Historic First Nations Art | August 28 - September 11, 2025

Historic First Nations Art

AUGUST 28 - SEPTEMBER 11, 2025

Historic First Nations Art

AUGUST 28 - SEPTEMBER 11, 2025

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INUIT ART

firstnationsart@waddingtons.ca

SENIOR SPECIALIST

Palmer Jarvis pj@waddingtons.ca 416-847-6191

CONSIGNMENT SPECIALIST

Elizabeth Gagnon ekg@waddingtons.ca 416-847-6184

FRONT COVER

Various Lots

FRONT INSIDE COVER

Lot 153

Unidentified Oglala Lakota (Sioux) Artist Pair of Beaded Hide Moccasins Belived to Belong to Chief Red Cloud (Mahpiua Luta)

BACK INSIDE COVER

Lot 70

Unidentified Haida or Tshimshian Artist Seal Form Grease Bowl

BACK COVER

Lot 85

Unidentified Kwakwaka’wakw Artist Model Totem Pole After Chief Wakius Pole

UNIDENTIFIED HAIDA ARTIST

HOLLOW BACK MODEL TOTEM POLE, FOURTH QUARTER 19TH CENTURY

argillite; collector’s number inscribed verso “905839904”

12.5 x 3 x 3 in — 31.8 x 7.6 x 7.6 cm

PROVENANCE:

Private Collection, Toronto, ON

$4,000 — 5,000

62

JOHN CROSS (1867-1939), HAIDA

MODEL TOTEM POLE, FOURTH QUARTER 19TH CENTURY

argillite; unsigned

11.75 x 3.75 x 3.25 in — 29.8 x 9.5 x 8.3 cm

PROVENANCE:

Private Collection, Vancouver, BC

$4,000 — 6,000

RUFUS MOODY (1923-1998), HAIDA MODEL TOTEM POLE, 1964 argillite; signed and dated 8 x 2.5 x 3 in — 20.3 x 6.4 x 7.6 cm

PROVENANCE:

Private Collection, British Columbia

$700 — 1,000

64

UNIDENTIFIED HAIDA ARTIST PANEL PIPE, FOURTH QUARTER 19TH CENTURY argillite

3.25 x 10.75 x .5 in — 8.3 x 27.3 x 1.3 cm

PROVENANCE:

By repute Collection of John Linton Palmer (1824-1903) by descent to the previous owner, London, UK Private Collection, Ontario

NOTE:

So-called panel pipes were made for trade and sale, but never for smoking. They were carved from argillite, a carbonaceous shale that was historically the property of a sole Haida Skidegate Eagle clan. The unique and beautiful material was favoured early on by Euro-American seamen, traders, missionaries, and anthropologists looking for mementos of the exotic Coast. The genre of panel pipe carving has gone on to attract some of the greatest Haida artists of the past two centuries.

The present example is alleged to have passed by descent through the family of Royal Navy Surgeon and important amateur anthropologist, and painter John Linton Palmer (1824-1903).

Palmer participated in several significant British naval expeditions in the Pacific in the mid-19th century, both painting and collecting anthropological and Natural History specimens in-situ. His early travels included visits to Vancouver in 1851, and later Rapa Nui (Easter Island) in 1852 aboard the HMS Portland, and again in 1868 aboard the naval frigate HMS Topaze.

Although Palmer’s extensive documentation of his travels and findings are not currently published, his collections are held in the British Museum, and his archive of paintings is preserved at the Royal Geographical Society, where many illustrate objects collected on his voyages.

Royal Geographical Society, “John Linton Palmer’s Rapa Nui Album”, “John Linton Palmer”, The British Museum online collection note.

$9,000 — 12,000

UNIDENTIFIED WESTERN ARCTIC MAKER KAMLEIKA (SEAL INTESTINE SUIT), CA. 1900 intestine, sinew, hide

28.5 x 21 in — 72.4 x 53.3 cm

PROVENANCE:

Donald Ellis Gallery, New York, NY Private Collection, Toronto, ON

$1,000 — 1,500

66

UNIDENTIFIED INUPIAT ARTIST, SITAISAQ (BREVIG MISSION)

COMB WITH INCISED RAVEN’S FOOT DESIGN, PRE 19TH CENTURY bone; collector’s inventory number verso “5060”; on custom mount

3.25 x 1.75 x .125 in — 8.3 x 4.4 x 0.3 cm

PROVENANCE:

Found by Caroline Olanna, Brevig Mission, AK Private Collection, USA

$400 — 600

UNIDENTIFIED IÑUPIAT MAKER

PIPE WITH LEAD OR PEWTER BOWL, EARLY 20TH CENTURY

wood, pewter or lead, sinew, brass Winchester rifle cartridge

2 x 7.5 x 1.25 in — 5.1 x 19.1 x 3.2 cm

PROVENANCE:

Private Collection, San Diego, CA

Private Collection, Toronto, ON

$400 — 600

UNIDENTIFIED TLINGIT ARTIST

RAVEN FORM PIPE BOWL, FIRST HALF 19TH CENTURY

wood, trade gun barrel, fibre wadding

3.25 x 4 x 1.25 in — 8.3 x 10.2 x 3.2 cm

PROVENANCE:

Private Collection, Massachusetts

Private Collection, Toronto, ON

$2,000 — 4,000

NOTE:

An early Northern Northwest Coast pipe bowl, likely of Tlingit origin. The body of the pipe is carved in the form of the head of Raven, the notorious trickster-hero of Coast mythology.

As in other early Northwest Coast pipes, the body is of blade-carved and faceted construction with a bowl fashioned from a section of barrel cut from a trade musket and press-fit into the wooden body of the pipe using a fibre wadding. Pipes were used in both personal and ceremonial smoking, and were sometimes associated with funerary ritual.

The use of fire-resistant gun barrels to form the bowls of wooden smoking pipes served a practical purpose, however the visual and symbolic affinities of the two objects are unlikely to have been lost on makers, who were steeped in an artistic tradition that celebrated punning.

Palmer Jarvis, “Objects of Ceremony, Commerce and Art”, Native American Art Magazine, No. 23, October and November 2019.

UNIDENTIFIED TLINGIT OR HAIDA ARTIST

SHAMAN’S AMULET OR CHARM, 19TH-20TH CENTURY bear tooth, abalone

2.25 x 1 x .25 in — 5.7 x 2.5 x 0.6 cm

PROVENANCE: Private Collection, British Columbia

$3,000 — 4,000

UNIDENTIFIED HAIDA OR TSHIMSHIAN ARTIST

SEAL FORM GREASE BOWL, 18TH OR EARLY 19TH CENTURY wood, eulachon oil

4.25 x 8.5 x 5.25 in — 10.8 x 21.6 x 13.3 cm

PROVENANCE:

The Berthusen Collection, Lynden, WA Lynden Library, Lynden, WA Lynden Pioneer Museum, Lynden, WA Bonhams, San Francisco, CA, 14 Dec 2009, Lot 4201

A Prominent Vancouver Collection, BC

$50,000 — 70,000

NOTE:

Stalked for meat, skin, and most of all, the rich sustaining blubber from which oil may be derived, the seal furnishes much of the basic sustenance required for survival in northern climates. It is the all important oil from the seal, which seal form bowls were created to hold. It is the bounty of the harvest which the seal makes possible that dictates the form of the bowl, in which so often the artist, as here, has emphasized the full, swollen belly of the animal. As in other bowls of this type, the lobes of the seal’s tail appear pinched together, a posture taken when the creatures are land-bound, the time when they are most often hunted.

The present example was most likely carved by a Haida or Tshimshian artist in the late 18th or early 19th century. The bowl exhibits an exceptional clarity of form, and richness of colour. The once lightly toned wood appears lustrous and dark, with a thick sticky patina on the interior resulting from exuding oil that has saturated the wood.

Acquired circa 1900 during the travels of Washington resident Olive Berthusen (b. 1881), or earlier by her father, a Washington sailor named Jack Stone. The bowl was willed to the city of Lynden, Washington upon Berthusen’s passing in 1937, displayed at the Lynden Library, and later Lynden Pioneer Museum before being deaccessioned in 2009.[1]

1. Troy Luginbill, “The Berthusen Collection from the Lynden Pioneer Museum, Lynden Washington”, Bonhams Native American Art Auction, December 14 2009 (San Francisco: Bonhams, 2009) unpaged.

71

CAPTAIN RICHARD CARPENTER (DU’KLWAYELLA) (1841-1931), HEILTSUK (BELLA BELLA)

BENTWOOD CHEST, CA. 1900 wood, paint

14.5 x 21.5 x 14 in — 36.8 x 54.6 x 35.6 cm

PROVENANCE:

Seahawk Auctions, Burnaby, BC, 23 Jun 2013, Lot 152 A Prominent Vancouver Collection, BC

$15,000 — 20,000

NOTE:

Widely known as Captain Carpenter, the talented and prolific carver and painter is perhaps the best known of artists working in the Heiltsuk tradition. Over his long career, which spanned the late 19th and early 20th centuries, Carpenter produced a remarkable number of carved chests and boxes, sculpture, and watercraft for which he is well known and highly respected.

Born in the Heiltsuk village of ’Qvuzvai in 1841, Carpenter spent most of his life in, or near Bella Bella (the present site of Waglisla). It was as an adult that Carpenter took on his English name, one that was well suited to a carver born to a long line of artists and makers. In 1900 at the age of 60, Carpenter was employed as the first lighthouse keeper of the Dryad Point lighthouse north of Waglisla, where he continued to make objects for ritual use, as well as sale and trade.

Numerous important examples of Carpenter’s work were acquired by museums over his career, some commissioned directly from Carpenter. However, it is only in recent years with the increased scholarship around Heiltsuk art, and with the generous assistance of Carpenter’s family, that the authorship of many of his works have been correctly identified.

The painting on the present chest is representative of Carpenter’s late period style, with its looser, less formal hand. The walls of the chest are kerfed and steam-bent from a single board in typical fashion. His characteristic slender black formlines, large areas of unpainted ground, and wiry thin red formlines notably embellish the top of the chest, as well as the sides. The latter are more typically the only surfaces bearing designs. On one side of the chest Carpenter has partially concealed the fitting of a dutchman, or square plug to remove a section of unworkable knotted timber from the chest.[1]

Bill McLeannan & Karen Duffek, The Transforming Image: Painted Arts of Northwest Coast First Nations (Seattle: University of Washington Press / Vancouver: Douglas & McIntyre, 2000), 220-241.[2] Martha Black, Bella Bella: A Season of Heiltsuk Art (Toronto: Royal Ontario Museum / Vancouver: Douglas & McIntyre, 1997),110-113.

UNIDENTIFIED NUU-CHAH-NULTH ARTIST

BEAR FORM FISH CLUB, 19TH CENTURY wood; accompanied by custom stand 2 x 17.75 x 1.75 in — 5.1 x 45.1 x 4.4 cm

PROVENANCE: Private Collection, Vancouver, BC

NOTE:

Related Works:National Museum of the American Indian, Cat. No. NMAI 19/776. https://americanindian.si.edu/collectionssearch/object/NMAI_203965

$3,000 — 5,000

UNIDENTIFIED NUU-CHAH-NULTH ARTIST

CANOE WITH TRAVELLER, FOURTH QUARTER 19TH CENTURY

wood, native and trade pigments

5 x 19 x 5.5 in — 12.7 x 47 x 14 cm

PROVENANCE: Private Collection, Vancouver, BC

$3,000 — 5,000

NOTE:

For centuries, whale and seal hunting were the primary source of livelihood for the Nuu-chah-nulth. Their remarkably seaworthy canoes facilitated their safe travel, were essential to their survival, and figured extensively in their mythology and art.

