An exceptional, impressively large walrus tusk polar bear and seal diorama by King Island Iñupiaq carver Paul Nattanguk (b. 1914). The full-bodied bear advances across a substantial section of mineralized walrus tusk toward a seal resting at the opposite end. Its lowered head, forward-reaching foreleg and slightly open mouth create a convincing sense of purposeful movement, while the generous proportions give the sculpture a commanding presence. Nattanguk’s handling of the bear’s anatomy is particularly refined: the long neck flows into powerful shoulders and a rounded torso, balanced by firmly modeled legs and broad paws. Smoothly worked contours capture the animal’s weight and strength without sacrificing the pleasing simplicity characteristic of his carving. Dark eyes, a blackened nose and claws, and restrained red inside the mouth enliven the polished cream tusk. The elongated mineralized tusk base is integral to the composition, establishing the space between predator and prey. A broad field of richly mottled secondary dentine lies between smoother outer margins, with darker coloration and weathered contours giving the material substantial visual character. Two short tusk supports balance the curved section. Signed “Paul Nattanguk” beneath the bear’s belly. Polar bears are a defining subject in Nattanguk’s work, from upright figures to walking animals mounted on tusk sections. Here, the space between the advancing bear and resting seal gives the sculpture a quiet tension, with the long natural base forming the setting for their encounter. Condition includes surface wear, weathered and chipped base edges, natural pits and wear to the dark detailing. Approximately 12.5" × 3.25" × 4" tall. Auction Estimate: $800–$1,200.

Year: 2009 Make: Chevrolet Model: Impala Mileage: 60,926 VIN: 2G1WS57M191131460 Drivetrain: FWD Engine: 3.9L V6 Transmission: Automatic Fuel: Gasoline Color: Gold Title: Clean Registration: Expired With fewer than 61,000 miles, this 2009 Chevrolet Impala offers a full-size sedan's passenger room and trunk space with relatively low mileage for its age. The 3.9L V6, automatic transmission, and front-wheel drive provide a familiar configuration for a buyer seeking an everyday car or second vehicle with simple, accessible controls. The gray cloth cabin has a split front bench with a folding center armrest, a rear bench, power windows and locks, cruise control, steering-wheel controls, factory audio, and climate controls. The manufacturer's seating label specifies six positions. The gold exterior presents generally well, while showing scratches, chips, scuffs, and other age-related wear. At the time of our team's cataloging inspection, the Impala started and idled properly, the transmission engaged, and forward and reverse movement were verified. The brake pedal, parking brake, steering, and visual battery check passed. No warning lights or visible fluid leaks were noted, and the checked fluids were recorded as satisfactory. The body, glass, exterior lighting, tires, wheels, and mirrors also passed the limited visual check. An interior odor was noted and described by the cataloger as resembling Bengay topical ointment. VEHICLE CONDITION & INSPECTION NOTICE Vehicle descriptions are based on general observations made during the cataloging process and are not intended to constitute a comprehensive mechanical inspection or guarantee of condition. Unless specifically stated otherwise, no comprehensive mechanical inspection or diagnostic evaluation has been performed. All photographs are considered part of the vehicle description and should be reviewed carefully prior to bidding. VEHICLE SELLS AS IS, WHERE IS, WITH NO WARRANTIES EXPRESSED OR IMPLIED. BUYERS ARE RESPONSIBLE FOR SATISFYING THEMSELVES AS TO THE VEHICLE'S CONDITION, MILEAGE, EQUIPMENT, AND MECHANICAL OPERATION PRIOR TO BIDDING. STATEMENTS REGARDING STARTING, RUNNING, DRIVING, OR OTHER FUNCTIONALITY REFLECT OUR OBSERVATIONS AT THE TIME OF CATALOGING AND ARE NOT A GUARANTEE OF FUTURE CONDITION OR PERFORMANCE. ALL BIDS AND SALES ARE FINAL. Prospective buyers are strongly encouraged to inspect the vehicle in person prior to bidding. Preview appointments may be arranged by contacting our office at 907.570.7050 or Admin@AlaskaPremierAuctions.com at least 24 hours prior to the auction closing date. If an in-person preview is not possible, we may be able to provide additional photographs or a virtual video preview with advance notice, time permitting.

