Long narrow straight arrow, one end notched and split, two feathers inserted into split, base of split bound with fibre. Red painted bands at top of split and blue band at base. Blunt point at opposite end. Wood cracked and chipped at point.

Two part arrow. First part is bamboo with notched end, three blue and yellow bands around end, three feathers bound at top and bottom over bands. Second part is wood, fitted and bound with fibre to bamboo, wood curves at join, narrows to blunt end.

Rectangular plaque or panel of wood surrounded by a wooden frame. The background surface has vertical adzed fluting, with a plain raised area in the form of a cross. In the central area is an engraved and painted human face representing Jesus; left side painted red, incised lines around all painted areas; right side painted black, incising only around teeth and as an outline. On back is incised 'RHV 76' and written in ink 'Roy H. Vickers 1976'.

White woman mask has light orange-brown hair interspersed with black, hair inserted into twenty-six holes along upper rim, affixed with glue and wooden pegs. Slightly curved forehead. Light red arched raised brows. Circular hollow eyes. Brown eyelid line extends from above the brow on the temple, around the eye, and curves downward on to the cheek ridge. Aquiline nose. Slightly rounded cheek area has faint pink hue, as does the under-brow. Carved ears. Patchy pink lip band while the lower lip protrudes slightly. Rounded chin. On the reverse, there are thirty-one holes in the upper rim. Two metal 'eyes' screwed in above eye level. Wire passes through 'eyes' and is twisted. Two cylindrical wooden pegs at the base of the ears. Signed in pencil 'J. David '87'.

Deeply carved humanoid mask has black stained cedar bark strips folded, wrapped and tied to u-shaped ear projections and to upper edge of brow ridge; beneath cedar bark, between ear projections, red scallop-like design; ears have a series of rounded forms with a triangular form at base; large arched brows; deeply inset blue eye areas with black and white circular hollow eyes; hooked nose has curled tip resting on upper lip; rounded flaring hollow nostrils; deeply inset blue area around open mouth with protruding red lip bands; curvilinear t shaped design on cheeks; black and red coil at side rims meld with black chin. On reverse, thin wire is wrapped around a screw at each side rim and a nail at centre top to form a hanging device; red and black paint around eyes, nose and mouth; signed at side on right 'cockle hunter (Bookwus)' Glenn Tallio Nuxhalk Nation Bella Coola B.C.'87.

Two part arrow. First part is bamboo with notched end, three blue and two yellow bands around end, three feathers bound at top and bottom over bands. Second part is wood, fitted and bound with fibre into the bamboo, narrows to blunt end.

Animal hide rolled and stitched with green thread with small flap of hide folded over at top. Quiver does not completely encase the ten ceremonial arrows it contains. Arrows have notched bamboo ends painted with red and blue bands or dots and the bamboo ends are fitted over blunt narrow wooden shafts and affixed with thread and glue. Some arrows have feathers bound to bamboo with thread.

Mask roughly carved ovoid with dark brown painted surface. Painted facial features with spirals and flecks overall in a fluorescent paint. Eyes and mouth composed of horizontal pink line ringed by orange line with evenly spaced eyelash-like flecks of orange. Yellow concentric spirals on each cheek area and concentric spirals of green surrounded by pink on large chin area. Each spiral has some fleck design along outer edge, pink on chin and yellow on cheeks. Except for elongated squared nose descending from top of mask, facial features are not modelled. Yellow line with flecks extends down its length. Remaining mask area filled in with flecks of yellow, green, white, pink, and orange.

Mask of roughly carved ovoid in light coloured wood. Painted lines arranged in matching geometric design on cheek areas in green, orange, dark red and yellow. Circular holes for eyes are placed close together, ringed by orange line with flecks of yellow. Squared nose flares downward from brow. Horizontal slit for mouth is ringed by a green line with evenly spaced flecks of dark red. Large chin area has dots and lines in same pattern as design on cheeks. Green brows descend towards temples. Except for nose there is no modelling of facial features.

Painted dance mask with twig headdress and cedar bark fringe. Mask has a very bulbous black forehead with white painted ridge above and below curving eyebrow band. Eyes are close to nose with round hole outlined in white and enclosed by a black eye-shape. A blue contoured teardrop shape expands out on both sides surrounded by a white band. Large hooked nose with white tip and curving band dividing the black top from the red bottom and extending to corners of mouth. Very large triangular nostrils on underside of nose. Tip of nose meets large rounded chin. Deep-set mouth is slightly opening showing 2 rows of even white teeth. Red curving, contoured split u-shapes on cheeks. There is a lip around outside of mask, painted with large blue circles. The areas between are natural cedar. Three partially red painted fir boughs (without needles) are mounted into metal springs in the top of the mask, 2 with masking tape and one with leather. White ostrich feathers are attached by white thread at 5 places and around cedar bark tuff at top front. Tuff is braided to sides. Cedar bark fringe on top back is loosely tied together with white string dyed brown. The string end has passed through hole on side where leather thong is tied. Thong also ties on opposite side and at top, centre. Thong is looped at centre back. Bottom cedar bark fringe is attached to bottom of mask with string which is loosely tied across fringe in 2 rows. Cedar bark strands alternate between natural and red dyed. Inside of mask is partially covered with red sprayed paint.