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  • Nanasimgit Panel Pipe

    Christian White

    Price upon request

    Argillite, Catlinite, Abalone shell, Mother of Pearl

    This ornately detailed panel pipe inlayed with catlanite, abalone shell and mother of pearl tells the ancient story of Nanasimgit.

    The man or Nanasimgit is depicted at the bottom of the pipe holding skils to represent his stature. It shows the numerous potlatches he has held. The following story is a shortened version as told by the artist, Christian White:

    One day, the man’s wife was washing sea otter skins near the ocean, when a Killerwhale arose from the surface. It coaxed her into the water and carried her seaward while her husband watched in disbelief. Without hesitation, he quickly decided to follow them until the Killerwhale dove near a two-headed kelp, which prevented him from going any further. He was feeling quite distraught as he returned back to the village but by then he had decided to seek the help of his uncle, the Frog.

    The Frog offered him advice on how he could get his wife back and suggested that he take specific objects with him for his journey. He brought spruce root twine, a gimlet and medicine, placing them in his canoe. But, before he embarked on his journey, he was urged to undergo a fast in order to cleanse his body, which involved various rituals.

    Once the fast was completed, the man embarked on his quest until he came across the kelp he had encountered before. He tied his canoe to the kelp along with his possessions and climbed down beneath the surface to find himself in another world. He followed a path where he encountered three blind women that resembled Geese. He used his medicine to cure two of the women while the third one chose not to accept the medicine. The cured women vowed to repay him for his deed. As he proceeded onward, the man came across two slaves, from the Killerwhale clan, chopping wood. As they proceeded to chop the wood, the head of their axe fell off and they began to cry knowing the consequences they would face from the Chief. The man stopped to assist them and in return they directed him to his wife’s dwelling. The slaves warned the man of the watchmen pole that stood in front of the longhouse protecting the inhabitants. The watchmen had the ability to scent out and watch out for intruders.

    While he proceeded further on his path and thought about how to divert the watchmen, the man encountered a Heron repairing a canoe without success. The man stopped to offer him his gimlet to successfully repair the canoe. In return for his generosity, the Heron helped conceal the man under his wing blanket from the Black Whale guards and the watchmen. He successfully entered the longhouse to happily find his wife. At this point, the watchmen discovered the man taking his wife back with him, but were unable to stop him.

    When the man arrived back with his wife to his village he felt a different connection with her, as though she was not herself. At night, he would keep her in a bentwood box, but one morning when he awoke, to his surprise she escaped. She left to be with her Killerwhale family and fully transformed into a Killerwhale. This was the last he saw of her.

    4.75 x 10.25 x 1.25″ (without base)

    8 x 12 x 5.25″ (with base)

  • Sun Hawk Mask

    Norman Tait

    Price upon request

    Norman Tait with Lucinda Turner

    Alder wood, Copper, Cedar rope, Horse hair, Operculum shells, Acrylic paint, Leather

    Norman Tait’s exceptional Sun Hawk Mask stems from his father’s clan, the Tlingit Nation ancestry, and primarily represents one of his father’s family crest figures. While this exquisite maks depicts elements of a human face, the additional features, such as the beak, allude to its supernatural connection. Constructed from Alder wood, the wood’s unique grain is a strong element within the design and is used to exemplify the mask’s delicate human-like structure.  Furthermore, the addition of acrylic paint and the stark horsehair locks add life to this Humanized Supernatural-being.

    Featured in Finding A Voice: The Art of Norman Tait

    10.5 x 9 x 7″ (excluding hair)

  • Hawk Moon Pendant

    Rick Adkins

    Price upon request

    22K Yellow Gold, Abalone shell, Cast
    Edition of 12
    2007

  • Raven Transforming Into Human Pendant

    Philip Janze

    Price upon request

    22K Yellow Gold, Repousse, Chased, Engraved
    Domed

  • Ceremonial Talking Stick

    Dr. Richard Hunt

    Price upon request

    Red Cedar wood, Abalone shell (over 150 individual inlaid pieces), Acrylic paint

    More images available upon request.

    69 x 12 x 11″ (including base)

     

  • Eagle, Dogfish, Beaver & Frog Box

    Derek J. White

    Price upon request

    Sterling Silver, Argillite, Abalone shell, Mastodon Ivory, Repousse, Engraved

    This piece opens to reveal an inner box with relief engraving that echos the outer lid.

    Traditionally, boxes were considered prized possessions and customarily used to store wealth or special ceremonial objects such as masks, rattles, clothing and adornments. People often gave names to these beautiful ornate boxes, told stories about their histories and treated them as family heirlooms. However, non-decorated boxes acted as instruments of life – from storing less precious articles, to food and later used for mortuary purposes. In Haida mythology, a stack of boxes contained the essence from which Raven created the world.

    Eagle, Dogfish, Beaver and Frog Box retains its traditional elements through conception and imagery. Derek exhibits his mastery in his precision of line and perfect symmetry of the formline of this treasure. The gently angled lid with Abalone inlay, as well as the engraved and incised elements on the box is suggestive of the prototypic bent cornered wooden boxes and chests.

    The box contains not only depictions of four important crest animals, but connects to past traditions in which a box held more than the material object, it also linked people to their heritage, lineage and each other.

