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Historic Glass Beads in Canada: Searching for Trends and Meaning (Part Two)

Dedicated to the work and memory of archaeologist Wayne London Davis. One of the first among us to appreciate the beauty and value of glass trade beads.

In my first segment on beads I looked at their antiquity around the world. In this second segment, I’ll lay out some basic facts and trends about glass beads in the Canadian fur trade. If you’re interested in more details, whenever you see a super-scripted footnote number, just point your cursor at it and it will pop up on your screen. 1

A rare find discovered in 1975 while I was excavating at the Hudson’s Bay Company’s Fort Victoria (c.1863 – 1898), Alberta, Canada. The beadwork might be the remains of a dog or saddle blanket. Or some other personal item. Based on its context, it was most likely made by an Indigenous woman living in the fort. Both the color and design of the beadwork are preserved in these remains. 2
But, this example is the exception to the rule. Rarely do we find intact beadwork in the historic archaeological record. Instead we usually find thousands of beads scattered in and around buildings, cellars, trash pits, or privies. Often we have no idea who dropped or discarded them. In short, we often have little to work with when reconstructing their individual histories. 3

From James Isham, York Fort, 20 July 1739
Right Honourable Sirs;
With submission, this we humbly beg leave to observe to your honours, according to your honours’ orders, 1738 (paragraph the 7th) the Indians dislike of particular goods, their refusal and the reason for the same….Beads large pearl, the Indians dislikes for the colour, both large and heavy, the shape not being for the use they put them to, which is to hang at their noses, ears, and to make belts etc., so being few or none traded and lying useless in the factory, according to your honours’ desire I send them home…”

Glass trade beads. Recovered from the NWC/HBC Fort Vermilion I (c.1798 – 1830), northern Alberta, Canada

Not Just Any Beads Will Do

In his letter, James Isham, in charge of the Hudson’s Bay Company’s York Factory, listed three things about glass trade beads, that, if not strictly adhered to created serious problems in trade:

Color; Size; and, Shape

If these qualities were not satisfactory to First Nations Peoples, they simply refused to trade.

In this segment I’ll examine more closely how glass beads were made, and who made them. And how seemingly trivial traits, such as bead size and shape, were important in the Indigenous world. In a third segment in this series, I’ll consider in more detail the importance of bead design and color.

As I thought about the thousands of glass beads we’ve found at the many fur trade archaeological sites in western Canada, I wondered: What can we learn not only about how glass trade beads were made, but also their role and importance for the Indigenous People who acquired them?

However the task is difficult and fraught with obstacles. Archaeologically, the Fort Victoria beadwork example is rare. Unique almost. Glass beads don’t come in nice arranged designs. Often we don’t know who sewed those designs, or who purchased and used glass beads. 4

Slightly less spectacular than the Fort Victoria beads, is this string of glass trade beads exposed while excavating one of the Fort Vermilion I dwellings in 2016. Again, a rather unique find showing not only the types of beads Indigenous women living at the forts used, but also the color combinations they strung them together.

So let me lead you through this minefield of glass bead research. But first, we’ll briefly review how glass beads were made. And who made them. 5

Glass Trade Beads in the Americas: Who Made Them?

“Early demands for metaphorical counterparts of rare sacred materials like marine shell and natural crystals transformed with time to large-scale requests for beads of particular sizes, shapes, and colors for ornamentation of bodies and clothing. In all cases, American Indian worldviews determined selection, acquisition, and use of glass beads.” 6

It’s one thing to claim that Indigenous worldviews dictated bead selection. It is altogether another to figure out what they were. Or, where in a glass bead’s traits (e.g., shape, design, size and color) and patterning those worldviews resided. Especially when we consider that Indigenous people didn’t even make them. What bead types and quantities did Indigenous Peoples in Canada select that aligned with their beliefs and identities?

Early European Bead Makers

The majority of glass beads that entered the Americas, between c.1500 – 1900, were made in the Italian glass works in Venice/Murano. By the 1200s, a guild of glass makers began to make some of the best glassware in the world, including glass beads. By the 1500s Venice monopolized the glass bead industry, producing large numbers of beads in a variety of shapes, colors and sizes. The various factories were highly competitive, constantly upgrading their techniques to improve their product.

A modern glass factory in Murano. According to one source 7 glass making in Murano was a serious business: “We visited the Signoretti factory (http://www.signoretti.it/) and were able to observe in one of their 10 studio areas where three guys (the master and two apprentices worked) were working to make an amber-colored chandelier. The apprenticeship period is 15 years and while there are no laws about it, glass makers are only men…In the past, the glass masters were required to live on the island of Murano and if they were caught having shared any secrets of the factory they worked in, their tongue and one hand would be cut off in punishment.”

“About 1764 twenty-two furnaces were employed in that industry, [Murano, Italy] with a production of about 44,000 lbs. [beads] per week, and one house at Liverpool about this period bought beads to the value of 30,000 ducats annually. It may be readily conceived that a vast variety of patterns were produced. A tarriff drawn up in 1800 contains an enumeration of 562 species, and a ‘grandissimo’ number of sub-species of beads. The manufacture continues to be one of great importance.” 8

Venetian glass trade bead sample cards, 1898. The different types and varieties of glass trade beads was staggering. Many of the types and varieties seen in these sample cards appear in North America, including our Canadian fur trade and Indigenous archaeological sites. As you continue to read you will recognize some of these bead types recovered from the archaeological record. 9

Venice/Murano ruled the glass bead industry. However, according to Canadian bead expert, Karlis Karklins:

“Although Venice/Murano and Bohemia produced the bulk of the glass beads that were exported to the New World, Holland, Germany, France, England, Spain, Russia, China, and likely some other nations also contributed their share (Kidd 1979; Liu 1975a). Unfortunately, there is no routine method for determining the country of origin for any given bead type.” 10

So, we’ve hit our first snag when researching historic glass beads: determining their origins of manufacture. According to Karklins, even with mass spectometry (to ascertain the chemical composition of beads), it’s still exceedingly difficult to pinpoint a bead’s origins. What is often lacking are comparative bead samples from the European sources where they were made.

Fortunately, by using documentary records and bead collections, Venice’s dominance of the the bead industry has been generally validated. But occasionally the often vague North American documentary records leave some doubt as to origins and manufacturer. And, whether only Europeans made glass trade beads.

Glass Bead Manufacturing Techniques

European glass bead making techniques were complex. They evolved and changed over time. In order of their introduction, the four most common methods (which had derivatives or are used together) are: 11

  1. Wound Glass Beads – Although still used today, Venetians made glass beads individually by winding a molten blob of glass around an iron rod or mandrel by the end of 1200 A.D. They made beads of one (monochrome) or more colors (polychrome) by adding cobalt (blue), copper (green), tin (milky white), or gold (red) to the mixture. Or the bead could be decorated with a design pressed onto it or inlaid in the soft glass. As the demand for glass beads increased during the late 1400s this method could not keep up because it was too slow; each bead was hand-made.
Examples of mandrel or wound round monochrome glass beads (center and right) from the Hudson’s Bay Company’s Fort Edmonton (c.1830 – 1915), Alberta, Canada. Wound beads generally have visible circular swirl lines aligned around the center hole. Air bubbles trapped in the glass are round. The white bead on the left (lacking the visible swirl marks), with embossed floral decoration on it, may have been made by glass forced into a mold with the floral design on it.

Using the Canadian glass bead classification chart produced by Kenneth E. Kidd and Martha Ann Kidd (and later updated by Karlis Karklins), these are the basic wound glass bead types found in Canada. The type list is incomplete. Other bead types will be added as more archaeological sites are excavated. The bead types are organized according to: 1) method of manufacture; 2) type of decoration; 3) shape; 4) color; and, 5) size.

