From card: "Cedar wood post. One end carved in shape of a human standing on a fish. Used at back of a salmon trap."

E-231014: Painted Wooden Spoon “Haida, British Columbia. Plain form after the home spoon; painted with mythological design in black and red.” (Catalog card)Comment from Graduate Student Research Paper, "A Report on Accession #42610 of the National Museum of Natural History", written by Athena Hsieh in April 2012, for the class "Anthropology in the Museum" taught by NMNH Curator, Dr. J. Daniel Rogers for the George Washington University. Approved for inclusion into notes by Dr. Igor Krupnik. Dr. Krupnik and NMNH has not verified the contents of the comment below, and suggests future researchers verify the remarks before citing Ms. Hsieh. The complete paper is attached to the accession record of this object in EMu. "This spoon is carved from a light-colored wood, possibly cedar, and is painted with a killer whale design on the front. The back of the spoon is undecorated. In describing traditional Haida spoons, Dr. Swanton wrote, “Sometimes they illustrate a story, sometimes they are the crests of the owner, and sometimes they are purely ornamental” (137). The stories most commonly told by the ornamentation on carved spoons were Raven stories, where Raven would occasionally be represented as human figures, both male and female. According to Dr. Swanton in, “only (hunting) members of the Raven clan, on the West Coast, used spoons when they ate black cod. The Eagles used their hands” (Swanton 1905, 57). Spoons were also used in potlatches for feasting and given away as gifts (164). However, most of the spoons Dr. Swanton based this research on were carved from goat's horn. His only mention of wooden spoons in “Ethnology” referred to illustrations of designs from wooden spoons “used in eating soap-berries” (147). This spoon, which has a flat, straight handle, does not appear to have been used as a utensil, suggesting that Dr. Swanton may have collected this from a craftsman selling trade goods. The lack of any complex designs or additional crest images supports this. Citations: Swanton, John R. 1905. “Contributions to the Ethnology of the Haida” in Memoirs of the American Museum of Natural History 8-1. New York: G. E. Stechert. Swanton, John R. 1905. Haida Texts and Myths: Skidegate Dialect. Washington: Government Printing Office."

From card: "(A & D) Illus. Bu. Ethno. Ann. Report #26, p. 420, fig. 106. Note: Apparently prior to Dec. 1969 these specimens had not been numbered. The former dimensions and quantity (1) were also in error as shown in the old catalog book. Previous attributions to James Swan now seem to have little basis. -GP (George Phebus). Bear crest designs. See: The Far North, Nat'l. Gallery of Art, Washington, 1973, Pl. 235, pg. 188-189 (where all 4 are illustrated). Loaned to the National Gallery of Art October 20, (19)72. Returned 5-29-(19)73. A & C Loaned to Renwick 7/28/(19)82. Returned 1983. (Excerpt from exhibit catalogue for Renwick exhibit, called Celebration, A World of Art and Ritual, is taped to back of card. Objects are described as:) House screens, ca. 1850-1900, Tlingit Indians; Wrangell, Alaska, wood, fiber lashing, red and black paint, non-Indian frames." ... cont., see card.According to Eric Hollinger, Repatriation Office, Feb. 2007, E233498 was originally a pair of house screens measuring 7ft by 14 ft each. Both screens were sawed in half after they arrived at the museum and framed. Red borders were painted on each of the four sections and the same red paint was then applied to touch-up the red paint of the figures (based on Smithsonian Museum Conservation Institute XRF analysis). Screen E233498A originally articulated with E233498D but they were separated when they were sawed in two within the museum. E233498A was on the left and E233498D was on the right. E233498B was originally articulated with E233498C before it also was sawed in two pieces within the museum. E233498B was on the right side and E233498C was on the left side. The screens were purchased by John R. Swanton from Mrs. Robert Shadesty in Wrangell, Alaska in 1904. See the Repatriation Office Tlingit case report (Hollinger et al. 2005).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=667 , retrieved 1-5-2012: House screen This carved and painted screen is from a Tlingit clan house and was once part of a wall that separated off a rear room reserved for the house leader and his immediate family. The red cedar panel may be two hundred years old or more. The central figure has been interpreted as Beaver because of its large incisors, and the design may refer to the Deisheetaan story, "The Beaver of Killisnoo." However, Beaver crests are owned by several Raven and Eagle clans and the precise meaning of the art is unknown. The figure may even be a bear, or marmot.Florence Sheakley, Shirley Kendall, and Alan Zuboff, all three elders, made the following comments during the Tlingit Recovering Voices Community Research Visit, March 13-March 24, 2017. Screens like these were used in houses to separate compartments, with screens in the back and the front of the house. Florence gives the Tlingit word for these screens (rv_Tlingit_20170320_004; 9:59). Alan pointed out that since there was no smoke line or sun bleaching, they were likely used indoors. Shirley commented that screens like this were no longer being made when she was growing up.

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: "...B) whale bone; curved shaft, circular carved head."Listed on page 46 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)".

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: "ILLUS. BAE AR 26, 1904-05, FIG. 105, P. 419. HOLLOWED OUT OF A SINGLE PIECE OF WOOD CA. 2 INCHES THICKNESS, WITH A GROOVE CUT JUST INSIDE THE LIP AREA FOR THE INSERTION OF SEPARATELY CARVED ROWS OF WOODEN TEETH, ONLY PART OF THOSE ON THE LOWER JAW LEFT (AS OF 1954). LIP AREA PAINTED BLUE. ALL BUT THE LIPS COVERED WITH SKIN WITH HAIR ON, ATTACHED AROUND THE LIPS WITH WOODEN PEGS. DOUBLE FLAPS OF SKIN SEWN ON TO FORM EARS. 'OWNED BY 'JIM COONIE', A KACHADI.'"