Woman's necklace composed of 10 strands of red, round glass beads with a small repeating pattern of green and white round glass beads. All strands are knotted together at each end, and the ends are in turn knotted together to close the necklace.

The backboard for the cradle is missing, only the quilled ornaments remain. These consist of two large sections of smoked skin, which wrapped around the cradle and were decorated with orange, white, red, brown, light blue and yellow porcupine quills. The design may be called "otter tail” design as the fretwork moves from left to right as if the otter was doing this: jump-jump-slide-jump-jump. Another suggestion is that he "fret" design may be an abstract thunderbird. There are also two straps decorated with quill wrapped thongs, tin cones, and blue and white pony beads. The cradle model is exceptional in two respects. First it is a model and only 3 are known. (The other being in the NMAI and the Peabody Salem Essex). This suggests it was might have been made for sale as pieces that are missing perhaps were not made, or were lost after it was acquired. The cradle decorations are displayed on this mount condensed, as the piece would have been longer. The rectangular piece below might not be in correct location. B Hail, "Hau, Kola,” pg. 144, fig. 127, shows an early Dakota cradle with three of these rectangular forms dangling down from the bottom of the cradle board not from the wrappings.

PROBABLY MADE OF FINELY TWISTED TWO-PLY CATTAIL (TYPHA LATIFOLIA) LEAF CORD - *SEE* A TIME OF GATHERING BY ROBIN K. WRIGHT, 1991, P. 34, 40, 48.A similar Chinook skirt, from Lewis and Clark, is in collections of the Peabody Museum of Archaeology and Ethnology at Harvard University, # PM 99-12-10/52990. The Peabody Museum website notes that Lewis and Clark "... described at length the unique twined cordage skirts that women in the lower Columbia River area made from cedar bark or cattail leaves, which were valuable commodities in local trade networks." Peabody Museum curator Castle McLaughlin has noted that the Catlin cordage skirts E73291, E73306 and E386547 have red paint applied to them, but this is not typical for these types of skirts. The red paint may have been applied by George Catlin?During the cataloguing of quillwork E386582B in 1948, a tag was found with it that stated "From a Lewis and Clark Chinook Skirt in Catlin Coll". Curator John C. Ewers determined that the tag did not actually belong with E386582B. It is possible that the tag might instead have been associated with Chinook skirts E73291, E73306 or E386547. This tag has not currently been located. Nor can the source of the possible ID of a Chinook skirt in the Catlin collection to Lewis and Clark be determined.

From card: "Wooden cradle; made of single piece of wood, boat shaped, with carved handle at one end; fibre strings at sides to hold child in; remnants of fibre padding inside. Same red and black paint on surface. Apparently this is the cradle illustrated in Mason's Cradles of the American Aborigines USNM Report 1887, Fig. 7, and there erroneously called No. 2574B."A similar cradle, also from George Catlin, is in the collections of the Peabody Museum of Archaeology and Ethnology at Harvard University, # PM 88-51-10/50695.

Attributed on card by curator John C. Ewers as "probably Chinook or Salish." From card: "Waist band of bucksin, with buckskin tie strings; long cut fringe to band; outside of band decorated with vertical floral [fruit?] motives in 1 horizontal row (black and red paint). To inner border of waistband a second fringe of braided mtn. goat hair (?) is attached by skin thongs. Note: Dr. Erna Gunther, Washington State Museum, on visit to USNM, Oct. 13, 1948, stated this definitely of mtn. goat hair, but that she had not seen any other skirts like it from the northwest. She was not famliar with the painted motives. She believed it was probably from an interior tribe of Washington or B.C."

PROBABLY MADE OF FINELY TWISTED TWO-PLY CATTAIL (TYPHA LATIFOLIA) LEAF CORD - *SEE* A TIME OF GATHERING BY ROBIN K. WRIGHT, 1991, P. 34, 40, 48.A similar Chinook skirt, from Lewis and Clark, is in collections of the Peabody Museum of Archaeology and Ethnology at Harvard University, # PM 99-12-10/52990. The Peabody Museum website notes that Lewis and Clark "... described at length the unique twined cordage skirts that women in the lower Columbia River area made from cedar bark or cattail leaves, which were valuable commodities in local trade networks." Peabody Museum curator Castle McLaughlin has noted that the Catlin cordage skirts E73291, E73306 and E386547 have red paint applied to them, but this is not typical for these types of skirts. The red paint may have been applied by George Catlin?During the cataloguing of quillwork E386582B in 1948, a tag was found with it that stated "From a Lewis and Clark Chinook Skirt in Catlin Coll". Curator John C. Ewers determined that the tag did not actually belong with E386582B. It is possible that the tag might instead have been associated with Chinook skirts E73291, E73306 or E386547. This tag has not currently been located. Nor can the source of the possible ID of a Chinook skirt in the Catlin collection to Lewis and Clark be determined.

