An Alaska-themed charm bracelet featuring a 14 karat yellow gold double curb chain bracelet with eight charms in 10 karat yellow gold. Included charms are an igloo, musk ox, cache, Alaska Native, musher with dog sled, moccasin, Dall sheep, and more. Fits approximately a 6.5" to 7", wrist and total combined weight of 36.13 grams.

A slipcased edition of La Sauvage Apprivoisée, the French translation of The Taming of the Shrew, one of William Shakespeare's (English, 1564-1616) earliest comedies, believed to have been written between 1590 and 1592. The play centers on the spirited and headstrong Katherina, whose resistance to marriage is upended by the equally willful Petruchio, resulting in a sharp, satirical battle of wits and gender roles. This luxurious 1957 French edition was published in Paris by Les Francs-Bibliophiles as a fine press limited edition of 150 numbered copies, printed on pur chiffon de Lana paper. The original volume featured twenty-six original color lithographs, including a vibrant cover design, a frontispiece, one double-page spread, nine full-page plates, and fourteen in-text illustrations. A separate suite of unused lithographs and color progressions was also included with some copies. The book is housed in a striking illustrated slipcase with matching boards. The artist behind the illustrations, Paul Aïzpiri (1919-2016), was a French expressionist painter known for his bold use of color and whimsical yet emotionally evocative forms. Aïzpiri's interpretation of Shakespeare's play is full of theatrical energy and painterly drama, bringing a modern and distinctly French visual language to this Renaissance classic. His lithographs reflect both the humor and tension of the original text, offering collectors a rare fusion of fine art and literary tradition. Measures approximately 12" x 2.5" x 15.5" tall.

A stunning tennis necklace in 18 karat yellow gold featuring approximately 5.00 carats total weight of round brilliant-cut graduated diamonds, each set in individual four-prong circular links for a seamless, graduated appearance that curves around the neckline. The diamond strand is completed with a box clasp and twin figure-eight safety latches for secure wear. Measures approximately 16.5" long and has a total weight of 11.1 grams.

An autographed printed program from the 1971 Eagle Court of Honor ceremony for the Greater Cleveland Council, Boy Scouts of America - named the Neil A. Armstrong Class in tribute to the first man on the Moon. The boldly graphic cover reads "The Eagle Has Landed," featuring a stylized lunar module print beneath a full-color Eagle Scout medal illustration and the Earth as seen from space. The program includes a printed photo and message from Neil A. Armstrong, who served as the honored guest speaker, and contains a complete roster of Eagle Scouts honored that year. This example is autographed in bold blue ink on the front cover by Armstrong himself. A rare signed piece connecting space exploration, American history, and the legacy of scouting. Item measures approximately 9" x 11" tall.

An original oil painting by Alaskan artist Claire Fejes (1920-1998), depicting an Alaska Native figure in a parka seated near a vertical pole, with a rack of drying fish above. Executed in simplified, block-like forms with strong contrasts of icy blue, green, and ochre, the composition reflects Fejes’s modernist style and her emphasis on dignity in everyday life. The subject and date suggest a connection to Fejes’s "Sheshalik" (Sesaulik) painting series, created following her 1958 stay at an Inupiat whaling camp. From that experience, she produced twenty oil paintings, known collectively as the "Sesaulik 20" which were later exhibited at the Frye Art Museum in Seattle and the Roko Gallery in New York. While most works in that group are documented as oils on masonite, the iconography and period of this canvas place it in close relation to that series, raising the likelihood that it may have been part of, or directly associated with, the "Sesaulik 20". Extensive writing en verso bears the inscription "Property of the Traveler’s Inn, Fairbanks," a known venue where Fejes displayed her earliest works before opening Alaska House Gallery in 1964. This mark of provenance situates the painting within the proximity of her first public exhibitions in Fairbanks. The painting has also been identified in supporting documentation and appears in the documentary Claire Fejes: The Gauguin of the Arctic (05:48), which includes slides of her "Sheshalik" works, and again in Claire Fejes, Alaskan Artist (13:03), a documentary film. Taken together, these details strongly suggest that this canvas is either one of, or closely related to, her early works from the "Sesaulik 20" series. Signed in the lower right corner, the piece is housed in a frame measuring approximately 22.5" x 28.5" overall, with a sight view of 17.75" x 23.5".

An original oil painting on canvas by Alaska artist James Belcher (20th/21st century), signed at lower right and dated '94. The richly layered composition depicts a sunlit Alaskan stream winding through a forested valley, with blooming forget-me-nots and fireweed along the shore, and misty blue spruce receding into the distance. Belcher's work is celebrated for capturing the unique mood and majesty of the Alaskan wilderness, often emphasizing dramatic light and natural serenity. Presented in a carved gold-toned frame, it measures approximately 31.5" x 43.5", with a sight view of 24" x 36".

The traditional art form of Inupiaq basket weaving is shown here in this exceptional baleen basket specimen with finely crafted weaving. This museum-quality basket has a gently domed lid, topped with a walrus tusk finial in the shape of a whale fluke. The starter base tusk disk is signed by Inupiaq artist Marilyn Hank Otton (1947-2021) of Point Hope, Alaska. The Alaskan Native art of basket weaving is kept alive by very few people, mostly men, and produced in only a few cities and villages across Alaska, such as Barrow, Point Hope, Kivalina, and Kotzebue. Marilyn Hanks' family is part of those master weavers, and she was taught the skill at the hands of her parents, Carl and Eunice Hank. This beautiful example of the art form measures approximately 5" in diameter x 4" tall.

An adorable polychrome scrimshaw whale tooth that depicts a mix of Arctic terns and horned puffins alighting on rocks and taking flight. Signed near the bottom edge by the late King Island Iñupiaq artist Peter Mayac (1913-1976). Measures approximately 3" x 1.5" x 4.5" tall.

