A highly creative and productive artist, Charlie James carved many pieces for traditional use within Kwakiutl  / Kwakwaka'wakw culture, in addition hundreds of model totems and other pieces for the commercial market. Few carvers have been as influential as James; his work laid the creative foundation for Mungo Martin, Ellen Neel and Henry Hunt, to name just a few who have been touched by his artistic legacy. Today his work has come to epitomize traditional southern Kwakiutl art, though in his time he had a bold and unique style, unlike anyone else of his period.

He had a flamboyant, free-form style, in contrast to the precise, cerebral style that is in vogue today. His figures were not rigidly composed, and often one animal would lounge across the body of another: a unique approach to composition in N.W.C. totem poles. He introduced a vibrant color palette; incorporating blues, oranges, browns, greens in addition to black and red. It is impossible to deal with his work in such a short essay, what is important to note is that his “traditional” approach to Kwakiutl sculpture was not traditional until he did it first. His art work was not like the previous generation of carvers; he had a unique approach and was not afraid to experiment.

A great many of his works have been published in books and exhibition catalogues, though little has been published about the artist himself, and his body of work has never been catalogued. James has been a very influential carver for the current generation of N.W.C. Native artists, and we are lucky that so many examples of his work still remain. Below are a few examples of his sculpture, from his large and impressive body of work.

The Crooked Beak of Heaven Mask, with three smaller masks on top. The Hok-Hok and Raven are both servants of the Cannibal-at-the-North-End-of-the-World, and they all have articulated beaks. This highly iconic piece has come to typify southern Kwakiutl art.

James’s work is widely published, and is the cover art for “the bible” on Kwakiutl art. Written in 1967, no other book has been published to replace this definitive work.  Often James’s art is published and exhibited with no attribution to the carver; only a description such as “southern Kwakiutl mask” is common. The result is that his art has received significantly more recognition than the artist himself.                                                                                                         

The Supernatural Halibut mask photographed in 1914, showing the way it was danced during a potlatch. James carved many large articulated masks, such as this one, though many of his works remain unattributed.

This large and impressive Eagle Transformation mask, which was unattributed at the time I photographed it, though I am quite sure that it is James's work. This is one of many N.W.C. master pieces in public collections, which are not attributed to the carver. An articulated mask like this is heavy, and to dance and bring it to life requires a strong and talented dancer. 

 A Sun Mask from the collection of the U’Mista Cultural Centre. This piece was confiscated during the potlatch prohibition period, and was later repatriated to the community. The painting on this mask is a classic example of James’s painting style.

 A detail of the Sisiutl (Double-headed-sea-serpent) Feast bowl, from the collection of the Vancouver Museum.

One of a set of Kwekwe dance masks. James carved many pieces for traditional use, which were not signed and remain unattributed. 

Another from the set of Kwekwe masks by James. Over theyears, I recall seeing two more that appear to me from this set.  

An Octopus mask that was probably carved for the potlatch. 

A classic example of a Kwakiutl Eagle transformation mask. 

A huge Sisiutl or Double Headed Sea Serpent feast bowl, from the collection of the UBC Museum of Anthropology (approximately six meters in length). This piece is a fine example, of the monumental sculpture that James was known for during his lifetime. A bowl like this is used during a potlatch to feed the guests, which may number several hundred people.

 Detail of Sisiutl Feast Bowl from the UBC Museum of Anthropology collection. 

A James’s memorial totem pole in the graveyard at Alert Bay, BC. He carved many memorial totems for traditional use by Kwakwaka’wakw people, though few survive today. This full size totem is slowly returning to the earth, as has always been the custom. Note that this totem pole has been repainted, probably several times over the years, and is not of the style and quality of James's original work. 

This totem was originally inside Ed Whonnock’s house in Alert Bay. It is now in the collection of the Museum of Civilization, where they built a mock interior of the Whonnock house, to recreate its original installation. This totem pole has been indoors for many years; the paintwork is still in excellent condition, and is a good example of James's painting style. 

