Small Treasures

With Spring in full force, we are excited to share a collection of small-scale artworks that recently arrived at the Douglas Reynolds Gallery. Our previous newsletter showcased large-scale artworks and installations, so what better works to highlight this time? This collection ranges from historic to contemporary creations and includes one of the most significant works produced by Bill Reid.

Small Sculpture

Many small artworks on the Northwest Coast began as functional objects such as rattles, ladles, and feast dishes. In contemporary art, the history of function is still apparent, even though many works are now made with the intention of being displayed.

Bear Canoe Box
Richard Sumner (Kwakwaka'wakw)
Red Cedar, Acrylic, Leather
11" H x 17" W x 11" D

This rattle by Doug LaFortune has an interesting historical reference in the head positioning of the Eagle. The Bellamy Eagle, created by the renowned American woodcarvers John and Joseph and Bellamy in the late 19th century, had a significant impact on eagle carving designs. The brothers revolutionized the art of modern American woodcarving at the time with their distinctive style, characterized by dynamic forms and, most notably, featured the head of the eagle looking to the side, at an angle.

Eagle Rattle
Doug LaFortune (Salish)
Red Cedar, Acrylic
20" L x 5 ½" W x 5 ¾" D

Eagle by John Haley Bellamy. Art Institute of Chicago Collection, Chicago, IL.

 

The influence of the Bellamy Eagle can even be seen in Indigenous artwork at the turn of the 19th century, particularly within Northwest Coast nations known for their mastery of woodcarving and sculpture.

 

Northwest Coast artists began to incorporate the iconic tilted head of the Bellamy Eagle into their works to entice colonial traders. The impact of this detail has remained in contemporary pieces like the above rattle by Doug LaFortune.

Dzunukwa Rattle
Blackie Dick (Kwakwaka'wakw)
Red Cedar, Acrylic, Hair
10" H x 5 ½" W x 2 ¾" D

Seal Bowl
Artist Unknown
Wood, Acrylic, Abalone
4" H x 12 ½" W x 5 ½" D

Spring Salmon Bowl
Rod Smith (Kwakwaka'wakw)
Maple, Acrylic
4" H x 11 ¼" diam

Swooping Dove Bowl
Dean Hunt (Heiltsuk)
Red Cedar, Acrylic, Abalone
7 ¼" W x 4" H x 11" L

Every once in a while we come across some intriguing pieces like this gavel that was commissioned for a judge (below) and this spoon that has been fully carved on the underside (below).

Raven Gavel
Artist Unknown
Red Cedar, Acrylic
5 ½" H x 9" L x 2 ½" D

Hummingbird Spoon
Presley Poitras (Haida)
Red Cedar, Acrylic
11" L x 3" H x 2 ½" W

The Soul Catcher is an example of an object that would have originally been used in ceremonies, rituals, and healing practices performed by shamans or spiritual leaders. They are intricately carved small wooden or bone objects that were used in spiritual and ceremonial practices. The designs often incorporate representations of animals, ancestors, and supernatural beings.

Soul Catcher with Wild Woman and Man
Roy Hanuse (Kwakwaka'wakw)
Hardwood, Abalone, Bone
3" H x 6" W x 1 ½" D

The Soul Catcher would be used to temporarily remove a soul from an injured or sick person and then released again from the Soul Catcher once it was healed, allowing it to return to its rightful place and restore balance to the individual or community.

Many people think Soul Catchers relate to the Tsimshian and the Haida, but there are a few examples of Soul Catchers from the Bella Bella and Haisla area as well. Like the one we have in the gallery, this soul catcher from MOA (see below) has a two faced head that detaches.

Soul Catcher. Museum of Anthropology Collection, Vancouver, BC.

 

Roy Hanuse’s Soul Catcher head is pegged in like a stopper and is removable. The one side of the head depicts the Dzunukwa (Wild Woman of the Woods) and the other side is a Bukwus (Wild Man of the Woods).

 

Contemporary artworks have also moved away from the functional and into the realm of art for art’s sake. Rod Smith, for example, has been creating some interesting free-standing abstract designs and many artists create panels to showcase their design work.

