Applique wall hanging of three men and two women on a dark brown background. All have white faces, with oval-shaped eyes, long lashes, thin lines for mouths, and black hair. Men’s hair is cropped short, women have braids. Women are wearing long parkas and boots; men have short parkas, pants and boots. Parkas are orange, light purple-grey, and dark yellow, with dark purple, black, orange and pink trim. Pants and boots are dark yellow and light purple-grey, with black trim and light purple-grey trim. One of the men is in the background with a bow and arrow pointed at five bears and wolves. Animals are orange, dark blue and light purple-grey. The other humans are in the foreground, with their arms raised. Edges of hanging are rolled, secured with white and yellow whipstitching. (Velcro strip sewn on back, for hanging purposes).

Drawing of three identical human faces and a fish, done in two rows of two. Top row has a face and the fish, bottom row has two faces. Faces are drawn horizontally, looking towards the right side of the paper. Eyes are oval-shaped, noses are long and thin, and mouths are open and oval-shaped. All have linear tattoos. There are three horizontal lines across the nose; three lines radiate out in a fan-like shape from the bottom of the mouth; and three lines on each side radiate out from the top of the nose across the forehead. Designs done in dark blue. They each have a yellow and blue ulu next to their face, and each face is outlined in a different colour, red, yellow and dark blue. The fish is facing towards the left, done in light blue, with a red eye. Syllabics written along the bottom centre in dark green. Pencil inscription on back, in bottom right corner.

Drawing of two rows of forward facing humans, that extend upward from two wide orange and green bands. Top row of humans is depicted from the shoulders up, bottom row from the waist up. Six humans along the top are wearing snowsuits and have identical facial features and tattoos. Eyes are oval-shaped, noses are long and thin, and mouths are open and oval-shaped. Tattoos are linear. There are three horizontal lines across the nose; three lines radiate out in a fan-like shape from the bottom of the mouth; and three lines on each side radiate out from the top of the nose across the forehead. Designs are done in black. Seven humans along the bottom are wearing snowsuits and have identical facial features. Eyes are oval-shaped, noses are long and thin, mouths are open and oval-shaped, and beards are triangular. Features are done in black, blue and dark green. Snowsuits of all humans are dark blue, blue, green, grey, orange and lavender. Syllabics written along the bottom centre in dark green. Pencil inscription on back, in bottom right and left corners.

Stencil print of spears and hooks. Row of seventeen orange spears, pointed down, overtop a row of twenty dark brown hooks, pointed up. Rows divided by a wide green line. In the bottom right corner of the print the title, signatures, edition number and date made are written in pencil. Signatures, in syllabics, with Baker Lake symbol stamped next to pencil inscription. Canadian Eskimo Arts Council blind-embossed stamp in bottom right corner. Pencil inscription on back, in bottom left corner.

Pencil drawing of six large animals and three small ones in horizontal rows, all facing left. Top three rows are of individual large animals, bottom three are of a smaller animal in front of a larger. From top to bottom, left to right, the animals are: walrus, polar bear(?), reindeer, seal and whale, seal and polar bear(?), and seal and reindeer. Pencil inscription on back, bottom left corner.

Mouth organ (sompoton) made of bamboo pipes inserted into a dried gourd, sealed together with bees wax. Pipes are bundled together, with plant fibre ties, in two rows of four. Pipes in top row are all the same height, length of bottom pipes vary. Small holes along sides of pipes on outer edges. Gourd mouth piece has a circular body and long, thin neck that extends to the side.

Artwork representing a carver’s adze (part a) and two glass mauls (parts b-c). The adze blade is made of glass, the handle is maple, painted black. Handle is mostly cylindrical, but narrows towards the top, coming to a point. The blade is oblong, flaring out near the bottom edge, attached to hafting platform with thin, clear plastic twine. More plastic twine wrapped around the handle, near the bottom, to form a handgrip. Artist signature and year engraved into blade, directly below the twine. The larger maul (part b) has a small circular top, tapering handle, and a flared circular bottom. Both ends are flat. The other maul (part c) has a small circular top, tapering handle, and a flared circular bottom. Top has tall, rounded point in centre. Bottom end is flat. Artist signature and year engraved along the bottom edge of both mauls, on the centre back.

Textile showing a narrative built using coloured hand-embroidered cross-stitching on a metre-squared piece of white linen. The embroidery is confined to a hexagon shape at the centre of the fabric. The narrative works around the cloth, beginning with a depiction of the sowing of maize in a Yucatecan milpa (maize field) when Veronica (the maker) is a child. The milpa is shown, as is Veronica with her grandfather. They kneel before an altar upon which 9 maize kernels are placed. The later scenes show the embroiderer in her house eating with her family, they show her learning to embroider with machine. The connecting images are of birds and floral patterns typically used for traditional dress (the textiles Veronica’s mother is teaching her to make). The final scene shows a religious procession in Abala. In the background are adverts on the walls of Abala, showing the emblem of the PRI (Partido Revolucionario Institucional).

Rectangular, dark yellow burlap cloth with printed images of two crooked beak masks on one side. Image of mask closest to the top is facing right side of cloth. Outlined in black, the mask has an open mouth. Interior of mouth is black with an olive green tongue. Underside of beak is bright red. Upper beak is olive green and has long, exaggerated nostrils with two large circular openings. Shape of nostrils outlined in black. Olive green-coloured rectangular frill extends from brow of bird to end of beak, curving over nostrils. Mask has small red eye, outlined in green, towards its left side, in the centre of a mustard-yellow circle. Black strands, outlined in bright red, underneath mask. Image of mask closest to bottom of cloth is facing left. Outlined in black, mouth of mask is wide, flat and open. Edges of beak are bright red and tongue is maroon. Beak has bright red, ovoid shaped nostrils. Black frill curves upwards from brow of mask and circles downwards to the tip of the beak. Frill has an olive green design, outlined in bright red. Interior circle of frill is bright green. A second frill, red and outlined in black, curves downwards from bottom of beak, from the tip to the base. Frill has a green ovoid design on it. Mask has wide black eyes outlined in bright red. Brow is black. Four square ridges overtop of brow, outlined in black. Interior of each ridge is bright red. Black strands, outlined in bright red, underneath mask. Cloth edges are unhemmed.

Cuff-style sterling silver bracelet with eagle and mouse woman (kuujan jaad) design, covering outer surface. Fine crosshatching with dark patina in negative spaces. Bracelet ends are rounded. Artist inscription on back.