Unpainted dish or bowl in the form of a seal, carved from a single piece of wood. Wood is reddish-brown; the details of the seal are incised. The head extends at one end, with mouth closed; the flippers and tail at the other end. Along the side of the bowl, the flippers are held against the body. Artist name written on base.

Trough-like dish, carved from a single piece of wood. Reddish-brown in colour with an incised animal design across the top of the dish, and mirrored on each end. The extended ends slant downward somewhat. The bowl is oblong-rectangular in shape, similar to the overall shape of the dish. The base is flat; "HAIDA ART Reid" inscription on base.

Christmas card. Brown and orange silkscreen print, with light blue inside the thin lines, on off-white paper. Depicted are: a large bear filling the entire rectangular space and a small human-like figure at centre. At the bottom, "Haida Bear Mother and Cub" is printed below image. Printed inside the card, "Happy Christmas and Best Wishes for the New Year".

Mai mask. Carving of a face is oblong and narrow, with a pointed head, a ridge running down forehead, and a prominent nose with a curved nostril free-spanning the lower part of the face. Mask is painted in swirls, short rounded lines, and colour blocks in shades of brown and dark yellow, with white lime pigment in the eye and nose area. Short grass surrounds the jaw as a bushy beard. Shells are inset into mud as eyes and at the top of the head, from which sprout fine cassowary feathers. Plant fibre is looped through the top. Interior of mask is concave.

Watercolour painting depicting Fort Simpson and the village of Lax Kw'alaams. The image shows a coastal inlet with Tsimshian village houses built all around the shore, along with a large fort on the left, with "H.G.Co. S FORT" hand-printed on its wall. In the foreground there are two Tsimshian people sitting on the ground holding the end of a bird trap that runs to the right of the foreground, with two birds near the trap itself. Most of the houses have blue smoke coming out of the smoke-holes. There are canoes pulled up along the shore, as well as two in the water. A large rigged sailing vessel is anchored inside the inlet. Hand printed on the front lower right corner is "FORT SIMPSON .B.C. in 1831. Drawn by Frederick Alexcee". In the background, in the water, is a steamship with a plume of black smoke coming out its pipe. There is one settler-style house in the background on the left, behind the fort. A green mountain range runs across the horizon. The painting is on thin, somewhat flexible board.

Double weave basketry hat. Hat is cone-shaped, made in a small tight weave, undecorated but for two slightly protruding encircling lines placed just below peak and above the rim. Hat’s point is made of four wide strips of bark that are then separated into smaller strands and incorporated into the general weave. A smaller inset cone is found high in the interior, serving as a headband. Its rim is lined with a weave of cotton.

Round basket with pattern and imagery. Basket is a light brown-yellow colour with images in darker brown. Narrow round base flares upward toward midpoint, lower half embellished with human figures standing square to front, arms hanging at sides, feet turned outwards. Figures are interspersed with large geometric designs resembling ‘C’s. Above midpoint basket recedes toward rim, with alternating open and closed square designs. Rim is short and flares slightly outward, and a dark weave edges the lip.

Wooden guardian figure. Figure sits in a crouched position, hands resting on knees that are drawn up to chest. Head and face are elongated, nose and mouth wide, brows heavy. A round hat sits high on the head, with a small brim under three tall rings at crown.

Blanket fragment. The textile is woven of thick wool, with lines of fabric plaited vertically- two lines of dark brown on each end and two of magenta at centre. Tassels hang sparsely from one of the narrow ends, while the adjacent edge has been cut, causing the weaving to loosen and fray over time.

Model totem pole. Pole is carved from wood, left mainly natural colour, with facial features highlighted in red and black paint. At centre is a large bear with prominent snout, tongue emerging between canine teeth. Bear is in a sitting position, a small human-like figure held in front with the bear's claws on his shoulders; the figure’s hands sit on the claws, his mask-like face just above. At the top of the pole a small wolf face emerges between the bear’s ears, with a leg carved at each side. Back of the pole is unpainted and hollowed out.