Inuit Art | September 16, 2020 by waddingtons

Inuit Art WEDNESDAY, SEPTEMBER 16, 2020

AUCTION DATE

INUIT ART

COVER

Wednesday, September 16, 2020 at 7:00 pm

416-847-6191 inuitart@waddingtons.ca

Lot 34

LOCATION OF PREVIEW & AUCTION

Waddington’s 275 King Street East, 2nd Floor Toronto, Ontario M5A 1K2

SENIOR SPECIALIST

Duncan McLean ASSOCIATE SPECIALIST

Rochelle Konn

ON VIEW

JOE TALIRUNILI MIGRATION BOAT INSIDE COVER Lot 39 KENOJUAK ASHEVAK THE ENCHANTED OWL

INSIDE BACK COVER

By appointment.

Lot 69 LUKE IKSIKTAARYUK AN ANCIENT WAY OF DANCING

ALL LOTS CAN BE VIEWED ONLINE AT

www.waddingtons.ca VISIT KATILVIK.COM

A place to discover, learn and research unique works of Inuit and Indigenous art.

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

Photography and design by Waddington’s.

1 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, ᐊᓯᕗ C.C., R.C.A. (1927-2013), CAPE DORSET / KINNGAIT BLUE OWL stonecut, 1969, 5/50 23 x 33 in — 58.4 x 83.8 cm PROVENANCE:

Private Collection, Toronto, ON $4,000—6,000

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2 KENOJUAK ASHEVAK, ᑭᓄᔭᐊ ᐊᓯᕗ, C.C., R.C.A. (1927-2013), CAPE DORSET / KINNGAIT FIREBIRD stonecut, 1969, 42/50 24 x 35 in — 61 x 88.9 cm PROVENANCE:

Private Collection, Toronto, ON $4,000—6,000

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WEDNESDAY, SEPTEMBER 16, 2020

3 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, C.C., R.C.A. (1927-2013), CAPE DORSET / KINNGAIT ANIMALS OUT OF DARKNESS stonecut, 1961, 45/50 23.5 x 25 in — 59.7 x 63.5 cm PROVENANCE:

Private Collection, Toronto, ON $5,000—7,000

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4 TIMANGIAK PETAULASSIE (b.1940), CAPE DORSET / KINNGAIT BIRDS IN THE ARCTIC SEA stencil, 1960, 23/50 22 x 24.5 in — 55.9 x 62.2 cm PROVENANCE:

Private Collection, Toronto, ON $2,000—3,000

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5 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, ᐊᓯᕗ C.C., R.C.A. (1927-2013), CAPE DORSET / KINNGAIT NIGHT SPIRITS stonecut, 1960, 43/50 19 x 24 in — 48.3 x 61 cm PROVENANCE:

Private Collection, Toronto, ON $7,000—10,000

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6 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, ᐊᓯᕗ C.C., R.C.A. (1927-2013), CAPE DORSET / KINNGAIT A VISION OF ANIMALS stonecut, 1961, 3/50 24 x 36 in — 61 x 91.4 cm PROVENANCE:

Private Collection, Toronto, ON $8,000—10,000

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WEDNESDAY, SEPTEMBER 16, 2020

7 IYOLA KINGWATSIAK (1933-2000), CAPE DORSET / KINNGAIT CIRCLE OF BIRDS stencil, 1965, 2/50 18.5 x 23 in — 47 x 58.4 cm PROVENANCE:

Private Collection, Toronto, ON $800—1,200

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8 TIKITU QINNUAYUAK (1908-1992), CAPE DORSET / KINNGAIT FEMALE EIDERS FRIGHTENED stencil, 1960, 10/50 18 x 25 in — 45.7 x 63.5 cm PROVENANCE:

Private Collection, Toronto, ON $1,000—1,500

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SMALL WONDERS A COLLECTION OF SMALL-SCALE SCULPTURES

WEDNESDAY, TUESDAY,SEPTEMBER NOVEMBER16, 19,2020 2019

BARNABUS ARNASUNGAAQ ᐸᓇᐸᓯ ᐊᓇᓴᒐ, (1924-2017), BAKER LAKE / QAMANI’TUAQ

JOSIAH NUILAALIK (1928-2005), BAKER LAKE / QAMANI’TUAQ

ADA EYETOAQ ᐊᑕ ᐃᔨᑐᐊ, (b.1934), BAKER LAKE / QAMANI’TUAQ

BEAR SHAMAN ivory 1.5 x 2 x .75 in — 3.8 x 5.1 x 1.9 cm

KNEELING MAN WITH BIRD stone 2.5 x 2.5 x 1 in — 6.4 x 6.4 x 2.5 cm

PROVENANCE:

$300—500

WOMAN WITH FISH AND ULU small wonders stone, signed in syllabics 3 x 3 x 3.5 in — 7.6 x 7.6 x 8.9 cm PROVENANCE:

Private Collection, Toronto, ON

Private Collection, Hamilton, ON

$400—600

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UNIDENTIFIED, PORT HARRISON / INUKJUAK

MIRIAM MAREALIK QIYUK ᒪᕆᐊᒪ ᑭᔪ, (b.1933), BAKER LAKE / QAMANI’TUAQ

HUNTING SEAL stone, ivory, hide, inset antler face, c.1955 5 x 4 x 5 in — 12.7 x 10.2 x 12.7 cm

FLOCK OF BIRDS FLOATING ON A WAVE stone, signed in Roman 2 x 4.75 x 4.5 in — 5.1 x 12.1 x 11.4 cm

PROVENANCE:

$400—600

$800—1,200

Private Collection, USA

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Private Collection, Toronto, ON

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WEDNESDAY, TUESDAY,SEPTEMBER NOVEMBER16, 19,2020 2019

JOHN KAVIK ᔭᓐ ᑲᕕ, (1897-1993), RANKIN INLET / KANGIQLINIQ

BARNABUS ARNASUNGAAQ ᐸᓇᐸᓯ ᐊᓇᓴᒐ, (1924-2017), BAKER LAKE / QAMANI’TUAQ

FIGURE WITH ARMS RAISED stone, c.1970 3.5 x 2.25 x 1 in — 8.9 x 5.7 x 2.5 cm

STANDING WOMAN stone, c.1975 4 x 2.5 x 2.25 in — 10.2 x 6.4 x 5.7 cm

PROVENANCE:

Private Collection, Hamilton, ON

$400—500

$500—700

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JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ (1893-1976), POVUNGNITUK / PUVIRNITUQ

AKEEAKTASHUK ᐊᑭᐊᑐᓱ (1898-1954), PORT HARRISON / INUKJUAK

KNEELING WOMAN WITH ULU AND QUDLIQ HOLDING CHILD IN AMAUTIQ stone, ivory, string, signed in Roman 3.5 x 2.5 x 2.5 in — 8.9 x 6.4 x 6.4 cm

HUNTER HARPOONING A WALRUS stone, ivory, c.1953 3.75 x 5 x 3.25 in — 9.5 x 12.7 x 8.3 cm

PROVENANCE:

Private Collection, USA

Private Collection, WY, USA $1,500—2,000

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PROVENANCE:

