K L E Y

G A L L E R Y

CHEST/ SHOULDER YOKE

Eskimo
Alaska
Wood, pigment
Ca. 19th century
Length: 16"

21

Provenance:
Charles Miles Collection, California
(Illustrated in Miles title Indian & Eskimo
Artifact of North America)
Ramona Morris, Virginia

B R A N T

M A C K L E Y

G A L L E R Y

PLAINS INDIAN HIDE PAINTING

Wind River Shoshone, Wyoming
Artist: Cadzi Cody
Elk hide, pigments
4th Quarter 19th century
Size: approx. 76" x 66"

22

Plains Indian hide painting is a tradition that dates to the

pre-European contact period. Historic evidence demonstrates
the evolving medium peaks in the pictographic form during
the 19th century; regrettably by the 20th century the form
nearly vanishes. Cadzi Cody is considered one of the last great
masters of hide painting. His use of color and ability to make

B R A N T

M A C K L E Y

G A L L E R Y

his figures appear in motion are traits of his superior ability. He is also known for
his masterful visual representation of historic Plains Indian dress and accoutrement.
While this example has previously been dated circa 1890 1900, it is my belief the
hide is an early example by the artist based on the constrained color palette
and types of pigment used. Codys work is found in many museum
collections throughout the world.

B R A N T

25

M A C K L E Y

G A L L E R Y

B R A N T

M A C K L E Y

G A L L E R Y

B R A N T

M A C K L E Y

THE PHILADELPHIA
METHODISTS PIPE
TOMAHAWK
Philadelphia, Pennsylvania
18th century
Wrought iron, walnut wood
Length 19"
Provenance:
Descended through the Boardman
family, Ireland
Donald Ellis Gallery, Canada
An extraordinary presentation
pipe tomahawk of the fashion used
by Eastern Woodland Indians and
colonial settlers in the 18th century.
Dated 1772, the weapon was a gift
from Joseph Pilmore (his initials are
on the blade) to
Richard
Boardman,
both
Methodist lay
preachers sent
from England to Philadelphia by John
Wesley (an early leader in the
Methodist Church) in 1769. Their
mission was to go forth in the name
of the Lord, and preach the gospel in

G A L L E R Y

the waste places of the wilderness and seek after those

who have no shepherd. Ref. Pilmore
The 1772 gift presentation is suggestive of the crosscountry mission in which the preachers were about to
embark. Wesley was unhappy that both preachers were
staying too close to home (Philadelphia & New York) in
their ministering efforts and needed travel in the field
in search of more needy subjects. Likely Pilmore gave
Boardman the tomahawk for personal protection when
traveling. The passing of the pipe was an important
protocol of the period between natives and colonials.
Pilmore may have considered this important social
custom when choosing the gift. The tomahawk blade
is wrought iron with hand engraved inscriptions and
original walnut wood haft. There would have been
an iron mouthpiece on the end of the haft, either lost
or discarded (these were commonly removed because
the iron created an unpleasant taste when smoking
the pipe). Possibly a singularly unique feature is a pipe
bowl clean out pick; the pick threads into the head for
storage and provides a decorative finial Ref. Stevenson.
Colonial rifleman used similar picks to remove
carbon buildup in the spark hole on firearms.
The decorative styling of the

pick, along with the walnut wood

haft, and engraving type suggest a
Pennsylvania clock maker
may have crafted the pipe
tomahawk for Pilmore.

B R A N T

M A C K L E Y

G A L L E R Y

PLAINS HIDE DOLL

Crow
Montana
Ca. 1880 1900
Hide, cloth, bead
Height: 19 "
Provenance:
James Reynolds, an early 20th century
businessman from Sheridan Wyoming,
originally collected the doll. Reynolds owned
a hardware store established around 1905,
which sold and traded goods to the Crow Indians.
His collection of native objects descended through
the family and finally was dispersed in the 1990s.
Terry Winchell, Wyoming
Bruce & Ilene Johnson, Colorado

B R A N T

M A C K L E Y

G A L L E R Y

COMPLEX SAMPLER
TREE OF LIFE
WITH BIRDS
Navajo
Arizona or New Mexico
Germantown wool yarn
Ca. 1890
Size with fringe:
34" x 23"

Provenance:
Joan & David Wenger,
Pennsylvania
A small group of Navajo
complex textiles were produced
using commercially made Germantown yarn from
the mills of the Pennsylvania town bearing the same name.
Most commonly seen are blankets and rugs in less elaborate
patterns; complex sampler is the term collectors and dealers
coined to refer to these beautiful rare weavings. Always small
in size and meant as wall or table art from the inception; it is
remarkable to think the complexity involved in hand weaving
a textile with this fine detail outside in the desert under
a hutch of twigs and branches. Complex samplers
took more time to produce than a simpler
design blanket three or four times larger.

