(permanent collection) 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.
Currently featuring "Gemstones: The Masterworks of Harold Van Pelt", it is hard to believe that the Bowers’ new PIMCO Foundation Gallery was once a storage room. Freshly converted, the gallery features a window displaying an agate carved shell holding a pearl and diamond brooch, a moss agate free-form bowl and a marbled agate drinking horn with gold details that provide just a small taste of the gorgeous multi-faceted, fluted, and textured vases, hollow containers holding precious stones, sculptures and vessels that are showcased inside. Each quartz and agate work of art has been delicately hand carved by Harold Van Pelt, and the Bowers Museum is proud to present this first comprehensive exhibition of extraordinary artworks assembled for the first time ever. Be among the first to know the work of Harold van Pelt and to visit the new PIMCO Foundation Gallery.
Steering Paddle (Viyoyu) 19th – 20th century Trobriand Islands, Milne Bay Province, Papua New Guinea, Melanesia Wood; 62 1/8 x 7 3/4 x 1 1/4 in.
Among the many islands off the coast of New Guinea, sea-worthy canoes (and their apparatus) are decorated to ensure success and protection during extensive trading voyages. Two men steer the outrigger canoes that carry shells, personal adornments, food and other goods for barter and exchange. A smaller paddle with a leaf-shaped blade is placed through the canoe’s slats at the stern to help guide the craft. Images of stylized birds, fish and swirling designs are incised into the paddle blade, and each end of the paddle is fully carved. The paddle is masterfully fashioned, thin and light in weight. The blade is gently bowed adding elegance and style and the wood has wonderful patina. Jordan Community Trust Purchase
Attributed to Michiel, the elder, Coxie (Flemish, 1499-1592) Oil on oak panel; 12 x 9 1/2 in. 81.13.1 Gift of Mr. Vasek Polak
Donated to the Bowers Museum in 1967, this oil on panel painting is a fragment of a larger work likely depicting the biblical scene commonly referred to as the Adoration of the Shepherds. The Adoration was a popular subject of the period in Flanders, a Northern European region including parts of present-day Belgium, France, and the Netherlands. The painting is reminiscent of the work of the court painter to Regent Maria of Austria, Bernard van Orley (1492-1542), but was likely painted by one of his students, Michiel Coxie (1499-1592), between 1550 and 1560.
Both van Orley and Coxie were part of a group of Northern European artists that painted in a style known as “Romanism,” which was heavily influenced by Italian Renaissance artists, particularly Michelangelo and Raphael. Coxie, himself was dubbed “the Flemish Raphael” and was a well-regarded painter whose works were commissioned and privately owned by kings and royal families of Europe. Coxie’s painted the human figure larger in scale and with more volume than his predecessors and his style is thought to be influential to the artist Peter Rubens. The composition of this particular painting is typically Flemish, and the color palette and stylistic elements suggest it was painted in Antwerp, Belgium.
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Nearly 3800 years ago, in a remote place in the center of Asia, a beautiful woman with auburn hair and delicate features was laid to rest. Her loved ones dressed her in finely crafted fur-lined boots and placed a felted wool hat with plumes of feathers upon her head. At her shoulder a wool-filled basket stuffed with millet was hers for the afterlife, and a bright red yarn bracelet with a jade bead was left tied around her wrist. Wrapped in a blanket and placed into a coffin, she was left for eternal sleep.
Millennia later, a group of archeologists working in west China’s Tarim Basin discovered the beautiful woman so well-preserved that she appeared to be sleeping. Dubbed the Beauty of Xiaohe, after the site where she was found, exactly who she was and where she and the others buried near her came from, was a mystery. Recent analysis of genes and material goods point to a people with ancestral roots far from the West – intriguing scholars astonished by the early presence of Westerners in the East. For the first time ever, the Beauty along with perfectly preserved religious items, a coffin, personal adornments and grave goods found at the Xiaohe site have been allowed to travel to the United States.
Secrets of the Silk Road explores the development of the Silk Road in Central Asia from the ancient people of Xiaohe, through the development of oasis towns where some of the best preserved textiles and documents ever found extend the understanding of civilization in the region, and finally to the sophisticated system of trade routes that enabled the exchange of refined goods like gold jewelry, silk robes and beautiful personal items between the East and West. Nearly 150 stunning objects, two mummies and the garments and burial mask of an actual Silk Road trader are included in this exhibition from the collections of the Urumuqi Museum and Xinjiang Archaeology Museum.
