Northwest Coast
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Unity Bentwood Box
Steve Smith
CA$16,800.00Red Cedar wood, Yellow 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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Shamanic Transfer Sculpture
Lyle Wilson
SOLDYellow Cedar wood
24 x 7 x 7″
33 x 10.5 x 9.25″ (including plexi-glass case)
This carving also artistically explores the shamanic “world”. Shamanism was once widespread amongst the HAISLA, and all Pacific Northwest native peoples. The HAY-LEE-CLA (shaman) was considered to be able to do both AIX (good) and YAX (bad) deeds by using magic.
Very little is known about the actual practices of shamanism, but in those early years people believed in their powers — one of which was to ‘EM-YAUCH-ELA (talk to spirits).
This sculpture has a HAY-LEE-CLA wearing a crown of SAAX (grizzly bear) claws with faces carved on them — indicating the spirit-helpers of the HAY-LEE-CLA. Such a crown was a coveted item because a SAAX was such a fearsome and powerful animal that certain parts of them were used to harness the power they had.
One of the frequently portrayed animals that related to shamanism was the KWEE-KWA-NAUCH (frog) — it was able to live in the two worlds of land and water. To the people of that time, such a dual ability was thought of as magical.
In old carvings the ability to EM-YAUCH-ELA and transfer magic power, was displayed via connecting tongues. This HAY-LEE-CLA has his tongue connected to an upside down, KWEE-KWA-NAUCH that has a humanoid face. In the middle of the sculpture, the long tongue rests on the top of a double-headed KWEE-KWA-NAUCH — which adds its power to the exchange.
In the eyes of the top and bottom faces are even more faces, alluding to various spirit-helpers. On the sides of the sculpture are two ropes that visually “tie” all parties together — a metaphor of a HAY-LEE-CLA and his spirit-helpers in the “olden days” of shamanism.
Lyle Wilson 2024
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Flicker Mask
Lyle Wilson
SOLDNorway Maple wood, Cedar bark rope, Abalone shell, Acrylic paint
NUGWA (I/me) believe the HAISLA word for this bird is JUH-JUS-PEE-CA (woodpecker/flicker).
The JUH-JUS-PEE-CA’s tail JILL-JILLCH (feather) is very distinctive in both color and shape; orange with a pointed end. Some believe — plausibly — its distinctive profile is the inspiration for the Pacific Northwest Coast U-Shape and Split U-Shape.
The JUH-JUS-PEE-CA’s JILL-JILLCH were often added as part of the assemblage of a traditional GEE-GEE-WA (frontlet) — a very prestigious carved item, usually worn by a HEY-MAS (chief) or other important individual during a potlatch, feast or other public occasions.
A special framework allowed the GEE-GEE-WA to be fastened in place. The JUH-JUS-PEE-CA’s JILL-JILLCH were then arranged on both sides of the GEE-GEE-WA, where their colour and distinctive shape complimented the GEE-GEE-WA.
Knowing the historical use of the JUH-JUS-PEE-CA’s JILL-JILLCH, NUGWA got very excited to see a couple of them on the large JAWEE-CA-LAS (maple) tree in our Vancouver backyard. It was absolutely fascinating to watch these beautiful birds and every time they came around NUGWA stopped whatever NUGWA was doing just to watch them.
Sadly the JAWEE-CA-LAS tree was diseased and had to be cut down and replaced. NUGWA saved some of its wood and carved this GEE-GA-MEE (mask) in memory of the two
JUH-JUS-PEE-CA that visited once in awhile — NUGWA believe it kind of captures the spirit of both the JAWEE-CA-LAS tree and the JUH-JUS-PEE-CA.
Lyle Wilson 2024
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Raven Mask
Douglas David
CA$15,800.00Red Cedar wood, Cedar bark, Acrylic paint
35 x 29.5 x 12 (including stand)
17.5 x 24.5 x 10 (mask only)
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Tagwah (Octopus) Soul Catcher
Lyle Wilson
CA$15,000.00Boxwood
2 x 8.25 x 1.75″ (soul catcher only)
10.75 x 4.25 x 4.25″ (including stand)In the olden days the practice of the shamanism was widespread amongst the Pacific Northwest native peoples — including the HAISLA. The HAY-LEE-CLA (shaman) was considered to be a powerful individual capable of doing both AIX (good) and YAX (bad). Their regalia and accompanying “tools of their trade” were some of the most unique and mysterious artifacts produced. Since they believed that their power would either be lost or weakened when their secrets were known, all HAY-LEE-CLA closely guarded the knowledge of their profession. So the only person who could really tell what was depicted on their tools and regalia was the HAY-LEE-CLA who owned the items.
