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                <text>Wash-us-etan-way</text>
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                <text>"Wash~us~etan-way" weaving a large storage bag, c. 1907. It may have taken a woman two to three months to complete a bag of this size. Photo by Fanny van Duyn, Tygh Valley, Oregon. Gary Goodwin Collection, Maryhill Museum of Art cat. no. 1991.06.01.</text>
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                <text>Fanny van Duyn</text>
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                <text>Schlick, Mary Dodds. 1994. Columbia River basketry ; gift of the ancestors, gift of the earth. Hong Kong: C &amp; C Offset Printing Co., Ltd. Page 142.</text>
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                <text>1907</text>
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                <text>Alalimteeyik with baskets</text>
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                <text>Wedding trade. The women's family traded dried roots in root bags and dried berries in berry baskets. Alalimteeyik, grandmother of Mr. Moses Thomas. Courtesy, Rev. H. L. Sugden, Lapwai, Idaho, c. 1900.</text>
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                <text>James, Caroline. 1996. Nez Perce women in transition, 1877-1990. Moscow, Idaho: University of Iowa Press. Page 87.</text>
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                <text>circa 1900</text>
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                <text>Dudley Allen</text>
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                <text>Henry Spalding</text>
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                    <text>Bag 1, front</text>
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                    <text>Bag 2, back</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_01.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_01.htm&lt;/a&gt; and &lt;a href="http://www.oberlin.edu/external/circle/bag_01_side2.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_01_side2.htm&lt;/a&gt;</text>
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                <text>Bag 1</text>
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                <text>Storage Bag</text>
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                <text>This bag uses Indian hemp twine for its foundation fabric and cornhusk cord for its decorative motifs.  One side of the bag features a design with colored diagonal bands that were made using natural red, blue and green dyes, while the other side features a diamond-patterned design that employs only the natural hues of the hemp and cornhusk.&#13;
&#13;
Southwest Museum, Los Angeles&#13;
&#13;
Hemp, cornhusk, cotton fastening cord</text>
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                <text>Nez Perce</text>
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                <text>late 19th century</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>fringed handbag</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_03.htm" target="_blank"&gt;http://www.oberlin.edu/external/circle/bag_03.htm&lt;/a&gt;</text>
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                <text>beaded bag</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>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>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>Bag 5</text>
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                <text>storage bag</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>beaded handbag</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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