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).

Pair of long boots made of caribou skin; with long, brown fur strips and edged with white fur.

This kachina has a helmet-style mask with feather headdress, a snout with teeth, hide ears and a face painted with a snake design. He wears a short fur cape and hide boots, painted blue with red trim. His skirt is also decorated with a snake motif. His body has been painted with red pigment.

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.

Museum Expedition 1904, Museum Collection Fund

This Kachina is one of a group that was made by commission and has not been clearly identified. He wears the usual dance skirt, has painted dance shoes, and a fur ruff around his neck with a feathered headdress. His snout is in the shape of a wolf or coyote showing teeth along the edges, and his eyes protrude in balls. CONDITION: Proper left arm has been broken and repaired at forearm. Proper right arm has been broken and repaired at elbow. Feathers show insect damage.

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.

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.