According to donor, basket was "made by Nancy, a Snohomish [woman] August 29, 1901, Tulalip, U.S. Indian Agency, Washington."

FROM CARD: "LOAN: CROSSROADS SEP 22 1988. ILLUS.: CROSSROADS OF CONTINENTS CATALOGUE; FIG.185, P.157. LOAN RETURNED: JAN 21 1993."

From card: "Cedar wood post. One end carved in shape of a human standing on a fish. Used at back of a salmon trap."

The parts of the smoking set now called #E21589 were originally catalogued as three separate numbers - 21587, 21588, and 21589, for the base of the piece, the two side "boats" or canoe-shaped containers for matches and ashes, and the central cup for cigars. However, as the parts are a set and are now all glued together to form one artifact, the piece is now called #21589 only. - S. Crawford and F. Pickering 1-5-2006“Ornamental carving in wood 5 pieces attached. The center for Segars boats upon the side, one for matches and one for Segar ashes.” per White's original catalog in the NAA.On exhibit in NMNH Sant Ocean Hall. 2014 exhibit caption identifies this as a Tlingit oyster catcher sculpture.

E-231014: Painted Wooden Spoon “Haida, British Columbia. Plain form after the home spoon; painted with mythological design in black and red.” (Catalog card)Comment from Graduate Student Research Paper, "A Report on Accession #42610 of the National Museum of Natural History", written by Athena Hsieh in April 2012, for the class "Anthropology in the Museum" taught by NMNH Curator, Dr. J. Daniel Rogers for the George Washington University. Approved for inclusion into notes by Dr. Igor Krupnik. Dr. Krupnik and NMNH has not verified the contents of the comment below, and suggests future researchers verify the remarks before citing Ms. Hsieh. The complete paper is attached to the accession record of this object in EMu. "This spoon is carved from a light-colored wood, possibly cedar, and is painted with a killer whale design on the front. The back of the spoon is undecorated. In describing traditional Haida spoons, Dr. Swanton wrote, “Sometimes they illustrate a story, sometimes they are the crests of the owner, and sometimes they are purely ornamental” (137). The stories most commonly told by the ornamentation on carved spoons were Raven stories, where Raven would occasionally be represented as human figures, both male and female. According to Dr. Swanton in, “only (hunting) members of the Raven clan, on the West Coast, used spoons when they ate black cod. The Eagles used their hands” (Swanton 1905, 57). Spoons were also used in potlatches for feasting and given away as gifts (164). However, most of the spoons Dr. Swanton based this research on were carved from goat's horn. His only mention of wooden spoons in “Ethnology” referred to illustrations of designs from wooden spoons “used in eating soap-berries” (147). This spoon, which has a flat, straight handle, does not appear to have been used as a utensil, suggesting that Dr. Swanton may have collected this from a craftsman selling trade goods. The lack of any complex designs or additional crest images supports this. Citations: Swanton, John R. 1905. “Contributions to the Ethnology of the Haida” in Memoirs of the American Museum of Natural History 8-1. New York: G. E. Stechert. Swanton, John R. 1905. Haida Texts and Myths: Skidegate Dialect. Washington: Government Printing Office."

FROM CARD: "FIRST HEADRING OF "HAYALIKAWI." ILLUS. IN USNM REPT, 1895; FIG. 174; P. 517."

From card: "Ceremonial sheet copper mask used in mortuary ceremonies (killing of slaves.) Inset of nacred abalone shell as eyes & teeth held in position by rivit copper support strips on inside of mask. Skull cover of bear hide attached to top and sides of copper with cord and copper rivets. Design on crescentic extention at the sides near top indicate shoulders. On cheeks indicating ear thus [drawing] ... 9/12/1966 after removal of oxide in the Anthropology Conservation Lab, what appear to be fabric impressions are now visible on the mask surface. This specimen was purchased from the Nugget Shop Inc., - Curio dealers, jewelers, and opticians, Juneau, Alaska, June 1926, Comment: Robert Simpson, Mgr. ...'The mask originally came from Yakutat, I have forgotten the name of the native who brought it in, but it is a genuine article and is probably the only one in existence. It is the finest specimen of Tlingit copper craftsmanship I have ever seen. These were worn by the medicine men at their various ceremonies and particularly when they killed the slaves at the potlatches.' Loaned: Osaka Expo-70, July 1969 - Jan. 1971, and returned 12-7-1970." See BAE 46th Annual Report, p. 34, where acquisition of this artifact is discussed.Illustrated Fig. 15, p. 95, and discussed pp. 92-93 in Lenz, Mary Jane, 2004, "No Tourist Material: George Heye & His Golden Rule," American Indian Art Magazine, 29(4):86-95, 105.This object is on loan to the Anchorage Museum at Rasmuson Center, from 2010 through 2027.From 2008 Anthropology Conservation Lab treatment report by Kim Cullen Cobb: Copper shaman's mask in the shape of a bear's head with fur sewn to back. The mask is fabricated from sheet copper that has been shaped into a deep concavity, likely by sinking - or hammering - the copper into a concave surface. The anatomical features of eyes, nose, mouth and brow ridges have been emphasized by repousse and chasing. Chased lines define eyebrows, eyes and nose, and chased symbols have been worked into the ears and cheeks. Abalone shell has been inserted into holes in the eye and mouth area to describe eyes and teeth. A backing of copper sheet, riveted to the back of the mask in the area of the eyes and mouth, holds the abalone elements in place. Bear hide is attached to the back of the mask; the hide is sewn with twisted sinew to the edges of the mask at the top and sides through holes drilled through the copper sheet; the hide is also riveted to the brow of the mask using copper rivets. There is a seam down the center back of the hide.

From card: "Carving on slab of yellow cedar representing bear and frog toterus [sic, word probably should be "totems"]. Carved by Shock - ish."