Three St. Lawrence Island Eskimo net-weight artifacts carved from beautifully mineralized walrus tusk, nineteenth century or earlier and possibly Thule, a tradition spanning approximately AD 1000–1700. Their elongated, tapering bodies preserve different arrangements for attaching a line, while cream, honey, amber and deep brown surfaces give each a distinct character. A handwritten collection tag, “R-129 (B) / Net Weights,” identifies the group, and their construction corresponds to documented Bering Strait tusk sinkers. The cream-colored weight is the fullest in section, with an asymmetrical body tapering to a pierced end. Its smooth outer surface gives way to a broader exposed internal grain on one face. The long, darker weight has a narrow opening at each end, allowing it to be secured along the lower edge of a net. Contrasting honey and cream patches interrupt the deep brown surface. The amber-colored companion broadens through its middle, with a transverse hole near one pointed end and a shallow oval recess near the other. Unlike the pierced end, the recess does not visibly pass through the tusk. Edward William Nelson illustrated related elongated walrus tusk sinkers in The Eskimo About Bering Strait, plate LII, figures 17–18 and 20. His account records their use along the lower edge of seal nets, showing that the identification need not be restricted to fishing equipment. Their collection on St. Lawrence Island places them within the island’s marine-hunting environment. Condition includes polished wear, scratches, small pits, localized flaking and worn hole edges. A fine lengthwise surface line appears on the amber example, with small chips around its oval recess. The cream-colored weight measures approximately 4.25 inches long × 1 inch wide × 1 inch high. Provenance: From the collection of Karl R. Reinhard, D.V.M., Ph.D.; subsequently by family descent. A veterinarian and microbiologist whose field career extended from New Guinea to Alaska, Reinhard served with the United States Public Health Service beginning in 1951. During health-study visits to St. Lawrence Island between 1954 and 1960, he developed lasting friendships with residents of Gambell and Savoonga and assembled a collection of Indigenous artwork and historic objects. He remembered these years as the “golden period” of his career and later drew upon them for People of the Squeezed-Out Land: The Art and Times of an Eskimo Artist, an unpublished manuscript preserved in an annotated April 1975 draft. According to information provided by Reinhard’s family, the collection was exhibited at the University of Nebraska State Museum in Lincoln, Nebraska, in 1993–94. Auction Estimate: $200–$300.

Two Old Bering Sea Eskimo adze head artifacts from St. Lawrence Island, carved from mineralized walrus tusk. One is long and elegantly tapered, with finely organized geometric engraving; the other has a bold animal-like form, its raised rounded features standing out against deeply cut recesses. Both were made to hold a cutting blade and wooden handle, bringing accomplished carving to the working parts of a woodworking tool. The elongated head retains its overall form, with a broad, slightly upturned heel, shallow waist and pointed terminal. Angular bands, nested V forms, a narrow diamond and small pits decorate the terminal and continue around the sides. The crisp organization of these motifs emphasizes the taper and lends considerable visual refinement to an otherwise utilitarian implement. Opposing worked surfaces seated the blade and wooden handle, which were secured with lashings. The darker head is the more striking sculptural example. Two prominent rounded bosses flank the central seat, while paired tapered projections spread around a deep V-shaped interval. Seen from the end, these elements suggest bulging eyes beneath horns or ears, giving the tool a powerful animal-like presence. The deliberate interplay of raised forms and deep recesses distinguishes it from a conventional adze head. An especially relevant comparison appears in Henry B. Collins’s Archeology of St. Lawrence Island, Alaska (1937), plate 46, figure 3. That adze head has raised circular bosses, an opposed handle seat and blade bed. Collins recorded lashings passing around the bosses, showing how sculptural features could also secure the working assembly. The raised bosses and deeply divided form make this a particularly close comparison for the present figural head. Both show checks, abrasions and localized losses. The darker head has extensive surface weathering and an incomplete terminal, with rough, layered areas contrasting against surviving polished amber surfaces. Round openings are visible at the sides of its bosses. Neither retains a blade or handle. The elongated head measures approximately 5 inches long × 1.75 inches wide × 1 inch high. Provenance: From the collection of Karl R. Reinhard, D.V.M., Ph.D.; subsequently by family descent. A veterinarian and microbiologist whose field career extended from New Guinea to Alaska, Reinhard served with the United States Public Health Service beginning in 1951. During health-study visits to St. Lawrence Island between 1954 and 1960, he developed lasting friendships with residents of Gambell and Savoonga and assembled a collection of Indigenous artwork and historic objects. He remembered these years as the “golden period” of his career and later drew upon them for People of the Squeezed-Out Land: The Art and Times of an Eskimo Artist, an unpublished manuscript preserved in an annotated April 1975 draft. According to information provided by Reinhard’s family, the collection was exhibited at the University of Nebraska State Museum in Lincoln, Nebraska, in 1993–94. Auction Estimate: $800–$1,200.

