(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.
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.
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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.
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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.
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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.
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Dress, c. 1897 California Silk and lace; 58 3/4 x 20 1/8 in. 80.18.1a,b Gift of Mrs. Paul Stein
Fashionable women’s clothing of the 1890’s reflected a time of enormous social change marked by the burgeoning independence of women’s suffrage and the strides in social reform. Women’s styles of the Victorian era, which were characterized by bustles, stiff crinolines and ornate decoration, were slowly replaced by greater comfort and a more relaxed silhouette that would be the hallmark of the Edwardian period. This beautiful gown was worn by Hortensia Yorba Palomares, and is a stunning example of the simple elegant beauty of gowns from that period. This silk gown actually features two pieces: a trumpet-shaped gored panel skirt in a yellow-green shade trimmed with bright red silk bands forming a unique decorative pattern and a form-fitting boned bodice edged with 4” lace and trimmed with a small red sash, bows at the shoulders and a bow at the waist. This beautiful dress created an hourglass profile popularized by illustrator Charles Gibson’s fictional “Gibson Girl” character that personified a new standard of feminine ideal and coveted style.
Hortensia Yorba Palomares was a descendant of the Palomares family who built the Ygnacio Palomares Adobe. Now a national historical landmark, the adobe was once the center of the thriving 22,000 acre Rancho San Jose consisting of land from the Mission San Gabriel and land now part of the cities of Pomona, LaVerne, San Dimas, Diamond Bar, Azusa, Covina, Walnut, Glendora, and Claremont. In 1911, California’s Poet Laureate John Steven McGroarty wrote “The Mission Play”, an epic theatrical production that was staged adjacent to the Mission San Gabriel and dramatized the founding, the rise and the fall of California’s Franciscan Missions. This dress is believed to have also been worn by an actress who portrayed one of the main characters of the play, Senora Josefa Yorba. This gown is not only highly regarded for its beauty, but also as an important cultural artifact from California’s rich historical past.
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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.
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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.
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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.
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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.
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Itō Jakuchū (1716-1800) was the eldest son of Itō Genzaemon, a grocer whose shop was located in the Nishiki food district in downtown Kyoto. After his father died in 1739, Jakuchū ran the shop until 1755, when he turned it over to one of his brothers in order to focus on painting.
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.
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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.
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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
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Tiger Itō Jakuchū (1716-1800) Edo period, dated Hōreki 5 (1755) Hanging scroll, ink and colors on silk 129.7 x 71 cm
Prominently displayed in the gallery, and a favorite among many, is Jakuchū's painting titled Tiger. Though they had never seen live tigers, Japanese artists used tiger skins as inspiration for their paintings. Problems arose, however, from trying to imagine this dried skin as a living animal. In the course of doing so, the tigers became quite comical with exaggerated features including enormous eyes, shrunken ears, flat noses, and massive paws. The overall disposition or character of the animal is always dependent upon the imagination of the artist.
The contrast of the rough, quick brush strokes of the sumi tree in this Jakuchū painting, and the precise, even delicate work in the tiger shows Jakuchū’s skill at its finest. Jakuchū painted Tiger in the early summer of 1755, the year he handed over the family’s greengrocer business to his younger brother in order to pursue of a life solely dedicated to painting. On the painting, Jakuchū wrote “When painting a material phenomenon, I would not paint it but from truth. Because there are no ferocious tigers in Japan, I have imitated the painting of (the Chinese Southern Song artist) Mao Yi.”
“Japanese paintings of tigers have always been a favorite of mine, for the artist must have used his own originality. The variety of the results is amazing.” – 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 and may not be copied, printed or published without permission from the lender.
Jakuchū undoubtedly was fascinated by chickens and roosters, as seen by his many depictions of fowl in his works. He studied them wholeheartedly, reportedly following them around for hours. This work epitomizes Jakuchū’s intense love for nature. Surrounded by roses and hydrangeas, a rooster flaunts his dramatic feathers in front of the shy hen he courts. Jakuchū intensifies the painting’s complex design through painstaking detail. The roses in the lower right corner are not painted over the hen or the foliage behind them. The lightest color of their petals is just the pure exposed silk of the scroll. Moreover, observe the rooster’s tail feathers; they are not painted over the deep blue hydrangeas. Again, the pure color of the silk shows through.
Rooster, Hen, and Hydrangeas seems to date somewhere between 1755-1757, when Jakuchū handed over his family’s greengrocer business to his brother, after which Jakuchū devoted his life solely to painting. Jakuchū painted this scroll in a small studio in Kyoto. There are also two seals alongside his signature that also appear on the painting Mandarin Ducks amid Snow-Covered Reeds, which indicates that the two paintings were probably produced around the same time.