Abstract Sculpture
Rod Smith (Kwakwaka'wakw)
Wood, Acrylic
9 ¼" H x 5 ¼" W x 3 ¼" D

Salmon Panel
Jim Charlie (Salish)
Yellow Cedar, Acrylic
20" diam x 1" D

Eagle Panel
Trevor Angus (Gitxsan)
Red Cedar, Acrylic
24" diam x 2" D

Wolf Panel
Trevor Angus (Gitxsan)
Red Cedar, Acrylic
22 ¼" H x 17" W x 1" D

Wolf of the Sea Panel
Moy Sutherland (Nuu-chah-nulth)
Yellow Cedar, Abalone, Acrylic
30" diam x 2" D

Bear Panel
Jazmine McCrimmon-Cook (Kwakwaka'wakw)
Sandblasted Red Cedar, Acrylic
18" diam x 1 ½" D

Bear Panel
Jazmine McCrimmon-Cook (Kwakwaka'wakw)
Sandblasted Red Cedar, Acrylic
12" diam x 1" D

The Curio Trade

Artworks influenced by the curio trade have also been an integral part of Northwest Coast artwork since the 1800s. Small art objects were created by many artists specifically for sale and trade and considered to be treasured souvenirs.

Shaman Figure
Artist Unknown (Northern Coastal)
Red Cedar
8 ½" H x 3" W x 2" D

This type of Shaman figure was often painted and at one point, this piece may have been as well. There is a very similar piece to the above figure in the collection at MOA that was donated by Walter Koerner in 1976. Here is an image of him holding the figure from 1974.

Dr. Walter C. Koerner. B.C. Jennings Photographic Studio (1974).

Model totem poles specifically created for market are an interesting aspect of the curio trade. These miniature poles were representations of large-scale totem poles and had become incredibly popular by the late 1800s. Artists began creating works intended for sale and trade that were small and easy to transport. By the 1950s, model poles were some of the most popular souvenirs purchased by individuals visiting the Northwest Coast.

Eagle, Globe, and Human Model Pole
Ellen Neel (Kwakwaka'wakw)
Red Cedar, Acrylic
21 ¼" H x 12 ½" W x 6" D

In 1948, Ellen Neel was given a workshop in Stanley Park, Vancouver, and was made Chief Carver for the Parks Board in Vancouver. During her time at the workshop, one of the notable motifs she used in her model totem poles was the globe showing British Columbia at the center.

Ellen Neel with Totemland model pole. Vancouver Sun (1950).

Harry Duker, a successful businessman who retired in 1928, volunteered for the city to promote Vancouver abroad through an organization he created and called Totemland Society. Ellen Neel came up with the idea of BC being the center of the world and these totem poles with the BC coastline painted on a globe became known as Totemland totems.

 

“The first time I heard this story was from a longtime friend, Phil Nuytten, who told me that Ellen was a very resourceful and savvy business person who created the demand out of necessity to feed her children. I remember Phil telling me that, when he was a child, he was friends with Ellen’s kids and he would ride his bike to Stanley Park and help make these model poles that were sold to tourists. Ellen had created quite a production line with each child helping with the carving, painting, and assembling of these small model poles. In further referencing, I found in Phil Nuytten's book, The Totem Carvers, that he was named the youngest member of the Totemland Society." - Douglas Reynolds

Thunderbird and Bear Model Pole
Ellen Neel (Kwakwaka'wakw)
Red Cedar
11" H x 8 ½" W x 3 ¼" D
Signed "Ellen Neel, Not finished on her death"

Eagle and Whale Model Pole
Artist Unknown
Red Cedar, Acrylic
19 ¾" H x 15 ½" W x 4 ¾" D

Thunderbird and Human Model Pole
Charlie James (Kwakwaka'wakw)
Red Cedar, Paint
17 ¾" x 7 ¾" W x 2" D

The influence of the curio trade can be seen today’s contemporary artworks, especially in argillite works. Many artists today draw inspiration from these small treasures, incorporating elements of cultural heritage and traditional carving into their artworks.

Haida argillite works emerged as a significant trade commodity during the late 18th and 19th centuries. Haida artists quickly recognized the demand for their intricately carved argillite pieces, which depicted cultural motifs, clan crests, traditional figures, and scenes from daily life. Argillite works encompassed various items that were highly valued and sought after; panels, pipes, model poles, boxes, platters, to name but a few.

Historic Multi-Figure Pipe
Artist Unknown (Haida)
Argillite
2 ¾" H x 8" L x ¾" D

Trade Pipe
Artist Unknown (Haida)
Argillite
2 ¼ H x 10" L x 1 ¼ D

The influence of Haida argillite works can still be seen today in contemporary Indigenous art. Many Haida artists continue to work with argillite, preserving and innovating upon the traditional techniques and designs. One of Robert Davidson’s earlier works is this argillite model totem pole.

