This blanket is thought to have come from the Koniag people of Kodiak Island, Alaska. It is made of two layers of tan eider skins sewn together with 52 eider throat skins along the edges. These blankets are very rare and were prized for their warmth. The museum is fortunate to have one other in its collection, which also comes from Alaska.
Milwaukee Public Museum Curator of Anthropology Dr. Samuel Barrett collected these items while on a museum expedition to the Lac Courte Oreilles reservation in 1910. He witnessed an eight day dance which brought Native Americans from all over Wisconsin and as far away as Oklahoma to the reservation. In addition to collecting material objects for the Museum, he recorded field notes about the dance and other cultural aspects of the Ojibwe that would rarely have been seen or documented otherwise.
The boat and paddle were made by the Crowsheart Mandan at Fort Berthold, North Dakota in the early 1900s. This boat is made from a large cowhide, though traditional boats were made from buffalo. The bull boat has a bent-pole framework covered by the hide, which makes it waterproof. Circular boats are rarely found in North America and were only used for crossing rivers and streams, not for long journeys. This boat is 5.5 feet in diameter with sides 1.5 feet high and could carry up to five people.
There are 115 pieces of archaeological Peruvian featherwork in the museum's collection. A majority of the items come from the collection of Malcolm Whyte, a former Milwaukee attorney and civic leader, who donated them in 1964. Most of these items come from the southwest coast of Peru, and some are believed to be from the Inca civilization (approximately AD 1400-1532). The items are very delicate and rare. The dry air and heat of Peru preserved them in burials for several hundred years. Objects from the collection can be seen on the 3rd Floor Pre-Columbian Mezzanine.
This belt was obtained along the Kuskokwim River in southwestern Alaska. The Unegkumiut, Kiatagmiut, and Ingalik groups are the most likely sources for its production. 351 sets of caribou incisor teeth are attached to leather, with a fringe of Russian trade beads and fox canine teeth. The belts were made by men but worn by women as displays of the man's hunting ability. Each set of teeth represents one caribou. These belts were usually family heirlooms that were thought to have curing powers which increased with the age of the belt.
This Shoshone war shirt was collected by E. C. Leffingwell of Milwaukee in 1878 north of Fort Washakie in west-central Wyoming and purchased by the Museum in 1900. War shirts were decorated with the owner's individual war triumphs, common materials being quills or beadwork, ermine tail pendants, red stroud, and tassels of horsehair or human hair wrapped in strips of trade blanket.
Spiro is an archaeological site in eastern Oklahoma consisting of 12 mounds. Occupied from AD 1100-1450, the site was a ceremonial, mortuary, and trade center. The elite of Spiro had the power to obtain materials exotic to the region from such places as the Appalachian Mountains, the Gulf of Mexico, and the Gulf of California. The site of Spiro Mound was destroyed in the mid-1930s by treasure hunters. Perishable materials such as textiles were well preserved and widely sold and dispersed by the looters to individuals and museums.
Originally from England, Samuel M. Brookes moved to Milwaukee in the 1840s and found a niche in the local art scene by painting portraits. He was commissioned by the Wisconsin State Historical Society in 1858 to paint important Native American chiefs and settlers of the area. This large oil painting is supposedly of the Menominee chief named Oshkosh. A tremendous amount of dignity is visible in the expression and posture of the man in the painting, along with a sense of his importance in Wisconsin history.
Paintings from the 19th century Plains tribes serve as narratives of important historical events. This piece was made at Standing Rock Agency (now Reservation) in North Dakota. Painted on a large sheet of muslin, nineteen male figures and fifteen horses are complemented by an additional thirty-five horse heads in the lower left hand corner. Each individual figure appears to float on the surface of the muslin, as there is no evidence of a horizon.
An intricate system of incised images on wooden boards such as this served as a visual record of an event. Dream or memory boards were typically an Ojibwe tradition, but tribes, including the Menominee, produced them as well. The figures on horseback, buildings, and geometric designs served as mnemonic devices for the owner of the board.