Publication from thethe Indigenous Vermont Series 2012:9, published courtesy of Wôbanakik Heritage Center.
EXCERPT FROM INTRODUCTION
“The prime directive of Haven is to reclaim lost, fragmented or otherwise damaged cultural practice and belief from Indigenous Vermont, and to a certain extent, applicable forms of documentation from neighboring areas. A second important principle is the repair of fragmented or damaged cultural practice by using all available reconstructive/healing tools. The third function of Haven is to make the repaired information available to those Indigenous Vermonters and their neighbors, who have any interest in reviving lapsed culture. The fourth reason; and the one that gives Haven its name, is to safely archive this information in a format that will be of use to future Indigenous generations, if the current one is uninterested.
Probably the one craft that is universally recognized as giving Indian Identity is the ash splint basket. Although probably not made before the 18th century, Indigenous Vermonters, as well as other regional tribes became masters of the craft. Much of the early history of Indigenous Vermont Baskets are to be found in other Haven publications.”
Late Period (1870-1970) Indian Baskets In Vermont – Part 1. 11 pages.
Introduction
Part1: Basket History and Technology & Preparing the materials for the Fancy Basket
Late Period (1870-1970) Indian Baskets In Vermont – Part 1A. 11 pages.
Decorative overweave, or “Cowiss”
Basket Handles and Hinges
Late Period (1870-1970) Indian Baskets In Vermont. Part 2. 11 pages.
Part Two: Baket Types Represented in Vermont
Multi-purpose work and arm baskets
Late Period (1870-1970) Indian Baskets In Vermont. Part 2A. 13 pages
Knitting and Tatting baskets
Baskets for the Hall Table
Baskets for the Dining Room
An unclassified basket
Hampers. goose down baskets and other large, “fancy” baskets
Basket for the Field and Lake
Bibliography
Back to THE HISTORIC INDIGENOUS ARTS OF VERMONT and NEW HAMPSHIRE
Publication from the Great Council Fire Project presented courtesy of Wôbanakik Heritage Center.
EXCERPT FROM INTRODUCTION
“This document, a preliminary classification of antique Wabanaki beadwork, has been prepared to assist Wabanaki groups and individuals in understanding the beadwork designs once practiced by their ancestors. The time may be coming when modern or future craftspeople will need these data to resurrect the ancestral styles, and then move beyond the traditional to developing new designs and interpretations. Unfortunately, except for early “double scroll” beadwork there is little Wabanaki Beadwork on display or in publication. Indeed, some of it, especially the mid 20th century “pan-Indian” styles are being scorned and even discarded by their owners as this is written. Wabanaki Beadwork 1850-2000 is meant to showcase heretofore unpublished examples from an admittedly small collection of beaded items and imagery of beadwork being worn. It also attempts to organize these collections in a meaningful way that offers a preliminary stylistic and, to a certain extent, temporal (dating), classification.”
Wabanaki Beadwork 1850 – 2000. Part 1, 13 pages
Introduction Post 1850 Wabanaki Beadwork,: Classification, History of research into Wabanaki Beadwork, Iroquoianism, Current Research, Stylistic typology,
Double Scroll Beadwork: Early/mid 19th century
Geometric Beadwork: Early/mid century.
Wabanaki Beadwork 1850 – 2000. Part 2, 15 pages
The Nested Circ;e style: Maliseet / Passamaquaddy Mid late 19th Century,
The Miniature floral style: Penobscot (/Passamaquoddy) Mid late 19th century
The Radiant Leaf style: Wabanaki Mid late 19th century
The Sunflower Style. Wabanaki and Kahnewake (rare) Mid late 19th Century
The Vermont Abenaki Artists Association was a long time in the making. After the state of Vermont recognized the four tribes, we realized there was a need to collaborate so that our artists could be found. Please read Our Story, which follows, and then click on Abenaki History for detailed information about the types of art created by our people in the past and present.
Thorned Blue BirdGreat Blue Heron wall hangingFour Directions Basket
The four state-recognized tribes of Vermont are very active. It is important to note that, though the tribes are recognized in Vermont, our land was not divided by borders. We, the Abenaki, call our homeland N’dakinna.
FYSE 1570: Native Presence and Performance – 13 May 2021
Due to the length of this narrative, it will be introduced in two parts over a period of two weeks. This is part one.
