Beschreibung:

Probably from the St. Regis area, Quebec; deeply carved and painted in blue, yellow, red, and green; turned cleat supports carved hoop; beautifully carved with a flowering tree of life; four birds are integrated into the design, flying through and nestled within the branches; at the base are two bears, possibly clan totems. Underside of foot-board painted with floral design, length 31 in. x width 14.25 in. mid 19th century There is much symbolism in the cradle's imagery of the flowering tree holding a mother bird feeding her young; the Iroquois believe that such a tree full of flowers, fruits, and bright lights, exists in the Sky World. Arches represent the Sky World and images of the celestial tree were sewn into the beaded skirts mothers wore.... the carver may add the clan animal of the mother - as that is also the clan of the child - or clan effigies of both parents which would sit at the base of the tree. Quote is on page 24 in Creation's Journey, a work edited by Tom Hill and Richard W. Hill, Sr. and published by the Smithsonian Institution Press in 1994. This style of carving has also been attributed to French Canadian folk artists. In the late 17th century, the Iroquois formed an alliance with the French when they settled in several Catholic villages around Montreal. Hence some of the missionary teachings and French-Canadian folk art influenced the Native Indian arts. For a good discussion of this, see page 57 in a book, Art of the North American Indians, edited by Gilbert T. Vincent, Sherry Brydon, and Ralph T. Coe, published in 2000. Other cradleboards which may have been carved by the same artist can be seen in the 1982 publication, Pleasing the Spirits, by Douglas C. Ewing, figure 451; the 1977 exhibition catalogue, Sacred Circles, figure 77a; and Sotheby's Fine American Indian Art, October 21, 1994, lot 124. Condition: Carved hoop replaced; some paint loss.