Major Fall Auction: First Nations Art NOVEMBER 5 - 19, 2026
bid and view all lots online at bid.waddingtons.ca
first nations art firstnationsart@waddingtons.ca
auction ends Thursday, November 19, 2026 Bidding starts to close at 6 pm ET
senior specialist Palmer Jarvis
on preview Saturday, November 14 from 12 pm to 4 pm
consignment specialist Elizabeth Gagnon
416-847-6191
416-847-6184
Sunday, November 15 from 12 pm to 4 pm Monday, November 16 from 10 am to 5 pm Tuesday, November 17 from 10 am to 7 pm Wednesday, November 18 from 10 am to 5 pm Or by appointment. preview held at 100 Broadview Ave., Suite 200 Toronto, Ontario M4M 3H3 register to bid You must be registered to bid in this auction. Please register at bid.waddingtons.ca note Select items are located in Vancouver, BC. Please contact westerncanada@waddingtons.ca to book a preview appointment.
This catalogue and its contents © 2026 Waddington McLean & Company Ltd. This auction is subject to Waddington’s Conditions of Sale. Photography & design by Waddington’s. All rights reserved.
front cover Lot 101 Norval Morrisseau Untitled (Family With Tree Of Knowledge), 1991 (detail)
front inside cover Lot 107 Roy Thomas Enter The Millennium, ca. 1999 (detail)
opposite Lot 118 Beau Dick Untitled (Portrait As A Winalagalis Dancer With Sisiutl Staff), 1983
back inside cover Lot 119 Chief Henry Speck Sr. Sea Monster Mask Dance - Ya-Gish, ca. 1960 (detail)
back cover Lot 130 Unidentified Skidegate Haida Artist Model Totem Pole, 19th Century
t NORVAL MORRISSEAU In the present work, two adult figures—one crowned with bird-like animals—are closely intertwined, and appear engaged in an apparent transfer of knowledge. The figures are interconnected through their family below and united by the foliage of the tree. Trees hold a special place in Woodlands traditions, associated with ancestors, and with the balance between upper and lower cosmological realms. The monumental canvas exhibits particularly brilliant colour. Although known throughout his career as a gifted colourist, Morrisseau’s work from the 1970s onward became increasingly more vivid. Informed by traditions that recognized the capacity of material representations to effect spiritual disposition, and even health, the artist has explained his use of colour: We can learn how to heal people with colour…My art reminds a lot of people of what they are…Many times people tell me that I’ve cured them of something, whatever’s ailing them…It was the colour of the painting that did that.1
1 Norval Morrisseau, Travels to the House of Invention (Toronto: Key Porter Books, 1997), 16-17.
6
First Nations Art
7
101 NORVAL MORRISSEAU, CM, RCA (1932-2007), ANISHINAABE (OJIBWE) UNTITLED (FAMILY WITH TREE OF KNOWLEDGE), 1991 acrylic on canvas, signed in syllabics lower left; titled “Ojibwa Family Motif with tree of Knowledge” and dated to gallery label verso 87 x 54 in — 221 x 137.2 cm PROVENANCE: Kinsman Robinson Galleries, Toronto, ON S.P. Family Collection, Toronto, ON $45,000—55,000
8
First Nations Art
VIEW LOT
November 5 - 19, 2026
9
102 DAPHNE ODJIG, CM, OBC, RCA (1919-2016), NISHNAABE-NESHNABE (ODAWA-POTAWATOMI) PIGGY BACK, 1980 oil on canvas, signed and dated lower right; titled to stretcher verso 20 x 18 in — 50.8 x 45.7 cm PROVENANCE:
Private Collection, Toronto, ON NOTE:
This work was the basis for the 1981 colour serigraph Piggy Back, which was released in an edition of 125 prints. $12,000—15,000
10 First Nations Art
VIEW LOT
November 5 - 19, 2026
11
103 ALEX JANVIER, CM, AOE, RCA, LLD (1935-2024), DENESULINE POITRAS BEACH, 2007 watercolour on paper, signed lower right sheet 30 x 23 in — 76.2 x 58.4 cm PROVENANCE:
Gallery Gevik, Toronto, ON Private Collection, Ontario $6,000—8,000
12 First Nations Art
VIEW LOT
November 5 - 19, 2026
13
