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              <text>photo of bag; obtained from original Closing the Circle website: &lt;a href="http://www.oberlin.edu/external/circle/bag_18.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_18.htm&lt;/a&gt; and &lt;a href="http://www.oberlin.edu/external/circle/bag_18_side2.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_18_side2.htm&lt;/a&gt;</text>
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            <name>Title</name>
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                <text>Bag 18</text>
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                <text>fringed handbag</text>
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                <text>Its idiosyncratic design, vivid colors, and fancy leather trim suggest that this bag was created to be a highly cherished personal accessory.&#13;
&#13;
Southwest Museum, Los Angeles&#13;
&#13;
Twined corn husk, wool, leather</text>
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                <text>Nez Perce</text>
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                <text>1985</text>
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                <text>Photograph by David Calco, Allen Memorial Art Museum; Item posted by Rachel Mead</text>
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              <text>photo of bag; obtained from original Closing the Circle website: &lt;a href="http://www.oberlin.edu/external/circle/bag_19.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_19.htm&lt;/a&gt;</text>
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                <text>Bag 19</text>
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                <text>beaded bag</text>
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                <text>Although horses and flowers are common motifs on beaded bags, this intricate design depicting a Palamino and an Appaloosa trotting beneath a canopy of rose blossoms is exceptionally fine.  The bag features several different types of beads and beading techniques and, as is typical for bags of this type, is decorated on one side only.&#13;
&#13;
Southwest Museum, Los Angeles&#13;
&#13;
Cotton, beads, buckskin</text>
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                <text>Yakama</text>
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                <text>1971</text>
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                <text>Photograph by David Calco, Allen Memorial Art Museum; Item posted by Rachel Mead</text>
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              <text>photo of bag; obtained from original Closing the Circle website: &lt;a href="photo%20of%20bag;%20obtained%20from%20original%20Closing%20the%20Circle%20website%3A%20" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_02.htm&lt;/a&gt; and &lt;a href="http://www.oberlin.edu/external/circle/bag_02_side2.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_02_side2.htm&lt;/a&gt;</text>
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                <text>Bag 2</text>
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                <text>Toward the end of the 19th century, cotton replaced Indian hemp as the primary foundation material in most Columbia River twined bags.  This handbag has a cotton twine foundation, a false embroidery surface of natural cornhusk and synthetically dyed woolen yarns, and a pale leather fringe.&#13;
&#13;
Schlick Collection&#13;
&#13;
Cotton twine, cornhusk, woolen yarn, leather</text>
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                <text>Yakama</text>
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                <text>1900</text>
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                <text>Photograph by David Calco, Allen Memorial Art Museum; Item posted by Rachel Mead</text>
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              <text>photo of bag; obtained from original Closing the Circle website: &lt;a href="http://www.oberlin.edu/external/circle/bag_20.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_20.htm&lt;/a&gt; and &lt;a href="http://www.oberlin.edu/external/circle/bag_20_side2.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_20_side2.htm&lt;/a&gt;</text>
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                <text>Recovered after the Battle of Clearwater in 1877, this bag has been attributed and dated on the basis of where and when it was found as well as its construction materials and design.&#13;
&#13;
University of Colorado Museum&#13;
&#13;
Indian hemp, cornhusk, cordage</text>
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                <text>ca. 1840</text>
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                <text>Photograph by David Calco, Allen Memorial Art Museum; Item posted by Rachel Mead</text>
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              <text>photo of bag, obtained from original Closing the Circle website: &lt;a href="http://www.oberlin.edu/external/circle/bag_21.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_21.htm&lt;/a&gt; and &lt;a href="http://www.oberlin.edu/external/circle/bag_21_side2.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_21_side2.htm&lt;/a&gt;</text>
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                <text>As scholars and collectors became increasingly interested in Native American art over the course of the 20th century, more effort was made to preserve the names and identities of those craftspeople who were still actively practicing the traditional arts.  This bag, for instance, is recorded as having been created by a mid-century Nez Perce weaver known as Mrs. Bull Weasel.&#13;
&#13;
Southwest Museum, Los Angeles&#13;
&#13;
Hemp, cornhusk, yarn, cotton twine, leather thong</text>
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                <text>Mrs. Bull Weasel, Nez Perce</text>
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                <text>1945</text>
