Native American Beadwork
2013-ж. янв. · Courier Corporation
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Native American artists are among the most skilled practitioners of beadwork, and this classic study — based on the extensive collections in the Heye Foundation's Museum of the American Indian — offers a well-illustrated look at the extraordinary variety of beadwork methods and their spectacular results.
A much-admired genre of folk art, beadwork appears on not only clothing and other forms of personal adornment but also on ceremonial and everyday objects. The ample illustrations in this survey include photographs of decorated items: baskets and bowls, necklaces, robes, cradles, and other items, richly embellished in beads made from gold and precious stones, shells, and bone. In addition, numerous figures depict details of the stitchery techniques.
Needleworkers, crafters, and aficionados of Native American culture will find much within these pages to excite their interest and enthusiasm.
A much-admired genre of folk art, beadwork appears on not only clothing and other forms of personal adornment but also on ceremonial and everyday objects. The ample illustrations in this survey include photographs of decorated items: baskets and bowls, necklaces, robes, cradles, and other items, richly embellished in beads made from gold and precious stones, shells, and bone. In addition, numerous figures depict details of the stitchery techniques.
Needleworkers, crafters, and aficionados of Native American culture will find much within these pages to excite their interest and enthusiasm.
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A gifted artist, was born in England around 1865, came to the United States, worked for a short period at the American Museum of Natural History, and then entered the private employ of Dr. Heye. Upon the founding of the Museum of the American Indian in 1916, Mr. Orchard became preparator, continuing in this capacity until his retirement in 1935. He died in 1948. His genius in repairing and restoring specimens was remarkable, and he enjoyed a well-earned reputation throughout the museum world for his skill in creating models and dioramas of native scenes. His son, Fred, was also a preparator, serving on the staff of the Peabody Museum, Harvard University, for many years." (From the foreword to the 1975 edition by Frederick J. Dockstader). William C. Orchard also wrote "The Technique of Porcupine Quill Decoration Among The Indians of North America", which was first published in 1916. This in depth study of a craft that is unique to the Indians of North America was reprinted in 1971 by the Museum of the American Indian, Heye Foundation and they cooperated with the publishing of an Eagle's View edition in 1982. That edition has been reprinted five times, a testament to the enduring reference value of Orchard's work.
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