Category Archives: history

Edenshaw Compote

Argillite and ivory compote attributed to Haida master carver Charles Edenshaw. Height: 30 cm. Source: Liverpool Museum.

I only have a short post today since I am up to my neck in alligators, courtesy of my day job.  So, take a moment and check out the spectacular argillite compote (a pedestaled serving dish), attributed to Haida master carver Da.axiigang, Charles Edenshaw.  This particular dish is in the collection of the Liverpool Museum – an institution that  holds a collection donated by well-known coastal collector, casual ethnographer, and (apparently) former Liverpudlian, Dr. Charles Newcombe – many of the items in their Northwest Coast section must come from this source.  It is one of the more striking pieces of Argillite I have seen in that the form is so clearly derived from silverware: it is sublimely ridiculous, and I can’t help but feel that Edenshaw was in on the joke.  Yes, he would make what would sell, but a piece like this makes me wonder if he wasn’t slyly pulling the touristic leg, somewhat.

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Webber’s House Interior: Original Watercolour

1778 Watercolour by John Webber of the interior of a house in Nootka Sound. Source: State Library of New South Wales. Click for original.

A few days ago I posted a beautiful watercolour of Nootka Sound by John Webber, artist on Cook’s third voyage.  In the ensuing discussion, it was brought up how nice it would be to see the original watercolours of more of his paintings, which often formed the basis for the  numerous engraved reproductions which are what one normally sees.  The loss of information in moving from the original to the engraving is something of an unknown quantity, and I for one had never seen the watercolours.  Until yesterday!

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Historic Pamphlets and Booklets on First Nations Topics

Skeena River pole ca. 1920s: On back: ""Named Waum Gana'o 14' high / erected 1845 / 4 Bottom figure, is of the big hog, upside down." Source: USASK."

The University of Saskatchewan has a comprehensive Indigenous Studies portal, with links to a massive corpus of published and unpublished documents – some of which are available online, free of institutional restriction.  One section which I found interesting was the large collection of pamphlets and booklets.  I know this web site isn’t always 100% archaeological – but you can’t separate the practice of archaeology from the social context in which it occurs. Among these pamphlets are:

  • CBC Radio and Department of Indian Affairs 1939: The Indians Speak to Canada (transcript of a remarkable series of 1939 CBC radio broadcasts in which aboriginal people address the nation; Haida representative Rev. Peter Kelly starts on page 28; White Man’s Burden is found in the closing remarks by the Minister of Mines and Resources)

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Webber in Nootka Sound, 1778

Detail of a Nootka Sound watercolour by John Webber, 1778. Click to enlarge. Source: British Museum.

From the British Museum, a superb watercolour:

Nootka Sound, on the Pacific coast of Vancouver Island in Canada, was discovered by Captain Cook in his two ships, Resolution and Discovery in 1778. This drawing records this bay and some of its inhabitants. It is drawn in ink, pencil and wash and watercolours. The artist, John Webber (1751-93), accompanied Captain Cook on his third voyage of exploration in the South Seas and Pacific Ocean, which lasted for four years from 1776 to 1780. Webber was one of several artists employed to record the peoples, animals birds, fishes, plants and landscapes of the newly discovered Pacific Islands.

The written descriptions of the location are confirmed by the drawing. It is severe and inhospitable. High cliffs, rocks that reach right down into the sea, and the jagged shore line gave it a ‘melancholy appearance’. The terrible weather, which left the trees ‘mutilated by rough gales’ contrasted greatly with the tropical scenes ans palm trees enjoyed by the explorers in Tahiti.

Webber also drew the native people. Their clothing, basically the same for men as for women, consisted of a woven cloth, fastened at the shoulder or neck. According to Captain Cook, the cloth was the bark of the pine tree, beaten flat like a sort of rough felt. The head was covered with a conical hat made of matting. It is probable that Webber modified the drawing for the sake of decency and for public viewing. Cook described the men’s dress as generally bare in the ‘… Middles, nor are they ashamed to appear naked’.

