Two sterling silver medallions by Hopi jewelry artist Preston Monongye (1927-1987), the leader in "The New Indian Jewelry" movement of the 1960s and 1970s. The quality of Monongye's Native American jewelry is rivaled only by Charles Loloma, Lee Yazzie, and a small circle of other top artists. The pins include one oval example engraved with a dancer, and one round piece engraved with a bear. Both have safety-pin style clasps en verso. Largest pin measures approximately 2" x 2.75" tall; total combined weight of 45.68 grams.

An original charcoal sketch of a church set upon a hill, accented by trees and foliage, by the renowned French cityscape artist Maurice Utrillo (1883-1955), acquired circa 1987 for $22,000. Matted in cream and housed in a frame with a metal edge, it measures approximately 19.75" x 17.5" overall.

An original watercolor depicting an arched bridge reflecting in the water below, with two figures standing on the upper edge. Signed lower right by Eliot O'Hara (American, 1890-1969), the piece is executed in neutral shades of grays and browns; a small blemish is visible lower-left corner. Also includes two books: Watercolour Lessons from Eliot O'Hara by Carl Schmalz, and Watercolor at Large: Sequel to "Making the Brush Behave" and "Watercolor Fares Forth," Etc. as written by the artist. The final item is a postcard of the artist's work titled "Cape Saint Elias, Alaska" and produced by the Anchorage Museum at Rasmuson Center. The watercolor is framed in cream and rich wood, with some discoloration as shown, measuring approximately 22" x 29" overall.

A signed and numbered 5/75 abstract lithograph by Joan Miro (Spain, 1893-1983). Titled "L'Illettre Vert (The Illiterate - Green)", the image depicts a dark figure upon a green background dotted with white and olive paint splatter. The artwork is part of a series of lithographs created c.1969 featuring different color combinations, and all with abstract humanoid figures with letter-like forms. This whimsical design is matted in cream and housed in a gold-toned frame. Measures approximately 47.5" x 38" overall.

An original acrylic painting on masonite, c.1997, by Alaska artist Jon Van Zyle (b.1942), a lifelong painter who, in 2025 celebrated his forty-ninth, and final, year as the Official Artist of the Iditarod. The painting, titled "Sunset", depicts a lone canine as it roots through the snow-covered ground searching for sustenance, a pair of tall and narrow spruce trees nearby. In the distance, the sky is illuminated in warm shades of orange and yellow as the sun gently settles behind a forest, the lending edge populated by paper birch trees. Note the artist's wonderful handling of reflected light and color in the landscape and the almost "tactile" visual textures. Signed and dated lower right by the artist, the piece is further titled, signed, and dated in the artist’s hand en verso, with note reserving all reproduction rights as held by the artist. Housed within the original frame measuring approximately 12" x 11.5" overall, with a 7.5" x 7" sight view.

An original acrylic painting on masonite, c.1999, by Alaska artist Jon Van Zyle (b.1942), a lifelong painter who, in 2025 celebrated his forty-ninth, and final, year as the Official Artist of the Iditarod. The work, titled "Evening Light," captures the unparalleled light show of the twilight hour in The Great Land. The romantic appeal of camping in the wild is captured in bold brushwork and carefully orchestrated color modulations. A camper's coat provides a perfectly placed red-orange color accent in the composition. Originally from northern Michigan, the artist arrived in Anchorage in 1971 and is among the most celebrated modern painters, carrying a vision of pioneer Alaska into the 21st century. Signed and dated lower right by the artist, the piece is further titled, signed, and dated in the artist’s hand en verso, with note reserving all reproduction rights as held by the artist. Housed within the original frame measuring approximately 13.5" x 13" overall, with a 7.5" x 7" sight view.

An original acrylic painting on masonite, c.1997, by Alaska artist Jon Van Zyle (b.1942), a lifelong painter who, in 2025 celebrated his forty-ninth, and final, year as the Official Artist of the Iditarod. Noted for his subjects of landscapes, wildlife, the faces of Alaska, and of course, the Iditarod Trail Sled Dog Race between Anchorage and Nome, the artist's work has been shown throughout the United States, Europe, and Russia. No collection of contemporary Alaska art could be considered complete without at least one example of a Van Zyle. This evocative painting of a fisherman casting his lure in the misty, overcast light is entitled "Purple Haze," and captures perfectly a quiet mood experienced by many Alaska outdoorsmen. Signed and dated lower right by the artist, the piece is further titled, signed, and dated in the artist’s hand en verso, with note reserving all reproduction rights as held by the artist. Housed within the original frame measuring approximately 18.5" x 22.5" overall with a sight view of 12" x 16".

