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The Artist
Monsieur Philippe Franquelin, a French Native, was introduced to the craft of beadwork at the age of thirteen by his brother, Jean Pierre, who had traveled to the United States in 1969 to study the art of bead working, both in museums, and on several Native American Reservations.
Taught beading methods of the Blackfeet, Crow, Sioux, and Northern Cheyenne, Philippe grew up in a home filled with original pieces that made up his brothers personal collection. Under the tutelage of his brother he also studied the history of trade beads, natural plant colors, and the preparation of animal hides for the use in making clothing and bags.
In 1988-89 Philippe made his first trip to the Northern Cheyenne Reservation in Montana. Over the next eight years Philippe divided his time between France, where he taught Native American beadwork, and in Montana, where he continued his studies on the reservation.
Over the ensuing years Philippe has worked for the Peter Yegen Yellowstone County Museum in Billings Montana, cataloging, dating, and describing, Native American artifacts, has had a variety of shows featuring his work, and has had numerous articles written about his work published in national and regional periodicals.
In 1995 Philippe settled in Montana where he began to dedicate all of his time to beadwork and started his business "Sewn in Sinew".
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The Franquelin Philosophy
Raised in an environment that viewed Native Americans and their cultures with great respect Philippe has developed several ideas of what his work should represent.
Accuracy:
To accomplish this he uses historically correct designs and beading styles. He uses original materials such as brain tan hide, German Elk Hide, sinew, or cotton threads, and replicates of old color beads.
Honor:
Philippe believes that his work must honor the ancient artists and the culture. The way to do this is to be as accurate as possible and he expects his work to be of the highest quality.
Respect:
For the work to be good it must respect the spiritual. Native Americans have various beliefs about what lay beyond the physical world of sight, feel, smell, touch, and hearing. Thus in respect for the living art of beadwork Philippe believes his work must create the feeling of the shadowed past and vivacious cultures that created them.
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