Two pre-contact Bering Sea coast bear effigy artifacts, late Punuk (circa AD 800–1400) or Thule (circa AD 1000–1700), carved from beautifully mineralized walrus tusk. Collected on St. Lawrence Island, the bears share long backs, lowered heads and compact legs. The larger has a weightier, rounded body, while the smaller stretches into a slender, tapering profile; these differences give each animal its own character. The larger bear has a gently arched back and a shallow opening beneath the body, with two transverse leg units establishing its stance. Its head reaches forward and downward, concentrating expression in the neck and snout. Mottled secondary dentine along the flank contrasts with smoother cream-colored surfaces above, revealing the distinctive internal structure of walrus tusk. The smaller bear is more slender, with a sharply tapering snout, warm honey coloration and dark longitudinal checks. Together, the figures demonstrate how much movement and animal character a skilled carver could convey with restrained modeling. Both retain their carved leg forms and recognizable outlines. Surface wear, scratches and checking are present, with a localized pale-edged loss at the smaller bear’s upper rear. The larger measures approximately 5 inches long × 1.25 inches wide × 1.5 inches high. Provenance: From the collection of Karl R. Reinhard, D.V.M., Ph.D.; subsequently by family descent. A veterinarian and microbiologist whose field career extended from New Guinea to Alaska, Reinhard served with the United States Public Health Service beginning in 1951. During health-study visits to St. Lawrence Island between 1954 and 1960, he developed lasting friendships with residents of Gambell and Savoonga and assembled a collection of Indigenous artwork and historic objects. He remembered these years as the “golden period” of his career and later drew upon them for People of the Squeezed-Out Land: The Art and Times of an Eskimo Artist, an unpublished manuscript preserved in an annotated April 1975 draft. According to information provided by Reinhard’s family, the collection was exhibited at the University of Nebraska State Museum in Lincoln, Nebraska, in 1993–94. Auction Estimate: $1,000–$1,500.

Two pre-contact engraved archery wrist-guard or bracer artifacts from St. Lawrence Island, carved from mineralized walrus tusk of the Punuk or Thule period, approximately AD 800–1400 and AD 1000–1700, respectively. Their curved forms and fastening apertures allowed them to be secured against the inner forearm, protecting the archer from the returning bowstring. Each combines that practical function with a different arrangement of carefully incised geometric ornament. The larger is oval and gently waisted, with a convex outer face and concave reverse. Opposed slots near the waist provided attachment points for a strap. Successive engraved borders surround a broad plain field, their short crosscuts creating a brick-like pattern that follows the outline. Henry B. Collins illustrated a closely related guard collected at Savoonga in Archeology of St. Lawrence Island, Alaska (1937), plate 74, figure 24. Collins’s historic example documents the enduring usefulness of this form on the island. The smaller is more densely ornamented, with a straight upper edge and a tapering, rounded lower end. Transverse bands and rows of circular recesses lead into nested V-shaped lines, small pendant strokes and a central branching motif. The pattern makes rich use of the narrow surface, with the darker incisions contrasting against the varied mineralized tusk. Slots and holes at the ends preserve evidence of its original fastening, although one opening has broken through the edge. Its decoration is particularly consistent with the Punuk tradition. The smaller bracer has a historic break with a visible adhesive repair along one side. The former owner identified the repair adhesive as instant glue. Both show scratches, checking and edge losses, and the larger has a check near one end. A separate collection tag reads “R-137 (a) / Archer’s Wrist Protector.” The larger measures approximately 4.5 inches long × 1.5 inches wide. Provenance: From the collection of Karl R. Reinhard, D.V.M., Ph.D.; subsequently by family descent. A veterinarian and microbiologist whose field career extended from New Guinea to Alaska, Reinhard served with the United States Public Health Service beginning in 1951. During health-study visits to St. Lawrence Island between 1954 and 1960, he developed lasting friendships with residents of Gambell and Savoonga and assembled a collection of Indigenous artwork and historic objects. He remembered these years as the “golden period” of his career and later drew upon them for People of the Squeezed-Out Land: The Art and Times of an Eskimo Artist, an unpublished manuscript preserved in an annotated April 1975 draft. According to information provided by Reinhard’s family, the collection was exhibited at the University of Nebraska State Museum in Lincoln, Nebraska, in 1993–94. Auction Estimate: $300–$500.

