(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.
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 glassas 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.
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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.
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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.
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Milliner's Model Doll with Apollo Knot Hair, c.1830 Germany Papier-mâché, cotton, wood, leather and chemise; 23 in. Bowers Museum #86.17.1
This beautiful example of an early German-made Milliner's Model doll is remarkable in condition and rare in size, measuring at least twelve inches taller than average. The head made of papier-mâché has hand painted details and features the striking Apollo Knot hairstyle primarily depicted on early molded hair paper-mâché head dolls of the period. The Greek-inspired hairstyle was popular among women in the 1830’s until mid-1840 who neatly arranged their hair (and sometimes false hair pieces and decorative ornaments) prominently upon their heads. Six individually molded braids are seen encircling the pronounced topknot diagonally from left to right. The name Milliner's Model is unusual for these dolls since very few examples are known to have worn hats; the origin of the term has only been speculated about.
The body of this doll is formed of cotton, a restoration that differs from the original sewn kid body. The arms, legs, feet and hands are of carved wood. The hand-sewn dress is made of sheer fabric and three petticoats are tied at the figure’s waist with narrow drawstring tapes. Originally dressed dolls such as this offer historians rare glimpses into the actual underclothing worn during the period represented. In this particular instance the doll illustrates the fact that women of this period did not wear pantalettes, panties, bloomers or drawers.
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Chief’s Stool, late 19th century Cook Islands, Polynesia Wood; 5.5 x 8.25 x 18.18 in. Bowers Museum purchase courtesy of the Pick Laudati Fund 2008.2.1
With a slightly upturned bench and robust sweeping legs, this 19th century chief's stool has the lines of a contemporary work of art. Carved from a single piece of wood it is a very fine example of its kind. Originally collected in 1910 from the Cook Islands the stool, reserved for only someone highly esteemed and of great status, is a testament to the superb craftsmanship and artistic accomplishments of Polynesian culture. This stool was collected at a pivotal moment in the island’s history when indigenous customs, including art making traditions, had succumbed to the effects of Western colonization.
Early Cook Islands culture maintained a strict hierarchy between men, chiefs, priests and gods. The ceremonial and utilitarian objects used by each were also distinct in function and aesthetics. Objects used by higher ranking individuals were strong, long lasting and meant to be passed down through generations. Power and aesthetics were intrinsically tied together and alive within objects of chiefly and ritual status; master artists controlled this aesthetic power called manu as they created each work of art. The most common Cook Islands objects found in collections today include clubs, weapons and staffs, ceremonial adzes and rare examples of carved male figures.
This stool, a recent acquisition to the collection, is currently featured in the Museum’s front lobby.
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Cosmetic or Ointment Box, 20th century Kuba people; Democratic Republic of Congo Wood, tacks and camwood powder; 11.5 x 6.5 in. Gift of Dr. and Mrs. Richard Baum Bowers Museum #F77.70.31
The Kuba culture is concerned with beauty; not only is art required for court and religious purposes, but everyday objects are decorated as well. The Kuba produce an amazing variety of boxes in numerous shapes. The motifs on them are derived from patterns created for exquisite embroidered raffia fabrics. Each linear, interlaced, geometric pattern has a name and a special mystic power.
During ceremonial occasions a paste of palm oil and the fine ground powder of the camwood tree is mixed in these boxes. This is painted on the body, rubbed on ancestor figures, other cult objects and corpses and is used to decorate masks and to dye raffia. Originally the boxes were also rubbed with the special paste called Tukula. The tukula is termite resistant and helps to preserve the boxes.
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Quilt, c. 1840 Star of Bethlehem pattern, Maker unknown Cotton and printed chintz; 101 x 100 in. Gift of William R. Moran Bowers Museum # 2002.14.86
Expertly made by an unknown quilt maker, this very fine quilt features the elaborate and difficult to construct Star of Bethlehem design. This particular pattern requires great skill; if the diamond shaped pieces of the star are not accurately cut then the quilt will curl. Star of Bethlehem quilts combine a variety of fabrics and colors in their composition - this particular quilt incorporates an exceptional collection of expensive materials. Repeating green triangles, called a dogtooth pattern, borders the quilt and visually emphasizes the four corners which contain images of lush trees and exotic birds. Cut pieces of printed chintz fabric, these additional motifs were skillfully appliquéd to the quilt top to add further embellishment. The quilt is large in size and was made to lie over the type of bed, typical in the period it was made, that was raised high above the floor to avoid cold drafts.
