A vintage Iroquois (my guess would be Mohawk) beaded purse or flat bag from the Northeast. A nice size measuring approximately 6 1/2 inches high and 7 inches at the widest. This is a well utilized example with the beadwork pattern in a more traditional style, typical of the later 1800's. The fullness of this style differs from many Iroquois pieces of the time, and is a style I have seen from Six Nation Iroquois Reservation where not only many Iroquois tribes lived side by side, but other tribes like the Delaware lived for periods of time. This style uses many bugle beads along with Italian seed beads in greasy colors. A wonderful addition to any Native American collection, and represents a time when Native people adapted to a new economy when there previous way of making a living could no longer be pursued or sustain them. With the Fur Trade all but gone, and Indian land overrun with settlements, Native people turned to selling their crafts on the popular Tourist markets frequented by an International clientele, offering souvenir arts at places like Niagara Falls, and railroad stations, fairs, and even door-to-door. A new Native economy as a result of necessity that often was the sustaining force for whole families. Own this piece of history, and the rich story it represents.

On July 8, 2014 I made some changes to this posting. Non-Native purses have been around since at least the 16th century. They are known by many names; among them the pocketbook, the purse, chatelaine, the handbag, and the reticule. There was also a man’s travelling bag called a handbag or satchel, although this was a piece of luggage but during the 19th century, the term “handbag” came to describe a larger version of a woman’s purse. The earliest handbags that were designed for women featured compartments, a sturdy handle, metal frames and fastenings all inspired by men’s travelling bags. By the mid-19th century, Berlin woolwork purses with floral and geometric design were also at the height of their popularity. But of all the bags that have come in and out of fashion over the years, perhaps none has been more cherished than the beaded bag. Sandy Levins, the director of programming at the Camden County Historical Society, wrote: Beaded bags, whether handcrafted or commercially produced, have been in vogue in North America for well over 200 years and in Europe for much longer. In the late 1300s, the English poet Geoffrey Chaucer described one in "The Miller's Tale," the story of a love affair between an Oxford student and a carpenter's wife. Of the female character he wrote: “By her belt hung a purse of leather tasseled with green and beaded with Italian beads…." The earliest beaded bag was usually knitted in a drawstring style called a reticule, which also became known as an “indispensable” because it developed a universal popularity almost overnight. So popular was the reticule, it became an absolute “must” for fashionable ladies in 19th century Europe where the Empress Josephine, internationally known for her sense of fashion, carried a reticule with her at all times. Romantic figures, pastoral scenes, and flora and fauna became common themes rendered in the tiniest of beads. Between 1820 and 1830, beaded bags supported by metal frames came into vogue. Coming primarily from France and Austria, the frames were made of everything from pinchbeck, an alloy of copper and zinc made to look like gold, to tortoiseshell. Chains, often formed of decorative, ornate links, were attached to the frames. Figure 1 – A metal frame for a beaded bag from the late 19th century. Figure 2 – A non-Native bag embroidered with beads and with a metal frame. Late 19th - early 20th centuries. Figure 3 – A non-Native Native bag embroidered with beads and with a metal frame. Late 19th-early 20th centuries. Figure 4 – A non-Native bag embroidered with beads and with a metal frame. Dated 1846 in beads although the frame is from the late 19th century. During the first few decades of the 19th century, purse design was at its height. Napoleon’s wife Josephine was a purse aficionado and designers worked tirelessly to please her and her court with an endless array of purses. Unique shapes, materials and construction methods were a hallmark of the time and it’s during this period that purses with metal frames came into being. Occasionally, we come across Native made beaded bags that have the same metal frames that are found on European bags which raises the question; were they originally designed into the bags by Native artisans because they were fashionable, or were they added later by someone else? Paula Higgins, a member of the Antique Purse Collector's Society and the co-author of a book on antique and vintage purses titled A PASSION FOR PURSES has shed some light on this. She informed me that the purses pictured in this posting, that have a metal twist clasp, all date after the 1870s. Collectors of antique purses have been aware that many purses, which would include those made by Native artisans, were mounted or re-mounted on later frames. It was a common practice as framed purses gained popularity in the late 19th century. So essentially, the owners recycled the bags and put them on more contemporary frames. This practice continued on into the early 20th century. The only exception is the bag in the Daguerreotype in figure 12. Paula has informed me that this frame, which is barely visible, has a chain which is classic 1840s and seen on many purses from that period. These frames are shaped like an eyebrow but with less of a curve and it is made of steel, as is the chain. So this frame is contemporary to the bag pictured and might have been added by the Native artisan who made the bag. Figure 5 – An Iroquois beaded bag with a metal frame. The bag is from the 1830s; the metal frame is from the late 19th century. Figure 6 – An Iroquois floral bag in the Niagara style with ovate florals and a metal frame. The bag is circa 1850; the metal frame is circa 1920. Figure 7 – An Iroquois floral bag in the Niagara style with elongated leaf motifs and a metal frame. The bag is from 1855-1860; the frame from the late 19th century. Figure 9 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the frame is from the late 19th century. Figure 10 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the metal frame is from the late 19th century. Figure 10a – Detail of the metal frame in figure 10. Figure 11 – A rare example of a Mi’kmaq beaded bag with a metal frame. The bag is circa 1840s; the frame from the late 19th century. Glass beads sewn onto red wool serge of the type seen on Canadian military uniforms. The beads are strung on horsehair. Figure 12 – Daguerreotype. Late 1840s to early 1850s. The subject is holding an Iroquois beaded bag with a metal frame at the top. In July of 2011, I did a posting that illustrated a collection of 19th century images of women and young girls who were photographed with an Iroquois beaded bag. http://iroquoisbeadwork.blogspot.com/2011_07_01_archive.html These old images testify to the prestige and the prevailing taste for Haudenosaunee beadwork during the middle decades of the nineteenth century and it speaks to the especially high regard Victorian women held for these purses, an appreciation that would contribute to the preservation of the beaded bags now so prized by collectors. I’m always on the lookout for these old images and below is a new group that has surfaces since the previous posting. Figure 13 – Daguerreotype – 1840s. The young girl has a Mohawk style beaded bag. See figure 14 for an example of a similar bag. I originally dated this image to circa 1860 but Karen Augusta, a textile expert, thinks the clothing style the young girl is wearing could be as early as the 1840s. This would push back the dating of this style of purse by at least two decades. Figure 14– Beaded bag, possibly Kahnawake Mohawk, 1840s-1860s. Similar to a bag illustrated in a document in the research files of the Iroquois Museum in Howes Cave, New York that was collected at Caughnawaga, circa 1860. This bag is similar to the one illustrated in figure 13. Figure 15 – Hand tinted daguerreotype – young girl with ringlets in her hair and a white pinafore. Mid-1850s. She has an Iroquois floral bag that is similar to the one in figure 16. Figure 16 – Iroquois floral bag, mid-1850s. Similar to the one in figure 15. Figure 17 – A rare Daguerreotype of three children in fancy dress. Fancy dress is what costume parties were called in the 19th century. They were immensely popular and many had dress-up themes from earlier decades or centuries. This image is hard to date because the costumes are from different time periods. The young girl wears a circa 1850 dress. The boy on the right may be wearing a Renaissance outfit which would be a bit later. So this could be 1850s - 1860s. The young lady has a Mohawk beaded bag similar in style to the one in figure 18. Figure 18 – A Mohawk style beaded bag with similarities to the one in figure 17. Figure 19 – A carte-de-visite from the Civil War. There is a two-cent revenue tax stamp on the back that is dated August 14th, 1864 – likely the day the image was taken. The photographer was H. A. Upthegrove of Crown Point, Indiana. The young girl with the bag is identified as Matilda Farwell. She has an Iroquois beaded bag that is quite similar to the one in figure 20. Figure 20 – An Iroquois beaded bag that is quite similar to the one in figure 19. Figure 21 – Ambrotype – late 1850s of a well dressed and fashionable young woman with an Iroquois floral bag that is decorated with elongated leaf clusters. Her bag is similar to the one in figure 22. Figure 22 – An Iroquois beaded bag. 1855-1860. Similar to the one in figure 21. Figure 23 – Early 1860s Ambrotype. This is a rare post mortem image of a child with an Iroquois beaded bag that is similar to the one in figure 20. Post mortem photography was in common use in the 19th century as a way to memorialize a loved one. Since mortality rates were very high during this period, especially among children, these photographs served less as a reminder of one’s mortality than as a cherished memento to commemorate the deceased. Figure 24 – A lovely circa 1860 tintype of a young lady with an Iroquois beaded bag. Figure 25 – An unusual tinted tintype of a young man dressed in buckskins. He is wearing an Iroquois floral bag. He might be dressed for a play or some other event. What’s with that hat he’s wearing? Figure 26 – A later cabinet card that was a copy of a mid-1850s daguerreotype. Both young women have similar Iroquois floral bags. Figure 27 – A circa 1910 group photograph of four individuals that are decked out in beads. The young woman on the left is wearing an outfit that is quite similar to those offered for sale in the catalogs for the Improved Order of Redmen. She is also holding a Mohawk box purse with an owl motif. The older gentleman’s trousers are totally beaded as is the young boys vest! Figure 28 – This painting of the Wykes children was done in 1852 by the Rev. David Bulle of Sidney, Ohio. The young girl on the left has an Iroquois beaded bag. The design on the bag has similarities to the one in figure 29. Photo courtesy of Marguerite Riordan. Figure 29 – Iroquois beaded bag. 1840s-1850s. Approximately three inches in diameter. Figure 30 – This final entry is a rare stone lithograph of the young Black Hawk, the grandson of Black Hawk, late war chief of the Sac and Fox nations. This lithograph dates to approximately 1840-1850. It was made by the American lithographer and photographer Napoleon Sarony (1821-1896) of New York. Sarony began his lithography business in 1843 after an apprenticeship as an illustrator with Currier & Ives. In this image Black Hawk is wearing a beaded Glengarry hat and he has a bandolier across his chest which likely supported a large bag. Old images of individuals wearing a Glengarry are quite rare and I have seen less than a handful over the years. This one is exceptionally rare and testifies that what is generally seen as souvenir or tourist beadwork was also worn and highly regarded by Native people as well. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. My thanks to Karen Augusta for helping me date some of the old images. http://www.antique-fashion.com/Antique-Fashion/home.htm

On July 8, 2014 I made some changes to this posting. Non-Native purses have been around since at least the 16th century. They are known by many names; among them the pocketbook, the purse, chatelaine, the handbag, and the reticule. There was also a man’s travelling bag called a handbag or satchel, although this was a piece of luggage but during the 19th century, the term “handbag” came to describe a larger version of a woman’s purse. The earliest handbags that were designed for women featured compartments, a sturdy handle, metal frames and fastenings all inspired by men’s travelling bags. By the mid-19th century, Berlin woolwork purses with floral and geometric design were also at the height of their popularity. But of all the bags that have come in and out of fashion over the years, perhaps none has been more cherished than the beaded bag. Sandy Levins, the director of programming at the Camden County Historical Society, wrote: Beaded bags, whether handcrafted or commercially produced, have been in vogue in North America for well over 200 years and in Europe for much longer. In the late 1300s, the English poet Geoffrey Chaucer described one in "The Miller's Tale," the story of a love affair between an Oxford student and a carpenter's wife. Of the female character he wrote: “By her belt hung a purse of leather tasseled with green and beaded with Italian beads…." The earliest beaded bag was usually knitted in a drawstring style called a reticule, which also became known as an “indispensable” because it developed a universal popularity almost overnight. So popular was the reticule, it became an absolute “must” for fashionable ladies in 19th century Europe where the Empress Josephine, internationally known for her sense of fashion, carried a reticule with her at all times. Romantic figures, pastoral scenes, and flora and fauna became common themes rendered in the tiniest of beads. Between 1820 and 1830, beaded bags supported by metal frames came into vogue. Coming primarily from France and Austria, the frames were made of everything from pinchbeck, an alloy of copper and zinc made to look like gold, to tortoiseshell. Chains, often formed of decorative, ornate links, were attached to the frames. Figure 1 – A metal frame for a beaded bag from the late 19th century. Figure 2 – A non-Native bag embroidered with beads and with a metal frame. Late 19th - early 20th centuries. Figure 3 – A non-Native Native bag embroidered with beads and with a metal frame. Late 19th-early 20th centuries. Figure 4 – A non-Native bag embroidered with beads and with a metal frame. Dated 1846 in beads although the frame is from the late 19th century. During the first few decades of the 19th century, purse design was at its height. Napoleon’s wife Josephine was a purse aficionado and designers worked tirelessly to please her and her court with an endless array of purses. Unique shapes, materials and construction methods were a hallmark of the time and it’s during this period that purses with metal frames came into being. Occasionally, we come across Native made beaded bags that have the same metal frames that are found on European bags which raises the question; were they originally designed into the bags by Native artisans because they were fashionable, or were they added later by someone else? Paula Higgins, a member of the Antique Purse Collector's Society and the co-author of a book on antique and vintage purses titled A PASSION FOR PURSES has shed some light on this. She informed me that the purses pictured in this posting, that have a metal twist clasp, all date after the 1870s. Collectors of antique purses have been aware that many purses, which would include those made by Native artisans, were mounted or re-mounted on later frames. It was a common practice as framed purses gained popularity in the late 19th century. So essentially, the owners recycled the bags and put them on more contemporary frames. This practice continued on into the early 20th century. The only exception is the bag in the Daguerreotype in figure 12. Paula has informed me that this frame, which is barely visible, has a chain which is classic 1840s and seen on many purses from that period. These frames are shaped like an eyebrow but with less of a curve and it is made of steel, as is the chain. So this frame is contemporary to the bag pictured and might have been added by the Native artisan who made the bag. Figure 5 – An Iroquois beaded bag with a metal frame. The bag is from the 1830s; the metal frame is from the late 19th century. Figure 6 – An Iroquois floral bag in the Niagara style with ovate florals and a metal frame. The bag is circa 1850; the metal frame is circa 1920. Figure 7 – An Iroquois floral bag in the Niagara style with elongated leaf motifs and a metal frame. The bag is from 1855-1860; the frame from the late 19th century. Figure 9 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the frame is from the late 19th century. Figure 10 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the metal frame is from the late 19th century. Figure 10a – Detail of the metal frame in figure 10. Figure 11 – A rare example of a Mi’kmaq beaded bag with a metal frame. The bag is circa 1840s; the frame from the late 19th century. Glass beads sewn onto red wool serge of the type seen on Canadian military uniforms. The beads are strung on horsehair. Figure 12 – Daguerreotype. Late 1840s to early 1850s. The subject is holding an Iroquois beaded bag with a metal frame at the top. In July of 2011, I did a posting that illustrated a collection of 19th century images of women and young girls who were photographed with an Iroquois beaded bag. http://iroquoisbeadwork.blogspot.com/2011_07_01_archive.html These old images testify to the prestige and the prevailing taste for Haudenosaunee beadwork during the middle decades of the nineteenth century and it speaks to the especially high regard Victorian women held for these purses, an appreciation that would contribute to the preservation of the beaded bags now so prized by collectors. I’m always on the lookout for these old images and below is a new group that has surfaces since the previous posting. Figure 13 – Daguerreotype – 1840s. The young girl has a Mohawk style beaded bag. See figure 14 for an example of a similar bag. I originally dated this image to circa 1860 but Karen Augusta, a textile expert, thinks the clothing style the young girl is wearing could be as early as the 1840s. This would push back the dating of this style of purse by at least two decades. Figure 14– Beaded bag, possibly Kahnawake Mohawk, 1840s-1860s. Similar to a bag illustrated in a document in the research files of the Iroquois Museum in Howes Cave, New York that was collected at Caughnawaga, circa 1860. This bag is similar to the one illustrated in figure 13. Figure 15 – Hand tinted daguerreotype – young girl with ringlets in her hair and a white pinafore. Mid-1850s. She has an Iroquois floral bag that is similar to the one in figure 16. Figure 16 – Iroquois floral bag, mid-1850s. Similar to the one in figure 15. Figure 17 – A rare Daguerreotype of three children in fancy dress. Fancy dress is what costume parties were called in the 19th century. They were immensely popular and many had dress-up themes from earlier decades or centuries. This image is hard to date because the costumes are from different time periods. The young girl wears a circa 1850 dress. The boy on the right may be wearing a Renaissance outfit which would be a bit later. So this could be 1850s - 1860s. The young lady has a Mohawk beaded bag similar in style to the one in figure 18. Figure 18 – A Mohawk style beaded bag with similarities to the one in figure 17. Figure 19 – A carte-de-visite from the Civil War. There is a two-cent revenue tax stamp on the back that is dated August 14th, 1864 – likely the day the image was taken. The photographer was H. A. Upthegrove of Crown Point, Indiana. The young girl with the bag is identified as Matilda Farwell. She has an Iroquois beaded bag that is quite similar to the one in figure 20. Figure 20 – An Iroquois beaded bag that is quite similar to the one in figure 19. Figure 21 – Ambrotype – late 1850s of a well dressed and fashionable young woman with an Iroquois floral bag that is decorated with elongated leaf clusters. Her bag is similar to the one in figure 22. Figure 22 – An Iroquois beaded bag. 1855-1860. Similar to the one in figure 21. Figure 23 – Early 1860s Ambrotype. This is a rare post mortem image of a child with an Iroquois beaded bag that is similar to the one in figure 20. Post mortem photography was in common use in the 19th century as a way to memorialize a loved one. Since mortality rates were very high during this period, especially among children, these photographs served less as a reminder of one’s mortality than as a cherished memento to commemorate the deceased. Figure 24 – A lovely circa 1860 tintype of a young lady with an Iroquois beaded bag. Figure 25 – An unusual tinted tintype of a young man dressed in buckskins. He is wearing an Iroquois floral bag. He might be dressed for a play or some other event. What’s with that hat he’s wearing? Figure 26 – A later cabinet card that was a copy of a mid-1850s daguerreotype. Both young women have similar Iroquois floral bags. Figure 27 – A circa 1910 group photograph of four individuals that are decked out in beads. The young woman on the left is wearing an outfit that is quite similar to those offered for sale in the catalogs for the Improved Order of Redmen. She is also holding a Mohawk box purse with an owl motif. The older gentleman’s trousers are totally beaded as is the young boys vest! Figure 28 – This painting of the Wykes children was done in 1852 by the Rev. David Bulle of Sidney, Ohio. The young girl on the left has an Iroquois beaded bag. The design on the bag has similarities to the one in figure 29. Photo courtesy of Marguerite Riordan. Figure 29 – Iroquois beaded bag. 1840s-1850s. Approximately three inches in diameter. Figure 30 – This final entry is a rare stone lithograph of the young Black Hawk, the grandson of Black Hawk, late war chief of the Sac and Fox nations. This lithograph dates to approximately 1840-1850. It was made by the American lithographer and photographer Napoleon Sarony (1821-1896) of New York. Sarony began his lithography business in 1843 after an apprenticeship as an illustrator with Currier & Ives. In this image Black Hawk is wearing a beaded Glengarry hat and he has a bandolier across his chest which likely supported a large bag. Old images of individuals wearing a Glengarry are quite rare and I have seen less than a handful over the years. This one is exceptionally rare and testifies that what is generally seen as souvenir or tourist beadwork was also worn and highly regarded by Native people as well. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. My thanks to Karen Augusta for helping me date some of the old images. http://www.antique-fashion.com/Antique-Fashion/home.htm

A vintage Iroquois beaded purse or flat bag that has been amazingly repurposed into a fan. This is a beautiful example with the beadwork pattern in a more traditional style, typical of the mid to later 1800's. The fullness of this style creates dramatic effect. This later Iroquois style geared heavily to the tourist trade would have the florate design in raised beadwork done over a paper pattern cutout. There are dramatic design elements, I especially like the use of the style with alternating light and dark colors used for contrast and dramatic effect - very special. Wonderful use of old Venetian beads in greasy colors such as Pony Trader Blue, Pumpkin, Desert Pink. It has suffered loss in the beadwork on the stems on one side as seen that could easily be repaired, and as such is priced accordingly. A wonderful addition to any Native American collection, and represents a time when Native people adapted to a new economy when there previous way of making a living could no longer be pursued or sustain them. With the Fur Trade all but gone, and Indian land overrun with settlements, Native people turned to selling their crafts on the popular Tourist markets frequented by an International clientele, offering souvenir arts at places like Niagara Falls, and railroad stations, fairs, and even door-to-door. A new Native economy as a result of necessity that often was the sustaining force for whole families. Own this piece of history, and the rich story it represents.

Implicit in the thinking of many native tribes is that objects have an inherent sprit or soul associated with them. When considering historic Northeast Woodland beaded bags, do we view them solely as inanimate objects made to be sold as souvenirs or, do they contain within them something more; perhaps the protective spirit or essence of the plants and other sacred designs depicted on their surface? Aboriginal art objects are often seen in isolation but the designs on beaded bags had a specific meaning to the artists who created them. Not only did they have cultural meaning but they were also a piece of someone’s heart and soul. There is always a risk in assigning a specific meaning to a motif, but some designs appear over and over again and are likely rooted in the culture of the Northeast Woodland people. Notwithstanding, our appreciation of the beaded souvenir bag can be enhanced with a basic understanding of the iconography that appears on them. For more information on Iroquois beaded bags see the Made of Thunder collection. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Bags with a Heart Motif Like the pictographic examples (to be covered in a later posting), bags incorporating a heart are uncommon. The heart motif in Iroquois art first appeared as a metaphor on the Hiawatha (wampum) Belt, which is considered the formative record of the League of the Haudenosaunee. Each of the four squares on this belt represents the Mohawk, Seneca, Cayuga and the Oneida. The central motif symbolically represents the Onondaga, the heart of the Haudenosaunee nation. If the heart or any of its constituent parts is harmed, all five Nations were affected. The original meaning of the heart motif on souvenir bags is still clouded in mystery but its symbolism might be related to silver brooches that were popular with Iroquois women during the eighteenth century. “The heart shaped brooch has been called the national badge of the Iroquois because of its popularity among them. It is found in both single and double forms, often surmounted by a crown. The design is thought to have come to North America from Scotland, where it was a popular love token and betrothal symbol. The ‘Luckenbooth’ brooch, as it was known in Scotland, may have been introduced by British-trained silversmiths such as Robert Cruickshank or James Hanna. Another possibility is that the Indians requested the brooch after seeing it worn by Scottish traders and settlers” (Fredrickson and Gibb 1980:53). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Arthur Parker reports that in Europe, the earliest Luckenbooth brooches that were made in the shape of a heart were manufactured as early as the seventeenth century. “They were mostly used as luck tokens, or betrothal gifts, and the choice of the heart shape… is sufficiently obvious” (Parker 1910:354). Many were made by Iroquois silversmiths who found their inspiration in European models, and the Iroquois continued fabricating them until at least the 1860s. “Any brooch pinned to the garment of a child was regarded by the Scotch as an efficient charm against witches…When the Iroquois silversmiths copied the Scotch patterns they left off many things that were common in the original patterns and interpreted the design as their own education, environment, or customs dictated” (Parker 1911:285). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. The use of silver brooches as charms to ward off evil spirits was also part of Native peoples’ pre-contact religious beliefs. Additionally, they may have also seen the heart broach as a symbol of tribal identity as they were quite popular with Iroquois women in the eighteenth century. It was believed that the metal’s luminosity, especially when used as a personal adornment, constituted a power that reflected or blocked evil spirits. Whether this is the intended significance of the heart motif on souvenir bags is unknown. The Seneca have legends about these brooches. One relates that “…the shining ornaments are the scales of an under-water fish-man who loved a maiden and lured her to his lake each day by a gift of a scale until they became a charm that drew her into the water and to her lover” (Parker 1910:355). Iroquois beaded bag, possibly Seneca - 1820s. Collection of the Abbe Museum. In all probability, some of the designs found on early beaded bags relate to a particular dream experience known only to the beader, enhancing its transcendent nature to the maker. Since revealing the precise meaning of a vision was to forfeit some of the powers it conferred, our understanding of the significance of many traditional designs may forever be clouded in mystery. Iroquois beaded bag - dated 1842. Collection of Richard Green. The provenance for this exceptional piece indicates that it was once owned by Henry Wadsworth Longfellow, who gave it to a Miss Priscilla Green, of Scalby Nabs, in Yorkshire, England. Miss Green was a traveling preacher and in a reference to one of her sermons, Longfellow described her voice rising up “as if on angels’ wings.” The inside of the bag bears the date 1842. The design incorporates many areas of solid bead fill, a prominent feature on purses from the early 1840s. Earlier pieces incorporated curvilinear and geometric designs without the use of solid bead fill. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Another beautifully designed bag is decorated with a large heart motif. The artist who created this piece used a very refined color palette in her design. The pleasing color combinations along with the curvilinear bead strings that connect the smaller hearts to the larger one are elegantly balanced within a hexagonal enclosure. The functional flap is decorated with bilaterally symmetrical strawberry leaf motifs. It’s certainly one of the masterpieces of early Haudenosaunee souvenir art. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. This splendid early bag with a large heart as its focus incorporates a pair of inward turning helix curves to form the shape of the heart. The use of the double-curve to suggest a heart may be a Haudenosaunee identity marker as I’ve seen it used this way on a number of souvenir bags. Two small sun or star motifs are placed on either side of the heart while two more flank the large sun on the flap. The organic design on the back is atypical. It could be an early representation of a floral motif, or perhaps it has a cosmic or dream-inspired genesis. This 1850s daguerreotype is a superb early image of a child holding a Haudenosaunee bag with a heart motif. Below is a sampling of more Haudenosaunee bags with a heart motif. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Iroquois beaded bag, possibly Seneca - 1820s - 1830s. Private collection. Iroquois beaded bag - 1840s. Private collection. This early, four paneled, Iroquois (possibly Seneca) drawstring reticule is from the first quarter of the 19th century. It has a silk extended top and heart motifs are depicted on three of the four panels. Private collection. The crown and shield motif on the back of this Iroquois beaded bag suggests that it possibly has a Canadian origin. 1820s-1830s. Private collection. This image is presumably of an Iroquois wearing an old-style bag. Although this is a circa 1907 real photo postcard, the bag pictured is made in a much earlier style. A heart is depicted on the flap and the large, tri-lobed device on the face of the bag has two helix coils flowing from the top in the form of a double-curve motif. This card is part of a series of postcards that were taken at Otsego Lake, near Cooperstown, New York. Cooperstown was named after the family of James Fennimore Cooper who used Lake Otsego and the surrounding countryside for the setting in his books. In 1907 Cooperstown held its Centennial Celebration and these postcards document an historic reenactment connected to that event. Several other early-twentieth century images exist of Indians wearing old-style bags that appear to be newly constructed. They are generally larger than the earlier nineteenth century bags and their designs, in comparison, are efficient and economical with less complex surface ornamentation. This bag may be contemporary to the image and was possibly derived from an earlier model, to be used as a prop for this event. This 1840s Iroquois beaded bag is done in the Parker Style. Private collection. An Iroquois (possibly Seneca) beaded bag with an extended silk top. 1820s. Private collection. This early Iroquois (possibly Seneca) beaded bag has a beaded fringe; a very rare treatment on souvenir bags. 1820s - 1830s. This Iroquois (possibly Seneca) beaded bag had an opening along one side that revealed an old newspaper on the inside, between the bag face and the lining that was no doubt used to stiffen the bag during construction. It was dated 1822. Private collection. An Iroquois bag with an extended top. 1830s - 1840s. Private collection. Iroquois (possibly Seneca) beaded bag - 1830s - 1840s. Private collection. An Iroquois (possibly Seneca) beaded bag with opposing heart motifs. 1820s. Private collection. This is a Wabanaki bag in the familiar vase or inverted keyhole shape. The leaves that decorate the surface of Wabanaki bags are often depicted in the shape of a heart though it's unusual to see the heart motif as a central design feature. From the second half of the nineteenth century. Private collection. References Cited Fredrickson, N. Jaye and Gibb, Sandra 1980 The Covenant Chain – Indian Ceremonial and Trade Silver. A catalog to a travelling exhibition of the National Museum of Man. Published by the National Museum of Canada / Ottawa. Parker, Arthur C. 1910 The Origin of Iroquois Silversmithing in American Anthropologist, New Series, Vo. 12, No. 3, July-September. 1911 Additional Notes on Iroquois Silversmithing in American Anthropologist, New Series, Volume 13.

Implicit in the thinking of many native tribes is that objects have an inherent sprit or soul associated with them. When considering historic Northeast Woodland beaded bags, do we view them solely as inanimate objects made to be sold as souvenirs or, do they contain within them something more; perhaps the protective spirit or essence of the plants and other sacred designs depicted on their surface? Aboriginal art objects are often seen in isolation but the designs on beaded bags had a specific meaning to the artists who created them. Not only did they have cultural meaning but they were also a piece of someone’s heart and soul. There is always a risk in assigning a specific meaning to a motif, but some designs appear over and over again and are likely rooted in the culture of the Northeast Woodland people. Notwithstanding, our appreciation of the beaded souvenir bag can be enhanced with a basic understanding of the iconography that appears on them. For more information on Iroquois beaded bags see the Made of Thunder collection. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Bags with a Heart Motif Like the pictographic examples (to be covered in a later posting), bags incorporating a heart are uncommon. The heart motif in Iroquois art first appeared as a metaphor on the Hiawatha (wampum) Belt, which is considered the formative record of the League of the Haudenosaunee. Each of the four squares on this belt represents the Mohawk, Seneca, Cayuga and the Oneida. The central motif symbolically represents the Onondaga, the heart of the Haudenosaunee nation. If the heart or any of its constituent parts is harmed, all five Nations were affected. The original meaning of the heart motif on souvenir bags is still clouded in mystery but its symbolism might be related to silver brooches that were popular with Iroquois women during the eighteenth century. “The heart shaped brooch has been called the national badge of the Iroquois because of its popularity among them. It is found in both single and double forms, often surmounted by a crown. The design is thought to have come to North America from Scotland, where it was a popular love token and betrothal symbol. The ‘Luckenbooth’ brooch, as it was known in Scotland, may have been introduced by British-trained silversmiths such as Robert Cruickshank or James Hanna. Another possibility is that the Indians requested the brooch after seeing it worn by Scottish traders and settlers” (Fredrickson and Gibb 1980:53). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Arthur Parker reports that in Europe, the earliest Luckenbooth brooches that were made in the shape of a heart were manufactured as early as the seventeenth century. “They were mostly used as luck tokens, or betrothal gifts, and the choice of the heart shape… is sufficiently obvious” (Parker 1910:354). Many were made by Iroquois silversmiths who found their inspiration in European models, and the Iroquois continued fabricating them until at least the 1860s. “Any brooch pinned to the garment of a child was regarded by the Scotch as an efficient charm against witches…When the Iroquois silversmiths copied the Scotch patterns they left off many things that were common in the original patterns and interpreted the design as their own education, environment, or customs dictated” (Parker 1911:285). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. The use of silver brooches as charms to ward off evil spirits was also part of Native peoples’ pre-contact religious beliefs. Additionally, they may have also seen the heart broach as a symbol of tribal identity as they were quite popular with Iroquois women in the eighteenth century. It was believed that the metal’s luminosity, especially when used as a personal adornment, constituted a power that reflected or blocked evil spirits. Whether this is the intended significance of the heart motif on souvenir bags is unknown. The Seneca have legends about these brooches. One relates that “…the shining ornaments are the scales of an under-water fish-man who loved a maiden and lured her to his lake each day by a gift of a scale until they became a charm that drew her into the water and to her lover” (Parker 1910:355). Iroquois beaded bag, possibly Seneca - 1820s. Collection of the Abbe Museum. In all probability, some of the designs found on early beaded bags relate to a particular dream experience known only to the beader, enhancing its transcendent nature to the maker. Since revealing the precise meaning of a vision was to forfeit some of the powers it conferred, our understanding of the significance of many traditional designs may forever be clouded in mystery. Iroquois beaded bag - dated 1842. Collection of Richard Green. The provenance for this exceptional piece indicates that it was once owned by Henry Wadsworth Longfellow, who gave it to a Miss Priscilla Green, of Scalby Nabs, in Yorkshire, England. Miss Green was a traveling preacher and in a reference to one of her sermons, Longfellow described her voice rising up “as if on angels’ wings.” The inside of the bag bears the date 1842. The design incorporates many areas of solid bead fill, a prominent feature on purses from the early 1840s. Earlier pieces incorporated curvilinear and geometric designs without the use of solid bead fill. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Another beautifully designed bag is decorated with a large heart motif. The artist who created this piece used a very refined color palette in her design. The pleasing color combinations along with the curvilinear bead strings that connect the smaller hearts to the larger one are elegantly balanced within a hexagonal enclosure. The functional flap is decorated with bilaterally symmetrical strawberry leaf motifs. It’s certainly one of the masterpieces of early Haudenosaunee souvenir art. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. This splendid early bag with a large heart as its focus incorporates a pair of inward turning helix curves to form the shape of the heart. The use of the double-curve to suggest a heart may be a Haudenosaunee identity marker as I’ve seen it used this way on a number of souvenir bags. Two small sun or star motifs are placed on either side of the heart while two more flank the large sun on the flap. The organic design on the back is atypical. It could be an early representation of a floral motif, or perhaps it has a cosmic or dream-inspired genesis. This 1850s daguerreotype is a superb early image of a child holding a Haudenosaunee bag with a heart motif. Below is a sampling of more Haudenosaunee bags with a heart motif. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Iroquois beaded bag, possibly Seneca - 1820s - 1830s. Private collection. Iroquois beaded bag - 1840s. Private collection. This early, four paneled, Iroquois (possibly Seneca) drawstring reticule is from the first quarter of the 19th century. It has a silk extended top and heart motifs are depicted on three of the four panels. Private collection. The crown and shield motif on the back of this Iroquois beaded bag suggests that it possibly has a Canadian origin. 1820s-1830s. Private collection. This image is presumably of an Iroquois wearing an old-style bag. Although this is a circa 1907 real photo postcard, the bag pictured is made in a much earlier style. A heart is depicted on the flap and the large, tri-lobed device on the face of the bag has two helix coils flowing from the top in the form of a double-curve motif. This card is part of a series of postcards that were taken at Otsego Lake, near Cooperstown, New York. Cooperstown was named after the family of James Fennimore Cooper who used Lake Otsego and the surrounding countryside for the setting in his books. In 1907 Cooperstown held its Centennial Celebration and these postcards document an historic reenactment connected to that event. Several other early-twentieth century images exist of Indians wearing old-style bags that appear to be newly constructed. They are generally larger than the earlier nineteenth century bags and their designs, in comparison, are efficient and economical with less complex surface ornamentation. This bag may be contemporary to the image and was possibly derived from an earlier model, to be used as a prop for this event. This 1840s Iroquois beaded bag is done in the Parker Style. Private collection. An Iroquois (possibly Seneca) beaded bag with an extended silk top. 1820s. Private collection. This early Iroquois (possibly Seneca) beaded bag has a beaded fringe; a very rare treatment on souvenir bags. 1820s - 1830s. This Iroquois (possibly Seneca) beaded bag had an opening along one side that revealed an old newspaper on the inside, between the bag face and the lining that was no doubt used to stiffen the bag during construction. It was dated 1822. Private collection. An Iroquois bag with an extended top. 1830s - 1840s. Private collection. Iroquois (possibly Seneca) beaded bag - 1830s - 1840s. Private collection. An Iroquois (possibly Seneca) beaded bag with opposing heart motifs. 1820s. Private collection. This is a Wabanaki bag in the familiar vase or inverted keyhole shape. The leaves that decorate the surface of Wabanaki bags are often depicted in the shape of a heart though it's unusual to see the heart motif as a central design feature. From the second half of the nineteenth century. Private collection. References Cited Fredrickson, N. Jaye and Gibb, Sandra 1980 The Covenant Chain – Indian Ceremonial and Trade Silver. A catalog to a travelling exhibition of the National Museum of Man. Published by the National Museum of Canada / Ottawa. Parker, Arthur C. 1910 The Origin of Iroquois Silversmithing in American Anthropologist, New Series, Vo. 12, No. 3, July-September. 1911 Additional Notes on Iroquois Silversmithing in American Anthropologist, New Series, Volume 13.

I came across this recently and thought some of you might find it of interest. To the best of my knowledge, it's the first published report of the death of Handsome Lake, a great leader and prophet, who played a major role in reviving traditional religion among the Haudenosaunee (People of the Longhouse), or Six Nations Iroquois Confederacy. He preached a message that combined traditional Haudenosaunee religious beliefs with a revised code meant to revive traditional consciousness to the Haudenosaunee after a long period of cultural disintegration following colonization. This message was eventually published as the "Code of Handsome Lake" and is still practiced today. This obituary was published just a few weeks after his death in August of 1815 in the Niles' Weekly Register, a publication from Baltimore, Maryland.