29

B R A N T

M A C K L E Y

G A L L E R Y

POWDER HORN
Micmac or Penobscot
Maine, New Brunswick or Nova Scotia
18th century
Horn, wood, metal
Length: 12"
Provenance:
Jim Dresslar Collection, Indiana
Fuller Collection, Ohio

Micmac and Penobscot natives of the far Northeast maritime regions

produced very complex engraved powder horns for their own use and
for trade to colonials. The imagery relates to what is referred to as
the double-curve motif, the basic component of early decorative
native artwork from the Eastern Woodlands. Ref. Speck Engraved is
Robert J. Mercer, likely a different Mercer owned the horn before
Robert, as a ghost image appears under this name from the pervious
owner. The Indian maker applied the caribou motif but the
mermaid and skiff image is added later by a Mercer or another artist.
One assumes the later artist was involved in the maritime trades
because of the nautical nature of the secondary motifs.

B R A N T

M A C K L E Y

G A L L E R Y

PLAINS INDIAN
MIRROR POUCH
Nez Perce or Shoshone
Circa 1840 1860
Native tanned hide, pony
& seed glass beads, sinew
Length: 18"
(without suspension strap)

Plains Indian warriors often

kept their coveted trade mirrors
in a special pouch. Mirrors
were used to apply face
pigment before going on the
infamous war trail.
This example is exceptional with
classic Eastern Plateau features and
Crow influence in both color
palette and graphic design.

31

B R A N T

M A C K L E Y

G A L L E R Y

HUMAN FACE EFFIGY BALL CLUB

American or English Sailor Carved
Unknown (tropical) species of wood
18th first half 19th century
Length: 22"
SCRIMSHAW DECORATED
WHALES TOOTH
American-Portuguese Sailor Carved
Sperm whales tooth
Mid-19th century
Length: 5 "
Provenance:
Ex. Private Tribal Art Collection, New York
Rick Gallagher, New York

The following two objects would rightly be considered part

of the Euro-American folk art tradition but extends into the
greater tribal art world as well. These pieces exemplify the
interplay between global native groups and merchant
sailors who were in contact regularly as the result of early
trade and whaling industries of the late 18th and 19th
centuries. Both objects were first crafted and owned by
native hands, originating in the South Pacific (scrimshaw
tooth) and Africa (effigy ball club).
The tooth has a period suspension hole bi-conically drilled by a South Seas native; the tooth would
have been suspended on a sinnet fiber cord and worn as a prestige necklace. The additions of
scrimshaw family scenes, along with Liberty, and the American & Hawaiian flags, are clearly the
result of a sailor who collected the tooth in trade from a native. Manuel Francis, the tooths subject,
is possibly the Portuguese-American sailor who later settled in Marthas Vineland (pending further
research, ref. Bishop Museum documents). Francis was in the South Pacific as part of the mid
19th century whaling industry, departing from Hawaii on a number of sailing vessels.
The club is a bald-head style, probably first created in Southern Africa and later
embellished by the sailor/original field collector of the object. The W.B. initials harkens
the imagination of the trials and tribulations of the infamous Captain William Bligh,
who we know had repeated stopovers in South Africa. The faces are captured
so wonderfully the nave folk style of the period.