Upcoming Exhibition: July 3, 2010 - January 16, 2011 What are historic documents doing on the back of this quilt? Old receipts, bills, letters and other documents, were used as templates to sew fabric to in this variation of a Crazy quilt from about 1850, making it every bit as interesting as a historical item as it is a textile. This and sixteen other quilts will soon be on display as part of the exhibition Quilts: Two Centuries of American Tradition and Technique presenting the patterns, stitches, fabrics and other construction techniques, of the Bowers’ most popular quilts. Look for the “Whole Cloth” or “Linsey-Woolsey” quilt dating to 1776, the 1930s “Utility” quilt made of men’s suiting samples, a “Yo-yo” quilt and more.
Navajo culture; American southwest Wool; 71 1/2 x 53 3/4 in. Gift of Charles F. Newcombe A few years ago Collection staff came across this beautiful First Phase Chief's Blanket while assessing the Native American collection. This early type of Navajo weaving is rare and highly sought after object of American history, with only about 50 blankets known to exist. Blankets such as this date to the early 19th century and demonstrate early trends in Navajo blanket weaving. Large alternating bands of blue, white and brown color are indicative of the earliest (First Phase) Chief's Blankets. Through the Second and Third Phases weavers began including more design elements in their blankets until they progressed into highly patterned and colored works of art made to be worn. This blanket's design is very unusual and of the experts we asked, none could recall another of its likeness. The use of red lines along the edges and the crosses at center are more inline with later Second Phase design elements, and may indicate that this blanket demonstrates the transition between First and Second Phase weaving styles.
Donated in 1936, the same year the museum opened its doors, the original documents state the blanket belonged to one of the most famous Americans, Geronimo. Unable to prove this unlikely claim, the blanket still remains a valuable piece of history and a treasure in the Bowers' collection. A conservation team stabilized the blanket's structural weaknesses and cleaned the fibers making it possible to see the same vibrant colors as the blanket's weaver intended nearly 200 years ago.
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Seram Island, Maluku Islands, Indonesia Wood, shell & pigment; 27 x 4 1/2 x 3 1/2 in. Gift of Dwight V. Strong
The Maluku Islands (Moluccas) lie west of the large island of New Guinea. The people, who live on the hundreds of scatters of islands belonging to Indonesia, were once considered Melanesian in culture with traditions closer to the people of New Guinea. As early as the 17th century Dutch, Chinese and other Europeans came to the islands in search of rich spices, especially nutmeg and mace. The waves of influence from abroad had great affect on the islands, especially the introduction of Islam and Christianity. Despite such changes, the war dance called the cakalele, has been continuously performed for centuries. This vigorous dance is performed by men, each with an hour-glass shaped wood shield (salawaku) inlayed with shell; at times a spear is held in the other hand. In some areas the men paint themselves black with charcoal and wear special garments associated with warriors.
The exact meaning of the widely performed cakalele dance is unclear, but it is thought to have been performed as part of (no longer practiced) headhunting traditions or, more generally, danced before and after war raids. The cakalele has been described in a recently discovered document as a dance that symbolically recounts the overthrow and slaughter of the ruling nobles on the island of Banda by the Dutch in the 17th century. Today dance shields are still made for performers who present the dance during important celebrations, on the occasion of an important visitor or for the benefit of tourists.
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One of the most extraordinary and mysterious Silk Road textiles ever discovered was unearthed from a grave in the oasis city of Sampul in Central Asia. A blue-eyed man is at the center of the woven fragment; he is believed to be a Greek man dressed like a nomadic person from the Eurasian steppe lands. Above the figure is a centaur, a mythological being of Greek origin that is half man and half horse. Galloping along, his animal pelt skin flutters in the wind as he blows into a horn-like musical instrument. This fragment of textile made and used somewhere between the 2nd century BC and the 2nd century AD is early evidence of the cross-cultural influences occurring throughout the lands defined by the Silk Road.
When excavated, the textile was attached to a pair of trousers worn by an unknown man. On closer inspection, it was found that the textile was a part of what was once a larger tapestry, a woven decoration that likely adorned the wall of an affluent home, probably somewhere in Greek-influenced Asia. Whether the man took the tapestry in an act of crime and violence, or whether he obtained it through trade will never be known. The textile is an incredible discovery as it is one of the largest known examples of its kind found in one of the most remote places on earth.