$1,000—1,500

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WEDNESDAY, TUESDAY,SEPTEMBER NOVEMBER16, 19,2020 2019

ANDY MIKI ᒥᑭ, (1918-1983), ESKIMO POINT / ARVIAT

LUCY TASSEOR TUTSWEETOK ᓗᓯ ᑕᓯᐅ ᑎᓯᑕ, (1934-2012), ESKIMO POINT / ARVIAT

DOG stone, signed in syllabics 3.5 x 2 x 3.75 in — 8.9 x 5.1 x 9.5 cm PROVENANCE:

Private Collection, USA $1,500—2,500

TWO FIGURES stone, c.1970 3.75 x 5 x 2 in — 9.5 x 12.7 x 5.1 cm PROVENANCE:

Waddington’s Auctioneers, November 2013, lot 25 Private Collection, PA, USA $500—700

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PANILUK QAMANIRQ (b.1935), ARCTIC BAY / IKPIARJUK

ABRAHAM ETUNGAT ᐊᐃᐊᔭᑲ ᐃᑐᒐ, R.C.A. (1911-1999), CAPE DORSET / KINNGAIT

ANIMAL stone, signed in Roman, disc number inscribed 5 x 5 x 1.5 in — 12.7 x 12.7 x 3.8 cm PROVENANCE:

Private Collection, Hamilton, ON $600—900

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BIRD OF SPRING stone, signed in syllabics 5.25 x 7.5 x 2.25 in — 13.3 x 19.1 x 5.7 cm PROVENANCE:

Private Collection, Oshawa, ON $1,500—2,000

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WEDNESDAY, TUESDAY,SEPTEMBER NOVEMBER16, 19,2020 2019

22 JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ, (1937-1999), GJOA HAVEN / UQSUQTUUQ MOTHER AND CHILD WITH SPIRIT stone, antler 16 x 10 x 9 in — 40.6 x 25.4 x 22.9 cm PROVENANCE:

Private Collection, Toronto, ON $8,000—12,000

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23 OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ, R.C.A. (1923-2005), CAPE DORSET / KINNGAIT KNEELING WOMAN stone, signed in syllabics 16.5 x 7 x 7 in — 41.9 x 17.8 x 17.8 cm PROVENANCE:

Private Collection, Toronto, ON $4,000—6,000

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WEDNESDAY, SEPTEMBER 16, 2020

Inuit Art Auction

24 LUKTA QIATSUK ᓗᑕ ᑭᐊᓱᑲ, (1928-2004), CAPE DORSET / KINNGAIT CARIBOU BIRD SPIRIT stone, antler, signed in syllabics 19.5 x 20 x 11 in — 49.5 x 50.8 x 27.9 cm PROVENANCE:

Private Collection, Toronto, ON $2,500—3,500

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WEDNESDAY, SEPTEMBER 16, 2020

25 OVILOO TUNNILLIE, R.C.A. (1949-2014) CAPE DORSET / KINNGAIT FEMALE TORSO stone, signed in syllabics 5 x 17 x 3.5 in — 12.7 x 43.2 x 8.9 cm PROVENANCE:

Private Collection, Toronto, ON $2,000—3,000

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Beginning in the 1970â&#x20AC;&#x2122;s, the nude female body is a central motif for artist Oviloo Tunnillie. Though she made several experiments with the form, she is widely recognized as the first Inuit sculptor to produce works representing the naked female body. The unorthodoxy of this distinction is largely due to the lack of nudity throughout the Inuit carving tradition, in addition to the systemic suppression of sexuality among Indigenous populations by colonial governments since European Contact. From 2002 to 2005, Tunnillie lived between Montreal and Toronto. During this time, she produced this remarkable work, Female Torso (2004), in serpentine rock. The work closely follows her trajectory of examining unconventional subject matter, in particularly social taboos such as masturbation or going to the toilet. Yet Female Torso clearly harkens back to classical antiquity and its emphasis on archetypal body types. To this end, Tunnillie draws on the Western art historical canon and merges it with the Inuit cultural tradition. And this veritable collision of two dissimilar cultures unsettles art historyâ&#x20AC;&#x2122;s Eurocentric bias. It also shrewdly positions the Inuit female body as a powerful source of beauty and sexuality. Though critically underrepresented, Tunnillie remains one of the most uncompromising Inuk artists of her generation. We thank Matthew Ryan Smith, Ph.D., Curator and Head of Collections at Glenhyrst Art Gallery in Brantford, Ontario, for contributing this essay. WEDNESDAY, SEPTEMBER 16, 2020

26 LUKE ANOWTALIK (1932-2006), ESKIMO POINT / ARVIAT ACROBATS antler, wood, sinew 7.5 x 19.5 in — 19.1 x 49.5 cm PROVENANCE:

Private Collection, Toronto, ON $1,200—1,800

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27 JACOB IRKOK (1937-2009), ESKIMO POINT / ARVIAT THREE SWIMMING CARIBOU antler, each signed in Roman and syllabics largest 3.25 x 12 x 2 in — 8.3 x 30.5 x 5.1 cm PROVENANCE:

Private Collection, Toronto, ON $1,200—1,800

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WEDNESDAY, SEPTEMBER 16, 2020

28 MATIUSIE IYAITUK ᒪᑎᐅᓱ ᐃᐊᑕ, (b.1950), IVUJIVIK SHAMAN stone, antler, horse hair, sinew, signed in syllabics 28 x 17 x 11 in — 71.1 x 43.2 x 27.9 cm PROVENANCE:

Private Collection, Toronto, ON $2,000—3,000

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29 PIE KUKSHOUT (1911-1980), RANKIN INLET / KANGIQLINIQ VASE DECORATED WITH MUSK OXEN AND CARIBOU ceramic, signed in syllabics, disc number inscribed, c.1972 7 x 7 x 5 in — 17.8 x 17.8 x 12.7 cm PROVENANCE:

Private Collection, Hamilton, ON EXHIBITED:

Isaacs Innuit Gallery, Rankin Inlet Ceramics, 1964-1972 $2,000—4,000

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WEDNESDAY, SEPTEMBER 16, 2020

30 DAVID IKUTAAQ (1929-1984), BAKER LAKE / QAMANI’TUAQ MUSK OX stone, signed in syllabics 5.5 x 8 x 3.5 in — 14 x 20.3 x 8.9 cm PROVENANCE:

Private Collection, Hamilton, ON $700—1,000

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31 PETER KOMAK (1911-1984), ESKIMO POINT / ARVIAT MANY FACES stone, signed in syllabics 7.5 x 5 x 3 in — 19.1 x 12.7 x 7.6 cm PROVENANCE:

Private Collection, Toronto, ON $600—900

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32 UNIDENTIFIED, PORT HARRISON / INUKJUAK KNEELING WOMAN stone, ivory, soap inlay 12 x 9 x 9 in — 30.5 x 22.9 x 22.9 cm PROVENANCE:

Private Collection, Oshawa, ON $10,000—15,000

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WEDNESDAY, SEPTEMBER 16, 2020

ENNUTSIAK ᐃᓄᓯᐊ

FROBISHER BAY / IQALUIT

“When it was the right time of year to build kayaks, the young women had to chew the seal skins to make them supple. We also learned to sew and help the older woman. I remember seeing women sitting outside, sewing skins to cover kayaks. In our culture, women were always supposed to have something to do. That’s what young women were taught when they started to learn how to work.” - Susie Aupaluk Kauki, 1997. Ennustiak is known for his “living pictures”, his carefully posed tableau scenes depicting traditional Inuit life. He favoured women’s scenes, most notable are his birthing scenes. This piece however, is not something that we have seen from him before. The two pairs are likely mother and daughter, with the younger wearing her hair loose and tied back, and the mothers donning traditional up does. The four women, wielding ivory awls, are preparing walrus skin to be fitted over the kayak frame to their sides.