It’s not clear what the kneeling man on the right is doing: is he using a mussel shell to dig?  Several harpoons complete with foreshafts seem to be visible.  It is a skillful and atmospheric rendering of Nuu-chah-nulth life shortly after first contact with Europeans.


Thoughts on a WSU Archaeological Perspective

Pioneering WSU archaeologist Richard Daugherty instructs students on the beach at Ozette, late 1960s. Source: WSU.

Washington State University (WSU) has one of the oldest and most notable programs in Northwestern North American archaeology, with pioneers such as Richard Daugherty and William Ackerman leading the way.  The WSU magazine has a nice interview with a number of their distinguished alumni and faculty, including William Andrefsky, Dale Croes, Colin Grier, and Gary Wessen.  There are some interesting quotes in it, notably, to my mind – and perhaps yours, if you are a university nerd like me: Continue reading

One more update on the Museum of Vancouver’s Petroglyph.

Interior Petroglyph now at Museum of Vancouver, while still in Stanley Park ca. 1980. Source: DanLeen.org

I have posted several times recently on a superb interior petroglyph boulder languishing in a shady courtyard at the Museum of Vancouver.  Together with Heather Pringle’s posts on this topic, we seem to have caught the attention of the Board of Directors of the Museum.

One of the Directors, Anthropology Professor Bruce Miller of UBC, called me the other day.  He consented to me posting notes from our conversation.   Continue reading

Making a stone tool, 1893

1893 flint-knapping description by Father Morice. Source: Canadiana.org

Father Adrien-Gabriel Morice was a Catholic missionary working in the Skeena and Bulkley River areas of western British Columbia during the later 19th century.  He is perhaps best known for his documentation and writing system for the “Carrier” (Yinka Dene) language, but he also published a major work entitled Notes Archaeological, Industrial and Technological of the Western Denes, with an Ethnographical Sketch of the Same (1893).  The work is a cornucopia of careful observation mixed with some interesting, and occasionally rather religiously judgmental and speculative, commentaries.  One of the most interesting short passages is excerpted above: Morice records how to make stone tools via flaking.  Because metal tools became widely available in the early historical period and had some superior qualities, such accounts of traditional flaked stone (the bread and butter of archaeological sites) are very rare.  The figure above appears accurate in its description of the slightly awkward-seeming way of holding the stone: I have seen this palm grip used by many contemporary flintknappers.  Elsewhere, Morice records a series of Yinka Dene names for different stones, including chalcedony and obsidian.  You can page through his book, but not download it in entirety, here at Canadiana.org. The illustration above is from Page 65 on the drop down menu.  (Why they don’t just make a link to the whole PDF is beyond me).  There are other informative sections, such as about 10 pages describing the operation of fish-traps and weirs.

Fish trap illustrated in Morice 1893. Source: Canadiana.org

Shopping maul

Maul from the Dundas Collection.  Source: Sotheby's

Tsimshian Maul from the Dundas Collection. Source: Sotheby's

The Dundas collection of Tsimshian objects deserves a week of posts – not just for the stunning beauty and resonance of the art but for the profound issues in heritage management, cultural property ownership, and repatriation ethics which it raises or exemplifies.  I’ve been reading up on it a bit, and at one level the isssue is very simple: these Tsimshian treasures should have been repatriated – not to Canada per se, but to Tsimshian Territory.  At another level, there are complex, interwoven threads of (mutual) respect and ownership which make (and made) for no easy solution.   And no easy solution was reached: the collection was broken up, with the majority of the pieces sold to foreign hands (by foreign, here, I mean non-Tsimshian though I am prepared to argue this).

But for today, I was interested to see the Sotheby’s auction catalogue from the 2006 sale of this collection is still online.  The most interesting piece, of course, is the northern-style maul, seen above.  It sold for a surprising USD $1,320.00.  I wonder if it was in use at the time of collection or if it was already an archaeological specimen.  Collection of such materials from archaeological sites and their sale is, of course, now illegal although so far as I know there is a grandfather clause for older collections pre-dating the modern legislation.  I imagine any maul without such prominent provenance would be worth very little indeed.  Despite fetching far more than I would have imagined, it was a mere snip compared to the mask below which sold for a jaw-dropping USD$1,808,000.00.

