A carved walrus tusk sculpture depicting a classic float plane, inspired by the aircraft that have long served Alaska's remote communities and wilderness regions. The aircraft is skillfully fashioned from polished walrus tusk sections, with carved wings, struts, fuselage, tail, and skis mounted beneath the landing gear. Baleen has been utilized for finer details including the propeller and supporting elements. The airplane is displayed in flight upon a slender baleen support above a substantial section of richly mineralized fossil bone, its dark coloration and dense texture providing dramatic contrast to the creamy ivory tones of the tusk. The composition creates the impression of a bush plane banking low over the Alaskan landscape, a familiar sight throughout much of rural Alaska. Signed and dated by the artist on the underside of the base. Measures approximately 4" x 3.25" x 2.75" tall.

A remarkably fine diminutive Attu-style Aleut basket with fitted lid, attributed to noted Alaska Native basket weaver Sharon Kay (b. 1947). Woven from finely prepared rye grass, the basket displays exceptionally tight and uniform stitching throughout, a level of craftsmanship made all the more impressive by its miniature scale. Bands of pale blue and dark false embroidery encircle the body in repeating geometric motifs, while the fitted lid is surmounted by a matching finial accented with coordinating decoration. Sharon Kay, originally from Unga Island, Alaska, studied under renowned Attu basket weaver Perascovia Wright and became one of the foremost contemporary practitioners and instructors of Attu-style basketry. She has taught extensively throughout Alaska, authored instructional materials on the subject, and helped preserve one of the most technically demanding traditions of Aleut weaving. The basket's minute size required extraordinary control of materials and stitch spacing, resulting in a refined example of modern Attu-style basketry. Measures approximately 1.5" in diameter by 1.5" tall.

A unique stretch panel bracelet featuring five six-sided mammoth tusk panels, each set with an applied chunky Alaskan placer gold nugget, alternating with mammoth tusk panels inlaid with diamond-shaped tusk pieces in a darker color. Panels are also accented with pairs of mammoth tusk beads on two strands of stretch cord. Initialed "C.R" in the inside as photographed. The tiles measure approximately 1" tall, and the bracelet is sized to fit a wrist measuring 7" in circumference.

A carved walrus tusk figure of a polar bear, depicted walking on all fours with lowered head and broad shoulders. The body is smoothly polished with gently rounded contours, while incised toes provide defined claws on the bear's oversized front and back paws; inset baleen dots provide contrast to the eyes. Bear has some fissures to the feet as photographed. Measures approximately 5.75" x 1.75" x 2.5" tall.

An Athabascan willow-root basket tray featuring a finely executed coiled construction with opposing integral handles and a striking polychrome starburst design radiating from the center. Natural willow root is accented with dyed root materials in shades of reddish-brown, olive green, and yellow, creating a bold geometric pattern that expands outward across the tray's broad circular form. Produced by skilled Athabascan weavers of Interior Alaska, baskets of this type were created from carefully selected willow roots gathered along riverbanks and erosion cuts throughout the Yukon and Tanana River regions. After harvesting, the roots were cleaned, split into narrow weaving strands, dyed where desired, and woven into tightly coiled forms requiring considerable technical skill and patience. The resulting trays were both functional household objects and expressions of a longstanding basketry tradition that remains one of the most distinctive art forms of Interior Alaska. This example displays a particularly even weave, pleasing symmetry, and vibrant geometric decoration. The opposing handles are seamlessly integrated into the design, enhancing both utility and visual appeal. Light fiber loss is present to one handle, as photographed. Measures approximately 16.75" x 16" x 2.5".

A pair of carved Greenlandic Inuit tupilaq figures, each rendered in a distinctive and expressive form from different organic materials. The larger figure is carved from antler and displays a highly stylized elongated body with incised geometric decoration, a smiling face with baleen-inlaid eyes, and a suspension hole at the top. The smaller figure is carved from whale tooth and depicts a crouching supernatural being with exaggerated teeth, prominent eye sockets, and an oversized pointed head, likewise accented with baleen-inlaid eyes. In Greenlandic Inuit tradition, tupilaqs are powerful mythological beings associated with shamanic practice, originally conceived as spirit entities created from animal and human materials and later interpreted through carving as artistic representations of both natural and supernatural forces. During the twentieth century, carved tupilaqs became one of Greenland's most recognizable artistic forms, often blending human, animal, and fantastical characteristics into imaginative compositions. Both figures exhibit the whimsical yet slightly unsettling qualities for which tupilaq carvings are renowned. Hairline fractures are present to the wrists of both figures, as photographed. The larger antler example measures approximately 1" x 5.5" tall.

A finely detailed walrus tusk polar bear figurine, featuring inlaid baleen eyes and nose, small dimpled ears, and masterfully incised fur across the entire body. The bear is positioned in a walking pose with a long stride, his head slightly elevated and watchful. Signed on the underside of the feet as shown by Yup'ik carver Edwin "Nunguk" Noongwook (b.1975) from Savoonga, St. Lawrence Island, Alaska. Polar bear measures approximately 4.75" x 1" x 2" tall.

A carving of a bowhead whale mother and calf, each sculpted from polished walrus tusk and depicted swimming in close formation. The whales are rendered with gently curved bodies, broad flukes, and inlaid baleen eyes, capturing the distinctive appearance of one of the Arctic's most important marine mammals. Mounted on baleen supports, the pair appears to glide above a richly mineralized fossil walrus tusk section that serves as the base, its dark coloration providing striking contrast to the creamy ivory tones of the carvings. Initialed "R.M.K." on the underside and attributed to Yup'ik artist Ronald Kingeekuk of Savoonga, St. Lawrence Island, Alaska. Measures approximately 5" x 3.75" x 2.25" tall.

An original oil painting on canvas by Alaska artist Scott McDaniel (1926–2012), depicting a solitary camper seated beside a small fire along the edge of a mountain lake. Rising beyond the foreground are dense spruce forests, drifting bands of mist, and snow-covered peaks rendered in McDaniel's characteristic palette of cool blues, grays, and luminous greens. Strong contrasts between shadowed valleys and sunlit hillsides create a sense of depth and atmosphere, while the diminutive figure introduces a narrative element that emphasizes the scale and grandeur of the surrounding wilderness. McDaniel was deeply inspired by the work of pioneering Alaska painters Sydney Laurence and Eustace Ziegler, and many of his landscapes reflect aspects of both traditions. Here, the dramatic mountain forms, atmospheric light, and expansive sense of place recall Laurence's celebrated Alaska vistas, while the inclusion of a lone figure within the landscape echoes Ziegler's enduring interest in the relationship between people and the northern environment. The result is a composition that pays homage to two foundational figures in Alaska art while remaining recognizably McDaniel's own. Signed lower left and presented in the original frame. Measures approximately 16.75" x 19.75" overall with a sight view of 11" x 14".

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.