Two St. Lawrence Island drum handle artifacts carved from mineralized walrus tusk: a richly colored, finely engraved pre-contact Thule example, circa AD 1000–1700, and a plainer utilitarian handle likely dating to the nineteenth century or earlier. Their contrasting decoration and surfaces distinguish two expressions of the same practical form. Stepped rim seats, projecting tongues and extended grips closely resemble the drum handles illustrated by Henry B. Collins in Archeology of St. Lawrence Island, Alaska (1937), plate 81, figures 2–6. The Thule handle has a broad, gently curved grip with deep amber and dark brown coloration, stepping into a recessed seat and a narrow, rounded terminal projection. Paired engraved borders frame a central line with short branching strokes, while transverse bands and a nested angular motif continue the decoration behind the terminal. The fine incisions follow the changing contours, bringing a measured rhythm to the grip and emphasizing the transition from handhold to attachment. Short branching strokes enliven the long engraved borders. The later handle has a flattened grip pierced near its rounded end. Its thicker forward section is cut with an offset shoulder and a deep notch between unequal projections, including a long tapered tongue. The smooth cream and tan outer surface contrasts with exposed internal tusk structure along the reverse. Without the elaborate engraving of its companion, it places greater visual emphasis on the shaped grip and carefully cut attachment surfaces. Handles of this family were secured to bentwood drum hoops. The carved seats and projecting portions positioned the rim, while lashings held the assembly together, allowing the player to support and control the drum by its extended grip. Together, these examples illustrate the persistence of an effective construction across different periods, as well as the individual care given to its decoration. Neither retains a hoop or original lashing. The Thule handle has a substantial loss at the broad grip end, leaving a short projecting remnant, together with dark adhering deposits, surface wear, fine scratches and checks. The paler handle shows longitudinal checking near the pierced end and along an edge. The larger measures approximately 7.25 inches long × 1.5 inches wide × 1 inch high. Provenance: From the collection of Karl R. Reinhard, D.V.M., Ph.D.; subsequently by family descent. A veterinarian and microbiologist whose field career extended from New Guinea to Alaska, Reinhard served with the United States Public Health Service beginning in 1951. During health-study visits to St. Lawrence Island between 1954 and 1960, he developed lasting friendships with residents of Gambell and Savoonga and assembled a collection of Indigenous artwork and historic objects. He remembered these years as the “golden period” of his career and later drew upon them for People of the Squeezed-Out Land: The Art and Times of an Eskimo Artist, an unpublished manuscript preserved in an annotated April 1975 draft. According to information provided by Reinhard’s family, the collection was exhibited at the University of Nebraska State Museum in Lincoln, Nebraska, in 1993–94. Auction Estimate: $400–$600.

Three pre-contact Thule handle artifacts from the Bering Sea coast, circa AD 1000–1700, carved from mineralized walrus tusk and collected on St. Lawrence Island. The group includes a surviving drum-handle section, a knife handle and a broader pierced handle or fitting of unresolved specific use. Fine engraved and inlaid geometric decoration gives these practical objects a richness that rewards close examination. The slender drum-handle section has a long, tapered opening at one end and a rounded grip below, with converging lines following the sides. The shorter knife handle carries especially clear nested chevrons, a transverse dividing band and long lines converging toward a short terminal projection. Its opposite end is broken. The broadest piece has two round perforations along its centerline. Rectangular fields, short pendant strokes and a pointed central oval organize the decorated face, while three unequal remnants project from the broken broader end. The three pieces preserve distinct arrangements of geometric ornament, integrating carefully composed decoration with grips, attachment points and working surfaces. Condition includes terminal losses, fine cracks, scratches, adhering deposits and localized flaking. The largest measures approximately 5.75 inches long × 1.25 inches wide. Provenance: From the collection of Karl R. Reinhard, D.V.M., Ph.D.; subsequently by family descent. A veterinarian and microbiologist whose field career extended from New Guinea to Alaska, Reinhard served with the United States Public Health Service beginning in 1951. During health-study visits to St. Lawrence Island between 1954 and 1960, he developed lasting friendships with residents of Gambell and Savoonga and assembled a collection of Indigenous artwork and historic objects. He remembered these years as the “golden period” of his career and later drew upon them for People of the Squeezed-Out Land: The Art and Times of an Eskimo Artist, an unpublished manuscript preserved in an annotated April 1975 draft. According to information provided by Reinhard’s family, the collection was exhibited at the University of Nebraska State Museum in Lincoln, Nebraska, in 1993–94. Auction Estimate: $400–$600.

Two pre-contact Thule artifacts from the Bering Sea coast, carved from mineralized walrus tusk: a winged harpoon counterbalance and a smaller cord-bearing fitting or handle. The Thule tradition spans approximately AD 1000–1700. Collected on St. Lawrence Island, the pair combines a recognizable hunting implement with a finely worked object whose precise original use remains unresolved. The counterbalance, also known as a winged object, retains one sweeping wing beside a narrow central projection; the opposite wing is missing. Surviving curved engraving crosses the base, echoing the upward sweep of the wing. A substantial basal socket received the harpoon shaft, with small side openings providing attachment points. Despite its loss, the object retains a strong silhouette and handsome brown-to-amber surface coloration. The smaller fitting has two rounded lobes joined by a narrow arched bridge. Thin elongated slots provide attachment points, while a transverse passage through the bridge supports its identification as a cord-bearing fitting or handle. Paired circular recesses in the lobes and three more across the center create a balanced decorative arrangement. Collins illustrates socketed walrus tusk fittings of unresolved function in Archeology of St. Lawrence Island, Alaska (1937), plate 82, figures 27–29, placing the present object within a documented group of ingeniously worked attachment components. Condition includes the counterbalance’s missing wing, pitting, surface erosion and checks around its base, with scratches and localized roughness to the smaller fitting. The counterbalance measures approximately 3 inches wide × 1 inch deep × 2.75 inches high. Provenance: From the collection of Karl R. Reinhard, D.V.M., Ph.D.; subsequently by family descent. A veterinarian and microbiologist whose field career extended from New Guinea to Alaska, Reinhard served with the United States Public Health Service beginning in 1951. During health-study visits to St. Lawrence Island between 1954 and 1960, he developed lasting friendships with residents of Gambell and Savoonga and assembled a collection of Indigenous artwork and historic objects. He remembered these years as the “golden period” of his career and later drew upon them for People of the Squeezed-Out Land: The Art and Times of an Eskimo Artist, an unpublished manuscript preserved in an annotated April 1975 draft. According to information provided by Reinhard’s family, the collection was exhibited at the University of Nebraska State Museum in Lincoln, Nebraska, in 1993–94. Auction Estimate: $600–$800.

