collection blog
The Collection Department at the Bowers Museum holds more than 125,000 objects. As a whole the collection is exceptional in its regional history collections as well as in its significant collections of art and artifact from around the world.
Dayak Ear Ornament
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| Carved Ear Ornament, late 19th – early 20th Century Dayak culture; Borneo, Indonesia Hornbill; 1 7/8 x 3 3/4 in 2005.3.1 Don and Barbara Greek Fund Purchase |
Indonesia is truly a melting pot due to its history as a crucial trade route connecting the Far East, the Middle East and beyond. Because of its unique history, the Indonesian culture is a synthesis of indigenous customs that contains elements from Buddhism, Hinduism and Islam. The Dayak people of Borneo are the most well know group in the outer islands due much to their headhunting past. Dayak is a loose term describing numerous ethnic groups that have their own dialects, customs, laws, territories and cultures, but that share similar distinguishing traits.
Jewelry is a part of the symbolic vocabulary of a culture, which informs people of their place in their world. In Dayak culture this form of adornment speaks of the history of the wearer and often times is imbued with supernatural powers that protects the wearer. Among the Dayak, the Hornbill bird has a revered status. In the interior of Borneo where the Dayak people dwell, the effigy of the Hornbill represents the Garuda, a Hindu divinity and mount of the god Vishnu. To the Dayak people Garuda as Hornbill bird acts as an escort to the spirit of the dead into the afterlife. Representation of the Hornbill as well as the elements from the bird itself (beak, feathers and skulls), are made in to household decoration and pieces of jewelry that are intrinsic to the culture. Housed in the permanent collection of Oceanic art at the Bowers Museum is a beautiful example of Dayak artistry. The ear ornament is fashioned from the reddish beak of a Hornbill and delicately carved with filigree swirls along the sides while a mythological bird creature without stretched talons adorns the face of the ornament. The Hornbill is a constant reminder to the wearer of the transitory nature of life.
All objects and text under copyright. Please contact Collection Department for permission to use. Information subject to change upon further research.
Posted on 26 April 2013 | 5:30 pm
Sulka Dance Masks from East New Britain
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| Male Headdress Masks (Sisiu), 20th Century Sulka people; East New Britain Province, Papua New Guinea, Melanesia Wood, fiber, tonga leaves and natural pigment; 31 1/2 x 31 x 23 1/2 in. 2009.6.1 Bowers Museum General Acquisition Fund Purchase |
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| Female Headdress Mask (Sisiu), 20th Century Sulka people; East New Britain Province, Papua New Guinea, Melanesia Wood, fiber, tonga leaves and natural pigment; 31 1/2 x 31 x 23 1/2 in. 2009.6.2 Bowers Museum General Acquisition Fund Purchase |
The Sulka are a people who live on the southern shore of Wide Bay, which is in East New Britain Province in Papua New Guinea.Although the Sulka have been Christians for decades, they still hold on to many of their traditional beliefs and practices.The Sulka are most widely known for their distinctive dance masks, which portray spirits and are performed with at special ceremonies.
To the uninitiated, the masks are meant to appear as actual supernatural beings. The men of the village will construct special huts deep in the forest where they create the masks in secret. Both boys and girls undergo initiation ceremonies when they reach puberty, but only the boys will learn the esoteric knowledge surrounding mask making. Women and children are strictly forbidden from witnessing the process. The Sulka men create two different kinds of masks: the hemlaut, which are tall and umbrella-like, and the sisiu, which have a conical or cylindrical shape. Sisiu masks can be further subdivided into two varieties, the o nunu and the o ptaek. O nunu have anthropomorphic figures while o ptaek are more abstract.These two masks currently on display in Bowers’ Spirits and Headhunters gallery are sisiu masks of the o nunu variety.
Ceremonies are held to celebrate significant events for the Sulka people. The masks will make appearances at the initiation ceremonies of boys and girls, weddings, and funerals. Today the Sulka also hold ceremonies for less traditional purposes as well, such as for the inauguration of a new business or for the consecration of a church. At the ceremonies, women will sing and dance to the beat drums. Eventually the festivities are interrupted by the sound of a conch shell blown like a trumpet. The masked dancers then appear from the forest or from behind a wall of leaves that obscures their approach. They wear costumes made of leaves and rattan that completely hide their bodies. Usually a hemlaut mask dance is performed first, and then dancers with sisiu masks will perform. The dances never last for more than ten minutes, and after the ceremonies, the masks are ritually burned up in secret.
In order to obtain Sulka dance masks for museums, deals must be secretly made with the men and the exchanges must take place at night to avoid detection by the women or children. While the Sulka appreciate outside interest in their culture, Sulka elders can still have concerns about accidentally divulging their secrets to the women.
All text and images under copyright. Please contact Collection Department for permission to use. Information subject to change upon further research.
Posted on 27 March 2013 | 5:09 pm
Anniversary of the 1933 Long Beach Earthquake
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| Untitled (Aftermath of Orange County Earthquake, 1933) Unknown photographer; Orange County, California Photograph; 2 7/8 x 4 1/2 in. 77.2.7e Gift of Mrs. Donna Grauer |
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| Untitled (Aftermath of Orange County Earthquake, 1933) Unknown photographer; Orange County, California Photograph; 2 3/4 x 4 1/2 in. 77.2.7b Gift of Mrs. Donna Grauer |
The 1933 Long Beach Earthquake served as a “wake up call” to the government and was directly responsible for the creation of the first statewide policies mandated in California to regulate the earthquake safety of buildings. The Fields Act improved public school building safety and the Riley Act introduced legislation that required buildings to be able to withstand horizontal forces. More legislation has been made and policies have continued to evolve and, 80 years later, California buildings are still being retrofitted to withstand earthquake disasters. Earthquakes have played a major role in the rich history of our state and the constant threat of seismic disaster will continue to shape our laws and our lives.
All text and images under copyright. For permission to use or citation information please contact the Collection Department. Information subject to change upon further research.