Implicit in the thinking of many native tribes is that objects have an inherent sprit or soul associated with them. When considering historic Northeast Woodland beaded bags, do we view them solely as inanimate objects made to be sold as souvenirs or, do they contain within them something more; perhaps the protective spirit or essence of the plants and other sacred designs depicted on their surface? Aboriginal art objects are often seen in isolation but the designs on beaded bags had a specific meaning to the artists who created them. Not only did they have cultural meaning but they were also a piece of someone’s heart and soul. There is always a risk in assigning a specific meaning to a motif, but some designs appear over and over again and are likely rooted in the culture of the Northeast Woodland people. Notwithstanding, our appreciation of the beaded souvenir bag can be enhanced with a basic understanding of the iconography that appears on them. For more information on Iroquois beaded bags see the Made of Thunder collection. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Bags with a Heart Motif Like the pictographic examples (to be covered in a later posting), bags incorporating a heart are uncommon. The heart motif in Iroquois art first appeared as a metaphor on the Hiawatha (wampum) Belt, which is considered the formative record of the League of the Haudenosaunee. Each of the four squares on this belt represents the Mohawk, Seneca, Cayuga and the Oneida. The central motif symbolically represents the Onondaga, the heart of the Haudenosaunee nation. If the heart or any of its constituent parts is harmed, all five Nations were affected. The original meaning of the heart motif on souvenir bags is still clouded in mystery but its symbolism might be related to silver brooches that were popular with Iroquois women during the eighteenth century. “The heart shaped brooch has been called the national badge of the Iroquois because of its popularity among them. It is found in both single and double forms, often surmounted by a crown. The design is thought to have come to North America from Scotland, where it was a popular love token and betrothal symbol. The ‘Luckenbooth’ brooch, as it was known in Scotland, may have been introduced by British-trained silversmiths such as Robert Cruickshank or James Hanna. Another possibility is that the Indians requested the brooch after seeing it worn by Scottish traders and settlers” (Fredrickson and Gibb 1980:53). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Arthur Parker reports that in Europe, the earliest Luckenbooth brooches that were made in the shape of a heart were manufactured as early as the seventeenth century. “They were mostly used as luck tokens, or betrothal gifts, and the choice of the heart shape… is sufficiently obvious” (Parker 1910:354). Many were made by Iroquois silversmiths who found their inspiration in European models, and the Iroquois continued fabricating them until at least the 1860s. “Any brooch pinned to the garment of a child was regarded by the Scotch as an efficient charm against witches…When the Iroquois silversmiths copied the Scotch patterns they left off many things that were common in the original patterns and interpreted the design as their own education, environment, or customs dictated” (Parker 1911:285). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. The use of silver brooches as charms to ward off evil spirits was also part of Native peoples’ pre-contact religious beliefs. Additionally, they may have also seen the heart broach as a symbol of tribal identity as they were quite popular with Iroquois women in the eighteenth century. It was believed that the metal’s luminosity, especially when used as a personal adornment, constituted a power that reflected or blocked evil spirits. Whether this is the intended significance of the heart motif on souvenir bags is unknown. The Seneca have legends about these brooches. One relates that “…the shining ornaments are the scales of an under-water fish-man who loved a maiden and lured her to his lake each day by a gift of a scale until they became a charm that drew her into the water and to her lover” (Parker 1910:355). Iroquois beaded bag, possibly Seneca - 1820s. Collection of the Abbe Museum. In all probability, some of the designs found on early beaded bags relate to a particular dream experience known only to the beader, enhancing its transcendent nature to the maker. Since revealing the precise meaning of a vision was to forfeit some of the powers it conferred, our understanding of the significance of many traditional designs may forever be clouded in mystery. Iroquois beaded bag - dated 1842. Collection of Richard Green. The provenance for this exceptional piece indicates that it was once owned by Henry Wadsworth Longfellow, who gave it to a Miss Priscilla Green, of Scalby Nabs, in Yorkshire, England. Miss Green was a traveling preacher and in a reference to one of her sermons, Longfellow described her voice rising up “as if on angels’ wings.” The inside of the bag bears the date 1842. The design incorporates many areas of solid bead fill, a prominent feature on purses from the early 1840s. Earlier pieces incorporated curvilinear and geometric designs without the use of solid bead fill. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Another beautifully designed bag is decorated with a large heart motif. The artist who created this piece used a very refined color palette in her design. The pleasing color combinations along with the curvilinear bead strings that connect the smaller hearts to the larger one are elegantly balanced within a hexagonal enclosure. The functional flap is decorated with bilaterally symmetrical strawberry leaf motifs. It’s certainly one of the masterpieces of early Haudenosaunee souvenir art. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. This splendid early bag with a large heart as its focus incorporates a pair of inward turning helix curves to form the shape of the heart. The use of the double-curve to suggest a heart may be a Haudenosaunee identity marker as I’ve seen it used this way on a number of souvenir bags. Two small sun or star motifs are placed on either side of the heart while two more flank the large sun on the flap. The organic design on the back is atypical. It could be an early representation of a floral motif, or perhaps it has a cosmic or dream-inspired genesis. This 1850s daguerreotype is a superb early image of a child holding a Haudenosaunee bag with a heart motif. Below is a sampling of more Haudenosaunee bags with a heart motif. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Iroquois beaded bag, possibly Seneca - 1820s - 1830s. Private collection. Iroquois beaded bag - 1840s. Private collection. This early, four paneled, Iroquois (possibly Seneca) drawstring reticule is from the first quarter of the 19th century. It has a silk extended top and heart motifs are depicted on three of the four panels. Private collection. The crown and shield motif on the back of this Iroquois beaded bag suggests that it possibly has a Canadian origin. 1820s-1830s. Private collection. This image is presumably of an Iroquois wearing an old-style bag. Although this is a circa 1907 real photo postcard, the bag pictured is made in a much earlier style. A heart is depicted on the flap and the large, tri-lobed device on the face of the bag has two helix coils flowing from the top in the form of a double-curve motif. This card is part of a series of postcards that were taken at Otsego Lake, near Cooperstown, New York. Cooperstown was named after the family of James Fennimore Cooper who used Lake Otsego and the surrounding countryside for the setting in his books. In 1907 Cooperstown held its Centennial Celebration and these postcards document an historic reenactment connected to that event. Several other early-twentieth century images exist of Indians wearing old-style bags that appear to be newly constructed. They are generally larger than the earlier nineteenth century bags and their designs, in comparison, are efficient and economical with less complex surface ornamentation. This bag may be contemporary to the image and was possibly derived from an earlier model, to be used as a prop for this event. This 1840s Iroquois beaded bag is done in the Parker Style. Private collection. An Iroquois (possibly Seneca) beaded bag with an extended silk top. 1820s. Private collection. This early Iroquois (possibly Seneca) beaded bag has a beaded fringe; a very rare treatment on souvenir bags. 1820s - 1830s. This Iroquois (possibly Seneca) beaded bag had an opening along one side that revealed an old newspaper on the inside, between the bag face and the lining that was no doubt used to stiffen the bag during construction. It was dated 1822. Private collection. An Iroquois bag with an extended top. 1830s - 1840s. Private collection. Iroquois (possibly Seneca) beaded bag - 1830s - 1840s. Private collection. An Iroquois (possibly Seneca) beaded bag with opposing heart motifs. 1820s. Private collection. This is a Wabanaki bag in the familiar vase or inverted keyhole shape. The leaves that decorate the surface of Wabanaki bags are often depicted in the shape of a heart though it's unusual to see the heart motif as a central design feature. From the second half of the nineteenth century. Private collection. References Cited Fredrickson, N. Jaye and Gibb, Sandra 1980 The Covenant Chain – Indian Ceremonial and Trade Silver. A catalog to a travelling exhibition of the National Museum of Man. Published by the National Museum of Canada / Ottawa. Parker, Arthur C. 1910 The Origin of Iroquois Silversmithing in American Anthropologist, New Series, Vo. 12, No. 3, July-September. 1911 Additional Notes on Iroquois Silversmithing in American Anthropologist, New Series, Volume 13.

Another important group of nineteenth century Haudenosaunee beaded bags are those that incorporate figurative or pictographic motifs. Arguably, they are some of the rarest examples of Northeast Woodland beaded bags. This first bag is from a private collection and it was exhibited in the Across Borders: Beadwork in Iroquois Life exhibit that travelled to several museums a few years ago. The figures no doubt represent the twins from the Iroquois creation story. Private collection. Another particularly significant example (illustrated below) is also decorated with two identical figures that may represent the good and mischievous twins from the Haudenosaunee creation story. Arthur Parker characterizes some representations of the double-curve motif, in Iroquoian decorative arts, as the “celestial tree” that was created by the Good Twin (Parker 1912:613). Between the figures on this bag are two large, inward turning curves with sun-like symbols at their centers. They may be artistic expressions of the “celestial tree” and the “world tree” that Parker speaks of. The ambiguous design on the back of the bag is somewhat reminiscent of the carved faces seen on Haudenosaunee masks. In writing about the relationship between the Faces and the “world tree,” Parker says that [t]his tree is mentioned in various ceremonial rites of the Iroquois. With the False Face Company. . . for example, the “Great Face,” chief of all the False Faces, is said to be the invisible giant that guards the world tree (Parker 1912:611). Perhaps the design elements on this side are arranged to represent the “Great Face” that guards the world tree on the other side of the bag. The shape of the mouth, formed by the lower two diamonds, is flattened like spoons, for blowing ashes, and this is how the “Great Face” is sometimes depicted (see: Fenton 1987: plate 6-1). This bag is a classic design that incorporates numerous elements of Haudenosaunee cosmology. It also has a Pop Art component to it, reminiscent of the work of contemporary artist Keith Haring. The subtle and intricate designs, the limited use of motifs that are thoroughly filled with beads, the silk inlays, and the large areas of negative space suggest a 1820s to 1830 date for this rare and exceptional piece. Private collection. Dogs were the only domesticated animals that were traditionally kept by Woodland Indians and many images exist of them with their dogs. However, no mention is made in the literature about the indigenous practice of using a leash. Although depictions of Indians with their dogs appear in other souvenir art pieces, (a nineteenth century Tuscarora double wall pocked with three figures also depicts two off-leash dogs. See: American Indian Art Magazine, Vol. 24, Number 1, Winter 1998, page 39, figure 10), this may have been done to appeal to the Victorians’ fondness for pets. Additionally, one of the subjects on the bag below appears to be holding a basket or perhaps a lantern. The design on the back is somewhat cryptic. Without the four birds, this motif could be interpreted as a flowering plant. The addition of the birds leaves little doubt that it was intended to represent a tree. However, it’s not the classic celestial or world tree with the single flower/sun surmounted on the crown. Possibly the maker intended it to be an interpretation of the “Great Tree of Peace.” Traditionally, the white pine, with its five needles, was the symbol of the Five Iroquois Nations, joined together as one confederacy. It was also the proverbial tree beneath which the Iroquois buried their weapons as a symbol of their growth in consciousness; as a people seeking peace and not war. But this tree has six branches. Perhaps the maker was indicating with her design that since the Tuscaroras was adopted into the confederacy that they were now the Six Iroquois Nations. The shape of the bag, with a scalloped flap and lower edge, is suggestive of the work of Caroline Parker. Circa 1840s. Private collection. Another intriguing bag has what appear to be two figures holding hands. The negative space between them forms the shape of a heart. Adding to the mystery is the design inside the outline of the right-hand figure. The back of the bag has a representation of a large, daisy-like flower. Perhaps someone commission this bag for a spouse or a lover. Circa 1820s. Private collection. Another intriguing bag was also displayed in the Across Borders exhibit. It depicts two figures dancing in a style that is quite similar to those on a coat of an Iroquois man portrayed in a late nineteenth century cabinet card (see below). The style of the bag indicates it is from the mid-nineteenth century. Private collection. Late 19th century cabinet card depicting an Iroquois family group, likely Mohawks. The beaver pelt top hat was part of the formal dress of many Northeast Woodland people during the mid-nineteenth century. The engraving below, published by M. Elias Regnault in 1849, depicts five Native people from the vicinity of Quebec. The two individuals on the far left are wearing beaver pelt top hats. Private collection. There are several other nineteenth century prints and paintings that depict Native people wearing these hats but extant examples of bags with figures wearing a top hat are exceptionally rare. The figures in this piece typify the dress of two Natives from the period. In the enclosed space, between the stylized yellow-beaded pine tree motifs in the upper corners of this bag, is a central sun design. The solidly beaded figures suggest that this piece is from the 1840s. It may have originated in one of the Mohawk Reserves near Montreal, as similar pine tree motifs appear on other pieces attributed to the Mohawk. Private collection. Animal motifs are seen on early Haudenosaunee beaded bags about as often as depictions of people. Although an elephant motif on a mid-nineteenth-century souvenir bag would appear incongruous, the Haudenosaunee beadworkers were, after all, savvy entrepreneurs. This is aptly demonstrated in this example, which was likely a commissioned piece. The design is a representation of the insignia for the 74th Regiment of Foot, the Argyll Highlanders, which fought in the Battle of Assaye, in western India, in 1803. The design on the right is the regiment’s official insignia and below it is a listing of the battles they fought in. On the bag, the number 74 can be seen stitched in beads above the elephant, as can the name of the historic battle they fought in. In the mid - to late 1830s, the 74th Regiment of Foot was stationed throughout the Caribbean, in Antigua, Granada, Barbados and St. Lucia. The regiment moved about these islands until 1841 when it proceeded to Quebec. They remained there until 1844, removing to Nova Scotia and embarking at Halifax for England, in March of 1845. A Haudenosaunee artist was likely retained to produce this piece for someone in that regiment, perhaps while on a trip to Montreal or Niagara Falls, and conceivably as a souvenir for a wife or loved one back home. The reverse side of the bag is virtually identical to the front. Likely made between 1841 and 1844, it’s a fine example that underscores the heavy use of solid bead fill on pieces from the early 1840s. From the collection of Richard Green. The imagery in souvenir arts can have more than one meaning. To the Haudenosaunee, the eagle is a messenger from the Creator and as such is considered sacred. In Iroquois art, it’s often depicted perched over the great tree of peace, keeping a watchful eye on the Haudenosaunee homeland, prepared to warn people of any approaching danger. To some nationalistic Americans the eagle can symbolize their martial or hawkish nature. In each culture it denotes notions of power. In one culture that power is materialistic; in the other it’s spiritual. The intended message of the maker is unknown but certainly the imagery on this bag would appeal to both, albeit for different reasons. This rare bag is beaded on hide. The extended top is made of silk. The solidly beaded thunderbird and large floral motif on the reverse suggests a 1830s to 1840s date. The triangles along the perimeter of the bag may be an Iroquois identity marker as I have seen these on other pieces that were attributed to them. Private collection. Another intriguing bag with a bird motif has what could be a representation of a snipe. The Iroquois Confederacy is composed of six nations with a total of nine clans. The clans, defined by specific animals, represent the land, the sky and the water. Both the Seneca and Tuscarora, prolific producers of early souvenir beadwork, had a Snipe Clan so there may be some intended cultural symbolism in the design of this piece. The beading style indicates an early date; likely pre-1830. Private collection. Unfortunately, only a black and white image was available of this bag which is from the Eugene Thaw collection at the Fennimore Art Museum, in Cooperstown, NY. This very early bag (possibly from the first quarter of the nineteenth century) depicts what could be an eagle on one side and linear-zigzag and curvilinear motifs on the other. The design in the central panel on the side without the bird appears to have silk inlays. This is another rare design treatment on early Haudenosaunee beadwork. This early nineteenth century beaded bag with a bird motif has linear designs and sun and diamond motifs which suggest it is from the first quarter of the nineteenth century. Private collection. The League of the Five Nations was symbolically represented as a longhouse, with the Seneca at the western door and the Mohawks at the east. Besides functioning as a domicile, the longhouse was also emblematic of the Haudenosaunee political system, and the Nation chiefs were the posts which supported it. This rare bag could be a representation of a lodge or longhouse. In conceiving the formation of the Iroquois confederacy, the Peacemaker told the Five Nations that he envisioned them coming together as “one longhouse.” Pre-1830. Private collection. Talismans and objects of personal power were no doubt common among the Iroquois, but it’s not known if insects had more than a cursory significance to them tribally. It’s intriguing how the Haudenosaunee artist who created this early bag configured the design elements into the shape of a wingless bug. Even the diamond design on the other side, with the double curve extensions at the corners, has an anthropomorphic feel to it. Pre-1830. From the collection of the Maine State Museum. The design of this bag, perhaps inspired by a dream or an encounter with an arachnid, shows the clever use of the familiar diamond and double curve motifs to express something beyond the obvious, conceivably a personal connection to an animistic spirit or a spirit helper. Here, the familiar diamond and double curve motifs are arranged into the shape of what could be an insect and possibly a spider. Though many people in western culture have a fear of spiders they are culturally significant to many tribal people around the world. The Bhil and Mat people of central India have a great sense of connection between the living and the dead. They believe that spiders are the spirits of their ancestors. The Chibchas from the northeast highlands of Columbia and present day Panama are culturally similar to the Inca and central to their beliefs is that a departed soul uses the webs of spiders to cross the divide from the physical to the spirit world. In America, the Pueblo and Navajo people have a great tradition about Spider Woman, who was the first being in the world. She brought all life into existence and connected herself to each of her creations through the threads of her web. Circa 1820s. Private collection. Portrait of Spider Woman by the author. This very unusual figurative bag has a horse motif on one side. Likely Iroquois, it looks to be from the 1830s-1840s period. Private collection. Another unusual bag with cryptic designs on both sides also has the addition of a deer. 1830s - 1840s. Private collection. This early bag, likely from the first quarter of the nineteenth century, is from the Thaw collection at the Fennimore Art Museum in Cooperstown, New York. One side has a turtle motif in the center. Likely Seneca. Perhaps the most novel example of a figurative Northeast Woodland bag is one made in the shape of a house. Here again, the impetus may have been the entrepreneurial spirit of the artist or it could have been a commissioned piece. Part of the mystery is the late nineteenth-century Chinese silk lining, which is decorated with an embroidered bird. The beading style, and the bead colors used are atypical. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. REFERENCES CITED Fenton, William N. 1987 The False Faces of the Iroquois – The University of Oklahoma Press – Norman, Publishing Division of the University. Parker, Arthur C. 1912 Certain Iroquois Tree Myths and Symbols in the American Anthropologist, Vol. 14

Some time ago my friend Yuriy sent me digital files of Narragansett and Mohegan language documents in which the strawberry was referred to as the “heart berry.” That made me curious about the heart motif which is prominently featured on some early pieces of Haudenosaunee beadwork and I wondered if the Iroquois also called the strawberry a "heart berry" and if those heart motifs were also a representation of the “heart berry.” Among the Haudenosaunee, strawberries are an important part of the Gaiwiio, the “good word” or the gospel of the Seneca prophet Handsome Lake. As the first seasonal berry to blossom, it holds cultural, spiritual and medicinal importance for Iroquois people. It’s a link to the Sky World and some believe the significance of strawberries also stems from Handsome Lake’s first revelations during the strawberry season and afterwards. The sacred quality of strawberries is certainly older than Handsome Lake. The earliest of the wild strawberries are traditionally believed to have medicinal value and are searched out and devoured. Strawberries are said to sprout along the road to heaven, and … in all probability, the fact that Handsome Lake’s angels spoke to him of strawberries reflects the influence of the strawberry season on the content of his dream, and his subsequent endorsement of the Strawberry Festival probably emphasized a custom already old (See: The Death and Rebirth of the Seneca by Anthony Wallace, Vantage Books [1968]1972, page 13). My friend Rosemary Rickard Hill, a Tuscarora elder and longtime beadworker, told me that the strawberry is also called the “heart berry” among the Haudenosaunee but the term has not been used in a while, although its heart shape has long been recognized by them. In looking over a selection of old Iroquois beaded bags, I noticed that several of the ones that had a prominent heart motif also included tri-lobed strawberry leaves in the design. Given the importance and sacred value of strawberries in Iroquois culture, I have come to the understanding that some of the heart motifs were likely a stylistic representation of the strawberry. It’s very likely that the old souvenir bags functioned as a non-verbal medium for historic beadworkers to weave key cultural concepts into their work and also served as a conduit to communicate those ideas to future generations. When used in a covert way these traditional motifs allowed an artist to include important cultural themes in their work that were non-threatening to a 19th century patron. Although made for sale to outsiders, the themes recorded in the beadwork were a way to keep a tradition alive and a form of resistance to assimilation pressures. It was a method of preserving key aspects of Haudenosaunee beliefs and traditions for both present and future generations. Artists have long been the culture bearers of their respective Nations and the people best suited to record their story. It’s a Native perspective that adds to our understanding of the material and how the beadwork affects them as artists and as a community. Rosie Hill also said that the strawberry, along with tobacco, were the medicines that Sky Woman brought to earth with her and, since the strawberry is the first annual plant to bear fruit, it begins the life cycle. What we know of Sky Woman comes to us from the Iroquois origin story. There are some forty known versions of this account, the earliest dating back to 1632, and although the details vary somewhat from version to version, the main themes are unchanged. In the currently accepted version of the origin story, Sky Woman gives birth to a daughter who then gives birth to twin sons. I believe the accepted or current version of the origin story is much later than the one I referenced for this article. The earliest reference to the Sky Woman giving birth to a daughter who then gave birth to the twins that I’m familiar with is from the 3rd quarter of the 19th century. Most of the bags in this article are from the 1st and 2nd quarters of the 19th century. So I used a version of the origin story that was written during that period, believing it would more accurately reflect the meanings of the designs that artists were using on their bags at that time. The version I used was by David Cusick, the first Native writer to record the origin story. He was Haudenosaunee (Tuscarora) and no doubt recorded the version that was the accepted version at the time his account was published (1827). So what is important here is that the account of Sky Woman dying while giving birth to twins, not her daughter, was written during the period when the bags depicted were produced. So I believe that gives credibility to my interpretation of the designs. The accepted version of the origin story may have changed over time but when the bags were created, the version recorded by David Cusick was no doubt the accepted view. In the Cusick version, Sky Woman descended from the sky world into the darkness of the earth realm. She landed on what would become turtle island (North America) and shortly thereafter gave birth to twin boys, dying in the process. One of her sons, the good twin, brought light into the world by creating the “tree of light,” on the top of which he affixed a great ball of light that he made from his deceased mother’s face. This is certainly a metaphor for the sun and on some bags the circle/sun motif likely represents the embodiment of Sky Woman. This version of the origin story also relates that the moon and stars were created from Sky Woman’s breast. Several early bags include a central sun surrounded by stars, which might be a depiction of good twin’s creation (figure 1). Figure 1- Seneca type beaded bag, circa 1830. A central sun surrounded by stars is depicted. According to the origin story the “tree of light” was created from the face of Sky Woman and the stars and moon were made from her breasts. This design could be an expression of the good twin’s creation from the origin story and the large, central sun a metaphor for Sky Woman herself. During the early-to mid-nineteenth century, a number of Iroquois artists featured a heart motif in the designs of their beaded bags. Non-Native patrons may have interpreted this representation simply as a symbol of love. As early as 1797, The Young Man’s Valentine Writer was published and it was full of sentimental verses for the young lover who was unable to compose his own. Paper valentines, many of which were decorated with a flaming heart that was similar to those on graven images of the Sacred Heart of Jesus, became so popular in the early nineteenth century that they were assembled in factories. Some of these Valentine cards even depicted Niagara Falls in the center of the heart. Many of the old Haudenosaunee beaded bags were sold in Niagara Falls, which was a popular honeymoon destination, and were likely seen by visitors as a charming gift for themselves or a loved one. Even though this was a form of commoditized beadwork, the older artistic traditions regarding the overt display of symbolic imagery did not disappear when souvenir items emerged but rather their forms changed so that the symbolism was not as visible. It’s very likely that many of the very earliest Haudenosaunee beaded bags incorporated designs that were linked to the origin story and other cultural beliefs. Motifs such as the sun, heart and tri-lobed strawberry motifs in particular, when used together, are related to Sky Woman and these themes are prevalent in many of the pre-1830 bags. The traditional double-curve, diamond, heart, sun/circle, four-directional and other organic motifs were often used in combination with one another and so the complete story woven into an old design may never be fully known or understood. Most of the old bags that incorporated a heart were made by the Seneca, considered the most traditional of the Iroquois nations. They had a strong belief in dreams and understood them to be a guide into their waking lives. In all probability, some designs relate to a particular dream experience known only to the artist, enhancing its transcendent nature to the maker. Since revealing the precise meaning of a vision was to forfeit some of the powers it conferred, our understanding of the significance of many traditional designs may forever be clouded in mystery. Below is a small collection of beaded items that incorporate a heart (or heart berry) motif. They advance the notion that their makers were consciously incorporating cultural themes in their work. I’m not suggesting that every depiction of a sun or circle on a piece of early Haudenosaunee beadwork is a metaphorical representation of Sky Woman but I think in those designs that include the heart and accompanying strawberry-leaf motifs that it is a very possible interpretation. This may also be the case in some designs that do not incorporate a heart but this suggestion requires further study. Figure 2 – Seneca type beaded bag, 1800-1830. This is an intriguing bag with a heart motif on the front. Above the heart, on the flap, is a large central sun that is surrounded by smaller suns or stars. To me, this suggests a theme from the origin story. Here, the metaphoric face of Sky Woman, in a celestial realm, is suspended above a “heart berry.” The design on the back side appears to be a stylistic representation of a strawberry plant, with tri-lobed strawberry-leaf motifs, tendrils and possibly roots. The design is similar to an illustration of a strawberry plant in figure 3 below. Here again a cultural theme is woven into the design of an old bag that covertly records an important concept in Iroquois cosmology. Figure 3 – An illustration of a strawberry plant with tri-lobed leafs, roots, berries, runners and a daughter plant. A single plant could have multiple runners connecting it to numerous daughter plants. Figure 4 – Seneca type beaded bag, 1800-1830. This piece has a large central heart or “heart berry” on the back side and two smaller hearts connected to the larger one, possibly representing daughter plants. There are tri-lobed strawberry-leaf motifs above the central heart as well as on the front of the bag. Figure 5 – Seneca type beaded bag, 1800-1830. This early bag has a central heart motif as well as some tri-lobed strawberry-leaf devices along the inside border. Figure 6 – Tonawanda Seneca type beaded bag, 1840s-1850s. Beaded bag with connected hearts and tri-lobed strawberry-leaf motifs on the flap. Figure 7 – Tonawanda Seneca type beaded bag, 1840s-1850s. The heart on this piece is woven into a plant form, perhaps representing a plant spirit or the “tree of light” with Sky Woman’s face depicted as a heart. There are tri-lobed strawberry-leaf motifs on the front of the bag. Figure 8 – Seneca type beaded bag, 1830s. A very symmetrical design that has a central sun inside the heart. The sun could represent the “tree of light.” Arthur Parker has written that the linear bead strings along the perimeter of a design represent the earth so a free interpretation could be that this a representation of the sacred nature of the strawberry, with Sky Woman at its center and that this sacred plant is central to the earth and the health of its people. (See: “Certain Iroquois Tree Myths and Symbols” by Arthur Parker in American Anthropologist, 1912, vol. 14, p. 615). Figure 9 – Beaded Bag by contemporary Mohawk Bear Clan artist Jacqueline Clause-Bazinet. 2013. Contemporary Iroquois beadworkers continue to use the strawberry motif in their designs. Figure 10 – Beaded heart-shaped pincushion, circa 1850. Numerous Iroquois heart-shaped pincushions are found. This particular example also has the tri-lobed strawberry-leaf motif incorporated into the design.

Another important group of nineteenth century Haudenosaunee beaded bags are those that incorporate figurative or pictographic motifs. Arguably, they are some of the rarest examples of Northeast Woodland beaded bags. This first bag is from a private collection and it was exhibited in the Across Borders: Beadwork in Iroquois Life exhibit that travelled to several museums a few years ago. The figures no doubt represent the twins from the Iroquois creation story. Private collection. Another particularly significant example (illustrated below) is also decorated with two identical figures that may represent the good and mischievous twins from the Haudenosaunee creation story. Arthur Parker characterizes some representations of the double-curve motif, in Iroquoian decorative arts, as the “celestial tree” that was created by the Good Twin (Parker 1912:613). Between the figures on this bag are two large, inward turning curves with sun-like symbols at their centers. They may be artistic expressions of the “celestial tree” and the “world tree” that Parker speaks of. The ambiguous design on the back of the bag is somewhat reminiscent of the carved faces seen on Haudenosaunee masks. In writing about the relationship between the Faces and the “world tree,” Parker says that [t]his tree is mentioned in various ceremonial rites of the Iroquois. With the False Face Company. . . for example, the “Great Face,” chief of all the False Faces, is said to be the invisible giant that guards the world tree (Parker 1912:611). Perhaps the design elements on this side are arranged to represent the “Great Face” that guards the world tree on the other side of the bag. The shape of the mouth, formed by the lower two diamonds, is flattened like spoons, for blowing ashes, and this is how the “Great Face” is sometimes depicted (see: Fenton 1987: plate 6-1). This bag is a classic design that incorporates numerous elements of Haudenosaunee cosmology. It also has a Pop Art component to it, reminiscent of the work of contemporary artist Keith Haring. The subtle and intricate designs, the limited use of motifs that are thoroughly filled with beads, the silk inlays, and the large areas of negative space suggest a 1820s to 1830 date for this rare and exceptional piece. Private collection. Dogs were the only domesticated animals that were traditionally kept by Woodland Indians and many images exist of them with their dogs. However, no mention is made in the literature about the indigenous practice of using a leash. Although depictions of Indians with their dogs appear in other souvenir art pieces, (a nineteenth century Tuscarora double wall pocked with three figures also depicts two off-leash dogs. See: American Indian Art Magazine, Vol. 24, Number 1, Winter 1998, page 39, figure 10), this may have been done to appeal to the Victorians’ fondness for pets. Additionally, one of the subjects on the bag below appears to be holding a basket or perhaps a lantern. The design on the back is somewhat cryptic. Without the four birds, this motif could be interpreted as a flowering plant. The addition of the birds leaves little doubt that it was intended to represent a tree. However, it’s not the classic celestial or world tree with the single flower/sun surmounted on the crown. Possibly the maker intended it to be an interpretation of the “Great Tree of Peace.” Traditionally, the white pine, with its five needles, was the symbol of the Five Iroquois Nations, joined together as one confederacy. It was also the proverbial tree beneath which the Iroquois buried their weapons as a symbol of their growth in consciousness; as a people seeking peace and not war. But this tree has six branches. Perhaps the maker was indicating with her design that since the Tuscaroras was adopted into the confederacy that they were now the Six Iroquois Nations. The shape of the bag, with a scalloped flap and lower edge, is suggestive of the work of Caroline Parker. Circa 1840s. Private collection. Another intriguing bag has what appear to be two figures holding hands. The negative space between them forms the shape of a heart. Adding to the mystery is the design inside the outline of the right-hand figure. The back of the bag has a representation of a large, daisy-like flower. Perhaps someone commission this bag for a spouse or a lover. Circa 1820s. Private collection. Another intriguing bag was also displayed in the Across Borders exhibit. It depicts two figures dancing in a style that is quite similar to those on a coat of an Iroquois man portrayed in a late nineteenth century cabinet card (see below). The style of the bag indicates it is from the mid-nineteenth century. Private collection. Late 19th century cabinet card depicting an Iroquois family group, likely Mohawks. The beaver pelt top hat was part of the formal dress of many Northeast Woodland people during the mid-nineteenth century. The engraving below, published by M. Elias Regnault in 1849, depicts five Native people from the vicinity of Quebec. The two individuals on the far left are wearing beaver pelt top hats. Private collection. There are several other nineteenth century prints and paintings that depict Native people wearing these hats but extant examples of bags with figures wearing a top hat are exceptionally rare. The figures in this piece typify the dress of two Natives from the period. In the enclosed space, between the stylized yellow-beaded pine tree motifs in the upper corners of this bag, is a central sun design. The solidly beaded figures suggest that this piece is from the 1840s. It may have originated in one of the Mohawk Reserves near Montreal, as similar pine tree motifs appear on other pieces attributed to the Mohawk. Private collection. Animal motifs are seen on early Haudenosaunee beaded bags about as often as depictions of people. Although an elephant motif on a mid-nineteenth-century souvenir bag would appear incongruous, the Haudenosaunee beadworkers were, after all, savvy entrepreneurs. This is aptly demonstrated in this example, which was likely a commissioned piece. The design is a representation of the insignia for the 74th Regiment of Foot, the Argyll Highlanders, which fought in the Battle of Assaye, in western India, in 1803. The design on the right is the regiment’s official insignia and below it is a listing of the battles they fought in. On the bag, the number 74 can be seen stitched in beads above the elephant, as can the name of the historic battle they fought in. In the mid - to late 1830s, the 74th Regiment of Foot was stationed throughout the Caribbean, in Antigua, Granada, Barbados and St. Lucia. The regiment moved about these islands until 1841 when it proceeded to Quebec. They remained there until 1844, removing to Nova Scotia and embarking at Halifax for England, in March of 1845. A Haudenosaunee artist was likely retained to produce this piece for someone in that regiment, perhaps while on a trip to Montreal or Niagara Falls, and conceivably as a souvenir for a wife or loved one back home. The reverse side of the bag is virtually identical to the front. Likely made between 1841 and 1844, it’s a fine example that underscores the heavy use of solid bead fill on pieces from the early 1840s. From the collection of Richard Green. The imagery in souvenir arts can have more than one meaning. To the Haudenosaunee, the eagle is a messenger from the Creator and as such is considered sacred. In Iroquois art, it’s often depicted perched over the great tree of peace, keeping a watchful eye on the Haudenosaunee homeland, prepared to warn people of any approaching danger. To some nationalistic Americans the eagle can symbolize their martial or hawkish nature. In each culture it denotes notions of power. In one culture that power is materialistic; in the other it’s spiritual. The intended message of the maker is unknown but certainly the imagery on this bag would appeal to both, albeit for different reasons. This rare bag is beaded on hide. The extended top is made of silk. The solidly beaded thunderbird and large floral motif on the reverse suggests a 1830s to 1840s date. The triangles along the perimeter of the bag may be an Iroquois identity marker as I have seen these on other pieces that were attributed to them. Private collection. Another intriguing bag with a bird motif has what could be a representation of a snipe. The Iroquois Confederacy is composed of six nations with a total of nine clans. The clans, defined by specific animals, represent the land, the sky and the water. Both the Seneca and Tuscarora, prolific producers of early souvenir beadwork, had a Snipe Clan so there may be some intended cultural symbolism in the design of this piece. The beading style indicates an early date; likely pre-1830. Private collection. Unfortunately, only a black and white image was available of this bag which is from the Eugene Thaw collection at the Fennimore Art Museum, in Cooperstown, NY. This very early bag (possibly from the first quarter of the nineteenth century) depicts what could be an eagle on one side and linear-zigzag and curvilinear motifs on the other. The design in the central panel on the side without the bird appears to have silk inlays. This is another rare design treatment on early Haudenosaunee beadwork. This early nineteenth century beaded bag with a bird motif has linear designs and sun and diamond motifs which suggest it is from the first quarter of the nineteenth century. Private collection. The League of the Five Nations was symbolically represented as a longhouse, with the Seneca at the western door and the Mohawks at the east. Besides functioning as a domicile, the longhouse was also emblematic of the Haudenosaunee political system, and the Nation chiefs were the posts which supported it. This rare bag could be a representation of a lodge or longhouse. In conceiving the formation of the Iroquois confederacy, the Peacemaker told the Five Nations that he envisioned them coming together as “one longhouse.” Pre-1830. Private collection. Talismans and objects of personal power were no doubt common among the Iroquois, but it’s not known if insects had more than a cursory significance to them tribally. It’s intriguing how the Haudenosaunee artist who created this early bag configured the design elements into the shape of a wingless bug. Even the diamond design on the other side, with the double curve extensions at the corners, has an anthropomorphic feel to it. Pre-1830. From the collection of the Maine State Museum. The design of this bag, perhaps inspired by a dream or an encounter with an arachnid, shows the clever use of the familiar diamond and double curve motifs to express something beyond the obvious, conceivably a personal connection to an animistic spirit or a spirit helper. Here, the familiar diamond and double curve motifs are arranged into the shape of what could be an insect and possibly a spider. Though many people in western culture have a fear of spiders they are culturally significant to many tribal people around the world. The Bhil and Mat people of central India have a great sense of connection between the living and the dead. They believe that spiders are the spirits of their ancestors. The Chibchas from the northeast highlands of Columbia and present day Panama are culturally similar to the Inca and central to their beliefs is that a departed soul uses the webs of spiders to cross the divide from the physical to the spirit world. In America, the Pueblo and Navajo people have a great tradition about Spider Woman, who was the first being in the world. She brought all life into existence and connected herself to each of her creations through the threads of her web. Circa 1820s. Private collection. Portrait of Spider Woman by the author. This very unusual figurative bag has a horse motif on one side. Likely Iroquois, it looks to be from the 1830s-1840s period. Private collection. Another unusual bag with cryptic designs on both sides also has the addition of a deer. 1830s - 1840s. Private collection. This early bag, likely from the first quarter of the nineteenth century, is from the Thaw collection at the Fennimore Art Museum in Cooperstown, New York. One side has a turtle motif in the center. Likely Seneca. Perhaps the most novel example of a figurative Northeast Woodland bag is one made in the shape of a house. Here again, the impetus may have been the entrepreneurial spirit of the artist or it could have been a commissioned piece. Part of the mystery is the late nineteenth-century Chinese silk lining, which is decorated with an embroidered bird. The beading style, and the bead colors used are atypical. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. REFERENCES CITED Fenton, William N. 1987 The False Faces of the Iroquois – The University of Oklahoma Press – Norman, Publishing Division of the University. Parker, Arthur C. 1912 Certain Iroquois Tree Myths and Symbols in the American Anthropologist, Vol. 14