B R A N T

M A C K L E Y

G A L L E R Y

33

B R A N T

M A C K L E Y

G A L L E R Y

B R A N T

M A C K L E Y

G A L L E R Y

HUMAN MALAGAN FIGURE

New Ireland Province,
Papua New Guinea
Melanesia
Wood, pigments, bees wax, shell,
plant fiber & seeds
Late 19th century
Height: 29 14 "
Provenance:
Roberta Entwhistle, England
Janet Fleisher, Pennsylvania
Human malagan figures are used to honor deceased
person in New Ireland; the sculpture image that looks
human is most probably not a portrait of someone.
Ref. Gunn This is why many of the faces we see on
existing malagans are so similar, the carvers are not
attempting to portray specific individuals but rather
honor their memory. This carving departs from the
classic facial presentation with a much more rare
treatment of bees wax over-modeling, a possible attempt
to depict a specific individual. A similar example with facial
wax and open arm stance is housed at the Musee Barbier-Mueller.
Ref. Mattet

35

B R A N T

M A C K L E Y

G A L L E R Y

PLANK HEADDRESS
Africa, Senufo
Wood, wire, pigments
Ca. 19201930
Size: 24" x 28"
Provenance:
Norman Hurst, Hurst
Gallery, Massachusetts
Private Collection

36

Senufo plank headdresses are one

of my favorite object forms.
Rarely available on the open market,
this example exemplifies how basic
primal human imagery in silhouette
form can become a powerful visual
statement. Similar use of static
human imagery can be found
throughout the worldon a rock
petroglyph in the American
Southwestor a Tongan club from
the Pacific South Seas. A similar
headdress was in the collection
of Georges De Menil, New York
when Goldwater wrote his
landmark text Senufo Sculpture
from West Africa in 1964.

B R A N T

M A C K L E Y

G A L L E R Y

POLYNESIAN HEADREST
Tonga
Wood, sinnet fiber
Ca. 18th early19th century
Length: 15"

Provenance:
Michael Auliso, Tribalmania, California
Casey & Laurie Conway Collection, Arizona
I love to see native objects with period repairs. Tongan headrests
are an ubiquitous form in most Oceanic collections and the
variations we see in greater Oceania and Africa seem endless.
The native ingenuity in repairing the broken leg of this piece is
incredible. The use of braided sinnet (palm leaf fiber) cordage
and wood pegs results in a repair of unbelievable durability.

37

B R A N T

M A C K L E Y

G A L L E R Y

HEDDLE PULLEY
Guro
Africa, Ivory Coast
Wood, nut
19th century
Height: 6"
Provenance:
New York City Dealer
Finlayson Collection, Toronto, Canada, illustrated and exhibited
Human Images through the Ages from the Finlayson Collection,
The Art Gallery of York University, 1976. William Jamieson, Canada

38

B R A N T

39

M A C K L E Y

G A L L E R Y

HEDDLE PULLEY
Bamana
Africa, Mali
Wood, pigment, wire
1st Quarter 20th century
Height: 10"
Provenance:
Harold Rome Collection, New York, NY
Peter Michael Boyd, WA

B R A N T

POLYNESIAN WAR CLUB

Tonga Islands
Wood
Ca. first half 19th century
Length: 42"

Provenance:
Charles Mack, Massachusetts
Abraham & Paula Rosman, New York
Paul Gray, New York

The natives on the Tongan Islands

had a very complex warfare tradition.
Weapons served a dual role of
functionality and as prestige objects.
Only a warrior with the greatest
success and wealth could commission
a fully decorative carved weapon.
The best of these have glyphs
depicting zoomorphic and
anthropomorphic imagery.

40

M A C K L E Y

G A L L E R Y

B R A N T

M A C K L E Y

G A L L E R Y

CEREMONIAL JADE
ADZ BLADE
Maori
New Zealand
Nephrite (jade)
Ca. early 19th century
Length: 16 "
Provenance:
New Jersey Estate
Jim Grievo, New Jersey
Michael Evans, Pennsylvania

A monumental example of the

form with a size over sixteen
inches long making this adz the
largest specimen known in private
hands. The W.O. Oldman
collection (collected in 1854 by
the Earl of Northesks Rosehill,
now in Auckland Museum, New
Zealand) had only one blade
larger. The famed adzes from
both the Hooper and Conway
collections compare as smaller.
Originally the blade would have
been attached to a highly
decorative carved haft. Such adzes
were never used but rather emblems
of rank and chiefly authority.
Ref. Pheleps, Oldman, Conway
personal correspondence.