From the forest emerge several grotesque figures with wide distorted faces fashioned from mud now hardened; their long pointed fingers made of wood click and clack as their palms open and close. Taking wide strides and stances their mud-caked bodies appear ever closer, the mud is a reminder of decay, death and the spirit world.
Award winning National Geographic photographer, Chris Rainier caught this ceremony while traveling throughout the Waghi Valley, in the Highlands of Papua New Guinea. This is just one incredible experience that makes up the beautiful and captivating body of Rainier’s work Where Masks Still Dance on view through June 6, 2010.
Forest of Arden, c. 1916 Frank Coburn (American, 1862-1938) Oil on wood panel; 20 3/4 x 25 3/4 in. 3821 Gift of Frank Coburn
Artist Frank Coburn painted this image from a published photograph of the famous Polish-born theatre star Madame Modjeska posed in her beautiful Southern California garden home she called Arden. The very quick and multi-toned brushstrokes are indicative of the French-influenced impressionistic style of painting popular among Southern California painters at the turn of the 20th century. Focusing on movement and feeling instead of detailed representation, it is impossible to see the features of Modjeska’s face or the specifics of her garden home. For Coburn, expressing emotion was the most important aspect of painting.
Untitled (Madam Modjeska at Arden), c. 1910 Photographer unknown Printed paper; 10 3/8 x 7 7/8 in. 4568 Gift of Everett C. Maxwell
Unlike other Southern California artists of the period who focused exclusively on landscape painting, Coburn’s body of work covered a broader range of subject matter including Native American and Mexican and Chinese American portraits and influences, industry around shipyards, cityscapes and still lifes. Coburn also painted many landscapes from the numerous sketches he made as he traveled throughout Southern California in his “El Vagabundo,” a bus-like precursor to the motor home that also functioned as his studio.
Frank Coburn lived a modest life. Born in Chicago he was schooled at the Art Institute of Chicago. Believing talent was learned not gifted, he described himself as a self-trained artist who continually studied the art of painting. Coburn lived in Santa Ana, California and kept a studio in Los Angeles before painting exclusively in “El Vagabundo.” During his painting career, Coburn had only one solo exhibition, which occurred in 1938 at the Bowers Museum where a large collection of his work is stored and exhibited.
Forest of Arden has recently been placed on exhibit as part of the permanent exhibition California: The Golden Years.
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Whole Cloth Quilt, 1776 Lucretia Smith ; Missouri or Iowa Linen and wool Gift of Ethel G. Abbott 37075
This heavy quilted bedcover is elaborately decorated with hand stitched twisting vines, curving acanthus leaves, bunches of grapes and blooming flowers stemming from a Tree of Life, a British design style carried to the new American colonies. Quilts of this type are often referred to as linsey-woolsey because of the combination of linen and wool materials of which they are made.
The appeal of this bedcover lies in its age, its vibrant color and the outstanding quilting which gives the raised effect to the naturalistic motifs. The quilt top, made of homespun linen, is dyed indigo blue and is pieced (or assembled from) three sections. A layer of warm wool filling under the top was no doubt a comfort during cold nights. The chartreuse-colored linen backing was also homespun as was the linen thread used to achieve the fine stitching. Imagine the time it took to create the exacting diagonal lines throughout the entire surface.
Early versions of linsey-woolsey quilts, like the 18th century example in the Bowers’ collection, were more elaborate and fine in design and construction than later versions made in the first part of the 19th century. Eventually the linen and wool quilts were overshadowed in popularity by the availability of cotton. The term "linsey-woolsey," commonly used today to describe heavy, quilted bedcovers, in its broader sense refers to any coarse cotton or linen fabric woven with wool. The term is derived from the Middle English word "lynsey" a corruption of "Lindsay," the village in England where such cloth was first made.
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Only a couple more days until the Secrets of the Silk Road exhibition opens to the public. We are working fast and furiously to make sure everything is in its place.
Our designers converse about the placement of the glass back lit floor to be installed. Text panels lean against the walls and open exhibit furniture awaits objects to be installed.