In the latter 19th century Nuu-chah-nulth carvers made many models of canoes for trade and sale both to curio shops on the Coast, and directly to tourists visiting the region. The present example is notable for the dramatic posture of its passenger, engaged in a physical or spiritual journey.

UNIDENTIFIED CHUGACH ARTIST

A RARE CHUGACH PEAKED BOWL COLLECTED BY GRACE NICHOLSON, FOURTH QUARTER 19TH CENTURY

wood, fish oils, brass wire; inscribed with Denver Museum of Art inventory number reading “1946.240”; a second unknown inventory number reading “Q.104.G”; affixed collectors tag inscribed “4 NW Coast”

2.25 x 14.25 x 7.75 in — 5.7 x 36.2 x 19.7 cm

PROVENANCE:

Field collected by Grace Nicholson, Pasadena, CA Deaccessioned from the Collection of the Denver Museum of Art, Denver, CO Private Collection, Toronto, ON

$800 — 1,200

NOTE:

Grace Nicholson (1877-1948) was a pioneering female art collector and dealer, specializing in First Nations basketry, weaving, and Chinese handicrafts in the United States. Nicholson was an active freelance collector for institutions, including the Smithsonian’s National Museum of the American Indian, The Denver Art Museum in Colorado, and the Field Museum of Chicago, Il.

Known for her progressive attitudes toward fair compensation of Indigenous makers, Nicholson sometimes developed supportive and long lasting relationships with the First Nations weavers and basketmakers with which she worked. Notably in one documented case she is known to have paid for eye surgery for one ailing basketmaker.

Ed Leibowitz, Token of Appreciation A grateful Pomo Indian’s gift to a friend exemplifies the brightest form of Native American artistry (Smithsonian Magazine, 2004),

FREDERICK ALEXCEE (WIKSAMNEN) (1853-1940S), TSIMSHIAN MODEL TOTEM POLE, CA. 1930 wood, paint; signed verso “F.A.” 11 x 3.5 x 2.75 in — 27.9 x 8.9 x 7 cm

PROVENANCE:

Heffel, Toronto, ON, 29 Jun 2017

A Prominent Vancouver Collection, BC

$2,500 — 3,500

NOTE:

Born and raised in Lax Kw’alaams (Port Simpson), British Columbia, Frederick Alexcee was the son of Tsimshian mother, and Haudenosaunee (Iroquois) father who was employed with the Hudson’s Bay Company. Alexcee carved important ritual objects for use in his Tsimshian community, but also created model poles, canoes, ladles, and paddles for sale, in addition to painting portraits, and highly descriptive paintings illustrating both ceremonial and everyday life on the Coast. Notably two of Alexcee’s paintings were included in an exhibition at the National Gallery of Canada as early as 1927, where they were exhibited alongside, among others, works by Paul Kane, Emily Carr, Lawren Harris, Edwin Holgate, and A.Y. Jackson.[1]

[1] Leah Snyder, Fort Simpson: the Historical Work of Frederick Alexcee, The National Gallery of Canada, accessed 27 Aug 2024,

MUNGO MARTIN (1879-1962), KWAKWAKA’WAKW

GRIZZLY BEAR FRONTLET, CA. 1930

wood, paint, brass, tin; inscribed verso in pencil “ Kwakiutl emblem / Grizzly Bear”; incised inventory number reads “709 945 232 / 465”

7.75 x 6.75 x 3.75 in — 19.7 x 17.1 x 9.5 cm

PROVENANCE:

Collection Dr. Joseph T. Mandy

Seahawk Auctions, Burnaby, BC, 20 Nov 2016, Lot 188

A Prominent Vancouver Collection, BC

$5,000 — 6,000

NOTE:

The stepson and apprentice of important Kwakwaka’wakw carver Charlie James (Yakudlas) and uncle of Ellen Neel, Martin was active during the potlatch ban period, his life spanning an era of decline, change, and revitalization in Coast art and teachings.

Martin’s contributions are widely acknowledged to have had a direct and profound influence on a generation of Northwest Coast carvers, and students of Kwakwaka’wakw culture, including Henry and Tony Hunt, Bill Reid, Douglas Cranmer, and anthropologists Marius Barbeau, and Wilson Duff among others.Often remembered for hosting the Wawadit’la opening ceremonies, the first public Potlatch since the government’s lifting of the 1889 potlatch ban in 1951, Martin is equally celebrated for his art.

This frontlet features a representation of a grizzly bear embellished with the figure of a small man on its chest. The absence of rigging to wear the frontlet hints at its use for non-ritual purposes.

Gerald R. McMaster, “Mungo Martin”, The Canadian Encyclopedia, October 1 2007.,W. Hawker, Yakuglas’ Legacy: The Art and Times of Charlie James (Toronto: University of Toronto Press, 2016)

ATTRIBUTED TO CHIEF WILLIE SEAWEED (HIŁAMAS) (CA. 1873-1967), ´NAK´WAXDA´XW (KWAKWAKA’WAKW) PAINTED WALL BOX, FIRST HALF OF 20TH CENTURY

wood, paint

8.5 x 6 x 3.25 in — 21.6 x 15.2 x 8.3 cm

PROVENANCE:

First Arts, Toronto, ON, 4 Dec 2023, lot 144

Private Collection, Toronto, ON

$3,000 — 5,000

NOTE:

A painted wall box attributed to Chief Willie Seaweed (Hiłamas), also known as Smoky Top (Kwaxitola), one of the great masters of Kwakwaka’wakw art, many of whose stylistic innovations have become synonymous with the so-called “Blundon Harbour style”.

The present wall box was likely made for holding candles or other perishable materials that needed to be kept at arms length from the appetites of small vermin. Simple and unfussed in its construction, the artist’s designs have lent the humble box an unexpected aesthetic gravity.

Recognizable in the composition of the painted designs are several of what Bill Holm identifies as Seaweed’s diagnostic characteristics, eyes constructed from three, often compass drawn, eccentric circles of diminishing size, a deliberate–at times even hesitantly executed layout line, and ovoids defined by angularity in their lower corners.[1] The overall composition is laid out on a white ground typical for Blundon Harbour.

1. Bill Holm, Smoky-Top: The Art and Times of Willie Seaweed (Vancouver: Douglas & McIntyre, 1983), 35-37.

UNIDENTIFIED ALEUT MAKER KAMLEIKA (SEAL INTESTINE SUIT), FIRST QUARTER 20TH CENTURY intestine, sinew, hide, fibre cordage, pigments

50 x 60 in — 127 x 152.4 cm

PROVENANCE: Private Estate, Ontario

$700 — 900

ATTRIBUTED TO MARY DICK TOPINO (1863 OR 1868-1923), KNOWN AS “MRS BRITCHES”, WUKCHUMNI YOKUTS PICTORIAL IMBRICATED FRIENDSHIP BASKET, CA. 1900

grass, sedge root, bracken fern root height 11 in — 27.9 cm, diameter 22 in — 55.9 cm

PROVENANCE:

Heintzman Family Collection, Cognashene, ON Private Estate, Port Credit, ON

$10,000 — 15,000

NOTE:

A masterwork of California basketry, this rare and important figural basket is attributed to the Wukchumni Yokuts weaver Mary Dick Topino, widely considered to be one of the foremost First Nations basket weavers of the late 19th and early 20th centuries.

The weaving belongs to a family of monumental baskets that have come to be known as “Friendship Baskets”, in which the weaving’s central design element is a ring of figures joined by their hands. The present basket exhibits an exceptionally elaborate, and beautifully balanced composition, including 36 figures, bordered by a design of 14 abstract elements below, and a ring of 34 quadrupeds (possibly bears and dogs) above.

The basket was in the collection of the historic Heintzman family of Toronto, and was kept in the family cottage on Talbot Island in Georgian Bay until the basket passed to the ownership of the consignor’s family with their acquisition of the property in 1968.

A special thanks to the co-author of California Indian Basketry: Ikons of the Florescence, Eugene S. Meieran for his assistance in identifying the authorship of the present basket.

Wayne A. Thompson and Eugene S. Meieran, California Indian Basketry: Ikons of the Florescence (San Diego: Sunbelt Publications, 2021).

UNIDENTIFIED TSILHQOT’IN (CHILCOTIN) ARTIST

PICTORIAL BURDEN BASKET IMBRICATED WITH FIGURAL DESIGNS, FOURTH QUARTER 19TH CENTURY

conifer root, grass, cherry bark, wood, wool

11 x 16 x 12 in — 27.9 x 40.6 x 30.5 cm

PROVENANCE:

A Prominent Vancouver Collection, BC

$2,500 — 3,500

UNIDENTIFIED TSILHQOT’IN (CHILCOTIN)

ARTIST

BURDEN BASKET IMBRICATED WITH GEOMETRIC DESIGNS, FOURTH QUARTER

19TH CENTURY

conifer root, grass, cherry bark, wood

11 x 17 x 11 in — 27.9 x 43.2 x 27.9 cm

PROVENANCE:

A Prominent Vancouver Collection, BC

$1,500 — 2,500

82

UNIDENTIFIED STL’ATL’IMX (LILLOOET)

ARTIST

BURDEN BASKET WITH IMBRICATED GEOMETRIC DESIGNS, FOURTH QUARTER

19TH CENTURY

conifer root, cherry bark, bear grass

12.5 x 19.5 x 15 in — 31.8 x 49.5 x 38.1 cm

PROVENANCE:

A Prominent Vancouver Collection, BC

$1,500 — 2,000

83

UNIDENTIFIED NLAKA’PAMUX (THOMPSON RIVER) SALISH ARTIST BURDEN BASKET WITH IMBRICATED GEOMETRIC DESIGNS, FOURTH QUARTER 19TH CENTURY

split cedar root, cherry bark

13.5 x 17 x 14.25 in — 34.3 x 43.2 x 36.2 cm

PROVENANCE:

A Prominent Vancouver Collection, BC

$1,500 — 2,500

84

UNIDENTIFIED NLAKA’PAMUX (THOMPSON RIVER) SALISH ARTIST BASKET WITH HANDLES AND IMBRICATED GEOMETRIC DESIGNS, CA. 1900

split cedar root, cherry bark, hide

7 x 11 x 9 in — 17.8 x 27.9 x 22.9 cm

PROVENANCE:

A Prominent Vancouver Collection, BC

$700 — 900

UNIDENTIFIED KWAKWAKA’WAKW ARTIST

MODEL TOTEM POLE AFTER CHIEF WAKIUS POLE, ALERT BAY, CA. 1899-1910

wood, paint, steel nails

51 x 12 x 8 in — 129.5 x 30.5 x 20.3 cm

PROVENANCE:

Private Collection, United Kingdom

Donald Ellis Gallery, NY, USA

A Prominent Vancouver Collection, BC

EXHIBITED:

Visions of British Columbia, Vancouver Art Gallery, Vancouver, BC, 28 Nov 2009-18 Apr 2010

The Tourist Totem, Mendel Art Gallery, Saskatoon, SK, 25 Jun-19 Sep 2010

LITERATURE:

Michael D. Hall, Pat Glascock, Carvings and Commerce, Model Totem Poles 1880-2010 (Seattle: University of Washington Press, 2011), 76, pl. 30.

$30,000 — 40,000

NOTE:

In the middle 19th century, some First Nations artists in the central and northern Northwest coast of North America began carving diminutively sized model totem poles for sale and trade to North American and European visitors. The form of the model poles reflected monumental counterparts whose origins predated European contact, but may have also been informed by small scale precursors, such as speakers’ staffs.

