A small wooden cache stands against an immense blue distance in this oil painting by Alaska artist Scott McDaniel (1926–2012). The building occupies a grassy slope above a broad, hazy lowland, its dark posts and pitched roof sharply outlined against the light beyond. At upper right, a snow-covered mountain catches a warm pink glow, rising above successive bands of blue-gray foothills. The little cache anchors the view, its roof, upright supports and diagonal bracing sharply defined against long, softly handled bands of blue. The hillside falls toward the lower right through scattered spruce and a narrow trail of reddish vegetation. Broken strokes of dark green, brown and charcoal give the near grass and brush their rough texture, while cream and rose highlights draw the eye back to the distant snowfields. Raised log caches served as storehouses for food and supplies, with their elevated construction helping protect the contents from animals. Here, the carefully observed building gives scale and a quiet human presence to the expansive landscape. Signed “Scott McDaniel” in reddish-orange paint at lower right, dated “69” (1969). A personal dedication on the reverse reads, “To Toby / FROM HER / GODFATHER AND MOTHER / SCOTT & MAXINE.” Painted on stretched canvas and presented in a broad, carved, gold-toned wooden frame with dark recesses and a cream fabric liner. Visible condition includes a pale mark in the sky above the mountain, scattered smaller surface marks, spotting to the liner and wear to the frame. Sight approximately 13.5" wide × 9.5" high; framed approximately 22.5" wide × 18.5" high. McDaniel arrived in Alaska in 1948 and spent more than six decades painting its landscapes and outdoor life. His subjects ranged from expansive mountain views to scenes of daily activity, bringing both the scale of the country and its human presence into his work. Auction Estimate: $300–$500.

Four parka-clad hunters gather around the successful result of a whale or walrus hunt in this 1969 oil painting by Alaska artist Scott McDaniel (1926–2012). Only a small portion of the elongated animal’s body is visible along the very bottom of the composition, directing attention to the people leaning over it. Two figures stand behind their companions, whose lowered heads and rounded shoulders fill the foreground; their bent bodies and long wooden shafts form a tightly interlocked group beneath a luminous pink and yellow sky. Strong outlines divide the parkas into planes of brown, olive and ochre, with blue and rose highlights along sleeves and backs. Brisk white, gray and black strokes describe the fur ruffs. The faces remain largely shadowed, but the gripping hands and crossing shafts make the shared effort clear: two poles descend diagonally from the upper left, while another rises almost vertically at the right. Broad strokes of peach, cream, pink and lavender build the sky above the thickly worked clothing. The close grouping and emphasis on shared activity recall fellow Alaska artist Claire Fejes, suggesting a possible influence in this unusually figure-centered McDaniel composition. Its intimate viewpoint offers a distinctive departure from his familiar expansive landscapes. Signed and dated “Scott McDaniel – 1969 –” at lower left. Oil on canvas board, with a Morilla Canvas Panel manufacturer's label on the reverse. Presented in a deep brown wooden frame with gold-toned relief ornament and a cream fabric liner. With a pronounced stain along the lower liner and wear to the frame. Panel approximately 20" wide × 16" high; framed approximately 28.5" wide × 24.5" high. McDaniel arrived in Alaska in 1948 and spent more than six decades painting its landscapes and outdoor life. His subjects ranged from expansive mountain views to scenes of daily activity, bringing both the scale of the country and its human presence into his work. Auction Estimate: $800–$1,200.

Mount Susitna, known as the Sleeping Lady, rises beyond a broad stretch of water in this large 1953 oil painting by Alaska artist Scott McDaniel (1926–2012). The mountain’s snow-covered slopes are modeled in blue, lavender and pale gray beneath a softly streaked peach-and-rose sky. A dark shoreline crosses its foot, separating the cool snowfields from the rippling foreground water. McDaniel builds the view in broad horizontal layers, allowing the long mountain profile and open water to fill the wide composition. Small crests of white and blue interrupt the surface, while subdued bands of warm reflected light draw the sky's color downward. At the right edge, a bare, crooked tree rises from the near shore, its angular branches contrasting with the mountain's larger rounded forms. The thinly worked sky and water retain a visible fabric texture. More concentrated strokes define the snowy gullies, shoreline and foreground rocks, giving the scene depth without crowding it with incident. The cool blues and grays create a quiet coastal atmosphere, relieved by the warmer light above the ridge. Signed “Scott McDaniel” and dated 1953 at lower right. The view depicts Mount Susitna across Cook Inlet, painted just five years after McDaniel arrived in Alaska. Its early date and substantial size distinguish it within his long career of painting the state’s landscapes. Presented in a simple gold-toned wooden frame. The frame is reported to be loose and fragile and requires careful handling or structural repair. Visible wear includes rubbed and chipped frame finish, open corner joints, scattered surface marks and small pale specks in the painting. Sight approximately 22" × 33"; framed approximately 24.75" × 36". Auction Estimate: $600–$800.