A mid-twentieth-century walrus tusk and bear upper-jaw diorama depicting a polar bear mother and her two cubs, by an Alaska Native artist, likely Iñupiaq, artist once known. The three full-bodied carved figures are mounted within the upper jaw, its large projecting canines giving the family group an unusual and striking natural base. The mother leads with her head extended and mouth open, while the cubs follow side by side. The bears have rounded backs, short tails and sturdy legs, with dark inset eyes, blackened noses and incised toes. Their expressive poses and compact proportions lend the group an engaging folk-art character. Smooth, cream-to-honey-colored tusk contrasts with the textured bone and darker recesses of the jaw, whose raised sides frame the cubs. The maker’s use of the jaw as both setting and support gives this small diorama much of its distinctive appeal. The base retains the upper palate and tooth rows, with the rear of the skull cut away. No legible signature has been identified in the supplied views. Visible condition includes checks across the mother’s back, discoloration and deposits around the attachments, missing small teeth on one side of the jaw, and substantial longitudinal splitting in one canine. One cub has a transverse line and darker residue around a lower hind leg, suggesting a previous repair. The bone shows surface wear, open grain and small edge losses. Measures approximately 5" long × 3" wide × 3" high. Auction Estimate: $400–$600.

Three Northwest Coast carved and painted wooden paddle models, second half twentieth century, with transverse grips, narrow waisted shafts and elongated blades decorated in black and red. Two feature related arrangements of ovoids, eye forms and crosshatched panels; the third depicts two opposed fishlike figures. Exact tribal affiliation undetermined. On the lighter of the two related paddles, a fine black line encloses a central eye within a broad red surround, with an inverted U-shaped field at the shoulder of the blade. Its companion uses a heavier black framework around rich red and brown passages. Curved reserves and diagonal crosshatching complete the designs. The third paddle has a more open linear composition, with two rounded heads meeting near the center and forked tails extending outward. Paired eyes, small finlike forms and curved interior strokes are joined by a patterned red-and-black crescent along one edge. Golden-brown wood remains visible around the painted decoration. Visible condition includes rubbed and scratched surfaces, paint wear, small holes, and losses and splintering at blade edges and tips, particularly on the two lighter examples. The darker paddle retains a more continuous outline. Largest approximately 3" wide × 18.5" long. Auction Estimate: $200–$300.

A large and vividly painted Nunivak Island bentwood spirit wheel, or spirit mask, by the late Yup’ik artist Larry Float Sr. (1935–2001) of Mekoryuk, Nunivak Island. A boldly carved tufted puffin head anchors the composition, its black crown and neck contrasting with white cheeks, yellow facial accents and a bright orange, dark-striped bill. The bird holds a curved white fish crosswise in its mouth. Signed “L. FLOAT” on the reverse, above a short inscription appearing to read “MYU.” Two concentric reddish-brown bentwood hoops surround the puffin, supporting an animated array of carved appendages. A white bird’s head crowns the wheel, accompanied by paired black wings, four white hand-shaped elements, two halibut, orange webbed feet and a black tail below. The outstretched hands, spreading wings and brightly colored feet give the work a lively, almost playful character. Its generous scale and strong contrasts of orange, yellow, black and white make it an especially striking wall display. The appendages are easily removable for shipping purposes. Float’s work was included in the Foundation for Art and Preservation in Embassies’ Millennium Gift to the Nation, a collection assembled for permanent display in American embassies. This spirit wheel brings together the birds and marine life of his island home in a colorful example of his carving. In very good overall condition, with light wear consistent with age. Approximately 26" × 10" × 24" overall, including attachments. Auction Estimate: $800–$1,200. Note Regarding Shipping Services: This item may require custom boxing or crating depending on destination and available carrier services. Before bidding, contact Shipping@AlaskaPremierAuctions.com or call/text 907.570.7050.