Posted on 8 March 2013 | 4:38 pm
Burst Solar Heater from the Great Freeze of 1937
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| Ice Formed from a Bursting Solar Water Heater, 1937 Photographer unknown; Anaheim, California Photograph; 5 x 3 in. 38507 Gift of Miss Muriel Anderson |
Today, solar technology is at the forefront of the “green” energy movement, but it may come as a surprise to many that solar energy has been used by families for over a hundred years. Solar water heaters were used during the 19th century by farmers and frontiersman as a simple solution to the high cost of using fuels like coal and lumber to burn fires. Instead of having to purchase coal or chop down large quantities of wood, they quickly learned to heat their water by leaving it outside in a large metallic tank that would be painted black. Unfortunately, this method took many hours to heat the water, and the heat would be lost quickly at night.
In 1891, a man named Clarence Kemp, who lived in Baltimore, Maryland, patented a design for a solar water heater that would begin a new industry. Kemp’s design involved placing the metallic tank inside a “hotbox,” which is simply an insulated box that has been painted black on the inside and has a glass lid. The glass allows light to pass through easily, but it retains heat energy. Kemp also added a system of pipes to his device, which he called “The Climax,” so that the heater could be placed on the roof of homes and the water easily accessible. This design was particularly appealing to Californians, who had an abundance of sunshine and high fuel costs to pay.
The design was further improved upon in 1911, when a man named William Bailey patented his take on the solar water heater. Previous designs like the Climax stored the water inside the hotbox, and so the water cooled off during the night. Bailey’s design separated the tank from the heater. He ran thin pipes through the hotbox that ran up to a tank stored on the roof of the home. The water in the thin pipes heated up very quickly, and since hot water is lighter than cold water, it naturally flowed upward into the tank, as cool water flowed back down into the hotbox. The tank could also be kept warm by the home’s furnace at night or on cloudy days.
Though the Solar water heaters proved to be very useful to home owners in temperate states, like California and Florida, they could not survive the intense cold freezes of other areas. Unfortunately for the Anaheim residents of 1937, the normally temperate area they lived in experienced an uncharacteristically cold period in January of that year, which became known as the “Big Freeze of 1937.” Large portions of the crops in the area failed and numerous pictures show scenes of frozen fountains and icicle-ridden plants. This picture in the Bowers’ collection depicts why solar water heaters never gained much popularity in states like Missouri or Minnesota. It shows a plant that has been covered in water that burst from the home’s water heater, and then froze.
Solar heating fell out of vogue after cheap electricity was made available by competing gas and electricity companies in the wake of WWII, but modern improvements have made it a viable technology once again. Though the times have changed, Californians are still searching for the cheapest way to heat their water. Cheap and renewable energy sources are timeless indeed.
All text and image under copyright. Please contact Collection Department for permission to use. Information subject to change upon further research.
Posted on 11 January 2013 | 11:53 am
CUT! Costume and the Cinema Ready to Debut
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| Cut! Gallery during installation |
With just a little ironing and primping left to do, the final touches are being placed on the costumes in the soon to open exhibition CUT! Costume and the Cinema. Each cinema costume is made with fabrics, beading, under dressings and adornments recreated to be as close as possible to the fabrics of the time period from which they come. They are inspiring and wondrous and easily transport one to another era. We can see the roughness of Johnny Depp’s coat from Pirates of the Caribbean and the fineness of the lacework on the costume worn by Keira Knightley in The Duchess. No detail is left unfinished on these costumes and the staff members who have been fortunate enough to see them in person are vying for which one they would wear if given the opportunity. By the size of her dress, it is surprising to see just how slight of frame Natalie Portman is and it is fun to imagine just how Kate Winslet navigated her steps in the draping fabric of her Finding Neverland costume. The anticipation is mounting all around as the gallery is finalized and the lighting is completed and we all wait for the word – Action!
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| Collection Associate Lauren McGloughlin with Keira Knightly's The Duchess Dress |
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| Curator Nancy Lawson with Julie Christie's Dress from Hamlet |
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| Registrar Sonja Wong straightens Lara Flynn Boyle's dress worn in Land of the Blind |
Posted on 12 December 2012 | 3:46 pm
"Pagoda, Old Chinatown, Los Angeles" by Arthur Beaumont
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| Pagoda, Old Chinatown, Los Angeles, 1949 Arthur Edwaine Beaumont (English born, American 1890-1978) Watercolor; 14 x 21 x ½ in. 86.40.1 Gift of Mr. Paul J. Knaak |
Watercolorist Arthur Edwaine Beaumont was born in Norfolk, England, but spent most of his painting career in the United States, studying and living in San Francisco and Los Angeles. Beaumont served as an officer in the U.S. Naval Reserve early in his career, and quickly became famous for his depictions of naval war ships, a genre he is best known for to this day. As one among many artists who painted “California Style” watercolors from the 1920s-1950s, he adopted a method characterized by broad, sweeping brushstrokes, vibrant colors, and stylized forms that portrayed scenes from all walks of life along the California coast. Artists used the California Style as a sort of departure from their Plein Air counterparts, distinguishing themselves by using watercolor instead of oil paints as a medium, and by mainly painting lively urban or genre scenes as opposed to landscapes.
In this California Style painting, Beaumont depicts a vibrant, colorful scene from Los Angeles’s Chinatown. Even those who haven’t visited can easily recognize the pagoda and Chinese symbols against the backdrop of the Los Angeles skyline as the thriving community that exists along North Broadway Street today. Many don’t know, however, that Los Angeles’s original Chinatown, now buried beneath Union Station, looked very different from its modern counterpart.
Old Chinatown grew in size and distinction in the late 19th to early 20thcentury, and became a large, fully functional community boasting a population of over 3,000 at its height. However, due to the ongoing development of Downtown Los Angeles and a significant amount of discrimination perpetuated by the Chinese Exclusion Act of 1882, Old Chinatown was slowly taken over and its population pushed out until the area was finally razed to make way for Union Station in 1931.
The community relocation plan, called New Chinatown, was planned and owned by the Chinese community, and is the complex that still exists today. New Chinatown’s architecture boasts towering pagodas, vibrant colors, and a grand dragon gate. Its location, further away from the densely packed areas where Old Chinatown once stood, and its economy, while supplemented by tourism, have allowed it to grow into the thriving commercial and residential community that it is today.
All text and images under copyright. Please contact Collection Department for permission to use. Information subject to change upon further research.
