Wooden panel carved with a distributive Northwest Coast design. Entire surface covered by large figure with a small almost three-dimensional figure in the centre front. Panel is unpainted; back is plain and has two hanging nails protruding. One side edge is rough and broken.

Long, rectangular, scoop-shaped utensil, possibly a canoe bailer, carved from a single piece of wood. Unpainted and undecorated, with a squared hollow carved out of the centre making three short upright walls with one end open. Old nail holes can be seen along the edges of the open end. The object is slightly curved with a rounded base.

Rectangular tray with cross patterns. The tray has a low wall around the perimeter. The rim of this wall has false braiding around it. The tray is primarily yellow and demonstrates closed twining. There are also imbricated dark brown and red brown elements. In the base of the tray the imbricated motif is formed from small squares formed by five smaller squares; there is a smaller square in each corner and one in the centre. On either end of the tray, seven of the five-part squares meet at an acute angle which points into the centre of the tray. In the centre of the tray, two lines formed from seven of the five-part squares bisect each other diagonally. On the exterior of the walls of the tray, the imbricated dark brown and red brown material forms triangles made of small squares. The longest sides of the tray each have four triangles adorning them and the shorter sides have three triangles. The red brown triangles and dark brown triangles are placed next to each other to form a pattern. The artist’s name is written in pen on the bottom of the tray.

Small rectangular basket with scalloped detail around edge. The scalloped edge forms an outline with peaks under which there is hollow space. This line is coiled. They majority of the basket is close twinned around wide horizontal spokes. This creates three wide bands around the perimeter of the basket. The middle band has been imbricated with a red brown material and differently texture material. The top stripe that is imbricated is the same colour as the rest of the basket but it contrasts in texture. Below it is two more decorative stripes; both are red brown. All of the stripes are plaited into the basket. There is a tag tied to the basket that has the artist’s name, community and a price written on it in pen.

This traditional, coiled basket is created especially for the Museum for the tipi exhibition by the artist Carol Emarthle-Douglas. On a natural background, it depicts eleven different women, each wearing the traditional dress of her Tribe, or Nation. In her hands she extends out a three dimensional basket woven in the style of her people as if to present it to the entire world. This is reflected exactly the same on the inside where she extends her basket as if to her community of basket makers. Four different basket making techniques are represented and materials are as follows by Nation: Seminole-One-rod coiling- one coiled pine needle, wrapped with raffia Haida- Twining- Red and Yellow cedar bark, commercial dye Pomo-One rod coiling-Round reed wrapped with raffia, various colors Navajo- One rod coiling- Round reed wrapped with raffia, various colors Yakima-One rod coiling- Round reed wrapped with raffia, various colors Nez Perce-Twining-Waxed linen thread in brown, green and white Northern Arapaho-One rod coiling, Coiled cloth wrapped with wire core, wrapped silk thread Ojibwa-Bending bark, Cherry bark, artificial sinew, etched design Penobscot- Twining- Black ash, sweet grass Chitimacha-Twill- Black ash, yellow cedar Cherokee- Twill-Yellow cedar, dyed yellow cedar

HAIDA DANCE FOR TOTEMS TO TURQUOISE (AMNH, NEW YORK, NY, USA, 2004)

HAIDA DANCE FOR TOTEMS TO TURQUOISE (AMNH, NEW YORK, NY, USA, 2004)

OBJECTS OF EXCHANGE: SOCIAL AND MATERIAL TRANSFORMATION ON THE LATE NINETEENTH-CENTURY NORTHWEST COAST. GLASS, AARON EXHIBITION CATALOG, 2011, Publisher: BARD GRADUATE CENTER AMERICA'S FASCINATING INDIAN HERITAGE. MAXWELL, JAMES, EDITOR, 1978, Publisher: READER'S DIGEST ART OF THE NORTHWEST COAST INDIANS. INVERARITY, ROBERT BRUCE, 1950, Publisher: UNIVERSITY OF CALIFORNIA PRESS CONTRIBUTIONS TO THE ETHNOLOGY OF THE HAIDA [OF QUEEN CHARLOTTE ISLANDS]. SWANTON, JOHN R. MEMOIRS, 8, 1905