A row of fin-like protuberances along the snout and the scaly designs sweeping back from the nostrils suggest that this mask may represent not the ordinary mythical grizzly bear, but Nunis, the Grizzly Bear of the Sea. The mask is painted in black, red, green, yellow, and white. The jaw is hinged with a cord. When it is opened the teeth, which are all attached to the jaw, are exposed. (Holm, Crooked Beak of Heaven, 1972)

The paint is black and red.

The paint is green, red, and black.

`at:Sun Mask-A very rare maskHaida: A hawk-like face surrounded by 5 rays painted red, blue, yellow, black and white. (NOTE: Swan provided incorrect provenience of origin-RKW)

Spectacular transformation masks, called t!ahlt!ahlumhl! (folding-out mask), are used during the Tlasula. When two panels open out from the center to reveal a human face with bear's ears, the grizzly bear is dramatically transformed.

Feast spoons were often made in sets, matched in size and with similar decorations. The three spoons in the collection of the Burke Museum are probably part of a much larger set. Lieutenant George Emmons collected them at Wrangell. The creature on this spoon was identified by Emmons as a frog. (Holm, Spirit and Ancestor, 1987)

The paint is black.

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.

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)