Authentic American Indian-made clothing, containers, weapons, horse gear, pottery, textiles, and jewelry is presented visually through photographs and in a detailed text identifying the origins, materials, uses, and value on today's market. A separate bead glossary provides information on beadwork styles, bead colors, and bead sizes.

Authentic Indian-made items of both old and new vintage are showcased. Nearly 800 color photos present clothing and accessories, basketry, pottery, musical instruments, toys and games, textiles, and beadwork. Includes detailed descriptions, current pricing, bead glossary. An essential and comprehensive reference for every collector's bookshelf.

Features authentic weapons and weapon cases, horse gear, tools, stone pipes, and ceremonial items; also trade goods such as Hudson's Bay collectibles, trade beads, cloth, and blankets; and contemporary replicas of traditional Indian clothing, blankets, pouches and bags, parfleches, and more. All values reflect actual auction estimates and results.

Over 800 color photographs of trade goods to American Indians over 150 years are featured as well as trade beads, frontier & military goods, stone relics, photographs, paper, and modern replicas, all identified in detail with auction estimates and prices realized. These relics are avidly sought by museums and individuals alike. The authors trade at Four Winds Indain Trading Post, St. Ignatius, Montana. You cannot find a more accurate reference.

Rounds out Edward J. Lenik’s comprehensive and expert study of the rock art of northeastern Native Americans Decorated stone artifacts are a significant part of archaeological studies of Native Americans in the Northeast. The artifacts illuminated in Amulets, Effigies, Fetishes, and Charms: Native American Artifacts and Spirit Stones from the Northeast include pecked, sculpted, or incised figures, images, or symbols. These are rendered on pebbles, plaques, pendants, axes, pestles, and atlatl weights, and are of varying sizes, shapes, and designs. Lenik draws from Indian myths and legends and incorporates data from ethnohistoric and archaeological sources together with local environmental settings in an attempt to interpret the iconography of these fascinating relics. For the Algonquian and Iroquois peoples, they reflect identity, status, and social relationships with other Indians as well as beings in the spirit world. Lenik begins with background on the Indian cultures of the Northeast and includes a discussion of the dating system developed by anthropologists to describe prehistory. The heart of the content comprises more than eighty examples of portable rock art, grouped by recurring design motifs. This organization allows for in-depth analysis of each motif. The motifs examined range from people, animals, fish, and insects to geometric and abstract designs. Information for each object is presented in succinct prose, with a description, illustration, possible interpretation, the story of its discovery, and the location where it is now housed. Lenik also offers insight into the culture and lifestyle of the Native American groups represented. An appendix listing places to see and learn more about the artifacts and a glossary are included. The material in this book, used in conjunction with Lenik’s previous research, offers a reference for virtually every known example of northeastern rock art. Archaeologists, students, and connoisseurs of Indian artistic expression will find this an invaluable work.

In a series of interviews an American Plains Indian describes his life and discusses the traditional religious beliefs of the Indians

Ten-year-old Four Winds is a young Lakota girl caught up in the changes brought about by her people's forced move to the reservation. Set in the Dakota Territory, it is the year 1880. Four Winds has been taken away from her family and brought to a boarding school run by whites. It is here she is taught English and learns how to assimilate into white culture. But soon she discovers that the teachers at this school are not interested in assimilation but rather in erasing her culture. On the reservation, Four Winds had to fight against starvation. Now she must fight to hold on to who she is.

In the latest Wind River novel from New York Times bestselling author Margaret Coel, Arapaho attorney Vicky Holden and Father John O’Malley are witnesses to history—and murder… After more than 120 years, the regalia worn by Arapaho Chief Black Heart in Buffalo Bill’s Wild West show were supposed to be returned to his people. But the cartons containing the relics were empty when they arrived at the Arapaho Museum. Collector Trevor Pratt had them shipped from Germany and believes thieves must have stolen them en route. Vicki and Father John suspect Trevor knows more about the theft than he’s telling—a suspicion that’s confirmed when they find him murdered in his home. To find the killer, they must first uncover the truth about a blood feud between two Arapaho families—and the original theft of Black Heart’s possessions dating back more than a century…

Bob Birmingham traces the largely untold history of Skunk Hill or Tah-qua-kik, describing the role the community played in preserving Native culture through a harsh period of US Indian policy from the 1880s to 1930. The story's central focus is the Dream Dance, a pan-tribal cultural revitalization movement that swept the Upper Midwest during the Great Suppression, emphasizing Native values and rejecting the vices of the white world.

The Boston Tea Party, the Order of Red Men, Camp Fire Girls, Boy Scouts, Grateful Dead concerts: just a few examples of white Americans' tendency to appropriate Indian dress and act out Indian roles "A valuable contribution to Native American studies."—Kirkus Reviews This provocative book explores how white Americans have used their ideas about Native Americans to shape national identity in different eras—and how Indian people have reacted to these imitations of their native dress, language, and ritual. At the Boston Tea Party, colonial rebels played Indian in order to claim an aboriginal American identity. In the nineteenth century, Indian fraternal orders allowed men to rethink the idea of revolution, consolidate national power, and write nationalist literary epics. By the twentieth century, playing Indian helped nervous city dwellers deal with modernist concerns about nature, authenticity, Cold War anxiety, and various forms of relativism. Deloria points out, however, that throughout American history the creative uses of Indianness have been interwoven with conquest and dispossession of the Indians. Indian play has thus been fraught with ambivalence—for white Americans who idealized and villainized the Indian, and for Indians who were both humiliated and empowered by these cultural exercises. Deloria suggests that imagining Indians has helped generations of white Americans define, mask, and evade paradoxes stemming from simultaneous construction and destruction of these native peoples. In the process, Americans have created powerful identities that have never been fully secure.