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

This carving in hard, dark wood, resembling a tiny totem pole is another piece of unkown use. A short, pointed tenon on the lower end must have been the means of attachment to another part. The figures represented are a bear, much elongated, with a small eagle held against its chest. Details of eyes and nostrils, the claws of the bear and eagle, the bird's ribs, and the stylized structure of the wings are all delineated in the classic northern style. (Holm, Crooked Beak of Heaven, 1972)

In this hamatsa whistle the three different voices are produced by three separate cylindrical whistles bound together so that their mouthpieces join and their barrels radiate out in a fan-like configuration. This is another example of the variety of whistles used in the Tseyka. (Holm, Crooked Beak of Heaven, 1972)

Tlasula whistles and horns vary in size from small squeakers held in the dancer's mouth or built into the mask to rather large instruments nearly a yard in length. This horn, one of a pair in the Burke Museum collection, is about average in size. The plain brown cedar is decorated with an unpainted relief representing raven. The figure is highly conventionalized and closely resembles the formline surface decorations of the northern coastal artists. (Holm, Crooked Beak of Heaven, 1972)

This ladle is one of a pair of ladles in the collection of the Burke Museum. Ladles with figures of mythical creatures carved on their handles, such as this one, are used to distribute food from feast dishes. The Sisioohl head is conceived as an extension of the handle, bent back upon itself and joined to the neck of the spoon. Attached to the nose and curling up over it like a tongue, is a small copper. (Holm, Crooked Beak of Heaven, 1972)