So very little is known and recorded about shamanism — except that there was an extremely strong belief that their powers were real and not to be trifled with.
Asking HAISLA elders about soul-catchers, all they could only come up with HAISLAKALA words like HAY-LEE-CLA, HILIGA (soul), and DUDXSIWIHC PIPU (shaman’s tools). The specific word for “soul-catcher” has now been forgotten, because such an item has not been used — or seen — in the HAISLA community for generations. Some HAISLA elders believe that any carving featuring a O-shaped mouth is a sign of magic and such items were generally avoided by ordinary HAISLA people.
The majority of old soul-catchers are made of a femur bone — it was believed the SAX (grizzly bear) femur was best because it was a powerful, fearsome animal and even after it was killed, it’s bones retained residual power. Many of these mysterious old soul-catchers are some of the finest, elaborate and jewel-like carvings from the Pacific Northwest Coast.
Soul-catchers were hung around the neck so they were both highly visible and easily reachable. The bone itself was hollow, once the HILIGA was captured and put inside, both ends would be plugged with red-cedar bark until the HILIGA could be ritually dealt with.
My three soul-catchers [in this exhibition] are carved from boxwood. The fact that very little is known about what exactly shamanic images mean gave NUGWA great artistic and creative leeway — NUGWA took full advantage of this leeway. So although there is no specific “story” behind these three soul-catchers, they all attempt to follow the fantastic imagery portrayed on historical soul-catchers: mysterious, wild and free from an anthropological/historical explanations; inspired by an artistic and sculptural point-of-view.
Lyle Wilson 2024
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Tsiiqwatin (Eagle) Panel
Moy Sutherland
CA$15,000.00Yellow Cedar wood, Abalone shell, Acrylic paint
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“Sunrise” Cast Mask
Kyran Yeomans
CA$15,000.00Bronze Cast
Edition of 12
24 x 24 x 10″ (mask only)
28.5 x 26 x 15.5″ (including base)
“It seems, at times, the material will give direction to what will come. This was the case for this piece. As it became clearer that it was to become a sun figure, the idea of it being a companion for a moon piece I had done many years previously excited me. The timing possesses a feeling of cosmic intention to it, a cyclical weight.
Arriving after ten years of darkness, the sun appears, bringing with it a new season. Life awakening after hibernation, new green finding its way into being, spring. Illumination. Newness. Difference. Balance. Growth, in all its awkwardness and vulnerability. Foreshadowing.
I [wrote] these words in the summer of 2021, after welcoming my son into this world a few weeks ago. I look back and see this piece giving me a big empyrean wink. May it warm and light your space and voyage through these three dimensions (…and beyond).” – Kyran Yeomans
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“Sunrise” Cast Mask
Kyran Yeomans
CA$15,000.00Bronze Cast
Edition of 12
“It seems, at times, the material will give direction to what will come. This was the case for this piece. As it became clearer that it was to become a sun figure, the idea of it being a companion for a moon piece I had done many years previously excited me. The timing possesses a feeling of cosmic intention to it, a cyclical weight.
Arriving after ten years of darkness, the sun appears, bringing with it a new season. Life awakening after hibernation, new green finding its way into being, spring. Illumination. Newness. Difference. Balance. Growth, in all its awkwardness and vulnerability. Foreshadowing.
