Seven Oaks House Museum
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Quilled Book Cover
Accession #: 7/68/480 b Métis Attributed to the family of Melanie (Malaneh) Blondeau (1866-c.1932), Fort Qu'Appelle, SK region c.1900 Caribou hide, porcupine quills, sinew Melanie Blondeau was a noted artist who worked as a craft instructor at the Fort Qu'Appelle Residential School from 1914 to 1931. This book cover may have been made by another member of her family, but its distinctive, vibrant style can be linked to pieces by Melanie in other museum collections. This piece was donated by an Inkster descendant, and may have originated with Ellen Inkster McDonald, who lived at Fort Qu'Appelle from 1869-1873 & 1882-1911. One researcher speculates that it was intended as a decorative bible or sermon cover, made to be used by a left-handed individual. |
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Pillow Cover
Accession #: 3/58/78b Métis Red River Diaspora/Great Slave Lake-McKenzie River Region c.1875-1890 Velvet, sinew, linen thread, glass beads, steel beads These pillows, owned by Harriet Inkster McMurray, appear to make up a set. There are some indications that they were made by the same artist, or a group of family members. They could have been a family project, a gift from a friend, or a souvenir acquired during her travels. |
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Pillow Cover
Accession #: 3/58/78c Métis Red River Diaspora/Great Slave Lake-McKenzie River Region c.1875-1890 Velvet, sinew, linen thread, glass beads, steel beads Formerly owned by Harriet Inkster McMurray There are stylistic similarities between beadwork owned by the Inkster family and pieces associated with the Gaudet family of Fort Good Hope, NWT. The Gaudet daughters were sent to Red River for school, while Harriet Inkster's husband was a Chief Factor for several of the HBC's north-western districts. |
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Pillow Cover
Accession #: 1/--/1168 Métis Red River Diaspora/Great Slave Lake-McKenzie River Region c.1875-1890 Velvet, sinew, linen thread, glass beads, steel beads Formerly owned by Harriet Inkster McMurray. Decorative beaded items like pillows, picture frames and valances were popular in the Victorian period, and some families specialized as professional artists. In Our Grandmother's Hands, author Gregory Scofield shares a valance with an identical middle flower to this pillow. |
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Tobacco Pouch Accession #: 7/68/480 a Métis Red River Diaspora/Great Slave Lake-McKenzie River region c.1880 Velvet, glass beads, steel beads Multi-coloured glass seed beads in a floral pattern on black velvet; black silk cord drawstring closure with tassles; beaded on both sides; black fabric interior. "Sacs a feu" or "firebags" were used to carry fire-starting flints, pipe, and tobacco. Donated by Mrs. Gwendolyn Turnbull nee Cumming (1889 - 1967), great granddaughter of John and Mary Inkster. |
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Watch Pocket Accession #: 7/68/480c Métis Red River/Hudson Bay/York Factory/Oxford House c.1850-1860 Caribou hide, silk embroidery floss, silk ribbon The muted thread colours indicate early, pre-aniline dyes, while the fringe ribbon is coloured with an arsenic-based dye. Materials like this were purchased from the Hudson's Bay Company in the mid-19th Century. This extremely tiny, delicate chain stitch is characteristic of very early Red River work, and is usually associated with Métis women who attended mission schools. Such detailed work could only be accomplished with delicate silk thread, and the finest home-tanned hide. It was probably made to hold a man's pocket watch, but may have been a small wall pocket. |
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Gauntlets Accession #: 2/63/392a nehiyawak/nihithaw/Métis Western Canada c.1900-1920 Brain-tanned hide, silk embroidery floss Gauntlets were a popular item made for sale to both working ranchers and wealthy western enthusiasts. They were produced by artists across the prairies, and it's difficult to associate with them with a specific region. The elaborate, all-over hand embroidery on the backs is accentuated with a machine-sew leaf design on the palm of the hand. |
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Loomed Quillwork Belts Accession #: 2/73/500 a&b Dene/Métis Fort Chippewyan, Ile-a-la Crosse, or La Loche regions c.1850-1872 Caribou hide, dyed porcupine quills, glass beads, metal fastener These belts were owned by Harriet Inkster McMurray, and one is signed with her initials. Belts or strips like this could be used to decorate clothing in a variety of ways, and these designs are characteristic of Dene work. They were most likely acquired by Harriet while travelling with her husband William McMurray (Chief Factor of the English River district) before 1872. They were stationed at several posts in the north-west. |
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Tobacco Pouch Accession #: 1/58/524 Métis; Red River c. 1880 Caribou hide, silk embroidery floss, silk ribbon Tobacco pouch with floral embroidery, owned by the Honourable Colin Inkster. Unusual 3-piece construction closes with a drawstring. Floral silk embroidery on hide, along with silk ribbon work and this distinctive zig-zag decorative stitching is strongly characteristic of local Métis work. Embroidery depicts flowers, crossed pipes and the initials "C I". The style of the floral embroidery shows a strong influence from European styles like crewel work. It's possible that this piece was made for Colin by a member of the Inkster family. |