A signed black argillite model pole by Haida carver Tom Hans (B. 1925), bringing together an owl, raven, beaver and frog in a slender, closely fitted vertical composition. The reverse is incised “Carved By / Tom Hans / Skidegate B.C.” and retains a handwritten paper label naming the four animals. Undated, probably second half of the twentieth century. The owl stands at the summit with a compact projecting head, short hooked beak and long wings held close to the body. Rows of overlapping scallops articulate its breast feathers, while ovoids, fine cross-lines and herringbone cuts organize the wings. Beneath it, the raven's long beak projects down the center of a much broader face. Deeply outlined eyes and sweeping brows occupy nearly the full width of the column, above folded wings and closely incised feathering. The beaver below is distinguished by its paired front incisors, bent forelegs and broad, crosshatched tail. Its paws hold a short horizontal form against the chest, while the tail extends down between the legs. A human face emerges within that tail: center-parted hair, outlined eyes, a narrow nose and layered lips occupy only a small fraction of the pole's height. At the foot, a crouching frog spreads across the rectangular base, its broad mouth framed by strongly cut toes. The figures share the same deep black stone, but Hans varies the surface continuously. Polished brows, cheeks and limbs catch broad reflections; the small cuts describing feathers, teeth and scales retain a quieter gray tone. A plain, flat backing preserves the column's narrow profile and provides the surface for the maker's inscription. Born in Skidegate, Haida Gwaii, Hans learned argillite carving from his father, Ike Hans, beginning at thirteen. Known by the Haida name Aye Aye and associated with the Eagle family crest, he devoted decades to carving and teaching. His work often combines several figures in narrative arrangements. Argillite carving belongs to a distinct Haida sculptural tradition that developed a substantial trade in the nineteenth century. The fine-grained black stone associated with that work comes from the Slatechuck area of Haida Gwaii. Here, its close texture accommodates both sharply incised pattern and the rounded, reflective modeling of the faces. Scattered light wear. Measures approximately 2.25" × 2.5" at the base × 11" high. Auction Estimate: $600–$800.

An original oil on canvas by Alaska artist Norman Lowell (1927–2024), identified on the reverse stretcher as “Camel Rock – Seldovia.” The painting centers on a spruce-crowned rocky islet and an adjacent, overhanging sea stack, their dark silhouettes rising above breaking surf. A low chain of blue-violet mountains extends across the distant shore beneath a sweeping, unsettled sky. Deep brown, charcoal and muted green define the compact islet, with small upright strokes marking the trees along its crest. At left, the projecting stack leans toward a narrow channel of pale turquoise water and white foam; further waves curl around the rocks at right. Broad blue-gray strokes carry the foreground swell toward the viewer, with broken cream and white ribbons describing foam over darker water. Individual brush tracks and occasional passages of canvas weave remain visible. Above, diagonal sweeps of pale gold and cream cut through slate-blue cloud. Their warmth returns in the scattered highlights on the sea, connecting the unsettled sky with the open, vigorously worked water below. Signed “Norman Lowell” and dated 1999 at lower right. The reverse stretcher bears a further Norman Lowell signature and the location/title inscription. Presented in a stepped silver-toned molded wood frame with a beige fabric liner and narrow inner slip. The reverse canvas shows scattered yellow-brown spotting and a narrow vertical stain; the frame has scattered rubs and edge wear. Sight measures approximately 11" high × 14" wide; framed dimensions approximately 16" high × 19" wide. Lowell arrived in Alaska in 1958 and established his family's homestead near Anchor Point. After teaching painting in Anchorage from 1965 to 1972, he returned to the homestead and developed the studio and gallery associated with his later career. This coastal subject belongs to the landscape practice he sustained for nearly six decades. Auction Estimate: $800–$1,200.