I [wrote] these words in the summer of 2021, after welcoming my son into this world a few weeks ago. I look back and see this piece giving me a big empyrean wink. May it warm and light your space and voyage through these three dimensions (…and beyond).” – Kyran Yeomans
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Haida Eagle, Raven & Bear Pole
Geoff Greene
CA$14,500.00Glass, etched and sandblasted
Exclusive to Coastal Peoples Fine Arts Gallery
The interplay between tradition and innovation is the premise for this contemporary totem pole. While cedar wood predominates, noted Haida artist Geoff Greene has applied his foresight in designing traditional Haida motifs in the contemporary glass medium. It makes a strong visual statement with its structured Haida form line, yet the translucent nature of the glass softens the composition, clearly defining the progression of Haida art. The Eagle is portrayed perched from the top, with the Raven and Moon following. The Eagle signifies peace and friendship, while the Raven is the folk hero who created the Moon, stars and the universe. At the base of the totem, the Bear is a close relative to mankind known to share both human and animal traits.
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Gagiid Mask
Reg Davidson
CA$14,500.00Red Cedar wood, Yellow Cedar wood, Acrylic paint, Horse hair
Gagiid is a wild, otherworldly creature who has been transformed through a traumatic maritime experience. Some believe that he can be found lurking on the forest edge and near streams, collecting the souls of the drowned and trying to persuade unwitting humans to eat his ghostly food, causing them to become otherworldly like him. However, it is not all doom and gloom – as with any transformation, it is possible for Gagiid to be tamed and re-enter the human world again.
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Raven, Sun, Moon & Star Panel
Lyle Wilson
CA$13,500.00Yellow Cedar wood
This is the story of WEE-GIT, the Trickster GAX (raven) stealing the “Ball of Light” — this carving includes the GIZUA (sun), NA-GWA-JEE (moon),and the XEE-XEE-GIZUA (stars) being released into the sky at the same time.
In the olden days, the world was originally in darkness so it was very hard for WEE-GIT to hunt for food in order to try satisfy his never-ending hunger. WEE-GIT knew that an old HEY-MAS (chief) owned, and kept, a “Ball of Light” in a GUH-YO-JEELTH (bentwood box). WEE-GIT decided it would be easier to get food if he could see, so he decided to trick the old HEY-MAS. He did that by using his magical powers to change himself into a pine needle; then floated into the chief’s daughter’s cup of water. She drank both the water and pine needle and became pregnant.
Thus WEE-GIT was reborn as a young boy and became the treasured grandchild of the old HEY-MAS.
At first the HEY-MAS kept a close watch on WEE-GIT but eventually the HEY-MAS let his “grandson” play with the “Ball of Light”; relatively unsupervised. Taking advantage of such loose supervision WEE-GIT quickly changed back into his true form and grabbed the “Ball of Light” in his beak. He flew up and squeezed through the big-house’s smokehole; the smokehole’s soot turned his white feathers to black when he squeezed out — that’s why all GAX have black feathers today.
The “Ball of Light” was very heavy and WEE-GIT soon became too tired to fly, so rather than let the pursuing HEY-MAS regain it, he threw the “Ball of Light” into the sky; when he did that smaller pieces broke off.
That is why there are now are the GIZAU, NA-GWA-JEE and XEE-XEE-GIZUA casting their light from the sky; WEE-GIT’s unintentional gift to mankind. The “Ball of Light” has also served as a metaphor for the beginning of human consciousness on the Pacific Northwest Coast.
Lyle Wilson 2024
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Orca Model Pole
Lyle Wilson
RESERVEDYellow Cedar wood
37 x 9.5 x 6″ (model pole only)
44 x 12.5 x 8.5″ (including plexi-glass case)HULL-CHEY-NAUCH is the HAISLA word for an orca (past terms are: Killer Whale and Blackfish).
There are HULL-CHEY-NAUCH clans in most — if not all — Pacific Northwest groups and NUGWA (I/me) attribute that to our ancestors witnessing, and admiring, the majesty, beauty and intelligence of the wild HULL-CHEY-NAUCH.
In the olden days it was believed that the HULL-CHEY-NAUCH lived in a traditional GYUU-AUCH (bighouse) under the AH-AH-WAUCH (sea/ocean), and there was a HULL-CHEY-NAUCH
HEY-MAS (chief). He ruled over the rest of the HULL-CHEY-NAUCH and the other creatures of the AH-AH-WAUCH. The HULL-CHEY-NAUCH could also take off their outer-skin to reveal their human forms.The HULL-CHEY-NAUCH HEY-MAS was rich, powerful and feared by mortals. He is depicted on this GLA-GLA-QWIL-SALA (totem pole) with his head at the bottom and his tail on top — the dorsal fin connects both and the pectoral are on both sides.
