showing 15 results matching culture:"Haida"

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carved in half of hollowed-out log and painted; animals are based on a whale, then bear, fish (flat) in foreground, with whale in background; bird, bear with frog in mouth; remains of pigment in blue/green (malacite), black and red

Totem Pole, after 1850

Haida

Not on View
abstracted, surreal design; two human figures and two human faces, one with very long extended tongue; bird-headed creature with humanoid body; another creature's head with inlaid eye holds human figure in its mouth

Charm, 19th century

Haida

Not on View
long, thin animal with long, thin, pointed tail; teeth bared; carved details overall; hip, shoulder and eye inset with bright and dark blue beads Former classification: Ivory

Shaman's Charm in the Form of a Sea Otter, 19th century

Haida

Not on View
bird head surmounting 2 smaller heads; dark red and black

%C2%A9 Freda Diesing

Haida Sitting Eagle Crest Design, 1977

Freda Diesing

Not on View
comb topped with face with slightly sunken eye sockets and wide mouth on one side; lightly incised, abstracted face with large round eyes on opposite sides

Comb, Date Unknown

Haida

Not on View
ship pipe with equestrian scene, ship's rigging, bridle, and four figures in Euro-American clothing

Pipe, mid 19th century

Haida

Not on View

Miniature Totem Pole, 20th century

Haida

Not on View
Small totem of carved slate ? with carefully finished surface. The upper animal is a bear squatting with his fore-paws under his chin; he is identified by his protruding tongue, large round nose and sudden turn from nose to fore-head; his ears are missing. The lower animal seems also to be a bear, squatting with his tail turned up in front behind his hind legs. He is swallowing some being the legs and hands of which hang out of this mouth; he is grasping the lower legs with his fore-paws. The difference between this bear and the upper one is due to the fact that his forehead is farther foward so that the other bear can perch on his head. This necessitates the spine in the middle of his nose to indicate the sharp turn from nose to forehead. late 19th century.

Miniature Totem Pole, late 19th century

Haida

Not on View
primarily black; maskette with round eyes and frowning mouth with red lips and visible white teeth; alternating gold and mother-of-pearl inlays around face; raptor's head at top with wings on back, with rust red inlays on top of wings and mother-of-pearl at center of back; vertical element wrapped with gold wire and tipped in ivory at bottom

%C2%A9 Darrell White

Shaman's curling medallion, 2010

Darrell White

Not on View
Carved wooden bowl; carved wooden spoon in the shape of a tail

Haida wolf bowl with spoon, 2000

Jonathan Henderson

Not on View
Chief's rattle; depicts the raven lengend a raven is shown with a human figure reclining on his back; the man holds a frog's tongue in his mouth in the act of sucking out a person which was believed to be helpful to shamans in their mystical rituals; the frog's body emerges from a hawk; the rounded underside of the raven's body is carved to represent a sparrow hawk; polychromed cedarwood sewn together with leather, inlaid abalone eyes in the raven

Rattle, c. 1850-1910

probably Haida

Not on View
Chilkat blankets are woven by the women of the Chilkat branch of the Tlingit tribe, using patterns devised by Chilkat men. Warp is goat hair and yellow cedar bark twine. Dyes are dervived from hemlock bark, lichen and copper. Style and technique may be traced to the Tsimshian tribe. Fringe 20 inches on bottom, 8 inches on side. Catalog card: Gift of Mrs. Folwell W. Coan from the estate of Mrs. Eugene Carpenter. Mended 1974.

Chilkat dancing blanket (Naaxin), c. 1840-1890

Tlingit or Haida

Not on View

Frog, 20th century

Haida

Not on View

Frog, 20th century

Haida

Not on View

Totem Pole, 20th century

Haida

Not on View

showing 15 results matching culture:"Haida"

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