A gorgeous handcrafted sterling silver Navajo concho belt featuring six hefty oval conchos, five butterfly spacers, and a bold square buckle, all mounted on a black leather strap. The conchos are scalloped and domed with hand-stamped sunburst details and repoussé accents. Each concho and spacer is set with a natural turquoise cabochon, and the square buckle is adorned with a turquoise cabochon in each corner. The reverse of the buckle is stamped JHG by the artist. A striking example of mid-to-late 20th century Navajo silversmithing, blending traditional form with vibrant stonework. The silver elements show natural patina, and the leather exhibits moderate signs of use, consistent with age. Measures approximately 2.5" x 42.5" long.

A classic Yup’ik polychrome coiled grass basket of tapering form with flat lid and knobbed finial, decorated in alternating bands of dyed seal gut false embroidery in a repeating chevron pattern. The geometric decoration is arranged in repeating rows across the body, creating a balanced rhythm of color and form. The lid continues the design with concentric bands radiating from the central finial. Measures approximately 10.5" in diameter x 11.5" tall.

Three vintage Southwestern sterling silver watch cuffs, each showcasing bold silverwork and natural stone inlays. One features a pair each of turquoise and coral cabochons with fan-shaped central timepiece retainers accented with silver rivets, while another features dual coral accents with repoussé leaf accents on either side. The coral example is signed "Robt. Kelly" on the interior and attributed to Navajo silversmith Robert Kelly, known for his mid-century work in traditional materials and forms. The third piece includes a Guilforte mechanical watch face marked for seventeen jewels on the dial, set within a pair of embossed leaves; each side is further accented with a trio of polished turquoise cabochons. These substantial and expressive pieces are typical of mid-20th century Southwestern artistry, blending traditional Navajo and Zuni design elements with watch formats. Watch face tested non-functional at time of cataloging. Cuffs fit approximately 6.5, 7 and 7.5" wrists. The widest cuff being 1.5" Total weight of 184.00 grams.

Two African Makonde Ujamaa Tree of Life sculptures, hand-carved in ebony wood. These sculptures are primarily created by the Makonde people, an ethnic group residing in northern Mozambique and southern Tanzania, and celebrated for their elaborate wood carvings. The Ujamaa (meaning "familyhood" in Swahili) sculptures symbolize the interconnectedness of family, community, and society, often depicting intertwined figures rising from a single piece of wood, representing generations building upon generations. They are typically quite intricate, sometimes taking a year to complete. The largest piece measures approximately 5" x 5" x 20.5" tall.

A c.1971 signed and numbered First State 1/4 color woodcut print entitled "Owl" by prominent late Alaskan artist Dale DeArmond (1914-2006), showing the additional feather detail to the left and right sides of the owl's body. The original "Owl", executed in 1968, was printed in a different color and larger series size. Titled, numbered, signed and dated lower margin, the piece was also printed by the artist. Matted and framed under glass, it measures approximately 25.75" x 19" overall.

Eight hand-crafted Navajo carved cottonwood Yeibichai Dancer dolls, hand-carved and painted, representing the Talking God (tallest), the Water Sprinkler (with six feathers), and six male Yei dancers (each with two feathers.) Yeibichai refers to the Navajo Holy People (Yei) and specifically to a significant healing ceremony known as the Nightway, which traditionally takes place after the first frost in the fall. A few of the wooden feathers are separated from the head as photographed. The tallest dancer measures approximately 4" x 3.5" x 14" tall.

Two charming contemporary Yup’ik coiled grass baskets of similar shape and style, featuring wide middles tapering to narrow bases and shoulders, each topped with a sharply sloped lid and petite finial. Pictorial colorful grass embroidery of floral, avian, and lepidoptera motifs decorate the sides and lids. Largest basket measures approximately 9.5" in diameter x 10.5" tall.

Three classic polychrome Yup'ik woven grass items featuring seal gut false embroidery in bright colors that have been well preserved over time. Includes a shallow basket of squared form, finely worked with a slightly flaring pierced rim and decorated with triangular accents in navy and red. Also includes a tall, tapering cylindrical basket with gently widening walls and open top, decorated with repeating stepped chevron motifs. The third is a round, shallow basket tray with a wide mouth, embroidered in a spiral design of red and green. Together the three examples illustrate both the utility and artistry of Yup’ik basketry, combining natural grass with dyed elements to create geometric ornamentation in distinct forms. Largest basket measures approximately 8.75" x 8.5".

A c.1962 signed and numbered 1/35 color woodcut print - the first printing within a very small edition of only 35 by prominent late Alaska artist Dale DeArmond (1914-2006), titled "Tlingit Legend", and believed to be an early iteration from the Raven series. Includes a biography of the artist affixed en verso. Printed by the artist, the piece is matted in a coordinating shade of blue, framed in black, and measures approximately 31.75" x 18.75" overall.  

Three large and one petite Mata Ortiz pottery vessels, each hand-crafted and painted. Includes a vase by potter Elicena Cota (b.1979), whose vibrant designs often depict birds, lizards, and flora rendered in sgraffito and polychrome pigments. Cota began working independently at age seventeen and is recognized for her expressive, detailed narrative imagery. The second and third feature similar designs including a turquoise and cream vessel by Roberto (last name illegible), and a red and cream vessel by Lazaro Ozuna Silveira (a nephew and student of master potter Tavo Silveira.) The final example is a seed jar by Vidal Corona, an artist who is celebrated for parrot effigy jars and polychrome vessels decorated with sgraffito birds, flowers, and mesh patterns. All four pots bear the artist's signature on the underside, and the largest measures approximately 8.5" x 13" tall, not including the metal stand.

