Large, round ceramic olla. The pot has a wide mouth with a decorative, unevenly jagged rim, and a sloped and rounded shoulder that narrows to a small flat base. The shoulder is textured with shallow indentations in the clay. The pot is low fired, with a burnished and shiny exterior surface and uneven colouring that ranges from black to light brown to silvery-white. The interior is smooth and somewhat rough in texture, coloured in dark brown, light brown and white.

Cedar bark basket in a cylindrical shape. The wall is formed by open stitched coiling. The bottom of the basket is also formed by open stitched coiling but the coils become successively smaller. Each coil is fully wrapped in cedar bark.

Small basket that has a handle. The handle is attached to each of the longest sides. The handle is formed by two pieces of grass twisted together. Around the top rim of the basket, there is a border made of cedar bark. Below this, there are three bands of two blue rows each set on the yellow background. The bottom of the basket is formed by checker plaited cedar bark strips. There is a circular metal and paper tag attached to the basket which has the artist’s name written on it in pen.

Small oblong basket with a rounded bottom and rim and a braided handle attached to the centre of the coiled rim. The ribs of the basket appear to be made of split bamboo wrapped with raffia. The raffia is primarily in its natural colour, but there are two dark blue dyed raffia rows woven around the central area. There is a maker/sale tag attached to the handle.

Painting on mahogany wood plywood panel. Image in red and black of the sun in human form: a human-like figure squatting with legs to each side and an elbow on each knee with hands held up facing front; figure's head is surrounded by a circle with seven sun rays extending out. Signed below figure at right leg: "Cranmer 74." Black wooden frame.

Black glass box with four sides and a clear glass base, open at top. The upper edge undulates from side to side. The outside surface is plain black, the inside surface of the four sides is etched with a distributive Northwest Coast design. A black and white photograph sits on the clear glass base, which is lit from below when the box is installed for exhibition. The photograph shows a group of chiefs assembled in their regalia, with a few children, two flags and the bottom of a large, carved pole in the background.

Black glass box with four sides and a clear glass base, open at top. The upper edge undulates from side to side. The outside surface is plain black, the inside surface of the four sides is etched with a distributive Northwest Coast design. A black and white photograph sits on the clear glass base, which is lit from below when the box is installed for exhibition. The photograph shows three women, wearing carved headdresses and button blankets, with a young child standing behind them to the right, also wearing a wooden headdress.

Black glass box with four sides and a clear glass base, open at top. The upper edge undulates from side to side. The outside surface is plain black, the inside surface of the four sides is etched with a distributive Northwest Coast design. A black and white photograph sits on the clear glass base, which is lit from below when the box is installed for exhibition. The photograph shows a welcome figure with its arms raised all the way up, with mountains behind.

The Dzunuk'wa, or Cannibal women is a figure important to those Kwakwaka'wakw people who have an ancestral relationship to the stories involving her. She is a large, cumbersome figure, looking very bear like with shaggy fur over her body. She is clumsy and lumbers through the Northwest Coast cedar forests crying "Hoo Hoo Hoo" through her pursed lips. She is thought to carry a large woven basket with her. Should she discover a child who has disobeyed their parents and entered the woods without an adult she scoops them upinto her basket and takes them to her den to eat them! Thus children are always warned against entering the forests without permission! Her mask is a large, and wooden, painted shiny black with spattered white pigment overall and accents of red pigment and fur. The mouth has a large round opening that is surrounded by prominent red lips. Pursed as if she is crying "hoo hoo." The interior of the eyes and nostrils that are large round holes painted red. Fur, possibly bear, attached with iron nails, surrounds the lips and forms the eyebrows. A previous application of fur on these areas is suggested by the appearance of corroded nails holding down remnants of fur plus extraneous nail holes. Used originally to secure the mask are leather thongs at the eyes, the back surface just below the eyes, and at the chin where they were attached to a leather strap. The ritual dance performed with this mask continues today by an individual who inherits the privilege. On the body of the dancer would be bear like regalia and the dancer mimics the clumsy gait of the real Dzunuk'wa. Some feast dishes have forms similar to those contained in these masks. The object is stable and in fair condition. Along the edges, especially on the lower, proper right side is old insect damage. Long vertical cracks are present in the wood, but appear stable.

Transformation masks such as this Thunderbird belong to the sky world, which consists of Ancestral Beings that are transported to the heavens from where they can return as material beings in recognizable form such as human. The Kwak waka’ wakw people say when this bird ruffles its feathers they cause thunder and when they blink their eyes lightning flashes. Each thunderbird is associated with a specific village group or lineage, a specific place of origin unique to each and its details are carefully guarded. Masks can be owned individually or by a family but rights are always inherent, flowing from one generation to the next. The Namgis people relate that this thunderbird flew out of the heavens to assist a man who had transformed into a large halibut. When finished assisting he removed his headdress and winged cape and sent them back to the sky world becoming human. The mask may be worn on the forehead with the dancer’s face showing or it may cover the face to indicate the duality of man and bird. The performer wears a full costume of representing the bird. The mask would be danced during a Winter Ceremony, called a Potlatch, where songs, dances and rituals are performed and gifts may be given. When not used such masks are wrapped carefully and hidden away. When worn and danced and closed the mask portrays a bird head with a large yellow beak. When open, the head and large beak divide, expand, and become a full-bodied bird with outstretched wings. Each wing contains a linear image of a sisiutl or lightning snake. At the center of the full-bodied bird is a human head. Above the head is a small seated figure and below it is still another bird. Opening and closing the mask would add a spectacular effect during the dances. When the mask was first collected it had cord riggings to open its parts. It was collected from the Gigilgam lineage of the Nimpkish. The mask is fragile but stable. There are scattered pigment losses. Red cedar ruff originally surrounded the mask when it was worn for performances.