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 black, red, green, and white. The wool is blue.

This forehead mask represents Kolus, a white down-covered thunderbird. It was carved by Willie Seaweed for his son, Joe, to use during the Great Dance of the Tlasula. Joe Seaweed received the privilege of performing this masked dance from his mother, Alice, who had it as part of her dowry.

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

The paint is black and red.

The paint is green, red, and black.

The paint is red and black.

Very small bentwood box painted in red and black. Design on wide sides shows black eyes encircled in red with two scallops of black crosshatching below; both are similar however one has a long band of crosshatching above, while the other is divided into two. On one narrow side are two heads, on the other an eye with red parts below. At the top of both narrow sides are two round holes, possibly once used for handles?