From card: "One of the two painted ones, carved. Refer to 231036 [card] for collection data. "These two are of special interest owing to the fact that the carving is not only of unusual interest but both poles are painted, the paint being in excellent condition, practically perfect." (G. A. Dorsey)"

FROM CARD: "PEOPLE: *TLINGIT. REMARKS: *HAS A NOOTKAN APPEARANCE."

FROM CARD: "LOCALITY: ALASKA. REMARKS: *FOUND NEAR THE MOUTH OF THE INDIAN RIVER, 2 MI. FROM SITKA."

FROM CARD: "OVOID-SHAPED; TWO PIECES OF CARVED WOOD JOINED WITH LEATHER THONGS. ANTHROPOMORPHIC FACE WITH FROGS ON THE FOREHEAD AND CHEEKS. "A REPRESENTATION OF HOW FROGS AND TOADS COME WITH THE RAIN. FROGS ARE SHOWN SPRINGING FROM THE EYES OF T'KUL, THE SPIRIT OF THE WIND." SEE: USNM AR 1888, PL. 58, FIG. 306, P. 330; AND PL. 60, FIG. 318."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=520, retrieved 3-31-2012: Rattle, Tsimshian. Frogs appear often on shamanic art because they were imagined as primordial, partly human creatures that retained supernatural power from early times. They lived in the dark before Raven brought the sun, and they made fun of the great trickster; in anger he caused the North Wind to blow the frogs away and freeze them onto rocks. This shaman's rattle shows frogs that appear with the rain, springing from the eyes of South Wind, who brings rain and desires the world to be green as in spring. The back of the rattle shows the wind's arms, legs, and body. “He is showing this look, like a trance; the eyes are underneath the lids, rolled back. Having these frogs come out, too – frogs were the shaman's messengers.” - David Boxley (Tsimshian), 2009.

FROM CARD: "CARVED WOOD IN THE FORM OF A BIRD PAINTED GREEN AND RED AND WITH BRASS HEADED NAILS FOR EYES."Appears to be in form of a chicken? Object is from Yakutat Tlingit, Port Mulgrave, per Dall's field catalogue, filed under Accession No. 3258, entry under # 1152.

FROM CARD: "ILLUS. IN USNM AR, 1888; PL. 29, FIG. 140, P. 286." Publication caption identifies as a halibut line float of cedar wood, carved to represent a shag or duck.

FROM CARD: "20804-6. WOVEN OF WOOL OF THE MOUNTAIN GOAT AND DOG HAIR [sic]." THIS ARTIFACT WAS LENT (UNDER INCORRECT CATALOGUE NUMBER OF 219504) TO CROSSROADS SEP 22, 1988. LOAN RETURNED JAN 21, 1993. ILLUS: CROSSROADS OF CONTINENTS CATALOGUE, FIG. 281, P. 216." FROM CROSSROADS CATALOGUE: "THE MOST PRESTIGIOUS ROBE OF NORTHWEST COAST INDIAN NOBILITY IN THE 19TH CENTURY WAS THE CHILKAT BLANKET. HIGHLY STYLIZED DESIGNS IN DYED MOUNTAIN GOAT WOOL WERE WOVEN INTO THE TEXTILE, THE WARP OF WHICH WAS WOOL WITH A CEDAR BARK CORE. HERE THE CENTRAL PANEL REPRESENTS THE KILLER WHALE. THE CREATURE'S HEAD IS AT THE BOTTOM, THE TAIL AT THE TOP, AND THE TWO SIDES OF THE DORSAL FIN EXTEND OUTWARD FROM THE CENTRAL FACE, WHICH REPRESENTS THE BLOWHOLE. THE BOTTOM FRINGES OF THE BLANKET ARE NEARLY AS LONG AS THE HEIGHT OF THE WOVEN PANEL." Illus. Fig. 437, p. 198, and Fig. 438, p. 199, in The Chilkat Dancing Blanket, by Cheryl Samuel, University of Oklahoma Press, 1982. Blanket 20805 is similar (same?) design to the one Illus. Fig. 572a, p. 382, in "The Chilkat Blanket" by George T. Emmons, Memoirs of the American Museum of Natural History, Vol. 3, part 4, 1907. There is a photo of this object on display in the Smithsonian Bureau of American Ethnology exhibits at the Louisiana Purchase Exposition, St. Louis, Missouri, 1904, USNM Negative No. 16465. See Smithsonian Institution Archives, Record Unit 95, Box 62B, Folder 12, Image No. SIA_000095_B62B_F12_010 .Per Repatriation Office research, as reported in the Tlingit case report (Hollinger et al. 2005), in 1875 James Swan purchased this dancing blanket of the type commonly known as a Chilkat blanket from an unknown person probably in Wrangell, Alaska.Florence Sheakley, elder, and Shgen George, weaver, made the following comments during the Tlingit Recovering Voices Community Research Visit, March 13-March 24, 2017. This blanket still has it's ties so it could be worn. This object is not made with woolly dog hair, but rather mountain goat guard hairs. The hairs are stiff and thick, which makes them hair and not wool.

FROM CARD: "FROM A HEMLOCK FUNGUS."List in accession file identifies this as # 71 - "Specimens of Indian paint made from the fungus which grows on hemlock trees. This is roasted in hot ashes half an hour, when it turns Indian red color."

Identified as of probable Makah manufacture by Teri Rofkar, Tlingit basket maker, 3-2003

FROM CARD: "CEDAR BARK."Similar to E168157 (see remarks for that object), this Taku Tlingit object may originate with the Taku Tlingit of the Upper Taku River area of British Columbia.