The original Jarvis (the collector) inscription reads "Indian pipe Uppo Miss." The pipe stem is carved in the shape of an animal. The snout looks too long on this for it to be a dog. Possibly a wolf, coyote or fox. Two brass tacks serve as eyes and the neck and lips are fire-decorated. There was originally some bone hair trim; a bird scalp and blue feathers still remain near the center. The stem is painted red and blue-green.

Headdress frontlet with a wooden bear crest, set within a frame, and painted red, green, and black. The back is unpainted. The frame as well as the bear's eyes, teeth, and paws have inlaid sections of carved abalone shell. Long ermine trailers hang down the back and sea lion whiskers stick out from the top. The headdress would have been worn for a Welcome or Peace Dance. The face's thick, heavy, black eyebrows help to corroborate this attribution. A fistful of eagle down feathers would be placed inside the center of the frontlet. As the chief danced and bowed and greeted his audience, the feathers would float out of his headdress symbolizing peace and friendship. In Tshimshian this was known as Am-halait or "power from the Sky." CONDITION: The object is in fair and stable condition. Special care in handling the piece should be taken for it was treated with arsenic in the past.

A. Augustus Healy Fund

The slightly curved steel blade of the knife is bound to the well-round bone (?) handle by a worked sheet of brass. This brass is finished in a series of little points at the handle end and incised with series of simple lines, both parallel and diagonal, to form bands. The sheath for this knife is worked with porcupine quills in purplish brown, orange, yellow, and natural white in a motif of connecting diamonds. The body of the sheath has an orange triangle with "V" shaped outlines at the very bottom, below the pattern of connected diamonds. The panel or cuff is striped. Many metal cones are suspended from the bottom of the cuff and one single cone, or tinkler is suspended from the bottom tip of the sheath. These 'tin-tinklers' on the panel were once quill-wrapped.The leather is thread sewn so that beige ribbon adorns the panel or cuff.

Woman's elk skin, short-sleeved dress with beadwork decoration at neckline. Beaded geometric figures in red, white, pink; green, blue and yellow on a pale blue background run in a narrow strip across the front and back of dress. Very simple effect. The sides and bottom of the dress are fringed.

Brooklyn Museum Collection

Other pieces are located as follows, SKZ 12/29/10: 06.60c- Hide bag- 5H17-4C Box 1268 06.60d -Hide bag- 5H17-4C Box 1268 06.60e- Hide bag- 5H17-4C Box 1268 06.60f- Hide animal piece , woven hair and claw attached- 5H17-4C Box 1246 06.60g- Feather bundle- 5H17-4C- Box 1270 06.60h- Large hide bag that also goes by number 11.694.9077 5H17-4C Box 1268 06.60i-Three thin leather pieces tied with a string 5H17-4C-Box 1270 06.60j- Entire sacred bird, painted with blue on one side and red on the other , 5H17-4B (box has no number on it) 06.60k-Animal hide with fur- 5H17-4C Box 1246 06.60l-Whole animal skin with porcupine quill wrapped feet - 5H17-4C-Box 1270 Object appears on release dated 1-20-1972 to James Economos with other objects in exchange for 72.51.1-.2. Approved for deacc. 1-18-1972. See museum locations as most have been located..

This otter skin cap tail would generally be worn around the neck or attached to a choker. It has a side edge of loom beadwork in white with red and blue designs. The blue cloth heart on the top edge is edged in white and red and is beaded on the reverse side. The support material which is hidden by the fur is covered with reverse appliqué ribbon work which conceals the fur fold and seams.

Otter skin tied with hide possibly as a pendent. There is no evidence of any scalp lock attached. Designation comes from original purchase book by curator Stewart Culin. According to Sean Standing Bear 10/24/2000) the hair attached to it is buffalo "fluff."

Wide, otter fur headband with a white bead edging, black felt on the inside.