Silkscreen print on paper. The image is a monochromatic linear sketch from which emerges the image of a woman in movement, among suggestions of fish and birds.

Silkscreen print on paper. The image shows monochromatic sketches of 9 spindle whorl designs in a variety of sizes, each with a different motif. Sketched lines run through several of the designes, which float on a light brown-yellow background.

Silkscreen print on paper. The image shows a collection of 8 small oblong shapes, each with a different motif including human faces and birds. Sketched lines connect several of the oblongs, which float on a lightly shaded background.

Tall, double-sided, three-dimensionally carved vertical panel on stand. Killer whale and crocodile themes; one side is inspired by coastal Salish themes/imagery, the other side is inspired by Sepik River (Papua New Guinea) themes and imagery. Made of yellow cedar, walnut and rosewood, with ebony inlay.

FROM CARD: "[Formerly] ON EXHIBIT IN NHB HALL 9, IDENTIFIED THERE AS CENTRAL ALGONKIAN. LEDGER LISTS NO PEOPLE OR LOCALITY INFORMATION." Thunderbird design. Northwest Coast location/attribution on catalogue card is in error, if this is indeed Central Algonkian.

FROM CARD: "SECTION INCLUDING ALL LOWER RIGHT QUADRANT AND PART OF LEFT QUADRANT MISSING; HOWEVER DESIGN CAN BE DETERMINED WITH REASONABLE ACCURACY FROM EXISTING PIECE. LINEAR BORDER SURROUNDING OUTSIDE OF ALTERNATE RED AND SIZE MARKING PARALLEL LINES; EXTENSION INTO HEAD AREA OF PARALLEL LINES OF SIMILAR CHARACTER. LARGE CENTER AREA DIVIDED INTO QUADRANTS BY INTERSECTING BANDS OF RED LINES AND SIZE MARKINGS. WITHIN EACH QUADRANT IS COMPLEX MOTIVE CONSISTING OF A CIRCLE ('SUN SYMBOL'?) ELABORATED WITH DOUBLE CURVES; (EACH QUADRANT IS BILATERALLY SYMMETRICAL ON LONG AXIS). THE ENTIRE PAINTED DESIGN COULD ACCURATELY BE REPRODUCED IN A COLOR PAINTING FROM THE EXISTING FRAGMENT. THE PAINTED DESIGN MORE CLOSELY APPROXIMATES NASKAPI STYLE THAN PLAINS INDIAN PAINTING. PROBABLY FROM THE NORTHERN WOODLANDS - GREAT LAKES AREA - JOHN C. EWERS, JAN. 16, 1948." Artifact is illus. Fig. 2, p. 61 in "Ceremonial Robes of the Montagnais-Naskapi" by Alika Podolinsky Webber, American Indian Art Magazine, Vol. 9, No. 1, Winter 1983, and identified there as "Ceremonial robe fragment. Naskapi [Innu] ... Native tanned unsmoked caribou skin. 100.5 cm long, 63 cm wide. The large center area is divided into quadrants by intersecting bands of red lines and size markings. Within each quadrant is a complex motif consisting of a circle elaborated with double curves; and the circle itself is divided into four equal sections forming a cross." Possible meanings of the design are also discussed on pp. 67-68 in the same article.

From card: "In two pieces (once one specimen); one being upper portion with sleeves; other lower portion; the two pieces fit together perfectly, to make a coat of generalized Naskapi style made of seven pieces of skin sewn together (1 each arm; 1 center back; 1 left side; 1 rt. side; (2 small pieces inset to back). Predominantly decoration is simple painted design in bands of red and size marking. All the latter is linear; red mainly straight lines, some wavy and some solid triangles, at top; also red dots in neck border. Red flannel or strouding edging top of shoulder seams, and arm-body seams. There is no collar, and neck form like that of a poncho Plains Indian shirt. [Culture listed as Algonkian on catalogue card.] Catlin did not visit the Naskapi, if this was collected by him in the field it was obtained most likely in the Great Lakes area. Possibly Ojibwa or Cree - John C. Ewers, Jan. 15, 1948." Identified by Morgan Baillargeon, Canadian Museum of Civilization, 2009, as possibly Montagnais?

Oval-shaped woven basket (a) with a flat, fitted lid (b). Figures in green around centre portion of basket. Lid: one line of purple along rim; centre oval is orange with green swirl surrounding. Base: plaited origin; plain twined (over wide warp strands). Sides: twisted twined work. Slightly indented flange on basket.