The ash wood pipe stem is carved, pierced and painted with red and blue-green paint. It is decorated with horsehair, a bird scalp, and a piece of silk ribbon. The original Jarvis inscription reads, "Indian Pipe Menominee."

This is a long, wood pipe stem. Half way along it is straight and undecorated. In the center a decorated section of porcupine quills, horsehair and bird scalp preceeds a twisted form.

Bequest of W.S. Morton Mead

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.

This dress shirt matches leggings 50.67.7b-c. A lack of ornamentation suggests it may be unfinished (compare this sparse ornamentation to 50.67.4). The shirt has no pierce work, loom-woven quillwork, or ornamentation on the cuffs. At the neck flap, however, there is an outline of blue beads and at intervals below, an additional two and three bead linear arrangement. There are simply decorated rosettes of concentric rings on either side with centers of plain white skin. Going outward from these centers are rings of quills: light blue; white; red; and a combination of blue and yellow. Following the quills is a ring of white skin, and an outer circle of blue beads. When cleaned in 1992, a fringe damaged by old insect damage became detached at the center of the proper left shoulder. The edges of the torn section were backed and reattached.

Cheyenne or Sioux tipi or possible bag because of the stripe quill pattern and Arapaho, Gros Ventre for the edges of the beadwork. It is a very nice example even if the flap isn't decorated. There is some yellow ochre rubbed into the hide. Venetian beads and sinew sewn.Tipi or possible bag beaded on one side with metal jingles, dyed horsehair decorations, dyed feathers, and porcupine quill decorations. Really nice example with intact quillwork.

Constructed from a single piece of recycled buffalo hide, formerly painted, these side seam moccasins retain some of the design known as "box and border," in particular one of the terminal parts of the "box" pattern on the painted soles. The painting may have been scraped off the piece of the skin that forms the upper section. The decoration of the vamp is primarily bird quills. These "U" shaped sections of the moccasins are made up of concentric parallel lines. The bottom of the "U", nearer the toe, is composed of three yellow bands, alternating with orange. The upper part of the"U" is physically continuous with this, but is delineated by an abrupt change in color. Alternating rectangles of brown and blue make up the parallel, shorter bands in this section. Thin rows of yellow, orange, and black porcupine quill cover the side seam. Blue pony beads adorn the edge of the tongue and cuff. The laces are ornamented at the tips with tin cones stuffed with red deer hair. All the sewing is done with sinew. See Jarvis supplemental file in Arts of Americas' office.

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.

The mocassins are constructed with smoked buckskin that is gathered into a series of small folds or "puckers" by seams running from the area above the toes to the area below the ankle. The seams are decorated by quillwork made up of orange lines and centered white and dark purple triangles crossed by a series of four additional linear designs. The seams of the heel are decorated in simple configured quillwork bands of white, light blue, and dark purple crosses. Cuffs are added onto the mocassins as separate semi-circular pieces of deerskin with quilled borders containing an undulating dark purple band and several straight lines. Metal cones, stuffed with dyed red deer hair are suspended from the edges of the cuffs.