Drawing with pencil crayon on horizontal rectangular sheet of paper. In the upper left quadrant is a tent with a female face on the outside. Next to the tent are a fish, an ulu and a jig for fishing. Arriving at the tent is a man in his kayak with a woman riding on the back of the kayak. On the lower left is a man shooting a bear with a bow and arrow. Just above the man is a bird with human legs. Below the man is a child on his stomach. In the centre of the image a woman is drumming. On the woman's head are three birds. Peeping out from her left side is a caribou and from her right side is a woman in a purple amautiq (parka). On the right side of the image from top to bottom are: a bird with human legs and a second bird with human legs attacking a kayak. In the kayak is a man and standing on the kayak behind him is a woman; strapped to the kayak is a seal. Below is a man in a kayak hunting seal with a bow and arrow. Below this is a man in a kayak with a large fish and below that is a man holding a fish as large as himself.

Small square painting depicting three figures on a red background. There are two human-like figures on either side of a long thin figure. All three figures have faces with eyes, nose, mouth and eye brows. The eyes are shown as red circles with white eyes and a black pupil. The central, thin figure has a yellow face, the figure on the proper right has a white face, and the figure on the proper left has a black face. All three figures are wearing necklaces; the two human-like figure’s necklaces are white with red stripes while the long yellow figure’s necklace is black. The human-like figure on the proper right side has a black body while the other two figures have a green body. The border of the painting is black and yellow, and within the black border there are white dots. The painting appears to have been done on a piece of paper with black typed characters on it, almost resembling newsprint, as some of the characters show through on the front and back surfaces of the painting.

Rectangular, multi-coloured painting depicting the Hari Bansa story (the life of Krishna). The story is depicted in a series of circular and square panels showing figures in various poses and activities, organized along the borders of the painting and around a large central image. The central image depicts figures among a pattern of concentric circles and a floral motif. The outer-most border is blue.

PROBABLY MADE OF FINELY TWISTED TWO-PLY CATTAIL (TYPHA LATIFOLIA) LEAF CORD - *SEE* A TIME OF GATHERING BY ROBIN K. WRIGHT, 1991, P. 34, 40, 48.A similar Chinook skirt, from Lewis and Clark, is in collections of the Peabody Museum of Archaeology and Ethnology at Harvard University, # PM 99-12-10/52990. The Peabody Museum website notes that Lewis and Clark "... described at length the unique twined cordage skirts that women in the lower Columbia River area made from cedar bark or cattail leaves, which were valuable commodities in local trade networks." Peabody Museum curator Castle McLaughlin has noted that the Catlin cordage skirts E73291, E73306 and E386547 have red paint applied to them, but this is not typical for these types of skirts. The red paint may have been applied by George Catlin?During the cataloguing of quillwork E386582B in 1948, a tag was found with it that stated "From a Lewis and Clark Chinook Skirt in Catlin Coll". Curator John C. Ewers determined that the tag did not actually belong with E386582B. It is possible that the tag might instead have been associated with Chinook skirts E73291, E73306 or E386547. This tag has not currently been located. Nor can the source of the possible ID of a Chinook skirt in the Catlin collection to Lewis and Clark be determined.

From card: "Wooden cradle; made of single piece of wood, boat shaped, with carved handle at one end; fibre strings at sides to hold child in; remnants of fibre padding inside. Same red and black paint on surface. Apparently this is the cradle illustrated in Mason's Cradles of the American Aborigines USNM Report 1887, Fig. 7, and there erroneously called No. 2574B."A similar cradle, also from George Catlin, is in the collections of the Peabody Museum of Archaeology and Ethnology at Harvard University, # PM 88-51-10/50695.

Attributed on card by curator John C. Ewers as "probably Chinook or Salish." From card: "Waist band of bucksin, with buckskin tie strings; long cut fringe to band; outside of band decorated with vertical floral [fruit?] motives in 1 horizontal row (black and red paint). To inner border of waistband a second fringe of braided mtn. goat hair (?) is attached by skin thongs. Note: Dr. Erna Gunther, Washington State Museum, on visit to USNM, Oct. 13, 1948, stated this definitely of mtn. goat hair, but that she had not seen any other skirts like it from the northwest. She was not famliar with the painted motives. She believed it was probably from an interior tribe of Washington or B.C."

