Showing posts with label James Blake. Show all posts
Showing posts with label James Blake. Show all posts

Tuesday, June 16, 2026

Farquharson Collection Inspired Porcupine-Quilled Knife Sheath by James Blake

 

Above is a porcupine-quilled knife sheath inspired by an original example from the Farquharson Collection, now housed at the Toledo Museum of Art.

The story behind this piece begins with Alexander Farquharson, a young Scottish officer connected to the Farquharson family of Invercauld. During the French and Indian War, he served in North America with the British forces. Surviving documentation places him in the military world of Albany, Oswego, Lake Ontario, and Canada during the campaigns against New France. He later died in Havana in 1762 while still in British service.

What makes the collection remarkable is that Farquharson sent Indigenous-made objects back to Scotland, where they remained preserved with his family for more than 250 years. These pieces were not modern tourist souvenirs, but eighteenth-century objects collected during a moment of war, diplomacy, alliance-making, and exchange between British officers and Native nations.

Some time ago, I had the opportunity to study the collection firsthand during a research visit to the Toledo Museum of Art. Among the pieces that caught my attention was a porcupine-quilled knife sheath constructed with a birch bark slat as the foundation for the quillwork.

My reproduction follows that same construction method, with porcupine quills attached to a birch bark core. Recreating the sheath allowed me to better understand the materials, techniques, and artistic decisions used by the original Native maker. It also reminded me that these objects were not simply decorative or utilitarian, but expressions of cultural knowledge, identity, and technical mastery.

Copy and photography by James Blake.

Friday, April 25, 2025

Shell Gorgets: Crafting, Symbolism, and Cultural Legacy in Indigenous Art by James Blake

Shell gorgets are beautiful and culturally significant ornaments made from mollusk shells, traditionally worn on the chest by Indigenous peoples of North America. These were especially prominent in the Southeastern and Mississippian cultures, acting as personal adornments and powerful symbols of status, spiritual belief, and cosmological knowledge.The primary material for these gorgets was the Lightning Whelk (Busycon sinistrum), valued for its size, durable structure, and attractive spiral pattern. However, other shells were occasionally used as well — such as Eastern OysterHorse ConchTriton Snail, and Freshwater Mussels — depending on regional availability and the artisan's intent. The material itself, often traded over long distances, added prestige to these objects.

Large conch shell gorgets were traded all the way from the Gulf coast into the heartlands of Mississippian culture.  worn as chest ornaments, these were not mere decorations - they denoted influnce, status, and spiritual power.

These gorgets often featured prominent celestial imagery relating to the Above World, where the sun was revered as the chief divinity, represented by fire. One well-known design, the Hand and Eye motif, symbolizes the constellation marking the entrance to the Path of Souls — the Milky Way. These symbols were believed to embody supernatural power, transferring it to the individual wearing them.While the exact meanings are still debated — whether indicating rank, warrior status, or membership in religious societies — their quality, material, and archaeological context confirm them as elite, sacred objects.

  • The Spiro Site (Oklahoma): This major Mississippian ceremonial site has yielded numerous intricately carved gorgets, many depicting solar and cosmological imagery, reinforcing their elite ceremonial role.

  • The Jaguar Gorget (Fairfield Site, Missouri): Another remarkable example is the Jaguar Gorget, carved with the image of a feline figure, originating from the Fairfield Site in Missouri. This gorget is one of the most unique known Mississippian shell carvings, representing a powerful predator associated with the Underworld and supernatural realms. The jaguar’s significance in Mississippian iconography underscores the importance of animal symbolism in connecting human, natural, and spiritual worlds.

Native Artisans carefully selected whether to carve on the:

  • Concave Side: Offering a natural depth, it allowed for deeper relief carvings and intricate detail work, often preferred for highly detailed or sacred images.

  • Convex Side: The outward-facing surface made designs highly visible when worn, but demanded greater skill to preserve clarity on the naturally curved shell surface. The choice often depended on both aesthetic preference and the intended symbolic function of the gorget. The symbolism of the sun as a vital life force transcended into colonial-era documentation.  A notable example is found in the Codex Canadensis (ca. 1700) by Jesuit missionary Louis Nicolas.  On page 4, it depicts a radiating sun and an Indigenous figure offering tobacco smoke in reverence — a striking image that echoes the spiritual importance of celestial bodies in Native belief systems.Shell gorgets remain one of the most compelling artistic and cultural expressions of Indigenous North America — rich in symbolism, craftsmanship, and cosmological meaning. From the Spiro Site to the Fairfield Site, these artifacts continue to inspire both scholars and modern artisans today.
Copy and photos supplied by James Blake.

