Pair of rubber sandals with V-shaped straps; straps threaded through cuts in insoles and nailed down. Soles are flat, rounded at toes and heel; centre of insole is dark brown, edges and sole are black. Straps are red leather and have patterned bands across surfaces. Pattern alternates between rectangles with red and orange stripes and checkers, and blue rectangles with repeating gold hourglass-like shapes. Section of strap holding tip of V to insole is plain leather; plain leather tie secured to V with white and red knob.

Pair of leather and rubber sandals with ankle and toe loop straps; straps threaded through cuts in insoles and nailed down. Soles are flat, rounded at toes and heels; “X”’s incised along edges of rounded sections of insoles. Straps are beige leather and have patterned bands across surfaces. Patterns consist of: triangles and zigzags, thin and thick stripes, checkered bands, and diagonal stripes. Designs done in dark blue, gold, white, dark red, and green.

Begena stringed instrument. Square-shaped resonator, covered with stretched rawhide, which is nailed in place. Triangular wood frame extends from top of sound chamber, made up of two arms inserted through the skin and connected at the top by a crossbar. The crossbar is rectangular on either end, with notches that the arms are inserted into, and a cylindrical centre where the strings are attached. The strings are fastened across the front of the sound box to wood pegs. U-shaped leather pieces placed between each string and the bridge.

Painted drum (part a) made of stiffened skin stretched over round wood frame. Skin wraps around frame edges to the back; thin strips of sinew looped through holes in skin draw material tight. Sinew strips lashed together in centre with leather thongs; black looped cord attached to leather, for hanging purposes. Face of drum has bird, fin and sun motifs painted across surface, made up of formline design elements; done in dark blue, gold, and dark red. Artist signature and date made painted along side of drum; done in red. Drum rests inside separate square wood frame (part b) with tall walls (Metal hooks and wire in interior and on back of frame, for hanging purposes).

Male doll, in seated position, with dried seal skin face. Nose, mouth and eyes are done in relief. Eyes are coloured with dark blue ink(?). Small holes in nose, imitating nostrils. Large tongue sticking out of mouth; cleft chin is pronounced underneath. Eyebrows and hair made of seal fur. Figure is wearing seal fur clothing, consisting of a parka, mittens, pants and boots. Parka hood is pointed and has leather ties hanging from the tip. Hood, cuffs and bottom edge are trimmed with sheep fur. Matching trim along pant openings.

Carved, three-dimensional, mask pendant. Male face has wide oval-shaped eyes, thick black brows, frowning open mouth, and a black painted beard and moustache. Area around eyes is sunken and painted blue. Nostrils and lips painted red. Rest of face decorated with design elements in blue and red. Male is wearing a red twisted ring on top of head. Leather cord nailed to back of carving. Artist inscription on back with date, title, name.

Leather ammunition belt, with fifty open-ended pockets across its surface for individual bullets. Belt fastens with a metal buckle, attached with a leather tab. Tab is covered by the belt loop. Opposite end of belt is made of a narrow strip of leather, with five adjustment holes along it. Holes are spaced out, at equal intervals, and lined with metal. Entire exterior surface of belt is covered in brocaded decoration. Background is pale orange, with designs overtop done in golden brown. Geometric motifs along all belt edges and edges of pockets. Designs across pockets, belt loop and area around adjustment holes are curvilinear and floral. Back of belt is undecorated.

Small, gourd mate container. Container exterior is covered in orange-brown leather, stitched together along the back side. It is oval-shaped and has a raised, rounded lip made of stainless steel. The lip slopes into a plain border, that extends slightly outward from the container. Leather is pinched in three places, along the base, to form triangular legs. Interior of container is rough, covered in dried pith.

Animal puppet head on a wooden pole. Head and mobile lower jaw are made of wood, curved ears are made of metal. The oval-shaped eyes, screwed onto either side of the face, are made of wood. The head and upper section of the pole, imitating a neck, have different coloured fur nailed to them. The face and lower jaw are white-grey, the ears are brown-red, and the neck is light brown-orange. Dark brown fur runs down the back of the neck and down the centre of the face. The muzzle of the rusa is painted grey-purple with black nostrils. The wooden eyes are painted black, with the centre front done in white. The mouth is lined with red leather, with a long, matching tongue sticking out from the lower jaw. The mobile lower jaw is operated with a green, plastic string. The string is threaded through both the upper and lower jaw, and then passes down the back and front of the pole. The string has a black handle at the end. Jaw joint consists of a metal hinge and white cloth bands.

« 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.