Notice of Intent To Repatriate Cultural Items: Autry Museum of the American West, Los Angeles, CA, 19113-19118 [2019-09036]

Agencies

• DEPARTMENT OF THE INTERIOR
• National Park Service

[Federal Register Volume 84, Number 86 (Friday, May 3, 2019)]
[Notices]
[Pages 19113-19118]
From the Federal Register Online via the Government Publishing Office [www.gpo.gov]
[FR Doc No: 2019-09036]


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DEPARTMENT OF THE INTERIOR

National Park Service

[NPS-WASO-NAGPRA-NPS0027661; PPWOCRADN0-PCU00RP14.R50000]


Notice of Intent To Repatriate Cultural Items: Autry Museum of 
the American West, Los Angeles, CA

AGENCY: National Park Service, Interior.

ACTION: Notice.

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SUMMARY: The Autry Museum of the American West, in consultation with 
the appropriate Indian Tribes or Native Hawaiian organizations, has 
determined that the cultural items listed in this notice meet the 
definition of sacred objects and objects of cultural patrimony. Lineal 
descendants or representatives of any Indian Tribe or Native Hawaiian 
organization not identified in this notice that wish to claim these 
cultural items should submit a written request to the Autry Museum of 
the American West. If no additional claimants come forward, transfer of 
control of the cultural items

[[Page 19114]]

to the lineal descendants, Indian Tribes, or Native Hawaiian 
organizations stated in this notice may proceed.

DATES: Lineal descendants or representatives of any Indian Tribe or 
Native Hawaiian organization not identified in this notice that wish to 
claim these cultural items should submit a written request with 
information in support of the claim to the Autry Museum of the American 
West at the address in this notice by June 3, 2019.

ADDRESSES: Lylliam Posadas, Autry Museum of the American West, 4700 
Western Heritage Way, Los Angeles, CA 90027, telephone (323) 495-4369, 
email [email protected].

SUPPLEMENTARY INFORMATION: Notice is here given in accordance with the 
Native American Graves Protection and Repatriation Act (NAGPRA), 25 
U.S.C. 3005, of the intent to repatriate cultural items under the 
control of the Autry Museum of the American West, Los Angeles, CA, that 
meet the definition of sacred objects and objects of cultural patrimony 
under 25 U.S.C. 3001.
    This notice is published as part of the National Park Service's 
administrative responsibilities under NAGPRA, 25 U.S.C. 3003(d)(3). The 
determinations in this notice are the sole responsibility of the 
museum, institution, or Federal agency that has control of the Native 
American cultural items. The National Park Service is not responsible 
for the determinations in this notice.

