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lote/rare caribou hunter jacket lot 12 3aNyguG 629442817 / En venta

lote/rare caribou hunter jacket lot 12 3aNyguG 629442817

En ventaHistorial de precios

lote/rare caribou hunter jacket lot 12 3aNyguG 629442817

En ventaHistorial de precios

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rare caribou hunter jacket - Lot 12

rare caribou hunter jacket Naskapi, northeastern North America. Caribou hide, traditional and imported pigments, traditional sinew and cotton threads. 19th/20th century H. 105 cm - L. 164 cm (approx.) Provenance : - Private collection, France Bibliography: - "A Naskapi Indian Robe. "Museum Bulletin.University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia II, no. 3 1931. - Burnham, Dorothy: To Please the Caribou - Skin Coats Worn by the Naskapi, Montagnais, and Cree Hunters of the Quebec-Labrador Peninsula. Royal Ontario Museum, Toronto, 1992. - Catherine Girard, "Innu Painted Caribou-Skin Coats, and Other Tales of Elusiveness, "Journal18, Issue 7Animals(Spring 2019) - Eva Fognell:Art of the American Indians - The Thaw Collection. The Fenimore Art Museum, 2010 - Janet C. Berlo and Ruth B. Philips: Native North American Art, Oxford University Press, 1998 - JCH King: Thunderbird and Lighting, British Museum Publications, 1982 - Speck (Frank G.). Naskapi. The savage hunters of the Labrador peninsula. Norman, University of Oklahoma Press, 1935 The Naskapi, a subarctic people of the Algonquin language group of northeastern Quebec and Labrador, were formidable caribou hunters. Their hunting culture obeyed certain rules, one of which was to wear the very skin of the animal being hunted. These jackets, which at first took the form of a parka without a front opening, evolved with the contact of the first Europeans from the 18th century onwards, arriving at a hybrid form of coat/redingote - the result of the encounter between the two cultures and which was to become an adopted and classic Naskapi form from the end of the 18th century onwards. The cut, inspired by the European jackets worn by members of the expeditions and early French settlers of northeastern North America, offers an elegant silhouette. Cinched at the waist and with a wide flared skirt, the jacket is adorned with a large cut-out fringed back collar and large lined cuffs, and is reminiscent of the English riding coat or French frock coat. These hunting jackets were created and worn by hunters to honor the spirit of the caribou. They were only worn during a single hunting season, either summer or winter, as the Naskapi believed that the coat lost its calling and protective power over time. The coat is made from "buckskin", a caribou hide tanned the "American way", which transforms the creamy-colored hide into a supple, smooth, matte exterior with a slightly felted interior. For certain sub-Arctic peoples, the appropriate ritual and artistic treatment of a skin guaranteed the preservation of certain animal abilities. Before the arrival of Europeans, the pigments used by the Naskapi were made from plants and natural deposits of red and yellow ochre, often using a binder made from fish eggs that turned yellow over time. With the arrival of Europeans, imported pigments were incorporated into the traditional palette. The geometric and representational motifs that adorn the coat are the result of close collaboration between men and women. The man-hunter dreamed of motifs perhaps representing caribou antlers (the great curves) and trees that would ensure his success in the hunt, and the woman-artist designed and colored the motifs based on the man's dreamed indications. The distinctive pictorial style used by the Naskapi during the period of first contact features sensory bands of parallel lines and the graceful, bilaterally symmetrical scroll motifs that anthropologist Frank Speck (1935) called "double curves". Female artists used bone and deer antler tools, some with multiple heads, enabling the artist to produce sets of evenly-spaced parallel lines. Speck relates the Naskapi hunters' belief that "animals prefer to be killed by hunters whose clothing is decorated with patterns" and that the decoration should also appeal to the hunter's inner "soul-spirit". A Naskapi woman's meticulous painting of a hunter's caribou skin coat was thus a ritual gesture of respect to the animal spirits, and helped ensure their cooperation during the hunt, as the beast put itself more directly in front of the hunter. The flared, fitted skirt of the coats is distinctive. Dorothy Burnham confirms the theory that this cut was influenced by gifts of French clothing made to native peoples in the early contact period. (Burnham 1992). Her analysis also reveals the significance

Estimación:€30,000.00

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