A Porter-Cable professional table saw mounted on a rolling metal stand. The saw features an adjustable fence, bevel and height controls, onboard power switch, and integrated blade guard components as shown. The rolling stand includes locking caster wheels. Untested at time of cataloging.

A trapper's hat, crafted from sea otter and spotted seal fur, with braided yarn pom-poms, along with a fur lining. The hat has a circumference of approximately 22" and a height of 13".

An Inupiaq baleen basket with a fitted lid featuring a lovely walrus tusk finial carved in the shape of a swan. No maker's mark, but a label identifies its source of origin as Point Hope Arts & Crafts. The Alaskan Native art of baleen basket making is kept alive by very few people, mostly men, and produced in only a few towns and villages across Alaska, such as Barrow, Point Hope, Kivalina, and Kotzebue. Measures approximately 5" in diameter x 4.75" tall.

A triangular Yup'ik polychrome coiled grass basket, made by Marie George ( 20th century) and embellished with an embroidered multi-colored caribou motif. Some wear, as photographed. This basket originates from Nightmute, Nelson Isle, Alaska, and measures approximately 9.5" x 9.5" x 7" tall.

A pair of stunningly beaded Athabascan hide gauntlets, each featuring highly detailed beaded blue flowers/red stars on a white ground located on top of each trank; long fringe accents the outer sides, and beaver fur trimmings further accent the openings; the interior is a warm fabric. Each gauntlet measures approximately 8" x 14" long.

A large Yup'ik coiled beach grass basket with dyed seal gut geometric false embroidery, topped with a tall lid and elongated finial, made in the traditional style. Measures approximately 11 in diameter x 15.5" tall.

A mineralized whale bone diorama carved and incised in the shape of a seal hunting a salmon, mounted upon a section of whale vertebra. Marked for Ekemo Studios based out of Eagle River, Alaska. Measures approximately 16" x 9" x 6.75" tall.

Two important dolls of the "mother and child" theme by "The Mother of Eskimo Doll Making" herself, Iñupiaq artist Ethel Washington (1889-1967). This example of a mother with infant child is constructed of natural furs to include fox, beaver, caribou, and seal; the faces carved and painted wood, a birch bark berry basket, and a berry scoop present in her hands. Accompanied by a smaller, independent doll of a young female child, also constructed from a myriad of furs, including caribou, rabbit (or squirrel), and fox. The larger example measures approximately 7" x 12" tall.

A 19th-century Iñupiaq carved wood mask, likely from the Norton Sound region, with a hollowed-out face, pierced eyes below a defined brow of natural-dye decoration, cut-out nostrils, and an open, smiling mouth. Leather cord affixed en verso; some wood loss and wear as photographed. Includes display stand. Measures approximately 4.5" x 2" x 7.75" tall.

A sculpture depicting a walrus transformation dancer/hunter made from mineralized walrus jawbone by the Juneau, Alaska-based artist Chivly Chupak (Cambodian-Alaskan, 20th Century). Measures approximately 9 x 3.5" x 8" tall.

An intricate diorama scene depicting four full-body walruses, the terminal points with walrus heads, all carved in relief from an extremely dense, heavy, complete lower walrus jawbone. One historical repair is present, as photographed. Measures approximately 7" x 8" x 3.25" tall.

A large Yup'ik coiled beach grass basket with dyed seal gut geometric false embroidery and a tall lid with an elongated finial, made by a basketmaker from Nelson Island, Alaska. An accompanying note provides historical context: grasses are selected from July to October, spread on the ground for 10-15 days, cleaned, and then hung to dry for two months or more. The drying process requires careful protection from moisture, as getting wet changes the grass color to brownish-yellow with black dots. Modern dyes use colored paper boiled with the grass for bright colors. Older generations traditionally used natural materials like berries, shrub skin, tea, and soot for dyes. Measures approximately 9.5" in diameter x 14" tall.

A United States 1830s Import Cavalry Sword. Hallmarked J.S. & Co. for John Salter England; made for export to the U.S. Also includes the matching scabbard. Approximate measurements include a 4.5" long carved bone grip, a 30" long blade (1.25" wide); overall length approximately 35.5". The example appears in better-than-average condition, with some bluing remaining on the blade and traces of gilt in the engravings.

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

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

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

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

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

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

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