An original oil on canvas painting entitled "Winter Bridge" by Evgeny and Lydia Velichko Baranov (Russian, 21st Century). The artwork features a serene path through a thick evergreen forest blanketed in heavy snow, with a soft glow emanating from the distant sky. It captures the stillness of a winter day, utilizing a palette of cool grays and deep blue shadows alongside textured, impressionistic brushwork. Evgeny and Lydia Velichko Baranov are a collaborative artist couple who turned to freelance fine art in pursuit of preserving their inner child. Both starting careers in architecture, the pair crossed paths in their early twenties and realized that their passions truly rested in fine art, which led them to eventually live for eight years in Anchorage, Alaska, and to explore the rest of the world afterwards. This culminated in countless painting collaborations and exhibits and, most importantly, the saving of their inner children. The piece is signed by both in the lower right corner, dated 1995, and is housed in an ornate, gold-toned frame with a beaded border and scrollwork. It measures approximately 25.25" x 21" overall with a sight view of 20" x 16".

An exceptional original oil painting by Alaska artist Ernest E. Robertson (born 1939), depicting a tranquil winter scene in the Alaska interior with a snow-covered trail leading through frost-laden spruce and birch forests toward the towering peaks of the Alaska Range and the distant majesty of Denali. Executed in Robertson's signature style, the composition is bathed in luminous shades of blue, lavender, and white, capturing the crystalline clarity of an Alaska winter morning. Soft sunlight illuminates the snowbound mountains beyond the shadowed forest, creating a remarkable sense of depth, atmosphere, and scale. Born in Oklahoma in 1939, Robertson relocated to Alaska during the 1960s and went on to become one of the state's most widely collected contemporary landscape painters. Working primarily in oil, he developed a devoted following for his detailed and highly atmospheric portrayals of Alaska's mountains, rivers, forests, and changing seasons. His paintings are recognized for their masterful treatment of light, crisp realism, and ability to convey both the grandeur and quiet solitude of the northern wilderness. Over a career spanning decades, Robertson's works have been exhibited extensively throughout Alaska and remain sought after by collectors who appreciate traditional Alaskan landscape painting. This example is particularly appealing for its strong composition and evocative handling of winter light, with the curving foreground trail naturally drawing the viewer's eye through the frost-covered forest toward the distant mountain peaks. The cool palette and dramatic contrast between shadowed timber and sunlit summits exemplify the qualities that have made Robertson's work enduringly popular among Alaska art collectors. Signed lower right and dated circa 2001. Housed in an ornate gilt frame. Measures approximately 18" x 24" overall with a sight view of 12" x 18".

An oil painting on panel depicting the Northern Lights dancing above a snow-covered Alaska landscape by Alaska artist Scott McDaniel (1926-2012). Expressive brushwork captures bands of the green, blue, and white aurora sweeping across a dark winter sky, while a small illuminated cabin nestled among spruce trees provides a warm focal point within the otherwise quiet, frozen scene. Signed lower right by the artist and presented in an ornate gilt frame measuring approximately 15.5" x 13.5" overall with a sight view of 12.5" x 10.5".

An impressive original oil painting entitled McKinley - Fireweed Time by Alaska artist Ernest E. Robertson (b.1939), depicting one of Alaska's most celebrated seasonal landscapes. The composition is dominated by the massive snow-covered form of Denali rising above successive layers of foothills and distant ridgelines, while a foreground meadow of blooming fireweed stretches across the tundra in shades of violet, lavender, and rose. The contrast between the warm late-summer foreground and the cool blues and whites of the mountain beyond creates a striking sense of depth and atmosphere. Ernest Robertson is among Alaska's best-known contemporary landscape painters. Raised in Sitka after relocating to Alaska in 1947, he spent much of his life in Southeast Alaska and drew inspiration from extensive travels throughout the state. Largely self-taught, Robertson developed a devoted following for his luminous depictions of Alaska's mountains, forests, rivers, and wilderness landscapes. His work is admired for its realistic detail, mastery of light, and ability to capture the mood and grandeur of the North. By the 1970s, his paintings were being collected throughout Alaska and the Pacific Northwest, allowing him to pursue painting as a full-time profession. This example is particularly desirable for its iconic Denali subject matter and vibrant portrayal of Alaska's fireweed season. The sweeping foreground meadow, atmospheric middle distance, and commanding mountain backdrop combine to create a quintessential Alaska landscape representative of Robertson's most sought-after work. The painting is further accompanied by its original Stephan Fine Arts Gallery Certificate of Authenticity & Appraisal, dated March 6, 2003, provided at time of purchase. Signed lower left and dated circa 2002. Housed in an ornate gilt frame. Measures approximately 28.25" x 31.25" overall with a sight view of 24" x 20".

