Historic First Nations Art from the Collection of Steven Blevins & Sonja Morawetz

Auction begins to close:
December 07, 2023 at 2:00 pm ET

Online Auction
LOT 11

Lot 11

Unidentified Mi'kmaq Artist

Unidentified Mi'kmaq Artist
Lot 11 Details
Unidentified Mi'kmaq Artist

QUILLED LIDDED BOX, SECOND QUARTER 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root
7.75 x 11.5 x 8 in — 19.7 x 29.2 x 20.3 cm

Estimate $4,000-$5,000

Realised: $15,006
Price Includes Buyer's Premium ?

Lot Report

Additional Images
Unidentified Mi'kmaq Artist
  • Unidentified Mi'kmaq Artist
  • Unidentified Mi'kmaq Artist
  • Unidentified Mi'kmaq Artist
  • Unidentified Mi'kmaq Artist
Provenance:

Private Collection, United Kingdom;
Donald Ellis, New York, NY;
Collection of Steven Blevins & Sonja Morawetz, Ontario

Note:

From the time of the earliest written accounts of the Mi’kmaq, their exceptional quillwork was noted. (1) A perishable material, the earliest known Mi’kmaq use of quillwork is unknown, but by the turn of the 19th century it was a well-developed artform. The decline of the profitability of the fur trade saw the production of objects made for trade or sale proliferate, and it is during this period when the present box was made.

A lidded box was a favoured item with 19th century English traders and buyers. Most boxes were small square or cylindrical forms that were less laborious for makers to produce than larger and more elaborate objects. Smaller designs were also well suited for transport by visitors whose acquisitions often had to be confined to the cramped onboard conditions of the ships that granted them passage.

The present exceptionally fine example is of a complicated-to-manufacture trunk-form, and is remarkably large in size, comparable to a well known example at the Metropolitan Museum of Art, 2011.154.8a, b from the collection of Ralph T. Coe. (2) Its scale and uniformity are indicative of a high degree of craftsmanship. Motifs embellishing the box include some of the earliest known quillwork designs. Motifs include the “double rainbow,” “V,” cross, and the chevron design said to reference the fir-tree, a symbol of “venerable age and strength.” (3)

In notably intact condition with a vibrancy of dye colour, the present example was acquired from an old private English collection.

1. Ruth Holmes Whitehead, Micmac Quillwork: Micmac Indian Techniques of Porcupine Quill Decoration: 1600-1950, (Halifax: The Nova Scotia Museum, 1982), 5
2. Ralph T. Coe et al, The Responsive Eye: Ralph T. Coe and the Collecting of American Indian Art, (New York: Metropolitan Museum of Art, 2003), 124
3. Whitehead, 146

Related Works:

Royal Ontario Museum, Cat. No. ROM 990.217.2.1.1
Royal Ontario Museum, Cat. No. ROM 990.217.2.2.1

CONDITION DETAILS

For condition information please contact the specialist.

LOT 11
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About Condition Ratings

  • 5 Stars: Excellent - No discernable damage, flaws or imperfections
  • 4 Stars: Very Good - Minor flaws or imperfections visible only under close inspection using specialised instruments or black light
  • 3 Stars: Good - Minor flaws visible upon inspection under standard lighting
  • 2 Stars: Fair - Exhibits flaws or damage that may draw the eye under standard lighting
  • 1 Star: Poor - Flaws or damage immediately apparent under standard lighting (examples: missing components, rips, broken glass, damaged surfaces, etc.)

Note: Condition ratings and condition details are the subjective opinions of our specialists and should be used as a guide only. Waddington’s uses due care when preparing condition details, however, our staff are not professional restorers or conservators. Condition details and reports are not warranties and each lot is sold “as is” in accordance with the buyer’s terms and conditions of sale. In all cases the prospective purchaser is responsible for inspecting the property themselves prior to placing a bid.