The function of this small figure is uncertain, but the tenon at its base and its resemblance to other figures suggest it was probably attached to the top of a mask. Some of these are jointed and can be made to move and gesture. The little man sits with upraised arms, one of which is a recent replacement. The entire figure except this arm is painted white with detail in black and red. (Holm, Crooked Beak of Heaven, 1972)

The paint is black, red, and green.

The identification of this mask is uncertain, but the long fringe of red-dyed shredded cedar bark decorating it leads to the conclusion that it belongs to the Winter Ceremonial. It is very likely one of the many beings represented by masked dancers in the atlakim. Interestingly, there is a tradition of destroying certain kinds of masks after using them a limited number of times, and the atlakim is one of the performances of which this was said to have been typical. The modelling of the features, with sharp definition of the eyesocket and deeply grooved cheek line, together with the white painted background and green eyesockets, clearly proclaim Kwakwaka'wakw origin. (Holm, Crooked Beak of Heaven, 1972)

The paint is black and red.

The paint is red, black, green, and white.

This mask was made by Joe Seaweed, son of artist Willie Seaweed. The mask expresses what might be surprise or delight, with raised brows and round, open mouth. (Holm, Crooked Beak of Heaven, 1972)

This mask was made by Joe Seaweed, son of artist Willie Seaweed. The character expressed by the little smile and drooping brows suggests innocent, perhaps even gullible wonder. (Holm, Crooked Beak of Heaven, 1972)

The wool cloth is red. The velvet is black. The cotton cloth is plaid.