Cheyenne Beaded Hide Cradle

mounted on a pair of narrow pointed wood slats with fine aged patina, decorated with metal tacks, the sack finely and tightly sinew and thread sewn in lazy-stitched glass beadwork, with stylized butterfly designs alternating with classic geometric motifs; printed plaid cotton cloth as lining, muslin on the back panel.

Harry Hall Clarke, Oklahoma City, OK

Harlan Pahlka

Grimmer-Roche, Santa Fe, NM

Private Collection

Very good original condition with onlu minor wear, consistent with age.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This fine cradle was collected by Harry Hall Clarke of Oklahoma City. Mr. Clarke was a restauranteur and owned the Oklahoma Indian Curio Company at 124 N. Harvey Street. In 1930, Mr. Clarke and his wife Agnes welcomed into their home a nine year-old boy named Harlan Pahlka, who recalls the cradle hanging in the house. Mr. Pahlka inherited the cradle from Mr. and Mrs. Clarke. Accompanying the cradle are two archival photographs provided by Mr. Pahlka. One is of the exterior Oklahoma Indian Curio Company and the other is of Mr. Clarke with two men, believed by Mr. Pahlka to be Indians with whom Mr. Clarke traded.

Cradles were typically made by an aunt or a grandmother, and were used to safely hold and transport children. The finest cradles were carefully designed and lavishly decorated and were manifestations of the family's wealth. More importantly, the great care invested in each cradle was meant to reflect the love and hope the maker had for the child it would hold.

For a closely related example dated 1885 see David W. Penney, Art of the American Frontier, University of Washington Press, 1992, pp. 180.