First Arts is pleased to present a collection representing eight of the Master level artists of the post-war “Renaissance Generation” of Northwest Coast art. Three of the eight artists represented, Hazel Simeon, Beau Dick, and Art Thompson, are now deceased and the remaining five continue to contribute to the modern art form at the highest level. These artists excel at visual storytelling and have evolved their personal styles to include narrative elements that can be experienced under close inspection or lit by firelight in the dramatic arena of ceremonies. All of these artists are committed to the revitalization of their culture through traditional art and ritual as well as establishing their personal reputations as world artists.
Lot 16
CHRISTIAN WHITE (1962-), HAIDA, Haida Gwaii (queen charlotte islands) / (old masset)
Raven Chief, 2003
ESTIMATE: $40,000 — $60,000
Christian White (Lot 16) is a gifted storyteller, creating figures in motion and sculptures in the round that capture a defining moment of a story. Details hidden in the design hint at transformation and communicate a critical moment when the intentions, history, or fate of the character is about to be revealed. His expertise in creating sculptures with a fully dimensional perspective is exceptional and allows for the sculpture to be experienced both with the eyes and the hands. His use of inlays to add details and drama is a trademark of his unique style. White is among the most gifted argillite carvers of this generation and has been a career artist since his late teens. He is also committed to the Haida culture through cultural and ceremonial commissions, language programs, and the teaching of new artists.
Lot 66
HAZEL WILSON (JUT-KE-NAY) (1941-2016), HAIDA
Tree of LIfe, c. 2000-01
ESTIMATE: $8,000 — $12,000
Hazel Simeon (Hazel Wilson / Jut-ke-nay) (Lot 66) sadly died just as her contributions to Haida art were beginning to be documented and celebrated. A book on her life and art, Glory and Exile – Haida Robes of Jut-ke-nay - Hazel Wilson was released in 2022. Hazel’s narrative style often demanded that her work be seen in series with a number of robes acting as panels, documenting different events within the story. She also wanted robes to be seen as fine art and used a variety of traditional and non-traditional materials to add visual elements, three-dimensional forms, and to create a personal visual language that had a powerful presence in ceremonies or on the wall. Her legacy continues to grow as one of the most unique visual artists of this generation.
Lot 142
ART THOMPSON (1948-2003) NUU-CHAH-NULTH
Raven Transformaing into HUman, July 1997
ESTIMATE: $6,000 — $9,000
Art Thompson (Lot 142) had a strong understanding of the suspense created by transformation masks. He added subtle painted designs and some obvious visual elements such as fur outlining the Raven’s beak to tell of the two competing forms that are the essence of transformation. Art Thompson is considered to be among the best designers of his generation; this is evident in his limited edition prints and paintings but even more so in his sculpted pieces. He had an ability to seamlessly wrap painted designs around sculpted forms using both perfectly rendered symmetrical and non-symmetrical designs so that the mask would transform when first viewed in profile and then rotated to reveal the other side of the mask to the audience.
Lot 65
JOE DAVID (1946-) NUU-CHAH-NULTH
Shrine Figure, 2011
ESTIMATE: $7,000 — $10,000
Joe David (Lot 65) shares the role of defining Nuu-chah-nulth style in the modern age with Art Thompson. Nuu-chah-nulth painted Formline has many design elements that are distinct from the art of other nations. Art Thompson referred to Joe David as “Uncle Joe” which was true although they were only one year apart in age. Joe David produces pieces of a darker nature, with supernatural and shamanic influences. He understands that the full range of the art form needs to be represented both ceremonially and in the market. He has confidence that these pieces will find a small but very enthusiastic audience. In fact, many of these works have found their way into museum collections where they are seen side by side with works by historic masters. David has a deep understanding of the traditional art form but also draws on contemporary influences such as social issues, environmental protection and education. He has sought new experiences and inspiration through travel and participation in international indigenous events including the Sun Dance in the American Southwest and frequent trips to New Zealand where he has a shared affinity with the Māori. David participated in the art glass culture at the Pilchuck Glass School in Stanwood Washington where he became a mentor and frequent collaborator with Preston Singletary, which continues to this day. David’s exploration of the objects from the Whaler’s Shrine has been produced in glass, wood, and mixed media.