Our text panels arrived today as well as the glass that will create a back lit picture floor to hold the real star and secret of our exhibition - the Beauty of Xiaohe. XiaoheMudi (Small River Cemetery) is an incredibly rich archaeological site which many of the objects in the exhibition originate from. The female mummy (c. 2000 BC) is truly beautiful with flowing long red hair and eyelashes, not to mention amazing bone structure. Her bead bracelet, basket filled with wheat, practical and stylish felted wool hat with feather and fur details, and woolen cloak are evidence of the detailed attention of the burial customs of these ancient but unknown people. She and the other objects in the exhibition help to redefine how scholars understand the peopling of Central Asia and reveal that the East and West were in contact far earlier than thought. It is an incredible experience to have her and the exhibition here at the Bowers.
Making notations on the condition of the Beauty of Xiaohe at the Xinjiang Archaeological Institute in Urumqi.
The Beauty of Xiaohe could never have imagined that she would travel as far as the United States where she will go on to visit and be seen at the Houston Museum of Natural Science and The Penn Museum in Philadelphia. Certainly she could never have imagined the media coverage she has received on national and local radio, television and Internet sites. You can see Diane Sawyer talk about the exhibition tomorrow night on ABC.
The Beauty of Xiaohe recently uncrated in the gallery is filmed and photographed by national press.
In the image below our designer can be seen working with a Chinese courier from the XinjiangUyghur Autonomous Region Museum to make sure objects are secured in their display case before being sealed. On the back wall on the left is a bill of sale for a female slave named Upach from Turkestan. Written in the Sogdian language (a Middle Iranian language) around the 7th Century AD, the script is visually beautiful and the contents are culturally important. On the right, a painting on silk screen from the the same time period depicts a female dancer (the other half of the painting once showed a female musician - only her shoes remain). Silk screen paintings that depict women in daily life are incredibly rare finds - this is the oldest silk painting depicting women's lives ever to be found in China.
Final touches to the exhibit are made by our designer and Chinese representative.
We are looking forward to seeing you here at the Bowers. Don't forget you may follow this link or visit our website to purchase tickets ahead of time on our website.
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Bowers staff works with Xinjiang Museum and Xinjiang Archaeology Institute couriers to unpack a 7th-9th Century wooden tomb figure of a horse from the Astana tombs.
The last few days at the museum have been focused on uncrating, unpacking, condition reporting and installing objects for the Secrets of the Silk Road exhibition. We have had a lot of interest in the exhibition generated by the NY Times and USA today articles that have come out this week and it has been wonderful to receive phone calls and emails from all over the country from people eager to see this historic exhibition.
When checking the condition of objects I usually find that I am so focused on the details and possible weaknesses of an object that I forget that I am looking at, or even holding in my own hands, an artifact of great historic significance - I see the scratch instead of the Frida Kahlo collage or the cracks not the terracotta warrior. This was not the case however when it came time to examine the infant mummy from Zaghunluq (the same mummy featured in the NY Times). Even though this 8-10 month old baby lived around 1000 BC there is no question that it was deeply loved by its parents. The baby was sweetly wrapped in brilliant red and blue wool textiles, a tuft of blond hair on its forehead peaks out from under its bonnet. A horn for drinking and a sack filled with milk were placed at the baby's sides so that even in the afterlife it had sustenance. Two flat rocks were placed over each of the eyes before it was laid to rest (one stone is removed in the picture below). Three thousand years later it is possible to feel the love the parents had for this child and for me, experiencing an emotional connection with ancient people has been extraordinary.
Condition reporting an infant mummy at the Xinjiang Uyghur Autonomous Region Museum
Our Registrar and Collections team have been working with the Chinese couriers from Xinjiang and our Exhibits crew to make sure everything is ready to be placed in the gallery. Many objects require special mounts, display stands and placement. You can see some of the photos from unpacking and examination at Bowers below. Don't forget you can purchase tickets ahead of time to see the exhibition on our website. Even though we are working long hours we never lose sight of what an amazing exhibition this is and how wonderful it will be to finally share it with you.
What appears to be an unattractive woman is actually a eunuch. Dressed in a beautiful robe, his long-sleeved arms are able to be posed to show all types of dance movements.
Our team examines tomb goods from Astana. A miniature quiver and set of bows can be seen in the foreground. The quiver is decorated with two men on horseback hunting what appears to be a tiger.
This portion of an oxhead still has portions of hair that were intentionally left in place; the forehead is painted and a bundle of hemp wrapped with wool cord is attached between the horns. Probably about 4000 years old, the head was used ceremoniously.
