Can you identify the symbols on this quilt? It’s a mystery.

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By Roseanne McKee

Republished with permission of the Bartlesville Examiner-Enterprise

A few months ago while at the Nowata County Historical Society Museum I noticed an exhibit about a mystery quilt. Dated Monday, Dec. 18, 1915, the quilt’s mystery lies in the cryptic symbols on each square. As the photo shows some quilt squares contain letters and numbers, while others contain flowers, stars and even a cube. The mystery quilt was the catalyst for this column.

I had the Nowata County Historical Society President
Although I don’t possess the requisite patience, or skill, to construct a quilt, I do appreciate them for the warmth they provide and their artistic beauty.

Recently I had the flu and was grateful for my quilt, heated by my husband in the dryer, to warm me when I had the chills. The quilt’s weight provides its own comfort. I love the rare moments when my teen son joins me on the sofa with quilt covering us or the cat decides to perch precariously on my side to nap while I’m under the quilt.

Quilts have provided much more than comfort in the past, however.

“Quilts served many purposes during the Civil War. From acting as a medium for patriotic statements to serving as a way to keep soldiers warm in the field, these historic textiles had an important place in the conflict between North and South,” according to the website https://antiques.lovetoknow.com/Civil_War_Quilt_Patterns.

Although not everyone believes them, some historians claim slaves used a quilt code to navigate the Underground Railroad. The book “Hidden in Plain View: A Secret Story of Quilts and the Underground Railroad” suggests that quiltmakers would display the quilts letting slaves know when to prepare for and make their escape. A wrench patterned quilt indicated that they should gather tools for the escape. The wagon wheel pattern meant slaves should pack what they planned to take with them.

In doing my research for this column, I learned the names of popular quilt patterns. Here are a few of them — the log cabin, pinwheel, nine patch, double wedding ring, churn dash, eight-pointed star, friendship star, grandmother’s garden, corn and beans, liberty wheel, God’s eye and drunkard’s path.

Each quilt pattern had meaning and purpose. For example, the log cabin symbolized home, warmth, love and security to pioneers. The center square of log cabin quilts are red to representing the hearth, the focal point of life in a cabin or home. The name, Log Cabin, comes from the narrow strips of fabric, or “logs” arranged around the center square, according to the http://www.nps.gov website.

The nine patch quilt served as an introduction to quilting in pioneer days. It is one of the simplest and quickest quilts to sew and was a way to use up every small scrap of fabric available. On the prairie, sewing was an essential skill. Girls learned to sew blocks before they learned to read. At an early age, often as young as three or four, girls were taught to piece simple blocks. Many were very skilled at piecing a block by age five. Edith White, who grew up in the mid-1800s remembered, ‘Before I was five years old, I had pieced one side of a quilt, setting at my mother‟s knee half an hour a day.’ This training was called ‘fireside training.’”

As pioneers traveled West quilts were used as burial shrouds. Information from the website for http://www.nps.gov states, “wood was often scarce for coffins, so families used what was available and appropriate. Wrapping a loved one in a quilt was a way of not only preparing the body for burial, but of giving reassurance to the living that the decreased person was still linked to his or her family.”

More recently Quilts of Valor has sought to honor veterans by giving them quilts. According to their website, the first QOV was awarded by founder Catherine Roberts in November 2003 at Walter Reed Army Medical Center (WRAMC) to a young soldier from Minnesota who had lost his leg in Iraq. The Quilts of Valor movement spread from Catherine Robert’s home in Seaford, Del., across the country. The organization’s original mission statement was “to cover all those service members and veterans wounded physically or psychologically with comforting and healing Quilts of Valor.” Quilts of Valor has given 200,000 quilts to veterans in all 50 states.

A few months ago while at the Nowata County Historical Society Museum I noticed an exhibit about a mystery quilt. Dated Monday, Dec. 18, 1915, the quilt’s mystery lies in the cryptic symbols on each square. As the photo shows some quilt squares contain letters and numbers, while others contain flowers, stars and even a cube. Could the symbols be brands? I’d love to hear from anyone who recognizes a brand. Could they be Native American orthography? I shared the photo with a number of quilters, but no one was sure what the symbols might mean.

“The quilt appears to be a random group of squares and rectangles, fabric could be from military uniforms, olive green navy, black, brown and a tweed strip. It was found in a dog pen in the city of Delaware, by the family of J. J. Adams,” said Nowata Historical Society President Carroll Craun.
If any of the readers have an idea, please email me at rmckee@examiner-enterprise.com.

Christie’s Visits Woolaroc Museum – NY City meets the Osage Hills!

