An original charcoal drawing by acclaimed Alaska artist Norman Lowell (1927-2024), titled Along the Beach and dated 1965. Executed in monochrome, the composition depicts surf breaking against a rugged coastal outcrop beneath a dramatic, wind-swept sky. Lowell employs strong tonal contrasts and confident draftsmanship to convey both the physical force of the sea and the atmospheric drama of the shoreline, transforming a simple coastal subject into a study of movement, light, and texture. The drawing dates to an important period in Lowell's Alaska career. After relocating north with his family in the 1950s, Lowell established a homestead overlooking the Anchor River near Anchor Point and devoted his life to documenting Alaska's landscapes through art. Working from field sketches gathered during extensive travels throughout the state, he developed a body of work that would make him one of Alaska's most widely recognized and collected artists. Drawings such as Along the Beach reveal the foundation of that practice, demonstrating the observational skill and command of atmosphere that later defined his paintings in oil, acrylic, watercolor, pastel, and other media. Over the following decades, Lowell's homestead evolved into the Norman Lowell Gallery, a destination that today preserves hundreds of works spanning his artistic career. Created during the formative years of his life in Alaska, this charcoal seascape offers an early example of the artist's enduring fascination with the state's untamed landscapes and changing light. Titled lower left, signed and dated lower right. Housed in a simple dark frame measuring approximately 25" x 31" overall with a sight view of 18.25" x 24.25".

Three original mixed-media works on prepared animal hide by celebrated Inupiaq artist George Aden Ahgupuk (1911-2001), known as "Twok." Working from his home in Shishmaref, Alaska, Ahgupuk became one of the twentieth century's most recognized Inupiaq artists, producing detailed drawings and paintings that documented traditional subsistence activities and daily life in Arctic Alaska. His works are represented in numerous museum and institutional collections and are valued for their ethnographic authenticity as well as their artistic merit. This group comprises three miniature scenes rendered directly on prepared hide, a surface frequently associated with Ahgupuk's work. Subjects include an Inupiaq hunter ice fishing beside his sled and gear, a dog team traveling across an Arctic landscape, and a camp scene populated by sled dogs beneath a warm-toned northern sky. Executed with delicate linework and restrained coloration, the compositions reflect Ahgupuk's lifelong interest in preserving and depicting the lived experiences of Alaska Native communities. One example is signed lower right. Each piece is bordered by a woven darker dyed seal gut trim and measures approximately 3.5" x 5.5".

An original ink and wash drawing on prepared animal hide by renowned Inupiaq artist George Aden Ahgupuk (1911-2001), signed and dated 1950. The highly detailed composition depicts a traditional elevated log cache standing within a winter landscape, surrounded by spruce, brush, and utilitarian equipment including a sled and canoe. Beyond the settlement rise rounded mountain forms rendered in soft tonal washes, creating a distinctly northern sense of place. Working from his home in Shishmaref, Ahgupuk became one of Alaska's most important twentieth-century Indigenous artists, documenting traditional Inupiaq life through detailed drawings and paintings executed on paper, walrus hide, and other unconventional supports. His works are valued not only for their artistic accomplishment but also for their visual record of subsistence practices, architecture, and daily life in Arctic Alaska. Here, the elevated cache—an essential feature of northern food storage and camp life—serves as both the compositional focus and a testament to the ingenuity of traditional Arctic living. Signed and dated lower right, "George Ahgupuk, Eskimo Artist, 1950." The work measures approximately 10" x 12".

Two original mixed-media portraits on prepared animal hide by Inupiaq artist George Aden Ahgupuk (1911-2001). Working from Shishmaref, Ahgupuk became one of Alaska's most important Indigenous artists, producing detailed depictions of Inupiaq people, subsistence activities, and daily life on distinctive supports including walrus, seal, moose and other prepared animal skins- in addition to more common works on paper. The first portrait depicts a hunter dressed in a fur-lined parka and holding a traditional harpoon, while the second portrays a young woman in winter clothing framed by a fur ruff. Both works combine delicate ink linework with subtle watercolor washes, emphasizing facial features and traditional attire against softly toned backgrounds. The use of prepared hide as a painting surface reflects a medium closely associated with Ahgupuk's work and contributes to the distinctive character of the pieces. Each artwork is finished with a woven dark dyed seal gut border The portrait of the woman exhibits an area of discoloration in the upper left corner as photographed. Each measures approximately 7.25" x 5.75".