An original oil painting by Joan Arend Kickbush (1926–2006), depicting two Alaska Native children playing with a red ball in the snow while a small, pointed-eared dog sits close beside them. Signed “Joan Arend Kickbush 75” in red at lower left, the work combines the artist's familiar childhood subject with a particularly lively arrangement of raised knees, mittened hands and fur-trimmed winter clothing. The child at left steps forward in a red parka, pink mittens and a striped purple cap, one boot lifted to expose its patterned sole. The second child turns inward from the right, wearing a rosy-orange parka, red cap and green mittens. Between their boots, the ball repeats the warm red of their clothing. The dog watches from just behind the right-hand figure, its upright ears, dark back and pale chest forming a small, steady counterpoint to the children's movement. A row of low village buildings sits along the left horizon, partly hidden behind the figures. Above them, a yellow and ochre field lightens toward cream at the upper edge; below, broken blue-violet shadows run through the white snow. Kickbush gives the children firm dark contours and warmly modeled faces, then breaks the surrounding surface into small, irregular planes of color. Raised, angular strokes pick out the shaggy ruffs and boot tops, while scattered white flecks carry the suggestion of falling snow across faces, garments and sky. Kickbush moved to Anchorage in 1953 after working as a commercial artist in Minnesota, Wisconsin and Hawaii. A 1955 teachers' tour to Kotzebue and Nome helped direct her attention toward the children and daily life of rural Alaska. Her husband, Roland “Kick” Kickbush, piloted their visits to villages, where she gathered sketches for paintings completed in her studio. Savoonga on St. Lawrence Island was a favored destination. The thickly worked surface is an important part of the image, rather than simply an embellishment of its subject. Kickbush's use of oil combined with wax is documented in the Frye Art Museum's collection. Its broad planes and small knife-like ridges are consistent with her characteristic textured handling. Presented in a dark wood shadow-box-style frame with a wide, coarse burlap liner and a narrow inner wood molding. A fiberboard panel is visible at the reverse. The frame has scattered edge rubs and small nicks, and the burlap shows uneven coloration and localized marks. Sight measures approximately 11.75" high × 17.75" wide; overall framed dimensions approximately 20.75" high × 26.5" wide. Auction Estimate: $600–$800.

Four Alaska Native children and a puppy move across a snowy foreground in this 1969 oil painting by Joan Arend Kickbush (1926–2006). At right, a child in a dark parka and knitted cap pulls a small wooden sled carrying a younger child. A puppy stands beside the sled, while the taller child at left carries a fourth child high against the back of a fur-trimmed parka. Kickbush arranges the group as a gentle procession across the wide panel. The sled ropes connect the figures, while turned heads and smiling faces bring their attention back toward the viewer. Green patterned garments, yellow mittens and warm brown boots stand out against an ochre-gold sky and the cool blue shadows in the snow. The surface is richly textured. Raised strokes describe the fur ruffs, boot trim and uneven snowbank; smaller marks pick out the patterned clothing and puppy's face. Scattered white flecks suggest falling snow across the darker passages. Against the broad, warm background, the children’s faces, patterned clothes and small companion remain the focus. Kickbush drew on visits to Alaska's rural communities for paintings developed from sketches in her studio. Children and village life became recurring subjects. Signed and dated “Joan Arend Kickbush '69” in ochre-colored paint at lower left. Catalogued as oil on board and presented in a dark-stained wooden frame with a broad, textured burlap liner and matching inner molding. Visible condition includes pronounced cracking in the painted surface, particularly in the background, along with surface specks and frame/liner wear. Sight approximately 15" × 24"; framed approximately 24" × 33". Auction Estimate: $600–$800.

A whimsical, quintessentially Alaskan Billiken-themed gavel, early to mid-twentieth century and likely from the Nome area. Beautifully mineralized walrus tusk ranges from cream and amber to deep brown. With considerable heft and an exuberant folk-art character, the gavel pairs an elongated Billiken grip with two smaller seated Billikens on opposite faces of the head. The long, gently curved grip ends in the figure’s pointed head, while the paired figures sit with rounded bellies above closely carved feet. Exceptional attention to detail gives each smiling figure its own personality. Darkened incisions define sharply raised brows, narrow eyes, dotted nostrils and broad, upturned mouths, with small black marks picking out bellies and hands. The two seated Billikens differ in their facial lines and the shaping of their torsos and feet, their projecting forms enlivening the broad, polished planes and chamfered corners of the rectangular head. The handle is assembled in sections, with a longitudinally fluted, dark brown-and-cream shaft between the head and pale figural grip. Warm amber and brown passages accentuate the varied tusk, while exposed granular inner areas contrast with its smoother outer surfaces. The inventive use of these natural colors is integral to the gavel’s lively design. With light wear consistent with age. Measures approximately 7.75" long × 2" × 2.5" high. The Billiken originated as an American commercial good-luck character, patented by Missouri artist and illustrator Florence Pretz in 1908, and was subsequently adopted into Alaska's tusk-carving repertoire. Auction Estimate: $500–$700.

