Collectible Artworks

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  • Iksduq’iya & Qolun (Eagle & Beaver) Box

    Lyle Wilson

    Price upon request

    Sterling Silver, Engraved and Textured on Hollow-ware

    2015

    “My father’s Eagle Clan adopted me, but I was actually born into my mother’s Beaver Clan. Since the Haisla followed a matrilineal system, whereby every child was automatically included into its mother’s clan, my unusual adoption was due to the circumstances of the Eagle Clan having so many of its members die. Due to the early and unfamiliar diseases, everyone feared the clan would eventually become extinct.

    I’ve always loved the look of a full-size, traditional wooden bent-box and liked the idea of a smaller, silver box using the same traditional proportions. It adds a unique sculptural look to any small box which, once seen, becomes a more appreciated detail with every subsequent examination. The box’s construction technique is very deceptive; it looks solid but is actually a box-within-a-box, with the hollow spaces between each ‘box’ allowing for visually thicker walls. For this box, I decided to honor my connections to both Haisla Clans – Beaver and Eagle – by engraving each on one-half of the box. The box’s lid has another Eagle engraved on the top, and the Halibut, a sub-crest shared by both clans, is engraved around the edges.”

    -Lyle Wilson, 2016

     

  • “After the Ancients” Bracelet

    Lyle Wilson

    Price upon request

    Sterling silver, Textured, Engraved, Repoussé, Chased
    Hinged with Sterling silver Catch
    2015

    “Exploring one’s roots brings a healthy appreciation of one’s place in the scheme of things. The Pacific Northwest Coast (PNC) formline has undergone changes over the passage of time. What I wanted to do was to pay homage to that earlier, cleaner, straightforward, massive look of PNC art because it captures the sense of that era’s time. I learned from what work they left behind and so it impacts the work I do today.

    In this bracelet, a mixture of modern techniques – repoussé, chasing, engraving, texturing, fabrication – has been added to a deceptively simple facial image that’s present on early traditional bent-boxes; a face thought to represent a supernatural guardian of any treasures contained within the box.

    For me, and for this exhibition, this style of PNC imagery depiction on a bracelet seemed to be something that had a sense of inevitability because I have such admiration and respect for ancient PNC artists”

    -Lyle Wilson, 2016

  • Cod Swallowing the Moon Panel

    Joe David

    Price upon request

    Red Cedar wood, Bronze cast, Acrylic paint

    This panel is created from one single piece of Cedar wood, which is a minimum of 500 years old.

  • 3. Eagle, Killerwhale, Bear & Frog Model Pole

    Christian White

    Price upon request

    Argillite, Catlinite, Abalone shell

    Argillite is grey colour and a relatively soft stone to carve which hardens over time as it begins to oxidize once removed from the mine. As it is relatively a limited resource, it is difficult to obtain large pieces from the quarry. Apart from small totem poles like this, the kinds of objects carved from Argillite include plates with carved and incised designs, pendants, pipes, small boxes, and sculptured figures.

  • Hawk Moon Pendant

    Rick Adkins

    Price upon request

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

  • 35. Raven and His Family Mask

    Ben Davidson

    Price upon request

    Cast Forton, Aluminum paint, simulated “Gun Metal” patina finish

    Limited Edition of 9

    Cast Forton is suitable for both outdoor and indoor display.

  • Watchman Amulet

    Ben Davidson

    Price upon request

    22K Yellow Gold, Abalone shell, Cast
    Edition 4 of 5

     

  • Tide Walker

    Ben Davidson

    Price upon request

    Serigraph, Edition of 77

    2017

    Unframed

    (For inquiries on custom framing, please contact the gallery)

    Ben Davidson’s Tide Walker is a remarkably expressive serigraph by one of the Northwest Coast’s foremost artists. The blend of traditional and contemporary formlines, as well as the use of rich and saturated colour, joins to create an aesthetic that is distinctly a Ben Davidson work.

     

    Below are the artist’s own words regarding this piece:

    “Tide Walker exists in the space between the land and the ocean. From afar, he appears as a dorsal fin, so we imagine his body beneath the waves. We are so desperate to be the first to see the killer whale that we allow our minds to complete his story before we have time to determine the truth. We are so swiftly lured into believing the surface story that we rarely take time to consider what lies beneath.” (Davidson, 2017).

    Ben Davidson is an internationally-renowned contemporary First Nations artist. He is the son of Robert Davidson, also of international fame. Ben stays true to his Haida ancestry, while always pushing the boundaries of traditional artwork.

  • Raven Stealing the Light Basket

    Isabel Rorick RCA

    Price upon request

    Spruce root, Acrylic paint

    Hand-painted by Alfred Adams (Isabel’s brother)

    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.

  • Bear Basket

    Isabel Rorick RCA

    Price upon request

    Spruce root, Acrylic paint

    Hand-painted by Robin Rorick

    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.