LAWRENCE t PAUL YUXWELUPTUN Born in Kamloops, BC, in 1957, Yuxweluptun’s artwork draws on traditional Northwest Coast designs, Coast Salish cosmology, Western landscape painting, and Surrealism to explore issues of environmentalism, land ownership, and the intersection of First Nations culture with the land, and with Canada’s non-First Nations people. Old growth trees are a fascination for Yuxweluptun, who has expressed concern about their continued loss through logging.1 His images of trees have become one of his most widely recognized subjects, and one that he has returned to frequently in his paintings and drawings. His depiction of trees incorporate a unique non-conventional usage of traditional Northern Northwest Coast design elements, using abstract faces encapsulated in ovoids in place of trees’ branches and needles. The many faces animate the trees, and connect them conceptually to the descendants of the land’s earliest inhabitants. The present drawing Tree Study #2 is an exemplar of Yuxweluptun’s drawing style, each element integrating the highly abstract structured line-work of traditional Northwest Coast convention with a scattershot network of fine lines that the artist uses to convey depth and shadow. Both elements come together to give the viewer a uniquely Northwest Coast experience of an iconic Canadian subject.
1 Untitled (tree study), 2017, Lawrence Paul Yuxweluptun (Reference: 3168157), Welcome Collection, https://wellcomecollection.org/works/rtvqwfsj, accessed 15 Oct 2026.
14 First Nations Art
15
104 LAWRENCE PAUL YUXWELUPTUN (B. 1957), COWICHAN/SYILX FIRST NATION UNTITLED (TREE STUDY #2), 2015 ink on paper, signed and dated lower right sight 53.5 x 14.25 in — 135.9 x 36.2 cm PROVENANCE:
Purchased directly from the artist Private Collection, British Columbia. $10,000—15,000
16 First Nations Art
VIEW LOT
November 5 - 19, 2026
17
105 NORVAL MORRISSEAU, CM, RCA (1932-2007), ANISHINAABE (OJIBWE) UNTITLED (FISHMAN), CA. 1980 acrylic on canvas, signed lower right; titled and dated to stretcher verso; fragmentary Musée des beaux-arts de Montréal/Montreal Museum of Fine Arts label verso 24 x 20 in — 61 x 50.8 cm PROVENANCE:
Acquired directly from the artist by Lois Shayne: Artists’ Representative, Montreal, QC Private Collection, Montreal, QC $8,000—10,000
18 First Nations Art
VIEW LOT
November 5 - 19, 2026
19
106 NORVAL MORRISSEAU, CM, RCA (1932-2007), ANISHINAABE (OJIBWE) UNTITLED (FISH AND BIRDS), CA. 1973 acrylic on craft paper, signed lower right; Lois Shayne: Artists’ Representative gallery label verso sight 25.5 x 53.5 in — 64.8 x 135.9 cm PROVENANCE:
Acquired directly from the artist by Lois Shayne: Artists’ Representative, Montreal, QC Private Collection, Montreal, QC $10,000—15,000
20 First Nations Art
VIEW LOT
November 5 - 19, 2026
21
ROY THOMAS t An influential Anishinaabe artist, and member of the Woodland School, Roy Thomas, like Norval Morrisseau, helped move conversations about Indigenous art into the mainstream through his many exhibitions, and outspoken public dialogue on First Nations art. Thomas was concerned about maintaining continuities with tradition, and preparing a younger generation for the challenges of the future. An active teacher to younger artists, he said of his practise: I was born an Anishinaabe artist. I am a painter in the Ojibway Woodland style. This style uses symbolisms and imagery inspired by the pictographs that I saw as a child. The spirits of the art and my elders have taught me what to paint through visions. These visions compliment the strengths, values and traditions of my people, my family, my community and my nation. Through my artwork, I paint these visions of teachings so that they can be shared with others.1 In Enter the Millennium, animal and spiritual inhabitants of upper and lower worlds are bound into the form of a single canoe, traveling into the future together. In the bottom left hand corner of the canvas is the image of the world in the form of a turtle bearing a medicine wheel. The central image of the figures as a canoe is mirrored by a small ochre-red image of a canoe and travelers in the bottom corner of the canvas, the latter referencing ancient Anishinaabe pictographs painted on Agawa Rock on the north shore of Lake Superior. Thomas’ wayfaring cluster of animals and deities reminds us that the spirits still travel with us, and that wherever we go, ancestors have gone ahead. Notably, this significant artwork was chosen to be used as the cover of James R. Stevens, 2003 publication on the artist, Roy Thomas: The Spirit of Ahnisnabae Art.