An original oil painting by Alaska artist James Belcher (20th/21st century), depicting a radiant summer landscape with a winding stream flowing through a lush valley framed by towering spruce and a distant range of snow-capped mountains. Brilliant shafts of sunlight illuminate rolling hills and alpine meadows dotted with pink fireweed, while cool blues and violets in the distant peaks create remarkable atmospheric depth. Executed with rich color and confident brushwork, the composition captures the grandeur and tranquility of the Alaskan wilderness. James Belcher is known for his vivid portrayals of Alaska's landscapes and wilderness scenery, particularly dramatic mountain views and richly colored seasonal compositions. Working primarily in oil, he has devoted decades to landscape painting and has developed a style characterized by luminous light effects, strong compositions, and a peaceful, enduring quality. His works are proudly represented in private collections throughout Alaska and beyond. Signed and dated lower left, "James Belcher, 1993." Presented in a silver-toned frame measuring approximately 25.25" x 29.25" overall with a sight area of approximately 20" x 24".

An original oil painting by Alaska artist James Belcher (20th/21st century), depicting a serene summer wetland bordered by towering spruce trees and dense native vegetation. A narrow reflective stream meanders through lush grasses and patches of wildflowers, leading the eye toward the softly illuminated forest beyond. Belcher masterfully employs rich greens and cool violets, allowing shafts of warm light filtering through the trees to create a remarkable sense of depth and atmosphere. The composition captures the quiet beauty and solitude of the Alaskan wilderness with an almost impressionistic handling of color and light. James Belcher is known for his evocative portrayals of Alaska's landscapes and wilderness scenery. Working primarily in oil, he developed a distinctive style characterized by luminous effects, rich color, and a sensitive treatment of atmosphere. His works, often featuring mountain ranges, forests, streams, and seasonal flora, have appeared at auction numerous times and are represented in private collections throughout Alaska and beyond. Signed and dated lower right, "James Belcher 1991." Housed in a silver-toned frame measuring approximately 31.25" x 25.25" overall, with a sight area measuring approximately 24" x 18".

An important original oil painting by the celebrated Alaskan master Sydney Mortimer Laurence (1865-1940), entitled Ship in Sunlight, depicting a three-masted sailing vessel cresting deep blue ocean swells beneath an expansive sky filled with luminous, broken clouds. Sunlight filters through the atmosphere to illuminate the sails and horizon, while confident, layered brushwork captures the constant motion of sea and sky with the artist's characteristic sensitivity to light and atmosphere. Although Laurence is best remembered for his iconic views of Denali and the Alaskan landscape, marine painting formed the foundation of his artistic career. Before establishing himself in Alaska, he studied under the renowned American marine painter Edward Moran and spent years in England and Cornwall refining his depictions of open water, changing weather, and sailing vessels. Those formative influences are readily apparent here, where the rhythmic movement of the sea and dramatic interplay of light recall the finest traditions of nineteenth-century maritime painting while foreshadowing the atmospheric effects that would define his later Alaskan masterpieces. The painting is signed lower right and titled Ship in Sunlight en verso. A pencil notation at upper left references The Nugget Shop in Juneau, the well-known gallery and curio store through which Laurence sold many of his paintings during the early decades of the twentieth century, providing an intriguing historical connection to the artist's commercial career in territorial Alaska. Further enhancing its provenance, the painting is accompanied by an undated Bill of Sale from the Far North Gallery in Anchorage, signed by the influential Alaskan art and artifact dealer Charles "Charlie" McAlpine (1932-2019), documenting a historic purchase price of $37,000. McAlpine was widely recognized for handling many of Alaska's most significant paintings and ethnographic works during the latter half of the twentieth century, making the survival of this documented ownership history a noteworthy addition to the painting's story. Marine paintings by Laurence are encountered far less frequently than his celebrated mountain landscapes, representing an important chapter from the artist's early career and demonstrating the technical mastery that would later establish him as Alaska's preeminent painter. The combination of subject matter, period frame, documented title, and long-standing Alaska provenance makes this an especially desirable example for collectors of Alaskana and historic American art. Housed in what appears to be its original carved and gilded wood frame, the work measures approximately 23.5" x 27.5" overall, with an image sight of 20" x 16.5". Provenance: Private Collection, Anchorage, AK The collection of Charles (Charlie) McAlpine (1932-2019)