Master list of wound glass trade bead types in Canada. The list was developed by Kenneth and Martha Kidd in the 1970s. It has been modified by Karlis Karklins and continually added to as we find more glass bead types at our Canadian archaeological sites. In this diagram the ‘W’ stands for ‘Wound glass beads’; ‘I’ for Type ; and, ‘a, b, c’ for variety (e.g., tubular, round, oval). Courtesy of Kenneth and Martha Kidd. 12

2. Blown Glass Beads – Also a very early method (but used into the 19th century), a glob of molten glass was shaped by blowing it through a glass tube. There was also a mold blowing method. First, you blow a small bubble at the end of a glass tube which was quickly inserted into a two-piece mold. Additional air was then blown in so that the glass bubble filled the cavity. A more complicated process involved placing a glass tube in a two-piece mold with up to 24 connected cavities. This method could produce beads with very complex designs. You could then produce a row of beads or break apart the segments to form individual beads.

This beautiful glass bead was made by blowing molten glass into a mold. This technique was time-consuming but capable of producing some extraordinary ornate beads. Typically these types of beads make up a very small percentage in fur trade assemblages. 13
Basic blown glass bead types found at Canadian archaeological sites. Courtesy of Karlis Karklins. 14

3. Drawn Glass Beads – By the end of c.1400 A.D. the Venetians made glass beads from long tubes of drawn glass (initially thought to be an Egyptian method). A master glass maker first formed a cylinder from a glob of molten glass. Then his assistant took the end of the rod and pulled it down a long corridor before the glass cooled, producing a long drawn glass tube. The length of the tube and the amount of glass determined the size of the beads. Once the tubes cooled, they were cut into three foot lengths. Later, smaller lengths were cut into beads and then smoothed and polished. This method, still used today, met the demand for large quantities of beads because it was much faster.

Drawn glass beads with diagram of drawn method. White, opaque, monochrome glass bead (left, photograph courtesy of Fort Vancouver Museum bead collection). Polychrome glass bead on the right found by the author at an unidentified archaeological site just south of Fort Vermilion I (c.1798 – 1830) northern Alberta, Canada. Diagram on the right showing how molten glass was drawn to form a long tube (from Kidd and Kidd). 15
Master list of drawn glass bead types found at Canadian archaeological sites. Courtesy of Kenneth and Martha Kidd. The one above found by the author is of the Ib type. 12

4. Pressed/Molded Glass Beads – To make a molded glass bead the end of a glass rod was heated until it melted. A piece was then pinched off the rod and pressed in a tong-like two-piece mold. As the glass was compressed, any excess was forced out at the seam. A moveable pin (or pins, depending on how many holes were desired) pierced the glass and formed the perforation. In a second method, two pieces of viscid glass, one in either half of a two-piece mold, were pressed together to fuse them. Glass beads with complex colored patterns were made by this method. Some faceted mold pressed beads have mold seams that zig zag around the middle, following the edges of the central facets.

Example of mold pressed glass beads from Fort Vancouver, Washington on the left (Photograph courtesy of Fort Vancouver Museum bead collection). Mold pressed glass beads from the HBC Fort Edmonton V (c.1830 – 1915) site on the right. In this method when making the hole, the outside diameter of the perforation becomes larger than the inside.
Master list of pressed, molded glass bead types from Canadian archaeological sites. Courtesy of Karlis Karklins. 14

In Bohemia the glass bead industry had started by the 16th century. But during the Industrial Revolution in the 19th century machines were developed to mass-produce glass beads. These mold-pressed beads often had complex shapes. And by making use of patterned canes, or the glass rods fed into the machine, the resulting beads could be elaborately coloured, giving them a slightly random appearance, even if the shape was identical. Although mass-produced, and sold around the world, Bohemian glass bead making was a cottage industry that soon began to rival Murano’s bead industry.

Example of a Czech mold pressed beads. Molded beads, often similar in appearance, were made by different methods. Careful study, or consultation with an expert (of which there are few) is often required to tell them apart. Even then it is difficult. 16

Czech glass beads manufacturers were very aggressive businessmen. They sent out sample men who traveled worldwide (Africa, Japan and Tibet, and possibly the Americas) to speak with Czech glass bead wholesale suppliers to determine what beads styles would sell best in each market. They then returned to Czechoslovakia and advised on specific bead designs for sale to these markets. This proactive approach was highly successful, increasing the sales and demand for Czech glass beads worldwide.

North American Indigenous Glass Bead Making

When we think of the origins of North American glass beads, Italy, Bohemia, and Holland immediately come to mind. Wayne Davis, however, thought otherwise. His research suggested that Indigenous People occasionally also made glass beads. 17 Although probably a rare occurrence (and, to my knowledge, never documented in Canada), the Arikara, Mandan, Hidatsa, Cheyenne, and Snake First Nations in the USA made glass beads. How they did this is both fascinating and somewhat mysterious.

I’ll paraphrase one such historic Indigenous bead making process. For the complete quote, refer to this footnote: 18

  • Glass bottles, or glass beads were pounded fine and the powder thoroughly washed;
  • A platter was placed at the mouth of a three gallon ‘earthen pot’ (with a hole at edge to watch the beads);
  • A number of little rolled clay sticks the size of the bead hole were made and fired;
  • Small balls of clay were made for pedestals for the beads;
  • The pounded glass was heated and formed into an oblong shape and wound around the clay stick;
  • A hole was made in the center of each pedestal and the rolled glass bead and stick inserted into it.

“Then the platter is put in the coals and the pot is inverted over it; dry wood is placed about the whole and burnt….When the beads are whitish red and grow pointed, they are taken off. The clay center is picked out with an awl.”

The pot (presumably made from clay) probably served as a simple kiln increasing temperatures high enough to melt glass. Because even a large campfire can’t reach those temperatures. 19

Ethnologist, George Grinnell recounted another story of Cheyenne glass bead making. His description also suggests that they made glass beads and charms by melting sand. 20

Also, according to ethnographer/painter George Catlin, in 1847, the Mandan highly valued these Indigenous-made glass beads:

“…the extraordinary art of manufacturing a very beautiful and lasting kind of blue glass beads, which they wear on their necks in great quantities and decidedly value above all others that are brought among them by the fur traders.” 21

These few examples of Indigenous bead making bring up more questions than answers. How widely spread was this practice? Did some Indigenous groups truly understand how to make glass from ‘quartz sand’ as Grinnell’s observations suggests? It takes high temperatures (higher than campfires) to melt quartz without adding a flux. Currently, without doing more research, we shouldn’t discount this possibility.

If so, where’s the proof? What makes Wayne Davis’s work so important, were his searches of the American bead collections for that proof. And he may have found it. What could be Indigenous-made glass beads are present in the Fort Leavenworth collections (and others as well). Those beads have slightly different characteristics than the European-made beads.

These two rows of glass beads were found at the Leavenworth historic Arikara archaeological site (c1803 – 1832). The beads are more irregularly shaped and the colors are not as well defined and not as bright as European glass beads. The glass has a grainy texture.
These glass trade beads are from the Hudson’s Bay Company Fort Vancouver (c.1829 – 1860), Washington State, USA. The glass, like the Leavenworth Indigenous glass beads, is coarser; almost as though it were only partially melted. The coloration, which also is not as well defined as most European beads, is similar to the Leavenworth Indigenous made glass beads. Were they made locally by Indigenous People? Or, are they truly European-manufactured? I read Lester Ross’s original site report and could find nothing suggesting he believed these beads to be somewhat different from European glass beads. 22

Why would Indigenous People even make glass beads? By the early 19th century, glass beads, in a bewildering assortment of shapes and colors, were already available across North America. Was it important to add that personal touch to glass beads? If these Indigenous-made beads were passed down through generations, they certainly would have maintained a stronger connection to one’s past, one’s people, than a European glass trade bead.

Historic Glass Beads in Western Canada

With the exception of porcupine quill adornment, painting (and historically silk thread embroidery, and tufting), the glass bead’s diversity (found in its shape, size and color) allowing considerable artistic license, was almost unequaled by any other North American prehistoric traditional artistic medium.

