FROM CARD: "AFTER AN EXTENSIVE SURVEY OF THE TOTEM POLES IN THE USNM COLLECTIONS, IT SEEMS LIKELY THAT THIS SPECIMEN IS THE OUTSIDE CORNER POST STORED IN THE E-WING BASEMENT. LITTLE RELIABILITY CAN BE PLACED ON THE MEASUREMENTS FOUND IN THE CATALOG BOOK. IT IS ALSO POSSIBLE THAT PART OF THE SPECIMEN WAS REMOVED AT THE BASE SINCE THERE IS DETERIORATION AT THAT POINT. IT IS PROBABLE THAT THIS SPECIMEN WAS COLLECTED FOR THE PHILADELPHIA EXPOSITION OF 1876, ALTHOUGH THIS CANNOT BE VERIFIED TO DATE. THE ORIGINAL (1882) ATTRIBUTION OF HAIDA HAS NOT BEEN CONTESTED TO DATE. 6/6/68 GP." FROM CARD: "54297-54300. # 54299 - H. 14" ELEVATOR LOBBY. FLOOR 1. IDENTIFICATION OF 54299 BY VIOLA GARFIELD." Catalogued originally in Anthropology catalogue ledger book as Haida, Queen Charlotte Islands, B.C..Note from Ken Lund (via Reciprocal Research Network): Interior post from House 16, Strong House, in Tanu, Haida Gwaii. There is a photo from Charles F. Newcombe in 1903 showing this housepost or its mate inside a house in Tanu (BCPM E281). Notes from the Bill Reid Centre at SFU on this pole: "Inside the house were two unusual carved posts, each representing a supernatural snag with potlatch cylinders, which belonged to Naspala's wife. These were placed at the back of the house under the central pair of rafters. Newcombe purchased both and sent one to the Field Museum of Natural History and the other to the Smithsonian Institution." See "Monumental Art of Tanu", The Bill Reid Centre, Simon Fraser University https://www.sfu.ca/brc/virtual_village/haida/tanu/monumental-art-of-k-uuna.html . It is very likely that this object formed part of the Smithsonian exhibit at the 1904 St. Louis World Fair (Louisiana Purchase Exposition). 2 large poles from Tanu now at the Smithsonian, were collected by Charles Newcombe from House 7 and House 10 for the 1904 World Fair. He also collected 2 interior houseposts from House 16. Dr. George A. Dorsey of the Smithsonian reportedly purchased 4 poles at this time, with 2 of them large ones for a price of $1000.Assuming Ken Lund information is correct, this house post then may actually be part of Accession No. 42671: maybe Catalogue No. E231040 (or E231041), rather than E54299?

From card: ""Slate box in 5 pieces; carving with totemic designs; beautifully carved." Attributed to the Haida carver Charles Edenshaw in Arts of the Raven by Duff, Holm & Reid - The Vancouver Art Gallery, June - September, 1967. Item 345. 4/17/67: some chipping all pcs., edges. 4/18/1967: loaned to Vancouver Art Gallery. 12/13/67: loan returned."The Smithsonian only received 5 pieces of this box: back, top, bottom and two side panels. The front of the box was not received. Per Robin K. Wright, Burke Museum, March 3, 2011, this box is shown in a photo of Charles Edenshaw, c. 1890, in the collections of the Canadian Museum of Civilization, neg. no. 88926. Photo shows the missing carved face side of the box which has a beaver with frog in its mouth. The bear figure sitting on top of the box in the photo is in the collections of the Burke Museum. Robin K. Wright also attributes this piece to Charles Edenshaw.Illus. Fig. 8, p. 18 in Wright, Robin Kathleen, Daina Augaitis, Robert Davidson, and James Hart. 2013. Charles Edenshaw. London: Black Dog Publishing. Identified there: "This chest combines the beaver and bear crests of Charles and Isabella Edenshaw. It was collected by Alaskan Governor John G. Brady sometime before 1909, when it was exhibited at the Alaska Yukon Pacific (AYP) Exposition in Seattle. The panel represents a bear with a human figure in its mouth. The chest's front panel with the beaver face that appears in the photograph [of Charles Edenshaw in the collections of the Canadian Museum of Civilization, neg. no. 88926] is now missing, and the bear figure on the top was also separated from the chest, probably after the AYP Exposition. The lid has a dogfish design flanked by two floral panels; the end panels both represent bears."Notes from Robert Davidson (great-grandson of Charles Edenshaw) discussion of