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Cap Tail or Trailer11.694.8985

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.

Culture
Osage
Material
otter skin, wool trade cloth, glass bead, commercially woven cotton trade cloth, silk ribbon, hide, feather and sinew
Holding Institution
Brooklyn Museum
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Soft Cradle32.2099.32589

Bequest of W.S. Morton Mead

Culture
Sioux
Material
cotton, bead, dentalium shell, cotton thread and silk ribbon
Holding Institution
Brooklyn Museum
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Bear Claw Necklace11.694.9032

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).

Culture
Osage
Material
bear claw, fur, silk ribbon, hide, cloth, feather and glass bead
Holding Institution
Brooklyn Museum
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Pad Saddle50.67.14

The saddle is constructed as a heavy pad, enclosed within a durable covering of smoked skins. The skins were cut in an hourglass shape and then sewn together with sinew. The pad itself is stuffed with deer of buffalo hair or, possibly grass as a cushion. A large rectangular piece of Stroud cloth, now brown, has been attached across the center of the saddle. It is finished with two lobe-like shapes and edged with white beads. The seams of the pad are edged with multi-colored quillwork in yellow, light blue, lavender, orange, brown, black and white. Black cotton fringe has been attached to the two narrow ends of the saddle. On each of the longer sides are four elongated cloth tabs, red at the center, tan at the edges and beaded with small geometric forms and lines in white, blue and orange. The tabs are trimmed at the bottom with deer hair tufts and interspersed with a fringe of large black, blue and amber glass beads. A cloth rosette decorates each of the four corners of the pad, containing four interconnected lobes that are fashioned in red, blue and black silk and Stroud cloth and ornamented with beads. Below each rosette are appliquéd lozenge forms or pointed ovals, containing two small triangles placed back to back, also edged with white beads. The remnants of what might be stirrup leathers are concealed under the cloth. They are covered by a lighter, softer skin (deer?). The strap remnants seem to be recycled from some other object - - one side has a green, black and red painted design. Some native repair is evident. See Jarvis supplemental file Arts of Americas office.

Culture
Red River Metis
Material
hide, bead, stroud cloth, quill, cotton fringe, silk ribbon, deer hair, glass bead and brass metal
Holding Institution
Brooklyn Museum
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Pipe Stem50.67.87

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."

Material
wood, pigment, horse hair, bird scalp and silk ribbon
Holding Institution
Brooklyn Museum
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Beaded Cradleboard32.2099.32581

This cradleboard shows a mixture of Plains and Plateau style attributes.

Culture
Blackfoot and Flathead
Material
bead, cotton, wool, silk, felt and metal
Holding Institution
Brooklyn Museum
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Breechcloth46.100.38

By exchange

Culture
Hochunk and Miami
Material
wool, silk ribbon, bead and cotton
Holding Institution
Brooklyn Museum
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War Club50.67.66

This club has the shape of a gunstock, thus the sobriquet 'gunstock club. It may have been used for dance, men’s celebrations, gatherings, and societies. The stock is decorated with red paint and fire markings. Eagle feathers attached to one end have pinked edges. Ribbons decorate the handle, and green military braid serves as a wrist hold.

Culture
Chippewa and Sac
Material
wood, feather, silk ribbon and pigment
Holding Institution
Brooklyn Museum
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Woven, Beadwork Headband43.201.55

Fragment, missing the ends. Was woven as a headband.Might not be Plains but Woodlands.

Culture
Plains and Woodlands
Material
bead, silk and cotton thread
Holding Institution
Brooklyn Museum
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HeaddressX1053

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.

Culture
Osage and Ponca
Material
wool, felt, cloth, golden eagle feather, horse hair, glass bead, hide, weasel fur, silk and sinew
Holding Institution
Brooklyn Museum
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