A particularly fine three-figure argillite pole attributed to Captain Andrew Brown, a Haida artist from Yan, Haida Gwaii, who was known primarily for his argillite carving. The pole features what appears to be a female bear holding her cub over an anthropomorphic male bear, a likely reference to the Haida story of the Bear Mother, which was a popular motif in argillite carvings. Although unsigned, this pole is almost certainly the work of Brown and reflects an earlier, more refined style of his carving. Distinctive features of Brown’s work found on this pole include large, flat eyes with center marks and broad, downturned mouths. Brown was a prolific maker who was heavily influenced by fellow Haida carver Charles Edenshaw (ca. 1839-1920), a fact which can be seen on this pole by the way the bear cub breaks the bilateral symmetry of the totem pole configuration. Brown was also a friend and informant of Canadian anthropologist Marius Barbeau, who promoted and published Brown’s work in his seminal book Haida Carvers in Argillite (1957). [1] The combination of Brown’s visibility in Barbeau’s books combined with his long career has meant that his pieces can be found in many public and private collections around the world.

[1] Barbeau, Marius. 1957. Haida Carvers in Argillite. Vol. no. 139; no. 38; Ottawa: Department of Northern Affairs and Natural Resources, National Museum of Canada

Christopher W. Smith

References: For a discussion of the artist and his work see Marius Barbeau, Haida Carvers in Argillite, (Ottawa: Department of Northern Affairs and Natural Resources, National Museum of Canada, Bulletin no. 139; no. 38, 1957; repr. 1974), pp. 203-207. For a discussion of late argillite poles (after c. 1895) see Peter L. Macnair and Alan J. Hoover, The Magic Leaves: A History of Haida Argillite Carving, (Victoria: Royal British Columbia Museum, 1984/2002), pp. 175-188 (for a pole by Capt. Andrew Brown see fig. 221, p. 188. See also Leslie Drew and Douglas Wilson, Argillite: Art of the Haida, (Vancouver: Hancock House Ltd., 1980), p. 246-248. For other examples by the artist see First Arts, 12 July 2020, Lot 52.