Killerwhale Triptych Panels
Availability: Only 1 available
Red Cedar wood, Acrylic paint
36 x 24.75 x 2″ (each panel)
36 x 74.25 x 2″ (entire triptych)
“I have always loved patterns in design. The goal in this series was to represent a pod of whales in a very traditional colour & design. The biggest challenge for me in this was the absolute [tedium] I experienced having to carve the same design three times.” – Don Yeomans
CA$36,000.00
Only 1 available
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- Description
- Additional Information
- Artist Bio
Red Cedar wood, Acrylic paint
36 x 24.75 x 2″ (each panel)
36 x 74.25 x 2″ (entire triptych)
“I have always loved patterns in design. The goal in this series was to represent a pod of whales in a very traditional colour & design. The biggest challenge for me in this was the absolute [tedium] I experienced having to carve the same design three times.” – Don Yeomans
Product Number | I-79697 |
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Exhibition Code | YEO22 |
Artist | Don Yeomans |
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Nation | Haida / Metis Nations |
Description | Haida / Metis Nations Born on June 29, 1958, in Prince Rupert, BC, Don Yeomans is one of the most respected and renowned Northwest Coast Native artists. Born of a Masset Haida father and a Metis mother from Slave Lake, Alberta, Yeomans has studied and worked in the Haida Style since he was a youth. As a young man, Yeomans apprenticed under the expert guidance of his aunt, Freda Diesing. He worked with Robert Davidson RCA on the Charles Edenshaw Memorial Longhouse and completed a jewelry apprenticeship with Phil Janze. Yeomans has also studied fine art at Langara College in Vancouver. He has worked with many acclaimed Northwest coast artists, including Bill Reid, Robert Davidson, Phil Janze and Gerry Marks, studying their styles, techniques and philosophies. Don Yeomans crafts his artworks in many materials: he creates exquisite jewelry pieces in gold and silver, paints elegant Haida designs on paper, produces outstanding prints and is one of the finest carvers. His work can be found in the University of British Columbia’s Museum of Anthropology, the Royal British Columbia Museum, the Canadian Museum of Civilization, and the Seattle Art Museum. In 2002 he completed a major totem pole commission for Stanford University. |
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Spoons and ladles were traditionally made from either cedar wood or the horn of a mountain sheep, and their handles were carved with family crest images. Historically, these exquisitely sculptured objects were primarily created by people in Northern Nations, and were highly sought after by other nations. During potlatches [festive gatherings], cedar ladles decorated with the hosting family’s crests were used to serve food, while the elaborately carved mountain sheep spoons were distributed as gifts among the many guests.
Today, spoon and ladle productions are based on these traditional objects and are meant to be both objects of function and display. In addition to traditional mediums such as cedar wood, goat or mountain sheep horn, many modern-day spoons and ladles are constructed of gold, silver and pewter.
Other works by this artist
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Energy Dance Panel [9 Tiles]
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9 Tiles in total [available in sets of 3, 6 or 9] – ask us for details.
Plaster is suitable for both outdoor and indoor display.
This extraordinary piece stands as a resplendent tribute to one of the Pacific Northwest Coast’s paramount and revered sources of vitality: the Salmon. Salmon, an integral and indispensable facet of life in this region, has left an indelible imprint on the cultures, interactions, technologies, and spiritual beliefs of the Pacific Northwest Indigenous communities.
“Water gives energy to the salmon.” – Don Yeomans
In this quote, the artist encapsulates the spiritual and life-sustaining essence bestowed upon this remarkable creature. Revered as a gift from the Creator, Salmon transcends its physical form to embody abundance, regeneration, self-sacrifice, and perseverance. The shape of the body allows Salmon to defy gravity as it dances upstream to fulfil its essential role within the cycle of our lives.
This masterpiece skillfully converges nine distinct Salmon into a harmonious whole, thereby creating a symbol of unification that mirrors the interconnectedness of our existence.
Each meticulously rendered Salmon pays homage to the mastery of the artist as well as the intricate dance of life and energy that defines the West Coast Indigenous communities.
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“Birth of an Idea” Panel
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“Originally, this panel was a naked yellow cedar board, but I added the white to highlight the undulating formlines, which are easier to see on a monochromatic surface. The main character is basically a mighty mouse, abstracted to convey how ideas emerge from my mind’s eye towards the hands – or in this case, the paw of the mighty mouse. The condensed figure within the eye is an embryonic idea.
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Raven & Frog Totem Pole
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Don Yeoman’s Raven & Frog Totem Pole demonstrates the artist’s mastery of cedar wood, particularly in his depth of carving. Yeoman’s decision to leave the pole unpainted serves to utilize a more minimalist approach and highlight the rich beauty of the wood.
Cedar wood is strong, lightweight, and extremely versatile. These qualities lend well to carving, and result in a wood that can be used to create a wide variety of objects.
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