  • Qolun (Beaver) Totem Pole

    Lyle Wilson

    Price upon request

    Yellow Cedar wood, Acrylic paint

    This stunning pole was inspired by the story of how the Beaver Clan came to be part of the Haisla Nation. Each figure depicted on the pole represents an important episode in the journey that the characters in the story take. From top to bottom, the figures being depicted include a squirrel, a halibut, a giant man that is holding an otter, and two beavers.

    This particular Haisla story is quite old, and Lyle is one of the few individuals who still knows all of the details. The pole is Lyle’s contemporary portrayal of the tale, which pays tribute to the ancient family connections between the present-day Haisla and their neighbors.

  • Echo (SP)

    Ben Davidson

    Price upon request

    Serigraph, State Proof I

    2018

    Unframed

    (For inquiries on custom framing, please contact the gallery)

    My father’s understanding of Greatest Echo, is that this supernatural being has the ability to echo the past and bring it into the future. We dance the Greatest Echo masks to remind ourselves of our responsibility to learn the knowledge of the previous generations and to make that knowledge meaningful in our daily lives.

    Yellow is echoed in each of these [designs]. It represents the knowledge of our ancestors. Our knowledge was strong before contact. It was passed from generation to generation without threat. Attempts to assimilate us and erase our identities through colonization resulted in our knowledge being muted; this was a dark period in our history. However, despite this, we continued to pass on our knowledge to our children.

    Today, our connection to this ancient knowledge is emerging once again. We must continue to move forward, but, as my tsinii told my father, ‘You have to look back once and a while to see where you came from, so you can always find your way back.’”

    – Ben Davidson, 2018

  • Supreme Echo (SP)

    Ben Davidson

    Price upon request

    Serigraph, State Proof II

    2018

    Unframed

    (For inquiries on custom framing, please contact the gallery)

    My father’s understanding of Greatest Echo, is that this supernatural being has the ability to echo the past and bring it into the future. We dance the Greatest Echo masks to remind ourselves of our responsibility to learn the knowledge of the previous generations and to make that knowledge meaningful in our daily lives.

    Yellow is echoed in each of these [designs]. It represents the knowledge of our ancestors. Our knowledge was strong before contact. It was passed from generation to generation without threat. Attempts to assimilate us and erase our identities through colonization resulted in our knowledge being muted; this was a dark period in our history. However, despite this, we continued to pass on our knowledge to our children.

    Today, our connection to this ancient knowledge is emerging once again. We must continue to move forward, but, as my tsinii told my father, ‘You have to look back once and a while to see where you came from, so you can always find your way back.’”

    – Ben Davidson, 2018

  • Ceremonial Bentwood Box

    Joe David

    Price upon request

    Red Cedar wood, Acrylic paint

    1992

    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.

  • Dogfish Mask (AP)

    Ben Davidson

    Price upon request

    Bronze Cast, Granite Base
    Artist Proof, Limited Edition I of I

  • Llgaay Gwii Sdiihlda (Restore Balance)

    Ben Davidson

    Price upon request

    Serigraph, Edition of 81

    2020

    Unframed

    (For inquiries on custom framing, please contact the gallery)

    “Llgaay Gwii Sdiihlda means to restore balance. According to my father-in-law, it applies when we are about to fall, but we manage to catch ourselves before we fall. I chose to name the print Llgaay Gwii Sdiihlda because I believe that even when we are in a state of uncertainty, we still have the ability to regain our balance.

    The print features an image of Sea Bear. Though there is not much information about him, I think of him as a protector of the ocean, which is symbolized by the blue. In Sea Bear’s mind, we can see the importance of finding balance in our lives. Sea Bear’s companion, Sea Ghost, can also be seen faintly in the waves in the background of this print. Sea Ghost represents our connections to our parents and our ancestors. In order to continue our journey forward, we must listen for the echoes of our ancestors who will help us restore balance in our lives.” – Ben Davidson, 2020

  • Raven & Clamshell Bowl Sculpture

    Christian White

    Price upon request

    Argillite, Abalone shell, Catlinite, Mother of Pearl

  • Occupied [Framed]

    Robert Davidson RCA

    Price upon request

    Serigraph, Edition 12 of 88

    2007

    Framed

    Occupied was first a doodle for a thank-you card. I also couldn’t pronounce the plural ‘octopi.’ When you look at the map of Haida Gwaii there are red parts to indicate reserve land that we can occupy and it adds up to less than 0.1 percent. We have been corralled onto this tiny piece of land. There was a time when we needed to sign in and sign out to leave the reserve. And we had no rights to natural resources. When it was all taken away from us, 90 percent of the population died and the survivors’ children were kidnapped and taken to residential schools. Then we became wards of the state and we were labelled as lazy. We look at the photographs – fortunately they photographed all the villages before all this devastation – and they are lined with many totem poles. The totem poles were not created by lazy people.” – Robert Davidson

  • Raven Helmet

    Don Yeomans

    Price upon request

    Red Cedar wood, Acrylic paint, Hide

    Circa 1997

    Previously owned by Robert Davidson

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