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Our final inspection and packing of objects for Secrets of the Silk Road took us back to Beijing where we spent half of a day at the World Art Museum. A gold funerary mask decorated with ruby-colored stones was definitely a highlight and especially the incredible Yingpan Man, an actual Silk Road trader whose clothing and funeral mask were very fine in quality. His robe's pattern appears Mediterranean in influence and even the pillow his head rests upon is exquisite in construction and design. The short movie below captures some of the highlights of the day.
Our crates and Chinese couriers have arrived at the Bowers Museum and today and we will begin the condition report process all over again with gallery installation soon to follow. We will keep you updated with more pictures and information on the one-of-a-kind artworks and artifacts in the exhibition, revealing some secrets along the way. We will also post some behind-the-scenes images to show you what it takes to put together a museum exhibition. Stay tuned!
I am back in Beijing after a whirlwind of a trip to Urumuqi where we finished condition reporting the bulk of the objects coming to Bowers Museum for the Secrets of the Silk Road exhibition. As expected, the objects are far more beautiful in person and really incredible when considering their age and what they tell us about people, trade and cultural exchange in ancient Central Asia.
Condition reporting requires your attention be focused on minutia of its condition (is it broken, is it stable, is there any damage, will it survive travel) and rarely affords you the chance to step back and think about a piece as it functioned in its actual context. Still there were some moments that I had a chance to pause and really look at some of the objects.
One of the items that most stood out to me was the felted hat with goose feather and weasel fur details in absolutely perfect condition. The hat is a perfect example of function and fashion coming together. This hat belonged to someone who lived out in the very cold desert region of Xinjiang somewhere between 1800-1500 BC! And let me tell you it was cold out there - I am astounded at how ancient people braved and survived such extreme conditions. Because of the dry environment, the perfect preservation of objects like this hat have occurred, allowing scholars to construct the early history of the Silk Road.
I loved coming face to face with the Figure of a Foreigner from the Western Regions (7th-9th Century) sporting a wonderful moustache. We had two things in common, first that we were not typical of the people of Xinjiang province. I saw very few foreigners myself and he was not typical of the mostly Han population of Astana, where he was entombed. Also, in his sculpted manifestation, we are about the same height.
I felt a little envious of the woman who owned the pair of earrings (3rd-4th Century) that had been described to us as gold earrings with glass stone they are stunning! Dr. Keller, having a background in gems, was able to take a closer look at and identify the glass”as aquamarine probably originating from Afghanistan. The earrings also have small pearls, probably from the Indian Ocean. The red stone inlayed in the gold was not identified but beautiful nonetheless. The components used to construct such a fine pair of earrings came from many far places and belonged, no doubt, to someone of importance.
A beautiful, albeit partial, painting of Buddha standing on a lotus was identified in the center of a robe (3rd-4th Century). It is a reminder of the influx of new religions to and through Central Asia, the hub of the ancient Silk Roads.
With 19 more objects to condition report in Beijing, my trip here is almost finished. This exhibition is simply remarkable and it is a privilege to be hosting it at Bowers Museum.
Adjusting to the time difference of 16 hours has been a challenge today. The shopping and eating in Beijing have been great but now I am excited to head off to the Xinjiang province and the city of Urumqi, the Guiness Book of World Record holder for largest city farthest from any main body of water. Most I am looking forward to finally seeing the objects for the Secrets of the Silk Road exhibition up close.
My main job while in Urumqi (Pronounced Uh-roo-uhm-qi) will be to carefully document and make detailed written condition reports of each object before supervising their packing and crating. I will be working with a great team from the Xinjiang museums to make sure this happens. I look forward to seeing first hand the construction and decoration of these beautiful Silk Road objects excavated from several archaeological sites in the Tarim Basin, a vast and arid desert sprinkled with oases that over time eventually developed into small statelets. These early Silk Road towns benefited by the aid they provided to travelers that sought shelter, provisions, and markets to sell/barter their goods. Not only did inhabitants witness the exchange of the ancient world’s finest commodities, but they were also greatly influenced by contact with foreigners from many places, their languages and cultures - a true melting pot.
Some of the items I am looking forward to seeing are the sunglasses. During life they functioned to keep out the sun and the desert's fine dust. They were also important to the afterlife and were included in burials, placed over the eyes of the deceased.