Amy Hook Therrien is a local artist who specializes in watercolor painting and is a citizen of the Koasek Traditional Band of the Koas Abenaki Nation. Therrien grew up with her family in Chelsea, Vermont in a house overlooking the valley, and surrounded by nature. She graduated from Randolph Union High School and, with the support and encouragement of her parents, attended the University of Maine in Orono to study art. She considers herself very lucky to have such a supportive relationship with her family. While at the University of Maine in Orono she majored in fine art and specialized in painting and sculpture. Therrien moved back to Vermont after graduation, and is living in Windsor with her husband Alex, along with their bunny and two dogs. When she isn
In spring 2021, Vera Longtoe Sheehan (Elnu Abenaki) met with the students of “Native Presence and Performance: Reclaiming the Indigenous Narrative,” a first-year seminar offered by Middlebury College. After the meeting, Longtoe Sheehan recommended the students interview and write about VAAA affiliated artists. This blog post is one of a series that were created for that project, respectfully submitted by a student who self-identifies as non-Native.
Due to the length of this narrative, it will be introduced in two parts over a period of two weeks. This is part two.
Annabelle Wyman 24.5 – Middlebury College
Native Presence and Performance – 1 June 2021
Melody also uses cultural weaving to move forward from the injustices of the past. When I asked her about the Abenaki history with colonization, she shared the advice of her Chief, Roger Longtoe Sheehan, on rebuilding traditions through the analogy of a broken puzzle. Their community is still trying to piece the puzzle together today, but the painting is different so you can never piece the original one together. However, the ancestors knew that life was going to change, so it is okay for the picture to change, because some traditions no longer fit into the current native culture. Melody thinks that the important thing to ask is
In spring 2021, Vera Longtoe Sheehan (Elnu Abenaki) met with the students of “Native Presence and Performance: Reclaiming the Indigenous Narrative,” a first-year seminar offered by Middlebury College. After the meeting, Longtoe Sheehan recommended the students interview and write about VAAA affiliated artists. This blog post is one of a series that were created for that project, respectfully submitted by a student who self-identifies as non-Native.
Due to the length of this narrative, it will be introduced in two parts over a period of two weeks. This is part one.
Annabelle Wyman 24.5 – Middlebury College
Native Presence and Performance – 1 June 2021
Melody Mackin is a wonderful finger weaver, diligent activist, ardent educator, and devoted member of the Elnu Abenaki Tribe. In March of 2021, I had the privilege of speaking with her about this work and what she believes are the important aspects of Abenaki culture and history. Melody was taught to weave by two of her community members, Linda Longtoe Sheehan and Rose Hartwell, both of whom provided her with information on different facets of weaving. She explains that Linda taught her about the value of deliberate, slow, and methodical work while Rose taught her the intricacies of the craft and helped Melody to develop her own style of finger weaving. In the Abenaki community, finger weaving is deeply interwoven with the personality of the artist. The artist who creates the project incorporates their own techniques and methods to the process that bring their own style to the piece. Weaving has not changed much over the thousands of years it has been in existence, and members of the Abenaki community continue the tradition by using the same patterns, techniques, and materials as their ancestors to create a nearly identical product. However, the projects that are completed today are often very different than the ones of the past. Many products that were originally needed are not necessary today. Instead of ceremonial sashes, modern weavers have created pieces such as cell phone cases; beautifully connecting modern needs with traditional practices.
When Melody first began learning, there were only a limited number of finger weavers left in the community. She used her new skills to teach others in her family and the community, which then helped the number of weavers to multiply. She also took the time to teach non-native people from outside of her community in schools and at gatherings (most notably the Affirming Traditions Conference) in an effort to raise awareness about indigenous art forms. As Melody began to teach weaving to other members of her community, she came to a realization: her students were creating amazing products their first or second time weaving. She explains that her ancestors showed her that she was meant to be a teacher and should use her skills to educate others about the Abenaki community.
In her book Decolonizing Methodologies, Linda Tuhiwai Smith introduces twenty-five indigenous projects that serve to help Native communities in their attempts to conduct research and renew their tribal identities and culture. She explains that Protecting is a project used to ensure the continuation of oral and cultural tradition. Melody exemplifies this project by using her knowledge and passion for teaching to share her skills with her community and thus protect the art of finger weaving from extinction. As she began to explore her passion for teaching further, Melody worked at Johnson State College where she taught Abenaki history, culture, and spirituality, and Native American history and culture. After Johnson State College, she taught a class called
In spring 2021, Vera Longtoe Sheehan (Elnu Abenaki) met with the students of “Native Presence and Performance: Reclaiming the Indigenous Narrative,” a first-year seminar offered by Middlebury College. After the meeting, Longtoe Sheehan recommended the students interview and write about VAAA affiliated artists. This blog post is one of a series that were created for that project, respectfully submitted by a student who self-identifies as non-Native.
