Small Graphics from the Collection of W.A. Ross McFadden | March 12 - 17, 2022

Small Graphics from the Collection of W.A. Ross McFadden MA R C H !"#!— !"%& !# '##

Small Graphics from the Collection of W.A. Ross McFadden MA R C H !"#!— !"%& !# '##

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SENIOR1SPECIALIST

Duncan McLean adm@waddingtons.ca +$,-.+/-,$.0

SPECIALIST

Palmer Jarvis pj@waddingtons.ca +$,-.+/-,$&$

CONSIGNMENT1COORDINATOR1 Elizabeth Gagnon ekg@waddingtons.ca +$,-.+/-,$.+ %

This catalogue and its contents © !"!!# Waddington McLean & Company Ltd.

This auction is subject to the Conditions of Sale printed in the back of this catalogue.

COVER Lot $ JESSIE!OONARK I%SEE%CARIBOU

INSIDE1COVER1

Lot & LUKTA!QIATSUK CARIBOU%MAGIC

INSIDE1BACK1COVER Lot ' LUKE!ANGUHADLUQ CARIBOU%(DETAIL)

BACK1COVER1

Lot * JESSIE!OONARK DOGS%(DETAIL)

Photography & design by Waddington’s All rights reserved.

!

JESSIE!OONARK"!O#C#"!R#C#A#! $%&'(-%&*+,"! ! "!QAMANI’TUAQ! $BAKER!LAKE, I!SEE!CARIBOU

stonecut and stencil; 1972, 16/39 12 x 13.75 in — 30.5 x 34.9 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Characteristic of Oonark’s seemingly intuitive gi! for visual balance, this 1972 print, I See Caribou, exhibits a delightfully off-kilter symmetry. Vibrant green U-formed arms curve upward, echoed by strangely antler-like red outcroppings, the colour of Bearberry bush in which Arctic Caribou graze.

Published:Sanavik Co-operative, Baker Lake 1973 prints/estamps, Baker Lake, N.W.T.: Canadian Arctic Producers Limited, 1973. pl. 16. #$%%&—&(%%

) JESSIE!OONARK"!O#C#"!R#C#A#! $%&'(-%&*+,"! ! "!QAMANI’TUAQ! $BAKER!LAKE, DOGS

stencil; 1970, 10/50 20 x 12.75 in — 50.8 x 32.4 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Dogs from 1970 is a delightfully simple and yet energetic composition by Oonark.

The raucous animals appear in a roughly circular composition, their fur-clad bodies defined in stenciled speckles of grey ink.

Minute hard-edged accents appear only to define the bristling ears of the upper canine.

Published: Government of Northwest Territories, Baker Lake prints/estamps 1971, O#awa, Ontario: Canadian Arctic Producers Limited, 1971. pl. 10. #!*%%%&—&!*+%%

, JESSIE!OONARK"!O#C#"!R#C#A#!$%&'(-%&*+,"! ! "!QAMANI’TUAQ!$BAKER!LAKE, YOUNG!WOMAN

stencil; 1971, 17/43 10.75 x 18 in — 27.3 x 45.7 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

A strikingly restrained image, Young Woman by Jessie Oonark depicts an Inuk girl dressed in finery, with her bright eyes and smile at the centre of the composition. The image, chosen to represent the 1971-72 release of prints from Qamani’tuaq (Baker Lake), was depicted on the cover of the 1972 catalogue that included such iconic works as Shaman

by William Noah, and Family by Luke Anguhadluq.

Published: Sanavik Co-operative, Baker Lake 1972 prints/estamps, Baker Lake, N.W.T.: Canadian Arctic Producers Limited, 1972. pl. 1. #!*%%%&—&!*+%%

JESSIE!OONARK"!O#C#"!R#C#A#!$%&'(-%&*+,"! ! "!QAMANI’TUAQ!$BAKER!LAKE, ICE!FISHING

stone cut; 1969, 4/18 18 x 14.25 in — 45.7 x 36.2 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

From the first release of prints at the Sanavik Cooperative in Qamani’tuaq (Baker Lake) in 1970 comes this raw and forceful 1969 print

by Jessie Oonark. Seemingly a world away from the refined abstraction of Women, or Day Spirit printed the same year, the image Ice Fishing has a decidedly experimental character, exhibiting the spatially fractured image plane of earlier works by the artist such as the 1961 stonecut People of the Inland.

Published: Canadian Eskimo Arts Council, Baker Lake prints/estamps, O#awa, Ontario: Canadian Arctic Producers Limited, 1970. pl. 20.

Related works: Canadian Museum of History, Cat. No. CD 1961-067 Click here to read more #!*%%%&—&!*+%%

+ LUKE!ANGUHADLUQ!$%*&+-%&*-,"! ! "!QAMANI’TUAQ!$BAKER!LAKE, CARIBOU

stencil; 1970, 10/18 13 x 13 in — 33 x 33 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Luke Anguhadluq brings marvelous variation to this subject, o!en revisited by the artist. Here, as in the following lot, the central figure is rendered in pictographlike simplicity using a pale#e of stark black and vibrant yellow.

