Arrow has long wooden shaft, tapering slightly and reddening toward nock. Fletching is attached to shaft with wrapped sinew at feather tops and bottoms. At the tip, the point is cast in copper, with a long, thin base culminating in a wide point with serrations below the barbs on the neck. It is sunk into the wood and secured with wrapped sinew.

Arrow with a long wooden shaft, tapering slightly and reddening toward nock. Fletching is attached to shaft with wrapped sinew at feather tops and bottoms. At the tip, the point is cast in copper, with a long, thin base culminating in a wide point with three large serrations on each side of the neck. It is sunk into the wood and secured with wrapped sinew.

Arrow with a long wooden shaft, tapering slightly and reddening toward the nock. Fletching is attached to shaft with a wrapped thread at feather tops and sinew at bottoms. At the tip, the point head (part b) is cast in copper with several serrations along the barbs, and a long, thin bone base sunk into the shaft and secured with wrapped sinew and string.

Arrow has long wooden shaft, tapering slightly and reddening toward nock. Fletching is attached to shaft with a thick thread at top, and sinew at bottom. At tip, the point is sunk into the wood and secured with wrapped sinew. The point is cast in copper, cylindrical in shape, with incised circles and diagonal lines along its length. The tip has 4 outward barbs surrounding the central point.

Arrow with long wooden shaft (part a), tapering slightly and reddening toward nock. Fletching is attached to shaft with wrapped thread at feather tops and sinew at bottoms. At opposite end, a long, thin bone shaft (part b) is sunk into the wood and secured with wrapped sinew. The point head sits in a notch in the bone, and is cast in copper with serrations along the barb bottoms.

Arrow with a long wooden shaft (part a), tapering slightly and reddening toward nock. Fletching is attached to shaft with wrapped thread and sinew at feather tops and sinew at bottoms. At the opposite end a long, thin bone shaft (part b) with notching along its length is sunk into the wood and secured with wrapped sinew. The point head is cast in copper with serrations along the barb bottoms and is nailed to the bone.

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.

A) A plaster cast model of a wooden comb from the Victoria Museum, B.C. The comb has a face carved onto it with a hooked nose, possibly an eagle. The cast has been stained brown. B) A plaster cast of a bear head side view with a small figure on its head.The head is on what appears to be a broken stick. Light brown colour.; Good

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.

Bottom band of naturally coloured grass in zigzag pattern bordered by grass on a strip of green/red/green, creating an effect of staggered triangles (lower with vertex up, upper with vertex down). Central band has a "meander" pattern. 2 bands of parallelogram shapes in natural grass on green and on red. Rows of natural/red/natural/orange/natural on button handle. Base is mixed twined work. Sides and lid are plain twined with false embroidered design.