Availability: Only 1 available
Yellow Cedar wood, Abalone shell
Only 1 available
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- Additional Information
- Artist Bio
Yellow Cedar wood, Abalone shell
|Dimensions||5.5 x 15 x 2"|
|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
Price upon request
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.
For more details on shipping Ivory outside of Canada, please click here and then click open the Shipping section and scroll down to read more on Shipping Restrictions.
Price upon request
Cattle Bone, Abalone shell, Cedar bark
Bentwood Box: Red Cedar wood
Commonly used by a Shaman, soul catchers were used to cleanse human souls and spirits. If a person was sick, or perhaps possessed by a demon spirit, the soul catcher was used to coerce the evil spirit out of the body. The open ends were caped with cedar bark to hold the soul until it was cleansed and brought back from the spirit world. The healed soul of the recipient was then returned to the body by the Shaman by blowing through the soul catcher and into to the patient’s mouth.
The shape of the soul catcher is typically cut from animal bone in such a way that the ends are flared outward and the surface is carved with figures associated with the Shaman’s spirit guides. Spirit guides accompany the human spirit or soul on its transformative journey between worlds. The ends of the Soul Catcher were sealed to contain these spirits. They also protect the boundaries between the physical and spiritual world, keeping those involved in the healing ceremony safe from evil minded spirits and beings. The symmetrical arrangement of the figures essentially defines objects of this type and the figures tend to more sculptural in appearance.
Soul catchers are extremely powerful and respected healing instruments; because of this, they were often housed in special bentwood boxes to keep them safe.
Soul Catcher: 1.25 x 7.75 x 1.25″
Including Stand: 4.75 x 7.75 x 1.5″
Bentwood Box: 4.75 x 10 x 6.25″