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

Throughout the Northwest Coast, the raven takes a prominent place in mythology and art. It is important to note, however, that these representations are not all of the same mythical being. This mask depicts Gwagwakhwalanooksiwey, the man-eating raven who lives with the cannibal spirit in his great house in the mountains or at the north end of the world. An unusual feature distinguishes this particular raven mask. Typically, hamatsa masks of the early twentieth century are painted black with white eyesockets and red lips and nostrils. The use of orange paint and green paint around the eyes is known but rather uncommon. (Holm, Crooked Beak of Heaven, 1972)

Perhaps an example of the heyhliwey, or taming forehead mask, this small raven mask is an example of the restrained, sensitively designed hamatsa masks of the 1880s. The wearing of the heyhliwey on the forehead of the hamatsa's wife or sister is done during the last quiet dance of the hamatsa, and is said to symbolize the fact that the cannibal masks have been put in their places and the wildness of the hamatsa himself has been removed. (Holm, Crooked Beak of Heaven, 1972)

The function of this small figure is uncertain, but the tenon at its base and its resemblance to other figures suggest it was probably attached to the top of a mask. Some of these are jointed and can be made to move and gesture. The little man sits with upraised arms, one of which is a recent replacement. The entire figure except this arm is painted white with detail in black and red. (Holm, Crooked Beak of Heaven, 1972)

The paint is black, red, and green.

The identification of this mask is uncertain, but the long fringe of red-dyed shredded cedar bark decorating it leads to the conclusion that it belongs to the Winter Ceremonial. It is very likely one of the many beings represented by masked dancers in the atlakim. Interestingly, there is a tradition of destroying certain kinds of masks after using them a limited number of times, and the atlakim is one of the performances of which this was said to have been typical. The modelling of the features, with sharp definition of the eyesocket and deeply grooved cheek line, together with the white painted background and green eyesockets, clearly proclaim Kwakwaka'wakw origin. (Holm, Crooked Beak of Heaven, 1972)

The paint is black and red.