6 
Museum specimens illustrating the art of the natives of America have 
long been well known and appreciated by students, but have now for the 
first time come to the notice of a large number of manufacturers who state 
that they will not again be dependent on foreign motives. 
A greater number of motives for designs may be obtained from speci- 
mens collected from the modern Canadian Indians than from prehistoric 
objects excavated from ancient sites in Canada. The modern native art 
differs somewhat from the prehistoric. It has developed to a considerable 
extent. It includes other materials, such as silver and iron; and other 
motives, such as plant forms. These were probably not used until after 
contact with Europeans. It includes, also, painting, embroidery, appliqu6, 
and tattooing on materials of perishable nature, such as wood, skin, and 
fabrics, not represented among the prehistoric specimens. 
Large collections of such specimens may be seen in the Victoria Mem- 
orial Museum, Ottawa; the American Museum of Natural History, New 
York; the Museum of the American Indian, New York; the Museum of 
the University of Pennsylvania, Philadelphia; the United States National 
Museum, Washington; the Field Museum of Natural History, Chicago; 
and the Provincial Museum, Victoria. Smaller collections are housed in 
the Royal Ontario Museum, Toronto, and the Provincial Museum, Depart- 
ment of Education, Toronto. 
Many pictures of modern Indian specimens are included in each of 
the following publications: 
Pacific Coast 
Niblack, Albert P. — “The Coast Indians of Southern Alaska and Northern British 
Columbia.” Rept. United States Nat. Mus., 1888, Washington, 1890, pp. 225-386, 
Figures 11-300, Plates I-LXX. Illustrations of painting, carving, silver, shell, metal 
and horn work, inlaying, tattooing, weaving, appliqud, and embroidery. 
Swanton, John R. — “Contributions to the Ethnology of the Haida,” Mem., Am. Mus. 
of Nat. Hist., Jesup North Pacific Expedition, pit. I, vol. V, Leiden, 1905, pp. 1-300, 
Figures 1-31, Plates I-XXVI. Illustrations of paintings, carvings, shell, metal and horn 
work, inlaying, tattooing, weaving, appliqu6, and embroidery. 
“Social Condition, Beliefs, and Linguistic Relationship of the Tlingit Indians.” 
Twenty-sixth Rept. Bur. of Am. Ethnology, Washington, 1908, pp. 395-485, Figures 
103-117, Plates XLVI1I-LVIII. Illustrations of painting and face-painting from 
Alaska, but similar to the art of the coast of British Columbia. 
Boas, Franz. — “The Decorative Art of the Indians of the North Pacific Coast,” Bull. 
Am. Mus. of Nat. Hist., No. 10, vol. IX, New York, 1897, pp. 123-176, Figures 1-81. 
Illustrations of carving, engraving, painting, weaving, appliqu6, and embroidery. 
“The Social Organization and the Secret Societies of the Kwakiutl Indians,” 
Rept. United States Nat. Mus., 1895, Washington, 1897, pp. 311-738, Figures 1-215, 
Plates 1-51. Illustrations of carving, engraving, and painting. 
“The Mythology of the Bella Coola Indians,” Mem., Am. Mus. of Nat. Hist., 
pt. 2, vol. II, Anthropology I, The Jesup North Pacific Expedition, pt. 2, vol. I, New 
York, 1898, pp. 25-127, Plates VII-XII. Illustrations of carving and painting. 
“Facial Paintings of the Indians of Northern British Columbia,” Mem., Am. 
Mus. of Nat. Hist., pt. I. vol. II, Anthropology I, The Jesup North Pacific Expedition, 
pt. I, vol. I, New York, 1898, pp. 13-24, Plates I-VI. Illustrations of painting on faces. 
Emmons, George T. — “The Chilkat Blanket, with Notes on the Blanket Designs by 
Franz Boas,”Mem.,Am. Mus. of Nat. Hist., pt. 4, vol. Ill, New York, 1907, pp. 229-400, 
Figures 536-592, Plates XXIV-XXVII. Illustrations of painted patterns and weaving. 
Farrand, Livingston. — “Basketry Designs of the Salish Indians,” Mem., Am. Mus. of 
Nat. Hist., pt. 5, vol. II, Anthropology I, The Jesup North Pacific Expedition, pt. 5, 
vol. I, New York, 1898, pp. 391-399, Figures 316-330, Plates XXI-XXIII. Illustrations- 
of imbrication. 