Due to the length of this narrative, it was introduced in three parts over a period of three weeks. This is Part Three.
In spring 2021, Vera Longtoe Sheehan (Elnu Abenaki) met with the students of “Native Presence and Performance: Reclaiming the Indigenous Narrative,” a first-year seminar offered by Middlebury College. After the meeting, Longtoe Sheehan recommended the students interview and write about VAAA affiliated artists. This blog post is one of a series that were created for that project, respectfully submitted by a student who self-identifies as non-Native.
Due to the length of this narrative, it will be introduced in three parts over a period of three weeks. This is part one.
The Historic Indigenous Arts of Vermont and New Hampshire
By Frederick M. Wiseman Ph.D.
Introduction
When we think of indigenous American craft arts, we immediately think of Navajo rugs and Tahono o’odam (Papago) basketry. Or perhaps the woodcarvings of the Northwest Coast of North America. Possibly one of the least recognized historical Native American crafts regions of North America is the Far Northeast, only a few books will mention baskets made by Maine or Canadian Maritime tribes. However, Vermont and New Hampshire have a vibrant but little known artistic tradition stretching back over 10,000 years. The oldest artistic works are made of stone, chipped or ground into beautiful but useful tools such as the clean, almost Art Deco-looking lines of Vermont Middle Archaic Period gouges, the tight design of Late Archaic lapidary jewelry, or the evocative rock-carved human face petroglyphs at Bellows Falls. However, except for stone, and a few pieces of shell, there is little that remains, underground of this rich artistic tradition. During the So-Called Colonial Era (1609-ca. 1800) the Indigenous Arts of our region are still little understood and seem to resemble those of neighboring tribes. There are occasional pieces of 18th century quillwork-decorated leather craft or twined basketry residing in museums and private collections illustrating the precise work and artistic flair of the People. Unfortunately, they are so similar to items made by our Penobscot, Huron and Iroquois neighbors that there has been little effort by art historians to find out what is specific to our region.
Below, are a few examples of older art traditions that have good ties to the VT/NH region and its immediate environs of southern Quebec. These show a careful choice of material, excellent plotting out the eventual form, and meticulous care in decoration — evidence of a well developed craft tradition that its practitioners were very comfortable with. Many of our 19th and early 20th-century craft arts seem to have its closest ties to the great multiethnic Indian Village of Kahnawake, south of Montreal, but other traditions especially basketry shows early artistic similarity to Southern New England, while cloth seems more similar to our Wabanaki brethren, showing that our area was a great crossroads of artistic ideas flowing throughout the region.
Woodcraft
Root club, stylistically similar to the Newport, VT example; early 20th century.
Most Indigenous Vermont and New Hampshire wood craft is very utilitarian, and probably would not be classed as fine or decorative art. However, some particular forms, such as crooked knives and root clubs have become accepted as valuable craft arts by art historians and critics. We do see nice examples of these tools that have come from our area, but have a distinct stylistic look. Root clubs, for example, did not seem to be made and sold in Vermont as tourist items, although very similar looking ones were sold for that purpose at Kahnawake. These root clubs tend to be carved relatively simply with minimal decoration, usually of fine ink or watercolor delineating bird-like beaks and eyes, rather than the fine carved detailing and painted design demanded by tourist buyers. Instead, we have a documented example that seemed to be used in healing, and another that was used to keep order within a family, indicating that they remained, at least in part, internal cultural implements.
Well designed crooked Knife. Birch Handle, ground-file blade and brass wire wrap. 19th century East side Lake Memphramagog.
Another well-designed and executed wooden implement is the crooked knife (often called “basket-knife” in VT). These distinctive native-design tools seem as rare as root clubs and are almost always entirely utilitarian. However, one crooked knife with a provenance just north of the Canadian Border in the Southern Eastern Townships of Quebec is finely crafted with beautiful incised and filled detail on the obverse and an artistically sweeping rake to the blade; thereby making a classic pieces of Northeastern Native art. (Photo to the right)
Twig decoy, Early 20th century, Fitch Bay (east of Lake Memphremagog) QC).