A very large Yup’ik coiled beach grass basket, mid- to third-quarter twentieth century, with a fitted lid and falsely embroidered geometric decoration in red- and blue-dyed seal gut. Stepped triangular motifs descend across the golden grass surface, their strong vertical rhythm set against the closely spaced horizontal coils. The generous proportions, well-controlled shape and extensive decoration make this a particularly fine example of the basket maker’s skill. Worked outward from a spiral center, the basket broadens through its rounded body before narrowing at the mouth. Fine grass stitches secure the coils, while thin, flat strips of dyed seal gut form the exterior pattern, leaving the interior substantially plain. Maintaining the even spacing and repeated geometry across a vessel of this size required sustained control through many successive rows of hand sewing. The tall, flaring lid continues the triangular pattern and rises to a cylindrical crown accented with narrow colored bands. A neatly finished opening at its center serves as a yarn feed, allowing a strand to be drawn out while the ball remains within the covered basket. This practical detail gives purpose to its distinctive profile. A collection label identifies the materials as sea grass with seal gut decoration; the maker is unrecorded. The basket appears in very good overall condition, retaining its full form and richly colored pattern, with light surface dust and localized soiling, scattered lifted or split fibers and minor irregularity at the lid edge. Measures approximately 11.5" in diameter × 12.5" high, with lid. The basket reflects a demanding regional tradition in which gathering and preparing suitable grass are as essential as the sewing itself. Eskimo grass basketry is produced by fewer makers and on a smaller scale than during the strong collecting interest of the mid- to late twentieth century, making newly woven examples of this quality less commonly encountered today. Awareness of that decline has encouraged community teaching and documentation efforts to pass the knowledge to new generations. The scale, elaborate seal gut patterning and strong preservation of this example demonstrate the time and skill invested in the tradition. Auction Estimate: $250–$350.

An expressive grouping of three walrus tusk male dancer carvings by King Island Iñupiaq artists Tom Tiulana and Jerome Saclamana, comprising two freestanding figures and an upright oval vessel incorporating a male dancer in relief. The iconic red-pigmented dance gloves, finely engraved clothing details and elaborate feather headdresses on Tiulana’s two examples give the group a lively, immediately recognizable King Island character. Each dancer raises one gloved hand while holding the other across the body. Pale incised designs stand out against the rich reddish pigment of the gloves, with applied fur cuffs adding texture against the polished tusk. Tiulana’s freestanding dancer has a broad, angular face framed by an engraved parka ruff and a spreading brown-and-white feather headdress. It is signed “T. Tiulana” beneath the parka. The vessel combines sculptural carving with detailed scrimshaw on both sides. A feather-crowned dancer projects from the front beneath an engraved eagle head with a yellow hooked beak. On the reverse, a patterned textile is depicted alongside a paddle and hunting spear. The variety of subjects and careful use of red, black and yellow accents make this an especially engaging piece to examine from all sides. Signed “T. Tiulana” underneath. Saclamana’s freestanding figure has a rounded face, dark inset eyes and crescent-like decorations on its gloves. The underside is inscribed “Jerome / Saclamana / King Island / Wolf Dancer / 1999.” Both artists learned within accomplished King Island carving families. Tom Tiulana began carving under his father, Paul Tiulana (1921–1994), whose dedication to preserving Iñupiaq arts and traditions shaped his children’s work. Jerome Saclamana (B. 1963) learned from his father, Mike Saclamana, and grandfather, John Kokuluk Sr., later studying with Harry Koozaata at Nome-Beltz High School. These dancers reflect that continuity of family instruction through individual approaches to expression, movement and detail. The largest carving measures approximately 3.5 inches wide × 1.75 inches deep × 5 inches high. Auction Estimate: $400–$600.

An exceptionally large Northwest Coast sheep horn feast scoop or ladle, likely early twentieth century. Its broad, deeply hollowed bowl rises to a rounded, pointed end, while the opposite side retains the attachment area for a separately fitted handle, now absent. The substantial proportions distinguish it as a serving implement. The horn ranges from warm honey and caramel to deep brown, with flowing natural striations across the interior and exterior. The asymmetrical basin and rounded underside give the scoop a strong sculptural presence, particularly apparent in its deep profile. Northwest Coast makers softened horn with steam and shaped it into bowls, often attaching separately carved handles. Horn spoons and ladles formed part of the serving equipment of traditional feasts; this example is distinguished by its unusually broad and capacious bowl. Surface wear, abrasions and localized checking are consistent with age and use. The original handle is missing. Approximately 11" × 7" × 6" high. Auction Estimate: $200–$400.