PROBABLY MADE OF FINELY TWISTED TWO-PLY CATTAIL (TYPHA LATIFOLIA) LEAF CORD - *SEE* A TIME OF GATHERING BY ROBIN K. WRIGHT, 1991, P. 34, 40, 48.A similar Chinook skirt, from Lewis and Clark, is in collections of the Peabody Museum of Archaeology and Ethnology at Harvard University, # PM 99-12-10/52990. The Peabody Museum website notes that Lewis and Clark "... described at length the unique twined cordage skirts that women in the lower Columbia River area made from cedar bark or cattail leaves, which were valuable commodities in local trade networks." Peabody Museum curator Castle McLaughlin has noted that the Catlin cordage skirts E73291, E73306 and E386547 have red paint applied to them, but this is not typical for these types of skirts. The red paint may have been applied by George Catlin?During the cataloguing of quillwork E386582B in 1948, a tag was found with it that stated "From a Lewis and Clark Chinook Skirt in Catlin Coll". Curator John C. Ewers determined that the tag did not actually belong with E386582B. It is possible that the tag might instead have been associated with Chinook skirts E73291, E73306 or E386547. This tag has not currently been located. Nor can the source of the possible ID of a Chinook skirt in the Catlin collection to Lewis and Clark be determined.

FROM CARD: "HNDBK. N. AMER. IND., VOL. 7, NORTHWEST COAST, FIG. 4E, PG. 539." BOWL ORIGINALLY CATALOGUED AS WOODEN BUT HANDBOOK IDENTIFIES AS MOUNTAIN SHEEP HORN. BOWL APPEARS TO BE OF WASCO/WISHRAM MANUFACTURE. - STEVEN L. GRAFE 1997Pamela Cardenas, Shayleen Macy and Valerie Switzler of the Wasco delegation from the Confederated Tribes of Warm Springs made these comments during the Recovering Voices Community Research Visit Aug 31-Sept 4, 2015. For the Wasco, the cup or bowl is the center of the culture, it is what our stories are based off. Our creation stories are based off coming out of a spring that was shaped like a bowl. These objects are unique to our tribe because it represents us. We don't differentiate between a cup, ladle/spoon, or bowl. Shayleen noted that it is interesting how the Wasco don't make the designs anymore, the simple zigzags, triangles and chevrons. This horn bowl work hasn't been carried into the contemporary. You used to see these all around, everyone had them, but not anymore. Mountain sheep is 'kakwiq' or 'kakwik' in Kiksht. There are still mountain sheep around, they live in the mountains along the Columbia River, but that's not where our reservation is. You can see the sheep from the mountains, we can hunt them because it is ceded land. Our ceded land runs from Mount Hood to Multnomah Falls. Kiksht is the language of the Wasco tribe.For more information, see pdf of additional documentation on the Gibbs collections provided by Liz Hammond-Kaarremaa which is filed with the Emu accession/transaction record.

FROM CARD: "A & B ILLUS.: HNDBK. N. AMER. IND., VOL. 7, NORTHWEST COAST, FIG. 4 (A ON LEFT, B ON RIGHT), PG. 316. LOANED RENWICK GAL. 11-7-73. LOAN RETURNED 8-24-76." Identified in Handbook caption as a dipper, "... a smaller bent-corner box with a long handle carved from the piece that forms the bottom." Painted designs in red and black, and borders and handle red. "The bottom of the ladle carries the eye-within-the-hand motif." Forms a set with water bucket E20568A.FROM CARD: 20568A (BOX), 20568B (DIPPER). FROM PAGE 77, BOXES AND BOWLS CATALOG; RENWICK GALLERY, SMITHSONIAN PRESS; 1974. OBJECTS ILLUS. ON SAME PAGE. 68. BOX AND DIPPER WOOD; PAINTED BLACK AND RED. HEIGHT (BOX): 10 1/4. LENGTH (DIPPER): 11. BELLA BELLA, BRITISH COLUMBIA. "WATER BUCKET AND LADLE." COLLECTED BY JAMES G. SWAN. CATALOGED JANUARY 15, 1876. 20,568-A (BOX); 20,568-B (DIPPER)."Catalog card gives 5260 as accession number, but 4686 (also from Swan, in 1876) is more likely, as that accession contains objects from British Columbia.

From card: "Soft weave basket called "Sally bag"; decorated in bands."