A cedar mask carved by George Pennier called Mother Earth Looking at the Universe.. The mask has heavy black eyebrows, pierced eyes rimmed with black and red, red nostrils and an open red lipped mouth. The majority of the face is painted with white and blue, representing the sky and stars. The upper rim of the mask has a row of white goose feathers. The inside of the mask is smoothed, and signed by the artist. The mask was carved by a Coast Salish artist, George Pennier, a resident of Chilliwack, B.C. The style of the mask is Northern rather than Coast Salish, attributed to the fact some artists carve in styles that are not necessarily their own tribal group. The mask is an expression of the artist' s own place within the universe, and was inspired by looking out at the night sky in Chilliwack. Carved in a traditional style the subject matter is very personal, concerning identity and the place of the individual within the world. The mask also references the concern for the environment, Mother Earth exhibited by many First Nations artists, and is an aspect of a Pan-Indian culture which is becoming more prevalent in North America. The mask was bought directly from the artist. Excellent

A silk-screen print of Twin Thunderbirds that is based on a Coast Salish spindle whorl design. The print is black, and is dated 05/81. The print is by Susan A. Sparrow (her married name is Pointe), who is a Coast Salish artist. She was recently commissioned to produce a series of banners by Vancouver International Airport which hang in the check-in hall. The print was purchased at the Coqueleetza Native Art Shop in Chilliwack which is run by the Sto' lo Nation. The print cost 54 Canadian dollars; Good

Carved and painted halibut bowl. The bowl has the characteristic flat fish shape with the lopsided halibut face. Boldly painted in turquoise blue with black U-forms around the halibut fins, a larger ovoid at the tail and two projecting U-forms with secondary red designs. Black eyes and a red mouth. Shallow bowl with a flat base.The artist belongs to the Nimpkish tribe, born in Alert Bay, B.C., in 1955. She now lives in Chemainus, Vancouver Island, and through marriage to a Coast Salish man is now a member of the Penelakut Band. Lorraine is the great grand-daughter of the late Mungo Martin.; Good

Finely carved spoon carved with a raven headed handle from alder. The raven' s head is highly stylised. The spoon is signed underneath the neck of the handle. The artist belongs to the Nimpkish tribe, born in Alert Bay, B.C., in 1955. She now lives in Chemainus, Vancouver Island, and through marriage to a Coast Salish man is now a member of the Penelakut Band. Lorraine is the great grand-daughter of the late Mungo Martin; Good

A raven bowl carved from alder. The bowl is a stylised raven with U-forms carved into the wings folding round the bowl body of the bird. The bowl is signed underneath. The bowl was carved by Lorraine E. Charlie, a Kwagiulth artist. It is a remarkably stylised and beautifully simple rendering of the often produced Raven. The bowl is modern but references the traditional subject matter and style of Northwest Coast art form. This particular bowl is a working piece, a prototype of further bowls; originally not for sale but happily sold to become part of a museum collection. The artist belongs to the Nimpkish tribe, born in Alert Bay, B.C., in 1955. She now lives in Chemainus, Vancouver Island, and through marriage to a Coast Salish man is now a member of the Penelakut Band. Lorraine is the great grand-daughter of the late Mungo Martin; Excellent

A shaman mask, carved by Coast Salish artist George Pennier, in alder, painted with acrylic paint and with black human hair. The mask has upward turned eyes rimmed with red, heavy black eyebrows, and an open mouth with protruding tongue. Signed on the reverse of the mask and dated 1990. The mask was carved by a Coast Salish artist, George Pennier, a resident of Chilliwack, B.C. The style of the mask is Northern rather than Coast Salish, attributed to the fact some artists carve in styles that are not necessarily their own tribal group. The upturned eyes and protruding tongue represent a shaman in a trance, part of shamanic ritual during spirit quests and curing ceremonies. Shamanism, and its representation in art forms, is udergoing a hidden revival on the Northwest Coast indigenous community. This mask was made for sale and was purchased at Hill' s Indian Arts and Crafts Shop in Vancouver. Excellent

A moon frontlet carved in cedar in a Tsimshian style.

Commercially produced Robert Davidson print on a card in red and black on white background, depicting a bear design. The print illustrates a front view of the face, which has been split symmetrically down the centre. The face shows large, red nostrils and an open mouth with the teeth visible. In both top corners, there is a claw design with ' ovoid' socket. At bottom centre is a circular design, with thin yellow border, in very pale pink. It depicts, on smaller scale, same basic face design, but with protruding tongue. The silkscreen print the card is produced from is known as ' Bear Hugging the World' . Silkscreen prints are a recent development in Northwest Coast Native art, but they incorporate traditional design techniques and subject matter. The prints are often given away at potlatches as gifts from the host to the guests. Prints are also sold commercially to non-Native buyers. This card was designed by Robert Davidson, a Masset Haida artist. The design was taken from a silkscreen print, and used as an invitation to a Potlatch in Masset, hosted by the artist in October 1986. The card was only produced for this purpose, and represents a form of potlatch print; Complete

Commercially produced Robert Davidson print on a card in red and black on white background, depicting a bear design. The print illustrates a front view of the face, which has been split symmetrically down the centre. The face shows large, red nostrils and an open mouth with the teeth visible. In both top corners, there is a claw design with ' ovoid' socket. At bottom centre is a circular design, with thin yellow border, in very pale pink. It depicts, on smaller scale, same basic face design, but with protruding tongue. The silkscreen print the card is produced from is known as ' Bear Hugging the World' . Silkscreen prints are a recent development in Northwest Coast Native art, but they incorporate traditional design techniques and subject matter. The prints are often given away at potlatches as gifts from the host to the guests. Prints are also sold commercially to non-Native buyers. This card was designed by Robert Davidson, a Masset Haida artist. The design was taken from a silkscreen print, and used as an invitation to a Potlatch in Masset, hosted by the artist in October 1986. The card was only produced for this purpose, and represents a form of potlatch print; Complete

Commercially produced Robert Davidson print on a card in purple, red and pale blue, on white background. It shows an eagle in profile, with outspread wings. The eagle is identifiable by the small downward curve at the end of the beak. At bottom, centre, is a design, with three tail feathers, which has the eagle' s claws in purple at either side. Each wing bears the design of a hand and a face in profile. Silkscreen prints are a recent development in Northwest Coast Native art, but they incorporate traditional design techniques and subject matter. The prints are often given away at potlatches as gifts from the host to the guests. Prints are also sold commercially to non-Native buyers. This card was designed by Robert Davidson, a Masset Haida artist. The design was taken from a silkscreen print, and used as an invitation to a Memorial Potlatch in Masset in memory of David Adams, 1988. The card was only produced for this purpose, and represents a form of potlatch print; Complete