Year: 2001 Make: Mercedes-Benz Model: ML 320 Mileage: 129,733 VIN: 4JGAB54E31A262958 Drivetrain: AWD Engine: 3.2L V6 Transmission: Automatic Fuel: Gasoline Color: White Title: Clean Registration: expired This 2001 Mercedes-Benz ML 320 offers V6 power, all-wheel drive, and a comfortable leather-trimmed cabin in a midsize SUV. Woodgrain trim, power front seats, a sunroof, and a folding rear seat give it a useful mix of passenger comfort and cargo flexibility. The broad liftgate opening provides convenient access to the load area. Equipment includes power windows and locks, cruise control, audio and climate controls, alloy wheels, and roof rails. The interior shows wear and soiling, including damaged trim at the driver's seat base. Exterior condition includes scratches, chips, scuffs, rust spots, a cracked windshield, and a loose passenger-side rear taillight assembly. At the time of our team's cataloging inspection, the ML 320 started and idled properly, the transmission engaged, and forward and reverse movement were verified. The brake pedal, parking brake, steering, power windows, audio, and climate controls passed the limited check. The driver's door lock did not function with the other locks. Staff also noted that the gear selector required manipulation in Park to permit removal of the key. No visible fluid leaks were noted. Four warning indicators were recorded on the instrument panel. Scanner photographs show P0150 (oxygen-sensor circuit, Bank 2, Sensor 1) and P0455 (large EVAP-system leak/no flow) in pending status, plus P0442 (small EVAP-system leak) and P0170 (fuel-trim malfunction, Bank 1) in stored status. The causes of these codes and the required repairs have not been determined. The warning, locking, and selector issues should be considered alongside the vehicle's cosmetic needs. VEHICLE CONDITION & INSPECTION NOTICE Vehicle descriptions are based on general observations made during the cataloging process and are not intended to constitute a comprehensive mechanical inspection or guarantee of condition. Unless specifically stated otherwise, no comprehensive mechanical inspection or diagnostic evaluation has been performed. All photographs are considered part of the vehicle description and should be reviewed carefully prior to bidding. VEHICLE SELLS AS IS, WHERE IS, WITH NO WARRANTIES EXPRESSED OR IMPLIED. BUYERS ARE RESPONSIBLE FOR SATISFYING THEMSELVES AS TO THE VEHICLE'S CONDITION, MILEAGE, EQUIPMENT, AND MECHANICAL OPERATION PRIOR TO BIDDING. STATEMENTS REGARDING STARTING, RUNNING, DRIVING, OR OTHER FUNCTIONALITY REFLECT OUR OBSERVATIONS AT THE TIME OF CATALOGING AND ARE NOT A GUARANTEE OF FUTURE CONDITION OR PERFORMANCE. ALL BIDS AND SALES ARE FINAL. Prospective buyers are strongly encouraged to inspect the vehicle in person prior to bidding. Preview appointments may be arranged by contacting our office at 907.570.7050 or Admin@AlaskaPremierAuctions.com at least 24 hours prior to the auction closing date. If an in-person preview is not possible, we may be able to provide additional photographs or a virtual video preview with advance notice, time permitting.

Year: 2011 Make: Chevrolet Model: Impala Mileage: 115,387 VIN: 2G1WD5EM0B1126902 Drivetrain: FWD Engine: 3.9L V6 Transmission: Auto Fuel: Gasoline Color: White Title: Clean Registration: expired This 2011 Chevrolet Impala is a full-size police-series sedan with a 3.9L V6, automatic transmission, and front-wheel drive. Its spacious front cabin and substantial trunk provide useful carrying room, while the remaining spotlight, steel wheels, and molded rear transport bench reflect its former service configuration. Additional tires and wheels are included as photographed. The gray cloth front seats include power adjustment for the driver. Cabin equipment includes power windows and locks, cruise control, steering-wheel controls, factory audio, and climate controls. The rear seat is a hard molded transport bench rather than a conventional upholstered passenger seat. The white exterior shows scratches, scuffs, chips, small rust areas, and damage to the lower rear bumper. The windshield is cracked. The cabin and trunk show dirt and wear from use, and the horn was inoperative. At the time of our team's cataloging inspection, the Impala required a jump to start. Once started, it idled properly, the transmission engaged, and forward and reverse movement were verified. The brake pedal, parking brake, steering, power windows and locks, radio, and climate controls passed the limited check. No warning lights or visible fluid leaks were noted, and the checked fluid levels were recorded as satisfactory. The starting requirement and other disclosed defects should be considered when evaluating this example. VEHICLE CONDITION & INSPECTION NOTICE Vehicle descriptions are based on general observations made during the cataloging process and are not intended to constitute a comprehensive mechanical inspection or guarantee of condition. Unless specifically stated otherwise, no comprehensive mechanical inspection or diagnostic evaluation has been performed. All photographs are considered part of the vehicle description and should be reviewed carefully prior to bidding. VEHICLE SELLS AS IS, WHERE IS, WITH NO WARRANTIES EXPRESSED OR IMPLIED. BUYERS ARE RESPONSIBLE FOR SATISFYING THEMSELVES AS TO THE VEHICLE'S CONDITION, MILEAGE, EQUIPMENT, AND MECHANICAL OPERATION PRIOR TO BIDDING. STATEMENTS REGARDING STARTING, RUNNING, DRIVING, OR OTHER FUNCTIONALITY REFLECT OUR OBSERVATIONS AT THE TIME OF CATALOGING AND ARE NOT A GUARANTEE OF FUTURE CONDITION OR PERFORMANCE. ALL BIDS AND SALES ARE FINAL. Prospective buyers are strongly encouraged to inspect the vehicle in person prior to bidding. Preview appointments may be arranged by contacting our office at 907.570.7050 or Admin@AlaskaPremierAuctions.com at least 24 hours prior to the auction closing date. If an in-person preview is not possible, we may be able to provide additional photographs or a virtual video preview with advance notice, time permitting.