By the end of the 17th century, when glass beads first began to appear in the interior of western Canada, there was already a considerable array of colors, sizes and types to choose from. Drawn, wound and blown (in that order based on quantities) glass beads were either traded or gifted to the interior Indigenous groups.

Amount of glass trade beads traded to western Canadian inland First Nations People between the early and late 1700s. Considering the minuscule weight of each bead, these figures would have numbered in the millions. And they only reflect those beads traded and not those also gifted before formal trade even began. The reduction of glass beads traded from York Factory by the 1750s and 1770s marks the inland incursions of the French, and then independent traders from Montreal cutting into the HBC’s domination of the inland Western Canadian trade. 23
Once fur trade posts were established further in the interior of western Canada, the Companies kept stores of glass trade beads for both trade and gifts. At Peter Fidler’s Nottingham House (c.1802 – 1806) on Lake Athabasca, pre-trading ceremonies dictated gifts be bestowed on potential Indigenous trading parties. Especially during the highly competitive period between the Hudson’s Bay Company and Canadians (North West and XY Companies). The above figures were taken from the post’s trading inventory lists. These records give us a brief glimpse into the importance and purchase of glass beads in the interior of Western Canada. But they rarely tell us what bead types First Nations preferred. 24

Encountering Problems When Researching Glass Trade Beads

In the following sections I focus primarily on glass trade beads present either in the documentary or archaeological records. Each type of record has limits as to what we can accomplish in the reconstruction of Indigenous glass bead histories. Those limitations are: 1) context; 2) clarity; and, 3) completeness.

Context

Context refers to the nature of the document or archaeological record that beads are found in. For example, sometimes glass beads are listed in fort inventories and personal debt lists. Those records document what company employees bought at the inland forts (potentially providing valuable information on Indigenous local and individual glass bead preferences and consumption in time and space). But often records are missing, descriptions vague or inconsistent. Context of beads in the archaeological record is equally problematic. Often we only know the date and place the beads were purchased and used; and less about the individuals who purchased them. 25

An example of Documentary Context and Clarity: Hudson’s Bay Company inventory of goods in Canada’s Peace River District, Alberta, Canada, 1825. The description of beads in this list leaves much to be desired. Some descriptions are vague (i.e., ‘Agats’?). It is virtually impossible to match these documentary descriptions with certain glass bead types (i.e., China flowered com.?) in the archaeological record. And quantities of beads are often also vague (bundle?, lb.?). These factors make reconstructing bead histories difficult with available documentary evidence. Of particular interest however, in this list are the wampum beads. These small shell beads are of eastern North American origin but were traded or purchased by Company employees and Indigenous People in western Canada. The authenticity of their presence in the west is born out archaeologically. We occasionally find wampum beads at our western fort sites. 26
Clarity

Clarity refers to the accuracy of identification of historic fur trade glass beads. Often in the documentary record it is difficult to match descriptions with actual glass beads types (because of inconsistent, vague descriptions as the above record shows). When we find glass beads in the archaeological record, the method of their manufacture is discernible. However, specific date of manufacture and length of use of certain bead types is not. It requires vast amounts of archaeological information from a long time period and geographical area reconstruct these dates of use.

An example of Documentary Context and Clarity: A personal debt list of goods acquired by Hudson’s Bay Company trader, Hugh Faries in 1825, Peace River District, northern Alberta, Canada. Of note are the beads he bought. Based on these descriptions and quantities we have no idea what some of these beads are or how many were bought. If the descriptions were better we would be perhaps be able to reconstruct what types of beads Hugh Faries’ Indigenous wife preferred, allowing us to compare beads acquired by different families. Unfortunately, this is virtually impossible to do with these types of records. Thus, except in rare instances, even the simplest descriptions of individual family bead acquisitions are not possible. 26
Completeness

Often the available fur trade documentary and archaeological evidence is incomplete. Many of the fur trade Company bead records were lost. Of the hundreds of fur trade sites constructed few have been investigated archaeologically. Of those investigated, most sites are only sampled; and, some of those samples are poor.

Example of a
Example of Archaeological Completeness: Glass trade beads from the HBC Fort Edmonton V. The beads on the left are large wound beads known as ‘Pigeon Eggs’. The glass beads on the right are drawn monochrome (IIa) and polychrome (IIb) types. During our investigations at this fort, occupied for over seventy years, yielding over 50,000 artifacts, we recovered 112 beads. Not only is the bead sample small, but there is something wrong here. With this large a sample of artifacts, we should have recovered thousands of beads.

And finally, there are issues with the recovery of glass trade beads archaeologically. Beads are amongst the smallest artifacts found, often being less than 2mm in size. They fall through our screens or are almost invisible when we excavate.

Example of Archaeological Context, Clarity and Completeness: An 1875 rendition of the Hudson’s Bay Company Fort Dunvegan, Peace River, northern Alberta, Canada. This fort was occupied from 1805 – 1878. First by the North West Company (1805 – 1821). And later by the Hudson’s Bay Company. Even though the various dwellings of company employees are well-defined, glass beads found in this context are problematic: 1) the fort was occupied by two different fur trade companies; 2) over time each dwelling would have been occupied by more than one family, perhaps of different ethnic backgrounds; and, 3) we have a poor sample from this fort added to the fact that it was also plowed, mixing up the archaeological materials. The bead assemblages recovered from this fort, presently only allow us to talk about glass trade beads in broad terms. We know their date and geographic area of use. And, that Indigenous women likely purchased them. But, very little else. 27
Example of Completeness: These images of pressed faceted glass trade beads recovered from Fort Vancouver, Washington, USA (as well as small beads from other forts) indicate that while most beads are small, some, such as the seed bead on the right, are almost microscopic in size. Recovery of these beads is problematic and is uneven in archaeological excavations. Uneven recovery leads to biased samples making the results of quantitative comparisons difficult.

A Few Trends in Western Canadian Glass Bead Assemblages

Enough bad news. Now that we recognize the limitations of the historic bead evidence, what sort of information can we garner about historic glass beads, and the people who purchased them, in these records?

Over the years we have recovered a considerable variety of glass trade beads from excavated fur trade forts in Canada. In the west we now have enough information to assemble a basic list of the glass bead types and varieties recovered from these forts. We can also begin to establish date ranges for their use, by applying archaeological seriation. 28

Hypothetical examples of contextual (upper) and frequency (lower) seriation. In the former method, only the date ranges of a particular artifact style are noted. In the latter method both the date ranges and frequency of occurrence within that range are noted. Many artifacts, including our automobile styles, or your eyeglass frame styles, have a range of use and also follow a curve of popularity. Once on the market a certain artifact type or style continually gains in popularity, reaching a peak, and then declines as other new styles are introduced.
Major Types of Glass Beads

In Table 1 (below) I have listed the major glass bead types (and when available, bead varieties) found at a number of western Canadian fur trade sites. 29 From this list, I have summarized the major bead types and what they looked like, using the Kidd and Kidd bead classification scheme (see the visual images below).

Table 1. Major Glass Trade Bead Types.