Couched in the aesthetically complex and sophisticated visual languages of the Coast’s peoples, totem poles gave material form to their mythology, proclaimed the rights of their owners, memorialized them in death, and demarcated the territories in which they lived.

The present pole is an important, large, and detailed model of the Alert Bay house portal pole of Kwakwaka’wakw Chief Wakius, of Owikeno and Nimpkisk descent. Erected in 1899, the full scale Wakius pole was carved by the eminent artist Yuxwayu, about whom very little is known. One of the most sculpturally elaborate poles to come from the central coast region, the work drew the attention of painter Emily Carr during her 1912 visit to Alert Bay. Carr documented the portal pole in her painting Thunderbird of Wawkyas, Alert Bay, British Columbia Archives Coll. No. PDP02157.

Figures on the pole proclaim the hereditary rights of Chief Wakius referring to stories of human beings’ acquisition of the dances, songs and masks pertaining to the mythical

ancestor of Wakius, Wise One, and his sons’ defeat of Cannibal-at-the-Noth-End-of-theWorld [See the 35th Annual Report of the Bureau of American Ethnology (1913-14, Part 2, pp. 1222-1248) for Tlingit-Kwakwaka’wakw ethnologist George Hunt’s recounting of the lengthy legend.]

Figures represented on the Wakius pole include Thunderbird, Lord of the Upper World, then Fin Whale or Killer Whale, Lord of the Undersea World, then Wolf, then Wise One, a human figure, then the mythical Cannibal Bird, a consort of Cannibal-atthe-North-End-of-the-World, then Bear, and below, Raven.

While the masterful carver of the full scale Wakius pole is identified as Yuxwayu, the maker of the present exceptional model pole is not currently known. Notably the present model is closely related to a pole in the Metropolitan Museum of Art, New York, NY, Cat. No. 2011.154.40, formerly in the collection of Ralph T. Coe, which has been misattributed to the Heiltsuk.

Please see lot 86 (opposite) for another rare iteration of a model of the Wakius pole.

“Grand Hall Tour Central Coast House”, Canadian Museum of History, Marius Barbeau, Totem Poles, Vol. II (Ottawa: Dept. of Northern Affairs and National Resources, National Museum of Canada, 1964), 680-681.

“Totem Pole Model Heiltsuk ca. 1900”, The Metropolitan Museum of Art.

UNIDENTIFIED ARTIST, IN THE KWAKWAKA’WAKW MANNER

MODEL TOTEM POLE AFTER CHIEF WAKIUS POLE, ALERT BAY, CA. 1930

wood, paint, steel nails; Stamp verso reads “The Thunder bird Vancouver Canada

Trade Mark W.L. Webber Scenery Shop, Vancouver, BC”; followed by a lengthy hand written inscription identifying elements of the pole

25.5 x 7 x 5 in — 64.8 x 17.8 x 12.7 cm

PROVENANCE:

The Scenery Shop, Vancouver, ca. 1930

Steve Akerman Collection Richard Bahnman, Vancouver, BC, 9 Jan 2014

A Prominent Vancouver Collection, BC

EXHIBITED:

The Tourist Totem, Mendel Art Gallery, Saskatoon, SK, 25 Jun-19 Sep 2010

LITERATURE:

Michael D. Hall, Pat Glascock, Carvings and Commerce, Model Totem Poles 1880-2010 (Seattle: University of Washington Press, 2011), 117, pl. 93.

$4,000 — 6,000

AUGUSTUS BEAN (KH’ALYAAN EESH KEITXUT’CH) (1852-1926); RUDOLPH WALTON (KAAWOOTK’ AAK’WAATSEEN) (1867-1951), TLINGIT, TALOYOAK (SPENCE BAY)

SEAL FORM GREASE BOWL, CA. 1900

Wood, abalone, opercula

6 x 15 x 7.5 in — 15.2 x 38.1 x 19.1 cm

PROVENANCE:

Private Collection, Vancouver, BC

$3,000 — 5,000

NOTE:

High-ranking members of Sitka families and respected leaders in their community, both Augustus Bean and Rudolph Walton are remembered for their challenges to American legal authorities, contribution to the so-called ‘Last Potlatch’ of 1904, and for carving objects for ritual and ceremonial use, as well as traditionally informed objects made for sale to Euro-American collectors and institutions.This large and impressive seal form grease bowl is characteristically carved, and appears to have been one of the artists’ favoured subjects, a fact exemplified by the many exceptional iterations made over their careers.

88

CHIEF JAMES “JIM” HUNTER (1868-AFTER 1938), MAKAH

STELLER’S JAY RATTLE MADE FOR HAL GEORGE, QUILEAUTE, FIRST QUARTER 20TH CENTURY

wood, paint, stone pebbles, cotton thread

4.5 x 18 x 3 in — 11.4 x 45.7 x 7.6 cm

PROVENANCE:

Chief James “Jim” Hunter, Neah Bay, WA Hal George, Neah Bay, WA by descent to Gloria George, Washington, USA

Acquired from the above by Jack Curtright & Son, Seattle, WA, 12 February 1992 Private Collection, Toronto, ON

$1,000 — 2,000

NOTE:

Made in the form of a Steller’s Jay, the present rattle was carved by Chief James “Jim” Hunter, a resident of Neah Bay and son of the last Chief of the Ozette Village near the Northern tip of Neah Lake close to the Washington coast.[1] The rattle was owned by an important elder on the Quileute reservation, Harold “Hal” George (1894-after 1978), and was acquired by the dealer, Jack Curtright in 1992 from Harold George’s daughter Gloria George, after a fire had damaged the rattle and burnt down the George Family home on the LaPush reservation.[2]

James Hunter was a carver of Sea Wolf headdresses, rattles, paddles, and model canoes in the 1920-30s, carving both for his community and for the market, selling his carvings at the Queets Cabins Store, as well as at Hoh River and Neah Bay.[3]

Harold George was active in the preservation of Quileute-Makah traditions, and was well known in the LaPush community as a storyteller. When the Anthropologist Leo J. Frachenberg visited LaPush and the surrounding area in preparation for his 1921 publication The Ceremonial Societies of the Quileute Indians, George was a principal informant, noted by Frachenberg as speaking English in addition to Quileute and Makah.[4]

[1] Various Authors, Told By the Pioneers: Tales of Frontier Life as Told by Those who Remember the Days of the Territory and Early Statehood of Washington (Montana: Kessinger Publishing, 2010), 20.

[2] Personal correspondence with Jack Curtright, 2020.

[3] Ibid[

4] M. Terry Thompson, Salish Myths And Legends: One People’s Stories (Nebraska: Univ of Nebraska Press, 2008), 213.

UNIDENTIFIED TLINGIT ARTIST

EAGLE POLE FINIAL, CA. 1900 wood, paint, steel nails

10.5 x 48 x 45 in — 26.7 x 121.9 x 114.3 cm

PROVENANCE:

Donald Ellis Gallery, New York, NY Private Collection, Toronto, ON

$6,000 — 8,000

90

UNIDENTIFIED WENDAT (LORETTE HURON) ARTIST

TOBOGGAN, 19TH CENTURY

wood, paint, hide, steel wire

12.5 x 46.25 x 12.5 in — 31.8 x 117.5 x 31.8 cm

PROVENANCE:

By repute purchased by the previous owner from an early home in Wendake, QC Private Collection, Ontario

$4,000 — 6,000

NOTE:

Although made in the later 19th century for sporting and recreational use by EuroCanadians, the toboggan was long an essential vehicle for the transportation of food and other goods in winter snow. At times essential to survival, the treatment of toboggans amongst the historic peoples

of the Eastern Woodlands was a subject of great seriousness, and often strict ritual convention. Anthropologist Frank Speck in his time amongst the Naskapi in Labrador and adjacent Northern Quebec noted that amongst the Naskapi, toboggans were conventionally stood against a tree while not in use, but always with the curved head of the toboggan facing south—or if by necessity— east. A toboggan facing the north wind risked offending Tci’wetinowi’nu “man-of-the-north spirit”, who might bring death through cold weather or the absence of game to the toboggan’s owner.

Speck notes the use of sometimes patterned red “vermillion” paint on the heads of toboggans found amongst the Naskapi, but also amongst neighbouring peoples. The pigment was applied to exert a “magic influence” or to favour Tci’wetinowi’nu.

This rare example of a Laurette Wendat toboggan was purchased by the previous owner from an early home on the Wendake Reserve in Lorette, Quebec over 60 years ago. The toboggan is of typical Wendat construction, and the upper portion of the curved head is embellished with paint of a vermillion colour.

Closely related examples to the present toboggan may be found in the collections of the Canadian Museum of History, and also in the Smithsonian National Museum of the American Indian. The latter example was also collected on the Wendake Reserve and attributed to the Lorette Huron (Wendat).

F.G. Speck, Naskapi: The Savage Hunters of the Labrador Peninsula (Oklahoma: University of Oklahoma Press, 1977)

F. G. Speck, ”Notes on the Material Culture of the Huron”, American Anthropologist, Volume 13, 1911,

91

UNIDENTIFIED DENE (ATHAPASKAN) MAKER SNOWSHOES, FOURTH QUARTER 19TH CENTURY

wood, hide

7.5 x 45 x 9.5 in — 19.1 x 114.3 x 24.1 cm

PROVENANCE:

Private Collection, Ontario

$400 — 600

92

UNIDENTIFIED MI’KMAQ ARTIST MONUMENTAL JIKIJI’J (PERIWINKLE CURL) FANCY BASKET, FOURTH QUARTER 19TH CENTURY

wood, paint

height 15 in — 38.1 cm, diameter 16 in — 40.6 cm

PROVENANCE:

Private Collection, Toronto, ON

$400 — 600

UNIDENTIFIED INNU (MONTAGNAIS) ARTIST

MONUMENTAL ROGAN (BUCKET OR BOX) WITH FOLIATE DESIGNS, FIRST QUARTER 20TH CENTURY

birch bark, spruce root

10.5 x 14.5 x 9.25 in — 26.7 x 36.8 x 23.5 cm

PROVENANCE: Private Collection, Ontario

NOTE:

Related Works: National Museum of the American Indian, Cat. No. NMAI 2/8819.

