Soul catcher carved from wood in two parts: a) two carved Sisiutl heads facing outwards with a humanoid body seated at the centre; b) a humanoid head with a peg that fits into a shaft in part a.
Sisiutl is the god of warrior invincibility, a magic war-canoe that can go underground (Winalagalis), and guardian of the house of the sky people.
Carried by a shaman when he pursued the soul of an ailing patient under his care. usually at twilight. The soul fluttered toward the horizon. With the stopper removed from his magic box, the shaman followed it, beguiling it with incantations. When he succeeded in approaching it, he popped it into the box, replaced the stopper, and returned it to the patient, who then recovered.
Made in Kitlope, British Columbia, Canada before 1914 Collected between 1893 and 1934 Owned by George Henry Raley before November 1948 Received from H. R. MacMillan (Funding source) and George Henry Raley (Seller) during November 1948 Identification Number: A1774 a-b Height 76 mm, width 165 mm, depth 38 mm Condition: good Current location: Case 021 Accession number: 1960/182 a-b
Brandywine Springs Amusement Park – Part 3 of 4: 1891
1891 brought big additions to the park, including the installation of a grand entrance made of carved wood, which included the quote “Let All Who Enter Here, Leave Care Behind.”
ca. 1907 or later
Newly installed electricity allowed them to light the entrance sign (and the rest of the park) at night!
Trolley lines from Wilmington were installed by the Peoples Railway Company after Richard W. Crook, manager of Brandywine Springs Amusement Park (1886-1915) and a visionary, determined that the next step in expanding the park’s success was providing transportation to the park.
ca. 1907 or later
Crook entered an agreement with the Philadelphia section of the B & O Railroad allowing a pavilion to be built, its Faulkland Station was a three minute walk from the park (a portion of this line is now run as the Wilmington and Western R.R.). The pavilion was completed for the 1891 season.The pavilion offered shade and shelter to passengers waiting for their train home.
Chinese artist Zheng Chunhui recently unveiled this exceptionally large and intricately carved wooden sculpture that measures some 40 feet (12.286 meters) long, 10 feet (3.075 meters) high and almost 8 feet (2.401 meters) wide. Four years in the making, the tree carving is based on a famous painting called Along the River During the Qingming Festival, which is a historical holiday reserved to celebrate past ancestors that falls on the 104th day after the winter solstice. The Guinness World Records group arrived in November in Fuzhou, Fujian Province, where the piece is currently on display, to declare it “the world’s longest wooden sculpture”.
This is George-Jules-Victor Clairin’s Spanish Woman on a Balcony. (“Woman” is not a typo—maybe the others are English spies? Or men in drag?)
All joking aside, it should not be at all strange to hear from Christie’s that Clairin had an “association with the theatre.” While it is certainly obvious that he had indeed visited (and been impressed by) Spain, the touch of drama goes beyond that of a wide-eyed tourist.
The exaggerated intricacy of the carved wood (with its dragons and bull skulls and scrolls), and the sheer overabundance of flowers—added to the set-like isolation of the balcony from the surrounding architecture—make this the Spain of the stage.
you look at this object and wonder, “What is it?” Perhaps it’s a decorative
panel, a cooking utensil, or a tongue depressor?
may be surprised to learn that this carved maple wood slat is actually a busk. Beginning
in the sixteenth century, busks were used to stiffen stays (an early name for corsets). Busks
were made of rigid materials such as bone, whalebone or wood, and would be inserted
down the front of a pair of stays to render it inflexible. This reinforced the
ideal conical and erect torso, and ensured that any bending was donefrom the
hips, not the waist, encouraging dignified posture and movement.
the eighteenth century, busks were sometimes hand carved with emblems, as seen on
this example. This busk’s design was created by chip carving, where knives or
chisels are used to remove small bits of wood. While busks often served a
practical purpose, not all were functional; some were to be made and given as
love tokens. This was likely the case with this example, as it features a large
heart at its centerfront, surrounded by the initials “R.S.”. These same
initials appear on the back of the busk, along with another pair of initials
(“P.L.”) and “1777,” likely the year the busk was made.
Created by mixed media artist Anila Quayyum Agha, this elaborately carved cube with an embedded light source projects a dazzling pattern of shadows onto the surrounding gallery walls. Titled Intersections, the installation is made from large panels of laser-cut wood meant to emulate the geometrical patters found in Islamic sacred spaces.