Comb with sixteen teeth carved from ebony wood. Teeth attach to semi-circular body of comb that extends into a cylindrical handle. Top of handle carved into head of snake-like creature. Animal has two ivory(?) eyes inlaid into it, with black inset pupils. Linear designs incised throughout body and handle.

Wooden comb composed of twelve individual strips of wood, pinned together by three wooden pins. The handle is three points shaped from the wood strips. The strips of wood extend out from the handle forming the teeth of the comb.

NORTH AMERICAN INDIAN. MURDOCH, DAVID, 1995, Publisher: EYEWITNESS BOOKS - ALFRED A. KNOPF FROM THE LAND OF THE TOTEM POLES. JONAITIS, ALDONA, 1988

« Also decorated with positive etched patterns are two comb cases, each a single folded length of bark sewn across two sides with spruce root. Both have suspension cords of moose skin, with small triangular tabs of bark at the ends, which served as cleaners for the combs (Speck, 1937, p. 65). The smaller tab is decorated with the figure of a beaver on one side and a bear on the other (fig. 5f). The larger tab has two fish on one side and a pattern of cross-hatched lines on the other (fig. 91). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.9, fig 5f (p.33), fig 9l (p.37). « Another set of nine patterns, which includes human forms, a fish, a canoe, and floral stencils, is described by Speck as having been used for bead and silk work (fig. 14). However, one of the patterns, that of a fish, was used on a previously described comb case (fig. 91). Speck (1935, pp. 190-191) has noted that for the Montagnais, the symbolic pictorial representation of a plant or animal was equivalent to the actual plant or animal and those portrayed were believed to come under the control of the individual human spirit. Dreams played a major part in suggesting the relationship between specific animals or plants and an individual. The spirit was strengthened by having its dream promptings obeyed and success in subsistence activities was thereby assured. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.10, fig 9l (p.37). « A characteristic feature of these baskets is the presence of etched designs on tops and sides. The primary method of producing this ornamentation is by laying cut-out birch bark design patterns on the surface and scraping away the dark inner bark everywhere except where the design has been traced with the point of a knife. The positive design thus stands out dark against a light background (Speck, 1937, p. 71). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.9.

« Also decorated with positive etched patterns are two comb cases, each a singlel folded length of bark sewn across two sides with spruce root. Both have suspension cords of moose skin, with small triangular tabs of bark at the ends, which served as cleaners for the combs (Speck, 1937, p. 65). The smaller tab is decorated with the figure of a beaver on one side and a bear on the other (fig. 5f). The larger tab has two fish on one side and a pattern of cross-hatched lines on the other (fig. 91). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.9, fig 5f (p.33), fig 9l (p.37). « Another set of nine patterns, which includes human forms, a fish, a canoe, and floral stencils, is described by Speck as having been used for bead and silk work (fig. 14). However, one of the patterns, that of a fish, was used on a previously described comb case (fig. 91). Speck (1935, pp. 190-191) has noted that for the Montagnais, the symbolic pictorial representation of a plant or animal was equivalent to the actual plant or animal and those portrayed were believed to come under the control of the individual human spirit. Dreams played a major part in suggesting the relationship between specific animals or plants and an individual. The spirit was strengthened by having its dream promptings obeyed and success in subsistence activities was thereby assured. » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.10, fig 9l (p.37). « A characteristic feature of these baskets is the presence of etched designs on tops and sides. The primary method of producing this ornamentation is by laying cut-out birch bark design patterns on the surface and scraping away the dark inner bark everywhere except where the design has been traced with the point of a knife. The positive design thus stands out dark against a light background (Speck, 1937, p. 71). » Vanstone, James W. "The Speck Collection of Montagnais Material Culture from the Lower St. Lawrence Drainage, Quebec." Fieldiana. Anthropology. New Series, No. 5 (October 29, 1982), p.9.

Comb made from 13 individual lengths of flexible wood bound together by white string, and ending in prongs stabilized by two pieces of wood acting as cross bars wrapped in string. The string binding alternates up the handle between being bound to one outer-side, crossing through the individual pieces, and then winding around the opposite side. Along the cross-bars the string is wrapped diagonally around each running in opposite directions.

Comb made of flexible wood which is split vertically near the end to form ten prongs which are held apart by string binding. The handle is rectangular in shape, flaring out into the prongs of the comb. Where the handle and prongs meet there is a band of braided string wrapped around the handle.

Comb made of flexible wood which is split vertically near the end to form the prongs which are held apart by string binding. The top of the handle is carved in a decorative pattern, and then extends outwards in a triangular shape. The rest of the handle is bound in dark string which is woven between the prongs, covering a portion of every other one in a pattern.

Comb made of flexible wood which is split vertically near the end to form nine prongs which are held apart by its binding. The handle is rectangular in shape, flaring out into the prongs of the comb. Where the handle and prongs meet there is a band of braided string wrapped around the handle. There is also one strand of plant fibre wrapped around the handle between the wood and the prongs. The end of the handle is rounded.

Comb made of flexible wood which is split vertically near the end to form the eleven prongs which are held apart by the binding. The handle is rectangular in shape which tapers into a thin strip of wood, curves upwards to end in a point. The other end of the rectangle flares out into the prongs of the comb. Where the handle and prongs meet is a band of braided string wrapped around the handle.