Panel 3 in a series of 20 panels. Drawing of a stylized bear. Animal sits upright, with legs spread to each side and digits on front paws held wide. It is coloured in bright yellow, black and grey, and decorated in formline type designs on its face, ears and torso. The background at top shows floating images of eyes and faces in mist and foliage, with a dark skeletal figure laying amongst the stones of a river bed at bottom left. The drawing is split between 2 equally sized panels, one sitting on top of the other. Covered with plexi frame.

Panel 2 in a series of 20 panels. Drawing of a Tlingit ceremonial hat. The hat is yellow with a stylized animal drawn in black covering much of the shown surface. Topping the hat’s crown is a tall attachment consisting of a face with large round eyes, a small nose, and an open mouth with even, square teeth. A large red and green headpiece sits above the forehead, curving back at the top, with a hole through its centre. Long black hair is attached to the back of the piece. The hat sits on a vertical tree branch, with smaller branches curving above and to the side in the background. The drawing is split between 2 equally sized panels, one sitting on top of the other. Covered with plexi frame.

Inkstand is made of a low square of cut wood. Top back is flat, while front is curved concavely. The wood is painted dark brown. A round hole is bored through the centre back to hold a glass container (missing). A paper label is nailed to the front edge. Label reads: "This Inkstand is made from timber taken from the “S.S. GLAD TIDINGS”, First Methodist Mission Boat on the British Columbia Coast., 1884 - 1903".

Panel 17 in a series of 20 panels. Drawing of the right side of the beak of a Thunderbird transformation mask, the rest of which is seen in 2980/16. This internal view shows a creature with a curving nose and headpiece, and a large eye surrounded by red, green and black decorations. Several green and black ridges decorate the creature’s torso. Two of the mask’s controlling strings attach to the torso, and are coloured red-brown. The background of the drawing is a monochromatic landscape of forest and cut trees. Covered with plexi frame.

Panel 11 in a series of 20 panels. Drawing of a Kwakwaka'wakw transformation mask. A series of tightly connected inverted triangles create a round back panel, decorated monochromatically in formline style. On top are three rectangular panels, bright yellow, decorated with faces consisting of round eyes and a large down turning mouth with square teeth. A fourth panel can be seen on corresponding panel 10. Sitting on top of these panels is a mask of a human face, with large eyes surrounded by yellow and rust decoration and topped with heavy black brows. The mouth is large and red and surrounded by a thin black mustache and small triangular beard. The skin is white with green cheek panels. The background behind the mask shows waves and foliage. Covered with plexi frame.

Panel 10 in a series of 20 panels. Drawing of one side of a Kwakwaka'wakw transformation mask. The image shows the left side of the mask that continues in panel 11. Rounded, connected triangular panels forming a flat circle and decorated with monochromatic formline motifs. On top of these is a yellow panel with a black and white face, part of the inner structure of the mask. The left side of the drawing contains the carved end of the halibut hook seen in panel 9, as well as an extension of that drawing’s tree branch. The monochromatic background shows foliage and a river bed.

Panel 9 in a series of 20 panels. Drawing of a Tlingit halibut hook. The hook sits in the lower half of the drawing, the leather and thong-wrapped head to the left, barb pointing up toward centre of the image. The shank is carved into a squatting human, arms behind its back, with a snake-like creature sitting atop the head and spanning the body to the hands. A red, black and grey tree branch sits behind the hook. The head-fin of a wolf mask is seen in the upper left corner of the drawing, corresponding with 2980/8 of this series. The monochromatic background shows foliage and a river bed.

Panel 8 in a series of 20 panels. Drawing of a Tlingit wolf forehead mask. A large wolf head sits in side view at the midpoint of the drawing. It has a long snout, and open mouth showing many long thin teeth. A large eye is topped by a heavy brow. The forehead and sides of face are decorated with light, rectangular panels. Black hair falls from the forehead and can be seen beneath the bottom of the mask. The far left of the drawing shows the edge of the Kwakwaka’wakw family crest mask from 2980/7. It has a crosshatching motif at centre surrounded by a thick, dark pink line, a green pattern above and two small yellow dots below. The background of the drawing is a mass of foliage and underbrush in monochromatic grey. Covered with plexi frame.

Panel 6 in a series of 20 panels. Drawing of a ceremonial headdress with the face of a bear. The face is blue, with large round eyes topped by heavy curving brows, a short forehead and rounded ears. The snout protrudes and features large round nostrils. The mouth is open with a protruding tongue and two square teeth far back in the mouth. A clawed blue paw peeks out from under the mask. Feathers, hair, a thin rope and a pink ribbon drape from behind the bear’s ears, falling to the side and bottom. The mask sits in a shallow landscape of foliage and rocks.

Panel 4 in a series of 20 panels. A large eagle is drawn in the top centre of the image, with wings spread. The head is turned to the side and slightly raised, showing a large round eye and sharp hooked beak. Wings and torso are decorated in formline style. Feet extend toward the surface of a river running through the drawing from top middle to bottom. Beneath the water is a large stylized fish with split tail, and formline designs on back and face. A long orange fish swims across the image. In the background is a dense forest of vined trees alongside the river. Covered with plexi frame.