Two Bering Sea coast knife handle artifacts carved from mineralized walrus tusk and collected on St. Lawrence Island. Both date to the nineteenth century or earlier. The latter’s freely moving carved link is a particularly accomplished feature, introducing an articulated element into the otherwise restrained form of a working tool. The longer handle has a slightly waisted grip and a pointed, leaf-shaped blade seat. A deep longitudinal slit received the cutting blade, while a transverse hole provided a fastening point. At the butt, a rectangular loop holds a captive pear-shaped link. Carving and freeing such a link while preserving the surrounding loop required careful planning and controlled cutting, making this handle a striking expression of the maker’s skill. The shorter handle has a pierced butt, an offset shoulder and two unequal terminal projections, with small side openings for fastening. Its compact proportions and deeply colored surface offer an effective contrast to the longer handle’s flowing outline and warm cream-to-honey tones. Neither retains its cutting blade. Both show scratches, checks and localized losses, including fine cracks near the articulated butt and small losses along the darker handle’s projection. The longer handle measures approximately 6.5 inches long × 1 inch wide. Provenance: From the collection of Karl R. Reinhard, D.V.M., Ph.D.; subsequently by family descent. A veterinarian and microbiologist whose field career extended from New Guinea to Alaska, Reinhard served with the United States Public Health Service beginning in 1951. During health-study visits to St. Lawrence Island between 1954 and 1960, he developed lasting friendships with residents of Gambell and Savoonga and assembled a collection of Indigenous artwork and historic objects. He remembered these years as the “golden period” of his career and later drew upon them for People of the Squeezed-Out Land: The Art and Times of an Eskimo Artist, an unpublished manuscript preserved in an annotated April 1975 draft. According to information provided by Reinhard’s family, the collection was exhibited at the University of Nebraska State Museum in Lincoln, Nebraska, in 1993–94. Auction Estimate: $500–$700.

An exceptional full-length sled runner artifact from St. Lawrence Island, likely dating to the sixteenth through nineteenth century, crafted from a substantial longitudinal section of mineralized walrus tusk. At approximately 23.25 inches long, its preserved outline offers an unusually clear view of the ingenuity with which Arctic makers converted available materials into effective transport equipment. The broad end is rounded, while the opposite end narrows to a gently rising point. Cream-colored outer tusk frames honey-brown, tightly mottled secondary dentine across the broad face. The material’s natural structure becomes an arresting part of the object’s appearance, complementing its long, purposeful form. A row of nine enclosed perforations runs along one edge, with an additional attachment hole opened through the margin near the broad end. Lashings secured the sled framework along this pierced edge, while the opposite edge served as the running surface. Such construction combined hard, smooth runners with a lashed wooden framework to carry supplies and harvested resources across snow and ice. Murdoch’s figure 358 illustrates a complete small sled with walrus tusk runners, wooden cross-members and baleen lashings, providing a useful historical comparison for the construction. The present runner’s full length and substantial scale give it particular interest as a surviving component of this resourceful transport technology. The overall form survives with edge losses, longitudinal checking, an opened attachment hole and localized surface irregularities. Approximately 23.25 inches long × 1 inch thick × 2.5 inches across the broad face. Provenance: From the collection of Karl R. Reinhard, D.V.M., Ph.D.; subsequently by family descent. A veterinarian and microbiologist whose field career extended from New Guinea to Alaska, Reinhard served with the United States Public Health Service beginning in 1951. During health-study visits to St. Lawrence Island between 1954 and 1960, he developed lasting friendships with residents of Gambell and Savoonga and assembled a collection of Indigenous artwork and historic objects. He remembered these years as the “golden period” of his career and later drew upon them for People of the Squeezed-Out Land: The Art and Times of an Eskimo Artist, an unpublished manuscript preserved in an annotated April 1975 draft. According to information provided by Reinhard’s family, the collection was exhibited at the University of Nebraska State Museum in Lincoln, Nebraska, in 1993–94. Auction Estimate: $400–$600.

