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Red Cedar wood, Abalone shell, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Red Cedar wood, Abalone shell, Acrylic paint
|Dimensions||1.5 x 14 x 5.5"|
|Artist||Wilf J. Sampson|
Wilf Sampson was born in Hazelton, British Columbia, Canada in 1957. He is a member of the Gitksan Nation, which inhabits the Northern coast of the province.
Wilf has been designing and carving Northwest Coast Native art since 1981. He initially taught himself by looking through books and by observing the works of other artists. Motivated by the beauty of the art, as well as the sense of accomplishment, Wilf completed the beginners and advanced carving and design courses at the Gitanmaax School of Northwest Coast Art and Design in Hazelton in 1984. While at the school, Wilf honed his talents and skills under master artists such as Walter Harris, Earl Muldoe, Ken Mowatt and Vernon Stevens. Wilf obtained additional inspiration and guidance from realist artist and Native art enthusiast, Ron Burleigh.
Wilf Sampson takes great pride in continuing the traditions of Northwest Coast Native art, exemplified in his carvings and paintings. All of his works are original designs, many of which invoke contemporary as well as traditional designs and motifs. He specializes in carved and painted decorative masks as well as original paintings.
Many of his works are in private collections and galleries around the world, including Japan, the United States and several countries in Europe. Wilf plans to pursue his career as an artist by enrolling in further studies of art and by continuing to carve, paint and design.
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Red Cedar wood, Yellow Cedar wood, Abalone shell, Acrylic paint, Leather
The carving of flutes of the Northwest Coast extends back historically through time. The dramatic importance of the flute was indicated by the variety of specialized whistles, each of which was produced to make specific tones. Songs and dances were part fo all ceremony and ritual, a fundamental element of the inherited privilege. Equally important were the many whistles and other musical instruments that were specifically designated for most dances. Wooden whistles of one, two or three shafts, each with several holes and reeds produced a strong and clear note. Flutes and whistles were traditionally blown in the woods to introduce the cermonial season. Every instrument was the object of time, skill and concern and was considered by those who owned it as a necessary part of the family’s collection
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.
Bronze Cast, Marble base
Edition of 12
9.5 x 8 x 5″
Volcano Woman is perhaps one of the oldest and most revered legends which tells of a mortal”s fate if he/she does not treat sacred objects or creatures with respect. In defense of her beloved wild creatures, she controls the powerful volcanoes. Stories tell of how the killing of a frog leads the Volcano woman to destroy an entire village.
Volcano Woman is a supernatural, powerful person in First Nations mythology. She had a son who, like his mother, had supernatural abilities. He often liked to change from his Human form to that of a Frog (Wukus).
Years ago, a Prince and his two friends went fishing. Hungry, they lay their food on leaves. The Wukus (Frog), being mischievous, jumped on their food. Twice the young Prince threw the Frog into the shrubs but on the third time they threw the frog into the fire and killed the innocent creature.
A few nights later, a woman could be heard crying and wailing. “Who has done this, come forward and I will spare your village.” This warning went unheeded for some time until finally a Woman of the Elders went to the village outskirts to see her. Volcano Woman instructed the Woman of the Elders to send forth the three young men and she would spare the village from volcanic destruction. The Woman of the Elders begging for the sake of the Village told of Volcano Woman”s ultimatum – but this warning went unheeded.
On the final night of the village’s existence, Volcano Woman was heard saying, “I asked for those responsible to take heed and now you will know my vengeance.” The Village shook, a Volcano erupted, destroying the village and all who lived there.