« A cylindrical container of birch bark is a case for beaver scent or castoreum that was carried on trapping excursions by hunters. This type of container was also sometimes used for matches (Speck, 1937, p. 63, pi. XXI, group A). The rolled piece of bark is morticed in place and the bottom is a section of wood held in place with small tacks. The mouth is closed by a wooden plug (fig. 5i). » 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 5I (p.33).

« 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.

« An oval piece of birch bark is identified as a head protector to be worn across the forehead under the tumpline. On the outer surface, which is the inner surface of the bark, are positive etched designs showing a bear and a beaver (fig. 26c). » 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.18-19, fig 26c (p.54).

birch bark basket

Burden basket. Rectangular with three separated rows of animal designs covering all four sides. The figures are reddish-brown bark, with a lighter (yellowish) grass as background. The upper outside edge is reinforced with a rectangular loop of thick metal (telegraph) wire, held on with hide and fibre loops. The inside base is reinforced with a rectangular loop of root, bent at three corners.

Birch bark basket. Basket is made from white bark on exterior, with a rectangular base from which sides flare widely upwards toward rim. Interior is made of a sheet of brown bark, which also covers the upper exterior sides. Rim is made of a thin branch, pink in colour, attached to the basket by bark wrappings. Corners of the basket are slit and stitched into place with willow thongs.

A large rectangular bark cloth covered with geometric patterns. The patterns are made up of triangles and linear shapes which fit together to decorate the cloth's whole surface. The cloth is coloured in varying shades of reddish brown and browns.

Woven basket with designs. Basket is rectangular, long and thin, flaring slightly from bottom to rim, where remnants of flexible twisted cedar handles can be seen on one side, with a handle attached to the other side. The basket has a wide box weave in cedar bark on the base, and tightly wrapped grass on the body. Decoration consists of two encircling rows of red swastika designs along the top and bottom. One side has a scene of birds landing on a branch with foliage and red flowers. The opposite side shows a triangular pennant flag in purple with CANADA in orange. Purple flowers with green foliage sit at opposite corners of the image. (Note: basket has undergone repairs since the photo was taken.)

Large rectangular tapa cloth with hand-painted designs in dark brown over cross hatching of light brown on natural ground. At each end sits a row of flowers with foliage. Across the width of the tapa are cut fruit with leaves and seeds, two rows of huts surrounded by trees, three crests and crosses surrounded by a ring of leaves, and ship anchors with flowers to either side of a large butterfly. Tapa appears to have been cut down long edges.