Some of the textiles in this exhibition are absolutely remarkable, even the simple wool blanket that once wrapped someone is extraordinary considering it dates to c.1800-1500 BC and the magnificent textile from the height of Silk Road trade with obvious Mediterranean features is one of the most important textiles in the world for its clear establishment of Western goods in the East, not to mention its sheer beauty.
When it comes to this exhibition there are no shortage of things to write about, including some incredible surprises that will be revealed in the very near future. I look forward to keeping you updated as we work to bring this exhibition to you.
For young Miao women, when it comes to personal adornment, the more silver one has the better, and one’s beauty is marked by the heaviness of her ornaments. Young women of marriageable age take part in courting festivals where they hope to attract suitable mates. Covered from head to toe in silver headdresses, necklaces, earrings, bracelets and other jewelry, a girl’s shining ensembles sometimes weighs more than twenty pounds. These brilliant visual displays of wealth are intended to capture the attention of available men, and are advertisements of a young woman’s dowry to be transferred to her future husband family upon marriage. The sight of a horse specially outfitted with a silver saddle is an ultimate display of wealth. Horses are relied upon for both transportation and cultivation and are symbols of prestige and affluence; they are also included in Miao marriage processions. Like silver, horses may become part of a young woman’s dowry.
This saddle is made of wood, overstretched with leather, and fitted with sheets of pounded silver. It is completely covered in designs that signify happiness, fertility, posterity and harmony. Fan-tailed dragons float among clouds and flames of fire, and flank the sides of a flaming pearl; below two fish appear. Happy human figures can be seen within the branches of flowering trees. A phoenix and a dragon playfully face a sun, and two phoenixes with swirling tail feathers are on the rear of the saddle. Miao silversmiths mimic the motifs found within embroidered, woven and batik-dyed special occasion textiles which are exquisitely made by women. These motifs are usually part of some historic or mythic narrative or have a specific significance to the Miao who traditionally lack a written language.
Maze Stone, prehistoric Gabrieliño/Juaneño people; Trabuco Canyon, California Granite; 6 1/2 tons Bowers Museum Collection
The mysterious granite Maze Stone rests at the base of the giant prickly pear cactus in the Key Courtyard of the Bowers. Much speculation has arisen regarding the maze-like petroglyphs inscribed on its surface, considerably dimmed now by weather erosion. It is postulated that the stone played a part in the ritual of an ancient people, however no definitive explanation of its use is known.
Maze Rock at Trabuco Canyon, 1885 Unknown photographer Photograph; 7 x 12 in. 6538
Puzzle or maze designs are often seen in Southern California rock art; the maze is often used as a philosophical depiction of life. Maze designs are also used in basketry in Arizona and elsewhere around the world. Similarly marked boulders have been discovered in San Diego, Riverside, and Imperial Counties, usually in prominent positions on high ridged or hills.
Maze Rock and its Discoverer J.C. Joplin, 1885 Unknown photographer Photograph; 3 1/2 x 5 3/4 in. 6554
The stone was found by J. C. Joplin in 1885 in a ridge between Bell and lower Trabuco Canyons, an area where no other signs of Indian habitation were found. The maze stone was brought to Bowers Museum in the early thirties. The several-ton stone is one of the Museum’s oldest Indian artifacts and remains an unsolved mystery.
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Pottery Mask, early-mid 20th century Boiken people; East Sepik Province, Papua New Guinea, Melanesia Ceramic; 7 1/4 in. diameter 2009.2.1 Purchase made possible by the Bowers Museum General Acquisitions Fund
Ceramic works of art made and used ceremonially rather than for utilitarian purposes are known to exist among only a handful of cultures in Papua New Guinea, making this pottery mask a precious and extraordinary addition to the museum’s permanent collection. The disc-shaped face and sharply protruding beak are avian features. The round eye openings are intense and overall the mask is captivating, exuding originality and character. Too small to fit a human face, it is unclear exactly how the pottery mask was used although the piercings around the edges indicate that it was intended to be attached to some structure. It is very likely that it was placed in a healing shrine made up of an assortment of miscellaneous items such as bones, stones and carved figures thought to possess magical and curative powers.