41

B R A N T

M A C K L E Y

G A L L E R Y

CALABASH FEAST BOWL

Hawaiian
18th early 19th century
Kamani wood, koa wood, copper wire, native pitch
Height: 8"

Diameter: 16 "

Provenance:
Maryland estate
Michael & Jan Stinchcomb Collection, Maryland
Wood feast and poi (a fermented food product made from crushed taro root)
bowls or calabashes are an important part of the Hawaiian native hierarchical
system. Ownership of bowls of varying types, sizes and wood species constituted
a form of wealth and prestige to these native peoples. The vessels were used over
generations and part of their inherent beauty is the skilled native repairs. Surely
the use of the wood butterfly in repair of Hawaiian calabashes must have had
some influence on the work of 20th century furniture craftsman George
Nakashima. Ref. Jenkins

B R A N T

M A C K L E Y

G A L L E R Y

CEREMONIAL MASK
Himalayan culture
Nepal
Wood, pigment
Ca. 18th19th century
Height: 10"
Provenance:
Robert Brundage, California
James Gavigan, Virginia
Robert Banks, Maryland

43

B R A N T

M A C K L E Y

G A L L E R Y

Bibliography:
Conway, Casey, Personal correspondence-February 2008, Kingman, Arizona, 2008.
Feder, Norman, Art of the Eastern Plains Indian The Nathan Sturges Jarvis Collection, The Brooklyn Museum,
Brooklyn, New York, 1964.
Fenton, William, The False Faces of the Iroquois, University of Oklahoma Press, Norman, Oklahoma, 1987.
Goldwater, Robert, Senufo Sculpture from West Africa, The Museum of Primitive Art, New York, 1964.
Greenwood, Michael, Human Images through the Ages from the Finlayson Collection, York University, Toronto,
Canada, 1976.
Gunn, Michael, New Ireland, Art of the South Pacific, Saint Louis Art Museum, Musee du quai Branly,
5 Continents Editions, Saint Louis, Missouri, Paris, France, Milan Italy, 2006.
Hammell, George, personal letter to Richard Rockford, New York State Museum, Albany, 1999.
Harlow, Francis & Lanmon, Dwight, The Pottery of the Zia Pueblo, School of American Research Press,
Santa Fe, New Mexico, 2003.
Jenkins, Irving, The Hawaiian Calabash, Kegan Paul International Limited, London, 1989.
Mattet, Laurence, Arts of Africa and Oceania, Highlights from the Musee Barbier-Mueller, Musee Barbier-Mueller,
Geneva, 2007.
Miles, Charles, Indian & Eskimo Artifact of North America, Bonanza Books, New York, 1963.
Oldman, W. O., The Oldman Collection of Maori Artifacts, (reprint) The Polynesian Society, Auckland, 2004.
Penney, David, Art of the American Indian Frontier, University of Washington Press, Seattle & London, 1992.
Phelps Steven, Art and Artifacts of the Pacific, Africa and the Americas, The James Hooper Collection,
Hutchinson & Co, Limited, London, 1976
Pilmore, Joseph, The Journal of Joseph Pilmore-Methodist Itinerant, for years of 1769-1774, Message Publishing
Co., Philadelphia, Pennsylvania, 1969.
Speck, Frank, Symbolism in Penobscot Art, (reprint) Tucquan Publishing, Hummelstown, Pennsylvania, 2001
Stevenson, Scott, personal correspondence, (co-producer of video/dvd For War or Peace: A History of the Pipe
Tomahawk), Landenberg, Pennsylvania, 2007 & 2008.

44

B R A N T

M A C K L E Y

G A L L E R Y

BALL HEAD WAR CLUB

Eastern Plains or Western Great Lakes
Maplewood, iron, hide, porcupine quills
Ca. 1800-1830
Length: 24"

Provenance:
W. O. Oldman, England
Heye Foundation, New York
William Wildschut, Montana
Stella Foote Collection, Montana
John Molloy, New York
John Painter, Ohio
Illustrated in American Indian Artifacts,
The John Painter Collection

45

Iroquois Bead Decorated Pouch

New York

Credits:
Images: Bill Bishop, Impact Xposure, Mechanicsburg, PA
unless otherwise noted.
Bob Skalkowski, Middletown, PA
for Iroquois mask and Wood effigy pipe.

1017 Mount Alem Drive, Hummelstown, PA 17036

Cell: 717-554-2176
Tel: 717-566-0780
www.BrantMackley.com

COPYRIGHT 2008 BRANT MACKLEY GALLERY, ALL RIGHTS RESERVED