An original oil painting entitled Lake O'Hara by Canadian artist Neil Boyle (1931-2006), depicting one of the most celebrated alpine landscapes in the Canadian Rockies. Snow-covered peaks rise dramatically above the turquoise waters of Lake O'Hara in Yoho National Park, British Columbia, while dense evergreen forests frame the shoreline and reflect across the still surface below. Executed in a rich palette of deep blues, emerald greens, and violet shadows, the composition captures the changing mountain light with confident, expressive brushwork and a strong sense of atmosphere. Boyle received formal training at the Banff School of Fine Arts and the Chouinard Art Institute in Los Angeles before establishing a diverse career as a fine artist, educator, and commercial illustrator. He taught at the California Art Institute and produced artwork for Disney, national magazines, and record album covers, experiences that informed his distinctive command of color, composition, and dramatic visual storytelling. Rather than pursuing strict realism, Boyle distilled the landscape into broad passages of saturated color and energetic brushstrokes, allowing the reflections, shifting light, and monumental forms of the mountains to dominate the scene. The result is a vibrant interpretation of one of Canada's most iconic wilderness destinations that balances painterly expression with a strong sense of place. Signed lower right in blue paint and titled en verso, the painting is accompanied by an informational card about the artist and is housed in a gilded wood frame measuring approximately 27.25" x 37.25" overall, with an image sight of 20" x 30". 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.

An original oil painting entitled "Alpine Ridge, Prince William Sound, Alaska" by renowned Alaska artist David Rosenthal (b.1953), depicting the coastal trail in his signature realism style. It captures distant, sprawling mountains and detailed, rocky cliffs dotted with green moss and lupine flowers under a hazy sky. David is an artist celebrated for his depictions of the earth's geographically isolated and frozen polar regions. Raised in Maine and a graduate of the University of Maine, Rosenthal eventually relocated to Cordova, Alaska, to work within the fishing industry. During his time there, he served as an instructor of drawing and painting at the local community college and had done multiple artist residencies. He eventually accepted a position with the National Science Foundation in Antarctica, which made way for the continent to also become his subject. His body of work serves to document the environmental transformations occurring across the planet, specifically focusing on the retreat of glaciers and the far-reaching impacts of global warming by combining science and fine art. The piece is signed en verso, dated 1985, and is housed within a black frame with gold-toned borders, including a small plaque with the title and artist's name. Measures approximately 32" x 33.75" with a sight view of 28" x 30.25".

A fine c.1920s Unangan (Aleut) Attu Island wild grass basket wallet, showcasing the exceptionally delicate weaving tradition for which Attu basketry is internationally renowned. Formed as a two-piece sliding wallet, the smaller pocket fits securely within a larger woven sleeve, creating an elegant and highly functional form seldom encountered in such well-preserved condition. The exterior is decorated with striking geometric bands of navy blue, red, and natural straw-colored diamonds interspersed with zigzag motifs, all executed with remarkable precision against an extraordinarily tight and even weave. The subtle symmetry of the design highlights the technical mastery required to produce these refined personal accessories. Aleut women harvested wild beach rye grass during the summer months, curing and carefully splitting each blade into thread-like strands before weaving while the material remained damp and pliable. Following the transfer of Alaska to the United States in 1867, finely woven baskets and wallets such as this became highly sought-after by travelers and collectors, with the remote community of Attu gaining particular acclaim for producing the finest, thinnest, and most technically accomplished examples in the Aleutian Islands. The wallet is housed in a custom shadow box for display and preservation, measuring approximately 8.25" x 12.25" x 1" overall.

