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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 email@example.com 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.
Tim Paul was born in 1950 in the isolated village of Esperanza Inlet, north of Tofino on the West Coast of Vancouver Island. He began carving in 1975 under the direction of Ben Andrews and later with John Livingston at the Arts of the Raven studio in Victoria, BC. He accepted the position of Assistant Carver to Richard Hunt at the Thunderbird Park at the Royal British Columbia Museum in 1977 and seven years later he became the first carver from outside of the Hunt family to hold the position of senior carver. He held this position until 1992 when he left to oversee a native education program for Vancouver Island.
During his time with the museum he accepted and initiated many prestigious totem pole commissions including the Great Hall of the Canadian Museum of Civilization in Hull, Quebec and in Auckland, New Zealand as a presentation to commemorate the 1990 Commonwealth Games. In addition to these successes, Tim Paul also worked as the Chief Carver on projects for Stanley Park, Vancouver, BC, and the Yorkshire Sculpture Park in England.
Tim has been asked to make ceremonial pieces and cultural commissions through out his career. He has also honoured traditional guidelines for making pieces that would represent the Nuu-chah-nulth people around the world.
2010British Columbia Creative Achievement Award for First Nations’ Art
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