A finely carved walrus tusk sculpture depicting a ceremonial Yup'ik dancer elevated above a seated drummer. The upper figure holds a pair of dance fans accented with radiating baleen elements, while the lower figure cradles a drum, creating a dynamic vertical composition that reflects traditional dance and musical performance. Both figures feature polished surfaces and inlaid baleen eyes. Mounted on a circular polished baleen base and signed on the underside by Yup'ik artist Frank S. Pierce of Sheldon Point, Alaska. Measures approximately 1.5" x 1.75" x 3.25" tall.

A group of four original ink drawings on prepared animal hide by noted Inupiaq artist George Aden Ahgupuk (1911-2001). Working from Shishmaref, Ahgupuk became one of the most recognizable Alaska Native artists of the twentieth century, celebrated for his detailed depictions of traditional Arctic life rendered on unusual supports including walrus hide and other prepared animal skins. The drawings portray scenes drawn from the coastal subsistence culture of Northwest Alaska, including a polar bear hunt among drifting ice, a dog team hauling a skin boat across the tundra, a shoreline camp with sled dogs and umiaks, and a raised cache structure overlooking a broad Arctic landscape. Executed with confident linework and subtle tonal shading, the compositions reflect Ahgupuk's distinctive ability to document everyday northern life while conveying a strong sense of place and atmosphere. Each work is signed lower right, mounted within a woven dark seal gut border, and measures approximately 3.5" x 5.5".

An original oil painting on board by Alaska artist Joan Arend Kickbush (1926-2006), depicting an Alaska Native mother seated with her two children in a quiet family moment. One child cradles a doll while the mother gestures toward the ground, creating an intimate domestic scene rendered with the warmth and humanity that became central to the artist's work. Executed with Kickbush's characteristic palette-knife technique, the composition displays the textured surface, rich coloration, and softly modeled faces that distinguish her paintings. Kickbush is best known for her portrayals of Alaska Native children and village life. After relocating to Anchorage in 1953, she traveled extensively throughout rural Alaska, often flying with her husband, Roland "Kick" Kickbush, to remote communities where she filled sketchbooks with studies later developed into finished paintings in her studio. The Siberian Yupik village of Savoonga on St. Lawrence Island was among her favorite subjects and helped shape the imagery for which she became widely recognized. Her distinctive palette-knife method, combined with a matte wax finish, created the jewel-like surfaces that became a hallmark of her mature work. While children are the primary focus of most Kickbush paintings, compositions incorporating adult figures are encountered less frequently. This example's emphasis on the relationship between mother and children adds an additional layer of narrative interest while remaining firmly within the subject matter that established her reputation among Alaska collectors during the 1960s and 1970s. Signed lower left and dated 1969. Housed in the original frame measuring approximately 32.75" x 26.75" overall with a sight view of approximately 24" x 18".

An exceptional antique Aleut twined rye grass basket and fitted lid, finely woven in the traditional Attu style with extraordinarily tight stitching and a beautifully proportioned cylindrical form raised upon a footed base. The natural rye grass body is adorned throughout with pictorial floral decoration consisting of repeating red blossoms and green leaves embroidered with remarkable precision and arranged in continuous bands encircling both the basket and lid. Set against darker accent bands, the motifs create a harmonious composition that flows uninterrupted around the circumference and across the interior and exterior of the lid, reflecting both artistic sophistication and extraordinary technical mastery. Basketry from Attu Island represents one of the highest achievements of Alaska Native fiber art. Celebrated for their microscopic stitches and elegant forms, Attu baskets were avidly sought by collectors and museums from the late nineteenth century onward and are widely regarded among the finest basketry traditions in North America. The richly decorative pictorial floral embroidery seen here reflects a style favored during the late nineteenth and early twentieth centuries, when Aleut weavers combined astonishing technical skill with increasingly elaborate artistic expression. The present example stands apart for its exceptional fineness of weave, refined proportions, and remarkable continuity of decoration. Floral motifs extend throughout the basket and fitted domed lid, creating an unusually cohesive and visually appealing presentation. The lid terminates in a finely formed knob finial, while the diminutive scale of the basket further underscores the extraordinary dexterity and patience required of its maker. Such miniature examples with intricate polychrome decoration are highly prized among collectors of Alaska Native basketry. Examples of this caliber are increasingly scarce and are represented in major institutional collections, including the Smithsonian Institution and the Burke Museum. Combining exceptional technical execution, outstanding preservation, and beautiful pictorial floral decoration throughout, this basket represents a museum-quality example of early Attu basketry and an outstanding expression of one of Alaska's most celebrated artistic traditions. Measures approximately 3.25" in diameter by 4" high.