In the last 50 years or so decoys have emerged as a great vernacular art tradition, with many fetching many thousands of dollars at auction. Although there are Vermont decoy carvers with Indigenous heritage their creations are not considered “Indian Art.” However, a composite twig decoy from the same area as the crooked knife is so similar to the Cree “Tamarack Twig” decoys accepted as legitimate Indian Art that we will list it here. This is a goose “shadow decoy” constructed of black or river birch twigs and bound with cotton twine. A Nulhegan band elder remembered their use in middle 20th century cornfields around Lake Memphramagog to attract Canada geese to the shotgun. When viewed from a distance, the decoy has a wonderful flowing stance, and as the elder said “looks like a goose to another goose.. (Photo to the right)
These few items are only an introduction to the richness of historic Indigenous woodcraft of our region. Old bowls, spoons, wall-hangings, cups, walking staffs and even furniture remain to this day to grace museums and collections.
Fashion design
Woman’s cotton twill dress and red cloth sash
ca. 1900 Connecticut River Valley, VT.
Since the 1970’s, beaded clothing and fashion accessories of our neighbors to the East have become some of the most collected and valuable of any Native American art. Fortunately, our regional styles have not seen such interest or even study by elite art collectors, and so the materials are still somewhat available and collectable by Indigenous museums and cultural organizations. I find that some of the late 19th and early 20th century clothing used by basketsellers especially interesting. It combines European materials such as cloth and ribbons with indigenous motifs to make a distinctive, but underappreciated fashion that I call “cut-cloth Fringe’ style. We have several examples of this style from the Connecticut River Valley and Lake Champlain which seem to date from the 1890’s to about the beginning of the Great Depression. The example that I share here is made from a tan twilled cotton with patchwork and ribbon-work detail below the neck and above the hem. It is sturdy and technically well made, so much so that it is still worn for educational purposes. (Photo to the right)
Of course everyone wants to know about “Abenaki Beadwork,” and unfortunately, pre-1900 Indigenous Vermont/New Hampshire beaded cloth is the most elusive craft art that remains today. There is one late 18th/early 19th century beaded moccasin vamp or epaulet that was found in NW Vermont that is in a generalized style that may or may not be Vermont Abenaki, but was at least used here at one point. (Photo below).
Beaded wool panel, Trade wool, silk ribbon, glass beads.
Early 19th century, found in Swanton, VTFlat Bag with beadwork. Velvet, cotton liner, glass beads.
Mid or late 19th century, probably Abenaki
Probably a more characteristic style is the mid 19th century “flat bag” or reticule described below. It has a form related to the typical “tulip” or “inverted keyhole” bag sold by the Eastern Wabanaki people of New Brunswick and Nova Scotia. However, the beadwork itself is distinctive and unlike that of the standard Wabanaki to the East, or the Iroquois styles to the west. Unfortunately, it has not yet attracted interest of collectors, museums and academics, so it is uncertain exactly whether this is a “Montreal Area,” “Eastern Townships (Quebec) area,” “Vermont area” “or “New Hampshire area” style; or all of the above. However, I believe that it represents the best candidate style for having been produced here in the mid 19th century. (Photo to the right)
Basketry
Early 19th century ash-splint Basket. Vernon, VT.
The one craft art likely to show up in VT/NH antique shops is ash-splint basketry, and there are many styles and types. I will illustrate two of the older more utilitarian types that were made before the ubiquitous “sweetgrass” and “cowiss” touristic souvenir baskets that are so common today. Ash splint basket making in VT/NH basically went extinct in the 1930’s. Baskets after that time seem to be made by expatriate basket sellers from Canada or Maine who sold tourist goods in places such as the White Mountains Intervale or the shores of Lake Champlain. (Photo to the right)
Turn of the 2Oth century
ash splint Basket
The first early type is from the 1830’s and is more closely related to southern New England basketry, in its “varying splint” construction and the use of stamping and or painting on the wide splints as decoration. it was probably used like a bandbox, for the storage of lightweight household and fashion goods such as yarn or hats. The second basket, probably from the third quarter of the 19th century, still retains the varying splints, but now shows direct influence of basketry evolution to the East, in its checkerboard (rectangular) base and the treatment of the radiating splints on the lid. Instead of being stamped, the wider splints are “daub-dyed” or pigment painted only on the outside before weaving the basket. The later, turn of the 20th century dyed ash splints are dipped in dye and thus show the color both inside and out. Both of these early basket styles are relatively uncommon in VT/NH and even less common with a good provenance placing them here in the 19th century. (Photo to the right)
Two coiled horsehair baskets made with brown horsehair foundation and black hair ties left, and black horsehair and white hair ties, right. Probably early 20th century. St. Albans, VT
Another important basket type is the coiled basket. Even more elusive than early beadwork, coiled basketry is only known from two areas in the Northeast, the Passamaquoddies and a single family in Northwestern VT. These are tiny items, made from carefully selected and prepared horse-hair, similar to the much more well known Thono O’odam tourist wares. As with most local wares, there is no historical interest in these beautiful tiny baskets, and we await the continuation of this tradition by young members of the VT basket making family.
