Most books on this bibliography define the Northwest Coast Indian culture area as being bordered on the south by the Columbia River and on the north by Yakutat Bay in Alaska.

This guidebook provides information about NW Coast art, with a focus on Western Washington. It starts with an introduction to the Native art on the coast—its common forms and written descriptions of the major creatures. At the end there are brief artist biographies, tribe names and addresses, information about where to see and learn about the art, and an annotated bibliography. In between, the bulk of the text is a guidebook to the publicly accessible NW Coast art that can be found in Western Washington. It includes an index, mainly to names of people and institutions, and black and white illustrations.

This is a heavily color-illustrated catalog that accompanied an exhibit of the same name, and they are the first text and exhibit to look at the entire NW Coast from prehistoric times to present. It helps to have at least some basic knowledge about NW Coast art before trying to read this book because the author goes into great detail about the art. This is not surprising since he has spent more than thirty years studying and creating NW Coast art. There are extensive endnotes and a lengthy bibliography, plus an index.

A catalog of the Hauberg collection, which is at the Seattle Art Museum. Each of the 106 objects is illustrated in color and is accompanied by a short essay by Brown. Brown also wrote several of the longer essays. Other writers are Nora Dauenhauer, Robert Davidson, Robin Wright, Gloria Cranmer Webster, Joe David, and Bill Holm. Several maps are included, as is a bibliography and index.

This is a collection of eleven articles that came out of a 1976 symposium titled "The Prehistory of Northwest Coast Indian Art." Although more than two decades old, many of these articles are considered classics by students of NW Coast art and ethnography. Especially worth noting is Bill Holm’s article titled "Form in Northwest Coast Art." There also is a somewhat speculative article by Wilson Duff on meaning in Northern NW Coast art and an article about material from the Ozette archaeological site, which is housed in Neah Bay, Washington, at the Makah Cultural Research Center. There is a lengthy bibliography but no index; all illustrations are in black and white.

A brief introduction to totem poles, especially for the British Columbia tribes. The book includes general introductory information about NW Coast culture and then defines totem poles and the different types of poles. There also is a brief look at different tribal styles and contemporary sculpture. All illustrations are in black and white. At the end is a list of the totem poles and other large sculptures in and around the U.B.C. Museum of Anthropology and a brief bibliography, but there is no index.

Bill Holm was the first person to write extensively about NW Coast art. The first book he wrote is Northwest Coast Indian Art: An Analysis of Form, which is a detailed look at the elements that make up NW Coast art, especially in the north. Most of his other books have been exhibit or museum catalogs, which provide both essays and notes on specific artworks.

An overview of NW Coast Indian culture, history and art, from pre-contact times to the present. Combines extensive use of historical images with commentary by contemporary artists, museum curators, and gallery owners. The artists included are: Dempsey Bob, Joe David, Robert Davidson, Freda Diesing, Dorothy Grant, Calvin Hunt, Tony Hunt, Susan Point, Bill Reid, Norman Tait, Art Thompson, Roy Vickers, and Don Yeomans.

This book accompanied an exhibit of the same name at the University of British Columbia Museum of Anthropology, which featured contemporary ceremonial button robes (sometimes called button blankets). Although short, the book provides a wealth of information about button robes—both their history and their contemporary creation and use. The book is primarily comprised of transcribed statements or essays by Native artists and historians. There is a bibliography but no index; illustrations are a mix of color and black and white.

As the title says, this is about the American Museum of Natural History (AMNH) collection of art from the entire NW Coast. Although it is illustrated with color photos of the artworks, it is not a catalog in the normal sense because the information provided about each piece is in very brief captions. The real focus of the book is ethnography and history—the contact between Native and non-Native cultures and how the AMNH and its collectors acquired NW Coast art over the years. The book ends with a discussion of the "rediscovery" of NW Coast art that has taken place since the mid-twentieth century. There is a multi-page bibliography and an index.

