anthro1ic | 3301-3350 | Search Results | UM Museum of Anthropological Archaeology | University of Michigan Library Digital Collections

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Description: Gibson -- X-ray.
Holdings: 35mm slide: 192
Image Number: 1472

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Description: Hodges site, Saginaw County, Michigan. Woodland burial and half of a pot.
Date of Photo: 1960
Holdings: 35mm slide: 9209
Image Number: 14728

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Description: Gibson -- 6 copper ear spools.
Holdings: 35mm slide: 193
Image Number: 1473

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Description: Gibson -- small copper axe and 2 copper ear spools.
Holdings: 35mm slide: 194
Image Number: 1474

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Description: Gibson -- straight base platform pipe with spool shaped bowl and central raised ridge on stem.
Holdings: 35mm slide: 195
Image Number: 1475

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Description: Map of Northern Asia.
Holdings: 35mm slide: 9232
Image Number: 14751

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Description: Northern Hemisphere, polar projection.
Holdings: 35mm slide: 9233
Image Number: 14752

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Description: Map of Asia.
Holdings: 35mm slide: 9234
Image Number: 14753

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Description: Campeche, Figura de Jaina.
Holdings: 35mm slide: 9235
Image Number: 14754

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Description: Campeche, Figura de Jaina.
Holdings: 35mm slide: 9236
Image Number: 14755

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Description: Sala de las pinturas, "Bisontes", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9240
Image Number: 14757

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Description: Sala de las pinturas, "Bisontes", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9241
Image Number: 14758

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Description: Sala de las pinturas (Detalle II), Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9242
Image Number: 14759

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Description: Sala de las pinturas, "Bisontes", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9243
Image Number: 14760

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Description: Sala de las pinturas (Detalle I), Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9244
Image Number: 14761

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Description: Sala de las pinturas (Detalle III), Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9245
Image Number: 14762

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Description: Sala de las pinturas, "Bisontes", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9246
Image Number: 14763

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Description: Sala de las pinturas, Cierva (Detalle), Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9247
Image Number: 14764

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Description: Sala de las pinturas, "Caballa", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9248
Image Number: 14765

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Description: Sala de las pinturas, "Cierva", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9249
Image Number: 14766

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Description: Sala de las pinturas, "Bisontes", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9250
Image Number: 14767

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Description: Las Monedas, Spain. Horse and falling bison. Here we see a new use made of a cornice, with the narrow band along the edge carrying a frieze of black animals. On the far left, the muzzle and forequarters of a bison can be seen; it appears to be falling backward toward the rocky hollow. On a more important area is the sketch of a black horse, with the beginning of modeling toward the start of tail and to a greater extent on the chest. The head, how
Date of Photo: 1963
Holdings: 35mm slide: 9251
Image Number: 14768

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Description: Cueva de Altamira. Bisonte Eschado.
Date of Photo: 1963
Holdings: 35mm slide: 9252
Image Number: 14769

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Description: Gibson -- 2 examples of large Cassis marine shells.
Holdings: 35mm slide: 197
Image Number: 1477

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Description: Cueva de Altamira. Bisonte Parado.
Date of Photo: 1963
Holdings: 35mm slide: 9254
Image Number: 14771

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Description: Cueva de Altamira. Bisonte Parado.
Date of Photo: 1963
Holdings: 35mm slide: 9255
Image Number: 14772

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Description: Cueva de Altamira. Cabeza de Ciervas.
Date of Photo: 1963
Holdings: 35mm slide: 9256
Image Number: 14773

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Description: Cueva de Altamira. Sala de las pinturas.
Date of Photo: 1963
Holdings: 35mm slide: 9257
Image Number: 14774

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Description: Cueva de Altamira: The Great Hall. Brown and black bison. (Bison in bistre with black strokes) 11/7 This bison (6 feet in length, Abbe' Breuil's #21) stands solidly on the ceiling. A faded bistre dominates the figure, whose deterioration can be compared with 8/2, the galloping wild boar. Here the mane and dewlap are executed first in fine engraved lines, and then in bands of black. These zebra-like stripes are even more clearly marked on the rum
Date of Photo: 1963
Holdings: 35mm slide: 9258
Image Number: 14775