A historic Siberian Yupik wooden urinal from St. Lawrence Island, probably nineteenth century and possibly earlier, hollowed from a single block of wood into a substantial rounded rectangular bowl. A warm, rich dark brown patina extends across the exterior, while extensive calcified deposits line the interior, preserving tangible evidence of the vessel’s place in daily household life. Thick walls, a gently spreading rim and a recessed lower shoulder give the bowl its compact, carefully balanced form. Broad bands of amber and dark brown grain follow the exterior, emphasizing the continuous wood from which it was carved. The sides taper toward a smaller flat base, with a shallow step distinguishing the body from its resting surface. Facets and irregular tool marks remain visible within the hollowed interior. Its utilitarian purpose gives this object a different kind of historical significance from the collection’s hunting implements and carvings. The effort devoted to hollowing and shaping a single block records the same practical woodworking skill applied to an intimate necessity of domestic life. A photographed historic inventory tag reads “R-4 / Oval Bowl / Block carved / Urinal.” The interior deposits are cracked and locally flaking. Exterior wear includes rubbing, scratches, small edge abrasions and scattered accretions, consistent with its history as a working household vessel. Approximately 8.5 × 7.5 inches × 3.5 inches high. Provenance: From the collection of Karl R. Reinhard, D.V.M., Ph.D.; subsequently by family descent. A veterinarian and microbiologist whose field career extended from New Guinea to Alaska, Reinhard served with the United States Public Health Service beginning in 1951. During health-study visits to St. Lawrence Island between 1954 and 1960, he developed lasting friendships with residents of Gambell and Savoonga and assembled a collection of Indigenous artwork and historic objects. He remembered these years as the “golden period” of his career and later drew upon them for People of the Squeezed-Out Land: The Art and Times of an Eskimo Artist, an unpublished manuscript preserved in an annotated April 1975 draft. According to information provided by Reinhard’s family, the collection was exhibited at the University of Nebraska State Museum in Lincoln, Nebraska, in 1993–94. Auction Estimate: $300–$500.

An elaborately decorated Siberian Yupik Eskimo miniature seal gut parka from St. Lawrence Island, early to mid-twentieth century, with a shaped hood, short outstretched sleeves and carefully arranged feather ornaments. At approximately 11 inches long, it reproduces the fitted construction and rich surface detail of a full-size garment on a remarkably small scale. The delicacy of the membrane, precision of the sewing and extent of the ornament make this an especially compelling example of clothing as functional art. Narrow horizontal bands of cream-colored seal gut form the body and sleeves, while converging seams shape the hood and its pointed panel beneath the face opening. On both front and back, fifteen gray-white, dark-tipped feather tufts are arranged in five rows of three, each secured beneath a narrow red tab. Matching accents continue around the sleeves. Red binding frames the face opening, with conspicuous pale stitches, and short, dense fur borders the cuffs and hem. Every decorative element is integrated with the garment’s structure, giving its small surface an unusually elaborate and disciplined design. Prepared seal intestine provided a lightweight, naturally water-resistant material for protective outer clothing. Turning it into a garment required careful cleaning, preparation, cutting and sewing, with the seams as important to its performance as the membrane itself. This parka brings that practical knowledge together with an evident pleasure in ornament: a sophisticated use of animal materials in which utility and beauty are inseparable. Fragile gut garments are scarce survivors, and the extensive embellishment gives this example particular interest. Its dimensions leave several possible original purposes: a garment or keepsake for a newborn, a display or trade piece, or clothing for a large doll. A family gift is an appealing possibility, but no specific recipient or use is recorded. Reinhard’s manuscript describes elaborately dressed miniature figures with gut outer garments, placing work of this scale within the island’s sewing traditions without settling the purpose of this particular example. The membrane shows fine creasing, uneven cream-to-yellow coloration and scattered small brown marks, most noticeable on one sleeve in the reverse view. The hood is photographed over a modern foam support; concealed repairs and complete seam integrity have not been established from the photographs. Measures approximately 11" in total length, 7.5" across the chest and 6" between the shoulders, with sleeves approximately 3.5" long. Provenance: From the collection of Karl R. Reinhard, D.V.M., Ph.D.; subsequently by family descent. A veterinarian and microbiologist whose field career extended from New Guinea to Alaska, Reinhard served with the United States Public Health Service beginning in 1951. During health-study visits to St. Lawrence Island between 1954 and 1960, he developed lasting friendships with residents of Gambell and Savoonga and assembled a collection of Indigenous artwork and historic objects. He remembered these years as the “golden period” of his career and later drew upon them for People of the Squeezed-Out Land: The Art and Times of an Eskimo Artist, an unpublished manuscript preserved in an annotated April 1975 draft. According to information provided by Reinhard’s family, the collection was exhibited at the University of Nebraska State Museum in Lincoln, Nebraska, in 1993–94. Auction Estimate: $800–$1,200.