FortOccupation DateCompanyBead Types (Kidd and Kidd Classification System)
George1792 -1800NWCIa, IIa, IIb, IIg, Iva, WIb, WIc, WI, WIIIb, WIIId, WIII(oval/leaf, floral)
George, Plantation1800 – ????Ia, IIa, Wic, WIIIc* (oval/inlay lines)
Rocky Mountain House1799 – 1834HBCIa, IIa, WIb, WIc, WIIe
Rocky Mountain House1799 – 1821NWCIa4, Ia5, Ia15, Ia19, Ia*, IIa12, IIa14, IIa56, IIa59, IIa*, Iif*, IIIa3, IIIa*, IVa6, WIb*, WIc1, WIc3, WIc*, WIIIb(oval/leaf, floral)*
Edmonton/Augustus I1795 – 1800NWC/HBCIa, Ivb
Rivière Tremblante (Saskatchewan)1791 – 1798NWCIa2, Ia4, Ia7, Ia16, Ia19, Ia*(a), Ia*(b), Ia*(c), Ia*(d), Ib*(a). Row 3: IIa7, IIa12, IIa14, IIa17, IIa47, IIa56, IIa59, IIa*(a), IIa*(b), IIa*(c), IIa*(d), IIa*(e), IIa*(f), IIa*(g), IIb*(a), IIf*(a). Row 4: IIIa1, IIIa3, IIIa4, IVa6, WIb1, WIc3, WIc*(f), WIIIb*(b), WIIIb*(c), WIIIb*(f), WIIIb*(g), WIII(oval/leaf, floral)
Victoria1864 – 1898HBCIc13, If3, If, Ia18, Ia20, Ic(facetted), If9facetted), IIa7, IIa8, IIa13, IIa41, IVa6, Iva9, Iva18, WIb2, WIb7, WIb11, WIb16, Wic8, WIIc(facetted), WIIIb, IIa2, IIa3, IIa12, IIa16, IIa23, IIa27, IIa28, IIa36, IIa37, IIa40, IIa41, IIa47, IIb68, IVa6, IVa7, IVa9, WIb8, WIb11, WIIIa1  
Edmonton/Augustus III1810 – 1813NWC/HBCIa, IIa, Ib, WIb, IV?
Edmonton/Augustus II/IV1813 – 1830NWC/HBC 
Edmonton V1830 – 1915HBCIa4, Ic4, Ic10, IIa4, IIa6, IIa13, IIa17, IIa31, IIa56, IIb18, IIf1, IIf2, IIIf, WIc1, WIc12
Buckingham House1792 – 1800HBCIa, Ib, IIa, IIIm?, IIIk?, WIII(oval/leaf, floral), WIIIa
Last Mountain House (Saskatchewan)1869 – 1872HBCIc, IIa, Iva, WIb, WIc, MPIIa
Lac La Biche1799????IIa, IIIa, WIc
    
Nottingham House1802 – 1806HBCIa4, Ia19, Ia(not in Kidd), IIa2, IIa12, IIa14, IIa47, IIa56, IIa*, IIb, IIf, Iva6, IIIa3, WIb, WIb*, WIc1, WIc*, WIIe
Wedderburn1815 – 1817HBCIIa12, IIa14, IIa59; IIa
Chipewyan1803 – c.1900NWC/HBCIc13, IIa2, IIa11, IIa13, IIa14, IIa28, IIa34, IIa37, IIa40, IIa41, IIa43, IIa56, IIa58, IIf2, IVa3, WIb10, WIc1, WId2, WId3, WIc16, WIc11, WIIba, WIb15, WIb7, WIb2
Vermilion II1830 – c.1930HBC1a, IIa, Iva
Boyer’s Fort (1988 investigations only) 1788- 1792NWCIa, IIa
Vermilion I1798 – 1830NWC/HBCIa, IIa, WIc, Ib10, IIb, If, WIb, WIc, WIIIb, WIII(oval/leaf, floral)
Dunvegan I1805 – 1878NWC/HBCIf5, IIa6, IIa13, IIa18, WIc1, WIc11
Dunvegan II1878 – ??HBCIIa2, IIa37, IIa39, WIb11, WIb12
Rocky Mountain Fort (British Columbia)1794 – 1805NWCIa, IIa, WIb, WIc, WIIc, WIIIb, WIII (oval, floral)
Wegg’s House (Manitoba)1795 – 1796HBCIa, Ib, WIb, WIc, WIc1
Fort Union (North Dakota, USA)1829 – 1865American Fur Trade CompanyIa, IIa, Ic, IIIc, IVa, IIbb, IIh, Ibb, IVb, WId, WIb, WIe, WIc, WIIIa, WIIIb, WIIId, WIIIh, MPIIa, WMIa, WMIIb, WMIIc, BIf, BIg, Bia, WIII(oval/leaf, floral)
NWC – North West Company; HBC – Hudson’s Bay Company; ?? – Unknown; * – new bead types.

(This table is a work in progress. There are still some historic sites missing. Reports on others have yet to be written. Not all beads were identified to specific variety; this will require more detailed re-examination of the original assemblages).

Thus far we have identified 36 major glass bead types from these western Canadian fur trade posts (and one American post), dated between c.1788 – 1935. They represent the four major bead manufacturing methods (wound, drawn, mold/pressed, and blown). 30 The most popular beads, in terms of quantity, are drawn glass beads which make up more than 95% in most fur trade glass bead assemblages. And the majority of drawn beads are very small (<3mm in diameter). These small beads become increasingly popular through time.

Examples of wound glass trade bead types found in the western Canadian fur trade post archaeological assemblages. A type refers to the label on the left side of each row of beads (e.g., WIIIa, WIc). The additional numbers below each bead (e.g., WIIe1, WIIIc1) refer to varieties based on different shapes, sizes or colors. Not all the varieties shown here have been found at the fur trade forts. But at least one or more variety in each of the major types has been found. Also, each of the fort assemblages are samples, and, with few exceptions, do not represent the total number of glass beads types potentially present at these sites. Therefore, both the glass bead types and varieties could change with additional sampling, or excavation of fur trade sites not yet excavated. 31
Examples of major types of drawn or tubular glass beads found at western Canadian fur trade posts. This is the most common bead type present in fur trade assemblages. And the most common drawn beads are the tiny ‘seed beads’, usually of the IIa variety above and less than 2mm in diameter. These beads, also referred to as embroidery beads, gained popularity throughout the fur trade as beads were used increasingly more for creating large patterns on garments, instead of just necklaces, earrings, or strung on leather fringe. Among Great Plains Indigenous groups, for example, “…it is probable that very few embroidering beads were used by the Blackfeet before the American Fur Company opened its trade with them in 1831.” One of the benefits of having archaeological samples of these bead types from forts spanning a long time period, allows us to document when various Indigenous groups first adopted them, and when they reached their popularity in various regions in North America 32
Dating Glass Beads

We cannot determine, from the archaeological record, when beads were first manufactured, or ceased to be manufactured. But, we can at least get some idea of their dates of use. And, in a few cases, where our samples are robust, document their relative popularity through time. Then, with this knowledge, we can date archaeological sites or bead assemblages with unknown dates.

Some glass beads are more time-specific than others. For example, if we only look at their presence/absence (contextual seriation) the drawn, round (type ‘IIa’) beads occur at nearly every fur trade site resulting in a time range of use between 1788 – c.1872 (and likely much longer). Others such as the wound, oval, monochrome (type WIc) bead varieties have a slightly narrower range of use, based on their presence or absence at fur trade archaeological sites (c.1791 – 1869).

This figure shows fur trade sites which contained wound, oval, monochrome WIc glass bead types. The date range of occupation for each fur trade site having this bead type is plotted. Based on this evidence, the earliest known use of this bead type is based on the earliest dated site it was found at. The latest known date of use is based on the beginning of the latest dated site the bead type occurred at. Using only a presence/absence measure (or contextual seriation) it would be difficult to date sites of unknown age accurately with only this bead type (because the time range is so wide). Note also that this wound bead type is one of the earliest present at western Canadian fur trade sites. It occurs at the major fur trade company sites, including the American Fur Trade Company in the USA.

Examination of the range of use of the more elaborate wound IIIb(2) (leaf/floral oval beads) variety indicates they were only used between 1791 – 1829:

Date range of wound, oval glass beads with leaf/floral design (WIIIb(2) is between 1791 -1829, based on their presence at six western Canadian and one American fur trade post. Also, these beads, are mostly associated with the North West Company (NWC). According to some bead experts 33 this might be the elusive ‘China flowered‘ bead listed in the 1825 Peace River men’s debt lists. The beads are white, resembling porcelain or china, thereby getting their name. And this bead type (which comes in numerous designs and colors) is the one of the few beads with a floral design on it. Although glass beads were imported from China, this specimen was likely made in Venice (see the Venetian sample bead cards). Unfortunately, many of the names of glass beads in the fur trade records cannot be accurately matched with those found in the archaeological record because of either poor or inconsistent documentation.
Popular Glass Beads – A Matter of Fashion?