Featured in the exhibition American Quilts: Two Hundred Years of History this quilt and more than 30 other examples will be on display in the Anderson-Hsu-Tu Gallery beginning September 20, 2008. Spanning a history of 200 years, the works of art in this exhibition illustrate the historical, social, and artistic value of the American quilt.
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Olympic Stadium, 1932 Photograph; 4.25 x 2.75 in. Gift of Lonnie Edward Thompson Bowers Museum #32352A.1-.2
The 1932 Summer Olympics, or the Games of the Xth Olympiad were the first Olympic games held in Los Angeles and only the second Olympic games to take place outside of Europe. Held during the Great Depression, only the city of Los Angeles made a bid to host the Xth Olympiad. Approximately 1400 athletes from 37 nations competed , only about half of the usual number of nations and athletes due to the financial hardship of the times. Even the President of the United States, Herbert Hoover, did not attend the games.
The 1932 Summer Olympics saw many important firsts such as the first ever “Olympic Village” (male athletes were housed in the Olympic Village in Baldwin Park, female athletes stayed at the more comfortable Chapman Park Hotel on Wilshire Blvd). This was also the first time a victory podium was used. The 1932 Summer Games also marked the debut of China as an Olympic competitor. China, or the Republic of China at the time, sent only one athlete, Liu Changchun who competed in Track & Field but was eliminated in the preliminary heats. Famous female athlete “Babe” Didrikson competed in these games, winning two gold and one silver medal in track and field.
Pictured here from the Bowers Museum collection is a seat pillow, an official pictorial souvenir of the games and a photograph of Olympic Stadium, today known as the Los Angeles Memorial Coliseum.
Olympic Stadium Seat Pillow, 1932 Printed cotton; 11.5 x 14in. Gift of Mary M. Martin Bowers Museum #98.76.2
Official Pictorial Souvenir, 1932 Paper; 8.5 x 11 in. Gift of Lonnie Edward Thompson Bowers Museum #32352D
The Bowers Museum sends its best wishes to all of the athletes competing in 2008 Beijing XXIX Olympiad!
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Santa Ana Women’s Marching Club, c.1900 American; photographer unknown Photograph; 6.25 x 10 in. Gift of Mr.Terry Edward Stephenson, Sr. Bowers Museum #6641
These women with matching uniforms and caps that bear the initials W M C are part of the Santa Ana Women’s Marching Club. Especially in the late 19th century, citizens across the country formed marching clubs as a way to show support for their political views and representatives. Marching clubs participated in campaign events, community parades and political rallies; they competed against one another for the title of best drilled team. At a time before women had the right to vote, women’s marching clubs were an important vehicle for expressing support of local and national issues. Only twenty-nine women are visible in this photograph although most marching groups attempted to have one hundred members. Each club had a unique name and uniform. The uniforms could be bought directly from a manufacturer who in addition to the pants or skirt and jacket, could provide canes, flags, and torches. It is unknown whether the rifles with bayonets in this photograph are real or part of the equipment from the manufacturer.
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Mummy Mask, 332 BC – 330 AD Egyptian, late Ptolemaic – early Roman period Linen, plaster, gold leaf, pigment; 14 x 12.75 in. Gift of Mr. and Mrs. J. Ward Bowers Museum #2003.38.1
This mummy mask dating from the late Ptolemaic to the early Roman period was placed over a deceased body in combination with other cartonnage pieces such as a foot case and breast plate. Cartonnage (linen covered with plaster) coverings severed as protection to the body; additionally cartonnage masks provided an idealized portrait, in no sense a true likeness, of the deceased. This gilded mask is painted with figures of the gods Osiris and Isis, hieroglyphs and a red medallion at the crest of the head. The use of gold not only marks the status of the deceased but, is meant to emulate the golden skin of the gods.
Remarkably, a true portrait of the deceased remains embedded in this mask. A digital image of the interior reveals the face of the young deceased male, possibly achieved when the embalmers laid layers of linen and plaster over his face to form an impression for the mummy mask. The angle the photograph was taken in combination with the lighting creates the illusion a protuberant and even more lifelike portrait.