Bartlesville, OK March 2, 2017
Press Release by Jeanette Swindell, Green Country Marketing

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The unique relationship between Woolaroc Museum & Wildlife Preserve in Bartlesville, Oklahoma with Christie’s of New York is one more example of how this once “best kept secret” has exploded onto the national scene in the last ten years. In 2013, Woolaroc hosted its first national art show with The Lewis & Clark “Corps of Discovery” Retrospective and Sale which was followed by The Best of the Best Art Show in 2015 that featured eight of the world’s finest wildlife artists. Due to the successes of both of these shows, Woolaroc will again be hosting a major show in October, 2017 (The Best of the Best 2017) that will feature the works of Bill Anton, George Carlson, Tim Cherry, Len Chmiel, Steve Kestrel, T. Allen Lawson, Dean Mitchell and Andrew Peters. According to Woolaroc CEO Bob Fraser, “our ability to host such high quality shows at Woolaroc has been helped by the quality of our relationships with such groups as Christie’s. To those who may have never heard of Woolaroc, the praise and validation from such an esteemed group provides us credibility with galleries, artists and collectors that otherwise would have been hard for us to reach.”

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The relationship between Christie’s and Woolaroc began in 2007. For thirty years, a privately owned masterpiece by world-renowned artist, Thomas Moran was on loan to Woolaroc and maintained a prominent location on the gallery walls of the museum. After thirty years in the museum the family made the decision that it was time to sell the painting, and engaged the world famous Christie’s of New York to handle the sale. The Moran sold for more than $17 million, establishing a record for such a sale.

During the appraising and preparation for auction, a friendship was formed between Christie’s and Woolaroc and has been blooming ever since. Chairman and President of Christie’s Americas, Marc Porter, declared the collection “one of the finest, most complete collections of southwest art in the world.” One visit led to several more over the next few years and the result has been a powerful alliance between Woolaroc and Christie’s.

In November 2016, Christie’s hosted two of the Woolaroc staff at their American Art Sale in New York City and last week, three of Christie’s top people returned to Woolaroc in order to see the improvements that have been made to the museum since their last visit. Tylee Abbott, Associate Vice President and American Art Specialist at Christie’s stated “I had heard so much about this incredible museum and it has been on my “must see” list for a long time, but even with so much build up, it exceeded my expectations.” Allison Whiting, Senior Vice President and Director of Museum Services said “this was my fourth visit in the last ten years and I am always amazed by the depth of their collection.

The Woolaroc staff does an incredible job of maintaining the historic feel of a museum that started in 1928 and at the same time, they keep it updated and fresh with new exhibits and state of the art technology. We at Christie’s feel fortunate to share such a strong relationship with this American treasure.”

Founded in 1925 by oilman Frank Phillips, Woolaroc is a 3,700 acre working ranch that has a 50,000 square foot museum and is listed on the National Register of Historic Places in Washington, D.C., and a NARM (North American Reciprocal Museum) member. Woolaroc is located 12 miles SW of Bartlesville, Oklahoma and 45 miles NW of Tulsa, Oklahoma on State Highway 123. Visit http://www.woolaroc.org for admission and hours of operation.

Osage Nation Museum to hold Holiday Ornament Craft Workshop

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By: Hallie Winter, Osage Nation Museum Curator

Pawhuska, OK—The Osage Nation Museum is happy to announce the award of a Charitable Grant from the Osage Nation Foundation. This grant will be used to fund the 1st Annual Creative Community Holiday Ornament Craft Workshop.

The ONM will host their first annual Creative Community Holiday Ornament Craft Workshop during the month of December. Starting on December 1st the ONM will have their Imagination Station set up with materials for visitors to make a holiday ornament. The Imagination Station is an engaging, interactive area in the museum’s exhibit gallery that is geared towards our youth visitors. However, visitors of all ages are welcome to participate. The ONM staff select activities that correlate with current exhibits and special programming to facilitate the hands on participation of visitors in a meaningful, creative and educational way. The activity for the month of December will be a simple paper cut out ornament with Osage designs. By using Osage themes and motifs this will help visitors learn about Osage culture while connecting with the Museum’s collection. Visitors can either take their ornament home or leave it with museum staff for inclusion on the ONM’s Holiday Tree.

Another station will be set up in the museum’s gallery that will tie into the Creative Community Holiday Ornament Craft Workshop. We ask visitors to add to our paper chain garland, using the theme: #weloveonm. We invite visitors to write down what they love about the ONM, these written comments will make up the paper chain garland that will decorate the ONM holiday tree.
On Saturday, December 10th the ONM will host a 6 hour pop in event, no registration required. The event will be held from 10:00am – 4:00pm. This will be open to the public and all ages are welcome. The ONM will be collaborating with Osage Artists, the Wah Zha Zhi Cultural Center and the ON Education STEAM department to produce unique, thoughtful and educational ornaments. We will have four craft stations set up, each with an Osage artist and teaching assistants to help visitors create one of a kind holiday ornaments. Each of the four stations will have a holiday ornament craft that is geared towards youth and easy to make.

The ONM will have two ornaments that visitors can make which tie into the Museum’s collection and mission statement. The Wah Zha Zhi Cultural Center and the ON Education STEAM program will also have tables set up with one ornament each for visitors to make. We will ask the patrons to leave their ornament at the museum when it is complete. Participants will also be able to leave their hand print for the ONM’s Holiday Tree Skirt. We will be procuring enough materials to produce 200 of each ornament.