$200 — 400

94

UNIDENTIFIED HAUDENOSAUNEE (IROQUOIS) ARTIST

QUATREFOIL FORM POTATO STAMP BASKET, MID 19TH CENTURY wood splints, dyes

3.25 x 7.25 x 7.25 in — 8.3 x 18.4 x 18.4 cm

PROVENANCE: Private Collection, Ontario

$200 — 300

UNIDENTIFIED NORTH EASTERN WOODLANDS ARTIST

ELM BURL BOWL WITH CUT OUT HANDLES, 19TH CENTURY wood

height 5 in — 12.7 cm, diameter 13.75 in — 34.9 cm

PROVENANCE: Private Collection, Ontario

$700 — 900

UNIDENTIFIED NORTH EASTERN WOODLANDS MAKERS

TWO BURL HANDLED MOCOTAUGAN

(CROOKED KNIVES), MID 19TH CENTURY; FOURTH QUARTER 19TH CENTURY

burled wood, brass wire, fibre cordage, steel, leather, paint; collection inventory numbers inscribed on blades reads “A4.70” and “A4.200”

largest 9 x 2.5 x 1.75 in — 22.9 x 6.4 x 4.4 cm

PROVENANCE:

Private Collection, United States

Private Collection, Toronto, ON

$300 — 400

97

UNIDENTIFIED NORTH EASTERN WOODLANDS MAKER

SCROLL HANDLE MOCOTAUGAN (CROOKED KNIFE), FIRST HALF OF THE 19TH CENTURY

wood, brass wire, steel, paint; collection inventory number inscribed on blade reads “A4.205”

10.25 x 4.75 x 1 in — 26 x 12.1 x 2.5 cm

PROVENANCE:

Private Collection, United States

Private Collection, Toronto, ON

$300 — 400

UNIDENTIFIED OJIBWA (ANISHINAABE)

ARTIST

QUILLED BELT WITH GEOMETRIC DESIGNS, FIRST HALF 19TH CENTURY

bird quills, dyes, hide, bone

2 x 35 x .2 in — 5.1 x 88.9 x 0.5 cm

PROVENANCE:

Donald Ellis Gallery, New York, NY Private Collection, Toronto, ON

$1,500 — 2,500

MARY R. MCKIE (CA. 1817-1887), HALIFAX, NS

TWO PAINTINGS, SKETCH TAKEN FROM DARTMOUTH; MI’KMAQ MOTHER AND CHILD

watercolour on paper; titled “Sketch taken from Dartmouth” and “Squaw of the Mic-mac tribe”; titled to gallery label verso; inscribed circa 1845; accompanied by the original invoice from Bashford’s, Calgary, AB

sight 4.5 x 4.25 in — 11.4 x 10.8 cm; sight 4 x 3.25 in — 10.2 x 8.3 cm

PROVENANCE:

Bashford’s, Calgary, AB, 8 Jul 1983

Private Collection, Calgary, AB Loch Gallery, Calgary, AB

Private Collection, Ontario

$6,000 — 8,000

NOTE:

Little information is readily available about the early painter of Nova Scotia scenes, Mary R. Mckie. Mckie studied with the artist Maria Morris Miller (1813-1875), who is often credited with being Halifax’s first woman professional visual artist.[1] A small number of McKie’s artworks were acquired during the artist’s lifetime by Lady Falkland, then wife of the Lieutenant-Governor of Nova Scotia.[2] In 1849 Mckie exhibited at the Halifax Mechanics Institute at Dalhousie College, exhibiting again at the Nova Scotia Industrial Exhibition in 1854. In 1861 she returned to England, where in 1862 she exhibited at the London International Exhibition of Industry and Art, sometimes known as The Great London Exposition.[3] Her drawings and watercolors are found in a small number of albums in the National Library and Archives of Canada, as well as in the collections of the Musée national des

beaux-arts du Québec, among others. Mckie’s paintings are notable for their focus on Mi’kmaq and other non-European subjects, including African Canadians.[4]The small number of extant artworks by Mckie, form a notable portion of the known documentation of Mi’kmaq subjects from the first half of the 19th century, a period in which first hand depictions of Indigenous peoples in Eastern Canada are exceptionally rare.

[1] Ray Cronin, “Maria Morris Miller (1810–1875)”, in Halifax Art & Artists: An Illustrated History (Canada: Art Canada Institute, 2023),

[2] Library and Archives Canada, “Portrait of an unidentified woman”, Acc. No. 1990-207-52.

[3] Ibid; Concordia University, “MCKIE, Mary“, Canadian Women Artists History Initiative

[4]Library and Archives Canada, “Unidentified Portrait of an African-Canadian Boy”, Acc. No. 1990-207-94.

100

ATTRIBUTED TO UNIDENTIFIED MI’KMAQ ARTIST, LUNENBURG COUNTY, NS BANDBOX OR BRIDE’S BOX, FIRST HALF 19TH CENTURY

wood, paint, brass snare wire

6.5 x 19.25 x 15.5 in — 16.5 x 48.9 x 39.4 cm

PROVENANCE:

Private Collection, Ontario

$5,000 — 7,000

NOTE:

Little information can presently be substantiated about this interesting and important class of bandbox, of which a small number of examples are known. Associated with the area in and around Lunenburg County and Mahone Bay, Nova Scotia, boxes of this type feature elaborately chip-carved lids, and are commonly sewn together at the intersection of their bands using brass wire, in place of organic binding material more common on other North American boxes of the period. The most elaborate examples feature compass laid out designs dominated by a central motif of four interconnected lobes laid out over an incised rectangle.

The boxes, while reminiscent of birch bark boxes historically made and used by many Algonquin peoples of the region, are more closely related to German “bandboxes” or “bride’s boxes” likely introduced by German settlers in Lunenburg County. The designs

found on the Lunenburg County boxes however do not appear on old word German variants, and are only slightly more closely related to a chip carved and (apparently) wire sewn bandbox in the collection of the Museum of The American Indian, attributed to the Penobscot.[1]

Oral accounts by antique dealers most often attribute the Lunenburg County area boxes to Mi’kmaq makers. One such box is published in Michael S. Bird’s A Splendid Harvest : Germanic Folk and Decorative Arts in Canada, where it is identified as Mi’kmaq.[2] It is notable that the only documented oral testimony attributing a wire-sewn Lunenburg County area bandbox, identifies its maker as an “Indian” of Mahone Bay.

[1] National Museum of the American Indian, Cat. No. NMAI_14721. [2] Michael S. Bird, A Splendid Harvest: Germanic Folk and Decorative Arts in Canada (Toronto; New York: Van Nostrand Reinhold, 1981), 45, pl. 30.

UNIDENTIFIED MI’KMAQ OR PANAWAHPSKEWI (PENOBSCOT) ARTIST LIDDED BOX WITH INCISED MOTIFS, SECOND HALF 19TH CENTURY birch bark, wood, conifer root

height 6.5 in — 16.5 cm, diameter 8 in — 20.3 cm

PROVENANCE:

Private Collection, Ontario

$700 — 900

An Important Collection of Mi’Kmaq Quillwork

LOTS 102-135

We are pleased to present an important lifetime collection of over 35 objects of Mi’kmaq quillwork, assembled over 30 years of dedicated collecting. Items in this remarkable collection span over 125 years of production, with the earliest forms typical of the 18th century examples.

Some of the first items manufactured for trade with English and European travellers, quillwork could be found in early homes of settlers in the maritimes, as well as in collectors’ cabinets, and on fireplace mantels of soldiers, sailors, and other early visitors to North America from England and France. Items in the present collection came from all of these sources. Diligently, and lovingly, they were sought out and purchased in back country yard sales, and antique shops, as well as in print catalogues—and later online auctions in English and European sales rooms. Items were acquired from environments of care and stewardship, and occasionally disinterest and neglect.

Passion, curiosity, dedication, and a belief in the importance of stewardship, have all been factors in the collector’s acquisitions, and in the preservation of the items over the past 30 years while in the collector’s care.

Some of the earliest and most popular Mi’kmaq items manufactured for trade with English and European travellers were made from quilled birchbark. Numerous quilling techniques pre-dated sustained European settlement in the maritimes, including plating, wrapping, and weaving, however it was so called bark-insertion techniques used to make semi-ridged goods such as boxes, which outlasted other methods of quillwork among the Mi’kmaq. The need for large quantities

of trade goods to barter with Europeans, and the gradual decline in the profitability of the fur trade were primary factors in a period of florescence in Mi’kmaq quillwork beginning in the 18th century.

Quills, collected from porcupines, were conducive to retained dyes, and offered a flexible and resilient canvas for exploring complex compositions, and interplay between colours. Versatile and abundant birch bark, cut and peeled away from the trunks of trees, had long been bent and stitched into pliable wares for cooking, storage, and transportation in the form of watercraft. The material lent itself well to the insertion of quills, and provided Europeans with an exotic substitute for leather and fabric construction familiar to them.

While the overall form of quillwork items made by the Mi’kmaq for trade were often derived from European goods, such as travel chests, fancy boxes, and purses, the elaborate quilled motifs on the objects are rich with traditional Mi’kmaq designs. While their designs may appear to the novice viewer as pure abstraction, many elements were drawn from a body of pre-contact symbolic devices, markers of meaning legible to Mi’kmaq makers. The symbols aspect of the designs seems to have been largely unknown, or at the very least undocumented by most European purchasers of the period. However, a study of the few early sources discussing the designs reveals a richness and depth of meaning in historical Mi’kmaq quillwork imagery.

Ruth Holmes Whitehead, Micmac Quillwork: Micmac Indian Techniques of Porcupine Quill Decoration: 1600-1950 (Halifax: The Nova Scotia Museum, 1982)

UNIDENTIFIED MI’KMAQ ARTIST

LARGE QUILLED LIDDED BOX, CA. FIRST QUARTER 19TH CENTURY porcupine quills, organic dyes, wood, birch bark, spruce root

5 x 10.5 x 8 in — 12.7 x 26.7 x 20.3 cm

PROVENANCE:

Private Collection, Nova Scotia

$3,000 — 4,000

103

UNIDENTIFIED MI’KMAQ ARTIST

LARGE QUILLED LIDDED BOX, EARLY 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

6 x 8.5 x 5.5 in — 15.2 x 21.6 x 14 cm

PROVENANCE:

Private Collection, Nova Scotia

$3,000 — 4,000

104

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED WALL POCKET, MID 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root, iron nails

7.5 x 7.5 x 3.25 in — 19.1 x 19.1 x 8.3 cm

PROVENANCE:

Private Collection, Nova Scotia

$3,000 — 4,000

105

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED WALL POCKET, MID 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root, iron nails

8.5 x 7.5 x 3 in — 21.6 x 19.1 x 7.6 cm

PROVENANCE:

Private Collection, Nova Scotia

$2,000 — 3,000

106

UNIDENTIFIED MI’KMAQ ARTIST

LARGE QUILLED LIDDED PURSE, LATE 18TH TO EARLY 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

height 4 in — 10.2 cm, diameter 7 in — 17.8 cm

PROVENANCE: Private Collection, Nova Scotia

$2,000 — 3,000

107

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, LATE 18TH TO EARLY 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

height 4.5 in — 11.4 cm, diameter 6 in — 15.2 cm

PROVENANCE:

Private Collection, Nova Scotia

$800 — 1,200

108

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, MID 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root; pencil inscription on underside reads “18th day of Feb / Catherine F. Weir / Feb 18th/1876 / C.F. Weir / C.F.W. / C.F.W.”; a further inscription in grease pencil has the figure of $5.00 struck out, and a second figure of $1.00 recorded”

height 4.25 in — 10.8 cm, diameter 6.5 in — 16.5 cm

PROVENANCE:

Private Collection, Nova Scotia

$800 — 1,200

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, LATE 18TH TO EARLY 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

height 3 in — 7.6 cm, diameter 4 in — 10.2 cm

PROVENANCE:

Private Collection, Nova Scotia

$400 — 600

110

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, LATE 18TH TO EARLY 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root, paper

height 3.25 in — 8.3 cm, diameter 4 in — 10.2 cm

PROVENANCE:

Private Collection, Nova Scotia

$300 — 400

111

UNIDENTIFIED MI’KMAQ ARTIST

LARGE QUILLED BOX, EARLY 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

7.25 x 9.5 x 8 in — 18.4 x 24.1 x 20.3 cm

PROVENANCE:

Private Collection, Nova Scotia

$2,000 — 3,000

112

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, CA. 1900

porcupine quills, organic and aniline dyes, wood, birch bark, spruce root; inscribed on underside in pen and ink “M. E. Fraser, June 10th 1905”

3 x 6 x 4 in — 7.6 x 15.2 x 10.2 cm

PROVENANCE:

Private Collection, Nova Scotia

$800 — 1,200

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, EARLY 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

3 x 5.5 x 4 in — 7.6 x 14 x 10.2 cm

PROVENANCE:

Private Collection, Nova Scotia

$500 — 700

114

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, CA. 1900

porcupine quills, sweet grass, organic and aniline dyes, wood, birch bark, spruce root; a grease pencil inscription of “75c” on the underside of the box is struck out, and a second figure of “25c” is recorded

2.75 x 6 x 3.75 in — 7 x 15.2 x 9.5 cm

PROVENANCE:

Private Collection, Nova Scotia

$800 — 1,200

115

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED BOX, EARLY 19TH CENTURY porcupine quills, organic dyes, wood, birch bark, spruce root

4.25 x 6.5 x 5.25 in — 10.8 x 16.5 x 13.3 cm

PROVENANCE:

Private Collection, Nova Scotia

$300 — 500

116

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, FIRST QUARTER 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

3 x 5 x 4 in — 7.6 x 12.7 x 10.2 cm

PROVENANCE:

Private Collection, Nova Scotia

$1,000 — 2,000

117

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, FIRST QUARTER 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

3.5 x 5.75 x 3.75 in — 8.9 x 14.6 x 9.5 cm

PROVENANCE:

Private Collection, Nova Scotia

$800 — 1,200

118

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, EARLY 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

2.25 x 4 x 2.75 in — 5.7 x 10.2 x 7 cm

PROVENANCE: Private Collection, Nova Scotia

$400 — 600

119

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, LATE 18TH OR EARLY 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root; box containing pen and ink note on a torn leaf of pocket book paper reading “Hugh Fraser, son of Alexander Fraser of Port Hood was drowned at Halifax in the province of Nova Scotia. On the 25th day of November Annoque Domini 1856 s[??] 22 years and 9 months.”