This mask originates from a Boiken village west of Wewak in East Sepik Province where documentation and published findings on pottery production have focused on food containers and vessels. Figurative pottery is practically an untouched subject because of the scarcity of these forms; only one other known example of a mask with characteristics similar to the one pictured here is known. Unfortunately, Boiken pottery production is endangered with few potters remaining to carry on the tradition. Men, not women, have been responsible for the creation of ceramic wares, employing the coiling method when constructing bowls and vessels. This mask was also made with a coiling technique to which the nose was later applied in relief.
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They have lined the most famous avenues and plazas in the world and now Fernando Botero’s monumental sculptures come to Bowers Museum, Santa Ana. Three beautiful, big and bronze works of art by the acclaimed artist are on view in the musuem’s Key Courtyard as part of the upcoming exhibition The Baroque World of Fernando Botero.
Fernando Botero Smoking Woman, 1987 Bronze; 73 x 141 3/4 x 34 1/4 in.
Fernando Botero The Rape of Europa, 1999 Bronze; 81 1/2 x 71 3/4 x 122 in.
Fernando Botero Hand, 1985 Bronze; 102 1/4 x 55 x 69 in.
Getting these monumental artworks upright and placed was no easy feat. Weighing in at between 1 and 3 tons, it took a forklift and four men to move, uncrate and place these playful and irresistibly attractive sculptures. You can view over 20 more images of this challenging exhibit by joining us on Facebook or join us on Twitter for museum updates.
Round and voluminous treatment of the figure is the signature of the artist’s unmistakable style. Read more about artist Fernando Botero in the gorgeous full color exhibition catalog available in our gift store. Enjoy these sculptures and nearly 100 other paintings, works on paper and sculptures at the much anticipated exhibition opening Saturday, September 12, 2009.
This exhibition is organized and circulated by Art Services International, Alexandria, Virginia. All images and text under copyright. Please contact Collection Department for permission to use.
Business Ledger of Don Tomás Yorba; 1841-1849 Santa Ana, California Paper, cow hide, ink; 11 3/4 x 8 1/2 in. 5071
The most historically significant book in the Bowers Museum’s collection is this ledger or book of accounts used by Don Tomás Antonio Yorba and later, his brother Bernardo, to record the business affairs, transactions of goods, and the settlement of the estate, Rancho Santa Ana. Its first entries were made in 1841 and span through the end of that decade, giving specific insight into the daily life and conditions of early California, then under Mexican rule and on the brink of reaching statehood.
Rancho Santa Ana, born of a Spanish land grant, reached from the sea to the mountains, and was made up of thousands of acres of crops and orchards, vineyards, roaming livestock, an 18 room adobe and other dwellings which housed landowners, traders, artisans, laborers and employees. Written in Spanish and bound in hide, this ledger documents in beautiful handwriting the Rancho employees’ wages (at 8 pesos a month) and several monetary loans to many well-known early Californians including Pio Pico, Don Juan Forester and Fernando Sepulveda. Perhaps most fascinating are the noted transactions of goods traded and sold by other landowners who bought at Rancho Santa Ana and the notations of goods obtained at the port at San Pedro that arrived from far-off places. These include items for sustenance like tallow, sugar, rice, grain and beans; items for work like wheels for carts, pack saddles and shoes; specialty and luxury goods like paper, printed cottons, silk kerchiefs and stockings; and tobacco and Spanish brandy, the latter which holds repeated entries in the ledger.
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Basketry Shield, late 19th – 20th century Zande people; Democratic Republic of Congo and Sudan Split rattan cane and wood; 47 3/4 x 23 in. Gift of Martha Ann Bryson 2003.60.9
The Zande populate the northern region of the Democratic Republic of Congo and the southern region of Sudan. Historically noted as extraordinary warriors who mastered militaristic strategy and power, Zande rulers continuously stretched the boundaries of their control by conquering neighboring groups of people. To insure sustainability and order of the region, royal family members and esteemed individuals were assigned to govern newly obtained territories.
Warriors' basketry shields were personal belongings of the utmost importance that offered protection and embodied prestige. As a weapon the shield is designed for optimal function. Built from an oval wood frame it is woven with split rattan cane strong enough to divert oncoming weapons and at the same time light enough to carry for long distances. Its size allows protection for an entire crouching body. The slight convex shape of the shield is pleasing to the eye and is created by a concave grip board attached to the reverse side. The geometric patterning on Zande shields served as unique personal identifications. The use of contrasting black and yellow cane was essential for clearly identifying the warrior who held it. A symbol of pride and dignity, a warrior took great care in maintaining the quality of his shield. A small puncture above the central design element in this particular shield gives evidence of it being used in battle.