From Joseph Isbister, Albany Fort, 24 August 1740:
“The beads that were indented for were a different sort from those remaining which go off at another time, the Indians being very much given to change their fancies.”

Joseph Isbister’s remarks brings up a word, about Indigenous People changing styles of beads, which we all are familiar:

FASHION!

Archaeological contextual seriation suggests that some glass bead types span a certain range of time. And then disappear being replaced by other bead types or styles. Why did this happen?

Ethnologist, Judy Thompson, suggests that Indigenous art (including beading) acts like fashion. Artistic trends and styles, “…came into vogue and were replaced with new ideas and techniques. Thompson challenged the old ideas of culturally pristine, static, unchanging tribal styles, subsequently polluted by outside influence. She identified a vigorous aesthetic climate….a Kroeberian analysis of artistic climax and decline.” 34

Glass trade beads and dentalium from NWC/HBC Fort Vermilion I (c.1798 – 1830). Even at a fur trade site occupied only a little over thirty years, we see a variety of bead types, which were used in combination or replaced earlier styles. Dentalium was highly prized by Indigenous Peoples, even with the introduction of glass beads. But tastes changed as different kinds of beads were introduced for trade.

Is this what our glass trade beads are doing? Are they simply objects of fashion for Indigenous People purchasing them? Are they going through cycles of ‘climax and decline‘, much like many of our styles today? To further determine whether fur trade glass beads are reacting this way, we need to examine some of them in more detail using frequency seriation where possible. 35

To determine the popularity of a specific glass bead type or variety, we need to look at that bead’s proportional frequency through time (and space, if possible). To clarify what I mean, I will use only a few glass bead examples here.

With the available fur trade assemblages, I have calculated the relative percentages for wound, oval, monochrome (WIc), wound, oval floral/leaf (WIIIb), and wound, round, ‘Kitty Fisher’s Eyes’ (WIIIb, also known as ‘skunk beads’) bead types. These relative percentages are then plotted to time period:

This figure shows the relative percent of three major wound bead types (WIc, WIIIb KFE, and WIIIb (leaf/foral) plotted to time period using the western fur trade fort bead assemblages. Relative percent was computed by dividing the total number of each bead type by the total number of wound (WI) beads in each fort assemblage spanning a time period of c. 1750 – 1881. 36 The graph shows an increase and then decline in the relative percent of each of these bead types. Unfortunately the sample of fur trade sites is small, so the results are currently only a crude approximation. What these results show however, is that each glass bead type might be following a curve (of gradual increase, peeking in popularity at the turn of the 19th century and then declining over time). There are a few things noteworthy about this graph: 1) The differences in the relative percent of each bead type (once we have more archaeological bead assemblages to work with) through time make it possible to date assemblages of unknown dates; and, 2) if the this type of curve (which comes in many shapes) holds up with a larger sample, then these bead types follow a typical ‘fashion’ curve: after its initial manufacture each bead style gains in popularity, finally reaching a peak in popularity and then gradually declines in popularity until no longer used. I call this a fashion frequency curve which describes quantitatively how fashions/trends (whether in clothing, automobiles, or eyeglasses) act. Fashion frequency curves come in many shapes depending on how frequently the object is consumed (e.g., rapid acceptance and decline, resulting in a very steep curve; to gradual acceptance reaching a peak and then a gradual decline resulting in a more gradual curve; and everything in between these two curves).

So, it seems that different bead styles, are not so much an indicator of static cultural traditions and identity, as they are about individual affiliation or differentiation. And a constant need to acquire new bead types as they become available. But each of these bead types could also be expressing group identity if we examine their use among specific Indigenous groups. 37 Also, it is currently unknown how much of this change in glass bead styles was the product of choice among Indigenous People, as opposed to the manufacturer dictating styles, constantly coming up with new ones to promote trade. It’s likely a little of both but very difficult to accurately document. But, there is a lot of circumstantial evidence suggesting that Indigenous groups dictated what type of beads they wanted. And they sought new styles as a means of status and distinction from their peers. 38

“Unable to provide the Indigenous men with their request, they counter offered with a “watch, handkerchief, a bunch of red beads, and a dollar….which was refused. Instead, the Indigenous men wanted beads they described as “tiaco-mo-shack” described as blue “chief’s beads” (Dubin 2009, 276); both sides of the trade were thus left empty-handed.” 39

Combining the New and Old Traditions

More traditional methods of adornment were not immediately abandoned and quite often simply combined with glass bead adornment.

Sketch of a Inuit brow band collected at Repulse Bay by Captain Charles F.
Hall in the early 1860s. The band was made from seal or caribou skin. It has a row of
suspended seal teeth beads. Only the eleven central teeth have strings of alternate light and dark beads. An example of integrating new glass trade beads with traditional beading materials. What alludes us most in many of these historic examples is meaning. Was there social or spiritual meaning to using seals teeth, and only using strung beads of the central eleven strings? Or the colors of the beads used? Probably. Unfortunately traders or explorers rarely collected this information. Courtesy of Karlis Karklins. 40

Based on historic documents and historic Indigenous artifacts, in western Canada Indigenous People retained their traditional bead forms (e.g., use of dentalium, elk canines, etc.) long after the introduction of the glass bead. This fact is born out archaeologically. For example, at the early period western forts, shell and bone traditional bead artifacts are present. 41 It is unclear whether these numbers represent changing Indigenous traditions and tastes, or growing unavailability of traditional beads. Nor is it known how much these figures differ from region to region.

Some traditional Indigenous beading methods left none or little archaeological evidence. Numerous historic references suggest that Indigenous People retained porcupine quillwork long after the introduction of glass trade beads. Glass beads were combined with quillwork.

“[Porcupine quillwork]…was never replaced by beadwork throughout the ‘real’ bead period, save possibly for the decoration of women’s dresses. Rather the two crafts existed side by side. The areas of decoration and the designs were much the same in both techniques.” (Ethnologist John Ewers describing Blackfoot clothing and decoration. Brackets mine) 42

This First Nations girl’s dress, collected by George Catlin, contains glass beads, quillwork, and painted decorations. According to Wayne Davis (1972:44) among the Blackfoot in the US: “This was particularly true of the last quarter of the nineteenth century which witnessed a florescence of Blackfeet beadwork and a decadence of quillwork.” 43

Other fragile organic materials, such as seeds, were also used as beadwork. And, unless carbonized or found in some other well-preserved context, might not survive in the archaeological record. Or not identified as beads. Lawrence J. Barkwell (Coordinator of Metis Heritage and Historic Research, Louis Riel Institute) descried how the Metis used Wolf Willow seeds as beads, even when glass trade beads were present. 44

A combination of wolf willow and glass seed beads used to make necklaces (top left). A close-up of wolf willow seeds showing the long lighter colored lines adding structure and design to the seed. 45

Many of these more traditional types of beading (i.e., dentalium, quillwork, and use of older forms of glass beadwork) have seen a resurgence in recent years as Indigenous artists identify with their histories.