An animated brown bear front-half taxidermy wall mount, posed mid-attack with jaws open and both forelegs thrust forward. The lifted head, exposed canines and reaching paws give it an arresting presence, somewhere between a dramatic wilderness encounter and the stuff of nightmares. Dense brown fur shades from deep brown at the chest and forelegs to golden tips across the head and shoulders. One paw is raised with its dark pads facing outward, while the other turns inward, displaying curved claws in profile. Rounded ears, dark inset eyes and a modeled tongue complete the lively expression. The torso terminates below the chest with a flat backing for wall display. Owners may wish to warn overnight guests before their midnight trip to the restroom—this is a memorable bear to meet in a dark hallway. Visible condition includes pale speckling and finish wear on the nose, rubbed or lightened areas around the lower lip, and localized wear at the paw pads and claw bases. The fur remains visually full across the principal display surfaces. Approximately 21" × 29" × 29" high. Auction Estimate: $600–$800. Alaska Department of Fish & Game Permit #26-052-O, valid through 01.01.2027. Note Regarding Shipping Services: This item is exceptionally large and/or heavy, and may require custom boxing or crating depending on the intended destination and available carrier services. For more information prior to bidding, please email us at Shipping@AlaskaPremierAuctions.com or call/text us at 907.570.7050.

A large and well-detailed Alaska Native Nunivak-type skin kayak model, second half 20th century, with a hide-covered wooden hull, woven grass cockpit lining and a red-painted sled lashed across the rear deck. Measuring approximately 27 inches long, the model offers an engaging representation of a hunting kayak equipped for travel among coastal waters and sea ice. Artist once known. The broad hull rises to a rounded bow pierced by a large circular opening, while the opposite end terminates in a short, flattened projection with a central notch. The generous cockpit reveals closely worked rows of twined grass lining, an appealing construction detail that adds texture and depth to the otherwise enclosed hull. The sled is particularly distinctive, with paired runners, crossbars, raised ends and angular cutouts along the runner profiles. Secured across the deck, it illustrates the practical relationship between boat and sled: equipment that allowed a hunter to move the kayak over ice between stretches of open water. Red-painted hunting implements and a paddle are secured alongside the hull with flat lashings. One implement has pale points at both ends; another combines a painted shaft, pale forepart and barbed head with a coil of hide line. The contrasting red equipment, natural hide covering and woven interior give the model a strong visual presence while rewarding closer examination of its individual components. The raised, pierced bow and broad cockpit closely follow documented Nunivak kayak forms. Together with the sled and carefully arranged hunting gear, these features make the model an informative depiction of the ingenuity involved in outfitting a boat for Arctic coastal travel. The hide shows mottled dark staining, wrinkles and scattered surface wear, with small splits and fraying around the cockpit covering and bindings. The red paint has localized abrasions. Measures approximately 27 inches long × 7.5 inches wide × 6 inches high. Auction Estimate: $500–$700.

An imaginative Eskimo walrus tusk diorama incorporating an ancient fire starter artifact, its historic drill sockets cleverly transformed into openings in an ice floe. Three playful seals, themselves carved from ancient mineralized walrus tusk, bring the scene to life. Eskimo artist once known. One seal dives headfirst into a former drill socket, leaving its hindquarters and paired flippers above the surface, while its companions lounge nearby. Finely rendered eyes, noses and flipper markings give each animal its own character. The reclining seal turns its face outward, while the elongated figure at the opposite end follows the natural taper of the base. The ingenuity lies in how naturally the artist has joined the two elements. A centuries-old implement becomes the setting for a lively Arctic scene, its existing form and worn recesses guiding the composition. The seals and their ancient foundation appear made for one another, despite the generations separating their creation. Warm amber and mottled brown tones in the base complement the creamy coloration of the animals. Surface wear includes scratches, small pits and edge irregularities, with some wear to the dark detailing and pale residue in recessed areas. Measures approximately 7.5 inches long × 1.75 inches wide × 2 inches high. Auction Estimate: $300–$400.

