Lithograph print on rectangular, off-white paper. Close up design of avataq, sealskin float, in portrait orientation. Float done in light yellow. Front flippers have jagged black line across them, depicting fur, and claws. Long tie, done in light yellow, looped around back flippers. Tie disappears under body and appears again on right side of float, curled in a circle. Majority of body covered in black abstract, curved triangle designs. Bright red syllabics overtop of embossed bird-like figure, in bottom right corner. Syllabics handwritten in pencil overtop of embossed symbol of the West Baffin Eskimo Co-Operative, in bottom left corner. Beneath avataq design is the title, print type, edition number, 10/50, year and artist signature. All handwritten in pencil. “08-2” handwritten in pencil on back of print, in bottom left corner. Faint imprint of words, and an infinity symbol, on back of print, in bottom right corner.

Exhibited on female mannequin at Chicago World's Fair of 1893. See National Anthropological Archives Manuscript # 7217, entry on Figure No. 8, where it is listed (and exhibited) as same number/forming a set with # E1701 parka.From card for ET1611 (written before it was known that this was part of catalog number E1701): "Brown deerskin pants, low-slung, with wide cuffs of white caribou fur. Bottom of leg edged with narrow brown and white strips, and fur fringe. Tassels of fur running lengthwise down front of each leg. Tag reading "Chicago #8, 1701-2967". Writing on inside, partially worn off, indicating this is part of MacFarlane collection. Loan [with temporary catalog number ET1611]: Crossroads Sep 22 1988 - returned from loan 6-25-91. Illus.: Crossroads of Continents catalogue; Fig. 41, p. 42."Formerly tracked with temporary number ET1611, because the correct catalog number was unknown at the time. A tag in the trousers says "Chicago #8, 1701-2967", which seems correct. Museum catalog number 1701 (or E1701) was field number 2967 (the ledger book confirms this) which was a woman's parka and pants exhibited together as a set at the Chicago World's Fair (according to National Anthropological Archives Manuscript # 7217, entry on Figure No. 8). Catalog number 1701 has long been missing the pants -- possibly since the ledger entry was written, since it makes no mention of them and has a count of 1 (in other words, the pants were missing or overlooked during cataloging). The existence of pants is mentioned in the notes on the catalog card, but only the parka was found during the 1975 inventory and 1980s move to MSC. Meanwhile, this pair of pants was found, but there was confusion about which number it belonged to (1701 already being accounted for with the parka) and so it was temporarily tracked as ET1611. As of now, it seems pretty certain that this is part of catalog number 1701, and so it is being tracked as # E1701-1.

Identified as a graver based on resemblance to other gravers in the MacFarlane collection. See Inuvialuit Pitqusiit Inuuniarutait: Inuvialuit Living History, The MacFarlane Collection website, by the Inuvialuit Cultural Resource Centre (ICRC), Inuvik, N.W.T., Canada (website credits here http://www.inuvialuitlivinghistory.ca/posts/12 ), which has general information on gravers here: http://www.inuvialuitlivinghistory.ca/item_types/27: Gravers with iron tips held in bone and antler shafts were used for engraving designs on ivory, bone antler and wood.

Rectangular box; no top/lid present. Card indicates this is Inuit made.E7830 is listed, but not described or analyzed, in Inuvialuit Pitqusiit Inuuniarutait: Inuvialuit Living History, The MacFarlane Collection website, by the Inuvialuit Cultural Resource Centre (ICRC), Inuvik, N.W.T., Canada (website credits here http://www.inuvialuitlivinghistory.ca/posts/12 ), entry on this artifact http://www.inuvialuitlivinghistory.ca/items/136 , retrieved 2-11-2020. General information on boxes available here: http://www.inuvialuitlivinghistory.ca/item_types/12: The MacFarlane collection contains a variety of wooden boxes. Boxes carved from single pieces of wood, and boxes with sides made from bent pieces of wood with bottoms pegged to them, are traditional Inuvialuit forms that were used for storing tools and other objects. Boxes with separate pieces for each side, bottom and top identified in the Smithsonian Institution's artifact catalogue as 'Packing Box Made by Esquimaux' may have been commissioned by MacFarlane for packing artifacts that were sent to the Smithsonian.

Silkscreen print of bird and sun on burlap cloth. Print shows a frontal view of a bird head overtop of a sun, done in red and black ink. Artist name in bottom right corner. Cloth is adhered to fibreboard and nailed to a stained, wooden frame. Printed Coastal Arts Design label with artist biography adhered to back, in top right corner. Coastal Arts Design logo and print information stamped on back, in bottom left corner. (Hanging hardware on back.)

Silkscreen print of raven on burlap cloth. Print is a profile view of a raven, done in red and black ink. Artist name in bottom left corner. Cloth is adhered to fibreboard and nailed to a stained, wooden frame. Piece of printed paper adhered to back, in bottom left corner. Coastal Arts Design logo and print information stamped on back, in bottom right corner. (Hanging hardware on back.)

Rectangular painting of two figures engaged in a head pull game. Two figures face one another and have a brown band wrapped around both of their heads. The figure on the left is lying on their stomach, with both arms out to support themselves. The figure on the right is sitting on their knees, with both arms out to support themselves. Both figures are wearing brown fur-lined, hooded coats, brown pants and boots. The figure on the right is wearing light brown and the figure on the left is wearing dark brown. Both figures are on snowy ground, painted with shades of pink, yellow, dark blue, light blue and dark green. Behind each of them are piles of dark and light brown rocks, with snow shaded yellow, purple and blue. In the background the sun is setting against a dark blue sky, with streaks of yellow, red and red-brown through it. The artist signature and year, "'09", are printed in pen in the bottom right corner. Next to the signature a small sun is sketched in ink.

Rectangular pastel drawing of two men engaged in the mouth pull game. The men are in the foreground, along the bottom edge of the paper. Both are coloured a light pink, have black hair and their eyes are closed. The man on the left side has short hair and the man on the right has long hair. Both are visible from the shoulders up and their shoulders are bare. The man on the right is facing the right side of the paper and the man on the left is facing the left side. The man on the right has his right arm wrapped around the shoulders of the man on the left, with one finger in his mouth. The man on the left is doing the same with his left arm and has a finger in the man on the right side's mouth. Above, and behind, the men is an upside down black-outlined semi-circle. The interior of it is coloured in light yellow and dark orange. Above the semi-circle is a black and white inukshuk with shades of dark brown. The background around the inukshuk is light blue and fades to a grey-blue. Above the inukshuk there are two harpoons with yellow blades and dark brown handles. The harpoons face inwards towards a dark brown, oval-shaped tool. The tool has a hole in the centre and two holes on the top and bottom with white strings(?) coming out of them. In the bottom centre of the print, in the space between the two men, the artist signature is written in pencil.

Goldtone (orotone) photographic print on glass in original frame. Image shows a cloudy sky and grassy plain with hills in the background, towards the sides of the print. In the middle ground, there are three figures on horseback. In the foreground, towards the right side of the print, there is a small oval-shaped pond. The artist signature is in the bottom right corner. The wide frame is painted dark brown and gold, with a pattern. The corners of the frame have dark gold batwing designs done in high relief. The frame's outer rim curves downwards and then upward towards the inner rim, which edges the photographic print. The back of the frame is covered in brown paper. On the back, in the top left corner, the photograph title is printed on plain paper. The artist’s studio mark is attached to the top right corner. There is hanging hardware close to the top.