On Friday, December 16th from 5:00-7:00pm the ONM will host the first annual Creative Community Holiday Tree Lighting. Visitors will be able to come and see our holiday tree that has been decorated with the ornaments produced throughout the month of December. Santa will be at the museum for a photo op.

Participants will be able to pick up their hand made ornaments the following week from the museum.

Hallie Winter, Curator at the Osage Nation Museum said, “The staff at the ONM would like to thank the Osage Nation Foundation Board for approving our grant application to create the1st Annual Creative Community Holiday Ornament Craft Workshop. This workshop will engage and enhance relations with our local community while providing a fun filled, ONM collections related activity. While the target audience for participation is the youth in our community this event is all-inclusive and we hope to connect with a multitude of individuals of all ages. This workshop and resulting event will not only engage the youth but their parents as well, leading to return visits and reinforcing the museum’s “brand” as a welcoming, engaging and educational resource for our community and tourists alike. We are happy to be collaborating with the Wah Zha Zhi Cultural Center and the ON Education Department on this endeavor. ”

About the Osage Nation Museum:

The premiere destination to experience Osage history, art, and culture
Visit the Osage Nation Museum (ONM) in historic Pawhuska, Oklahoma. Our continuously changing exhibits convey the story of the Osage people throughout history and celebrate Osage culture today. Highlights include an extensive photograph collection, historical artifacts, and traditional and contemporary art. Founded in 1938, the ONM is the oldest tribally owned museum in the United States.

Admission and parking is free.

Contact Information:

Phone: 918-287-5441
Fax: 918-287-5227
Email: museum@osagenation-nsn.gov
Website: http://www.osagenation-nsn.gov/museum
Facebook: https://www.facebook.com/OsageNationMuseum/

Location:
819 Grandview Avenue Pawhuska, OK 74056 

Exciting Changes Continue at Woolaroc

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Press Release By: Green Country Marketing

Four years ago, Woolaroc decided that it was time to give Frank Phillips’ wonderful museum a nice touch up. That “touch up” turned into new state of the art lighting throughout the entire museum, new wall colors, new staging of the art, new exhibits and room by room by room from the Dome Room to downstairs in Gallery 9, this graceful national treasure was carefully updated. In the process, something really special became even better.

On November 23rd, the final piece of the puzzle will fall into place — Gallery 10, which use to house the Phil Phillips Colt Collection before it was relocated to Gallery 8, has been transformed into something very special. A guest touring Woolaroc will see one of the world’s finest collections of southwest art, Native American blankets, the famous Woolaroc airplane, the incredible gun collection and the reproduction of Uncle Frank’s New York City office….. your tour of this museum will conclude with a combination of nostalgia, fun and smiles.

As you enter Gallery 10, you will find a large scale, double-tracked miniature train exhibit that is complete with stores, shops, animals, lakes, tunnels and much more. Surrounding this train exhibit will be the wonderful doll collection of Woolaroc, staged and displayed along with a new series of old toys dating from as early as 1917. Along the walls you will see other unique exhibits from toy soldiers to wagon trains to a wall of old vintage Phillips 66 oil cars. “We are proud of the improvements that we have made over the last four years” said Woolaroc CEO Bob Fraser. “Many of these things have been made possible because of the great success and support from our annual Cow Thieves & Outlaws Reunion party and our semi-annual Best of the Best National Art Show….without them, the depth and scope of these improvements would not have been possible.”

Once again, the staff at Woolaroc has turned a concept and a dream into reality. Through the leadership of Museum Director Shiloh Thurman and the construction skills of Woolaroc carpenters Tim Sydebotham and Chris Buchanan, Woolaroc “magic” has happened once again. According to Thurman, “once we came up with the idea and got it approved in concept, we spent months researching the various sizes and types of trains we should have, how to maintain them, how to wire them, how to design the set and how to build the support structures around the set. We are very pleased with the final product and think that kids and adults will all love the new room…..while a bit different than the usual Woolaroc exhibit, it stays true to the mission of all that we do.”

“Planes, Trains, Automobiles and Dolls” is the perfect ending to a magical tour through this national treasure…..the employees of Woolaroc invite you to come see this newest addition.

Woolaroc is open Wednesday thru Sunday from 10 am to 5 pm and beginning November 25th, Wonderland of Lights will be open from 5-9 pm every Friday, Saturday and Sunday thru Friday, December 23rd.

A Guided Tour of the Osage Nation Museum with Curator, Hallie Winter

Osage Nation Museum Curator, Hallie Winter

Osage Nation Museum Curator, Hallie Winter


By: Roseanne McKee

Curator Hallie Winter, who became the museum’s curator in May 2016, spoke to Pawhuska People about the updates she and Collections Manager, Callie Martin, are making at the Osage Nation Museum.

Describing her vision, Curator Hallie Winter said: “What we wanted to do was make the place more warm and inviting and feel like home. That had a lot to do with our color choices for the walls.

Some lighting and fire system improvements have also been made.

“We’re getting new LED track lighting; there is a new fire suppression system, not utilizing water; it doesn’t remove all the oxygen, so it’s still safe, less harmful to the art and a lot better than water,” Winter explained.