Lot 44
PRESTON SINGLETARY (1963-) TLINGIT
Clan Hat, 2007
ESTIMATE: $18,000 — $28,000
Born in 1963, Preston Singletary (Lot 44) is the youngest artist in the collection yet already has more than three decades as one of the prominent glass artists in the world. Early on he understood the potential of the glass medium to capture the many traditional materials used in Northwest Coast art, and has allowed the translucent properties of glass to push the art form in a new direction. He studied Formline with Steven Clay Brown and Joe David, luring David steadily into the “glass world” and many collaborations over the years. Singletary was ceremonially adopted into the Nuu-chah-nulth nation by Joe David and they remain close friends. For most of his career Singletary has been afforded several gallery exhibitions per year. His work has also been showcased in two major travelling museum exhibitions, both with a published catalogue, including Raven and the Box of Daylight which has been touring the United States for several years (and is currently at the Oklahoma Museum of Fine Art).
Lot 130
DON YEOMANS (1958-) HAIDA / CELTIC & TRACE YEOMANS, HAIDA / UKRANIAN
Haida Sisiutl Apron, 1998
ESTIMATE: $6,000 — $9,000
Don Yeomans, Haida (Lot 130) is among one of the most-commissioned Northwest Coast artists and has produced such major works including a totem pole for the atrium dividing the two terminals at YVR Vancouver International Airport; a totem pole for Stanford University; and two pieces for the Vancouver Stock Exchange (now the Canadian Venture Exchange based in Calgary) permanent collection (and featured on the cover of their annual report). He was the youngest artist to be included in The Legacy collection travelling exhibition and catalogue curated by the Royal British Columbia Museum in Victoria. Yeomans’s work is included in most publications and exhibitions representing an overview of the best of the contemporary Northwest Coast art form. In recent years, he has concentrated on exhibitions with his family, Trace, Kyran, and Crystal, leading to collaborations in various media as well as all members contributing individual pieces. He often acknowledges both his Haida and Celtic roots in his art.
Lot 94
BEAU DICK (1955-2017) KWAKWAKA'WAKW
Hamat'sa Bear Headdress, c. 1998
ESTIMATE: $10,000 — $15,000
Lot 141
BEAU DICK (1955-2017) KWAKWAKA'WAKW
Bella Coola Sun Mask, 1986
ESTIMATE: $8,000 — $12,000
Beau Dick, Kwak-waka’wakw (Lots 94 and 141) was a chameleon, shifting roles between artist, performer, academic, and activist in his final years. His charismatic and mischievous personality served him well when he entered the media spotlight. He saw the opportunity to challenge governmental policies on the environment and indigenous issues using very public platforms that were supported nationally. He moved effortlessly into his role at UBC as a mentor and educator for students who came from a variety of programs: Indigenous studies, fine art, and history. Beau Dick was the subject of the film The Maker of Monsters – the extraordinary Life of Beau Dick (2017, Latiesha Fazakas and Natalie Boll filmmakers), which documented his life, his career as an artist, and later personal projects. His work was largely based on traditional ceremonial objects such as masks, and his natural skill as a carver was evident in the powerful pieces he created for ceremonies, chief’s regalia, and collectors around the world.
Lot 93
ROBERT DAVIDSON (GUUD SANS GLANS), O.C., O.B.C., (1946-) HAIDA, MASSET / WHITE ROCK
Untitled (Recollections of The Marriage Announcement), Novembe 1986
ESTIMATE: $30,000 — $50,000
Robert Davidson, Haida (Lot 93) is considered to be a living national treasure. His list of awards, accomplishments, exhibitions commissions, and cultural commitments is second to none. He is a gifted artist in several media including precious metals, wood, and original paintings. Each of these showcase his mastery of materials and his originality in design. Davidson’s work spans traditional and contemporary, including full abstraction. He began painting in 1983 and has included paintings in every solo exhibition since that time. A painting is always in progress in the studio, allowing him to move between projects – which often include a major totem pole commission.