The model canoe is carved from a solid piece of cedar. The canoe (a) is decorated with red paint around the upper edge and has a small hole in each end. The inscription on the canoe reads, "Model of a Sioux canoe and paddles." The inscription on the paddle reads “Model of Sioux canoe paddle." The paddle (b) is made from soft wood and decorated with red paint. It has a flat circular handle.

Northwest coast Chilkat blanket, two piled yarn of wool fiber and cedar bark. Trapezoid-like shape, side edges of beige weft-faced voven, possibly weft-twined. Upper and lower edges also beige in weft-faced plain weave. Broad bands of medium brown and yellow weft-faced plain weave enclose central dark brown field. Various geometric, stylized face and eye motifs in interlocking and slit tapestry techniques in beige, light yellow, olive green and dark brown on this dark brown field. Long fringes extend from lower edge, where wool yarn covering has worn away to show cedar bark interior in places. The design is the "Diving Whale" design with the head of whale located at bottom near the fringe, tail flukes near the top, side flukes near the head, all with eyes inside. The center body is indicated with a face representing the spitit of the animal. The whale is flaked by young raven designs. Weaving is thought to be problematical and the artist took many innovative liberties. Might not have had enough brown wool so did some basket twining technigues along the top and outlining areas such as the eyes. In one area near trout eyes at the botom weaver had to change brown to another shade and then finaly to green as not enough wool. Very loosely woven over all. Either has two different artist's signatures or again the artist didn't have enough dark brown to even complete the signature.

The object is a basket with an imbricated pattern made from brown bark, yellow bark, and ivory-yellow grass wrapped over cedar root. Imbrication is a regular overlapping arrangement technique that is used exclusively by Native Americans of the Plateau and Northwest Coast areas. The Klikitat maker used a coil technique that is more like sewing than weaving. Coiled baskets are built up spirally from the center and require two components: the first is a central core of rods or grasses serving as a foundation for the second component which is a group of fibers that simultaneously wrap around the foundation and stitch the coils together. An awl creates holes in the foundation through which fibers are pulled or stitched. While sewing is in process, imbrication decoration is also going forward. Imbrication involves wrapping dyed grasses into the basket, forming an overlapping pattern. The basket is in stable condition.

Transformation masks such as this Thunderbird belong to the sky world, which consists of Ancestral Beings that are transported to the heavens from where they can return as material beings in recognizable form such as human. The Kwak waka’ wakw people say when this bird ruffles its feathers they cause thunder and when they blink their eyes lightning flashes. Each thunderbird is associated with a specific village group or lineage, a specific place of origin unique to each and its details are carefully guarded. Masks can be owned individually or by a family but rights are always inherent, flowing from one generation to the next. The Namgis people relate that this thunderbird flew out of the heavens to assist a man who had transformed into a large halibut. When finished assisting he removed his headdress and winged cape and sent them back to the sky world becoming human. The mask may be worn on the forehead with the dancer’s face showing or it may cover the face to indicate the duality of man and bird. The performer wears a full costume of representing the bird. The mask would be danced during a Winter Ceremony, called a Potlatch, where songs, dances and rituals are performed and gifts may be given. When not used such masks are wrapped carefully and hidden away. When worn and danced and closed the mask portrays a bird head with a large yellow beak. When open, the head and large beak divide, expand, and become a full-bodied bird with outstretched wings. Each wing contains a linear image of a sisiutl or lightning snake. At the center of the full-bodied bird is a human head. Above the head is a small seated figure and below it is still another bird. Opening and closing the mask would add a spectacular effect during the dances. When the mask was first collected it had cord riggings to open its parts. It was collected from the Gigilgam lineage of the Nimpkish. The mask is fragile but stable. There are scattered pigment losses. Red cedar ruff originally surrounded the mask when it was worn for performances.

The object is a large carved wooden ladle (a), decorated in black and red paint, with a separately carved wooden skull (b) nesting in its bowl. At the end of the ladle's handle is an animal head. Both skull and animal head have pieces of fur attached.

Carved Haida totem pole that has been cut into two sections. (In the photograph, details of both sections are shown flanking the speaker figure, 05.588.7418). Both sections are made of unpainted cedar wood with hollow concavities in the rear. Depicted animals on section (a) are (top to bottom): bird (thunderbird or eagle); adult bear; small baby bear's head and paws revealed between upper adult bear's legs; adult bear with long tongue extended downward; head of adult bear or beaver (cut off from rest of its body when totem pole was cut into two sections). Depicted animals on section (b) are (top to bottom): body only of adult bear; baby bear crawling downward with hind quarters at top and head at bottom; adult bear; young bear's head with long ears peering out between legs of adult bear above it. The totem pole was cut into two sections before it was brought to the Museum in 1911. The overall condition of the two sections is poor and unstable. The wood is dry and brittle. There are numerous deep cracks, material losses, and surface abrasions.

Wooden mask of talking man with moveable mouth that opens to show teeth. Copper plate on forehead. Tuft of fiber on top of head. Ruffle of raffia painted red around mouth area. Black pigment on cheeks and above the forehead area to represent hair. Has metal eyebrows and low-sloping mouth.

This is a coiled burden basket decorated using an imbrication technique with black, brown, yellow, and ivory in stepped patterns. The basket is watertight for carrying. Condition good.

The object is a large trick chest made of cedar wood. The sides that are larger are decorated with carvings and painted designs; the smaller sides are decorated with painted designs but have no carvings; the lid and bottom have no decoration. The chest, which is a bent wood box, was constructed out of a single plank of cedar wood that was notched, steamed, bent into shape, attached on the fourth side, then fitted with a top and bottom. The back of the chest, which has a cut out section that can be removed and replaced, was used in a knife thrust trick according to Charles F. Newcombe, former collector/owner of the object. The central element of its design is a creature's large head. At the bottom, there are hands with palms facing out. Although subject matter on the front and back is similar, the designs differ. Condition is fair. Overall wear. Numerous repairs. Lid cracked lengthwise and glued; chips around edges. Interior reinforced at corners.

Large wooden whale mask carved from 14 pieces of cedar, the main body carved from one large piece that has been hollowed out. Movable lower jaw, flippers, and flukes are controlled with cords. Head is painted with red and blue nose and blue eye sockets. Beneath each eye, is black stripe with white dots. Collar is made up of a blue fin design. The whale's blow hole is in the form of a painted and carved face. The dorsil fin, once detachable, is painted and carved with an animal face in profile. The torso is painted with white and blue stripes, and large white dots, running the length of the body which has a white underside.