“I saw this painting at a dealer’s shop at the same time as Mandarin Ducks amid Snow-Covered Reeds. I could not afford to buy both so I just bought Rooster, Hen, and Hydrangeas, since I already owned a similar painting to Mandarin Ducks. Though when I went home and looked at my version of the mandarin ducks, it was not nearly as good as the one I had just seen.” – Joe Price
In order to preserved their beauty for future generations, the beautiful paintings premiered in the exhibition Itō Jakuchū: A Man with No Age are on view only through June 12, 2011 to preserve their beauty for future generations.
All text and images under copyright and may not be copied, printed or published without pemission from the lender.
Officer’s Frock Coat, 19th century Civil War period; American Wool and brass; 45 x 19 in. 3465 Gift of Mrs. G.A. Ensinger
This date, April 12, marks the 150th anniversary of the start of the Civil War. April 12, 1861 is remembered not only as the date that a group of Confederate soldiers attacked and captured a United States’ military installation at Fort Sumter, South Carolina, but also as the moment when the United States of America was thrust into one of the most pivotal and violent periods of its illustrious history. This double-breasted Union officer’s frock coat belonged to Colonel Carl Jayne. The buttons on this coat all bear the same design: the Great Seal of the United States represented by an eagle above a shield that is clenching arrows and branches in its talons and is surrounded by stars. This patriotic symbol indeed reminded soldiers like Colonel Jayne that they were fighting for freedom and the preservation of the United States as a nation. Thanks to the many thousands of brave soldiers who fought in the Civil War, this message still strikes a chord in the hearts of Americans far and wide.
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Pair of Ceremonial Feathered Moccasins (bottom view), date unknown
Aboriginal people; Western Australia
Fiber, emu feather and human hair; 5 x 9 x 1 in.
92.3.1.1-.2
Gift of Mr. George Brook
At first glance, the view of the bottom of this pair of oval-shaped shoes may inspire thoughts of comfort. Its emu feathers and thick fiber weave would possibly give the wearer's feet special treatment. Despite the soothing feelings these shoes might invoke, becoming aware of their purpose as well as the other materials used to create them undoubtedly will change one's opinion.
Created by aboriginal peoples in Western Australia, these shoes, known as kurdaitcha shoes, are associated with evil actions and magic. In fact, the shoes are considered so evil that when not in use, they are carefully hidden from the sight of women and children. The emu feathers and fibers are matted and held together through the use of human blood and hair. Men who don the shoes become associated with and act as Kurdaitcha, an evil spirit being who pursues human victims with the intention to kill. When Kurdaitcha selected a victim, they would be ritually killed with a weapon and restored to life through the use of magic. It was not until the victim returned to his home or village that he met his horrible fate.
Discovering the oval-shaped footprint of the kurdaitcha shoe understandably struck fear into the hearts of entire groups of people. The official use of these shoes allowed for groups of men in avenging parties to use them to frighten their enemies. The men would wear the shoes as they carefully and quietly walked through their foe's lands. When discovered, the footprints caused great amounts of terror and hysteria ensued. The enemies were not just frightened by the fact that their foes had gained access to their lands, but were also troubled by the fact that the footprints might possibly belong to Kurdaitcha himself. What was even more frightening was that while the shoes had a specific, official use, in some cases men used them to serve their own personal needs. The horrifying mystery of the Kurdaitcha prints certainly sent a message to all whose eyes gazed upon the oval-shaped tracks.
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Eighty years ago this week, Mrs. Ada Bowers passed away and left both the city of Santa Ana and Orange County with a wonderful gift. It was Ada’s death on February 28, 1931 that allowed the building of the Charles W. Bowers Memorial Museum to commence. The couple had decided that upon their deaths, their home would be conveyed to the City of Santa Ana with the condition that the city would, within one year of the death of the surviving member of the couple, begin to construct the Charles W. Bowers Memorial Museum. It is undoubtedly true that so many years later, Orange County residents and certainly people from all over the world are more than grateful to Mr. and Mrs. Bowers for their generous bequest.
Ada E. Bowers Memorial Fountain c. 1980
Born Ada Elvira Abbot from Perry, Illinois, Mrs. Ada Bowers enjoyed a quiet life with her husband. While Mr. Bowers’ name is very closely associated with the museum, Mrs. Bowers’ mark on the museum is also apparent. Through a special trust created by Mr. and Mrs. Bowers, funds were set aside for a fountain to be built on the premises of the museum. The wonderful fountain that was created for the museum, known as the Ada E. Bowers Memorial Fountain, now greets visitors and also offers them not only beauty, but also California history.
Ada E. Bowers Memorial Fountain, 2009
The Bowers Museum has deep gratitude for Mrs. Ada E. Bowers. Her generosity has given so many individuals, past and present, the opportunity to experience history in a unique and memorable environment.
