round

rectangular

coil woven round cedar basket with lid decorated with cherry bark and wild grain stem

rectangle with handle; footed and divided in centre

round with lid

Mrs. Ritchie received the basket in the fall of 2000 from her mother-in-law (Zella Clark, nee Stadie) who was originally from Sardis, BC. Mrs. Clark aquired the basket while living in the Sardis area during the 1920s.

This mask represents Bak’was , a malevolent ghostly spirit, the keeper of drowned souls. He can cause loss of reason and sanity and lures those seeking escape into the night woods with a faint firelight where they experience madness, loss of a sense of right and wrong and lose balance and harmony with the world. Victims may survive by finding minimal sustenance on the forest floor or in the intertidal region. As a spirit, although diminutive, he can stride four times the average man. He has a green, hairy body and a skeletal visage. Souls of those drawn into the forest by him or who eat food he offers are lost forever and become part of his ghostly retinue. A soul could possibly be saved by subduing it with menstrual blood. John Livingston (b. 1951) is an adopted Kwakwaka'wakw carver. He became closely involved with master carvers Henry Hunt and Tony Hunt in the 1970s who gave him permission to carve masks and poles. This particular mask is his version of a wild man mask with deeply attenuated carving outlining the mouth and eyes. Painted in traditional colors of black and red.

The Dzunuk'wa, or Cannibal women is a figure important to those Kwakwaka'wakw people who have an ancestral relationship to the stories involving her. She is a large, cumbersome figure, looking very bear like with shaggy fur over her body. She is clumsy and lumbers through the Northwest Coast cedar forests crying "Hoo Hoo Hoo" through her pursed lips. She is thought to carry a large woven basket with her. Should she discover a child who has disobeyed their parents and entered the woods without an adult she scoops them upinto her basket and takes them to her den to eat them! Thus children are always warned against entering the forests without permission! Her mask is a large, and wooden, painted shiny black with spattered white pigment overall and accents of red pigment and fur. The mouth has a large round opening that is surrounded by prominent red lips. Pursed as if she is crying "hoo hoo." The interior of the eyes and nostrils that are large round holes painted red. Fur, possibly bear, attached with iron nails, surrounds the lips and forms the eyebrows. A previous application of fur on these areas is suggested by the appearance of corroded nails holding down remnants of fur plus extraneous nail holes. Used originally to secure the mask are leather thongs at the eyes, the back surface just below the eyes, and at the chin where they were attached to a leather strap. The ritual dance performed with this mask continues today by an individual who inherits the privilege. On the body of the dancer would be bear like regalia and the dancer mimics the clumsy gait of the real Dzunuk'wa. Some feast dishes have forms similar to those contained in these masks. The object is stable and in fair condition. Along the edges, especially on the lower, proper right side is old insect damage. Long vertical cracks are present in the wood, but appear stable.

The object is a house post made of cedar wood, dark and unpainted. Two figures include a large humanoid figure holding a small humanoid figure. The small figure is held in front of the larger figure's chest area. Each head has carved brows, eyes, ears, nose, and mouth. There is also a small humanoid head with carved features between the knees of the larger figure. Frontal figures and head are carved in high relief. Back is roughly carved and relatively flat. House post is fragile. There are cracks throughout. There are exceptional losses of wood on and behind small head at bottom. There are miscellaneous holes, especially on the nose of the larger figure. Missing parts include a portion of the left hand and upper lip of the large figure as well as the left foot of the small figure. The back of larger figure's head is hollowed out. The post is very fibrous along the edge of the bottom. This house post is from a set of four (see 11.700.1-.2-.3).

Museum Expedition 1911, Museum Collection Fund