Display cases have gotten a facelift as well.

“We to wanted stay true to the original case that’s here so we played up that. We’ve redone a lot of our other display cases to match. They were covered in paint, so we’ve stripped them, and tried to match them the best we could. We also had some cases donated by the other museum in town, the Osage County Historical Society Museum.”

In the main gallery is what she described as a semi-permanent exhibit, which beautifully tells Osage history chronologically through artifacts, text and photos.

“It’s is a loose timeline of Osage history. The objects will change periodically for object safe-keeping and to give them a rest … and bring out new ones.

“We start with the origin story in this corner,” Winter said, pointing to the northeast corner of the main gallery.

A print of the mural showing Osages descending to earth and landing is part of the display. The original mural is located at the Osage Congress, located just south of the museum.

“If guests want to see the full-sized mural, they can go next door to the [Osage Congress] Chambers to see it.”

Maps are an important part of telling the Osage history story.

“Then we move to our ancestor lands in pre-history. This shows our migration patterns,” Winter said.

Winter pointed out the time period from 500 to 900 A.D.

“Those are different routes we took and then you can see as it goes down after 1350, when we were in the Missouri River Valley; then we started moving out. The Osage Historic Preservation Department has been working really hard on this. The information for these maps comes from them. They keep adding to it as they are making more discoveries,” Winter explained.

The orange portion of one of the maps shows Osage ancestral territory. The map shows as far east as Pennsylvania and north into Illinois.
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The displays also feature artifacts or objects and tools the Osage would have used, Winter said, — “flutes, pipes and also some of the stones for grinding corn and grain for food preparation and before leather how they made pouches.”

When the display describes contact with Westerners, artifacts that resulted from trade are featured.

“We tell the story of when the explorers first came into contact with the Osage and what happened as a result of that, which is trade; so we have trade tokens, early trade beads and metal products. We have a photo of one of the first trading stores in Osage County in Fairfax.
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Museum guests are encouraged to share what they know about photos and displayed items, Winter added.

“We are still fine tuning the information. People come in, they may know information and that’s been really helpful,” Winter said.

One case showcases Osage art and traditional forms of artwork.
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“We have a little bit of everything: ribbon work, finger weaving, moccasins, designs on old parfleches.” Parfleches are bags made of different materials, such as bison hide, Winter explained.

There is a display case devoted to describing what Osages did with the wealth derived from the Osage oil and gas estate. International travel became an Osage leisure pastime.

Next, was a display describing Osage treaties.

“When we were doing treaties, we would pass the pipe. When we travelled to Washington D.C., we’d dress in our finest,” Winter explained. “In a lot of the treaties, the government was supposed to give us tools for farming as a condition,” Winter said.

The government display case “tells a little about the Osage government and how it’s evolved over the past few hundred years,” Winter said.

Part II of the Winter Interview Coming Soon!

Osage Nation’s Mobile Museum

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Press Release by Hallie Winter, Osage Nation Museum Curator

Pawhuska, OK—The Osage Nation Museum is proud to announce the 2nd Annual Mobile Museum.  In honor of Native American Heritage month the Osage Nation Museum has a traveling exhibit of items from our permanent collection displayed in the Osage Nation Child Care’s Resource on Wheels van.  Last year the Mobile Museum made stops at the public libraries in Osage County.  This year the Mobile Museum will again travel throughout Osage County to offer a glimpse of what our museum has to offer to students in grades K-12.  Since the mobile museum is being made part of the school day curriculum, these events are not open to the general public. 

Working closely with the Osage Nation’s Education Department, the ONM staff utilized the school advocates to set up a schedule to travel to each school in Osage County.  A part of the ONM’s mission is to create “educational programs that nurture creativity and encourage active learning.”  The Mobile Museum is one such program that the ONM is excited to be continuing for its second year.
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Hallie Winter, Curator at the Osage Nation Museum said, “Education of the public about Osage history and culture is very important to us here at the ONM.  What better place to start than with the youth in our community.  By traveling to the Osage county schools the ONM is able to reach a large audience of children in grades K-12.  It is our hope that they will learn about the Osage Nation during their visit to the Mobile Museum and in doing so will tell their parents about it and we will begin to see more families come into the ONM in Pawhuska.  We have chosen Native American Heritage month to accompany the curriculum and other Native American Heritage events that the schools may have planned.  This is an important month for Native culture and we are proud to do our part.”

John D. Free Tribute Opens at Woolaroc Museum

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By Roseanne McKee

On the evening of Oct. 14, at Woolaroc Museum outside Bartlesville, Okla., family and relatives of the Western sculptor and painter, the late John D. Free, gathered.
img_3770 The extended Free Family

Among those in attendance were sons of the artist: John, Mark and Matt Free, the artist’s sister, Delores Theis, her husband, Raymond Theis, and their son, Chris Theis.

His son, John Free spoke at the Tribute first.
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“Dad was born in Pawhuska in Osage County. His grandmother was a full-blood Osage. He was very proud of that heritage and that part of his life.