The HULL-CHEY-NAUCH we see today, are considered to be descendants of the historical, myth-time HULL-CHEY-NAUCH.
Lyle Wilson 2024
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82. Frog Basket
Isabel Rorick RCA
CA$12,800.00Spruce root, Acrylic paint
Hand-painted by Alfred Adams (Isabel’s brother)
3.25 x 4.5 x 4.5″
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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Shaman’s Wand Sculpture
Lyle Wilson
SOLDYellow Cedar wood
27.5 x 4 x 3.25″
28.25 x 6 x 6″ (including base)This carving is an artistic exploration of the shamanic “world”. The HAY-LEE-CLA (shaman) used many implements to enhance his ceremonies, rituals and demonstrations of his magic powers.
One such interesting implement was a wand, or as some call it a baton — apparently used to keep time and rhythm during a chant or song, as well as to impress any viewer.
In this case the JM-DEE-GA (dorsal fin) of a HULL-CHEY-NAUCH (orca) is the background and various creatures are added which fit into a shamanic theme. From bottom to top on one side there are: a celestial face with 4 directional arrows, a strange fish-like creature with an arm and long tongue, MIYA (fish), chanting HAY-LEE-CLA, and a weeping KWEE-KWA-NAUCH (frog) on top.
On the other side there are: another celestial face, a worm, MIYA, upside-down TA-GWAH (octopus), 3 faces and the backside of the KWEE-KWA-NAUCH on top.
Apparently during a demonstration of HAY-LEE-CLA power there would be drumming, singing and chanting to call on various spirit-helpers to come help. During the drumming, singing and chanting a wand would be used in time with the rhythm; then at certain intervals the wand would be raised and prominently displayed in an impressive manner as possible.
In the olden days such a performance must have been quite an impressive spectacle because it was usually held at nighttime in a traditional bighouse, lit only by flickering bonfire which cast “dancing” shadows — such a dramatic setting left plenty of room for a viewer’s imagination to run wild!
Lyle Wilson 2024
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Hiliga Soul Catcher
Lyle Wilson
CA$12,500.00Yellow Cedar wood, Boxwood, Abalone shell
Stone and metal display stand
2 x 7.75 x 1.5″ (soul catcher only)
5.5 x 7.75 x 1.5 ” (including stand)In the olden days the practice of the shamanism was widespread amongst the Pacific Northwest native peoples — including the HAISLA. The HAY-LEE-CLA (shaman) was considered to be a powerful individual capable of doing both AIX (good) and YAX (bad). Their regalia and accompanying “tools of their trade” were some of the most unique and mysterious artifacts produced. Since they believed that their power would either be lost or weakened when their secrets were known, all HAY-LEE-CLA closely guarded the knowledge of their profession. So the only person who could really tell what was depicted on their tools and regalia was the HAY-LEE-CLA who owned the items.
So very little is known and recorded about shamanism — except that there was an extremely strong belief that their powers were real and not to be trifled with.
Asking HAISLA elders about soul-catchers, all they could only come up with HAISLAKALA words like HAY-LEE-CLA, HILIGA (soul), and DUDXSIWIHC PIPU (shaman’s tools). The specific word for “soul-catcher” has now been forgotten, because such an item has not been used — or seen — in the HAISLA community for generations. Some HAISLA elders believe that any carving featuring a O-shaped mouth is a sign of magic and such items were generally avoided by ordinary HAISLA people.
The majority of old soul-catchers are made of a femur bone — it was believed the SAX (grizzly bear) femur was best because it was a powerful, fearsome animal and even after it was killed, it’s bones retained residual power. Many of these mysterious old soul-catchers are some of the finest, elaborate and jewel-like carvings from the Pacific Northwest Coast.
Soul-catchers were hung around the neck so they were both highly visible and easily reachable. The bone itself was hollow, once the HILIGA was captured and put inside, both ends would be plugged with red-cedar bark until the HILIGA could be ritually dealt with.
