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Red Cedar wood, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Red Cedar wood, Acrylic paint
|Dimensions||6.75 x 8.5 x 8.5"|
|Artist||Kevin Daniel Cranmer|
Kwakwaka’wakw artist Kevin Cranmer was born in Alert Bay, British Columbia, but has lived all but four years of his life in Victoria. His father is from the ‘Namgis Nation and his mother is from the Mamlilikala Nation, two of the many Nations of the Kwakwaka’wakw people. Cranmer’s work often speaks to his diverse coastal background, as he can trace his ancestry to the many Nations of Kwakwaka’wakw people as well as the Tlingit of Alaska.
His formal instruction came under the tutelage of his cousin, George Hunt Jr. He later worked with artists Tony Hunt Sr., Tony Hunt Jr., and Calvin Hunt. Kevin’s introduction to larger monumental sculpture began when he first started to work alongside renowned Nuu-Chah-Nulth artist, Tim Paul in Thunderbird Park at the Royal British Columbia Museum. Thus, his large-scale works include several large co-operative projects: a 40 foot pole which stands in Stanley Park, Vancouver; a 36 foot pole carved for the closing ceremonies at the 1990 Commonwealth Games in Auckland, New Zealand and an elaborately carved and painted Chief’s seat for the newly rebuilt Big House in Alert Bay.
Kevin Cranmer is an active participant in the continuation of his cultural heritage through the arts. He is a respected member of his community and is an intiated Hamatsa member, one of the most sacred of the complex and secret dance socities of the Kwakwaka’wakw. His artistic works not only display unique Kwakwaka’wakw traditions but also preserve those traditions for future generations. Kevin Cranmer continues to create pieces for family and for use in ceremony.
2012 Cranmer + Gray, Duel Artist Exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
2007 Coastal Legacy, Group Exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
2006 Transcendance – A Decade In Perspective, Group Exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
2005 Where the Spirits Gather, Group Exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
2005 Totems to Turqoise: Native North American Jewelry Arts of the Northwest and Southwest, Group Exhibition at American Museum of Natural History. New York, USA.
2004 Box of Treasures, Group Exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
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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.