Published: Government of Northwest Territories, Baker Lake prints/estamps 1971, O#awa, Ontario: Canadian Arctic Producers Limited, 1971. pl. 24. #-%%&—&$%%

$ LUKE!ANGUHADLUQ!$%*&+-%&*-,"! ! "!QAMANI’TUAQ!$BAKER!LAKE, ARCHER!AND!CARIBOU

stonecut; 1970, 31/50 10 x 12/5 in — 25.4 x 317.5 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Here, as in the previous lot, Luke Anguhadluq brings marvelous variation to this subject, o!en revisited by that artist.

Anguhadluq’s hunter and caribou appear in stark black, the caribou off-set with vibrant yellow.

Published: Government of Northwest Territories, Baker Lake prints/estamps 1971, O#awa, Ontario: Canadian Arctic Producers Limited, 1971. pl. 26. #-%%&—&$%%

.

LUKE!ANGUHADLUQ!$%*&+-%&*-,"! ! "!QAMANI’TUAQ!$BAKER!LAKE, FISHING!CAMP

stonecut and stencil ; 1970, 35/50 12 x 19 in — 30.5 x 48.3 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

In characteristic fla#ened perspective, Luke Anguhadluq gives us a summer scene – the harvesting of fish. Small clusters of figures appear beside their dwellings, men with gaffs laid out in a row, and mothers with their children and ulut (women’s knives) close at hand.

Published: Government of Northwest Territories, Baker Lake prints/estamps 1971, O#awa, Ontario: Canadian Arctic Producers Limited, 1971. pl. 28.

Related works: Winnipeg Gallery of Art, Cat. No. G-76-849–See: Cook, Cynthia Waye, From the Centre: The Drawing of Luke Anguhadluq. Toronto: Art Gallery of Ontario, 1993. p. 61 pl.1. #!*%%%&—&!*+%%

/ EGEVADLUQ!RAGEE!$%&-'-%&*.,"!KINNGAIT!$CAPE!DORSET, CHASING!THE!BEAR

stonecut; 1961, 48/40 14 x 20 in — 35.6 x 50.8 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

At once startling and delightful, Egevadluq Ragee’s image of a hunter and his dogs chasing a bear is a typical early image for the artist.

Worlds, ambiguous in their distinction between the physical and supernatural are treated in a tone seemingly more playful than distressing.

Published: West Baffin Eskimo Co-operative, Eskimo Graphic Art 1961, O#awa, Ontario: Mortimer Ltd., 1961, pl. 66. #&.%%&—&!*%%%

( LUKTA!QIATSUK!$%&-*--''/,"!

!

"!KINNGAIT!$CAPE!DORSET,

CARIBOU!MAGIC

engraving; 1962, framed and glazed 9 x 8 in — 22.9 x 20.3 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Lukta Qiatsuk, son of important early Kinngait (Cape Dorset) artist Kiakshuk (see lot 13 of this sale) was known both for his highly personal artistic vision as well as his experience and skill as a printer of many of the most esteemed Kinngait Images. [1, 2] Here the artist shows his many talents in this important and unreleased engraving Caribou Magic from the first year that copper engraving processes were introduced at Kinngait. [2, 3] Fine lines and black arrow-like forms interplay against a toned background and the dark body of a caribou whose posture could be that of either aggressor or prey.

This print was gi!ed by James Houston to his friend Beekman H. Pool (1910-2004), a noted polar lecturer and the author of publications relating to life in the North, including the 1964 work The Chauncey C. Nash Collection: Contemporary Canadian Eskimo Art. [4] A tag housed in a sleeve on the verso of the artwork’s frame reads: “Given to Beekman H. Pool by Jim Houston 1963”, and a second affixed tag reads: “I met James (Jim) Houston at the Gallery of Ontario on Wed. April 16, 1999. He confirmed he gave this engraving to Beekman H. Pool, a particular friend of his, as a house gi! in 1963. / Ross MacFadden.”

Related Works: Rough Legged Hawk, 1961 – see: Houston, James. Eskimo Prints, Massachuse#s: Barre Publishing Co., Inc., 1967. p. 100-101.

References: 1. Barz, Sandra Buhai, Inuit Artists Print Workbook, New York: Arts and Culture of the North Publishers, 2003. Vol. III, Book 1, p. 20.

2. Inuit Art Quarterly, “Lukta-Qiatsuk”, IAQ. Accessed February 21, 2022. h#ps://www.inuitartfoundation.org/profiles/artist/Lukta-Qiatsuk.

3. West Baffin Co-operative, Eskimo Graphic Art / Les Arts Graphiques Esquimaux 1966, Cape Dorset, N.W.T.: West Baffin Co-operative, 1967.

