This articulated Raven mask, creator and tribal affiliation unknown, nevertheless powerfully evokes one of the most important beings on the Northwest Coast. 

Kwakwaka’wakw artist Alfred Robertson here depicts Bakwas, the “King of the Ghosts,” a pivotal figure in the ceremonial repertoire of his people. 

Kwakiutl First Nation artist Gary Rice carves the bear into this panel using clean, traditional form lines and low-relief carving. 

This Creation Mask, signed only with the initials “LA,” features an inner face revealed within a larger human visage, evoking themes of birth, transformation, and origin. 

This Dsonoqua (Dzunuk’wa) mask by Gordon Clayton of the Nisga'a Nation draws on a central figure from the mythologies of many Kwakwaka’wakw-speaking peoples: the wild woman of the woods. 

In this expansive Eagle mask, Tsimshian artist Tony Gulbrandsen celebrates Eagle’s status as a high-ranking crest and spiritual intermediary. 

Haisla First Nation artist Gary Wilson brings forward the Frog—a powerful crest and messenger—as the central figure in this richly detailed mask. 

Kwakiulth First Nation carver Charles Johnson presents hawk in human form, a classic theme in Northwest Coast narrative art. 

Haida artist Tsoona Stella carves this Nax’Nok portrait mask in the distinctive style of the Haida Nation, whose homelands encompass Haida Gwaii and parts of the Alaskan Panhandle. 

Ojibway First Nation artist M.J. Esquega interprets the New Moon as a living being, combining mask carving with references to Anishinaabe spiritual understandings of the sky. 

Carved by Cliff Mitchell, this orca-shaped bowl combines functional craftsmanship with the powerful imagery of the killer whale. 

This portrait mask by John D. presents a stylized human face framed by braided elements and strong painted features. 

Kwakiulth First Nation carver Andy Bruce, a great-grandson of George Hunt, extends his family’s legacy of cultural preservation and artistry with this powerful portrait mask. 

Carved and painted by Gary B., this portrait rattle combines the expressive power of a human face with the sound and movement of a ceremonial instrument. 

Tlingit artist Kolten Khasalus Grant presents a shamanic portrait, drawing from Tlingit understandings of spiritual intermediaries who work between human and non-human realms. 

Heiltsuk First Nation carver Charles George creates this Thunderbird helmet in the vibrant style of his coastal people, whose homelands surround the inlets and islands of British Columbia’s central coast. 

Kwakiulth First Nation artist Andy Bruce, a descendant of renowned ethnographer and cultural mediator George Hunt, carves this powerful Tsonoqua (Dzunuk’wa/Wild Woman) mask. 

This vintage Frog mask, of unknown authorship and tribal affiliation, bears the classic hallmarks of Northwest Coast design: stylized eyes, strong form lines, and the distinctive split upper lip of Frog. 

The vintage portrait mask presented here, with its understated carving and patinated surface, reflects a long-standing Northwest Coast practice of depicting human faces to represent ancestors, important individuals, or spirit beings. 

This small vintage maskette depicts Pukwis (often spelled Pugwis), a sea-related being found in the stories of several Kwakwaka’wakw-speaking groups and neighboring peoples. 

Tsimshian artist Tony Gulbrandsen brings forward the bold, graphic power of his people’s visual tradition in this warrior mask. 

Kwakwaka’wakw artist Jack James interprets the Whale, a central ocean being in coastal cosmology, through this expressive mask. 

Lakota artist Bob Peasley (“Raven”) explores the archetype of the wild man—an untamed, liminal figure who exists between human society and the spirit world. 

Kwagiulth First Nation artist Veronica Hackett offers her interpretation of the Wild Woman, a powerful forest spirit figure closely related to Dzunuk’wa/Tsonoqua in Kwakwaka’wakw traditions.