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Ceremonial Painting, 20th century Yao people, China Paper, natural pigment and fiber; 45 x 19.5 in Bowers Museum #2002.47.30 Gift of Mr. & Mrs. Long Shung and Anne Shih
The Yao people live throughout southern China with some populations found throughout northern areas of Vietnam, Laos and Thailand. The Yao practice a form of Taoism, and paintings of the pantheon of divine beings play an essential role in the function of their religious ceremonies. The painting pictured here is just one that makes up a complete set of twenty-four ceremonial Yao Taoist paintings. Three layers of soft brown paper are joined together and attached to round wood supports at each end. Ideally a priest (if available) is commissioned to make each set of paintings which he creates in a purified religious space, and ceremoniously names each divine being after completion. Ceremonial paintings are commissioned by men who desire to ascend into priesthood and owning a set of ceremonial paintings is necessary for this to occur. New sets of paintings are also commissioned by families wishing to replace their old or tattered ones. The entire set of images when hung covers two or three sides of a room with some overlapping occurring.
This particular image shows three of the six Marshals whose painted images are hung at each end of every complete set of paintings. The Marshals are protectors who ward of demons and impurity. The large central figure, Marshal Teng, is green in color, has wings hanging from his arms and two tusks that extend from his mouth. He is associated with thunder which he may use to sever demons. The smaller figures below represent Marshal Hsin, a Judge who holds in his arms the Book of Acceptance and Marshal K’ang who is associated with healing the sick and known as being a lover of wine and animals.
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Spirit Mate, late 19th – 20th century Baule people, Ivory Coast Wood, bead, paint and kaolin; 10.5 in H Gift of Dwight V. Strong Bowers Museum #82.31.14
This Baule carved figure of a female was carved to embody a spirit mate. Each individual is thought to have a partner of the opposite sex in the spirit world. If an individual is experiencing problems or difficulties, marital or sexual for example, it likely indicates the unhappiness or feelings of neglect of the spirit mate. When personal troubles of this nature arise they may be relayed to a diviner who recommends the troubled individual to commission the carving. The carving allows the spirit to take a human form which may be communicated with and made offerings to. The spirit mate is given personal care by cleaning and rubbing with oil; food offerings are placed in tiny dishes before the figure.
The figural carving is crafted with marks of Baule idealized beauty: long neck, large calves, serene expression and rounded breasts and belly. The beaded double necklaces and belts, hairstyle and scarification patterns are individual marks of this female spirit mate.
All images and text under copyright. Please contact Collection Department for permission to use.
Bowl, 19th Century Polynesian Culture, Marquesas Islands Wood , 7 in. height x 18 in. diameter Purchased with Bowers Acquisition Funds Bowers Museum #2004.34.1
This carved wood bowl from the Marquesas Islands has a diameter of 18 inches making it remarkable in size compared to other known examples in museum collections. The broad interior of the bowl is smooth with repeating triangular designs along the flattened rim. The exterior is highly ornamented throughout with low-relief geometric designs. Seven wedge shaped sections divided into three rectangular panels radiate from the round symmetrical pattern at the base which is a stylized face. There is a symbolic relationship linking concepts of body and face to Marquesan art objects; the most recognizable of these is the tiki figure that reoccurs throughout a range of sculpture.
Relatively little is understood about the complexities of early Marquesan art since culturally relevant information was indefinitely lost in the later 19th century from the result of rapid changes in population, tourism and exchange through trade or sale. Intricate geometric designs adorned a variety of carved Marquesas objects and it is believed that, at least in some cases, these designs relate to the intricate tattoo patterns that covered the bodies of both Marquesas men and women.
Marquesan art, people and the islands themselves have been highly influential among writers such as Herman Melville, Robert Louis Stevenson, Jack London and artist Paul Gauguin, all who spent time there.