1 Roy Thomas. Ojibwa native artist. Native Art in Canada. https://www.native-art-in-canada.com/roythomas.html
22 First Nations Art
23
24 First Nations Art
107 ROY THOMAS (1929-2004), ANISHINAABE (OJIBWE) ENTER THE MILLENNIUM, CA. 1999 acrylic on canvas, signed lower right; accompanied by a copy of the book Roy Thomas: The Spirit of Ahnisnabae Art for which this artwork is the cover design 48 x 96 in — 121.9 x 243.8 cm PROVENANCE:
Purchased directly from the artist, ca. 1999 Private Collection, London, ON LITERATURE:
James R. Stevens, Roy Thomas: The Spirit of Ahnisnabae Art (Canada: Ahnisnabae Art Gallery, 2003), cover. $10,000—15,000
November 5 - 19, 2026
25
26 First Nations Art
VIEW LOT
November 5 - 19, 2026
27
108 ALEX JANVIER, CM, AOE, RCA, LLD (1935-2024), DENESULINE SUNNY WIND, 2021 acrylic on board, signed; titled and dated “MMXXI V VIII” verso diameter 28 in — 71.1 cm PROVENANCE:
Janvier Gallery, Cold Lake, AB, 2023 Private Collection, British Columbia $15,000—20,000
28 First Nations Art
VIEW LOT
November 5 - 19, 2026
29
tBENJAMIN CHEE CHEE Benjamin Chee Chee was an artist of precision and control. He created hard-edged compositions on pristine backgrounds, manipulating wild organic forms into stylized abstraction, and later, lyrical and reductive animal imagery. While Chee Chee drew primarily on imagery from the natural world, he also drew on his Ojibwe heritage. His earliest work was dominated by circular motifs, a compositional element central to many First Nations image-making traditions. Speaking of the significance of circles, Oglala Lakota medicine man Black Elk described his own understanding of the motif: Everything the power of the world does, is done in a circle. The sky is round and I have heard that the earth is round like a ball, and so are all the stars. The wind, in its greatest power, whirls. Birds make their nests in circles, for theirs is the same religion as ours. The sun comes forth and goes down again in a circle. Even the seasons form a great circle in their changing, and always come back to where they were. The life of a man is a circle from childhood to childhood, and so it is in everything where power moves. Our tipis were round like the nest of birds, and these were always set in a circle; the nation’s hoops, a nest of many nests where the Great Spirit meant for us to hatch our children.1 The present 1973 work is an important example of Chee Chee’s early style and dates to the year of the artist’s first solo exhibit, which occurred at Nicholas Art Gallery in Ottawa. An image of a closelyrelated work to Buffalo Series appeared in contemporary press coverage of the landmark Nicholas Art Gallery show, and is shown as the final image in this auction for reference. 1 John G. Neihardt, Black Elk Speaks: The Complete Edition (Winnipeg: Bison Books, 2014), 121.
