The object,known as a "copper," was cut into the shape of a shield from a flat sheet of copper alloy and hammered out to produce the animal face on the upper section and the ridge on the lower section. The upper section of this copper contains either the head of a bear or a beaver and has exposed metal as well as black and white painted areas. The delineation of the animal head on the upper area was achieved by scratching through painted and exposed metal areas. The lower section of the copper has two black painted panels with a vertical ridge. On the back of the object, there is some corrosion that is stable. The object is in good condition with minor surface scratches overall. Coppers were used as status symbols and were important economical commodities for their owners. The owner could break off part of one during a potlatch ceremony to demonstrate his or her largesse although this one shows no signs of having been used this way.

Museum Expedition 1905, Museum Collection Fund

This dress is composed of four sections of very white and pliable skin, probably employing at least two deer or caribou hides. Two large pieces of skin were sewn together to form the front and back of the dress and the upper edge of the skin is turned down as a long graceful flap to the waist. Two smaller pieces of skin are added to serve as shoulder straps. The entire dress, including the quillwork, is sewn together with thread. The seams that join the two major sections are fringed. Fringe near the shoulder is clipped very short so that it appears "pinked" and the fringe at the bottom of the dress is wrapped with orange and blue porcupine quills. The decoration of the shoulder straps is somewhat unusual as it differs from front to back. Scallops terminate the straps on the dress' front' while fringes decorate the shorter ends of the straps at the back. The straps are also decorated with a row of tiny black beads that edge the sides of these straps and surround the three scalloped lobes on each. Pairs of black beads in a double row decorate the section of the strap that intersects with the low neck line. Each scalloped portion of the straps is also ornamented, right and left, with bows made of hide strips wrapped at intervals with orange and light blue quills. Similar string-like ornaments are also attached at the proper right side of the front flap and the proper left side on the black flap. Quillwork strips across the body of the dress are in green, black, brown, white, reddish orange and light blue. Black seed beads and blue pony beads are applied as a scalloped border on an added piece of skin near the hem of the dress and tin cones are suspended in pairs from the apex of each of these beaded curves by thin hide strands wrapped at intervals with orange quills. See Jarvis report in Arts of Americas files.

This side fold dress consists of six pieces: the main body of the dress, the flounce, the shoulder flap, the top bodice, and two hide thongs as a second shoulder strap. The horizontal seam is low and the folded over portion is shorter and would barely cover the breast. The folded over flap is even shorter in the back. The hide is worked so that the flesh side of the skin lies against the wearer, with the fur side out. The flounce is laced with hide thong. The seam of the dress, the blue and white pony beads on the shoulder strap, and the hem tabs are all sewn. It is likely that the two bottom tabs at the left side of the dress are formed from a remnant of the foreleg of the animal or are a decorative form to resemble this pattern technique imitating the animal's legs. Ten quilled stripes are worked around the skirt of the dress, horizontally, in measured registers of blue (once blue-green but faded since original BMA acquisition) and brown quill, separated by shorter sections of white porcupine quill where red tufts, once the tassels, of yarn emerge. Small black lines separate each quilled section. Some vertical marks of what is probably ochre appear at the ends of the quilled bands. Tin cones and a few copper cones are sewn to the bottom of the flounce, more or less at knee length, and on the two bottom tabs, which are further elaborated with an edging of blue and white beads. Five pairs of copper cones are sewn up the side seam. If the shoulder strap is examined from above, blue and white beads can be seen ornamenting the seams. A single row or blue beads edges the sides while the front and back seams display eight bands of two rows of white beads alternating with two rows of blue pony beads. See Jarvis supplemental file in Arts of Americas office or Brooklyn Museum Library.

This skirt would be worn wrapped from back around the sides. The open front would then be covered by a fringed apron. This skirt shows signs of much wear. Most of the materials it is made from are from local sources with the exception of two copper discs, shaped and cut like the abalone. All the ornaments in addition to being aesthetically pleasing would make a sound as the woman moved in the dance. A small blue bead is fastened in the fringe.

The mocassins are constructed with smoked buckskin that is gathered into a series of small folds or "puckers" by seams running from the area above the toes to the area below the ankle. The seams are decorated by quillwork made up of orange lines and centered white and dark purple triangles crossed by a series of four additional linear designs. The seams of the heel are decorated in simple configured quillwork bands of white, light blue, and dark purple crosses. Cuffs are added onto the mocassins as separate semi-circular pieces of deerskin with quilled borders containing an undulating dark purple band and several straight lines. Metal cones, stuffed with dyed red deer hair are suspended from the edges of the cuffs.

This spoon is carved in two pieces. The handle is carved, the bowl is plain. Detail description follows: The design begins at the tip of the handle with a segmented cone (possibly representing the rank symbol for the figure below). This cone rests upon the head of a long, thin, standing figure with large, down-slanted eyes and a protruding tongue held with the hands. The figure stands upon a section of a cylinder of four, elaborated rectangles carved on the side. Below this is an animal head with a long beak-like nose that curls down towards the mouth. The head might represent a hawk. In the open mouth of this head a double row of teeth is clearly indicated. Condition: good.

Wood headpiece representing the head of a Wolf. Painted red, black, and green-blue and inset with copper in mouth.

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.

Ceremonial altar cloth in shades of brown and copper-gold. Black cotton warp, bronze metallic filament weft. Continuous and discontinuous supplementary weft with silk single filament yarn. Adat house motif, with buffalo heads.