Lithograph print on wove paper. Image shows 18 rectangular blocks, three rows of six stacked side by side, drawn with rippled black lines. On top of each row a caribou head hangs down, coloured dark grey with slits representing closed eyes. Each animal has two long curving horns atop its head. Inscription in pencil under image. Impressed into the bottom left corner of the paper is the Cape Dorset stamp.

Linocut stencil print showing three human figures dressed in snowsuits, the central one green and the outer two grey, all with hoods up. All wear boots and mittens coloured blue, yellow or pink, palms facing the viewer. The faces are broad, with large eyes, long eyebrows, and wide mouths. Impressed into the bottom right corner of the paper is a circle containing syllabics.

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.

Painting in synthetic polymer paint on canvas, stretched on a black wooden frame. Image is of a crouching male, facing right, wearing a large coloured headdress as well as leg, wrist, arm and waist bands, and holding a flute in both hands in front of his upper body. The background is in three shades of blue. Signed in lower right corner: "P.JAKUPA.JNR 2008-2012".

SKIN QUIVER - WRITTEN ON IT IS "ARROWS + QUIVER, N.W. COAST AMERICA - COLUMBIA R. EX EX LT. W.M. WALKER USN. MARTIN [sic, probably Marten] SKIN(?)". IT IS MARKED 5414, BUT THAT IS THE WRONG #. QUIVER MAY BE A WILKES/U.S. EXPLORING EXPEDITION OBJECT? HAS BEEN GIVEN # ET24104-0 FOR TRACKING PURPOSES.This quiver, though in poor condition (in 2015), resembles one shown in "Narrative of the United States Exploring Expedition," Charles Wilkes, 1845, Vol. V, p. 238, and described pp. 237-238. This illustration shows a man wearing a quiver, and is captioned "Costume of a Callapuya [i.e. Kalapuya] Indian." Wilkes identifies the Kalapuya quiver as "seal skin" in the publication, but the Kalapuya lived in the Willamette Valley of Western Oregon, so did not usually use sealskin for artifacts. The quiver itself is marked "martin skin". The American marten is a long, slender-bodied weasel about the size of a mink. Seemingly the only explicit reference to a quiver from North America in the Peale catalogue is Peale # 214, which is identified in the Peale catalogue as "Bow, arrows, and fox skin quivers, used by the natives of California." Peale # 214 has not been located in the Anthropology collections. However, Peale # 214 may be the quiver mentioned as acquired by the expedition on p. 253 of "Narrative of the United States Exploring Expedition," Charles Wilkes, 1845, Vol. V. If so, it was acquired in Siskiyou County, California probably, as the publication talks about the southern branch of the "Klamet" (Klamath) River and the lava beds; historically this was a Modoc area. This provenance would conflict with Columbia River one as written on quiver ET24104, so that makes it unlikely to be Peale # 214. In Smithsonian Institution Archives Record Unit 7058, National Institute Records, Box 14, Folder 1, there is a letter from Titian Peale and Charles Pickering to Charles Wilkes dated January 10, 1842, from the US Ship Vincennes. In this letter is of a list of artifacts received by them from the officers of the Vincennes, per Wilkes' instructions that such things should be turned in to be part of the collection, and not retained by individuals. In this list Midshipman Samuel Elliott's material includes objects from California and the Northwest Coast, including 2 fox skin quivers. Lt. Thomas Budd's material includes 1 fox skin quiver from California. It is therefore possible that ET24104 may be one of the quivers listed in that letter, even though Lt. Walker's name is written on it (Walker served on a number of the expedition ships, including the Vincennes.) It is also possible that Walker turned in arrows and a quiver, with only the arrows being registered due to an oversight.

Drawing in charcoal, on thick paper. The image is of a boat and small canoe caught in a storm, large waves crashing, while a beam of sunlight appears at the top right corner. Three figures are visible on deck of the boat, which is identified in writing below the image as the S.S. Glad Tidings.

Panel 20 in a series of 20 panels. Drawing of a carved, green, adze handle. At the top of the cylinder is a carved face with deep-set eyes, a small nose and a narrow chin with small open mouth. Long curving horns sit atop the forehead. Below this face is the head of a bird-like creature, with large round eyes, and a beak-like nose. Red carved circles appear across the rest of the cylinder top. Branches of a nearby tree reach around the cylinder to its front. Behind the object is a landscape of fir trees and a heavily clouded sky. The drawing is split between 2 equally sized panels, one sitting on top of the other. Covered with plexi frame.

Panel 19 in a series of 20 panels. Drawing of a Bella Coola echo mask. The mask sits left of centre and is oval in shape, with a flat top and short forehead. Heavy dark brows sit above round yellow and rust coloured eyes. The nose is bright green with brown nostrils. The mouth is light green and grey, with a long upper portion that thins to lips which hang far below the jawline and curve sharply to the left. The background of the drawing shows trees, a distant forest landscape and heavy mist in charcoal and black conte. Covered with plexi frame.

Panel 18 in a series of 20 panels. Monochromatic drawing of a carved animal, shown with its open stomach toward the viewer. The animal's head is tilted up to display the chin, with the mostly toothless mouth open wide. Human-like hands are held in front, from the shoulders. The creature’s stomach has two door panels that are open wide, revealing a human face inside the cavity. The face is male with raised brows, narrow eyes, a large nose and an open, toothless mouth. Below the stomach is a short pointed tail. The background of the drawing shows a tight mass of foliage. Covered with plexi frame.

Panel 12 in a series of 20 panels. Drawing of a Kwakwaka’wakw headdress. A large central face has rounded ears on top of the head, heavy brows, a thin nose with large round nostrils and a thick-lipped mouth showing several large teeth. The chin recedes. Arms extend out from below, hands held palms up, fingers closed. On the shoulder sits a small rectangular face with large eyes, heavy brows, large nose and closed mouth. Between the arms is a large face, somewhat in recession, with round eyes, oblong nose, open mouth and three rounded teeth. On top of the central head between the ears is a small human-like face wearing a basketry style hat with two rings on top. Drawing sits in sequence with 2980/11 and 2980/13 and shows continuing components of each. Covered with plexi frame.