De Pan

The Logan Museum of Anthropology - Beloit College has updated their online artifacts catalog to include new color photos of the circa 1900 Odawa paddle in their collection. Up until now, the only images were grainy black and white photo from an out of print exhibition catalog (see my previous post here).



Ottawa Canoe Paddle
c.1900
Maple
Length: 136.5cm
Blade width: 10cm


As I haven't yet obtained permission to post these new colour photos, I'll leave you with a link to the paddle's citation page where closeups of the surface can be viewed. The paddle is listed under Catalog # 30182 .

The Abbe Museum in Maine apparently held a Paddle Art auction in August of this year as part of its 80th anniversary celebrations. Nearly 2 dozen full sized paddles (all with ottertail style blades) were decorated by local artists. Some were quite over the top with a modern art flair. Below are three that I particularly enjoy - I guess I tend to favour the more traditional types of motifs. Clicking each image will take you to the info page on the museum's site:


David Moses Bridges, Passamaquoddy


Stanley Neptune, Penobscot



Jo "Hugga" Dana, Penobscot

On a side not, be sure to visit Lloyd's Canoe Canada East site which features some great DIY canoe related projects. In particular, it was his tutorial on making a canvas portage pack that was a major source of inspiration & instruction for my own Woods No.200 canvas pack restoration back in '09.

The 2015 Gathering Gala for the Abbe Museum once again features decorated canoe paddles as part of their fundraising event. This year's exhibit page has 2 paddles that caught my attention because of their focus on traditional Wabanaki designs.

The first is the Wabanaki Tree of Life Paddle by Gina Brooks. Here's a picture and the artist's writeup below:

“My intention is to share examples of Wabanaki art, with their diverse and powerful designs – many of which have also served a very practical purpose in the everyday lives of living and breathing Wabanaki people. Beyond technical rendering of the subject, I have extensively researched the historical background of Wabanaki material culture and the spiritual, symbolic significance of distinctive traditional designs. My design, the Wabanaki Tree of Life, represents both our traditional symbols and our creation from the ash tree – represented by the ash leaves within the curve itself. This paddle represents how we function as a people with our symbology. Because of a deep connection to the earth, the symbology links us to each other. When you dip the paddle, it renews and strengthens that relationship. It gives us the strength to be ourselves, and to show it – all of these symbols reinforce our connection to the earth and to each other.” 

The other interesting paddle to my eyes is by well known birchbark artisan David Moses Bridges. It looks to have en etched layer of birchbark fused onto an ash paddle blade:

David Moses Bridges is from the Passamaquoddy reservation at Sipayik. David's great-grandfather, Sylvester Gabriel, passed away when David was a young boy, leaving behind several traditional tools and intricate plans for how to build a birchbark canoe. Having never made a canoe with his grandfather, David eventually went on to boat building school so that he could learn to read his grandfather's instructions. After working with master canoe builder Steve Cayard, David has now built three canoes by himself, and participated in over 20 collaborative programs, many of which have taken place within Wabanaki communities, bringing an almost lost art back to its people.

David's birchbark etching reminded me of birchbark stencils used to decorate paddles. I'm aware of 2 such examples in my research - one is documented in Frank G. Speck's Symbolism in Penobscot art (1927)  - Figure 12, Page 43




The other is an artifact in an artifact in the Smithsonian's NMAI collection posted on the twitter feed of the Associate Curator of the National Museum of the American Indian

David A posted a photo of the full sized Maliseet Paddles in the collection of the British Museum.



Unfortunately the photograph is blurred due to the glass of the exhibit case so the etching details are not visible. But the full length of the these graceful paddles are clearly in view.

Here are two interesting paintings by Cornelius Krieghoff in the collection of the McCord museum in Montreal. The essentially represent the same scene with subtle differences between them. In both, you can see a seated figure with painted paddle decorated in a chevron pattern, a seemingly common theme in many paddle paintings.


Aboriginal Camp in Lower Canada
Cornelius Krieghoff (1815-1872)
1847, 19th century


Paddle Closeup
In another similar version, the shaft and bobble grip of the paddle are in view. Also noticed that the chevron pattern on the paddle is now "pointing" in the opposite direction.


Indian Wigwam in Lower Canada
Cornelius Krieghoff (1815-1872)
About 1850, 19th century


Paddle closeup

Some paddles from the Public Facebook Wall of the Passamaquoddy Cultural Heritage Museum. Most look to be ash but a few seem like weathered maple with their blades painted a deep forest green. The subtle variety of grips tend to have that elongated feature I've begun to favour in my paddle carvings.


Variety of Passamaquoddy Paddles

Came across the delightfully descriptive blog, Our Acadia featuring highlights of the East Coast. A post from July of this year detailed a rainy day trip to the Abbe Museum in Bar Harbor which features a paddling exhibit. Of course, it was the paddle in the photo that caught my eye.

Photo Courtesy of OurAcadia

The paddle looks to be identical to the Tomah Joseph etched paddle I posted on earlier, although I could be mistaken. Unfortunately I've had no luck sourcing out any higher resolution close up pics. If anyone has visited this exhibit and is willing to share their personal photos, feel free to email me.