Contemporary Indigenous beaders, by studying traditional beading techniques, have resurrected some of the Indigenous traditional forms of beading; such as making the once highly valued dentalium shell beads into earrings and necklaces. As Gwich’in beader Tania Larsson explains, it was her desire to retain traditions and identity: “I always wanted to wear jewelry that represented my Gwich’in culture and it was really hard to find that.” 46 So, perhaps we haven’t finished that quantitative traditional bead curve representing the popularity of Indigenous traditional beadwork as we continue to follow it into the 21st century. 47
‘Oh, Those Damn Seed Beads’

This was the cry that often went up when excavating at historic period sites. Too much of good thing. Thousands of tiny glass seed beads scattered in the dirt could make any archaeological investigation come to a grinding halt. Seed beads are really small (<2.0mm in diameter) drawn, tubular- or round-shaped beads that comprise most of the glass beads we find at fur trade sites. Sometimes they make up over 95% of the entire glass bead assemblage. 48

And because they are so small, they create problems when excavating. Most of them would fall through our conventional one-quarter inch mesh screens. To avoid this, we often use fine screens to recover them. But, if we used only fine screens to sift through all our dirt, little would get done. So, we often use a combination of both. 49

Photograph on the left is from the Hudson’s Bay Company Fort Victoria, Alberta, Canada of a beaded garment or bag. All the beads are the small glass seed beads used to decorate the object. One wrong stroke with the trowel and we would have lost this unique artifact. We would have only found hundreds of tiny beads scattered on the ground in its place. The photograph on the right shows seed beads found at the Fort Union site, North Dakota, USA. Seed beads, while always important throughout the fur trade, continued to become more popular throughout the nineteenth century. Indigenous People used more of these small beads for embroidery for larger designs and patterns on garments and other objects. 50

The documentary evidence shows that these small beads become increasingly popular over time. More small beads were needed as decorating large areas of skins or cloth with designs increased. 51

These two images illustrate changes in the use of glass beads by Plains Indigenous through time. Increasingly throughout the 19th century, many Indigenous groups used the much smaller glass beads to embroider large areas of cloth and leather (right), unlike the larger beads used as hair and necklace decorations (left). 52

Over the years archaeologists have done little with these beads except classify (to color and shape), count, and occasionally curse them. But a detailed look at them suggests much more. Over time they changed in size, shape and become more uniform. 53

Drawn glass seed beads from some of the western Canadian fur trade forts showing the major changes through time. The upper diagram shows the gradual change from tubular- and square-shaped seed beads most common in the late 18th century – early 19th century archaeological assemblages, to round or circular seed beads by the mid-19th century. 54 The glass seed beads are more frequently smaller after the mid-19th century, as the two photographs from Fort Riviere Tremblante and the later Fort Vermilion II beads indicate. There is also less variation in size, allowing First Nations and Metis women to sew more uniform, neater designs. The bottom photograph shows the amount of variation in bead shape of the larger seed beads on the left side, as opposed to the smaller, later period, more uniform seed beads on the right side. 55

It’s hard to imagine Indigenous women threading some of these smaller seed beads. As the above image shows some of these beads were 1mm or less in diameter. But they preferred the smaller, more uniform beads, allowing them to produce beautiful, more intricate designs in an array of colors.

This beaded cushion is from Fort Vermilion, Alberta, Canada. It was made by Metis Francoise LaFleur Moberly, daughter of Jean Baptiste Lafleur. c.1879-1885. Metis women were superb embroiderers and artists. Because of their exquisite floral designs (in both silk embroidery and beadwork), the Metis became know as the ‘Flower Bead People‘, crafting floral beaded works in a rich variety of colors. 56

A Few Closing Thoughts About Fur Trade Glass Beads

Another change, not discussed much here, occurred with those tiny seed beads. By the 1860s the number of bead colors had increased. But, that’s a topic for my next segment on glass trade beads. I’ll stop here before this blog becomes a book.

Besides providing you with some basic historical information about glass trade beads in the Americas, in particular Canada, I hope this work is valuable to the new Indigenous beaders out there. A lot of this information is not very accessible. A lot of our work never reaches the general public as much as we would like.

This second segment on historic glass beads focused more on some this artifact’s technical aspects. And the changes that occurred in glass bead styles over time. Some of these changes were related to changing European bead-making techniques. Others were driven by Indigenous People demanding either new or certain types of glass bead styles. The millions of tiny little seed beads represent a change to just not using beads as adornment in hair, ears or as necklaces. Instead they become works of art and design on clothing, dog and horse paraphernalia, allowing for a incredible degree and range of artistic variation, only possibly seen in pre-contact Indigenous quillwork and painting.

In the next, and perhaps last, segment on glass beads, I’ll examine in more detail Indigenous bead design, focusing primarily on bead color. Is this where group identity and distinctions reside? Is this where we see more cultural continuity? Or, is color, like different bead styles, simply a means of fashion, constantly changing, expressing affiliation or differentiation of individuals in Indigenous society? We’ll investigate further what those colorful glass beads can tell us about this topic?