4. Legacy, “Beekman H. Pool Obituary”. Accessed February 21, 2022. h#ps://www.legacy.com/obituaries/name/beekman-poolobituary?pid=2133865. #!*%%%&—&!*+%%

!% KENOJUAK!ASHEVAK"!C#C#"!R#C#A#!$%&-0--'%.,"! ! "!KINNGAIT!$CAPE!DORSET, OWL!AND!IGLOO

engraving; 1967, 35/50 6 x 8 in — 15.2 x 20.3 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

In a delightful visual pun Kenojuak Ashevak gives us this sparely rendered but voluminous owl mirrored by an unlikely man-made counterpart in the form of a solitary igloo. Originally released in a set of six engravings, and limited to an addition of fi!y, it was included in the 1967 Kinngait (Cape Dorset) print release. A charming example of the artist’s humor, and gi! for economy in expression.

Published: Blodge#, Jean, Kenojuak, Toronto: The Mintmark Press Ltd., 1985. p. 55.

West Baffin Co-operative, Eskimo Graphic Art / Les Arts Graphiques Esquimaux 1967, Cape Dorset, N.W.T.: West Baffin Co-operative, 1967. pl. 47.

References: Blodge#, Jean, Kenojuak, Toronto: The Mintmark Press Ltd., 1985. p. 52. #+%%&—&.%%

!!

KENOJUAK!ASHEVAK"!C#C#"!R#C#A#!$%&-0--'%.,"! ! "!KINNGAIT!$CAPE!DORSET, CARRIER!BIRD

engraving; 1967, 45/50 6 x 7.5 in — 15.2 x 19.1 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

One of many wild and playful images produced as engravings by Kenojuak Ashevak, Carrier Bird offers us a vision of strange wonder and transformation in this 1967 polychrome engraving.

Published: Blodge#, Jean, Kenojuak, Toronto: The Mintmark Press Ltd., 1985. p. 66.

West Baffin Co-operative, Eskimo Graphic Art / Les Arts Graphiques Esquimaux 1967, Cape Dorset, N.W.T.: West Baffin Co-operative, 1967. pl. 58. #+%%&—&.%%

!)

KENOJUAK!ASHEVAK"!C#C#"!R#C#A#!$%&-0--'%.,"! ! "!KINNGAIT!$CAPE!DORSET, SEA!GULL!WITH!SEA!SPIRIT

engraving; 1963, 46/50 8.75 x 11.75 in — 22.2 x 29.8 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

One of many wild, playful images produced as engravings by Kenojuak Ashevak, Sea Gull With Sea Spirit offers us a lively vision of strange wonder and transformation in this 1963 print.

Published: Blodge#, Jean, Kenojuak, Toronto: The Mintmark Press Ltd., 1985. p. 30.

Canadian Eskimo Arts Commi#ee, Eskimo Graphic Art / L’art Graphique des Esquimaux, O#awa: Mortimer ltd., 1963. pl. 2. #-%%&—&$%%

!, KIAKSHUK!$%**(-%&((,"!

"!KINNGAIT!$CAPE!DORSET,

MAN!AND!WIFE

engraving; 1963, 16/50, framed and glazed 10 x 12 in — 25.4 x 30.5 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

A somewhat wide eyed and startled looking couple brandishing hunting implements appear amidst an abundance of staple Kinngait foods, caribou and fish, in this iconic engraving by Kiakshuk. A reputed shaman, and well known story teller, the artist was responsible for some fi!y-two prints during his short career between 1960 and his death in 1963. [1,2] Pitseolak Ashoona said of him in 1971 that he did “real Eskimo drawings” since he had grown up with the traditional old ways. Kiakshuk’s son was the talented Lukta Qiatsuk (see lot 9 of this sale).

Published: Canadian Eskimo Arts Commi#ee, Eskimo Graphic Art / L’art Graphique des Esquimaux, O#awa: Mortimer ltd., 1963. pl. 32.

References: 1. Katilvik, “Kiakshuk, ”, Accessed February 21, 2022.

Click here to read more 2. Lutz, Maija, Hunters Carvers, and Collectors: The Chauncey C. Nash Collection of Inuit Art, Massachuse#s: Harvard University Press, 2012. #,%%&—&+%%

!PITSEOLAK!ASHOONA"!O#C#"!R#C#A#!$%&'/-%&*.,"!

KINNGAIT!$CAPE!DORSET, UNTITLED

engraving; 1962, 43/50 9 x 12 in — 22.9 x 30.5 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Pitseolak Ashoona’s art career began with sewing and embroidering in an arts and cra!s program initiated by the Department of Northern Affairs and National Resources. For two years she made primarily sewn works until the Kinngait (Cape Dorset) graphics studio was established in 1959.

Inspired by works made by her cousin Kiakshuk, Pitseolak began drawing, and quickly became recognized for her work in graphite, and later print media. [1] An early practitioner of engraving following its introduction by Terry Ryan (19222017) to Kinngait in 1961, Pitseolak’s drawing style of shading through rapid line movements seems to have found perfect expression in the medium of engraving with its capacity to express wiry thin lines. [2] A highly acclaimed artist even in her own lifetime, Pitseolak Ashoona was also the mother of important artists Kiawak, Kaka, Koomwartok, O#ochie, and Napatchie Pootoogook.