The Marvel Spotlight #5 comic book, published by Marvel Comics in 1972, is a historic Bronze Age comic book features the premier story arc "Ghost Rider On... A Legend Is Born!" Written by Gary Friedrich and Roy Thomas, with dynamic cover and interior art by Mike Ploog, this landmark issue introduces the iconic motorcycle-riding, flaming-skulled anti-hero. The plot delivers the definitive origin and first appearance of Johnny Blaze as the Ghost Rider, alongside the first appearance of Roxanne Simpson. Driven to despair over his adoptive father Crash Simpson's terminal illness, stunt rider Johnny Blaze makes a desperate pact with Satan (later retconned as Mephisto), inadvertently binding his soul to the demon Zarathos and transforming into the supernatural Spirit of Vengeance. This example carries a 6.5 grade from Certified Guaranty Company (CGC), with off-white to white pages, noted stress lines, creases, and a small amount of soiling. Comic: Marvel Spotlight Publisher: Marvel Comics Year: 1972 Comic #: 5 CGC #: 4715010010 Grade: 6.5 Grading Company: CGC Grader Notes: None Page Quality: Off-White to White Condition Notes: Spine stress lines; small, multiple crease cover; small, multiple crease front cover; soiling bottom back cover

The Giant-Size X-Men #1 comic book, published by Marvel Comics in 1975, is a landmark bronze age issue written by Len Wein with iconic cover and interior art by Gil Kane and Dave Cockrum. The story arc, titled "Deadly Genesis," serves as a vital turning point for the franchise as Professor Charles Xavier recruits a brand-new, international team of mutants-including the first appearances of Storm, Nightcrawler, Colossus, and Thunderbird, alongside the second full appearance of Wolverine-to rescue the original X-Men team from the living mutant island of Krakoa. This example carries a 5.5 grade from Certified Guaranty Company (CGC), with off-white to white pages, and noted stress lines and bends. Comic: Giant-Size X-Men Publisher: Marvel Comics Year: 1975 Comic #: 1 CGC #: 4715010008 Grade: 5.5 Grading Company: CGC Grader Notes: None Page Quality: Off-White to White Condition Notes: Spine stress lines; large, multiple bend front cover; finger bends back cover

A striking bolo tie featuring a large natural Alaska gold nugget mounted as the slide and paired with a classic black braided cord terminating in a pair of polished walrus tusk aiguillettes. Possessing an impressive irregular form and richly textured surface, the substantial nugget displays the rugged character and organic beauty that have long made Alaska placer gold prized by collectors and jewelers alike. The reverse is fitted with a gold-toned bolo mount, allowing the nugget itself to serve as the centerpiece of the design. Bolo ties fashioned from native gold have been popular throughout the American West and Alaska for generations, though examples incorporating genuine Alaska gold nuggets of this size are increasingly uncommon. The addition of polished walrus tusk terminals lends a distinctly northern character to the piece, combining two iconic materials associated with Alaska's natural and cultural heritage. The black braided cord measures approximately 36" in length, while the gold nugget slide, including its gold-toned backing, weighs approximately 27.31 grams. The walrus tusk aiguillettes are polished to a smooth finish and complement the rugged texture of the gold centerpiece beautifully.

The Amazing Spider-Man #50 comic book, titled "Spider-Man No More!", was published by Marvel Comics and released in July 1967. In this landmark Silver Age storyline written by Stan Lee and featuring an iconic cover and interior art by John Romita Sr. and Mike Esposito, an exhausted Peter Parker decides to abandon his superhero identity due to escalating personal pressures, Aunt May's poor health, and falling grades. This vacuum allows organized crime to erupt under the rise of a ruthless new mob boss, marking the historic first appearance of the Kingpin (Wilson Fisk), while a nostalgic reminder of Uncle Ben ultimately forces Peter to realize he must reclaim his mantle as Spider-Man. This example carries a high grade of 8.0 from Certified Guaranty Company (CGC), boasting white pages, with noted stress lines, a crease, and a bend. Comic: The Amazing Spider-Man Publisher: Marvel Comics Year: 1967 Comic #: 50 CGC #: 4715010012 Grade: 8.0 Grading Company: CGC Grader Notes: None Page Quality: White Condition Notes: spine stress lines; crease top of back cover; finger bends cover