A polychrome Nunivak spirit wheel by the late artist Henry Shavings (1924–2016) of Mekoryuk, Alaska, distinguished by a painted treatment that departs from the artist's more familiar natural wood surfaces and traditional red, white, and black palette. Instead, the present work is executed in subdued tones of dusty mauve, charcoal black, and muted iron-red, creating a remarkably graphic interpretation of traditional Nunivak imagery. The composition centers on a stylized walrus rendered with finely incised fur texture, walrus ivory tusks, and a human face upon its abdomen representing the animal's yua, or inner spirit. Encircling the figure is a bentwood hoop symbolizing the ellanguaq, or universe, supporting four fish, two webbed feet, and a pair of oversized flippers arranged in a balanced radial design inspired by the marine life and spiritual traditions of the Bering Sea. Repeated black patterning unifies the composition, lending the work a rhythmic quality and a visual character uncommon within the artist's body of work. Henry Shavings is regarded as one of Nunivak Island's most accomplished modern artists, recognized for preserving traditional Yup'ik iconography through sculpture and painted carving while mentoring subsequent generations of artists. His works are represented in numerous public and private collections throughout Alaska and beyond. The present example is particularly notable for its distinctive mauve-toned palette and highly resolved composition. Signed en verso and prepared for hanging. Measures approximately 20 inches wide by 3.25 inches deep by 17.5 inches high.

A Tlingit wall pocket or sewing caddy dating to the first half of the 20th century, crafted from spotted seal fur arranged in alternating checkerboard and striped panels, accented with purple felt and finely executed glass beadwork depicting stylized flowers, dragonflies, and birds in shades of yellow, pink, green, red, orange, white, and blue. The word "ALASKA" is prominently worked in white beads across the upper section, reflecting the piece's appeal to both local use and the flourishing Alaska tourist trade. The reverse is finished with a black-on-black foliate textile backing and a grosgrain ribbon loop for hanging. Decorative wall pockets such as this served as practical household organizers, often used to hold sewing implements and other small personal items, while simultaneously showcasing the exceptional beadwork and fur-sewing traditions of Southeast Alaska Native artists. The carefully matched seal fur panels, vibrant floral beadwork, and pictorial motifs combine to create an especially attractive example of first-half 20th century Alaska Native tourist art that remains both functional and highly decorative. This very fine example measures approximately 10.5" x 27.5" tall.