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Description: Cueva de Altamira: The Great Hall. Archaic red ibex. 11/11 Before the front hooves of the large red horse seen in 11/9 this graceful small ibex is situated; its bearing a little stiff, it is clearly of the Aurignaco-Perigordian period. We can make out an effect -- if quite faint -- of stippling, to achieve the line: a seeming transition between the broken line and true linear drawing. There is a strong affinity between this ibex and beautiful head
Date of Photo: 1963
Holdings: 35mm slide: 9259
Image Number: 14776

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Description: Cueva de Altamira. The Galleries. Black quadrille design. (Black rectangles.) 15/11 This is an interesting and important series of enigmatic signs, giving a checkered effect within more or less curvilinear outlines. It occupies the remote depths of the last gallery of Altamira.; These signs were termed "tectiform" by Abbe' Bruil, that is, in the shape of a roof. But one might see in them gates, traps, shields, nets, screens, and so forth. The tw
Date of Photo: 1963
Holdings: 35mm slide: 9260
Image Number: 14777

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Description: Cueva de Altamira. Polychrome Bison with turned head. 8/5 This is a particularly evocative example of the master artistry of Altamira. Elsewhere we have found that a rocky hump can readily have prefigured a bison in a crouching position, ready to spring, or to roll over (3/12). That is the simple and direct utilization of a natural relief. Here we find a technique which is far more sophisticated. The bison in this slide is developed between two
Date of Photo: 1963
Holdings: 35mm slide: 9261
Image Number: 14778

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Description: Cueva de Altamira. Wild boar running. ?/2 This is one of the most truly classical and celebrated works of Quaternary art. Catalogued as #22 by Abbe' Breuil, it measures 21 3/4" in length. It is the first painting to be seen on entering the Great Hall, to the left of the entrance hall. Relative proximity to outside air has had its effect on the painting. This galloping wild boar, expressing power and movement, is a masterpiece of naturalist anima
Date of Photo: 1963
Holdings: 35mm slide: 9262
Image Number: 14779

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Description: Gibson -- diagram of burial and artifact position in Gibson sub-floor pit.
Holdings: 35mm slide: 198
Image Number: 1478

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Description: Cueva de Altamira. Crouching bison. 3/12 These polychrome bison of Altamira make their presence felt strongly. A number of them are situated on the convexities of the Great Ceiling. Thus they acquire a seeming relief, often extending 20" which is intensified by expert use of colors for modeling. The reliefs doubtlessly suggested the bison in the first place, but the bison in turn give the relief an obsessive kind of reality.
Date of Photo: 1963
Holdings: 35mm slide: 9263
Image Number: 14780

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Description: Cueva de Altamira. Hind. 8/8 This beautiful deer is the largest image on the Altamira ceiling Catalogued as #1 by Abbe' Breuil, it is 7'4 3/4" in length. It is enthroned in the area farthest from the entrance and is turned in that direction.; The perfection of technique here is evident. We see it in the precision of the black lines and the expert quality of the modeling in red, both of which underscore the calm elegance of the pose. Whatever expl
Date of Photo: 1963
Holdings: 35mm slide: 9264
Image Number: 14781

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Description: Cueva de Altamira. Relief as an animal's head. 15/9 Accidents of nature attract attention and excite the imagination. Contemporary visitors to the caves, in the presence of concretions admire a "steeple" or a "pagoda." Prehistoric men, on the other hand, saw in these haphazard shapes animals familiar to them. Readily they "retouched" the rock or heightened it with black lines to emphasize reality.; In this case a rocky angle suggested a nose; two
Date of Photo: 1963
Holdings: 35mm slide: 9265
Image Number: 14782

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Description: La Pasiega: The Gallery. Spain. Ill-proportioned horse. This sketch is artictically far from the elegant proportions of the red hind (22/1), even if both belong to the same chronological phase. All artistic treatment is evidently the function of its creator, of his more or less adroit pencil, of his more or less true vision. And clumsiness, as a human characteristic, has no chronolical restriction. Here we are looking at the sketch of a horse, bu
Date of Photo: 1963
Holdings: 35mm slide: 9266
Image Number: 14783

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Description: Le Tuc D'Adoubert, France. Bison in clay. In the course of exploring a subterranean river in the Ariége, Max Begouën and his two brothers discovered the Tuc d' Audoubert in 1912. In the middle of a hall situated some 700 yards form the entrance, after a long, narrow and difficult passage, are two bison modeled in clay, the male following the female. This sculptured couple is witness to the magical rites of fecundity, whose purpose it was to assure
Date of Photo: 1963
Holdings: 35mm slide: 9268
Image Number: 14785