33 ENNUTSIAK ᐃᓄᓯᐊ, (1896-1967), FROBISHER BAY / IQALUIT WOMEN STITCHING TOGETHER SKIN FOR KAYAK stone, late 1950’s 4 x 8 x 5.25 in — 10.2 x 20.3 x 13.3 cm PROVENANCE:

Private Collection, Ganonoque, ON $5,000—7,000

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WEDNESDAY, SEPTEMBER 16, 2020

JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ

POVUNGNITUK / PUVIRNITUQ The best art always has a story. Perhaps the better the tale, the better the art. The most commonly heard layman’s criticism of art is that they “don’t get it,” which to my mind is simply a complaint about not having being initiatted into the story—as if someone asked you to only watch the last thirty seconds of Citizen Kane and then declare it a masterpiece. Even those who rhapsodize about pure abstraction still can’t escape a primal need for narrative (how old was Rothko when he created the chapel? Who was Pollock married to?) This is the essence of our humanity: tell me a story. Joe Talirunili’s series, Migration Boat, is a story conjured from stone. For the uninitiated: when Talirunili was young, his and several other families were on a journey to another settlement. The ice floe they were on broke off and began to drift into Hudson’s Bay, forcing the group to hastily construct a boat out of the materials at hand. Adrift and hungry, it would be two weeks before they finally sighted the cliffs of the Ottawa Islands. However, the boat seemed unable to gain enough headway to make the shore, prompting Talirunili’s grandmother to suggest that a gun be fired at the land to subdue any rogue spirits that might be hindering their progress. The gun was fired, and the group made it ashore. Talirunili would often struggle to recall how many people were in the boat— ranging from 17, as in this example, to somewhere in the mid-40s—as well as how many perished. Many of the Migration Boats feature (or are accompanied by) lists of the people who were there, suggesting both memorial and mythology. Like any story retold, each iteration varies in terms of cast and details. This particular sculpture shows the decisive moment, the very height of the story’s arc: Talirunili’s grandmother stands above the group, commanding. The shooter takes aim. The Migration Boats are medium made message. Much like the story itself, his sculptures are rough, stark, determined. The artist applied this make-do approach to his life as well as his art: if a piece of stone chipped off while he carved it, it would simply be re-affixed and the work would continue. A liberal use of string and unsubtle gluing can be seen in his work, but rather than detracting, they enhance the muscular truth of his pieces. Perhaps this is what fascinates, how they tell us about endurance and improvisation. Through the breaking and the mending, above all, they endure.

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WEDNESDAY, SEPTEMBER 16, 2020

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34 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ, (1893-1976), POVUNGNITUK / PUVIRNITUQ MIGRATION BOAT stone, skin, wood, thread, signed in Roman and syllabics 14.5 x 14 x 6.5 in — 36.8 x 35.6 x 16.5 cm PROVENANCE:

Private Collection, WY, USA $140,000—160,000 This lot includes a photograph of the artist sculpting this boat, as well as his letter written in syllabics explaining the origins behind his famous Migration Boat carvings.

WEDNESDAY, SEPTEMBER 16, 2020

35 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ, ᑕᓚᕈᓂᓕ (1893-1976), POVUNGNITUK / PUVIRNITUQ HUNTER IN A KAYAK stone, wood, string, signed in Roman 5 x 10 x 3 in — 12.7 x 25.4 x 7.6 cm PROVENANCE:

Private Collection, WY, USA $4,000—6,000

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Inuit Art Auction

36 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ (1893-1976), POVUNGNITUK / PUVIRNITUQ HUNTER CARRYING KAYAK stone, ivory, wood, string, signed in Roman 6.75 x 8 x 3 in — 17.1 x 20.3 x 7.6 cm PROVENANCE:

Private Collection, WY, USA $4,000—6,000

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WEDNESDAY, SEPTEMBER 16, 2020

37 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ, (1893-1976), POVUNGNITUK / PUVIRNITUQ UNTITLED graphite and coloured pencil drawing, signed in Roman 8 x 11 in — 20.3 x 27.9 cm PROVENANCE:

Private Collection, WY, USA $2,000—3,000

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Inuit Art Auction

38 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ, (1893-1976), POVUNGNITUK / PUVIRNITUQ UNTITLED graphite and coloured pencil drawing, signed in Roman and syllabics 8.5 x 11 in — 21.6 x 27.9 cm PROVENANCE:

Private Collection, WY, USA $1,000—1,500

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WEDNESDAY, SEPTEMBER 16, 2020

KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ CAPE DORSET / KINNGATIT

Kenojuak Ashevak lived nomadically between Baffin Island and Northern Quebec (Nunavik) in the traditional Inuit way. She learned to craft, often using the sinew of caribou and sealskin, from her maternal grandmother. Ashevak devoted more time to creating art after meeting with collector James Houston and his wife Alma. Houston recalls that she was hesitant to draw because she felt that she did not possess the required skills and that drawing itself was the occupation of men. Nevertheless, she prepared numerous drawings in pencil upon their next meeting. With the assistance of the Houstons, Ashevak produced her first print in 1958. Less than two years later, she created this seminal work, The Enchanted Owl, which remains among her most recognizable and beloved. The animal seemingly explodes in a plume of shimmering feathers while it acknowledges the presence of the viewer. Its wondrously dynamic movement animates the composition while suggesting that the owl is caught in a moment of profound metamorphosis, perhaps from the physical plane into the spiritual world. Owls feature prominently in Inuit oral histories and some communities look upon them as cyphers of wisdom. The Enchanted Owl is typical of Ashevak’s early work and its capacious use of negative and positive space; moreover, the work’s meticulous patterning and pulsating contrasts of colour are heightened by the quality of her linework. In 1970, the Canada postal administration included the print on their 1970 stamp to commemorate the centennial of the Northwest Territories. This contributed to the work becoming one of the most iconic images from Canada. Ultimately, The Enchanted Owl impacted Ashevak in ways we may never know as it was the only print she hung in her Kinngait home. We thank Matthew Ryan Smith, Ph.D., Curator and Head of Collections at Glenhyrst Art Gallery in Brantford, Ontario, for contributing this essay.