2.25 x 3.75 x 2.5 in — 5.7 x 9.5 x 6.4 cm

PROVENANCE:

Private Collection, Nova Scotia

$400 — 500

120

UNIDENTIFIED MI’KMAQ ARTIST

LARGE QUILLED LIDDED BOX, FIRST QUARTER 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

3 x 4.5 x 3.25 in — 7.6 x 11.4 x 8.3 cm

PROVENANCE:

Private Collection, Nova Scotia

$300 — 400

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, FIRST QUARTER 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

3 x 5 x 3.5 in — 7.6 x 12.7 x 8.9 cm

PROVENANCE:

Private Collection, Nova Scotia

$300 — 400 122

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED CHAIR SEAT, EARLY 19TH CENTURY

porcupine quills, organic dyes, birch bark, spruce root; inscribed in pen and ink verso “Pair”; seat mounted in with later wooden frame

overall 16 x 15 in — 40.6 x 38.1 cm

PROVENANCE:

Private Collection, Nova Scotia

$1,000 — 2,000

123

UNIDENTIFIED MI’KMAQ ARTIST QUILLED MODEL CANOE, MID 19TH CENTURY

porcupine quills, organic dyes, birch bark, cotton thread

2.75 x 15.75 x 3.5 in — 7 x 40 x 8.9 cm

PROVENANCE:

Private Collection, Nova Scotia

$1,000 — 2,000

124

UNIDENTIFIED MI’KMAQ ARTIST QUILLED LIDDED BOX, EARLY 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

4.5 x 6.5 x 5.75 in — 11.4 x 16.5 x 14.6 cm

PROVENANCE:

Private Collection, Nova Scotia

$700 — 900

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, EARLY 19TH CENTURY

porcupine quills, organic and aniline dyes, wood, birch bark, spruce root

4 x 6.75 x 5.75 in — 10.2 x 17.1 x 14.6 cm

PROVENANCE:

Private Collection, Nova Scotia

$400 — 600

126

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, CA. 1924

porcupine quills, aniline dyes, wood, birch bark, spruce root, sweet grass; inscribed in pencil on underside “Made by an old Indian in Nova Scotia descended from the original tribes Algonquin / Birch porcupine needles & sweet grass / This work quite rare now. July 4 1924.”

3.5 x 7 x 4.25 in — 8.9 x 17.8 x 10.8 cm

PROVENANCE:

Private Collection, Colorado

$800 — 1,200

127

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, FIRST QUARTER 20TH CENTURY

porcupine quills, aniline dyes, wood, birch bark, spruce root, sweet grass

height 3 in — 7.6 cm, diameter 4.5 in — 11.4 cm

PROVENANCE:

Private Collection, Nova Scotia

$500 — 700

128

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, FIRST QUARTER 20TH CENTURY

porcupine quills, aniline dyes, wood, birch bark, sweet grass

height 2.5 in — 6.4 cm, diameter 5.25 in — 13.3 cm

PROVENANCE:

Private Collection, Nova Scotia

$500 — 700

UNIDENTIFIED MI’KMAQ ARTIST

LARGE QUILLED BOX, CA. 1900

porcupine quills, aniline dyes, birch bark, sweet grass, cotton thread height 3.25 in — 8.3 cm, diameter 4.5 in — 11.4 cm

PROVENANCE:

Private Collection, Nova Scotia

$500 — 700

130

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, CA. FIRST QUARTER 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

3.5 x 5.5 x 4 in — 8.9 x 14 x 10.2 cm

PROVENANCE:

Private Collection, Nova Scotia

$300 — 400

131

UNIDENTIFIED MI’KMAQ ARTIST

QUILLED LIDDED BOX, EARLY 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

height 3.5 in — 8.9 cm, diameter 5 in — 12.7 cm

PROVENANCE:

Private Collection, Nova Scotia

$200 — 300

132

UNIDENTIFIED MI’KMAQ ARTIST

PAIR OF QUILLED LIDDED BOXES, FIRST HALF 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

largest 4.5 x 6.5 x 5.5 in — 11.4 x 16.5 x 14 cm

PROVENANCE:

Private Collection, Nova Scotia

$300 — 500

133

UNIDENTIFIED MI’KMAQ ARTIST

PAIR OF QUILLED LIDDED BOXES, SECOND HALF OF 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root; one inscribed on underside in pencil “Twining A [?]CH[?] / Twining” largest height 4 in — 10.2 cm, diameter 5.75 in — 14.6 cm

PROVENANCE:

Private Collection, Nova Scotia

$600 — 900

134

UNIDENTIFIED MI’KMAQ ARTIST

PAIR OF QUILLED LIDDED BOXES, EARLY 19TH CENTURY

porcupine quills, organic dyes, wood, birch bark, spruce root

largest 3.25 x 4.25 x 3.5 in — 8.3 x 10.8 x 8.9 cm

PROVENANCE:

Private Collection, Nova Scotia

$300 — 500

135

UNIDENTIFIED MI’KMAQ ARTIST VARIOUS QUILLED BOX COMPONENTS, FIRST QUARTER-SECOND HALF OF 19TH CENTURY

birch bark, spruce root

largest height 3 in — 7.6 cm, diameter 4 in — 10.2 cm

PROVENANCE:

Private Collection, Nova Scotia

$100 — 200

136

UNIDENTIFIED ANISHINAABE (OJIBWE) ARTISTS

FIVE QUILLED LIDDED BOXES, 20TH CENTURY

porcupine quills, aniline dyes, birch bark, sweet grass, cotton thread

largest height 2.25 in — 5.7 cm, diameter 6.25 in — 15.9 cm

PROVENANCE:

Private Collection, Nova Scotia

$300 — 500

137

UNIDENTIFIED ANISHINAABE (OJIBWE)

ARTIST

WHISKBROOM HANGER, FIRST QUARTER 20TH CENTURY

porcupine quills, organic dyes, birch bark, sweet grass

depth 1.5 in — 3.8 cm, diameter 7 in — 17.8 cm

PROVENANCE:

Private Collection, Nova Scotia

$30 — 60

138

UNIDENTIFIED ANISHINAABE (OJIBWE) ARTIST

QUILLED LIDDED BOX WITH MAPLE LEAF AND STAR IMAGERY, FIRST QUARTER 20TH CENTURY

porcupine quills, birch bark, sweet grass, cotton thread

height 4 in — 10.2 cm, diameter 9 in — 22.9 cm

PROVENANCE:

Private Collection, Nova Scotia

$400 — 500

139

UNIDENTIFIED ANISHINAABE (OJIBWE) ARTIST

BOX WITH BEAVER AND GEOMETRIC DESIGN, 20TH CENTURY

birch bark, porcupine quills, dye, sweetgrass

height 3 in — 7.6 cm, diameter 5.25 in — 13.3 cm

PROVENANCE:

Private Collection, Ontario

$80 — 100

140

UNIDENTIFIED ANISHINAABE (OJIBWE) ARTIST

QUILLED LIDDED BOX, FIRST QUARTER 20TH CENTURY

porcupine quills, aniline dyes, birch bark, sweet grass, cotton thread

2.75 x 12.5 x 4 in — 7 x 31.8 x 10.2 cm

PROVENANCE:

Private Collection, Nova Scotia

$200 — 400

141

UNIDENTIFIED HAUDENOSAUNEE (IROQUOIS) ARTIST WITH BEADED FLORAL DESIGNS, FOURTH QUARTER 19TH CENTURY

accompanied by a collection note from C. Frank Turner identifying the purse as being of “Southern Ontario/Northern New York” origin 4.5 x 4.5 in — 11.4 x 11.4 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$100 — 200

142

JAMES GEORGE PARKS (1836-1895), CANADIAN

CABINET CARD OF BAPTISTE TAIAIAKE (BIG JOHN RICE)

albumen print; photographer’s imprint reads “Baptiste, The Indian Pilot.” overall 6.5 x 4.25 in — 16.5 x 10.8 cm

PROVENANCE: Private Collection, Ontario

$400 — 600

143

SIMON DUFFIN (1843-1900), CANADIAN TWO POSED YOUNG WOMEN albumen print; photographer’s imprint reads “Duffin & Co. 474 Main St. Winnipeg.”; indistinct inscription in pen and ink verso overall 6.5 x 4.25 in — 16.5 x 10.8 cm

PROVENANCE:

Private Collection, Ontario

$400 — 600

144

JAMES R. WAGHORN, AMERICAN CABINET CARD OF KAYO-OKOSIS (BEAR SHIELD)

albumen print; photographer’s imprint reads “Views of the Rockies on the Line of the C.P.R. / Photographed by Mr. James R. Waghorn, Land Department, C.P.R. Winnipeg, October 1883”; a further pen and ink inscription reads “M Kayo . Okosis (Bear Shield) Blackfoot Chief”

4.5 x 7.25 in — 11.4 x 18.4 cm

PROVENANCE:

Private Collection, Ontario

$400 — 600

145

SIMON DUFFIN (1843-1900), CANADIAN CABINET CARD OF SUBJECTS “SNAKE, AND BIG BELLY”

albumen print; photographer’s imprints read “Duffin & Co. Photographers. 474 Main St. City of Winnipeg Manitoba”

6.5 x 4.125 in — 16.5 x 10.5 cm

PROVENANCE:

Private Collection, Ontario

$400 — 600

146

DAVID FRANCIS BARRY (1854-1934), AMERICAN

SITTING BULL, CA. 1890-1897

albumen print; photographer’s imprint recto reads “Copyright by D.F. Barry / Berry”; captioned “Sitting Bull”; photographer’s imprint verso reads “D.F. Berry / West Superior Wis.”

image 8.75 x 3.75 in — 22.2 x 9.5 cm

PROVENANCE:

Private Collection, Santa Fe, USA

Private Collection, Toronto, ON

$900 — 1,200

AFTER WILLIAM NOTMAN (1826-1891), CANADIAN SITTING BULL, 1886

gelatin silver print; original taken by Notman in 1886, the present example printed after Notman, first quarter 20th century 19.25 x 15.25 in — 48.9 x 38.7 cm

PROVENANCE:

Private Collection, Toronto, ON

$400 — 600

The Collection of Cyril Francis Turner

Between Sitting Bull and the North-West Mounted Police.

