Sacred Hoop Trading

Books are a particular love here at Sacred Hoop Trading. We offer books by, for and about Native Americans and their experience. Our selection in this gallery is ever-changing, as in our other galleries, so please check back often.

James Leslie Métis Northwest Coast James Leslie (b. 1952) of Métis descent, began carving in early adulthood. He has trained with such renowned artists as Tony Hunt Jr., Pat Amos, and Gene Brabant. James Leslie specializes in masks and rattles most often carved in red cedar. His work is well rooted in the traditions of the Kwakwaka'wakw and the Bella Coola cultural groups. James Leslie's art can be found in both private and corporate collections in various countries. In Victoria, his carvings have been included in several group exhibitions. He is adept at miniature masks and has created an original work for the annual Tribal Miniatures exhibitions at Alcheringa Gallery in Victoria, BC. SELECTED EXHIBITIONS 1993 Tribal Miniatures '93, first annual exhibition, Alcheringa Gallery, Victoria, BC 1994 Tribal Miniatures: Gems of the Northwest Coast, annual exhibition, Alcheringa Gallery, Victoria, BC 1996 Tribal Miniatures: Treasures of the Northwest Coast, annual exhibition, Alcheringa Gallery, Victoria, BC 2000 Tribal Miniatures '00, annual exhibition, Alcheringa Gallery, Victoria, BC

Sometimes we at Sacred Hoop Trading find items that may not be Native made, but are especially beautiful or useful for our customers. In some cases these are items that reflect the Native spirit, but are made by non-Native artists.

Unique in the world of so-called “primitive art,” the full, rich range of the art of North America’s Northwest Coast Indians has only recently begun to take a prominent place in the museum exhibitions and art galleries of the world. In the market place, original works by native artists and craftspeople have become highly prized collectors’ items commanding substantial sums of money. Considered six ethnographically distinct peoples, the Coast Salish, the West Coast people (or “Nootka”), the Kwagiutl, the Tsimshian, the Haida and the Tlingit shared cultural, economic and environmental backgrounds. They were all hunters and gatherers who lived along the river valleys and coastal waters of the Pacific Northwest, skillfully using the abundant resources of river, sea and forest. Lightning snakes, whale-eating thunderbirds, two-headed sea serpents and animals that transform themselves into people are among the many colorful creatures that have adorned the household as well as ceremonial possessions of the Northwest Coast Indians. The dynamic imagery of these peoples, expressed in a style as rhythmic and flowing as it is complex, has created one of the world’s most remarkable art traditions. It is an art with vitality and profound meaning for those of its culture. In the past, the social and spiritual order of the Indians was visually confirmed through their art. It was seen in totem poles and house posts which bore the crests of their owners; in elaborate masks and intricately carved goat horn spoons; in tobacco mortars wrought from stone, and delicate pendants made from bone or antler; in magnificent ermine-trimmed headdresses, and spindle whorls enriched with symbolic carving on both sides. Excelling in three-dimensional sculpture, Indian artists also worked in flat design, using brush and pigment to enhance many possessions. Most of these paintings portrayed the crests of their owners, often declaring the owner’s lineage, wealth and status. Some had mythical or spiritual meanings. Probably very few had ornamental value alone, although a great love of decoration is shown by its abundant use. Painting embellished canoes, paddles, finely woven hats and baskets, dishes, spoons, boxes, drums, rattles, chiefs’ seats, ceremonial garments, dance screens and shamans’ charms. Some of the finest examples of graphic art are to be seen on the painted bentwood boxes and chests used for storing chiefs’ regalia and for important burials. The smooth, rectangular shape of the box sides, vertical or horizontal, once provided the “canvas” for the artist’s brush. —from “Looking at Indian Art of the Northwest Coast” by Hilary Stewart

Many contemporary paintings explore the color and beauty of the clothing of Midwestern Native American tribes. Indeed, an integral part of the artistic endeavors of Midwestern tribes centered on clothing and its elaborate decoration and style. Garments were both functional and beautifully adorned, illustrating the pride and creativity of early Native artisans. Prior to European arrival, Native women of the Great Lakes region masterfully used porcupine quills, buffalo wool and moose hair in the creation of clothing. In the 1600s, French traders introduced glass beads and cloth to the region, and tribes of the Southern Plains such as Kiowa and Comanche began to incorporate delicate bead trim into their work. The Woodlands and Native Plains tribes often used abstract floral designs, while the Sioux of North and South Dakota covered large areas of their clothing with beads and tended to use geometric designs. Porcupine quills were frequently used to produce imaginative designs and textures. This intricate and elaborate beadwork became very much a part of the embellishment of traditional Midwestern tribal dance regalia. In addition to garments, Native tribes of the Midwest used birch bark to make baskets and storage containers. Buffalo hides were used to make par fleche containers (rectangular bags used to hold everything from clothes to dried meat), shields, tipis, and robes. Stonework artisans created beautiful ceremonial pipes, particularly members of the Lakota tribe. More recently, contemporary members of the Turtle Mountain Band of Chippewa have created highly regarded stone carvings—a tribute to the respected traditions of early Native artists.

Native art by the Indian tribes of the southeastern United States remains hidden from most of the country. Many factors contribute to this unfortunate situation. Tribal members tend to be part of mainstream American society and do not depend on their art for a living. Hence, there are fewer artists creating art and most are not as prolific because they have other jobs. Designs tend to be subtle, with understated yet stunning color combinations a distinguishing trademark. Many superb artists from southeastern tribes attract serious collectors. Since I started buying art over ten years ago, prices have increased more than 300% and demand accordingly.

Born: July 7, 1955 Resides: Holman Prints, Printmaking, Wallhangings Susie Malgokak’s exceptional printmaking skills are something of a tradition in her family. Her husband Peter Malgokak, her brother Peter Palvik, and her sister Mabel Nigiyok are also fine artists and printmakers. Her work can be seen in a number of permanent collections, including the Canadian Museum of Civilization, the Prince of Wales Northern Heritage Centre, and the Winnipeg Art Gallery.