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Julie Lee, Bowers Museum's Curator of Exhibitions, gives FOX 11's very own Rick Lozano a tour and revealed some "inside" stories during the Bowers Museum's recent 75th anniversary celebration.
Thank you Santa Ana! On February 7, 2011 Santa Ana Mayor Miguel Pulido, on behalf of the City Council, presented Julie Lee, Curator of Exhibitions at the Bowers Museum, with a City Proclamation in recognition of Bowers Museum’s 75th Anniversary and more specifically for being one of the country's most important mid-size museums, playing a very important role in Southern California and Orange County Arts, forging partnerships with some of the greatest museums in the world and enriching lives through the world's finest arts and cultures.
(Book Signing at 3:00 PM) Member $12 / Non-Member $15
Dr. Alan Houston, renowned British and American scholar, gained international attention after a remarkable discovery of Benjamin Franklin letters which had not been seen in more than 250 years. Dr. Houston's engaging lecture, based on his critically acclaimed book, explores Franklin’s thoughts on themes such as freedom, slavery, trade, and immigration, which are still relevant today.
Purchase Dr. Houston's book, "Benjamin Franklin & the Politics of Improvement" in our Gallery Store. ($35.00)
Cave Figure (Aripa), c. 1600-1800 Ewa people; Karawari River area, Middle Sepik River region, East Sepik Province, Papua New Guinea Wood and paint; 20 1/2 in. F81.2.3 Bowers Museum Foundation Acquisition Fund Purchase
This intricately shaped and designed figure is stunning not only visually, but also historically. This cave figure was found along the Karawari River region of Papua New Guinea and is noteworthy because it belongs to a group of elaborate woodcarvings that make up the earliest examples of wood carved art from Melanesian to survive in significant numbers. As such, cave figures like this one tell an important story about the people who created it and their idea of preservation.
This cave figure was carved and used by the Ewa people - one of the largest and most important cultural groups to inhabit the middle Sepik River region. Artistic style, as well as conception, varies greatly among the numerous cultures in the Sepik region and understanding of subjects and artistic content are anything but similar from people to people. Thus, this cave figure represents the unique artistic conception of the Ewa people alone.
Cave figures take on several different forms and are meant to represent supernatural beings. The subject represented in this cave figure is Aripa, one of the most frequently represented subjects. A representation of many spirits located inside of the figure itself, Aripa functioned as a source of help and guidance for Ewa men. Cave figures such as this one specifically provided hunters with assistance. Kept inside the men’s ceremonial house, the spirits who resided inside the cave figures were activated through incantations and magical practices. When the owner of a cave figure died, the carving was moved to a cave-like rock shelter and served as a memorial. This practice shielded the cave figures from harsh environmental factors, offered protection for the memorial, and also preserved the craftsmanship and ceremonial tradition of the Ewa people for future generations. Remains of paint can still be seen on this archaic sculpture.
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Heart of Mary, c. 1750 Miguel Ballejo y Mandirano (Spanish, b?-d?) Oil on canvas; 30 x 22 in. 89.22.2 Gift of Mr. and Mrs. Gene Wood
Heart of Mary is a painting rich with religious symbolism and ideology. It is common of religious paintings made during the Spanish Colonial period to emphasize the teachings of the Catholic Church. The painter Miguel Ballejo y Mandirano is listed in artist registries as active in the 18th century, but he still remains largely unknown or documented. This painting once hung in the Mission Inn of Riverside before donated to the Bowers Museum.
Although the images in the painting are somewhat graphic and shocking, they represent a very sacred aspect of Roman Catholicism - the devotion of the Seven Sorrows of the Blessed Virgin Mary. This devotion refers to the image of Mary as the Sorrowful Mother and is a prayer about the hardship and sorrow she felt throughout her life. Mary’s seven sorrows are: the prophecy of Simeon, the flight to Egypt, the loss of the child Jesus in the temple, witnessing Jesus carry his cross, the crucifixion, removing Jesus from the cross, and the burial of Jesus. Each of the six circles surrounding the image of the heart frames one of the seven sorrows. The image above the heart of the crucified Jesus Christ is not in circle, but is located in the middle of all of the other events, representing one of the most sorrowful occurrence in Mary’s life.
Scripture suggests that Mary’s soul would be pierced as a result of the events that would occur in her son’s life. Usually, artistic representations of this scriptural passage show an image of Mary with a dagger or sword through her chest. Interestingly, the artist instead depicts the heart pierced by swords that branch out from each of the seven scenes of sorrows.