History and Description of the Cultural Items

    In 1918, staff at the Southwest Museum of the American Indian 
acquired two dance belts through an exchange with a private collector, 
Mr. E.G. Johnson. Museum records state that both dance belts were 
collected from Somes Bar, in Siskiyou County, CA, and are Karuk. The 
collections from the Southwest Museum of the American Indian are now 
the Southwest Museum Collection at the Autry Museum of the American 
West. The two cultural items, an otter fur dance belt and a woven 
horsehair dance belt, have been identified as Karuk, and as both sacred 
objects and objects of cultural patrimony.
    The two dance belts are culturally associated with the Karuk Tribe 
(previously listed as the Karuk Tribe of California). The otter fur 
dance belt is constructed of otter fur lined with deerskin. It is 
decorated with fringes of deerskin thongs attached in bunches and 
strung with deer hooves, olivella shells, pine nuts, and glass trade 
beads. The woven horsehair dance belt is constructed of woven black 
horsehair with zigzag lines of deer thongs tied into a thick top and 
bottom border. The end loops are wrapped with braided porcupine quills 
dyed yellow. Consultation with Karuk representatives indicated that 
both belts were collected from Karuk ancestral territory. Karuk 
representatives further described how the style of the belts and the 
materials used to create them are typical of Karuk regalia. 
Anthropological, historical, and geographic information culturally 
associate the belts to the Karuk Tribe (previously listed as the Karuk 
Tribe of California).
    Karuk representatives described during consultation that the 
ornamentation on the belts indicated they were made as regalia for the 
adolescent girls' coming of age ceremony, the Flower Dance. As they are 
specific ceremonial objects that are required by the Karuk Tribe 
(previously listed as the Karuk Tribe of California) to properly 
practice traditional religious ceremonial dances and prayers for the 
Flower Dance these two items are sacred objects.
    The cultural information provided through consultation, supported 
by historical and anthropological sources, demonstrates that these 
belts are also objects of cultural patrimony. These belts have ongoing 
historical, traditional, and cultural importance to the Karuk Tribe 
(previously listed as the Karuk Tribe of California). Karuk 
representatives explained during consultation that regalia pieces, 
although cared for and used by individuals, were owned collectively and 
could not be sold or traded by individuals.
    In 1934, Anita Baldwin donated one deerskin dress to the Southwest 
Museum of the American Indian as part of the Jane Virginia Dexter 
Baldwin Memorial Collection. That collection is now owned by the Autry 
Museum of the American West. Museum records state that the dress was 
collected in Sandy Bar in Humboldt County, CA, and is Karuk. This dress 
has been identified as Karuk, and as both a sacred object and object of 
cultural patrimony.
    The dress is constructed from deerskin, with thick deerskin fringe 
at one end, and an ornamented row of large red abalone shell pendants 
and smaller chione shell pendants on the opposite end. The shell fringe 
also has brass thimbles, brass bells, coins, and tin and bronze 
pendants attached throughout the fringe. Above the shell fringe is a 
border of woven fibers dyed in a repeating pattern of plain, black, and 
red. Consultation with Karuk representatives identified this dress as 
being from Karuk ancestral territory and possessing characteristics 
typical of Karuk regalia. According to the Karuk representatives, the 
unusually small size for a dress with such extensive and detailed 
ornamentation indicates the dress has been worn by a prominent Karuk 
doctor who began her training as a young child. The small dimensions of 
the dress and the great number and variety of shell and metal pendants 
on the fringe support this conclusion. Anthropological, historical, 
geographic and oral history information support a cultural affiliation 
of the Karuk Tribe (previously listed as the Karuk Tribe of California) 
with this dress.
    Karuk representatives stated during consultation that this dress 
was used in doctoring ceremonies by its previous caretaker, including 
the Brush Dance, a healing ceremony. As this dress is a specific 
ceremonial object required by the Karuk Tribe (previously listed as the 
Karuk Tribe of California) to properly practice traditional religious 
dances, prayers, and healing ceremonies, including but not limited to 
the Brush Dance, this item is a sacred object.
    The cultural information provided through consultation, and 
supported by historical and anthropological sources, demonstrates that 
this dress is also an object of cultural patrimony. This dress has 
ongoing historical, traditional, and cultural importance to the Karuk. 
Karuk representatives explained during consultation that regalia 
pieces, although cared for and used by individuals, were owned 
collectively and could not be sold or traded by individuals. This 
particular dress is made especially significant due to its association 
with a notable figure in Karuk history. Regalia of added significance, 
such as this dress, are granted considerable collective care, and are 
especially important to Karuk to maintain.
    In 1938, Homer E. Sargent donated one pipe and one leather pouch 
(which are counted as one set) to the Southwest Museum of the American 
Indian. Museum records state that the pipe and its pouch are from Camp 
Creek in Humboldt County, CA, and are Karuk. The collections from the 
Southwest Museum of the American Indian are now the Southwest Museum 
Collection at the Autry Museum of the American West. The pipe and its 
case have been identified as Karuk, and as sacred objects and objects 
of cultural patrimony.
    The pipe and its pouch are culturally associated with the Karuk 
Tribe (previously listed as the Karuk Tribe of California). The pipe is 
carved from a dark wood with a greenish steatite bowl