Killer Whale and Raven Totem
Robert Davidson (Haida)
Argillite
4 ½" H x 1 ½" W x 1" D

Frontlets & Masks

Within our collection of small treasures, we received an exceptional group of works by Kwakwaka'wakw artist Beau Dick.

Moon Mask (1990)
Beau Dick (Kwakwaka'wakw)
Red Cedar, Acrylic
10" H x 10 ½" W x 4 ½" D

Beau Dick was considered one of the most exciting and creative Northwest Coast contemporary artists of his generation. He was a Chief and upheld his name by giving potlatches and working as both a teacher and mentor. Having established a career that has spanned decades, Beau Dick’s work stands out for its power and emotion, even on a small scale.

Frontlet (1979)
Beau Dick (Kwakwaka'wakw)
Red Cedar, Acrylic
5" H x 5 ¼" W x 1 ½" D

Frontlet (1979)
Beau Dick (Kwakwaka'wakw)
Red Cedar, Acrylic
5" H x 5 ¼" W x 1 ½" D

Beau had said in his later years that his style was sometimes referred to as “Potlatch Style” as he often made many masks in a short period of time. His early work, however, exemplified his ability as an artist to work in fine detail. This is showcased well with this Moon Mask by Beau.

Moon Mask (1979)
Beau Dick (Kwakwaka'wakw)
Red Cedar, Acrylic, Cedar Bark
14" H x 12" W x 3 ¾" D

This small mask of Beau’s exemplifies how he would carve in different styles, with this mask having Nuu-chah-nulth influences. The Fool Mask is a traditional mask but the dominant blue formline surrounding the eye almost looks like an Eagle in profile within the face of the Fool.

Fool Mask (1979)
Beau Dick (Kwakwaka'wakw)
Red Cedar, Acrylic, Cedar Bark, Feathers
9" H x 5" W x 6 ¼" D

Beau Dick passed away in March of 2017. He has been featured in several documentaries about Northwest Coast Art and he was the subject of the 2019 documentary Maker of Monsters: Meet Beau Dick which featured his life, artistic accolades, and influential activism.

Jewelry

Of course, when talking about small treasures, we have to include jewelry.

When we received this next piece, we wanted to create a newsletter around this small gem. Coincidentally, over the last couple of weeks we have received a few collections with other small treasures that we were excited to share.

Often when a sculpture, such as a totem pole, is made, a miniature version is made first, called a maquette. The maquette is then scaled up to create the full-size artwork. In this case, the reverse was true. Bill Reid first made a large-scale work measuring nine metres long and later thought it would be interesting to scale down and format the design into a bracelet.

Mythic Messengers Bronze Frieze. Teleglobe Canada, Burnaby, BC (1984).

Bill made the Mythic Messengers bronze frieze in 1984 and this bracelet in 1994. The Mythic Messengers bronze frieze is a wall-mounted sculpture and was commissioned by Teleglobe Canada to decorate their Burnaby office.

Mythic Messengers depicts five scenes from Haida mythology (from left to right): One: The Bear Prince, his human wife, and their twin cubs; Two: Nanasimgit, his wife, and The Killer Whale; Three: The Sea Wolf hunting Killer Whales with Frog; Four: The Dogfish Woman and her mythic dogfish, and Five: The Eagle Prince.

Mythic Messengers Bracelet
Bill Reid (Haida)
22kt Gold
7" L
*Please note this piece is not kept in the gallery.
Please arrange for viewing

"This work was inspired by a device often used by Haida artists, an exchange of tongues, whereby power was communicated from one mythic creature to another. At a deeper level, the power of these old forms, born of a mythological past, reinterpreted through new materials and techniques, in a contemporary setting, can still speak to us across time, space, and enormous cultural differences." - Bill Reid

 

We’re also very excited to showcase this pair of identical Bear Bracelets by Bill Reid, a unique find. These were commissioned by a Haida family for their two daughters and gifted to them when they graduated high school. They later sold and were separated but we are glad to see both bracelets have come back together. When speaking to Bill's widow Martine, she said that to the best of her knowledge, these are the only pair of identical bracelets Bill ever made.

Pair of Identical Reid Bear Bracelets (1958)
Bill Reid (Haida)
22kt Gold
1" W x 7 ½" L
*Please note this piece is not kept in the gallery.
Please arrange for viewing

Some other great jewelry works of Bill Reid that have recently come onto the market are below.