Edenshaw argillite chest # E274593, Feb 4, 2014, Vancouver Art Gallery, transcribed by Gail Joice, National Museum of the American Indian: "The earliest recorded Haida argillite piece is 1820. Robert estimates that NMNH chest dates from around 1880. NMNH piece is unique with the 3-D face - it could be a Grizzly bear with a bear cub in its mouth. [Has] salmon heads on either side. Edenshaw challenges symmetry by not repeating a the formline on the left salmon. Salmon forms parent of bear arm--the head is a ball joint, the void around the head is the socket. This shows the transparency of layers between natural and supernatural. Glue on the edges of the box is halibut tail skin boiled down. In the old days they used natural sponges from the beach to smooth the surface. In the 1940's they used steel wool. The polish was a mix of Vaseline and graphite. Design elements orient box: Double eye figure is always the front of the chest. A single eye is the back of the box. On the ends of the boxes there were always whimsical designs not related to the front design. On NMNH sides it shows probably a Grizzly face with teeth and nostrils. The eyes contain salmon trout and there are trout heads inside the paws. Choice of dogfish design for box lid shows the influence of [Edenshaw's] his wife Isabel's clan motif. The typical rope design of lid border was adapted from scrimshaw European design. The fish is a shark because it is always shown with one fin. A dogfish is shown with two fins. There is a salmon in the tail of the shark. The leaf designs are influenced by the florals of scrimshaw which also appear on silver engraving. Robert does not think the cone or berry is from a local plant but just copied from scrimshaw. The diagonal line in the stone at the lower right corner of the lid was identified by Davidson as a natural seam in the argillite. The softness of argillite allowed Edenshaw to be more spontaneous in design with more expressive movement than in wood carving. Argillite "carried the torch" for Haida culture during the time when Canadian law prohibited ceremonial practices and potlatches. Haida were allowed to carve argillite as a trade items when not allowed to make masks. Argillite trade followed the loss of sea otter fur as trade items."Listed on page 45 in "The Exhibits of the Smithsonian Institution at the Panama-Pacific International Exposition, San Francisco, California, 1915", in section "Arts of the Northwest Coast Tribes (Tools)". Listed twice on page 45 (presumably 2 pieces from the same lot)

FROM CARD: "4/18/67: LOANED TO VANCOUVER ART GALL. 12/13/67: RETURNED BY VANCOUVER. SEE CAT.#S 1127-31 FOR MORE INFO. ILLUS. IN USNM AR, 1888; P. 48, FIG. 271, P. 322. 4/17/67 LOAN DATA: OK. 8 ABALONE INLAYS. LOAN: CROSSROADS SEP 22 1988. ILLUS.: CROSSROADS OF CONTINENTS CATALOGUE FIG.317, P.237. LOAN RETURNED: JAN 21 1993." Crossroads catalogue caption identifies as: "Pipe inlaid with abalone. Haida. Thunderbird, octopus, men, and monsters adorn this tobacco pipe that has a bowl lined with sheet copper." Possibly part of Accession No. 929?FROM 19TH OR EARLY 20TH CENTURY EXHIBIT LABEL WITH CARD: "6014. TOBACCO PIPE.-CARVED IN WOOD AND INLAID WITH ABALONE, THE SHELL OF THE HALIOTIS. HAIDA INDIANS (SKITTAGETAN STOCK), QUEEN CHARLOTTE ISLANDS, B. C. COLLECTED BY COLONEL BULKLEY, U. S. A."This object is on loan to the Anchorage Museum at Rasmuson Center, from 2010 through 2027.Source of the information below: Smithsonian Arctic Studies Center Alaska Native Collections: Sharing Knowledge website, by Aron Crowell, entry on artfact http://alaska.si.edu/record.asp?id=502 , retrieved 6-24-2012: Pipe, i.e. tobacco pipe The carved figures on this Haida pipe include an octopus, a horned animal, and an eagle or thunderbird holding a mask with a human face. No Haida interpretation of this crest imagery was recorded by collector Charles S. Bulkley, who headed the Canadian section of the Western Union Telegraph project during 1865-67. Bulkley acquired the pipe at a village in the Queen Charlotte Islands, British Columbia.