30 First Nations Art
November 5 - 19, 2026
31
109 BENJAMIN CHEE CHEE (1944-1977), ANISHINAABE (OJIBWE) BUFFALO SERIES, 1973 oil on canvas, signed and dated lower right 29.5 x 23.75 in — 74.9 x 60.3 cm PROVENANCE:
Private Collection, Teeswater, ON Waddington’s Auctioneers, Toronto, ON, 28 May 2018, lot 86 Private Collection, Quebec $8,000—12,000
32 First Nations Art
VIEW LOT
November 5 - 19, 2026
33
110 BENJAMIN CHEE CHEE (1944-1977), ANISHINAABE (OJIBWE) UNTITLED (BISON), 1975 acrylic on canvas board, signed and dated lower left sight 22 x 32.75 in — 55.9 x 83.2 cm PROVENANCE:
Private Collection, Ottawa, ON $4,000—6,000
34 First Nations Art
VIEW LOT
November 5 - 19, 2026
35
111 ARTHUR SHILLING (1941-1986), ANISHINAABE (OJIBWE) UNTITLED (PORTRAIT OF THE ARTIST'S WIFE MILLIE), 1979 oil on board, signed and dated lower left sight 39 x 32 in — 99.1 x 81.3 cm PROVENANCE:
Private Collection, Mississauga, ON $4,000—6,000
36 First Nations Art
VIEW LOT
November 5 - 19, 2026
37
112 BEWABON SHILLING (B. 1977), ANISHINAABE (OJIBWE) LARGE TREE, FIELD, CA. 2007 oil on canvas, signed lower right; titled and dated to gallery label verso 30 x 30 in — 76.2 x 76.2 cm PROVENANCE:
Roberts Gallery, Toronto, ON Private Collection, Toronto, ON $4,000—5,000
38 First Nations Art
VIEW LOT
November 5 - 19, 2026
39
113 CARL RAY (1943-1978), CREE UNTITLED (SPIRIT DANCE) acrylic on board, signed lower right sight 28.25 x 38.25 in — 71.8 x 97.2 cm PROVENANCE:
Private Collection, Edmonton, AB $3,000—4,000
40 First Nations Art
VIEW LOT
November 5 - 19, 2026
41
114 ALLEN SAPP, OC, RCA (1929-2014), CREE UNTITLED (HORSE AND CARRIAGE) acrylic on canvas, signed lower right 18 x 24 in — 45.7 x 61 cm PROVENANCE:
Private Collection, British Columbia $2,000—3,000
42 First Nations Art
VIEW LOT
November 5 - 19, 2026
43
115 ALLEN SAPP, OC, RCA (1929-2014), CREE UNTITLED (MAKING TEA) acrylic on canvas, signed lower right 24 x 30 in — 61 x 76.2 cm PROVENANCE:
Private Collection, British Columbia $4,000—6,000
44 First Nations Art
VIEW LOT
November 5 - 19, 2026
45
116 CECIL YOUNGFOX (1942-1987), ANISHINAABE (OJIBWE) UNTITLED (CUTTING FIREWOOD), 1980s acrylic on canvas, signed lower left 18 x 24.25 in — 45.7 x 61.6 cm PROVENANCE:
Private Collection, Toronto, ON $2,000—4,000
46 First Nations Art
VIEW LOT
November 5 - 19, 2026
47
117 CARL BEAM, RCA (1943-2005), ANISHINAABE (OJIBWE) GERONIMO, 1982 Manitoulin clay and natural pigments, signed, dated and inscribed “... and in the evening Geronimo would come out of the red areas.” 6 x 14.5 x 15.25 in — 15.2 x 36.8 x 38.7 cm PROVENANCE:
Acquired directly from the artist Private Collection, Ontario $2,000—4,000
VIEW LOT
48 First Nations Art
November 5 - 19, 2026
49
t BEAU DICK Born in the community of Yalis (Alert Bay), British Columbia, Beau Dick, known as Walas Gwa’yam (Big Whale) is widely acknowledged for his importance as both an artist and activist. His artworks have contributed to the ceremonial life of his community, and have expanded the popular conception of Northwest Coast art and imagery among collectors and fellow artists. Many of Dick’s creations take on a haunting or otherworldly aspect mediated by the artist’s integration of a colour palette and style incorporating imagery from Japanese and Western pop culture. Although a prolific carver, the artist’s paintings are comparatively uncommon. The present work, one of two in the current auction (see lot 121), depicts a dancer from the T’seka, the winter ceremonial of the Kwakwaka’wakw. He is depicted brandishing a staff or baton with an image of Sisutl, a doubleheaded serpent and assistant to Winalagalis, the fearsome war god of the Kwakwaka’wakw. The present portrait was painted after a photograph, Sisiutl Dancer Qagyuhl by early 20th century photographer Edward Curtis. Curtis’ photograph was taken in a Kwakwaka’wakw community in British Columbia circa 1914 as part of the photographer’s iconic The North American Indian, a monumental 20-volume photographic portfolio of First Nations subjects published between 1907 and 1930. Although modeled on the Curtis photograph, the subject of the present portrait bears a close physical resemblance to Beau Dick, who himself held the right to inherited dances and masks of the T’seka. The resemblance of the artist to the subject of the painting is important since Beau Dick is known to have realized his self portraiture through the recreation of Curtis images, most notably Curtis’ circa 1914 photograph A Tlu’wulaha Mask - Tsawatenoka, recreated for Sharon Eva Grainger’s 2018 project Living Cultures: Beyond the Frame.1 1 Living Cultures: Beyond the Frame, Sharon Eva Grainger, https://www.dos-polacas.com/, accessed 15 Oct 2026.