“Probably the most important thing that happened to him was that he grew up on his grandfather’s ranch. That boyhood growing up on the ranch, of course he didn’t know at the time, would be the focus of his whole life from then on. He learned about horses and being a cowboy and about cows. He learned from his grandfather about being an old rancher was at that time. That was so special to him … and a tremendous influence and it shaped his art career probably in a way no one ever imagined.

“He was always drawing and modeling as a little boy. He was always drawing horses, and cow and cowboys; he said he did this for as long as he could remember.

“Early in his career he’d go to small shows in this area.”

Free shared that at these shows, his father encountered artists who encouraged him to believe that his career could grow.

“You’ve got to remember back in the late 50’s, early 60’s, he was making a living from the art business.

“The most important thing that happened at that time – he did a one-man show at the Gilcrease Museum and a man named Thomas Lewis approached him and asked if he would be in his gallery at Taos, New Mexico.

“Lewis was a great artist and a great gallery man and he took dad under his wing. He taught him about painting. And the most important thing he did was to give him clay and said see what you can do with this. Dad returned with one of the first sculptures that was cast into bronze. It was a cowboy, I think, roping a wolf. Thomas Lewis sold that piece and that was the beginning of a relationship between a gallery owner and an artist. And from then on dad’s career grew.

“He was in galleries in New York City, Carmel, California, all throughout the Southwest. He stayed busy doing things that he never dreamed that he could stay busy at and make a living.

“He was named a member of the National Academy of Western Art at the Cowboy Hall of Fame, the Cowboy Artists of America, and also the Free West, which was the old Academy of Western Art. He was always proud that he was a member of these organizations.

“At this time, he was travelling a lot. The art business allowed him to do something else he was happy to do and that was to fly. He was able to buy a plane and fly to these places. That was something he’d always wanted to do and this allowed him to do that.
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He was a pilot and his son, John Free flew with him and loved it too, he said. “He flew a 175 all across the United States,” John Free said.

“In 1980 he partnered with his brother-in-law, Ed Bivens, and they opened the Bronze Horse Art Gallery, which is still operating today [in Pawhuska]. Our family has worked for more than 100 artists and we produce thousands of sculptures that have gone all the way across the United States and around the world. He was always proud of that – that through these endeavors he was able to open a foundry and see a lot of artists’ careers start from that foundry and grow. We’ve been doing it for over 30 years. It’s hard to believe.

“Dad said he was always fortunate to make a living doing something he loved so much. And if he didn’t do it making a living, it would be his hobby.

“When asked about his favorite piece, he’d say, ‘the one that just sold and went out the door.’

“He said he looked forward to being able to continue to press his ideas, impressions and beliefs through the language of sculpting and painting in a simple and traditional manner.

“He always did a lot of research and he read a lot, which gave him ideas for pieces. And he also liked telling the stories to his grandkids about things he learned about.

“And probably last, but not least, the greatest influence in his art career was probably his wife, Rhema, without her, he probably would not have had a career. As an artist, taking care of business is not what you do. And mom was his partner, accountant, bookkeeper, scheduler, travel agent, the buffer between him and the rest of the world. And she did it very well.

“He’d have been very humbled by this tribute, and the people that appreciate his work, so on behalf of the family — thank you very much.”

Next, the artist’s nephew, Chris Theis, spoke at the Tribute.img_3739

“My uncle John, you may have known him as John D. Free, Western artist, but I just knew him as Uncle John and he was my hero and still is today. Uncle John was an influencer. When you around, when you look at these pieces and you look around at yourself and these pieces, you see influence. You see somebody that really was a time machine in a man because he takes you to a place you’ve never been before. He takes you to a place America was.

In his sculptures, “He had a gift from God to put action and motion within stillness.”

Chris Theis spoke of his uncle’s encouragement to be creative by giving him molding clay when he was a child. Although he did not take up sculpting, Theis found his place as the Creative Director for T.D. Jakes Ministries.
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“It’s also generational because my son is a graphic artist [for Fox Sports] and a lot of what I do is directing other artists…The show I direct is called ‘The Potters Touch’ and currently we’re redesigning the graphics package,” Theis said. “I’m very glad to be a small part of his legacy and as I said, he’s always been my hero.”

During the reception, a friends of the artist, August and wife, Ginny Hague, shared that there would be a knock at his back door and John Free would open the screen door and hand Ginny Hague, a scroll and say ‘here’s something for you.’
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“Ginny would just unroll it and it would be a pencil sketch. He gave us more than one, but this one was special because he wrote on it, ‘To a Special Friend,’” August Hague said.

August and Ginny Hague recalled a special week they had spent with the artist and other friends when a group of them brought their campers to Pine Bluff to do some work on a church together.

“We had a real good time. John and I built a cross and he even made the nails,” August Hague said.

Ginny Hague said she videotaped the raising of the cross and many tears were shed as the group sang ‘The Old Rugged Cross.’

“We came back home and we all said ‘we need to do that again,’ but we never did. It’s sad, but we never did,” August Hague said wistfully.