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                <text>Photograph by David Calco, Allen Memorial Art Museum; Item posted by Rachel Mead</text>
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              <text>photo of bag; obtained from original Closing the Circle website: &lt;a href="http://www.oberlin.edu/external/circle/bag_22.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_22.htm&lt;/a&gt; and &lt;a href="http://www.oberlin.edu/external/circle/bag_22_side2.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_22_side2.htm&lt;/a&gt;</text>
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                <text>This bag is attributed to a weaver named Susie Walsey Billy who was a member of the Rock Creek Band, one of the 14 tribes comprising the Yakama Nation.  The attribution is based on the testimony of Susie’s daughter, Agnes, who was able to identify the bag as her mother’s work and date it to the 1920’s or 1930’s when it was exhibited in l987 at the Maryhill Museum in Oregon.&#13;
&#13;
Schlick Collection&#13;
&#13;
Hemp, cornhusk, cotton string</text>
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                <text>Susie Walsey Billy, Yakama</text>
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                <text>1920</text>
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                <text>Photograph by David Calco, Allen Memorial Art Museum; Item posted by Rachel Mead</text>
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              <text>photo of bag; obtained from original Closing the Circle website: &lt;a href="http://www.oberlin.edu/external/circle/bag_03.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_03.htm&lt;/a&gt;</text>
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                <text>A floral arrangement picked out in red, orange, and brown beads against a blue background adorns the front of this meticulously crafted bag.  Its leather trim and velvet back further enhance its luxurious appeal.&#13;
&#13;
Southwest Museum, Los Angeles&#13;
&#13;
Cut and seed beads, velvet, leather</text>
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                <text>Yakama</text>
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                <text>1971</text>
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                <text>Photograph by David Calco, Allen Memorial Art Museum; Item posted by Rachel Mead</text>
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              <text>photo of bag; obtained from original Closing the Circle website: &lt;a href="http://www.oberlin.edu/external/circle/bag_04.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_04.htm&lt;/a&gt; and &lt;a href="http://www.oberlin.edu/external/circle/bag_04_side2.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_04_side2.htm&lt;/a&gt;</text>
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                <text>cornhusk bag</text>
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                <text>This bag is a classic example of a twined bag with false embroidery decoration.  Bags of this size and complexity often took as long as two or three months of intermittent labor to complete.&#13;
&#13;
Southwest Museum, Los Angeles&#13;
&#13;
Cotton twine, cornhusk, wool yarn, leather, cloth</text>
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                <text>Nez Perce</text>
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                <text>late 19th-early 20th c.</text>
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                <text>Photograph by David Calco, Allen Memorial Art Museum; Item posted by Rachel Mead</text>
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              <text>photo of bag; obtained from original Closing the Circle website: &lt;a href="http://www.oberlin.edu/external/circle/bag_05.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_05.htm&lt;/a&gt; and &lt;a href="http://www.oberlin.edu/external/circle/bag_05_side2.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_05_side2.htm&lt;/a&gt;</text>
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                <text>The fact that the extra wefts used to create false embroidery decoration are incorporated into the fabric of the bag encourages designs that feature primarily geometric shapes.  This bag, for example, is decorated with a highly symmetrical pattern of triangles and rectangles, the contrasting shapes of which are further emphasized by their bright colors and bold outlines.&#13;
&#13;
Schlick Collection&#13;
&#13;
Hemp, cornhusk, wool</text>
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                <text>Columbia Plateau</text>
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                <text>late 19th-early 20th c.</text>
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                <text>Photograph by David Calco, Allen Memorial Art Museum; Item posted by Rachel Mead</text>
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              <text>photo of bag; obtained from original Closing the Circle website: &lt;a href="http://www.oberlin.edu/external/circle/bag_06.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_06.htm&lt;/a&gt;</text>
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                <text>Pink, bronze, cranberry and white beads create a geometric design that is quite similar to those found on some 19th-century twined bags.  Elaborate beaded bags of this type were frequently passed down within families from generation to generation as treasured heirlooms, a practice that has ensured their survival despite their fragility.&#13;
&#13;
Schlick Collection&#13;
&#13;
Glass seed beads, fabric, buckskin thong handle</text>
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            <name>Creator</name>
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                <text>Yakama or Warm Springs</text>
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                <text>late 19th-early 20th c.</text>
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