Revised January 17, 2014 In the collection of the Rochester Museum and Science Center (RMSC) in Rochester, New York is a table cover (figures 1a and 1b) that was made by Caroline Parker, a Seneca from the Tonawanda Reservation in Western New York. Although it is undated, stylistic comparison to other similarly beaded items suggests it is from the mid-nineteenth century (figure 2). The most prominent feature on the piece in figure 1 is the large, central floral motif that distinguishes it stylistically from other floral work that was done during the mid-nineteenth century. I believe this motif, and its variations are diagnostic of a style of floral beadwork that was done on the Tonawanda Reservation in western New York primarily by beadworkers in the Parker family; notably Caroline Parker, her mother Elizabeth, and Mariah, the wife of Caroline’s brother Levi. There may also have been others in their immediate circle of beadworkers involved in the production of this style. Figure 1a – The center section of a table cover in the Rochester Museum and Science Center collected by Lewis Henry Morgan and created by Caroline Parker. The cover measures 4 feet by 5.5 feet. Photo by Deborah Holler. Figure 1b – Detail of the flower in figure 1. Photo by Deborah Holler. Deborah Holler has written that a recent revival of interest in Iroquois beadwork by connoisseurs and art historians has shed new light on Caroline Parker’s artistry in clothing and textiles, widely acknowledged to be pivotal in the 19th century cultural exchange between the Native aesthetic and European influences. This developing aesthetic in clothing and textiles became an inspiration for generations of Iroquois artists, as well as the prototype for Seneca women’s “traditional” clothing styles. Thus Carrie Parker, it can be argued, became an arbiter of change who walked in two worlds; that of her traditional Tonawanda Seneca and Tuscarora communities, and that of the highest social and political realms of white society (Holler 2011:9). [You can read two excellent articles about Caroline Parker by Deborah Holler in Western New York Heritage Magazine, Volume 14, Number 1, Spring, 2011 and in American Indian Art Magazine, Volume 37, Number 4, Autumn, 2012.] Figure 2 – Tonawanda Seneca. A beaded bag with a diagnostic flower on the back. An old newspaper used as a stiffener during the construction of the flap is dated February, 1848. During the classic period of Haudenosaunee (Iroquois) souvenir beadwork (1800–1840s) bags, hats, moccasins and other fanciful items featured curvilinear and geometric designs and organic motifs. During the dawn of the Victorian era however, (the Victorian era began in June of 1837 with the reign of Queen Victoria and ended with her death in January, 1901) a major design transformation – the rise of the Niagara floral style – took place in Haudenosaunee beadwork (figure 3). The origin of this floral style has long been a topic of discussion among scholars and researchers and evidence suggests it emerged during the late 1830s, in the waning years of the classic period of Haudenosaunee beadwork. (See Chapter 4 in A Cherished Curiosity: The Souvenir Beaded Bag in Historic Haudenosaunee(Iroquois) Art for more on this transition.) Figure 3 – An assortment of mid-19th century beaded bags in the Niagara Floral style. These were made in most Iroquois beading communities and often sold at Niagara Falls. Scholars such as Ruth Phillips have indicated that the rapid shift from curvilinear and geometric designs to floral motifs in mid-nineteenth century Iroquois work has been linked to Victorian fashion trends and women’s domestic sphere (Phillips 1998). During this period, floral beadwork became the predominate style that would be made and sold by the Haudenosaunee. The overwhelming evidence suggests that the floral motifs illustrated in figure 3 were produced in most Haudenosaunee beading communities, but the floral style illustrated in figures 1a & b appears to be unique to the mid-nineteenth century Seneca on the Tonawanda Reservation. [F]loral imagery can also be linked to Haudenosaunee cosmology, beginning with Skywoman, who is also called Mature Flower, and is the model for the image of Haudenosaunee femininity. Once on Turtle Island, Skywoman initiates the cycle of growth of the Three Sisters (corn, beans and squash), as well as the use of powerful plant medicines, all of which may be included in the symbolic representation of floral imagery (Holler 2012:62). Caroline’s mother Elizabeth is believed to have lived on the Cattaraugus Reservation before her move to Tonawanda and she may have developed her commercial sewing and beadwork skills under the tutelage of Laura Wright, the wife of the Rev. Asher Wright, a missionary to the Seneca at Cattaraugus. Wright held classes and set up an industrial shop on the reservation. [Wright’s] next step in the plan for the [Seneca] women was to teach them to make garments for sale, and with the money thus obtained buy more material… The women… had become thoroughly interested and imbued with the healthful fascination of earning something, and were clamorous for more work (Caswell 1892:205-206). Mrs. Wright was also clever in devising ways to get Seneca women to listen to her moralizing and religious instructions. Often, she would invite them to what we might today call a “tea meeting.” They were at the liberty to bring their needlework, which consisted in ornamenting their deerskin moccasins with porcupine quills, or their broadcloth skirts and leggings with beads, or perhaps fastening a quantity of silver brooches upon their short gowns or hats. While thus occupied, she read and explained the gospel truths in their own language, sang hymns with them, and frequently encouraged them to tell her some story of old times. The simple repast, which had really brought them there and held them through the afternoon, was then served, and they went away to think of the “good words” that had been spoken to them about the “new way” (Caswell 1892:65). Because her so called “tea meetings” were accompanied by the teaching of the gospel, they were opposed by many Seneca traditionalists. Elizabeth Parker’s daughter Caroline was born sometime before 1828 and she was known to her family as “Ga-ho-na, meaning the Blue Bell” (Parker 1919:58). By 1855, when many white settlers around her were illiterate in English, and most American Indians did not speak English with fluency, Caroline was teaching the “3 R’s” to Indian children on the Tonawanda Reservation. Although the laws at the time dictated that women could not own property, and very few of the emerging middle class worked outside their homes, Caroline earned a living teaching and occupied a cabin of her own on the reservation. She also worked on her parents’ farm. As her brothers left home to serve in the U. S. military and advance their careers, she managed the family business accounts, represented her parents to public officials and corresponded with her brothers on all aspects of family and community life. Caroline sometimes acted as a translator of official business for the Tonawanda Chiefs and seems to have been something of a political operative in times of crisis (Holler 2011:12). In 1864, she married Tuscarora Chief John Mt. Pleasant and moved to the Tuscarora Reservation. Figure 4 – Engraving of Lewis Henry Morgan, from the 1901 edition of his League of the Hodenosaunee or Iroquois. Lewis Henry Morgan (figure 4), an attorney from Rochester, New York, had an inquisitive mind and a curiosity about the Haudenosaunee. He was also loosely affiliated with New York State Cabinet of Natural History (NYSCNH). By chance, he met Caroline’s younger brother Ely in a bookstore and a friendship ensued. Through Morgan’s influence, the Parkers were retained to produce examples of Seneca material culture for the NYSCNH, the predecessor to the New York State Museum in Albany. Although many of these items were destroyed in a devastating 1911 fire, Morgan had illustrations made of the beaded items, in full color, which were published in two reports for the State of New York (Morgan 1850, 1852) as well as in a 1901 reprint of his classic work on the Iroquois (Morgan 1901). Morgan also kept examples of Caroline’s beadwork for himself, some of which were later returned to the New York State Museum and others to the Rochester Museum and Science Center. Regarding Caroline’s dress (figures 5 & 6), that was collected for the state, Morgan wrote: This is without question the finest specimen of Indian beadwork ever exhibited. Next to the article itself the plate will furnish the best description. It was made by Miss Caroline G. Parker (Ga-Ha-No), a Seneca Indian girl, now being educated in the State Normal School, to whose finished taste, and patient industry the State is indebted for most of the many beautiful specimens of beadwork embroidery now in the Indian collection. (Morgan 1852:110–111). During the approximately three month period between November 1849 and the end of January 1850, the Parkers provided Morgan with over 200 items, of which about 16 pieces were beadwork. These were collected by Morgan for the Third Regents Report. Morgan’s correspondence with the Parkers indicates that Caroline made many of the items that were supplied to the Cabinet of Natural History in Albany although some scholars dispute this point as Caroline was attending school in Albany at the time and wrote that she was overwhelmed with school work and other obligations. More than likely, the beadwork that was provided to the state was from an existing inventory and it’s impossible to determine at this point how much of it was made by Caroline or by other members of her family. One of Caroline’s relations wrote that there was a “what-not” or curio cabinet that her mother Elizabeth kept at the family farm. One shelf contained a display of “fancy Indian beadwork,” presumably made by Elizabeth, but there is no description of it (Parker 1919:194). Elizabeth also “made very fine bead-work too and Aunt Carrie [Caroline] learned from her” (Parker 1919:235). Figure 5a – Illustration of a dress made by Caroline Parker and featured in the Fifth Regents Report to the State of New York, 1852. Figure 5b – An illustration of Caroline wearing the same dress. From the front plate in Morgan’s 1901 edition of his League of the Hodenosaunee or Iroquois. Figure 6 – Circa 1850 daguerreotype of Caroline wearing that dress. Figure 7 – Image on left is a detail of the bag in figure 6. The bag on the right is the one illustrated in Morgan’s report to the Regents of the State of New York. They appear to be the same bag. The beaded bag that Caroline is holding in figure 6 is virtually identical to the colored illustration in figure 7. Beaded bags in this style are seen in both museum and private collections. They usually have a scalloped flap and a scalloped lower edge, as well as several strings of beads sewn in a tight band along the perimeter (figure 8). The scalloping along the edge of these bags may have originated in response to the Victorians’ love for scalloped borders as it’s rare to find a Haudenosaunee bag with scalloped edges that predates the Victorian era. The Schedule of Articles that Morgan donated to the State of New York in 1849 included five varieties of Ga-ya-ah [work bags] and six varieties of Got-gwen-da [pocket books] (Tooker 1994:277) so it would seem that Morgan collected a range of bag styles from the Tonawanda Seneca. The floral design in figure 1 is a documented example of Caroline’s work and there are numerous objects that have survived that incorporate a virtually identical floral motif in the design (see figures 11, 12 & 22). Except for the example in figure 1, there are no records that assure us Caroline made any of the other items but the bead colors, delicacy and refinement of the designs and their stylistic similarity to the design in figure 1 suggests to me that there is a good possibility that she did; they represent the highest level of Haudenosaunee beadwork. Art historian Ruth Phillips has written that Caroline Parker’s work is characterized by its flatness, great delicacy, relatively high degree of naturalism, and its use of small, pastel, white, and translucent beads (Phillips 1998:224). Figure 8 – A group of mid-19th century bags that are stylistically similar to the one in figure 7. Each has a scalloped lower edge and several strings of beads sewn in a tight band along the perimeter. In Morgan’s Fifth Regents Report to the State of New York, he illustrates a pincushion that he collected from the Parkers (figure 9) which is very similar to one that was collected at Niagara Falls in 1850 (figure 10). They both have similarities to the large floral design described above and likely represent a Tonawanda Seneca style, though not necessarily one that was made by the Parkers. Beadworkers seldom worked in isolation so there might have been some borrowing of ideas and designs among mid-nineteenth century Tonawanda beadworkers which would account for the similarities in their work. Figure 9 – Pincushion collected from the Parkers and illustrated in Morgan’s Fifth Regents Report to the State of New York January 22, 1851, Plate 19. Figure 10 – Tonawanda Seneca pincushion, 6 inches wide. An inked inscription on the back reads: “Bought at the Bath House on Bath Island, Falls of Niagara, Sept. 27, 1850.” There is also a name after the date but it’s barely legible, although it possibly says Peterman. Bath Island was one of several islands in the Goat Island complex. Access to Goat Island was from Bath Island where a visitor would first have to pay a toll. There was a concession at the Bath Island Toll House that sold so called “Indian curiosities.” The close similarity of this pincushion to the one illustrated Morgan’s Fifth Regents Report suggests that it could have been made by the Parkers or someone in their immediate beading circle. Figure 11 – From the collection of Memorial Hall Museum, Deerfield, Massachusetts. The similarity of the flower to the one in figure 1 is striking. The bags in figures 12 through 17 also have a variation of that large, central floral motif. Other distinguishing features on these bags include a tight band of beads along a scalloped perimeter. Additionally, like the table cover in figure 1, they incorporate some variation of the dendrite or spray work along the perimeter of the flower that might symbolizes the world tree from the Iroquois creation story (Parker 1912:616-620). The large flower could be a stylized representation of the sun depicted atop the celestial or world tree also from the creation story. Although the Parkers adapted their lifestyle to co-exist with Europeans and presented their work to Victorian consumers in a way that was acceptable to them, they could still covertly incorporate symbols in their work that had cultural significance to them. Figure 12 – Beaded bag, likely Tonawanda Seneca, mid-19th century. Figure 13 – Beaded bag, likely Tonawanda Seneca, mid-19th century. Figure 14 – Beaded bag, likely Tonawanda Seneca, mid-19th century. Figure 15 – Beaded bag, likely Tonawanda Seneca, mid-19th century. Figure 16 – Beaded bag, likely Tonawanda Seneca, mid-19th century. Figure 17 – Beaded bag, likely Tonawanda Seneca, mid-19th century. “The art of flowering” – as the Parkers termed it – is what they were noted for: In doing this work, the eye and the taste are the chief reliances, as they use no patterns except as they may have seen them in the works of others. In combining colors certain general rules, the result of experience and observation, are followed, but beyond them each one pursued her own fancy. They never seek for strong contrasts, but break the force of it by interposing white, that the colors may blend harmoniously. Thus light blue and pink beads, with white beads between them, is a favorable combination; dark blue and yellow, with white between, is another; red and light blue, with white between, is another; and light purple and dark purple, with white between, is a fourth. Others might be added were it necessary. If this beadwork is critically examined it will be found that these general rules are strictly observed; and in so far as beadwork embroidery may be called a systematic art. The art of flowering, as they term it, is the most difficult part of the beadwork, as it requires an accurate knowledge of the appearance of the flower, and the structure and condition of the plant at the stage in which it is represented (Morgan 1852:111). Figure 18 – Beaded Glengarry hat on red wool Stroud with a green silk ribbon edging. Mid-19th century. The top panel incorporates the large diagnostic flower. Other flowers are depicted in various stages of blossoming, a characteristic found on work by the Parkers. Figure 19 – Large beaded pillow in the Tonawanda Seneca style. We are not limited to examples of beaded bags in our search for items with this characteristic flower. Figures 18 – 20 highlight other examples of souvenir art with this diagnostic element. The Glengarry hat in figure 18, although missing the dendrite or spray work along the perimeter of the flower, incorporates other elements that point to a Tonawanda origin and possibly to Caroline Parker. In many of the objects that can be stylistically attributed to the Parkers, flowers are often represented in different stages of blossoming and that feature is most apparent on the side panels of the hat. The large flower on the top could also be a stylistic representation of the sun mounted atop the world tree. Figure 19 is a large pillow which again shows the characteristic central floral element with the dendrite or spray work. This is surrounded by many strings of beads in a scalloped perimeter very much like the beaded bags. Other features are the flowers that are represented in different stages of blossoming. The piece in figure 20 is a lovely tri-fold, calling card wallet shown opened. There are also numerous pieces that don’t have the large central flower but incorporate other elements that are seen in examples that do (figure 21). Figure 20 – Tri-fold calling card wallet with the diagnostic flower. Figure 21 – A group of beaded items without the large diagnostic flower yet still incorporating other elements found on examples that do. Figure 22 – Beaded bag/satchel, Tonawanda Seneca type (both sides shown), dark blue velvet, glass beads, silk ribbon edge binding; circa 1850. The cord strap is wrapped with silk ribbon, in a similar fashion as the one in figure 24. 12 inches high by 12 inches wide. The similarity of the large central flower to the one in figure 1 suggests to me that it could be the work of Caroline Parker. The beading technique and the floral patterns on the side with the flap are nearly identical to those on a skirt in the Rochester Museum and Science Center, number 70.89.61 that is attributed to Caroline Parker (See: Phillips 1998:225, fig. 6.23). Perhaps two of the most striking pieces that incorporate floral elements attributable to the Parkers are the large bags/satchels in figures 22 and 23. Figure 23 – Beaded bag/satchel, Seneca type (both sides shown). Glass beads, red velvet, green silk ribbon edge binding. Mid-19th century. 11.3 inches high x 14 inches wide. Originally from the estate of William Waldegrave Palmer (1859–1942), the Second Earl of Selborne and the son of Roundell Palmer (1812–1895), the first Earl of Selborne. Remarkably similar to an example attributed to the Parkers and illustrated in the Fifth Regents Report to the State of New York; see figure 24. The example in figure 22 is from a remarkable collection that was illustrated in the publication titled: Pleasing the Spirits by Douglas C. Ewing in 1982, figure 252 although there is no known record linking it directly to Caroline. The bag in figure 23 is from the estate of William Waldegrave Palmer, the Second Earl of Selborne (1859 – 1942). Palmer served for a time as High Commissioner to South Africa and before that was Under Secretary to the British Colonies. This bag could have belonged to his father Roundell Palmer (1812 – 1895), the First Earl of Selborne, who may have been one of the many foreign dignitaries that were frequent visitors to the Parker/Mt. Pleasant homestead near Niagara Falls. What is remarkable about this example is its similarity to a satchel illustrated in Morgan (figure 24). Figure 24 – Beaded satchel attributed to the Parker's and illustrated in the Report on the Fabrics, Inventions, Implements and Utensils of the Iroquois, Made to the Regents of the University, Jan. 22, 1851, by Lewis Henry Morgan, plate 18. Morgan described the satchel in his 1850 Tonawanda field notes as a beautiful example of Seneca beadwork. Upon one side of the lower figure is designed to represent a rosebush, with its flowers at different stages of maturity from those [which] are just opening to those [which] are in full bloom. The success of the imitation although not perfect by any means is yet quite striking. It is quite easy to detect the opening rose in the bud at the left. The same thing is attempted on the rose at the top. On the reverse side are two stars, which as specimens of fancywork, are certainly very tastefully and ingeniously made. It is an imitation of the ordinary travelling bag of the whites, and not an Indian article. [As quoted in: (Tooker 1994:152–153)]. The beading technique used for the floral decorations on both Palmer’s bag and Morgan’s satchel appears identical, and each depicts flowers that are in various stages of blossoming. Even the method used to create the stems is distinctive, comprised of adjacent and repeated bead segments which create the illusion that the beads are twisted together. Morgan indicated in his notes that the Parkers sent him five of these sizable bags in 1849. Both these bags were conceivably made by the same hand, and possibly by one of the Tonawanda Parkers. Figure 25 – Late 19th century cabinet card of Caroline Parker wearing a dress with beaded decorations, possibly by her own hand. Caroline (figure 25) died in 1892 and her obituary appeared in the New York Times. A Noted Indian Woman Dead. The Widow of the Chief of the Six Nations. Lockport, N.Y., March 20. – The death of Caroline Mountpleasant, wife of the late chief of the Six Nations, John Mountpleasant, yesterday, aged sixty years, removes one of the most prominent Indian women of the time. Mrs. Mountpleasant was a sister of the celebrated Indian General Parker, now of New York, who served so gallantly in the civil war, earning his title of brigadier General. The deceased had received an academic education and was well read in literature, particularly regarding Indian matters. She proved of great help to her husband in his efforts to elevate and educate the various tribes of the Six Nations. Mrs. Mountpleasant, after his death, retained her home with the Tuscaroras, on the reservation, where her influence in religious, educational, and commercial matters was strongly felt. Her home was a large finely appointed house in the midst of the reservation, very picturesquely situated. It was one of the most complete museums of Indian relics and curiosities, and was visited by thousands of prominent American and noted English and foreign tourists. The other appointments of the place, such as barns and out-dwellings, were on a mammoth scale. The funeral of the dead Indian woman will be held to-morrow (New York Times, March 21, 1892, page 4). If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. REFERENCES CITED Biron, Gerry 2012 A Cherished Curiosity: The Souvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art. Published by the author. Saxtons River, Vermont. Caswell, Harriet S. 1892 Our Life Among the Iroquois Indians. Congregational Sunday-School and Publishing Society, Boston and Chicago. Holler, Deborah 2011 “The Remarkable Caroline G. Parker Mountplasant, Seneca Wolf Clan.” Western New York Heritage Magazine, Vol. 14, No. 1, Spring. 2012 “Fashion, Nationhood and Identity: The Textile Artistry of Caroline G. Parker.” American Indian Art Magazine, Volume 37, Number 4, Autumn. Morgan, Lewis Henry 1901 League of the Hodenosaunee or Iroquois, A New Edition, with Additional Matter. Edited and Annotated by Herbert M. Lloyd. Volume I & II. Dodd, Mead and Company, New York. 1850 “Report to the Regents of the University, upon the Articles Furnished to the Indian Collection.” In The Third Annual Report of the Regents of the University on the Condition of the State Cabinet of Natural History and Antiquarian Collection, Annexed Thereto pp. 63 – 93. Revised Edition: Printed by Weed, Parsons and Company, Albany. 1852 “Report on the Fabrics, Inventions, Implements and Utensils of the Iroquois, Made to the Regents of the University, Jan. 22, 1851; Illustrative of the Collection Annexed to the State Cabinet of Natural History, with Illustrations.” In The Fifth Annual Report of the Regents of the University on the Condition of the State Cabinet of Natural History and the Historical and Antiquarian Collection, Annexed Thereto, pp 68 – 117. Printed by Richard H. Pease, Albany. Parker, Arthur C. 1912 “Certain Iroquois Tree Myths and Symbols” in the American Anthropologist, Vol. 14. 1919 The Life of General Ely S. Parker, Last Grand Sachem of the Iroquois and General Grant’s Military Secretary. The Buffalo Historical Society, Buffalo, New York. Phillips, Ruth 1998 Trading Identities: The Souvenir in Native North American Art from the Northeast, 1700 – 1900. University of Washington Press, Seattle and London: McGill-Queen’s University Press, Montreal and Kingston. Tooker, Elizabeth 1994 Lewis H. Morgan on Iroquois Material Culture. The University of Arizona Press.

Implicit in the thinking of many native tribes is that objects have an inherent sprit or soul associated with them. When considering historic Northeast Woodland beaded bags, do we view them solely as inanimate objects made to be sold as souvenirs or, do they contain within them something more; perhaps the protective spirit or essence of the plants and other sacred designs depicted on their surface? Aboriginal art objects are often seen in isolation but the designs on beaded bags had a specific meaning to the artists who created them. Not only did they have cultural meaning but they were also a piece of someone’s heart and soul. There is always a risk in assigning a specific meaning to a motif, but some designs appear over and over again and are likely rooted in the culture of the Northeast Woodland people. Notwithstanding, our appreciation of the beaded souvenir bag can be enhanced with a basic understanding of the iconography that appears on them. For more information on Iroquois beaded bags see the Made of Thunder collection. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Bags with a Heart Motif Like the pictographic examples (to be covered in a later posting), bags incorporating a heart are uncommon. The heart motif in Iroquois art first appeared as a metaphor on the Hiawatha (wampum) Belt, which is considered the formative record of the League of the Haudenosaunee. Each of the four squares on this belt represents the Mohawk, Seneca, Cayuga and the Oneida. The central motif symbolically represents the Onondaga, the heart of the Haudenosaunee nation. If the heart or any of its constituent parts is harmed, all five Nations were affected. The original meaning of the heart motif on souvenir bags is still clouded in mystery but its symbolism might be related to silver brooches that were popular with Iroquois women during the eighteenth century. “The heart shaped brooch has been called the national badge of the Iroquois because of its popularity among them. It is found in both single and double forms, often surmounted by a crown. The design is thought to have come to North America from Scotland, where it was a popular love token and betrothal symbol. The ‘Luckenbooth’ brooch, as it was known in Scotland, may have been introduced by British-trained silversmiths such as Robert Cruickshank or James Hanna. Another possibility is that the Indians requested the brooch after seeing it worn by Scottish traders and settlers” (Fredrickson and Gibb 1980:53). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Arthur Parker reports that in Europe, the earliest Luckenbooth brooches that were made in the shape of a heart were manufactured as early as the seventeenth century. “They were mostly used as luck tokens, or betrothal gifts, and the choice of the heart shape… is sufficiently obvious” (Parker 1910:354). Many were made by Iroquois silversmiths who found their inspiration in European models, and the Iroquois continued fabricating them until at least the 1860s. “Any brooch pinned to the garment of a child was regarded by the Scotch as an efficient charm against witches…When the Iroquois silversmiths copied the Scotch patterns they left off many things that were common in the original patterns and interpreted the design as their own education, environment, or customs dictated” (Parker 1911:285). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. The use of silver brooches as charms to ward off evil spirits was also part of Native peoples’ pre-contact religious beliefs. Additionally, they may have also seen the heart broach as a symbol of tribal identity as they were quite popular with Iroquois women in the eighteenth century. It was believed that the metal’s luminosity, especially when used as a personal adornment, constituted a power that reflected or blocked evil spirits. Whether this is the intended significance of the heart motif on souvenir bags is unknown. The Seneca have legends about these brooches. One relates that “…the shining ornaments are the scales of an under-water fish-man who loved a maiden and lured her to his lake each day by a gift of a scale until they became a charm that drew her into the water and to her lover” (Parker 1910:355). Iroquois beaded bag, possibly Seneca - 1820s. Collection of the Abbe Museum. In all probability, some of the designs found on early beaded bags relate to a particular dream experience known only to the beader, enhancing its transcendent nature to the maker. Since revealing the precise meaning of a vision was to forfeit some of the powers it conferred, our understanding of the significance of many traditional designs may forever be clouded in mystery. Iroquois beaded bag - dated 1842. Collection of Richard Green. The provenance for this exceptional piece indicates that it was once owned by Henry Wadsworth Longfellow, who gave it to a Miss Priscilla Green, of Scalby Nabs, in Yorkshire, England. Miss Green was a traveling preacher and in a reference to one of her sermons, Longfellow described her voice rising up “as if on angels’ wings.” The inside of the bag bears the date 1842. The design incorporates many areas of solid bead fill, a prominent feature on purses from the early 1840s. Earlier pieces incorporated curvilinear and geometric designs without the use of solid bead fill. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Another beautifully designed bag is decorated with a large heart motif. The artist who created this piece used a very refined color palette in her design. The pleasing color combinations along with the curvilinear bead strings that connect the smaller hearts to the larger one are elegantly balanced within a hexagonal enclosure. The functional flap is decorated with bilaterally symmetrical strawberry leaf motifs. It’s certainly one of the masterpieces of early Haudenosaunee souvenir art. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. This splendid early bag with a large heart as its focus incorporates a pair of inward turning helix curves to form the shape of the heart. The use of the double-curve to suggest a heart may be a Haudenosaunee identity marker as I’ve seen it used this way on a number of souvenir bags. Two small sun or star motifs are placed on either side of the heart while two more flank the large sun on the flap. The organic design on the back is atypical. It could be an early representation of a floral motif, or perhaps it has a cosmic or dream-inspired genesis. This 1850s daguerreotype is a superb early image of a child holding a Haudenosaunee bag with a heart motif. Below is a sampling of more Haudenosaunee bags with a heart motif. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Iroquois beaded bag, possibly Seneca - 1820s - 1830s. Private collection. Iroquois beaded bag - 1840s. Private collection. This early, four paneled, Iroquois (possibly Seneca) drawstring reticule is from the first quarter of the 19th century. It has a silk extended top and heart motifs are depicted on three of the four panels. Private collection. The crown and shield motif on the back of this Iroquois beaded bag suggests that it possibly has a Canadian origin. 1820s-1830s. Private collection. This image is presumably of an Iroquois wearing an old-style bag. Although this is a circa 1907 real photo postcard, the bag pictured is made in a much earlier style. A heart is depicted on the flap and the large, tri-lobed device on the face of the bag has two helix coils flowing from the top in the form of a double-curve motif. This card is part of a series of postcards that were taken at Otsego Lake, near Cooperstown, New York. Cooperstown was named after the family of James Fennimore Cooper who used Lake Otsego and the surrounding countryside for the setting in his books. In 1907 Cooperstown held its Centennial Celebration and these postcards document an historic reenactment connected to that event. Several other early-twentieth century images exist of Indians wearing old-style bags that appear to be newly constructed. They are generally larger than the earlier nineteenth century bags and their designs, in comparison, are efficient and economical with less complex surface ornamentation. This bag may be contemporary to the image and was possibly derived from an earlier model, to be used as a prop for this event. This 1840s Iroquois beaded bag is done in the Parker Style. Private collection. An Iroquois (possibly Seneca) beaded bag with an extended silk top. 1820s. Private collection. This early Iroquois (possibly Seneca) beaded bag has a beaded fringe; a very rare treatment on souvenir bags. 1820s - 1830s. This Iroquois (possibly Seneca) beaded bag had an opening along one side that revealed an old newspaper on the inside, between the bag face and the lining that was no doubt used to stiffen the bag during construction. It was dated 1822. Private collection. An Iroquois bag with an extended top. 1830s - 1840s. Private collection. Iroquois (possibly Seneca) beaded bag - 1830s - 1840s. Private collection. An Iroquois (possibly Seneca) beaded bag with opposing heart motifs. 1820s. Private collection. This is a Wabanaki bag in the familiar vase or inverted keyhole shape. The leaves that decorate the surface of Wabanaki bags are often depicted in the shape of a heart though it's unusual to see the heart motif as a central design feature. From the second half of the nineteenth century. Private collection. References Cited Fredrickson, N. Jaye and Gibb, Sandra 1980 The Covenant Chain – Indian Ceremonial and Trade Silver. A catalog to a travelling exhibition of the National Museum of Man. Published by the National Museum of Canada / Ottawa. Parker, Arthur C. 1910 The Origin of Iroquois Silversmithing in American Anthropologist, New Series, Vo. 12, No. 3, July-September. 1911 Additional Notes on Iroquois Silversmithing in American Anthropologist, New Series, Volume 13.

On July 8, 2014 I made some changes to this posting. Non-Native purses have been around since at least the 16th century. They are known by many names; among them the pocketbook, the purse, chatelaine, the handbag, and the reticule. There was also a man’s travelling bag called a handbag or satchel, although this was a piece of luggage but during the 19th century, the term “handbag” came to describe a larger version of a woman’s purse. The earliest handbags that were designed for women featured compartments, a sturdy handle, metal frames and fastenings all inspired by men’s travelling bags. By the mid-19th century, Berlin woolwork purses with floral and geometric design were also at the height of their popularity. But of all the bags that have come in and out of fashion over the years, perhaps none has been more cherished than the beaded bag. Sandy Levins, the director of programming at the Camden County Historical Society, wrote: Beaded bags, whether handcrafted or commercially produced, have been in vogue in North America for well over 200 years and in Europe for much longer. In the late 1300s, the English poet Geoffrey Chaucer described one in "The Miller's Tale," the story of a love affair between an Oxford student and a carpenter's wife. Of the female character he wrote: “By her belt hung a purse of leather tasseled with green and beaded with Italian beads…." The earliest beaded bag was usually knitted in a drawstring style called a reticule, which also became known as an “indispensable” because it developed a universal popularity almost overnight. So popular was the reticule, it became an absolute “must” for fashionable ladies in 19th century Europe where the Empress Josephine, internationally known for her sense of fashion, carried a reticule with her at all times. Romantic figures, pastoral scenes, and flora and fauna became common themes rendered in the tiniest of beads. Between 1820 and 1830, beaded bags supported by metal frames came into vogue. Coming primarily from France and Austria, the frames were made of everything from pinchbeck, an alloy of copper and zinc made to look like gold, to tortoiseshell. Chains, often formed of decorative, ornate links, were attached to the frames. Figure 1 – A metal frame for a beaded bag from the late 19th century. Figure 2 – A non-Native bag embroidered with beads and with a metal frame. Late 19th - early 20th centuries. Figure 3 – A non-Native Native bag embroidered with beads and with a metal frame. Late 19th-early 20th centuries. Figure 4 – A non-Native bag embroidered with beads and with a metal frame. Dated 1846 in beads although the frame is from the late 19th century. During the first few decades of the 19th century, purse design was at its height. Napoleon’s wife Josephine was a purse aficionado and designers worked tirelessly to please her and her court with an endless array of purses. Unique shapes, materials and construction methods were a hallmark of the time and it’s during this period that purses with metal frames came into being. Occasionally, we come across Native made beaded bags that have the same metal frames that are found on European bags which raises the question; were they originally designed into the bags by Native artisans because they were fashionable, or were they added later by someone else? Paula Higgins, a member of the Antique Purse Collector's Society and the co-author of a book on antique and vintage purses titled A PASSION FOR PURSES has shed some light on this. She informed me that the purses pictured in this posting, that have a metal twist clasp, all date after the 1870s. Collectors of antique purses have been aware that many purses, which would include those made by Native artisans, were mounted or re-mounted on later frames. It was a common practice as framed purses gained popularity in the late 19th century. So essentially, the owners recycled the bags and put them on more contemporary frames. This practice continued on into the early 20th century. The only exception is the bag in the Daguerreotype in figure 12. Paula has informed me that this frame, which is barely visible, has a chain which is classic 1840s and seen on many purses from that period. These frames are shaped like an eyebrow but with less of a curve and it is made of steel, as is the chain. So this frame is contemporary to the bag pictured and might have been added by the Native artisan who made the bag. Figure 5 – An Iroquois beaded bag with a metal frame. The bag is from the 1830s; the metal frame is from the late 19th century. Figure 6 – An Iroquois floral bag in the Niagara style with ovate florals and a metal frame. The bag is circa 1850; the metal frame is circa 1920. Figure 7 – An Iroquois floral bag in the Niagara style with elongated leaf motifs and a metal frame. The bag is from 1855-1860; the frame from the late 19th century. Figure 9 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the frame is from the late 19th century. Figure 10 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the metal frame is from the late 19th century. Figure 10a – Detail of the metal frame in figure 10. Figure 11 – A rare example of a Mi’kmaq beaded bag with a metal frame. The bag is circa 1840s; the frame from the late 19th century. Glass beads sewn onto red wool serge of the type seen on Canadian military uniforms. The beads are strung on horsehair. Figure 12 – Daguerreotype. Late 1840s to early 1850s. The subject is holding an Iroquois beaded bag with a metal frame at the top. In July of 2011, I did a posting that illustrated a collection of 19th century images of women and young girls who were photographed with an Iroquois beaded bag. http://iroquoisbeadwork.blogspot.com/2011_07_01_archive.html These old images testify to the prestige and the prevailing taste for Haudenosaunee beadwork during the middle decades of the nineteenth century and it speaks to the especially high regard Victorian women held for these purses, an appreciation that would contribute to the preservation of the beaded bags now so prized by collectors. I’m always on the lookout for these old images and below is a new group that has surfaces since the previous posting. Figure 13 – Daguerreotype – 1840s. The young girl has a Mohawk style beaded bag. See figure 14 for an example of a similar bag. I originally dated this image to circa 1860 but Karen Augusta, a textile expert, thinks the clothing style the young girl is wearing could be as early as the 1840s. This would push back the dating of this style of purse by at least two decades. Figure 14– Beaded bag, possibly Kahnawake Mohawk, 1840s-1860s. Similar to a bag illustrated in a document in the research files of the Iroquois Museum in Howes Cave, New York that was collected at Caughnawaga, circa 1860. This bag is similar to the one illustrated in figure 13. Figure 15 – Hand tinted daguerreotype – young girl with ringlets in her hair and a white pinafore. Mid-1850s. She has an Iroquois floral bag that is similar to the one in figure 16. Figure 16 – Iroquois floral bag, mid-1850s. Similar to the one in figure 15. Figure 17 – A rare Daguerreotype of three children in fancy dress. Fancy dress is what costume parties were called in the 19th century. They were immensely popular and many had dress-up themes from earlier decades or centuries. This image is hard to date because the costumes are from different time periods. The young girl wears a circa 1850 dress. The boy on the right may be wearing a Renaissance outfit which would be a bit later. So this could be 1850s - 1860s. The young lady has a Mohawk beaded bag similar in style to the one in figure 18. Figure 18 – A Mohawk style beaded bag with similarities to the one in figure 17. Figure 19 – A carte-de-visite from the Civil War. There is a two-cent revenue tax stamp on the back that is dated August 14th, 1864 – likely the day the image was taken. The photographer was H. A. Upthegrove of Crown Point, Indiana. The young girl with the bag is identified as Matilda Farwell. She has an Iroquois beaded bag that is quite similar to the one in figure 20. Figure 20 – An Iroquois beaded bag that is quite similar to the one in figure 19. Figure 21 – Ambrotype – late 1850s of a well dressed and fashionable young woman with an Iroquois floral bag that is decorated with elongated leaf clusters. Her bag is similar to the one in figure 22. Figure 22 – An Iroquois beaded bag. 1855-1860. Similar to the one in figure 21. Figure 23 – Early 1860s Ambrotype. This is a rare post mortem image of a child with an Iroquois beaded bag that is similar to the one in figure 20. Post mortem photography was in common use in the 19th century as a way to memorialize a loved one. Since mortality rates were very high during this period, especially among children, these photographs served less as a reminder of one’s mortality than as a cherished memento to commemorate the deceased. Figure 24 – A lovely circa 1860 tintype of a young lady with an Iroquois beaded bag. Figure 25 – An unusual tinted tintype of a young man dressed in buckskins. He is wearing an Iroquois floral bag. He might be dressed for a play or some other event. What’s with that hat he’s wearing? Figure 26 – A later cabinet card that was a copy of a mid-1850s daguerreotype. Both young women have similar Iroquois floral bags. Figure 27 – A circa 1910 group photograph of four individuals that are decked out in beads. The young woman on the left is wearing an outfit that is quite similar to those offered for sale in the catalogs for the Improved Order of Redmen. She is also holding a Mohawk box purse with an owl motif. The older gentleman’s trousers are totally beaded as is the young boys vest! Figure 28 – This painting of the Wykes children was done in 1852 by the Rev. David Bulle of Sidney, Ohio. The young girl on the left has an Iroquois beaded bag. The design on the bag has similarities to the one in figure 29. Photo courtesy of Marguerite Riordan. Figure 29 – Iroquois beaded bag. 1840s-1850s. Approximately three inches in diameter. Figure 30 – This final entry is a rare stone lithograph of the young Black Hawk, the grandson of Black Hawk, late war chief of the Sac and Fox nations. This lithograph dates to approximately 1840-1850. It was made by the American lithographer and photographer Napoleon Sarony (1821-1896) of New York. Sarony began his lithography business in 1843 after an apprenticeship as an illustrator with Currier & Ives. In this image Black Hawk is wearing a beaded Glengarry hat and he has a bandolier across his chest which likely supported a large bag. Old images of individuals wearing a Glengarry are quite rare and I have seen less than a handful over the years. This one is exceptionally rare and testifies that what is generally seen as souvenir or tourist beadwork was also worn and highly regarded by Native people as well. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. My thanks to Karen Augusta for helping me date some of the old images. http://www.antique-fashion.com/Antique-Fashion/home.htm