Posted on 30 November 2012 | 2:28 pm
Discovery of King Tut's Tomb Inspires Dental Technician
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| “The Glories of Tut--Ankh-Amen's Golden Sepulcher Revealed”; February 28, 1926 New York Times, Photo Rotogravure Section 7 99.27.8 Gift of Ms. Katherine Hotchkiss caption |
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| Print of Claire Doret with Tut Replica, c. 1930 Acme photograph; source unknown 99.27.6 Gift of Ms. Katherine Hotchkiss |
Originally trained as an artist, Carter found himself in Egypt as a draftsman brought to record tomb wall paintings in 1891. While he had no archaeological or historical training, he used his talents as an artist to help establish standards for the tracing of wall paintings and reliefs. He would, however, go on to work under some prominent Egyptologists, and it was then that he received formal training in archaeology. In 1900 he became a regional inspector for the Egyptian Department of Antiquities and oversaw the protection and preservation of many Egyptian archaeological sites. He served in this position for 5 years, until an argument with a group of tourists apparently convinced him to resign and return to work as an artist. Instead, he would eventually find himself in the service of an English archaeology enthusiast named George Herbert, the 5th Earl of Carnarvon. As an archaeological consultant, Carter worked on excavations in Thebes for about 10 years before he began work in the Valley of the Kings, where a number of pharaohs from Egypt’s “New Kingdom” (1539-1075 B.C.) had been buried.
Encouraged by small clues that suggested the existence of a yet undiscovered tomb within the Valley of the Kings, Carter would excavate there from 1917 until 1922, when he finally found what he had sought for so long. The tomb that he discovered was none other than that of Tutankhamun, one of the most famous of the Egyptian pharaohs, who is more commonly known today as King Tut. Despite his current fame, Tut’s reign was short-lived and somewhat lack-luster. His most significant act was to return Egypt’s religion back to its original orthodoxy, which had been dramatically altered by his father, the Pharaoh Akhenaten. Tutankhamun suffered an early death at the age of 19, the cause of which remains a mystery despite extensive scientific investigation.
The true significance of Tutankhamun is that his tomb was found almost completely intact, nearly untouched by the thieves who had for years plundered most of the other Egyptian tombs. Though the outer chamber showed signs of some minor break-ins, the thieves were unable to make off with anything large or from the inner chambers. The discovery sparked world-wide interest in ancient Egyptian culture and tourists and journalists flocked to the tomb in the hopes of getting a glimpse at the treasures and artifacts being excavated. Images from the tomb were reproduced for the world to see, inspiring the imaginations of many who saw them.
One such person was a woman named Claire Doret, who moved to the United States from Switzerland in 1920 at the age of 33. A multifaceted and talented woman, Claire enjoyed painting, sculpting, wood carving, and making jewelry. She worked as a dental technician, and when she came to live in Los Angeles, she became the first female in her profession on the West Coast. Her unique combination of talents was showcased in 1939, when she filed a patent for a “Tooth Study Model,” which came apart into four pieces and was meant to show patients different tooth disorders and how they were best fixed.
Upon seeing images of King Tut’s tomb, presumably in the 1926 copy of the above pictured New York Times, Claire was inspired to use her talents to create a miniature replica of Tutankhamun innermost sarcophagus, which was wrought of solid gold and valued at $250,000. Today, this would be almost $3.3 million, although neither figure accounts for the added value of King Tut’s name, which would be astronomical. Using her dental tools, she painstakingly worked on the piece for years. She finally finished her work in 1931, producing a highly detailed and masterfully crafted work of ceramic art.
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| Replica of the Mummy of King Tut and Sarcophagus, c. 1920's Claire Doret; Los Angeles, California Ceramic, wood, paint; 13 1/2 X 14 3/4 in. 99.27.1 Gift of Ms. Katherine Hotchkiss |
The small sarcophagus opens and reveals a detailed and anatomically correct skeleton and a painted interior. (In reality, King Tut was mummified and his remains are still somewhat intact to this day. However, the lid of the replica is very true to the original.) The piece is housed here in the Bowers collection, along with a photograph of the artist with her creation, and an original copy of a New York Times article from 1926 that depicts photographs of King Tut’s tomb and sarcophagus.
Today Doret's model remains one of the quirkier, but well-admired collection items belonging to the Bowers Museum.
All text and images under copyright. Please contact Collection Department for permission to use. Information may change upon further research.
Posted on 4 November 2012 | 7:00 am
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| Nimba Headdress, 20th century Nalu culture;Guinea or Guinea-Bissau, Africa Wood and paint; 53 1/2 x 24 x 15 in. 2012.7.1 Gift of Dr. Charles and Eileen Mohler Image Courtesy Heather James Fine Art |
Nimba headdresses play an important role in the traditional culture of the Nalu and Baga peoples. Traditionally, the nimba headdress was an essential component to ceremonies and celebrations associated with planting and harvesting as well as those marking significant life occasions such as marriages and funerals. A close examination of the headdress makes this usage apparent. The figure’s flat breasts are a symbol of motherhood as well as the commitment and sacrifice a woman makes in order to successfully nurture and raise her children. This also suggests fertility and life which are important when celebrating a new harvest or marriage. When danced, the carving was worn over the head of the dancer whose body was covered by a long mantle of raffia or similar fibers. The dancer’s only means of seeing was through one or two small holes between the nimba’s breasts.
Interestingly enough, the nimba image played a significant role in the development of the primitive and modernist art movements in the early twentieth century. Pablo Picasso and Henri Matisse were particularly influential in the origins of these movements; however the influence of the nimba can specifically be seen in the artwork of Picasso. Picasso saw African masks and sculptures as a way to freely and creatively express his view of subjects without having the preoccupation of entertaining viewers with decorative subjects and paintings. In the 1930s, Picasso purchased a nimba headdress and art historians have suggested that his early sculptural works were inspired by his nimba headdress and other African pieces. Specifically, the influence of African masks can be seen in his well-known busts of his mistress Marie-Thérèse that were created in the 1930s.
All text and images under copyright. Please contact Collection Department for permission to use. Information subject to change upon further research.