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Description: Le Portel, France. Ithyphallic design. 2/2 The genesis of this human figuration, done in very rough treatment (it belongs to an early phase of the Aurignaco-Perigordian cycle), carries a strong psychological interest. A stalagmitic relief at right angles to the wall was apparently endowed with a symbolic meaning. This appendage was created a human silhouette, its neck well indicated, its face turned to the left, given life by a finely done eye. T
Date of Photo: 1963
Holdings: 35mm slide: 9269
Image Number: 14786

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Description: Le Portel, France. Black bison face to face. 3/5 The discovery of parietal art in Le Portel dates from 1908 (Dr. Rene' Jeannel). There are 3 galleries in all. These Magdalenian bison, face to face, comprise the masterpiece of Le Portel. They follow the classic theme of animals confronting and sniffing at each other, ready for battle or mating. The bison on the right is the more expressive of the two and the more strongly rendered, thanks in par
Date of Photo: 1963
Holdings: 35mm slide: 9270
Image Number: 14787

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Description: Le Portel, France. Main Gallery. Magdalenian horse. 23/2 An improvement in the state of the figures is seen as we move toward the interior of the gallery: first the almost-obliterated headless bison, then the "owl," and here this well preserved horse, 21 3/4" in length.; With its lengthened muzzle turned leftward, the mane marked by double lines, and the long tail, the horse belongs to the beginning of the Magdalenian cycle. It carries -- as if they
Date of Photo: 1963
Holdings: 35mm slide: 9271
Image Number: 14788

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Description: Le Portel, France. Aurignacian reindeer. 23/5 To the right of the enigmatic "hand" (23/4) and dating from the same Aurignacian phase is this beautiful sketch of a reindeer, also executed in strokes of red. If the lower part ever existed, it is now almost obliterated.; On the other hand, the dorsal line is quite clear, and especially so the magnificent development of the antlers. It is seen head on, although the back suggests an animal in profile.
Date of Photo: 1963
Holdings: 35mm slide: 9272
Image Number: 14789

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Description: Gibson -- Bone disc with hollow center and perforations for attachment of pearl.
Holdings: 35mm slide: 199
Image Number: 1479

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Description: Le Portel, France. Panel of 5 engraved mammoths. ?/? This masterpiece is on the wall to the right of the Sacred Way, after the forking of the Breuil Gallery. These five mammoths provide a remarkable composition, of which we see here only the central motif: the confrontation of mammoths. Between the two leaders, facing each other, in a classically pyramidal composition a young mammoth is felicitously placed, separating the curvilinear tusks of the t
Date of Photo: 1963
Holdings: 35mm slide: 9273
Image Number: 14790

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Description: Le Portel, France. Panel of 5 engraved mammoths. Close up image of slide #9273.
Date of Photo: 1963
Holdings: 35mm slide: 9274
Image Number: 14791

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Description: Le Portel, France. Panel of engraved mammoths (detail). This is the leader of the group to the left. One of the most impressive mammoths of Rouffignac, it is expertly engraved on a marly limestone. The rendering of details is important: the long hairs adorning the farther part of the trunk, the elegance of the large curvilinear tucks, the sardonic expression of the eye. Three spear-thrusts seem to have wounded the beast; this suggests the ritual
Date of Photo: 1963
Holdings: 35mm slide: 9275
Image Number: 14792

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Description: Le Portel, France. Five engraved mammoths (detail). This is the second mammoth on the left, actually engraved first, before the leader, since his tusks are converged by the strong dorsal line of the other. This admirable mammoth has been riddled with what appear to be ritual strokes: four on the right flank and one on the forequarters. A long scar cuts across his front, and above it are other arrow-like lines. The undeniable quest for artistic ex
Date of Photo: 1963
Holdings: 35mm slide: 9276
Image Number: 14793

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Description: Le Portel, France. Frieze of rhinoceroses. Leaving the main artery of the "Sacred Way" to enter the Breuil Gallery, on the right, the visitor comes upon this great frieze of rhinoceroses. A wide band of marly limestone, some 6' above the floor, emphasized by an upper garland of kidney-stones: such is the setting for the frieze. And this group of three magnificent rhinoceroses, moving toward the right, was to Abbé Breuil the most beautiful of quate
Date of Photo: 1963
Holdings: 35mm slide: 9277
Image Number: 14794

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Description: Grotte de Pech-Merle. Chappelle des mammoths.
Holdings: 35mm slide: 9278
Image Number: 14795

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