A sleek contemporary single-masted sailing vessel with carved walrus tusk hull accented with baleen. The mast is also baleen, and carries two tusk sails; the keel is a long piece of tusk showing a lovely secondary dentine center. Mounted via a baleen rod upon a thick cross-section of moose antler, and signed marked "No 1" on the underside c.2010 by the late Inupiaq artist Alfred (Al) Kaloke (1951-2014). Measures approximately 8.5" x 1.5" x 11.5" tall.

An original oil painting on canvas by Alaskan artist Eustace Paul Ziegler (1881-1969), in the Impressionist style, depicting a wooded path beneath a dense canopy of birch trees, rendered in loose, expressive brushwork. Flecks of light filter through the foliage, illuminating glimpses of a forest trail and a rustic cabin nestled at the water's edge. The artist captures the atmospheric depth of the woodland scene using rich tones of green, brown, and blue, offset by highlights of lavender and warm earth hues. The composition invites the viewer to wander into the shadowed clearing, guided by dappled sunlight and painterly texture. Handwritten text on the canvas en verso provides a date of August, 1920s (1923?), and the signature of EP (Eustace Paul) Zieglar; more is present, but has become illegible over the years. Housed in an ornate, heavily carved gilt frame measuring approximately 22" x 3" x 26" overall, with a sight view of 20.25" x 16.25".

An original oil on board painting by Alaska artist Sydney Laurence (1865-1940), signed in contrasting red lettering in the lower right corner. Piece depicts Denali (Mount McKinley) in soft and pale pastels above a darker foreground of greens, browns, and deep purples, painted in Laurence's recognizable thick and heavy brush stroke style. By the late 1920s, Sydney Mortimer Laurence was clearly Alaska's most prominent painter, known for his portrayals of grand Alaskan landscapes, most notably Mount McKinley, as seen in many of his paintings. This piece is housed in a carved and brightly gilded original frame measuring approximately 25.5" x 1.75" x 21.25" overall, with a sight view of 16" x 20".

An intricately carved whale tooh tupilak figure depicting the striking scene of a large entity devouring a man. While originally rooted in Inuit ritual use, tupilaks have been embraced as expressive, symbolic carvings. In this context, they reflect themes of spiritual guardianship, cultural storytelling, and artistic individuality rather than sacred practice. The tupilak measures approximately 2.5" x 2" x 5.5" tall.

Two intricately carved whale tooth tupilak figures, each with inset baleen eyes. Tupilak figures are imaginative spirit carvings inspired by Inuit traditions but adapted into local cultural expression. Though not ceremonial objects, they often represent protective forces, ancestral beings, or mythic creatures tied to the natural world. The largest tupilak measures approximately 1.5" x 1" x 4.5" tall.

A trio of intricately carved whale tooth Tupilak "crawler" figures, each with inset baleen eyes. While originally rooted in Inuit ritual use, tupilaks have been embraced as expressive, symbolic carvings. In this context, they reflect themes of spiritual guardianship, cultural storytelling, and artistic individuality rather than sacred practice. The largest measures approximately 5" long.

An original watercolor painting by Alaskan artist Byron Birdsall (1937-2016). The painting features a red and white floatplane, likely a Cessna 180, in the foreground against the backdrop of dark spruce trees and a snow-capped mountain partially bathed in the half-light of the rising sun. Affixed to the back of the painting is a detailed biography of the artist, apparently associated with a different artwork entitled "Mother of God Hodgegetria". Matted in a neutral tone and housed in a wooden frame measuring approximately 20.5" x 29" overall and a sight view of 11.25" x 19.75".

A finely crafted square-form Inupiaq lidded baleen basket, coiled in tight, evenly spaced rows using deep black baleen with subtle variegation. The sharply defined corners and gently rounded vertical sides demonstrate exceptional control and technique. The flat lid is topped with a carved walrus tusk finial in the form of a snow goose with a pronounced beak and upturned tail - polished smooth and accented by natural tonal variations. A walrus tusk charger with puzzle-shaped cutouts is set into the base. Measures approximately 3" x 3" x 2" tall. Unsigned, but acquired from a direct family member of Point Hope artist Adam Tootyak (b.1927).

A handcrafted 14 karat yellow gold cuff bracelet featuring a dimensional formline design, signed with a cursive "G" by Tlingit artist George Lewis (1913-1995). George, a member of the Killer Whale Clan originally from Angoon, was noted for serving as a code talker during WWII and went on to perform a lifetime of service for the Salvation Army. Bracelet measures approximately 2.25" in length and has a total weight of 36.62 grams. Measures approximately 1" wide, fits a 6.5" wrist, as found, adjustable.

Three charming Aleut (Attu) twined grass baskets with straight sides, fitted lids, and woven finials. Each features an embroidered design, including a simple pattern of crisscrossing zig-zagged horizontal lines, a repeating triangle pattern, and a detailed geometric floral pattern. Largest basket measures approximately 1" in diameter x 2" tall.

A handcrafted sterling silver cuff bracelet featuring a dimensional formline design, signed by Tlingit artist Gene Chilton of Juneau, Alaska, along the inside. Dedication on the inside reads "Love Bird" in flowing cursive, along with "40 YRS - YOU ARE MY LIFE." Bracelet measures approximately 2.25" in length and has a total weight of 27.82 grams. The cuff is approximately 1" wide and fits a 6.5" wrist, as found, adjustable.

Two charming polychrome Aleut (Attu) twined grass baskets with straight sides, fitted lids, and woven finials. Each features an embroidered design, including a complex geometric diamond pattern and a horned puffin with floral accents. Largest basket measures approximately 1.25" in diameter x 1" tall.