An adventurer with a hands-on approach to the study of history, Turner assembled a collection of historical First Nations objects, and traveled to many of the far flung, and at times dangerous locations covered in his book, interviewing first-hand, and keeping correspondence with descendants of participants in the events. Speaking in 1973 of the urgency of preserving stories, Turner expressed, “The land is still there. So are the descendants, Indians and Whites. It is the heritage that is fading away.”

Waddington’s is pleased to present the research archives, and First Nations collection of Cyril Francis Turner.

Author Cyril Francis Turner checks in with the “legendary pioneers” (Lethbridge and son) where chief Sitting Bull and his peoples once resided around Wood Mountain, Saskatchewan.

CYRIL FRANCIS TURNER (1922-2009)

THE RESEARCH ARCHIVES OF AUTHOR AND AMATEUR PLAINS SCHOLAR C. FRANK TURNER

PROVENANCE:

C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$3,000 — 4,000

Comprised primarily of material relating to C. Frank Turner’s research on The Northwest Mounted Police and Sitting Bull, particularly focused on Sitting Bull’s years seeking refuge in Canada following The Battle of Little Big Horn.

Four compact cassettes recorded by C. Frank Turner documenting original, and previously unknown recordings of Oglala Lakota elders including Elizabeth “Lizzie” Ogle (Toniya Wakanwin) (1885-1984), and Roy Ogle (b. 1919) of Wood Mountain, Saskatchewan; as well as Ida Killah[?], and George Jacob Kills In Sight (1897-1975) of Rosebud Indian reservation, South Dakota. Interviewees discuss subjects including an oral account relating to the massacre at Wounded Knee, their family members escape to Canada with Sitting Bull, early settlers of Wood Mountain, preservation of Lakota culture and the loss of the traditional language, Lakota war leader Crazy Horse, Chief Spotted Tail, and Iron Tail, The Ghost Dance, and Lakota elder Thomas Tyme[?] (Gives Him Pipe).

A figural catlinite club in the form of a claw hammer, sculpted by the subject of one of Turner’s interviews, Elizabeth “Lizzie” Ogle (Toniya Wakanwin) (1885-1984).

161 gelatin silver photographs and thirteen negatives, primarily comprised of 8 x 10 copy prints— some unpublished—from various private and public archives including the Smithsonian Institute: Bureau of American Ethnology, the National Archives, the U.S. Signal Corps Archives, the Royal Canadian Mounted Police Archives, the Glenbow Museum, and Public Archives of Canada. Prints are from photographs by important photographers including D.F Barry, Alexander Gardener, Heyn & Matzen, F. Jay Haynes, Charles M. Bell, and George W. Spencer. Images primarily document First Nations Chiefs, and North West Mounted Police officials.

Carousel of slides, accompanied by slide list, and notes for C. Frank Turner presentation “Sitting Bull Tests the Metal of the Redcoats”.

Twenty Kodachrome and other colour process snapshot photographs by C. Frank Turner documenting his travels to historical sites while conducting research for Across the Medicine Line.

One folio of original correspondence pertaining to research and editorial matters in preparation for C. Frank Turner’s 1973 publication Across the Medicine Line: The Epic Confrontation Between Sitting Bull and the North-West Mounted Police.Two folios of research and reference material for Across the Medicine Line.

One large sheaf of misc. research paperwork and related articles.One folio of magazines containing historical subject matter articles by C. Frank Turner.

Carbon copy of 1974 script adapting Across the Medicine Line into a theatrical production, as well as material pertaining to the theatrical optioning of the book.

Two folios of reviews and publicity for Across the Medicine Line.John Peter Turner, The Northwest Mounted Police 1873-1893 (Ottawa: Edmond Cloutier, King’s Printer and Controller of Stationery, 1950). 1st Edition, in two volumes, in the original printed stiff card wraps, wellthumbed and with extensive wear to binding, some losses.

C. Frank Turner, Across the Medicine Line: The Epic Confrontation Between Sitting Bull and The North-West Mounted Police (Toronto: McClelland and Stewart Ltd., 1973). Signed by author.

149

UNIDENTIFIED MÉTIS ARTIST

DRAWSTRING BAG WITH BUTTONHOLE EMBROIDERED FLORAL DESIGNS, SECOND HALF OF THE 19TH CENTURY

hide, cotton cloth, thread, dyes

4.25 x 2.75 in — 10.8 x 7 cm

PROVENANCE:

Michael Rowan Antiques, Ontario Private Collection, Toronto, ON

$300 — 500

150

UNIDENTIFIED MÉTIS ARTIST

WALL POCKET WITH CHAIN STITCHED FLORAL DESIGNS, SECOND HALF OF THE 19TH CENTURY

hide, cotton cloth, ribbon, glass beads, thread, dyes

7.75 x 6 in — 19.7 x 15.2 cm

PROVENANCE:

Private Collection, Ontario

$300 — 500

151

UNIDENTIFIED CREE ARTIST

PAD SADDLE WITH BEADED FLORAL AND GEOMETRIC DESIGNS, CA. 1900

hide, glass beads, wool yarn, sinew, cotton thread, horsehair, iron hoops; includes custom fabricated steel display stand

7.5 x 18 x 8 in — 19.1 x 45.7 x 20.3 cm

PROVENANCE:

Forrest Fenn Collection, Santa Fe, NM

Donald Ellis Gallery, Toronto, ON, 21 Aug 1991 Private Collection, Toronto, ON

$3,000 — 5,000

152

UNIDENTIFIED LIKELY DAKOTA, OCETI

SAKOWIN (SIOUX) ARTIST

LADY’S QUILLWORK SHOES COMMISSIONED AND SOLED BY LAIRD SCHOBER OF PHILADELPHIA, 1870-1900 hide, quills, leather, silk or cotton lining

3.5 x 9 x 2.5 in — 8.9 x 22.9 x 6.4 cm

PROVENANCE:

Private Collection, Vancouver, BC

$1,500 — 2,500

153

UNIDENTIFIED OGLALA LAKOTA (SIOUX)

ARTIST

PAIR OF BEADED HIDE MOCCASINS BELIEVED TO BELONG TO CHIEF RED CLOUD (MAHPIUA LUTA), FOURTH QUARTER 19TH CENTURY hide, glass beads, tin ; inscribed in pen and ink with a collection inventory number reading “5734”, and accompanied by an early tag with pen and ink inscription reading “Moccasins given by Professor O.C. Marsh to Mc Hughes, said to have belonged to Chief Red Cloud Sioux Indians”; also accompanied by C. Frank Turner’s handwritten collection note identifying the moccasins as Redcloud’s from “Professor O.C. Marsh”; and an additional collection note from Turner referencing “Seeley”, and the Toronto address of an “S. Ogden” 11 x 4 x 3.5 in — 27.9 x 10.2 x 8.9 cm

PROVENANCE:

By repute Chief Red Cloud (Mahpiua Luta), gifted to Othniel Charles Marsh, New Haven, CT, gifted to Mc Hughes, Cambridge, UK, thereafter possibly to Collection of Harry Seeley, Cambridge, UK

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$10,000 — 15,000

NOTE:

An important, and ornately beaded pair of 19th century Plains moccasins in the Lakota style, the present footwear is identified in C. Frank Turner’s collection notes as having belonged to the important Oglala Lakota Chief Red Cloud (Mahpiua Luta). An early tag accompanying the moccasins bears a pen and ink inscription reading: “Moccasins given by Professor O.C. Marsh to Mc Hughes, said to have belonged to Chief Red Cloud Sioux Indians”.

.It is not clear at what time Marsh may have acquired the moccasins from Red Cloud, however both interactions might have afforded Marsh the opportunity to acquire a pair of moccasins. The two men required something of each other in 1874, and their exchange seems to have fostered a lasting relationship. Marsh had sought protection, and right of passage from Red Cloud. The protection was needed for Marsh’s planned excavation and extraction of fossils from the disputed Black Hills. Red Cloud in-turn sought from Marsh much needed leverage lobbying the U.S. Government to uphold the terms of the Fort Laramie Treaty. The implementation of the treaty had been subject to gross

neglect and consistent corruption on the part of the Government.The early tag accompanying the moccasins indicates that they were gifted by Marsh to an Mc Hughes, presumably Thomas McKenny Hughes (1832-1917), a Professor of Geology at the Woodwardian Museum of Cambridge, with whom Marsh had a lasting correspondence. [1]

While the path of the footwear from Hughes to eventual ownership by C. Frank Turner is unknown, an additional collection note from Turner offers the name “Seeley”, along with a Toronto address, and a purchase price for the moccasins. While “Seeley” may refer to Harry Govier Seeley (1839-1909), an assistant at the Woodwardian Museum of Cambridge, the significance of the further address of an unidentified Toronto resident remains as yet unknown.[2]

[1] “Hughes, McKenny, 1891-1899”, From the Collection: Marsh, Othniel Charles, 1831-1899, Archives at Yale, [2] Douglas Palmer, “Thomas McKenny Hughes - a hundred years ago”, The Geological Society of London

UNIDENTIFIED NEWE (WESTERN SHOSHONE) ARTIST

PAIR OF MOCCASINS WITH CLOTH UPPERS, SOLED IN REPURPOSED PARFLECHE, FOURTH QUARTER 19TH CENTURY

hide, glass beads, muslin, cotton thread

2.25 x 10 x 4 in — 5.7 x 25.4 x 10.2 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$400 — 600

155

UNIDENTIFIED PLAINS ARTIST PAIR OF MOCCASINS, FIRST QUARTER 20TH CENTURY

hide, glass beads, cotton thread

4 x 10.5 x 4 in — 10.2 x 26.7 x 10.2 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$300 — 500

156

UNIDENTIFIED SOUTHWESTERN ARTIST PAIR OF MOCCASINS AND CUFFS WITH BEADED GEOMETRIC DESIGNS, FIRST QUARTER 20TH CENTURY

hide, glass beads, cotton thread

2.25 x 8.5 x 3 in — 5.7 x 21.6 x 7.6 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 300

157

UNIDENTIFIED PLAINS ARTIST

PAIR OF MOCCASINS WITH BEADED GEOMETRIC DESIGNS, CA. FOURTH QUARTER 19TH CENTURY

hide, glass beads, cotton thread

3 x 8.5 x 3.5 in — 7.6 x 21.6 x 8.9 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$300 — 500

158

UNIDENTIFIED PLAINS ARTISTS, ONE POSSIBLY ASSINIBOINE

TWO PAIRS OF MOCCASINS BEADED WITH GEOMETRIC DESIGNS, FOURTH QUARTER 19TH CENTURY

hide, glass heads, cotton thread, cotton trade cloth

largest 2 x 6.25 x 2.25 in — 5.1 x 15.9 x 5.7 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 300

159

UNIDENTIFIED ATHABASCAN ARTIST BEADED TUNIC OR SHIRT WITH FIVE NORTHWEST MOUNTED POLICE BUTTONS, FOURTH QUARTER 19TH CENTURY hide, silk, cotton thread, brass buttons; accompanied by a bill of sale from The Little Museum, Toronto, ON, which notes the provenance as the “Clunis collection”; also accompanied by C. Frank Turner’s hand written collector’s note

29.5 x 65 in — 74.9 x 165.1 cm

PROVENANCE:

