Carved cedar rattle in the shape of a raven. The body is painted black with incised ovoid designs highlighed by the natural colour of the wood. Long horse(?) hair tail attached to a cylindrical piece of wood. The tail is decorated with 4 wooden paddle-shaped attachments (plain, white, red, black) representing the 4 directions and a piece of abalone shell representing the ocean. The artist's mark is incised underneath the chin. Condition: excellent.

A cedar mask carved by George Pennier called Mother Earth Looking at the Universe.. The mask has heavy black eyebrows, pierced eyes rimmed with black and red, red nostrils and an open red lipped mouth. The majority of the face is painted with white and blue, representing the sky and stars. The upper rim of the mask has a row of white goose feathers. The inside of the mask is smoothed, and signed by the artist. The mask was carved by a Coast Salish artist, George Pennier, a resident of Chilliwack, B.C. The style of the mask is Northern rather than Coast Salish, attributed to the fact some artists carve in styles that are not necessarily their own tribal group. The mask is an expression of the artist' s own place within the universe, and was inspired by looking out at the night sky in Chilliwack. Carved in a traditional style the subject matter is very personal, concerning identity and the place of the individual within the world. The mask also references the concern for the environment, Mother Earth exhibited by many First Nations artists, and is an aspect of a Pan-Indian culture which is becoming more prevalent in North America. The mask was bought directly from the artist. Excellent

A silk-screen print of Twin Thunderbirds that is based on a Coast Salish spindle whorl design. The print is black, and is dated 05/81. The print is by Susan A. Sparrow (her married name is Pointe), who is a Coast Salish artist. She was recently commissioned to produce a series of banners by Vancouver International Airport which hang in the check-in hall. The print was purchased at the Coqueleetza Native Art Shop in Chilliwack which is run by the Sto' lo Nation. The print cost 54 Canadian dollars; Good

Carved and painted halibut bowl. The bowl has the characteristic flat fish shape with the lopsided halibut face. Boldly painted in turquoise blue with black U-forms around the halibut fins, a larger ovoid at the tail and two projecting U-forms with secondary red designs. Black eyes and a red mouth. Shallow bowl with a flat base.The artist belongs to the Nimpkish tribe, born in Alert Bay, B.C., in 1955. She now lives in Chemainus, Vancouver Island, and through marriage to a Coast Salish man is now a member of the Penelakut Band. Lorraine is the great grand-daughter of the late Mungo Martin.; Good

Finely carved spoon carved with a raven headed handle from alder. The raven' s head is highly stylised. The spoon is signed underneath the neck of the handle. The artist belongs to the Nimpkish tribe, born in Alert Bay, B.C., in 1955. She now lives in Chemainus, Vancouver Island, and through marriage to a Coast Salish man is now a member of the Penelakut Band. Lorraine is the great grand-daughter of the late Mungo Martin; Good

A raven bowl carved from alder. The bowl is a stylised raven with U-forms carved into the wings folding round the bowl body of the bird. The bowl is signed underneath. The bowl was carved by Lorraine E. Charlie, a Kwagiulth artist. It is a remarkably stylised and beautifully simple rendering of the often produced Raven. The bowl is modern but references the traditional subject matter and style of Northwest Coast art form. This particular bowl is a working piece, a prototype of further bowls; originally not for sale but happily sold to become part of a museum collection. The artist belongs to the Nimpkish tribe, born in Alert Bay, B.C., in 1955. She now lives in Chemainus, Vancouver Island, and through marriage to a Coast Salish man is now a member of the Penelakut Band. Lorraine is the great grand-daughter of the late Mungo Martin; Excellent

A shaman mask, carved by Coast Salish artist George Pennier, in alder, painted with acrylic paint and with black human hair. The mask has upward turned eyes rimmed with red, heavy black eyebrows, and an open mouth with protruding tongue. Signed on the reverse of the mask and dated 1990. The mask was carved by a Coast Salish artist, George Pennier, a resident of Chilliwack, B.C. The style of the mask is Northern rather than Coast Salish, attributed to the fact some artists carve in styles that are not necessarily their own tribal group. The upturned eyes and protruding tongue represent a shaman in a trance, part of shamanic ritual during spirit quests and curing ceremonies. Shamanism, and its representation in art forms, is udergoing a hidden revival on the Northwest Coast indigenous community. This mask was made for sale and was purchased at Hill' s Indian Arts and Crafts Shop in Vancouver. Excellent

A moon frontlet carved in cedar in a Tsimshian style.

Large Haida totem pole carved with crest figures. The pole has an eagle with a damaged beak sitting on top of the potlatch rings of a skil property hat. The rings rest between the ears of an eagle with a projecting beak. On the eagle' s chest is a smaller bird, possibly a young eagle with outstretched wings which overlap the bigger bird' s wings. The curled feet of the bird rest on the head of a thunderbird which has its beak close against its body. In turn the thunderbird rests on a killerwhale with whom it is often associated in myths and on totem poles. The blowhole of the killerwhale is clearly visible together with its dorsal fins. Along the body of the killerwhale are more skil hat potlatch rings, below is a small humanoid face possibly that of the strongman who battled with killerwhales in myth. The set of hands round the rings are possibly those of the killerwhale indicating transformation, more likely though they belong to the strongman. The last figure is a beaver with a chewing stick and cross-hatched tail. The pole is C-shaped in cross- section, having been hollowed-out to lessen the weight and enable it to be raised. The catalogue card records the figures as representing, from the bottom upwards, a beaver, a supernatural being, the only woman' s crest on the pole. Then comes a man used to fill space. Then a cormorant, also crest of man. Then an eagle showing that man belonged to that clan. The three figures on the top of the main pole represent watchmen looking for enemy visitors. Bird on top , an owl. Bushnell added to the catalogue card that alot of the data detailing the representations on the totem pole was clearly wrong and referred to Marius Barbeau' s Totem Poles page 122 as evidence. The confusion over the description could have arisen because it belongs to a pole which CUMAA was going to purchase but instead was sold to a museum in Milwaukee (G.Crowther).; Good

Small bundle of very dry spruce root.; Good