An impressive grouping of a dozen scrimshaw wildlife plaques by late King Island Iñupiaq artist Peter Mayac (1913–1976), executed on a mixture of bisected mineralized whale tooth and walrus tusk panels. Subject matter ranges from caribou and a curled-horn ram to canine portraits, seals and a variety of birds, with several scenes combining swimming or resting animals and birds in flight. Each is signed “P. Mayac.” Finely incised, blackened lines distinguish individual feathers, fur and facial features, with selective red, orange and yellow accents bringing bills, feet and eyes into focus. Mayac adapts each composition to its rounded, oval or irregular panel, allowing the natural contours to frame the subject. The material varies from pale cream through deep honey and brown, with richly mottled areas adding another layer of visual interest. Together, the plaques offer a varied study of his attentive approach to Arctic wildlife. The reverses are undecorated, with cutting or tool marks visible on some. One standing-bird plaque is drilled near its upper edge. Condition includes surface wear, discoloration, edge checks and small losses or notches; the ram-head plaque has an open split at the lower edge, and the seal-and-flying-bird composition has irregular openings in its porous central area. Largest approximately 2.25" × 2.75" overall. Peter Mayac was a prominent King Island artist whose lifelike carvings helped establish the Mayac family’s international reputation. His son Teddy Sr. and grandson Ted Jr. continued that tradition, particularly through their closely observed bird subjects. Auction Estimate: $600–$800.

Two King Island scrimshaw walrus tusk cribbage boards by late Iñupiaq artists Edward N. Penatac (1925–2000) and his son Raymond Penatac (1947–2022). Each narrow, tapering board stands on two carved seals, with their heads projecting along one side and their tails extending from the other. Their spotted faces and flippers enliven the supports beneath the orderly rows of scoring holes. Blackened engraved borders divide the playing tracks into sections around a central strip of seal and walrus imagery and elongated geometric ornament. Both boards carry an additional small animal-head motif near the pointed end. On Raymond's board, the broader end terminates in an open-mouthed polar bear with dark eyes and outlined teeth. Edward's board has a plain projecting fitting at that end, without a corresponding carved head. Signed “Edward N. Penatac” in dark script on one board and “Raymond Penatac” in faint incised script on the other. Raymond Oomok Penatac was born in Nome, grew up on King Island and became a tusk carver like his father. Seen together, the boards show their shared approach to combining a compact game surface with carved Arctic animals. Condition includes surface wear, discoloration, small edge marks, wear to the dark detailing and adhesive or label residue beneath Edward's board, where a fine lengthwise line is also visible. Its exposed end fitting may indicate a missing element; the original arrangement has not been confirmed. No loose playing pegs are visible in the supplied photographs. Each measures approximately 7" × 2" × 1.25" tall. Auction Estimate: $500–$700.

Two exceptionally fine miniature Aleut (Unangan) twined grass baskets with fitted lids, displaying the tiny, carefully controlled stitches for which this remarkable weaving tradition is celebrated. The pair combines a taller floral example with a broader basket incorporating delicate openwork bands. At approximately two inches high for the larger example, their shaped finials, patterned surfaces and closely fitted covers demonstrate an impressive command of detail on a very small scale. Aleut basketry is an ancient art rooted in the Aleutian Islands, where generations of weavers transformed carefully gathered, dried and finely split rye grass into useful and beautiful objects. The tradition is renowned for some of the tightest, finest twining in North American basketry; exceptional examples can exceed forty stitches per inch, producing surfaces often compared to linen. As the market for decorative baskets expanded during the nineteenth century, makers brought these longstanding skills to increasingly elaborate pieces. The appeal of miniatures such as these lies in that extraordinary precision: each minute stitch contributes to the shape, strength and ornament of the finished basket. The taller basket carries orange flowers and green leaves between narrow bands of blue and burgundy stitching. Its domed lid repeats the colored accents and rises to a small pedestal knob. The broader example combines natural-colored grass with blue chevrons and repeating geometric motifs, with openwork encircling both body and lid beneath a broad, shallow pedestal finial. Together, the close floral work and airy geometric design offer two engaging expressions of the same exacting craft. Both present extremely well without any noted damages. The larger basket measures approximately 1.5 inches in diameter × 2 inches high. Auction Estimate: $500–$700.