An original acrylic painting on masonite, c.1992, by Alaska artist Jon Van Zyle (b.1942), a lifelong painter who, in 2025 celebrated his forty-ninth, and final, year as the Official Artist of the Iditarod. The artist paints far more than just specialized dog sled race subjects. No stranger to the Arctic environs, he has twice completed the 1,049-mile race (the famed serum run celebrates its 100th anniversary this year). In this panoramic painting titled "Arctic Evening," Van Zyle captures the same lonely landscape atmosphere of a lone log cabin beneath a wintry moon-lit sky that made Sydney Laurence a legend. Signed and dated lower right by the artist, the piece is further titled, signed, and dated in the artist’s hand en verso, with note reserving all reproduction rights as held by the artist. Housed within the original frame measuring approximately 13.25" x 25" and a sight view of 8" x 19.5".

An original acrylic painting on masonite, c.1996, by Alaska artist Jon Van Zyle (b.1942), a lifelong painter who, in 2025 celebrated his forty-ninth, and final, year as the Official Artist of the Iditarod. The subject of two art books and a public television video, the artist showcases his superb talent for capturing iconic Alaskan landscapes with this painting entitled "Dawn Sortie." Even with the iridescent hues of a fireweed flower and the radiant, electric hues of an Alaskan dawn as found in nature, Van Zyle shows painterly restraint and keeps a potential explosion of color in complete, balanced harmony. A small cabin on the lake horizon establishes dramatic scale contrasts in the composition between the extreme close-up of the fireweed and the distant mountain range. Signed and dated lower right by the artist, the piece is further titled, signed, and dated in the artist’s hand en verso, with note reserving all reproduction rights as held by the artist. Housed within the original frame measuring approximately 15.5" x 18.5" overall with a sight view of 9" x 12".

An original acrylic painting on masonite, c.1990, by Alaska artist Jon Van Zyle (b.1942), a lifelong painter who, in 2025 celebrated his forty-ninth, and final, year as the Official Artist of the Iditarod. An experienced hands-on dog musher himself, Jon Van Zyle and his wife Jona, maintained a team of Siberian Huskies near Eagle River. In "Easy Going," a 1990 acrylic on board painting, the design employs an asymmetrical composition reminiscent of the great Japanese prints, famous for their poetic and spare visual celebration of nature. The small scale of the dogsled in this scene creates an effective impression of the vast distances these courageous athletes, dog and man, often travel. Signed and dated lower right by the artist, the piece is further titled, signed, and dated in the artist’s hand en verso, with note reserving all reproduction rights as held by the artist. There is some loss of the gold leaf on the frame's edges, and some staining to the cloth portion of the frame. Housed within the original frame, measuring approximately 26.75" x 14" overall.

An original acrylic painting on masonite, c.1980, by Alaska artist Jon Van Zyle (b.1942), a lifelong painter who, in 2025 celebrated his forty-ninth, and final, year as the Official Artist of the Iditarod. This piece, entitled "The Day's Beginning," is an early acrylic on board featuring an early dawn scene, dramatically spotlighting a towering mountain with its great snow mass. The jagged peak is shown under a simultaneous lighting effect from both sun and moon, an eerie condition often experienced in Alaska. Signed and dated lower right by the artist, the piece is further titled, signed, and dated in the artist’s hand en verso, with note reserving all reproduction rights as held by the artist. Housed within the original frame measuring approximately 19.5" x 31.5" overall and sight view of 12" x 23.5".

An original acrylic painting on masonite, c.1980, by Alaska artist Jon Van Zyle (b.1942), a lifelong painter who, in 2025 celebrated his forty-ninth, and final, year as the Official Artist of the Iditarod. This quiet landscape, entitled "Morning Sun," continues a tradition of landscape painting whose romantic visions of America's "Last Frontier" are not only highly sought after by Alaskans and others, but have helped define Alaska in the American imagination. Signed and dated lower right by the artist, the piece is further titled, signed, and dated in the artist’s hand en verso, with note reserving all reproduction rights as held by the artist. Housed within the original frame measuring approximately 25.25" x 21" overall with a sight view of 18" x 14".