The Little Museum, Toronto, ON, 1971

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$700 — 900

160

UNIDENTIFIED PIEGAN (AMPSKAPI PIIKANI), BLACKFEET ARTISTS TWO PARFLECHE BAGS OR ENVELOPES, SECOND HALF OF THE 19TH CENTURY hide, paint, sinew

largest 16 x 9 x .25 in — 40.6 x 22.9 x 0.6 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$400 — 600

161

UNIDENTIFIED NORTHERN PLAINS ARTIST

DRUMSTICK BEADED WITH HORSESHOE MOTIF, SECOND HALF OF THE 19TH CENTURY

hide, glass and steel beads, hide, wood height 16.25 in — 2 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 300

162

UNIDENTIFIED PLAINS ARTIST DRUM AND BEATER WITH PICTORIAL BUFFALO DESIGN, 19TH-20TH CENTURY hide, paint, sinew, leather, buffalo fur height 3.25 in — 8.3 cm, diameter 16 in — 40.6 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$600 — 800

163

UNIDENTIFIED PLAINS ARTISTS

TWO CEREMONIAL CLUBS, OR DANCE WANDS, FOURTH QUARTER 19TH CENTURY

horn, wood, hide, cotton trade cloth, glass beads, horse hair; accompanied by C. Frank Turner’s hand written collector’s notes identifying the wands as “Ogalala or Brule Teton Sioux” and the other as of “Blackfoot” origin

largest 20 x 14.5 x 2 in — 50.8 x 36.8 x 5.1 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$500 — 700

164

UNIDENTIFIED PLAINS MAKER

PLAINS BOW AND FOUR ARROWS, SECOND HALF OF THE 19TH CENTURY

wood, steel, sinew, feathers, stone, steel wire; accompanied by a bill of sale from the Little Museum, Toronto, ON, reading “A Cheyenne bow and two arrows, one without point c. 1850. From a Western Ontario collection.” largest 48 x 1 x .75 in — 121.9 x 2.5 x 1.9 cm

PROVENANCE:

The Little Museum, Toronto, ON, 11 Dec 1970Collection of C. Frank Turner, Toronto, ON

By descent to the present Private Collection, Toronto, ON

$300 — 500

165

UNIDENTIFIED NORTHERN PLAINS MAKERS

CROOKED KNIFE, SHEATH, AND SHOT HORN, SECOND HALF OF THE 19TH CENTURY

antler, crass, steel, rawhide, buffalo horn, wood, leather; accompanied by C. Frank Turner’s hand written collector’s notes identifying the knife as “Saulteaux” (Plains Ojibwa)

largest 9.5 x 4 x .75 in — 24.1 x 10.2 x 1.9 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$300 — 500

166

UNIDENTIFIED WESTERN GREAT LAKES ARTIST

KNIFE, AND SHEATH BEADED WITH GEOMETRIC DESIGNS, SECOND HALF OF THE 19TH CENTURY

hide thread, glass beads, wood, steel, brass rivets; accompanied by C. Frank Turner’s hand written collector’s note identifying the sheath as being “Wisconsin Winnebago” (Ho-Chunk) 13 x 2 in — 33 x 5.1 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$400 — 600

167

UNIDENTIFIED PLAINS MAKERS

TWO WAR CLUBS, AND ONE ARCHAIC GROOVED HEAD TOMAHAWK, VARIOUS DATES

stone, hide, sinew; one accompanied by C. Frank Turner’s hand written collector’s note reading “Tomahawk Stone head found in Missouri encampment, excavated. Arikara Indian. Circa pre 1700. Stem contemporary” largest 18 x 3 x 2 in — 45.7 x 7.6 x 5.1 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$500 — 700

168

UNIDENTIFIED APSÁALOOKE (CROW/ ABSAROKE) ARTIST

BELT WITH BEADED AND TACKED GEOMETRIC DESIGNS, FOURTH QUARTER 19TH CENTURY

leather, glass beads, cotton thread, brass tacks, steel buckle; accompanied by C. Frank Turner’s hand written collector’s notes, one reading “Crow (Absoroka) Woman’s Belt Circa (1880) typical of the woman’s belt of this time / the brass tacks and colour combinations are very typical Crow.”

2.75 x 40.5 in — 7 x 102.9 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 300

OCETI SAKOWIN (SIOUX) AND NAKOTA (ASSINIBOINE) ARTISTS

TWO BELTS WITH BEADED GEOMETRIC DESIGNS, SECOND HALF OF THE 19TH CENTURY

leather, hide, glass beads, sinew, cotton thread, steel buckle; accompanied by C. Frank Turner’s collector’s notes, one reading “Beaded Belt. Sioux. Early 1800s from a lot of a US soldier who commanded a fort, the other reading “Assiniboine, N. Montana. Man’s belt. 1890 on harness / dance (probably)” largest 39.5 x 1.5 in — 100.3 x 3.8 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 300

170

UNIDENTIFIED PLAINS MAKER

WAR CLUB WITH TRADE CLOTH AND BEADED WRAP, SECOND HALF OF THE 19TH CENTURY

stone, wood, trade cloth, hide, glass beads, cotton thread

26.5 x 5.5 x 2.5 in — 67.3 x 14 x 6.4 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$400 — 600

171

UNIDENTIFIED PLAINS MAKER WAR CLUB WITH BEADED DETAILS, SECOND HALF OF THE 19TH CENTURY stone, wood, hide, glass beads, cotton thread 14 x 3.25 x 2 in — 35.6 x 8.3 x 5.1 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 400

172

UNIDENTIFIED PLAINS ARTISTS TRADE BEAD NECKLACE WITH 18TH CENTURY TRADE BEADS glass “pony” beads, cotton thread; C. Frank Turner’s collection note on verso of Riker box reads “French Trade Beads c. 1600 - 1700Found in Canada / S. Ogden / 2 Eglington Ave. Toronto 5”

diameter 6 in — 15.2 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$100 — 200

173

UNIDENTIFIED PLAINS ARTIST

INVERTED STARS AND STRIPES BEADED WATCH FOB, 1838

glass beads, cotton thread, silvered steel

6.25 x 1 in — 15.9 x 2.5 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$60 — 80

174

UNIDENTIFIED PLAINS ARTISTS BEADED POUCH WITH GEOMETRIC DESIGN, SECOND HALF OF 19TH CENTURY hide, glass beads, cotton thread

11 x 5.25 in — 27.9 x 13.3 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$300 — 400

175

UNIDENTIFIED PLAINS ARTIST FRINGED BEADED STRIKE-A-LIGHT POUCH WITH GEOMETRIC DESIGN, SECOND HALF OF 19TH CENTURY hide, glass beads cotton cloth and thread 5.5 x 4 in — 14 x 10.2 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 300

176

UNIDENTIFIED PLAINS ARTISTS TWO BEADED POUCHES, SECOND HALF OF 19TH CENTURY hide, glass beads, cotton thread largest 13 x 5 in — 33 x 12.7 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 300

177

UNIDENTIFIED PLAINS ARTISTS

THREE BEADED POUCHES, SECOND HALF OF 19TH CENTURY

hide, glass beads, thread

largest 8.5 x 2.5 in — 21.6 x 6.4 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 300

178

UNIDENTIFIED PLAINS ARTISTS

HARNESS LEATHER BEADED STRIKE-A-LIGHT POUCH WITH GEOMETRIC DESIGN, SECOND HALF OF 19TH CENTURY

leather, glass beads, cotton thread 4.5 x 3.5 in — 11.4 x 8.9 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 300

179

UNIDENTIFIED LAKOTA, OCETI SAKOWIN (SIOUX) ARTIST

BREECHCLOUT, SECOND HALF OF THE 19TH CENTURY

melton wool, silk, trade cloth, glass beads, cotton thread

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 400

180

UNIDENTIFIED OCETI SAKOWIN (SIOUX), OJIBWA (ANISHINAABE), AND OTHER ARTISTS

THREE BEADED BELTS, AND ONE PAIR OF BEADED CUFFS, CA. 1900

glass beads, hide, wool fringe, cotton thread; accompanied by C. Frank Turner’s hand written collector’s notes, one reading “Sioux dance belt men’s circa 1900 2 pc. Belt may have been 2 legging strips. Has been repaired at 2 intervals. Done on buffalo hide. Fringe and ribbon work added about 1910. Original piece could date 1870.”; another reading “floral beaded woman’s belt. Pine Ridge, Dakotas, 1870-80. Probably originally Ojibway Devil’s Lakes 1880.”

largest 38.5 x 6.5 in — 97.8 x 16.5 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 300

181

UNIDENTIFIED ASSINIBOINE ARTIST

PAIR OF BEADED PICTORIAL CUFFS WITH ENGLISH FLAGS AND FLORAL DESIGNS, FOURTH QUARTER 19TH CENTURY

hide, glass beads, cotton fabric, cotton thread

7 x 13 x .5 in — 17.8 x 33 x 1.3 cm

PROVENANCE:

Private Collection, Ontario

$300 — 500

182

EASTERN DAKOTA (SANTEE SIOUX)

FRINGED BAG WITH BEADED ENGLISH AND AMERICAN FLAG DESIGNS, FOURTH QUARTER 19TH CENTURY

hide, glass beads, cotton, thread; accompanied by C. Frank Turner’s hand written collector’s note reading “Santee Sioux woman’s bag with two beaded flagsUnion Jack and Stars and Stripes in beads / Nineteenth century”; also accompanied by a bill of sale from Cappit Hen Antiques, Toronto, ON

9 x 3.5 x 3.5 in — 22.9 x 8.9 x 8.9 cm

PROVENANCE:

Cappit Hen Antiques, Toronto, ON, 1974

Collection of C. Frank Turner, Toronto, ON

By descent to the present Private Collection, Toronto, ON

$200 — 300

183

UNIDENTIFIED OGLALA SIOUX MAKERS COLLECTION REPUTED TO HAVE BELONGED TO SUB CHIEF BLACK EAGLE OF THE PINE RIDGE RESERVATION, 19TH20TH CENTURY

accompanied by H.M. Worcester Indian Artifacts bills of sale, and sales brochure; also accompanied by C. Frank Turner’s hand written collector’s notes various sizes

PROVENANCE:

Reputedly purchased from the widow of Sub Chief Black Eagle of the Pine Ridge Reservation, South Dakota/Nebraska, USA H.M. Worcester Indian Artifacts, 1973 Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$700 — 900

184

UNIDENTIFIED OCETI SAKOWIN (SIOUX) ARTIST

BEADED AWL CASE, FOURTH QUARTER 19TH CENTURY

glass beads, hide, trade cloth, quills, tin, sinew, cotton thread; accompanied by C. Frank Turner’s hand written collector’s notes, one reading “Sioux awl carrying case. Quillwrapped canvas fringe. Relatively new tin cones have replaced old ones. Sporadic bead design, though not common, is a Sioux trait. 1880. Awl mainly used for [?] crafts.”

13 x 1.25 x .25 in — 33 x 3.2 x 0.6 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 300

185

UNIDENTIFIED NORTHERN PLAINS ARTIST

BUFFALO HEAD DANCE RATTLE, FOURTH QUARTER 19TH CENTURY

hide, pigment, sinew; accompanied by C. Frank Turner’s hand written collector’s note reading “Rattle for Dancing / Plains Sioux & Assiniboine / Buffalo Head decoration faded with age”

13 x 5.5 x .5 in — 33 x 14 x 1.3 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 400

186

UNIDENTIFIED NIITSITAPI (BLACKFOOT) ARTIST

PENDANT NECKLACE, 19TH-20TH CENTURY

stone, glass beads, hide; accompanied by C. Frank Turner’s hand written collector’s note reading “Round-stone necklace. Blackfoot Southern Alberta 1870 Old Beads” 15 x 3 x .25 in — 38.1 x 7.6 x 0.6 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 300

187

UNIDENTIFIED CREE ARTIST

BEADED GARTER WITH FLORAL DESIGN, FOURTH QUARTER 19TH CENTURY

glass beads, canvas, hide, cotton thread; accompanied by C. Frank Turner’s hand written collector’s note, one reading “Cree Garter. Circa 1880-85 Alberta typical of Blackfoot-cree floral styles stitched on military canvas web, that was a popular backing at this time.”