The John D. Free Tribute at Woolaroc Museum continues through Dec. 31. The exhibit, includes some sculptures for purchase.

Woolaroc Museum may be reached by phone at: 918-336-0307. Directions are part of the telephonic recording. Woolaroc’s winter hours are: Wed. – Sun. 10 a.m. – 5 p.m. Woolaroc is closed on Mondays and Tuesdays. Visit their website at: http://www.woolaroc.org/ to learn more!

Arts Adventure in the Osage, a 3-day celebration in downtown Pawhuska Oct. 20 – 22

Press Release By: Bruce L. Carter 

‘Arts Adventure in the Osage’ is a three day celebration of the arts, culture and history in Pawhuska, Okla. Scheduled for October 20 – 22, 2016, the event is planned to be fun for all ages. 

The ‘Adventure’ starts on Oct. 20 with a preview party for the ‘Art Bank’ art show and sale in the historic First National Bank building, 100 E. Main. The art show will continue Friday, Oct. 21 from 10 am to 8 pm and Saturday from 9 am to 8 pm. This show will feature the work of several regionally  and nationally known artists and fine craftsmen. There is no admission charge and the public is invited to attend the preview party. 

On Friday, October 21, the Osage Nation Museum will host ‘A Night at the Museum’. The museum will show the movie ‘A Night at the Museum’. Food vendors and popcorn will be available. The Osage Nation Museum will also be open during this fun event. Gates open at 7:30 pm and the movie starts at 8:00. Bring your lawn chairs, blankets and snacks and enjoy an outdoor movie at the oldest tribal museum in the United States. 

On Saturday the fun really picks up with events scheduled throughout the day. From sidewalk art contests for all ages to ‘Saddles, Spurs and Sculptures’, the Ben Johnson Memorial fundraising chuck wagon dinner/dance, there are plenty of activities. 

From 8:30 to 9:30 am, visitors can visit the ‘Registration Station’ for the ‘Finding Pawhuska’ scavenger hunt. Participants will be given a passport with clues to 14 historical locations in Pawhuska. The first player to finish the hunt by visiting all 14 locations and having his ‘passport’ stamped will receive the first prize of $500, second $300 and third $200. The scavenger hunt will end at 12:00. 
 
Guests may also register for a ‘Sidewalk Chalk Art Contest’ from 8:30 to 9:30 at the Registration Station. There will be three categories, age 5 to 13 (first prize $50), 14 to 17 (first prize $150.00) and Adult (17 and over first prize of $500.00). Sidewalks will be marked for each artist to work in with chalk provided. Artists will have from 9:30 to 3:00 to complete their works with the theme ‘The Real West’.  

Tallgrass Art Gallery will sponsor a plain air painting contest from 9:30 to 3:00, with registration from 8:30 to 9:30. Artists may work in any media and any genre to create their work. All artists will need to bring their own supplies for a day of plain air in historic Pawhuska. At the end of the event, works will be judged. A prize of $200 will be awarded to the best portrayal of Pawhuska and a second prize of $200 for best piece of the day. Artists may choose to sell their works that evening at ‘Saddles, Spurs and Sculptures with 70% going to the artists and 30% going to the Ben Johnson Monument. 

Saturday ends with the ‘Saddles, Spurs and Sculptures’ chuck wagon dinner, dance and auction. Hosted by Miss Lily, the evening has an old west theme, with saloon girls, sheriffs and an art/cowboy gear auction. Tickets for this great evening in downtown Pawhuska are available for $45 each or $500 for a corporate table of 8. The ‘Ole #1 Firehouse Tent Saloon’ on Main and Kihekah will be the location for this event. Chuck wagon cooks will be cooking downtown all day to prepare the evenings meal. Guests can also view the ‘Ben Johnson Memorial Project’ located across the street to view the memorial and talk to the working sculptors. Tickets are available from the Prairie Dog and Tallgrass Art Gallery in downtown Pawhuska, Oklahoma, or online at http://www.artsintheosage.org.
 
Shuttles will be provided between the various event locations, the Osage Nation Museum, the Osage County Historical Society, Historic Downtown Pawhuska and the Osage Casino.  This event is sponsored by the Osage Nation Museum, Osage Casinos, Pawhuska Merchants Association and for more information on Pawhuska, visit http://www.pawhuska.org, http://www.artsintheosage.org or http://www.pawhuskachamber.com.

We welcome you to Pawhuska, Oklahoma, your regional destination for the arts, culture and history!

For more information, contact Bruce Carter via e-mail at bruce@tallgrassgallery.net or by phone at 580.304.8731.

Osage Tribal Museum Interim Director Lou Brock traces history of the Osage people

Osage Tribal Museum Interim Director Lou Brock

Osage Tribal Museum Interim Director Lou Brock

By: Roseanne McKee

Lou Brock, who is serving as the interim director of the Osage Tribal Museum following the recent retirement of director Kathryn Red Corn, was the guest speaker at the regular Pawhuska Kiwanis Club luncheon meeting held at Title VI on the Osage campus on April 22.