This work, Untitled from 1962, depicts a lively and strange scene in the frenetic style of the artist’s early work.

Of the relatively small number of early engravings produced

by Pitseolak, we are very pleased to offer nine in this auction (see lots 14 through 22).

Published: Eber, Dorothy Harley, Pitseolak: Pictures out of my life, Toronto: Oxford University Press, 1977.

References: 1. Lalonde, Christone, “Pitseolak Ashoona, Life and Work”, Art Canada Institute. Accessed February 21, 2022.

Click here to read more 2. Eber, Dorothy Harley, Pitseolak Ashoona in Pictures Out of My Life, Montreal & Kingston: McGill-Queen’s University Press, 2003, p. 102. #)%%&—&-%%

!+ PITSEOLAK!ASHOONA"!O#C#"!R#C#A#!$%&'/-%&*.,"!

KINNGAIT!$CAPE!DORSET, WOMAN!WITH!GEESE

engraving; 1967, 49/50 9.75 x 11.75 in — 24.8 x 29.8 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Pitseolak Ashoona’s art career began with sewing and embroidering in an arts and cra!s program initiated by the Department of Northern Affairs and National Resources. For two years she made primarily sewn works until the Kinngait (Cape Dorset) graphics studio was established in 1959.

Inspired by works made by her cousin Kiakshuk, Pitseolak began drawing, and quickly became recognized for her work in graphite, and later print media. [1] An early practitioner of engraving following its introduction by Terry Ryan (19222017) to Kinngait in 1961, Pitseolak’s drawing style of shading through rapid line movements seems to have found perfect expression in the medium of engraving with its capacity to express wiry thin lines. [2] A highly acclaimed artist even in her own lifetime, Pitseolak Ashoona was also the mother of important artists Kiawak, Kaka, Koomwartok, O#ochie, and Napatchie Pootoogook.

Women with Geese from 1967 depicts a joyful mother with child walking two tethered, striding geese. The scene is rendered in Pitseolak Ashoona’s distinctive motif of rhythmic parallel lines.

Of the relatively small number of early engravings produced

by Pitseolak, we are very pleased to offer nine in this auction (see lots 14 through 22).

Published: Eber, Dorothy, Pitseolak: Pictures out of my life, Toronto: Oxford University Press, 1977.

West Baffin Co-operative, Eskimo Graphic Art / Les Arts Graphiques Esquimaux 1967, Cape Dorset, N.W.T.: West Baffin Co-operative, 1967. pl. 71.

References: 1. Lalonde, Christone, “Pitseolak Ashoona, Life and Work”, Art Canada Institute. Accessed February 21, 2022.

Click here to read more 2. Eber, Dorothy Harley, Pitseolak Ashoona in Pictures Out of My Life, Montreal & Kingston: McGill-Queen’s University Press, 2003, p. 102. #,%%&—&+%%

!$ PITSEOLAK!ASHOONA"!O#C#"!R#C#A#!$%&'/-%&*.,"!

KINNGAIT!$CAPE!DORSET, PEOPLE

engraving; 1964, 8/50 9.75 x 11.75 in — 24.8 x 29.8 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Pitseolak Ashoona’s art career began with sewing and embroidering in an arts and cra!s program initiated by the Department of Northern Affairs and National Resources. For two years she made primarily sewn works until the Kinngait (Cape Dorset) graphics studio was established in 1959.

Inspired by works made by her cousin Kiakshuk, Pitseolak began drawing, and quickly became recognized for her work in graphite, and later print media. [1] An early practitioner of engraving following its introduction by Terry Ryan (1922-2017) to Kinngait in 1961, Pitseolak’s drawing style of shading through rapid line movements seems to have found perfect expression in the medium of engraving with its capacity to express wiry thin lines. [2] A highly acclaimed artist even in her own lifetime, Pitseolak Ashoona was also the mother of important artists Kiawak, Kaka, Koomwartok, O#ochie, and Napatchie Pootoogook.

People from 1964 depicts three figures joyfully holding their catch. The scene is rendered in Pitseolak Ashoona’s distinctive motif of rhythmic parallel lines.

Of the relatively small number of early engravings produced by Pitseolak, we are very pleased to offer nine in this auction (see lots 14 through 22).

Published: West-Baffin Eskimo Co-Operative, Eskimo Graphic Art 1964-65 L’Art Graphique Des Esquimaux, Cape Dorset, N.W.T., 1971. pl. 19.

References: 1. Lalonde, Christone, “Pitseolak Ashoona, Life and Work”, Art Canada Institute. Accessed February 21, 2022. Click here to read more 2. Eber, Dorothy Harley, Pitseolak Ashoona in Pictures Out of My Life, Montreal & Kingston: McGill-Queen’s University Press, 2003, p. 102. #,%%&—&+%%

!.

