A large pair of skillfully sewn Yup'ik ladies dance fans, or tegumiak, featuring coiled grass centers accented with fur and beads. Each has a central puffin design on one side and an eagle design on the other, as photographed. Measures approximately 14" x 14" overall.

A historic Tlingit spruce root "rattle top" basket, circa 1910-1930. The base features a solid twined start with a "weave-in-between" returning to solid twine on the outer edge, the wall features two bands of a modified "butterfly" design done in false embroidery, and the cover includes a rattle chamber where traditionally, rounded stones from grouse gizzards were used (later pieces used beads or small round stones). This lot also includes a handwritten evaluation of the work, signed and dated by Peter L. Corey, Curator of Collections at the Sheldon Jackson Museum in Sitka, Alaska. Measures approximately 5" in diameter x 4.5" tall.

An important doll by the "The Mother of Eskimo Doll Making," Inupiaq doll maker Ethel Washington (1889-1967), of Kotzebue, Alaska. The artist's works are housed in the Smithsonian's National Museum of the American Indian. The prominent doll features a man outfitted in traditional outdoor garments and accented with implements to include a birch bow, edged blade, fur sling bag, and scrimshaw walrus tusk knife. Constructed from a myriad of furs including caribou, rabbit (or squirrel), and fox; the face is carved and painted wood. Measures approximately 8" x 2.25" x 12" tall.

Five signed and numbered c.1994-1995 "Hat Series" woodcut prints by Alaska artist Dale DeArmond (1914-2006), including prints titled "Young Raven Hat" (ed. 9/25), "Mountain Eagle Hat" (ed. 5/25), "Seal Decoy Hat" (ed. 7/25), "Bear's Ears Hat" (ed. 14/25), and "Eskimo Mask" (illegible/unknown edition number). Each comes with associated paperwork. "The Hat Series" is a set of fourteen woodblocks, twelve of which were printed in De Armond's limited edition (15 copies) art book, From Long Ago: Crest Hats, Masks and Faces. Each of these prints is shrink-wrapped, and the largest board measures approximately 10" x 8.25" overall, with an approximate print size of 9" x 7.75".

Two bronze numbered 18/40 sculptures by famed Western art bronze sculptor Tom Knapp (1925-2016), "Mother and Child" and "Walrus". Knapp cast his bronzes in the backyard of his Buckhorn studio, as part of a neighborhood "Pour In" that was described in New Mexico Magazine. He attended the California College of Arts and Crafts in Oakland and the Art Center School of Design in Los Angeles. Knapp claimed that "vitality, movement, is the most important thing in sculpture, not the details." Both bronzes are marked on the side "Made especially for McAlpine Fur Company, Anchorage, Alaska" and refer to the business venture of the late Charles "Sealskin Charlie" McAlpine (1925-2016), an Alaska fur trader who not only owned his Anchorage fur and art location, but the Anchor Bar in Nome. The largest of these two fine pieces measures approximately 14.5" x 9" x 10.25" tall.

Three signed miniature sailing ships, one-, two-, and three-masted, all handcrafted from whale baleen by Inupiaq artist Harry Brower, Sr. (1924-1992) of Barrow, Alaska. The largest measures approximately 14" x 2.5" x 7.5' tall.

An early period original oil painting on board by Alaskan artist Eustace Paul Ziegler (1881-1969), painted with rich impasto, in an Impressionist manner, and rendered using his hallmarked expressive palette knife paint application with loose brushwork. The artist captures the atmospheric depth of a woodland river scene using jewel-like tones of green and blue, contrasted with muted chromatic neutral earth hues, and offset by highlights of pale illuminist hues in the sky. Handwritten text on the canvas en verso notes "The Kuskalana River from Ole Berg's Bridge, Cordova, Alaska, circa 1924," and the signature (Eustace Paul) Ziegler, along with his famous cache monogram, lower right. Beautifully presented in a classic silver frame, and measuring approximately 21.5" x 25.5" overall with a sight view of 16" x 20".

An original oil on canvas board study of the later "Doing Cessment Work" painting of miners doing their assessment work by renowned Alaskan artist Eustace Paul Ziegler (1881-1969). Early in life, Eustace Ziegler followed in his father’s clerical career path and was even ordained as an Episcopal Minister, but art soon became his overtaking passion. At first, Ziegler traveled to Alaska in 1909, intending to run a mission, but in due course, he began to sketch and paint his native parishioners. Like Sydney Laurence, Ziegler painted landscapes, and he is also celebrated for his portraits of First Nations people and other Alaskans. Eventually, he would make Seattle his home base, be an influential teacher, and continue a forty-year career as one of the finest and most sought-after painters of Alaska and its people. Signed lower left, and housed in a gilded frame measuring approximately 27.5" x 31.5" overall with a sight view of 20" x 24". Professionally cleaned and restored with scattered in-painting.

Two pairs of Athabascan moccasins made with smoked hide with beaver fur trim, featuring floral and eagle designs on their toe caps. The larger pair measures approximately 11.25" long x 4" wide x 3.5" tall.

