FROM CARD: "LOAN: THE TEXTILE MUSEUM, 4/30/65." FROM 19TH OR EARLY 20TH CENTURY EXHIBIT LABEL WITH CARD: "HEAD-DRESS.---THE FRONT PART, WORN OVER FOREHEAD, IS OF WOOD ELABORATELY CARVED AND PAINTED TO REPRESENT HEAD AND FRONT PAWS OF A BEAR. THE EYEBROWS, PUPILS, NOSE, LIPS, AND PROJECTING TONGUE ARE OF COPPER. THE TEETH ARE ROWS OF SMALL WHITE SHELLS. ATTACHED TO BACK IS A FRAMEWORK OR BASKET TO FIT HEAD OF WEARER. BEHIND ARE PENDANT STRIPS OF CEDAR ROPE AND PADDLE-SHAPED STRIPS OF WOOD, WHICH CLASH TOGETHER WHEN MOVED. WORN IN DANCING BY HAIDAH INDIANS, PRINCE OF WALES ISLAND. LENGTH ON TOP, 1 FOOT. HEIGHT IN FRONT, 8 INCHES. LENGTH BEHIND, 2 FEET. PRINCE OF WALES ARCHIPELAGO, 1876. 20,866." SEE PROCESSING LAB ACCESSION FILE FOR ADDITIONAL INFORMATION. See p. 206-207 in Wright, Robin Kathleen. 2001. Northern Haida master carvers. Seattle: University of Washington Press. Wright identifies this object as having been collected by James G. Swan from Duncan ginaawaan at Klinkwan in 1875.

FROM CARD: "PEOPLE: *TLINGIT. REMARKS: *HAS A NOOTKAN APPEARANCE."

FROM CARD: "OVOID-SHAPED; TWO PIECES OF CARVED WOOD JOINED WITH LEATHER THONGS. ANTHROPOMORPHIC FACE WITH FROGS ON THE FOREHEAD AND CHEEKS. "A REPRESENTATION OF HOW FROGS AND TOADS COME WITH THE RAIN. FROGS ARE SHOWN SPRINGING FROM THE EYES OF T'KUL, THE SPIRIT OF THE WIND." SEE: USNM AR 1888, PL. 58, FIG. 306, P. 330; AND PL. 60, FIG. 318."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=520, retrieved 3-31-2012: Rattle, Tsimshian. Frogs appear often on shamanic art because they were imagined as primordial, partly human creatures that retained supernatural power from early times. They lived in the dark before Raven brought the sun, and they made fun of the great trickster; in anger he caused the North Wind to blow the frogs away and freeze them onto rocks. This shaman's rattle shows frogs that appear with the rain, springing from the eyes of South Wind, who brings rain and desires the world to be green as in spring. The back of the rattle shows the wind's arms, legs, and body. “He is showing this look, like a trance; the eyes are underneath the lids, rolled back. Having these frogs come out, too – frogs were the shaman's messengers.” - David Boxley (Tsimshian), 2009.

FROM CARD: "THE SCANA OR ORCA ALL FITTED FOR USE." MASK (WITHOUT DORSAL FINS) ILLUS. FIG. 109, P. 134, DISCUSSED P. 133, IN DOWN FROM THE SHIMMERING SKY BY PETER MACNAIR, VANCOUVER ART GALLERY, 1998. IDENTIFIED THERE BY PETER MACNAIR AS MASK REPRESENTING KILLER WHALE (ORCA).EC372 was determined to be part of mask E89102 and was "reunited" with it on January 26, 2023. The following notes are from records related to that number: Anthropology Conservation Lab records identify as "fish fins" or parts for a mask or costume. These appear to be two wooden representations of killer whale dorsal fins, worn on the body as part of masked dance outfits. Compare to similar object Catalogue No. E88814, Haida. Tag for dorsal fins indicates "Asbestos Cleared 1994."

FROM CARD: "20804-6. WOVEN OF WOOL OF THE MOUNTAIN GOAT AND DOG HAIR [sic]." THIS ARTIFACT WAS LENT (UNDER INCORRECT CATALOGUE NUMBER OF 219504) TO CROSSROADS SEP 22, 1988. LOAN RETURNED JAN 21, 1993. ILLUS: CROSSROADS OF CONTINENTS CATALOGUE, FIG. 281, P. 216." FROM CROSSROADS CATALOGUE: "THE MOST PRESTIGIOUS ROBE OF NORTHWEST COAST INDIAN NOBILITY IN THE 19TH CENTURY WAS THE CHILKAT BLANKET. HIGHLY STYLIZED DESIGNS IN DYED MOUNTAIN GOAT WOOL WERE WOVEN INTO THE TEXTILE, THE WARP OF WHICH WAS WOOL WITH A CEDAR BARK CORE. HERE THE CENTRAL PANEL REPRESENTS THE KILLER WHALE. THE CREATURE'S HEAD IS AT THE BOTTOM, THE TAIL AT THE TOP, AND THE TWO SIDES OF THE DORSAL FIN EXTEND OUTWARD FROM THE CENTRAL FACE, WHICH REPRESENTS THE BLOWHOLE. THE BOTTOM FRINGES OF THE BLANKET ARE NEARLY AS LONG AS THE HEIGHT OF THE WOVEN PANEL." Illus. Fig. 437, p. 198, and Fig. 438, p. 199, in The Chilkat Dancing Blanket, by Cheryl Samuel, University of Oklahoma Press, 1982. Blanket 20805 is similar (same?) design to the one Illus. Fig. 572a, p. 382, in "The Chilkat Blanket" by George T. Emmons, Memoirs of the American Museum of Natural History, Vol. 3, part 4, 1907. There is a photo of this object on display in the Smithsonian Bureau of American Ethnology exhibits at the Louisiana Purchase Exposition, St. Louis, Missouri, 1904, USNM Negative No. 16465. See Smithsonian Institution Archives, Record Unit 95, Box 62B, Folder 12, Image No. SIA_000095_B62B_F12_010 .Per Repatriation Office research, as reported in the Tlingit case report (Hollinger et al. 2005), in 1875 James Swan purchased this dancing blanket of the type commonly known as a Chilkat blanket from an unknown person probably in Wrangell, Alaska.Florence Sheakley, elder, and Shgen George, weaver, made the following comments during the Tlingit Recovering Voices Community Research Visit, March 13-March 24, 2017. This blanket still has it's ties so it could be worn. This object is not made with woolly dog hair, but rather mountain goat guard hairs. The hairs are stiff and thick, which makes them hair and not wool.

FROM CARD: "FROM A HEMLOCK FUNGUS."List in accession file identifies this as # 71 - "Specimens of Indian paint made from the fungus which grows on hemlock trees. This is roasted in hot ashes half an hour, when it turns Indian red color."

FROM CARD: "INVENTORIED 1979." FROM CARD: "EAR-RINGS (2).---MADE OF SILVER, MUCH AFTER MODERN PATTERN; BELL-SHAPED PENDANTS; SUPERIOR WORKMANSHIP. SITKA INDIANS. EXTREME LENGTH, 1 5/8 INS. LENGTH OF PENDANT, 1 1/16 INS. ALASKA, 1875. 19,548. COLLECTED BY J. G. SWAN."