PITSEOLAK!ASHOONA"!O#C#"!R#C#A#!$%&'/-%&*.,"!

KINNGAIT!$CAPE!DORSET, UNTITLED

engraving; 1962, 23/50 9 x 12 in — 22.9 x 30.5 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Pitseolak Ashoona’s art career began with sewing and embroidering in an arts and cra!s program initiated by the Department of Northern Affairs and National Resources.

For two years she made primarily sewn works until the Kinngait (Cape Dorset) graphics studio was established in 1959. Inspired by works made by her cousin Kiakshuk, Pitseolak began drawing, and quickly became recognized for her work in graphite, and later print media. [1] An early practitioner of engraving following its introduction by Terry Ryan (1922-2017) to Kinngait in 1961, Pitseolak’s drawing style of shading through rapid line movements seems to have found perfect expression in the medium of engraving with its capacity to express wiry thin lines. [2] A highly acclaimed artist even in her own lifetime, Pitseolak Ashoona was also the mother of important artists Kiawak, Kaka, Koomwartok, O#ochie, and Napatchie Pootoogook.

Untitled from 1962 depicts a man and women holding up a newly caught fish in the presence of two mischievous spirits who appear to be tugging at the women’s amauti. The scene is rendered in Pitseolak Ashoona’s distinctive motif of rhythmic parallel lines.

Of the relatively small number of early engravings produced by Pitseolak, we are very pleased to offer nine in this auction (see lots 14 through 22).

Published: The Canadian Eskimo Art Commi#ee, 1962 Eskimo Graphic Art, I’Art Graphique des Esquimaux, O#awa, Ontario: Mortimer Ltd., 1962. pl. 55.

References: 1. Lalonde, Christone, “Pitseolak Ashoona, Life and Work”, Art Canada Institute. Accessed February 21, 2022.

Click here to read more 2. Eber, Dorothy Harley, Pitseolak Ashoona in Pictures Out of My Life, Montreal & Kingston: McGill-Queen’s University Press, 2003, p. 102. #,%%&—&+%%

!/ PITSEOLAK!ASHOONA"!O#C#"!R#C#A#!$%&'/-%&*.,"!

KINNGAIT!$CAPE!DORSET, SKIN!TENT

engraving; 1969, 46/50 10 x 12 in — 25.4 x 30.5 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Pitseolak Ashoona’s art career began with sewing and embroidering in an arts and cra!s program initiated by the Department of Northern Affairs and National Resources. For two years she made primarily sewn works until the Kinngait (Cape Dorset) graphics studio was established in 1959.

Inspired by works made by her cousin Kiakshuk, Pitseolak began drawing, and quickly became recognized for her work in graphite, and later print media. [1] An early practitioner of engraving following its introduction by Terry Ryan (19222017) to Kinngait in 1961, Pitseolak’s drawing style of shading through rapid line movements seems to have found perfect expression in the medium of engraving with its capacity to express wiry thin lines. [2] A highly acclaimed artist even in her own lifetime, Pitseolak Ashoona was also the mother of important artists Kiawak, Kaka, Koomwartok, O#ochie, and Napatchie Pootoogook.

Skin Tent from 1968 depicts a woman posed in the entryway to a summer dwelling rendered in Pitseolak Ashoona’s distinctive motif of rhythmic parallel lines.

Of the relatively small number of early engravings produced

by Pitseolak, we are very pleased to offer nine in this auction (see lots 14 through 22).

Published: West-Baffin Eskimo Co-Operative, Eskimo Graphic Art, Les arts graphiques esquimaux 1968, Cape Dorset, N.W.T.: West Baffin Eskimo Co-Operative, 1968. pl. 63.

References: 1. Lalonde, Christone, “Pitseolak Ashoona, Life and Work”, Art Canada Institute. Accessed February 21, 2022. Click here to read more.

2. Eber, Dorothy Harley, Pitseolak Ashoona in Pictures Out of My Life, Montreal & Kingston: McGill-Queen’s University Press, 2003, p. 102. #,%%&—&+%%

!( PITSEOLAK!ASHOONA"!O#C#"!R#C#A#!$%&'/-%&*.,"!

KINNGAIT!$CAPE!DORSET, CAMP!SCENE

engraving; 1967, 43/50 6 x 8 in — 15.2 x 20.3 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Pitseolak Ashoona’s art career began with sewing and embroidering in an arts and cra!s program initiated by the Department of Northern Affairs and National Resources.

For two years she made primarily sewn works until the Kinngait (Cape Dorset) graphics studio was established in 1959. Inspired by works made by her cousin Kiakshuk, Pitseolak began drawing, and quickly became recognized for her work in graphite, and later print media. [1] An early practitioner of engraving following its introduction by Terry Ryan (1922-2017) to Kinngait in 1961, Pitseolak’s drawing style of shading through rapid line movements seems to have found perfect expression in the medium of engraving with its capacity to express wiry thin lines. [2] A highly acclaimed artist even in her own lifetime, Pitseolak Ashoona was also the mother of important artists Kiawak, Kaka, Koomwartok, O#ochie, and Napatchie Pootoogook.

