Model totem pole (also fragment bag with wing pieces). From top, bird figure, killerwhale, upside-down male figure. The bird has a large head and small body. It is seated on the back of the killerwhale below, with seperately carved wings inserted into its back. It has feathers painted and a face on its chest. The killerwhale is upright with its head bent forward with the lower half of the upside-down male figure partially inside of its mouth.

Vejigante carnival mask of painted paper mache construction. Mask is mainly painted a light grey-blue, with purple and white dots, and purple dashes on the horns. The white face with cut-out holes at the eyes and mouth. There are floral-like designs in gold and purple that spiral out from around the eyes. The eye sockets and nostrils are painted purple, with large false lashes glued to the upper edge of the eye sockets. Three long curved horns project out from the top and sides. The top, centre horn extends up, and curves forward, and has a small gold cross in front of green fern-like leaves. The right horn curls forward, in front of the face, and the left horn curls up and over the head. The top of the head is lined with four large red flowers with yellow stamens, and two orange and black butterfly. On both sides, a small painted white metal key hangs from the horns. The snout has a large open mouth with black stitching along the lips, and three pointed white teeth with red gums. Black, grey and red ribbons are tied to each side of the mask and hang down. The interior is painted red. Signed and dated inside.

Large Vejigante carnival mask of painted paper mache construction. Mask is of a bright yellow, red, and orange sun, with alternating long and short horns extending in a half circle around the head. Mask has a long wide nose, slit eye openings, and wide open mouth with three-pointed teeth; mouth outlined with red paint, teeth done in white. There are pronounced nostrils above centre of mouth, and thin ridges across forehead that connect to horns. Wavy painted lines extend from mouth towards horns; done in dark red and various orange shades. Short horns have wavy uneven edges; long horns are conical with protruding ridges that curl along the length. Gold-coloured semi-circular bar connects the five large horns near their midpoints. Hanging rod, made of plastic pipe, attached to back centre. Interior of mask is painted red; artist signature and date made, "2018 Roman" inscribed along left interior side.

Raven headdress, or mask, with long cedar bark fringe. Emerging from the top of the head is a short cedar bark fringe, as well as black feathers and two attached wooden wing panels. Two additional upright wooden wing panels are attached at the back, and one horizontal panel. The panels are carved in relief and painted black, brown and dark red on a black background. The beak is black, and mouth is red. The lower part of the beak is hinged with strips of hide(?), nailed in place, and a thin grey plaited rope is attached to the inside of the lower beak, and hangs down with the long fringe. The eyes are black, outlined in red and black on a white ovoid background; the brow is black. The inside of the headdress is hollow and lined with yellow foam on the upper portion. Two thick plaited ropes are nailed to the top, at the back, to hold the mask on the wearer. Attached along the top ridge is a twisted and dyed cedar rope.

Drum made from stretched hide over a wooden frame with a painted design on the front; part b is a drumstick. The front of the round drum has a painted seal in profile, in black, red and grey, with several vertical turquoise blue designs on both sides of the seal. The eye of the seal is an abalone circle, adhered in place. The outer edge of the drum has a thick black line painted all the way around; the background is natural skin. The hide is tied all around the back edge with sinew cords that join at the centre, wrapped with hide strips for the handle. Signed inside David Mungo Know Seal 92. The drumstick is wood; the head consists of fuzzy sheep skin secured over the end, with a beige leather thong wrapped around the handle, with a long leather fringe hanging from it.

Framed caribou hair tufting of a floral design, on black velvet. Design is inside an oval cutout in the centre of a white cardboard mat. Motif consists of two orange and yellow Newfoundland pitcher plants with fallen petals; curved stems are dark green. Frame has raised edges and the inner edges, around the cardboard mat, are painted gold. Certificate, with maker and design information, is glued to back of wood frame.

Tall wooden talking stick, unpainted. The top has a long somewhat pointed tip, below which is a carved shark(?) face, with oval abalone inlays in the eyes, and 12 triangular inlays arranged in a row in the mouth, for teeth. Below the face wing-like(?) features are carved into the surface; below is a row of curved horizontal lines, then 11 circumference lines, creating 10 round segments. The piece ends in a wedge-shaped tail with carved elements on both sides. On the back is a small rectangular metal plaque with the dedication. Near the bottom are the intials D.R. in black marker.

Copper covered plaque, with painted designs on front. Large piece of copper sheeting is wrapped around a board in the shape of a Northwest Coast copper. The front is divided into four sections, with various creatures painted in each; red and black paint used for background and highlights. Copper sheet held in place by upholstry tacks and tape on back; the board is unpainted.

Handmade 28 page book of off-white amate (amatl) paper, illustrating different types of nzahki cut-out figures. Accordian style pages. The front and back covers have green ribbons running horizontally across the top and bottom, extending 4.5 - 5 cm past the edges. The front cover has 2 brown paper cut-out figures adhered to it, with handwritten title(?) in faded red ink (note: ink is mostly too faint to read, but ends with 1975?). Pages 1-7 have handwritten entries in blue ink (in Spanish); pages 8-28 each have a brown paper cut-out figure attached, with handwriting above and captions (name of figure?) below each one.

Bentwood box (part a) with separate lid (part b). Softly curved walls of box are attached to square base with pegs and adhesive; sides of base are painted black. Bird motifs painted in red across front and back of box, made up of formline design elements; other formline motifs painted on left and right sides. Sides of thick lid are painted black, rest is undecorated; lid has a short inset lip. Artist signature and date made written and incised on base of box.