A sample of cedar bark which is red coloured and flattened.; Good

A worn bark beater made from whalebone. The handle terminates in a fish-tail shaped section. The rectangular face of the beater is incised with eight parallel grooves.; Good

A bark beater carved from whalebone. The handle of the beater is double ended, one being longer, and the other shorter with a round ended groove cut into its end. The slightly flared rectangular beater section has a cavity through its centre. Theunderside of the beater is scored with fourteen parallel grooves.; Good

A slightly curved bark beater with a flat handle cut out of the bone of a whalebone. The rectangular face of the beater has seven parallel grooves cut along its length. The handle terminates in a slightly wider and bifurcating section.; Good

Hook made from two bent pieces of wood lashed together with root. The barb is the sharpened end of one section of bent wood and is strengthened by a knotted cross piece of root. The hook has a length of rope tied to the lower arm together with a loose twist of bark twine.; Good

Three horn spoons. A: Back of bowl carved as well as handle. Bowl attached by copper rivets.B: The dark spoon has a decorated handle with a curved bowl afixed to the base of the handle by two small rivets (Alaska 1892). The handle is composed of possibly a human figure (the head as been broken off) holding a spear-like object. This figure is standing on a frog which in turn is seated on the head of a beaver. The beaver has a chewing stick between its teeth, a tail which extends behind the bowl. C: Has two lines of hatching running along bowl inside. handle short (' Ukon, Klondike' ); Good

Commercially produced Robert Davidson print on a card in red and black on white background, depicting a bear design. The print illustrates a front view of the face, which has been split symmetrically down the centre. The face shows large, red nostrils and an open mouth with the teeth visible. In both top corners, there is a claw design with ' ovoid' socket. At bottom centre is a circular design, with thin yellow border, in very pale pink. It depicts, on smaller scale, same basic face design, but with protruding tongue. The silkscreen print the card is produced from is known as ' Bear Hugging the World' . Silkscreen prints are a recent development in Northwest Coast Native art, but they incorporate traditional design techniques and subject matter. The prints are often given away at potlatches as gifts from the host to the guests. Prints are also sold commercially to non-Native buyers. This card was designed by Robert Davidson, a Masset Haida artist. The design was taken from a silkscreen print, and used as an invitation to a Potlatch in Masset, hosted by the artist in October 1986. The card was only produced for this purpose, and represents a form of potlatch print; Complete

Commercially produced Robert Davidson print on a card in red and black on white background, depicting a bear design. The print illustrates a front view of the face, which has been split symmetrically down the centre. The face shows large, red nostrils and an open mouth with the teeth visible. In both top corners, there is a claw design with ' ovoid' socket. At bottom centre is a circular design, with thin yellow border, in very pale pink. It depicts, on smaller scale, same basic face design, but with protruding tongue. The silkscreen print the card is produced from is known as ' Bear Hugging the World' . Silkscreen prints are a recent development in Northwest Coast Native art, but they incorporate traditional design techniques and subject matter. The prints are often given away at potlatches as gifts from the host to the guests. Prints are also sold commercially to non-Native buyers. This card was designed by Robert Davidson, a Masset Haida artist. The design was taken from a silkscreen print, and used as an invitation to a Potlatch in Masset, hosted by the artist in October 1986. The card was only produced for this purpose, and represents a form of potlatch print; Complete

Commercially produced Robert Davidson print on a card in purple, red and pale blue, on white background. It shows an eagle in profile, with outspread wings. The eagle is identifiable by the small downward curve at the end of the beak. At bottom, centre, is a design, with three tail feathers, which has the eagle' s claws in purple at either side. Each wing bears the design of a hand and a face in profile. Silkscreen prints are a recent development in Northwest Coast Native art, but they incorporate traditional design techniques and subject matter. The prints are often given away at potlatches as gifts from the host to the guests. Prints are also sold commercially to non-Native buyers. This card was designed by Robert Davidson, a Masset Haida artist. The design was taken from a silkscreen print, and used as an invitation to a Memorial Potlatch in Masset in memory of David Adams, 1988. The card was only produced for this purpose, and represents a form of potlatch print; Complete

Commercially produced Robert Davidson print on a card in purple, red and pale blue on white background. It shows an eagle in profile, with outspread wings. The eagle is identifiable by the small downward curve at the end of the beak. At bottom, centre, is a design, with three tail feathers, which has the eagle' s claws in purple at either side. Each wing bears the design of a hand and a face in profile. Silkscreen prints are a recent development in Northwest Coast Native art, but they incorporate traditional design techniques and subject matter. The prints are often given away at potlatches as gifts from the host to the guests. Prints are also sold commercially to non-Native buyers. This card was designed by Robert Davidson, a Masset Haida artist. The design was taken from a silkscreen print, and used as an invitation to a Memorial Potlatch in Masset in memory of David Adams, 1988. The card was only produced for this purpose, and represents a form of potlatch print; Complete