A carved and painted red cedar eagle rattle by the late Ditidaht/Nuu-chah-nulth artist Art Thompson (1948–2003), late twentieth or early twenty-first century. Its deeply hooked black beak, orange-red mandibles and sweeping green facial designs give the bird a commanding expression. A crest of long gray-brown natural animal hair, believed to be caribou, falls behind a braided red-orange band, above a cylindrical handle tightly wrapped in black cord. The bird's expression is built around large black pupils enclosed by crescent-shaped reserves of exposed wood. These eyes sit within pointed, almond-shaped surrounds beneath raised green brows. The carved planes around the eyes and beak give the painted pattern physical depth: narrow channels and sharply cut edges catch light differently from the broad colored surfaces. Small, concave-sided reserves expose the close, parallel wood grain between the green forms. The hooked upper beak drops below the shorter lower mandible, leaving a long open space between them. Across the crown and rounded underside, rows of short reddish-brown strokes interrupt black fields, suggesting a dense covering of feathers without describing them individually. The hair crest adds a contrasting loose texture behind this tightly organized pattern. A narrow central join is visible along the beak and underside, consistent with the assembled construction of a hollow wooden rattle. The hollow construction produces a rattling sound when shaken, bringing movement and sound to the sculptural design. Visible condition includes scattered scratches and small paint abrasions, particularly on the beak, green cheek edges and patterned underside, with fraying at the braided band's lower ends and some loose hairs. Measures approximately 16.5" long × 4.5" wide × 6.5" high in the photographed horizontal orientation. Thompson, whose Nuu-chah-nulth name was Tsa-qwa-supp, was born at Whyac near Nitinaht Lake on Vancouver Island. He studied with Ron Hamilton and Joe David and became known for inventive screenprints as well as carved masks, frontlets and crest hats. His work is represented in public collections including the Royal British Columbia Museum and Stanford University. Auction Estimate: $1,500–$2,500.

A signed argillite model pole by Haida artist Glen Pollard (B. 1957), bringing a Raven and Bear into a narrow, rising composition. The reverse is hand-inscribed “HAIDA / Raven + Bear / Glen Pollard.” Undated, late twentieth or early twenty-first century. Raven occupies the upper register, its long straight beak projecting beyond the pole's edge and a rounded wing folded tightly against the body. Below, Bear turns outward in profile with a broad snout, curling nostril, triangular teeth and a large almond-shaped eye. Its forelegs gather into paired, rounded forms above the haunches and paws at the base. The two animals remain distinct, yet Pollard interlocks their silhouettes so Raven's feet meet the crown of Bear's head. Shallow, precisely cut relief gives the polished black stone a second register of gray. Nested ovoids articulate Raven's eye and wing; U-forms and split shapes organize Bear's body; tight hatching fills small recessed passages between the larger forms. These changes in depth make the design legible without applied color. Antler inlay at the eyes contrasts with the black argillite, off-white at Raven's eye and warm tan at Bear's. The carved panel rises from a rectangular black plinth. Its profile is unusually slender, concentrating the modeling on the front while leaving the reverse largely flat for the inscription. Pollard was born in Haida Gwaii in 1957 and belongs to the Eagle clan of Tanu. He began drawing as a child and carving argillite as a teenager, continuing the Haida practice of working the black stone obtained from the Slatechuck area of Haida Gwaii. Measures approximately 2.75" wide × 1.75" deep × 7" 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 carved and painted wooden bird mask by Lola E. A. Ferguson (B. 1963), the Cu'pig/Cup'ik artist of Mekoryuk, Nunivak Island. A long white neck rises from the elongated body, bringing the upturned, rust-red bill and the fish held crosswise in its mouth well forward of the surrounding double bentwood hoop. Signed on the reverse “Lola E A Ferguson,” with “Nunivak Island” and “Mekoryuk, AK.” Undated; probably late twentieth or early twenty-first century. The bird is treated as a fully modeled figure rather than a flat face within a frame. Its narrow black throat stripe descends into a densely patterned breast, where rows of white feathers alternate with black and reddish-brown fields. At the center is a second, long-snouted animal face: pointed ears rise above dark eyes, and a pale, tooth-lined mouth extends down the breast. This smaller image is an integral part of the painted composition, not simply another feather panel. The surrounding framework expands the central figure into a nearly symmetrical arrangement of separate carvings. Two fish and a small bird head occupy the upper arc; broad feather-patterned wings project to either side. Hand- or flipper-shaped elements with dark-tipped digits, short cylindrical terminals, webbed feet and a feathered tail complete the perimeter. Slender rods and pale fiber bindings connect the components to two reddish-brown hoops. White grounds, fine black lines and restrained rust-red passages unify the many individually shaped parts. Ferguson learned from her father, Peter Smith, and fellow Mekoryuk carver Harry O. Shavings. Her wooden-mask practice includes adaptations of her father's loon, double-walrus and halibut designs, with the present long-necked bird reflecting the loon form. Her work is represented in private and museum collections, including a puffin mask in the permanent collection of the Smithsonian’s National Museum of the American Indian. That mask entered the museum in 2005 from the collection of R. E. Mansfield. Visible condition includes light surface rubbing and small paint losses around some projecting parts and attachment points. The intricate rods, hoops and bindings warrant careful handling. The appendages are easily removable for shipping purposes. Approximately 32.5" × 28.5" × 14.5". Auction Estimate: $1,000–$1,500. 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.

