This tiny figure representing the sea wolf with his prey was probably made by Isaac Chapman around the turn of the century. The mythical sea wolf holding a whale in its jaws and another in its tail is a subject frequently seen in argillite. (Holm, Crooked Beak of Heaven, 1972)

Round rattles similiar to nothern shamans' rattles are shaken by the attendents of the Hamatsa dancers to help tame them of their wildness. Raven rattles are chiefs' rattles used from Vancouver Island to Southeast Alaska. Headdress dancers use them in the Tlasula.

This carved frontlet represents a mountain goat, a common crest among the Haida and the Tsimshian. It can usually be recognized by the slim black horns and, when the whole animal is shown, by the blunt hooves. (Holm, Crooked Beak of Heaven, 1972)

This small mask, probably representing the Dzoonokwa, is a sort made for sale to tourists and collectors. Small mask-like ornaments were made for ceremonial use and attached to masks, neck rings, and headdresses, but they are ususally exhibit signs of use or have holes for ties drilled in the edges. (Holm, Crooked Beak of Heaven, 1972)

Another popular subject for the argillite sculptor of the 1840s was the individual figure of the sea captain. These are essentially portraits, but they have the qualities of caricature. This jaunty seaman is an excellent example. (Holm, Crooked Beak of Heaven, 1972)

The custom among northern noble women of wearing a labret in the pierced lower lip excited the curiosity and disgust of early Euro-American visitors to the coast. In the long run, under the influence of Western civilization, the use of the labret died out, but examples of the ornament remain. This labret in the Burke Museum collection is of carved wood, bearing the figure of a whale in low relief on one face and abstract design elements on the other. A shallow groove runs around the sides to secure the labret in place in the lip. (Holm, Crooked Beak of Heaven, 1972)

The function of small carvings of human figures like this one is unknown. Here a seated female figure is represented. She sits with knees drawn up in the characteristic posture of the old-time Kwakwaka'wakw women. The woman's head is elongated in the form of a truncated cone which may represent a basketry hat, but more likely depicts the type of skull deformation prevalent among Kwakwaka'wakw women at the time of Euro-American contact. (Holm, Crooked Beak of Heaven, 1972)

A natural fork of wood has been used in this hook to achieve the V form basic to the instrument. A fork with a strong juncture is necessary in order to withstand the tremendous stresses placed on it by the weight and power of the fish. The carving on this one-piece hook is of a long-necked sea bird. The barb lashing is of split spruce root. (Holm, Crooked Beak of Heaven, 1972)