Small goat horn spoon. The bowl is shallow, long and narrow, with curving sides that bulge slightly at midpoint. The tip inclines. The handle and bowl are made from a single piece of horn, flowing from the bowl’s bottom, and at a sharp angle on neck top. The handle is slightly curved, and narrows toward the tip. The spoon is undecorated.

Small painted wooden spoon. The handle is carved into the shape of a fish, with a brown painted fluke and a small dorsal fin. Painted-on designs are side fins, dorsal decorations of lines and dots, the jaw line and mouth. Large teeth have been carved and emphasized with red paint. Small round eyes have also been carved and painted dark brown. In its mouth the fish grasps the bowl of the spoon, which is carved of the same piece of wood. The bowl is thick in the centre and thin at the edges and is undecorated. This spoon is carved in a light hardwood.

Large wooden whistle. Whistle is made of two pieces of wood, a back and a front, joined together at the sides. The mouth is oval in shape, with windway set inside. The neck is wrapped with strips of bark. The blade is long and slanted, rising to meet the shoulder, where many thin pieces of bark are wrapped to aid in the whistle’s joining. The body widens after the shoulder, and thin cotton thread is wrapped near the bottom. The wood has been shaved and worked to create a rounded end.

Yellow textile, printed with repetitive black, white, green, orange and red, star design interspersed with ‘50’ motif , also including the text ‘Ghana Championing African Excellence’. The textile also has a tan border, featuring a repetitive motif design. The side edges are raw and un-hemmed, the top and bottom edges are finished. The top edge also features the words ‘guaranteed superb prints rsp 4615A’. The bottom edge features the words ‘Akosombo textiles limited’ with a motif of the letters ‘ATL’.

Staff made of a solid piece of rounded wood, tapering slightly toward the bottom. A silver grip crowns the top of the staff and is decorated with incised designs of plants, trees, and lines. Several narrow silver bands encircle the staff, some with incised linear decoration. A thick, braided silver wire criss-crosses down the length of the staff with a silver cross dangling at its end. The bottom of the stick is encased in a sheet of undecorated metal that narrows to a sharp tip.

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.