A group of nineteenth- to early twentieth-century Siberian Yupik Eskimo adze handles and components from St. Lawrence Island. Two weathered driftwood handles survive, one still connected to a walrus tusk head by dried baleen lashing. Two separate heads, carved from mineralized marine mammal bone and walrus tusk, complete the group. The surviving joints reveal how shaped handles, hard blade holders and flexible lashings were assembled into woodworking tools. The darker driftwood handle curves strongly backward from its broad head, with rectangular lashing openings and a narrow grip turning inward at the butt. The straighter handle has a flared grip end and a stepped head, still loosely connected by the surviving baleen strip to an L-shaped walrus tusk blade-holder. The attached head has two small fastening holes, an upturned projection and a circular bearing recess on one face, recording an earlier use as part of a fire-drill apparatus. Its reuse as an adze component adds a particularly engaging example of the practical value placed on durable material. The larger separate head is carved from a substantial piece of mineralized marine mammal bone, with a broad blade seat, a narrower mounting end and pronounced longitudinal grooves. The smaller head is a handsome section of mineralized walrus tusk, with a tapered body, raised retaining lip and elongated attachment opening. In use, the mounted cutting edge worked across the handle’s axis to shape and hollow wood for equipment and other necessities. Condition includes weathering and checking to the driftwood, end losses, worn bone edges, scratches and fine checks to the tusk components, and dry, frayed baleen lashing. The attached head is loosely retained rather than securely hafted, and no cutting blades survive. The handle with attached tusk component measures approximately 9 × 1.25 × 5 inches overall. Provenance: From the collection of Karl R. Reinhard, D.V.M., Ph.D.; subsequently by family descent. A veterinarian and microbiologist whose field career extended from New Guinea to Alaska, Reinhard served with the United States Public Health Service beginning in 1951. During health-study visits to St. Lawrence Island between 1954 and 1960, he developed lasting friendships with residents of Gambell and Savoonga and assembled a collection of Indigenous artwork and historic objects. He remembered these years as the “golden period” of his career and later drew upon them for People of the Squeezed-Out Land: The Art and Times of an Eskimo Artist, an unpublished manuscript preserved in an annotated April 1975 draft. According to information provided by Reinhard’s family, the collection was exhibited at the University of Nebraska State Museum in Lincoln, Nebraska, in 1993–94. Auction Estimate: $300–$400.

A mid-twentieth-century walrus tusk hunting diorama by the late Siberian Yupik Eskimo artist Floyd Kingeekuk Sr. (1933–2006). The large work depicts a traditionally dressed hunter approaching two walruses from an ice floe. With his harpoon raised and a coil of line in his other hand, the hunter is poised at the moment before the strike. His hunting satchel rests behind him on the ice, represented by a ledge carved directly into the tusk. At approximately 9.5 inches long, the scene has a substantial presence and makes expressive use of the material’s natural sweep. The hooded parka, mittens, belt and boot tops are picked out in dark accents, while the slender harpoon and line lend delicacy to the figure. Fine, darkened ripple lines describe the water around the walruses. Their rounded muzzles have dark eyes, nostrils and stippled whisker pads, with the animals emerging at different heights. The composition gathers its activity at the broad end of the tusk, leaving an open stretch behind the hunter that emphasizes his approach. Kingeekuk was a Savoonga carver and hunter whose work drew on firsthand knowledge of St. Lawrence Island life. In a 2004 oral-history interview, he recalled joining a hunting crew as a young boy and learning the demanding work of harvesting walrus and bearded seal. That lived experience gives particular resonance to this subject. His carvings are represented in the Smithsonian’s National Museum of the American Indian, and the family’s carving tradition continued with his son Fred. Collected by 1960, this diorama belongs to the early years of the elder Kingeekuk’s career. The collection tag identifies the scene as a work by “Floyd Kingakuk,” a spelling variant of the artist’s name. “Hogarth” is written in red on the underside; its significance is unrecorded. No maker’s signature has been identified on the carving itself. One walrus retains its long, slender tusks; the other’s tusks are broken back to short stubs. Additional visible condition includes fine checks in the tusk base and raised ledge, with adhesive around the separately mounted animals. Measures approximately 9.5" long × 1.75" wide × 2" high. Provenance: From the collection of Karl R. Reinhard, D.V.M., Ph.D.; subsequently by family descent. A veterinarian and microbiologist whose field career extended from New Guinea to Alaska, Reinhard served with the United States Public Health Service beginning in 1951. During health-study visits to St. Lawrence Island between 1954 and 1960, he developed lasting friendships with residents of Gambell and Savoonga and assembled a collection of Indigenous artwork and historic objects. He remembered these years as the “golden period” of his career and later drew upon them for People of the Squeezed-Out Land: The Art and Times of an Eskimo Artist, an unpublished manuscript preserved in an annotated April 1975 draft. According to information provided by Reinhard’s family, the collection was exhibited at the University of Nebraska State Museum in Lincoln, Nebraska, in 1993–94. Auction Estimate: $600–$800.