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WEDNESDAY, SEPTEMBER 16, 2020

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39 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, ᐊᓯᕗ C.C., R.C.A. (1927-2013), CAPE DORSET / KINNGAIT THE ENCHANTED OWL stonecut, 1960, 12/50 24 x 26 in — 61 x 66 cm PROVENANCE:

The Estate of Lassy Malowany, British Columbia $100,000—120,000

WEDNESDAY, SEPTEMBER 16, 2020

40 NIVIAXIE ᓂᕕᐊᓯ, (1909-1959), CAPE DORSET / KINNGAIT ESKIMO SUMMER TENT stencil, 1959, 18/30 15.75 x 15 in — 40 x 38.1 cm PROVENANCE:

Private Collection, Calgary, AB $5,000—7,000

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41 JOSEPHIE POOTOOGOOK ᔭᓴᐱ ᑭᑐᒍ, (1887-1958), CAPE DORSET / KINNGAIT JOYFULLY I SEE TEN CARIBOU stonecut, 1959, 45/50 12 x 17.5 in — 30.5 x 44.5 cm PROVENANCE:

Private Collection, Toronto, ON $7,000—10,000

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WEDNESDAY, SEPTEMBER 16, 2020

REFLECTIONS ON LIFE IN THE ARCTIC LESLIE BOYD

It’s been forty years since I boarded the Austin Airways cargo flight out of Timmins, Ontario, destined for Kinngait (Cape Dorset.) It’s hard to believe, because I recall that first summer of 1980 so vividly. Browsing through the highlights of this auction brings back one memory in particular; my days spent quietly working in the back room of the lithography studio, cataloguing the archive of proof prints that were kept as a record of print editions released as annual collections since 1959. No wonder I stayed for thirty years! The archive is a treasure trove of prints and original drawings collected since the first experiments in printmaking began in Kinngait in 1957. Many of the artists were still alive at the time and bringing drawings to the studios, so I gradually put faces to names and learned to distinguish their very unique artistic styles. I also got to know some of the artists more personally. My apartment-mate that first summer was the Inuit art curator, Jean Blodgett, who was in town doing research for the limited-edition book, Graphic Masterworks of the Inuit: Kenojuak. Jean invited me to visit Kenojuak at her house, where she graciously answered Jean’s questions about her choice of colours and subjects and style, offered us tea and bannock when she tired of the interview and delighted in the constant coming and going of children and grandchildren. I could understand why the world fell in love with Kenojuak back in the early 1960’s, when her now iconic images were first released. I certainly did.

Included in this auction are several of Kenojuak’s finest early images, illustrating her intuitive approach to drawing - a style she Inuit Art Auction

described as her hand leading her mind. In fact, her hand rarely left the paper, intertwining birds and animals and human figures into elaborate compositions. Although she never directly acknowledged the spiritual realm in her work, these images have a distinctly otherworldly and mysterious feel, enhanced by the high contrast and drama of the early stonecut technique. Her style takes a more precise and detailed turn in Bird Humans, (lot 44) and the little owl that she soon developed into her most famous image - The Enchanted Owl – (lot 39) makes its first appearance. The work of the men tends to be more literal, reflecting their hunting prowess and their knowledge of the land and animals. Niviaksie was one of the first men to make drawings, and a main contributor to the 1959 collection. He would have gone on to tell many stories, but he died in a hunting accident the same year. There were polar bear tracks found around his body but no sign of attack. To this day, his death remains a mystery. All of the images included here are from the first three years of the printmaking endeavour in Kinngait. They are exceptional for their aesthetic and technical expertise, especially considering the circumstances of their creation. Now greatly sought after, they are rare and classic images that launched an unforgettable era in Canadian art history. We thank Leslie Boyd, Owner and Director, Inuit Fine Art Gallery, Port Hope for contributing this essay.

WEDNESDAY, SEPTEMBER 16, 2020

42 NIVIAXIE ᓂᕕᐊᓯ, (1909-1959), CAPE DORSET / KINNGAIT THE ARCHER stencil, 1960, 42/50 24 x 12 in — 61 x 30.5 cm PROVENANCE:

Private Collection, Toronto, ON $6,000—9,000

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43 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, ᐊᓯᕗ C.C., R.C.A. (1927-2013), CAPE DORSET / KINNGAIT BIRDS OVER THE SUN stencil, 1960, 37/50 13 x 20 in — 33 x 50.8 cm PROVENANCE:

Private Collection, Toronto, ON $4,000—6,000

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WEDNESDAY, SEPTEMBER 16, 2020

44 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, ᐊᓯᕗ C.C., R.C.A. (1927-2013), CAPE DORSET / KINNGAIT BIRD HUMANS stonecut, 1960, unnumbered, unsigned experimental proof 21 x 27 in — 53.3 x 68.6 cm PROVENANCE:

Private Collection, Oshawa, ON $8,000—10,000

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45 SAKIASSIE RAGEE (1924-2003), CAPE DORSET / KINNGAIT SEA GODDESS FEEDING YOUNG stonecut, 1961, 42/50 12 x 16 in — 30.5 x 40.6 cm PROVENANCE:

Private Collection, Toronto, ON $2,000—3,000

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46 NAPATCHIE POOTOOGOOK ᓇᐸᓯ ᐳᑐᒍ, (1938-2002), CAPE DORSET / KINNGAIT BIRD SPIRITS stonecut, 1960, 32/50 19 x 24 in — 48.3 x 61 cm PROVENANCE:

Private Collection, Toronto, ON $2,000—3,000

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WEDNESDAY, SEPTEMBER 16, 2020

47 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, ᐊᓯᕗ C.C., R.C.A. (1927-2013), CAPE DORSET / KINNGAIT UNTITLED coloured pencil drawing 42.5 x 50 in — 108 x 127 cm PROVENANCE:

Private Collection, Hamilton, ON $6,000—9,000

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Inuit Art Auction

48 JESSIE OONARK ᔪᓯ ᐃᓇ, ᐃᓇ O.C., R.C.A. (1906-1985), BAKER LAKE / QAMANI’TUAQ BIG WOMAN stonecut, 1974, 38/50 25 x 37 in — 63.5 x 94 cm PROVENANCE:

Private Collection, Oshawa, ON $5,000—7,000

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WEDNESDAY, SEPTEMBER 16, 2020

MANASIE AKPALIAPIK ᒪᓇᓯ ᐊᐸᓕᐊᐱ TORONTO

The subject of transformation is a central concern in Inuit art. It is understood in traditional Inuit culture that humans have the ability to become animals and vice versa, and that the boundaries between realms are not fixed. Stories are told about animals who assumed human shape and lived among the people, speaking their language. Similarly, humans were able to shift into animal form in order to learn—and subsequently teach—their ways, or to escape serious danger. Shaman Transforming elicits a tremendous feeling of tension and energy. We see a shaman being enveloped by the raw power of nature, by magic. He tilts his head back, mouth open, in an expression that might be interpreted as pain, awe or ecstasy—or a combination thereof. His right hand remains human, curled slightly, while his left side has transformed into the form of two geese. Between the bird’s heads, another, wilder mouth has opened beneath flared, walrus-like nostrils, echoing that of the shaman. Wings seem to sprout from this amorphous mass. We feel unable to figure out where man ends and beast begins, or indeed which direction the transformation is headed. Manasie balances the impressionistic with the literal, harnessing the natural curves of the whale bone to superb effect. The overall form is fluid, with certain edges of the carving seeming to melt and fade. Sinuous, abstract curves suggest the mutability of this transformative moment, while the evocative precision of details such as the inset ivory eyes and carved teeth of the shaman remind us of the concrete humanity present amidst the supernatural. There is also a beautiful connectivity between subject and material: from an animal’s bone emerges a portrait of a human, who is in turn returning into animal form. Or perhaps it is the other way around?