On July 8, 2014 I made some changes to this posting. Non-Native purses have been around since at least the 16th century. They are known by many names; among them the pocketbook, the purse, chatelaine, the handbag, and the reticule. There was also a man’s travelling bag called a handbag or satchel, although this was a piece of luggage but during the 19th century, the term “handbag” came to describe a larger version of a woman’s purse. The earliest handbags that were designed for women featured compartments, a sturdy handle, metal frames and fastenings all inspired by men’s travelling bags. By the mid-19th century, Berlin woolwork purses with floral and geometric design were also at the height of their popularity. But of all the bags that have come in and out of fashion over the years, perhaps none has been more cherished than the beaded bag. Sandy Levins, the director of programming at the Camden County Historical Society, wrote: Beaded bags, whether handcrafted or commercially produced, have been in vogue in North America for well over 200 years and in Europe for much longer. In the late 1300s, the English poet Geoffrey Chaucer described one in "The Miller's Tale," the story of a love affair between an Oxford student and a carpenter's wife. Of the female character he wrote: “By her belt hung a purse of leather tasseled with green and beaded with Italian beads…." The earliest beaded bag was usually knitted in a drawstring style called a reticule, which also became known as an “indispensable” because it developed a universal popularity almost overnight. So popular was the reticule, it became an absolute “must” for fashionable ladies in 19th century Europe where the Empress Josephine, internationally known for her sense of fashion, carried a reticule with her at all times. Romantic figures, pastoral scenes, and flora and fauna became common themes rendered in the tiniest of beads. Between 1820 and 1830, beaded bags supported by metal frames came into vogue. Coming primarily from France and Austria, the frames were made of everything from pinchbeck, an alloy of copper and zinc made to look like gold, to tortoiseshell. Chains, often formed of decorative, ornate links, were attached to the frames. Figure 1 – A metal frame for a beaded bag from the late 19th century. Figure 2 – A non-Native bag embroidered with beads and with a metal frame. Late 19th - early 20th centuries. Figure 3 – A non-Native Native bag embroidered with beads and with a metal frame. Late 19th-early 20th centuries. Figure 4 – A non-Native bag embroidered with beads and with a metal frame. Dated 1846 in beads although the frame is from the late 19th century. During the first few decades of the 19th century, purse design was at its height. Napoleon’s wife Josephine was a purse aficionado and designers worked tirelessly to please her and her court with an endless array of purses. Unique shapes, materials and construction methods were a hallmark of the time and it’s during this period that purses with metal frames came into being. Occasionally, we come across Native made beaded bags that have the same metal frames that are found on European bags which raises the question; were they originally designed into the bags by Native artisans because they were fashionable, or were they added later by someone else? Paula Higgins, a member of the Antique Purse Collector's Society and the co-author of a book on antique and vintage purses titled A PASSION FOR PURSES has shed some light on this. She informed me that the purses pictured in this posting, that have a metal twist clasp, all date after the 1870s. Collectors of antique purses have been aware that many purses, which would include those made by Native artisans, were mounted or re-mounted on later frames. It was a common practice as framed purses gained popularity in the late 19th century. So essentially, the owners recycled the bags and put them on more contemporary frames. This practice continued on into the early 20th century. The only exception is the bag in the Daguerreotype in figure 12. Paula has informed me that this frame, which is barely visible, has a chain which is classic 1840s and seen on many purses from that period. These frames are shaped like an eyebrow but with less of a curve and it is made of steel, as is the chain. So this frame is contemporary to the bag pictured and might have been added by the Native artisan who made the bag. Figure 5 – An Iroquois beaded bag with a metal frame. The bag is from the 1830s; the metal frame is from the late 19th century. Figure 6 – An Iroquois floral bag in the Niagara style with ovate florals and a metal frame. The bag is circa 1850; the metal frame is circa 1920. Figure 7 – An Iroquois floral bag in the Niagara style with elongated leaf motifs and a metal frame. The bag is from 1855-1860; the frame from the late 19th century. Figure 9 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the frame is from the late 19th century. Figure 10 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the metal frame is from the late 19th century. Figure 10a – Detail of the metal frame in figure 10. Figure 11 – A rare example of a Mi’kmaq beaded bag with a metal frame. The bag is circa 1840s; the frame from the late 19th century. Glass beads sewn onto red wool serge of the type seen on Canadian military uniforms. The beads are strung on horsehair. Figure 12 – Daguerreotype. Late 1840s to early 1850s. The subject is holding an Iroquois beaded bag with a metal frame at the top. In July of 2011, I did a posting that illustrated a collection of 19th century images of women and young girls who were photographed with an Iroquois beaded bag. http://iroquoisbeadwork.blogspot.com/2011_07_01_archive.html These old images testify to the prestige and the prevailing taste for Haudenosaunee beadwork during the middle decades of the nineteenth century and it speaks to the especially high regard Victorian women held for these purses, an appreciation that would contribute to the preservation of the beaded bags now so prized by collectors. I’m always on the lookout for these old images and below is a new group that has surfaces since the previous posting. Figure 13 – Daguerreotype – 1840s. The young girl has a Mohawk style beaded bag. See figure 14 for an example of a similar bag. I originally dated this image to circa 1860 but Karen Augusta, a textile expert, thinks the clothing style the young girl is wearing could be as early as the 1840s. This would push back the dating of this style of purse by at least two decades. Figure 14– Beaded bag, possibly Kahnawake Mohawk, 1840s-1860s. Similar to a bag illustrated in a document in the research files of the Iroquois Museum in Howes Cave, New York that was collected at Caughnawaga, circa 1860. This bag is similar to the one illustrated in figure 13. Figure 15 – Hand tinted daguerreotype – young girl with ringlets in her hair and a white pinafore. Mid-1850s. She has an Iroquois floral bag that is similar to the one in figure 16. Figure 16 – Iroquois floral bag, mid-1850s. Similar to the one in figure 15. Figure 17 – A rare Daguerreotype of three children in fancy dress. Fancy dress is what costume parties were called in the 19th century. They were immensely popular and many had dress-up themes from earlier decades or centuries. This image is hard to date because the costumes are from different time periods. The young girl wears a circa 1850 dress. The boy on the right may be wearing a Renaissance outfit which would be a bit later. So this could be 1850s - 1860s. The young lady has a Mohawk beaded bag similar in style to the one in figure 18. Figure 18 – A Mohawk style beaded bag with similarities to the one in figure 17. Figure 19 – A carte-de-visite from the Civil War. There is a two-cent revenue tax stamp on the back that is dated August 14th, 1864 – likely the day the image was taken. The photographer was H. A. Upthegrove of Crown Point, Indiana. The young girl with the bag is identified as Matilda Farwell. She has an Iroquois beaded bag that is quite similar to the one in figure 20. Figure 20 – An Iroquois beaded bag that is quite similar to the one in figure 19. Figure 21 – Ambrotype – late 1850s of a well dressed and fashionable young woman with an Iroquois floral bag that is decorated with elongated leaf clusters. Her bag is similar to the one in figure 22. Figure 22 – An Iroquois beaded bag. 1855-1860. Similar to the one in figure 21. Figure 23 – Early 1860s Ambrotype. This is a rare post mortem image of a child with an Iroquois beaded bag that is similar to the one in figure 20. Post mortem photography was in common use in the 19th century as a way to memorialize a loved one. Since mortality rates were very high during this period, especially among children, these photographs served less as a reminder of one’s mortality than as a cherished memento to commemorate the deceased. Figure 24 – A lovely circa 1860 tintype of a young lady with an Iroquois beaded bag. Figure 25 – An unusual tinted tintype of a young man dressed in buckskins. He is wearing an Iroquois floral bag. He might be dressed for a play or some other event. What’s with that hat he’s wearing? Figure 26 – A later cabinet card that was a copy of a mid-1850s daguerreotype. Both young women have similar Iroquois floral bags. Figure 27 – A circa 1910 group photograph of four individuals that are decked out in beads. The young woman on the left is wearing an outfit that is quite similar to those offered for sale in the catalogs for the Improved Order of Redmen. She is also holding a Mohawk box purse with an owl motif. The older gentleman’s trousers are totally beaded as is the young boys vest! Figure 28 – This painting of the Wykes children was done in 1852 by the Rev. David Bulle of Sidney, Ohio. The young girl on the left has an Iroquois beaded bag. The design on the bag has similarities to the one in figure 29. Photo courtesy of Marguerite Riordan. Figure 29 – Iroquois beaded bag. 1840s-1850s. Approximately three inches in diameter. Figure 30 – This final entry is a rare stone lithograph of the young Black Hawk, the grandson of Black Hawk, late war chief of the Sac and Fox nations. This lithograph dates to approximately 1840-1850. It was made by the American lithographer and photographer Napoleon Sarony (1821-1896) of New York. Sarony began his lithography business in 1843 after an apprenticeship as an illustrator with Currier & Ives. In this image Black Hawk is wearing a beaded Glengarry hat and he has a bandolier across his chest which likely supported a large bag. Old images of individuals wearing a Glengarry are quite rare and I have seen less than a handful over the years. This one is exceptionally rare and testifies that what is generally seen as souvenir or tourist beadwork was also worn and highly regarded by Native people as well. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. My thanks to Karen Augusta for helping me date some of the old images. http://www.antique-fashion.com/Antique-Fashion/home.htm

Implicit in the thinking of many native tribes is that objects have an inherent sprit or soul associated with them. When considering historic Northeast Woodland beaded bags, do we view them solely as inanimate objects made to be sold as souvenirs or, do they contain within them something more; perhaps the protective spirit or essence of the plants and other sacred designs depicted on their surface? Aboriginal art objects are often seen in isolation but the designs on beaded bags had a specific meaning to the artists who created them. Not only did they have cultural meaning but they were also a piece of someone’s heart and soul. There is always a risk in assigning a specific meaning to a motif, but some designs appear over and over again and are likely rooted in the culture of the Northeast Woodland people. Notwithstanding, our appreciation of the beaded souvenir bag can be enhanced with a basic understanding of the iconography that appears on them. For more information on Iroquois beaded bags see the Made of Thunder collection. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Bags with a Heart Motif Like the pictographic examples (to be covered in a later posting), bags incorporating a heart are uncommon. The heart motif in Iroquois art first appeared as a metaphor on the Hiawatha (wampum) Belt, which is considered the formative record of the League of the Haudenosaunee. Each of the four squares on this belt represents the Mohawk, Seneca, Cayuga and the Oneida. The central motif symbolically represents the Onondaga, the heart of the Haudenosaunee nation. If the heart or any of its constituent parts is harmed, all five Nations were affected. The original meaning of the heart motif on souvenir bags is still clouded in mystery but its symbolism might be related to silver brooches that were popular with Iroquois women during the eighteenth century. “The heart shaped brooch has been called the national badge of the Iroquois because of its popularity among them. It is found in both single and double forms, often surmounted by a crown. The design is thought to have come to North America from Scotland, where it was a popular love token and betrothal symbol. The ‘Luckenbooth’ brooch, as it was known in Scotland, may have been introduced by British-trained silversmiths such as Robert Cruickshank or James Hanna. Another possibility is that the Indians requested the brooch after seeing it worn by Scottish traders and settlers” (Fredrickson and Gibb 1980:53). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Arthur Parker reports that in Europe, the earliest Luckenbooth brooches that were made in the shape of a heart were manufactured as early as the seventeenth century. “They were mostly used as luck tokens, or betrothal gifts, and the choice of the heart shape… is sufficiently obvious” (Parker 1910:354). Many were made by Iroquois silversmiths who found their inspiration in European models, and the Iroquois continued fabricating them until at least the 1860s. “Any brooch pinned to the garment of a child was regarded by the Scotch as an efficient charm against witches…When the Iroquois silversmiths copied the Scotch patterns they left off many things that were common in the original patterns and interpreted the design as their own education, environment, or customs dictated” (Parker 1911:285). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. The use of silver brooches as charms to ward off evil spirits was also part of Native peoples’ pre-contact religious beliefs. Additionally, they may have also seen the heart broach as a symbol of tribal identity as they were quite popular with Iroquois women in the eighteenth century. It was believed that the metal’s luminosity, especially when used as a personal adornment, constituted a power that reflected or blocked evil spirits. Whether this is the intended significance of the heart motif on souvenir bags is unknown. The Seneca have legends about these brooches. One relates that “…the shining ornaments are the scales of an under-water fish-man who loved a maiden and lured her to his lake each day by a gift of a scale until they became a charm that drew her into the water and to her lover” (Parker 1910:355). Iroquois beaded bag, possibly Seneca - 1820s. Collection of the Abbe Museum. In all probability, some of the designs found on early beaded bags relate to a particular dream experience known only to the beader, enhancing its transcendent nature to the maker. Since revealing the precise meaning of a vision was to forfeit some of the powers it conferred, our understanding of the significance of many traditional designs may forever be clouded in mystery. Iroquois beaded bag - dated 1842. Collection of Richard Green. The provenance for this exceptional piece indicates that it was once owned by Henry Wadsworth Longfellow, who gave it to a Miss Priscilla Green, of Scalby Nabs, in Yorkshire, England. Miss Green was a traveling preacher and in a reference to one of her sermons, Longfellow described her voice rising up “as if on angels’ wings.” The inside of the bag bears the date 1842. The design incorporates many areas of solid bead fill, a prominent feature on purses from the early 1840s. Earlier pieces incorporated curvilinear and geometric designs without the use of solid bead fill. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Another beautifully designed bag is decorated with a large heart motif. The artist who created this piece used a very refined color palette in her design. The pleasing color combinations along with the curvilinear bead strings that connect the smaller hearts to the larger one are elegantly balanced within a hexagonal enclosure. The functional flap is decorated with bilaterally symmetrical strawberry leaf motifs. It’s certainly one of the masterpieces of early Haudenosaunee souvenir art. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. This splendid early bag with a large heart as its focus incorporates a pair of inward turning helix curves to form the shape of the heart. The use of the double-curve to suggest a heart may be a Haudenosaunee identity marker as I’ve seen it used this way on a number of souvenir bags. Two small sun or star motifs are placed on either side of the heart while two more flank the large sun on the flap. The organic design on the back is atypical. It could be an early representation of a floral motif, or perhaps it has a cosmic or dream-inspired genesis. This 1850s daguerreotype is a superb early image of a child holding a Haudenosaunee bag with a heart motif. Below is a sampling of more Haudenosaunee bags with a heart motif. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Iroquois beaded bag, possibly Seneca - 1820s - 1830s. Private collection. Iroquois beaded bag - 1840s. Private collection. This early, four paneled, Iroquois (possibly Seneca) drawstring reticule is from the first quarter of the 19th century. It has a silk extended top and heart motifs are depicted on three of the four panels. Private collection. The crown and shield motif on the back of this Iroquois beaded bag suggests that it possibly has a Canadian origin. 1820s-1830s. Private collection. This image is presumably of an Iroquois wearing an old-style bag. Although this is a circa 1907 real photo postcard, the bag pictured is made in a much earlier style. A heart is depicted on the flap and the large, tri-lobed device on the face of the bag has two helix coils flowing from the top in the form of a double-curve motif. This card is part of a series of postcards that were taken at Otsego Lake, near Cooperstown, New York. Cooperstown was named after the family of James Fennimore Cooper who used Lake Otsego and the surrounding countryside for the setting in his books. In 1907 Cooperstown held its Centennial Celebration and these postcards document an historic reenactment connected to that event. Several other early-twentieth century images exist of Indians wearing old-style bags that appear to be newly constructed. They are generally larger than the earlier nineteenth century bags and their designs, in comparison, are efficient and economical with less complex surface ornamentation. This bag may be contemporary to the image and was possibly derived from an earlier model, to be used as a prop for this event. This 1840s Iroquois beaded bag is done in the Parker Style. Private collection. An Iroquois (possibly Seneca) beaded bag with an extended silk top. 1820s. Private collection. This early Iroquois (possibly Seneca) beaded bag has a beaded fringe; a very rare treatment on souvenir bags. 1820s - 1830s. This Iroquois (possibly Seneca) beaded bag had an opening along one side that revealed an old newspaper on the inside, between the bag face and the lining that was no doubt used to stiffen the bag during construction. It was dated 1822. Private collection. An Iroquois bag with an extended top. 1830s - 1840s. Private collection. Iroquois (possibly Seneca) beaded bag - 1830s - 1840s. Private collection. An Iroquois (possibly Seneca) beaded bag with opposing heart motifs. 1820s. Private collection. This is a Wabanaki bag in the familiar vase or inverted keyhole shape. The leaves that decorate the surface of Wabanaki bags are often depicted in the shape of a heart though it's unusual to see the heart motif as a central design feature. From the second half of the nineteenth century. Private collection. References Cited Fredrickson, N. Jaye and Gibb, Sandra 1980 The Covenant Chain – Indian Ceremonial and Trade Silver. A catalog to a travelling exhibition of the National Museum of Man. Published by the National Museum of Canada / Ottawa. Parker, Arthur C. 1910 The Origin of Iroquois Silversmithing in American Anthropologist, New Series, Vo. 12, No. 3, July-September. 1911 Additional Notes on Iroquois Silversmithing in American Anthropologist, New Series, Volume 13.

Some time ago my friend Yuriy sent me digital files of Narragansett and Mohegan language documents in which the strawberry was referred to as the “heart berry.” That made me curious about the heart motif which is prominently featured on some early pieces of Haudenosaunee beadwork and I wondered if the Iroquois also called the strawberry a "heart berry" and if those heart motifs were also a representation of the “heart berry.” Among the Haudenosaunee, strawberries are an important part of the Gaiwiio, the “good word” or the gospel of the Seneca prophet Handsome Lake. As the first seasonal berry to blossom, it holds cultural, spiritual and medicinal importance for Iroquois people. It’s a link to the Sky World and some believe the significance of strawberries also stems from Handsome Lake’s first revelations during the strawberry season and afterwards. The sacred quality of strawberries is certainly older than Handsome Lake. The earliest of the wild strawberries are traditionally believed to have medicinal value and are searched out and devoured. Strawberries are said to sprout along the road to heaven, and … in all probability, the fact that Handsome Lake’s angels spoke to him of strawberries reflects the influence of the strawberry season on the content of his dream, and his subsequent endorsement of the Strawberry Festival probably emphasized a custom already old (See: The Death and Rebirth of the Seneca by Anthony Wallace, Vantage Books [1968]1972, page 13). My friend Rosemary Rickard Hill, a Tuscarora elder and longtime beadworker, told me that the strawberry is also called the “heart berry” among the Haudenosaunee but the term has not been used in a while, although its heart shape has long been recognized by them. In looking over a selection of old Iroquois beaded bags, I noticed that several of the ones that had a prominent heart motif also included tri-lobed strawberry leaves in the design. Given the importance and sacred value of strawberries in Iroquois culture, I have come to the understanding that some of the heart motifs were likely a stylistic representation of the strawberry. It’s very likely that the old souvenir bags functioned as a non-verbal medium for historic beadworkers to weave key cultural concepts into their work and also served as a conduit to communicate those ideas to future generations. When used in a covert way these traditional motifs allowed an artist to include important cultural themes in their work that were non-threatening to a 19th century patron. Although made for sale to outsiders, the themes recorded in the beadwork were a way to keep a tradition alive and a form of resistance to assimilation pressures. It was a method of preserving key aspects of Haudenosaunee beliefs and traditions for both present and future generations. Artists have long been the culture bearers of their respective Nations and the people best suited to record their story. It’s a Native perspective that adds to our understanding of the material and how the beadwork affects them as artists and as a community. Rosie Hill also said that the strawberry, along with tobacco, were the medicines that Sky Woman brought to earth with her and, since the strawberry is the first annual plant to bear fruit, it begins the life cycle. What we know of Sky Woman comes to us from the Iroquois origin story. There are some forty known versions of this account, the earliest dating back to 1632, and although the details vary somewhat from version to version, the main themes are unchanged. In the currently accepted version of the origin story, Sky Woman gives birth to a daughter who then gives birth to twin sons. I believe the accepted or current version of the origin story is much later than the one I referenced for this article. The earliest reference to the Sky Woman giving birth to a daughter who then gave birth to the twins that I’m familiar with is from the 3rd quarter of the 19th century. Most of the bags in this article are from the 1st and 2nd quarters of the 19th century. So I used a version of the origin story that was written during that period, believing it would more accurately reflect the meanings of the designs that artists were using on their bags at that time. The version I used was by David Cusick, the first Native writer to record the origin story. He was Haudenosaunee (Tuscarora) and no doubt recorded the version that was the accepted version at the time his account was published (1827). So what is important here is that the account of Sky Woman dying while giving birth to twins, not her daughter, was written during the period when the bags depicted were produced. So I believe that gives credibility to my interpretation of the designs. The accepted version of the origin story may have changed over time but when the bags were created, the version recorded by David Cusick was no doubt the accepted view. In the Cusick version, Sky Woman descended from the sky world into the darkness of the earth realm. She landed on what would become turtle island (North America) and shortly thereafter gave birth to twin boys, dying in the process. One of her sons, the good twin, brought light into the world by creating the “tree of light,” on the top of which he affixed a great ball of light that he made from his deceased mother’s face. This is certainly a metaphor for the sun and on some bags the circle/sun motif likely represents the embodiment of Sky Woman. This version of the origin story also relates that the moon and stars were created from Sky Woman’s breast. Several early bags include a central sun surrounded by stars, which might be a depiction of good twin’s creation (figure 1). Figure 1- Seneca type beaded bag, circa 1830. A central sun surrounded by stars is depicted. According to the origin story the “tree of light” was created from the face of Sky Woman and the stars and moon were made from her breasts. This design could be an expression of the good twin’s creation from the origin story and the large, central sun a metaphor for Sky Woman herself. During the early-to mid-nineteenth century, a number of Iroquois artists featured a heart motif in the designs of their beaded bags. Non-Native patrons may have interpreted this representation simply as a symbol of love. As early as 1797, The Young Man’s Valentine Writer was published and it was full of sentimental verses for the young lover who was unable to compose his own. Paper valentines, many of which were decorated with a flaming heart that was similar to those on graven images of the Sacred Heart of Jesus, became so popular in the early nineteenth century that they were assembled in factories. Some of these Valentine cards even depicted Niagara Falls in the center of the heart. Many of the old Haudenosaunee beaded bags were sold in Niagara Falls, which was a popular honeymoon destination, and were likely seen by visitors as a charming gift for themselves or a loved one. Even though this was a form of commoditized beadwork, the older artistic traditions regarding the overt display of symbolic imagery did not disappear when souvenir items emerged but rather their forms changed so that the symbolism was not as visible. It’s very likely that many of the very earliest Haudenosaunee beaded bags incorporated designs that were linked to the origin story and other cultural beliefs. Motifs such as the sun, heart and tri-lobed strawberry motifs in particular, when used together, are related to Sky Woman and these themes are prevalent in many of the pre-1830 bags. The traditional double-curve, diamond, heart, sun/circle, four-directional and other organic motifs were often used in combination with one another and so the complete story woven into an old design may never be fully known or understood. Most of the old bags that incorporated a heart were made by the Seneca, considered the most traditional of the Iroquois nations. They had a strong belief in dreams and understood them to be a guide into their waking lives. In all probability, some designs relate to a particular dream experience known only to the artist, enhancing its transcendent nature to the maker. Since revealing the precise meaning of a vision was to forfeit some of the powers it conferred, our understanding of the significance of many traditional designs may forever be clouded in mystery. Below is a small collection of beaded items that incorporate a heart (or heart berry) motif. They advance the notion that their makers were consciously incorporating cultural themes in their work. I’m not suggesting that every depiction of a sun or circle on a piece of early Haudenosaunee beadwork is a metaphorical representation of Sky Woman but I think in those designs that include the heart and accompanying strawberry-leaf motifs that it is a very possible interpretation. This may also be the case in some designs that do not incorporate a heart but this suggestion requires further study. Figure 2 – Seneca type beaded bag, 1800-1830. This is an intriguing bag with a heart motif on the front. Above the heart, on the flap, is a large central sun that is surrounded by smaller suns or stars. To me, this suggests a theme from the origin story. Here, the metaphoric face of Sky Woman, in a celestial realm, is suspended above a “heart berry.” The design on the back side appears to be a stylistic representation of a strawberry plant, with tri-lobed strawberry-leaf motifs, tendrils and possibly roots. The design is similar to an illustration of a strawberry plant in figure 3 below. Here again a cultural theme is woven into the design of an old bag that covertly records an important concept in Iroquois cosmology. Figure 3 – An illustration of a strawberry plant with tri-lobed leafs, roots, berries, runners and a daughter plant. A single plant could have multiple runners connecting it to numerous daughter plants. Figure 4 – Seneca type beaded bag, 1800-1830. This piece has a large central heart or “heart berry” on the back side and two smaller hearts connected to the larger one, possibly representing daughter plants. There are tri-lobed strawberry-leaf motifs above the central heart as well as on the front of the bag. Figure 5 – Seneca type beaded bag, 1800-1830. This early bag has a central heart motif as well as some tri-lobed strawberry-leaf devices along the inside border. Figure 6 – Tonawanda Seneca type beaded bag, 1840s-1850s. Beaded bag with connected hearts and tri-lobed strawberry-leaf motifs on the flap. Figure 7 – Tonawanda Seneca type beaded bag, 1840s-1850s. The heart on this piece is woven into a plant form, perhaps representing a plant spirit or the “tree of light” with Sky Woman’s face depicted as a heart. There are tri-lobed strawberry-leaf motifs on the front of the bag. Figure 8 – Seneca type beaded bag, 1830s. A very symmetrical design that has a central sun inside the heart. The sun could represent the “tree of light.” Arthur Parker has written that the linear bead strings along the perimeter of a design represent the earth so a free interpretation could be that this a representation of the sacred nature of the strawberry, with Sky Woman at its center and that this sacred plant is central to the earth and the health of its people. (See: “Certain Iroquois Tree Myths and Symbols” by Arthur Parker in American Anthropologist, 1912, vol. 14, p. 615). Figure 9 – Beaded Bag by contemporary Mohawk Bear Clan artist Jacqueline Clause-Bazinet. 2013. Contemporary Iroquois beadworkers continue to use the strawberry motif in their designs. Figure 10 – Beaded heart-shaped pincushion, circa 1850. Numerous Iroquois heart-shaped pincushions are found. This particular example also has the tri-lobed strawberry-leaf motif incorporated into the design.

Implicit in the thinking of many native tribes is that objects have an inherent sprit or soul associated with them. When considering historic Northeast Woodland beaded bags, do we view them solely as inanimate objects made to be sold as souvenirs or, do they contain within them something more; perhaps the protective spirit or essence of the plants and other sacred designs depicted on their surface? Aboriginal art objects are often seen in isolation but the designs on beaded bags had a specific meaning to the artists who created them. Not only did they have cultural meaning but they were also a piece of someone’s heart and soul. There is always a risk in assigning a specific meaning to a motif, but some designs appear over and over again and are likely rooted in the culture of the Northeast Woodland people. Notwithstanding, our appreciation of the beaded souvenir bag can be enhanced with a basic understanding of the iconography that appears on them. For more information on Iroquois beaded bags see the Made of Thunder collection. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Bags with a Heart Motif Like the pictographic examples (to be covered in a later posting), bags incorporating a heart are uncommon. The heart motif in Iroquois art first appeared as a metaphor on the Hiawatha (wampum) Belt, which is considered the formative record of the League of the Haudenosaunee. Each of the four squares on this belt represents the Mohawk, Seneca, Cayuga and the Oneida. The central motif symbolically represents the Onondaga, the heart of the Haudenosaunee nation. If the heart or any of its constituent parts is harmed, all five Nations were affected. The original meaning of the heart motif on souvenir bags is still clouded in mystery but its symbolism might be related to silver brooches that were popular with Iroquois women during the eighteenth century. “The heart shaped brooch has been called the national badge of the Iroquois because of its popularity among them. It is found in both single and double forms, often surmounted by a crown. The design is thought to have come to North America from Scotland, where it was a popular love token and betrothal symbol. The ‘Luckenbooth’ brooch, as it was known in Scotland, may have been introduced by British-trained silversmiths such as Robert Cruickshank or James Hanna. Another possibility is that the Indians requested the brooch after seeing it worn by Scottish traders and settlers” (Fredrickson and Gibb 1980:53). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Arthur Parker reports that in Europe, the earliest Luckenbooth brooches that were made in the shape of a heart were manufactured as early as the seventeenth century. “They were mostly used as luck tokens, or betrothal gifts, and the choice of the heart shape… is sufficiently obvious” (Parker 1910:354). Many were made by Iroquois silversmiths who found their inspiration in European models, and the Iroquois continued fabricating them until at least the 1860s. “Any brooch pinned to the garment of a child was regarded by the Scotch as an efficient charm against witches…When the Iroquois silversmiths copied the Scotch patterns they left off many things that were common in the original patterns and interpreted the design as their own education, environment, or customs dictated” (Parker 1911:285). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. The use of silver brooches as charms to ward off evil spirits was also part of Native peoples’ pre-contact religious beliefs. Additionally, they may have also seen the heart broach as a symbol of tribal identity as they were quite popular with Iroquois women in the eighteenth century. It was believed that the metal’s luminosity, especially when used as a personal adornment, constituted a power that reflected or blocked evil spirits. Whether this is the intended significance of the heart motif on souvenir bags is unknown. The Seneca have legends about these brooches. One relates that “…the shining ornaments are the scales of an under-water fish-man who loved a maiden and lured her to his lake each day by a gift of a scale until they became a charm that drew her into the water and to her lover” (Parker 1910:355). Iroquois beaded bag, possibly Seneca - 1820s. Collection of the Abbe Museum. In all probability, some of the designs found on early beaded bags relate to a particular dream experience known only to the beader, enhancing its transcendent nature to the maker. Since revealing the precise meaning of a vision was to forfeit some of the powers it conferred, our understanding of the significance of many traditional designs may forever be clouded in mystery. Iroquois beaded bag - dated 1842. Collection of Richard Green. The provenance for this exceptional piece indicates that it was once owned by Henry Wadsworth Longfellow, who gave it to a Miss Priscilla Green, of Scalby Nabs, in Yorkshire, England. Miss Green was a traveling preacher and in a reference to one of her sermons, Longfellow described her voice rising up “as if on angels’ wings.” The inside of the bag bears the date 1842. The design incorporates many areas of solid bead fill, a prominent feature on purses from the early 1840s. Earlier pieces incorporated curvilinear and geometric designs without the use of solid bead fill. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Another beautifully designed bag is decorated with a large heart motif. The artist who created this piece used a very refined color palette in her design. The pleasing color combinations along with the curvilinear bead strings that connect the smaller hearts to the larger one are elegantly balanced within a hexagonal enclosure. The functional flap is decorated with bilaterally symmetrical strawberry leaf motifs. It’s certainly one of the masterpieces of early Haudenosaunee souvenir art. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. This splendid early bag with a large heart as its focus incorporates a pair of inward turning helix curves to form the shape of the heart. The use of the double-curve to suggest a heart may be a Haudenosaunee identity marker as I’ve seen it used this way on a number of souvenir bags. Two small sun or star motifs are placed on either side of the heart while two more flank the large sun on the flap. The organic design on the back is atypical. It could be an early representation of a floral motif, or perhaps it has a cosmic or dream-inspired genesis. This 1850s daguerreotype is a superb early image of a child holding a Haudenosaunee bag with a heart motif. Below is a sampling of more Haudenosaunee bags with a heart motif. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Iroquois beaded bag, possibly Seneca - 1820s - 1830s. Private collection. Iroquois beaded bag - 1840s. Private collection. This early, four paneled, Iroquois (possibly Seneca) drawstring reticule is from the first quarter of the 19th century. It has a silk extended top and heart motifs are depicted on three of the four panels. Private collection. The crown and shield motif on the back of this Iroquois beaded bag suggests that it possibly has a Canadian origin. 1820s-1830s. Private collection. This image is presumably of an Iroquois wearing an old-style bag. Although this is a circa 1907 real photo postcard, the bag pictured is made in a much earlier style. A heart is depicted on the flap and the large, tri-lobed device on the face of the bag has two helix coils flowing from the top in the form of a double-curve motif. This card is part of a series of postcards that were taken at Otsego Lake, near Cooperstown, New York. Cooperstown was named after the family of James Fennimore Cooper who used Lake Otsego and the surrounding countryside for the setting in his books. In 1907 Cooperstown held its Centennial Celebration and these postcards document an historic reenactment connected to that event. Several other early-twentieth century images exist of Indians wearing old-style bags that appear to be newly constructed. They are generally larger than the earlier nineteenth century bags and their designs, in comparison, are efficient and economical with less complex surface ornamentation. This bag may be contemporary to the image and was possibly derived from an earlier model, to be used as a prop for this event. This 1840s Iroquois beaded bag is done in the Parker Style. Private collection. An Iroquois (possibly Seneca) beaded bag with an extended silk top. 1820s. Private collection. This early Iroquois (possibly Seneca) beaded bag has a beaded fringe; a very rare treatment on souvenir bags. 1820s - 1830s. This Iroquois (possibly Seneca) beaded bag had an opening along one side that revealed an old newspaper on the inside, between the bag face and the lining that was no doubt used to stiffen the bag during construction. It was dated 1822. Private collection. An Iroquois bag with an extended top. 1830s - 1840s. Private collection. Iroquois (possibly Seneca) beaded bag - 1830s - 1840s. Private collection. An Iroquois (possibly Seneca) beaded bag with opposing heart motifs. 1820s. Private collection. This is a Wabanaki bag in the familiar vase or inverted keyhole shape. The leaves that decorate the surface of Wabanaki bags are often depicted in the shape of a heart though it's unusual to see the heart motif as a central design feature. From the second half of the nineteenth century. Private collection. References Cited Fredrickson, N. Jaye and Gibb, Sandra 1980 The Covenant Chain – Indian Ceremonial and Trade Silver. A catalog to a travelling exhibition of the National Museum of Man. Published by the National Museum of Canada / Ottawa. Parker, Arthur C. 1910 The Origin of Iroquois Silversmithing in American Anthropologist, New Series, Vo. 12, No. 3, July-September. 1911 Additional Notes on Iroquois Silversmithing in American Anthropologist, New Series, Volume 13.

To see more fine examples of Iroquois and Wabanaki beadwork follow this link. Made of Thunder collection Some uncertainty remains over the attribution of Northeast Woodland material that has come to be known as “souvenir” or “fancy beadwork.” Part of the problem in assessing the tribal origins and the dates when certain beading styles were introduced, especially for early beaded bags, is the lack of well-documented examples. It’s often difficult to attribute tribal identity to a piece because of the meager ethnographic evidence and the extensive trading that occurred between indigenous communities. Additionally, the Iroquois often wholesaled their work to middlemen, shop keepers, and to other Indians; designs and motifs were borrowed and exchanged between Native communities. Added to this is the movement of pieces by tourists. Many published examples have attributed dates and tribal origins but quite often these attributions are based on the opinion on the individual doing the assigning and not always on solid evidence. Quite often we find similar pieces attributed to diverse tribal groups or communities with dates of origin fluctuating from the 1830s to the turn of the century. Though the corpus of reliably attributed examples is meager, I have come across a number of Iroquois pieces in my research that were either dated or had their tribal origins soundly documented. The next several postings will discuss this material. I’ll try to do this in chronological order so that it’s easier to reference. If you have documented pieces to contribute please contact me and I’ll post them here so that we can broaden our understanding of this exceptional material. You can click on any of the images to make them larger. This first bag is from the collection of the New York State Museum, in Albany. They acquired in 1964. It was originally purchased by Dennis Doyle, a New York City merchant. He procured the bag in Albany, in 1807, while there as a guest of Robert Fulton for the inaugural launch of Fulton’s steamboat, the Clermont. Doyle was the uncle of Mrs. Charles M. Purdy, of Marlborough, Massachusetts, whose name was inscribed on an old note inside the bag, where she identified it as having been acquired from an Indian, by Doyle, on that occasion. Mrs. Purdy’s granddaughter subsequently obtained it from her grandmother and upon the granddaughter’s death, a friend donated it to the museum. When this piece was gifted to the museum in 1964, no research had been done on souvenir beadwork. This may account for the Mahikan (?) attribution [more commonly spelled Mahican or Mohican and not to be confused with Mohegan, from southern Connecticut]. The Mahikan attribution in the museum’s files contains the question mark, which means whoever recorded the tribal affiliation wasn’t sure who made it and was offering a best guess. This early piece is made in the classic Haudenosaunee hexagonal shape. This profile was woven into several early wampum belts where the form signified the territories of each of the Six Nations in the League of the Iroquois. This could be why the shape was selected and why it is so prevalent on early Iroquois souvenir bags. The old note found inside this next piece reads: “This bag was given to me in August 1919 by Miss Blake of Cape May – she is 88 years old and said the bag was brought from Niagara Falls 125 years ago by a relative. It was made by Indian women. Grace May Lissenden.” If the information is correct, it would date the origin of the bag to 1794 which seems exceptionally early for this style of bag. It’s similar enough to the Dennis Doyle bag above that they are likely from the same period. What distinguishes early bags in this style is their hexagonal shape; the linear style of beadwork; there are no areas of solid bead fill, and the designs have large areas of negative space. Private collection. This piece is from the collection of the Canadian Museum of Civilization, Hull, Quebec, object #111-X-33.The museum’s documentation for this example says it was collected in 1819 by Captain Thomas Burrows when he and Colonel By were building the Rideau Canal, perhaps in the vicinity of Aux Noir (which is only a few miles southeast of the Mohawk Reserve at Kahnawake). 5.8 x 4.4 inches. Clarification: Someone raised a question about the dating of this bag so I reviewed my copy of the museum documentation and there is a question mark after the date (not sure how I missed that the first time but it’s quite obvious now) so whoever came up with the documentation for this piece was no doubt offering a best guess. This prompted me to do some checking on the history of the canal and Colonel By did not arrive in Canada until 1826 so there is no way that he and Captain Burrows could have acquired this in 1819. This throws the dating of this piece out the window. The museum dating of this piece was always problematic and it is more likely from the same time period as the other Niagara floral bags (1840s-1850s). This next hexagonal shaped Iroquois beaded bag had an opening along one side that revealed an old newspaper on the inside, between the bag face and the lining that was no doubt used to stiffen the bag during construction. It was dated 1822. Private collection. Hexagonal bag that was on display in the Across Borders: Beadwork in Iroquois Life exhibit. It’s dated 1830 in beads. The Across Borders exhibit was a traveling exhibition of Haudenosaunee beadwork organized and circulated by the McCord Museum of Canadian History, in partnership with the Castellani Art Museum of Niagara University, and the Iroquois communities of Kahnawake and Tuscarora. It opened at the McCord in June, 1999, and travelled to several other venues until February, 2003. Two bags attributed to a Martha Camby appeared on eBay in 2009. This first bag measures approximately 3 inches wide x 3 inches high. The note that accompanied the bag reads: “Martha Camby, purchased at Buffalo 6th mo; 8th day; 1837 by her mother.” Considering where it was purchased (possibly at the Buffalo Creek Reservation which was just outside Buffalo) that bag may be Seneca. The seller indicated the bag came from the Camby/Morris estate in the Germantown section of Philadelphia. This next bag, also from the Camby/ Morris estate and it has an inscription on the inside flap of the bag. It reads: “Martha Camby from her Father, Niagara May 1st, 1841.” The bag is 4 inches wide x 3.5 inches high. An old note in the following piece reads: “Hannah H. Carpenter, from her mother, purchased at Buffalo, 8th, 28th, 1845 the work of the Indians of the Seneca Nation, a settlement about six miles from Buffalo.” This note indicates that the bag was purchased at the Seneca reservation at Buffalo Creek. The Treaty of Buffalo Creek, January 15, 1838, . . . ratified by the United States Senate and proclaimed by President Van Buren in April, 1839, came very near accomplishing the removal of all the Indians of the Buffalo Creek and the other western New York reservations from the state. So much dishonest corruption had entered into the sale of these reservations to the Ogden Land Company, that the strenuous efforts of those who exposed the frauds practiced,… resulted in the compromise treaty of May 20, 1842, by which the Seneca retained the Allegheny and Cattaraugus lands, giving up the Buffalo Creek and Tonawanda reservations to the Ogden Land Company, although the Tonawanda Seneca ultimately regained their land by purchase. . . The four years which followed the treaty of 1842 were years of bitterness while the removal of the Indians to the Cattaraugus and Allegheny was being effected. From: The Seneca Mission at Buffalo Creek by Henry Raymond Howland, published by the Buffalo Historical Society, Buffalo, New York 1903, pages 160-161. This is one of the better attributed bags from the mid-nineteenth century. It was formally in the collection of a small historical society in New Jersey. Collected in 1845, the documentation for this piece is notable as it tells us who made it and when and what reservation it was from. It could only be better if it indicated the name of the artist who produced it. The disheartening reality is that this bag was made during one of the most painful periods in the annals of the Seneca community at the Buffalo Creek Reservation. It’s astonishing that they were still producing beaded bags during what was arguably one of the most difficult times in their history. Private collection. Collected sometime between March, 1841 and November, 1842 by James du Pres, third Earl of Caledon from Tyrone, Ireland who came to Canada as Captain of the Coldstream Guards. It was collected locally so this piece may be Mohawk. From the collection of the Canadian Museum of Civilization, Hull, Quebec, #111-1-1176. The following bag is made in the style of beadwork that Caroline Parker was producing in the mid-nineteenth century. Caroline was a Seneca, originally from the Tonawanda Reservation in western New York. It has an inscription on the inside flap that reads: “Niagara Falls, Saturday, July 18th, 1846, M.L. Geary.” Private collection. Another bag in this style has a newspaper liner beneath the inside flap that is dated February, 1848. Private collection. The final piece in this group had an old note which reads as follows: “This was my mothers, Jennett Handys, she bought it of the Indians sometime before 1850.” Private collection. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art.