50 First Nations Art
51
118 BEAU DICK (WALAS GWA’YAM) (1955-2017), KWAKWAKA’WAKW UNTITLED (PORTRAIT AS A WINALAGALIS DANCER WITH SISIUTL STAFF), 1983 oil on hardboard, signed and dated lower right sight 31 x 23.5 in — 78.7 x 59.7 cm PROVENANCE:
3 Vets, Vancouver, BC, ca. 1991 Galerie le Cèdre Rouge / Red Cedar Gallery, Montreal, QC Private Collection, Montreal, QC $6,000—8,000
52 First Nations Art
VIEW LOT
November 5 - 19, 2026
53
119 CHIEF HENRY SPECK SR. (OZISTALIS) (1908-1971), KWAKWAKA’WAKW SEA MONSTER MASK DANCE - YA-GISH, CA. 1960 gouache on paper, signed and titled sight 13.5 x 16.5 in — 34.3 x 41.9 cm PROVENANCE:
Derek Simpkins Gallery of Tribal Art, Vancouver, BC, 5 Apr 1995 Private Collection, New York, NY By descent to the present Private Collection, Richmond, VA $3,000—4,000
54 First Nations Art
VIEW LOT
November 5 - 19, 2026
55
120 CHIEF HENRY SPECK SR. (OZISTALIS) (1908-1971), KWAKWAKA’WAKW LADY GIANT OF THE WOODS AND HER CHILDREN DSO-NU-QWA (WILD WOMAN OF THE WOODS), CA. 1960 gouache on paper, signed and titled sight 14.5 x 10.75 in — 36.8 x 27.3 cm PROVENANCE:
Derek Simpkins Gallery of Tribal Art, Vancouver, BC, 5 Apr 1995 Private Collection, New York, NY By descent to the present Private Collection, Richmond, VA $1,000—2,000
56 First Nations Art
VIEW LOT
November 5 - 19, 2026
57
121 BEAU DICK (WALAS GWA’YAM) (1955-2017), KWAKWAKA’WAKW BOOK WOOS (WILD MAN OF THE WOODS), CA. 1995 acrylic on paper, signed and titled lower right; gallery labels verso sight diameter 16.75 in — 42.5 cm PROVENANCE:
3 Vets, Vancouver, BC, ca. 1995 Galerie le Cèdre Rouge / Red Cedar Gallery, Montreal, QC Private Collection, Montreal, QC $3,000—4,000
58 First Nations Art
The present work, one of two in the current auction (see lot 118), depicts the ghost-like Bukwus spirit, a dangerous supernatural being regarded by the Kwakwaka’wakw and neighboring peoples as a ghostly figure who dwells in the forest amidst the souls of the drowned. Bukwus masks are part of an extended family of wild-man and wild-woman imagery that includes the cannibalistic Dzunukwa spirit, who is sometimes said to be the keeper of lost souls, returning the souls of drowned whalers to their villages during their memorials.