Posted on 26 October 2012 | 11:00 am
Edgar Payne's "Marinescape" c. 1918
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| Marinescape, c. 1918 Edgar Payne (American, 1882-1947) Oil on canvas; 28 x 33 15/16 in. F7687 Gift of Martha C. Stevens Memorial Art Collection |
The Style of impressionistic painting was first introduced in France in 1874, where it received outspoken criticism as it departed from the more realistic painting tradition of the time. Impressionists rejected the “academic” techniques of earlier movements in favor of short, bold brushstrokes that captured light and color rather than fine details. Impressionists most frequently painted landscapes and other subjects in nature and used the plein air technique of painting outdoors and directly in view of their subjects. To capture the natural light, artists painted quickly, attempting to depict an “impression” of the scene rather than a detailed copy. As the movement became more popular, variants of the style emerged and by the 1880s the techniques had spread to artists in the United States.
American painters by this time had already developed a tradition of painting outdoors; it was impressionism’s quick brushstrokes and emphasis on color that would inspire artists across the country, and by 1900 impressionism would become the most popular style of painting in the United States. During this period of time many plein airpainters came to California and spent time in Laguna Beach, capturing its then unsettled natural beauty. Only ten permanent residents lived in Laguna Beach in 1900, with travelers and seasonal residents passing through year-round. The small village continued to grow, however, and by 1917 there were about 30 to 40 artists living in Laguna Beach teaching plein air art classes and selling their works in major centers of art like Chicago and New York.
One of the most famous and accomplished of these artists was Edgar Alwyn Payne, who painted this beautiful piece around the time he decided to settle down in Laguna Beach with his wife and daughter in 1919. Payne’s work embodies the culmination of the Californian impressionism and plein air style. The artist was known for being somewhat of a nomad, and he traveled the nation and the world in search of beautiful landscapes to paint. He is most famous for his work in the Californian Sierra Nevada Mountains and for writing a book on plein air painting, entitled Composition of Outdoor Painting. He is also notable for founding the Laguna Beach Art Association and becoming its first president. The organization promoted local artists and maintained a gallery of their art, and it grew into what is today the Laguna Art Museum. The organization also began the tradition of putting on a show in which live models are painted, costumed, and placed in front of backgrounds in order to depict famous or classical paintings. The show still exists to this day and is famously known as “The Pageant of the Masters.”
All text and images under copyright. Please contact Collection Department with permission to use. Information subject to change upon further research.
Posted on 9 October 2012 | 4:42 pm
California Gold Exhibition Coming to an End
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| Gold Specimen from the Collection of Wayne and Dona Leicht Photo by Erica Van Pelt |
There are only three short weeks remaining to experience California Gold! This exhibition both transfixes visitors with the sight of beautiful and astounding examples of gold in its natural form and transports them to a time when finding and mining gold were an essential part of life.
Through the inclusion of fascinating stories about the sunken treasure from the SS Central America, known as the Ship of Gold, and objects relating to mining and prospecting gold, California Goldtells the tale of a significant part of California and world history. Although the California Gold Rush ended in 1855, the attraction to California’s gold-rich areas has endured. The ten pound Mojave Nugget found in 1977 and included in the exhibition as well as the continued operation of the Oriental Mine in Sierra County are just two examples of the persistence of gold’s allure to Californians as well as to people around the world.
In addition to viewing the exhibition in these upcoming three weeks, make sure you also attend our exciting gold related events! Renowned collector and dealer of gold Wayne Leicht will give a lecture on the pieces he has loaned to the California Gold exhibition on August 26, the Charlie Chaplin film The Gold Rush will be shown on September 1, a Liquid Gold of California themed wine tasting and talk will take place at our Bowers After Hours on the evening of September 7, and finally our festivities will close with one last exhibition gallery talk in the PIMCO Foundation gallery on September 9. For more information on these events, please visit the Bowers Museum website, www.bowers.org. We look forward to celebrating California Goldwith you!
All text and images under copyright. For permission to use or citation information please contact the Collection Department. Information subject to change upon further research.
Posted on 24 August 2012 | 5:25 pm
Governor Pio Pico's Carriage
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Pio Pico's Carriage, 19th century California Metal and wood; 57 3/4 x 57 1/2 x 132 in. 3945 Gift of Mrs. Thomas L. McFadde |
Pio Pico, who began his adult life as a shop operator in San Diego, was to become the first Governor of what was then called Alta or Upper California to have been born there and the last of the Mexican Governors to rule there.
It was Pio Pico who ordered the sale of the California missions in compliance with the controversial 1833 order from Mexico to secularize the missions. In this regard it is noteworthy that the Mission San Juan Capistrano was sold to Pio Pico's brother-in-law, Juan (John) Forster, an Anglo-American who had adopted Mexican culture.
When American settlers in northern California seized control of the Mexican government headquarters in Sonoma in 1846, they declared Alta California the new "Bear Flag Republic". Pico responded by ordering an ill-fated counter offensive and was forced to flee far to the south deeper into Mexico.
After it was clear that the Americans now controlled Alta California, Pico returned and reclaimed title to his 22,000 acres of ranch lands. Pico, fond of the good life also liked to gamble. This was to prove disastrous to his personal fortunes. In 1890, his debtors foreclosed on his adobe house in what is now Whittier, Orange County. After a long and eventful life that spanned ninety-three years, Pio Pico died in Los Angeles on September 11th, 1893.
The museum acquired Pio Pico's carriage as a gift from Mrs. Thomas L. McFadden, the granddaughter of Don Juan Forster and Dona Ysidora, the sister of Pio Pico.
All text and images under copyright. For permission to use or citation information please contact the Collection Department. Information subject to change upon further research.
Posted on 15 August 2012 | 6:23 pm
Wheeled Jaguar Effigy, Veracruz, Mexico
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Wheeled Jaguar Effigy, c. 550-800 A.D. Veracruz, Mexico Ceramic and wood; 3 5/8 x 2 1/2 x 4 3/4 in. 94.43.1 Gift of Mrs. Sharon W. Ettinger |
At first glance, this wheeled jaguar could easily be considered a child’s toy. However, the significance of this type of figurine, found in the region of Veracruz in eastern Mexico during the Classic period, is yet to be determined. The figures were given wheels and axle holes instead of feet and they represent the use of the wheel in Pre-Columbian America.