A transformation figure carved from walrus tusk by Iñupiaq carver John I. Pullock, combining a hooded hunter and a polar bear within a single upright body. Signed beneath the oval base “John I. Pullock,” inscribed “Nome” and dated “4/95.” A human face, mitten and boot occupy one side, while an open bear’s muzzle, clawed forepaw and broad animal foot occupy the other. From the hunter’s side, the carving presents a composed face framed by the rounded opening of a parka hood. Closely crosshatched, darkened lines describe the hair above the brow, and the mitten holds a slender spear with a contrasting tan-colored point. Turn the figure toward the opposite side and the calm profile becomes a growling bear, its mouth cut open to reveal individually defined teeth against a red-brown interior. Black accents sharpen the nose and mouth; dark inset eyes punctuate both faces. The change in viewpoint is essential to the design, making the human and animal readings alternately dominant without separating them into two sculptures. Pullock also uses the tusk’s internal structure to organize the figure. Mottled secondary dentine is exposed down the front of the neck and torso and through portions of the legs, while the hood, arms and broad back retain smoother cream-colored surfaces. The rounded base repeats that contrast, its polished outer band surrounding a granular center visible underneath. The spear creates a narrow vertical line in front of the much broader figure and extends above the head. Measures approximately 2" × 3" × 7" high overall. Auction Estimate: $400–$600.

An exceptional mid-century stretch bracelet combining rich green Kobuk jade, creamy white natural walrus tusk and natural Alaskan placer gold nuggets. Each gently curved tusk panel supports a slightly smaller, bevel-edged Kobuk jade plaque, topped by a sizable natural Alaskan placer gold nugget of unique character. The contrast between these materials creates a striking statement piece of quintessential, timeless Alaskan design. An estate-fresh piece that appears gently worn, with light wear consistent with age. The bracelet presents crisp and clean, with the elastic strands holding the panels tight and snug. The panels measure approximately 1 inch high. The bracelet presently fits a wrist of approximately 7.5 inches before stretching. Auction Estimate: $500–$700.

A black argillite seal with abalone and antler inlay by Haida artist Glen Pollard (B. 1957), signed underneath the base and inscribed “Haida Seal.” The animal rests low on its flippers, its long back running almost horizontally before turning upward into a broad, alert head. A slightly raised muzzle, rounded nose and closely fitted triangular teeth give the face its character, while abalone-shell eyes flash green, blue and violet against the dark stone. Pollard treats the seal's narrow body as a pair of sculpted design surfaces. Broad, nested U-shaped forms fill the flanks, with smaller pointed divisions cut into their interiors; elongated ovoids articulate the front flippers. Fine crosshatching occupies small triangular spaces behind the head and near the flippers. These compact passages reward close inspection without interrupting the animal's clear silhouette. Polished raised contours stand out against the grayer recessed cuts, making the design legible through changes in surface and depth rather than applied color. The two sides are deliberately different. One rear quarter incorporates a small secondary face with a circular pale inset eye, while the opposite side carries a simpler divided panel. Viewed from the end, the sculpture's compressed body contrasts with the breadth of its low, rounded-oblong base. Born in Haida Gwaii in 1957, Pollard belongs to the Eagle clan of Tanu. He began drawing as a child and carving argillite as a teenager, later working in wood and silver as well. Argillite carving has a distinctive place in Haida art. The black stone used by Haida carvers is obtained from the Slatechuck area of Haida Gwaii, and carved argillite developed into an important medium for collectors' objects during the nineteenth century. Pollard's work carries that tradition into contemporary sculpture: the familiar elements of Northwest Coast formline design are translated into sharply cut relief, with abalone and antler inlay adding contrasting color and texture. Undated, late twentieth or early twenty-first century. With light handling wear and scratches, most apparent on the base and underside, and a fine surface line along the upper back. Measures approximately 5.5" long × 3.5" wide × 3" high overall. Auction Estimate: $300–$500.

Two large and impressive elongated walrus tusk panel bracelets by Iñupiaq artists Paul Tiulana (1921–1994) and Abner Noyakuk (1931–1997), both signed and assembled on paired elastic strands. Cream, honey and brown tones exude the unique warmth and varied character found in fossilized walrus tusk, with some panels exposing the naturally mottled inner structure. The contrasting colors provide a rich setting for the engraved wildlife and raised animal carvings. Tiulana’s bracelet features scrimshawed Arctic wildlife on alternating panels, including a puffin, ribbon seal, walrus and polar bear. Fine engraved lines define the animals, with touches of color enlivening the puffin. The inside of one panel is signed “Paul Tiulana.” A King Island carver, mask maker and cultural leader, Tiulana helped preserve and teach Iñupiaq traditions through art and dance and received a National Endowment for the Arts National Heritage Fellowship in 1984. Noyakuk's bracelet has rounded rectangular-to-oval tiles, several carrying projecting animal figures, including a polar bear and fish, with small dark eyes and incised details. It is signed “abner Noyakuk” on an interior panel. Noyakuk's tusk jewelry is represented in the Smithsonian National Museum of the American Indian, whose collection includes a necklace and bracelet acquired by the Indian Arts and Crafts Board in 1983. The largest tile height is recorded as approximately 2" on each bracelet, with a stated fit of up to 6.75". Both show surface wear and color variation. The Noyakuk bracelet has a conspicuous branching crack crossing a plain tile and its mottled center, with additional dark checks visible along other panel edges. The Tiulana signature is faint in places. Auction Estimate: $400–$600.

