This kachina doll has a fur and feather headdress and fur ruff around his neck. A lone feather sticks straight up on top of the headdress. Under the fur collar he wears a black, cotton kerchief. His cotton skirt has a painted design and sash. His boots have been painted on and topped with tarn ties. Ties are also on his wrists. He is one of several that were commissioned.

This unknown kachina character has a clown-like, painted face and fur-decorated head. He wears a fur vest and a fabric and yarn dance skirt. He wears yarn around his wrists and legs. The rest of his decoration is painted.

Museum Expedition 1911, Museum Collection Fund

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.

Kachina doll dressed with a black cape, tall boots, cloth skirt.

This is a kachina dressed with a painted lilt, tall hide boots, yarn armbands and a ruff around his neck of plant material.

This blanket design is red, white and blue checks. The yarn is commercial sheep wool. On July 12, 1911 Newcombe purchased a blanket for twelve dollars from the wife of old Chief Billy Sepass of Skowkale. Its description -red,white and blue checks - matches this example. It was stored for many years in the Museum's Navajo blanket collection and was unlabeled. Culin states that the blanket from Necombe was made from goat hair, commonly used along with the hair of a specially bred white dog and sheeps wool. However this one is commercial sheep's wool.

Carved and painted figure with cylindrical head, protruding muzzle and partially flexed arms. The face is painted white and the hairline is described by a black, stepped border edged in red. The eyes are black rectangles and the muzzle is black with red lips and white teeth. Black circles are painted on the cheeks. The chest is painted half in brown and half in light blue with white lightning bolts on both sides. Brown and blue bands are painted on arms. The rest of the exposed body at waist and thighs is white with thin brown vertical lines. The kilt is painted brown with a multi-colored stepped star pattern and stripes. The figure wears brown painted boots or leggings. Black yarn ornaments the right wrist and headband. A tuft of feathers springs from the upper left part of the head. These attributes suggest the Hopi antelope kachina (see reference below). Condition is fair. The front of the right foot is missing and there is a structure in its place made with steel pins and resin. The figure is otherwise in tact. The doll presumably held something in the left hand which is now missing. The polychrome is stable but abraded at numerous points in the back. There are red waxy deposits on the back of the skirt. The doll is extremely dirty, especially the yarn and feathers on the head. References: Colton, Harold S., "Hopi Kachina Dolls with a Key to Their Identification (1977), fig. 7 (lower right) History: Formerly in the collection of Allan Chapman.

This white buckskin shirt, with the faint remnants of a pinkish stain in the general shoulder area, has a squared cloth bib and cuffs made of red Stroud cloth. This bib has been attached with knotted lengths of buckskin thong. Both bib and cuffs are decorated with white seed beads and additional pony beads are sewn onto the bib. A line of chain stitch embroidery in blue decorates the bib at the front while the back of the bib is plain. A rosette on the front center of the shirt is decorated with reddish-orange and white porcupine quills and brown maidenhair fern stems that are in a configuration that probably represent a thunderbird. Bird quills in white, green, and brown are wrapped around the rawhide strips that are suspended from each shoulder. Additional fringe is inserted in each sleeve seam, which is wrapped at the base with red bird quills and white porcupine quills. Four long, pierced strips, two suspended under each sleeve, are also fringed. Horizontal reddish stripes are painted on the back of the shirt. A rectangular shaped repair, which appears to be of native origin, located on the front of the proper right shoulder, has been reattached to the long pierced tab by a knotted string of hide that matches the existing fringe. See Jarvis research file in Arts of Americas office.

This garter is loom woven probably without the use of a heddle. It has both the warp and weft made of thread with small seed beads. The beads are patterned with long lines of diamonds in black, yellow, and lavender. See other garters 50.67.37 a,b,c.shown in additional photogrpahs.