Implicit in the thinking of many native tribes is that objects have an inherent sprit or soul associated with them. When considering historic Northeast Woodland beaded bags, do we view them solely as inanimate objects made to be sold as souvenirs or, do they contain within them something more; perhaps the protective spirit or essence of the plants and other sacred designs depicted on their surface? Aboriginal art objects are often seen in isolation but the designs on beaded bags had a specific meaning to the artists who created them. Not only did they have cultural meaning but they were also a piece of someone’s heart and soul. There is always a risk in assigning a specific meaning to a motif, but some designs appear over and over again and are likely rooted in the culture of the Northeast Woodland people. Notwithstanding, our appreciation of the beaded souvenir bag can be enhanced with a basic understanding of the iconography that appears on them. For more information on Iroquois beaded bags see the Made of Thunder collection. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Bags with a Heart Motif Like the pictographic examples (to be covered in a later posting), bags incorporating a heart are uncommon. The heart motif in Iroquois art first appeared as a metaphor on the Hiawatha (wampum) Belt, which is considered the formative record of the League of the Haudenosaunee. Each of the four squares on this belt represents the Mohawk, Seneca, Cayuga and the Oneida. The central motif symbolically represents the Onondaga, the heart of the Haudenosaunee nation. If the heart or any of its constituent parts is harmed, all five Nations were affected. The original meaning of the heart motif on souvenir bags is still clouded in mystery but its symbolism might be related to silver brooches that were popular with Iroquois women during the eighteenth century. “The heart shaped brooch has been called the national badge of the Iroquois because of its popularity among them. It is found in both single and double forms, often surmounted by a crown. The design is thought to have come to North America from Scotland, where it was a popular love token and betrothal symbol. The ‘Luckenbooth’ brooch, as it was known in Scotland, may have been introduced by British-trained silversmiths such as Robert Cruickshank or James Hanna. Another possibility is that the Indians requested the brooch after seeing it worn by Scottish traders and settlers” (Fredrickson and Gibb 1980:53). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Arthur Parker reports that in Europe, the earliest Luckenbooth brooches that were made in the shape of a heart were manufactured as early as the seventeenth century. “They were mostly used as luck tokens, or betrothal gifts, and the choice of the heart shape… is sufficiently obvious” (Parker 1910:354). Many were made by Iroquois silversmiths who found their inspiration in European models, and the Iroquois continued fabricating them until at least the 1860s. “Any brooch pinned to the garment of a child was regarded by the Scotch as an efficient charm against witches…When the Iroquois silversmiths copied the Scotch patterns they left off many things that were common in the original patterns and interpreted the design as their own education, environment, or customs dictated” (Parker 1911:285). Iroquois beaded bag, possibly Seneca - 1820s. Private collection. The use of silver brooches as charms to ward off evil spirits was also part of Native peoples’ pre-contact religious beliefs. Additionally, they may have also seen the heart broach as a symbol of tribal identity as they were quite popular with Iroquois women in the eighteenth century. It was believed that the metal’s luminosity, especially when used as a personal adornment, constituted a power that reflected or blocked evil spirits. Whether this is the intended significance of the heart motif on souvenir bags is unknown. The Seneca have legends about these brooches. One relates that “…the shining ornaments are the scales of an under-water fish-man who loved a maiden and lured her to his lake each day by a gift of a scale until they became a charm that drew her into the water and to her lover” (Parker 1910:355). Iroquois beaded bag, possibly Seneca - 1820s. Collection of the Abbe Museum. In all probability, some of the designs found on early beaded bags relate to a particular dream experience known only to the beader, enhancing its transcendent nature to the maker. Since revealing the precise meaning of a vision was to forfeit some of the powers it conferred, our understanding of the significance of many traditional designs may forever be clouded in mystery. Iroquois beaded bag - dated 1842. Collection of Richard Green. The provenance for this exceptional piece indicates that it was once owned by Henry Wadsworth Longfellow, who gave it to a Miss Priscilla Green, of Scalby Nabs, in Yorkshire, England. Miss Green was a traveling preacher and in a reference to one of her sermons, Longfellow described her voice rising up “as if on angels’ wings.” The inside of the bag bears the date 1842. The design incorporates many areas of solid bead fill, a prominent feature on purses from the early 1840s. Earlier pieces incorporated curvilinear and geometric designs without the use of solid bead fill. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Another beautifully designed bag is decorated with a large heart motif. The artist who created this piece used a very refined color palette in her design. The pleasing color combinations along with the curvilinear bead strings that connect the smaller hearts to the larger one are elegantly balanced within a hexagonal enclosure. The functional flap is decorated with bilaterally symmetrical strawberry leaf motifs. It’s certainly one of the masterpieces of early Haudenosaunee souvenir art. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. This splendid early bag with a large heart as its focus incorporates a pair of inward turning helix curves to form the shape of the heart. The use of the double-curve to suggest a heart may be a Haudenosaunee identity marker as I’ve seen it used this way on a number of souvenir bags. Two small sun or star motifs are placed on either side of the heart while two more flank the large sun on the flap. The organic design on the back is atypical. It could be an early representation of a floral motif, or perhaps it has a cosmic or dream-inspired genesis. This 1850s daguerreotype is a superb early image of a child holding a Haudenosaunee bag with a heart motif. Below is a sampling of more Haudenosaunee bags with a heart motif. Iroquois beaded bag, possibly Seneca - 1820s. Private collection. Iroquois beaded bag, possibly Seneca - 1820s - 1830s. Private collection. Iroquois beaded bag - 1840s. Private collection. This early, four paneled, Iroquois (possibly Seneca) drawstring reticule is from the first quarter of the 19th century. It has a silk extended top and heart motifs are depicted on three of the four panels. Private collection. The crown and shield motif on the back of this Iroquois beaded bag suggests that it possibly has a Canadian origin. 1820s-1830s. Private collection. This image is presumably of an Iroquois wearing an old-style bag. Although this is a circa 1907 real photo postcard, the bag pictured is made in a much earlier style. A heart is depicted on the flap and the large, tri-lobed device on the face of the bag has two helix coils flowing from the top in the form of a double-curve motif. This card is part of a series of postcards that were taken at Otsego Lake, near Cooperstown, New York. Cooperstown was named after the family of James Fennimore Cooper who used Lake Otsego and the surrounding countryside for the setting in his books. In 1907 Cooperstown held its Centennial Celebration and these postcards document an historic reenactment connected to that event. Several other early-twentieth century images exist of Indians wearing old-style bags that appear to be newly constructed. They are generally larger than the earlier nineteenth century bags and their designs, in comparison, are efficient and economical with less complex surface ornamentation. This bag may be contemporary to the image and was possibly derived from an earlier model, to be used as a prop for this event. This 1840s Iroquois beaded bag is done in the Parker Style. Private collection. An Iroquois (possibly Seneca) beaded bag with an extended silk top. 1820s. Private collection. This early Iroquois (possibly Seneca) beaded bag has a beaded fringe; a very rare treatment on souvenir bags. 1820s - 1830s. This Iroquois (possibly Seneca) beaded bag had an opening along one side that revealed an old newspaper on the inside, between the bag face and the lining that was no doubt used to stiffen the bag during construction. It was dated 1822. Private collection. An Iroquois bag with an extended top. 1830s - 1840s. Private collection. Iroquois (possibly Seneca) beaded bag - 1830s - 1840s. Private collection. An Iroquois (possibly Seneca) beaded bag with opposing heart motifs. 1820s. Private collection. This is a Wabanaki bag in the familiar vase or inverted keyhole shape. The leaves that decorate the surface of Wabanaki bags are often depicted in the shape of a heart though it's unusual to see the heart motif as a central design feature. From the second half of the nineteenth century. Private collection. References Cited Fredrickson, N. Jaye and Gibb, Sandra 1980 The Covenant Chain – Indian Ceremonial and Trade Silver. A catalog to a travelling exhibition of the National Museum of Man. Published by the National Museum of Canada / Ottawa. Parker, Arthur C. 1910 The Origin of Iroquois Silversmithing in American Anthropologist, New Series, Vo. 12, No. 3, July-September. 1911 Additional Notes on Iroquois Silversmithing in American Anthropologist, New Series, Volume 13.

To see more fine examples of Iroquois and Wabanaki beadwork follow this link. Made of Thunder collection Iroquois floral bags in the Niagara style first appeared in the mid-1840s and this is well documented by dateable photographs from this period. There are also a number of well attributed pieces that corroborate the mid-nineteenth century origin of this style. See a recent article in American Indian Art Magazine, Fall – 2010, titled: A Cherished Curiosity: The Niagara Floral-style Beaded Bag in the Victorian Era for more information on this style or contact me by leaving a comment at the end of this posting and include your email address and I’ll send you a PDF file of the article. This piece in the Niagara floral style was published in Trading Identities, by art historian Ruth Phillips (Plate 6). Her description is as follows: Beaded bag, Iroquois, probably Tuscarora, 1849. Black velvet, pink chase lining, beads and cotton tape. 17 x 15 cm. The inscription under the flap – “Miss Matilda Ann Sweet, from Captain Little, New York, 1849” provides the name of the bag’s first owner, a resident of Brooklyn. The Brooklyn Children’s Museum 34.4.1. A very similar pouch, now in the Southwest Museum, Los Angeles (654.G.84), was collected in northern Michigan in 1865. Another bag in the Niagara floral style is from the Old Sturbridge Village (Massachusetts) collection. A period note, inside the bag reads: “This bag was bought of the Indians in 1852 at Niagara Falls by Grandpa Allen.” An old catalog card in the museum files reads: ex. collection of the Quinebaug Historical Society. A period note with the following Niagara floral bag reads: “Salmon B. Cowles. 1853, gave purse to sister. Bought in Iowa.” One of the common features of the early Niagara floral style is the large, ovate floral motifs and long, thick stems. Additionally, some early pieces had bilaterally symmetrical designs. As many as sixteen distinct bead colors have been observed on the Niagara floral style. Private collection. This particular bag appeared on eBay in the summer of 2010. It was accompanied by a note that read: "My father - Enoch O. Varel gave me this Bead Bag in 1854. He bought it from & Indian in California & brought it home to me in Illinois. My name was Varel before I was married. Julia A Parshley, Portland, Maine - July 16, 1915." Interesting to note that it was purchased in California in 1854. Makes you wonder if the Iroquois were traveling that far to sell their beadwork An account published in the Rochester Union and Advertiser, November 12, 1859 mentions a group of St. Regis Mohawks traveling through Rochester on their way to St. Louis and New Orleans with several large trunks of their beadwork which they planned to sell along the way. See: Made of Thunder, Made of Glass: American Indian Beadwork of the Northeast - 2006, page 9. Beaded bag, Haudenosaunee type, late Niagara floral style. Glass beads, black velvet fabric, red cotton ribbon/hem tape edge binding and silk ribbon along the top opening. 7.5 inches high by 7.5 inches wide. Mid to late 1850s. This example has many missing beads revealing the paper patterns beneath them. An old newspaper was used to make the paper templates, upon which Tamaroa, Perry Co., Ill, December 27, 1855 is printed. By the mid-1850s, the ovate florals are evolving into elongated leaf-like clusters and the stems are noticeably attenuated. Private collection. An old inscription inside this pair of Iroquois floral moccasins indicates that they were made by Indians in Madison, Wisconsin (Oneidas?) in 1856. Vast quantities of purses, hats and moccasins in the Niagara floral style were made and sold after 1845. In all likelihood, commercial motives influenced the rapid dispersion of the style to other Iroquois communities. This style is pervasive, and the extent to which it was admired by Victorian women no doubt fueled the dissemination of the style throughout the region. Attributed pieces in both private and museum collections indicate that were made in every Iroquois community. Private collection. A note inside the bag reads: “Given to Mary Thayer Sanford when she was five years old – 1858.” The reverse side of the bag is virtually identical. From the collection of the Rochester Museum and Science Center, # AE7203. A note found with the following bag reads: “This bead bag was given to Harriet J. Auable (sp?) in 1859 on the death of her ‘Aunt Hattie.’” Private collection. This illustration of an Iroquois floral bag with elongated leaf clusters in the Niagara style appeared in the British publication “The Ladies Newspaper,” April 2, 1859 and was accompanied with detailed instructions for making it. Many bags in this style are found in collections today and it’s quite likely that not all of them are Indian made. Photo: Library of Congress, Washington, DC and published in Trading Identities by art historian Ruth Phillips, figure 6-18. Another example of a bag with elongated leaf clusters can be seen in this stereo view titled “Yankee Notions” by British photographer William England, of the London Stereoscopic Company, 1859. A Niagara floral-style beaded bag is displayed on the right side of the image. This view was taken by England while he was at Niagara Falls which indicates that this style of beadwork was not only available there but also representative, in the mind of this traveler, of items that were typically associated with this natural wonder of the world and iconic tourist destination. There is also a large beaded pillow/pincushion as well as a birch bark tray decorated in moose hair and two model canoes; one is decorated with porcupine quills, the other in moose hair. This image displays the diversity of Indian work that was being sold at the Falls by the end of the 1850s. Private collection. One more similar bag with elongated leaf clusters can be seen in this image. An old note sewn beneath the flap of this floral bag reads: “Given to Hannah J. Spooner by Robert McKelvey who bought it from the Indians in Cleveland about 1860.” Private collection. Pincushion, Haudenosaunee type. Circa 1850. An early pincushion with paper patterns beneath the central floral design. The inked inscription on the back reads: “Bought at the Bath House on Bath Island, Falls of Niagara, Sept. 27, 1850.” There is also a name after the date but it’s illegible. Bath Island was one of several islands in the Goat Island complex. To gain access to Goat Island a visitor would first have cross Bath Island and pay a 25 cent admittance fee at the toll house before proceeding to Goat Island. There was a concession at the Bath Island Toll House that sold fancy Indian beadwork to area visitors which is likely where this item was purchased. The pincushion illustrated here was possibly made by Caroline Parker or her mother as a near identical example is illustrated in Lewis Henry Morgan’s Fifth Regents Report to the state of New York, January 22, 1851. Caroline and her mother Elizabeth produced the majority of beadwork for Morgan and their work was illustrated in several of Morgans reports to the State of New York. See: Tooker 1994: Fifth Regents Report, Plate 19 for a near identical example. Private collection. This next piece is from the collection of the Royal Ontario Museum (ROM) in Toronto, item number 987.261.29. I thank Stacey Loyer for bringing it to my attention. A number of us spent a fair amount of time trying to decipher the text on the back of the pincushion. It was collected on Goat Island so it is possibly Tuscarora. The best guess on the inscription is as follows: "Purchased by [possibly Mrs. Michelson, Jr.] from an Indian girl on Goat Island, Niagara Falls, & can therefore be documented genuine Indian made. 9 June 1854 - Friday" Goat Island [which for a time was called Iris Island] was the largest island in the Goat Island complex at the American Falls . Detail view of the inscription. The small Iroquois purse below, possibly Seneca or Tuscarora, was found with an old tag inside that reads: "1852 August, I Bought in Buffalo - M. Sears.” 3 ½ x 3 ¾ inches. Private collection. The beautiful Tuscarora sewing wallet pictured below is completely decorated in crystal beads. There is a stamp on the inside that reads: “A Present from Niagara Falls 1860.” I suspect the Tuscarora were not rubber stamping inscriptions on their creations which suggest that this piece may have been sold in one of the many souvenir shops that were popular at the Falls during this period and the stamp may have been added by the shop that sold it. If anyone has information to either support or contradict this please let me know. Private collection. One panel from a stereo view that illustrates several moose hair decorated items. The large bag in the center is likely Huron. Also illustrated are some beaded bags, pincushions and other items of fancy Iroquois beadwork. The beaded wallet on the lower left side of the table has “Present From Niagara Falls” stitched on it in beads. Another early item with a beaded inscription. No photographer or location indicated on the stereo card though likely from Niagara Falls. Circa 1860. Private collection. Beaded sewing wallet. Tuscarora. This piece sold on eBay recently. It is one of the earliest dated pieces of Iroquois fancy beadwork that I have seen. Very similar to the wallet in the previous stereoview. The beaded inscription reads “Present From Niagara Falls,” and it’s dated 1862. Private collection. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art.

On July 8, 2014 I made some changes to this posting. Non-Native purses have been around since at least the 16th century. They are known by many names; among them the pocketbook, the purse, chatelaine, the handbag, and the reticule. There was also a man’s travelling bag called a handbag or satchel, although this was a piece of luggage but during the 19th century, the term “handbag” came to describe a larger version of a woman’s purse. The earliest handbags that were designed for women featured compartments, a sturdy handle, metal frames and fastenings all inspired by men’s travelling bags. By the mid-19th century, Berlin woolwork purses with floral and geometric design were also at the height of their popularity. But of all the bags that have come in and out of fashion over the years, perhaps none has been more cherished than the beaded bag. Sandy Levins, the director of programming at the Camden County Historical Society, wrote: Beaded bags, whether handcrafted or commercially produced, have been in vogue in North America for well over 200 years and in Europe for much longer. In the late 1300s, the English poet Geoffrey Chaucer described one in "The Miller's Tale," the story of a love affair between an Oxford student and a carpenter's wife. Of the female character he wrote: “By her belt hung a purse of leather tasseled with green and beaded with Italian beads…." The earliest beaded bag was usually knitted in a drawstring style called a reticule, which also became known as an “indispensable” because it developed a universal popularity almost overnight. So popular was the reticule, it became an absolute “must” for fashionable ladies in 19th century Europe where the Empress Josephine, internationally known for her sense of fashion, carried a reticule with her at all times. Romantic figures, pastoral scenes, and flora and fauna became common themes rendered in the tiniest of beads. Between 1820 and 1830, beaded bags supported by metal frames came into vogue. Coming primarily from France and Austria, the frames were made of everything from pinchbeck, an alloy of copper and zinc made to look like gold, to tortoiseshell. Chains, often formed of decorative, ornate links, were attached to the frames. Figure 1 – A metal frame for a beaded bag from the late 19th century. Figure 2 – A non-Native bag embroidered with beads and with a metal frame. Late 19th - early 20th centuries. Figure 3 – A non-Native Native bag embroidered with beads and with a metal frame. Late 19th-early 20th centuries. Figure 4 – A non-Native bag embroidered with beads and with a metal frame. Dated 1846 in beads although the frame is from the late 19th century. During the first few decades of the 19th century, purse design was at its height. Napoleon’s wife Josephine was a purse aficionado and designers worked tirelessly to please her and her court with an endless array of purses. Unique shapes, materials and construction methods were a hallmark of the time and it’s during this period that purses with metal frames came into being. Occasionally, we come across Native made beaded bags that have the same metal frames that are found on European bags which raises the question; were they originally designed into the bags by Native artisans because they were fashionable, or were they added later by someone else? Paula Higgins, a member of the Antique Purse Collector's Society and the co-author of a book on antique and vintage purses titled A PASSION FOR PURSES has shed some light on this. She informed me that the purses pictured in this posting, that have a metal twist clasp, all date after the 1870s. Collectors of antique purses have been aware that many purses, which would include those made by Native artisans, were mounted or re-mounted on later frames. It was a common practice as framed purses gained popularity in the late 19th century. So essentially, the owners recycled the bags and put them on more contemporary frames. This practice continued on into the early 20th century. The only exception is the bag in the Daguerreotype in figure 12. Paula has informed me that this frame, which is barely visible, has a chain which is classic 1840s and seen on many purses from that period. These frames are shaped like an eyebrow but with less of a curve and it is made of steel, as is the chain. So this frame is contemporary to the bag pictured and might have been added by the Native artisan who made the bag. Figure 5 – An Iroquois beaded bag with a metal frame. The bag is from the 1830s; the metal frame is from the late 19th century. Figure 6 – An Iroquois floral bag in the Niagara style with ovate florals and a metal frame. The bag is circa 1850; the metal frame is circa 1920. Figure 7 – An Iroquois floral bag in the Niagara style with elongated leaf motifs and a metal frame. The bag is from 1855-1860; the frame from the late 19th century. Figure 9 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the frame is from the late 19th century. Figure 10 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the metal frame is from the late 19th century. Figure 10a – Detail of the metal frame in figure 10. Figure 11 – A rare example of a Mi’kmaq beaded bag with a metal frame. The bag is circa 1840s; the frame from the late 19th century. Glass beads sewn onto red wool serge of the type seen on Canadian military uniforms. The beads are strung on horsehair. Figure 12 – Daguerreotype. Late 1840s to early 1850s. The subject is holding an Iroquois beaded bag with a metal frame at the top. In July of 2011, I did a posting that illustrated a collection of 19th century images of women and young girls who were photographed with an Iroquois beaded bag. http://iroquoisbeadwork.blogspot.com/2011_07_01_archive.html These old images testify to the prestige and the prevailing taste for Haudenosaunee beadwork during the middle decades of the nineteenth century and it speaks to the especially high regard Victorian women held for these purses, an appreciation that would contribute to the preservation of the beaded bags now so prized by collectors. I’m always on the lookout for these old images and below is a new group that has surfaces since the previous posting. Figure 13 – Daguerreotype – 1840s. The young girl has a Mohawk style beaded bag. See figure 14 for an example of a similar bag. I originally dated this image to circa 1860 but Karen Augusta, a textile expert, thinks the clothing style the young girl is wearing could be as early as the 1840s. This would push back the dating of this style of purse by at least two decades. Figure 14– Beaded bag, possibly Kahnawake Mohawk, 1840s-1860s. Similar to a bag illustrated in a document in the research files of the Iroquois Museum in Howes Cave, New York that was collected at Caughnawaga, circa 1860. This bag is similar to the one illustrated in figure 13. Figure 15 – Hand tinted daguerreotype – young girl with ringlets in her hair and a white pinafore. Mid-1850s. She has an Iroquois floral bag that is similar to the one in figure 16. Figure 16 – Iroquois floral bag, mid-1850s. Similar to the one in figure 15. Figure 17 – A rare Daguerreotype of three children in fancy dress. Fancy dress is what costume parties were called in the 19th century. They were immensely popular and many had dress-up themes from earlier decades or centuries. This image is hard to date because the costumes are from different time periods. The young girl wears a circa 1850 dress. The boy on the right may be wearing a Renaissance outfit which would be a bit later. So this could be 1850s - 1860s. The young lady has a Mohawk beaded bag similar in style to the one in figure 18. Figure 18 – A Mohawk style beaded bag with similarities to the one in figure 17. Figure 19 – A carte-de-visite from the Civil War. There is a two-cent revenue tax stamp on the back that is dated August 14th, 1864 – likely the day the image was taken. The photographer was H. A. Upthegrove of Crown Point, Indiana. The young girl with the bag is identified as Matilda Farwell. She has an Iroquois beaded bag that is quite similar to the one in figure 20. Figure 20 – An Iroquois beaded bag that is quite similar to the one in figure 19. Figure 21 – Ambrotype – late 1850s of a well dressed and fashionable young woman with an Iroquois floral bag that is decorated with elongated leaf clusters. Her bag is similar to the one in figure 22. Figure 22 – An Iroquois beaded bag. 1855-1860. Similar to the one in figure 21. Figure 23 – Early 1860s Ambrotype. This is a rare post mortem image of a child with an Iroquois beaded bag that is similar to the one in figure 20. Post mortem photography was in common use in the 19th century as a way to memorialize a loved one. Since mortality rates were very high during this period, especially among children, these photographs served less as a reminder of one’s mortality than as a cherished memento to commemorate the deceased. Figure 24 – A lovely circa 1860 tintype of a young lady with an Iroquois beaded bag. Figure 25 – An unusual tinted tintype of a young man dressed in buckskins. He is wearing an Iroquois floral bag. He might be dressed for a play or some other event. What’s with that hat he’s wearing? Figure 26 – A later cabinet card that was a copy of a mid-1850s daguerreotype. Both young women have similar Iroquois floral bags. Figure 27 – A circa 1910 group photograph of four individuals that are decked out in beads. The young woman on the left is wearing an outfit that is quite similar to those offered for sale in the catalogs for the Improved Order of Redmen. She is also holding a Mohawk box purse with an owl motif. The older gentleman’s trousers are totally beaded as is the young boys vest! Figure 28 – This painting of the Wykes children was done in 1852 by the Rev. David Bulle of Sidney, Ohio. The young girl on the left has an Iroquois beaded bag. The design on the bag has similarities to the one in figure 29. Photo courtesy of Marguerite Riordan. Figure 29 – Iroquois beaded bag. 1840s-1850s. Approximately three inches in diameter. Figure 30 – This final entry is a rare stone lithograph of the young Black Hawk, the grandson of Black Hawk, late war chief of the Sac and Fox nations. This lithograph dates to approximately 1840-1850. It was made by the American lithographer and photographer Napoleon Sarony (1821-1896) of New York. Sarony began his lithography business in 1843 after an apprenticeship as an illustrator with Currier & Ives. In this image Black Hawk is wearing a beaded Glengarry hat and he has a bandolier across his chest which likely supported a large bag. Old images of individuals wearing a Glengarry are quite rare and I have seen less than a handful over the years. This one is exceptionally rare and testifies that what is generally seen as souvenir or tourist beadwork was also worn and highly regarded by Native people as well. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. My thanks to Karen Augusta for helping me date some of the old images. http://www.antique-fashion.com/Antique-Fashion/home.htm

I'd like to take you on a brief tour of beautiful beadwork by Northeastern American and Canadian Indians. While not exactly jewelry-related, it certainly is all about beads! Beaded Bags, Wabanaki type, vase or inverted keyhole shape. Glass beads, black velvet fabric, various materials used for the edge binding. The bag in the center is 6.2 inches high by 5.2 inches wide. From Historic Iroquois and Wabanaki Beadwork, by Gerry Biron. Prior to European settlers arriving to this continent, decorative work was primarily created with porcupine quills, feathers, birchbark, shells, stones, paint, hide, and sinew, to name a few materials. Later, Europeans introduced glass beads, which came to be a highly valued and integral part in subsequent decoration in the Americas. In the Northeast, we find a large variety of floral and woodland-inspired patterns, and a common motif, the "Double Curve". I will start with a few examples of quill work from the 18th and 19th centuries. Due to the nature of the material, though still highly detailed and intricate, the style of the work tended to be rather geometric, even in the depiction of floral motifs. Huron Birchbark Cigar Case with Quilled and Porcupine Embroidery featuring Indians in a canoe while others walk in a forest filled with realistic wildlife. From Bidsquare. Woodlands Native American Micmac Porcupine Quillworked Birch Bark Box (1800 to 1900 Native American), from CINOA. Anishinaabe outfit, c. 1790, Fort Michilimackinac, Michigan: Birchbark, cotton, linen, wool, feathers, silk, silver brooches, porcupine quills, horsehair, hide, sinew. From Infinity of Nations, at the National Museum of the American Indian. And now on to beadwork. Here we see the explosion of color and free-flowing expression of decorative elements. Beaded Gloves, found on Pinterest. A James Bay Cree beaded octopus bag. Beaded on velvet, with cloth lining and trim, similar patterns of floral sprays on either side, the tabs displaying distinct vine and blossom motifs, with bead and wool tassel fringe. From Bonhams. Detail of a Gauntlet, found on Pinterest. the double-curve motif is evident in the arrangement of the leaves and branches. A great example of the double-curve motif... Beaded Bags, with the traditional double-curve motif, front and back views, Mi’kmaq type. Glass beads sewn onto red wool serge of the type seen on Canadian military uniforms. Circa 1840s. The beads on both bags are strung on horsehair. From Historic Iroquois and Wabanaki Beadwork, by Gerry Biron. Contemporary beaded dress: “This photo was taken at the FSIN Pow Wow in Saskatoon Saskatchewan. These ladies in their Ladies Traditional Dance regalia found a some time to catch up and share a moment witheach other among the huge crowd of dancers.” - CindyLou Photos, from This Beautiful World. Contemporary artist Rhonda Besaw's peaked cap, a Mi'kmaq style headdress. This pattern shows a play on the double-curve motif Mohawk style accessories, by contemporary bead artist Niio Perkins. Beatufiul little traditional-style purse, by contemporary bead artist Niio Perkins. The fiddle-head, which hear echoes the double-curve, was a popular motif. Another little purse by contemporary bead artist Niio Perkins. I hope you have enjoyed this brief survey of First Nations bead work. It barely scratches the surface, there is much more to explore. For more information, here is a wonderful blog to help you get started: Historic Iroquois and Wabanaki Beadwork Finally, here is a brief video featuring a few contemporary First Nations people who bead....