An impressive monumental Northwest Coast style cedar totem pole by master carver Scott Jensen, standing more than three feet in height and exhibiting exceptional depth of carving, bold formline design, and a beautifully balanced composition. Executed in rich tones of reddish-brown, dark brown, and black, the sculpture demonstrates a sophisticated understanding of traditional Northwest Coast aesthetics while showcasing the artist's highly refined hand and more than five decades devoted to the art of totem carving. The vertical composition is crowned by three seated chief figures wearing woven hats above a commanding raven with sweeping beak and expansive ovoid eyes. Descending the pole are additional crest beings including what appears to be a frog, bear, and beaver, interwoven with smaller ancestral faces and secondary figures that emerge seamlessly from one another. Deep undercutting, crisp transitions, and carefully sculpted negative space create a dynamic work that reveals new details from every angle while preserving the strong architectural presence characteristic of Northwest Coast carving. Scott Jensen began carving totem poles in 1972 and spent decades studying the art, symbolism, and traditions of the Indigenous peoples of the Northwest Coast before becoming an accomplished instructor himself, teaching carving and tool making throughout Washington, British Columbia, and Alaska. His work brought him to communities across Southeast Alaska, where he developed lasting relationships within the Native carving community. In 2010, he and his wife were formally adopted into a Tlingit family by Fred Sał kaa and Ivy Gunalshowaxeex Fulmer, receiving membership in the Chookaneidí Eagle, Brown Bear and Porpoise Clan and the T'akdeintaan Raven, Frog and Black-legged Kittiwake Clan, respectively, in recognition of decades of friendship, cultural respect, and artistic dedication. Unlike the countless souvenir carvings produced for the tourist market, this sculpture is a serious and ambitious work distinguished by its commanding scale, confident execution, and masterful understanding of Northwest Coast formline design. The restrained palette allows the beauty of the cedar grain to remain visible while emphasizing the sculptural quality of the composition, resulting in an imposing display piece equally suited to collections of Northwest Coast art, Alaskana, and contemporary wood sculpture. Mounted on a complementary painted wooden base with protective felt underside. Initialed en verso and dated circa 1998. Measures approximately 6.75" x 7.25" x 38.5" tall. 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 handcrafted wall sculpture in the shape of the state of Alaska, cut from the steel of the Trans-Alaska Pipeline and richly engraved with an intricate map celebrating the state's geography, wildlife, and engineering history. A red line traces the 800-mile route of the Trans-Alaska Pipeline System from Prudhoe Bay on the North Slope to the Valdez Marine Terminal on the Gulf of Alaska, while blue lines identify the Yukon, Tanana, and Porcupine Rivers. A yellow dotted line marks the Arctic Circle, and twenty-two etched city names, each highlighted with a red dot, include Barrow, Fairbanks, Anchorage, Juneau, and numerous smaller communities across the state. The landscape is further enlivened with engraved vignettes of iconic Alaska imagery, including a caribou, moose, salmon, bear, whale, bald eagle, mountain ranges, and the midnight sun, transforming an industrial artifact into a detailed tribute to the Last Frontier. The gently curved form preserves the natural contour of the original pipeline, emphasizing its origin and adding sculptural dimension to the piece. Constructed between 1974 and 1977, the Trans-Alaska Pipeline System stands among the most ambitious engineering projects ever undertaken in North America. Stretching 800 miles across mountains, tundra, and permafrost, it fundamentally reshaped Alaska's economy and remains one of the state's most recognizable symbols. Prepared for hanging en verso, this attractive and highly detailed example measures approximately 13" x 1" x 11" tall. It offers a unique combination of authentic pipeline history, cartographic interest, and Alaskana appeal that makes for an exceptional display piece.

A beautifully preserved fossilized Pacific walrus (Odobenus rosmarus divergens) tusk decorated with an elegant scrimshaw panorama celebrating the wildlife and landscapes of Alaska. Finely engraved black linework depicts a parliament of owls soaring above a rugged mountain range while a snowshoe hare bounds across open tundra framed by stands of spruce, the composition flowing naturally along the graceful curve of the tusk. The fossilized tusk displays rich honey, amber, and charcoal tones developed through generations of exposure to mineral-rich beach sands, creating a naturally variegated surface that enhances the engraved imagery without overpowering the beauty of the material itself. Dark mineralization at the broad end gradually transitions into lighter polished ivory toward the tip, giving the piece exceptional visual depth and character. Rather than covering the entire surface, the scrimshaw is thoughtfully composed with generous open areas that allow the fossilization patterns and natural grain of the tusk to remain an integral part of the artwork. The result is a striking blend of natural history and traditional scrimshaw, equally appealing as a decorative display and as a collector's piece. Measures approximately 18.5" x 2.5" x 1.5" tall.

An Inupiaq baleen basket of cylindrical form, finely woven from dark baleen strips in a uniform pattern. The basket is fitted with a matching flat lid and topped by a carved walrus tusk cross finial. Initialed "G.T." for Inupiaq basket maker Gregg Tagarook, Sr. (1943-2013) of Point Hope, Alaska, on the round tusk starter disk. Basket measures approximately 3.5" in diameter x 3.5" tall.