Footnotes:
  1. This is my first attempt at using footnotes. I hope this format is more satisfactory to my readership. There are those of you who are only interested about basic facts and results. And, there are those readers who want more details and references. Hopefully this format addresses both needs.[↩]
  2. In my next segment on beads, I’ll tell you more about the meaning of the color combinations used for this beadwork.[↩]
  3. You can find more information about this artifact in: Timothy C. Losey, et al. 1977. Archaeological Investigations: Fort Victoria, 1975. Occasional Paper No. 3. Historic Sites Service. Alberta Culture, Historical Resources.[↩]
  4. Occasionally in archaeology we can assign artifacts to specific families or individuals, if the documentary or oral evidence is sufficient. However, in most instances we can only say that the glass beads were likely purchased, and the design made, by an Indigenous woman living at these fur trade forts. Little else is known about the owner. For example, was she of First Nations or Metis descent? Were her ethnic affiliations Cree, Chipewyan, Blackfoot, or some other Indigenous group?[↩]
  5. There are many excellent works on historic glass bead manufacture. I will list some of these sources in my footnotes as we go along. My aim here is to provide you with only enough basic information to follow the terminology I use in this blog.[↩]
  6. from Gregory A. Waselkov, David W. Morgan, and Billie Coleman. 2015. Ceramics and Glass Beads as Symbolic Mixed Media in Colonial Native North America. BEADS. Journal of the Society of Bead Researchers. Volume 27.[↩]
  7. http://8weeksinitaly.blogspot.com/2012/08/glass-tour-in-murano.html[↩]
  8. from: Alexander Nesbitt 1878:93-94. Glass. South Kensington Museum Art Handbook. Chapman and Hall, London. Brackets mine[↩]
  9. These images are from Wayne Davis’s M.A. Thesis. 1972. GLASS TRADE BEADS OF THE NORTHERN PLAINS-‘UPPER MISSOURI REGION. University of Calgary, Alberta, Canada. Wayne traveled to a number of major museums and institutions in the United States to look at the bead collections. He found these bead sample cards at the Peabody Museum. He sought advice about glass trade beads from renowned ethnologist John Ewers and archaeologist Waldo Wedel at the Smithsonian Institution.[↩]
  10. From: Karlis Karklins. 2012. “Guide to the Description and Classification of Glass Beads Found in the Americas.” In BEADS. Journal for the Society of Bead Researchers 24[↩]
  11. The glass bead manufacturing industry is much more complex than what I have set out here. There are many good sources describing the history of bead making in considerable detail. Perhaps one of the best for the beginner which is also available online, is this work from the Fort Vancouver Museum Series: Robert J. Cromwell Flynn O. Renard Elaine C. Dorset. Beads. NCRI Curation Series No. 5. This work describes the beads found at the Hudson’s Bay Company’s Fort Vancouver, Washington State, USA. Many of these beads are similar to those found at the western Canadian inland fur trade forts. What makes this work attractive for the beginner are the many excellent photographs of all the glass bead types recovered at this fur trade post. Also a very informative published Journal Series is: BEADS. Journal of the Society of Bead Researchers. This online journal includes a host of subjects on glass beads from all over the world.[↩]
  12. Kidd, Kenneth E., and Martha Ann Kidd. 2012. A Classification System of Glass Beads for the Use of Field Archaeology. BEADS. Journal of the Society of Bead Researchers. Volume 24, Article 7.[↩][↩]
  13. Photograph courtesy of Fort Vancouver Museum bead collection[↩]
  14. Karklins, Karlis. 2012. Guide to the Description and Classification of Glass Beads Found in the Americas. BEADS. Journal of the Society of Bead Researchers. Volume 24, Article 8.[↩][↩]
  15. Kidd, Kenneth and Martha Kidd. 2012. A Classification System for Glass Beads for the Use of Field Archaeologists. In BEADS. Journal of the Society of Bead Researchers. Volume 24(24).[↩]
  16. Image courtesy of: https://www.thebeadchest.com/products/rare-super-jumbo-elongated-russian-blue-tube-beads-25x15mm?_pos=1&_sid=92e5f454f&_ss=r[↩]
  17. Mathew Stirling, in a 1947 paper entitled: Arikara Glassworking. Journal of the Washington Academy of Sciences 37:257-363, searched the early ethnographies for references to this practice. Wayne Davis, 1972, continued Stirling’s work, quoting other sources in his M.A. thesis and a published paper: “Time and Space Considerations for Diagnostic Northern Plains Glass Trade Bead Types.” In Historical Archaeology in Northwestern North America, edited by Ronald M. Getty and Knut Fladmark. The University of Calgary Archaeological Association. Although most of his work focused on historic Plains First Nations in the USA, his approach and questions he asked have important implications for historic glass bead archaeology in Canada.[↩]
  18. From G. F. Will and H. J. Spinden. 1906. The Mandans. A Study of Their Culture, Archaeology and Language. Peabody Museum of American Archaeology and Ethnology, Harvard University Paper, Vol. III. Cambridge: “The secret is only known to a few. Glass of several colors is pounded fine, each color separate;this is washed in several waters until the glass stops staining the water. They then take an earthen pot of some three gallons, put a platter in the mouth of the pot which has a nitch on its edge through which to watch the beads. Then some well seasoned clay, mixed with sand and tempered with water till of consistency of dough, is taken, and from it are made number of little sticks of the size of the hole desired in the bead. these are heated to a red heat and cooled again. The pot is also heated to clean it. Then small balls of the clay are made to serve as pedestals for the beads. The powdered with a little wooden paddle, where is is paddled into an oblong form, the clay stick is then laid across it and the lass is wound regular. To put in other colors the other end of the paddle stick, which is sharp, is used to make a hole which is then filled with another colored glass. A hole is then made in the center of each pedestal and a bead stuck in it . Then the platter is put in the coals and the pot is inverted over it; dry wood is placed about the whole and burnt….When the beads are whitish red and grow pointed, they are taken off. The clay center is picked out with an awl.”[↩]
  19. Solid glass melts at 2552-2912F. Crushed or powdered glass melts between ~1300 – 1,500F. A large campfire can reach temperatures of over 1,100F. The clay pot might have increased these temperatures if the glass melted to be able to form beads. I’m searching for crushed or powdered glass as I write. I can’t wait to try out this technique.[↩]
  20. “Long, long ago, we are told, the Cheyennes manufactured for themselves what might be called beads, but perhaps were small charms made of some vitrified substance—perhaps of pulverized glass—after the white people were met. Such beads are said to have been made within two or three generations. Many of them were fashioned in the shape of a lizard; that is, a four-legged object with a long tail and a small head. The ceremony connected with making such objects was secret, and he who wished to possess one was obliged to go to some person who himself had been taught the ceremony, and to ask that person to teach him how to make one. A payment was made for the service. The two went away together to conduct the ceremony in private. It is believed that in old times, long before the whites came, these beads were made from the quartz sand found on ant-hills, and that this was melted in an earthen pot. The secret of making them now seems to be lost.
    In later times they melted the glass, with which to make the beads, in the ladles used in melting lead for their bullets. These ornaments or charms were made in various shapes, often in the form of a lizard, as said, or flat on one side and round on the other. Sometimes they had a perforation through which a string might be passed; at other times merely a constriction between two ends about which a string was tied. The mold was made of clay.” George B. Grinnell. 2008. The Cheyenne Indians. Their History and Lifeways. World Wisdom)    )

    Grinnell also described how Arikara women used only a frying pan, wooden tool and a bend of sand to ‘remake the beads’. ((This is how Davis phrased it. I haven’t looked up Grinnell’s original quote. If this is the case, they might have been crushing glass trade beads to make their own types of beads.[↩]