Revised January 17, 2014 In the collection of the Rochester Museum and Science Center (RMSC) in Rochester, New York is a table cover (figures 1a and 1b) that was made by Caroline Parker, a Seneca from the Tonawanda Reservation in Western New York. Although it is undated, stylistic comparison to other similarly beaded items suggests it is from the mid-nineteenth century (figure 2). The most prominent feature on the piece in figure 1 is the large, central floral motif that distinguishes it stylistically from other floral work that was done during the mid-nineteenth century. I believe this motif, and its variations are diagnostic of a style of floral beadwork that was done on the Tonawanda Reservation in western New York primarily by beadworkers in the Parker family; notably Caroline Parker, her mother Elizabeth, and Mariah, the wife of Caroline’s brother Levi. There may also have been others in their immediate circle of beadworkers involved in the production of this style. Figure 1a – The center section of a table cover in the Rochester Museum and Science Center collected by Lewis Henry Morgan and created by Caroline Parker. The cover measures 4 feet by 5.5 feet. Photo by Deborah Holler. Figure 1b – Detail of the flower in figure 1. Photo by Deborah Holler. Deborah Holler has written that a recent revival of interest in Iroquois beadwork by connoisseurs and art historians has shed new light on Caroline Parker’s artistry in clothing and textiles, widely acknowledged to be pivotal in the 19th century cultural exchange between the Native aesthetic and European influences. This developing aesthetic in clothing and textiles became an inspiration for generations of Iroquois artists, as well as the prototype for Seneca women’s “traditional” clothing styles. Thus Carrie Parker, it can be argued, became an arbiter of change who walked in two worlds; that of her traditional Tonawanda Seneca and Tuscarora communities, and that of the highest social and political realms of white society (Holler 2011:9). [You can read two excellent articles about Caroline Parker by Deborah Holler in Western New York Heritage Magazine, Volume 14, Number 1, Spring, 2011 and in American Indian Art Magazine, Volume 37, Number 4, Autumn, 2012.] Figure 2 – Tonawanda Seneca. A beaded bag with a diagnostic flower on the back. An old newspaper used as a stiffener during the construction of the flap is dated February, 1848. During the classic period of Haudenosaunee (Iroquois) souvenir beadwork (1800–1840s) bags, hats, moccasins and other fanciful items featured curvilinear and geometric designs and organic motifs. During the dawn of the Victorian era however, (the Victorian era began in June of 1837 with the reign of Queen Victoria and ended with her death in January, 1901) a major design transformation – the rise of the Niagara floral style – took place in Haudenosaunee beadwork (figure 3). The origin of this floral style has long been a topic of discussion among scholars and researchers and evidence suggests it emerged during the late 1830s, in the waning years of the classic period of Haudenosaunee beadwork. (See Chapter 4 in A Cherished Curiosity: The Souvenir Beaded Bag in Historic Haudenosaunee(Iroquois) Art for more on this transition.) Figure 3 – An assortment of mid-19th century beaded bags in the Niagara Floral style. These were made in most Iroquois beading communities and often sold at Niagara Falls. Scholars such as Ruth Phillips have indicated that the rapid shift from curvilinear and geometric designs to floral motifs in mid-nineteenth century Iroquois work has been linked to Victorian fashion trends and women’s domestic sphere (Phillips 1998). During this period, floral beadwork became the predominate style that would be made and sold by the Haudenosaunee. The overwhelming evidence suggests that the floral motifs illustrated in figure 3 were produced in most Haudenosaunee beading communities, but the floral style illustrated in figures 1a & b appears to be unique to the mid-nineteenth century Seneca on the Tonawanda Reservation. [F]loral imagery can also be linked to Haudenosaunee cosmology, beginning with Skywoman, who is also called Mature Flower, and is the model for the image of Haudenosaunee femininity. Once on Turtle Island, Skywoman initiates the cycle of growth of the Three Sisters (corn, beans and squash), as well as the use of powerful plant medicines, all of which may be included in the symbolic representation of floral imagery (Holler 2012:62). Caroline’s mother Elizabeth is believed to have lived on the Cattaraugus Reservation before her move to Tonawanda and she may have developed her commercial sewing and beadwork skills under the tutelage of Laura Wright, the wife of the Rev. Asher Wright, a missionary to the Seneca at Cattaraugus. Wright held classes and set up an industrial shop on the reservation. [Wright’s] next step in the plan for the [Seneca] women was to teach them to make garments for sale, and with the money thus obtained buy more material… The women… had become thoroughly interested and imbued with the healthful fascination of earning something, and were clamorous for more work (Caswell 1892:205-206). Mrs. Wright was also clever in devising ways to get Seneca women to listen to her moralizing and religious instructions. Often, she would invite them to what we might today call a “tea meeting.” They were at the liberty to bring their needlework, which consisted in ornamenting their deerskin moccasins with porcupine quills, or their broadcloth skirts and leggings with beads, or perhaps fastening a quantity of silver brooches upon their short gowns or hats. While thus occupied, she read and explained the gospel truths in their own language, sang hymns with them, and frequently encouraged them to tell her some story of old times. The simple repast, which had really brought them there and held them through the afternoon, was then served, and they went away to think of the “good words” that had been spoken to them about the “new way” (Caswell 1892:65). Because her so called “tea meetings” were accompanied by the teaching of the gospel, they were opposed by many Seneca traditionalists. Elizabeth Parker’s daughter Caroline was born sometime before 1828 and she was known to her family as “Ga-ho-na, meaning the Blue Bell” (Parker 1919:58). By 1855, when many white settlers around her were illiterate in English, and most American Indians did not speak English with fluency, Caroline was teaching the “3 R’s” to Indian children on the Tonawanda Reservation. Although the laws at the time dictated that women could not own property, and very few of the emerging middle class worked outside their homes, Caroline earned a living teaching and occupied a cabin of her own on the reservation. She also worked on her parents’ farm. As her brothers left home to serve in the U. S. military and advance their careers, she managed the family business accounts, represented her parents to public officials and corresponded with her brothers on all aspects of family and community life. Caroline sometimes acted as a translator of official business for the Tonawanda Chiefs and seems to have been something of a political operative in times of crisis (Holler 2011:12). In 1864, she married Tuscarora Chief John Mt. Pleasant and moved to the Tuscarora Reservation. Figure 4 – Engraving of Lewis Henry Morgan, from the 1901 edition of his League of the Hodenosaunee or Iroquois. Lewis Henry Morgan (figure 4), an attorney from Rochester, New York, had an inquisitive mind and a curiosity about the Haudenosaunee. He was also loosely affiliated with New York State Cabinet of Natural History (NYSCNH). By chance, he met Caroline’s younger brother Ely in a bookstore and a friendship ensued. Through Morgan’s influence, the Parkers were retained to produce examples of Seneca material culture for the NYSCNH, the predecessor to the New York State Museum in Albany. Although many of these items were destroyed in a devastating 1911 fire, Morgan had illustrations made of the beaded items, in full color, which were published in two reports for the State of New York (Morgan 1850, 1852) as well as in a 1901 reprint of his classic work on the Iroquois (Morgan 1901). Morgan also kept examples of Caroline’s beadwork for himself, some of which were later returned to the New York State Museum and others to the Rochester Museum and Science Center. Regarding Caroline’s dress (figures 5 & 6), that was collected for the state, Morgan wrote: This is without question the finest specimen of Indian beadwork ever exhibited. Next to the article itself the plate will furnish the best description. It was made by Miss Caroline G. Parker (Ga-Ha-No), a Seneca Indian girl, now being educated in the State Normal School, to whose finished taste, and patient industry the State is indebted for most of the many beautiful specimens of beadwork embroidery now in the Indian collection. (Morgan 1852:110–111). During the approximately three month period between November 1849 and the end of January 1850, the Parkers provided Morgan with over 200 items, of which about 16 pieces were beadwork. These were collected by Morgan for the Third Regents Report. Morgan’s correspondence with the Parkers indicates that Caroline made many of the items that were supplied to the Cabinet of Natural History in Albany although some scholars dispute this point as Caroline was attending school in Albany at the time and wrote that she was overwhelmed with school work and other obligations. More than likely, the beadwork that was provided to the state was from an existing inventory and it’s impossible to determine at this point how much of it was made by Caroline or by other members of her family. One of Caroline’s relations wrote that there was a “what-not” or curio cabinet that her mother Elizabeth kept at the family farm. One shelf contained a display of “fancy Indian beadwork,” presumably made by Elizabeth, but there is no description of it (Parker 1919:194). Elizabeth also “made very fine bead-work too and Aunt Carrie [Caroline] learned from her” (Parker 1919:235). Figure 5a – Illustration of a dress made by Caroline Parker and featured in the Fifth Regents Report to the State of New York, 1852. Figure 5b – An illustration of Caroline wearing the same dress. From the front plate in Morgan’s 1901 edition of his League of the Hodenosaunee or Iroquois. Figure 6 – Circa 1850 daguerreotype of Caroline wearing that dress. Figure 7 – Image on left is a detail of the bag in figure 6. The bag on the right is the one illustrated in Morgan’s report to the Regents of the State of New York. They appear to be the same bag. The beaded bag that Caroline is holding in figure 6 is virtually identical to the colored illustration in figure 7. Beaded bags in this style are seen in both museum and private collections. They usually have a scalloped flap and a scalloped lower edge, as well as several strings of beads sewn in a tight band along the perimeter (figure 8). The scalloping along the edge of these bags may have originated in response to the Victorians’ love for scalloped borders as it’s rare to find a Haudenosaunee bag with scalloped edges that predates the Victorian era. The Schedule of Articles that Morgan donated to the State of New York in 1849 included five varieties of Ga-ya-ah [work bags] and six varieties of Got-gwen-da [pocket books] (Tooker 1994:277) so it would seem that Morgan collected a range of bag styles from the Tonawanda Seneca. The floral design in figure 1 is a documented example of Caroline’s work and there are numerous objects that have survived that incorporate a virtually identical floral motif in the design (see figures 11, 12 & 22). Except for the example in figure 1, there are no records that assure us Caroline made any of the other items but the bead colors, delicacy and refinement of the designs and their stylistic similarity to the design in figure 1 suggests to me that there is a good possibility that she did; they represent the highest level of Haudenosaunee beadwork. Art historian Ruth Phillips has written that Caroline Parker’s work is characterized by its flatness, great delicacy, relatively high degree of naturalism, and its use of small, pastel, white, and translucent beads (Phillips 1998:224). Figure 8 – A group of mid-19th century bags that are stylistically similar to the one in figure 7. Each has a scalloped lower edge and several strings of beads sewn in a tight band along the perimeter. In Morgan’s Fifth Regents Report to the State of New York, he illustrates a pincushion that he collected from the Parkers (figure 9) which is very similar to one that was collected at Niagara Falls in 1850 (figure 10). They both have similarities to the large floral design described above and likely represent a Tonawanda Seneca style, though not necessarily one that was made by the Parkers. Beadworkers seldom worked in isolation so there might have been some borrowing of ideas and designs among mid-nineteenth century Tonawanda beadworkers which would account for the similarities in their work. Figure 9 – Pincushion collected from the Parkers and illustrated in Morgan’s Fifth Regents Report to the State of New York January 22, 1851, Plate 19. Figure 10 – Tonawanda Seneca pincushion, 6 inches wide. An inked inscription on the back reads: “Bought at the Bath House on Bath Island, Falls of Niagara, Sept. 27, 1850.” There is also a name after the date but it’s barely legible, although it possibly says Peterman. Bath Island was one of several islands in the Goat Island complex. Access to Goat Island was from Bath Island where a visitor would first have to pay a toll. There was a concession at the Bath Island Toll House that sold so called “Indian curiosities.” The close similarity of this pincushion to the one illustrated Morgan’s Fifth Regents Report suggests that it could have been made by the Parkers or someone in their immediate beading circle. Figure 11 – From the collection of Memorial Hall Museum, Deerfield, Massachusetts. The similarity of the flower to the one in figure 1 is striking. The bags in figures 12 through 17 also have a variation of that large, central floral motif. Other distinguishing features on these bags include a tight band of beads along a scalloped perimeter. Additionally, like the table cover in figure 1, they incorporate some variation of the dendrite or spray work along the perimeter of the flower that might symbolizes the world tree from the Iroquois creation story (Parker 1912:616-620). The large flower could be a stylized representation of the sun depicted atop the celestial or world tree also from the creation story. Although the Parkers adapted their lifestyle to co-exist with Europeans and presented their work to Victorian consumers in a way that was acceptable to them, they could still covertly incorporate symbols in their work that had cultural significance to them. Figure 12 – Beaded bag, likely Tonawanda Seneca, mid-19th century. Figure 13 – Beaded bag, likely Tonawanda Seneca, mid-19th century. Figure 14 – Beaded bag, likely Tonawanda Seneca, mid-19th century. Figure 15 – Beaded bag, likely Tonawanda Seneca, mid-19th century. Figure 16 – Beaded bag, likely Tonawanda Seneca, mid-19th century. Figure 17 – Beaded bag, likely Tonawanda Seneca, mid-19th century. “The art of flowering” – as the Parkers termed it – is what they were noted for: In doing this work, the eye and the taste are the chief reliances, as they use no patterns except as they may have seen them in the works of others. In combining colors certain general rules, the result of experience and observation, are followed, but beyond them each one pursued her own fancy. They never seek for strong contrasts, but break the force of it by interposing white, that the colors may blend harmoniously. Thus light blue and pink beads, with white beads between them, is a favorable combination; dark blue and yellow, with white between, is another; red and light blue, with white between, is another; and light purple and dark purple, with white between, is a fourth. Others might be added were it necessary. If this beadwork is critically examined it will be found that these general rules are strictly observed; and in so far as beadwork embroidery may be called a systematic art. The art of flowering, as they term it, is the most difficult part of the beadwork, as it requires an accurate knowledge of the appearance of the flower, and the structure and condition of the plant at the stage in which it is represented (Morgan 1852:111). Figure 18 – Beaded Glengarry hat on red wool Stroud with a green silk ribbon edging. Mid-19th century. The top panel incorporates the large diagnostic flower. Other flowers are depicted in various stages of blossoming, a characteristic found on work by the Parkers. Figure 19 – Large beaded pillow in the Tonawanda Seneca style. We are not limited to examples of beaded bags in our search for items with this characteristic flower. Figures 18 – 20 highlight other examples of souvenir art with this diagnostic element. The Glengarry hat in figure 18, although missing the dendrite or spray work along the perimeter of the flower, incorporates other elements that point to a Tonawanda origin and possibly to Caroline Parker. In many of the objects that can be stylistically attributed to the Parkers, flowers are often represented in different stages of blossoming and that feature is most apparent on the side panels of the hat. The large flower on the top could also be a stylistic representation of the sun mounted atop the world tree. Figure 19 is a large pillow which again shows the characteristic central floral element with the dendrite or spray work. This is surrounded by many strings of beads in a scalloped perimeter very much like the beaded bags. Other features are the flowers that are represented in different stages of blossoming. The piece in figure 20 is a lovely tri-fold, calling card wallet shown opened. There are also numerous pieces that don’t have the large central flower but incorporate other elements that are seen in examples that do (figure 21). Figure 20 – Tri-fold calling card wallet with the diagnostic flower. Figure 21 – A group of beaded items without the large diagnostic flower yet still incorporating other elements found on examples that do. Figure 22 – Beaded bag/satchel, Tonawanda Seneca type (both sides shown), dark blue velvet, glass beads, silk ribbon edge binding; circa 1850. The cord strap is wrapped with silk ribbon, in a similar fashion as the one in figure 24. 12 inches high by 12 inches wide. The similarity of the large central flower to the one in figure 1 suggests to me that it could be the work of Caroline Parker. The beading technique and the floral patterns on the side with the flap are nearly identical to those on a skirt in the Rochester Museum and Science Center, number 70.89.61 that is attributed to Caroline Parker (See: Phillips 1998:225, fig. 6.23). Perhaps two of the most striking pieces that incorporate floral elements attributable to the Parkers are the large bags/satchels in figures 22 and 23. Figure 23 – Beaded bag/satchel, Seneca type (both sides shown). Glass beads, red velvet, green silk ribbon edge binding. Mid-19th century. 11.3 inches high x 14 inches wide. Originally from the estate of William Waldegrave Palmer (1859–1942), the Second Earl of Selborne and the son of Roundell Palmer (1812–1895), the first Earl of Selborne. Remarkably similar to an example attributed to the Parkers and illustrated in the Fifth Regents Report to the State of New York; see figure 24. The example in figure 22 is from a remarkable collection that was illustrated in the publication titled: Pleasing the Spirits by Douglas C. Ewing in 1982, figure 252 although there is no known record linking it directly to Caroline. The bag in figure 23 is from the estate of William Waldegrave Palmer, the Second Earl of Selborne (1859 – 1942). Palmer served for a time as High Commissioner to South Africa and before that was Under Secretary to the British Colonies. This bag could have belonged to his father Roundell Palmer (1812 – 1895), the First Earl of Selborne, who may have been one of the many foreign dignitaries that were frequent visitors to the Parker/Mt. Pleasant homestead near Niagara Falls. What is remarkable about this example is its similarity to a satchel illustrated in Morgan (figure 24). Figure 24 – Beaded satchel attributed to the Parker's and illustrated in the Report on the Fabrics, Inventions, Implements and Utensils of the Iroquois, Made to the Regents of the University, Jan. 22, 1851, by Lewis Henry Morgan, plate 18. Morgan described the satchel in his 1850 Tonawanda field notes as a beautiful example of Seneca beadwork. Upon one side of the lower figure is designed to represent a rosebush, with its flowers at different stages of maturity from those [which] are just opening to those [which] are in full bloom. The success of the imitation although not perfect by any means is yet quite striking. It is quite easy to detect the opening rose in the bud at the left. The same thing is attempted on the rose at the top. On the reverse side are two stars, which as specimens of fancywork, are certainly very tastefully and ingeniously made. It is an imitation of the ordinary travelling bag of the whites, and not an Indian article. [As quoted in: (Tooker 1994:152–153)]. The beading technique used for the floral decorations on both Palmer’s bag and Morgan’s satchel appears identical, and each depicts flowers that are in various stages of blossoming. Even the method used to create the stems is distinctive, comprised of adjacent and repeated bead segments which create the illusion that the beads are twisted together. Morgan indicated in his notes that the Parkers sent him five of these sizable bags in 1849. Both these bags were conceivably made by the same hand, and possibly by one of the Tonawanda Parkers. Figure 25 – Late 19th century cabinet card of Caroline Parker wearing a dress with beaded decorations, possibly by her own hand. Caroline (figure 25) died in 1892 and her obituary appeared in the New York Times. A Noted Indian Woman Dead. The Widow of the Chief of the Six Nations. Lockport, N.Y., March 20. – The death of Caroline Mountpleasant, wife of the late chief of the Six Nations, John Mountpleasant, yesterday, aged sixty years, removes one of the most prominent Indian women of the time. Mrs. Mountpleasant was a sister of the celebrated Indian General Parker, now of New York, who served so gallantly in the civil war, earning his title of brigadier General. The deceased had received an academic education and was well read in literature, particularly regarding Indian matters. She proved of great help to her husband in his efforts to elevate and educate the various tribes of the Six Nations. Mrs. Mountpleasant, after his death, retained her home with the Tuscaroras, on the reservation, where her influence in religious, educational, and commercial matters was strongly felt. Her home was a large finely appointed house in the midst of the reservation, very picturesquely situated. It was one of the most complete museums of Indian relics and curiosities, and was visited by thousands of prominent American and noted English and foreign tourists. The other appointments of the place, such as barns and out-dwellings, were on a mammoth scale. The funeral of the dead Indian woman will be held to-morrow (New York Times, March 21, 1892, page 4). If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. REFERENCES CITED Biron, Gerry 2012 A Cherished Curiosity: The Souvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art. Published by the author. Saxtons River, Vermont. Caswell, Harriet S. 1892 Our Life Among the Iroquois Indians. Congregational Sunday-School and Publishing Society, Boston and Chicago. Holler, Deborah 2011 “The Remarkable Caroline G. Parker Mountplasant, Seneca Wolf Clan.” Western New York Heritage Magazine, Vol. 14, No. 1, Spring. 2012 “Fashion, Nationhood and Identity: The Textile Artistry of Caroline G. Parker.” American Indian Art Magazine, Volume 37, Number 4, Autumn. Morgan, Lewis Henry 1901 League of the Hodenosaunee or Iroquois, A New Edition, with Additional Matter. Edited and Annotated by Herbert M. Lloyd. Volume I & II. Dodd, Mead and Company, New York. 1850 “Report to the Regents of the University, upon the Articles Furnished to the Indian Collection.” In The Third Annual Report of the Regents of the University on the Condition of the State Cabinet of Natural History and Antiquarian Collection, Annexed Thereto pp. 63 – 93. Revised Edition: Printed by Weed, Parsons and Company, Albany. 1852 “Report on the Fabrics, Inventions, Implements and Utensils of the Iroquois, Made to the Regents of the University, Jan. 22, 1851; Illustrative of the Collection Annexed to the State Cabinet of Natural History, with Illustrations.” In The Fifth Annual Report of the Regents of the University on the Condition of the State Cabinet of Natural History and the Historical and Antiquarian Collection, Annexed Thereto, pp 68 – 117. Printed by Richard H. Pease, Albany. Parker, Arthur C. 1912 “Certain Iroquois Tree Myths and Symbols” in the American Anthropologist, Vol. 14. 1919 The Life of General Ely S. Parker, Last Grand Sachem of the Iroquois and General Grant’s Military Secretary. The Buffalo Historical Society, Buffalo, New York. Phillips, Ruth 1998 Trading Identities: The Souvenir in Native North American Art from the Northeast, 1700 – 1900. University of Washington Press, Seattle and London: McGill-Queen’s University Press, Montreal and Kingston. Tooker, Elizabeth 1994 Lewis H. Morgan on Iroquois Material Culture. The University of Arizona Press.

This Iroquois beaded bag Looped Edging is an beautiful find! This Purse measures 4 3/4" long by 5" at its widest point. One of a Kind!

Another important group of nineteenth century Haudenosaunee beaded bags are those that incorporate figurative or pictographic motifs. Arguably, they are some of the rarest examples of Northeast Woodland beaded bags. This first bag is from a private collection and it was exhibited in the Across Borders: Beadwork in Iroquois Life exhibit that travelled to several museums a few years ago. The figures no doubt represent the twins from the Iroquois creation story. Private collection. Another particularly significant example (illustrated below) is also decorated with two identical figures that may represent the good and mischievous twins from the Haudenosaunee creation story. Arthur Parker characterizes some representations of the double-curve motif, in Iroquoian decorative arts, as the “celestial tree” that was created by the Good Twin (Parker 1912:613). Between the figures on this bag are two large, inward turning curves with sun-like symbols at their centers. They may be artistic expressions of the “celestial tree” and the “world tree” that Parker speaks of. The ambiguous design on the back of the bag is somewhat reminiscent of the carved faces seen on Haudenosaunee masks. In writing about the relationship between the Faces and the “world tree,” Parker says that [t]his tree is mentioned in various ceremonial rites of the Iroquois. With the False Face Company. . . for example, the “Great Face,” chief of all the False Faces, is said to be the invisible giant that guards the world tree (Parker 1912:611). Perhaps the design elements on this side are arranged to represent the “Great Face” that guards the world tree on the other side of the bag. The shape of the mouth, formed by the lower two diamonds, is flattened like spoons, for blowing ashes, and this is how the “Great Face” is sometimes depicted (see: Fenton 1987: plate 6-1). This bag is a classic design that incorporates numerous elements of Haudenosaunee cosmology. It also has a Pop Art component to it, reminiscent of the work of contemporary artist Keith Haring. The subtle and intricate designs, the limited use of motifs that are thoroughly filled with beads, the silk inlays, and the large areas of negative space suggest a 1820s to 1830 date for this rare and exceptional piece. Private collection. Dogs were the only domesticated animals that were traditionally kept by Woodland Indians and many images exist of them with their dogs. However, no mention is made in the literature about the indigenous practice of using a leash. Although depictions of Indians with their dogs appear in other souvenir art pieces, (a nineteenth century Tuscarora double wall pocked with three figures also depicts two off-leash dogs. See: American Indian Art Magazine, Vol. 24, Number 1, Winter 1998, page 39, figure 10), this may have been done to appeal to the Victorians’ fondness for pets. Additionally, one of the subjects on the bag below appears to be holding a basket or perhaps a lantern. The design on the back is somewhat cryptic. Without the four birds, this motif could be interpreted as a flowering plant. The addition of the birds leaves little doubt that it was intended to represent a tree. However, it’s not the classic celestial or world tree with the single flower/sun surmounted on the crown. Possibly the maker intended it to be an interpretation of the “Great Tree of Peace.” Traditionally, the white pine, with its five needles, was the symbol of the Five Iroquois Nations, joined together as one confederacy. It was also the proverbial tree beneath which the Iroquois buried their weapons as a symbol of their growth in consciousness; as a people seeking peace and not war. But this tree has six branches. Perhaps the maker was indicating with her design that since the Tuscaroras was adopted into the confederacy that they were now the Six Iroquois Nations. The shape of the bag, with a scalloped flap and lower edge, is suggestive of the work of Caroline Parker. Circa 1840s. Private collection. Another intriguing bag has what appear to be two figures holding hands. The negative space between them forms the shape of a heart. Adding to the mystery is the design inside the outline of the right-hand figure. The back of the bag has a representation of a large, daisy-like flower. Perhaps someone commission this bag for a spouse or a lover. Circa 1820s. Private collection. Another intriguing bag was also displayed in the Across Borders exhibit. It depicts two figures dancing in a style that is quite similar to those on a coat of an Iroquois man portrayed in a late nineteenth century cabinet card (see below). The style of the bag indicates it is from the mid-nineteenth century. Private collection. Late 19th century cabinet card depicting an Iroquois family group, likely Mohawks. The beaver pelt top hat was part of the formal dress of many Northeast Woodland people during the mid-nineteenth century. The engraving below, published by M. Elias Regnault in 1849, depicts five Native people from the vicinity of Quebec. The two individuals on the far left are wearing beaver pelt top hats. Private collection. There are several other nineteenth century prints and paintings that depict Native people wearing these hats but extant examples of bags with figures wearing a top hat are exceptionally rare. The figures in this piece typify the dress of two Natives from the period. In the enclosed space, between the stylized yellow-beaded pine tree motifs in the upper corners of this bag, is a central sun design. The solidly beaded figures suggest that this piece is from the 1840s. It may have originated in one of the Mohawk Reserves near Montreal, as similar pine tree motifs appear on other pieces attributed to the Mohawk. Private collection. Animal motifs are seen on early Haudenosaunee beaded bags about as often as depictions of people. Although an elephant motif on a mid-nineteenth-century souvenir bag would appear incongruous, the Haudenosaunee beadworkers were, after all, savvy entrepreneurs. This is aptly demonstrated in this example, which was likely a commissioned piece. The design is a representation of the insignia for the 74th Regiment of Foot, the Argyll Highlanders, which fought in the Battle of Assaye, in western India, in 1803. The design on the right is the regiment’s official insignia and below it is a listing of the battles they fought in. On the bag, the number 74 can be seen stitched in beads above the elephant, as can the name of the historic battle they fought in. In the mid - to late 1830s, the 74th Regiment of Foot was stationed throughout the Caribbean, in Antigua, Granada, Barbados and St. Lucia. The regiment moved about these islands until 1841 when it proceeded to Quebec. They remained there until 1844, removing to Nova Scotia and embarking at Halifax for England, in March of 1845. A Haudenosaunee artist was likely retained to produce this piece for someone in that regiment, perhaps while on a trip to Montreal or Niagara Falls, and conceivably as a souvenir for a wife or loved one back home. The reverse side of the bag is virtually identical to the front. Likely made between 1841 and 1844, it’s a fine example that underscores the heavy use of solid bead fill on pieces from the early 1840s. From the collection of Richard Green. The imagery in souvenir arts can have more than one meaning. To the Haudenosaunee, the eagle is a messenger from the Creator and as such is considered sacred. In Iroquois art, it’s often depicted perched over the great tree of peace, keeping a watchful eye on the Haudenosaunee homeland, prepared to warn people of any approaching danger. To some nationalistic Americans the eagle can symbolize their martial or hawkish nature. In each culture it denotes notions of power. In one culture that power is materialistic; in the other it’s spiritual. The intended message of the maker is unknown but certainly the imagery on this bag would appeal to both, albeit for different reasons. This rare bag is beaded on hide. The extended top is made of silk. The solidly beaded thunderbird and large floral motif on the reverse suggests a 1830s to 1840s date. The triangles along the perimeter of the bag may be an Iroquois identity marker as I have seen these on other pieces that were attributed to them. Private collection. Another intriguing bag with a bird motif has what could be a representation of a snipe. The Iroquois Confederacy is composed of six nations with a total of nine clans. The clans, defined by specific animals, represent the land, the sky and the water. Both the Seneca and Tuscarora, prolific producers of early souvenir beadwork, had a Snipe Clan so there may be some intended cultural symbolism in the design of this piece. The beading style indicates an early date; likely pre-1830. Private collection. Unfortunately, only a black and white image was available of this bag which is from the Eugene Thaw collection at the Fennimore Art Museum, in Cooperstown, NY. This very early bag (possibly from the first quarter of the nineteenth century) depicts what could be an eagle on one side and linear-zigzag and curvilinear motifs on the other. The design in the central panel on the side without the bird appears to have silk inlays. This is another rare design treatment on early Haudenosaunee beadwork. This early nineteenth century beaded bag with a bird motif has linear designs and sun and diamond motifs which suggest it is from the first quarter of the nineteenth century. Private collection. The League of the Five Nations was symbolically represented as a longhouse, with the Seneca at the western door and the Mohawks at the east. Besides functioning as a domicile, the longhouse was also emblematic of the Haudenosaunee political system, and the Nation chiefs were the posts which supported it. This rare bag could be a representation of a lodge or longhouse. In conceiving the formation of the Iroquois confederacy, the Peacemaker told the Five Nations that he envisioned them coming together as “one longhouse.” Pre-1830. Private collection. Talismans and objects of personal power were no doubt common among the Iroquois, but it’s not known if insects had more than a cursory significance to them tribally. It’s intriguing how the Haudenosaunee artist who created this early bag configured the design elements into the shape of a wingless bug. Even the diamond design on the other side, with the double curve extensions at the corners, has an anthropomorphic feel to it. Pre-1830. From the collection of the Maine State Museum. The design of this bag, perhaps inspired by a dream or an encounter with an arachnid, shows the clever use of the familiar diamond and double curve motifs to express something beyond the obvious, conceivably a personal connection to an animistic spirit or a spirit helper. Here, the familiar diamond and double curve motifs are arranged into the shape of what could be an insect and possibly a spider. Though many people in western culture have a fear of spiders they are culturally significant to many tribal people around the world. The Bhil and Mat people of central India have a great sense of connection between the living and the dead. They believe that spiders are the spirits of their ancestors. The Chibchas from the northeast highlands of Columbia and present day Panama are culturally similar to the Inca and central to their beliefs is that a departed soul uses the webs of spiders to cross the divide from the physical to the spirit world. In America, the Pueblo and Navajo people have a great tradition about Spider Woman, who was the first being in the world. She brought all life into existence and connected herself to each of her creations through the threads of her web. Circa 1820s. Private collection. Portrait of Spider Woman by the author. This very unusual figurative bag has a horse motif on one side. Likely Iroquois, it looks to be from the 1830s-1840s period. Private collection. Another unusual bag with cryptic designs on both sides also has the addition of a deer. 1830s - 1840s. Private collection. This early bag, likely from the first quarter of the nineteenth century, is from the Thaw collection at the Fennimore Art Museum in Cooperstown, New York. One side has a turtle motif in the center. Likely Seneca. Perhaps the most novel example of a figurative Northeast Woodland bag is one made in the shape of a house. Here again, the impetus may have been the entrepreneurial spirit of the artist or it could have been a commissioned piece. Part of the mystery is the late nineteenth-century Chinese silk lining, which is decorated with an embroidered bird. The beading style, and the bead colors used are atypical. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. REFERENCES CITED Fenton, William N. 1987 The False Faces of the Iroquois – The University of Oklahoma Press – Norman, Publishing Division of the University. Parker, Arthur C. 1912 Certain Iroquois Tree Myths and Symbols in the American Anthropologist, Vol. 14

 During the nineteenth century, the western New York Haudenosaunee, and particularly the Tuscaroras, were on the frontlines of the world’s most exciting and emerging tourist market. Many of the Victorians who came to Niagara Falls were conscious of fashion and any stylish dress accessories they would have acquired there – such as beaded bags – would have reflected their sense of refinement and taste. The beaded bags that the Haudenosaunee produced for the tourist trade are distinctive and changed stylistically over time. These changes occurred gradually but, as a general rule, distinguishable style refinements can be categorized and placed into specific time periods. Figure 1 - Typical floral bag in the Niagara style. Private collection. During the classic period of Haudenosaunee souvenir beadwork (1800-1840s), many bags featured curvilinear and geometric designs and organic motifs. Not long after the dawn of the Victorian era however, which began in June of 1837 with the reign of Queen Victoria, a major design transformation – the rise of the Niagara floral style – took place in Haudenosaunee beadwork (figure 1). This example is typical of bags seen in this style. The flowers were frequently ovate in shape and often delineated in two shades of the same hue. Some researchers consider this a diagnostic feature of the style. The color combinations were, in many instances, a medium blue and pale blue; wine red and pink; solid yellow and transparent yellow; and white and crystal. As a general rule, the earliest bags in this floral style (mid-1840s to mid-1850s) had long, thick beaded stems, usually in dark transparent green, though blue is occasionally used and there are other exceptions. Earlier bags also had smaller beads than later examples. Despite the general diagnostic rule stated above, all of the primary and secondary colors were used on these bags. Red, white, pink, rose, pumpkin, crystal, opaque greasy yellow and transparent yellow, gold, and various distinct hues of blue beads were the predominant colors used. From time to time, purple, violet and green are seen in the flowers and other combinations are found. Occasionally, green beads were used for flowers, but generally green was reserved for stems and occasionally for leaves. Numerous examples from the early period of this floral style had bilaterally symmetrical designs. As many as sixteen colors have been observed on unique examples of these bags and though some beadwork enthusiasts cling to the notion that all the pieces in this style were made in the four diagnostic color combinations, I will demonstrate that the overwhelming evidence doesn’t support this notion. Deborah Harding indicated in her thesis on Iroquois beaded bags that unlike the irregular patterning of colors found in the earlier curvilinear and geometric style (1800-1840s), the Niagara floral style (or Euro-floral style as she refers to it) exhibited “a very regular patterning of color choices.” Although the use of specific color combinations such as dark blue/light blue, red/pink and opaque green/transparent green can be considered a diagnostic feature of these bags, “[s]tatistically, however, only the combinations of opaque dark blue with opaque light blue, and opaque green with transparent green showed any significance.” She said that opaque red with opaque pink and transparent red with transparent pink combinations “produced results of low statistical significance” (Harding 1994:61). Pieter Hovens has written that [d]uring the second half of the nineteenth-century floral designs. . . carried positive associations with ideals of womanhood and domesticity, explaining why the floral beadwork used by Native women to ornament dress and household accessories was so popular with Victorians consumers (Hovens 2010:26). Perhaps as an accommodation to Victorian fashion trends, the floral motifs on these bags became the predominate beadwork style that would be made and sold by the Haudenosaunee during the early Victorian period and the overwhelming evidence suggests that these bags were made in many Haudenosaunee communities. Museum and private collections contain hundreds of examples that were either collected from or are attributed to the Tuscaroras, Senecas, Onondagas and the Mohawk. Because so many of these bags were sold at Niagara Falls, they are generally referred to as Niagara floral-style.  Figure 2 - C. 1860 CDV of a lady, possibly Seneca, with a Niagara floral-style beaded bag. Private collection. Photographer: C.A. Douglas & Co., Buffalo, NY It's unusual to find early images of Native people wearing these bags but in the circa 1860, hand-tinted, carte-de-visite (CDV) in figure 2, what was likely a Seneca woman is wearing one from her waist belt in the form of a chatelaine purse. Did she make the bag? That is certainly an unanswered question but in all probability she did. Other evidence suggests that this floral style could have originated with the Seneca from the Tonawanda Reservation in western New York (see: A Cherished Curiosity – The Niagara Floral-style Beaded Bag in the Victorian Era in American Indian Art Magazine, Autumn 2010). This particular blog posting will focus on the unusual examples that were done in the Niagara floral style and will highlight those bags that do not fit the diagnostic characteristics described above. Figure 3 - Niagara floral style bag beaded on silk. Collection of Jeff Graybill. The use of silk ribbon as an edge trim on early souvenir bags may have been occasioned by events in France. “Large stocks of ribbons were dumped on the Indian market when the French Revolution [1789-1799] enforced in France a rigid simplicity of dress” (Brasser 1976: 38). Franklin Allen points out that during the period from 1841 to 1846, “there was a noticeable falling off in the demand for silk goods” (Allen 1904:32). These dates coincide with the rapid decline in the use of silk edging on beaded bags and with the introduction of the Niagara floral style that, more often than not, was beaded on velvet and used a cotton ribbon/hem tape as the edge binding. But not all bags in this style were done this way. Figure 4 - C. 1830s Seneca bag with a rudimentary form of the Niagara style in the center panel. Private collection. The origin of this floral style has long been a topic of discussion among collectors and researchers alike. Evidence in the way of dated examples and early photographs suggests it emerged during the early to mid-1840s, in the waning years of the classic period of Haudenosaunee beadwork. But it’s possible that this style developed even earlier than that. During the transition from the curvilinear style to the Niagara floral style, Native beadworkers were experimenting with the form and occasionally examples are found where the entire bag was beaded on silk. The purse in figure 3 is an early example in the Niagara floral style and it may date to the late 1830s or early 1840s. The stem style on this bag has an incipient representation of the thick stems that would come to dominate the designs on mature examples of the early Niagara floral style. The stem on this bag is also very similar to one on a Seneca example from the 1830s (figure 4). This example has a rudimentary form of the Niagara floral-style in the center panel of the bag.  Figure 5 - Early floral bag beaded on silk. Collection of Jeff Graybill. The bag in figure 4 may be the genesis of the style and adds weight to the argument that this floral style originated with the Seneca from western New York. The bead colors used to delineate the flowers and leaves on the example in figure 3 are unusual. This bag also has a two-bead edging along the perimeter, a beading technique that is usually found on pieces from the classic period of Haudenosaunee beadwork (1800-1840s) and the shape of the bag is a variation of the hex shape found on many early bags. Figure 6 - Early Niagara style bag beaded on silk. Private collection. Two other unusual bags in the early Niagara style (figures 5 & 6) are also beaded on silk. Though the elongated shape of both bags is similar, the beading style on each is different and the floral forms and use of color on figure 6 is not typical of the style. This bag also has a false flap with a beaded fringe.  Figure 7 - Early floral bag that is beaded on silk. The bilaterally symmetrical design is more typical of the type we see on these yet some of the color combinations used are atypical. Collection of Jeff Graybill. The bilateral symmetry and the floral designs on the silk bag in figure 7 are more typical of those observed in the Niagara floral style yet the color choices used throughout are not the diagnostic color combinations usually associated with this floral style. The example in figure 8 is beaded on black velvet and the design motifs are very similar to those on the bag in figure 7 yet again, the diagnostic color combinations are not used throughout. Figure 8 - Beaded bag on black velvet in the Niagara floral style. C. 1850. The color combinations are atypical. Private collection.  Figure 9 - A floral bag beaded on silk with unusual color combinations on some of the flowers. The flowers are also depicted in various stages of blossoming, a technique that was associated with some Seneca beadworkers. Private collection. The images that follow are a small sampling of more unusual bags that do not fit the standard diagnostic for the Niagara floral-style. I’ve seen hundreds of these unusual examples over the years and it’s obvious, even from a cursory examination of these bags, that Native beadworkers were not limiting themselves to this so-called four-color theory. The possible evolution of these bags from the Seneca model described in the American Indian Art Magazine article cited earlier as well as the similarity of the design in the early Seneca bag (figure 4) and the photograph of what was likely a Seneca woman wearing a Niagara floral bag in figure 2 suggests that the style could have originated with the Seneca in the late 1830s or early 1840s. Within a very short period of time, and no doubt due to the bags’ popularity, other Haudenosaunee communities started making them. Vast quantities of these bags were made and sold after 1845 and in all likelihood, commercial motives influenced the rapid dispersion of the style to other Haudenosaunee communities. These bags were pervasive, and the extent to which they were admired by Victorian women no doubt fueled the dissemination of the style throughout the region. The style had become so popular and widespread that mid-nineteenth century ladies magazines occasionally ran illustrated articles that described to their readers how they could make their own (see: Phillips 1998:219, figure 6.18). Figure 10 - A circa 1850 Niagara floral bag with atypical color combinations used to delineate the flowers. Private collection. Figure 11 - An unusual treatment of the flowers on this circa 1850 floral bag. Private collection. Figure 12 - A Niagara floral bags from the 1850s with atypical color combinations for the flowers. Private collection. Figure 13 - Another C. 1850 Niagara style bag with atypical color combinations for the flowers. Private collection. Figure 14 - Circa 1850 with atypical color combinations. Private collection. Figure 15 - From the 1850s with atypical color combinations in some of the floral motifs. Private collection. Figure 16 - Very unusual color use and design on this early floral bag. The edge binding is done in silk. Private collection.  Figure 17 - An early floral bag with blue/black and red/black bead combinations. This 1840s bag also has a silk edge binding. There are 14 unique bead colors on this example. Figure 18 - Daguerreotype (1843-1845). Figure 18 illustrates the earliest known Niagara floral bag in a photograph. In this recently found image, the style of the young girl’s dress along with its tight sleeves, elongated bodice, and shallow V neckline date this rare image to the 1843-1845 period. Unlike many daguerreotypes from the mid-nineteenth century where the sitters wore their most fashionable outfits, these seem like plain folks. The older woman’s dress is very unfashionable for the period and was likely just a generic house/work dress with a shapeless, practical jacket. The bag must have been a prized possession.  Detail of the bag in figure 18. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. References Cited Allen, Franklin 1904 The Silk Industry of the World at the Opening of the Twentieth Century. Published by The Silk Association of America. Brasser, Ted J. 1976 Bo’Jou, Neejee! Profiles of Canadian Indian Art. Published by the National Museum of Man. The National Museums of Canada. Harding, Deborah 1994 Bagging the Tourist Market: A Descriptive and Statistical Study of 19th Century Iroquois Beaded Bags. Masters Thesis. Anthropology Department, University of Pittsburgh, Pittsburgh, Pennsylvania. Hovens, Pieter 2010 The Ten Kate Collection 1882-1888 in European Review of Native American Studies, Monograph 4. Series Editor: Christian F. Feest. National Museum of Ethnology, Leiden, The Netherlands, ZKF Publishers. Phillips, Ruth B. 1998 Trading Identities – The Souvenir in Native North American Art from the Northeast 1700-1900. University of Washington Press & McGill-Queen’s University Press.

