Panel 20 in a series of 20 panels. Drawing of a carved, green, adze handle. At the top of the cylinder is a carved face with deep-set eyes, a small nose and a narrow chin with small open mouth. Long curving horns sit atop the forehead. Below this face is the head of a bird-like creature, with large round eyes, and a beak-like nose. Red carved circles appear across the rest of the cylinder top. Branches of a nearby tree reach around the cylinder to its front. Behind the object is a landscape of fir trees and a heavily clouded sky. The drawing is split between 2 equally sized panels, one sitting on top of the other. Covered with plexi frame.

Panel 19 in a series of 20 panels. Drawing of a Bella Coola echo mask. The mask sits left of centre and is oval in shape, with a flat top and short forehead. Heavy dark brows sit above round yellow and rust coloured eyes. The nose is bright green with brown nostrils. The mouth is light green and grey, with a long upper portion that thins to lips which hang far below the jawline and curve sharply to the left. The background of the drawing shows trees, a distant forest landscape and heavy mist in charcoal and black conte. Covered with plexi frame.

Panel 18 in a series of 20 panels. Monochromatic drawing of a carved animal, shown with its open stomach toward the viewer. The animal's head is tilted up to display the chin, with the mostly toothless mouth open wide. Human-like hands are held in front, from the shoulders. The creature’s stomach has two door panels that are open wide, revealing a human face inside the cavity. The face is male with raised brows, narrow eyes, a large nose and an open, toothless mouth. Below the stomach is a short pointed tail. The background of the drawing shows a tight mass of foliage. Covered with plexi frame.

Panel 12 in a series of 20 panels. Drawing of a Kwakwaka’wakw headdress. A large central face has rounded ears on top of the head, heavy brows, a thin nose with large round nostrils and a thick-lipped mouth showing several large teeth. The chin recedes. Arms extend out from below, hands held palms up, fingers closed. On the shoulder sits a small rectangular face with large eyes, heavy brows, large nose and closed mouth. Between the arms is a large face, somewhat in recession, with round eyes, oblong nose, open mouth and three rounded teeth. On top of the central head between the ears is a small human-like face wearing a basketry style hat with two rings on top. Drawing sits in sequence with 2980/11 and 2980/13 and shows continuing components of each. Covered with plexi frame.

Panel 5 in a series of 20 panels. Drawing of a Tlingit shaman’s spirit mask, primarily monochromatic. The large face of a man covers most of the surface of the drawing. Round, heavily lidded eyes sit below thick curved brows that have a touch of brown colouring. The forehead is short with a fringe of hair along the top. The nose is thin and sharp, the mouth is thick lipped and slightly open, showing the bottoms of two small sharp teeth. A moustache and beard surround the mouth. On the right cheek are a small knot and a vague impression of a diamond. The background below the mask shows smooth river rocks. On the far right of the drawing are strands of yellow and brown hair continuing from 2980/6.

Panel 3 in a series of 20 panels. Drawing of a stylized bear. Animal sits upright, with legs spread to each side and digits on front paws held wide. It is coloured in bright yellow, black and grey, and decorated in formline type designs on its face, ears and torso. The background at top shows floating images of eyes and faces in mist and foliage, with a dark skeletal figure laying amongst the stones of a river bed at bottom left. The drawing is split between 2 equally sized panels, one sitting on top of the other. Covered with plexi frame.

Panel 2 in a series of 20 panels. Drawing of a Tlingit ceremonial hat. The hat is yellow with a stylized animal drawn in black covering much of the shown surface. Topping the hat’s crown is a tall attachment consisting of a face with large round eyes, a small nose, and an open mouth with even, square teeth. A large red and green headpiece sits above the forehead, curving back at the top, with a hole through its centre. Long black hair is attached to the back of the piece. The hat sits on a vertical tree branch, with smaller branches curving above and to the side in the background. The drawing is split between 2 equally sized panels, one sitting on top of the other. Covered with plexi frame.

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.