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If you should find an item already on "Reserve" that is of interest to you, please contact us directly at 604.684.9222 or firstname.lastname@example.org and we can provide you with the status of the piece and whether it will become available for purchase again, or if the sale is in progress with a buyer.
One of life’s most rewarding experiences is collecting fine art, and sometimes it’s best to take a little more time to make these acquisitions with ease. We understand and want to do everything possible to make collecting your next artwork more comfortable. At Coastal Peoples Gallery, we offer an interest-free layaway program and offer flexible terms which can be customized to your individual needs.
In 1956, Randy Stglitz was born on the Capilano Reservation, North Vancouver, British Columbia.
At a young age, Randy began to carve in the early 1970s during a period of cultural resurgence of Northwest coast art. Although Coast Salish, he was taught the Kwakwaka’wakw style which was considered the most marketable at the time and offered new artists an immediate career as it was in demand by many collectors.
There was a delay for Coast Salish style to enter the market due to privacy issues and the personal significance of their cultural objects, which had long been protected from outsiders.
When Randy eventually moved to Victoria on Vancouver Island for four years, he spent time studying at the Hunt family studio with John Livingston and Gene Brabant – two acclaimed and significant Kwakwaka’wakw artists who delved deeply into the historic aspects of their art form and translated their studies into contemporary art works.
Since moving to Vancouver to begin his career on a full-time basis, he retains the influences of the Kwakwaka’wakw style in his work.
His artwork is a part of the permanent display in the Bill Gates Microsoft Collection. In addition to having published works, he has been included in the private collections of Hollywood actors.
Norman Tait’s exceptional Sun Hawk Mask stems from his father’s clan, the Tlingit Nation ancestry, and primarily represents one of his father’s family crest figures. While this exquisite mask depicts elements of a human face, the additional features, such as the beak, allude to its supernatural connection. Constructed from Alder wood, the wood’s unique grain is a strong element within the design and is used to exemplify the mask’s delicate human-like structure. Furthermore, the addition of acrylic paint and the stark horsehair locks add life to this Humanized Supernatural-being.
This Welcome Figure portrait mask, based on a Nuu chah nulth mask from the 1850’s, would be danced during a ceremonial welcome song which belongs to the David family of the Tla-O-Qui-Aht clan. Smoked elk hide has been rigged to the back of the piece to hold it securely in place when being danced.