[[Page 19115]]

inserted at the end. The bowl contains tobacco residue. The pouch is 
made of deerskin sewn with sinew and with a thong tie. There is a small 
amount of tobacco at the bottom of the pouch. Karuk representatives 
explained during consultation that this pipe and its pouch were 
collected from ancestral Karuk territory, and that the design and 
construction materials were typical of Karuk ceremonial pipes and 
pouches. Anthropological, geographic, and historical information 
support a cultural affiliation of the Karuk Tribe (previously listed as 
the Karuk Tribe of California) to the pipe and pouch.
    Karuk representatives explained during consultation that this pipe 
and pouch were primarily used during the War Dance. Karuk 
representatives also stated that the leather pouch is meant to keep the 
pipe safe, that it should not be treated as separate from the pipe, and 
therefore, that the pipe and pouch comprise one set. As both the pipe 
and its case are specific ceremonial objects required by the Karuk to 
properly perform traditional religious ceremonies and prayers for the 
War Dance, these items are sacred objects.
    The cultural information provided through consultation, supported 
by historical and anthropological sources, demonstrates that this pipe 
and pouch are also objects of cultural patrimony. They have ongoing 
historical, traditional, and cultural importance to the Karuk Tribe 
(previously listed as the Karuk Tribe of California). Karuk 
representatives explained during consultation that medicine pieces, 
although cared for and used by individuals, were owned collectively, 
and could not be sold or traded by individuals.
    In 1939, Ben and Everett Wilder sold one large obsidian blade to 
the Southwest Museum of the American Indian, whose collections are now 
owned by the Autry Museum of the American West. Museum records state 
that the blade was collected from Orleans in Humboldt County, CA, and 
is Karuk. The Museum purchased the blade for the General Charles McC. 
Reeves Collection, funded by General Reeves. The blade has been 
identified as Karuk, and as a sacred object and object of cultural 
patrimony.
    The blade is made from flaked obsidian, and measures 33.5 inches in 
length and six inches at its widest. Karuk representatives stated that 
the blade was collected from ancestral Karuk territory, and that the 
size, material, and design of the blade is typical of Karuk ceremonial 
blades. Anthropological, historical and geographic information 
demonstrate that the Karuk Tribe (previously listed as the Karuk Tribe 
of California) is culturally affiliated to this blade.
    Karuk representatives explained during consultation that this blade 
was used during the White Deerskin Dance, where large ceremonial 
obsidian blades are carried by the participants who lead the dance. As 
it is a specific ceremonial object and is required by the Karuk Tribe 
(previously listed as the Karuk Tribe of California) to properly 
perform the traditional religious dances and prayers for the White 
Deerskin Dance, this item is a sacred object.
    The cultural information provided through consultation, supported 
by historical, archeological and anthropological sources, demonstrates 
that this blade meets the category definition for objects of cultural 
patrimony. This blade has an ongoing historical, traditional, and 
cultural importance to the Karuk Tribe (previously listed as the Karuk 
Tribe of California). Karuk representatives explained during 
consultation that medicine pieces, although cared for and used by 
individuals, were owned collectively and could not be sold or traded by 
individuals.
    In 1932, Grace Nicholson donated three cultural items consisting of 
one wooden stool, one bow, and one bone whistle to the Southwest Museum 
of the American Indian. Museum records note that these cultural items 
were collected from Northern California, and are Karuk. The collections 
from the Southwest Museum of the American Indian are now the Southwest 
Museum Collection at the Autry Museum of the American West. These 
cultural items have been identified as Karuk, and as sacred objects and 
objects of cultural patrimony.
    The stool is made from carved wood and has no legs. Its flared flat 
base measures 28.5 inches, and its flat top measures 12.5 inches. Karuk 
representatives indicated during consultation that Karuk ancestral 
territory is located within Northern California, and that this stool, 
based on its style and shape, was used during the World Renewal 
Ceremony by Karuk priests in sweathouses. Karuk representatives also 
described a past theft of such a stool. Anthropological, historical, 
and oral history information support the cultural affiliation of the 
Karuk Tribe (previously listed as the Karuk Tribe of California) to 
this stool.
    As this stool is a specific ceremonial object, and is required by 
the Karuk to properly perform the traditional religious practices 
associated with the World Renewal Ceremony, it is a sacred object.
    The cultural information provided through consultation, supported 
by historical and anthropological sources, demonstrates that this stool 
is also an object of cultural patrimony. This stool has an ongoing 
historical, traditional, and cultural importance to the Karuk Tribe 
(previously listed as the Karuk Tribe of California). Karuk 
representatives explained during consultation that such medicine 
pieces, although cared for and used by individuals, were owned 
collectively and could not be sold or traded by individuals.
    The bow is made of yew wood, wrapped with a deerskin strip in the 
center. A feather has been inserted into the wrapping. It is bound with 
sinew at the ends and is painted red, white and blue. Karuk 
representatives described during consultation how the markings on the 
bow differentiated it from utilitarian bows, and that the bow was used 
in ritual shooting for the War Dance. Anthropological, historical and 
oral history information support cultural affiliation of the Karuk 
Tribe (previously listed as the Karuk Tribe of California) to this bow.
    This bow meets the definition for sacred objects because it is a 
specific ceremonial object required by the Karuk Tribe (previously 
listed as the Karuk Tribe of California) to properly perform the 
traditional religious practices associated with the War Dance.
    The cultural information provided through consultation, supported 
by historical and anthropological sources, demonstrates that the bow is 
also an object of cultural patrimony. This bow has an ongoing 
historical, traditional, and cultural importance to the Karuk Tribe 
(previously listed as the Karuk Tribe of California). Karuk 
representatives explained during consultation that regalia pieces, 
although cared for and used by individuals, were owned collectively, 
and could not be sold or traded by individuals.
    The bone whistle is made from bird bone, possibly California 
condor, and has a rectangular cut in the center that is bound with 
fiber around one edge of the cut. It has a notched resin plug inside 
one end. Karuk representatives indicated during consultation that bone 
whistles are used in many ceremonies to start dances, most notably the 
Brush Dance and the White Deerskin Dance. Archaeological, 
anthropological, historical and oral history information support the 
cultural affiliation of the Karuk Tribe (previously listed as the Karuk 
Tribe of California) to this whistle.