     

    For more details on shipping Ivory outside of Canada, please click here and then click open the Shipping section and scroll down to read more on Shipping Restrictions.

  • Coast Salish Housepost

    Susan Point

    Price upon request

    Red Cedar wood, Copper, Acrylic paint

    10.5ft x 4ft x 4 ft (including base)

    Own a piece of history…this Salish Housepost was carved during the 2010 Olympic Games in full public view at Susan Point’s temporary satellite studio outside the Vancouver Art Gallery.  The cedar wood used originates from a reclaimed fallen tree from the Stanley Park storm in 2009.

  • Where the Ocean Connects to the Sky Housepost

    Susan Point

    Price upon request

    Glass, etched and sandblasted, Gypsum rock

    Red Cedar wood base, Yellow Cedar wood, Acrylic paint

    Edition of 5

    Exclusive to Coastal Peoples Fine Arts Gallery

    Susan Point’s monumental glass housepost, Where the Ocean Connects to the Sky, reveals the connection between all living creatures – both the physical and spiritual which ties into the core of existence.

    The ‘thread of life’ represented by the ‘cedar rope’ in the centre lies at the heart of this design, linking the surrounding Killerwhales, Salmon, Eagles and Ravens. The ocean is illustrated by the Killerwhales which feed upon the Salmon. The Eagles and Ravens illustrate the sky.

    Killerwhales and humans are believed to be closely related. They symbolize long life, and it is thought that great Chiefs transform into Killerwhales when deceased.  The Eagle is a symbol of power, and Eagle down represents peace and friendship. Its alter ego, the Raven, is considered the hero, the trickster, transformer and creator.  Salmon are a central part of life as a main sustenance of both humans and creatures.

    Susan Point pays homage to First Nation mythology and ideology. This uniquely designed housepost illuminates how tradition can be re-interpreted into a modern day context, as can life lessons associated with stories and legends.  Point’s contemporized and beautifully designed work is a testament to her artistry and First Nation’s tradition and culture

  • Moon Amulet

    Tom Eneas

    Price upon request

    Red Cedar wood, Abalone shell, Copper

    The Moon controls tidal changes and illuminates the dark sky.  In many Nations the Raven is attributed for the gift of the Moon. Depending on the Nation, it is said that the Moon is the Sun’s partner, each being halves to a greater whole. Additionally, the Moon is associated with transformation and is regarded as an important protector and guardian spirit. Due to its mystical powers, Shamans sometimes call upon it as a spirit guide. Although not a common crest, it was exclusively the crest of a few highest-ranking Chiefs among the Haida nation and still remains their hereditary right today.

    Tom Eneas’s Moon Amulet reflects the Moon’s highly regarded innate spiritual powers. Carved from the spiritually endowed Red Cedar tree, this Moon Amulet is instilled with the beautiful decorative Abalone Shell which appears as the Moon’s illumination. Abalone Shell traditionally often referenced a high-status woman. This traditional work illustrates the more lucid southern carving style, in which the humanized Moon face’s shallow softer carving illuminates the wood’s grain providing the piece with strength and harmony.  Tom Eneas’s exquisite Moon Amulet encapsulates the Moon’s legendary spiritual grace.

     

  • Shaman Transforming into the Spirit of the Raven

    Ron Joseph Telek

    Price upon request

    Red Cedar wood, Cedar bark, Leather

    22 x 7.5 x 15″ (including bark)

  • Raven Transformation Hat

    Isabel Rorick

    Price upon request

    Spruce root

    Isabel Rorick comes from a long line of weavers, including her great-grandmother Isabella Edenshaw; her grandmother, Selina Peratrovich; her mother, Primrose Adams, and her Aunt, Delores Churchill. Using the Haida language of form, Isabel incorporates many traditional designs into her baskets and hats, like that of the dragonfly, raven’s tail, and spider web or slug trail.

  • Moon Pendant

    Philip Janze

    Price upon request

    18K Yellow Gold, Abalone shell, Cast
    Edition 5 of 5

  • Sea Serpent Soul Catcher

    Ed E. Bryant

    Price upon request

    Cattle Bone, Abalone shell, Cedar bark

    Commonly used by a Shaman, soul catchers were used to cleanse human souls and spirits. If a person was sick, or perhaps possessed by a demon spirit, the soul catcher was used to coerce the evil spirit out of the body.  The open ends were caped with cedar bark to hold the soul until it was cleansed and brought back from the spirit world. The healed soul of the recipient was then returned to the body by the Shaman by blowing through the soul catcher and into to the patient’s mouth.

    The shape of the soul catcher is typically cut from animal bone in such a way that the ends are flared outward and the surface is carved with figures associated with the Shaman’s spirit guides. Spirit guides accompany the human spirit or soul on its transformative journey between worlds. The ends of the Soul Catcher were sealed to contain these spirits. They also protect the boundaries between the physical and spiritual world, keeping those involved in the healing ceremony safe from evil minded spirits and beings.  The symmetrical arrangement of the figures essentially defines objects of this type and the figures tend to more sculptural in appearance.

    Soul catchers are extremely powerful and respected healing instruments; because of this, they were often housed in special bentwood boxes to keep them safe.

     

    Soul Catcher: 1.25 x 6.75 x 1.25″

    Including Stand: 3.25 x 6.75 x 1.5″

    Box: 5.75 x 8.75 x 5″

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