wood, feathers (hawk), feathers (flicker?), red yarn, feather quills (feather part has disappeared), metal;

carved, painted, incised, chip carving

Ruth: A number of the gifts given to Lord Elgin appear to be"throwbacks" to types of art still remembered from earlier centuries which suggests that the Aboriginal people who presented them were purposely making reference to ancient traditions. The club displays strong parallels with a number of early ball-headed clubs acquired in the 18th century or earlier now in the national museums of Sweden and Denmark and in Skokloster Castle, Sweden, all of which also have faces carved on the ball of the club. Chip carving is also featured on a 17th century club from the cabinet of curiosities at the Abbaye de Ste-Genevieve in Paris. A club in the Eugene and Clare V. Thaw Collection at the New York Historical Society in Cooperstown, New York, also has elaborate tattoo designs. However, the Elgin club is bigger than these others and more finely carved than the Yverdon example.
Cory: Peacock feathers were also used on the top of the head to create an ornate hairstyle, since hairstyles were a supreme art form. The feathers seem to have been purposely modified by the artist to create a rainbow effect on the head. Peacock feathers were also fur trader's gifts to chiefs.

;;1847-1854, mid 19th century

Sold to National Museum of Scotland by Elgin family, 19?

Unknown artist, ball-headed club. Currently at National Museums Scotland, A.1989.208. Item photographed and described as part of a GRASAC research trip December 2007 in which the author took part; GRASAC item id 24718.

9 Apr 2007 Ruth Phillips, On-site researchers: Cory Willmott, Heidi Bohaker, Laura Peers, Ruth Phillips, Keith Jamieson, Alan Corbiere, Henrietta Lidchi, Robert Storrie, Chantal Knowles, Brenda McGoff