[[Page 19116]]

    As the whistle is a specific ceremonial object that is required by 
the Karuk Tribe (previously listed as the Karuk Tribe of California) to 
properly practice traditional religious ceremonial dances and prayers 
for the Brush Dance and the White Deerskin Dance, it is a sacred 
object.
    The cultural information provided through consultation, supported 
by historical and anthropological sources, demonstrates that this 
whistle is also an object of cultural patrimony. This whistle has an 
ongoing historical, traditional, and cultural importance to the Karuk 
Tribe (previously listed as the Karuk Tribe of California). Karuk 
representatives explained during consultation that such medicine items, 
although cared for and used by individuals, were owned collectively and 
could not be sold or traded by individuals.
    In 1934, Anita Baldwin donated seven cultural items to the 
Southwest Museum of the American Indian, whose collections are now 
owned by the Autry Museum of the American West. The seven cultural 
items are one rattle wand, one deerskin, two netted hangers, one case 
for feathers, one grass apron, and one bow with six arrows. Museum 
records state that these items are from Northern California, and are 
Karuk. These cultural items have all been identified as culturally 
affiliated with the Karuk Tribe (previously listed as the Karuk Tribe 
of California), and as sacred objects and objects of cultural 
patrimony.
    The rattle wand is made from a long wooden stick with one end split 
into several thin pieces that rattle when shaken. The deerskin head is 
stuffed with natural fibers, it has beads, woodpecker feathers and 
abalone shell pieces attached to it. The two netted hangers are made 
from natural fibers, with painted red and blue geometric designs and 
feathers attached at the end. The case for feathers is made from a mat 
of herbs that can be rolled to wrap feathers. The grass apron is made 
from cedar berries and beads strung on threads wrapped in woven grass. 
The threads are tipped with pine nuts, metal pendants and abalone shell 
pieces. The bow is made of yew wood with sinew wrapped in the center. 
It is painted with black and red designs. The six arrows are feathered, 
and have stone points. Karuk representatives stated during consultation 
that the bow and arrows were not to be separated, and therefore should 
be counted as one set. Karuk representatives also indicated during 
consultation that Karuk ancestral territory is located within Northern 
California, where these items were collected. Karuk representatives 
also stated during consultation that all seven cultural items have 
stylistic and material characteristics typical of Karuk regalia and 
medicine items. Anthropological, historical and oral history 
information support the cultural affiliation of the Karuk Tribe 
(previously listed as the Karuk Tribe of California) to these seven 
cultural items.
    As these seven items are specific ceremonial objects and are 
required by the Karuk Tribe (previously listed as the Karuk Tribe of 
California) to properly practice traditional religious ceremonial 
dances, they are sacred objects. Consultation with Karuk 
representatives established that the rattle wand was used in the Flower 
Dance, the deerskin, both netted hangers and the case for feathers were 
used in the White Deerskin Dance, the grass apron was used in the Brush 
Dance, and the bow and arrows were used in the War Dance.
    The cultural information provided through consultation, supported 
by historical and anthropological sources, demonstrates that these 
seven cultural items are also objects of cultural patrimony. These 
items have ongoing historical, traditional, and cultural importance to 
the Karuk Tribe (previously listed as the Karuk Tribe of California). 