A large Grizzly Bear textile banner by Haida artist Robert Davidson (b. 1946), circa 1978. It comes from a limited edition of 200 linen-and-cotton banners produced for the City of Vancouver. Screenprinted in black and red on a natural-toned woven ground, the nearly seven-foot hanging presents the bear in profile, with an oversized head, a single round eye in an elongated eye field, and a long red mouth divided by fine black tooth lines. Broad red bands descend through the body and bent limbs, interrupted by nested ovoids, U-forms and pointed reserves of unprinted cloth. The black crown and back contour anchor the upper figure, while the predominantly red lower passages extend its silhouette almost the full height of the hanging. The open cloth around the design is an active part of the image: narrow light channels separate the limbs and clarify the continuous sweep of the outline. The same composition is visible in reverse through the woven fabric. Hemmed at the top and bottom, unframed. Visible condition includes horizontal and vertical fold creases, handling marks and scattered small spots or areas of discoloration, particularly apparent on the reverse. Approximately 47" wide × 85" high. Davidson is a leading figure in the renewal of Haida art and culture, celebrated for bringing a deeply learned command of traditional design into ambitious contemporary work. A great-grandson of Charles Edenshaw and a student of Bill Reid, he began carving as a teenager. At just twenty-two, he raised the first totem pole in Massett in nearly ninety years, giving community elders an opportunity to celebrate their culture through a major public ceremony. His career encompasses monumental carving, painting, printmaking and jewelry. His honors include the Order of Canada, the Order of British Columbia and the Governor General’s Award in Visual and Media Arts. His work is held by the National Gallery of Canada, Vancouver Art Gallery and Canadian Museum of History. The bold scale and economical red-and-black design of this banner bring that distinguished graphic practice into an unusually commanding textile format. Auction Estimate: $300–$500.

Three walrus tusk carvings and scrimshaw works by King Island Iñupiaq artists Teddy Mayac Sr. and Ted Mayac Jr. (b. 1966). Teddy Mayac Sr. made the toothpick holder and elongated bird-decorated plaque; his son made the harlequin duck. Together, the pieces present two generations of the family’s bird imagery, from finely engraved scenes to sculpture in the round. The tapered, rounded plaque by Teddy Mayac Sr. depicts two geese in flight, their dark bodies picked out with fine feather detail, orange bills and yellow feet. It is signed “Teddy Mayac” on the decorated face. His scalloped-rim toothpick holder features a puffin on one side and a flying bird on the other, with the underside signed “T. Mayac” and dated 1971. Ted Mayac Jr.’s harlequin duck has a low, swimming profile and slightly lifted wings. Dense blackened feather work is interrupted by bright uncolored markings, a gray bill and rust-red accents along the head and flanks. The underside is inscribed “Harlequin / Ted Mayac Jr / 2/9/05.” The tusk ranges from creamy white to warm honey tones, with exposed mottled secondary dentine on the plaque's reverse and vessel's base. Light surface wear and discoloration are present, with dark residue inside the vessel and a fine vertical line visible on the plaque. The vessel measures approximately 1.5" × 1" × 2.5" tall. The Mayac family’s carving tradition extends through three generations, from Peter Mayac to his son Teddy Sr. and grandson Ted Jr. Both Peter and Teddy Sr. earned international recognition for their lifelike carvings. Ted Jr. learned from his father and continued the family specialty of detailed bird subjects, distinguished by carefully observed plumage and selective use of color. Auction Estimate: $300–$500.