Two Yup'ik polychrome coiled grass baskets include one of shallow, open form with flat base and upright walls, embroidered with bold lettering spelling "ALASKA" around the circumference in dyed grass. The interior reveals a tightly coiled spiral with excellent symmetry. Accompanying it is a larger rounded covered basket with flat, open-topped lid, decorated with multiple stylized human and canine figures in red, green, and purple dyed grasses; the word Alaska decorates the space just below the rim. The figures are evenly spaced and vertically arranged, lending the piece a narrative quality uncommon in Yup’ik basketry. The lidded example measures approximately 8.25" in diameter x8.75" tall.

A handmade Navajo wool rug woven in bands of stepped and serrated motifs, rendered in earthy tones of mustard, golden tan, brown, cream, ochre, and gray. The central design features repeating terraced elements and long bars, suggestive of spiritual movement and protection, while the warm desert palette mirrors natural dye traditions. A rod pocket has been added en verso for hanging, and the rug measures approximately 34.5" x 57" tall.

A handmade Navajo wool rug woven in a classic pattern, featuring repeating stepped diamonds enclosing central crosses. The bold geometric layout is rendered in natural brown, gray, cream, and vivid red, producing a design symbolic of mountains, lightning, or sacred elements in Navajo design. The cross shapes may also reference the Four Directions, a central concept in Navajo spiritual cosmology. The palette and symmetry suggest this rug was woven in the Two Grey Hills or Ganado area. Measures approximately 64.5" x 31.5" wide.

A sterling silver Tlingit "Eagle" cuff bracelet featuring an hand-engraved design features formline imagery of an eagle head in the middle, wings extending around the sides, all rendered in crisp, symmetrical relief. The inner band is signed by Brian "An Yaá" Chilton, a contemporary Tlingit artist from Juneau, Alaska; he is of the Deisheetaan (Beaver Clan) and Raven Moiety via the Raven House of Angoon. Trained in engraving beginning in 1985 by his brother Gene, he transitioned into silversmithing circa 2002, and has since become known for finely engraved silver and wood carvings featuring traditional formline motifs. Bracelet weighs 26.23 grams. The cuff measures approximately 1" wide and fits a 6.5" wrist, as found, adjustable.

An original oil painting by Alaskan artist Scott McDaniel (1926-2012), titled "Summer Cache." This c.1987 scene depicts a traditional elevated cache standing above marshland, with its tall supports reflected in the still water below. Such caches were historically built to store food and supplies safely above ground, protecting them from wildlife and weather. A small rowboat rests in the water near the shore, and a background of trees and mountains captures the quiet beauty of the northern landscape at sunset. McDaniel was a widely collected Alaskan painter, and is known for his evocative depictions of the state's wilderness and cultural landmarks. Signed lower left and titled en verso. Housed in a linen and wood frame with some discoloration as shown. Measures approximately 9.5" x 11.5" overall with a sight view of 4.5" x 6.5".

A majestic limited edition 57/100 bronze bald eagle bust c.2000 by Alaska artists Jacques Regat (b.1948) and Mary Regat (b.1943) of the husband-wife team of sculptors from the renowned Regat Studio. The piece depicts a polychrome bald eagle with incised feathers, mounted upon a dark circular stone base. Signed and numbered by the artist below the wings, and further signed on the underside, as shown. Measures approximately 6.5" in diameter x 12" tall. Below you will find the artist's statement regarding the artwork: "For many years we enjoyed the presence of a beautiful bald eagle that would come to a nearby tree and listen as Jacques played his flute. One year he did not come and we made this sculpture to remember him by."

A limited edition 29/75 polychrome bronze mountain goat sculpture c.2010 by Alaska artists Jacques Regat (b.1948) and Mary Regat (b.1943) of the husband-wife team of sculptors from the renowned Regat Studio. The piece depicts a free-standing goat, signed and numbered by the artist below the wings, and further signed on the underside, as shown. Measures approximately 11" x 3.5" x 9.75" tall.

A traditional Alaska Native ulu knife featuring a polished fossilized walrus tusk handle over a curved stainless steel blade, the ulu being paired with a natural vertebra base that serves as a stand. The ulu is a traditional knife used primarily by Alaska Native women for tasks ranging from skinning animals to cutting food. Its curved blade allows for efficient rocking motions, making it especially useful for slicing through fish, meat, and hides. Largest item measures approximately 7" x 6" x 3.75".

A large desk or mantel clock handcrafted from a sizeable slab of Alaskan nephrite jade. Jade was designated as the Alaska state gem in 1968, and is known for its toughness and wide color range from pale to dark green, in addition to its cultural significance, particularly among Alaska Native communities. The angular clock face is embellished with eight walrus tusk markers and a set of brass-toned hands, and mounted at a slight angle upon a base of the same material; small triangular jade supports en verso are shown. Battery-operated, it was not operational at the time of cataloging. Measures approximately 10" x 6" x 10.5" tall.

A hand-painted cast bronze sculpture of an Eagle totem crafted by Tlingit Artisan, Lee Wallace (20th/21st c.). Totems refer to a guardian, ancestral being, or supernatural entity, and the traditional symbolism on the poles often serves as a reminder of important events or relationships, especially with animals, which hold significant meaning in Alaskan Native culture. This scarce example is one of few known colorized examples, with an uncolored edition of 250 also known to exist. Measures approximately 7.5" x 7.5" x 20.75" tall.