An original acrylic painting on masonite, c.1991, by Alaska artist Jon Van Zyle (b.1942), a lifelong painter who, in 2025 celebrated his forty-ninth, and final, year as the Official Artist of the Iditarod. This piece, entitled "Midnight Camp," amply demonstrates why he was selected as one of the featured artists in the important art monograph "Visions of Alaska: Highlights From the Morris Communications Company Collection" (2003). Van Zyle skillfully renders the "fall-off" lighting effect as the welcome heat and illumination of a campfire diminishes rapidly into the icy-blue surroundings of a winter wonderland. Signed and dated lower right by the artist, the piece is further titled, signed, and dated in the artist’s hand en verso, with note reserving all reproduction rights as held by the artist. Housed within the original frame measuring approximately 17.5" x 33" overall, with a sight view of 12" x 26.5".

A polychrome painted carved wood Yup'ik spirit wheel depicting the central design of a walrus figure with a human face within the belly area. Surrounding the walrus are six effigies attached to a bentwood frame, including two fish, two flippers, a seal face, and others, all painted in shades of white, brown, and black. Prepared for hanging en verso, it measures approximately 12" x 16" tall.

A large hand-crafted and impeccably tightly woven Yup’ik coiled grass basket with a repeating polychrome geometric and striped design in teal, orange, red, and brown, falsely embroidered in both dyed grass and dyed seal gut. The rather wide base tapers slightly outward at the middle, before tapering symmetrically back at the shoulder, such that the rim is the same diameter as the base. The lid, with a matching embroidered overlay, has a concave slope and is topped with a woven finial. Generously sized, the basket measures approximately 10" in diameter x 13.25" tall.

An Aleut tightly twined basket, early to mid 20th c., crafted from rye grass with multiple open rows; within each open row, two adjacent lengths of warp (vertical supports upon which the weft is wrapped) are crossed to form a small "x" shape. Embroidered white and purple triangles are offset with tiny pink stitches and rows of green zig-zags. The matching flat-topped lid with woven finial finishes off the piece with further accents of blue, yellow, and red. The straight sides and almost right-angle at the bottom edge lend evidence to the Attu people, or those previously inhabiting the westernmost island in Alaska’s Aleutian chain. Measures approximately 2" in diameter x 3.5" tall.

A walrus oosik, a word coming from the Inupiaq word usak or uzuk, a term used to refer to the baculum, or penile bone, of various Arctic marine mammals. This example is capped at both ends with a layer of baleen, and further decorated with a rounded, polished cap crafted from walrus tusk. Measures approximately 24.25" x 2" wide.

A signed ceramic figurine titled "Whale Feast Scene" by Alaska ceramicist and painter C. Alan "Bud" Johnson (1926-2013). Cast and hand painted c.1963, the piece is from the artist’s early years, having established his family-run ceramic business five years earlier in 1958. Depicting a trio of whale hunters resting upon a rocky ledge, two are engaged in lively conversation while one sits slightly apart, arms crossed, with a look of contemplation upon his face. Behind, their skin-covered umiak is lashed upon its side to a series of poles. The diorama is signed, dated, and numbered V77 in ink, en verso, while the underside is protected by a layer of black felt. Reportedly, "Whale Feast Scene" is not only the largest ceramic sculpture produced by the artist, measuring an impressive 20.5" x 4.75" x 6.75" tall, it has also commanded the highest value at auction, we believe, for a single C. Alan Johnson sculpture.

A NWC woven cedar bark mat, second half 20th c., primarily in natural shades, with three rows of each of dark brown dyed warp and weft, crafted in alternating rows and columns near the perimeter. A formline owl design decorates the central portion, having been hand-painted in black, blue, red, green, and orange pigments. Mounted upon a black background and housed within a wooden frame measuring approximately 26" x 27" overall.

An original oil on board sure to delight any fan of moose scenes, as this one depicts a moose cow and her calf. Alaskan wildlife paintings by Alaska artist Ellen Henne Goodale (1915-1991) are always popular with collectors, and for over forty-five years, Ellen traveled most of the state, painting its people, scenery, and animal life. She and her husband, Alaska artist Harvey B. Goodale (1900-1980), were featured in an important two-person exhibit at the Anchorage Fine Arts Museum in February 1969. Signed lower right by the artist, the piece is framed and measures approximately 18.5" x 16.75" overall, with a sight view of 10" x 8".