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Artworks
Attributed to MAXINE MATILPI (1956-) KWAKWA̱KA̱ʼWAKW
Button Blanket, 1990swool, felt, cotton thread, embroidery floss, and plastic buttons, 57 x 70 in (144.8 x 177.8 cm)
unsigned.LOT 53
ESTIMATE: $2,000 — $3,000
PRICE REALIZED: $1,952.00Further images
Believed to be the work of Maxine Matilpi, this button blanket serves as a vibrant symbol of the resurgence of Northwest Coast Indigenous peoples from the shadows of colonial suppression....Believed to be the work of Maxine Matilpi, this button blanket serves as a vibrant symbol of the resurgence of Northwest Coast Indigenous peoples from the shadows of colonial suppression.
Traditionally, these blankets were crafted from wool or animal skins, adorned with abalone shell buttons, beads, and intricate designs rich in cultural and spiritual significance. However, from the late 19th to the early 20th centuries, Indigenous communities along the Northwest Coast faced severe suppression of their cultural expressions due to colonial policies and assimilation efforts. Yet, starting in the 1960s and 70s, a renaissance of traditional arts emerged, driven by a deep-seated desire to preserve and assert Indigenous cultural identity and sovereignty. This revival was part of a broader movement of Indigenous activism and cultural reclamation across North America, with communities actively reviving practices such as weaving, carving, and creating button blankets. Workshops, classes, and cultural programs were established to impart the necessary skills and knowledge for crafting these traditional items.
In a 2013 interview, Maxine Matilpi likened the structure of a button blanket to the architectural essence of a Kwakwa̱ka̱ʼwakw Big House: the border signifies the house's sturdy planks, the central crest design on the back symbolizes the house's door, and the unadorned neck area, splitting the border, evokes the house's smoke hole [1]. Matilpi's borders are distinctively hers, with buttons forming solid triangles representing mountains, and sinuous patterns of vines, leaves, and flowers, each element showcasing her creative vision [2].
The blanket's composition displays a harmonious blend of colour, form, and symbolism, with the central figure—a split killer whale flanked by two smaller whales, likely the work of Matilpi's late partner, John Livingston—serving as the focal point. The precision of the sewing on this blanket is a testament to the artist's skill and patience, with each button meticulously placed to trace the contours of the design, demonstrating a commitment to both detail and consistency.Provenance
Collection of John and Joyce Price, Seattle, WA.
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