My three soul-catchers [in this exhibition] are carved from boxwood. The fact that very little is known about what exactly shamanic images mean gave NUGWA great artistic and creative leeway — NUGWA took full advantage of this leeway. So although there is no specific “story” behind these three soul-catchers, they all attempt to follow the fantastic imagery portrayed on historical soul-catchers: mysterious, wild and free from an anthropological/historical explanations; inspired by an artistic and sculptural point-of-view.
Lyle Wilson 2024
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Raven Cod Lure
Luke Marston
CA$12,500.00Red Cedar wood, Yellow Cedar wood, Cedar bark, Copper, Stone, Acrylic paint
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Ge’lwa (Canoe) Bowl
Lyle Wilson
RESERVEDYew wood
Not many people had the knowledge and skills to make a AIX (good) GELWA (canoe) and in the olden days the GELWA was basically the sole means for transportation, hunting and food-gathering. So a CHEH-SEE-LA-NEEUCH (canoe builder) was an extremely important because of his knowledge in cutting down a large tree, carving and hollowing it into its semi-final shape, and finally steaming the GELWA wider into its finished shape.
A AIX GELWA has compound flares, concavities, and convexities — inside and out. The sides flare up, ending in a smaller flare at the gunnels. The outside of the hull is a convex shape that transforms into a series of concavities to form the stern and bow — in addition the bow has a cut-water flange. All these forms are seamlessly, and aesthetically, integrated in a manner subtle enough not to undermine a GELWA’s ultimate function of cutting through, controlling and deflecting the element of water.
The GELWA ranged in size from small to large. The smaller sizes were used for 1 or 2 people travelling in local waters, while the larger ones were used for longer trips — such as visiting neighbouring villages or on the open ocean.
There were different types of GELWA: ‘LEE-WA-JEE (hunting canoe), WA-WA-‘SEELA-JEE (river canoe), DAH-GWAN (very large canoe used for the open ocean), THLA-LA-KA-PA-JEE (racing canoe), KEE-KA-JA-NAUCH (spoon canoe), and CHAH-JEE (model canoe).
Although there are no full-size examples remaining (only old models), apparently in pre-contact times the GELWA was originally made with its ends shaped differently: longer stern and the bow was basically a large, thin, vertical and flat area — some call this type of early GELWA a “Head canoe” or “Long-Tail” canoe. It is thought that this large, flat, bow-area made this type of GELWA difficult to control in strong winds and tidal currents. So, over time, the GELWA’s shape was refined by cutting away some of the bow and stern to form the classic Pacific Northwest Coast northern-style GELWA that we are familiar with today.
NUGWA (I/me) was always fascinated with the GELWA and this GLUMC (yew wood) bowl is basically a CHAH-JEE of a pre-contact GELWA. The shape lends itself to a PNC formline image — in this case a marine creature. In addition NUGWA carved water being parted to form the GELWA’s wake; implying the CHAH-JEE is moving forward, cutting through the water. This detail comes from my reminiscing of earlier times at C’IMOTSA (KITAMAAT) where NUGWA had the privilege of paddling some GELWA (also used an outboard motor on the “modern” GELWA while fishing and hunting), as well as during my later years when NUGWA was invited to paddle around Vancouver’s False Creek in a newly-made HAIDA GELWA.
Lyle Wilson 2024
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Eagle, Bear & Halibut with Chief & Raven Talking Stick
Calvin Hunt RCA
CA$12,000.00Red Cedar wood, Acrylic paint
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“Raven Transforming” Triptych [Framed]
Trace Yeomans
CA$12,000.00Left Panel: Ultrasuede appliqué on board
Centre Panel: Red Cedar wood, Acrylic paint, Carved
Right Panel: Acrylic paint on board
2021
Framed
25.75 x 21.5 x 2.25″ (each panel)
25.75 x 64.5 x 2.25″ (entire triptych)
“I called this triptych ‘Raven Transforming’ because the design continuously transforms from one medium to another to form a complete Raven design.
This was a fun set to work on – each panel being a completely different medium created a bit of a challenge to keep all of the pieces aligning where they meet. This meant checking several times throughout the process of each panel. I was pleased with the way these came together in the end.” – Trace Yeomans