Woman's parka of brown and white fur (caribou?) with the brown used as a design on the white fur. It is trimmed in a hide fringe around the curvilinear back bottom and front edges. There is bordered white fur near the face area, fur on the sleeves cut to form stripes, geometric design on the chest and over the stomach flap. Fringe hangs from the hem of upper portion like a weskit and from shoulder epaulets. It was exhibited with 36.32.Note: photo in Luna is upside down.

Immature golden eagle feather headdress with a beaded headband. Base of feathers wrapped in red felt and made over a felt hat base. Streamers of weasel fur and cloth dangle from headband sides. These types of war bonnets were historically worn for special occasions and may occasionally be worn on the battle field (although men often wore one or two special feathers instead). A man earned the right to make one through his brave deeds. Initially he would be awarded a single feather for each deed; a coup, killing, or horse stealing success. Once he accumulated ten feathers he was generally given permission to obtain the eagle feathers for a full bonnet. Ideally they would have 28 eagle feathers and each may have additional notching to designate an event. The tips of the feathers could be tied with the horsehair if a man had counted many coups. Thus the bonnets became oral histories and each piece signified events in the warrior's life. Feathers were very valuable, i.e., 12 feathers equaled 1 horse. These were worn by warriors, not necessarily "chiefs". Only a few very high ranked warriors would have the bonnets with the long trailers down the back. Today bonnets are still made as recognition for achievements in life, dedication to their community as well as war participation. Golden eagles are a protected bird and Non-natives may not use them, buy them or transport them without special permits.

The object is a large carved wooden ladle (a), decorated in black and red paint, with a separately carved wooden skull (b) nesting in its bowl. At the end of the ladle's handle is an animal head. Both skull and animal head have pieces of fur attached.

Eagle Dancer (Kwahu) Kachina Doll. Figure is carved from one piece of cottonwood root. He stands with PR arm raised and PL arm lower with both outstretched with pair of 'eagle' wings on arms and back. Chest is ½ yellow and ½ blue over pink painted body. Arms from elbow to wrist have the opposite colors from the chest. Legs are painted to match the chest. He wears a carved white kilt. He wears a blue and white beaded necklace. The helmet style mask has large, disk-like red ears with cotton stuffed near his head where they are attached and turquoise bead loop earrings. He has a feathered headdress in back on his head. His PR foot is raised. Both feet hare barefoot. His beak is open and you can see his red tongue. Wears a fur ruff around his neck. The eagle dance is a prayer for good crops, rain, and plentiful eagle feathers as their feathers are important in many ceremonies because the bird is thought to be sacred. This Kachina usually appears in a group of several forming a dance troop, squawking and imitating eagle behavior while the Koyemshi (mudhead clowns) sing to them. The sponsoring kiva must fast, abstain from sex, and no eating of salty or fatty foods before the dance.

Tall, thin kachina doll painted russet red. He wears a cotton dance skirt, large feather ruff and feathers on top of his head. He carries a dance stick (or flute) and rattle.

This Kachina represents Chaveyo and according to Barton Wright in "Classic Hopi and Zuni Kachina Figures" he is one of the most fearsome beings. If a youngster or an adult misbehaves badly this Kachina may come looking for him unless he mends his ways. The characteristic identifiers include nakedness, dots on legs and/or feet, crosses on his cheeks, and a cape thrown over the shoulders.This Kachina is in the grouping normally referred to as an ogre Kachina. It has bulging eyes and a protruding snout exhibiting a fierce aspect. In dances Chaveyo uses this ferocity to scare the children and even men into behaving. He appears during the Spring anytime but especially during the Powamuya (Bean Dance) and the Palolo Kongi (Water Serpent Dance) being badgered by clowns until he whacks them away.

Stewart Culin provided the name Kjaklo for this particular kachina doll, which may not be accurate. Now identified as Kiaklo. Feathers are tied to the top of his head. His white face has painted dashes extending out from the bottom of each small eye in three different directions. On one side of his head is a small horn-shaped ear. The kachina is wearing a two-piece textile dress and sash, upon which are painted geometric designs. Around neck are a feather ruff and a disproportionately large shell amulet. Wrists are tied with colored yarn. In proper right hand is a small wooden bird- probably a duck. On kachina's feet are high, long-fringed leather boots, tied at the top with yarn. See the long story about Kiaklo in "Kachinas of the Zuni"pgs. 51-53.by Barton Wright. Involves Kiaklo searching for the middle, being counseled by Duck, and offering to guide him (he had become blind) if he put his shell around Duck. He appears every four years at the initiations of young boys ensuring they are initiated into the Kachina cult and preparing the way for the Salimopea and Kolowisi. The kachina doll is in stable and good condition; however, garment decorations reveal some paint losses. Leather is stiff and appears brittle.

This kachina has a textile snake wrapped around his neck and holds a wand in his proper right hand. His headress has two "ears" with sun forms painted on them. He wears the traditional dance skirt.

The name of this kachina is by Stewart Culin and may not be correct. This kachina has a corrugated fabric snake wrapped around his neck from front to back. He wears a fabric skirt painted with geometrics and tied with a sash. The shoes are made from hide, painted blue with reddish dark cuffs. He carries stick staffs in his hands, and wears leather fringed armbands around each arm and a fur cape. His chest and lower legs are painted red. His helmet style mask has a small, flat, painted head projecting like a horn on the proper right side. The ears of the mask are flat pieces with feathers sticking through as if earrings. There is a grid across the face of the mask with a zig zag line for a mouth. A black hair beard flows below the lower mask. Fur and feather remnants are across the top of the head.

Decorated bags similar to this in size are sometimes referred to as "firebags" or "shot pouches" because they often held tobacco, flint and steel or a piece of touchwood for starting fires. This hide pouch combines elements of floral design and geometric patterns. Only one side of the pouch is decorated. The top of the pouch is quill embroidered with three simple foliate forms that contain alternating stems from which emerge bi-lobed leaves. The three plants grow from a crescent shape, a shape that may be read as a seed pod. Two quill woven strips that contain geometric forms are attached to the pouch. Both of these strips have white grounds with four major design elements on each, interspersed with small triangles and crosses. The top strip starts at the left with an eight-pointed star which is red at the center, then outlined in white on a brown field, outlined in turn in pink and the outer edge bordered in blue. The second element is also eight-pointed, as if a square and diamond are combined. At its center, a brown rectangle is surrounded by a larger rectangle of orange and red, then a white border, a blue border, then a pink border with projections at right and left, still another blue border, a white border, and finally, a brown border as the outer edge of the same form. The third element design is the same as the second and the fourth form is the same as the first. On the second, woven loomed quill strip, the first form on the left is an eight-pointed star with a brown and red checkered rectangle at center, surrounded by a white border on a blue field, surrounded in turn by a pink border, and then finally outlined in brown. The second form is irregular and may be described as a vertically oriented rectangle with a pronounced point emerging at right and left. At the center is a reddish strip, bordered and crossed horizontally in white, on a brown field that is surrounded by a blue border, then a pink border, a brown one, a white one, and then a final blue outline. The third element is the same as the second and the fourth is the same as the first. See supplemental Jarvis file in Arts of Americas' office.