Other Art for Sale

These are a few other things that I occasionally make and sell. None of them are limited editions, but most of them are a bit of a hassle and as a consequence there won’t be many of them made. The (modern) petroglyphs can be considered as original works of art. Some of these can take a bit of time to make, so again, I encourage you to send me an email regarding time of delivery. For the heavier items I may have to add on a bit for shipping as well. For the cast boxes and frog bowls I can do custom color combinations.

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Cast Bronze Box

6 ¾” x 6 ¾” x 3 3/8”
Sand cast bronze with a hardwood top and bottom, the corners are bent (and rebrazed where they do not survive the bending) with the fourth corner also brazed. These are heavy but I expect they will last a long time.

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Cast Acrylic Box

7 1/4" x 7 1/4" x 4"
The same material as the jewelry; much harder to cast in bigger sections. The corners are chamfered and glued, the top and bottoms are whatever wood I can reasonably acquire, rubbed with linseed oil.

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Cast Acrylic Frog Bowl

5" x 2 5/8” x 1”
These are cast from the yew wood carving I did a few years back. These are available in the same range of color combinations as the jewelry.

Rain cycle

This piece was carved in walnut, approximately 18” x 22”, and was inspired by a carved door by Bill Reid featuring waves and fishes that I greatly admire.

Modern Petroglyph Replicas

While teaching a rock art field school in eastern Oregon, I had some of my students do petroglyph replication projects. We learned what kind of hammerstones worked best, the approximate time to execute various groove depths and designs, how the structure of the parent rock affected the results, and other aspects of how prehistoric stone art was probably made. Some of the conclusions reached by my students are that the coastal sandstones and greywackes are easiest to work, that the basalt and hematite beach cobbles make the best hammerstones, and that the basalt columns of the Columbia Plateau are a very difficult rock "canvas" to execute petroglyphs on.

Interestingly, granite boulders, while seeming hard and durable, are much easier to execute petroglyphs in than basalt. While such replication studies are an important tool for understanding prehistoric rock art, please don't make modern rock art at or near any prehistoric site. I have found that one can make quite passable modern petroglyphs in one's back yard on portable boulders. These will weather into a respectably ancient appearance in a few years of rainy northwest weather. Casting replicas in fiberglass resin is a much more complex process, but can yield a result which looks like a real rock and yet be displayed on an interior wall as fine art.

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Modern Petroglyph

Longest dimension 27”, from sandstone from western Oregon, this is about 15 years old at present and weathered nicely to fit into a landscaped yard or garden. In the style of northwest coast petroglyphs.

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Cast Petroglyph

Longest dimension 26”, actually hand laid in a fiberglass mold, this is then retouched with an enamel wash to simulate the lack of repatination as seen east of the mountains. The design is based on a Shoshone petroglyph from eastern Oregon. These have hangers laid into the back so they can be hung on an interior wall.

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Steel Fish 1

Length approx. 48”, this is cut from ¼” steel based on the pattern of a Tsimshian salmon amulet from northern British Columbia. These look nice in the garden or yard.

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Steel Fish 2

This is cut from ½” steel, length approx. 48”. I usually add a gill slit, but this one I did not. It is similar to one in a local golf course; I like to think of the sound of golf balls hitting it.


The Rock Art of Western Washington (& New Discoveries)
by Daniel Leen

Description and illustration of all Coast Salish rock art in Washington State. Data and illustrations of previously undocumented Makah sites are also included, as well as a discussion of site distribution, style boundaries, and chronology. If you are not a scholar of rock art, and don’t live in western Washington, you might find this rather dry reading. It is however, the only complete source on southern Coast Salish rock art. About 60 pp., Stapled binding, Xeroxed, $15.00.

More Art by Daniel Leen

Note: These pieces are not for sale.
Click each image to open a larger version in a new window.

Carving of a frog bowl (yew)

I worked on this little yew bowl off and on for over a year.

Halibut bowl

This piece was carved from a 2” slab of teak.

Tooth sign

This was carved from an exotic mahogany; I spend most of my time using a wood rasp to get the shape, but a lot of sanding was involved. I did not do the painting and gold leaf.

Hatch cover

Carved from teak, on my 32’ sailboat, from a sea wolf design on a silver bracelet illustrated by Boas in Primitive Art.

Chess set

This is from a piece of oak from the Midwest, and is the product of about 4 months of coffee breaks and lunch breaks while working for Boeing Aircraft in 1966. The top of the knights I copied from a set my grandfather carved, but the rest of the designs are my own.

Salish comb design

This piece is carved from teak, and was intended as a hotplate, having stubby legs set into the base.

Sauna floor

This was a “fresco” I painted into freshly troweled concrete, intended to resist poured water on the floor of a sauna, note drain in navel.

Painted rock

This was a nearly spherical rock I found down by Mt. Rainier, painted with enamels as I imagine the earth from space.

Jizo sama

The “children’s god” is a Buddhist saint found all over Japan. I found this naturally shaped stone slab in SW Oregon and eventually made it into a small shrine in my yard.

Obsidian knife

The handle is from a cow rib found while doing archaeological survey in E Oregon, the blade is flaked volcanic glass from Glass Butte, also in E Oregon.


The sea monster on the gable was inspired by drawings of Hal Foster in Prince Valiant comic strips, illustrations of lock plates on Hudson’s Bay Company trade muskets, and Coast Salish carvings. It is 3/8” plate steel, and a small pipe enables the “dragon” to spout water into a cast iron bathtub.

Two fin carving

The original carvings for one of my jewelry designs, in Asian argillite.

Sway way comb

This is the museum piece that my carving is based on.

Antler carving

A small westcoast style sea wolf based on stuff found at Ozette that I carved for a friend.

Yew bowl

A small bowl with a basically 2D design wrapped around it; I gave this one to Bill Holm.

Two bears

a small carving inspired by a comb from Nootka Sound made before 1778.

Beaver bowl

Another small yew bowl and other trinkets I carved in the early ‘80s. The bowl represents a beaver.

Starry flounder

Carved from an antler button shaped like a flounder.


an early attempt to do a “landscape”, train tracks at the bottom, neighborhood landmarks, plants, birds, the West Seattle skyline, the Olympic Mountains, a jet in the sky, all from found objects. This is part of a sidewalk.

Raven tool handle

a trowel handle carved in the early ‘80s.

Swaywey comb

this is based on the museum piece described above.


These are some old briar pipes I carved NW coast (a frog and hawk) and folk art designs on.

Cave canem

A mosaic made from scrap countertop, in Latin, “beware of the dog”.

Pipe with sailboat

Close-ups of pipe described above, I carved the stem from a piece of antler.


A canvas sailing hat that I adorned with a frog design while living aboard my sailboat.


Another close-up of a briar pipe.


An example of attempting to carve NW coast art while knowing nothing about its structure; I carved this with as much enthusiasm as ignorance in the mid ‘70s.


Another close-up of a briar pipe


This one carved in the early 70s


Carved as a version of “she who watches”, the famous petroglyph near The Dalles