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Mantle Piece Drape / Valance
Accession #: 2/68/481a Métis Red River Diaspora/Great Slave Lake-McKenzie River region c.1875-1890 Wool (stroud), glass beads, steel beads, sinew, linen thread, silk Owned by Harriet Inkster McMurray. Soot accretions in the centre only suggest that it hung above a small fireplace or lamp. There are some indications that this piece may have been made by the same maker or family as the pillow set. We know from Harriet's letters that she practiced quillwork, and letters tell us that her mother and sisters were makers. Unfortunately we don't know if any of the beadwork in our collection was made by the Inkster women. They also would have exchanged gifts with the most prominent families in Red River. |
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Letter Case
Accession #: 8/85/548a ininiwak/nehethowuk/nihithaw/Métis Red River Diaspora/Lake Winnipeg/Northern Manitoba, Saskatchewan, or Alberta c.1880-1890 Velvet, silk, glass beads Letter case with floral motifs on the front. Beaded on black velvet, red rope borders with red ribbon closure. Cream-coloured silk lining inside, with red ribbon used to provide fastenings for letters. Donated in memory of Margaret Jane Sinclair (Mrs. Isaac Cowie), born at St. Andrew's Red River Settlement in 1864, died 1901. Similar book covers were often commissioned by local church parishes to serve as bible coverings. Northern churches often featured First Nations or Métis artwork on altar cloths, bible covers and vestment pieces. |
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Beaded Pocket or Bag Panel Fragment Accession #: 1/--/1073 Possibly Métis / Haudenosaunee(?) Red River Diaspora/Eastern Canada(?) c.1850-1870 Velvet, metallic braid, Glass beads, steel beads, sinew, cotton thread This extremely unusual piece of beadwork was found in the museum's collection with no history. It is sewn almost entirely using sinew. The tiny bead size (size 18-20), colours and sinew used indicate an early date. It displays some typical flower formations (outlined geometric designs) but overall uses a painterly approach to building forms through layered light and dark shades. Beads in the central flowers are even stacked to achieve depth. The beading technique resembles Haudenosaunee work, but the approach to composition and shading shows an influence from European patterns. A few similar examples produced by Métis women associated with the HBC exist, such as one octopus bag in the Southesk Collection. |
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Beaded Cushion
Accession #: 3/58/78a Métis/nehiyawak/nihithaw Western Canada c. 1880-1900 Velvet, glass beads, sinew, cotton thread Gift of Sybil Inkster (daughter of Hon. Colin Inkster). The style of beadwork and materials indicate that this particular cover might originate in Western Canada, but its design is unique and difficult to place. Its maker was an incredibly skilled beadworker, with an expert artistic eye. The rhythmic, curving shapes feel like the entire design is in motion. Her work is exceptionally flat and delicate. |
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Child's Moccasins Accession #: 2/64/442 Western Canada or North-western Canada c. 1910-1930 Caribou(?) hide, glass beads, cotton thread Child's leather moccasins with heavy beadwork on foot. Style suggests an origin in Western Canada, but the beadwork is very unique and does not match any examples we can identify. |
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Baby Bonnet Accession #: 2/22/2423 Anishinaabe North Midwestern U.S. c. 1880-1900 Velvet, wool, glass beads, steel beads, linen thread This tiny bonnet uses incredibly small beads, as it was made for a newborn baby. A similar piece is held in the Minnesota Historical Society's collection. The floral decorations are traditional, but the bird is very unusual. We speculate that it might be related to the family's clan doodem (totem). Its placement on the crown of the head is probably not a coincidence. It is commonly believed that the soft spot on top of an infant's head provides them with a direct connection to the spirit world while they sleep. |
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Beaded Pillow Accession #: 3/58/78 nihithaw/nehiyawak/Métis Western Canada 1890-1910 Velvet, glass beads, sinew, linen thread Brown velvet square cushion; beads form a flower and leaf pattern. Backing is brown fabric with flowers, leaves, and tree print. Gift of Sybil Inkster (daughter of Hon. Colin Inkster). The style of beadwork and materials indicate that this particular cover might originate in Western Canada. |
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Pillow Cover Accession #: 1/22/2615 ininiwak/nihithaw/Métis Manitoba or Western Canada c.1880-1910 Velvet, glass beads, steel beads, sinew, linen thread, cotton It's difficult to associated pieces with simple motifs like this with specific regions or communities. The use of sinew instead of thread, however, might suggest earlier date. |
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Gauntlets Accession #: 1/18/2218 ininiwak/Métis; Norway House c. 1880-1890 Smoked caribou hide, silk embroidery floss These stunning examples of Norway House style embroidery were loved and heavily worn by a working rancher. The wear patterns strongly suggest that somebody wore them with reins wrapped around their left hand. |