A fine matched Arctic animal-themed necklace and bracelet by Iñupiaq artist Lincoln Milligrock (1931–2010), signed and dated December 8, 1977. Cream-colored walrus tusk panels alternate with a pleasing neutral palette of tan and brown Ice Age mammoth tusk. Their contrasting tones and grain frame the small sculptural animal figures, giving them a presence that belies their size. The necklace has six animal panels along its front, depicting a walrus, a fox, seals and a pair of whales. Dark eyes and incised facial details enliven the carving, while beveled panels taper to follow the curve of the necklace. Rounded tusk beads continue around the back to an elongated screw clasp with a double-ended threaded connector. The bracelet carries the same Arctic animal themes on panels assembled with two elastic strands. Both pieces bear the artist's name, a Nome, Alaska mailing address and the date “12-8-77” on a reverse panel. Milligrock's jewelry is represented in the Smithsonian National Museum of the American Indian. Accompanied by a black presentation case. The set appears in very good overall condition, with light wear. The necklace measures approximately 19.5 inches long, and the bracelet fits a wrist up to approximately 6.25 inches. Auction Estimate: $600–$800.

Two large carved walrus tusk polar bears by prominent King Island Iñupiaq artists Paul Nattanguk (b. 1914) and the late Mike Saclamana (1935–1990). Each stands upright with an open, red-accented mouth, dark eyes and nose, and blackened claws. Their substantial scale, expressive poses and contrasting natural tusk colors give the pair a striking presence. Paul Nattanguk’s bear is carved from beautifully mineralized walrus tusk, with a creamy front giving way to rich amber and brown markings across its back and shoulders. Both forepaws rise before its rounded body, and the lifted head and broad stance give it a particularly handsome, self-assured character. It stands on a separate rounded tusk base, signed “Paul Nattanguk” along the front, with a handwritten “King Island” label underneath. The carver’s sensitive use of the mineralized material is a defining attraction of this example. Mike Saclamana’s taller bear is equally imposing, with one forepaw raised across its chest and the other lowered. Its full, rounded body and open mouth convey an animated personality, while warm natural cream tones give the polished tusk a soft glow. A vertical band of mottled secondary dentine adds subtle variation to the surface. The joined underside of the feet is signed “M. Saclamana.” Both artists belong to King Island’s distinguished carving tradition, celebrated for its expressive representations of Arctic animals. Nattanguk’s bear carvings include upright figures on separate bases and walking animals arranged on sections of tusk. Saclamana, also known as Michael Keghictac Saclamana, was a master carver whose work is represented in the Smithsonian’s National Museum of the American Indian. The museum holds a figure he made in 1954–55, documenting recognition of his work early in his career. He also helped pass the carving tradition to the next generation, teaching his son Jerome. Both have polished surfaces with light wear and some loss to the black detailing. The Nattanguk bear has conspicuous longitudinal checks along the back and side; the taller bear also has a visible check along its back. Taller approximately 3" × 2" × 6.25" tall. Auction Estimate: $800–$1,200.

A carved and painted Northwest Coast Tsimshian figure, circa 1981, with two killer whales wrapped around its hips. Standing beneath a tall, tiered clan hat, the figure grasps the whales' upright dorsal fins in its red-painted hands. The animals face forward together, their broad, tooth-filled mouths set beneath small white eyes; their bodies continue around the sides of the carving to separate tail flukes at the back. This encircling arrangement is the most distinctive feature of the composition. From the front, the whales form an almost continuous band across the lower torso, but a side view reveals the flippers and the turn of each body. The paired fins rise vertically beside the open, unpainted chest, linking the animals to the figure's bent arms. Incised fingers, squared teeth and divided toes give definition to the compact forms without concealing the grain or the marks of the carving tools. The face is framed by sweeping black eyebrows and broad blue-green eye surrounds. Red cheeks and nostrils flank a long brown nose, while the black mouth encloses a narrow red opening. Above it, the hat rises from a flared green section through a red band to a black cylindrical crown. Its tiered silhouette recalls the chiefly hats represented in Northwest Coast carving. Much of the back remains unpainted, allowing the warm wood and pronounced grain to contrast with the black whale tails. The figure stands on short legs with red-painted feet and an integral rounded base. The back of the base is incised “#81.” Visible condition includes rubbed and chipped paint, small edge nicks, and localized wood checks, including around the waist and base. Measures approximately 4" wide × 4" deep × 18.25" high. Auction Estimate: $200–$300.