Small round off-white dish painted with black and green design elements. Inside of dish has design of a bird-like creature holding a fish in its claw. The upper creature has a fin on its head and a wing and tail. Both have black outlines with black and green elements. Black circle painted in the centre; black and green painted around the top of rim, with seven sets of three unpainted lines. The base has the Lambert Potteries stamp and a hand-written inscription: Salish Spindle Whorl / Hand-painted / T.

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).

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. Bracelt ends are rounded. Artist inscription on back.

Cuff-style sterling ilver bracelet with abstract orca design. Large oval face at the centre, darkened design. Bracelet tapers toward the rounded ends. Artist inscription on back.

Cuff-style silver bracelet. Engraved and chased sterling silver with oxidized design, featuring two thunderbird heads in profile, mirrored from the centre line, with a blackened circle below the centre line. Blackened areas in main design elements; cross-hatching in background. The bracelet is wider at centre, narrowing somewhat toward the rounded ends. Artist inscription on back.

Silver bracelet with butterfly design. Central design is round, with different abstract designs on either side. The bracelet is a bit wider at the centre, becoming narrower toward the rounded ends. Cross-hatched background. Artist inscription on back.

Portrait mask. Mask is painted blue with large black eyebrows and black eye outlines. The eyes are carved out as circles; the nostrils are painted red; the mouth is slightly open and carved through with a rectangular opening, the lips are painted red. Below the lower lip is an inlay of abalone as the labret. On the back are four holes with a hide strap attached at each side. Artist’s inscription on back: RD 75.