344 
AMERICAN HOMES AND GARDIENS 
May, 1906 
““T would have our ordinary dwelling houses 
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Tobey 
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is produced for just such homes. The richness in material and handicraft, the 
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11 West Thirty-Second Street 
NEW YORK 
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‘CUT OUT AND MAIL TO-DAY 
PUBLISHERS’ DEPARTMENT 
Bronze Statuettes 
\ X J E regard it as a most patriotic sign of 
the times that a sculptor has ren- 
dered signal art service in connection 
with his country’s distant possessions. And 
noteworthy is the fact that this work is privi- 
leged to secure early and conspicuous exhibi- 
tion at the extensive bronze rooms of the Gor- 
ham Company, New York. ‘The collection 
comprises pieces of homely life, brimful of the 
artistic honor of an American sculptor, who 
has been, at the instigation of the French Goy- 
ernment, decorated with the Order of Renown 
for a similar service. The field covered in- 
cludes representations that stand for every cli- 
max of native Alaskan life, and to this prac- 
tical ensemble of characteristics and_ social 
habitudes that make up the poses in occupation, 
chieftainship, exorcism, motherhood, slavery or 
childhood, the sculptor adds a few examples of 
mining experience, typified by white men, and 
then advances to a higher plane of his art and, 
through symbolization, fashions the figures of 
the spirits of the icy wind and the long winter 
night. ‘To excel in his illustrative series, Mr. 
Louis Potter led an intimate life with these 
people, and the transfusion of his inventories 
of native features into imperishable forms is 
contributory in a very important degree to the 
preservation of aboriginal characteristics that 
are disappearing from even their own ethics 
and practice as gradually and surely as the 
Fiord and Glacier tribes themselves are thin- 
ning out before the steps of civilization. A 
book of near one hundred pages, ‘“The Soul of 
Alaska,” contains a description of the Indians 
modelled by Mr. Potter. ‘To this is added a 
Catalogue Raisonné, pictured with accurate 
and well executed etchings, the whole scrupu- 
lously printed on extra drawing paper and 
bound in a reinforced Japan paper cover. This 
is an issue to conjure with, and may well enter 
into hopeful competition with any work of its 
nature for preservation in a choice library. 
The collection of subjects, single or in groups, 
numbers eighteen, and they are specified as: 
The Auk Chief, The Taku Queen, The Medi- 
cine Man, The Salmon Fishers, The Faggot 
Gatherers, The Auk Mother and Her Child, 
Carving the Great Horn Spoon, The Slaves, 
The Clam Diggers, The Hunter and His 
Dogs, The Taku Wind, Spirit of Night, The 
Basket Weavers, On the Mountain Trail, The 
Prospector, The Sluice Miners, The Quartz 
Miners, The Child. In a brief way it may be 
stated that the first mentioned bronze in the 
list represents an Auk chief posing in his cere- 
monial robes and with his Auk symbol, on the 
conviction that his portrait was needed by 
“Government.” ‘The Taku Queen shows an 
important personage, the Alaskan women hold- 
ing, as a general rule, anything but a subor- 
dinate position in the community. The Medi- 
cine Man gives the grotesque wonder-working 
side of Indian life, now less reverenced than 
formerly. The Fishers, the Faggot Gatherers, 
the Diggers, the Hunter, the Trail and the 
Weavers are delightful poses of action in occu- 
pations that show these Indians are prone to 
consider the means of meeting the exigencies 
of the non-productive season. “The Carving of 
the Great Horn Spoon tells how the native 
artist, with rudest tools, produces the cere- 
monial implement of carved and inlaid horn. 
The Taku Wind and Spirit of Night symbol- 
ize the northeast wind and the winter dark- 
ness. In the Mother and Child and Child 
pieces, the former is representative of the touch 
of maternal nature which makes all women 
kin, and the latter is an exponent of the world’s 
unwritten laws of childhood. ‘The sculptor’s 
work in putting into such large use the ma- 
