Spindle Whorl Item Number: Nbz857 a-b from the MOA: University of British Columbia

Description

Wooden spindle whorl (parts a-b) consisting of a cylindrical spindle tapering towards the proximal end, with convex surfaces at both ends (a), and a whorl made from a plano-convex sphere segment with a central hole (b). The designs on part b are raised through block engraving. The design consists of three heads, one anthropomorphic and two zoomorphic. The zoomorphic heads are bird-like and fish-like in appearance. The following is written in pencil on the concave surface of the whorl, with incising along the edges of the lines: Ramsey Louis Musqueam Res 1995 Spindle Whorl.

History Of Use

Homer Barnett (1955) notes that spindle whorls used by the southern Coast Salish of British Columbia are larger than those used in the north, with a shaft that is twice as long as the whorl. In the north, fibres were spun on smaller whorls that were "twirled between the leg and palm (1955:118)." By contrast, whorls such as this one were used to spin fibres that were suspended from overhead. This arrangement created a tension in the roving. Johnson and Bernick (1986) report that traditionally several different techniques were used for turning the spindle, however, contemporary weavers now make use of a spinning machine that is similar in appearance to a treadle sewing machine.

Specific Techniques

Michael Kew (1980) notes that spindle whorls are typically engraved, with many exhibiting an advanced wood working technique known as block engraving in which the figures are raised and details are added with sharply incised lines and other stylized elements. Design elements, such as human figures are often done in low relief. Animals are portrayed with blunt noses and birds have straight edges to their wings. The designs are outlined on a flat surface and then given depth through incising.

Cultural Context

weaving; contemporary art

Iconographic Meaning

C. F. Newcombe, a well-known museum collector in the Northwest Coast region, recorded that design motifs used on spindle whorls often represented personal spirit powers.