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)

This set of four masks represents the supernatural brothers who were created at the beginning of time by the supreme spirit, Ahlkuntam, and given the task of ordering the world. These and other supernatural beings were honored in the Nuxalk Winter Ceremonial, called Kusiut, comparable to the Kwakwaka'wakw Tseyka. The oldest and most powerful brother was named Yula'timot (He Who Completes Any Task with a Single Smoothing Motion) and is credited with creating fire. The second brother brought rain and was called MaLapa'litsek (He Who Completes Any Task with a Single Stroke of his Adze). The creator of trees, MaL'ape'exoek (He Who Completes Any Task with Two Strokes of his Adze) was the third brother. IL'iLu'lak (He Who Completes Any Task in a Single Day), the fourth brother, created the world.

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