Circular with raised rim. Background is hammered and there is a lustrous patina overall. Nakago ana has chiseling and copper inserts; kodzuka, rimmed with softer metal, and kogai both open. Front has chain with some loose links that appears through hole at bottom centre, continues up right side as fixed links in high relief and terminates at top in lustrous copper anchor. Back has chain of fixed links runs from hole at bottom centre up left side and over top, across kodzuka, terminating in its lower edge.

Elliptically shaped cradle made of white-yellow hide stretched over a frame constructed from split branches; branch frame is bound together with cotton gauze. Hide is stitched around the top rim of the cradle with black thread.

Brown birch bark basket with an oval-shaped top and a rectangular bottom--bark is bent and laced together with birch root (?). Hoop-branch to strengthen rim is lashed down with thin strips of root (?). Two skin ties are looped through the top of the basket on one side.

Brown birch bark basket with an oval-shaped top and a rectangular bottom. Bark is bent and laced into place, with birch twine around the rim overcast with thin strips of root; two decorative bands of black mark the ends.

Carved, wood mask with a triangular shape coming to a point at the bridge of the nose. Bear fur spans the top of the mask and extends halfway down the back opening. The slightly raised, heavy eyebrows are painted black, extending from the back edges of the mask and meet at the upper nose. The eyes, set in a shallow recess on the plane of the upper cheek, are long and drawn out with a circular centre. The nose is long and narrow, with back thrust nostrils. Lips, painted red are rounded and drawn back, slightly parted. U-form designs on the forehead are painted green, blue and red; eyes are outlined in black with a red broken-line sunlight design above them; wave-like designs on the cheek are painted green and blue.

Two mermaid-like ivory figures (b-c) are pegged to a flat, cross-section of antler (a). Both figures have fan-like tails, humanoid faces, crosshatched braids on back and small pectoral fins. B is lying out straight, while c has head turned and tail is on its edge.

An octagonal ceramic jar with a flat base, shoulders that slope sharply to short collar and a wide mouth. Heavy porcelaneous body is slipped in white. Painted in dark brown on one facet with five characters, below which is an oval cartouche, and from these, there is a peony spray of dark brown leaves with lighter brown flowers, spreading horizontally over two adjoining panels. Both cartouche outline and flower petals are emphasized with incising through to the under lying slip. All beneath an over all heavy transparent glaze. An even network of crackling shows extensive light purple and brown staining.

A mallet shaped ceramic vase with an angled rounded lower body which angles inward, tapering into a cylindrical neck that has two handles in the shape of a phoenix. Foot ring cut from base. Light yellow-brown body with thick, opaque, grey-blue-green slightly lustrous glaze covering entire vessel, stopping just short of base. Glaze has wide crackle, yellow-brown in colour. Paper label reads "1 JLS 2.2".

Rectangular bottomed container with gently expanding walls to an oval rim. The wooden rim is lashed on with spruce root. Four pieces of green-blue cellulose cloth are also woven into the rim. Purple and pink pieces are beaded into the lashing. To make the walls of the container the bark has been folded and stitched along two sides with spruce root. The walls have horizontal scraped decorative patterns with triangles on four of the lines and two lines separating each band--the triangles have faded. On the bottom of the container are two bands of four lines diagonally crossed.

Cylindrical shaped, dark brown wood whistle has three horizontal sections glued and bound together with white cord in three places: at the base of the mouthpiece, at the centre, and at the base of the whistle. Mouthpiece is narrower than the main body and is divided horizontally into two sections: depressed semi-oval areas in front of both semi-circular tone holes, one hole of which is close to the top while the other hole of which is on the reverse close to the centre.