Brock shared that the Osage Congress had just that morning unanimously passed a resolution, ONCR 15-12, commending Kathryn Red Corn for her 17 years of leadership, dedication and service to the Osage Tribal Museum Library & Archives.

During his speech, Brock traced the history of the Osage people.

“Regarding history, we’ve actually been in this location as an Osage people long before the 1800’s. As a matter of fact, I have a map showing all of the places that we are or were in — almost a 100 million acres of land in Missouri, Arkansas, Oklahoma and Kansas.”

He listed three land treaties which the Osage entered into in the years 1808, 1818 and 1825. “The treaty in 1808, ceded acreage of the north half Arkansas, north of the Arkansas River, almost all of Missouri, part of Oklahoma and in 1825 part of Kansas.”

Brock explained that “where the Cherokee Nation is, right now, was the location of the Treaty of 1818 cessation of land. The three treaties, combined, ceded almost 100 million acres of land. The Osage received one penny for every six acres on average.

“When we moved, we had to move to southeast Kansas – during the 1800’s. During that time, we had about 8,000 people that moved,” he said.

However, sickness diminished the Osage population in the 1850’s, when “sickness hit the Osage and everybody that was in the area and probably scattered throughout [with] scrofula, black measles, and just everything under the sun,” Brock explained.

“We were losing people right and left and so were others as well. When we finally made a deal with the Cherokee we bought back our own land. We’re the only reservation to do so.

“And with that, we bought back the Osage Reservation, where we are today. And for that we had 2,229 people that were registered. My grandmother and my eldest aunt were two of these people. Each one would receive a full headright and that’s oil and gas rights, and today it’s still being used.

As the senior researcher at the museum, Brock has compiled records of the oil and gas payment to annuitants, also called allottees, for each quarter. These records are available at the Osage Tribal Museum and have been confirmed by the Bureau of Indian Affairs, he said.

When he began working for the Osage Nation in 2005, the museum director asked if he would compile these records on spread sheets. There were some records from a book “The Golden Book of the Osages,” which listed every payment from 1880 to the late 1950’s, Brock said.

Brock had become an annuitant in the mid 1990’s and had kept a record of all of the quarterly payments from that date to the present. He used these records to continue the spread sheets.

However, Brock still needed to find the remaining records from 1950’s to the 1990’s.

The answer came during a previous administration, when Principal Chief Jim Gray’s assistant helped Brock by providing the missing records.

Describing the plight of the Osage annuitants, Brock said, “In the early years, the headrights were passed on to shyster lawyers and banks.”

He said that the Osage are working on recovering these headrights because a percentage of headrights checks are still going to non-Indians and organizations.

“It’s back in the court system,” Brock said, making reference to the federal case: Fletcher v. the United States.

“I want things to be very positive, but our history doesn’t show it always. Take the 1920’s. When I give a tour, I use the line from the book ‘A Tale of Two Cities.’ ‘It was the best of times it was the worst of times,’” Brock said.

“In the 1920’s $11,500 for that one year per person was being given. In today’s dollars, that’s $160,000, so a family of four was receiving $640,000 of 2015 dollars. Many people knew what to do with it. Some, unfortunately, didn’t and that’s were a young man who was a banker, who was not Osage, had a plan to try to get that away from the Osage; and a lot of people lost their lives during that time. In any event, it caught up with him.

“He was pardoned years later. Our Oklahoma governor pardoned the other one, Mr. Burkhart. That’s just a part of our history.”

The Osage Tribal Museum has compiled photos of many of the 2,229 Osage allottees, which has become one of the museum’s most popular exhibits.

Those of Osage descent are able to sign the Osage Constitution of 2006, which is on display at the museum.

The museum also has a large collection of Osage oil paintings, historic documents, regalia and busts of individuals from the early 1900’s called “The Osage Ten.”

The Osage Tribal Museum Library and Archives, the oldest tribally-owned museum in the U.S., is open Tuesday through Saturdays from 8:30 a.m. – 5:00 p.m. and admission is free to the public. The museum is located at 819 Grandview Avenue in Pawhuska.

Special museum events are publicized on their website, https://www.osagenation-nsn.gov/who-we-are/osage-tribal-museum/welcome.

A photo album of Osage history can be found on http://www.osagetribalmuseum.com/.

Osage Wedding Clothes featured at Tribal Museum

The University of Oklahoma and the Osage Tribal Museum collaborate on Osage wedding Regalia Exhibit

By: Roseanne McKee

On the evening of Feb. 19, the Osage Tribal Museum and Library hosted a presentation about a new exhibit undertaken in collaboration with the University of Oklahoma, which will open in December 2015.

The exhibit, which has taken five years to create, will include of a collection of over 100 Osage wedding photos of from several sources and the display of Osage wedding regalia.

Dr. Daniel Swan a University of Oklahoma professor gave a presentation with photos about the significance of Osage wedding clothing past and present.

“It seemed to us that this was an opportunity to undertake a project that’s still relevant to the community today. It’s close enough in the past that we’re not going back to the nineteenth century. We’re talking about the early twentieth century here.”

