Serigraph print of a husband and wife. The woman is seated on a raised platform inside a dark blue structure. She is wearing a blue and white striped dress with a red border along the bottom edge. Her child is on her back, held in place with a red and blue cloth. One of her arms is held out, offering a black bucket to her husband. The man is standing in the entryway of the structure. He is wearing a blue and white striped shirt, red pants and red boots. His left hand is reaching for the bucket, his right is holding a ladle(?). In the background, above the couple, is a small figure wearing a black shirt and red pants. He is bent over, balanced on one foot, and reaching towards the woman. In the bottom right corner of the print the title, signature, edition number and date made are written in pencil. Signatures, in syllabics, with Baker Lake symbol stamped next to pencil inscription. Canadian Eskimo Arts Council blind-embossed stamp in bottom right corner. (Print is taped to board backing.)

Pencil drawing of six large animals and three small ones in horizontal rows, all facing left. Top three rows are of individual large animals, bottom three are of a smaller animal in front of a larger. From top to bottom, left to right, the animals are: walrus, polar bear(?), reindeer, seal and whale, seal and polar bear(?), and seal and reindeer. Pencil inscription on back, bottom left corner.

Stonecut print of four people dragging three seals into a tent. Figures are all wearing hooded parkas, trimmed with fur, and tall boots. Figure in front centre is bent over and holding a rope, attached to a seal, and figure on left is holding an ulu knife. Tent consists of dark yellow and black sealskins stitched together; circle of black rocks around base. Two lines extend from either side of tent, supported by central poles of tent and separate ones staked into ground outside. Dark red skins are hung over the lines and poles; harpoons lean against the side of the tent. Along the bottom edge of the print the title, technique, edition number, place made, date and artist signature are written in pencil. Signatures, in syllabics, with Cape Dorset Co-operative Symbol stamped in bottom right corner.

Stonecut print of a camp. Scene consists of four igloos with eight figures and two dogs. There are three igloos in the background and one in the foreground; back igloos are in a row, front igloo in centre. The igloo on the left side of the print has walls extending outward and connecting it to the igloo in the foreground. All of the figures are wearing hooded parkas, mittens and tall boots. Four figures are in the background, on top of and behind the igloos, holding tools. One figure is sitting, hunched over, in the entrance to the igloo on the left. Another figure is on their knees, holding a fish, in the entrance to the igloo in the foreground. In between the two sitting figures is a dog. On the right side of the print a woman is standing, with a baby strapped to her back, and holding a pole with three fish speared on it. The second dog is standing on its hind legs, next to the woman, attempting to eat the fish. There is a sled in the upper right corner of the print, behind an igloo; hunting equipment in the bottom left corner. Along the bottom edge of the print the title, technique, edition number, place made, date and artist signature are written in pencil. Signatures, in syllabics, with Cape Dorset Co-operative Symbol stamped in upper right corner. Canadian Eskimo Arts Council blind-embossed stamp in bottom right corner.

Long model kayak made from dehaired seal skin. The kayaker is attached to the inside seat area of the kayak and consists of an upper body only; he wears a seal fur parka and holds a wooden model paddle out front, in both hands. The figure's face is made out of stocking, with an embroidered face, including part of a blue wool cap (or hair?). There is a separate model harpoon (part b) with a wood handle, antler point and sinew rope, that fits under the skin lashings of the kayak. Model is unsigned.

19 small, model tools and utensils, made from a slate-like stone. Part a- ulu; part b- snow knife; part c- scoop; parts d-f- cups; part g- dish; part h- bowl; part i- round pot; part j- rectangular lamp or pot; part k- crescent-shaped lamp; part l- ulu; part m- snow knife; part n- scoop; part o- pot; part p- pan; part q- ladle; part r- oval lamp or pot; part s- oval lamp or pot. All utensils are unsigned.

Dark brown-red stone carving of a resting bird. Figure is attached to a rectangular base of the same stone. Incised lines on body imitate feathered wings, a mouth and eyes. Deeply carved border along top edge of base. Sides of base taper inward, before flaring out at bottom edge. Carving is unsigned.

Dark grey hard stone carving of a large resting bird, with a curved beak. Pronounced nostrils on top of beak. Semi-circular tail extends from back of body. Wings done in relief with deeply incised, curved lines across surface, to imitate feathers. Similar lines on the tail. Shallow incised lines indicate eyes and mouth. Artist signature on base, in syllabics, with artist number.

Grey hard stone carving of a mother with a child on her back, in the hood of her amauti (parka). Woman has a wide nose, smiling mouth, and incised eyes and eyebrows. Hair is done in relief, and pulled back. Her hands are clasped in front of her body, covered by her parka sleeves. She is sitting with her legs bent under her body. Only the child's head is visible, to the left of the mother's. The child is wearing a hood, and has an open mouth, circular eyes and long nose. Artist signature on base, in syllabics, with artist number.

Black-grey hard stone carving of a standing polar bear (part a). Polished stone, with inset yellow beads for eyes and a set of carved and detailed inset teeth, made from walrus ivory(?). Each ear is carved out, the tail and claws are incised. Each foot has an ivory(?) peg that fits into a corresponding hole in the oval-shaped stone base (part b). Artist signature on base, in syllabics, with artist number.