Indigenous Beadwork, Embroidery and Quillwork: Exhibit

Métis / Anishinaabe, c. 1900

This artist shows an interesting combination of beading styles, with raised single-needle stitches used to create texture on the stems and leaves.

Métis / Anishinaabe, c. 1900

This technique is rare here. We have to wonder if she had Haudenosaunee family members, or spent time living along the Great Lakes.

Anishinaabe, c. 1880-1900

Black velvet panel for a pillow cover with grey fabric backing. Beaded design consists of floral sprays of flowers, buds and leaves, positioned along double stems, emerging from a central rosette.

Anishinaabe, c. 1880-1900

This design is created using the applique or overlay bead embroidery technique.

Métis, c. 1900-1910

This black vest has Métis-style floral beaded and embroidered designs throughout.

Métis, c. 1900-1910

Bead embroidered multicoloured floral design of flowers, buds, leaves positioned along double lines of spiked or feathered stems on entire front, created using applique or overlay stitch.

Ininiwak / Métis, c. 1910-1920

This jacket was purchased by H. Eric Bergman, a local artist and engraver, while working in the Norway House area.

Ininiwak / Métis, c. 1910-1920

Women in Norway House developed a beautiful and distinctive style of embroidery, using complex multi-layered flowers, as seen in this smoked moose hide jacket.

Ininiwak / Métis, c. 1910-1920

The women in Norway House ran a major industry, making men's clothing covered with this unique artwork for sale along the route to Hudson Bay.

Ininiwak, c. 1910-1930

These White caribou skin gauntlets were made by Saskatchewan River people near The Pas, Manitoba.

Ininiwak, c. 1910-1930

The patterns of flowers, buds and leaves were applied using a chain stitch to the front cuff and hand of both.

Ininiwak, c. 1910-1930

There is rabbit fur wrapped around the wrist area and end cuffs and a fringe on the outside of the wrists.

Métis, c. 1840-1850

These mittens are an outstanding example of early chain-stitched embroidery. Unfortunately they were damaged by water and have lost their embroidered gauntlet cuffs.

Métis, c. 1840-1850

We can still see the artist's outstanding skill in her expressive leaves and elaborate stems. This embroidery work is the origin of later Métis decorative arts.

Dene / Dene-Métis, c. 1870-1880

These tanned hide mitts are beaded with sinew and ribbon work. They come from the Dene / Dene-Métis people from Northern Alberta or Southern North-West Territories.

Dene / Dene-Métis, c. 1870-1880

As seen in other pieces, these mittens have a beaded floral theme with buds, flowers and leaves on the front and thumb.

This beautifully adorned bandolier bag shows the artist's impressive work focusing on cedar and maple leaves with a geometric design known as "otter tail" running around the edges.

The series of diamonds connected with lines represents their tracks.

Otters like to travel by running for a few steps and sliding on their bellies across snow and mud.

Nehiyawak / Nakota, c. 1890-1910

These smoke-tanned hide, cuffed moccasins are designed with geometric shapes with red, green and iridescent glass beads and a white glass beaded background.

Nehiyawak / Nakota, c. 1890-1910

The leather was sewn together and the beads were applied with needle and beige thread.

Nehiyawak / Nakota / Dakota, c. 1920-1930

These pair of moccasins are made out of moose hide. Its primary design element is the dragonfly which is said to symbolize protection, good health, and a connection to the spirits of ancestors.

Nehiyawak / Nakota / Dakota, c. 1920-1930

One researcher suggested that the combination of the red dragonfly design and the solid white background might mean that the artist's family had Nehiyawak and Dakota heritage.

Nehiyawak / Nakota / Dakota, c. 1920-1930

These smoke-tanned, high-cuffed moccasins have leather thong ties. The designs were created using the lane stitch (sometimes referred to as the Crow stitch or Lazy stitch).

Ininiwak / Métis, c. 1900-1920

In addition to the embroidered floral design, this pair of a child's high-cuffed moccasins are designed with purple and white zigzagged porcupine quills and three rows of horsehair piping around the vamp.

Ininiwak / Métis, c. 1900-1920

Piping is wrapped embroidery floss in imitation of traditional horsehair piping.

Ininiwak / Métis, c. 1900-1920

This pair of dainty white slipper style moccasins are designed with floral satin stitch embroidery.

Ininiwak / Métis, c. 1900-1920

These moccasins come from the Ininiwak/Métis from Northern Manitoba or Lake Winnipeg region, c. 1900-1920.

Anishinaabe, c. 1890-1910

This piece is called a Miniature Tikinagan (cradle board). A black velvet beaded cradle is attached to a u-shaped wooden frame that serves to contain the child and provides a foot rest.

Anishinaabe, c. 1890-1910

The green painted wooden board has a protective hoop and a heart carved into the back of the board. The scalloped edges with black dots at the centre adds a wonderful touch to the piece.

Anishinaabe, c. 1890-1910

This tikinagan is laced with moose hide thongs.

This was a child's baby cradle board toy with a doll insert. It's made with caribou hide and backed with fabric.

The pouch holds a baby (one piece with head poking out of the top of the pouch).

The front part has an embroidered floral design (similar to Métis floral patterns but slightly different) in silk thread using a buttonhole stitch.

Ininiwak / Métis, c. 1910-1930

This headband has a floral design of flowers, leaves and buds running the length of a smoke tanned caribou hide band.

Ininiwak / Métis, c. 1910-1930

The band has pinked edges and is backed with brown fabric. It was worked in part with fan stitch.

Ininiwak / Métis, c. 1920-1940

These curvilinear smoke tanned caribou hide panels are called a tea cozy.

Ininiwak / Métis, c. 1920-1940

It is decorated with red and pink embroidered floral patterns with stems of buds and leaves along the border.