A catalog of the AMNH collection of Kwakiutl (now known as Kwakwaka’wakw) art, which was published in conjunction with a traveling exhibit. Color photos of the pieces are interspersed with the larger essays, and most objects have at least two paragraphs of accompanying text in captions. The essays are written by several authors and discuss different aspects of the history of Kwakiutl potlatching. The potlatch is a ceremonial event that exists all over the NW Coast, but the Kwakiutl have become widely known for their elaborate and flamboyant potlatch masks and the fact that they continued to have regular potlatches throughout the time the Canadian government declared them illegal (1885-1951). Includes a bibliography and index.

Primarily comprised of interviews with contemporary artists, with some history interspersed. The artists included are: Greg Colfax (just briefly at the end), Joe David, Robert Davidson, Clarrisa Hudson, Isabel Rorick, and Connie Sterritt. Davidson receives the most coverage, including footage of dancing, masks, and ceremonial regalia at potlatches with which he has been involved. Note that the narrator’s pronunciations of several NW Coast Indian names and words are inaccurate.

A book that accompanied an exhibit first mounted at the Royal British Columbia Museum in the 1970s. It provides historical background on NW Coast art from pre-contact times to approximately 1980. Note that the exhibit and catalog only include the British Columbia portion of the NW Coast. Brief catalog entries for each piece and biographies of artists included in the exhibit are provided at the back of the book. There is a bibliography but no index; illustrations are primarily in color.

All four of these are art activity books for children. Each includes a brief, illustrated story, several activities, and an adult teaching guide. The teaching guides include a map, a brief bibliography, detailed directions for each of the activities, and additional background information in some cases. Each also uses artwork provided by one or more contemporary NW Coast Indian artists.

Canoes were the primary form of transportation for NW Coast peoples in the past. Starting in the later 1980s there was a growing resurgence of interest in making and using canoes, and there have been several large gatherings of canoes since then. This book starts by providing a brief history of this resurgence. It then documents, through Neel’s color photographs and statements by participants, the preparations for and the gathering at Bella Bella in 1993. A brief bibliography is included, but there is no index.

Neel interviewed and photographed chiefs and elders from around British Columbia. In many cases the people were photographed multiple times, showing them both in every-day clothes/situations and in ceremonial regalia. This book is approximately two-thirds text—exerpts from the interviews with each of the individuals—and one-third black and white photographs. There is a brief bibliography but no index.

The authors provide lively re-tellings of ten Haida stories. Some of the better known stories are "Raven Steals the Light," "Raven and the First Men," and "Dogfish Woman." Each is accompanied by a Bill Reid drawing. Some contain implicit or explicit sexual references, which is not uncommon for NW Coast stories, especially for those involving Raven, the trickster/creator.

Stewart’s books remain in print because they are educational yet written in a popular style that is easy to understand. Her Looking at Indian Art of the Northwest Coast is the best introductory book available, providing information about identifying the major forms and creatures in the art, as well as some of the different tribal styles; it has numerous black and white illustrations, mostly of artworks by contemporary NW Coast Indian artists. The majority of Stewart’s books are illustrated with her own drawings, which help to explain the various technologies and materials used on the coast. Looking at Totem Poles is essentially a guidebook to over 100 poles found in British Columbia and Southeast Alaska.

This tome contains in-depth ethnographic information about the Native people of the NW Coast. It is one of what will eventually be a 20-volume set covering all of North America. The book contains numerous maps and some photos; most illustrations are black and white. It includes a 93-page bibliography and an extensive index.

Sea otter pelts were the soft gold of the early exchanges between NW Coast Indian people and European and American traders. This book is a catalog of materials from the Peabody Museum of Archaeology and Ethnology at Harvard University that were exhibited at the Oregon Historical Society in the early 1980s. Vaughan provides historical information about the early fur trade and annotations about the maps and drawings produced by the early explorers and traders. Holm writes the annotations for the more than 140 NW Coast Indian artworks and artifacts. There is a bibliography but no index; many illustrations are in color.