Manufactured for the North-Western fur trade beyond the Hudson Bay, sawn off and engraved by Tlingit natives c.late 18th century. .69 caliber smoothbore barrel, flintlock single shot musket. Northwest type guns were a specific model used to trade with American natives during the 18th and early 19th century, which were characterized by a brass serpent plate on the left side of the lock and an enlarged triggerguard to allow shooting with either thick gloves or two fingers.
A Northwest gun’s distinctive brass plate, signed Pritchett c.1829.
These were suited for war and hunting and were greatly appreciated by native tribes, who lacked the infrastructure to produce them but well understood their superiority to more ‘traditional’ weapons.
Rosalie Favell | I awoke to find my spirit had returned. 1999
From the series Plain(s) Warrior Artist, Favell is seen here working with Louis Riel’s last words “My people will sleep for one hundred years and when they awake it will be the artist that gives them their spirit back…”
Early forms of photoshop are used
in this image, as Favell edits herself front and centre of the famous scene of
The Wizard of Oz. Favell places herself
in the role of the heroine of the film and while taking up the viewpoint
enforcing acknowledgement of her Metis heritage in doing so.
Favell lies in bed covered in a Hudson Bay Blanket while Louis Riel
seems to check in on her.
assertion of Favell’s Metis imagery into such a well-known piece of White Settler
‘culture’ be interpreted as a form of resistance via occupation. This assertion
of Metis identity is powerful with the addition of the Hudson Bay blanket,
thinking about what that blanket and pattern can mean for many Indigenous
people and specifically the Metis connection to the Fur trade and the HBC. Louis Riel too adds this persistence of
resistance as from all angles contemporary and historical Metis identity is
being inserted into the scene. Keeping Favell’s own image in colour brings forth her own identity as present
and rejects the notion of Indigenous people/culture being in the past.
Favell inserts herself and her heritage onto
the predominant oppressive culture and in doing so brings her own identity into
the foreground in an act of resistance to White Settler culture and oppression.