FROM CARD: "20820-5: ILLUS. IN USNM AR, 1888; PL. 42; FIGS. 227-240; P. 318." Identified in the publication as from Kake Tlingit. FROM OLD 19TH OR EARLY 20TH CENTURY EXHIBIT LABEL WITH CARD: "SPOONS.---MADE OF WOOD. USED ESPECIALLY FOR BERRIES, BY ALL NORTHWEST INDIAN TRIBES. KAKE INDIANS (KOLUSCHAN STOCK), ALASKA. 20,820-25. COLLECTED BY JAMES G. SWAN. 20820-25 NEG. NO. 6212."

Provenience note, not every object in the collection is specifically listed and identified in the accession file list from Colyer in his letter dated August 29, 1872. The list mentions # "33, 34, 35 Indian beadwork from Wrangel Alaska, Stakeen [Stikine] Tribe." The Colyer collection does not contain a lot of Alaskan beadwork, so it is possible that some of the objects catalogued as E11411 - E11414, and identified as Tongass in the Anthropology catalogue ledger book, might be these objects?Florence Sheakley and Ruth Demmert, elders, made the following comments during the Tlingit Recovering Voices Community Research Visit, March 13-March 24, 2017. This object was mostly likely used on dance clothes, potentially around the neckline of a shirt or as a cuff. Beadwork was designed and constructed separately from the garment so it could be removed and reused as the garments were replaced.

FROM CARD: "INDIAN BASKET WITHOUT COVER." LOANED TO THE CENTENNIAL COMM. (S.I.) 7-9-75. LOAN RETURNED MAR 22 1990."

From card: "Piece of red fringe used for face paint."This material is described on the catalogue card as "fringe." It may be speculated that this material is actually a kind of fungus.Listed on page 47 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: "4/18/67: LOANED TO VANCOUVER ART GALL. ILLUS. AS 156 IN ARTS OF THE RAVEN, BY DUFF, HOLM & REID - THE VANCOUVER ART GALLERY, JUNE-SEPTEMBER 1967. ITE 12/13/67: RETURNED BY VANCOUVER. LOAN DATA: 4/17/67-OK. NUMBER ON SPECIMEN INCORRECT. 20821 NO. ON SPECIMEN CHANGED.JQQ." Design includes baby bird motif per Tommy Joseph, 6-2-2009.

From card: "Small, soft-soled, curvilinear pattern of bead embroidery in blue, yellow, pink, ecru and black. Ankles edged with black velvet. Mrs. Delores Churchill, a Haida woman participating in the 1984 Folk Life Festival, states that the interior leaf outline color on the vamp of the moccasin indicates the season of a child's birth - black for winter; green for spring. The black outline on the interior leaf motif would indicate that these moccasins heralded a winter birth. Se also says that children did not wear clan emblems until they were 12 years old. written in by P. R. Linn, Collections Mngr. 25 July 1984, approved by W. Sturtevant, curator, N. Am. Indian Ethnology."Ruth Demmert and Florence Sheakley, elders and beaders, and Virginia Oliver made the following comments during the Tlingit Recovering Voices Community Research Visit, March 13-March 24, 2017. This pair of baby moccasins has size 14-16 beads in the design, and is lined with velveteen around the ankles. The bottom of the moccasins are clean, so they were probably only worn when going out or for decoration. Chinese shoes also often have pointed toes, so the change from rounded-toe to pointed-toe moccasins may have been due to contact with Chinese workers in Wrangell.Illus. Fig. 1.10 p. 52 in Smetzer, Megan A. 2021. Painful Beauty : Tlingit Women, Beadwork, and the Art of Resilience. Seattle: Bill Holm Center for the Study of Northwest Coast Art, Burke Museum : University of Washington Press. https://muse.jhu.edu/book/85691/ .