Agricultural implement made from a tree branch. The two forks of the tool have been secured with leather strapping. The wood has been finished with a type of lacquer. The wood shaft of the pitchfork is cracked in several places.

THICK SPRUCE ROOT CORE WRAPPED WITH 2 OR 3-PLY SPRUCE ROOT CORD TERMINATING IN A BONE TOGGLE. HARPOON HEAD IS MISSING.Letter from donor dated May 3, 1978, filed in accession file, indicates that this object was acquired from the Eskridge family in Olympia, WA, who are descended from Governor [Isaac Ingalls] Stevens. This object was said to formerly have been part of the personal collection of James Gilchrist Swan.

TWINED BASKETRY IN SPRUCE ROOT; CYLINDRICAL BAND OF TWINED SPRUCE ROOT WOVEN INSIDE TO FORM INNER CROWN. UN-DECORATED.Letter from donor dated May 3, 1978, filed in accession file, indicates that this object was acquired from the Eskridge family in Olympia, WA, who are descended from Governor [Isaac] Stevens. This object was said to formerly have been part of the personal collection of James Gilchrist Swan and at one time to have had a label with it in Swan's hand.

Along the beaches of Washington and Vancouver Island, huge human figures stretched their arms in a gesture of welcome traditional among First Nations people. Welcome figures faced the water, to greet and honor guests as they arrived by canoe. At a 1930 potlatch in Clayoquot, British Columbia, Annie Williams made Charlie Swan her heir and gave to him this welcome figure. Annie Williams was the daughter of Tla-o-qui-aht carver and curer, Atlieu (Charlie Williams). Swan was a Makah leader from Neah Bay, Washington. His daughter, Helma Swan Ward, remembered that the figure had worn a tunic. This particular figure could pivot, and the arms could be raised and lowered on special occassions. When the figure was donated to the Burke Museum in 1952 the head was missing. A replica head was made by Steve Brown in 1969, based on a photograph of the original figure. In 2002, the Burke Museum commissioned Makah weaver, Melissa Peterson, to make the cattail tunic for the figure.

Long, high-prowed canoes sliced the waves of the coast, driven by the paddles of northern warriors raiding the Salish for slaves, or carrying a chief, seeking a bride, and his retinue. When it was bought from its owner, Chief Jonathan Whonnock, this graceful and elaborately decorated canoe had just brought a party of Kwakwaka'wakw three hundred miles from northern Vancouver Island, to work in the hop fields of Puget Sound. On the Northwest Coast the canoe was a part of almost every human activity, from the deeds of fabled heroes and noble chiefs to the everyday business of fishing and traveling. The figure on the bow of this canoe represents an eagle with a salmon in each talon. (Holm, Spirit and Ancestor, 1987)

One part of a three piece artistic representation of the attributes of the "shark caller". Curved fragments of coconut shell, which are strung onto two strips of rattan bound together into a loop handle, make a rattling sound when shaken.

One part of a three piece artistic representation of the attributes of the "shark caller". The thick wood beater has bands of red, black and white at one end and a thick rope looped through a hole at the narrowed end.

One part of a three piece artistic representation of the attributes of the "shark caller". Figure is a large yellowish wood propeller with thick rope knotted at centre is painted white overall and has incised decorative motifs painted yellow, red, and black on the front surface.[p

Lavishly embellished robe, made from light beige heavy silk brocade fabric, woven with silver and gold metallic threads, incorporating floral motifs and roundels. The brocade has been cut and pieced to create a symmetrical placement of the motifs. The robe has long, straight sleeves and mandarin collar. The robe closes asymmetrically in the front (left over right), with buttons and loops at the neck at centre front, at the upper chest on the right side, under the right sleeve and at the waist side seam. All edges (neck, front, hem and cuffs) are trimmed with brightly coloured, finely embroidered and soft brown fur. Two rows of brightly coloured, finely embroidered bands encircle the robe at hip level. The robe is very heavy, long and voluminous. Lined with bright blue and turquoise silk damask textiles.