Karuk representatives explained during consultation that regalia and 
medicine pieces, although cared for and used by individuals, were owned 
collectively and could not be sold or traded by individuals.
    In 1939, four jump dance baskets were donated to the Southwest 
Museum of the American Indian, whose collections are now owned by the 
Autry Museum of the American West. Museum records state that all four 
jump dance baskets were collected from Northern California, and are 
Karuk. Three of the four jump dance baskets were donated by Col. John 
Hudson Poole to create the Caroline Boeing Poole Collection, (named 
after his wife). One of the four jump dance baskets was donated by 
Florence Lee to create the H. Shumway Lee Collection, (named after her 
brother). These cultural items have all been identified as Karuk, and 
as sacred objects and objects of cultural patrimony.
    Karuk representatives indicated during consultation that the four 
jump dance baskets have stylistic and materials characteristics typical 
of Karuk Jump Dance baskets. Karuk representatives also stated that 
ancestral Karuk territory is located in Northern California where these 
baskets were collected. Anthropological and historical information 
support the cultural affiliation of the Karuk Tribe (previously listed 
as the Karuk Tribe of California) to these four jump dance baskets.
    As these four jump baskets are specific ceremonial objects and are 
required by the Karuk Tribe (previously listed as the Karuk Tribe of 
California) to properly practice traditional religious ceremonial 
dances and prayers for the Jump Dance, they are sacred objects. Karuk 
representatives stated during consultation that due to the designs on 
the baskets, the characteristics of their construction, and evidence of 
wear from use, these jump dance baskets were used in the Jump Dance and 
were not made for sale. Anthropological and historical information also 
demonstrate that these objects are Karuk objects used in the Jump 
Dance.
    The cultural information provided through consultation, supported 
by historical and anthropological sources, demonstrates that these four 
jump dance baskets are also objects of cultural patrimony. These jump 
dance baskets have ongoing historical, traditional, and cultural 
importance to the Karuk Tribe (previously listed as the Karuk Tribe of 
California). Karuk representatives explained during consultation that 
regalia and medicine pieces, although cared for and used by 
individuals, were owned collectively and could not be sold or traded by 
individuals.
    In 1947, Dr. Rev. Charles W. Baker sold 11 cultural items to the 
Southwest Museum of the American Indian, whose collections are now 
owned by the Autry Museum of the American West. Museum records state 
that all 11 cultural items were collected from Northern California 
along the Klamath River, where Dr. Rev. Baker worked as a missionary. 
The 11 cultural items consist of one head ring made of deerskin and 
woodpecker feathers, two eagle down head plumes (which are counted as 
one set), one headband made from porcupine quills, two headbands made 
from sea lion teeth, one dance apron made from a ring-tail pelts, one 
quiver made from fisher pelt and eight arrows counted as one set, one 
wolf hair blinder, two otter fur blinders worn together (which are 
counted as one set), and two hangers made from woven plant fibers with 
feathers at the end. Museum records described all 11 items as Karuk. 
These cultural items have all been identified as Karuk and as sacred 
objects and objects of cultural patrimony.
    Karuk representatives indicated during consultation that the 11 
cultural items have stylistic and materials characteristics typical of 
Karuk regalia and medicine items. Karuk representatives also stated 
that ancestral

