Haida manga watercolour and ink painting. The painting is comprised of 18 separate, multi-coloured, story panels. Each panel shows several scenes in the story, in order, starting at the upper left corner. When all the panels are hung together in a rectangular configuration (6 panels wide x 3 high) they also form a larger image, united by a thick, black, painted line. (From the upper left corner of the image, l-r: parts a-f; middle row, l-r: parts g-l; lower row, l-r: parts m-r.) The artist signed each panel on the back and sketched out where it fits in the configuration.

Large, unframed painting on a rectangular piece of handmade "washi" paper. Painting depicts a craterous landscape of oil barrels with groups of red pipelines and rivers of black snaking through. Bursts of yellow extend from some of the barrels while others have drawings of fish, humanoid faces or other creatures on the lid. The background is a solid black sky. Signed in the bottom right corner.

Sketches of bentwood bowl-shaped bracelet in pen, pencil and pencil crayon. Drawing is on sketch pad paper. Profile, overhead and bottom views of bracelet drawn in pen in the top right corner. Top left corner has a frontal 3/4 angle view of a bentwood bowl with curved sides and ends. Human face carved onto front and profile of a bird carved onto the side; coloured in bright orange and yellow, with pencil and pen. Pencil inscription below. Underneath, along the left side of the paper, there are overhead sketches of the bracelet done in pencil. In the middle of the page is a coloured, frontal 3/4 angle view of the bracelet . Bracelet has the same carved face on the front and bird profile on the side as the sketched bentwood bowl. Bracelet is coloured in bright orange and shaded with red, bright yellow, dark green and pen. Pencil marking points to the back left corner of sketched bracelet to show where the hinge would go. Along right side of page, next to the bracelet drawing, there are indecipherable numbers written in pencil. Below the numbers, in the bottom right corner, there is a rear 3/4 angle view of the bracelet done in pencil. Another pencil inscription above the rear angle of the bracelet, with indecipherable initials. Various pencil smudges and lines across the paper.

Model pole fully carved on the front and sides, and hollowed in a V-shape on the back. Likely carved of alder, with a separate base of painted fir. Figures represented from bottom to top include: a bear holding a killer-whale in its mouth; a human with its hands over the bear's eyebrows; a bear holding a downward-facing raven in its mouth; a salmon in the raven's mouth; a killer-whale in split view; an eagle. The pole is highlighted with some elements painted green-blue, black, red and white. Other areas are unpainted. The base is painted black and nailed on.

CHARLES EDENSHAW. WRIGHT, ROBIN K. AND DAINA AUGAITIS, CURATORS EXHIBITION CATALOG, 2013, Publisher: BLACK DOG PUBLISHING, LONDON, UK NORTHERN HAIDA MASTER CARVERS. WRIGHT, ROBIN K., 2001, Publisher: UNIVERSITY OF WASHINGTON PRESS CONTRIBUTIONS TO THE ETHNOLOGY OF THE HAIDA [OF QUEEN CHARLOTTE ISLANDS]. SWANTON, JOHN R. MEMOIRS, 8, 1905