Museum Expedition 1903, Museum Collection Fund

The saddle is constructed as a heavy pad, enclosed within a durable covering of smoked skins. The skins were cut in an hourglass shape and then sewn together with sinew. The pad itself is stuffed with deer of buffalo hair or, possibly grass as a cushion. A large rectangular piece of Stroud cloth, now brown, has been attached across the center of the saddle. It is finished with two lobe-like shapes and edged with white beads. The seams of the pad are edged with multi-colored quillwork in yellow, light blue, lavender, orange, brown, black and white. Black cotton fringe has been attached to the two narrow ends of the saddle. On each of the longer sides are four elongated cloth tabs, red at the center, tan at the edges and beaded with small geometric forms and lines in white, blue and orange. The tabs are trimmed at the bottom with deer hair tufts and interspersed with a fringe of large black, blue and amber glass beads. A cloth rosette decorates each of the four corners of the pad, containing four interconnected lobes that are fashioned in red, blue and black silk and Stroud cloth and ornamented with beads. Below each rosette are appliquéd lozenge forms or pointed ovals, containing two small triangles placed back to back, also edged with white beads. The remnants of what might be stirrup leathers are concealed under the cloth. They are covered by a lighter, softer skin (deer?). The strap remnants seem to be recycled from some other object - - one side has a green, black and red painted design. Some native repair is evident. See Jarvis supplemental file Arts of Americas office.

This headdress was worn perpendicularly at the back of the head, not vertically on the crown, as is common with Native American headdresses of very similar style worn by the Yokuts of Central California. In general structure it resembles Pomo headdresses. Supplementary files: "Dance headress for a man; brown straight feathers rise out of a ruff of soft feathers. A quill pendant hangs from the front of the ruff. Condition: good."

Feathered headdress worn by men as a sunshade. Condition: good

This is a muslin tipi liner although often during this period muslins did not actually function as liners but as muslin hangings displayed to tell personal exploits or some were made for trade. This liner does have the marks left by the small weight pebbles usually assicaited with hanging inside a tipi usage. It is a very large sheet composed of two long pieces joined with a seam along the center. The bottom panel is undecorated. The top section is drawn/painted and colored with ledger like drawings of horses, men in various encounters and battles. The drawings are correct, right to left. It might be individual battles from a larger fight so it might be from the big battles in which Rain in the Face is known to have participated or it could be smaller battle engagements such as stealing horses, counting coup on Native and non-Native enemies. Accession notes include the information that the artist Edwin W. Deming was given the liner by Hunkpapa Lakota warrior Rain-in-the-Face during Deming's visit to Standing Rock in 1889 and Deming may have seen him painting all or part of it. Extensive notes are in curatorial files.

Brooklyn Museum Collection

Museum Expedition 1907, Museum Collection Fund

This Kachina is one of a group that was commissioned and has not been clearly identified. He wears a helmet-style mask and a raised headband in the front. He has a tubular-shaped nose. The top of the head is decorated with feathers with an additional bunch tied near the neck. The figure is elaborately dressed with complete cotton shirt and skirt, both painted with traditional designs. The tall hide boots are fringed.

This kachina doll has a fur and feather headdress and fur ruff around his neck. A lone feather sticks straight up on top of the headdress. Under the fur collar he wears a black, cotton kerchief. His cotton skirt has a painted design and sash. His boots have been painted on and topped with tarn ties. Ties are also on his wrists. He is one of several that were commissioned.

Museum Expedition 1904, Museum Collection Fund