This print, Camp Scene from 1967 depicts a domestic scene beset by birds. The image is rendered in Pitseolak’s distinctive motif of rhythmic parallel lines.

In an interview recorded by Dorothy Eber in 1970, and documented in her book Pitseolak: Pictures out of my life Pitseolak explained: “My name is Pitseolak, the Eskimo word for the sea pigeon. When I see pitseolaks over the sea, I say, “There go those lovely birds–that’s me flying!” [3] Of the relatively small number of early engravings produced by Pitseolak, we are very pleased to offer nine in this auction (see lots 14 through 22).

Published: West Baffin Co-operative, Eskimo Graphic Art / Les Arts Graphiques Esquimaux 1967, Cape Dorset, N.W.T.: West Baffin Co-operative, 1967. pl. 69.

References: 1. Lalonde, Christone, “Pitseolak Ashoona, Life and Work”, Art Canada Institute. Accessed February 21, 2022. Click here to read more.

2. Eber, Dorothy Harley, Pitseolak Ashoona Pictures Out of My Life, Montreal & Kingston: McGill-Queen’s University Press, 2003, p. 102.

3. Ibid, p. 13. #,%%&—&+%%

)% PITSEOLAK!ASHOONA"!O#C#"!R#C#A#!$%&'/-%&*.,"!

KINNGAIT!$CAPE!DORSET, BIRDS!AND!HUNTING!ITEMS

engraving; 1969, 50/50 8 x 6 in — 20.3 x 15.2 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Pitseolak Ashoona’s art career began with sewing and embroidering in an arts and cra!s program initiated by the Department of Northern Affairs and National Resources. For two years she made primarily sewn works until the Kinngait (Cape Dorset) graphics studio was established in 1959.

Inspired by works made by her cousin Kiakshuk, Pitseolak began drawing, and quickly became recognized for her work in graphite, and later print media. [1] An early practitioner of engraving following its introduction by Terry Ryan (1922-2017) to Kinngait in 1961, Pitseolak’s drawing style of shading through rapid line movements seems to have found perfect expression in the medium of engraving with its capacity to express wiry thin lines. [2] A highly acclaimed artist even in her own lifetime, Pitseolak Ashoona was also the mother of important artists Kiawak, Kaka, Koomwartok, O#ochie, and Napatchie Pootoogook.

Birds and Hunting Items from 1969 depicts two birds, a smoking pipe, and other articles rendered in Pitseolak’s distinctive motif of rhythmic parallel lines.

Of the relatively small number of early engravings produced

by Pitseolak, we are very pleased to offer nine in this auction (see lots 14 through 22).

Published: West-Baffin Eskimo Co-Operative, cape dorset print collection 1970 collections de gravures de cape dorset, Cape Dorset, N.W.T.: West-Baffin Eskimo Co-Operative, 1970. pl. 72.

References: 1. Lalonde, Christone, “Pitseolak Ashoona, Life and Work”, Art Canada Institute. Accessed February 21, 2022. Click here to read more.

2. Eber, Dorothy Harley, Pitseolak Ashoona in Pictures Out of My Life, Montreal & Kingston: McGill-Queen’s University Press, 2003, p. 102. #,%%&—&+%%

)!

PITSEOLAK!ASHOONA"!O#C#"!R#C#A#!$%&'/-%&*.,"!

KINNGAIT!$CAPE!DORSET, BIRDS!AND!SEA!BEASTS

engraving; 1967, 30/50 8 x 6 in — 20.3 x 15.2 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Pitseolak Ashoona’s art career began with sewing and embroidering in an arts and cra!s program initiated by the Department of Northern Affairs and National Resources.

For two years she made primarily sewn works until the Kinngait (Cape Dorset) graphics studio was established in 1959. Inspired by works made by her cousin Kiakshuk, Pitseolak began drawing, and quickly became recognized for her work in graphite, and later print media. [1] An early practitioner of engraving following its introduction by Terry Ryan (1922-2017) to Kinngait in 1961, Pitseolak’s drawing style of shading through rapid line movements seems to have found perfect expression in the medium of engraving with its capacity to express wiry thin lines. [2] A highly acclaimed artist even in her own lifetime, Pitseolak Ashoona was also the mother of important artists Kiawak, Kaka, Koomwartok, O#ochie, and Napatchie Pootoogook.

Birds and Sea Beasts from 1967 depicts a scene of strange beasts–perhaps in transformation. The image is rendered in Pitseolak’s distinctive rhythmic parallel lines.

Of the relatively small number of early engravings produced by Pitseolak, we are very pleased to offer nine in this auction (see lots 14 through 22).

Published: West Baffin Co-operative, Eskimo Graphic Art / Les Arts Graphiques Esquimaux 1967, Cape Dorset, N.W.T.: West Baffin Co-operative, 1967. pl. 70.

References: 1. Lalonde, Christone, “Pitseolak Ashoona, Life and Work”, Art Canada Institute. Accessed February 21, 2022.