Interested in Learning more about the Indigenous Art of Vermont?
When we think of indigenous American craft arts, we immediately think of Navajo rugs and Tahono o’odam (Papago) basketry. Or perhaps the woodcarvings of the Northwest Coast of North America. Possibly one of the least recognized historical Native American crafts regions of North America is the Far Northeast, only a few books will mention baskets made by Maine or Canadian Maritime tribes. However, Vermont and New Hampshire have a vibrant but little known artistic tradition stretching back over 10,000 years. The oldest artistic works are made of stone, chipped or ground into beautiful but useful tools such as the clean, almost Art Deco- looking lines of Vermont Middle Archaic Period gouges, the tight design of Late Archaic lapidary jewelry, or the evocative rock-carved human face petroglyphs at Bellows Falls. However, except for stone, and a few pieces of shell, there is little that remains, underground of this rich artistic tradition. During the So-Called Colonial Era (1609-ca. 1800) the Indigenous Arts of our region are still little understood and seem to resemble those of neighboring tribes. There are occasional pieces of 18th century quillwork-decorated leather craft or twined basketry residing in museums and private collections illustrating the precise work and artistic flair of the People. Unfortunately, they are so similar to items made by our Penobscot, Huron and Iroquois neighbors that there has been little effort by art historians to find out what is specific to our region.
Below, are a few examples of older art traditions that have good ties to the VT/NH region and its immediate environs of southern Quebec. These show a careful choice of material, excellent plotting out the eventual form, and meticulous care in decoration — evidence of a well developed craft tradition that its practitioners were very comfortable with. Many of our 19th and early 20th-century craft arts seem to have its closest ties to the great multiethnic Indian Village of Kahnawake, south of Montreal, but other traditions especially basketry shows early artistic similarity to Southern New England, while cloth seems more similar to our Wabanaki brethren, showing that our area was a great crossroads of artistic ideas flowing throughout the region.
Wood-craft
Root club, stylistically similar to the Newport, VT example; early 20th century.
Most Indigenous Vermont and New Hampshire wood craft is very utilitarian, and probably would not be classed as fine or decorative art. However, some particular forms, such as crooked knives and root clubs have become accepted as valuable craft arts by art historians and critics. We do see nice examples of these tools that have come from our area, but have a distinct stylistic look. Root clubs, for example, did not seem to be made and sold in Vermont as tourist items, although very similar looking ones were sold for that purpose at Kahnawake. These root clubs tend to be carved relatively simply with minimal decoration, usually of fine ink or watercolor delineating bird-like beaks and eyes, rather than the fine carved detailing and painted design demanded by tourist buyers. Instead, we have a documented example that seemed to be used in healing, and another that was used to keep order within a family, indicating that they remained, at least in part, internal cultural implements.
Well designed crooked Knife. Birch Handle, ground-file blade and brass wire wrap. 19th century East side Lake Memphramagog.
Another well-designed and executed wooden implement is the crooked knife (often called “basket-knife” in VT). These distinctive native-design tools seem as rare as root clubs and are almost always entirely utilitarian. However, one crooked knife with a provenance just north of the Canadian Border in the Southern Eastern Townships of Quebec is finely crafted with beautiful incised and filled detail on the obverse and an artistically sweeping rake to the blade; thereby making a classic pieces of Northeastern Native art. (Photo to the right)
Twig decoy, Early 20th century, Fitch Bay (east of Lake Memphremogog), QC.
In the last 50 years or so decoys have emerged as a great vernacular art tradition, with many fetching many thousands of dollars at auction. Although there are Vermont decoy carvers with Indigenous heritage their creations are not considered “Indian Art.” However, a composite twig decoy from the same area as the crooked knife is so similar to the Cree “Tamarack Twig” decoys accepted as legitimate Indian Art that we will list it here. This is a goose “shadow decoy” constructed of black or river birch twigs and bound with cotton twine. A Nulhegan band elder remembered their use in middle 20th century cornfields around Lake Memphramagog to attract Canada geese to the shotgun. When viewed from a distance, the decoy has a wonderful flowing stance, and as the elder said “looks like a goose to another goose.. (Photo to the right)
These few items are only an introduction to the richness of historic Indigenous woodcraft of our region. Old bowls, spoons, wall-hangings, cups, walking staffs and even furniture remain to this day to grace museums and collections.
