Raven, Sun, Moon & Star Panel
Availability: Only 1 available
by Lyle Wilson
Yellow Cedar wood
This is the story of WEE-GIT, the Trickster GAX (raven) stealing the “Ball of Light” — this carving includes the GIZUA (sun), NA-GWA-JEE (moon),and the XEE-XEE-GIZUA (stars) being released into the sky at the same time.
In the olden days, the world was originally in darkness so it was very hard for WEE-GIT to hunt for food in order to try satisfy his never-ending hunger. WEE-GIT knew that an old HEY-MAS (chief) owned, and kept, a “Ball of Light” in a GUH-YO-JEELTH (bentwood box). WEE-GIT decided it would be easier to get food if he could see, so he decided to trick the old HEY-MAS. He did that by using his magical powers to change himself into a pine needle; then floated into the chief’s daughter’s cup of water. She drank both the water and pine needle and became pregnant.
Thus WEE-GIT was reborn as a young boy and became the treasured grandchild of the old HEY-MAS.
At first the HEY-MAS kept a close watch on WEE-GIT but eventually the HEY-MAS let his “grandson” play with the “Ball of Light”; relatively unsupervised. Taking advantage of such loose supervision WEE-GIT quickly changed back into his true form and grabbed the “Ball of Light” in his beak. He flew up and squeezed through the big-house’s smokehole; the smokehole’s soot turned his white feathers to black when he squeezed out — that’s why all GAX have black feathers today.
The “Ball of Light” was very heavy and WEE-GIT soon became too tired to fly, so rather than let the pursuing HEY-MAS regain it, he threw the “Ball of Light” into the sky; when he did that smaller pieces broke off.
That is why there are now are the GIZAU, NA-GWA-JEE and XEE-XEE-GIZUA casting their light from the sky; WEE-GIT’s unintentional gift to mankind. The “Ball of Light” has also served as a metaphor for the beginning of human consciousness on the Pacific Northwest Coast.
Lyle Wilson 2024
30 x 10.75 x 1.75" (76.2 x 27.31 x 4.45cm)
CA$13,500.00
Only 1 available
Reserve this artwork- Description
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Yellow Cedar wood
This is the story of WEE-GIT, the Trickster GAX (raven) stealing the “Ball of Light” — this carving includes the GIZUA (sun), NA-GWA-JEE (moon),and the XEE-XEE-GIZUA (stars) being released into the sky at the same time.
In the olden days, the world was originally in darkness so it was very hard for WEE-GIT to hunt for food in order to try satisfy his never-ending hunger. WEE-GIT knew that an old HEY-MAS (chief) owned, and kept, a “Ball of Light” in a GUH-YO-JEELTH (bentwood box). WEE-GIT decided it would be easier to get food if he could see, so he decided to trick the old HEY-MAS. He did that by using his magical powers to change himself into a pine needle; then floated into the chief’s daughter’s cup of water. She drank both the water and pine needle and became pregnant.
Thus WEE-GIT was reborn as a young boy and became the treasured grandchild of the old HEY-MAS.
At first the HEY-MAS kept a close watch on WEE-GIT but eventually the HEY-MAS let his “grandson” play with the “Ball of Light”; relatively unsupervised. Taking advantage of such loose supervision WEE-GIT quickly changed back into his true form and grabbed the “Ball of Light” in his beak. He flew up and squeezed through the big-house’s smokehole; the smokehole’s soot turned his white feathers to black when he squeezed out — that’s why all GAX have black feathers today.
The “Ball of Light” was very heavy and WEE-GIT soon became too tired to fly, so rather than let the pursuing HEY-MAS regain it, he threw the “Ball of Light” into the sky; when he did that smaller pieces broke off.
That is why there are now are the GIZAU, NA-GWA-JEE and XEE-XEE-GIZUA casting their light from the sky; WEE-GIT’s unintentional gift to mankind. The “Ball of Light” has also served as a metaphor for the beginning of human consciousness on the Pacific Northwest Coast.
Lyle Wilson 2024
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Killerwhale Panel
Philip Gray
SOLDRed Cedar wood, Acrylic paint
SOLD – For artist commission inquiries, please contact us.
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‘Goat Horn’ Pewter Serving Set
Artist Unknown
CA$250.00Cast from fine lead free Pewter (made in Canada)
Food safe and hand wash
Available in a Matte finish only
Each Utensil: 8 x 2 x 2″
Custom Maple Wood box is sold separately – please inquire for pricing
This beautifully designed serving set features classic totemic designs with Eagle, Frog and Raven Stealing the Sun. The traditional ‘Goat Horn’ styled fork and ladle make an ideal wedding or any occasion gift. Pewter will not tarnish like silver over time. Hand wash only with mild soap.
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Raven Cod Lure
Luke Marston
CA$12,500.00Red Cedar wood, Yellow Cedar wood, Cedar bark, Copper, Stone, Acrylic paint
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Beaver & Eagle Fish Bowl
Derek J. White
CA$8,000.00Sterling Silver; Repousse, Engraved
Derek White’s extraordinary Beaver & Eagle Fish Bowl, created in the traditional Haida form and utilizing the ancient technique of repousse to add dimension, demonstrates his articulate master carving and artistry skills. Containers such as bowls were traditionally created out of Cedar or Alder wood and utilized in daily life. The chosen medium of silver serves as a contemporary progression of this ancient art form while illustrating the intricate foundational links which combine cultural heritage with the arts.
