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 this artifact http://alaska.si.edu/record.asp?id=660 , retrieved 3-12-2012: Collar or necklace, Tlingit Museum collector George T. Emmons recorded that this colorful woman's collar, purchased in 1901, was "the beaded neck ornament of a basket weaver." The geometric patterning is unusual for Tlingit beadwork and may have been inspired by spruce root basketry designs or by Athabascan quillwork. The small "seed" beads on the collar itself are typical of the late 19th century, whereas the large round and faceted beads used on the dangles are at least half a century older.

Though catalogued as Tlingit, Teri Rofkar, Tlingit basket maker, says this basket is not of Tlingit manufacture. 3-2003.

From card: "Hand carved, plain, painted with flat red ochre. Provided with flat detached cover; bottom and two of the side walls secured with lacing of split root fiber. Continuous side walls excavated at corners; terminal joint dovetailed."

FROM CARD: "SEATED FIGURE OF A MAN, WITH ONE HAND RAISED AND THE OTHER HUNG DOWN. BACK CARVED TO REPRESENT THE SPINAL COLUMN. ATTACHED TO THE HEAD IS FULL TUFT OF HAIR. PAINTED BURNT RED AND SOME BLACK. AS USUAL MADE IN TWO PARTS LENGTHWISE SO THE HOLLOW CAN HAVE BEANS OR OTHERWISE TO SERVE AS A RATTLE. ILLUS. IN USNM AR, 1888; PL. 58, FIG. 303; P. 330. LOAN: CROSSROADS SEP 22 1988. ILLUS.: CROSSROADS OF CONTINENTS CATALOGUE; FIG. 370, P.271. LOAN RETURNED: JAN 21 1993." Crossroads of Continents catalogue caption identifies: "Shaman's rattle, Tlingit. This rattle may represent the shaman himself or one of his spirits. His collarbones and vertebrae are sculpted in relief. The grinning face and animated posture of his detailed hands give vitality to the figure. Human hair forms his moustache, beard, and hair, which is long and disheveled in the manner of Tlingit shamans. Asymmetrical paint designs on the face are also typical of shamans."

FROM CARD: "SHEET COPPER. DESIGN OF BEAR SCRATCHED ON FRONT. ATTACHED TO DANCE SKIRT WHEN IN USE."Listed on page 48 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)".

FROM CARD: "BIRD-FORM BOX, CARVED FROM ONE PIECE. HEAD AND TAIL FORM HANDLES; PAINTED RED AND BLACK; BIRD LIES ON BACK, WITH OPENING IN ITS BELLY. LOANED: RENWICK, JULY 18, 1972 (FOOD PREPARATION). RET'D.: 9-5-1974."

From card: "A staff of wood with brass cap, carved to represent [starting at brass cap] bear, raven, frog, scaled serpent."Emmons in the accession file identifies this as a fish dance staff. Though this was catalogued as from Killisnoo, Alaska, in a letter dated August 20, 1903 in the accession file Emmons notes among objects shipped from Juneau this object and identifies it further as "Dance wand or chiefs beating stick used to keep time to the dance song[;] is from the Stickheen [Stikine] qwan[;] on it is represented the bear, the raven, the frog and an eel like salt water fish."