Collection
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Young Shaman Mask
Stan Bevan
CA$4,450.00Alder wood, Leather ties
9 x 8.75 x 3.75″
10.5 x 8 x 6″ (including base)
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Raven Mask
Robert Saunders
CA$4,500.00Red Cedar wood, Cedar bark, Acrylic paint
14 x 7 x 18″ (mask only)
28 x 9 x 21″ (including bark & stand)
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Thunderbird Bentwood Box
Joshua Prescott
CA$4,600.00Red Cedar wood, Acrylic paint
Specific and unique to the Northwest Coast People is the bentwood or bent-corner box or container. A most outstanding item of the First Nations people, it is a made from one single plank of wood through a lengthy steaming process – a method strictly adapted by the coastal peoples.
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Tsimshian Bentwood Box
Corey Moraes
CA$4,600.00Red Cedar wood, Acrylic paint
1995
Specific and unique to the Northwest Coast People is the bentwood or bent-corner box or container. A most outstanding item of the First Nations people, it is a made from one single plank of wood through a lengthy steaming process – a method strictly adapted by the coastal peoples.
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Shaman Mask
Douglas David
CA$4,600.00Red Cedar wood, Cedar bark, Horse hair, Operculum shell, Acrylic paint
35 x 19 x 9.5″ (including hair)
12 x 9 x 9.5″ (mask only)
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Tapered Basket
Isabel Rorick RCA
CA$4,800.00Plain twining & Strawberry weave patterns, Three strand twining rim
Spruce Root, Four bands of dyed root
Featured in the 2009 exhibition – Haida Masterworks: the ancestral spirit lives on
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.
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Ovoid Eyespot #6 Pendant: Human
Lyle Wilson
CA$4,800.0018K Yellow Gold, Abalone shell, Engraved, Textured, Repoussé, Chased
2012“For this series, the inspiration came from thinking about the eyespot markings on the wings of young skatefish; as such markings are credited with the beginning of the famous Pacific Northwest Coast (PNC) Ovoid. The original markings are solid black spots, encircled by a fine line.
I wanted to use the same circular format as a young skatefish’s markings as traditionally as can be, but with variations on each face. There’s a strong ‘pull’ that keeps an artist coming back to the more traditional, straightforward depictions of PNC faces. To those of us who grew up hunting, gathering and fishing, I think such a ‘pull’ is connected to that traditional upbringing; and that sort of familiarity makes us want to go back, just to remind us of our roots again.”
-Lyle Wilson, 2016
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Tsonokwa Mask
Raymond Shaw
CA$4,800.00Red Cedar wood, Horse Hair, Acrylic paint
21 x 15 x 5.5″ (including hair)
13 x 11.5 x 5.5″ (without hair)
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Raven Brings the Light Bentwood Box
Douglas David
CA$4,800.00Red Cedar wood, Acrylic paint
Specific and unique to the Northwest Coast People is the bentwood or bent-corner box or container. A most outstanding item of the First Nations people, it is a made from one single plank of wood through a lengthy steaming process – a method strictly adapted by the coastal peoples.
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Eagle Bentwood Box
Guy Louie Jr.
CA$4,800.00Red Cedar wood, Abalone shell, Acrylic paint
Specific and unique to the Northwest Coast People is the bentwood or bent-corner box or container. A most outstanding item of the First Nations people, it is a made from one single plank of wood through a lengthy steaming process – a method strictly adapted by the coastal peoples.
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Ovoid Eyespot #3 Pendant: Human
Lyle Wilson
CA$5,100.0018K Yellow Gold, Abalone shell, Engraved, Textured, Repoussé, Chased
2012“For this series, the inspiration came from thinking about the eyespot markings on the wings of young skatefish; as such markings are credited with the beginning of the famous Pacific Northwest Coast (PNC) Ovoid. The original markings are solid black spots, encircled by a fine line.
I wanted to use the same circular format as a young skatefish’s markings as traditionally as can be, but with variations on each face. There’s a strong ‘pull’ that keeps an artist coming back to the more traditional, straightforward depictions of PNC faces. To those of us who grew up hunting, gathering and fishing, I think such a ‘pull’ is connected to that traditional upbringing; and that sort of familiarity makes us want to go back, just to remind us of our roots again.”
-Lyle Wilson, 2016