This older card from the UBC Museum of Anthropology in Vancouver features "After He Has Seen the Spirit" a Haida mask made by Robert Davidson sometime around 1980. The mask is made of wood, feathers, and shell.
Davidson (b. 1946) is a sculptor, painter, print maker and jeweler of Haida and Tlingit heritage. His work is found in museums, art galleries and private collections
This portrait of Charles (1854-1904), grandson of Keokuk (Sac/Fox) was probably taken around 1868 by Matthew Brady or Antonio Zeno Shindler as he accompanied his father and other members of a tribal delegation visiting Washington DC.
This modern card is part of the Faces of the First People, Native American Portraits 1865-1935, postcard book published by Pomegrante
This Tippecanoe Battlefield Museum card features a portrait of Tenskwatawa (1775-1936), a Shawnee religious leader also known as The Open Door. He was brother to Tecumseh who organized a failed Native resistance movement, and was defeated at the Battle of Tippecanoe located in Indiana. The Prophet accompanied his community to a reservation in Kansas and died in 1836.
His portrait was painted by George Catlin
This card from the Colorado Springs Pioneer Museum depicts a beaded dress made around 1900 by Victoria Conroy (1866-1964). She lived on the Pine Ridge Indian Reservation in South Dakota and had 6 children. The museum website indicates that the dress weighed 50 pounds and was traded for $1000 worth of horses. It was later acquired by the Spotted Weasel family
This card shows the Smithsonian's NMAI located on the mall in Washington DC. Built in 2004, the building was designed by Indigenous architects with a more natural stone look and a peaceful water park. Inside the cafe offers native foods to visitors, an open space for dancing and galleries displaying a small amount of the museum holdings. The gift shop sells postcards and native art objects
Thunderbird by Peter Dawson, Kwakwaka'wakw
available from Native Northwest
The Thunder Beings are common to many Native peoples and generally seen as strong, helpful beings that cause thunder and lightning. These are seen as the Thunderbirds battle their enemy, Underwater Serpents that cause humans to drown
This Smithsonian postcard features the portrait of a Blood leader that was painted by George Catlin in 1832, exhibited in France in 1846, and gifted to the Smithsonian's American Art Museum. Buffalo Bull’s Back Fat (named after a prized cut of bison) was a chief of the Blackfoot, a tribe of the northernmost Plains whose territory straddled the present-day border between the United States and Canada.
"I have this day been painting a portrait of the head chief of the [Blood tribe] ... he is a good-looking and dignified Indian, about fifty years of age, and superbly dressed; whilst sitting for his picture he has been surrounded by his own braves and warriors and also gazed at by his enemies, the Crows and the Knisteneaux, Assinneboins and Ojibbeways; a number of distinguished personages of each of which tribes have laid all day around the sides of my room; reciting to each other the battles they have fought, and pointing to the scalp-locks, worn as proofs of their victories, and attached to the seams of their shirts and leggings. The name of this dignitary of whom I have just spoken is Stu-mick-o-sucks (the buffalo's back fat), i.e., the 'hump' or 'fleece' the most delicious part of the buffalo's flesh. ... The dress ... of the chief ... consists of a shirt or tunic, made of two deerskins finely dressed, and so placed together with the necks of the skins downwards, and the skins of the hind legs stitched together, the seams running down on each arm, from the neck to the knuckles of the hand; this seam is covered with a band of two inches in width, of very beautiful embroidery of porcupine quills, and suspended from the under edge of this, from the shoulders to the hands, is a fringe of the locks of black hair, which he has taken from the heads of victims slain by his own hand in battle. ... In his hand he holds a very beautiful pipe, the stem of which is four or five feet long, and two inches wide, curiously wound with braids of the porcupine quills of various colours; and the bowl of the pipe ingeniously carved by himself from a piece of red steatite of an interesting character, and which they all tell me is procured somewhere between this place and the Falls of St. Anthony, on the head waters of the Mississippi."
— George Catlin, Letters and Notes, vol. 1, pp. 29–31