49 MANASIE AKPALIAPIK, ᒪᓇᓯ ᐊᐸᓕᐊᐱ, ᐊᐸᓕᐊᐱ (b.1955) TORONTO SHAMAN TRANSFORMING bone, inset ivory 26 x 23 x 15 in — 66 x 58.4 x 38.1 cm PROVENANCE:

Private Collection, Toronto, ON $6,000—9,000 52

Inuit Art Auction

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JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ

GJOA HAVEN / UQSUQTUUQ

50 JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ, (1937-1999), GJOA HAVEN / UQSUQTUUQ MOTHER AND CHILD HOLDING PET DOG bone, antler, signed in syllabics 22 x 10 x 10 in — 55.9 x 25.4 x 25.4 cm PROVENANCE:

Private Collection, Toronto, ON $7,000—10,000

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WEDNESDAY, SEPTEMBER 16, 2020

OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ CAPE DORSET / KINNGAIT

This is the work of an artist pushing the very limits of his medium. Take a moment to appreciate the delicate spindles of the weasel’s hindlegs, or the slender arcs of the owl’s talons. Osuitok has explained that he works on the finest details last—but picture those final moments! Imagine the ultimate success or failure of many hours of precise labour hinging on the ability to balance restraint and daring, to anticipate disaster, to see through stone. To look at this sculpture is to see the precariousness of both material and subject. Predator and prey are connected in a moment of extreme violence, yet there is something almost sensual about the embrace. They form two halves of a circle, curving in and away from each other in a moment of both tension and grace. Osuitok has balanced this drama atop the tiniest base, allowing the scene to appear nearly weightless—no small feat for a sculptor of stone. We thank Matthew Ryan Smith, Ph.D., Curator and Head of Collections at Glenhyrst Art Gallery in Brantford, Ontario, for contributing this essay.

51 OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ, R.C.A. (1923-2005), CAPE DORSET / KINNGAIT OWL AND WEASEL stone, signed in syllabics 16.5 x 11.5 x 13 in — 41.9 x 29.2 x 33 cm PROVENANCE:

Private Collection, Toronto, ON $7,000—10,000

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Inuit Art Auction

WEDNESDAY, SEPTEMBER 16, 2020

JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ

GJOA HAVEN / UQSUQTUUQ Judas Ullulaq lived in the traditional Inuit way until the 1960’s when he settled in Taloyoak, Nunavut, with his family. Like many other Inuk artists at this time, he began to produce carvings as an alternative source of income. Ullulaq’s stone carvings often feature highly expressionistic facial gestures, bodily movements, and natural materials such an antler and ivory. His peculiar characters and beings, with all their inflated emotions, appear to burst out of the stone sheath that contains them. In this work, Musk Ox and Young, Ullulaq represents the close relationship between generations of musk ox and its significance to the Inuit people. The Inuit name for musk ox is omingmak, meaning “animal with skin like a beard.” For many centuries, they have been hunted by the Inuit for their meat, skin, and horns, which are then fashioned into various survival instruments and weaponry. Beyond this, musk ox carry spiritual meaning to the Inuit in that their physical power and resilience to harsh living conditions symbolize strength and survival. Musk Ox and Young pays homage to this valuable source of sustenance while acting as a metaphor for the importance of strong familial relationships

52 JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ, ᐅᓗᓚ (1937-1999), GJOA HAVEN / UQSUQTUUQ MUSK OX AND YOUNG stone, horn, antler, signed in syllabics 17.5 x 13 x 9 in — 44.5 x 33 x 22.9 cm PROVENANCE:

Private Collection, Toronto, ON $10,000—15,000

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WEDNESDAY, SEPTEMBER 16, 2020

53 LUKTA QIATSUK ᓗᑕ ᑭᐊᓱᑲ, (1928-2004), CAPE DORSET / KINNGAIT PLAYFUL OWL stone, signed in syllabics 8.25 x 9 x 6 in — 21 x 22.9 x 15.2 cm PROVENANCE:

Private Collection, Toronto, ON $2,000—4,000

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54 SHEOKJUK OQUTAQ ᓱᐅᔪ ᐅᑯᑕ, ᐅᑯᑕ (1920-1982), CAPE DORSET / KINNGAIT LOON stone, signed in syllabics, late 1970’s 4.5 x 14 x 4 in — 11.4 x 35.6 x 10.2 cm PROVENANCE:

Private Collection, Ontario $5,000—7,000

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WEDNESDAY, SEPTEMBER 16, 2020

55 PAUTA SAILA ᐸᐊ ᓯᓚ, ᓯᓚ R.C.A. (1916-2009), CAPE DORSET / KINNGAIT SCENTING BEAR stone, early 1960’s 13.5 x 22 x 7 in — 34.3 x 55.9 x 17.8 cm PROVENANCE:

Art Primitif, Montreal, QC, 1965 Private Collection, Calgary, AB $25,000—45,000

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56 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ, (1893-1976), POVUNGNITUK / PUVIRNITUQ HUNTER RETURNING WITH CATCH stone, c.1960 7.25 x 3.5 x 4.5 in — 18.4 x 8.9 x 11.4 cm PROVENANCE:

Private Collection, Oshawa, ON $6,000—9,000

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WEDNESDAY, SEPTEMBER 16, 2020

57 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ, ᑕᓚᕈᓂᓕ (1893-1976), POVUNGNITUK / PUVIRNITUQ SEATED MOTHER AND CHILD HOLDING A DOG AND VESSEL stone, signed in Roman. c.1965 6.5 x 4.5 x 5.5 in — 16.5 x 11.4 x 14 cm PROVENANCE:

Waddington’s Auctioneers, November 2015, lot 116 Private Collection, Hamilton, ON $5,000—7,000

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58 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ, (1893-1976), POVUNGNITUK / PUVIRNITUQ OWL stone, signed in Roman, late 1960’s 5.5 x 3 x 3.5 in — 14 x 7.6 x 8.9 cm PROVENANCE:

Private Collection, Hamilton, ON $3,000—5,000

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WEDNESDAY, SEPTEMBER 16, 2020

59 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ, ᑕᓚᕈᓂᓕ (1893-1976), POVUNGNITUK / PUVIRNITUQ BIRD stone, signed in Roman, late 1960’s 4.25 x 6.5 x 2 in — 10.8 x 16.5 x 5.1 cm PROVENANCE:

Private Collection, Hamilton, ON $2,500—3,500

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61 ATTRIBUTED TO: NOAH KUDLU (1912), GREAT WHALE RIVER / KUUJJUARAAPIK SEATED MOTHER HOLDING CHILD stone, inset ivory eyes and teeth, c.1954 9 x 6 x 5.5 in — 22.9 x 15.2 x 14 cm PROVENANCE:

