Red-brown pot with a cylindrical body and wide circular opening; lip is flared. Bottom section of body bulges outward before tapering into a high foot. Bands of incised decorations all along cylindrical section of body; bands consist of plain and diagonal lines, and zigzags. Raised square grids and plain lines with vertical decorations throughout bands. Two raised circles along front centre of body, with two conical protrusions on either side; two small circular protrusions in between the raised circles. Conical protrusions have horizontal lines incised across their sides, circular protrusions are covered in dots, and circles are filled with raised squares. Dot motifs border all protrusions and the circles. Bottom section of body and base of pot are undecorated.

Ghost net dari (or dhari) headdress. Headpiece is shaped like an inverted-U, with a horizontal line through the middle. Five lines extend from the top of the centre line. Middle one is straight and connects with the top edge; other four form inverted-U shapes and reconnect with the centre line. Two additional curved lines protrude from the middle line, connecting with the main body of the headpiece. Curved and inverted-U shaped lines are all dark blue; straight lines and headpiece are done in olive green, dark blue and green. Headpiece has an outer green border and it is connected to the headpiece with black zigzags. White feather-like protrusions extend from outer edges of green border; protrusions in bottom corners are longer than rest and undecorated. Rest of protrusions have had their ends cut; long diagonal lines extend from tips. All protrusions are secured with wire, wrapped in green. Orange circle is tied to top centre of headpiece with three feather-like shapes extending from it. Long black "feather" in the middle, framed by smaller white and black ones, is topped with tufts of white plastic.

Dari (or dhari) feather headdress. Headpiece is shaped like an inverted-U, with a horizontal line through the middle. Three lines extend from the top of the centre line, connecting with the top edge; outer lines are curved, middle line is straight. All pieces are made of cane, wrapped in orange fibre. Headpiece has an outer border of plastic; connected to headpiece with black cane, shaped into a zigzag. White feathers protrude from outer edges of plastic, secured with black fibre; feathers in bottom corners are longer than rest and undecorated. Rest of white feathers have had their ends cut; each has three small triangles on either side and long diagonal lines at the tip. Large red seed is tied to the top centre of the headpiece and has three feathers extending from it. Long grey feather in the middle, framed by smaller white and black ones, is topped with a tuft of white feathers; secured to grey feather with white fibre.

Painting on paper depicting two Thunder Bird dance masks; shown in profile, facing one another, and tilted upward. Both have curved beaks with nostril cutouts, thick ridges along their tops, cedar bark fringe extending from the back and bottom edges, and two U-shaped wings along the backs. Underneath the masks are the sides of a Thunder Bird dance cape, designed to look like wings; four feathers on wing underneath left mask and three feathers on wing under right. Mask on left has U-shaped horns and a ridged tongue; mask on right has curved horns and a smooth mouth. Masks and cape elements are decorated with formline designs; done in black, gold, red, dark green, orange, blue, and light green. All cedar bark is painted gold, orange, and yellow. Title and artist signature written in pen along bottom edge of painting. Additional numbers written in corners on front and back.

Painting on paper depicting a figure dancing with a Thunder Bird mask and costume; two large Thunder Bird masks painted to right of dancer. Figure's mask has a thick ridge on top with two horns protruding from back; mask is open-mouthed and has white teeth. Cedar bark fringe extending from back edge. Figure is wearing a long cape consisting of cedar bark and wood panels painted to look like feathers; similar feather-like leggings wrapped around calves of dancer. First mask, in top right, is facing left and has cedar bark braid and fringe along bottom edge; ridge with curved horn along top. Horn has an animal motif across side. Second mask, in bottom right, is right facing and has cedar bark fringe all along top, back and bottom sides of mask. Skull-like protrusion on top centre of ridge on head. All masks and costume elements are decorated with formline designs; done in black, white, green, gold, blue, red, and orange. All cedar bark is painted gold, orange, and black. Title, artist signature and edition number, No. 9, written in pen along bottom edge of painting. Additional numbers written in corners on front and back.

Thunder mask. Wooden humanoid mask, with bulbous forehead and pronounced brows. Deep-set eyes, with edges carved in relief, are over a large hooked nose, with wide oval-shaped nostrils. Nose extends over open mouth with two rows of bared teeth; rounded chin juts out below mouth. Trigons are carved into cheeks; ovoids done in relief overtop of brows. Forehead and chin are painted black; brows, nose and cheeks are painted dark blue. Ovoids, trigons and nostrils are done in red; teeth are done in silver. Brows, nose and eyes are highlighted with silver. Additional silver decoration painted along bottom corners of mouth, extending down chin. Both dark blue and silver paint have a metallic sheen. Holes drilled into sides and along top edge of mask, for attachments. Back of mask is hollowed out. Holes in mask for eyes, nostrils and mouth.

Painting on paper depicting a woman with a cradle puppet. Masked woman is standing behind large cradle and is reaching into it, with her arms stretched out towards the puppet. Smaller puppet is sitting up with its arms bent and reaching for woman; both figures have unbound brown hair. Two long strings connected to puppet's back and are threaded through headboard of cradle, extending onto right side of painting. Cradle has high head and footboards; headboard is more upright, footboard steeply tilted backwards. Formline designs across figures and cradle; done in black, gold, teal, brown, maroon, and lime green. Title and artist signature written in pen along bottom edge of painting. Additional numbers written in corners on front and back.

Painting on paper depicting war canoe dance. Two figures stand in foreground, facing one another, and holding upright paddles. Large canoe in middle of painting with a flying bird motif along side. Canoe is being paddled by five people; sixth figure, wearing a feathered headdress, stands at the bow with a spear. Directly behind the canoe is a large masked figure. All figures are wearing a variety of neck rings, wristbands, headbands, belts, and button garments. Formline design motifs throughout scene and figures; done in black, green, blue, red, gold, and brown. Title and artist signature written in pen along bottom edge of painting. Additional numbers written in corners on front and back.

Kente cloth composed of eighteen hand woven cloth strips. The strips have been stitched together along the long edge and have embroidered designs overtop. Each strip has a repeating stripe pattern; done in dark blue, white, light blue, maroon, yellow, green, and red. The embroidered designs are in the centre of the cloth and consist of rectangular blocks, plain stripes and ladder-like stripes; done in yellow, dark green, blue, orange, blue-grey, green-grey and white. Tag attached to bottom right corner.

Two-piece mask (part a) and tunic (part b) costume. Mask consists of a rounded basketry headpiece, crowned with ten horns, and a rectangular panel hanging from the front. Headpiece is covered in thick braids, made of hair, which wrap around the bases of the horns. The braids then extend downward, draping over the chest and back of the wearer. Braids have red cloth tied at intervals along their length with cowrie shells hanging from their bottoms. The mask panel is covered entirely in cowrie shells with stuffed red fabric in the centre, imitating eyes and a nose. Additional cowrie shells and red fabric decorate the horns. The tunic is sleeveless and indigo-dyed, with off-white designs throughout. Designs are inside rectangular blocks across surface. Designs include: interlocking abstract “X” shapes, dots, concentric diamonds, and propeller-like shapes. Fringe decorates bottom edges and slits are cut underneath arm openings. Black cloth lining around neck opening and slits.