Queen Charlotte Islands (Haida Gwaii) (not certain), British Columbia (not certain), Canada (not certain), North America
Collection Date:
1875
Topic:
Ethnology
Accession Number:
000000
USNM Number:
E54297-0
Specimen Count:
1
Notes:
From card: "After an extensive survey of the totem poles in the USNM collections, it is probable that this specimen is the pole exhibited opposite totem pole #18925 near the entrance to halls 9 and 11. The specimen was apparently collected by Swan for the Philadelphia Exposition of 1876 and can be noted in photos of the exhibit. Based on the USNM NW Coast collections and current NW Coast literature, the treatment of the specimen resembles southern Tlingit-work. 6/6/68 GP. Earlier opinions have been noted as follows: 1882 accessioned.Haida. 1962 V. Garfield.Tlingit. 1962 M. Barbeau. Haida. 1962 W. Holm. Tlingit. Loaned to Renwick 1/27/82. Returned 1983. Illus.: p.58, pl.15, Celebrations Catalogue, Smithsonian Press, 1982. Totem pole, ca.1850-75. Tlingit Indians; Alaska. Cedar, red and black paint 176 x 20 [inches] (447 x 50.8 [cm]). NMNH 54297; Probably collected by James G. Swan." Catalogued originally in Anthropology catalogue ledger book as Haida, Queen Charlotte Islands, B.C..
From Card: "In 1990 this totem pole is on exhibit in Natural History Museum Exhibit Hall 9/11 with the following label: "Totem Pole, Probably Tlingit, southeast Alaska. The figures represent a man, a bear, and a frog."
As of 2004, totem pole is on exhibit in right side of NMNH IMAX Theater lobby. 2009 exhibit label: "Heraldic pole, Queen Charlotte Islands, Canada. Haida noble's heraldic pole illustrating ancestral history. Top figure wears chief's hat showing family wealth. Collected in 1875 by James Swan and Haida artist Johnny Kit Elswa for 1876 Centennial Exposition, Philadelphia."
In 1968, George Phebus did a survery of the Department's totem poles, some of which did not have catalogue numbers written on them. At that time, he made his best guess as to which number went to which pole. He assigned catalogue no. E18925 to a Bella Coola pole with bear/owl/squirrel figures. However, the description in the accession records for totem pole #205851 more closely matches this pole, so its number has been changed from 18925 to 205851. Robin Wright has confirmed the Bella Coola attribution of this pole. ET14953 and ET14957 also match the accession record descriptions of other parts of this pole, so they have been changed to # 205851 as well. - Sally McLendon and F. Pickering 11-2-2006.
As of 2006, pole consists of 5 separate sections: bear/owl/squirrel section (which actually consists of two connected pieces); bird crest section; head section; torso section; mountain goat? section. See info. in accession record from collector for why this is so.
IN 1990 THE LARGEST SECTION OF THIS TOTEM POLE (WHICH CONSISTS OF TWO CONNECTED PIECES) WAS ON EXHIBIT (under incorrect Catalogue No. 18925) IN NATURAL HISTORY MUSEUM EXHIBIT HALL 9/11 WITH THE FOLLOWING LABEL: "TOTEM POLE. PROBABLY BELLA COOLA. THE FIGURES REPRESENT (FROM TOP TO BOTTOM) A BEAR, AN OWL, AND A SQUIRREL." As of 2004, this section of totem pole is on exhibit in left side of NMNH Imax Theater lobby. 2009 exhibit label identifies pole as made by Tlingit, Bella Bella, or Bella Coola (though Bella Coola is most probably correct), and identifies crests as, from top: bear, seated owl, beaver.