Private Collection, Hamilton, ON $10,000—15,000

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WEDNESDAY, SEPTEMBER 16, 2020

62 MARY AYAQ ANOWTALIK (b.1938), ESKIMO POINT / ARVIAT MOTHER AND CHILD stone, signed in syllabics 7.25 x 7 x 4 in — 18.4 x 17.8 x 10.2 cm PROVENANCE:

Private Collection, PA, USA $700—1,000

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63 ANDY MIKI ᒥᑭ, (1918-1983), ESKIMO POINT / ARVIAT ANIMAL stone, signed in syllabics 5.5 x 6 x 2 in — 14 x 15.2 x 5.1 cm PROVENANCE:

Private Collection, Hamilton, ON $3,000—5,000

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64 JOHN PANGNARK ᔭᓐ ᐸᓇ, (1920-1980), ESKIMO POINT / ARVIAT WAVING FIGURE stone, signed in syllabics, c.1970-72 4 x 5.5 x 3 in — 10.2 x 14 x 7.6 cm PROVENANCE:

Private Collection, Toronto, ON $3,000—5,000

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65 THOMASSIE KUDLUK ᑐᒪᓯ ᑲᓚ, (1910-1989), PAYNE BAY / BELLIN / KANGIRSUK POLAR BEAR ON HIND LEGS stone, signed in syllabics Inuktitut syllabics ᓇᓄ ᐃᕈᓯᒪᔨ inscribed on the side 7.75 x 5 x 1.75 in — 19.7 x 12.7 x 4.4 cm PROVENANCE:

Private Collection, Hamilton, ON $600—900

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WEDNESDAY, SEPTEMBER 16, 2020

TIM PITSIULAK ᑎᒻ ᐱᓯᐃᓚ

CAPE DORSET / KINNGAIT

Born in Kimmirut (Lake Harbour) in 1967, Tim Pitsiulak’s remarkable body of work draws on his personal experiences living in Cape Dorset and hunting its surrounding territories. Though well-known for his large-scale mythical graphite and pencil drawings of Northern wildlife, including polar bears, walruses, and Bowhead whales, he later shifted his focus to documenting vernacular life in Cape Dorset. In these realist drawings of modern machinery such as four-wheelers, aluminum boats, and cargo planes, Pitsiulak maps familiar characteristics of his community. Many of his drawings make use of stark black backgrounds, which soon became a kind of signature for him, and also serve to uniquely frame and intensify the drama within his subject matter. Along with producing drawings and prints, Pitsiulak was also trained in jewellery-making and carving, proving his exceptional range and capabilities as an artist. Pitsiulak passed away in 2016 at age 49 from complications due to pneumonia. We thank Matthew Ryan Smith, Ph.D., Curator and Head of Collections at Glenhyrst Art Gallery in Brantford, Ontario, for contributing this essay.

66 TIM PITSIULAK ᑎᒻ ᐱᓯᐃᓚ, (1967-2016), CAPE DORSET / KINNGAIT DREAM CATCHER graphite and coloured pencil on paper, signed and titled in Roman 28 x 20 in — 71.1 x 50.8 cm PROVENANCE:

Gallery Indigena, Stratford, ON Private Collection, London, ON $2,500—3,500

VIEW THIS LOT 70

Inuit Art Auction

SHUVINAI ASHOONA ᓱᕕᓂ ᐊᓱᓇ CAPE DORSET / KINNGAIT

Known for her colourful, bold and highly imaginative works on paper, Shuvinai Ashoona combines scenes of daily Inuit life with personal memories and collective myth. Ashoona has a knack for representation that reveals the very human balance between warmth, optimism, longing and melancholy. Her images have a tendency to extend their reach beyond the picture frame, connecting directly to the thoughts and emotions of the people who view them. This drawing, and lot 71, Composition (Group of Figures) are characteristically colourful and full of texture, acting as perfect examples of a uniquely bold and finely tuned style for which Ashoona has become known. In both cases, the subjects’ gazes are directed away from our own, adding a layer of mystery to the works that calls out for personal interpretation. In Holding a Drawing of the Earth (Lot 67), we are presented with an artist’s rendition of an artist. Surrounded and adorned by a colourful array of planetary orbs, the subject stands at gentle attention, beckoning us to bear witness to her depiction of a majestic and mournful world. In the top right-hand corner, Ashoona has included a tiny figure and three stars. Like an orbiting totem, personification of an inner voice, or embodiment of ancestors, the figure fuels the imagination and adds another layer of mystery to the story being told. The tight frame of stacked figures in Composition (Group of Figures), Lot 71, offers a snapshot of community and diversity, where all of the action happens in a place that only Ashoona and her subjects can see. Please also see Lot 71. We thank Alex Bowron, freelance writer and Manager of Programs and Partnerships at Canadian Art Foundation for contributing this essay.

67 SHUVINAI ASHOONA ᓱᕕᓂ ᐊᓱᓇ, (b.1961), CAPE DORSET / KINNGAIT HOLDING A DRAWING OF THE EARTH, 2011 coloured pencil drawing, signed in syllabics 25.5 x 19.75 in — 64.8 x 48.3 cm PROVENANCE:

Feheley Fine Arts, Toronto, ON, 2012 Miriam Shiell Fine Art, Toronto, ON 72

$1,500—2,500 Inuit Art Auction

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68 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, ᐊᓯᕗ C.C., R.C.A. (1927-2013), CAPE DORSET / KINNGAIT UNTITLED coloured pencil and ink, signed in syllabics 10 x 14 in — 25.4 x 35.6 cm PROVENANCE:

Private Collection, Hamilton, ON $2,000—4,000

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69 LUKE IKSIKTAARYUK (1909-1977), BAKER LAKE / QAMANI’TUAQ AN ANCIENT WAY OF DANCING stonecut and stencil, 1971, 3/28 39 x 25 in — 99.1 x 63.5 cm PROVENANCE:

Private Collection, Toronto, ON $2,500—3,500

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70 JESSIE OONARK ᔪᓯ ᐃᓇ, ᐃᓇ O.C., R.C.A. (1906-1985) BAKER LAKE / QAMANI’TUAQ WOMAN stonecut, 1970 31.5 x 27.75 in — 80 x 70.5 cm PROVENANCE:

Private Collection, Midhurst, ON $5,000—7,000

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71 SHUVINAI ASHOONA ᓱᕕᓂ ᐊᓱᓇ, (b.1961), CAPE DORSET / KINNGAIT COMPOSITION (GROUP OF FIGURES) ink, pencil and coloured pencil drawing, signed in syllabics; dated on the reverse “June 12, 2006” 40 x 26 in — 101.6 x 66 cm PROVENANCE:

Miriam Shiell Fine Art, Toronto, ON $2,000—4,000

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72 JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), BAKER LAKE / QAMANI’TUAQ BIG WOMAN stencil, 43/46 36 x 26 in — 91.4 x 66 cm PROVENANCE:

Private Collection, WY, USA $3,000—4,000

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73 EGEVADLUQ RAGEE (1920-1983), CAPE DORSET / KINNGAIT WOLF POSSESSED BY SPIRITS stonecut, 1960, 20/50 12 x 24 in — 30.5 x 61 cm PROVENANCE:

