Artwork representing a carver’s adze (part a) and two glass mauls (parts b-c). The adze blade is made of glass, the handle is maple, painted black. Handle is mostly cylindrical, but narrows towards the top, coming to a point. The blade is oblong, flaring out near the bottom edge, attached to hafting platform with thin, clear plastic twine. More plastic twine wrapped around the handle, near the bottom, to form a handgrip. Artist signature and year engraved into blade, directly below the twine. The larger maul (part b) has a small circular top, tapering handle, and a flared circular bottom. Both ends are flat. The other maul (part c) has a small circular top, tapering handle, and a flared circular bottom. Top has tall, rounded point in centre. Bottom end is flat. Artist signature and year engraved along the bottom edge of both mauls, on the centre back.

Carved pendant with a figure carved vertically over the curved front surface, with its head at the bottom. Pendant has a hole drilled through at the figure's feet, for hanging. Artist inscription on back: "JD Entuc 03".

Silkscreen print. A red, bright blue, and black design of two creatures within a circular bright blue border. Both creatures are in profile with their bodies resting along the bottom curvature of the circle with their tails extending upward. The black whale-like figure is on the left while the red wolf-like figure is below on the right. Pencil inscription along the bottom edge: 54/125Ka-ka-win-Chealth II J. DAVID - 81. The print is on vertically rectangular, white paper.

Bent horn rattle. Horn serves as handle as well as rattle head, curving over itself to make an enclosed chamber that holds noise-making elements (stones?) inside. Holes are bored through head along edges where metal wire is inserted and tied to hold horn head together. One side has some remnants of blue and white fabric wound around the wire. Wide strands of root are wrapped around the handle.

Before canvas and muslin were available to Westcoast artists, ceremonial robes painted with designs from family stories were made of dressed skin or woven yellow cedar bark. But almost as popular as the iron brought by the first Europeans was cloth of all kinds. When they learned that cloth was in demand, many early traders quickly traded away all their ships' spare canvas, some of it as sails for canoes and some made for clothing. By the later nineteenth century, when this robe was made, most painted Westcoast dancing blankets were made of light canvas or muslin, as were many of the great painted curtains that hung in ceremonial houses. A proud thunderbird spreads over the blanket. (Holm, Spirit and Ancestor, 1987)

The paint is yellow, blue, and red.