As the Northwest Coast curator and scholar Steven C. Brown observes in his book Native Visions: Evolution in Northwest Coast Art from the Eighteenth through the Twentieth Century (Seattle Art Museum/Douglas & McIntyre, 1998, p. 4), the Northwest Coast style is “the product of many generations of conceptual evolution and refinement.” This evolution has, indeed, continued to flourish in the late 20th and early 21st centuries – see stunning works by modern masters such as Gary Minaker-Russ (Lot 74 in the present auction) and Beau Dick (Lot 30), to mention only a couple of examples.
In the latter part of the nineteenth century, outside forces both restricted the making and use of traditional works on the one hand, while encouraging the production of non-traditional artworks on the other. Some artists continued to create sculptures that reflected traditional styles and uses, while others began producing works that were more idiosyncratic and/or innovative in style and conception, made either for traditional purposes or adapted to the growing market among foreigners.
Our upcoming June 10th auction includes two remarkable works from this period. The first is the gorgeous and enigmatic Carved Figure by a Nuu-chah-nulth artist c. 1880 (Lot 79). The second is the remarkable and stunning Bird Cane by Daax’igang (Charles Edenshaw) (Lot 19). Both works were included in important exhibitions and published in their respective catalogues. The Nuu-chah-nulth work in Bill Holm’s The Box of Daylight (Seattle Art Museum, 1983); and the Edenshaw in Augaitis and Wright’s Charles Edenshaw (Vancouver Art Gallery, 2013).
Lot 79
UNIDENTIFIED NUU-CHAH-NULTH ARTIST
Carved Figure, c. 1880
wood and paint, 20.75 x 3 x 2 in (52.7 x 7.6 x 5.1 cm)
ESTIMATE: $40,000 — $50,000
This enigmatic object, though difficult to define in its use and ceremonial purpose, is nonetheless an excellent example of nineteenth century Nuu-chah-nulth-style sculpture. The head is superbly proportioned and finely finished in this style. Tall, narrow sculptures are typical of Nuu-chah-nulth carving in the mid-to-late nineteenth century, while very early examples (such as those from Captain James Cook’s time in the late eighteenth century) were more nearly the same in width and height.
In this sculpture the eye is subtly set back beneath the plane of the eyebrow and features very wide-open eyelids, both characteristics common in Nuu-chah-nulth carving from this period. The nose does not protrude particularly far but includes strongly formed, wide nostril flares, defined by a deep cut on their perimeter that continues down and around the ends of the mouth. The depth of this cut continues around the bottom of the lower lip, providing sure definition of the line between the mouth area and the chin, which protrudes nearly as far as the lips.
The cheek areas rise gently from the shallow cut beneath the eyes and roll down into the much deeper cuts defining the nostril flares. The cheek areas are subtly rounded horizontally and remain at their height down to the jaw line as it turns beneath the mouth toward the somewhat protruding chin.
The small bear figure at the bottom is also typically Nuu-chah-nulth in style. The shape of the eyes on their own plane and the form of the nose are identifying characteristics. A face is painted on the plaque-like torso of the bear, which is framed by the animal’s forelegs. Additional Nuu-chah-nulth objects like this are unknown, so the purpose of this sculpturally fine carving remains a mystery.
Steven C. Brown
First Arts note: Bill Holm admired this sculpture in his 1983 Seattle Art Museum catalogue The Box of Daylight (cat. 197, p. 116), describing the object as “wandlike,” and the carving itself as “direct and subtle.” He also compared its sculptural style and painting to the work of an artist then posited to be “Chiletus.” Apparently, subsequent research has been unable to confirm the work or style of a Nuu-chah-nulth artist with that name. Nonetheless, the work certainly has an elegance and sculptural presence that could be described as having been carved by the hand of “a master.”
Lot 19
CHARLES EDENSHAW (DAAX'IGANG or TAHAYGEN) (1839-1920), MASSET, HAIDA GWAII
Bird Cane, late 19th century
wood, mastadon ivory, coin silver, and abalone shell, 33 x 4.25 x 2 in (83.8 x 10.8 x 5.1 cm)
ESTIMATE: $45,000 — $65,000
Charles Edenshaw (his Haida name Daax’igang) was a prolific maker of canes or walking sticks. He usually selected shafts of wild crabapple or yew, both strong and resilient native woods on the Northwest Coast. Most of his canes, like this one, were carved with a snake that spiraled up the shaft, slithering between the numerous knots where once there had been branches. The snake was carefully planned to wind between these knob shapes effortlessly, its body nearly full as it spiraled upward. A common theme in Euro-American canes is a spiraling snake, and one such cane may have been an inspiration for Daax’igang.
At the top of the shaft, just above the head of the snake, a four-sided finial usually appeared, carved and inlaid with iridescent abalone shell. These finials varied in thickness and proportions, some wider or taller than others. Each of the four sides was shaped into interlocking geometric patterns. The taller quadrilateral forms were essentially squares set on the diagonal. Other finials were narrower, about twice or more as wide as they were tall, forming hexagonal lozenge shapes such as those in this example.
Above the inlaid finial, a tapered silver ferrule strengthens the joint between the wood shaft and the sculptured ivory handle. The ferrule has an engraved design upon it, featuring a flying bird and flowering plants. At the very top, the long-beaked ivory bird’s head, with abalone-shell inlaid eyes, appears to be in the form of a seagull, based on the naturalistic form of the head and beak. The Haida had a history of seventy or more crest images, among which many were birds, including the seagull.
Steven C. Brown
Charles Edenshaw (Daax’igang) is, of course, a true icon of Haida art. His virtuosic skill in several artistic media is legendary, as was his knowledge of Haida art history. Spanning the end of the 19th and the early 20th centuries, his art career was founded on tradition but was truly innovative. Edenshaw’s output included both monumental and smaller works in support of Haida culture, as well as works for sale such as model poles, canoes, and houses, gold and silver work, figures, chests, bowls, hats, platters, and canes. Edenshaw’s works and his versatility have inspired generations of Haida artists, and represent the gold standard among collectors of Northwest Coast art.