Tsimshian Mask from the Dundas Collection. Source: Sotheby's.

Ucluelet, 1859

"Euclueliat village, Barclay Sound, Vancouver Island, N.W. Coast. H.M.S. Satellite" pen and ink and watercolor drawing 1859 Mar. Source: Yale. Click for original, click through for large size.

The above is a rendering of Ucluelet Inlet on the west coast of Vancouver Island, made in 1859.  You can clearly see the aboriginal village to the right. Artfully, the artist has caught a whale hunt at the exact moment of harpooning in the foreground.   I’ve zoomed in on the village below.

Detail of Ucluelet Inlet village.

Interestingly, the next picture in this folio from Yale University is labelled as a “Songhee” Village (below), yet rather than a Victoria area settlement, it fairly clearly shows what I think is another Ucluelet-area village, with the distinctive saddle-shaped hill to the east side of the inlet.  (The trees are different which makes me think it is a different one than above) Anyway, nothing earth-shaking but I had never seen these historic drawings before.

Songhee? Village. North West Coast Vancouver Island. Barclay Sound. H.M.S. Satellite." pen and ink and watercolor drawing 1859 Mar. Source: Yale. Click for original, then click through for large size.

Five Frogs’ Quiver

Five Frogs' quiver with five metal-tipped arrows. Source: WSU

The quiver and set of arrows above is from the McWhorter Collection at Washington State University.  It belonged to the Nez Perce warrior Pahka Pahtahank (Five Frogs), who fell in battle in 1877.  Ten arrows in total were in the quiver: five with metal tips, and five with plain wooden tips – or, more likely, unhafted (probably prepared for a side-hafting method).  The wooden five are illustrated below. What I find interesting about this quiver is that no two of the five metal-tipped arrows are the same.  Archaeologists are very prone to a simple “projectile point sociology” whereby the styles of (usually, stone) projectile points are used as proxies for archaeological cultures, or ethnic groups, or as temporal markers:  ‘The side-notch people”;  “The corner notch phase”.

It is therefore a little sobering when we see ethnographic instances of an apparently cavalier attitude towards stylistic consistency.  Sometimes, (at least rarely) being a little sober is a useful mindset.   Did the different arrowheads make no difference to accuracy, or to penetration, or even to their definition as “suitable arrows”?  What are the archaeological implications of Five Frogs’ diverse arrows?  In a classic paper, Polly Wiessner (1983) noted several mechanisms for a similar Kalahari case, including hunters exchanging arrows with each other as a sign of respect and affection.  Closer to home, Glen MacKay, in his excellent UVIC M.A. thesis, suggested diverse projectile points in a short occupation site in The Yukon was a technological mediation of kinship unease:

Was the ‘arbitrary’ technical choice of hafting techniques a subtle way for young men living matrilocally to express their discontent with this institution, a means of communicating a desire to return to the people with whom they learned to make spear points and hunt? Several contextual details fiom the KdVo-5 hunting stand support this proposition…..

Emotion in archaeological interpretation!  Stamp it out.

Tips of Five Frogs' wooden arrows. Source: WSU

The top five arrows are from Five Frogs' quiver. The bottom four are from another Nez Perce warrior, Yellow Wolf (Hemene MoxMox), made as deliberate replicas. Source: WSU/

References:

Wiessner, Polly   1983.  Style and Social Information in Kalahari San Projectile Points.  American Antiquity, Vol. 48, No. 2 (Apr., 1983), pp. 253-276

MacKay, Glen R.   2004.  The Nii’ii hunting stand site : understanding technological practice as social practice in subarctic prehistory.  Unpublished M.A. thesis, Department of Anthropology, University of Victoria.  Download.