canoe, model
canoe, model
canoe, model
Late 19th century Anishinaabe model birchbark canoe decorated with quillwork in floral or quatrefoil motifs on both sides that may be a possible adaptation of the wild rose design. Thwarts and manboards are made of wood secured with spruce root, and wood splints form the separate liner, ribs and decks. Collected by Herman ten Kate in the early 1880s.
Museum documentation
Museum documentation, GRASAC generated.
Read More About This Relative
birchbark; spruce root; wood; porcupine quills natural and dyed purple, yellow, and green.
This model canoe is made of three pieces of birchbark. The main two pieces that form the sides of the canoe are sewn together at the ends with spruce root, and the band of birchbark that forms the bottom of the canoe appears to be secured with porcupine quills. The gunwales are made of wood splint and are secured with wrapped spruce root along the trim which is also decorated with a thin strip of scalloped birchbark. The thwarts and manboards are made of wood secured with spruce root. The separate liner and decks appear to be made of thin strips of wood splint. Both sides are decorated with quillwork in floral designs.
There are five four-petalled flowers or quatrefoils that share a common stem with radiating leaves or thorns on both sides of the canoe.
Quatrefoils with thorns may be a possible adaptation of the wild rose which grew vastly throughout Anishinaabe territory; four-petalled flowers may be possible indication of the four-quadrants. (See: Frances Densmore, "Chippewa Customs", Bureau of American Ethnology, Bulletin 86, Washington: Smithsonian Institution, 1929, pp 186). According to Ritzenthaler, the manboards at the two ends of the canoe represent spiritual power (See: Robert E. Ritzenthaler, "The Building of a Chippewa Indian Birchbark Canoe." Milwaukee Public Museum Bulletin 19(2): 53-99.)
There has been significant fading to the quillwork dyes on the canoe. It is unclear whether all the flowers on the canoe were originally purple and some have faded to the natural colour over time, or whether some were originally intended to be purple and others in natural colour.
Museum documentation
Provenance
Purchased from Herman ten Kate in 1883.
Pieter Hovens, with contributions by Duane Anderson, Ted Brasser, Laura van Broekhoven et al. "The Ten Kate Collection 1882-1888". Leiden: ZKF Publishers, 2010.
About This GRASAC Record
43.0703, -80.1184
Museum documentation