Fine Art & Auction Review - Interview: Duncan McLean

Interview - Duncan McLean, head of Inuit & Canadian Art, Waddington’s Inuit Art has enjoyed a resurgence of popularity among collectors in recent months after a lengthy hiatus through the early and mid-1980’s. Curious as to the cause of this renewed vigor and wondering what the future holds for the Inuit market, Fine Art & Auction Review spoke with Duncan McLean,​ head of Inuit and Canadian art at Waddington, McLean & Co. Ltd. Recognized internationally as a foremost saleroom for Inuit art and artifacts, Waddington’s held their first major Inuit auction since the recession last December. Intending to ‘test the waters’ and see if the Inuit market had fully recovered from the recession, $250,000 later Waddington’s knew the Inuit market was back. We asked Duncan McLean why this sale was so successful.

McLEAN​: Firstly, for Inuit collectors it was a long time coming. They were ready for a good sale, and, with the general economy being so buoyant, they were positioned to pay good prices. Then there was the importance of the collection. It was put together in the late 50’s and early 60’s by a gentleman who used to own a small airline in St.Jovie [sic] in northern Quebec. All the pieces were early, and in mint condition. It couldn’t miss.

FAAR: What has this sale done for the state of the Inuit market right now?

McLEAN​: It’s injected a lot of spirit and confidence, for sure. Right now the Inuit market is very stable, and prices are rising rapidly again.

FAAR: What actually happened to the Inuit market during the recession?

McLEAN​: Well, quite frankly, between the beginning of the recession back in 1981 and this most recent sale, the market has been interpreted as being “flat”. However, it should not be forgotten that during this same period nothing of quality was offered so, in truth, the market was untried. The few times that we had pieces of quality they certainly brought their value.

FAAR: With interest and activity now back in this market, where do you think it’s heading?

McLEAN​: Contrary to many beliefs, Inuit is an evolving art form. New artists are creating works depicting traditional subjects and myths but using new techniques and materials. The real future of the market rests with these young, contemporary carvers and artists. There just isn’t enough of the important classic or historic works to sustain the increased interest the market will attract.

FAAR: What is considered the classic period for Inuit art?

McLEAN​: The 1950’s and early 1960’s is recognized as the best period. And, more specifically, between 1950-58 is seen as ‘early classic’. This was the period before any serious market influence invaded the culture and prices caught up with the 20th century.

FAAR: How does the market differ between the old and new pieces?

McLEAN​: The two styles are, of course, very different. Early pieces are special, and command premium prices, because of the primitive naive power of the works. They were created as part of a culture by simple hunters living off the land, with limited southern influence to invade their thoughts or techniques. As market influences encroached on their culture changes occurred.

But what the pieces lost in naivete they gained in sophistication.

FAAR: Which area of the market would you consider the ‘hottest’ right now?

McLEAN​: Sculpture, without a doubt. Each piece is so unique. Prints, on the other hand, are produced in editions thus reducing their rarity. However, early prints from both Baker Lake and Cape Dorset are still highly sought after and command good prices.

FAAR: What should someone looking to enter this market be watching out for?

McLEAN​: Well, as with anything, the first rule is to like what you buy. And only buy good quality.

Better one good piece than many mediocre. But, before all else, and because of the specialized nature of the Inuit market, you should make a real effort to educate yourself before you invest.

Go to museums, galleries and auctions where good quality items are on display. Learn as much about the culture as possible because their art is simply a reflection of this. And when you’re ready, find a good dealer or collector you trust to help you with your first purchases.

FAAR: What about fakes? Are they prevalent in this market?

McLEAN​: Nothing like in other art areas. One reason is that the values are not as high. Also the value of a piece is dependent more on its quality than who it is by.

FAAR: How easy is it to export Inuit artworks from Canada?

McLEAN​: Items realizing more than $2,000 at auction are subject to review under the Cultural Properties Act. Items under the Cultural Properties Act. Items made of ivory or even with ivory parts, may be restricted entry into certain countries, particularly the United States, under the Endangered Species Act. FAAR: Are certain Inuit settlements recognized more for one style or medium than others?

McLEAN​: Yes, definitely. For example, Spence Bay is known for its whalebone carvings; Baker Lake is big on graphics and heavy, massively styled darked stone carvings. The Belcher Islands use distinctive green stone and the Povungnituk, in both graphics and sculpture, are known for

their legends and story telling, although often not very aesthetically pleasing. The inoucdjouac, on the other hand, is a traditional artistic settlement.

FAAR: How big is the Inuit market, and who’s buying it?

McLEAN​: Big enough that between our last and upcoming sale we will have offered in excess of 900 lots with combined sale totals above three quarters of a million dollars. And then, of course, you have a retail network coast-to-coast. We’ve also noticed inroads being made into the United States and Europe. As for who buys, it seems to be everyone from wealthy professionals to struggling students. And why are they buying? Because it’s great art, and it’s affordable.

FAAR: How affordable it is [sic]?

McLEAN​: By comparison to virtually every other art form, it’s very affordable. Where else can a collector hope to own a major piece of art for less than $20,000, for example? Looked at in this light, it is grossly undervalued and, as such, I am sure has a very great market future. Most of the pieces we sell at auction sell in the low hundreds.

(Waddington’s will hold a major single owner sale of Inuit art May 29 & 30 in Toronto, at which many records are expected to be broken)