  21. George Catlin. 1848. Illustrations of the Manners, Customs and Condition of the Norther American Indians. London.[↩]
  22. Photograph courtesy of Fort Vancouver Museum bead collection. Robert J. Cromwell, Flynn O. Renard, Elaine C. Dorset. Within the Collection. A Look Inside the Fort Vancouver Museum. BEADS, NCRI Curation Series No. 5.[↩]
  23. Bead information from: Arthur J. Ray. 1974. The Indians in the Fur Trade. University of Toronto Press. HBCA B. 239/d/10-72[↩]
  24. Data from: Karlis Karklins. 1983. Nottingham House: The Hudson’s Bay Company in Athabasca, 1802 – 1806. National Historic Parks and Sites Branch. Parks Canada. HBCA B. 39/a/2, fols. 65-68.[↩]
  25. Occasionally glass beads can be assigned to individual households within the fort, when dwellings are well defined and occupation periods are short. We can also assume that both selection and use was gender-specific, being the domain of the Indigenous women working at the forts. It was a rare man that worked with glass trade beads.[↩]
  26. Record from HBCA B.224/d/2[↩][↩]
  27. Prior to the 1880s all women at these inland forts were of Indigenous descent. Thus, at the early forts we can be confident that either a First Nations or Metis woman purchased and used the beads. Diagram from: Heinz W. Pyszczyk. 1983. Historical and Archaeological Investigations: Fort Dunvegan, Alberta (GlQp-3). Final Report, Permit 82096. On File, Archaeological Survey of Alberta.[↩]
  28. Seriation is a relative dating technique in archaeology. Artifacts from numerous archaeological sites are placed in chronological order. For example, often we don’t know when a particular bead was initially made. However, by identifying which beads were found at well dated fur trade sites, we can begin to place their range of use dates in chronological order. In this article I’ll use contextual and frequency seriation. In the former method, only the presence or absence of specific glass bead types recovered from well dated fur trade sites is noted. In the latter method the relative frequency of specific bead types recovered from trade sites is quantified through time.[↩]
  29. These sites date from c.1788 to post-1900 A.D. They mostly come from central and northern Alberta, but also Manitoba, Saskatchewan, and British Columbia. I have also included the Fort Union, North Dakota glass glass bead assemblage on this list. It represents a Great Plains assemblage of which there are few in Canada. It contains a well documented, extensive list of beads. I also occasionally refer to the Fort Michlimackinac (c.1715 – 1781) glass bead assemblage which spans a much earlier date than any of our interior western forts. Also, most of the bead assemblages are only samples of varying sizes recovered from these posts. At some posts, over 50,000 beads were recovered; at others, as few as 50. A few posts, such as Nottingham House, were completely excavated. Thus, it should be kept in mind that the number of bead types present at each post may not be a true indicator of the actual number of bead types. Since number of bead types is usually a function of sample size, these numbers are inaccurate for making direct comparisons of number of bead types between fur trade posts.[↩]
  30. wound bead types = 16; drawn bead types = 13; mold/pressed bead types = 4; blown bead types = 3[↩]
  31. The bead type images are from: Kidd, Kenneth E., and Martha Ann Kidd. 2012. A Classification System of Glass Beads for the Use of Field Archaeology. BEADS. Journal of the Society of Bead Researchers. Volume 24, Article 7. This journal is online.[↩]
  32. Quote is from: Ewers, John C. 1954:42-43. The Indian Trade of the Upper Missouri Before Lewis and Clark: An Interpretation. Bulletin Missouri Historical Society, 8(1), St. Louis.[↩]
  33. Karlis Karklins, personal communication[↩]
  34. Quote from Sherry Farrell Raceette. 2004. Sewing Ourselves Together: Clothing, Decorative Arts and the Expression of Metis and Half Breed Identity. Ph.D. Dissertation. University of Manitoba. Judy Thompson. 1983. Turn of the Century Metis Decorative Art from the Frederick Bell Collection. ‘She Set the Fashion for the Whole North’. American Indian Art Magazine 8(2):37-53[↩]
  35. I believe the need to differentiate or affiliate oneself with others, is a pan-human behavioral trait – humans, regardless of time period or specific culture, react to new objects in a similar way. In many historic and contemporary societies a few individuals, able to obtain new objects, use them as status symbols. Once those styles acquire a certain degree of popularity within the population, new objects are acquired as a means to differentiate oneself from others. There are exceptions to the rule, however. The Amish, Hutterites and Mennonites, based on religious beliefs, discouraged the use of material culture to distinguish oneself. Instead opting for a uniformity in clothing and other objects. North West Coast Indigenous Peoples accumulated wealth (objects) and then gave it all away, thereby gaining status.[↩]
  36. The early 1750 median fort date represents Fort Michilimackinac (1716 – 1781) located in the Great Lakes Region. This bead assemblage was included because it has a much earlier date than any of the western forts, allowing us to determine the emergence of each glass bead type.[↩]
  37. If some groups retained them much longer, or didn’t use them at all, they might then signify group identity. Our ability to do this kind of comparative analysis is limited, since we often don’t have the specific bead assemblages representing specific Indigenous groups available to us.[↩]
  38. Again, I emphasize that this process was not consistent among all Indigenous groups. Some historic Indigenous groups, such as our North West Coast First Nations, had highly ranked societies, while others in the interior of Canada, were less so.[↩]
  39. From Malinda Gray. 2017. Beads: Symbols of Indigenous Cultural Resilience and Value. M.A. Thesis, University of Toronto. Brackets mine. This is the encounter between the Lewis and Clark expedition Indigenous groups in the early 19th century.[↩]
  40. Karlis Karklins. 1992. Trade Ornament Usage Among Native Peoples of Canada. A Source Book. Publishing, Supply and Services Canada, Ottawa, Canada. This is a great source book on historic Indigenous ornamentation and decoration in Canada. Lots of historic descriptions, illustrations and photographs of ornament use.[↩]
  41. As high as 33% at Fort Vermilion I (c.1798-1830), nonexistent at Nottingham House (1801-1804), 1.3% at Riviere Tremblante; 26% at Rocky Mountain House (1799-1821); and 34% at Fort Union (1829-1860); 0% at Fort Edmonton (c.1830-1915); 4% at Fort Victoria (1864-1898) and 0% at Last Mountain House. The general trend is towards the use of fewer traditional beads at the later period forts when these figures are averaged: Traditional beads at pre-1830 forts = 20.1%; post-1830 forts = 7.5%.[↩]
  42. John Ewers 1945:34. The Indian Trade of the Upper Missouri Before Lewis and Clark: An Interpretation. Bulletin Missouri Historical Society, 8(1), St. Louis.[↩]
  43. This image appears in Davis’ M.A. Thesis, pp.216. There is no information about group affiliation or date.[↩]
  44. From: https://www.scribd.com/document/23383369/Wolf-Willow-in-Metis Culture?fbclid=IwAR1zpP2bCRastXKYbzrThONp5SerNGLn1c953aDs_GrKIG_ZSyrOIdzqGoc. Forrest Hagen, Donalda, Alberta, who makes his own wolf willow seed jewelry, introduced me to this method.[↩]
  45. Upper left photograph courtesy of Lawrence Blackwell. Upper right image, courtesy of Forrest Hagen, who also posted more detailed information about this bead art form on my first bead segment.[↩]
  46. From: Christian Allaire. 2017. Meet 8 Indigenous Beaders Who Are Modernizing Their Craft. VOGUE[↩]
  47. Image on the left, courtesy of: https://ca.images.search.yahoo.com/yhs/search;_ylt=AwrVk9g9H2NidjEAUgUXFwx.;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Nj?p=images+of+dentalium+jewelry&type=Y143_F163_201897_102620&hsimp=yhs-001&hspart=trp&ei=UTF-8&fr=yhs-trp-001&guccounter=1&guce_referrer=aHR0cHM6Ly9jYS5zZWFyY2gueWFob28uY29tL3locy9zZWFyY2g_aHNwYXJ0PXRycCZoc2ltcD15aHMtMDAxJnR5cGU9WTE0M19GMTYzXzIwMTg5N18xMDI2MjAmcD1pbWFnZXMrb2YrZGVudGFsaXVtK2pld2Vscnk&guce_referrer_sig=AQAAAMODv0KntyIrZydIfvb_4kvXiteoSqe3nFUkbYEjFVzZgbkkFp5vthaTXHvA8c070096Lzk5zBhPP_2Qxb0PujBv8Ha-yUjvbVHKcX3eckrIChm9VNniLL07gfdXaVJ1gHsD1ZEjq2BdJ8Pfi5i6IRDCbQfCE3Jkb7t4RBzWQuBH#id=7&iurl=https%3A%2F%2Fimg1.etsystatic.com%2F076%2F0%2F11489053%2Fil_fullxfull.815585791_qyb9.jpg&action=clickImage on the right courtesy of: https://i.pinimg.com/originals/6e/28/04/6e2804fea7702df59ca35da3158c3267.jpg.[↩]
  48. My former colleague, Mike Forsman recovered over 20,000 seed beads in the Main House excavations at the NWC Fort George (c.1792-1800). At Fort Vancouver, Washington State, USA, Lester Ross recovered over 100,000 glass trade beads, mostly of the ‘seed bead’ variety.[↩]
  49. Because the recovery methods are so erratic from one fort excavation project to another, quantitative comparison of seed beads to other larger types of beads, or between forts, is virtually meaningless.[↩]
  50. Image on the right from: Steven Leroy DeVore. 1992. Beads of the Bison Robe Trade: The Fort Union Trading Post Collection. Friends of Fort Union Trading Post, Wilson, North Dakota.[↩]
  51. According to Wayne Davis (1972:50) describing the Plains tribes: “In the “modern” period, that is, after 1840, practically everything which the tribes made of cloth or skin shows beadwork. Every kind of garment for both sexes, bags of all sizes’ and shapes, cradles, horse furniture, toys and tipi furnishings, and ceremonial paraphernalia are the principal objects’ which are beaded. The contrast between this profusion and relative scarcity of beadwork in the early period point to the great increase of the craft in the modern period.”[↩]
  52. Left Image: Mandeh-Pahchu, Mandan Man, painting by Karl Bodmer. Right Image, courtesy of George Ranch Museum Collection (https://texashistory.unt.edu/ark:/67531/metapth8340/m1/1/high_res/) [↩]
  53. Wayne Davis, in his 1972 M.A. Thesis noted: “Douglas (1936:91) noted that “seed” beads were 1/16 to 3/32 of an inch in diameter, and varied in thickness considerably, especially the older specimens. Often he found that one edge was thicker than the other. Improved methods of manufacture in today’s bead factories make for much more regularly sized and shaped beads. The uneven nature of a sampling of beads would therefore suggest something
    of their possible age.”    [↩]
  54. Fort example at the northern HBC post, Nottingham House (1801 – 1804), 15% of the glass seed beads were tubular-shaped. At the later Fort Vermilion II site (c.1830 – 1935) only 0.5% were tubular-shaped. When examined temporally, other forts produced similar results.[↩]
  55. In his M.A. thesis, Wayne Davis, although he did not provide any quantitative analysis from his American Plains posts, already predicted these temporal changes in American Indigenous glass seed beads, that we can now quantify from our Canadian archaeological glass seed bead assemblages.[↩]
  56. Photograph courtesy of the Fort Vermilion Museum, Alberta, Canada.[↩]