VIEW LOT
November 5 - 19, 2026
59
VIEW LOT
60 First Nations Art
122 BEAU DICK (WALAS GWA’YAM) (1955-2017), KWAKWAKA’WAKW NUXALK (BELLA COOLA) MASKETTE, CA. 1990 wood, paint, signed verso, 6 x 6.25 x 3.5 in — 15.2 x 15.9 x 8.9 cm PROVENANCE:
Private Collection, British Columbia $5,000—7,000 NOTE:
Born in the community of Yalis (Alert Bay), British Columbia, Beau Dick, known as Walas Gwa’yam (Big Whale) is widely acknowledged for his importance as both an artist and activist. His artworks have contributed to the ceremonial life of his community, and have expanded the popular conception of Northwest Coast art and imagery among collectors and fellow artists. Many of Dick’s creations take on a haunting or otherworldly aspect mediated by the artist’s integration of a colour palette and style incorporating imagery from Japanese and Western pop culture. Some of the artist’s early masks, such as the present maskette, exhibited characteristics that are more traditional in their form. This small maskette is stylistically in keeping with traditionally informed masks of the Nuxalk, northerly neighbors to the Kwakwaka’wakw.
November 5 - 19, 2026
61
tELLEN NEEL Ellen Neel, or Kakaso’las (People Came from Far Away to Seek Her Advice) was one of the first women to be widely known for her skill as a professional carver in a Northwest Coast tradition, a vocation that throughout the Coast had traditionally been the province of men. The niece of the celebrated carver Mungo Martin, and granddaughter of the legendary carver Charlie James, Neel came from a family of artists that have in recent years received increasing recognition for their role preserving and reviving Kwakwaka’wakw traditions on the Coast in the first half of the 20th century. Although Neel is best known for her model and monumental totem poles, she also carved masks, made prints, clothing, and other objects that adapted and evolved older modes of Kwakwaka’wakw art and craft. The present mask, dated to 1954, is an uncommon example of a Sun mask made by the artist. Sun masks were traditionally used in dances including the Dluwalakha (Once More From Heaven). Worn in conjunction with a blanket covered in iridescent abalone shells, the dancers wearing the mask suggested the shimmering movement of the sun.1 Neel never carved the Sun mask subject in great numbers, and surviving examples are rare to market, particularly from the 1950s period when they were carved in an elaborate and labour intensive style which Neel seems to have reserved mostly for full scale poles. Remnant paint on the cheeks and sides of the present mask depict repetitive black and red u-forms, and exhibit a sense of movement associated with the work of Blundon Harbour artists such as the great Willie Seaweed.
1 Audrey Hawthorn, Art of the Kwakiutl Indians and Other Northwest Coast Tribes (Washington: University of Washington Press, 1967), 46, 59.
62 First Nations Art
63
t
123 ELLEN NEEL (KAKASO’LAS) (1916-1966), KWAKWAKA’WAKW SUN MASK, 1954 wood, paint, signed and dated verso 21 x 23 x 7 in — 53.3 x 58.4 x 17.8 cm PROVENANCE:
Private Collection, California, USA $8,000—10,000
64 First Nations Art
VIEW LOT
November 5 - 19, 2026
65
t
124 RICHARD HUNT (B. 1951), KWAKWAKA’WAKW SUN MASK, 2025 wood, paint, signed and dated verso, 39.5 x 13 x 9 in — 100.3 x 33 x 22.9 cm PROVENANCE:
Private Collection, British Columbia $3,000—5,000