Most ceramic effigies were made by hand but some heads and wheels were made out of molds. Traces of chapopote, a natural shiny asphalt used to decorate or cover figurines, remain on the figure’s face. The wheel axles are made of recently added wood, but it is likely that the original axles were also made of wood or another perishable material that did not survive along with the figure.
Effigies were no longer made by the time of the Spanish Conquest so their function is not clearly known. Although some scholars have categorized these objects as toys, others believe that their distribution over a variety of locations points to their use as ritualistic objects used ceremonially. In Veracruz, where this effigy is from, figurines have been found in groups that honored the building of mounds, or small hills, an unlikely location for a child’s toy. Some of these wheeled figures are considered too elaborate and well preserved to have functioned as toys. Most wheeled effigies represent animals that have strong links to the ancient Mesoamerican belief system, which hints at their underlying significance. The jaguar, for example, was honored and admired by Mesoamerican cultures and was treated with religious reverence.
Even though there is evidence that the wheel existed, Mesoamericans never adopted it as a means of transportation. The primary obstacle was the absence of beasts of burden as Mesoamericans had no oxen or horses (the largest domesticated animals were small dogs and turkeys). Another important reason why the wheel was not used for transportation is the topography of Mesoamerica. The rugged mountain terrain, tropical forests and swamps would have made it especially difficult to maneuver wheeled vehicles.
All text and images under copyright. For permission to use or citation information please contact the Collection Department. Information subject to change upon further research.
Posted on 18 July 2012 | 12:34 pm
A Special Sneak Peek at FABERGE: IMPERIAL JEWELER TO THE TSARS
The Bowers Museum staff is making final preparations for the highly anticipated Fabergé: Imperial Jeweler to the Tsars opening on June 23, 2012. The exhibition comes courtesy of the McFerrin Collection and the Houston Museum of Natural Science and will be on exhibit through the holidays until January 6, 2013.
The diamonds were a gift from Tsar Alexander I to the Empress Josephine after her divorce from Napoléon Bonaparte. The diamonds passed down through Josephine’s heirs, one of which eventually married Maria Nikolaevna, eldest daughter Tsar Nicholas I. Through this reconnection with the Russian royal family, the diamonds came into the workshop of Fabergé.
A group of beautiful enameled eggs are gently nested in archival tissue while awaiting installation.
Ready to be wheeled into the gallery, this cart contains a menagerie of wonderful items including bell-push, a samovar, and another star of the show an exquisite diamond covered box with the cipher of Nicholas II within a diamond frame surmounted by the Imperial crown set with rose-cut and cushion-cut diamonds.The Imperial Russian court was renowned for lavish gifts such as this presented to foreign dignitaries visiting Russia. It is considered the finest box ever made by Fabergé.
All text and images under copyright. Please contact Collection Department for permission to use.
Posted on 15 June 2012 | 6:21 pm
Amarro Shield
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Shield, late 19th-early 20th Century Amarro people; southwestern Ethiopia Animal hide; 26 1/8 x 25 1/2 x 6 in. 2003.60.13 Gift of Ms. Martha Ann Bryson |
The phrase “looks can be deceiving” applies to this African shield. It may appear plain-looking, but its creation and use are anything but simple. The shield is crafted from the hides of the rhinoceros, buffalo or hippopotamus in a laborious and time consuming process for the use of the Amarro, one of many peoples that inhabit the Southwestern region of Ethiopia. Once the shield was in its finished form, it served many purposes besides providing protection in war including providing necessities, and playing a role in celebrations.
Reputed as a fearsome people who strove for recognition through war, the Amarro did not manufacture their own shields. Instead, the island peoples of nearby Lake Abaya created them. The process of making a shield was very involved. Once a hide was obtained, the shield maker cut and mounted the hide on a concave surface to give the shield its shape. Next, the hide was repeatedly pounded, stretched and oiled at intervals. Each shield’s shape and design is slightly different, indicating that this step of the process also involved some artistic planning and creativity. Finally, the shield would be left to dry. Once dried, shields were ready for trade to the Amarro. The manufacturers of the shields most often received food in exchange for their creations. Therefore, trading shields provided food for nourishment and implements for protection and expansion, basic needs for any human beings.
The use of the shield did not end after warring was over. With the death of an enemy came celebration. Upon the return of warriors, men recounted and rejoiced in their victories by painting their faces, spears and shields with a mixture of earth and ox blood. This paint played an important part in their celebrations and served to show the fearsome nature of Amarro warriors.
All text and images under copyright. For permission to use or citation information please contact the Collection Department. Information subject to change upon further research.
Posted on 13 June 2012 | 1:10 pm
Korwar Figure from Cenderawasih Bay
Ancestor Figure (Korwar), 19th Century
Cenderawasih (Geelvink) Bay, Papua (Irian Jaya) Province,
Indonesia, Melanesia
Wood; 6 ½ in.
85.24.1
Gift of Mr. Dwight V. Strong
The Korwar is a unique artistic motif that is identified with the people and cultures of Cenderawasih Bay. Also known as ancestor figures, Korwar figures are identified by their distinctive anchor-like noses and elegant open work carvings. Korwar figures are also noted for their unique abstraction of human form. The eyes of the Korwar are frequently embedded with blue glass beads. Popular design motifs include shields and snakes that serve as symbols of death and resurrection. The carving of a Korwar figure and its unique motifs involve a complex process which requires both spiritual and technical mastery. Thus, the clan religious expert who would carve the Korwar figure was also usually a master carver.
Korwar figures were created selectively. Because the figures housed one’s spirit, having a Korwar created for one was an honor. Those considered for the honor were usually individuals who performed a leadership function in life, such as a family head, clan head, or leader of an expedition. Others chosen were those who had died of a sudden or premature death. These people received a Korwar for their spirit due to the belief that they might haunt their family if they were too quickly forgotten.