[[Page 19117]]

Karuk territory is located in Northern California, where these items 
were collected. Anthropological and historical information support the 
cultural affiliation of the Karuk Tribe (previously listed as the Karuk 
Tribe of California) to these 11 cultural items.
    As these items are specific ceremonial objects, and are required by 
the Karuk Tribe (previously listed as the Karuk Tribe of California) to 
properly practice traditional religious ceremonial dances, they are 
sacred objects. Karuk representatives described during consultation 
that the head ring made from deerskin and woodpecker feathers, the pair 
of eagle down head plumes, and the pair of otter fur blinders were used 
in the Brush Dance. The two headbands made from sea lion teeth, the 
apron made from ring-tail pelts, the wolf hair blinder, and the two 
woven hangers were used in the White Deerskin Dance. The headband made 
from porcupine quills was used in the Jump Dance, and the quiver made 
from fisher pelt with its eight arrows was used in the War Dance. 
Anthropological and historical information also demonstrate that these 
items are Karuk objects used in specific ceremonies.
    The cultural information provided through consultation, further 
supported by historical and anthropological sources, demonstrates that 
these 11 cultural items are also objects of cultural patrimony. These 
items have ongoing historical, traditional, and cultural importance to 
the Karuk Tribe (previously listed as the Karuk Tribe of California). 
Karuk representatives explained during consultation that regalia and 
medicine pieces, although cared for and used by individuals, were owned 
collectively and could not be sold or traded by individuals.
    In 1934, Anita Baldwin donated one deerskin dress to the Southwest 
Museum of the American Indian, to be added to the Jane Virginia Dexter 
Baldwin Memorial Collection. This collection is now part of the 
Southwest Museum Collection owned by the Autry Museum of the American 
West. Museum records describe the dress as Karuk. There is no 
documentation for where the dress was collected. This cultural item has 
been identified as Karuk, and as a sacred object and object of cultural 
patrimony.
    Consultation with Karuk representatives determined that this 
deerskin dress is Karuk due to the characteristics of its construction, 
its overall style, and the materials used to create it, which include 
brass thimbles and bivalve shells attached to a grass netting. 
Anthropological and historical sources support the cultural affiliation 
of the Karuk Tribe (previously listed as the Karuk Tribe of California) 
to this dress.
    As this deerskin dress is a specific ceremonial object, required by 
the Karuk Tribe (previously listed as the Karuk Tribe of California) to 
properly practice traditional religious ceremonial dances and prayers 
for the Brush Dance, it is a sacred object. Anthropological and 
historical information also demonstrate that this object is a Karuk 
object used in the Brush Dance.
    The cultural information provided through consultation, further 
supported by historical and anthropological sources, demonstrates that 
this deerskin dress is also an object of cultural patrimony. This 
deerskin dress has an ongoing historical, traditional, and cultural 
importance to the Karuk. Karuk representatives explained during 
consultation that regalia pieces, although cared for and used by 
individuals, were owned collectively and could not be sold or traded by 
individuals.
    In 1985, Craig Bates donated one dentalium necklace to the 
Southwest Museum of the American Indian, whose collections are now 
owned by the Autry Museum of the American West. Museum records state 
that Craig Bates acquired the necklace from a dealer in central Oregon, 
who described the necklace as Karuk. Museum records do not identify 
where the necklace was originally collected. This cultural item has 
been identified as Karuk, and as a sacred object and object of cultural 
patrimony.
    Consultation with Karuk representatives determined that this 
dentalium necklace is Karuk due to the style of the necklace, and the 
materials used to create it, which include incised dentalium, glass 
trade beads, and strips of fur. Karuk representatives also indicated 
during consultation that this dentalium necklace is regalia use in the 
proper practice of the World Renewal Ceremony. Archaeological, 
anthropological and historical information support the cultural 
affiliation of the Karuk Tribe (previously listed as the Karuk Tribe of 
California) to this dentalium necklace.
    As this dentalium necklace is a specific ceremonial object, and is 
required by the Karuk Tribe (previously listed as the Karuk Tribe of 
California) to properly practice traditional religious ceremonial 
dances and prayers for the World Renewal Ceremony, it is a sacred 
object. Anthropological and historical information also demonstrate 
that this necklace is a Karuk object used in a specific ceremony.
    The cultural information provided through consultation, supported 
by historical and anthropological sources, demonstrates that this 
dentalium necklace meets the category definition for objects of 
cultural patrimony. This necklace has an ongoing historical, 
traditional, and cultural importance to the Karuk Tribe (previously 
listed as the Karuk Tribe of California). Karuk representatives 
explained during consultation that regalia pieces, although cared for 
and used by individuals, were owned collectively and could not be sold 
or traded by individuals.