Click here to read more 2. Eber, Dorothy Harley, Pitseolak Ashoona in Pictures Out of My Life, Montreal & Kingston: McGill-Queen’s University Press, 2003, p. 102. #,%%&—&+%%

)) PITSEOLAK!ASHOONA"!O#C#"!R#C#A#!$%&'/-%&*.,"!

KINNGAIT!$CAPE!DORSET, BIRDS!OF!SUMMER

engraving; 1964, 45/50 9.75 x 11.75 in — 24.8 x 29.8 cm PROVENANCE"

Estate of W.A. Ross MacFadden, Toronto, ON NOTE"

Pitseolak Ashoona’s art career began with sewing and embroidering in an arts and cra!s program initiated by the Department of Northern Affairs and National Resources. For two years she made primarily sewn works until the Kinngait (Cape Dorset) graphics studio was established in 1959. Inspired by works made by her cousin Kiakshuk, Pitseolak began drawing, and quickly became recognized for her work in graphite, and later print media. [1] An early practitioner of engraving following its introduction by Terry Ryan (1922-2017) to Kinngait in 1961, Pitseolak’s drawing style of shading through rapid line movements seems to have found perfect expression in the medium of engraving with its capacity to express wiry thin lines. [2] A highly acclaimed artist even in her own lifetime, Pitseolak Ashoona was also the mother of important artists Kiawak, Kaka, Koomwartok, O#ochie, and Napatchie Pootoogook.

Birds of Summer from 1964 depicts a flock of birds, one with a strangely kamik-like foot (skin boot) perhaps in transformation. The image is rendered in Pitseolak’s distinctive rhythmic parallel lines.

In an interview recorded by Dorth Eber in 1970, and documented in her book Pitseolak: Pictures out of my life Pitseolak explained: “My name is Pitseolak, the Eskimo word for the sea pigeon. When I see pitseolaks over the sea, I say, “There go those lovely birds–that’s me flying!” [3] Of the relatively small number of early engravings produced by Pitseolak, we are very pleased to offer nine in this auction (see lots 14 through 22).

Published: Eber, Dorothy, Pitseolak: Pictures out of my life, Toronto: Oxford University Press, 1977.

West-Baffin Eskimo Co-Operative, Eskimo Graphic Art 1964-65 L’Art Graphique Des Esquimaux, Cape Dorset, N.W.T., 1971. pl. 12.

References: 1. Lalonde, Christone, “Pitseolak Ashoona, Life and Work”, Art Canada Institute. Accessed February 21, 2022. Click here to read more.

2. Eber, Dorothy Harley, Pitseolak Ashoona in Pictures Out of My Life, Montreal & Kingston: McGill-Queen’s University Press, 2003, p. 102.

3. Ibid, p.13. #,%%&—&+%%

Buying at Waddington’s All lots will be offered and sold subject to the Conditions of Sale which appear in this catalogue as well as any Glossary and posted or oral announcement. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any oral announcement or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s™ and the consignor (seller) of the lot. Descriptions or photographs of lots are not warranties and each lot is sold “as is” in accordance with the Conditions of Sale.

CONDITION'OF'LOTS

All of the items are to be considered, unless otherwise noted in the description or condition report, in good condition. The definition of “good” when used in reference to condition, describes an object as having had no major damage or repair but as with the nature of the material, may show minor surface wear, discolouration etc., which indicates the acceptable wear that the piece may acquire with age. If you are particular about minor flaws, you should examine the pieces in person or have our staff answer any questions before bidding. Sizes are approximate. It is the sole responsibility of the bidder to inquire as to the condition of a lot before bidding. Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale.

Frames on artwork are not included as part of purchase or condition.

BUYERS'PREMIUM

A premium of 20% of the successful bid price of each lot.

A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer’s premium, except for purchases exported from Canada. In the case where purchases are shipped out of the province of Ontario, the HST or GST is charged based on the tax status of that province.

PAYMENT

Payment for purchases must be by cash, INTERAC direct debit (CDN clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank dra", electronic transfer (fee applies), VISA or Mastercard (up to $25,000).

ALL'PRICES'IN'CANADIAN'FUNDS

Selling at Waddington’s BIDDING

The Auctioneer may also execute bids on behalf of the consignor to protect the reserve.

The reserve is the confidential minimum price the seller is willing to accept for his or her property, below which it will not be sold.

SHIPPING

WADDINGTON’S'COMMISSION'RATES Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15% Items selling for $251 to $2,500 20%

The Auctioneers will not undertake packing or shipping. The purchaser must designate and arrange for the services of an independent shipper and be responsible for all shipping, insurance expenses and any necessary export permits that may apply. The Auctioneers will, upon request, provide names of professional packers and shippers but will not be held responsible for the service or have any liability for providing this information. Reliable preauction estimates of shipping costs of lots offered in this sale may be obtained from:

Items selling for $250 or less 25%

PakShip

*There is a minimum handling charge of $20 per item

Safer Shipping Inc. ',)--##-..)( / ',)--##-#(%$ perry@safershipping.ca / www.safershipping.ca

A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.

