Red painted metal carnival mask with large protruding angular nose and openings for the eyes and mouth. Thick black lines are painted for the eyebrows, moustache and beard. There is a black cross on forehead and three black horizontal lines on each side of nose. There is one hole in the centre top of the mask, and one on each side.

Red painted metal carnival mask with large protruding angular nose and openings for the eyes and mouth. Thick black lines are painted around the eye openings, and also for the eyebrows, a moustache and split beard, as well as down the length of the cheeks at the outer edge and a cross on the forehead. There is one hole in the centre top of the mask, and one on each side.

Red painted metal carnival mask with large protruding angular nose and openings for the eyes and mouth. Painted black lines indicate hair, thick eyebrows and a beard. There is also a black line painted down the length of each cheek, from near the eyes down to the beard. There is one hole in the centre top of the mask, and one on each side.

Red painted metal carnival mask with large protruding angular nose and openings for the eyes and mouth, with thick black lines painted around the eye holes, mustache and beard. There is also a black line painted down the length of each cheek, from near the eyes down to the chin. There is one hole in the centre top of the mask, and one on each side.

Black painted metal mask with a protruding pointed nose. There are red elongated diamond shapes painted around the eyes and red painted around the mouth opening, as well as a red "x" on the forehead. A section of white elastic is tied through a hole at each side of the mask, extending across the back. (Also, see costume: 2956/203 b-c and bells: 2956/203 d-i.)

THE ESKIMO OF BAFFIN LAND AND HUDSON BAY, FROM NOTES COLLECTED BY CAPTAIN GEORGE COMER, CAPTAIN JAMES S. MUTCH, AND REV. E.J. PECK. BOAS, FRANZ BULLETIN, 15, 1901

The backboard for the cradle is missing, only the quilled ornaments remain. These consist of two large sections of smoked skin, which wrapped around the cradle and were decorated with orange, white, red, brown, light blue and yellow porcupine quills. The design may be called "otter tail” design as the fretwork moves from left to right as if the otter was doing this: jump-jump-slide-jump-jump. Another suggestion is that he "fret" design may be an abstract thunderbird. There are also two straps decorated with quill wrapped thongs, tin cones, and blue and white pony beads. The cradle model is exceptional in two respects. First it is a model and only 3 are known. (The other being in the NMAI and the Peabody Salem Essex). This suggests it was might have been made for sale as pieces that are missing perhaps were not made, or were lost after it was acquired. The cradle decorations are displayed on this mount condensed, as the piece would have been longer. The rectangular piece below might not be in correct location. B Hail, "Hau, Kola,” pg. 144, fig. 127, shows an early Dakota cradle with three of these rectangular forms dangling down from the bottom of the cradle board not from the wrappings.