A Window into 19th-Century Indigenous Art

By Cosette Reeves

Walking through NHMU’s vast anthropology collections is a profound and humbling experience. Shelves upon shelves of objects lay before you, each treated with the utmost care, preserving Native legacies. Housing 15,000 years’ worth of history, the collection whispers stories of pain, triumph, and hope to all those who will listen. 

Now, that history deepens. NHMU recently received a collection of Indigenous items from the late 1800s, also known as the Reservation Era. These items open windows into what life was like for Indigenous communities during one of the most painful periods in U.S. history.

A Glimpse into the Past

A photo taken by John C.H. Grabill in 1891, now housed in the Library of Congress Prints and Photographs Division Washing, D.C., showing four Lakota women standing, three hosting infants in cradleboards, and a Lakota man on horseback.

This new collection primarily features beaded items, including clothing, bags, and saddle blankets, from the Plains cultures. Most of these pieces are believed to come from the Teton Sioux, or Lakota—the biggest tribe within the Sioux Nation. The Lakota thrived on the Great Plains for centuries and were renowned for their masterful beadwork, exceptional horsemanship, and expert buffalo hunting. However, like all Indigenous nations, their rich culture was nearly decimated by the westward expansion of Euro-American settlers in the 19^th century. 

Although the U.S. government had long targeted Indigenous sovereignty, their efforts intensified in 1851 with the push to displace tribes and force them upon reservations (Frantz, 1999). The Lakota were among the last to relocate, resisting the encroachment of settlers, gold miners, and the U.S. military for several years (Native Hope, 2021). Their struggle led to a turbulent history. Tragedies, such as the Battle of Little Bighorn and the Wounded Knee Massacre, took place during this time. The South Dakota State Historical Society has records showing it wasn’t until 1868 when the Great Sioux Reservation was established, only for it to be dismantled in 1889 and replaced with several, even smaller reservations.  

Being confined to a reservation signified far more than the loss of their native land—land that holds immense spiritual significance to them. It also meant being forced to adjust their traditions and ways of living, struggling against more disease and starvation with fewer resources, and resisting the relentless imposition of Euro-American customs, language, and religion. Yet, the Lakota, like myriad other tribes, demonstrated extraordinary fortitude.

Despite all the forces and tragedies working against them, they continued honoring their heritage: selectively and strategically integrating Euro-American goods and customs into their existing cultural framework, maintaining their native languages and communities, practicing sacred ceremonies in secret when they were outlawed by the U.S. government, and using decorative art to continue asserting their tribal identity in silent defiance while ensuring its survival for generations to come (Conn, 1986, pp. 24 – 26). Even as children were taken and placed in boarding schools designed to erase their native identity, many resisted quietly or later returned to their community to reclaim what was lost (Conn 1986, p. 25).

The objects showcased in this collection serve as tangible links to this history—a testament to these tribes’ deep loss and enduring strength. “It’s a story of resilience,” says NHMU Anthropology Collections Manger Dr. Anne Lawlor, “and it’s the Museum’s job to preserve it for future generations.”

Through the Lens of Lakota Art

At first glance, ET675.15 Saddle Blanket appears traditionally made, its beautiful beadwork and hide fringe immediately catching the eye—but a closer look reveals the use of a canvas instead of hide and another layer of history. May this act as a reminder that deeper meanings often lie beneath the surface.

“Art, for them, had power,” Dr. Lawlor explains. There is intention and meaning in the materials used, the designs chosen, and the functionality for each object. Variations in these elements can offer valuable insights into the lives of Plains tribes throughout history, and this collection includes several compelling examples. 

The Lakota’s primary source of material, food, and trade was bison. Utilizing every part of the buffalo, they crafted blankets, clothing, and lodging covers from its hide. Yet, the saddle blanket in this collection is crafted from a far more industrial material—canvas. This was likely not an elective choice. Bison were not only vital to the tribe’s survival but were also believed to possess medicinal and spiritual significance (Native Hope, 2021). 

During the Reservation Era, a confluence of forces led to the near extinction of bison: encouragement from the U.S. government, increased hunting by settlers, competition for land with cattle, and the introduction of a commercially viable tanning method in 1871. As a result, by 1882, the Sioux had their last bison hunt and could no longer source hide (Feir et al., 2021). 

