FROM CARD: "WOODEN, OF PAINT BRUSH. CARVED."Appears Northwest Coast style rather than Eskimo.

From card: "Carved."Marked on paddles: Yakutat. Identified as Eskimo on catalogue card but appear more Northwest Coast style? Yakutat is home to a number of Tlingit people. Catalogue card identifies locality as Jackson (i.e Howkan), Alaska. Howkan was originally a Tlingit village, but later became a Kaigani Haida village sometime in the early eighteenth century.

Replica of a clan crest hat in the form of a killer whale, which is the primary clan crest of the Dakl'aweidi clan. The replica is an exact duplicate of the original clan crest hat (E230063) which was repatriated to the Dakl'weidi clan in 2005. The original hat was laser scanned and documented using photogrammetry by the Smithsonian Office of Exhibits Central (OEC). With permission of the clan, the NMNH Education Department filmed the entire replication process. For a detailed description of the replica manufacture process, see the article by Hollinger et al. in the Museum Anthropology Review. The whale's body is machine-carved from a block of alder wood provided by carver Steve Brown. The whale is shaped as if it is emerging from the ocean. Six plugs of human hair hanging off the back of the removable dorsal fin (made from a separate piece of wood plank) symbolize the water falling from the fin (Gushteheen in Tlingit). The dorsal fin is attached by deerskin ties through small holes in the whales back. The hole in the dorsal fin is a common Tlingit design on Killer Whales. It represents the hole in the fin of the first Killer Whales, made by a man trying to escape from an island on which her was marooned. The man put his hands through the holes in the fins and the whales towed him to safety. A series of hand cut and fitted abalone shell inlays over the back of the whale represent water glistening on the back. Abalone shell is also used to highlight the teeth, nostrils, eyes and fins of the whale. The 10 white ermine skins attached with thread to a cotton cloth trailer represent the froth or wake of the water around the whale as it emerges. The cloth trailer is attached with string through small holes in the rear rim of the hat. Deerskin straps attached to either side of the hat are used to secure the hat around the head of the wearer. The eyes and patterns on the fins, back and rear of the whale are in the common formline design of the Northwest Coast. Colors of commercial paints used in the designs are a light greenish-blue, a darker greenish-blue, red and black.Reference: Hollinger, R. Eric, Jr Edwell John, Harold Jacobs, Lora Moran-Collins, Carolyn Thome, Jonathan Zastrow, Adam Metallo, Günter Waibel, and Vince Rossi. 2013. "Tlingit-Smithsonian Collaborations with 3D Digitization of Cultural Objects." Museum Anthropology Review 7 (1-2): 201–53.

SKIN QUIVER - WRITTEN ON IT IS "ARROWS + QUIVER, N.W. COAST AMERICA - COLUMBIA R. EX EX LT. W.M. WALKER USN. MARTIN [sic, probably Marten] SKIN(?)". IT IS MARKED 5414, BUT THAT IS THE WRONG #. QUIVER MAY BE A WILKES/U.S. EXPLORING EXPEDITION OBJECT? HAS BEEN GIVEN # ET24104-0 FOR TRACKING PURPOSES.This quiver, though in poor condition (in 2015), resembles one shown in "Narrative of the United States Exploring Expedition," Charles Wilkes, 1845, Vol. V, p. 238, and described pp. 237-238. This illustration shows a man wearing a quiver, and is captioned "Costume of a Callapuya [i.e. Kalapuya] Indian." Wilkes identifies the Kalapuya quiver as "seal skin" in the publication, but the Kalapuya lived in the Willamette Valley of Western Oregon, so did not usually use sealskin for artifacts. The quiver itself is marked "martin skin". The American marten is a long, slender-bodied weasel about the size of a mink. Seemingly the only explicit reference to a quiver from North America in the Peale catalogue is Peale # 214, which is identified in the Peale catalogue as "Bow, arrows, and fox skin quivers, used by the natives of California." Peale # 214 has not been located in the Anthropology collections. However, Peale # 214 may be the quiver mentioned as acquired by the expedition on p. 253 of "Narrative of the United States Exploring Expedition," Charles Wilkes, 1845, Vol. V. If so, it was acquired in Siskiyou County, California probably, as the publication talks about the southern branch of the "Klamet" (Klamath) River and the lava beds; historically this was a Modoc area. This provenance would conflict with Columbia River one as written on quiver ET24104, so that makes it unlikely to be Peale # 214. In Smithsonian Institution Archives Record Unit 7058, National Institute Records, Box 14, Folder 1, there is a letter from Titian Peale and Charles Pickering to Charles Wilkes dated January 10, 1842, from the US Ship Vincennes. In this letter is of a list of artifacts received by them from the officers of the Vincennes, per Wilkes' instructions that such things should be turned in to be part of the collection, and not retained by individuals. In this list Midshipman Samuel Elliott's material includes objects from California and the Northwest Coast, including 2 fox skin quivers. Lt. Thomas Budd's material includes 1 fox skin quiver from California. It is therefore possible that ET24104 may be one of the quivers listed in that letter, even though Lt. Walker's name is written on it (Walker served on a number of the expedition ships, including the Vincennes.) It is also possible that Walker turned in arrows and a quiver, with only the arrows being registered due to an oversight.