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Haisla Houseposts Transformed Totem Pole
Lyle Wilson
CA$45,500.00Yellow Cedar wood, Acrylic paint
This GLA-GLA-QWIL-SALA (totem pole) is an “artistic amalgamation” based on the 4 large, traditional HAISLA ZUX˚UM (house-posts) in the collection of the UBC Museum of Anthropology (MOA).
The ZUX˚UM were collected by the Methodist missionary, Dr. G. H. Raley (stationed at KITAMAAT from 1893-1906). He collected them from an old HAISLA village site called WAYIGIWA.MIA’S — used seasonally as a fishing site on GICH-LAA-LEES-LA (Kitimat River). The attributed creation date of the ZUX˚UM is circa 1850.
Unfortunately Raley didn’t collect any information regarding the history of these four ZUX˚UM — other than identifying one as being a SAX (grizzly bear). NUGWA (I/me) also couldn’t collect any additional information since today’s HAISLA elders were far too young to remember anything specific; other than hearing Raley had a collection of “HAISLA stuff “, while others heard older HAISLA people sometimes mention the old village site.
All the ZUX˚UM are covered with a dark-brown substance that was probably once a clear, protective coating. It took ten days to examine — inch-by-inch — and draw, accurate renderings of what three of the ZUX˚UM originally looked like. The carvers’ original intentions are hidden beneath dark coatings, which emphasizes their sculptural appearance, but hides the painted details that initially gave the ZUX˚UM a much more lively and colourful appearance.
NUGWA did carve six-foot high DINYAS (red cedar) versions of 2 of these traditional ZUX˚UM — which NUGWA called: “QOLUUN (Beaver)” and “THUNDERBIRD”.
As a personal “repatriation” initiative NUGWA donated the newly carved QOLUUN ZUX˚UM to the local Haisla Community School — where it’s displayed today, presumably helping HAISLA students learn a bit more of their history.
NUGWA never did get around to carving new, full-size versions of the last two ZUX˚UM: “SWIMMING QOLUUN” and “SAX”. NUGWA decided it was time for another HAISLA carver to tackle those initiatives. Of course part of NUGWA still wanted to carve larger versions of both ZUX˚UM, but decided to include small versions of them in a “special manner”.
NUGWA decided to take advantage of modern artistic license and amalgamate all 4 of HAISLA ZUX˚UM — transforming the separate house-posts into a single, model GLA-GLA-GLA-QWIL-SALA carved from KWANALAS (yellow cedar).
Although some may disagree with this modern approach, NUGWA look at it as an artistic decision that departs from, but still respects tradition.
Lyle Wilson 2024
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Homage to Alfred Wesley Pole
Lyle Wilson
CA$55,000.00Yellow Cedar wood, Abalone shell, Acrylic paint
Stone base
58 x 8 x 7″
59.5 x 10.5 x 8.5″ (including base)This GLA-GLA-QWIL-SALA (totem pole) was inspired by an early HAISLA carver named Alfred Wesley — the older HAISLA generation remember him quite well: “he was an old man when I knew him… he was adapted out to the Haida at a very young age in the old Indian custom …. His father told him told him who he was and he moved back to KITAMAAT. He used to have an old, round washtub filled with water, which he kept small carvings in. He worked for awhile on each, put it back and worked on another till he got tired of it and put it back in the tub. He continued this until he finished each carving in the tub — it took (him) about a month to finish the tub full of his carvings. People used to call him DUH-DOOK-DA-MAH-DOS; his wife, Julia Wesley, was called JAH-BUS-DEE.”
Another elder said, “He used to come around to the house at mealtimes and eat with us. Eventually he gave Harry (her husband) a small model totem pole he’d carved and painted. Harry didn’t like the painting so he tried to “improve” it and he made it worse — he gave up and painted the whole thing black. He was from KITAMAAT but adapted to the Massett Haida (in) the old Indian way.”
Still another elder said, “he’s HAISLA and his brother was Edwin Wesley (he couldn’t remember the father’s name at that time). He learned to carve when he was over the islands… he’s buried somewhere up at the old graveyard. That’s one of his poles right there (pointing to a shelf).”
The 2 model GLA-GLA-QWIL-SALA were still in possession of the informants when NUGWA (I/me) talked to them circa 2000, and were very AIX (good) carvings. The UBC Museum of Anthropology also has a few of his carvings so DUH-DOOK-DA-MAH-DOS was an early influence of mine and that’s why NUGWA decided to pay homage to him by carving this GLA-GLA-QWIL-SALA.
My version is based on a model GLA-GLA-QWIL-SALA attributed to DUH-DOOK-DA-MAH-DOS. In turn, NUGWA believe that his
GLA-GLA-QWIL-SALA was based on a Haida story about the great flood that was believed to have occurred in the olden days — as the water rose up, the inhabitants of the GYUU-AUCH (bighouse) tried to escape by climbing the tall GLA-GLA-QWIL-SA in front of the GYUU-AUCH.So the “escapees” are on the GLA-GLA-QWIL-SALA, holding onto to each other — one wears a apron with a MUSAQ (rainbow) on it.
This is my own added detail because when NUGWA was growing up the introduced Christian religion’s influence was still strong and NUGWA was made to learn its “GREAT FLOOD” story; in which the MUSAQ became the symbol of the Christian god’s promise that another great flood would never happen again.
Lyle Wilson 2024