Rectangular carved frontlet with Thunderbird or other bird-being in relief; abalone inlay along both sides and across top, and used for accents on animal features. The bird has a recurved beak going into lower lip. Below the face are red human-like arms and hands with palms out, fingers upward, with abalone on each palm. The bird's mouth is open, showing a row of abalone teeth behind wooden incisors and red painted lips. The eyes are circles of abalone, under arched black brows. This supernatural being shares space with a small orca, whose dorsal fin rises upward and pectoral fins downward. Painted red, green-blue, and black. The rear of the frontlet is concave. Illegible hand writing on back surface.

Rectangular carved bird-like being frontlet bordered by a row of individually carved and painted human faces (representing ancestors). Central figure is a bird-like being by a long, recurved beak and human-like eyes, eyebrows, and mouth. Being has wings, sitting with claws inward. The eyes are circles of abalone under arched black brows. Two abalone inlays on each wing. The rear of the frontlet is concave. Painted red, green-blue and black, on natural wood.

Carved and painted wooden frontlet with abalone inlay all around the sides and as eyes in the three faces. Roughly circular in shape; main, central face is a bird with a large beak projecting outward. Above is a small three-dimensional head projecting outward; there is another small round face below the beak. Each figure's eyes are abalone disks. A flat rim surrounds the whole frontlet, inlaid with numerous abalone pieces in various shapes, primarily rectangular or rounded squares. Many of the inlays have holes drilled through both sides. Brown plastic wire is tied at the back through four of the side holes; there are six holes drilled through on each side. (There is an epoxy resin filled area at the back, from an old repair).

Carved and painted hardwood frontlet with abalone inlays around the sides and top. Main image is a raven with a large bird beak projecting outward. A small, three-dimensional whale sits at the top of the frontlet. Three small faces are carved along the bottom: a grizzly bear or wolf head is in the centre, with human-like faces at each side.

Carved wood frontlet with three dimensional raven. Backing board is rounded, rectangular in shape and pointed at top. Raven emerges from centre, with carved black and red wings at its sides, knees bent up, face to front with curved beak and abalone eyes under squared ears. Raven figure is surrounded by two rows of abalone inlay. Back is concave, with a forehead piece. Signed on back: "Raven Henry V Robertson Kemano, B.C."

The paint is black, red, and green. The leather is gray.

During the nineteenth century, frontlet headdresses became the principal style of ceremonial headdress throughout the Northwest Coast. They were worn by high-ranking individuals who shook bird down out of the crown of the headdress as they danced, causing it to drift and swirl around both dancer and audience. These headdresses usually incorporate a carved wooden plaque that represents a crest animal or mythical being; Bella Coola examples are often deeply carved to represent birds. Inlaid pieces of abalone shell framing the plaque are meant to sparkle dramatically as the wearer of the headdress moves. This frontlet headdress is topped with a crown of sea lion whiskers and finished with rows of ermine skins trailing off the back.

TANGIBLE VISIONS. WARDWELL, ALLEN, 1996 OBJECTS OF BRIGHT PRIDE: NORTHWEST COAST INDIAN ART FROM THE AMERICAN MUSEUM OF NATURAL HISTORY.FIRST EDITION. WARDWELL, ALLEN EXHIBITION CATALOG, 1978, Publisher: THE CENTER FOR INTER-AMERICAN RELATIONS AND THE AMERICAN FEDERATION OF THE ARTS OBJECTS OF BRIGHT PRIDE: SECOND EDITION. WARDWELL, ALLEN EXHIBITION CATALOG, 1978