Rectangular carved frontlet with Thunderbird or other bird-being in relief; abalone inlay along both sides and across top, and used for accents on animal features. The bird has a recurved beak going into lower lip. Below the face are red human-like arms and hands with palms out, fingers upward, with abalone on each palm. The bird's mouth is open, showing a row of abalone teeth behind wooden incisors and red painted lips. The eyes are circles of abalone, under arched black brows. This supernatural being shares space with a small orca, whose dorsal fin rises upward and pectoral fins downward. Painted red, green-blue, and black. The rear of the frontlet is concave. Illegible hand writing on back surface.

Rectangular felt pouch (part a). Red stitching covers the outer edges of the pouch flap and body. On the back is embroidered a red hummingbird design with an abalone button for the eye. An abalone button is also used at the front for closing. Inside the pouch is a white woven bag (part b) with a red fabric underlay (part c).

Rectangular carved bird-like being frontlet bordered by a row of individually carved and painted human faces (representing ancestors). Central figure is a bird-like being by a long, recurved beak and human-like eyes, eyebrows, and mouth. Being has wings, sitting with claws inward. The eyes are circles of abalone under arched black brows. Two abalone inlays on each wing. The rear of the frontlet is concave. Painted red, green-blue and black, on natural wood.

Two pieces of abalone cut into octagonal shapes, knotted through holes in the middle of each, with a hide thong, and another knot in the centre. The hide has been coloured red.

Abalone brooch in the shape of a pair of abalone hearts, surrounded by silver and soldered together at the upper inside edges. A safety pin type clasp is attached on the reverse. There is a small hole drilled through each heart.

Pair of abalone earrings. Each one is cut into a traditional Northwest Coast "copper" shape. Metal hanging elements for pierced ears.

Three heart-shaped abalone pieces, tied on a hide thong. There are two small brass balls attached to the surface of each heart.

Standing wooden ancestor figure. Face takes the shape of a large oval mask with flattened cheeks, a sharp, raised ridge running from forehead to nose. Eyes are large inset shells, with three small animal claws are adhered to the forehead above. Nostrils are wide and lips protrude. Face is painted a light brown with dark brown and red-brown designs in small crescents and curving lines surrounding eyes and cheeks and tracing nose. Cowrie shells line chin and brow and cassowary feathers stand out from head and jaw to create hair and beard. Body stands with feet planted on a small rounded base, knees slightly bent, arms hanging at sides, stomach distended. Decorative bands are carved into lower legs and upper arms, and a plaque with carved face sits on chest. A woven loin cloth is tied around waist. Ties of plant fibre are at ankles, wrists, and ears.

Tumbuan body mask. Tall, conical, mask intended to fit over a dancer’s body is woven of rattan and wood, plastered with mud. Three faces are situated at front, the top being the largest and most prominent. It is oblong, with a pointed head, protruding ears, heavy brow, round shell eyes, and a large protruding flap for a nose. Around the jaw is attached a beard made of a thick layer of short grass. The two faces below are round, with holes for eyes. Ears, noses, beards and brows are similar to the oblong face’s. White feathers are attached to the nose of the bottom. Shells hang from the ears of the top and middle faces. Hand holes are cut into the object near bottom on sides, the left of which is covered with a fringe of long grass. Back is undecorated.

Spoon with a carved handle. Small abalone inlays used for eyes and animal ears. The top human figure wears a hat with five potlatch rings; below is a bear with a frog in its mouth.