Tuesday, November 26, 2024

Tuesday, August 20, 2024

Blowgun and Darts by James Blake

 

Blowgun Technology 

Blowguns where used by Native peoples of North America especially in the Southeast,  though period accounts do record there use among others such as the Seneca and Shawnee, and Delaware peoples. I constructed this set as a gift for my youngest son. The Blowguns were traditionally made from river cane or some other pithy wood that could be hollowed out or split and rebound back together.  The Darts are made from Hickory and Twisted Cane. The Darts are Fletched with Thistle. Traditionally a variety of Thistles were used in the construction process some out perform others. The Anthropologist Frank Speck wrote a paper on the subject from field notes he took among the Catawba and Cherokee peoples which is very informative. 



Copy and photography supplied by James Blake.

Friday, May 10, 2024

Thursday, September 15, 2022

Headpiece by James Blake

 

This headpiece is copied from an original housed in the New Bruinswick Museum in Saint John, New Bruinswick Canada. It was probably acquired by Sir. William Farrington (1730-1781) of Warden Hall, Leyland Lancashire U.K. prior to 1768 it was passed on by family descent to Susan Farrington( 1809-1894) and her sister Mary Hannah Farrington then onto Henry Howell Farrington( 1868-1947); then acquired by the father of John Forrester at public Auction in the late 1940s. Consigned by John Forrester to auction and sold as lot 91at Christine's, London, England on June 29th 1983. Then donated to the New Bruinswick Museum as a Gift of the Goverment of Canada.  It is labeled Wolastoqiyik which is what the Maliseet people call themselves. Wolastoqiyik means "people of the beautiful river" refering to the St. John River Valley in New Bruinswick.

Stroud cloth
Silk Ribbon
Linen Thread
Glass Beads



Copy and photography supplied by James Blake.

Monday, July 18, 2022

Woman's Ribbon Skirt by James Blake

"I recently completed this Woman's Ribbon Skirt copied from an extant surviving example dating to the 18th century. The original was featured in the Clash of Empires exhibit ( French & Indian War traveling museum exhibit) curated by Scott Stephenson. This piece is held prisoner currently in Russia in the Museum of Peter the Great Kunstkamera. A modern reenacting anachronism or term applied to these skirts is wrap skirts as the piece was wrapped around the body and folded over a belt to hold in place. Many surviving examples of these old Ribbon Skirts are scattered throughout the globe. I for one am happy to see a resurgence of Native Women picking up this form of dress which is Indigenous form of strength and indigenization. A subtle form of rebellion and continued strength, screaming we are still here. This piece took me countless hours of hand stitching Silk Ribbon. It employs original 18th century glass beads and real Quahog Shell Wampum."



Copy and photography supplied by James Blake.

Friday, February 18, 2022

Fingerwoven Garters by James Blake After the Originals

These well known pair of Fingerwoven Garters are in the collections of the Chicago Field Museum. I examined these in 2018 once belonging to Sir. Jeffery Amherst. The despicable perpetrator of Biological Warfare on Native Peoples. From whom he acquired these Native objects has yet to be determined. These Garters would be great addition to a living historian, Collector or Eastern Woodland Powwow dancers acquisitions.

Copy and Photography provided by James Blake.

Wednesday, September 29, 2021

Thursday, September 16, 2021

Sash by James Blake

 This sash measures a total of 70" inches with 46" of it being the body of the sash. The piece is 4" wide.




Copy and photography by James Blake.

Tuesday, July 6, 2021

Shell Work by James Blake

The sum of the work of my hands from last week. Just finished these, made from Lighting Whelk Shell. A extensive trade network from the Atlantic to inland woodland tribes provided the shell. Not very many folks doing this type of work today. I like old school always have. These are available.
If interested let me know.
Contact jamesblakearts@gmail.com
Note- yes that is a Jaguar and the original was found in Missouri.

Copy and photos supplied by James Blake.

Wednesday, March 31, 2021

Wednesday, February 17, 2021

Thursday, October 1, 2020

Bag by James Blade

 


original

Photos supplied by James Blake.

Thursday, December 26, 2019

Gorget by James Blake

"This piece is based off a existant Caddo example found in Texas in 1936 by a road construction crew near Oenaville, Bell County. It dates to AD 300 - 700. It was held in the collection of Dr. Alex Dienst, Later transfered to the Smithsonian collections now housed in the National Museum Of the American Indian." 

Copy and photograph supplied by James Blake.