The Silver Surfer #4 comic book, titled "Sky-Rider of the Spaceways!", was published by Marvel Comics and released in February 1969. Crafted by legendary writer Stan Lee, with dynamic pencils by artist John Buscema and inks by Sam Buscema. The plot centers on a cosmic manipulation by Loki, who tricks the Silver Surfer into attacking Asgard, culminating in a legendary, high-stakes battle between the Surfer and Thor. This issue serves as a monumental milestone in the character's story arc, notably featuring appearances by Loki, Odin, and the Hulk, alongside a backup story detailing the origin of the Watcher. This example carries a high grade of 9.0 from Certified Guaranty Company (CGC), boasting white pages, with light spine and cover wear. Comic: Silver Surfer Publisher: Marvel Comics Year: 1969 Comic #: 4 CGC #: 4715010005 Grade: 9.0 Grading Company: CGC Grader Notes: None Page Quality: White Condition Notes: Wear center of spine breaks color; wear right top of front cover

A finely carved common loon figure fashioned from walrus tusk by Inupiaq artist Lawrence "Larry" Mayac (b. 1965), depicting the iconic northern waterbird resting upon the water with its head raised and beak slightly open. The body is meticulously decorated in the species' characteristic breeding plumage, featuring finely engraved checkerboard wing panels, rows of white spotting across the back, bold striped neck collars, and radiating breast markings rendered through precise incised linework. Layered feather groups are carved in low relief to impart depth and texture, while individually defined tail feathers and vivid red eyes faithfully capture one of the common loon's most recognizable field marks. The slightly open beak evokes the haunting calls for which the species is renowned. Signed and dated July 9, 2023, on the underside by the artist. Lawrence Mayac is known for his highly detailed walrus ivory carvings depicting Arctic wildlife, with careful attention paid to natural anatomy and scrimshaw decoration. Measures approximately 5" long × 2" wide × 2" tall.

The Incredible Hulk #4 comic book is a landmark superhero comic book published by Marvel Comics in November 1962. Written by the legendary Stan Lee and brought to life through the iconic pencils of Jack Kirby and inks of Dick Ayers, this Silver Age key issue features two complete, feature-length thrillers. In the primary story arc, "Beauty and the Beast!," the underground warlord Tyrannus kidnaps Betty Ross, trapping the Hulk in his subterranean kingdom and forcing him to do his bidding. The second story, "The Hordes of General Fang!," follows the Hulk as he thwarts a tyrant's conquest in Asia, famously disguising himself as the Abominable Snowman. Notably, this milestone issue also retells the crucial origin story of the Incredible Hulk. This example carries a grade of 4.0 from Certified Guaranty Company (CGC), boasting white pages, with spine breaks and cover creases as shown. Comic: The Incredible Hulk Publisher: Marvel Comics Year: 1962 Comic #: 4 CGC #: 4715009010 Grade: 4.0 Grading Company: CGC Grader Notes: None Page Quality: White Condition Notes: Wear spine breaks color; multiple crease cover breaks color

The X-Men #1 comic book, titled "The Strangest Super-Heroes of All!" was published by Marvel Comics and released in September 1963, standing as a foundational milestone of the Silver Age of comic books. Written by the legendary Stan Lee and illustrated with dynamic cover art and interior pencils by Jack Kirby, the narrative chronicles the origin and inaugural assembly of the strangest super-heroes of all!". Driven by their mentor, Professor Charles Xavier, a team of five uniquely gifted teenagers-Cyclops, Iceman, Angel, Beast, and Marvel Girl-must master their mutant abilities within the walls of Xavier's School for Gifted Youngsters. The team is quickly deployed on their very first high-stakes mission to stop their ultimate nemesis, the master of magnetism known as Magneto, from executing a hostile takeover of a military rocket base at Cape Citadel. This example carries a grade of 3.5 from Certified Guaranty Company (CGC), boasting off-white to white pages, with a few tears and creases as shown. Comic: The X-Men Publisher: Marvel Comics Year: 1963 Comic #: 1 CGC #: 4715010013 Grade: 3.5 Grading Company: CGC Grader Notes: None Page Quality: Off-White to White Pages Condition Notes: tear with crease left center of back cover; chip out left bottom of front cover; small, multiple crease cover