In response, the Sioux adapted in dynamic ways. They began crafting items for sale, helping them generate income in a new economy and access new supplies (Digital Public Library of America, n.d.). The canvas saddle blanket reflects a blend of traditional and commercially traded materials and is a striking example of their resourcefulness.

Another object, a tipi liner believed to be Cheyenne in origin, illustrates a similar adaptability. While adorned with the more traditional elements, including porcupine quillwork and deer dew claw bangles, it, too, is largely constructed from canvas.

ET675.11 Beaded Bags are exemplary examples of the heavy, intricate beadwork characteristic of Plains tribes in the late 1800s. Motifs such as the three-pronged fork and triangles grew in popularity during this period (Bousquet, n.d.).

Among a few of the other pieces, the materials themselves remained largely traditional, but the designs evolved. The beaded saddle bags, for instance, are made from customary hide, yet the beadwork aligns with the stylistic shift of the 1890s. Symmetrical, geometric, and spidery designs became more prevalent, and the beads began to cover most of the material (Bousquet, n.d.). Beaded items were popular for sale to the Euro-Americans and allowed Sioux women to continue honoring their culture amid so much change—perhaps speaking to their willingness to invest the effort in creating more intricate and heavily beaded pieces (South Dakota Historical Society, n.d.). 

Possibly the most evocative piece in the collection that reflects another design shift is the beaded vest, which features images of the American flag—the symbol of their oppressors. This motif, surprisingly common in Lakota and other Plains tribes’ beadwork of the era, invites layered interpretation. According to Fluidity of Meaning: Flag Imagery in Plains Indian Art (Schmittou & Logan, 2002), there are numerous theories for why these tribes incorporated this image, and each tribe or individual may have had different reasons for doing so. But one truth remains certain—these artistic choices were influenced by their circumstances and were made deliberately.

These pieces tell a story of survival and resilience. They reveal how members of the different Plains tribes responded to colonial disruption, preserving their culture and traditions through whatever means were available. When resources and morale were low, they integrated new materials, participated in a new economy, and adapted their artistic expression to adjust to the changing times.

Looking Towards the Future — A New Path Forward

Dr. Lawlor preserves this history at NHMU with meticulous care, from cataloging the objects to uncovering the stories they tell. But there’s far more involved than meets the eye.

“Wouldn’t it be awesome if these items were here in 300 years? 500 years? It’s possible!” exclaims Dr. Lawlor, whose love for history has grown into a life-long passion for protecting it.

First, the process begins with ensuring every new ethnographic object accepted into the Museum’s collection is ethically sourced. Dr. Lawlor explained that while we cannot undo history, we can avoid capitalizing on past transactions that may have been unethical. To uphold this principle, NHMU’s Anthropology Collections strives to only accept items with known provenience. In this case, the objects were donated by the Williams Company of Salt Lake City, which kept records of the objects’ original purchases and histories.

Once objects are accepted, Dr. Lawlor maintains the utmost care for them. NHMU’s state-of-the-art building helps to keep antiquities stable with humidity, temperature, and light control, and objects are secured with material support. These pieces are often made from organic, perishable materials, and they will decompose without the appropriate care. This high level of care ensures that future generations can access these stories for centuries to come.

Beyond preservation, Dr. Lawlor and a team of experts analyze each object, identifying styles and materials that can give insight into their origins and Indigenous life during that time. One of the most important parts of this work is consulting with Native cultural representatives. Historically, museums have not always adequately engaged with the tribal communities whose cultural items are curated—NHMU seeks to change that narrative. The Museum has a long record of working closely with cultural experts from different Indigenous groups and will continue to do so. “These cultures are around us and vibrant right now,” Dr. Lawlor explained. “These objects relate to their beliefs and their lives—consultation needs to be [central] to the work we do.” 

NHMU is committed to strengthening and growing its relationships with Indigenous communities. Although it takes time, more museums are starting to do so as well. Together, we can uncover pieces of long-lost ancestral history and give these objects the regard they deserve.