Three signed walrus tusk transformation figures by King Island Iñupiaq artists Tom Tiulana, Earl Mayac, and Joachim Koyuk. Mayac’s dancer wears a walrus mask with projecting tusks and stands on an arched tusk base; Tiulana’s larger figure wears an open-beaked bird mask with colored accents and fur at the wrists; and Koyuk’s bird-masked dancer has a removable mask revealing a carved human face. The two bird masks suggest ravens or other birds, while the raised arms and bent legs convey the dancers’ movements. Transformation imagery reflects spiritual relationships between people and animals within Eskimo hunting traditions. Animals provided food and materials, while ceremony expressed respect for the beings on which human life depended. At King Island, masked performances included the Walrus, Wolf, and Polar Bear dances, held in the communal ceremonial house, or qargi. Masks and movement brought animal identities into human performance, a relationship expressed here by the combination of human bodies and animal faces. These traditions continued through the work of community members who preserved and revived them. Tom Tiulana learned carving from his father, Paul Tiulana, a carver, mask maker, singer, and longtime leader of the King Island Dancers. Paul helped revive the ceremonial Wolf Dance in 1982 after more than fifty years without a performance, linking the family’s carving tradition with the continuing practice of dance. Tom Tiulana, associated with Anchorage, Alaska, is represented in the Heard Museum’s object collection. Earl Mayac (1938–2010) is represented at the Nelson-Atkins Museum of Art by a circa 1975 Transformation Carving. Joachim Koyuk (1908–1983), also recorded as Sewakim Koyuk, is represented in the National Museum of the American Indian. General surface wear is consistent with age. Some glue residue is visible on Mayac’s figure, likely associated with its original assembly. No other significant condition concerns were noted during the current in-person review. Tiulana’s figure measures approximately 2.5 inches wide × 2.25 inches deep × 3.5 inches high. Auction Estimate: $300–$500.

An engaging collection of antique Indigenous fishing implements representing distinct coastal traditions: a Tlingit halibut hook, 19th century, carved in wood with a Sea Wolf design; a late nineteenth- or early twentieth-century Haida halibut hook retaining a provenance tag dated August 1922; and a four-pronged walrus tusk tomcod jig originating in the Bering Strait–Bering Sea coastal region and dating to the nineteenth century. Together, these objects illustrate how Indigenous peoples across Alaska’s varied coastal environments, and neighboring British Columbia, combined intimate knowledge of their surroundings with the materials available to them. Wood, bark, hide, tusk, and acquired metal became carefully engineered tools suited to particular fish and fishing conditions. Such implements embody specialized knowledge, skilled craftsmanship, and generations of refinement that helped communities thrive in demanding environments. The largest and most sculpturally significant example is the Tlingit carved wood halibut hook with a carved Sea Wolf design. Its elongated animal profile, incised eye, and articulated details give distinct expressive character to this valuable utilitarian object. Two wooden arms form the distinctive V-shaped arrangement, with an inward-facing iron barb secured to one arm. Surviving original cedar-bark cordage, naturally darkened wood, and a richly worn surface contribute to its compelling historical presence. The carving also invites consideration of the spiritual relationships underlying traditional Tlingit fishing practices. Animals and the natural world were understood through relationships involving spiritual presence, respect, and reciprocal obligation. Within this setting, carved halibut hooks could embody spirit helpers, joining practical fishing equipment with imagery intended to attract the fish and assist the fisherman. Their carved figures faced downward toward the halibut, making the image part of the encounter beneath the water. Accounts of Northwest Coast fishing describe fishermen speaking to their hooks as they lowered them, directing them to catch and hold their quarry, a practice sometimes called “talking down the line.” Such traditions give these objects a significance beyond ornament or mechanical ingenuity. The smaller Haida hook presents a restrained, functional contrast, formed from a curved wooden section fitted with a lashed metal barb. Remnants of twine or manufactured cordage survive. An accompanying provenance tag reads “Compliments of R.O. Deming,” dated August 1922, with an $8 price notation in pencil above. The reverse identifies it as a “salmon hook” from Prince Rupert, British Columbia. Although that historical wording is retained here, APAA identifies the object as a halibut hook based on its size, construction, and correspondence with known historical examples. The dated inscription documents an episode in its ownership history rather than its manufacture. Completing the group is a four-pronged walrus tusk tomcod jig originating in the Bering Strait or adjacent Bering Sea coast. Its slender shaft and upward-pointing prongs offer a markedly different solution to catching fish, with the surviving original hide leader retaining a tangible connection to its fishing rig. Its compact construction contrasts with the larger wooden halibut hooks, demonstrating how different coastal communities developed equipment responsive to their own resources, target species, and methods. From the sculptural Sea Wolf hook to the spare bentwood form and carefully fashioned tusk jig, the collection makes those regional differences tangible. Each reflects an understanding of both material and environment, translating close observation into tools that supported daily life. Condition varies, with honest, age-appropriate wear consistent with use, including surface patina, metal oxidation, and wear to surviving bindings and cordage. These features contribute to the objects’ historical character; no significant damage was identified during the current in-person review. The largest hook measures approximately 11.5 inches long × 2 inches wide × 6 inches high. Auction Estimate: $1,000–$1,500.