Shaman’s medicine box made of two pieces of folded bark, one making up the outer back and sides, held together with stitched plant fibre at top and bottom. The box is a long rectangle with rounded edges, slightly wider at top. Three bands of light red woven root, moveable and of differing lengths, are wrapped around the box to hold it closed. Two short wrapped bands of root(?) are attached to flaps at both top and bottom and hold two long handles made of strips of plant fibre.

Shaman’s medicine box made of two pieces of folded bark, held together with a type of stitched plant fibre at the top and bottom. The box is a long rectangle with rounded edges, slightly wider at top. Two bands of woven root, one light in colour, the other dark, are wrapped around the box at the middle and top. Two short wrapped bands of root are attached to flaps at both top and bottom and hold a long handle made of a strip of plant fibre.

Cedar headdress. Thick ring constructed of fine strands of tightly wrapped cedar, sewn in place by red woolen threads. The back portion of the ring is thinner, with a grey tone, while the sides and front are wider and more reddish-brown. At the front is a large, decorative, protruding half-ball of cedar, with the ends trimmed to create a sunburst effect around the ball. There is a similar, but smaller, ball on each side.

Almost square tapa cloth with geometric patterns in dark and light brown on a medium brown base. Designs are organized into two repeating, vertical halves, each with 5 repeating horizontal rectangular patterns. Each of the ten rectangles are similar, with a thin strip with two horizontal bars at the left side, then 2 squares with cross designs inside, one with a black circle at the centre, followed by two thin rows of diagonal lines in light brown. There are also several thin strips of zigzag lines in light brown running through the other designs. Half of the squares with crosses have a light brown lined background, the other half have a light brown diamond pattern. A dark brown ,heavy cotton border is attached to both side edges; a wooden bar is attached across the back upper edge. Heavy black paper is attached to (but breaking off of) the lower back edge.

Rectangular tapa cloth with geometric patterns in dark and light brown on a medium brown base. Designs are organized into an 8 x 6 grid of squares, outlined in dark brown. Each of the squares contains a diagonal cross piece design, some as filled in lines and some as thin, stretched ovals (propellor-shaped). Two rows have black cross-hatching covering half of the background of every other square. Three sides have a zigzag patterned border. A wooden bar is attached across the back upper edge.

Ceremonial bark cloth costume. The garment is a vest, slightly longer in front, completely open along the sides, with narrow shoulders and a deep v-neck at front. On the front a large toucan bird is attached at centre, wings spread to the sides, beak pointing downward. Linear designs have been lightly carved into the beak. To the bird’s sides two smaller beaks are sewn to the cloth, as are groupings of feathers dyed red, yellow and brown, several with seeds at their centre. Yellow and red feathers surround the v-neck. On the back of the garments is a smaller bird, black, with a serrated yellow and black beak and a strip of red and white feathers on the tail. Large, dyed feathers splay outward from the top of the body. Portions of bird beaks surround the creature. On front and back of vest, the bark cloth is heavily painted with zigzag, ‘x’ and other motifs in brown, yellow and red. Small, oval, black and red seeds line the edges and neck of the vest, as well as a decorative strip of feathers near the bottom where additional bark cloth has been sewn to the garment, front and back. Small dyed feathers hang from quills below this strip, while long feathers dangle from the bottom of the vest. These are dyed blue yellow and orange.

Bark cloth and feather headband made of a wide strip of undecorated bark cloth, folded over. Short feathers on hide are sewn to and covering the exterior. Some areas of feather are dyed in green or red, alongside natural black and white feathers. Long feathers are sewn to the bark cloth, rising high above the headband, taller at centre, declining in height toward the sides. All are dyed blue on their fronts, with the backs of the tallest coloured gold, and shorter coloured red.

A. Augustus Healy Fund

String puppet (marioneta) representing the character Adamastor, mythological character, embodiment of storms. The core of the puppet is a mass of dark brown cragged wood, cork, large strands of frayed rope and torn white plastic, as well as several small white shells. The monster's eyes are barnacle shells. Grey paint has been added to all elements in a few areas. Falling from this amalgamation is a long torn piece of black cotton fabric, also rubbed with grey paint in areas. A leather and rusted metal belt buckle is tied into one corner. Part b is a wooden control stick, carved at centre, with the handle painted to look bone-like. The control stick fits into the central piece of cork in the head.

The Elizabeth Cole Butler Collection.