Another important group of nineteenth century Haudenosaunee beaded bags are those that incorporate figurative or pictographic motifs. Arguably, they are some of the rarest examples of Northeast Woodland beaded bags. This first bag is from a private collection and it was exhibited in the Across Borders: Beadwork in Iroquois Life exhibit that travelled to several museums a few years ago. The figures no doubt represent the twins from the Iroquois creation story. Private collection. Another particularly significant example (illustrated below) is also decorated with two identical figures that may represent the good and mischievous twins from the Haudenosaunee creation story. Arthur Parker characterizes some representations of the double-curve motif, in Iroquoian decorative arts, as the “celestial tree” that was created by the Good Twin (Parker 1912:613). Between the figures on this bag are two large, inward turning curves with sun-like symbols at their centers. They may be artistic expressions of the “celestial tree” and the “world tree” that Parker speaks of. The ambiguous design on the back of the bag is somewhat reminiscent of the carved faces seen on Haudenosaunee masks. In writing about the relationship between the Faces and the “world tree,” Parker says that [t]his tree is mentioned in various ceremonial rites of the Iroquois. With the False Face Company. . . for example, the “Great Face,” chief of all the False Faces, is said to be the invisible giant that guards the world tree (Parker 1912:611). Perhaps the design elements on this side are arranged to represent the “Great Face” that guards the world tree on the other side of the bag. The shape of the mouth, formed by the lower two diamonds, is flattened like spoons, for blowing ashes, and this is how the “Great Face” is sometimes depicted (see: Fenton 1987: plate 6-1). This bag is a classic design that incorporates numerous elements of Haudenosaunee cosmology. It also has a Pop Art component to it, reminiscent of the work of contemporary artist Keith Haring. The subtle and intricate designs, the limited use of motifs that are thoroughly filled with beads, the silk inlays, and the large areas of negative space suggest a 1820s to 1830 date for this rare and exceptional piece. Private collection. Dogs were the only domesticated animals that were traditionally kept by Woodland Indians and many images exist of them with their dogs. However, no mention is made in the literature about the indigenous practice of using a leash. Although depictions of Indians with their dogs appear in other souvenir art pieces, (a nineteenth century Tuscarora double wall pocked with three figures also depicts two off-leash dogs. See: American Indian Art Magazine, Vol. 24, Number 1, Winter 1998, page 39, figure 10), this may have been done to appeal to the Victorians’ fondness for pets. Additionally, one of the subjects on the bag below appears to be holding a basket or perhaps a lantern. The design on the back is somewhat cryptic. Without the four birds, this motif could be interpreted as a flowering plant. The addition of the birds leaves little doubt that it was intended to represent a tree. However, it’s not the classic celestial or world tree with the single flower/sun surmounted on the crown. Possibly the maker intended it to be an interpretation of the “Great Tree of Peace.” Traditionally, the white pine, with its five needles, was the symbol of the Five Iroquois Nations, joined together as one confederacy. It was also the proverbial tree beneath which the Iroquois buried their weapons as a symbol of their growth in consciousness; as a people seeking peace and not war. But this tree has six branches. Perhaps the maker was indicating with her design that since the Tuscaroras was adopted into the confederacy that they were now the Six Iroquois Nations. The shape of the bag, with a scalloped flap and lower edge, is suggestive of the work of Caroline Parker. Circa 1840s. Private collection. Another intriguing bag has what appear to be two figures holding hands. The negative space between them forms the shape of a heart. Adding to the mystery is the design inside the outline of the right-hand figure. The back of the bag has a representation of a large, daisy-like flower. Perhaps someone commission this bag for a spouse or a lover. Circa 1820s. Private collection. Another intriguing bag was also displayed in the Across Borders exhibit. It depicts two figures dancing in a style that is quite similar to those on a coat of an Iroquois man portrayed in a late nineteenth century cabinet card (see below). The style of the bag indicates it is from the mid-nineteenth century. Private collection. Late 19th century cabinet card depicting an Iroquois family group, likely Mohawks. The beaver pelt top hat was part of the formal dress of many Northeast Woodland people during the mid-nineteenth century. The engraving below, published by M. Elias Regnault in 1849, depicts five Native people from the vicinity of Quebec. The two individuals on the far left are wearing beaver pelt top hats. Private collection. There are several other nineteenth century prints and paintings that depict Native people wearing these hats but extant examples of bags with figures wearing a top hat are exceptionally rare. The figures in this piece typify the dress of two Natives from the period. In the enclosed space, between the stylized yellow-beaded pine tree motifs in the upper corners of this bag, is a central sun design. The solidly beaded figures suggest that this piece is from the 1840s. It may have originated in one of the Mohawk Reserves near Montreal, as similar pine tree motifs appear on other pieces attributed to the Mohawk. Private collection. Animal motifs are seen on early Haudenosaunee beaded bags about as often as depictions of people. Although an elephant motif on a mid-nineteenth-century souvenir bag would appear incongruous, the Haudenosaunee beadworkers were, after all, savvy entrepreneurs. This is aptly demonstrated in this example, which was likely a commissioned piece. The design is a representation of the insignia for the 74th Regiment of Foot, the Argyll Highlanders, which fought in the Battle of Assaye, in western India, in 1803. The design on the right is the regiment’s official insignia and below it is a listing of the battles they fought in. On the bag, the number 74 can be seen stitched in beads above the elephant, as can the name of the historic battle they fought in. In the mid - to late 1830s, the 74th Regiment of Foot was stationed throughout the Caribbean, in Antigua, Granada, Barbados and St. Lucia. The regiment moved about these islands until 1841 when it proceeded to Quebec. They remained there until 1844, removing to Nova Scotia and embarking at Halifax for England, in March of 1845. A Haudenosaunee artist was likely retained to produce this piece for someone in that regiment, perhaps while on a trip to Montreal or Niagara Falls, and conceivably as a souvenir for a wife or loved one back home. The reverse side of the bag is virtually identical to the front. Likely made between 1841 and 1844, it’s a fine example that underscores the heavy use of solid bead fill on pieces from the early 1840s. From the collection of Richard Green. The imagery in souvenir arts can have more than one meaning. To the Haudenosaunee, the eagle is a messenger from the Creator and as such is considered sacred. In Iroquois art, it’s often depicted perched over the great tree of peace, keeping a watchful eye on the Haudenosaunee homeland, prepared to warn people of any approaching danger. To some nationalistic Americans the eagle can symbolize their martial or hawkish nature. In each culture it denotes notions of power. In one culture that power is materialistic; in the other it’s spiritual. The intended message of the maker is unknown but certainly the imagery on this bag would appeal to both, albeit for different reasons. This rare bag is beaded on hide. The extended top is made of silk. The solidly beaded thunderbird and large floral motif on the reverse suggests a 1830s to 1840s date. The triangles along the perimeter of the bag may be an Iroquois identity marker as I have seen these on other pieces that were attributed to them. Private collection. Another intriguing bag with a bird motif has what could be a representation of a snipe. The Iroquois Confederacy is composed of six nations with a total of nine clans. The clans, defined by specific animals, represent the land, the sky and the water. Both the Seneca and Tuscarora, prolific producers of early souvenir beadwork, had a Snipe Clan so there may be some intended cultural symbolism in the design of this piece. The beading style indicates an early date; likely pre-1830. Private collection. Unfortunately, only a black and white image was available of this bag which is from the Eugene Thaw collection at the Fennimore Art Museum, in Cooperstown, NY. This very early bag (possibly from the first quarter of the nineteenth century) depicts what could be an eagle on one side and linear-zigzag and curvilinear motifs on the other. The design in the central panel on the side without the bird appears to have silk inlays. This is another rare design treatment on early Haudenosaunee beadwork. This early nineteenth century beaded bag with a bird motif has linear designs and sun and diamond motifs which suggest it is from the first quarter of the nineteenth century. Private collection. The League of the Five Nations was symbolically represented as a longhouse, with the Seneca at the western door and the Mohawks at the east. Besides functioning as a domicile, the longhouse was also emblematic of the Haudenosaunee political system, and the Nation chiefs were the posts which supported it. This rare bag could be a representation of a lodge or longhouse. In conceiving the formation of the Iroquois confederacy, the Peacemaker told the Five Nations that he envisioned them coming together as “one longhouse.” Pre-1830. Private collection. Talismans and objects of personal power were no doubt common among the Iroquois, but it’s not known if insects had more than a cursory significance to them tribally. It’s intriguing how the Haudenosaunee artist who created this early bag configured the design elements into the shape of a wingless bug. Even the diamond design on the other side, with the double curve extensions at the corners, has an anthropomorphic feel to it. Pre-1830. From the collection of the Maine State Museum. The design of this bag, perhaps inspired by a dream or an encounter with an arachnid, shows the clever use of the familiar diamond and double curve motifs to express something beyond the obvious, conceivably a personal connection to an animistic spirit or a spirit helper. Here, the familiar diamond and double curve motifs are arranged into the shape of what could be an insect and possibly a spider. Though many people in western culture have a fear of spiders they are culturally significant to many tribal people around the world. The Bhil and Mat people of central India have a great sense of connection between the living and the dead. They believe that spiders are the spirits of their ancestors. The Chibchas from the northeast highlands of Columbia and present day Panama are culturally similar to the Inca and central to their beliefs is that a departed soul uses the webs of spiders to cross the divide from the physical to the spirit world. In America, the Pueblo and Navajo people have a great tradition about Spider Woman, who was the first being in the world. She brought all life into existence and connected herself to each of her creations through the threads of her web. Circa 1820s. Private collection. Portrait of Spider Woman by the author. This very unusual figurative bag has a horse motif on one side. Likely Iroquois, it looks to be from the 1830s-1840s period. Private collection. Another unusual bag with cryptic designs on both sides also has the addition of a deer. 1830s - 1840s. Private collection. This early bag, likely from the first quarter of the nineteenth century, is from the Thaw collection at the Fennimore Art Museum in Cooperstown, New York. One side has a turtle motif in the center. Likely Seneca. Perhaps the most novel example of a figurative Northeast Woodland bag is one made in the shape of a house. Here again, the impetus may have been the entrepreneurial spirit of the artist or it could have been a commissioned piece. Part of the mystery is the late nineteenth-century Chinese silk lining, which is decorated with an embroidered bird. The beading style, and the bead colors used are atypical. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. REFERENCES CITED Fenton, William N. 1987 The False Faces of the Iroquois – The University of Oklahoma Press – Norman, Publishing Division of the University. Parker, Arthur C. 1912 Certain Iroquois Tree Myths and Symbols in the American Anthropologist, Vol. 14

Photographs of an 1840s Iroquois beaded wallet with bird designs along with historical information about Native American crafts.

2002 Samuel L. Thomas (Cayuga) Detail of beaded bag showing a hummingbird and strawberry pattern. Flowers, berries, and bird are done in the raised beading style typically found in Iroquois beadwork. Fabric on the inside of the bag (not shown) is a strawberry cotton print. Photo courtesy of the Mashantucket Pequot Museum & Research Center These images may not be used or reproduced without the permission of the Mashantucket Pequot Museum Research Center

Bag Antique Beaded- Add this classic Antique Iroquois Style Beaded Bag to your collection!  The artist made this purse from dark brown velvet with red bias tape edging. He or she used White, Clear, Cheyenne Pink, White Center Red, Yellow, Pumpkin, Transparent Amber, Transparent Red, Turquoise, Green, Yellow, and Pony Trader Blue Seed Beads to create floral designs on both sides. Then the crafter added White Pony Bead edge beading around the flaps.  A few of the original sequins are still attached. Under the flap of one side of this Bag there is an additional small opening to put items in it.  This Bag does not have a handle.  The bias tape edging has deteriorated.  Only the edge beading shows any apparent bead loss.   This Bag measures 7" long by 6.5" at its widest point.  One of a Kind! Shop for more Antique Collectibles

Iroquois (unknown group/possibly Mohawk, New York or Quebec), Bag, beads/velvet, c. 1900.

A vintage Iroquois (my guess would be Mohawk) beaded purse or flat bag from old Caughnawaga Reservation (near Montreal), Quebec, Canada,. This is a well utilized example with the beadwork pattern in a more traditional style, typical of the later 1800's. This measures approximately 6 1/2 inches high by 7 inches at the widest. The fullness of this style differs from many Iroquois pieces of the time, and is a style I have seen from the Caughnawaga Reservation. This later Iroquois style geared heavily to the tourist trade would have the florate design in raised beadwork done over a paper pattern cutout. There are dramatic design elements. Wonderful use of old Venetian beads in greasy colors such as Pony Trader Blue, Desert Pink. There is no loss in the beadwork. A wonderful addition to any Native American collection, and represents a time when Native people adapted to a new economy when there previous way of making a living could no longer be pursued or sustain them. With the Fur Trade all but gone, and Indian land overrun with settlements, Native people turned to selling their crafts on the popular Tourist markets frequented by an International clientele, offering souvenir arts at places like Niagara Falls, and railroad stations, fairs, and even door-to-door. A new Native economy as a result of necessity that often was the sustaining force for whole families. Own this piece of history, and the rich story it represents.

What follows are some of the latest designs I’ve been working on; something to occupy my time during the covid epidemic. For Native peoples around the world, shields served as a form of protection from both physical and spiritual harm. They are also strong symbols of good medicine. My intention is to create a series of shields, some inspired by designs on old Northeast Woodland beaded bags and others by animals or some other aspect of nature. Many of the old beadwork designs had hidden meanings woven into them, cultural motifs to be preserved for future generations. The earliest beadworkl has a spiritual quality about it that is akin to fine art. Inaugurated at a time when the Northeast Woodland nations were impoverished and struggling to continue under conditions of devastating cultural loss, not only was each piece the product of hard work, but it was also a stratagem of cultural resistance and continuance. It was an art of survival. Historically, this work has been described as a family undertaking that was performed when beadworkers gathered. As they worked in a communal setting, they thoughtfully wove stories into their designs, which told of what it meant to be Haudenosaunee or Wabanaki. Beadwork was a bridge that united the generations. As the younger beaders were learning their craft, their elders would relate the oral histories of their families. The process of making beadwork evokes memories and connects the Iroquois to their ancestors (From a text panel in the “Across Borders” travelling exhibit). On the surface, the bags were the canvas upon which an artist displayed their technical skills and artistic vision. But below the surface, the power inherent in a beautiful object was a central feature of life. Beadwork was a language through which artists expressed their deepest beliefs about the universe. We may never know the full extent of their meanings, but embedded within the designs are stories of a people told in symbols and motifs that spoke of a sacred relationship with the natural world. The shields are my humble attempt to honor the creators of this original and unique form of art with my own work. Figure 1 - While studying a selection of old Iroquois beaded bags, I noticed that several of the ones that had a prominent heart motif also included tri-lobed strawberry leaves in the design. Given the importance and sacred value of strawberries in Iroquois culture, and from conversations with contemporary Haudenosaunee beadworkers, I've come to understand that some of the heart motifs on the old bags were likely a stylistic representation of the strawberry or heart berry. The old souvenir bags functioned as a non-verbal medium for historic beadworkers to weave key cultural concepts into their work and also served as a conduit to communicate those ideas to future generations. When used in a covert way, these traditional motifs allowed an artist to include these concepts in a way that was non-threatening to a 19th century patron. Although made for sale to outsiders, the motifs recorded in the beadwork were a way to keep a tradition alive and they were also a form of resistance to assimilation pressures. It was a method of preserving key aspects of Haudenosaunee beliefs and traditions for both present and future generations. This early Haudenosaunee bag with the heart or "heart berry" motif was the inspiration for the design in figure 1. The bag dates to the first quarter of the 19th century. Figure 2 – This design is based on an early Seneca bag with what might be interpreted as a whirling sun motif. This is the bag that was the inspiration for the design in figure 2. The bag dates to the 1830-1840s period. Figure 3 - Many contemporary Wabanaki beadworkers see medicine plants in the designs that were woven onto their old beaded bags: plants that could heal cuts and burns, break fevers, and a host of other ailments. Wabanaki artists had to look no further than the nearby fields and and their gardens to find inspiration for their beadwork designs. This is the bag, likely Mi'kmaw, that was the inspiration for the design in figure 3. A beautiful example with a bilaterally symmetrical design and linear beadwork. The bag dates to the 1840s and has flora that likely represented sacred or healing plants to the maker. It’s a beautiful example of Wabanaki workmanship from this time period. Figure 4 – This piece is based on a mid-19th century Tonawanda Seneca design. I did it as a tribute to Caroline Parker and her family who were from Tonawanda. It’s unclear if Caroline actually made the piece that inspired this design but a documented table cover in the Rochester Museum and Science Center was made by her and there are many similarities between the two pieces. There were several Parker family beadworkers during the mid-19th century, notably Caroline Parker, her mother Elizabeth, and Mariah, the wife of Caroline’s brother Levi. There may have been others in their immediate circle of beadworkers as well. Scholars, such as Ruth Phillips, have indicated that the rapid shift from curvilinear and geometric designs to floral motifs in mid-nineteenth century Iroquois work has been linked to Victorian fashion trends and women’s domestic sphere (Phillips 1998). The floral style in this piece appears to be unique to the mid-nineteenth century Seneca on the Tonawanda Reservation. Lewis Henry Morgan, an attorney from Rochester, New York, who was loosely affiliated with New York State Cabinet of Natural History (NYSCNH), retained the Parkers to produce examples of Seneca material culture for the NYSCNH, the predecessor to the New York State Museum in Albany and the Parkers produced numerous examples for the State collection. Morgan’s correspondence with the Parkers indicates that Caroline made many of the items that were supplied to the Cabinet of Natural History although some scholars dispute this point as Caroline was attending school in Albany at the time and wrote that she was overwhelmed with school work and other obligations. It’s possible that the beadwork she provided was from an existing inventory and it’s impossible to determine at this point how much of it was made by her or by other members of her family. The table cover in the Rochester Museum and Science Center is a documented example of Caroline’s work and there are numerous other objects that have survived that incorporate virtually identical floral motifs. Except for the table cover, I’m not aware of any other documented examples of her work, but the bead colors, delicacy and refinement of the designs and their stylistic similarity to the table cover suggests that she could have made them; they represent the highest level of 19th century Haudenosaunee beadwork. Art historian Ruth Phillips has written that Caroline Parker’s work is characterized by its flatness, great delicacy, relatively high degree of naturalism, and its use of small, pastel, white, and translucent beads (Phillips 1998:224). Other distinguishing features on Tonawanda Seneca bags include a tight band of beads along a scalloped perimeter. Additionally, like the table cover, they incorporate some variation of the dendrite or spray work along the perimeter of the flower that might symbolizes the world tree from the Iroquois creation story. The large flower could be a stylized representation of the sun depicted atop of the celestial or world tree also from the creation story. This is the bag I used as the inspiration for figure 4. It dates from the mid-19th century and is in the Tonawanda Seneca style. Although the Parkers adapted their lifestyle to co-exist with Europeans and presented their work to Victorian consumers in a way that was acceptable to them, they could still covertly incorporate symbols in their work that had cultural significance to them. “The art of flowering” – as the Parkers termed it – is what they were noted for: In doing this work,” Morgan reported that “the eye and the taste are the chief reliances… In combining colors certain general rules, the result of experience and observation, are followed, but beyond them each one pursued her own fancy. They never seek for strong contrasts, but break the force of it by interposing white, that the colors may blend harmoniously. Thus light blue and pink beads, with white beads between them, is a favorable combination; dark blue and yellow, with white between, is another; red and light blue, with white between, is another; and light purple and dark purple, with white between, is a fourth. Others might be added were it necessary. If this beadwork is critically examined, it will be found that these general rules are strictly observed; and in so far as beadwork embroidery may be called a systematic art. The art of flowering, as they term it, is the most difficult part of the beadwork, as it requires an accurate knowledge of the appearance of the flower, and the structure and condition of the plant at the stage in which it is represented (Morgan 1852:111). Figure 5 - Over the years, I’ve come across a small number of Haudenosaunee beaded items that had designs that reminded me of insects. For this latest shield I used an old bag with what could be interpreted as a spider as my inspiration. Some days I think it is, but other days I’m not sure. It is certainly an intriguing design and since many 19th century beadworkers covertly included concepts in their work that had both personal and cultural meaning, there might be something entomological to the design. Although many folks have a fear of spiders, diverse tribal people around the world consider them sacred. The Bhil and Mat people of central India have a great sense of connection between the living and the dead. They believe that spiders are the spirits of their ancestors. The Chibchas from the northeast highlands of Columbia and present-day Panama are culturally similar to the Inca, and central to their beliefs is that a departed soul uses the webs of spiders to cross the divide from the physical to the spirit world. In North America, the Pueblo and Navajo people have a great tradition about Spider Woman, who, according to their traditions, was the first being in the world. She brought all life into existence and connected herself to each of her creations through the threads of her web. Below, I’ve included a few other images with motifs that could be interpreted as insects. Of course, it’s unclear if these designs actually represent insects or were just a variation of the double-curve motif by their maker. Today, our interpretation of these designs is not necessarily an accurate representation of the maker’s original intent. This is the bag I used as my inspiration for figure 5. The design could be interpreted as an insect, possibly a spider. It's an early Seneca bag that dates to the first quarter of the 19th century. Another early bag, likely Seneca, with what could be interpreted as an insect design. From the Maine State Museum collection. Another early Seneca bag with what could be an insect motif on the flap. Possibly from the first quarter of the 19th century. This is a mid-19th century Haudenosaunee watch pocket with a design that could represent a butterfly or a moth. Figure 6 - Many Native people consider the turtle a sacred symbol that represents Mother Earth. The turtle’s long life, and hard shell are symbolic of good health, perseverance and protection. As such it represents a powerful theme for a shield. Figure 7 - My rendition of a thunderbird shield. The thunderbird is a powerful spirit who has taken the form of a bird. The flapping of its wings produced the sound of thunder and lightning bolts were believed to radiate from its beak. It brought the rain which advanced all life on earth. Figure 8 - Eagle shield. October 1, 2020 References Morgan, Lewis Henry 1850 “Report to the Regents of the University, upon the Articles Furnished to the Indian Collection.” In The Third Annual Report of the Regents of the University on the Condition of the State Cabinet of Natural History and Antiquarian Collection, Annexed Thereto pp. 63 – 93. Revised Edition: Printed by Weed, Parsons and Company, Albany. 1852 “Report on the Fabrics, Inventions, Implements and Utensils of the Iroquois, Made to the Regents of the University, Jan. 22, 1851; Illustrative of the Collection Annexed to the State Cabinet of Natural History, with Illustrations.” In The Fifth Annual Report of the Regents of the University on the Condition of the State Cabinet of Natural History and the Historical and Antiquarian Collection, Annexed Thereto, pp 68 – 117. Printed by Richard H. Pease, Albany. Phillips, Ruth 1998 Trading Identities: The Souvenir in Native North American Art from the Northeast, 1700 – 1900. University of Washington Press, Seattle and London: McGill-Queen’s University Press, Montreal and Kingston.

a very old beaded bag made probably during the 19th century by Iroquois beadworkers

 During the nineteenth century, the western New York Haudenosaunee, and particularly the Tuscaroras, were on the frontlines of the world’s most exciting and emerging tourist market. Many of the Victorians who came to Niagara Falls were conscious of fashion and any stylish dress accessories they would have acquired there – such as beaded bags – would have reflected their sense of refinement and taste. The beaded bags that the Haudenosaunee produced for the tourist trade are distinctive and changed stylistically over time. These changes occurred gradually but, as a general rule, distinguishable style refinements can be categorized and placed into specific time periods. Figure 1 - Typical floral bag in the Niagara style. Private collection. During the classic period of Haudenosaunee souvenir beadwork (1800-1840s), many bags featured curvilinear and geometric designs and organic motifs. Not long after the dawn of the Victorian era however, which began in June of 1837 with the reign of Queen Victoria, a major design transformation – the rise of the Niagara floral style – took place in Haudenosaunee beadwork (figure 1). This example is typical of bags seen in this style. The flowers were frequently ovate in shape and often delineated in two shades of the same hue. Some researchers consider this a diagnostic feature of the style. The color combinations were, in many instances, a medium blue and pale blue; wine red and pink; solid yellow and transparent yellow; and white and crystal. As a general rule, the earliest bags in this floral style (mid-1840s to mid-1850s) had long, thick beaded stems, usually in dark transparent green, though blue is occasionally used and there are other exceptions. Earlier bags also had smaller beads than later examples. Despite the general diagnostic rule stated above, all of the primary and secondary colors were used on these bags. Red, white, pink, rose, pumpkin, crystal, opaque greasy yellow and transparent yellow, gold, and various distinct hues of blue beads were the predominant colors used. From time to time, purple, violet and green are seen in the flowers and other combinations are found. Occasionally, green beads were used for flowers, but generally green was reserved for stems and occasionally for leaves. Numerous examples from the early period of this floral style had bilaterally symmetrical designs. As many as sixteen colors have been observed on unique examples of these bags and though some beadwork enthusiasts cling to the notion that all the pieces in this style were made in the four diagnostic color combinations, I will demonstrate that the overwhelming evidence doesn’t support this notion. Deborah Harding indicated in her thesis on Iroquois beaded bags that unlike the irregular patterning of colors found in the earlier curvilinear and geometric style (1800-1840s), the Niagara floral style (or Euro-floral style as she refers to it) exhibited “a very regular patterning of color choices.” Although the use of specific color combinations such as dark blue/light blue, red/pink and opaque green/transparent green can be considered a diagnostic feature of these bags, “[s]tatistically, however, only the combinations of opaque dark blue with opaque light blue, and opaque green with transparent green showed any significance.” She said that opaque red with opaque pink and transparent red with transparent pink combinations “produced results of low statistical significance” (Harding 1994:61). Pieter Hovens has written that [d]uring the second half of the nineteenth-century floral designs. . . carried positive associations with ideals of womanhood and domesticity, explaining why the floral beadwork used by Native women to ornament dress and household accessories was so popular with Victorians consumers (Hovens 2010:26). Perhaps as an accommodation to Victorian fashion trends, the floral motifs on these bags became the predominate beadwork style that would be made and sold by the Haudenosaunee during the early Victorian period and the overwhelming evidence suggests that these bags were made in many Haudenosaunee communities. Museum and private collections contain hundreds of examples that were either collected from or are attributed to the Tuscaroras, Senecas, Onondagas and the Mohawk. Because so many of these bags were sold at Niagara Falls, they are generally referred to as Niagara floral-style.  Figure 2 - C. 1860 CDV of a lady, possibly Seneca, with a Niagara floral-style beaded bag. Private collection. Photographer: C.A. Douglas & Co., Buffalo, NY It's unusual to find early images of Native people wearing these bags but in the circa 1860, hand-tinted, carte-de-visite (CDV) in figure 2, what was likely a Seneca woman is wearing one from her waist belt in the form of a chatelaine purse. Did she make the bag? That is certainly an unanswered question but in all probability she did. Other evidence suggests that this floral style could have originated with the Seneca from the Tonawanda Reservation in western New York (see: A Cherished Curiosity – The Niagara Floral-style Beaded Bag in the Victorian Era in American Indian Art Magazine, Autumn 2010). This particular blog posting will focus on the unusual examples that were done in the Niagara floral style and will highlight those bags that do not fit the diagnostic characteristics described above. Figure 3 - Niagara floral style bag beaded on silk. Collection of Jeff Graybill. The use of silk ribbon as an edge trim on early souvenir bags may have been occasioned by events in France. “Large stocks of ribbons were dumped on the Indian market when the French Revolution [1789-1799] enforced in France a rigid simplicity of dress” (Brasser 1976: 38). Franklin Allen points out that during the period from 1841 to 1846, “there was a noticeable falling off in the demand for silk goods” (Allen 1904:32). These dates coincide with the rapid decline in the use of silk edging on beaded bags and with the introduction of the Niagara floral style that, more often than not, was beaded on velvet and used a cotton ribbon/hem tape as the edge binding. But not all bags in this style were done this way. Figure 4 - C. 1830s Seneca bag with a rudimentary form of the Niagara style in the center panel. Private collection. The origin of this floral style has long been a topic of discussion among collectors and researchers alike. Evidence in the way of dated examples and early photographs suggests it emerged during the early to mid-1840s, in the waning years of the classic period of Haudenosaunee beadwork. But it’s possible that this style developed even earlier than that. During the transition from the curvilinear style to the Niagara floral style, Native beadworkers were experimenting with the form and occasionally examples are found where the entire bag was beaded on silk. The purse in figure 3 is an early example in the Niagara floral style and it may date to the late 1830s or early 1840s. The stem style on this bag has an incipient representation of the thick stems that would come to dominate the designs on mature examples of the early Niagara floral style. The stem on this bag is also very similar to one on a Seneca example from the 1830s (figure 4). This example has a rudimentary form of the Niagara floral-style in the center panel of the bag.  Figure 5 - Early floral bag beaded on silk. Collection of Jeff Graybill. The bag in figure 4 may be the genesis of the style and adds weight to the argument that this floral style originated with the Seneca from western New York. The bead colors used to delineate the flowers and leaves on the example in figure 3 are unusual. This bag also has a two-bead edging along the perimeter, a beading technique that is usually found on pieces from the classic period of Haudenosaunee beadwork (1800-1840s) and the shape of the bag is a variation of the hex shape found on many early bags. Figure 6 - Early Niagara style bag beaded on silk. Private collection. Two other unusual bags in the early Niagara style (figures 5 & 6) are also beaded on silk. Though the elongated shape of both bags is similar, the beading style on each is different and the floral forms and use of color on figure 6 is not typical of the style. This bag also has a false flap with a beaded fringe.  Figure 7 - Early floral bag that is beaded on silk. The bilaterally symmetrical design is more typical of the type we see on these yet some of the color combinations used are atypical. Collection of Jeff Graybill. The bilateral symmetry and the floral designs on the silk bag in figure 7 are more typical of those observed in the Niagara floral style yet the color choices used throughout are not the diagnostic color combinations usually associated with this floral style. The example in figure 8 is beaded on black velvet and the design motifs are very similar to those on the bag in figure 7 yet again, the diagnostic color combinations are not used throughout. Figure 8 - Beaded bag on black velvet in the Niagara floral style. C. 1850. The color combinations are atypical. Private collection.  Figure 9 - A floral bag beaded on silk with unusual color combinations on some of the flowers. The flowers are also depicted in various stages of blossoming, a technique that was associated with some Seneca beadworkers. Private collection. The images that follow are a small sampling of more unusual bags that do not fit the standard diagnostic for the Niagara floral-style. I’ve seen hundreds of these unusual examples over the years and it’s obvious, even from a cursory examination of these bags, that Native beadworkers were not limiting themselves to this so-called four-color theory. The possible evolution of these bags from the Seneca model described in the American Indian Art Magazine article cited earlier as well as the similarity of the design in the early Seneca bag (figure 4) and the photograph of what was likely a Seneca woman wearing a Niagara floral bag in figure 2 suggests that the style could have originated with the Seneca in the late 1830s or early 1840s. Within a very short period of time, and no doubt due to the bags’ popularity, other Haudenosaunee communities started making them. Vast quantities of these bags were made and sold after 1845 and in all likelihood, commercial motives influenced the rapid dispersion of the style to other Haudenosaunee communities. These bags were pervasive, and the extent to which they were admired by Victorian women no doubt fueled the dissemination of the style throughout the region. The style had become so popular and widespread that mid-nineteenth century ladies magazines occasionally ran illustrated articles that described to their readers how they could make their own (see: Phillips 1998:219, figure 6.18). Figure 10 - A circa 1850 Niagara floral bag with atypical color combinations used to delineate the flowers. Private collection. Figure 11 - An unusual treatment of the flowers on this circa 1850 floral bag. Private collection. Figure 12 - A Niagara floral bags from the 1850s with atypical color combinations for the flowers. Private collection. Figure 13 - Another C. 1850 Niagara style bag with atypical color combinations for the flowers. Private collection. Figure 14 - Circa 1850 with atypical color combinations. Private collection. Figure 15 - From the 1850s with atypical color combinations in some of the floral motifs. Private collection. Figure 16 - Very unusual color use and design on this early floral bag. The edge binding is done in silk. Private collection.  Figure 17 - An early floral bag with blue/black and red/black bead combinations. This 1840s bag also has a silk edge binding. There are 14 unique bead colors on this example. Figure 18 - Daguerreotype (1843-1845). Figure 18 illustrates the earliest known Niagara floral bag in a photograph. In this recently found image, the style of the young girl’s dress along with its tight sleeves, elongated bodice, and shallow V neckline date this rare image to the 1843-1845 period. Unlike many daguerreotypes from the mid-nineteenth century where the sitters wore their most fashionable outfits, these seem like plain folks. The older woman’s dress is very unfashionable for the period and was likely just a generic house/work dress with a shapeless, practical jacket. The bag must have been a prized possession.  Detail of the bag in figure 18. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. References Cited Allen, Franklin 1904 The Silk Industry of the World at the Opening of the Twentieth Century. Published by The Silk Association of America. Brasser, Ted J. 1976 Bo’Jou, Neejee! Profiles of Canadian Indian Art. Published by the National Museum of Man. The National Museums of Canada. Harding, Deborah 1994 Bagging the Tourist Market: A Descriptive and Statistical Study of 19th Century Iroquois Beaded Bags. Masters Thesis. Anthropology Department, University of Pittsburgh, Pittsburgh, Pennsylvania. Hovens, Pieter 2010 The Ten Kate Collection 1882-1888 in European Review of Native American Studies, Monograph 4. Series Editor: Christian F. Feest. National Museum of Ethnology, Leiden, The Netherlands, ZKF Publishers. Phillips, Ruth B. 1998 Trading Identities – The Souvenir in Native North American Art from the Northeast 1700-1900. University of Washington Press & McGill-Queen’s University Press.

 During the nineteenth century, the western New York Haudenosaunee, and particularly the Tuscaroras, were on the frontlines of the world’s most exciting and emerging tourist market. Many of the Victorians who came to Niagara Falls were conscious of fashion and any stylish dress accessories they would have acquired there – such as beaded bags – would have reflected their sense of refinement and taste. The beaded bags that the Haudenosaunee produced for the tourist trade are distinctive and changed stylistically over time. These changes occurred gradually but, as a general rule, distinguishable style refinements can be categorized and placed into specific time periods. Figure 1 - Typical floral bag in the Niagara style. Private collection. During the classic period of Haudenosaunee souvenir beadwork (1800-1840s), many bags featured curvilinear and geometric designs and organic motifs. Not long after the dawn of the Victorian era however, which began in June of 1837 with the reign of Queen Victoria, a major design transformation – the rise of the Niagara floral style – took place in Haudenosaunee beadwork (figure 1). This example is typical of bags seen in this style. The flowers were frequently ovate in shape and often delineated in two shades of the same hue. Some researchers consider this a diagnostic feature of the style. The color combinations were, in many instances, a medium blue and pale blue; wine red and pink; solid yellow and transparent yellow; and white and crystal. As a general rule, the earliest bags in this floral style (mid-1840s to mid-1850s) had long, thick beaded stems, usually in dark transparent green, though blue is occasionally used and there are other exceptions. Earlier bags also had smaller beads than later examples. Despite the general diagnostic rule stated above, all of the primary and secondary colors were used on these bags. Red, white, pink, rose, pumpkin, crystal, opaque greasy yellow and transparent yellow, gold, and various distinct hues of blue beads were the predominant colors used. From time to time, purple, violet and green are seen in the flowers and other combinations are found. Occasionally, green beads were used for flowers, but generally green was reserved for stems and occasionally for leaves. Numerous examples from the early period of this floral style had bilaterally symmetrical designs. As many as sixteen colors have been observed on unique examples of these bags and though some beadwork enthusiasts cling to the notion that all the pieces in this style were made in the four diagnostic color combinations, I will demonstrate that the overwhelming evidence doesn’t support this notion. Deborah Harding indicated in her thesis on Iroquois beaded bags that unlike the irregular patterning of colors found in the earlier curvilinear and geometric style (1800-1840s), the Niagara floral style (or Euro-floral style as she refers to it) exhibited “a very regular patterning of color choices.” Although the use of specific color combinations such as dark blue/light blue, red/pink and opaque green/transparent green can be considered a diagnostic feature of these bags, “[s]tatistically, however, only the combinations of opaque dark blue with opaque light blue, and opaque green with transparent green showed any significance.” She said that opaque red with opaque pink and transparent red with transparent pink combinations “produced results of low statistical significance” (Harding 1994:61). Pieter Hovens has written that [d]uring the second half of the nineteenth-century floral designs. . . carried positive associations with ideals of womanhood and domesticity, explaining why the floral beadwork used by Native women to ornament dress and household accessories was so popular with Victorians consumers (Hovens 2010:26). Perhaps as an accommodation to Victorian fashion trends, the floral motifs on these bags became the predominate beadwork style that would be made and sold by the Haudenosaunee during the early Victorian period and the overwhelming evidence suggests that these bags were made in many Haudenosaunee communities. Museum and private collections contain hundreds of examples that were either collected from or are attributed to the Tuscaroras, Senecas, Onondagas and the Mohawk. Because so many of these bags were sold at Niagara Falls, they are generally referred to as Niagara floral-style.  Figure 2 - C. 1860 CDV of a lady, possibly Seneca, with a Niagara floral-style beaded bag. Private collection. Photographer: C.A. Douglas & Co., Buffalo, NY It's unusual to find early images of Native people wearing these bags but in the circa 1860, hand-tinted, carte-de-visite (CDV) in figure 2, what was likely a Seneca woman is wearing one from her waist belt in the form of a chatelaine purse. Did she make the bag? That is certainly an unanswered question but in all probability she did. Other evidence suggests that this floral style could have originated with the Seneca from the Tonawanda Reservation in western New York (see: A Cherished Curiosity – The Niagara Floral-style Beaded Bag in the Victorian Era in American Indian Art Magazine, Autumn 2010). This particular blog posting will focus on the unusual examples that were done in the Niagara floral style and will highlight those bags that do not fit the diagnostic characteristics described above. Figure 3 - Niagara floral style bag beaded on silk. Collection of Jeff Graybill. The use of silk ribbon as an edge trim on early souvenir bags may have been occasioned by events in France. “Large stocks of ribbons were dumped on the Indian market when the French Revolution [1789-1799] enforced in France a rigid simplicity of dress” (Brasser 1976: 38). Franklin Allen points out that during the period from 1841 to 1846, “there was a noticeable falling off in the demand for silk goods” (Allen 1904:32). These dates coincide with the rapid decline in the use of silk edging on beaded bags and with the introduction of the Niagara floral style that, more often than not, was beaded on velvet and used a cotton ribbon/hem tape as the edge binding. But not all bags in this style were done this way. Figure 4 - C. 1830s Seneca bag with a rudimentary form of the Niagara style in the center panel. Private collection. The origin of this floral style has long been a topic of discussion among collectors and researchers alike. Evidence in the way of dated examples and early photographs suggests it emerged during the early to mid-1840s, in the waning years of the classic period of Haudenosaunee beadwork. But it’s possible that this style developed even earlier than that. During the transition from the curvilinear style to the Niagara floral style, Native beadworkers were experimenting with the form and occasionally examples are found where the entire bag was beaded on silk. The purse in figure 3 is an early example in the Niagara floral style and it may date to the late 1830s or early 1840s. The stem style on this bag has an incipient representation of the thick stems that would come to dominate the designs on mature examples of the early Niagara floral style. The stem on this bag is also very similar to one on a Seneca example from the 1830s (figure 4). This example has a rudimentary form of the Niagara floral-style in the center panel of the bag.  Figure 5 - Early floral bag beaded on silk. Collection of Jeff Graybill. The bag in figure 4 may be the genesis of the style and adds weight to the argument that this floral style originated with the Seneca from western New York. The bead colors used to delineate the flowers and leaves on the example in figure 3 are unusual. This bag also has a two-bead edging along the perimeter, a beading technique that is usually found on pieces from the classic period of Haudenosaunee beadwork (1800-1840s) and the shape of the bag is a variation of the hex shape found on many early bags. Figure 6 - Early Niagara style bag beaded on silk. Private collection. Two other unusual bags in the early Niagara style (figures 5 & 6) are also beaded on silk. Though the elongated shape of both bags is similar, the beading style on each is different and the floral forms and use of color on figure 6 is not typical of the style. This bag also has a false flap with a beaded fringe.  Figure 7 - Early floral bag that is beaded on silk. The bilaterally symmetrical design is more typical of the type we see on these yet some of the color combinations used are atypical. Collection of Jeff Graybill. The bilateral symmetry and the floral designs on the silk bag in figure 7 are more typical of those observed in the Niagara floral style yet the color choices used throughout are not the diagnostic color combinations usually associated with this floral style. The example in figure 8 is beaded on black velvet and the design motifs are very similar to those on the bag in figure 7 yet again, the diagnostic color combinations are not used throughout. Figure 8 - Beaded bag on black velvet in the Niagara floral style. C. 1850. The color combinations are atypical. Private collection.  Figure 9 - A floral bag beaded on silk with unusual color combinations on some of the flowers. The flowers are also depicted in various stages of blossoming, a technique that was associated with some Seneca beadworkers. Private collection. The images that follow are a small sampling of more unusual bags that do not fit the standard diagnostic for the Niagara floral-style. I’ve seen hundreds of these unusual examples over the years and it’s obvious, even from a cursory examination of these bags, that Native beadworkers were not limiting themselves to this so-called four-color theory. The possible evolution of these bags from the Seneca model described in the American Indian Art Magazine article cited earlier as well as the similarity of the design in the early Seneca bag (figure 4) and the photograph of what was likely a Seneca woman wearing a Niagara floral bag in figure 2 suggests that the style could have originated with the Seneca in the late 1830s or early 1840s. Within a very short period of time, and no doubt due to the bags’ popularity, other Haudenosaunee communities started making them. Vast quantities of these bags were made and sold after 1845 and in all likelihood, commercial motives influenced the rapid dispersion of the style to other Haudenosaunee communities. These bags were pervasive, and the extent to which they were admired by Victorian women no doubt fueled the dissemination of the style throughout the region. The style had become so popular and widespread that mid-nineteenth century ladies magazines occasionally ran illustrated articles that described to their readers how they could make their own (see: Phillips 1998:219, figure 6.18). Figure 10 - A circa 1850 Niagara floral bag with atypical color combinations used to delineate the flowers. Private collection. Figure 11 - An unusual treatment of the flowers on this circa 1850 floral bag. Private collection. Figure 12 - A Niagara floral bags from the 1850s with atypical color combinations for the flowers. Private collection. Figure 13 - Another C. 1850 Niagara style bag with atypical color combinations for the flowers. Private collection. Figure 14 - Circa 1850 with atypical color combinations. Private collection. Figure 15 - From the 1850s with atypical color combinations in some of the floral motifs. Private collection. Figure 16 - Very unusual color use and design on this early floral bag. The edge binding is done in silk. Private collection.  Figure 17 - An early floral bag with blue/black and red/black bead combinations. This 1840s bag also has a silk edge binding. There are 14 unique bead colors on this example. Figure 18 - Daguerreotype (1843-1845). Figure 18 illustrates the earliest known Niagara floral bag in a photograph. In this recently found image, the style of the young girl’s dress along with its tight sleeves, elongated bodice, and shallow V neckline date this rare image to the 1843-1845 period. Unlike many daguerreotypes from the mid-nineteenth century where the sitters wore their most fashionable outfits, these seem like plain folks. The older woman’s dress is very unfashionable for the period and was likely just a generic house/work dress with a shapeless, practical jacket. The bag must have been a prized possession.  Detail of the bag in figure 18. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. References Cited Allen, Franklin 1904 The Silk Industry of the World at the Opening of the Twentieth Century. Published by The Silk Association of America. Brasser, Ted J. 1976 Bo’Jou, Neejee! Profiles of Canadian Indian Art. Published by the National Museum of Man. The National Museums of Canada. Harding, Deborah 1994 Bagging the Tourist Market: A Descriptive and Statistical Study of 19th Century Iroquois Beaded Bags. Masters Thesis. Anthropology Department, University of Pittsburgh, Pittsburgh, Pennsylvania. Hovens, Pieter 2010 The Ten Kate Collection 1882-1888 in European Review of Native American Studies, Monograph 4. Series Editor: Christian F. Feest. National Museum of Ethnology, Leiden, The Netherlands, ZKF Publishers. Phillips, Ruth B. 1998 Trading Identities – The Souvenir in Native North American Art from the Northeast 1700-1900. University of Washington Press & McGill-Queen’s University Press.