Private Collection, Oshawa, ON $2,000—3,000

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74 POOTOOGOOK KINGWATSIAK (b.1936), CAPE DORSET / KINNGAIT FISH IN A POOL stonecut, 1965, 17/50 23 x 30 in — 58.4 x 76.2 cm PROVENANCE:

Private Collection, Toronto, ON $500—700

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WEDNESDAY, SEPTEMBER 16, 2020

75 KELLYPALIK MANGITAK (b.1940), CAPE DORSET / KINNGAIT YOUNG CURLEW stencil, 1960, 18/50 20 x 13 in — 50.8 x 33 cm PROVENANCE:

Private Collection, Toronto, ON $2,500—3,500

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76 PUDLO PUDLAT ᐳᓗ ᐳᓚ, ᐳᓚ (1916-1992), CAPE DORSET / KINNGAIT THOUGHTS OF WALRUS stonecut, 1961, 46/50 21 x 10 in — 53.3 x 25.4 cm PROVENANCE:

Private Collection, Toronto, ON $2,000—4,000

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77 TUNA IQULIQ ᑐᓇ ᐃᑯᓕ, (1935-2015), BAKER LAKE / QAMANI’TUAQ BIRDS stone, inset antler, signed in syllabics 11.5 x 9 x 6 in — 29.2 x 22.9 x 15.2 cm PROVENANCE:

Private Collection, Hamilton, ON $1,000—1,500

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78 MIRIAM MAREALIK QIYUK ᒪᕆᐊᒪ ᑭᔪ, (b.1933), BAKER LAKE / QAMANI’TUAQ BIRDS FLOATING ON A WAVE stone, signed in Roman, dated 1975, double-sided sculpture 4 x 11 x 11 in — 10.2 x 27.9 x 27.9 cm PROVENANCE:

Private Collection, Hamilton, ON $2,000—4,000

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79 BARNABUS ARNASUNGAAQ ᐸᓇᐸᓯ ᐊᓇᓴᒐ, (1924-2017), BAKER LAKE / QAMANI’TUAQ WOMAN WITH SNOW GOGGLES stone, signed in syllabics, dated ‘78 8 x 6.5 x 6.5 in — 20.3 x 16.5 x 16.5 cm PROVENANCE:

The Upstairs Gallery, Winnipeg, MB Private Collection, Hamilton, ON $2,000—4,000

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80 TUNA IQULIQ ᑐᓇ ᐃᑯᓕ (1935-2015), BAKER LAKE / QAMANI’TUAQ WOMAN GIVING BIRTH stone, c.1970 8 x 13 x 8 in — 20.3 x 33 x 20.3 cm PROVENANCE:

Private Collection, Hamilton, ON $1,500—2,000

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81 PAUTA SAILA ᐸᐊ ᓯᓚ, ᓯᓚ R.C.A. (1916-2009), CAPE DORSET / KINNGAIT ATTACKING POLAR BEAR stone, ivory, signed in syllabics, c.1975-80 10.25 x 14 x 6 in — 26 x 35.6 x 15.2 cm PROVENANCE:

Quest Gallery, Victoria, BC Private Collection, Calgary, AB $10,000—15,000

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82 KAROO ASHEVAK ᑲᕈ ᐊᓴᕙ, (1940-1974), SPENCE BAY / TALOYOAK BIRD IN NEST WITH EGGS bone, c.1970 7.5 x 14.5 x 6 in — 19.1 x 36.8 x 15.2 cm PROVENANCE:

Private Collection, Montreal, QC $4,000—6,000

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WEDNESDAY, SEPTEMBER 16, 2020

83 LATCHOLASSIE AKESUK ᓚᓴᓚᓯ ᐊᑲᓴ, (1919-2000), CAPE DORSET / KINNGAIT OWL stone, signed in syllabics 13 x 14 x 4.5 in — 33 x 35.6 x 11.4 cm PROVENANCE:

Private Collection, Oshawa, ON $3,000—5,000

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84 SHARKY NUNA (1918-1979), CAPE DORSET / KINNGAIT RESTING BIRD stone, signed in syllabics, early-mid 1970’s 5.5 x 12 x 10 in — 14 x 30.5 x 25.4 cm PROVENANCE:

Private Collection, Calgary, AB $600—900

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85 PAUTA SAILA, ᐸᐊ ᓯᓚ, R.C.A. (1916-2009), CAPE DORSET / KINNGAIT DANCING BEAR stone, ivory 24 x 18 x 5 in — 61 x 45.7 x 12.7 cm PROVENANCE:

Inuit Gallery of Vancouver, BC Private Collection, Calgary, AB $40,000—60,000

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86 MANASIE AKPALIAPIK ᒪᓇᓯ ᐊᐸᓕᐊᐱ, ᐊᐸᓕᐊᐱ (1955), TORONTO OWL SPIRIT stone, horn, ivory, signed in syllabics 12 x 6.5 x 12.75 in — 30.5 x 16.5 x 32.4 cm PROVENANCE:

Private Collection, Toronto, ON Waddington’s Auctioneers, April 2004, lot 496 $3,500—4,500

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87 MANASIE AKPALIAPIK ᒪᓇᓯ ᐊᐸᓕᐊᐱ, ᐊᐸᓕᐊᐱ (1955), TORONTO TRANSFORMATION bone, signed in syllabics 10.5 x 6 x 7 in — 26.7 x 15.2 x 17.8 cm PROVENANCE:

Private Collection, Toronto, ON $1,500—2,500

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WEDNESDAY, SEPTEMBER 16, 2020

88 HENRY EVALUARDJUK ᐃᕙᓗᐊᔪ, (1923-2007), ᐃᕙᓗᐊᔪ FROBISHER BAY / IQALUIT SCENTING POLAR BEAR stone, signed in Roman and syllabics 11 x 13.5 x 5.5 in — 27.9 x 34.3 x 14 cm PROVENANCE:

Private Collection, Toronto, ON $3,000—5,000

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89 KIAWAK ASHOONA ᑭᐊᓱ ᐃᓱᓇ O.C., R.C.A. (1933-2014), CAPE DORSET / KINNGAIT BIRD WITH FISH stone, signed in syllabics 6 x 3.25 x 5.5 in — 15.2 x 8.3 x 14 cm PROVENANCE:

Private Collection, Hamilton, ON $800—1,200

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90 GEORGE TATANIQ ᑕᑕᓂ, (1910-1991), BAKER LAKE / QAMANI’TUAQ STANDING MAN stone, signed in syllabics, disc number inscribed 20 x 6 x 6 in — 50.8 x 15.2 x 15.2 cm PROVENANCE:

Waddington’s Auctioneers, November 2003, lot 170 Private Collection, Toronto, ON $12,000—16,000

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WEDNESDAY, SEPTEMBER 16, 2020

91 NANCY PUKINGRNAK AUPALUKTUQ (b.1940), BAKER LAKE / QAMANI’TUAQ MOTHER AND YOUNG BOY stone, signed in syllabics 18.5 x 4.75 x 8 in — 47 x 12.1 x 20.3 cm PROVENANCE:

