Fully feathered basket

[2] These baskets represent the artists' culture and their technical and aesthetic virtuosity,[3][1] and are the subject of worldwide respect.

[4][5] The skills necessary to master such basket making are taught and developed under a long apprenticeship, usually within a family, with one generation passing the knowledge to the next.

[7] Some fully feathered baskets have small, distinguishing features which suggests a specific tribal heritage.

[3] Fully feathered baskets were very personal items, often given as a gift and destroyed at the death of the owner.

Additionally, some tribes were subjected to the Spanish Mission process which destroyed much of their culture, including the basketry.

[12] The baskets were woven with natural plant materials and then feathers were incorporated which matted and covered the entire exterior surface.

[13] The plant fibers could commonly include sedge rhizomes (Carex barbare, C. obnupta, and others), and willow shoots (Salix hindsiana, S.

After evenly clipping them, she would tie a cloth around the basket and leave it for two or three days after which the feathers would lie flattened around the entire outside surface.

[15] One particular basket made by Annie Dick Boone (1889-1960) of the Upper Lake Rancheria incorporated 233, one-quarter inch feathers.

Abalone, (and later, glass beads), were often used to add a dramatic addition of iridescence, also in gleaming, hanging strands in some baskets.

creatures of motion, more like dancing mobiles than stationary containers when supplemented and adorned with these materials.

[12] Pomo couple William and Mary Benson (Mary was the daughter of master basket maker Sarah Knight) produced baskets of such quantity and fine quality that they developed a lucrative relationship with art dealers and collectors throughout the country.

Allen successfully did so, continued to acquire baskets, and shared her knowledge and passion with any receptive person irrespective of ethnicity.