This totem pole presses the boundaries of Kwakiutl art for the time: it is not bilaterally symmetrical, there is a wide palette of colors and James’s distinctive style of painting. He is able to apply the paint in a free-form, almost instinctual manner that is reminiscent of contemporary painting on canvas; and the result is striking.

James carved this, as a donation, for the Women’s Auxiliary at Christ Church Cathedral in Victoria. It is now in the collection of the U’Mista Cultural Centre. It has always been indoors, and it remains in pristine condition with the original paint.

A detail of a memorial totem pole carved by James, which still stands in the graveyard in Alert Bay, BC. In the background is the memorial totem pole for Mungo Martin, which was carved by Tony Hunt Sr., another Kwakiutl master carver. Note: This is James's original painting.

Thunderbird and Grizzly Bear totem (the same as above)  in the graveyard at Alert Bay, circa 1940.

The original Thunderbird and Grizzly bear house-post, at Stanley Park, Vancouver, BC. This totem pole has become a classic of N.W.C. art, and has been reproduced in books, magazines, and on a countless number of manufactured items. Over the years it deteriorated and Tony Hunt was commissioned to carve a replica, which remains in Stanley Park today.

A replica of James’s Thunderbird and Grizzly bear house-post, carved by Tony Hunt, installed at Stanley Park, Vancouver, BC.

A detail of the replica of James’s Thunderbird and Grizzly bear house-post, carved by Tony Hunt.

 Detail of James totem pole; the eagle and Sisiutl (Double-headed-sea-serpent), at the UBC Museum of Anthropology.

Detail of James totem pole; the Thunderbird, at the UBC Museum of Anthropology. 

 A full size totem pole, in the collection of  the UBC Museum of Anthropology.

James's memorial totem pole at Alert Bay, about 1905.

The Thunderbird and Grizzly Bear totem, installed in its original location at Alert Bay. This tells the creation legend of James’s ancestors: the Thunderbird comes down to live with the first ancestor, and the Grizzly Bear later becomes the tribes protector after Thunderbird returns to his home.

James's Thunderbird and Grizzly Bear totem poles in foreground (same as above) with a  Mungo Martinl totem pole in the background, at Alert Bay. This was then end of the era; when memorial totems were installed in front of houses.

A Thunderbird and Orca graveyard memorial totem figure, at Alert Bay: about 1915. 

 Thunderbird and Sisiutl (Double-Headed-Sea-Serpent) memorial figure, in the graveyard at Alert Bay, circa 1915.

Memorial totem pole with paintings of coppers, in the graveyard at Alert Bay, circa 1930.

 This elaborate Sisiutl dance mask is one of a number of pieces that James carved, which were confiscated under the "Anti-Potlach law" in 1922.

A contemporary chest of drawers painted with a traditional Thunderbird design, in the style of a bent-wood box. James, though a “traditional” Kwakiutl artist, was not afraid to experiment. 

A Dzonokwa or Wild-Woman-of-the-Woods feast bowl, with a series of smaller bowls: approximately 5 meters in length. From the collection of the Portland Art Museum, and though it is unattributed  I am quite certain that it is James’s work.

 A large Dzonokwa face mask which functions as a cover, and when removed reveals another feast bowl.

An Edward Curtis photograph featuring a Sisitul, or Double Headed Sea Serpent by James.  

 One of  Edward S. Curtis’s best known photographs of a group of Kwakiutl dancers in masks and regalia. James carved a number of the masks, the house posts and Humpspeck totem pole in the background. This photograph is actually the “cast” for the film, In the Land of the Headhunters; a Curtis film shot on location using Kwakiutl actors, performers and carvers.

Curtis’s film, originally titled, “In the Land of the Head Hunters” was later changed to the more politically correct and accurate name seen here. (The Kwakiutl were not in fact head hunters). In the background are James’s house posts and Humpspeck totem pole. 

Here is another version of a promotional poster for Curtis’s film, with totem poles by James. It is ironic  to think that the man who was arguably the preeminent Kwakiutl carver of his time, is today known to many people only for his model totem poles.

The original promotional poster for Curtis’s film, with politically incorrect title; featuring  James’s house posts on the sides of the poster

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