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Only two weeks until the anticipated exhibition Ben Franklin: In Search of a Better World opens at the Bowers. Our Registration and Collection staff members began uncrating and inspecting the condition of the 18th century items that belonged to and shaped the ideas of prolific inventor, civic leader, diplomat, profound thinker, printer and humorist Ben Franklin.
Handling artifacts and works of art takes concentration and the skill of trained professionals. Staying focused and remembering the task at hand is sometimes difficult when you have Ben Franklin’s personal wallet (still holding a note to buy rum and tea) or a founding document of the United States in your hands. In the picture above Director of Registration, Jennifer Ring, inspects A pocket amanack for the year 1757 and another from 1759. Near her is a copy of The Constitutions of the Free-Masons (1734) and the Catalog of Books Belonging to the Library Company of Philadelphia (1741), the earliest surviving list of the 375 holdings of the first lending library (one of many civic improvements implemented by Franklin).
Above, Bowers’ staff along with exhibition Registrar Kathy Hill make detailed reports on the condition of the first uncrated artifacts. In the foreground is the famous Unite or Die (1754) woodcut cartoon published by Franklin. The cartoon, illustrating a rattlesnake cut into several parts, urges for the colonies to join together against the French. The same cartoon would be used again to drum up support and emotion in the period preceeding the Revolutionary War. Also in view is a copy of Poor Richard’s Almanac (1749), a published series compiled and printed by Franklin containing useful information related to astronomy and meteorology, in combination with entertaining proverbs, humor and poetry. Below, Collections Assistant, Laura McGovern inspects Plain Truth; or Serious Considerations On the Present State of the City of Philadelphia, and Province of Pennsylvania (1747), also printed by Franklin. Inside, “The Waggoneer and Hercules” (an illustrated representation of one of Aesop’s Fables, and considered the first American political cartoon) is printed as Franklin’s attempt to urge western Pennsylvanians to defend themselves against Indian attacks.
Many more artifacts remain to be seen, each directly relates to an aspect of Franklin’s extraordinary life. Bowers is pleased to be the only venue on the West Coast to host the exhibition of national treasures and the personal belongings of a true American icon. Visit www.bowers.org for more information.
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Canoe, 20th century Gaoshan culture; Lanyu (Orchid) Island, Taiwan Wood, paint and feather; 35 x 106 in. 97.8.1 Gift of Leon Chen
The large canoe that sits prominently in the John Lee Court is not an object that is easily missed. Upon entry into the Court, museum visitors’ attention is almost immediately captivated by the incredible size and rich detail of this canoe. Although the canoe is made of the simple materials of wood, paint and feathers, the canoe functions as both a practical and honorary object.
The Yami are one of the groups of people that make up the Gaoshan culture. This cultural group can be found in the mountain areas of central Taiwan, the Zonggu Plain of eastern Taiwanand on Lanyu, or Orchid, Island. Some Yami reside on Orchid Island. Fishing is their livelihood, so canoes like this one are used as tools to achieve a prosperous life. Each boat can hold approximately twelve people. The method for making these canoes has been passed down orally through time. This oral tradition makes it possible for the Yami to continue to make the canoes by hand in the present day.
Although the canoes have a very practical purpose, they also represent the history of the Yami. The decoration on the canoe depicts and honors the Yami’s ancestral hero, Magamaog. Mgamaog is credited with teaching the Yami agricultural and boat building methods. Because of his importance to the people’s survival, he is depicted not only on canoes, but also on house posts and ceremonial items. He is frequently represented as a figure that somewhat resembles a plant. Spirals shoot out of his arms, sides of his head, and the top of his head. This representation can be seen spanning the length of this canoe.
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Wells Fargo Strong Box, c.1855 California Wood, iron, leather, and paint; 10 1/2 x 21 1/2 x 14 in. 32739B Gift of Mr. Eugene H. Hite, Sr.
The need for a reliable delivery system arose as Americans moved west in the 1800s, seeking gold and land for settlement. Anticipating this need, Wells Fargo and Company was founded in 1852 in San Francisco. Their banking services provided new settlers with a sense of security, and they quickly became renowned for their rapid and reliable delivery of mail and valuable goods. The first Wells Fargo office in Santa Ana was located in William Spurgeon’s downtown store in 1874.
The strong boxes used by Wells Fargo during this time were constructed from oak and pine with reinforcing iron straps. They were carried on stagecoaches to transport items such as gold, silver, legal papers, checks, drafts, and mail from bank to bank.
Wells Fargo eventually grew to become the nation’s first coast-to-coast express delivery company and by 1918, it reached ten thousand communities across the United States. During World War I the nation's delivery routes were nationalized to support American efforts. Wells Fargo was left with their banking services, which continue to exist today.
All text and images under copyright. Please contact Collection Department for permission to use. Information subject to change with additional research.
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.
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