The wood is cedar. The paint is red, black, and white.

The renowned Kwakwaka'wakw artist Mungo Martin identified this transformation mask as his own work. It was made for a chief named Lagius, probably around 1920. The style of carving and painting are recognizable as that of Mungo Martin or his stepfather and mentor Charley James. Although the mask is called Crane in the museum records, the gray color and the hunched attitude when folded are reminiscent of the great blue heron, a bird common to the Kwakwaka'wakw country and often miscalled crane in English. (Holm, Spirit and Ancestor, 1987)

The paint is white, red, and black.

The paint is green, black, and red.

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

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)

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

The paint is white, blue, black, and yellow.

These carved frontlets were attached to regal headdresses and used in the Kwakwaka'wakw Tlasula. This beaver is identified by its two large front teeth and stick in its mouth. Its flat tail raised at the top has a human face at the base.