The Korwar image played an active part in both the spiritual and visual expressions of daily life. Korwar figures like this one were typically placed in the family home. The Korwar functioned as an active presence in both the family and community. A Korwar figure was consulted for significant life events such as births, marriages, and deaths. They were thought to be able to heal the sick and ensure fertility in women. Korwar figures were also summoned for important communal ventures such as sea-faring journeys. In this case, the Korwar was petitioned for favorable winds and no rain. In addition, on head-hunting expeditions, the warriors would wear male Korwar amulets into battle. These amulets were thought to provide protection by blinding the enemy and rendering its own people invisible. Korwar figures were also feared by outsiders since it was believed that they could make someone ill or even kill them. Despite the esteemed place Korwar figures held in society, if a figure failed to perform its duties or its advice proved false, the owner would in some cases destroy it.
All text and images under copyright. For permission to use or citation information please contact the Collection Department. Information subject to change upon further research.
Posted on 14 January 2012 | 2:56 pm
Remojadas Monumental Sculpture
Standing Female Figure, c. 300-550 A.D.
Remojadas culture; Veracruz, Mexico
Ceramic and black pitch; 25 x 16 15/16 x 6 1/8 in.
2003.10.2
Gift of Peter G. Wray
The region of Veracruz in eastern Mexico has provided archaeologists with highly interesting objects that have helped them gain insight to culture, technological advances, artistic achievements and religious practices of preclassic Olmecs. Among these objects are large-scale hollow clay sculptures. These remarkable hand-modeled figurines from central and southern Veracruz are known as “Remojadas”, named after the region in Veracruz where they were excavated.
The sculptures range from 1’ to 2’ in size. Most of the Remojadas monumental sculptures of this type are represented standing with their arms held up in a ceremonial or dancing gesture, or with the arms down close to their thighs. Many of the figures are portrayed wearing headpieces with chin straps or short capes and have their face and body painted black. Some of these sculptures have been found in disconnected pieces and as result, the bodies may sometimes be reconstructed with ornaments, arms, legs or heads that do not belong to the original sculpture, making it a difficult task to categorize them chronologically and stylistically.
Remojadas figures are typically made of hollow tubes cut up to fit up against the torso and slipped into them. The head and neck are usually fitted over the hole in the top of the body. Clay is then added to smooth and strengthen the joint. Figures are dressed with flat layers of clay to make skirts or other clothing. Hands and feet join legs and arms and noses and jewelry are added last.
The figure shown here stands with her arms extended and palms turned up. This gesture may be one of welcome or greeting or possibly as a warning to an intruder of a tomb. The woman is dressed in what is possibly a ceremonial costume. She wears a wraparound skirt and her blouse, armbands and necklace are decorated with painted chapopote, natural shiny asphalt used to decorate or cover figurines. Her face and headdress also receive the same chapopote treatment. Many of the sculptures found represent deities. Some may represent a cihuacóatl, or woman snake, typically known as an evil deity.
All text and images under copyright. For permission to use or citation information please contact the Collection Department. Information subject to change upon further research.
All text and images under copyright. For permission to use or citation information please contact the Collection Department. Information subject to change upon further research.
Posted on 1 December 2011 | 12:03 pm
Shasta Indian Feathered Headdress
Feathered Headdress, c. 1920
Shasta people; Northern California
Flickertail feathers and string; 4 x 49 1/2 in.
F85.16.5
Gift In Name of Mrs. Hoiles
Recently, headbands have emerged as one of the trendiest accessories in fashion. However, Native American tribes in California and other parts of the Western United States were wearing exquisitely crafted and vibrantly colored feathered headdresses before even Chanel was a household name. This orange and black headdress, which is currently on display, is as enigmatic as it is beautiful.
This monochromatic headband was formed using the central tail feathers of the Red-shafted Flicker, a member of the woodpecker family, and multiple pieces of thread. Usually, headdresses such as these are found with diamond-shaped tips only going in one direction, but this one features feathers that have been placed in alternating directions that give the piece an undeniable symmetry and presence. Interestingly, in contrast to how one would expect the headdress to be worn, namely, encircling the head, the headdress was allowed to hang out on the sides unrestricted. The movement of the headdress and its inherent freedom mimics the free-spirited nature of Red-shafted Flicker from which it sources its feathers. While specifics regarding the headdress’ usage are indefinite, they are believed to play a role in the dancing rituals of the Shasta tribes. Moreover, it is not certain which of the Shastan subgroups this headdress came from as they all shared certain cultural material and did not restrict these feathered bands to only being worn on the head. One day soon we might see similar headdresses making their way down the runway in Paris, until then, we can admire the Shasta people’s sense of adornment right here at the Bowers Museum.
All texts and images are under copyright, please contact the Collection Department for permission to use. Information may change upon further research.
Posted on 21 October 2011 | 10:41 am
Bamana Komo Society Mask
Komo Society Mask, late 19th-early 20th century
Bamana people; Mali
Wood, porcupine quill, horn, mud and sacrificial material; 14 ½ x 10 ½ x 20 in.
F77.21.15
Gift of Dr. and Mrs. Philip Keeve
Primarily agriculturalists, the Bamana people of Mali number about 1.5 million people. Agriculture plays an important role in their religion, evident in the various animal forms and materials that appear in their masks. Bambara religion is mainly fulfilled through the six initiatory societies, the N’domo, Komo, Nama, Kono, Tyiwara and Koré, all of which involve the usage of masks.
Pictured above is a Komo society mask, used in the second of the successive initiations that include masked dancers and sacrifices presented at the society’s altars. The purpose of Komo initiation is to commence the spirit of knowledge; to reveal to the Bamana boys self-knowledge and the advancement of personal qualities. The Bamana refer to the masks as komo kun, meaning “head of the Komo,” however more specific and individual names are also given to differentiate their special abilities. Common characteristics found in the majority of Komo masks include bird feathers and quills, porcupine quills, antelope horns, and mouths shaped similarly to those of a hyena. The hyena jaws give emphasis to the animal’s power and force, seen as symbol of knowledge. The masked dancers wear the Komo masks on the top of their heads, instead of in front of the face, and express their power through exhaling columns of embers or phosphorescent material. Other supernatural rituals are also practiced during the initiation with the goal to nurture balance in the community.
The Bamana continue through the other initiation societies with the belief that by pursuing demands of their religion they can surpass death and become achieve godliness.
All texts and images are under copyright, please contact the Collection Department for permission to use. Information may change upon further research.
