Two trade mirrors, one slightly larger than the other, are set into one side of a soft red wood paddle shaped frame. The top portion has a cutout opening shaped as a ball with a pointed top. Below the mirrors is another opening carved into the shape of a pointed ovoid. The wood on this side of the frame is chip carved and incised with lines rubbed with red and black, many of which look like elongated leaves. Below the mirrors are two triangular shapes with two extensions on each one, resembling the heads of horned animals. On the reverse side of the frame, a creature is incised. Clearly a quadruped with a heart line, its horns are placed at the juncture of its head and neck, and its tail transforms into a thunderbird. Below this is an irregular rectangle in double outlines of red and green with a petal shaped form at each corner. At the center of this shape is a red complex form made of two chevron shapes joined at their central points. On this side of the object, the pointed ovoid opening is outlined in red and green incised lines with red foliate form at one end and another small pointed oval at the other. Below this is a simple form in red line that mimics the shape of the end of the stick-like leaf forms within.

Brooklyn Museum Collection

Long bodice (collar) of dentalium shell is a pre-style form of decoration because these shells were hard to obtain. The Sioux would have traded for them. This would be for a special woman and handed down in families. The very heavy dress does not look reworked and was worn very little and probably only used for special occasions. Blue wool trade cloth, red, white, blue ribbons might indicate July 4th reference. A slit is at the back of the dress and the basic pattern is T-shaped. Four-direction designs on the bottom would be prestige decoration and the little flowers along the bottom are unusual, odd. The bells are different colors. The body of the dress is machine sewn.

Brooklyn Museum Collection

This dress is composed of four sections of very white and pliable skin, probably employing at least two deer or caribou hides. Two large pieces of skin were sewn together to form the front and back of the dress and the upper edge of the skin is turned down as a long graceful flap to the waist. Two smaller pieces of skin are added to serve as shoulder straps. The entire dress, including the quillwork, is sewn together with thread. The seams that join the two major sections are fringed. Fringe near the shoulder is clipped very short so that it appears "pinked" and the fringe at the bottom of the dress is wrapped with orange and blue porcupine quills. The decoration of the shoulder straps is somewhat unusual as it differs from front to back. Scallops terminate the straps on the dress' front' while fringes decorate the shorter ends of the straps at the back. The straps are also decorated with a row of tiny black beads that edge the sides of these straps and surround the three scalloped lobes on each. Pairs of black beads in a double row decorate the section of the strap that intersects with the low neck line. Each scalloped portion of the straps is also ornamented, right and left, with bows made of hide strips wrapped at intervals with orange and light blue quills. Similar string-like ornaments are also attached at the proper right side of the front flap and the proper left side on the black flap. Quillwork strips across the body of the dress are in green, black, brown, white, reddish orange and light blue. Black seed beads and blue pony beads are applied as a scalloped border on an added piece of skin near the hem of the dress and tin cones are suspended in pairs from the apex of each of these beaded curves by thin hide strands wrapped at intervals with orange quills. See Jarvis report in Arts of Americas files.

This otter skin cap tail would generally be worn around the neck or attached to a choker. It has a side edge of loom beadwork in white with red and blue designs. The blue cloth heart on the top edge is edged in white and red and is beaded on the reverse side. The support material which is hidden by the fur is covered with reverse appliqué ribbon work which conceals the fur fold and seams.

This is a finger woven sash in bright colors of green, red, blue, white and gold making a zig zag esign. The ends are long fringes; the edges are trimmed with beads.

This fan has a hide handle that has each side beaded differently from the other, one side blue, green, red and white beads, the reverse side red, blue and white. Both sides have a cross in the design. A hide thong is dyed green and tied to one side of the handle. Small eagle feathers are arranged in front of larger eagle feathers and tucked into the fan handle hide.

The trailer consists of brown otter fur lengthened by the addition of a lighter fur that is cloth backed. It is attached to a ring of 28 bear claws circled with blue beads on the outer edge and fur on the neck edge. There is a rosette part way down the trailer, made from reeds and cloth with a feather attached to the center.This necklace was purchased from Sahe (Osage).

This side fold dress consists of six pieces: the main body of the dress, the flounce, the shoulder flap, the top bodice, and two hide thongs as a second shoulder strap. The horizontal seam is low and the folded over portion is shorter and would barely cover the breast. The folded over flap is even shorter in the back. The hide is worked so that the flesh side of the skin lies against the wearer, with the fur side out. The flounce is laced with hide thong. The seam of the dress, the blue and white pony beads on the shoulder strap, and the hem tabs are all sewn. It is likely that the two bottom tabs at the left side of the dress are formed from a remnant of the foreleg of the animal or are a decorative form to resemble this pattern technique imitating the animal's legs. Ten quilled stripes are worked around the skirt of the dress, horizontally, in measured registers of blue (once blue-green but faded since original BMA acquisition) and brown quill, separated by shorter sections of white porcupine quill where red tufts, once the tassels, of yarn emerge. Small black lines separate each quilled section. Some vertical marks of what is probably ochre appear at the ends of the quilled bands. Tin cones and a few copper cones are sewn to the bottom of the flounce, more or less at knee length, and on the two bottom tabs, which are further elaborated with an edging of blue and white beads. Five pairs of copper cones are sewn up the side seam. If the shoulder strap is examined from above, blue and white beads can be seen ornamenting the seams. A single row or blue beads edges the sides while the front and back seams display eight bands of two rows of white beads alternating with two rows of blue pony beads. See Jarvis supplemental file in Arts of Americas office or Brooklyn Museum Library.