According to Dr. Swan, the significance of the regalia is twofold. First, the clothing was worn as wedding attire.

Second, “these wonderful wedding outfits have come to be incorporated into the passing of the drum or the paying of the drum,” Dr. Swan explained.

As he showed photos, he added, “you’ll notice that people have made identifications on the photos, which makes these collections stronger also.”

Because of the many requests to see the photos, a website has been created called http://www.osageweddings.com and over 6,000 people have visited the site, Swan said. “I really encourage you to visit the website to piece together these important stories of Osage history.”

The sources of the historic photographs gathered were: the Osage Tribal Museum, the University of Oklahoma’s Western History Library and a number of private collections.

The exhibit also provides a window into some of the customs associated with Osage weddings in the early twentieth century.

“We basically have the photographs to tell the story of a traditional Osage wedding from the very beginning of the negotiative process between the families, all the way to the completion of the wedding and the formation of a new family. It’s just tremendous,” he said.

Explaining this negotiation process, Swan said, “one of the things that my colleague, Jim, has turned up is a wonderful set of photographs that document the taking of food to the bride’s family, so for four mornings we have this procession where they’re taking the food every day as part of this negotiative process.”

In addition to showing photos, Swan played a silent film of an Osage wedding in the 1920’s and described additional details of the wedding.

“One of the things we learned was that each day the family would eat the food and put the dishes out at the end of the driveway and if those dishes were put back out washed, that meant that the negotiations were still open and they would expect for food to be brought again the next day. If those dishes were put out at the end of the driveway and they weren’t cleaned, it was over. Everybody packed up and went home. The negotiations had broken down.”

In gathering information for the exhibit, “the Osage people and members of the community, have been incredibly generous and forthcoming in sharing these resources,” he said.

Swan was impressed with the abundance of information people had shared for the exhibit. “We have the words of the Osage people themselves…. To me it’s just amazing that we have the voices of the Osage people to tell the story.”

“There are wonderful oral history materials,” Swan said, citing the Doris Duke collection, which funded a number of oral history projects around the country in the 1960s with Native American communities, which are kept at the University of Oklahoma. “It’s one of the few collections where community members interviewed community members,” he added.

“Our own Kathryn Red Corn did some interviews for this. She did some really important ones. Leonard Maker, Sr., did a lot of these and his wife did a lot of these interviews.”

“Vann Bighorse at the Wahzhazhe Cultural Center has a complete set of the recordings, which is really important,” Dr. Swan said.

Whereas in the past only transcripts were available, Swan explained that now, “you can go over there, any time the library is open, and listen to those recordings” at the Wahzhazhe Cultural Center in Pawhuska.

Another oral history project that provided helpful information for this exhibit was the White Hair Memorial, located between Hominy and Fairfax in a 1920s-era home which had belonged to Lillie Morrell Burkhart, a descendant of Osage Chief Pawhuska (White Hair).

A past project also provided helpful material. Beginning in 1983, Dr. Swan worked with Maurice Lookout to take on a project in which Osages interviewed Osages. Lookout and John Henry Mashunkashey had interviewed all of the members of the Pawhuska Committee “about the dance and the passing of the drum and the responsibilities of the drumkeeper and the other committee members,” Swan said.

“This was the year that Vann Bighorse took the drum, so it’s this wonderful resource – this glimpse into the workings of the committee and how you put a committee together and how you get ready to pay for the drum.” These recordings are available for listening at the White Hair Memorial, Swan added.

“There’s a wonderful recording in the series he did with his Aunt Mary Standing Bear Lookout in which she talks about a wedding outfit and she goes through and discusses each and every piece and the care that she took when she put these outfits together to help someone pay for the drum,” he said.

There are many archival sources and “an incredibly rich body of material out there” on the subject of Osage wedding regalia, including the Bartlesville Historical Society, Swan said.

“They have wonderful materials. We’ve been able to find great documentation over there. A lot of these weddings were written up in the newspapers of Tulsa and Bartlesville.”

Swan shared that Romaine Shackelford, had conducted research of government documents on microfilm at the Osage Tribal Museum, and made a significant discovery.

“Low and behold, he turns up a letter from the Commissioner of Indian Affairs writing the Superintendent of the Osage Nation, the agency, in which he said, ‘we received your letter requesting a chief’s coat for 17 Osage chiefs. We’ve received their measurements and on our next visit, we’ll bring them.’ This shows this continuous process of using these coats as symbols of authority and respect – that there was this continual supply coming in to them,” Swan explained.

“It’s clear that eventually that supply of old military coats exceeded the demands of the community and that people up here started to make these coats. These are stories that we’re working on right now – the different mechanisms that Osage people have employed to build their inventory of coats.

“Lastly, we’ve undertaken a series of interviews about more modern times and the construction of coats and their use in paying for the drum,” Swan said.

Swan encouraged guests to visit the University of Oklahoma’s website: http://www.ou.edu for digital collections such as Doris Duke’s, the Indian Pioneer Papers, the Native American Manuscripts, photographic archives, which are all free and available to be downloaded from the website.