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 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.

An exceptional Iñupiaq Eskimo scrimshaw walrus head mount, first half twentieth century, likely Nome, with strong King Island influence. The rostrum retains two long, inward-curving tusks whose inner and outer faces carry a richly varied record of Arctic wildlife, hunting and travel. Warm natural coloration and the assured detail of the engraving give this early example considerable character. The Iñupiaq artist’s name is now unrecorded. Among the most engaging details are a fully rendered salmon and a small grouping of rabbits, their lively treatment adding a whimsical counterpoint to the hunting scenes. A pod of whales is distinguished by finely textured bodies, while seals rest together on ice. Elsewhere, a hunter in a kayak approaches a harpooned walrus, three walruses gather on an ice floe, and a carefully drawn harpoon and line appear alongside a musher, loaded sled, three dogs and two birds. Fine hatching, stippling and darkened outlines give the small figures unusual clarity across the curved tusk surfaces. Small blue bead inlays decorate the bone, with two dark circular insets and pale centers forming eyes. These colorful accents complement the densely worked tusks and give the head an individual, animated appearance. Condition includes a pronounced diagonal fracture near the base of the walrus’s right tusk, gaps around both tusks at their sockets, smaller surface checks and scattered empty inlay holes. One smaller upper tooth is absent. Approximately 8.5" × 5" × 23" tall overall. The salmon and rabbits recall the engaging naturalism associated with the celebrated Iñupiaq scrimshaw artist Angokwazhuk, known as Happy Jack, whose work helped shape the Nome engraving tradition during the gold-rush era. His success encouraged other Iñupiaq artists to adopt similarly detailed pictorial scenes. Here, that influence finds expression in a particularly appealing combination of observed wildlife, hunting equipment and everyday travel. Auction Estimate: $2,000–$2,500. 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 Shipping@AlaskaPremierAuctions.com or call/text 907.570.7050.

A group of Eskimo artifacts and historic objects from Alaska, including four historic ulus with stone blades dating to the nineteenth century or earlier, a decorated handle or bow-drill component, a crooked knife with a steel blade, and an engraving tool with a steel bit tip. Several stone ulu blades are likely substantially earlier than the nineteenth century. Their broad cutting edges contrast with the narrow steel blades and points of the smaller tools. The four ulus have broad gray to nearly black blades and handles of various materials, including wood and porous bone-like material. Blade profiles range from shallow curves to a large, irregular crescent, with rounded, rectangular and trapezoidal grips. Some handles appear to be appropriate matches to their blades, while others may be later replacements. The crooked knife has a short, upturned steel blade and a long composite handle incorporating pale organic material and dark wood. Handwritten inscriptions include “Alaska” and “Alaska Eskimo Knife.” A decorated handle, possibly a bow-drill component, and a slender steel-tipped engraving tool complete the group. Wear includes chipped blade edges, handle checks, metal oxidation and an open seam in the crooked knife handle. The engraving tool measures approximately 10.5 inches long by 0.5 inch in diameter. Auction Estimate: $400–$600.

An Alaskan Dall sheep ram shoulder mount, posed upright with the head turned slightly to its left. The cream-white cape frames amber-colored artificial eyes, a dark nose and closed mouth. Heavy, deeply ridged horns sweep backward and downward around the sides of the head, then rise to long tapered tips, creating the mount's broad, open silhouette. The reverse has an exposed wooden backboard, a recessed hanging opening and a metal bracket, with the handwritten number “#650.” Light yellowing or discoloration is apparent across the shoulders and back of the neck, with minor surface marks and wear to the horn ridges. Approximately 18" × 20" × 27" tall overall. Sale Permit: 26-086-O, expires October 1, 2027. Auction Estimate: $800–$1,000. 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 Shipping@AlaskaPremierAuctions.com or call/text 907.570.7050.