Parka style inner and outer coat set. Both are hooded with front centre openings, secured with zippers. Outer coat is made of light blue synthetic material, unlined. Inner coat made of white wool, lined with dark blue silk-like fabric. Two large pockets, with deeply curved openings, on either side of outer coat. Cuffs and bottom edge are trimmed with Delta Braids. Ribbon is light yellow, bordered with red along the top and brown along the bottom. Repeating pattern of green squares framing a dark purple rectangle throughout centre of yellow band. Repeating pattern of three birds embroidered along cuffs and bottom edge of inner coat. Standing pink and green birds face one another with a purple bird in between, facing forward. Wings and legs are highlighted dark green, red and light green. On the chest, on either side of the centre opening, are standing red birds with dark yellow highlights, facing one another. Cuffs, bottom edge and hood of inner coat are trimmed with white fox fur. Manufacturer's mark stamped to exterior of the inner coat's hood.

Sealskin mat with ookpik design. Round fur mat is divided into 8 pie-shaped sections in alternating dark brown and light brown fur. Each triangle has an ookpik shape sewn into it in the opposite colour fur (4 light brown sewn into dark brown, 4 dark brown birds in light brown fur). Each ookpik has felt eyes of black and yellow circles, a beige felt triangular nose, and 3-toed felt feet attached. There is a small sinew loop at the top for hanging.

Applique wall hanging of three men and two women on a dark brown background. All have white faces, with oval-shaped eyes, long lashes, thin lines for mouths, and black hair. Men’s hair is cropped short, women have braids. Women are wearing long parkas and boots; men have short parkas, pants and boots. Parkas are orange, light purple-grey, and dark yellow, with dark purple, black, orange and pink trim. Pants and boots are dark yellow and light purple-grey, with black trim and light purple-grey trim. One of the men is in the background with a bow and arrow pointed at five bears and wolves. Animals are orange, dark blue and light purple-grey. The other humans are in the foreground, with their arms raised. Edges of hanging are rolled, secured with white and yellow whipstitching. (Velcro strip sewn on back, for hanging purposes).

Carved cribbage board (part a) with four pegs (parts b-e). The board is carved with a row of animal figures and animal heads along the top. At one end is a full bear-like figure, facing outward; then three bear(?) heads, one facing the rump of the bear, the other two facing each other, muzzle to muzzle; then a full seal lying on its stomach; then a full walrus carved on its back, at the other end. All the animals have black inlaid baleen eyes, and each one has a red mouth; the walrus also has black inlaid dots representing whiskers. The board has 60 holes - each set of ten, in two columns of five, is outlined in black. The board has been broken into several pieces and reglued. The pegs are very long and taper at one end. The small rectangular wooden box (part f) is unlined, and has a small clasp at front, centre.

Dog whip made of sea mammal hide, with a wooden handle. The handle has a notch around the bottom with a strip of skin threaded through, and secured at the other end through a hole. The top of the handle is a combination of skin tied together, and being wrapped. On one side, there is a large rounded notch. From the handle, the whip is composed of many layers of skin that are stitched together, with the whip becoming increasingly thinner as it progresses towards the tip. The skin is knotted close to the tip.

Lithograph print on rectangular, off-white paper. Close up design of avataq, sealskin float, in portrait orientation. Float done in light yellow. Front flippers have jagged black line across them, depicting fur, and claws. Long tie, done in light yellow, looped around back flippers. Tie disappears under body and appears again on right side of float, curled in a circle. Majority of body covered in black abstract, curved triangle designs. Bright red syllabics overtop of embossed bird-like figure, in bottom right corner. Syllabics handwritten in pencil overtop of embossed symbol of the West Baffin Eskimo Co-Operative, in bottom left corner. Beneath avataq design is the title, print type, edition number, 10/50, year and artist signature. All handwritten in pencil. “08-2” handwritten in pencil on back of print, in bottom left corner. Faint imprint of words, and an infinity symbol, on back of print, in bottom right corner.

Exhibited on female mannequin at Chicago World's Fair of 1893. See National Anthropological Archives Manuscript # 7217, entry on Figure No. 8, where it is listed (and exhibited) as same number/forming a set with # E1701 parka.From card for ET1611 (written before it was known that this was part of catalog number E1701): "Brown deerskin pants, low-slung, with wide cuffs of white caribou fur. Bottom of leg edged with narrow brown and white strips, and fur fringe. Tassels of fur running lengthwise down front of each leg. Tag reading "Chicago #8, 1701-2967". Writing on inside, partially worn off, indicating this is part of MacFarlane collection. Loan [with temporary catalog number ET1611]: Crossroads Sep 22 1988 - returned from loan 6-25-91. Illus.: Crossroads of Continents catalogue; Fig. 41, p. 42."Formerly tracked with temporary number ET1611, because the correct catalog number was unknown at the time. A tag in the trousers says "Chicago #8, 1701-2967", which seems correct. Museum catalog number 1701 (or E1701) was field number 2967 (the ledger book confirms this) which was a woman's parka and pants exhibited together as a set at the Chicago World's Fair (according to National Anthropological Archives Manuscript # 7217, entry on Figure No. 8). Catalog number 1701 has long been missing the pants -- possibly since the ledger entry was written, since it makes no mention of them and has a count of 1 (in other words, the pants were missing or overlooked during cataloging). The existence of pants is mentioned in the notes on the catalog card, but only the parka was found during the 1975 inventory and 1980s move to MSC. Meanwhile, this pair of pants was found, but there was confusion about which number it belonged to (1701 already being accounted for with the parka) and so it was temporarily tracked as ET1611. As of now, it seems pretty certain that this is part of catalog number 1701, and so it is being tracked as # E1701-1.

Identified as a graver based on resemblance to other gravers in the MacFarlane collection. See Inuvialuit Pitqusiit Inuuniarutait: Inuvialuit Living History, The MacFarlane Collection website, by the Inuvialuit Cultural Resource Centre (ICRC), Inuvik, N.W.T., Canada (website credits here http://www.inuvialuitlivinghistory.ca/posts/12 ), which has general information on gravers here: http://www.inuvialuitlivinghistory.ca/item_types/27: Gravers with iron tips held in bone and antler shafts were used for engraving designs on ivory, bone antler and wood.

Rectangular box; no top/lid present. Card indicates this is Inuit made.E7830 is listed, but not described or analyzed, in Inuvialuit Pitqusiit Inuuniarutait: Inuvialuit Living History, The MacFarlane Collection website, by the Inuvialuit Cultural Resource Centre (ICRC), Inuvik, N.W.T., Canada (website credits here http://www.inuvialuitlivinghistory.ca/posts/12 ), entry on this artifact http://www.inuvialuitlivinghistory.ca/items/136 , retrieved 2-11-2020. General information on boxes available here: http://www.inuvialuitlivinghistory.ca/item_types/12: The MacFarlane collection contains a variety of wooden boxes. Boxes carved from single pieces of wood, and boxes with sides made from bent pieces of wood with bottoms pegged to them, are traditional Inuvialuit forms that were used for storing tools and other objects. Boxes with separate pieces for each side, bottom and top identified in the Smithsonian Institution's artifact catalogue as 'Packing Box Made by Esquimaux' may have been commissioned by MacFarlane for packing artifacts that were sent to the Smithsonian.

Carved stone caribou (part a) kneeling on all fours, with legs tucked underneath the large body. The caribou is facing forward with rounded ears back, eyes squinting, and mouth slightly open. Both antlers (parts b-c) have been broken off above their attachment points.