Prince Of Wales Island / Kasaan, Alexander Archipelago, Alaska, United States, North America
Topic:
Ethnology
Accession Number:
000000
USNM Number:
E54298-0
Specimen Count:
1
Notes:
FROM CARD: "54297-54300. 54298 - H. 30 FT. ELEVATOR LOBBY. FLOOR 1. FROM CARD: "AFTER AN EXTENSIVE SURVEY OF THE TOTEM POLES IN THE USNM COLLECTIONS, IT SEEMS LIKELY THAT THIS SPECIMEN IS ONE OF THE TWO SHORTER POLES PRESENTLY ERECTED IN THE OLD ART HALL. THIS SPECIMEN IS, THEN, ESSENTIALLY IN AGREEMENT WITH THE CATALOG BOOK. *THE SPECIMEN WAS PROBABLY COLLECTED FOR THE PHILADELPHIA EXPOSITION OF 1876, ALTHOUGH THIS CANNOT BE VERIFIED TO DATE. THE ORIGINAL (1882) ATTRIBUTION OF HAIDA HAS NOT BEEN CONTESTED TO DATE. 6/6/68 GP. *A SUBSEQUENT EXAMINATION OF PHILADELPHIA EXPOSITION PHOTOS POSSIBLY REVEALS A PORTION OF THE BASE OF THIS SPECIMEN.GP. PHOTOGRAPH TAKEN OF THIS TOTEM POLE IN SECTIONS. NEG. NO. MNH 2337; 2338; 2346; 2347; 2349. 11-6-75. LOANED TO 1876 - CENTENNIAL EXHIBIT, A&I.-LEFT POLE. LOAN RETURNED SEP 1990. 1990-THIS POLE ON EXHIBIT IN NHB CONSTITUTION AVE. LOBBY STAIRWELL-LEFT POLE. 1991 - EXHIBIT LABEL IDENTIFIES POLE AS RED CEDAR (THUJA PLICATA), TSIMSHIAN, CARVED AT K'SAN, BRITISH COLUMBIA, COMMISSIONED FOR 1876 PHILADELPHIA EXPOSITION. CARVINGS ARE IDENTIFIED AS (FROM TOP): POSSIBLE WOLF; UNKNOWN; BEAR MOTHER WITH CUB; BEAR MOTHER WITH CUB. AS OF 1994 THIS HAS BEEN RELABELLED AS HAIDA IN EXHIBIT LABEL. Illus. Fig. 4.33, p. 208, and discussed p. 206-208 of Wright, Robin Kathleen. 2001. Northern Haida master carvers. Seattle: University of Washington Press. Wright identifies as "Pole commissioned by James G. Swan through Charles Baronovich for the Centennial Exposition in Philadelphia, 1876 ... possibly was carved by Dwight Wallace." [Dwight Wallace (gid k'waajuss) of Klinkwan.]
From 2009 exhibit labels: Pole is identified as carved from Western red cedar (Thuja plicata). Haida totem pole, carved at Kasaan, Alaska. This pole was commissioned in 1876 for the Philadelphia Exposition. Crests, from top: Possible wolf, unknown, Bear Mother with cub, Bear Mother with cub. A separate label for the pole tells the story of the Bear Mother, and identifies the lowest crest on the pole again as a crest of Bear Mother holding one of her cubs. It also identifies the pole as carved at Kasaan, Alaska in 1975; commissioned for the Philadelphia Centennial Exposition of 1876. "Story of Bear Mother. Bear spirits captured a young girl gathering berries. After turning her into a bear, they forced her to marry one. She gave birth to twin cubs - half human, half bear. The girl's brothers rescued her by killing the bear husband. Before dying, he taught his wife ritual songs. Bear Mother's children and brothers became skilled bear hunters. They and their descendants always sang ritual songs over bears they killed."
This pole appears to be the one on the left in engraving shown on p. 100 and captioned "The Indian Department, in the United States Government Building", in Norton, Frank H., and Frank Leslie. 1877. Frank Leslie's historical register of the United States Centennial Exposition, 1876. Embellished with nearly eight hundred illustrations drawn expressly for this work by the most eminent artists in America. Including illustrations and descriptions of all previous International exhibitions. New York: Frank Leslie's Pub. House. The pole or house post on the right in the same engraving appears to be E54301. The Library of Congress has a copy of this engraving and a thumbnail image is shown on their website here: http://www.loc.gov/pictures/item/2005689180/ .
FROM CARD: "AFTER AN EXTENSIVE SURVEY OF THE TOTEM POLES IN THE USNM COLLECTIONS, IT SEEMS LIKELY THAT THIS SPECIMEN IS THE INTERIOR HOUSE POLE STORED IN THE E-WING BASEMENT. IT WAS APPARENTLY COLLECTED FOR THE PHILADELPHIA EXPOSITION OF 1876 AND CAN BE NOTED IN PHOTOS OF THAT EXHIBIT. IT WAS ORIGINALLY ACCESSIONED AS A HAIDA SPECIMEN BUT THIS IS PROBABLY AN ERROR. BOAZ, 1895 REPORT ON THE KWAKIUTL, PL. 36, CLEARLY SHOWS A SIMILAR INTERIOR HOUSE POST (DANCE HOUSE) AND THE TREATMENT OF THE SPECIMEN IS CONSISTENT WITH KWAKIUTL WORK. 6/6/68. APPARENTLY IN 1898 IT WAS NOTED THAT THIS SPECIMEN WAS NOT NUMBERED AND PRESUMABLY UNCATALOGED. ACCORDINGLY #178982 WAS ASSIGNED (DUPLICATIVE) WITHOUT DATA."
Identified Nov. 1988 as an interior house post by Susan Rowley, Curator, Arctic & Public Archaeology, Museum of Anthropology at the University of British Columbia.
