The Marks Family Tradition (Tlingit)

The Marks family have contributed to the production of Tlingit model totem poles since the infancy of the market. One only need look at at the Snail House of Hoonah to see the genesis of the Marks style. Through family relations, the Marks family are connected to virtually every major producer of Tlingit art of the last century. The Marks are cousins to the Perrins, Rudolphs, Wallaces, Jacksons, Beasleys and Katzeeks. Of course, even without such prestigious relations, the Marks themselves are noteworthy for fine production.

Willie Marks (1901-1981) was an excellent artist who was quite possibly the finest Tlingit carver of the 1940s and 50s. The first, second, and fourth totems are examples of his fine work. Willie's work is defined by strong sculptural planes, raised almond eyes, and stippling. Almost always present on his work is a shield shaped "copper", represented as a red painted design at the feet of his totems. Though the frequency of the painted element varies, his children have kept this tradition alive in their work (note the presence on the totems by Jimmie, Leo and Paul). Willie's influence is still strongly visible in the works of his descendants, as well as other carvers, such as Ray Peck, and Jamie Daniels. So prevalent is Willie Marks' influence that one can easily discern Marks nuances in Amos and Lincoln Wallace's art, as well as the totems of Frank James, Joe Tassel, and even the great Nathan Jackson. According to family members, Nathan would spend hours watching Willie carve at Marks Trail when he was a small child. This places Willie firmly in the line of the "Northwest Coast Renaissance", not only through his son Jimmie, but the world renowned Nathan Jackson, as well.

The late Jimmie Marks, whose work can be seen as the tallest totem in the photograph, was an amazing carver who had taken the Tlingit art of model sculpture to a new level. This piece represents his mid-career style, one in which formline is central to design, and yet the signature Marks forms are still present. This totem, dated to 1980, is one of the last pieces that Jimmie would paint. Jimmie Marks' style represents a link, in a very real way, between the curio production of old and the formline-driven sensibilities of the post-Renaissance era. Unless signed, early examples of Jimmie's work are near indistinguishable from fellow Tlingit carver and friend Ray Peck.

Leo Marks (second to last totem from the left) is also a skilled carver in the Marks style, though his pieces are so similar to Jimmie's work that unless signed one would be hard-pressed to differentiate them. Leo Marks is a rising artist in the Tlingit model totem industry, and is beginning to command high prices in galleries such as the Raven's Journey and the Alaska State Museum gift shop in Juneau. Leo's pieces are every bit as exciting as Jimmies work, and is still available for a fraction of the price. In my opinion, Leo's carving most resembles his father's, a high compliment to pay anyone.

Paul Marks and his son, Paul Marks II, are producers residing in Anchorage who have raised two monumental totems in the area in the last three years. Paul's work is deeply rooted in Marks family style, and is distinguished by planed surfaces and painted forms. Much of the details are painted, rather than carved, capturing Tlingit forms in a straightforward and simple style. There is scantly a gift shop or gallery in Anchorage that does not have a large selection of his work available, and his micro models (1" in height) have been sold at Ye Olde Curiosity shop in Seattle. Perhaps this aspect of Paul's work makes him the most suitable craftsmen for comparison to the curio carvers of the early to mid-twentieth century. Paul Jr. is already an accomplished carver in his own right, and has studied form line with Tsimshian master carver David Boxley. The second and third totems from the left are from Paul, and the fourth totem (the small bear head) is by Paul II. On a side note, the small bear head totem is the first totem that Paul II ever created, when he was just 9 years old.

In summation, the Marks family have been a major force in the market production of model totems, and will continue to in the future because of their long legacy of creating quality works and the ripple effect it has had in the Tlingit art of Juneau, Angoon, and Hoonah. Look for these pieces to do nothing but go up in value, and continue to be excellent totems for seasoned collectors and beginners alike.

Pictured L to R: Willie Marks "Kadjuk" ca. 1940, Willie Marks "Kian" ca. 1950s, Paul Marks "Wolf" ca. 2001, Willie Marks "Raven Pole" ca. 1950s, Paul Marks "Eagle Nest" ca. 2001, Jimmie Marks "Kiks.adi Pole" ca. 1980, Paul Marks II "Bear Head" ca. 2001, Leo Marks "Raven Beaver Totem" ca. 2004, and Jim Nagataakw Marks "Raven and Box" ca. 1920.