This small mask representing a female with parted hair was made to fit a child. It was worn by one of the children of the Woman Giving Birth in the atlakim dance. The modelling is direct and bold, and the typically Kwakwaka'wakw painting in strong colors contrasting with white background contributes to the effect of great vitality. (Holm, Crooked Beak of Heaven, 1972)

The paint is black.

This small mask depicts a man wearing a cedar bark headring. He may represent Tseykami, a mythical man usually shown with the cedar bark ornaments of the Tseyka. It is representative of the low-cost souvenir carvings available in many shops. (Holm, Crooked Beak of Heaven, 1972)

The copper theme is repeated in this ceremonial rattle in the shape of that esteemed object. The face has been shaped by pounding into a rounded bulge, and a similarly rounded piece of copper has been soldered to the back, forming a cavity that holds a number of small stones, or perhaps lead shot. The characteristic T-shaped ridge appears on the lower section. (Holm, Crooked Beak of Heaven, 1972)

Many mythical creatures are represented in the Tlasula dances, according to the traditions of the family displaying the privilege. The personified earthquake is one of these. It is painted in black, red, and green on a natural wood background. (Holm, Crooked Beak of Heaven, 1972)

Coppers vary widely in size, but this one seems too small for actual use as a copper. It may have been made for some decorative use. The fact that this copper is made of brass weighs against its use as a real copper. A face is painted on the upper, flaring section, and there are stripes and stars on the two sides of the lower part. (Holm, Crooked Beak of Heaven, 1972)