Determinations Made by the Autry Museum of the American West

    Officials of the Autry Museum of the American West have determined 
that:
     Pursuant to 25 U.S.C. 3001(3)(C), the 32 cultural items 
described above are specific ceremonial objects needed by traditional 
Native American religious leaders for the practice of traditional 
Native American religions by their present-day adherents.
     Pursuant to 25 U.S.C. 3001(3)(D), the 32 cultural items 
described above have ongoing historical, traditional, or cultural 
importance central to the Native American group or culture itself, 
rather than property owned by an individual.
     Pursuant to 25 U.S.C. 3001(2), there is a relationship of 
shared group identity that can be reasonably traced between the sacred 
objects and objects of cultural patrimony and the Karuk Tribe 
(previously listed as the Karuk Tribe of California).

Additional Requestors and Disposition

    Lineal descendants or representatives of any Indian Tribe or Native 
Hawaiian organization not identified in this notice that wish to claim 
these cultural items should submit a written request with information 
in support of the claim to Lylliam Posadas, Autry Museum of the 
American West, 4700 Western Heritage Way, Los Angeles, CA 90027, 
telephone (323) 495-4369, email [email protected], by June 3, 2019. 
After that date, if no additional claimants have come forward, transfer 
of control of the sacred objects and objects of cultural patrimony to 
Karuk Tribe (previously listed as the Karuk Tribe of California) may 
proceed.
    The Autry Museum of the American West is responsible for notifying 
the Karuk Tribe (previously listed as the Karuk Tribe of California) 
that this notice has been published.


[[Page 19118]]


    Dated: April 9, 2019.
Melanie O'Brien,
Manager, National NAGPRA Program.
[FR Doc. 2019-09036 Filed 5-2-19; 8:45 am]
 BILLING CODE 4312-52-P