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Mask, 20th century Kamayura people, Xingu River Basin, Brazil Fiber, wood, pigment and wax; 37 x 8 in. Gift of Mr. Michael S. Merrifield Bowers Museum #91.22.1
Carved from a single piece of wood this mask was worn and performed during a ceremony by a Kamayura shaman. The long fiber strands are woven into a cap on the reverse side of the mask that was secured over the head. In the front the dangling fiber concealed the wearer's face while still providing visibility. Shamans play an integral role in Kamayura life, bringing balance in times of unrest, curing the sick and communicating with the spiritual world. During the dry season an important ceremony takes place assuring that fish found in the surrounding low water level lakes, streams and rivers will rise to (or in other words be closer to) the surface where they can be easily caught. The visual connection between the mask's use and its function during this crucial time of year when high protein fish is gathered, is seen in the painted repeating diamond shapes that mimic the shape of fish as if one was looking down upon them as they swam. This same design would be repeated upon the shaman's body through the use of body paint. Traps, nets and spears are used by the Kamayura to fish but, probably most interesting is a form of communal hunting that occurs in August and September when a poison called timbo, obtained from beating a cane plant, is released into shallow waters surfacing the fish for easy collection.
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Photograph of "Laughing Bill" Nickols (1862-1940) American; c. 1930 Photographer Edward E. Cochems (1874-1935) Gift of Mr. Charles D. Swanner Bowers Museum #37104
William S. Nickols was nicknamed "Laughing Bill" because of his high hysterical and very contagious laugh, as proven by the men's faces in this photograph. A Santa Ana resident, Nickols was given free passes to the theatres in town and regardless of how poor a comedy was, if Bill started laughing the audience followed and the show was considered a success. Mr. Nickols came to Santa Ana about 1900 and died in 1940 at the age of seventy-eight.
This photograph was taken by Edward E. Cochems a commercial photographer who lived and worked in Santa Ana. Cochems left a plentitude of documentation of early Santa Ana including churches, hospitals, businesses, natural and residential areas. Residents such as "Laughing Bill" Nickols were regular subjects of his work as well.
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Marguerite, c. 1909 Guy Rose (1867-1925); American Oil on canvas; 15 x 19 in Martha C. Stevens Memorial Art Collection Bowers Museum #F7693
Guy Rose was the first painter born and raised in Los Angeles who rose to international importance. He spent much of his art career outside Los Angeles, studying in San Francisco and Paris, working as an illustrator and teacher in New York, and then living in Giverny, France, a colony abroad for American artists. In 1914, he permanently settled in Los Angeles. Although Rose mainly produced landscapes, he was a fine painter of the human figure, which made him one of Southern California's few good figure painters. Marguerite, a treasure of Bowers Museum’s permanent collection, is one of Rose’s top figural works. Marguerite was a model he frequently employed in France; she sits reading and wears a blue Chinese robe. Asian products, especially clothing, became fashionable in the late nineteenth century when these goods began to flood western markets. Artists enjoyed painting the lavish costumes because of their bright colors and bold patterns.
This painting was exhibited at Los Angeles County Museum of Art (then the Museum of History, Science and Art) in May, 1919 where it was purchased, becoming part of the Stevens Memorial Art Collection.
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Sculpture Yoruba people, Nigeria Wood, cowrie shell and beads; 6 3/4 x 14 1/2 x 14 1/2 in. Bowers Museum Acquisition Fund Purchase Bowers Museum #77.73.1
This unique wood carving of the Yoruba people of Nigeria, illustrates a wedding procession depicting five male and eight female figures aligned in five rows. Each figure has been carved separately in the round and attached to the base. A man and a woman appear as the central figures of the procession. He bears diamond shaped incisions on his cheeks, representing scarification patterns, and carries a large pipe in his mouth. The woman holds her long braided tresses in each hand. The remaining figures are wearing beads and/or cowrie shells. Serpents are carved along each side of the plate. In Yoruba mythology the sacred non-poisonous python in a symbol of life and eternity and, in some legends, instructs man and woman in the mystery of procreation. Cowrie shells have been used as fertility symbols for many centuries.
The Yoruba wedding is an occasion for feasting and celebrating. The festivities begin at the bride's house after dark with a feast celebrated by family and friends. The bride is dressed in her finest clothes and is blessed by her parents and then accompanied to the groom's house by the group attending the feast. The procession moves through the streets, dancing and singing to the accompaniment of hired drummers. At the groom’s home her followers stay until daybreak, singing and making merry.
This object will be on view at the Peabody Essex Museum through September, 2008 as part of the exhibition Wedded Bliss: The Marriage of Art 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.
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