FROM CARD: "HNDBK. N. AMER. IND., VOL. 7, NORTHWEST COAST, FIG. 4E, PG. 539." BOWL ORIGINALLY CATALOGUED AS WOODEN BUT HANDBOOK IDENTIFIES AS MOUNTAIN SHEEP HORN. BOWL APPEARS TO BE OF WASCO/WISHRAM MANUFACTURE. - STEVEN L. GRAFE 1997Pamela Cardenas, Shayleen Macy and Valerie Switzler of the Wasco delegation from the Confederated Tribes of Warm Springs made these comments during the Recovering Voices Community Research Visit Aug 31-Sept 4, 2015. For the Wasco, the cup or bowl is the center of the culture, it is what our stories are based off. Our creation stories are based off coming out of a spring that was shaped like a bowl. These objects are unique to our tribe because it represents us. We don't differentiate between a cup, ladle/spoon, or bowl. Shayleen noted that it is interesting how the Wasco don't make the designs anymore, the simple zigzags, triangles and chevrons. This horn bowl work hasn't been carried into the contemporary. You used to see these all around, everyone had them, but not anymore. Mountain sheep is 'kakwiq' or 'kakwik' in Kiksht. There are still mountain sheep around, they live in the mountains along the Columbia River, but that's not where our reservation is. You can see the sheep from the mountains, we can hunt them because it is ceded land. Our ceded land runs from Mount Hood to Multnomah Falls. Kiksht is the language of the Wasco tribe.For more information, see pdf of additional documentation on the Gibbs collections provided by Liz Hammond-Kaarremaa which is filed with the Emu accession/transaction record.

FROM CARD: "A & B ILLUS.: HNDBK. N. AMER. IND., VOL. 7, NORTHWEST COAST, FIG. 4 (A ON LEFT, B ON RIGHT), PG. 316. LOANED RENWICK GAL. 11-7-73. LOAN RETURNED 8-24-76." Identified in Handbook caption as a dipper, "... a smaller bent-corner box with a long handle carved from the piece that forms the bottom." Painted designs in red and black, and borders and handle red. "The bottom of the ladle carries the eye-within-the-hand motif." Forms a set with water bucket E20568A.FROM CARD: 20568A (BOX), 20568B (DIPPER). FROM PAGE 77, BOXES AND BOWLS CATALOG; RENWICK GALLERY, SMITHSONIAN PRESS; 1974. OBJECTS ILLUS. ON SAME PAGE. 68. BOX AND DIPPER WOOD; PAINTED BLACK AND RED. HEIGHT (BOX): 10 1/4. LENGTH (DIPPER): 11. BELLA BELLA, BRITISH COLUMBIA. "WATER BUCKET AND LADLE." COLLECTED BY JAMES G. SWAN. CATALOGED JANUARY 15, 1876. 20,568-A (BOX); 20,568-B (DIPPER)."Catalog card gives 5260 as accession number, but 4686 (also from Swan, in 1876) is more likely, as that accession contains objects from British Columbia.

From card: "Soft weave basket called "Sally bag"; decorated in bands."

A man’s brown winter coat, or robe, open at the front with long sleeves. The brown wool (“pusp”) is natural, undyed sheep’s wool. Around the collar and the shoulder sections there is an embroidered design in the same brown wool yarn. On the front of the coat, there are two decorative tassels on either side of the opening, near where the wearer’s upper chest would be. The tassel is sewn on to the coat at the centre point of an embroidered round design, also in the same brown wool yarn. The tassel is mainly brown but there are coloured threads wrapped around the brown thread with silver being the most predominant thread colour. At the end of the tassel, the strands are broken into four sections and there is a woven design at the end of each of the sections.