This pole or house post appears to be the one on the right in engraving shown on p. 100 and captioned "The Indian Department, in the United States Government Building", in Norton, Frank H., and Frank Leslie. 1877. Frank Leslie's historical register of the United States Centennial Exposition, 1876. Embellished with nearly eight hundred illustrations drawn expressly for this work by the most eminent artists in America. Including illustrations and descriptions of all previous International exhibitions. New York: Frank Leslie's Pub. House. The pole on the left in the same engraving is E54298. On p. 106 of the publication, in the section on "Indian Curiosities", the text identifies both "totem posts" in the illustration as belonging to the "Mukah" (i.e. Makah) Indians. E54298 has been definitively identified in the records as Haida, but it is possible that E54301 may be Makah? If it is Makah, it is also possible its catalogue number is E20901, rather than E54301, and it would have come as part of Accession 4730. Swan identifies E20901 as a large Makah carved image. Swan's invoice notation (in accession papers for Acc. 4730) for the cost of the large shipping box used to ship E20901 notes that the box made to ship that artifact, along with 2 paddles, a bird spear, and a cane, was 11 feet long. Note that the Library of Congress has a copy of this engraving and a thumbnail image is shown on their website here: http://www.loc.gov/pictures/item/2005689180/ .
This interior house post is similar in style to the ones depicted in a drawing/watercolor done by James G. Swan of a Makah house interior titled "Colchote's Lodge. Neah Bay", dating to March 20, 1861. This drawing is illustrated on p. 81 of Miles, George A., James Gilchrist Swan, Franz Stenzel, and Kathryn M. Stenzel. 2003. James Swan, cha-tic of the Northwest Coast: drawings and watercolors from the Franz & Kathryn Stenzel collection of western American art. New Haven, Conn: Beinecke Rare Book & Manuscript Library, Yale University. The drawing and interior house posts are also discussed on pp. 23-24 of this publication, which notes that the one on the left in the drawing was shaped by a Ditidaht/Nitinaht artist from Vancouver Island.
Aaron Glass, Assistant Professor of Anthropology at the Bard Graduate Center, 2012, doubts the Haida or Kwakiutl attributions that had been applied to this object. Robin Wright, Curator of Native American Art, Burke Museum, 2013, also does not think this is Haida or Kwakiutl: "Based on it's style alone, it would either be Nuu-chah-nulth [Nootka] or Makah. The face has a long sloping under brow plane and the eye is flat on the cheek plane, which are characteristics shared by the Makah and Nuu-chah-nulth. So, [definitely] not Kwakwaka'wakw [Kwakiutl] or Haida. If Swan collected it, then Makah would be a likely source, although they in turn may have received it from a Nuu-chah-nulth carver."
Canada (not certain) / United States (not certain), North America
Accession Date:
1931-Mar-20
Topic:
Ethnology
Accession Number:
113605
USNM Number:
E361695-0
Specimen Count:
1
Notes:
FROM CARD: "SECTION OF TREE TRUNK, HOLLOWED OUT IN THE BACK, WITH 3 CONTRASTING SURFACES, THE NATURAL, WITH BLACK AND MEDIUM RED USED TO ACCENTUATE PARTS OF THE FIGURES. THIS POLE HAS BEEN REPRODUCED BY ALVA STUDIOS, NEW YORK, FOR SALE. LENT TO THE MUSEO NACIONAL DE ANTROPOLOGIA, MAY 18, 1964." Loan returned 2012.
Information from Robin K. Wright, Burke Museum, 4-12-2012: I believe the model pole is Kaigani Haida, and am thinking it might have been carved by Dwight Wallace (or possibly John Wallace). I think it's a model based on one of corner posts of Duncan Ginaawaan's house in Klinkwan, AK, pictured in my book Northern Haida Master Carvers. It has a bear instead of the humanoid bear holding what I think is the woman in the moon, but the other bear figures and squared ears, and especially portrait-like woman below are very similar. John Wallace later copied this pole full sized for the Hydaburg Totem Park as part of the CCC project.
Tanu, Queen Charlotte Islands (Haida Gwaii) / Louise Island, British Columbia, Canada, North America
Accession Date:
1904-May-07
Collection Date:
1904
Topic:
Ethnology
Accession Number:
042671
USNM Number:
E233398-0
Specimen Count:
1
Notes:
From card: "This is one of the two larger poles, acquired for the La. Purch. Expos. exhibit of the Smithsonian. It was purchased from Joe Hans who had it erected about 1885 as a memorial to his deceased uncle, whose name and totemic emblems he was assuming. It was put up on a site called: "nadogids" (the house to which people are always glad to go). The explanation of the carved figures is as follows, from bottom to top: 1. Beaver, was the original crest of Hans (tseng), 2. Whale (kun), 3. Sea Grizzly Bear (Chagan huaji), 3 Cormorant (kialo) with a face carved on its tail which is merely ornamental, 5. Two "totem-pole" men, with a ceremonial hat between them, on which stands: 6. Eagle (got) (at the top). The Eagle, Cormorant, and the whale are the crests which he took over from his uncle. Carved by natives from the giant cedar Thuja plicata."