Object of the Week: Portrait of David Hewes, 1854

BMCA#5541
Portrait of David Hewes, 1854
William S. Jewett, American
Oil on canvas; 35.5 in. 28.5 in.


Two distinguished individuals are associated with this painting made in San Francisco, 1854. Both men came to California during the mid 1800’s Gold Rush era not following gold, but opportunity and business. Both gentlemen succeeded in making their fortunes and the nature of their businesses brought them together.

Depicted in the portrait is David Hewes, a man of affairs, a philanthropist and a lover of art. Hewes came to California in 1849 from his home in Massachusetts via Cape Horn. An opportunist, he prospered from the sales of collapsible metal buildings that sustained the influx of gold-seekers. He is responsible for the leveling of San Francisco's hills, readying them for development and for filling portions of the waterfront with sand and earth, contributing to the present day shape of the city. In the late 1880’s a group of entrepreneurs (the Big Four) began a venture that would unite east and west coasts via the first Transcontinental Railroad. Huntington, Stanford, Crocker and Hopkins saw Hewes as an obvious partner in completing the railroad but, he was not financially prepared to join their venture and declined the offer. As luck would have it, Hewes became equally associated with the railroad through his donation of the final Golden Spike that completed the railroad in 1869 at Promontory Point, Utah. The ceremony was highly celebrated and the news spread across the country by telegraph; the event was documented in one of the best known American photographs. Eventually Hewes retired to El Modena, California where he opened Hewes Park, a public park and garden.

This portrait was painted by the artist William Jewett (1812-1873). At the age of 21 Jewett began painting in his home state of New York. He studied at the National Academy of Design and early in his career received a commission to paint the governor of New York. He moved to San Francisco to offer his portrait services to the quickly growing group of wealthy and prominent individuals. In 1854 a young and well-dressed David Hewes posed for Jewett in his studio. Hewes is depicted with his elbow resting on a red draped curtain, in the background stands a singular column, a symbol of strength. His wide eyes gaze intently, his clenched fist rests on his left hip and a slight hint of a smile is detected. Jewett masterfully captures the likeness of Hewes and at the same time succeeds in capturing the self-assurance and alacrity of the young entrepreneur’s demeanor. Jewett was the first professional portrait painter to work in the city of San Francisco.

Object of the Week: Hampatong, Dayak People, Indonesia

BMCA#97.80.1
Hampatong, 20th century
Dayak Culture, Borneo, Indonesia
Ironwood; 43 in. x 8 in. x 8 in.

This standing figure, called a hampatong, was carved mostly in the round from a single piece of ironwood. It was made and used by one of the more than 200 ethnic subgroups, collectively referred to as the Dayak, native to the interior portion of the island of Borneo, Indonesia. The highly eroded sculpture most likely dates to the early half of the 20th century and the amount of deterioration of the very hard, heavy and insect resistant ironwood is a clue to the objects age. Deep gouges give an overall rough texture to the figure but, it is still possible to see the remnants of facial features. Arm and hands carved in shallow relief are clearly seen on the figure’s torso which, is the only flat surface found on the sculpture. The hands are deliberately placed over the heart and genital areas of the body. The round bottom of the sculpture may represent a jar, an important indication of wealth. The Dayak traded pelts, spices and wood with coastal populations for these coveted imported earthenware jars.

Hampatong would be found in the field and within the village. Placed among rice crops a hampatong is thought to enhance fertility and ensure a bountiful harvest. Others were carved specifically for protection and placed throughout villages especially near doorways and along well-traveled paths. Carved in a more elaborate styles, figures modeled after recently deceased ancestors as well as familiar deities were thought to ward off evil spirits, especially those believed to bring disease.

Images and text protected by copyright. Please contact the Collection Department for permission to use.

Object of the Week: Fulani Kwottenai (Earrings)

BMCA#97.13.1.1-.2
Kwottenai (Earrings), 20th Century
Fulani Culture; Mali
Gold and yarn; 9 in. x 8 1/2 in.

(Currently on exhibit in the Bowers's Anthony W. and Sharon D. Thompson Foyer)


The Fulani emphasize their physical beauty and elaborate adornments are used to draw attention to their appearance which they take immense pride in. The amount of jewelry worn by a woman depends on her age, status and where she lives. Women regularly decorate themselves in gold, silver and amber. They tattoo, wear their hair in ornately sculpted styles, and even walk in a manner which accentuates their bodies’ movements. These embellishments to the body are seen on all occasions, even during regular shopping.

In Mali, gold earrings called kwottenai are part of a Fulani woman’s ensemble that are impossible to miss. They are made of pounded gold and wrapped with vibrant red yarn and worn through both pierced earlobes. Often, as seen in those pictured here, they are engraved with design. Over time gold is added to the earrings increasing their size and value; the increase signifies the individual’s and family’s accumulated wealth. Each earring can weigh more than half of a pound and additional support, usually in the form of a clip or strap, is sometimes used to alleviate strain and possible tearing of the earlobe.

A woman usually acquires her kwottenai on two occasions, at her marriage as a gift from her husband or when her mother dies. Imitation kwottenai made of painted gold and red clay or wrapped red and gold silk threads are worn by those who can’t afford the scarce and costly metal.

The Fulani people were traditionally nomadic herding people whose origins are believed to be near Senegal. Their great migrations over lands across West Africa began many centuries ago. Although many Fulani have retained their nomadic herding way of life, many have settled down and have adopted sedentary lifestyles as farmers and more recently have populated urban centers. Today the Fulani live in most West African countries, covering an area larger than the continental United States.


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Objects of the Week: Yam Masks, Papua New Guinea

BMCA#99.2.8 (11.5” x 13.5”); 2000.43.11(25 3/8” x 11”)
Woven Yam Masks, 20th century
Abelam Culture
Sepik River Region, Papua New Guinea
Fiber, paint, pigment and feather

In the Sepik River Region of Papua New Guinea yams play a prominent role in the agricultural and ceremonial practices of the Abelam people. For almost half of the year men nurture their yams carefully as their personal status is judged by their ability to produce large yams. These giants can measure between 9 – 12 feet in length and they play a crucial role in the annual yam festival where they are publicly displayed. They are embellished with feathers, flowers, paint and masks such as the ones pictured here. The large decorated yams are believed to be live embodiments of the ancestors and the masks play a central role in representing the spiritual beings. Power and status are directly related to the size of the yam and gender is prescribed to each based on their straightness and protrusions.

Men weave the yam masks with human and animal characteristics and then typically cover them with clay pigment and dyes. A masterful weaver will produce a mask that is tightly woven, clear in form and idea and that has a visual presence that easily conveys the spirit of the ancestor. The application of paint animates the finished mask; paint is the transformative ingredient that changes the status of the mask from an inanimate thing to living spirit. Masks are cleaned and repainted after each ceremony and examples of a mask well covered with paint and one that is missing most of its pigment are shown here. These two examples illustrate well the complex and highly inventive styles of Abelam weavers.

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