Posted on 12 August 2011 | 5:54 pm
Over Modeled Skull from the Papua New Guinea
Over Modeled Skull, 20th Century
Middle Sepik River area, East Sepik Province, Papua New Guinea, Melanesia
Human skull, clay, pigment, shell, and human hair; 5 7/8 x 5 7/8 x 7 15/16 in.
99.43.9
Donated by Rear Admiral Ralph and Sara Garrison
This over modeled skull is a funerary ritual object from the Middle Sepik River area in Papua New Guinea and can be witnessed up-close in the Bowers’ ongoing exhibition Spirits and Headhunters: Art of the Pacific Islands. Chilling and hauntingly unique, this example of Melanesian culture was not created in an artisanal vacuum, but rather took on subjectivity in a complex series of negotiations and processes between the worlds of the living and the dead and between the individual and society. The over modeling process was not an end in itself but a mediary between a primary and secondary burial of the deceased’s remains, further complicated by sets of mourning rituals, ranging from the celebratory to the silent.
The over modeling process, examples of which can be seen all over the world across the ages, is part of a particularly rich and captivating tradition in the South Pacific islands that begins surprisingly not immediately after death, but after the body has been processed through the village and mourned for the first time, and buried for a variable period of time. After the grave is opened, the actual human skull that is simultaneously hidden and echoed by the red clay, shells, white pigment, and actual human hair that adorn it, is cleaned and prepared to receive the treatment visible here. The transformation from a literal bone white skeletal canvas back into the fleshy likeness of the deceased is not carried out by kin, but by the most able artisan, a choice that reflects this culture’s appreciation for skill and distinguished craftsmanship. The clay and bone—the soft and hard, masculine and feminine—coming together represents life’s opposites and the complementarity experienced in everyday life. Finally, the finished over modeled skull, the final design of which is believed to be approved by the deceased himself, is carried through the village and mourned yet again in a variety of ways. The diversity and complexity of Melanesian funerary rites and the over modeled skulls that figure so prominently in them are but one of the reasons that make the cultures of the South Pacific so intriguing to so many.
All text and images under copyright. Please contact Collection Department for permission to use. Information subject to change upon further research.
Posted on 8 July 2011 | 2:52 pm
Tunic and Skirt from Hainan Island
Tunic and Skirt, 20th century
Li people; Hainan Island, China
Linen and cotton;38 x 28 in.
2008.6.16
Gift of Mr. and Mrs. Danny and Anne Shih
In the past, China’s Han people, the majority ethnic group in China, and their culture were the primary focus of academic investigation in many fields of study, including art history. Such a narrow scope severely limited a complete understanding of the region’s peoples and ignored the fact that the Han people are only one of 56 officially recognized ethnicities in China. Recently, however, the spotlight has been turned from the center to China’s peripheral cultures not only to increase understanding and awareness of those cultures, but also to assert their significance.
This tunic and skirt are exemplary examples of the material and visual culture of Southwest China’s Li people who live in the island of Hainan’s mountainous interior off the coast of the Chinese mainland. Both Li men and women wear skirts. Difference of gender is not signified by clothing, but rather through the tattooing of women’s faces, chests, arms, legs, and occasionally, their backs. This penchant for decoration is clearly visible in the colorful hand-woven cotton tunic and skirt that harmoniously blend areas of solid black with sections of highly stylized animal imagery. Although mystical dragons are visible in the left and right panels of the tunic, it is actually the playful frogs that one sees that are most sacred to the Li people. They revere the frog because according to their legends, the Li are actually descendents of ancient frogs. This connection to frogs is played out in the majority of Li visual and material culture and as this example shows, the frog motif is meticulously and vibrantly executed to not only show the weaver’s skillful hand, but also the eventual wearer’s everyday devotion to his or her ancestral past.
All text and images are under copy right. Please contact Collection Department for permission to use. Information subject to change with further research.
Posted on 17 June 2011 | 3:57 pm
Ito Jakuchu's Masterpiece: "Birds, Animals, and Flowering Plants in Imaginary Scene"
Birds, Animals, and Flowering Plants in Imaginary Scene
Itō Jakuchū (1716-1800)
Edo Period, 18th century
Pair of six-panel folding screens, ink and colors on paper
Each: 168.7 x 374.4 cm
Courtesy of the Etsuko and Joe Price Collection
These paintings are remarkable in thousands of ways – about 43,000 to be exact. That is roughly the number of squares that comprise each extraordinary masterpiece. Each figure is depicted using a different arrangement of squares and colors. Look at the robin. It is singing, walking along the bottom of the screen, composed of squares within squares and colors, arranged as never before, to produce the image of a robin that is alive and as alert as if it were captured by a camera.
Usually such strict geometrical patterns would come across as stiff and lifeless. Yet, the goose is awake and alert, and the ones behind him are relaxed in sound sleep. This attention to true nature is a trait characteristic of Jakuchū.
These screens, over their two hundred plus years of existence, have had heavy wear. Jakuchū used materials that he was not accustomed to and the coarse mineral colors, especially the blue, have not proven to be very stable.
“I believe that Jakuchū developed this style of painting to excuse the fact that these were imaginary animals he had never seen. He created an imaginary way to justify imaginary characters.” – Joe Price
Itō Jakuchū: A Man with No Age was exhibited at the Bowers Museum from April 16 - June 12, 2011.
All text and images under copyright. Please contact Collection Department for permission to use.
Posted on 10 June 2011 | 4:13 pm
Central Asian Memorial Posts at the Bowers
Memorial Statues (Balbals), reproductions
Mongolia and Central Asia
Gift of National Museum of History, Taipei
The Bowers’ grounds are home to two statues that you may or may not have passed without even realizing it. One of the two stands sentry at the Main Street entrance to the museum while the other sits next to a small fountain and trees in the courtyard. These statues are actually depictions of people, and although they are reproductions, the statues are representative of an art form that was used for over three millennia to memorialize the dead.