From card: "Bear on front and back; wolf on ends; killer-whale on top." Chest; argillite; carved in relief; four added pieces; non-Indian wooden bottom. Illus.: Barbeau, Haida Carvers in Argillite, NMC #139, pg. 60." Barbeau discusses the box on p. 61 and speculates on attributing it to Charles Edenshaw, but notes that "Russ thought it was the work of "Peter Kelley's father" of Skidegate."March 3, 2011, Robin K. Wright, Burke Museum, says "Bill Holm attributes this argillite chest to Haida artist, Tom Price." Ref. Bill Holm, “Will the Real Charles Edenshaw Please Stand Up?” in Abbott, Donald (ed) The World is as Sharp as a Knife:An Anthology in Honour of Wilson Duff. Victoria, B.C.: British Columbia Provincial Museum;1981.

From card: "Used in tattooing. Two brushes [brush # 4 of 4 and brush # 2 of 4] Illus.: Hndbk. N. Amer. Ind., Vol. 7, Northwest Coast, Fig. 8, second from left and right, pg. 246. Loan [brush with bird handle, brush # 4 of 4 only was on loan]: NHB Lobby Exhibit Oct 24, 1991." Originally catalogued as consisting of 4 brushes and 5 needles. As of 2005, only the 4 brushes are present. Brush 1 of 4 has a plain handle. Brush 2 of 4 has a salmon on the handle. Brush 3 of 4 has a land otter on the handle. Brush 4 of 4 has a bird on the handle. ET15006 may be the needles from this set? - F. Pickering 5-31-2005 . Neg. #2005-22349 is a photo of 3 paint brushes #E88905 (# 1 of 4; # 2 of 4 and # 3 of 4) with the 5 needles # ET15006.Part of this object is on loan to the Anchorage Museum at Rasmuson Center, from 2010 through 2027. Only 2 of the 4 brushes are on loan: #2 of 4 (also called B) with salmon carving, and #3 of 4 (also called C) with land otter carving.Source of the information below: Smithsonian Arctic Studies Center Alaska Native Collections: Sharing Knowledge website, by Aron Crowell, entry on paint brush 2 of 4 (also called B) and paint brush 3 of 4 (also called C), http://alaska.si.edu/record.asp?id=621 and http://alaska.si.edu/record.asp?id=622, retrieved 6-24-2012: The two paint brushes were part of a set that also included tattoo needles, suggesting they may have been owned by an artist who specialized in body decoration. Clan designs were painted on the face for dances, ceremonies, girls' initiation, and death; tattoos were an important symbol of high rank, applied by paid artists of the opposite moiety (clan group) during potlatches. When the tip of a traditional brush wore down the artist restored it by pulling the bristles farther out of the handle.The handle of brush 2 of 4 represents a salmon. The handle of brush 3 of 4 represents a long-tongued land otter. The otter's tongue, emphasized by the carver, was the seat of its powerful spirit. "To make a paint brush they would take a small piece of wood and tie it about four inches from the end, then split it down to where the tie stopped it…They placed the hair inside the split… They used guard hairs from the porcupine because they are hollow and take up the paint." - Donald Gregory (Tlingit), 2005