From card: "Globular central bowl, front carved into a birds head, from which extends below, and to the back 3 lines of dots probably meant to represent tail feathers but looking much like the octopus suckers on some other N.W.C. masks." Per Tommy Joseph, 6-2-2009, pipe is carved in the form of an octopus or "devil fish," rather than a bird.

FROM CARD: "BASKET. 1 GIFT TO ROCHESTER ATHENAEUM & MECHANICS INSTITUTE, FEB. 14, 1903. ONE-EXCHANGE-MR. G. D. E. SCHMELTZ LEIDEN MUSEUM, LEIDEN HOLLAND. MAY 1899."

FROM CARD: "18905-6. BOTH SPECIMENS BADLY DAMAGED. IDENTIFIED, REPAIRED AND PARTIALLY RESTORED IN 1969. #18905 - PAINTED FRONT AND CARVED AND PAINTED CORNER POSTS."Per Robin Wright, Burke Museum, 4-12-2012, this is an unusual model with wooden coppers on the corner posts and a set of figures that go with it, Tlingit in style. (The figures are Catalogue No. E18907-0).

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

Pipes E60200 - E60204, which do not have original numbers listed in the Anthropology catalogue ledger book, have been presumed to be from Hoonia/Hoonah by the person who typed the catalogue cards, based on the original artifact list in the accession file.

FROM CARD: "WOVEN FROM GOAT FLEECE WITH PAINTED (DYED) DESIGNS IN BLACK, YELLOW AND GREEN. TWO ROWS OF PUFFIN BEAK BEADS AT ENDS OF BUCKSKIN FRINGE BORDER. RARE AND VALUABLE SPECIMEN. 4/18/1967: LOANED TO VANCOUVER ART GALL., 12/13/1967 RETURNED BY VANCOUVER. LOAN CROSSROADS SEP 22 1988, LOAN RETURNED JAN 21, 1993. ILLUS.: CROSSROADS OF CONTINENTS CATALOGUE; FIG. 290, P. 219." FROM CROSSROADS CATALOGUE: "A WRAPAROUND APRON AND DECORATED LEGGINGS WERE OFTEN WORN BY THE NOBILITY ALONG WITH A CHILKAT BLANKET ON CEREMONIAL OCCASIONS. THE WOVEN PIECES OF THIS SET (OF DANCE APRON AND LEGGINGS) WERE ORIGINALLY PART OF A SINGLE BLANKET DEPICTING A DIVING KILLER WHALE, WHICH WAS PROBABLY CUT UP AND DISTRIBUTED TO GUESTS DURING A GREAT MEMORIAL POTLATCH. THE WOVEN PIECES HAVE BEEN EXTENDED WITH TRADE BLANKET MATERIAL AND BORDERED WITH SKIN FRINGES. PUFFIN BEAKS ATTACHED TO THE FRINGES RATTLED TOGETHER WITH THE MOVEMENTS OF THE DANCER."" Leggings illus. Fig. G, after p. 48 in The Chilkat Dancing Blanket, by Cheryl Samuel, University of Oklahoma Press, 1982.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=694 , retrieved 11-29-2011: Apron This dance apron was cut from a full-sized robe that was woven out of dyed mountain goat wool and cedar bark. Puffin beaks and leather fringes were added for sound and motion during dance performances. The Chilkat-style design represents a diving Killer Whale, according to Tlingit advisers. The head, including eyes, nostrils, and mouth, forms the two lowest tiers of the design. The central spirit face is the whale's body, and its flukes and dorsal fin are represented by the double eyes and other elements at the top of the weaving.This object is on loan to the Anchorage Museum at Rasmuson Center, from 2010 through 2027. E341202-0 Apron and E341202-1 Leggings are both on loan.

From card: "(A & D) Illus. Bu. Ethno. Ann. Report #26, p. 420, fig. 106. Note: Apparently prior to Dec. 1969 these specimens had not been numbered. The former dimensions and quantity (1) were also in error as shown in the old catalog book. Previous attributions to James Swan now seem to have little basis. -GP (George Phebus). Bear crest designs. See: The Far North, Nat'l. Gallery of Art, Washington, 1973, Pl. 235, pg. 188-189 (where all 4 are illustrated). Loaned to the National Gallery of Art October 20, (19)72. Returned 5-29-(19)73. A & C Loaned to Renwick 7/28/(19)82. Returned 1983. (Excerpt from exhibit catalogue for Renwick exhibit, called Celebration, A World of Art and Ritual, is taped to back of card. Objects are described as:) House screens, ca. 1850-1900, Tlingit Indians; Wrangell, Alaska, wood, fiber lashing, red and black paint, non-Indian frames." ... cont., see card.According to Eric Hollinger, Repatriation Office, Feb. 2007, E233498 was originally a pair of house screens measuring 7ft by 14 ft each. Both screens were sawed in half after they arrived at the museum and framed. Red borders were painted on each of the four sections and the same red paint was then applied to touch-up the red paint of the figures (based on Smithsonian Museum Conservation Institute XRF analysis). Screen E233498A originally articulated with E233498D but they were separated when they were sawed in two within the museum. E233498A was on the left and E233498D was on the right. E233498B was originally articulated with E233498C before it also was sawed in two pieces within the museum. E233498B was on the right side and E233498C was on the left side. The screens were purchased by John R. Swanton from Mrs. Robert Shadesty in Wrangell, Alaska in 1904. See the Repatriation Office Tlingit case report (Hollinger et al. 2005).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=667 , retrieved 1-5-2012: House screen This carved and painted screen is from a Tlingit clan house and was once part of a wall that separated off a rear room reserved for the house leader and his immediate family. The red cedar panel may be two hundred years old or more. The central figure has been interpreted as Beaver because of its large incisors, and the design may refer to the Deisheetaan story, "The Beaver of Killisnoo." However, Beaver crests are owned by several Raven and Eagle clans and the precise meaning of the art is unknown. The figure may even be a bear, or marmot.Florence Sheakley, Shirley Kendall, and Alan Zuboff, all three elders, made the following comments during the Tlingit Recovering Voices Community Research Visit, March 13-March 24, 2017. Screens like these were used in houses to separate compartments, with screens in the back and the front of the house. Florence gives the Tlingit word for these screens (rv_Tlingit_20170320_004; 9:59). Alan pointed out that since there was no smoke line or sun bleaching, they were likely used indoors. Shirley commented that screens like this were no longer being made when she was growing up.