The Amazing Spider-Man #14 comic book, features a historic storyline written by Stan Lee and beautifully illustrated with cover and interior art by Steve Ditko. The plot introduces a mysterious new villain when the Green Goblin heads to Los Angeles to propose a Hollywood movie deal to the Enforcers and Spider-Man as a trap; however, the situation quickly escalates into a battle royal when the web-slinger accidentally stumbles into a desert cave hiding The Incredible Hulk, marking the historic first meeting and crossover battle between the two powerhouses. Published by Marvel Comics and released in July 1964. This example carries a grade of 6.0 from Certified Guaranty Company (CGC), boasting off-white to white pages, with spine stress, a finger bend, and a crease as shown. Comic: The Amazing Spider-Man Publisher: Marvel Comics Year: 1964 Comic #: 14 CGC #: 4715010007 Grade: 6.0 Grading Company: CGC Grader Notes: None Page Quality: Off-White to White Condition Notes: Spine stress lines breaks color; finger bends cover; readers crease full left of front cover

A handsome carved walrus tusk figure depicting a narwhal in profile, portrayed with a gracefully arched body, broad paddle-like flippers, and a bifurcated tail fluke. The elongated tusk is fashioned from dark baleen and projects prominently from the head, emphasizing one of the Arctic whale's most distinctive features. The upper surface is decorated with delicate scrimshaw stippling and shading that transitions naturally into the polished white underside, creating a pleasing contrast and lending depth to the sculpture. Additional engraved details define the eyes, mouth, flippers, and tail, while the streamlined form conveys the effortless motion of a swimming animal. Executed with appealing simplicity and natural proportions, the piece captures the distinctive silhouette of the "unicorn of the sea," one of the most recognizable marine mammals of the Arctic. Measures approximately 9" long × 3.5" wide × 1.5" tall.

The Amazing Spider-Man #129 historic Bronze Age comic book, titled "The Punisher!" was published by Marvel Comics and released in February 1974. The groundbreaking plot introduces a gun-toting, ex-Marine vigilante named Frank Castle, known as The Punisher, who is tricked by the villainous Jackal into believing that Spider-Man is a cold-blooded criminal who needs to be permanently eliminated. Written by Gerry Conway, with interior pencils by Ross Andru and a striking cover illustrated by Gil Kane and John Romita Sr., this issue serves as a monumental milestone for the Marvel Universe by establishing both the Punisher's deadly anti-hero methodology and the first appearance of the Jackal, who would later mastermind the infamous Clone Saga. This example carries a grade of 4.0 from Certified Guaranty Company (CGC), boasting white pages, with pen marks, spine stress, and finger bends as shown. Comic: The Amazing Spider-Man Publisher: Marvel Comics Year: 1974 Comic #: 129 CGC #: 4715010003 Grade: 6.0 Grading Company: CGC Grader Notes: None Page Quality: Off-White to White Condition Notes: Writing in pen interior back cover; spine stress lines breaks color; finger bends cover

A Daredevil #1 comic book, titled "The Man Without Fear!" was published by Marvel Comics and released in April 1964. Written by legendary creator Stan Lee and brought to life with artwork by Bill Everett and Jack Kirby, the historic plot establishes the definitive origin story of Matt Murdock, a young man blinded by radioactive waste that simultaneously heightens his remaining senses to a superhuman radar-like level. Following the tragic murder of his father, prizefighter "Battling Jack" Murdock, Matt utilizes his enhanced faculties and acrobatic mastery to fashion a yellow-and-black costume, setting out on a quest for justice against his father's killers led by the Fixer. This landmark issue functions as a crucial cornerstone for the Marvel Universe by marking the first appearances and foundational story arcs of Matt Murdock, his legal partner Foggy Nelson, and their iconic secretary and love interest Karen Page. This example carries a grade of 3.0 from Certified Guaranty Company (CGC), boasting white pages, with spine stress, creases, bends, and tears as shown. Comic: Daredevil Publisher: Marvel Comics Year: 1964 Comic #: 1 CGC #: 4715010009 Grade: 3.0 Grading Company: CGC Grader Notes: None Page Quality: White Condition Notes: Spine stress lines; multiple crease cover; finger bends cover; small, multiple tear cover