This Sculpin mask epitomizes the flamboyance of Kwakwaka'wakw theatrical sculpture. Jagged contours, bold, intertwined forms, and snapping, fanning, and waving appendages--all covered with contrasting and complex patterns of strong color--create creatures of startling fantasy. The subdued, wavering light of the dance house softens those contrasts amd unifies the forms. The sculpin swims to the rise and fall of its song in a sea of firelight and swirling eagle down. (Holm, Spirit and Ancestor, 1987)

Kwakwaka'wakw box lids characteristically have a high, raised edge along one side and it is this flange, painted with a stylized face and inlaid with sea otter teeth, which remains from the ancient lids and which had a prominent part in the ceremonial repayment of the marriage price. The goods to be transferred, among them a box containing ritual material symbolizing the dances, were gathered on the ground within a square bounded by a line of the archaic lids. (Holm, Spirit and Ancestor, 1987)

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

The nail is metal. The string is cotton.

The paint is green, black, and red.

This headdress was worn by George Hunt's daughter-in-law, Tlakwagilayookwa (Sara Smith Hunt, later Martin) who played Naida, in Edward S. Curtis' film In the Land of the Head Hunters, 1914.

The paint is green, red, and black.