3 x 12.25 in — 7.6 x 31.1 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$100 — 200

188

UNIDENTIFIED NORTHERN PLAINS ARTIST

KNIFE SHEATH BEADED WITH GEOMETRIC DESIGNS, SECOND HALF OF THE 19TH CENTURY

hide, glass beads, cotton thread, tin, horsehair, dyes; accompanied by C. Frank Turner’s hand written collector’s note reading “Sheath, green beaded in centre Sioux 1890”

15 x 3.5 in — 38.1 x 8.9 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$400 — 600

189

UNIDENTIFIED CREE ARTIST

PIPE BAG WITH BEADED FLORAL DESIGNS, FOURTH QUARTER 19TH CENTURY

hide, glass beads, cotton thread; accompanied by a bill of sale from The Little Museum, Toronto, ON, reading erroneously “A Cheyenne pipe bag case beaded with leather fringes c. 1850”; also accompanied by C. Frank Turner’s collector’s note correcting the attribution; also accompanied by C. Frank Turner’s hand written collector’s note 27.5 x 5.5 in — 69.9 x 14 cm

PROVENANCE:

The Little Museum, Toronto, ON, 15 Feb 1971

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$500 — 700

190

UNIDENTIFIED PLAINS ARTIST

T-SHAPED PIPE AND QUILLED STEM WITH HORSEHAIR AND RIBBON DROP, FOURTH QUARTER 19TH CENTURY

catlinite, wood, quills, horsehair, trade ribbon, duck feathers, dyes; accompanied by C. Frank Turner’s hand written collector’s note, and a bill of sale from the Little Museum, Toronto, ON 28.75 x 4 x 1.25 in — 73 x 10.2 x 3.2 cm

PROVENANCE:

The Little Museum, Toronto, ON, 26 May 1971

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$800 — 1,200

191

UNIDENTIFIED ONEOTA ARTIST

FRAGMENTARY DISC PIPE, MISSISSIPPIAN PERIOD

catlinite; collector’s inscription reads “Ute Site Missouri”

1 x 5.25 x 1.25 in — 2.5 x 13.3 x 3.2 cm

PROVENANCE:

Private Collection, USA

Brandon Vanderver, Indiana, USA, 2018 Private Collection, Toronto, ON

$900 — 1,200

192

UNIDENTIFIED EASTERN PLAINS OR WESTERN GREAT LAKES ARTIST

FRAGMENTARY FISH EFFIGY PIPE, SECOND HALF OF THE 19TH CENTURY catlinite

1.25 x 3.25 x .75 in — 3.2 x 8.3 x 1.9 cm

PROVENANCE: Private Collection, Toronto, ON

$300 — 500

193

UNIDENTIFIED NIITSITAPI (BLACKFOOT)

ARTIST

“MICMAC” FORM PIPE BOWL WITH PICTORIAL INLAY, 19TH CENTURY

pipestone, lead or pewter

3.75 x 2.75 x 1.25 in — 9.5 x 7 x 3.2 cm

PROVENANCE:

Private Collection, Toronto, ON

$400 — 600

194

UNIDENTIFIED GREAT LAKES ARTIST

“MICMAC” FORM PIPE BOWL, 19TH CENTURY OR EARLIER

pipestone

height 1.75 in — 4.4 cm, diameter .75 in — 1.9 cm

PROVENANCE:

Private Collection, Toronto, ON

NOTE:

A small vasiform pipe bowl belonging to a family of smoking instruments most commonly associated with personal rather than ritual smoking. The bowl would have been used in conjunction with a short wooden stem. The convenience and portability of the form resulted in the design being a popular favourite among the voyageurs of the fur trade in the 18th and 19th century.

$200 — 300

195

VARIOUS GREAT LAKES MAKERS SLATE PENDANT AND CELT REPUTED TO HAVE BEEN COLLECTED ON THE ASHBRIGE ESTATE IN TOWNSHIP OF YORK, ONTARIO 1906, ARCHAIC PERIOD

stone; C. Frank Turner’s hand written collector’s labels affixed

largest 5 x 2 in — 12.7 x 5.1 cm

PROVENANCE:

Reputed to have been collected on the Ashbridge estate, York County, ON, 25 Apr 1906 Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$200 — 300

196

VARIOUS GREAT LAKES MAKERS THIRTEEN STONE POINTS AND ONE SCRAPER REPUTED TO HAVE BEEN COLLECTED ON THE ASHBRIGE ESTATE IN TOWNSHIP OF YORK, ONTARIO 1906, ARCHAIC PERIOD

stone; one with collector’s label reading “...5, 1906”

largest

PROVENANCE:

.75

Reputed to have been collected on the Ashbridge estate, York County, ON, 25 Apr 1906 Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$100 — 200

197

UNIDENTIFIED TLINGIT ARTIST

LARGE RATTLE TOP BASKET, CA. 1900 spruce root, maiden hair fern

height 4 in — 10.2 cm, diameter 8 in — 20.3 cm

PROVENANCE:

Private Collection, Vancouver, BC

$1,500 — 2,500

198

UNIDENTIFIED TLINGIT ARTIST

DIMINUTIVE RATTLE TOP BASKET, CA. 1900

split spruce root, maiden hair fern, dyed bear grass

2.75 x 3.25 in — 7 x 8.3 cm

PROVENANCE:

Private Collection, Vancouver, BC

$400 — 600

199

UNIDENTIFIED HAIDA ARTIST LIDDED BASKET, CA. 1900 spruce root, natural and dyed bear grasses

height 3.5 in — 8.9 cm, diameter 4.5 in — 11.4 cm

PROVENANCE:

Private Collection, Vancouver, BC

$400 — 600

200

UNIDENTIFIED NUU-CHAH-NULTH ARTIST MONUMENTAL LIDDED STORAGE BASKET WITH INTRICATE WHALING DESIGN, FIRST HALF OF 20TH CENTURY cedar bark, bear grass, dye

height 7 in — 17.8 cm, diameter 14.5 in — 36.8 cm

PROVENANCE:

Private Collection, British Columbia

$1,500 — 2,000

201

UNIDENTIFIED NUU-CHAH-NULTH ARTIST

MONUMENTAL LIDDED STORAGE BASKET WITH INTRICATE FLORAL AND GEOMETRIC DESIGN, FIRST HALF OF 20TH CENTURY

bear grass, dye

height 6.5 in — 16.5 cm, diameter 10.75 in — 27.3 cm

PROVENANCE:

Private Collection, British Columbia

$1,500 — 2,000

202

UNIDENTIFIED NUU-CHAH-NULTH ARTIST

MINIATURE LIDDED BASKET, CA. 1900

bear grass, dye

height 2 in — 5.1 cm, diameter 3 in — 7.6 cm

PROVENANCE:

Private Collection, British Columbia

$200 — 300

203

UNIDENTIFIED LIKELY NUU-CHAH-NULTH ARTIST LIDDED BASKET WITH GEOMETRIC DESIGNS, CA. 1900 bear grass, dye

height 4.5 in — 11.4 cm, diameter 5 in — 12.7 cm

PROVENANCE:

Private Collection, British Columbia

$500 — 700

204

UNIDENTIFIED NUU-CHAH-NULTH ARTIST BASKETRY WRAPPED DOCTOR’S APOTHECARY BOTTLE, CA. 1900 spruce root, glass height 9.25 in — 23.5 cm, diameter 2.75 in — 7 cm

PROVENANCE:

Private Collection, Vancouver, BC

$300 — 400

205

UNIDENTIFIED NUU-CHAH-NULTH ARTIST

BASKET WITH WHALE AND DIVING BIRD DESIGN, FIRST QUARTER 20TH CENTURY

cedar bark, bear grass, dyes

4.25 x 8.75 x 6.5 in — 10.8 x 22.2 x 16.5 cm

PROVENANCE:

Private Collection, Toronto, ON

$200 — 400

206

UNIDENTIFIED YOKUTS ARTIST

MINIATURE PICTORIAL BASKET WITH IMBRICATED BUTTERFLY DESIGN, CA. 1900

grass, sedge root, bracken fern root

1.5 x 4.25 x 3 in — 3.8 x 10.8 x 7.6 cm

PROVENANCE:

Private Collection, Toronto, ON

$300 — 500

207

UNIDENTIFIED YOKUTS ARTIST MINIATURE PICTORIAL BASKET WITH IMBRICATED ANIMAL DESIGN, CA. 1900 grass, sedge root, bracken fern root

height 2.75 in — 7 cm, diameter 4.75 in — 12.1 cm

PROVENANCE:

Private Collection, Toronto, ON

$300 — 500

208

UNIDENTIFIED PAIUTE MAKER BASKETRY FRESHWATER FLASK, 19TH CENTURY

willow or sumac, tree pitch, fibre cordage height 10 in — 25.4 cm, diameter 6 in — 15.2 cm

PROVENANCE:

Private Collection, Vancouver, BC

$400 — 600

UNIDENTIFIED SAKOWIN (SIOUX) ARTIST PAIR OF PLAINS STIRRUPS, AND QUIRT HANDLE, SECOND HALF OF THE 19TH CENTURY

wood, hide; accompanied by C. Frank Turner’s hand written collector’s notes, one reading “Stirrups. Sioux originally Probably made in 1830s. Origin Milk River, South Dakota. Made for a young person, boy or girl, which is unusual. Stirrups usually used by adult only.” largest height 10 in — 25.4 cm, diameter 1 in — 2.5 cm

PROVENANCE:

Collection of C. Frank Turner, Toronto, ON By descent to the present Private Collection, Toronto, ON

$100 — 200

210

ANCESTRAL PUEBLO (ANASAZI) ARTIST BOWL WITH GEOMETRIC DESIGNS

clay, paint

height 2.5 in — 6.4 cm, diameter 5.5 in — 14 cm

PROVENANCE:

Private Collection, Arizona, USA, ca. 1969 Private Collection, Toronto, ON

$400 — 600

211

UNIDENTIFIED NAVAJO ARTIST WEAVING / RUG WITH GEOMETRIC DESIGNS, CA. 1930

wool, dyes; tag reading “C-ADG / B / Navajo Blanket / fine weave, traditional snake and arrowhead pattern / woven circa 1920-30 / 98 x 183cm -- 38” x 72” / $2,000”

71 x 37.5 in — 180.3 x 95.3 cm

PROVENANCE:

Private Collection, Toronto, ON

$400 — 600

212

UNIDENTIFIED NAVAJO ARTIST WEAVING / RUG WITH GEOMETRIC DESIGNS, CA. 1930 wool, dyes

72 x 37 in — 182.9 x 94 cm

PROVENANCE:

Private Collection, Toronto, ON

$400 — 600

UNIDENTIFIED NAVAJO ARTIST

WEAVING / GALLUP THROW WITH FOLIATE AND GEOMETRIC DESIGNS, CA. 1930

cotton, wool, dyes

40 x 27.5 in — 101.6 x 69.9 cm

PROVENANCE:

Private Collection, Toronto, ON

$200 — 300

First Nations Art

AUGUST 28 - SEPTEMBER 11, 2025