Known as Kurgan stelae or Balbals, these memorial statues are types of stelae, stone markers used to commemorate people or events. The balbals depict people, and thus are memorial markers for the dead. The earliest known balbal dates to approximately the 4th millennium BC while the latest dates to the Middle Ages. The numerous examples are found most often in areas of burial; however they are not isolated to one particular place or geographic region. Large groups of balbals have been found in Southern Russia, Ukraine, Prussia, southern Siberia, Central Asia, and Mongolia. They have also been found in the Eurasian Steppe regions, Saudi Arabia, and Anatolia.
The varied geographic and cultural locations of the balbals provide for artistic variation. Different types of stone and designs are used. Undoubtedly, this has to do with the fact that the balbals were memorializing people. Therefore, just as no two people are alike, a balbal preserves the individuality of the person it was created for. Design varied, but many balbals have been found in conic and flat form. Balbals also varied in purpose. Some are found atop kurgans, or tumulus, and some are buried in graves. Others serve more specific purposes. For example, a group of balbals could function as a fence for a sacred area, or as place where sacrificial offering were received.
All text and images under copyright. Please contact Collection Department for permission to use. Information subject to change with further research.
Posted on 10 June 2011 | 3:55 pm
Itō Jakuchū (1716-1800)
His training in painting was inspired by nature as well as by the Chinese paintings he was able to examine in Kyoto’s Zen Buddhist temples. Some sources indicate that he may have studied with Ōoka Shunboku, an Osaka-based artist known for his bird-and-flower paintings. Though a number of his paintings depict exotic or fantastic creatures, such as tigers and phoenixes (which he had never seen), it is evident from the detail and lifelike appearance of his paintings of chickens and other animals that he based his work on actual observation.
In his early thirties, Jakuchū built a two-story studio on the west bank of the Kamo River and called it Shin'en-kan (Villa of the Detached Heart [or Mind]), after a phrase from a poem by the ancient Chinese poet Tao Qian. It was around this time that Jakuchū befriended Daiten Kenjō, a Rinzai monk who would later become abbot of the Kyoto temple Shōkoku-ji. Through this friendship Jakuchū gained access to the temple's large collection of Chinese and Japanese paintings, and gained introduction to new social and artistic circles. It is thought that Daiten may have been the one to first conceive of the name "Jakuchū," taken from the Dao De Jing (Tao Te Ching) and meaning "like the void."
Itō Jakuchū: A Man with No Age was exhibited at the Bowers Museum from April 16 - June 12, 2011.
All text and images under copyright. Please contact Collection Department for permission to use.
Posted on 25 May 2011 | 5:11 pm
Bayaka Initiation Mask
Initiation Mask, 20th century
Bayaka people; Democratic Republic of Congo
Wood, raffia and paint; 25 x 17 x 11 in.
F74.12.2
Bowers Museum Purchase
Much importance is placed on the training and initiation of Bayaka boys for adulthood. Young boys of puberty age are trained in the n-khanda or bush school located in an isolated area away from the village. There the initiates are instructed in the traditions of the tribe, are ruled with an iron discipline, systematically hazed to test their endurance and trained in a profession. As long as a year may be required to complete their training which culminates with a n-khanda ceremony when they return to the village. The celebration held at this time is a great event in the lives of all villagers. Each initiate wears a mask and participates in the ceremonial dance. There are varying styles of masks but a few features are standard: the face is painted white to resemble the face of the dead and symbolizes the boy's "death" as a child and his rebirth as an adult, a full member of society. Each mask is crowned with a decorative arrangement: figures, animal heads or mythological scenes.
All text and images under copyright. Please contact Collection Department for permission to use. Information subject to change with further research.
Posted on 20 May 2011 | 2:43 pm
Tobacco Quilt, Trade Cards & Early American Advertising
Flag Quilt, c. 1915
Maker unknown; American
Cotton and wool;
61 1/2 x 75 1/2 in.
31932
Gift of Mrs. I. Kalebaugh
The many different printed flannel rectangles that make up the design of this quilt’s top were not handmade by the quilt maker. Rather, they were received upon the purchase of a pack of cigarettes. Known as tobacco flannels, the novelties were produced and distributed in the United States during the late nineteenth and early twentieth centuries. The flannels certainly became items that were eagerly collected, and this sales gimmick served as advertisement, and increased sales for, tobacco companies at a time when a national form of product advertising did not yet exist. Thousands of different subjects from fruit and flowers to baseball players and the flags of countries worldwide, as seen in the quilt featured here, were distributed. Piecing together the flannels, quilters created some of the most striking and unusual quilts that immortalize subjects of interest to Americans of the period.
The Last Look, 1892
Advertising Trade Card for “Newsboy” Plug Tobacco
Color lithograph on paper; 3 x 6 in.
34384.1
Gift of Dr. & Mrs. Vernor G. Rich
Like tobacco flannels, advertising trade cards and printed pictures appeared in the 1870s when manufacturers and producers of American trade goods began to expand product distribution. Handed out by merchants, or acquired by sending in proofs-of-purchase to manufacturers, the cards sang the praises and qualities of almost every product worthy of mention. Tobacco companies placed one trade card in each pack of ten cigarettes and asked merchants to display the examples of pictures to be had in their shop windows. The cards depicted a myriad of general subjects that captured American living, fashion, thoughts and ideas of beauty. Collectible series of cards for both tobacco and other products included Bible Verses, Birds, Views of California and Natives in Costume. The interest in images of foreign people, places and their flags reflects the curiosity and changing worldview of turn-of-the-century Americans.
Advertising Trade Card for Allen & Ginters Cigarette Co.; Richmond, Virginia
Color lithograph on paper; 2.75 x 1.5 in.
34384.2
Gift of Dr. & Mrs. Vernor G. Rich
All text and images under copyright. Please contact the Collection Department for permission to use.Information subject to change with further research.
Posted on 14 May 2011 | 8:54 am
TODAY
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May 23, 2013
EVENT
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Exhibitions
GEMS OF THE MEDICI
SCRIMSHAW: THE ART AND CRAFT OF THE AMERICAN WHALER
Spirits and Headhunters: Art of the Pacific Islands
Sacred Realms: Temple Murals by Shashi Dhoj Tulachan From the Gayle and Edward P. Roski Collection
Ancient Arts of China: A 5000 Year Legacy
California: The Golden Years
First Californians
Pre-Columbian Exhibits
California Legacies: Missions and Ranchos (1768-1848)
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