This Iroquois beaded bag Looped Edging is an beautiful find! This Purse measures 4 3/4" long by 5" at its widest point. One of a Kind!

Another important group of nineteenth century Haudenosaunee beaded bags are those that incorporate figurative or pictographic motifs. Arguably, they are some of the rarest examples of Northeast Woodland beaded bags. This first bag is from a private collection and it was exhibited in the Across Borders: Beadwork in Iroquois Life exhibit that travelled to several museums a few years ago. The figures no doubt represent the twins from the Iroquois creation story. Private collection. Another particularly significant example (illustrated below) is also decorated with two identical figures that may represent the good and mischievous twins from the Haudenosaunee creation story. Arthur Parker characterizes some representations of the double-curve motif, in Iroquoian decorative arts, as the “celestial tree” that was created by the Good Twin (Parker 1912:613). Between the figures on this bag are two large, inward turning curves with sun-like symbols at their centers. They may be artistic expressions of the “celestial tree” and the “world tree” that Parker speaks of. The ambiguous design on the back of the bag is somewhat reminiscent of the carved faces seen on Haudenosaunee masks. In writing about the relationship between the Faces and the “world tree,” Parker says that [t]his tree is mentioned in various ceremonial rites of the Iroquois. With the False Face Company. . . for example, the “Great Face,” chief of all the False Faces, is said to be the invisible giant that guards the world tree (Parker 1912:611). Perhaps the design elements on this side are arranged to represent the “Great Face” that guards the world tree on the other side of the bag. The shape of the mouth, formed by the lower two diamonds, is flattened like spoons, for blowing ashes, and this is how the “Great Face” is sometimes depicted (see: Fenton 1987: plate 6-1). This bag is a classic design that incorporates numerous elements of Haudenosaunee cosmology. It also has a Pop Art component to it, reminiscent of the work of contemporary artist Keith Haring. The subtle and intricate designs, the limited use of motifs that are thoroughly filled with beads, the silk inlays, and the large areas of negative space suggest a 1820s to 1830 date for this rare and exceptional piece. Private collection. Dogs were the only domesticated animals that were traditionally kept by Woodland Indians and many images exist of them with their dogs. However, no mention is made in the literature about the indigenous practice of using a leash. Although depictions of Indians with their dogs appear in other souvenir art pieces, (a nineteenth century Tuscarora double wall pocked with three figures also depicts two off-leash dogs. See: American Indian Art Magazine, Vol. 24, Number 1, Winter 1998, page 39, figure 10), this may have been done to appeal to the Victorians’ fondness for pets. Additionally, one of the subjects on the bag below appears to be holding a basket or perhaps a lantern. The design on the back is somewhat cryptic. Without the four birds, this motif could be interpreted as a flowering plant. The addition of the birds leaves little doubt that it was intended to represent a tree. However, it’s not the classic celestial or world tree with the single flower/sun surmounted on the crown. Possibly the maker intended it to be an interpretation of the “Great Tree of Peace.” Traditionally, the white pine, with its five needles, was the symbol of the Five Iroquois Nations, joined together as one confederacy. It was also the proverbial tree beneath which the Iroquois buried their weapons as a symbol of their growth in consciousness; as a people seeking peace and not war. But this tree has six branches. Perhaps the maker was indicating with her design that since the Tuscaroras was adopted into the confederacy that they were now the Six Iroquois Nations. The shape of the bag, with a scalloped flap and lower edge, is suggestive of the work of Caroline Parker. Circa 1840s. Private collection. Another intriguing bag has what appear to be two figures holding hands. The negative space between them forms the shape of a heart. Adding to the mystery is the design inside the outline of the right-hand figure. The back of the bag has a representation of a large, daisy-like flower. Perhaps someone commission this bag for a spouse or a lover. Circa 1820s. Private collection. Another intriguing bag was also displayed in the Across Borders exhibit. It depicts two figures dancing in a style that is quite similar to those on a coat of an Iroquois man portrayed in a late nineteenth century cabinet card (see below). The style of the bag indicates it is from the mid-nineteenth century. Private collection. Late 19th century cabinet card depicting an Iroquois family group, likely Mohawks. The beaver pelt top hat was part of the formal dress of many Northeast Woodland people during the mid-nineteenth century. The engraving below, published by M. Elias Regnault in 1849, depicts five Native people from the vicinity of Quebec. The two individuals on the far left are wearing beaver pelt top hats. Private collection. There are several other nineteenth century prints and paintings that depict Native people wearing these hats but extant examples of bags with figures wearing a top hat are exceptionally rare. The figures in this piece typify the dress of two Natives from the period. In the enclosed space, between the stylized yellow-beaded pine tree motifs in the upper corners of this bag, is a central sun design. The solidly beaded figures suggest that this piece is from the 1840s. It may have originated in one of the Mohawk Reserves near Montreal, as similar pine tree motifs appear on other pieces attributed to the Mohawk. Private collection. Animal motifs are seen on early Haudenosaunee beaded bags about as often as depictions of people. Although an elephant motif on a mid-nineteenth-century souvenir bag would appear incongruous, the Haudenosaunee beadworkers were, after all, savvy entrepreneurs. This is aptly demonstrated in this example, which was likely a commissioned piece. The design is a representation of the insignia for the 74th Regiment of Foot, the Argyll Highlanders, which fought in the Battle of Assaye, in western India, in 1803. The design on the right is the regiment’s official insignia and below it is a listing of the battles they fought in. On the bag, the number 74 can be seen stitched in beads above the elephant, as can the name of the historic battle they fought in. In the mid - to late 1830s, the 74th Regiment of Foot was stationed throughout the Caribbean, in Antigua, Granada, Barbados and St. Lucia. The regiment moved about these islands until 1841 when it proceeded to Quebec. They remained there until 1844, removing to Nova Scotia and embarking at Halifax for England, in March of 1845. A Haudenosaunee artist was likely retained to produce this piece for someone in that regiment, perhaps while on a trip to Montreal or Niagara Falls, and conceivably as a souvenir for a wife or loved one back home. The reverse side of the bag is virtually identical to the front. Likely made between 1841 and 1844, it’s a fine example that underscores the heavy use of solid bead fill on pieces from the early 1840s. From the collection of Richard Green. The imagery in souvenir arts can have more than one meaning. To the Haudenosaunee, the eagle is a messenger from the Creator and as such is considered sacred. In Iroquois art, it’s often depicted perched over the great tree of peace, keeping a watchful eye on the Haudenosaunee homeland, prepared to warn people of any approaching danger. To some nationalistic Americans the eagle can symbolize their martial or hawkish nature. In each culture it denotes notions of power. In one culture that power is materialistic; in the other it’s spiritual. The intended message of the maker is unknown but certainly the imagery on this bag would appeal to both, albeit for different reasons. This rare bag is beaded on hide. The extended top is made of silk. The solidly beaded thunderbird and large floral motif on the reverse suggests a 1830s to 1840s date. The triangles along the perimeter of the bag may be an Iroquois identity marker as I have seen these on other pieces that were attributed to them. Private collection. Another intriguing bag with a bird motif has what could be a representation of a snipe. The Iroquois Confederacy is composed of six nations with a total of nine clans. The clans, defined by specific animals, represent the land, the sky and the water. Both the Seneca and Tuscarora, prolific producers of early souvenir beadwork, had a Snipe Clan so there may be some intended cultural symbolism in the design of this piece. The beading style indicates an early date; likely pre-1830. Private collection. Unfortunately, only a black and white image was available of this bag which is from the Eugene Thaw collection at the Fennimore Art Museum, in Cooperstown, NY. This very early bag (possibly from the first quarter of the nineteenth century) depicts what could be an eagle on one side and linear-zigzag and curvilinear motifs on the other. The design in the central panel on the side without the bird appears to have silk inlays. This is another rare design treatment on early Haudenosaunee beadwork. This early nineteenth century beaded bag with a bird motif has linear designs and sun and diamond motifs which suggest it is from the first quarter of the nineteenth century. Private collection. The League of the Five Nations was symbolically represented as a longhouse, with the Seneca at the western door and the Mohawks at the east. Besides functioning as a domicile, the longhouse was also emblematic of the Haudenosaunee political system, and the Nation chiefs were the posts which supported it. This rare bag could be a representation of a lodge or longhouse. In conceiving the formation of the Iroquois confederacy, the Peacemaker told the Five Nations that he envisioned them coming together as “one longhouse.” Pre-1830. Private collection. Talismans and objects of personal power were no doubt common among the Iroquois, but it’s not known if insects had more than a cursory significance to them tribally. It’s intriguing how the Haudenosaunee artist who created this early bag configured the design elements into the shape of a wingless bug. Even the diamond design on the other side, with the double curve extensions at the corners, has an anthropomorphic feel to it. Pre-1830. From the collection of the Maine State Museum. The design of this bag, perhaps inspired by a dream or an encounter with an arachnid, shows the clever use of the familiar diamond and double curve motifs to express something beyond the obvious, conceivably a personal connection to an animistic spirit or a spirit helper. Here, the familiar diamond and double curve motifs are arranged into the shape of what could be an insect and possibly a spider. Though many people in western culture have a fear of spiders they are culturally significant to many tribal people around the world. The Bhil and Mat people of central India have a great sense of connection between the living and the dead. They believe that spiders are the spirits of their ancestors. The Chibchas from the northeast highlands of Columbia and present day Panama are culturally similar to the Inca and central to their beliefs is that a departed soul uses the webs of spiders to cross the divide from the physical to the spirit world. In America, the Pueblo and Navajo people have a great tradition about Spider Woman, who was the first being in the world. She brought all life into existence and connected herself to each of her creations through the threads of her web. Circa 1820s. Private collection. Portrait of Spider Woman by the author. This very unusual figurative bag has a horse motif on one side. Likely Iroquois, it looks to be from the 1830s-1840s period. Private collection. Another unusual bag with cryptic designs on both sides also has the addition of a deer. 1830s - 1840s. Private collection. This early bag, likely from the first quarter of the nineteenth century, is from the Thaw collection at the Fennimore Art Museum in Cooperstown, New York. One side has a turtle motif in the center. Likely Seneca. Perhaps the most novel example of a figurative Northeast Woodland bag is one made in the shape of a house. Here again, the impetus may have been the entrepreneurial spirit of the artist or it could have been a commissioned piece. Part of the mystery is the late nineteenth-century Chinese silk lining, which is decorated with an embroidered bird. The beading style, and the bead colors used are atypical. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. REFERENCES CITED Fenton, William N. 1987 The False Faces of the Iroquois – The University of Oklahoma Press – Norman, Publishing Division of the University. Parker, Arthur C. 1912 Certain Iroquois Tree Myths and Symbols in the American Anthropologist, Vol. 14

On July 8, 2014 I made some changes to this posting. Non-Native purses have been around since at least the 16th century. They are known by many names; among them the pocketbook, the purse, chatelaine, the handbag, and the reticule. There was also a man’s travelling bag called a handbag or satchel, although this was a piece of luggage but during the 19th century, the term “handbag” came to describe a larger version of a woman’s purse. The earliest handbags that were designed for women featured compartments, a sturdy handle, metal frames and fastenings all inspired by men’s travelling bags. By the mid-19th century, Berlin woolwork purses with floral and geometric design were also at the height of their popularity. But of all the bags that have come in and out of fashion over the years, perhaps none has been more cherished than the beaded bag. Sandy Levins, the director of programming at the Camden County Historical Society, wrote: Beaded bags, whether handcrafted or commercially produced, have been in vogue in North America for well over 200 years and in Europe for much longer. In the late 1300s, the English poet Geoffrey Chaucer described one in "The Miller's Tale," the story of a love affair between an Oxford student and a carpenter's wife. Of the female character he wrote: “By her belt hung a purse of leather tasseled with green and beaded with Italian beads…." The earliest beaded bag was usually knitted in a drawstring style called a reticule, which also became known as an “indispensable” because it developed a universal popularity almost overnight. So popular was the reticule, it became an absolute “must” for fashionable ladies in 19th century Europe where the Empress Josephine, internationally known for her sense of fashion, carried a reticule with her at all times. Romantic figures, pastoral scenes, and flora and fauna became common themes rendered in the tiniest of beads. Between 1820 and 1830, beaded bags supported by metal frames came into vogue. Coming primarily from France and Austria, the frames were made of everything from pinchbeck, an alloy of copper and zinc made to look like gold, to tortoiseshell. Chains, often formed of decorative, ornate links, were attached to the frames. Figure 1 – A metal frame for a beaded bag from the late 19th century. Figure 2 – A non-Native bag embroidered with beads and with a metal frame. Late 19th - early 20th centuries. Figure 3 – A non-Native Native bag embroidered with beads and with a metal frame. Late 19th-early 20th centuries. Figure 4 – A non-Native bag embroidered with beads and with a metal frame. Dated 1846 in beads although the frame is from the late 19th century. During the first few decades of the 19th century, purse design was at its height. Napoleon’s wife Josephine was a purse aficionado and designers worked tirelessly to please her and her court with an endless array of purses. Unique shapes, materials and construction methods were a hallmark of the time and it’s during this period that purses with metal frames came into being. Occasionally, we come across Native made beaded bags that have the same metal frames that are found on European bags which raises the question; were they originally designed into the bags by Native artisans because they were fashionable, or were they added later by someone else? Paula Higgins, a member of the Antique Purse Collector's Society and the co-author of a book on antique and vintage purses titled A PASSION FOR PURSES has shed some light on this. She informed me that the purses pictured in this posting, that have a metal twist clasp, all date after the 1870s. Collectors of antique purses have been aware that many purses, which would include those made by Native artisans, were mounted or re-mounted on later frames. It was a common practice as framed purses gained popularity in the late 19th century. So essentially, the owners recycled the bags and put them on more contemporary frames. This practice continued on into the early 20th century. The only exception is the bag in the Daguerreotype in figure 12. Paula has informed me that this frame, which is barely visible, has a chain which is classic 1840s and seen on many purses from that period. These frames are shaped like an eyebrow but with less of a curve and it is made of steel, as is the chain. So this frame is contemporary to the bag pictured and might have been added by the Native artisan who made the bag. Figure 5 – An Iroquois beaded bag with a metal frame. The bag is from the 1830s; the metal frame is from the late 19th century. Figure 6 – An Iroquois floral bag in the Niagara style with ovate florals and a metal frame. The bag is circa 1850; the metal frame is circa 1920. Figure 7 – An Iroquois floral bag in the Niagara style with elongated leaf motifs and a metal frame. The bag is from 1855-1860; the frame from the late 19th century. Figure 9 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the frame is from the late 19th century. Figure 10 – An Iroquois floral bag in the Niagara style with both ovate florals and elongated leaf motifs and a metal frame. The bag is from 1850-1855; the metal frame is from the late 19th century. Figure 10a – Detail of the metal frame in figure 10. Figure 11 – A rare example of a Mi’kmaq beaded bag with a metal frame. The bag is circa 1840s; the frame from the late 19th century. Glass beads sewn onto red wool serge of the type seen on Canadian military uniforms. The beads are strung on horsehair. Figure 12 – Daguerreotype. Late 1840s to early 1850s. The subject is holding an Iroquois beaded bag with a metal frame at the top. In July of 2011, I did a posting that illustrated a collection of 19th century images of women and young girls who were photographed with an Iroquois beaded bag. http://iroquoisbeadwork.blogspot.com/2011_07_01_archive.html These old images testify to the prestige and the prevailing taste for Haudenosaunee beadwork during the middle decades of the nineteenth century and it speaks to the especially high regard Victorian women held for these purses, an appreciation that would contribute to the preservation of the beaded bags now so prized by collectors. I’m always on the lookout for these old images and below is a new group that has surfaces since the previous posting. Figure 13 – Daguerreotype – 1840s. The young girl has a Mohawk style beaded bag. See figure 14 for an example of a similar bag. I originally dated this image to circa 1860 but Karen Augusta, a textile expert, thinks the clothing style the young girl is wearing could be as early as the 1840s. This would push back the dating of this style of purse by at least two decades. Figure 14– Beaded bag, possibly Kahnawake Mohawk, 1840s-1860s. Similar to a bag illustrated in a document in the research files of the Iroquois Museum in Howes Cave, New York that was collected at Caughnawaga, circa 1860. This bag is similar to the one illustrated in figure 13. Figure 15 – Hand tinted daguerreotype – young girl with ringlets in her hair and a white pinafore. Mid-1850s. She has an Iroquois floral bag that is similar to the one in figure 16. Figure 16 – Iroquois floral bag, mid-1850s. Similar to the one in figure 15. Figure 17 – A rare Daguerreotype of three children in fancy dress. Fancy dress is what costume parties were called in the 19th century. They were immensely popular and many had dress-up themes from earlier decades or centuries. This image is hard to date because the costumes are from different time periods. The young girl wears a circa 1850 dress. The boy on the right may be wearing a Renaissance outfit which would be a bit later. So this could be 1850s - 1860s. The young lady has a Mohawk beaded bag similar in style to the one in figure 18. Figure 18 – A Mohawk style beaded bag with similarities to the one in figure 17. Figure 19 – A carte-de-visite from the Civil War. There is a two-cent revenue tax stamp on the back that is dated August 14th, 1864 – likely the day the image was taken. The photographer was H. A. Upthegrove of Crown Point, Indiana. The young girl with the bag is identified as Matilda Farwell. She has an Iroquois beaded bag that is quite similar to the one in figure 20. Figure 20 – An Iroquois beaded bag that is quite similar to the one in figure 19. Figure 21 – Ambrotype – late 1850s of a well dressed and fashionable young woman with an Iroquois floral bag that is decorated with elongated leaf clusters. Her bag is similar to the one in figure 22. Figure 22 – An Iroquois beaded bag. 1855-1860. Similar to the one in figure 21. Figure 23 – Early 1860s Ambrotype. This is a rare post mortem image of a child with an Iroquois beaded bag that is similar to the one in figure 20. Post mortem photography was in common use in the 19th century as a way to memorialize a loved one. Since mortality rates were very high during this period, especially among children, these photographs served less as a reminder of one’s mortality than as a cherished memento to commemorate the deceased. Figure 24 – A lovely circa 1860 tintype of a young lady with an Iroquois beaded bag. Figure 25 – An unusual tinted tintype of a young man dressed in buckskins. He is wearing an Iroquois floral bag. He might be dressed for a play or some other event. What’s with that hat he’s wearing? Figure 26 – A later cabinet card that was a copy of a mid-1850s daguerreotype. Both young women have similar Iroquois floral bags. Figure 27 – A circa 1910 group photograph of four individuals that are decked out in beads. The young woman on the left is wearing an outfit that is quite similar to those offered for sale in the catalogs for the Improved Order of Redmen. She is also holding a Mohawk box purse with an owl motif. The older gentleman’s trousers are totally beaded as is the young boys vest! Figure 28 – This painting of the Wykes children was done in 1852 by the Rev. David Bulle of Sidney, Ohio. The young girl on the left has an Iroquois beaded bag. The design on the bag has similarities to the one in figure 29. Photo courtesy of Marguerite Riordan. Figure 29 – Iroquois beaded bag. 1840s-1850s. Approximately three inches in diameter. Figure 30 – This final entry is a rare stone lithograph of the young Black Hawk, the grandson of Black Hawk, late war chief of the Sac and Fox nations. This lithograph dates to approximately 1840-1850. It was made by the American lithographer and photographer Napoleon Sarony (1821-1896) of New York. Sarony began his lithography business in 1843 after an apprenticeship as an illustrator with Currier & Ives. In this image Black Hawk is wearing a beaded Glengarry hat and he has a bandolier across his chest which likely supported a large bag. Old images of individuals wearing a Glengarry are quite rare and I have seen less than a handful over the years. This one is exceptionally rare and testifies that what is generally seen as souvenir or tourist beadwork was also worn and highly regarded by Native people as well. If you have an interest in Northeast Woodland beadwork you might find my book of interest. Titled: A Cherished Curiosity: TheSouvenir Beaded Bag in Historic Haudenosaunee (Iroquois) Art by GerryBiron. Published in 2012. This is a brand new, hard cover book with dust jacket. 184 pages and profusely illustrated. 8.5 x 11 inches. ISBN 978-0-9785414-1-5. Since the early nineteenth century, Haudenosaunee (Iroquois) beaded bags have been admired and cherished by travelers to Niagara Falls and other tourist destinations for their aesthetic beauty, detailed artistry, and the creative spirit of their makers. A long neglected and misunderstood area of American Indian artistry, "souvenir" art as it's come to be called, played a crucial role in the subsistence of many Indian families during the nineteenth century. This lavishly illustrated history examines these bags – the most extensively produced dress accessory made by the Haudenosaunee – along with the historical development of beadworking both as an art form and as a subsistence practice for Native women. In this book, the beadwork is considered in the context of art, fashion, and the tourist economy of the nineteenth century. Illustrated with over one hundred and fifty of the most important – and exquisite – examples of these bags, along with a unique collection of historical photographs of the bags in their original context, this book provides essential reading for collectors and researchers of this little understood area of American Indian art. My thanks to Karen Augusta for helping me date some of the old images. http://www.antique-fashion.com/Antique-Fashion/home.htm

The origin of the pincushion is shrouded in the dark recesses of history. Many centuries ago, pins and needles were difficult to fabricate so their owners secured these highly valued items in specially made containers fashioned from precious metals, ivory and bone. Sometime during the 15th century in Europe, basic homespun pincushions that were tightly stuffed with wool roving and other materials came into use. Many were covered with colorful fabrics and over time they were made into an untold number of shapes including shoes, fans, dolls, fruits and vegetables. Figure 1 By the 16th century, pin-pillows (cushions with designs on them made by the arrangement of pins on their surface) became popular and these evolved into cushions that were attached to silver or wooden stands. By the early 19th century, pincushions became an all-purpose sewing aid and many were designed to be clamped or screwed to the edge of a sewing table (figure 1) and they were used effectively to hold fabrics in place while sewing. Perhaps the most popular form of pincushion was a tomato with attached strawberry emery (figure 2). Developed during the Tudor period (1485-1603), this shape was also adopted by 19th century Victorians. Wikipedia reports that according to folklore, “placing a tomato on the mantle of a new home guaranteed prosperity and repelled evil spirits. If tomatoes were out of season, families improvised by using a round ball of red fabric filled with sand or sawdust. The good-luck symbol also served a practical purpose—a place to store pins.”  Figure 2 - Tomato pincushion with strawberry emery. The 19th century gave rise to commercially manufactured pincushions as well and many were made to commemorate historical events. Beaded pincushions became popular during this period and Victorian ladies collected every variety of them. Many were made simply as a decorative item. Victorians loved to embellish their homes with unique and exotic items and their parlors or living rooms were the perfect setting to display their collections. Exactly when the Iroquois began making beaded pincushions is not clearly understood. The mission schools that were established on the reservations were known to teach sewing and embroidery skills to their Native students so rudimentary pincushions made for personal use were likely constructed during that period (late 18th and early 19th centuries). It wasn’t until sometime later that the Iroquois began beading pincushions for sale as souvenirs. In 1891, Samuel Welch published his recollections of Buffalo, New York during the 1830s and he wrote that the Seneca from nearby Buffalo Creek were “fabricating embroideries and ornaments… [that]were oftentimes ingeniously wrought, in original designs, in very pretty and artistic patterns.” He mentions that one of the items they were making were [pin] cushions. (Welch 1891:115). His account references the earliest known period that pincushions were being made by the Iroquois. Figure 3 - Multi-lobed pincushion with original inscription on the back that it was collected at Niagara Falls in 1850. Private collection. In another account recorded on May 25, 1852, Frances and Theresa Pulszky, two Hungarian exiles, visited the Tuscarora Reservation near Niagara Falls. Theresa wrote that they visited the home of a man of note and that he “greeted us cordially, and satisfied our questions about his mode of life in broken English.… His daughter-in-law was diligently embroidering pincushions.” In describing the beadwork they purchased, Pulszky said how the work was “tastefully… wrought! The same pattern is never repeated; the ornaments are poetically conceived, and executed with a richness of imagination which our manufacturers lack, accustomed as they are, to reproduce a thousand times the same design. To the children of the Great Spirit, the flowers, the birds, and the trees, speak a language, which transcribe in the charming figures, more pleasing to our eye than any artificial invention” (Pulszky and Pulszky 1853 (3): 121–125). Figure 4 - From Lewis Henry Morgan's Fifth Regents report to the State of New York. Welch’s account above is evidence that by the 1830s the Seneca were producing pincushions for sale. By 1850, the sale of Indian beadwork was in full swing and one pincushion that was acquired on Bath Island had the following inscription on the back: “Bought at the Bath House on Bath Island, Falls of Niagara, Sept. 27, 1850.” There is also a name after the date but it’s barely legible, though it possibly says Peterman (figure 3). Bath Island was one of several islands in the Goat Island complex. Access to Goat Island was from Bath Island where a visitor would first have to pay a toll. There was a concession at the Bath Island Toll House that sold so called “Indian curiosities.” The pincushion illustrated here was possibly made by Caroline Parker as a very similar example is illustrated in Lewis Henry Morgan’s Fifth Regents Report to the state of New York, January 22, 1851, Plate 19, (figure 4 in this blog posting) and Morgan reported that Caroline had created most of the beadwork for the state collection that would ultimately become the New York State Museum. This snowflake or multi-lobed design was popular during the mid-19th century (see: figures 6-8). Figure 6 Figure 7 Another pincushion in this style (figure 8) is in the collection of Toronto's Royal Ontario Museum (ROM). It was originally purchased on Goat Island and it also has an inscription on the back which reads: “Purchased by [illegible name, though possibly Mrs. Nichelson, Jr.] from an Indian girl on Goat Island, Niagara Falls, & can therefore be documented genuine Indian made. 9 June 1854 – Friday.” Figure 8 Perhaps one of the best examples of a multi-lobed pincushion from the 1840-1850 time period is illustrated in figure 9. From the collection of the Memorial Hall Museum in Deerfield, Massachusetts, it is in the style that can be attributed to Caroline Parker, a Seneca beadworker from the Tonawanda Reservation about 40 miles east of Niagara Falls. The Rochester Museum and Science Center has a table cover in their collection (figure 10) that was made by Caroline Parker and illustrated in an article about her by Deborah Holler in Western New York Heritage magazine, and the central floral design on the table cover is stylistically the same as that on the pincushion. Other multi-lobed pincushions were also made during this period (figures 11 & 12) and the similarity of figure 7b and figure 12 suggests they were made by the same hand. The star/floral-like centers on these were often mentioned in mid-19th century ladies magazines. Beverly Gordon notes that: “The particular type of star or floral motif featured on early extant cushions… also appears 13 times in periodicals of the 1850’s and 1860’s. . . Dendrite or branching patterns radiating out from the points of the star (or petals of the star shaped flower) are referred to in the periodicals as ‘spray work. . .’ Perhaps the Iroquois women saw one of these patterns, or a fancy object worked according to similar directions. On the other hand, perhaps the people who designed patterns for Godey’s and Peterson’s (they are rarely identified and they are often one and the same) saw and adopted the Indian work” (Gordon 1984:145). Figure 9 - From the collection of Memorial Hall Museum. Figure 10 - From the collection of the Rochester Museum and Science Center. Figure 11 Figure 12 In 2003, the journal of the Society of Bead Researchers titled “Beads,” published an article about Iroquois beadwork in which the author stated that the tradition of raised beadwork began in western New York in the late-eighteenth century. In support of this, the author presented a single pincushion that appears to have the date 1798 inscribed on the back, in ink (Elliot 2003:6). There are several factors that argue against this piece originating from the late eighteenth century. For one, the pincushion is multi-lobed and it has the same floral/star-like motif that were featured in the mid-19th century periodicals mentioned above. Although a few pre-1830 examples of Iroquois beadwork with embryonic floral decorations exist (all on beaded souvenir bags), it’s not until the post-1830 pe­riod that stylistic and representational floral de­signs became prevalent. Multi-lobed pincushions with star/floral-like motifs don’t appear in their work until the second quarter on the 19th century. The designs on pieces from the earliest period of souvenir beadwork were abstract, geometrical and curvilinear. Additionally, the style of beading on pieces from this embryonic period was very linear in its execution, and quite unlike the beading style on the pincushion. Early pieces of souvenir beadwork were likely derived from eighteenth century analogues that were made on hide and decorated with porcupine quills. The technique of using large areas of solid bead-fill in the manner illustrated on this pincushion does not appear in Haudenosaunee beadwork until several decades later. The beading style on this pincushion is consistent with other beaded items that date to the mid-19th century and the design of the pincushion in the bead journal article is almost identical to the one in figure 12. The similarity of the two is striking. The central design motif on each is constructed utilizing an identical lane stitch technique. The construction of the inside star/floral design on figure 12 and the two strings of clear beads that surround it are identical to those on the bead journal pincushion. Additionally, each piece uses two strings of blue and white beads, in the same order, along their outside edge. On the bead journal pincushion, just like the one in figure 12, there are traces of a red silk edge binding material and at one time it likely once had a two-beaded edging like the one in figure 12. Additionally, the beaded floral/star-like pattern on the bead journal pincushion has a paper template beneath the beads – another feature that doesn’t appear in Hausenosaunee beadwork until about the 1840s. Prior to this the linear designs in the beadwork did not allow for the use paper templates. Furthermore, the beading style on this pincushion is not an early form of raised beadwork as the author of the bead journal article asserts. Raised beadwork is a type of lane stitch that has more beads on the thread than are necessary to cover a given distance. This causes the string of beads, when sewn down onto a base fabric, to form an arch above the surface of the fabric which gives the design a 3-D effect. The beading technique on the bead journal pincushion is clearly not raised beadwork. Rather it is a combination of lane stitch and overlaid or spot stitch, often referred to by Native artisans as flat beadwork and identical to the technique used in figure 12. Raised beadwork doesn’t appear in the art of the Haudenosaunee until the mid-nineteenth century nor is raised beadwork, as the author claims, “unique to the Haudenosaunee” and “made nowhere else in the world.” It’s been observed on Wabanaki beadwork from the third and fourth quarters of the nineteenth century and there are examples of raised beadwork among some of the Algonquian tribes from southern New England. It appears in the work of the Mohegan, Niantic, and the Montauk that date from the late-nineteenth and early-twentieth centuries (see: Decorative Art of the Indian Tribes of Connecticut, by Frank Speck, Canada Dept. of Mines, Memoir75, Ottawa 1915 and Beads and Beadwork of the American Indians by William Orchard, 1975, Pl XXXVII). A form of raised beadwork also appears in Regency period beadwork from the first quarter of the 19th century in England. Moreover, the origin of the four digit number on the back of the bead journal pincushion could have an alternative explanation. Other pieces of Iroquois beadwork are occasionally found with three and four digit numbers inked on the inside. Sometimes they represent an accurate date – but not always. Years ago I was offered an old beaded bag by an antique dealer who was unskilled at identifying historic American Indian beadwork. The piece he was offering had the number 1644, in old faded ink, beneath the flap and he was certain that it meant the bag was from that date. The piece was actually an Iroquois floral bag, in the Niagara style, from the mid-19th century yet he assumed that the piece was made in 1644 because of the presumed date. Although the number clearly didn’t represent an accurate date, it was distinctly old and may have been an inventory number or, like the date on the pincushion in the bead journal article, it could have been added years later by someone who mistakenly thought, assumed or was told it was made in 1798. The beading style of the pincushion is clearly from the mid-19th century and I’ve yet to see a beaded Iroquois pincushion that predates the 1830s. Figure 13 One of the most popular early styles of Iroquois pincushions was made in the shape of a heart. The earliest example, in a published report, appears in Lewis Henry Morgan’s Third Regents Report to the State of New York in 1850, Plate 13 (figure 13 in this blog posting). Considering that Caroline Parker made most of the beadwork for Morgan, this might be another example of her work. Figures 14 through 20 are other examples of early (1830s-1850s) heart shaped pincushions. The example in figure 20 is exceptional as it also has a beaded heart with side wings as the central motif. The beads that make up this design are size 22/0 (.040 inch diameter), some of the finest beads that were made by the Bohemian bead factories. Figure 14 Figure 15 Figure 16 Figure 17 Figure 18 From the collection of Grant Wade Jonathan. Figure 19 As evidenced by a circa 1860 stereoview (figure 21), the Iroquois were making much larger pincushions by this date and many were beaded almost exclusively with either white or crystal beads or a combination of the two on a bright red wool fabric. In 1859, Florence Hartley wrote that “the beadwork of the North American Indians is among the most beautiful. The Canadian Indian women sell large quantities to visitors to the Falls of Niagara, and a great deal of it finds its way to our large cities. It is of every imaginable form, and generally is done on a bright scarlet ground with pure white beads.” (Hartley 1859:25). Precisely who these Canadian Indian women were is debatable. There are too few accounts that specifically mention the tribal origins of the beadworkers whom patrons were soliciting. Un­fortunately, this limits our understanding of this marvelous beadwork. Often, references to the In­dians are made in the broad sense so the Canadian Indian women could have been from any one of the Six Haudenosaunee Nations that live in Canada. During this period Haudenosaunee beadwork­ers developed a fondness for crystal beads. This could have been an evolving esthetic, as clear beads have positive connotations associated with them, or it may have been the only beads avail­able at the time. It’s also possible that their use had a more practical advantage: fewer colors to stock in inventory and leftover beads from one project could easily be used on another. Dated ex­amples indicate that this style was popular until at least the late 1880s. Figure 22 is a Tuscarora example from the National Museum of the American Indian collection. What could be a Seneca piece is illustrated in figure 23. An exceptional cushion from the Metropolitan Museum of Art collection, decorated in both beads and dyed moosehair, is illustrated in figure 24. These large examples are approximately 8 inches in diameter. Another style of pincushion, though uncommon, is illustrated in figure 25. This style is in the shape of a small rectangular pillow and unusual forms like these may have been made strictly as a decorative item as many are found that are in near perfect condition. The style of beading on this piece appears to be Seneca. Figure 20  Figure 21 - One panel from a circa 1860 stereo view. Figure 22 - Tuscarora. From the collection of the National Museum of the American Indian. Circa 1860. Figure 23 - Possibly Seneca. Late 1850s. Figure 24 - From the collection of the Metropolitian Museum of Art. Possibly Seneca. With moosehair embroidery in the center. Circa 1860. Figure 25 Several old images exist of individuals wearing Iroquois pincushions though none are as early as the pincushions in this posting. One of the earliest I have seen is the example in figure 26. This looks to be circa 1900 and from a photographer in Brantford, Ontario suggesting it may have originated from the nearby Six Nations Reserve. The subject in figure 27 is wearing a similar pincushion that is dated 1909 in beads. A hand written note on the back reads: “For my Harold, love, your Allira.” The individual in the circa 1910 real photo postcard (RPPC) (figure 28) is also wearing a similar heart shaped pincushion and this individual is identified on the back as Big Bear, Caughnawaga Reserve [Kahnawake] near Montreal. The unidentified individual in the circa 1910 RPPC in figure 29 is wearing a large, tri-lobed pincushion at his waist. Figure 26 Figure 27 Figure 28 Figure 29 The Wabanaki also produced pincushions during the 19th century and they were distinctly different from those the Iroquois were making. Most of the early ones I have seen are decorated with both beads and porcupine quills (figure 30). Figures 31 through 33 are other early Mi’kmaq examples. The earliest image I have seen that contained a Wabanaki pincushion is a circa 1905 postcard of the Mi’kmaq Indian village in Halifax, Nova Scotia (figure 34). The items on the makeshift table might be pincushions or pillows, and they appear to be beaded but the image is not distinct enough to elaborate any further. Figure 30 - Likely Mi'kmaq. First quarter of the 19th century. Figure 31 - Likely Mi'kmaq. Pre-1850. Figure 32 - Mi'kmaq - 2nd quarter of the 19th century. Figure 33 - Mi'kmaq. Pre-1850. Figure 34 - Circa 1905 postcard of the Mi'kmaq village in Halifax, NS. References Cited: Elliot, Dolores 2003 Beads: Journal of the Society of Bead Researchers, Vol. 15, edited by Karlis Karklins. Gordon, Beverly 1984 The Niagara Falls Whimsey: The Object as a Symbol of Cultural Interface. Ph.D. dissertation. Department of Textiles and Design, the University of Wisconsin, Madison. Hartley, Florence 1859 Ladies Handbook of Fancy and Ornamental Work Comprising Directions and Patterns for Working in Appliqué, Bead Work, Braiding, Canvass Work, Knitting, Netting, Tatting, Worsted Work, Quilting, Patchwork, & c. & c. Illustrated with 262 engrav­ings. John E. Potter, Publisher, Philadelphia. Holler, Deborah 2011 “The Remarkable Caroline G. Parker Mountplasant, Seneca Wolf Clan.” Western New York Heritage Magazine, Vol. 14, No. 1, Spring. Morgan, Lewis Henry 1850 “Report to the Regents of the University, upon the Articles Furnished to the Indian Collection.” In The Third Annual Report of the Regents of the University on the Condition of the State Cabinet of Natural History and Antiquarian Collection, Annexed Thereto pp. 63 – 93. Revised Edition: Printed by Weed, Parsons and Company, Albany. 1852 “Report on the Fabrics, Inventions, Implements and Utensils of the Iroquois, Made to the Regents of the University, Jan. 22, 1851; Illustrative of the Collection Annexed to the State Cabinet of Natural History, with Illustrations.” In The Fifth Annual Report of the Regents of the University on the Condition of the State Cabinet of Natural History and the Historical and Antiquarian Collection, Annexed Thereto, pp 68 – 117. Printed by Richard H. Pease, Albany. Pulszky, Francis and Theresa 1853 White . Red . Black – Sketches of Society in the United States During the Visit of Their Guest, in Three Volumes – London: Trubner and Co. Welch, Samuel M. 1891 Recollections of Buffalo During the Decade From 1830 to 1840, or Fifty Years Since. Descriptive and Illustrative, with Incidents and Anecdotes. Buffalo: Peter Paul & Brothers.