The copper theme is a favorite with Kwakwaka'wakw artists. Representations of coppers are used as grave monuments, housefront paintings, and other objects, including button blankets. The button blanket is the traditional ceremonial blanket of the Kwakwaka'wakw. The general form is fairly uniform, with variations in the figures represented and in the details of the border designs. Most have as foundation a dark blue blanket, but green is not uncommon. All the materials in button blankets are products of trade. (Holm, Crooked Beak of Heaven, 1972)

This dish exemplifies the extravagance of Kwakwaka'wakw ceremonial utensils. A typical feast dish, it is conceived of as a large sculptured animal, in this case a wolf, hollowed to receive the food it is to serve. Dishes of this sort belonged to the owner of a house and were accounted for in the origin myths of the family. They were highly valued and used only on occasions of great feasts. (Holm, Crooked Beak of Heaven, 1972)

Throughout the Northwest Coast, the raven takes a prominent place in mythology and art. It is important to note, however, that these representations are not all of the same mythical being. This mask depicts Gwagwakhwalanooksiwey, the man-eating raven who lives with the cannibal spirit in his great house in the mountains or at the north end of the world. An unusual feature distinguishes this particular raven mask. Typically, hamatsa masks of the early twentieth century are painted black with white eyesockets and red lips and nostrils. The use of orange paint and green paint around the eyes is known but rather uncommon. (Holm, Crooked Beak of Heaven, 1972)

Perhaps an example of the heyhliwey, or taming forehead mask, this small raven mask is an example of the restrained, sensitively designed hamatsa masks of the 1880s. The wearing of the heyhliwey on the forehead of the hamatsa's wife or sister is done during the last quiet dance of the hamatsa, and is said to symbolize the fact that the cannibal masks have been put in their places and the wildness of the hamatsa himself has been removed. (Holm, Crooked Beak of Heaven, 1972)

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 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.

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 clam basket represents a highly successful solution to an everyday problem in Northwest Coast life. Baskets made to hold clams as they are dug must be rigid and strong, but must allow water and mud to pass through the walls when the clams are rinsed. The solution was a large, flaring basket of split spruce or cedar root in the open wrapped twining technique. The basket, full of clams, can be plunged up and down in the water, and the sand and mud clinging to the shells are quickly removed, draining through the sieve-like sides. (Holm, Crooked Beak of Heaven, 1972)