Presented is a tightly curated group of four original works from the influential Woodland School, all with Thunder Bay provenance and matching “Kijik O Kita Kamik Originals” authentication cards signed by Peggy Dromisky (1980–1989), an appealing continuity of origin for serious collectors. (Cards pictured on verso.) Includes:
Goyce Kakegamic (Anishinaabe/Cree, 1948–2021), “Raven and Its Young,” acrylic on paper, image approx. 9 x 12 in., hand-signed in Cree syllabics lower left; an archetypal Kakegamic composition with crisp black contour lines, internal spirit forms and a radiant ochre ground, taught mother-and-chick narrative, authenticated Nov. 2, 1980.
Doug Kakekagumick (1958–2009), “Protection,” acrylic on paper, image approx. 9 x 12 in., boldly signed Kakekagumick ’82 with syllabics; a guardian-eagle visage entwined with human profiles, trailing energy line linking twin celestial discs - an emphatic teaching image about kinship and safety - authenticated Nov. 7, 1982.
Lewis Fiddler, “Great Horn,” original intaglio etching, 2/6, 1986, pencil-titled and signed; a closely observed great horned owl against a winter tree and full moon - edition of only six, unusually scarce for a regional printmaker - authenticated Nov. 12, 1989.
Lloyd Kakekapetum (b. 1958), “Owl Family,” acrylic/gouache on paper, image approx. 11 x 15 in., signed and dated 1989; a superb multi-figure nocturne with piercing yellow eyes and layered spirit forms, authenticated Nov. 12, 1989.

Condition (all four works): colors are strong and surfaces present cleanly under glass; 1980s mats show the expected light toning; period frames exhibit minor edge rubs and small nicks; not examined out of frame.

Rarity & desirability: the group assembles two core Kakegamic-family voices and two members of the Fiddler/Kakekapetum circle, all Thunder Bay-documented-precisely the kind of coherent, provenance-rich micro-collection that high-end buyers of First Nations art seek.