#$%-'($-)*('+/+#$%-'($-)*(%+/+',)--#.-*--% taurus@pakship.ca / www.pakship.ca

REMOVAL'OF'PURCHASES

Purchases must be paid for within 48 hours of the date of the sale, and removed from premises within 10 days of the date of sale (see Conditions of Sale, conditions 8 to 15). Clients are advised that packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.

CITES

Restrictions exist regarding the import and export of species protected under CITES (Convention on International Trade in Endangered Species). This includes but is not limited to items made of or containing bone (whalebone etc.), ivory, tortoise shell, seal skin, rhinoceros horn and any other animal part and is strictly controlled or forbidden by most countries. Please review your country’s laws before bidding on pieces made of or containing these restricted items. It is the sole responsibility of the buyer to inquire about and obtain the proper permits for artwork purchased that may contain restricted materials, if such permit can be obtained.

Please contact the department for further assistance. Failure to obtain necessary import/ export permits will not void any sale.

All Narwhal Tusks must have a Marine Harvest Number or a Marine and Mammal Transport number to be sold at Waddington’s.

For more information please visit: www.cites.org

*There is a minimum handling charge of $20 per item CANADIAN'ART'DEPARTMENT'COMMISSION''RATES Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15% Items selling for $2,500 or less 20%

INSURANCE

AUCTION'ADVICE

For auction advice on paintings, drawings, prints, jewellery, and various forms of decorative arts and other collectibles, please feel free to contact us via email or telephone.

We are pleased to review emails containing photographs and information on your pieces in order to provide auction estimates for you to consider.

For collections with a variety of objects, please contact our Appraisals and Consignments department (consignments@waddingtons. ca). For department-specific inquiries, please contact the specialist and/or department directly. All contact information can be found at www.waddingtons.ca.

Our offices are located in Toronto and Vancouver, but our specialists occasionally travel to major Canadian cities to meet with prospective consignors. To receive more information on Valuation Days across Canada or to arrange an appointment, please contact our Toronto office (',)-%$'-#,$$).

Please note that property typically arrives at Waddington’s at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items. Consignors will receive a contract to sign, se0ing forth terms and fees for our services.

Conditions of Sale !"#All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted or announced verbally in the auction room prior to the time of sale. While the auctioneer has endeavoured not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made.

An opportunity for inspection of each article is offered prior to the time of sale. No sale will be set aside on account of lack of correspondence of the article with its description or its reproduction, if any, whether colour or black & white. Some lots are of an age and/or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others.

Frames on artwork are not included as part of purchase or condition. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid, relying upon their own advisers, and to bid accordingly. %"# Each lot sold is subject to a 20% buyers premium as part of the purchase price. &"# Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of that province, whether it HST or GST (Goods and Services Tax).

)" Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor. The auctioneer may bid, or direct an employee to bid, on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant to the instructions of prospective purchasers not in a*endance at the sale. +"# The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from the sale, or to re-offer it at the same or a subsequent sale. The auctioneer’s decision in all cases shall be final.

8. Immediately a,er the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the auctioneer with respect to payment of the whole or any part of the purchase price requested by the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without re-offering the item for sale.

9. The buyer shall pay for all lots within 48 hours from the date of the sale, a,er which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale. The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale, a,er which storage charges may be incurred.

'" The auctioneer reserves the right to withdraw any lot from sale at any time, to divide any lot or to combine any two or more lots at his sole discretion, all without notice.

10. Each lot purchased, unless the sale is cancelled as above, shall be held by the auctioneer at his premises or at a public warehouse at the sole risk of the buyer until fully paid for and taken away.

("# The auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion. The auctioneer reserves the right not to accept and not to reject any bid. Without limitation, any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance over the previous bid may not be recognized.

11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 14

days following the sale a wri*en opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a wri*en request by the buyer for rescission of the sale, then the sale of the lot will be rescinded and the sale price refunded to the buyer.

12. Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank dra,, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000).

13. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for: (a) any deficiency in price between the resale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer.

14. It is the responsibility of the buyer to make all arrangements for insuring, packing and removing the property purchased and any assistance by the auctioneer or his servants, agents or contractors, in packing or removal shall be rendered as a courtesy and without any liability to them.

15. The auctioneer acts solely as agent for the consignor and makes no representation as to any a*ribute of, title to, or restriction affecting the articles consigned for sale. Without limitation, the buyer understands that any item bought may be affected by the provisions of the Cultural Property Export Act (Canada).

16. The auctioneer reserves the right to refuse admission to the sale or to refuse to recognize any or all bids from any particular person or persons at any auction.

Waddington’s #%E King Street East, Second Floor Toronto, Ontario!MEA!"K#

TEL﹕1<=>-?@<-A=@@ TOLL1FREE﹕1=-CDD-?@<-?D@@ www.waddingtons.ca