Henry L. Batterman Fund and the Frank Sherman Benson Fund

This woven basket with an abstracted design had one tear in the side. Possibly Shoshone in use at least.

This blanket is very early and possibly Tshimshin in origin. Ceremonial blanket with black, blue, yellow and white design probably the "Diving Whale." The head of the whale with his nostrils is at the bottom, the center face is his body with his 'spirit' inside it, the tail flukes are spread out on lower section also with eyes inside. The front flukes flank the head.The side panels (not shown in photograph) are probably a young raven. Although very worn this is a very finely woven, old robe with no commercial elements in it. There is an artist signature in the weaving by the side fringe. This is possibly the same robe depicted in G.T Emmons, "The Chilkat Blanket," AMNH Memoirs, Vo. 111. part 1V, fig. 568B. Source for design and weaving information, Cheryl Samuels, "The Chilkat Blanket," Pacific Search Press, Seattle, 1982. See also her dedication page where signature of weaver is given , appears to be the same as this blanket.

Henry L. Batterman Fund and the Frank Sherman Benson Fund

The Navajo wove waterproof, striped wool blankets that became known as Chief Blankets and traded them to other tribes. In 1863 the U.S. Army forcibly removed the Navajo from Arizona to Bosque Redondo detention camp in New Mexico and killed the tribe’s churro sheep. Ingenious weavers combined commercial wool with unraveled army blankets to create new designs with colorful details, as seen here. During captivity, weavings became the primary source of income.

In 1868 the Navajo returned to their homelands, and weaving flourished with the advent of the railroad and the establishment of trading posts.

The object is a coiled, burden basket with imbricated geometric figures. There are some outer surface losses of light colored fibers. Overall condition good.

Design is fret designs in indigo, red, black and white. Good condition. In 1880-1881 the Santa Fe Railroad was extended through Navajo territory, bringing new materials and new customers for Navajo weavings. As soon as commercial four-ply yarns and aniline (chemical) 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, with new colors not available with natural dyes such as yellow, orange, green, and purple.

Brooklyn Museum Collection

This is a classic style of Northern Arapaho cradle except instead of hide it was made of muslin. The quilled disc is a design element that is symbolic for protecting the brain of the baby and is made with sacred colors of red, yellow and black. The lacings represent the baby's ribs, arms, and legs. There are ladder like bands of quillwork that frame the child's face flopping over like braids. The cradle is fashioned over a bent willow hoop. The Arapaho had a Sacred Guild of Quill workers. After initiation quill workers were allowed to make a type of holy embroidery with symbolic designs. Work was restricted to a few objects and four specific colors representing four directions. The cradle is like a tipi as it houses the baby like a tipi houses the family and tribe so both men and women are represented. The disc is a traditional Arapaho design done a lot by the Women's Society of Quill workers. The Shoshone/Arapaho started making these types again in the 1970s and they might still be making them. Possibly matches with cradle strap 05.568.

The object is a basket with an imbricated pattern made from brown bark, yellow bark, and ivory-yellow grass wrapped over cedar root. Imbrication is a regular overlapping arrangement technique that is used exclusively by Native Americans of the Plateau and Northwest Coast areas. The Klikitat maker used a coil technique that is more like sewing than weaving. Coiled baskets are built up spirally from the center and require two components: the first is a central core of rods or grasses serving as a foundation for the second component which is a group of fibers that simultaneously wrap around the foundation and stitch the coils together. An awl creates holes in the foundation through which fibers are pulled or stitched. While sewing is in process, imbrication decoration is also going forward. Imbrication involves wrapping dyed grasses into the basket, forming an overlapping pattern. The basket is in stable condition.