Chilkat blanket in characteristic yellow, black and white design, with fringed lower edge. The blanket is made from mountain-sheep wool woven onto cedar bark. The blanket is slightly damaged.

Button blanket made from dark blue wool material, with red felt borders . Central design made of red cut out felt with plastic buttons highlighting the shape of a raven with a young raven inside it. The blanket is a child' s blanket and would be worn at social occasions involving the whole community, e.g. potlatches, memorial feasts, weddings, etc. Button blankets were adaptations of dark blue Hudson Bay blankets which were traded up the coast in the 1850' s. The designs appliqued in red and outlined in buttons are of the owner' s crests and serve to identify the wearer as belonging to specific lineages. Recently in an effort to encourage traditional knowledge of lineage membership the Council of the Haida Nation have been giving button blankets to all young Haidas who graduate from high school, thereby instilling a sense of pride and belonging for the young; Complete

A: Wooden ceremonial drum or ' gujaaw' , painted by the well known Haida artist Reg Davidson. Goatskin stretched over yellow cedar hoop. Caribou horn handle at back of drum. Round design on front depicts front view of eagle face, in red, black and white acrylic paint. The drum is used to accompany traditional singing at many celebratory occasions. B: Beater, made from cedar wooden, with end bound in red cloth. The drums of this type are used to accompany traditional singing at many celebratoryoccasions such as feasts, potlatches, and pole raisings. The unpainted drum was not made by the artist but purchased ready for painting the design. The drum maker was from Vancouver Island; Good; Complete

« Also associated with percussion firearms were cap pouches, which were large enough for the insertion of two fingers (Speck, 1935, p. 213). The collection contains three, all of which are highly decorated. One is made of red wool felt with green cotton tape binding and a strap of the same material. There is light blue cording around the inner edge of the binding. The flap closes with a snap and the front is ornamented with embroidered floral designs in blue, purple, and yellow cotton thread (fig. 22d). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.12, fig 22d (p.50). « Speck (1935, pp. 190-191) has noted that for the Montagnais, the symbolic pictorial representation of a plant or animal was equivalent to the actual plant or animal and those portrayed were believed to come under the control of the individual human spirit. Dreams played a major part in suggesting the relationship between specific animals or plants and an individual. The spirit was strengthened by having its dream promptings obeyed and success in subsistence activities was thereby assured. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.10.

Length of light brown fur skin folded in half and having strips of blue and white cotton material attached at either end. The skin has the remains of whiskers at one end, and one leg remaining, it was possibly a weasel or somesuch long creature.; Good