Flat, square bag. The fabric of the front of the bag is a shiny synthetic. Bottom corners are rounded, with delicate fringe hanging between, white turning to blue at the ends. Two blue handles are attached to the top corners of the bag. The centre of the bag holds a blue plaque with a white Chinese character sewn to the middle. The plaque is surrounded by a fine dark blue and white braid. The back of the bag is thin white cotton.

Flat, square bag. The fabric of the front of the bag is a shiny synthetic. Bottom corners are rounded, with delicate white trellis and fringe hanging between. The fringe is white at top turning to blue at the ends. Two blue handles are attached to the top corners of the bag. The centre of the bag holds a blue plaque with a white Chinese character sewn to the middle. The plaque is surrounded by a fine blue and white braid and a boarder of white. The back of the bag is thin white cotton.

Flat, square bag. The fabric of the front of the bag is a shiny synthetic. Bottom corners are rounded, with delicate white trellis and fringe hanging between. The fringe is white at top turning to blue at the ends. Two blue handles are attached to the top corners of the bag. The centre of the bag holds a blue plaque with a white Chinese character sewn to the middle. The plaque is surrounded by a fine blue and white braid and a boarder of white. The back of the bag is thin white cotton.

Opera costume tunic for woman worker role. Garment top is blue cotton, with long sleeves that taper slightly toward the wrist. The neck is small and rounded. Front closure is cross-body, fastened under the right arm, at neck, and to right side of the neck with fabric rosette buttons that fit into sewn on loops. A pocket with rounded bottom sits on the front of the tunic top hidden by the cross-body panel. The lower/skirt part of the tunic is sewn to the blue upper part with white thread. The lower part is a light tan fabric with a light imprinted design of leaves and seeds over fine horizontal lines. It closes with rosette buttons on the right side. Both sides have a high slide-slit.

Mat made of tightly woven strips of cedar, thin warps and wefts to the inside, with a border of wider strips on three edges. Inset from the border and running along its length is a decoration of several darker lines that cross at the corners, made of cedar strips dyed a darker brown. The mat is damaged and parts have been machine sewn together with black thread.

Museum Expedition 1903, Purchased with funds given by A. Augustus Healy and George Foster Peabody

Woven, almost square, patterned mat. Woven design is in shades of beige, light brown and black which form wide horizontal and vertical bands, diagonal bands along the edges and a dark and light H pattern in the horizontal bands. There is a thicker border woven over the mat on both sides, about 5 cm from the edges, that runs all the way around the square. The back is similar to the front except much of the black area is done in a light brown weave so the H design is in beige and light brown.

Gift of Sidney Weiner and Harry Hurdy

This wearing blanket has an all over diamond pattern common to the late nineteenth century. Also typical is the fact it has no border, which weavings intended for rug use often have thus it is probably a wearing blanket.Condition: good. In 1880-1881 the Santa Fe Railroad came through Navajo territory bringing new materials and the potential for new customers for Navajo weavings. As soon as the Germantown 4 ply yarns and commercial aniline dyes became available, Navajo weavers employed them to their full potential. Designs changed from simple stripes and conservative diamond patterns to an explosion of innovation in weaving using new colors not available with natural dyes, such as yellow, orange, green and purple. On this wearing blanket a new wedge- weave development created shimmering effects with a complex exchange of background and foregrounds that uses yellow and red synthetic dyes, a white natural yarn, and indigo dyed homespun yarn. For a decade this break away styling was very popular with non-Native clients and such weavings became known as Eye Dazzlers.

Anonymous gift in memory of Dr. Harlow Brooks