This appears to be a cedar bark mat, rather than grass as originally catalogued. In the 1980's, Jane Walsh found a label in Charles Pickering's hand: "Sts. de Fuca - A. L. Case - Ex Ex V". If this label is correct, the mat would probably be Northwest Coast, rather than Shasta.

CEDAR BARK BLANKET WITH A SINGLE TWIST RAWHIDE FINISH ALONG TOP, AND TWO DOUBLE CORDS FOR TYING. THIS MAY HAVE ONCE HAVE BEEN AN OTTER FUR TRIM. SINGLE-PAIR (3 WARPS) EDGE, & SINGLE-PAIR TWINE WEFT. MARKS: HAS ORIGINAL PEALE TAG, ANOTHER TAG READS, "U.S. EX EX COLLECTED BY R.P. ROBINSON".FROM CARD: "ILLUS. FIG. 20, P. 16 IN A GUIDE TO WEFT TWINING BY DAVID W. FRASER. PHILADELPHIA: UNIVERSITY OF PENN. PRESS, 1989."Catalogue card identifies this as Shasta, but Peale catalogue entry under # 315 lists 315-318 as "Dresses worn by the women of the Classet tribe of natives, Northwest Coast of America, they are made of bark."

PROBABLY MADE OF FINELY TWISTED TWO-PLY CATTAIL (TYPHA LATIFOLIA) LEAF CORD - *SEE* A TIME OF GATHERING BY ROBIN K. WRIGHT, 1991, P. 34, 40, 48.A similar Chinook skirt, from Lewis and Clark, is in collections of the Peabody Museum of Archaeology and Ethnology at Harvard University, # PM 99-12-10/52990. The Peabody Museum website notes that Lewis and Clark "... described at length the unique twined cordage skirts that women in the lower Columbia River area made from cedar bark or cattail leaves, which were valuable commodities in local trade networks." Peabody Museum curator Castle McLaughlin has noted that the Catlin cordage skirts E73291, E73306 and E386547 have red paint applied to them, but this is not typical for these types of skirts. The red paint may have been applied by George Catlin?During the cataloguing of quillwork E386582B in 1948, a tag was found with it that stated "From a Lewis and Clark Chinook Skirt in Catlin Coll". Curator John C. Ewers determined that the tag did not actually belong with E386582B. It is possible that the tag might instead have been associated with Chinook skirts E73291, E73306 or E386547. This tag has not currently been located. Nor can the source of the possible ID of a Chinook skirt in the Catlin collection to Lewis and Clark be determined.

From card: "Wooden cradle; made of single piece of wood, boat shaped, with carved handle at one end; fibre strings at sides to hold child in; remnants of fibre padding inside. Same red and black paint on surface. Apparently this is the cradle illustrated in Mason's Cradles of the American Aborigines USNM Report 1887, Fig. 7, and there erroneously called No. 2574B."A similar cradle, also from George Catlin, is in the collections of the Peabody Museum of Archaeology and Ethnology at Harvard University, # PM 88-51-10/50695.

Attributed on card by curator John C. Ewers as "probably Chinook or Salish." From card: "Waist band of bucksin, with buckskin tie strings; long cut fringe to band; outside of band decorated with vertical floral [fruit?] motives in 1 horizontal row (black and red paint). To inner border of waistband a second fringe of braided mtn. goat hair (?) is attached by skin thongs. Note: Dr. Erna Gunther, Washington State Museum, on visit to USNM, Oct. 13, 1948, stated this definitely of mtn. goat hair, but that she had not seen any other skirts like it from the northwest. She was not famliar with the painted motives. She believed it was probably from an interior tribe of Washington or B.C."