Wolf Cufflinks
Bill Reid (Haida)
22kt Gold
¾" H x ¾" W x 1" D

Beaver Spoon
Bill Reid (Haida)
Sterling Silver
4 ½ H x 1 ½" W

Frog Brooch
Bill Reid (Haida)
Cast 18kt Gold, Ed. 10/100
¾" H x 1 ⅝" W x 1 ⅝" D

This pendant by Alvin Adkins was a recent commission that turned out beautifully. The blue and turquoise of the abalone halo is a striking complement to the 18kt yellow gold.

Eagle Pendant
Alvin Adkins (Haida)
18kt Gold, Abalone
1 ½” H x 1 ¼” W

Here are some other gold pieces that recently arrived at the gallery.

Killer Whale Pendant
Phil Janze (Gitxsan)
14kt Gold
¾ diam

Raven Pendant
Jim McGuire (Haida)
14kt Gold
2" diam

Sea Bear Bracelet
Jim McGuire (Haida)
18kt Gold
2" H x 7 ¼" L

The smallest of treasures come in the form of elegant little pendants and earrings by Hollie Bartlett.

Wolf Stud Earrings
Hollie Bartlett (Haisla)
14kt Gold
¼" diam

Killer Whale Earrings
Hollie Bartlett (Haisla)
Sterling Silver, 14kt Gold
¾" L x ½" W

Eagle Pendant with Blue Diamond
Hollie Bartlett (Haisla)
14kt Gold, Blue Diamond
¾" H x ½" W

Killer Whale Pendant
Hollie Bartlett (Haisla)
14kt Gold
5/16" diam

In addition to the exciting gold works we’ve received, we have also received a selection of silver jewelry. The first is this early example of Richard Adkins' work.

Wasco Pendant
Rick (Richard) Adkins (Haida)
Sterling Silver
1 ½" H x ½" W

Copper Shield Pendant
Artist Unknown
Sterling Silver
1 ½" H x ½" W

Hummingbird Pendant
Andrew Williams (Haida)
Sterling Silver, 14kt Gold
1 ¼" H x ¾" W

Sculpin Bracelet
Russell Smith (Kwakwaka'wakw)
Sterling Silver
1 ½" W x 7 ½" L

Wolf Paddle Pendant with Sapphire
Hollie Bartlett (Haisla)
Sterling Silver, Sapphire
2 ¼" H x ½" W

Wolf Watch
Kelvin Thompson (Ojibway)
Sterling Silver
1" W x 6 ½" L

An interesting fact about wristwatches is that they were initially created as a jewelry piece for women rather than a practical timekeeping piece. The first wristwatch was made for the Queen of Naples in 1810. These two carved watch bands, both by Kelvin Thompson, depict Wolves and the Raven.

Raven Watch
Kelvin Thompson (Ojibway)
Sterling Silver
¾" W X 5 ¾" L

In addition to silver and gold, we've had these two exciting wood pendants arrive at the gallery.

Throughout his life, Haida artist Fred Davis created many works but is perhaps best known for his miniature masterpieces. The Four Killer Whales Pendant is a great example of the innovative style that Davis was known for. His carvings are elegant but powerful: each piece is distinct and imaginative, with a feeling of the creature or story that he's representing.

Four Killer Whales Pendant
Fred Davis (Haida)
Boxwood, Yellow Cedar, Abalone
2 ¼" H x 1 ½" W

The second wood pendant is an iconic work by Robert Davidson, the original Boxwood Pendant for his Raven Bringing Light to the World design. This piece was the inspiration for many artworks throughout his career, including a limited edition gold coin by the Canadian Royal Mint and a 4-foot gilded bronze in the Grand Hall of the Canadian Museum of History.

The Boxwood Pendant (1983)
Robert Davidson (Haida)
Red Cedar, Gold, Abalone, Ivory
2" diam x 1" D
*Please note this piece is not kept in the gallery.
Please arrange for viewing

From the historic to the present, small artworks have always held a special place in Northwest Coast art. The curio trade of smaller works allowed for a global acquaintance with the Pacific Northwest, as those wanting to bring a piece of this area home with them could travel with their treasures. Likewise, many popular contemporary works continue to be compact and though small, are no less exceptional than their large-scale counterparts.

View our collection of works by world-renowned Haida artist Bill Reid.

Contact us to learn more about our services, such as consignments or commissions.

Browse our newest acquisitions of sculpture, jewelry, and graphics.