A polished Pacific walrus (Odobenus rosmarus divergens) tusk decorated with a straightforward scrimshaw procession of iconic Arctic wildlife by Inupiat carver Thomas Ahtuangaruak of Barrow, Alaska. Rendered in a simple folk-art style, the engraved composition depicts a bear carrying a fish, a moose, a caribou, a polar bear, a musk ox, and a walrus, each arranged in profile along the natural curve of the tusk. Executed primarily in black scrimshaw ink with selective crosshatching and solid fills, the artist emphasizes recognizable silhouettes and characteristic forms rather than intricate detail, giving the piece an honest and charming handmade quality. The warm ivory surface provides a pleasing contrast to the bold engraved imagery, while a small baleen suspension loop is retained at the broad end. Signed by the artist beneath the bear figure, this attractive Alaskan souvenir carving measures approximately 12.25" x 1.75" x 1" and offers a classic representation of the animals that define life across Alaska's Arctic landscape.

An original oil portrait entitled Katie - Nome, Alaska by noted Alaska artist Harvey B. Goodale (1900-1980), depicting an elderly Alaska Native woman wrapped in a cream-colored parka with a lavender head scarf and deep crimson blanket. Her hands rest quietly in her lap as she gazes thoughtfully to the side, the artist capturing a lifetime of experience through expressive brushwork and a remarkably sympathetic rendering of her face. Goodale devoted much of his career to portraying the people and landscapes of Alaska, earning recognition for his sensitive depictions of Native elders and residents of remote communities. Rather than pursuing strict realism, he employed bold, confident strokes and a restrained palette to convey personality and atmosphere, creating works that are both painterly and deeply human. Signed and dated 1976 in the lower right, the painting is presented in the original carved and gilded wood frame with incised geometric decoration. Overall measurements are approximately 24.5" x 20.5" with an image sight of 16" x 12".

An original oil portrait entitled Old Man Edwards - Point Hope, Alaska by noted Alaska artist Harvey B. Goodale (1900-1980), depicting an elderly Alaska Native man dressed in a traditional cream-colored parka with a rich dark fur ruff framing his face. Looking upward into the distance, the subject is rendered with quiet confidence and dignity, his deeply lined features illuminated through expressive brushwork and warm earth tones that reveal a lifetime of experience. Goodale devoted much of his career to portraying the people and landscapes of Alaska, earning recognition for his sensitive depictions of Native elders and residents of remote communities. Rather than pursuing strict realism, he employed bold, confident brushwork and a restrained palette to convey personality and atmosphere, creating works that are both painterly and deeply human. His portraits remain among his most recognizable and enduring subjects, valued for their honesty and emotional presence. Signed and dated 1976 in the lower right, the painting is accompanied by two pages from The Anchorage Times: a 1977 feature discussing the enduring appeal of Harvey and Ann Goodale's artwork and a 1980 obituary commemorating the artist's life and legacy. Presented in the original carved and gilded wood frame with incised geometric decoration, the work measures approximately 24.5" x 20.5" overall with an image sight of 16" x 12".

A remarkably detailed Alaska Native carved walrus tusk model depicting a classic four-masted barque under full sail. The elongated hull is expertly fashioned from a single section of polished walrus tusk, while sixteen individually carved tusk sails are suspended from four masts with an intricate network of rigging that faithfully recreates the appearance of a nineteenth-century square-rigged sailing vessel. Additional carved details include an extended bowsprit with multiple head sails, raised deck structures, mast platforms, and carefully proportioned spars, all demonstrating the patience and precision required to execute such a delicate work in ivory. The subtle natural coloration and grain of the tusk enhance the realism of the composition, while the fine cordage provides an appealing contrast in texture. Mounted on a simple black baleen display stand that emphasizes the graceful lines of the ship, this sculpture reflects a longstanding Alaska Native tradition of maritime ivory carving, celebrating the vessels that connected Arctic communities with the wider world. A substantial and highly decorative example, it displays beautifully from every angle and showcases an impressive level of craftsmanship.