Two white ovoid shapes on top of one another on a black background. At the top, there is a needle-like projection coming out of the left side. At the bottom, there is a needle-like projection coming out of the right side. From the centre, on the right side, there is an inverted L-shaped projection. Decorated with diagonal lines. The etching is on a vertically rectangular, white paper piece.

A black face, possibly that of a beaver or a frog, which is short and wide. Legs with a circular end are flanking at either side. Cross hatching and ovoid designs. Four teeth at the centre. The etching is on a horizontally rectangular, white paper piece.

The etching is comprised of four rectangles with a border all around them pressed into paper. Paper has deckle edge on all sides and includes ferns, petals, blooms, and grasses in paper fibre. Two rectangles are on the bottom, a larger one on top, and a long slim one at the top of these. Top rectangle is a narrow, dark orange-red band across the top with 'Analysis of Form by Bill Holm' in mirror-image block letters. Below the band, there is the largest rectangle with a central stylized sinewy dark grey figure facing left, wearing a mask, in profile with heavy eyebrows and a large recurved beak with the tip held in its mouth and holding a rattle in the hand on the right. Background at the top left in thin black lines and crosshatching with grey form line, etc., of an incomplete symmetrical northern style image with two similar heads at the top. One head at the centre right and a hand at the lower right. In the lower left quadrant, in pencil, there is a stylized bird, eagle ? Across the field at the figure's calves, there is a row of short diagonal, uneven lines. The bottom two rectangles are hand lettered facsimiles of both sides of an Indian status identification card in dark brown ink and a light brown paint. The rectangle on the left includes, at the top, 'Certificate of Indian Status' and 'Indian and Northern Affairs' with a Canadian government maple leaf symbol between. The artist's name, district, Band, and identity number are also shown. The rectangle on the right has a drawn portrait of the artist on the right and the artist's stats in information boxes at the left. At the bottom, there is a signature and a bird insignia. Some n's and a seven are backwards. Outside the pressed border, but at the same height as the top rectangle, there is a black sewn thread from one side of the image to the other. Inscriptions along the bottom. Some images are similar to the images on the cover of Bill Holm's book, "Northwest Coast Indian Art: An Analysis of Form". The etching is on a vertically rectangular paper piece.

Scaled down model house front with painted designs. The panel is made of two rectangular pieces flanking a peaked centre piece. The centre piece has a large design in red and black on wooden ground. There is a rectangular section at the bottom, depressed to one side as to give the impression of a slightly ajar door. The two side pieces have smaller designs featuring a bird motif in red and black on wooden ground. There are red bands on the top peaked edge and the sides. All three design sections are signed and dated by the artist.

Scaled down model house front with painted designs within three roundels. The panel is made of two rectangular pieces flanking a peaked centre piece. The centre piece has a large roundel with designs in red and black on wooden ground. There is a rectangular section at the bottom painted black. The two side pieces have smaller roundels with designs in red and black on wooden ground. There are red bands on the top peaked edge and the sides. All three design sections are signed by the artist.

Scaled down model house front with painted designs. The panel is rectangular with an upper centre peak. There is a lower oval opening painted black. The designs feature ovoid shapes and bird motifs in black and red on wooden ground. There are red bands on the sides and top.

Rectangular wood panel with a painting of a frontal raven design. The raven's head is in profile. The design is red and black on plain wood. There are eye hooks on the back. In red, at the lower right corner, the signature reads 'Lyle Wilson'.

Rectangular panel with a painting of a front facing beaver design. Left side has a natural indentation in the wood (where a knot used to be) and the entire side has been left unfinished. There is a knot in the wood above the beaver's head. A piece of wood has been replaced in the right side (adhered in place by the artist). There are eye hooks on the back of the panel. Design is done in red and black. In red, at the lower right corner, the signature reads 'Lyle Wilson'.

Carved silver pin in the shape of a raven with inlaid abalone shell in the eye, wing, and tail. Clasp attachment on the back of the pin. There is also a silver loop attachment on the back to enable its use as a pendant.

Black and white engraved intaglio print. Cross-hatching fills the negative spaces, creating a black background with white figures. Designs on figures are also in black. Main figures are a large raven, three men, and a sun with another figure trampled on the ground. Raven has an arrow-shaped tongue while men have long, curling, extended tongues. Depressed area around image caused by printing plate is approx. 0.4 cm. wide. Inscription is written in pencil below image and reads 'Artists Proof V/V "Raven & the First Men: Overlooking Wreck Beach" Lyle Wilson 09/28/99'. The print is on a horizontally rectangular, white paper piece.