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Men's Leggings Accession #: 2/22/2426 Dene, Possibly Tahltan or Tlingit Yukon-Tanana Region, Northwest British Columbia c. 1880-1900 Caribou hide, wool cloth, glass beads, cotton thread A pair of men's leggings made from brain-tanned and smoked caribou hide with red wool (stroud) trim, decorated with white, blue & yellow beads. The beadwork design resembles circles and feathers or leaves connected together. An elder from Tsuut'ina Nation (a southern Dene group in Alberta) indicated that he recognized the beadwork design from northern Dene clothing. |
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Moccasins / Dancing Slippers Accession #: 1/--/2016 Métis Lake Winnipeg/Western Canada/North Dakota/Montana c. 1875-1890 Caribou hide, silk, glass beads, sinew, linen thread This style of moccasin was made specifically for dancing, and was probably inspired by European ballet flats. Contemporary journals describe women measuring the success of a party by how many people wore holes in their moccains -- something you can see in this pair. |
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Moccasins Accession #: 1/22/2692 Métis/ininiwak c. 1880-1890 Moose & caribou hide, silk embroidery floss, sinew One pair of brain-tanned leather moccasins in a low slipper style. There is a crimped border wrapping around the back, ending at the tongue on the front. Sewn with sinew. Pointed toe. Pronounced, arched tounge with pink rose (?) embroidery and piping. Moccasins are heavily worn and repaired with sinew-sewn patches. Remarkably, one of the patches was made with a piece of later embroidery, showing bright satin stitch. These shoes were obviously cherished. |
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Gauntlets Accession #: 2/63/393 a,b ininiwak/nehethowuk/nihithaw/Métis Northern Manitoba, Saskatchewan, Alberta c.1940 Smoked hide, fur trim, glass beads, cotton thread These machine-sewn gauntlets were probably made by a skilled commercial artist. They're heavily decorated with beads that became popular before the Second World War. Donated by Gwendolyn Turnbull nee Cumming (1889 - 1967) great-granddaughter of John and Mary Inkster. |
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Moccasins Accession #: 1/22/2691 Métis/ininiwak/nehethowuk; Canadian northwest c.1880-1900 Moose and caribou hide, silk embroidery floss, velvet, sinew One pair of brain-tanned leather moccasins with a black velvet cuff. Pointed toe style with embroidered "tongue" with flower motif. Heavily worn with evidence of past repairs made using sinew. Simple buttonhole embroidery in a relatively 'chunky' or simplified floral style. |
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Baby Moccasins Accession #: 4/69/517 a,b Métis Great Slave Lake-Mackenzie River region/Red River c. 1880-1890 Caribou hide, velvet, porcupine quills, horse hair, cotton or linen thread Child's pointed toe moccasins. Black velvet vamps decorated with double plait dyed quillwork and purple dyed horsehair piping. Worn by a great-grandaughter of John & Mary Inkster. |
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Moccasins Accession #: 2/22/2426 Métis Great Slave Lake-Mackenzie River region/Red River c. 1880-1900 Moose and caribou hide, velvet, porcupine quills, cotton thread A pair of brain-tanned moccasins with ankle wraps and pointed toes. A reddish-brown velvet tongue that extends up the ankle. Smoked moosehide (?) sole and cuff, red velvet vamp backed with smoked moosehide, single row dyed quillwork in zigzag pattern followed by a double row plaited dyed quillwork, & remnants of dyed horsehair piping. Old repair to sole with smoked moosehide. |
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Baby Moccasins Accession #: 1/08/1163 Haudenosaunee; Eastern Canada/New York c. 1980-1890 Commercially tanned deer hide, glass beads, metal sequins, cotton ribbon, velvet, cotton thread Purchased in Winnipeg by donor's grandfather, William Sawney, between 1907 and 1913. The use of sequins, commercial hide, heavy white beads in a 'raised' stitch and vaguely floral geometric design are characteristic of Eastern work. They must have been bought around the Great Lakes and resold here in Winnipeg. |
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Picture Frame Accession #: 2/23/2845 Anishinaabe-Métis? c. 1900-1910 Velveteen, cotton fox braid, oilcloth, glass seed beads, cotton thread This frame has two oval openings for carte-de-visite size photographs, and is decorated with a two-needle overlay stitch technique. Every second bead is tacked. The beadwork is executed on top of a brown paper pattern and secured with brown cotton thread. The donor's family frequently traded bread to Indigenous travelers passing through their farm outside Gladstone, MB. They received this piece shortly after 1900. The style of the beadwork fits southern Manitoba, but the overall design of the frame, with its complex lobed form and clustered fringe, resembles Victorian-style whimsies produced by Haudenosaunee artists around the Great Lakes. Whimsies of this nature are rare at this time in Manitoba, and our Curator has never seen a local one made in this style. This might suggest that the artist came from an Anishinaabe family with roots around the Great Lakes, who would have been familiar with these pieces but applying her own local beading style. |