66 First Nations Art
VIEW LOT
November 5 - 19, 2026
67
t
125 TIM PAUL (B. 1950), NUU-CHAH-NULTH OCTOPUS MASK, 1990 wood, cedar bark, horse hair, paint, signed and dated verso 15 x 10.5 x 6 in — 38.1 x 26.7 x 15.2 cm PROVENANCE:
Private Collection, Ontario $3,000—4,000
68 First Nations Art
VIEW LOT
November 5 - 19, 2026
69
t 126 TONY GULBRANDSEN (B. 1962), TSIMSHIAN SISIUTL (SEA SERPENT), CA. 2000 wood, cedar bark, paint, signed and titled 24 x 21 x 10.5 in — 61 x 53.3 x 26.7 cm PROVENANCE:
Private Collection, Saskatchewan $2,000—3,000
70 First Nations Art
VIEW LOT
November 5 - 19, 2026
71
t
127 GEORGE PENNIER (B. 1957), COAST SALISH WA SA NA GHOST MASK, 1999 wood, paint, cedar bark, signed, titled, and dated verso overall 30 x 17 x 12 in — 76.2 x 43.2 x 30.5 cm PROVENANCE:
Private Collection, British Columbia $4,000—6,000
72 First Nations Art
VIEW LOT
November 5 - 19, 2026
73
74 First Nations Art
128 WILLIAM (BILL) RONALD REID (1920-1998), HAIDA TSCHUMOS BROOCH, 1956 sterling silver, 16 g, engraved with signature “Reid / Haida Art” verso 1.5 x 2.5 in — 3.8 x 6.4 cm PROVENANCE:
Private Collection, Ottawa, ON $4,000—6,000
VIEW LOT
November 5 - 19, 2026
75
t 129 RICHARD HUNT (B. 1951), KWAKWAKA’WAKW KWA-GUILTH MAN, 2011 bronze, signed and numbered 3/12; mounted to base 18.75 x 5.5 x 6.25 in — 47.6 x 14 x 15.9 cm PROVENANCE:
Private Collection, British Columbia $3,000—5,000
VIEW LOT
76 First Nations Art
130 UNIDENTIFIED SKIDEGATE HAIDA ARTIST MODEL TOTEM POLE, 19TH CENTURY argillite, unsigned 14.25 x 3.75 x 3.5 in — 36.2 x 9.5 x 8.9 cm PROVENANCE:
Private Collection, San Francisco, CA $10,000—12,000
VIEW LOT
November 5 - 19, 2026
77
t 131 RUFUS MOODY (1923-1998), HAIDA MORTUARY POLE, CA. 1970 argillite, antler, signed; also inscribed “Haida carving by Rufus Moody / Skidegate / Mission”; collector’s label verso 13.75 x 4.5 x 4.25 in — 34.9 x 11.4 x 10.8 cm PROVENANCE:
Private Collection, British Columbia $3,000—5,000
VIEW LOT
78 First Nations Art
132 RUFUS MOODY (1923-1998), HAIDA MODEL TOTEM POLE, CA. 1970 argillite, signed; also inscribed “Haida carving by Rufus Moody / Skidegate / Mission / QCI B.C.”; collector’s inventory label to underside 12.75 x 4 x 3.5 in — 32.4 x 10.2 x 8.9 cm PROVENANCE:
Private Collection, British Columbia $1,500—2,500
VIEW LOT
November 5 - 19, 2026
79
t 133 CAPTAIN ANDREW BROWN (1879-1962), HAIDA MODEL TOTEM POLE, CA. 1943 argillite, wood, unsigned; inscribed “Masset 1943”; labels to underside; mounted to wood base 8 x 2.75 x 2.5 in — 20.3 x 7 x 6.4 cm PROVENANCE:
Private Collection, West Coast $1,000—1,500
VIEW LOT
80 First Nations Art
134 PAT DIXON (1938-2015), HAIDA MODEL TOTEM POLE, 1968 argillite, signed and dated 16.75 x 4 x 3.5 in — 42.5 x 10.2 x 8.9 cm PROVENANCE:
Private Collection, British Columbia $1,000—2,000
VIEW LOT
November 5 - 19, 2026
81
t 135 ROSE ELSIE JOHN (B. 1961), NUU-CHAH-NULTH CARVED TUSK, 1987 ivory, abalone, signed and dated; mounted to base 20.5 x 5 x 4 in — 52.1 x 12.7 x 10.2 cm PROVENANCE:
Private Collection, West Coast $1,500—2,500
VIEW LOT
82 First Nations Art
136 LARRY ROSSO (1944-2006), DAKELH (CARRIER) PAINTED CANOE BOX, CA. 1990 wood, paint, leather, signed with artist’s monogram 11.5 x 19.5 x 11.25 in — 29.2 x 49.5 x 28.6 cm PROVENANCE:
Private Collection, British Columbia $1,200—1,500
VIEW LOT
November 5 - 19, 2026
83
84 First Nations Art