.1 Angel Figure-see catalog record 2002.40.1 for details; .2 Praying Man-see catalog record 2002.40.2 for details; .3 Praying woman-see catalog record 2002.40.3 for details; .4 Female Figure Canddlestick-see catalog record 2002.40.4 for details; .5 Female Figure Candlestick-see catalog record 2002.40.5 for details; .6 Female Figure Candlestick-see catalog record 2002.40.6 for details; .7 Foot Soldier-see catalog record 2002.40.7 for details; .8 Foot Foldier-see catalog record 2002.40.8 for details; .9 Standing Male Figure-see catalog record 2002.40.9 for details; .10 Standing Male Figure-see catalog record 2002.40.10 for details; .11 Priest Figure-see catalog record 2002.40.11 for details; .12 Priest Figure-see catalog record 2002.40.12 for details; .13 Cavalry Soldier-see catalog record 2002.40.13 for details; .14 Standing Male Figure-see catalog record 2002.40.14 for details; .15 Standing Male Figure-see catalog record 2002.40.15 for details; .16 Standing Male Figure-see catalog record 2002.40.16 for details; .17 Seated Male Figure-see catalog record 2002.40.17 for details; .18 Standing Male Figure-see catalog record 2002.40.18 for details; .19 Male Figure-see catalog record 2002.40.19 for details; .20 Male Figure-see catalog record 2002.40.20 for details; .21 Sheep Figure-see catalog record 2002.40.21 for details; .22 Sheep Figure-see catalog record 2002.40.22 for details; .23 Deer-see catalog record 2002.40.23 for details; .24 Stable Roof-see catalog record 2002.40.24 for details; .25 African Lion-see catalog record 2002.40.25 for details; .26 African Lion-see catalog record 2002.40.26 for details;Important example of Woodland Indian and Ottawa human figural carving. Style is clearly similar (identical) to earlier pagan examples of 'totems,' or 'Medicine dolls.' Other than a few crucifixes, no other examples of Woodland Indian Catholic or even Christian devotional carvings are yet known. This collection could become an important type specimen grouping that may be used for comparative studies to verify newly discovered or suspected similar examples. Very few Ottawa human figural carvings are known, and at this time these specimens may represent more than half of those known in the world (20 are represented here, 11 are known to me elsewhere at this time). They also represent the traditional adaptiveness of the Ottawa, as clearly recognizable traditional Woodland style carvings are adapted to new (Catholic) iconography. See acc. file for 'expert' opinions. See .7 this accession for more references as to stylistic significance. Entire group described in publications as 'nativity scene' despite the absence of crucial components and disparity of scale and finish between different elements. Group dated based on spiked helmets on 3 figures, according to Mackinac State Parks Commission Curator of Education Phil Porter, these were in use at Mackinac 'from 1878 to the late 1890s.' The connection between the helmeted figures and others of disparate size and finish is assumed. .7 and .8 this accession closely resemble Detroit Institute of Arts (DIA) #81.67 pictured in Great Lakes Indian Art, Penney, p.13, Art of the American Indian Frontier, Penney, p.247, and Art of the Great Lakes Indians, Flint Institute of the Arts, p. 109. Similarities include color, body shape & proportion, attitude of the legs, lack of feet, octagonal base, separate arms, and collection location. David Penney (Chief Curator, DIA) has suggested that a paint analysis to see if the paint source is in fact identical.;Mary Belle Shurtleif, Cross Village historian and collector, said she recognized these figures as being from the convent workshop of Father Wiekamp's convent in Cross Village. This was told to Marion Pohrt, wife of Richard Pohrt, Sr. Pohrt Sr. acquired many Ottawa items now described as the 'Chandler-Pohrt Collection' from Mary Shurtleif. David Penney, Curator at the Detroit Institute of the Arts, finds this provenance completely convincing. Marion Pohrt was given two other similar figures from this grouping by James O. Keene. We don't know who Keene purchased them from, but they were published in 1974 (American Folk Sculpture, by Robert Bishop) and 1983 (Religious Folk Art in America, by Kurt Dewhurst, Betty McDowell, and Marsha McDowell). They were acquired by James Rutkowski, who describes Mr. Keene as a friend. Curator Erik Alexander solicited the sale to PMGR.