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It has been a priveldge for Bowers Museum to host Art of the Samurai: Selections from the Tokyo National Museum. Over 18,000 visitors came to see first hand the exquisite craftsmanship evident in each of the objects on display. Those who didn’t get a chance to see the exhibition can still purchase a copy of the catalog from our gift shop that bears the same title – it beautifully pictures and describes each object that was included in the exhibition. After viewing Art of the Samurai our visitors overwhelmingly agreed that the exhibition gave them a stronger appreciation for samurai culture and clearly understood that samurai were a highly cultured class of people, who in addition to the art of battle, mastered and surrounded themselves with other forms of art. These images show representatives from the Tokyo National Museum as they prepare each object for shipment. As with every exhibition, specially trained handlers traveled with the exhibition to examine the condition of each object before placing it into its display case. The same team of museum professionals returned at the end of the exhibition to once again check the objects' conditions and pack them in special archival materials and packaging built to each object’s specifications. The man dusting the katana sword is wearing a mask to keep any moisture he may exhale away from the iron blade in an effort to prevent corrosion. Assembling and dissembling the rokumaido gusoku style armor was a careful and time consuming process as there are many components to the overall garment including the two crescent shaped wakidate on both sides of the helmet.
All images and text under copyright. Please ask Collection Department for permission to use.
Storage Vessel (urpu), 15th – early 16th century Inca people; Peru Ceramic and glaze; 13 x 11 x 9 in. F81.18.1
This spouted vessel with conical base, side handles and a central lug with a stylized animal face represents one of the most common types of ceramic vessels from the Incan empire. These types of vessels are referred to as Cuzco bottles (Cuzco was the capital of the Incan empire) or as aryballos, the word used to describe similar globular jars used in ancient Greece. Built using a coiling technique, these types of vessels were designed for optimal functionality. They were used to hold water, probably food and chicha, a fermented corn beer which played a role in Incan ceremony. Transporting the jars was made easy with the use of ropes which were placed through the handles and then wrapped around the central lug; this allowed the jar to be carried on one’s back. The pointed base made it possible to stand the vessel upright when it was set into soft or sandy earth. The two small pierced lugs directly under the rim of the spout held a cover in place which prevented unwanted debris falling inside and from contents spilling out. The warm honey-orange color was produced through oxidation that occurred during the firing process; the bands of designs were made using slip that was applied by hand before firing. The vessel is a perfect example of the elegance the Inca applied to even the most utilitarian of objects.
All images and text under copyright. Please contact Collection Department for permission to use.
Raven Rattle, late 19th century Tlingit Culture; Fort Wrangell, Alaska Wood, paint and cedar twine; 14 x 4.25 in. Gift of the John J. Burkhard Family 89.34.1
This Tlingit ceremonial rattle is carved in two sections and bound together with cedar twine. The rattle is intricately designed with various stylized animals and a human figure, perhaps of shamanic status. As with the large majority of Northwest coast rattles, the main body takes the shape of a raven. Within its openwork carved beak is a box which, according to legend, is filled with the light Raven stole from the heavens and carried to a once lightless earth. Upon the raven’s back the human figure reclines - his arms merge with his hands and bent legs. The figure’s mouth is open revealing a long tongue that protrudes into the mouth of a frog which crouches on his abdomen. A long beaked bird with horizontal crested feathers emerges at the figure’s feet and connects to the frog body. The purposefully joined bird-frog-man demonstrates connectivity and transmission between the figures. The underside of the rattle is incised with a totemic wolf's face which likely carried personal meaning for its owner. Rattles are objects of power and would have been in the possession of chiefs who carried them as part of their ceremonial regalia, or used by shaman in dance and ceremony.
All images and text under copyright. Please contact Collection Department for permission to use.
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.
Our team examines tomb goods from Astana. A miniature quiver and set of bows can be seen in the foreground. The quiver is decorated with two men on horseback hunting what appears to be a tiger.
This portion of an oxhead still has portions of hair that were intentionally left in place; the forehead is painted and a bundle of hemp wrapped with wool cord is attached between the horns. Probably about 4000 years old, the head was used ceremoniously.
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