Fashion design
Woman’s cotton twill dress and red cloth sash. ca. 1900 Connecticut River Valley, VT.
Since the 1970’s, beaded clothing and fashion accessories of our neighbors to the East have become some of the most collected and valuable of any Native American art. Fortunately, our regional styles have not seen such interest or even study by elite art collectors, and so the materials are still somewhat available and collectable by Indigenous museums and cultural organizations. I find that some of the late 19th and early 20th century clothing used by basketsellers especially interesting. It combines European materials such as cloth and ribbons with indigenous motifs to make a distinctive, but underappreciated fashion that I call “cut-cloth Fringe’ style. We have several examples of this style from the Connecticut River Valley and Lake Champlain which seem to date from the 1890’s to about the beginning of the Great Depression. The example that I share here is made from a tan twilled cotton with patchwork and ribbon-work detail below the neck and above the hem. It is sturdy and technically well made, so much so that it is still worn for educational purposes. (Photo to the right)
Of course everyone wants to know about “Abenaki Beadwork,” and unfortunately, pre-1900 Indigenous Vermont/New Hampshire beaded cloth is the most elusive craft art that remains today. There is one late 18th/early 19th century beaded moccasin vamp or epaulet that was found in NW Vermont that is in a generalized style that may or may not be Vermont Abenaki, but was at least used here at one point. (Photo below).
Beaded wool panel, Trade wool, silk ribbon, glass beads.Early 19th century, found in Swanton, VT.
Flat Bag with beadwork. Velvet, cotton liner, glass beads. Mid or late 19th century, probably Abenaki.
Probably a more characteristic style is the mid 19th century “flat bag” or reticule described below. It has a form related to the typical “tulip” or “inverted keyhole” bag sold by the Eastern Wabanaki people of New Brunswick and Nova Scotia. However, the beadwork itself is distinctive and unlike that of the standard Wabanaki to the East, or the Iroquois styles to the west. Unfortunately, it has not yet attracted interest of collectors, museums and academics, so it is uncertain exactly whether this is a “Montreal Area,” “Eastern Townships (Quebec) area,” “Vermont area” “or “New Hampshire area” style; or all of the above. However, I believe that it represents the best candidate style for having been produced here in the mid 19th century. (Photo to the right)
Basketry
Early 19th century ash-splint Basket. Vernon, VT.
The one craft art likely to show up in VT/NH antique shops is ash-splint basketry, and there are many styles and types. I will illustrate two of the older more utilitarian types that were made before the ubiquitous “sweetgrass” and “cowiss” touristic souvenir baskets that are so common today. Ash splint basket making in VT/NH basically went extinct in the 1930’s. Baskets after that time seem to be made by expatriate basket sellers from Canada or Maine who sold tourist goods in places such as the White Mountains Intervale or the shores of Lake Champlain. (Photo to the right)
Turn of the 2Oth century ash-splint basket.
The first early type is from the 1830’s and is more closely related to southern New England basketry, in its “varying splint” construction and the use of stamping and or painting on the wide splints as decoration. it was probably used like a bandbox, for the storage of lightweight household and fashion goods such as yarn or hats. The second basket, probably from the third quarter of the 19th century, still retains the varying splints, but now shows direct influence of basketry evolution to the East, in its checkerboard (rectangular) base and the treatment of the radiating splints on the lid. Instead of being stamped, the wider splints are “daub-dyed” or pigment painted only on the outside before weaving the basket. The later, turn of the 20th century dyed ash splints are dipped in dye and thus show the color both inside and out. Both of these early basket styles are relatively uncommon in VT/NH and even less common with a good provenance placing them here in the 19th century. (Photo to the right)
brown horsehair foundation and black hair ties left, and black horsehair and white hair ties, right. Probably early 20th century. St Albans, VT.
Another important basket type is the coiled basket. Even more elusive than early beadwork, coiled basketry is only known from two areas in the Northeast, the Passamaquoddies and a single family in Northwestern VT. These are tiny items, made from carefully selected and prepared horse-hair, similar to the much more well known Thono O’odam tourist wares. As with most local wares, there is no historical interest in these beautiful tiny baskets, and we await the continuation of this tradition by young members of the VT basket making family.
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