An Alaska Native carved whalebone sculpture depicting a masked figure accented with a walrus tusk and baleen ulu, and further decorated with a baleen fluke affixed via a thin tusk rod. Measures approximately 4.75" x 2" x 17.25" tall.

Three Alaska Native artifacts ranging from the Thule period to the 19th century, including a very large harpoon or spear foreshaft complete with an oversized slate blade, a decorated ancient bucket handle, and a prominent wooden effigy figure or doll topper. The largest measures approximately 13" x 2.5" x 1.25".

A signed baleen basket, hand-woven and beautifully carved by Iñupiaq artist Max Tooyuk (21st Century), topped with a detailed polar bear finial made of walrus tusk. Baleen is a flexible natural material within the mouths of bowhead whales, and functions as a filtering system to help process plankton and small fish. Baleen baskets are woven with thin strips of baleen using coiling that sews baleen bands together; baskets are usually topped with a carved walrus tusk figural finial on the basket lid to be used as a handle. Basket measures approximately 3.75" x 3.75" x 4" tall.

A contemporarily crafted necklace made of ancient and antique materials, including fossilized walrus tusk, old chevron trade beads, and a centerpiece showcasing a harpoon artifact with etching, displayed in a case. The display case measures approximately 8.25" x 0.75" x 12.5" tall.

A historically significant Alaska State flag in blue and gold, signed lower right by John Ben "Benny" Benson (1912-1972), the fourteen-year-old student who won the flag design contest for the Territory of Alaska in 1927; Alaska became the forty-ninth state thirty-two years later in 1959. His description of the flag was "The blue field is for the Alaska sky and the forget-me-not, an Alaska flower. The North Star is for the future of the state of Alaska, the most northerly in the Union. The dipper is for the Great Bear - symbolizing strenth (sic)." Shrinkwrapped on foam board measuring approximately 12.5" x 18.5"; flag measures 12" x 18" wide.

A stone lithograph c.1953 by the late Alaskan artist, Fred Machetanz (1908-2002) entitled "Indian Trapper". The work depicts Bill Esi, an Athabascan trapper and familiar figure in Matanuska Valley, hiking with his packsack between his native village of Eklutna and Palmer, or pulling a sled to his trapping camp up the Knik River Valley. Beyond Bill is a cache used for storing furs, food, and supplies safe from prowling animals. Titled lower left, marked Edition-100, and hand-signed in graphite lower right. Matted in black within a wooden frame measuring approximately 19" x 15.5" overall.

A mid-20th-century signed Iñupiaq two-tone baleen basket with a carved walrus tusk dual seal finial, made by Eunice Hank (1919-1996). The double-seal lid finial is a signature style of the highly regarded Hank family of basket makers. The Alaskan Native art of baleen basket weaving is kept alive by very few people, mostly men, and produced in only a few cities and villages across Alaska, such as Barrow, Point Hope, Kivalina, and Kotzebue. Eunice Hanks' family is part of those master weavers, including husband Carl and daughter Marilyn; the artist's works are housed in the Smithsonian's National Museum of the American Indian. Basket measures approximately 4.25 in diameter x 2.75 tall.

An antique brass telescope on a tripod stand, characteristic of 19th-century or Victorian-era library telescopes, that would make a fine decorative or library piece. The main telescope barrel features a mahogany or walnut wood body, with brass fittings for the eyepiece, objective end, and mounting hardware. The tripod stand is a black, trifoot (three-legged) design, made of metal with a patinated finish. There is a chip in a glass lens and other wear, as photographed; optics still appear clear. This handsome piece measures approximately 39.5" x 9.75" x 29" tall.

A signed ink drawing on seal hide depicting a heart-pounding Alaska Native polar bear hunting scene, surrounded by a montage of Arctic figurals, drawn on sealskin by the Siberian Yup'ik artist Judy Pelowook (20th Century), of Savoonga, Saint Lawrence Island, Alaska. This important Alaska Native artist specialized in pen and ink, as well as scrimshaw work, and has pieces in the Smithsonian's National Museum of the American Indian. The work measures approximately 30" x 37".

A superb original mixed media artwork rendered in pencil, ink, and watercolor on paper, by James Kivetoruk Moses (Inupiaq, 1903-1982), one of the most coveted of top-tier Alaska Native artists by contemporary collectors. Moses spent the first half of his life as a subsistence hunter, but after a debilitating airplane crash in 1953 left him unable to continue hunting, he began a second career as an artist. Collectors and scholars have praised him not only for the drama but also for the anthropological accuracy of his work. This dramatic scene of a successful seal hunt by a polar bear and her cub shows why his work is held in such high esteem and is represented in the Smithsonian National Museum of the American Indian. Note the detail of the kayak hunter stealthily stalking the bears in the middle ground. Signed by the artist in the lower left corner, the unframed work measures approximately 10" x 14".

An original oil painting by Alaska artist Norman Lowell (1927-2024). The image depicts the iconic Alaska landscape filled with spruce trees and mountain vistas, lit by the setting sun. Signed and dated c.1966 by the artist, lower left. Framed, it measures approximately 21" x 17.25" overall, with a sight view of 19.5" x 15.5".