Albrecht Collection Spirit Wrestler Gallery, Vancouver, BC Private Collection, London, ON $3,000—5,000

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92 TUNA IQULIQ ᑐᓇ ᐃᑯᓕ, ᐃᑯᓕ (1935-2015), BAKER LAKE / QAMANI’TUAQ FLYING BIRD stone, signed in syllabics 4.5 x 5 x 8.5 in — 11.4 x 12.7 x 21.6 cm PROVENANCE:

Private Collection, Hamilton, ON $1,000—1,500

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93 PAUL TOOLOOKTOOK ᐸᓪ ᑐᓗᑐ, ᑐᓗᑐ (1947-2003), BAKER LAKE / QAMANI’TUAQ BEAR ATTACKING MUSK OX stone 11 x 16 x 5 in — 27.9 x 40.6 x 12.7 cm PROVENANCE:

Private Collection, Hamilton, ON $2,000—4,000

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WEDNESDAY, SEPTEMBER 16, 2020

94 TUNA IQULIQ ᑐᓇ ᐃᑯᓕ, (1935-2015), BAKER LAKE / QAMANI’TUAQ ARCTIC TERN stone, signed in syllabics 7 x 8 x 4.5 in — 17.8 x 20.3 x 11.4 cm PROVENANCE:

Private Collection, Hamilton, ON $800—1,200

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95 JOSIAH NUILAALIK (1928-2005), BAKER LAKE / QAMANI’TUAQ YOUNG DOG stone 7.5 x 10 x 3.5 in — 19.1 x 25.4 x 8.9 cm PROVENANCE:

Private Collection, Toronto, ON Waddington’s Auctioneers, November 2005, lot 606 $1,000—1,500

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96 EVA TALOOKI ALIKTILUK ᐃᕙ ᑕᓗᑭ, (1927-1995), ESKIMO POINT / ARVIAT COMMUNITY stone, beads, signed in Roman 6 x 7 x 3 in — 15.2 x 17.8 x 7.6 cm PROVENANCE:

Private Collection, Hamilton, ON $1,500—2,000

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WEDNESDAY, SEPTEMBER 16, 2020

97 MARY AYAQ ANOWTALIK (b.1938), ESKIMO POINT / ARVIAT FAMILY stone, signed in syllabics 10 x 11 x 7 in — 25.4 x 27.9 x 17.8 cm PROVENANCE:

Lippel Gallery, Montreal, QC Private Collection, Calgary, AB $1,800—2,200

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98 JOSEPH SHUQSLAK ᔪᓱᐱ ᓱᓴ, ᓱᓴ (b.1958), GJOA HAVEN / UQSUQTUUQ FACES antler, stone, signed in syllabics, dated ‘97 14 x 8.5 x 3 in — 35.6 x 21.6 x 7.6 cm PROVENANCE:

Private Collection, Toronto, ON $1,500—2,500

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99 UNIDENTIFIED, IVUJIVIK WOMAN MENDING HER KAMIK stone, disc number E9-1022 inscribed 7.75 x 3 x 3.5 in — 19.7 x 7.6 x 8.9 cm PROVENANCE:

Private Collection, Toronto, ON $700—1,000

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100 EVIE TULLAUGAQ QAMUGAALUK ᑲᒧᒐᓗ ᑲᒧᒐᓗ, (b.1925), SALLUIT MOTHER BREASTFEEDING HER CHILD stone, disc number inscribed 10 x 5.25 x 7.5 in — 25.4 x 13.3 x 19.1 cm PROVENANCE:

Private Collection, Oshawa, ON $1,000—1,500

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WEDNESDAY, SEPTEMBER 16, 2020

101 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ, (1893-1976), POVUNGNITUK / PUVIRNITUQ WOMAN HOLDING CHAR stone, string, signed in Roman 7.5 x 5 x 3.5 in — 19.1 x 12.7 x 8.9 cm PROVENANCE:

Private Collection, WY, USA $4,000—6,000

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Inuit Art Auction

102 ISA AQIATTUSUK SMILER ᐊᐃᓴ ᐊᑭᐊᑐᓱ ᓯᒪᐃᓚ (1921-1986), PORT HARRISON / INUKJUAK FROWNING WOMAN SCRATCHING HEAD stone 8 x 5.5 x 6 in — 20.3 x 14 x 15.2 cm PROVENANCE:

Private Collection, Hamilton, ON $1,000—1,500

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WEDNESDAY, SEPTEMBER 16, 2020

103 DAVIE ATCHEALAK ᑎᕕ ᐊᓯᐊᓪ (1947-2006), FROBISHER BAY / IQALUIT SINGING DRUM DANCER stone, antler, gut, sinew, signed in Roman 21.5 x 18 x 11 in — 54.6 x 45.7 x 27.9 cm PROVENANCE:

Private Collection, Toronto, ON $6,000—8,000

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Inuit Art Auction

104 JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ (1937-1999), GJOA HAVEN / UQSUQTUUQ FISHERWOMAN stone, antler, rope, musk ox horn, signed in syllabics 12.5 x 6 x 6 in — 31.8 x 15.2 x 15.2 cm PROVENANCE:

Private Collection, Oshawa, ON $3,000—5,000

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WEDNESDAY, SEPTEMBER 16, 2020

105 SIMEONIE QUPPAPIK (1909-1974), CAPE DORSET / KINNGAIT CANADA GEESE IN SUMMER stonecut, 1960, 12/50 24 x 19 in — 61 x 48.3 cm PROVENANCE:

Private Collection, Toronto, ON $2,000—3,000

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100 Inuit Art Auction

106 KIAKSHUK ᑭᐊᓱ ᑭᐊᓱ, (1886-1966), CAPE DORSET / KINNGAIT STRANGE SCENE stonecut, 1964, 28/50 21.5 x 28 in — 54.6 x 71.1 cm PROVENANCE:

Private Collection, London, ON $1,000—1,500

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WEDNESDAY, SEPTEMBER 16, 2020

101

107 SHEELAKY ᓯᓚᑭ, (1902-1985), CAPE DORSET / KINNGAIT MAN CALLING TO BIRDS stonecut, 1961, 29/50 20 x 30 in — 50.8 x 76.2 cm PROVENANCE:

Private Collection, Toronto, ON $600—800

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102

Inuit Art Auction

108 PITALOOSIE SAILA, R.C.A. (b.1942), CAPE DORSET / KINNGAIT SPRING BIRDS stonecut, 1971, 23/50, sight 12 x 16 in — 30.5 x 40.6 cm PROVENANCE:

Private Collection, Toronto, ON $500—700

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WEDNESDAY, SEPTEMBER 16, 2020

103

109 HANNA AKULUKJUK (1946), PANNIRTUQ / PANGNIRTUNG JUGGLING, PLAYING, DRUMMING wool weaving, signed and titled in Roman 32 x 92 in — 81.3 x 233.7 cm PROVENANCE:

Private Collection, Oshawa, ON $1,500—2,500

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104

Inuit Art Auction

WEDNESDAY, SEPTEMBER 16, 2020

105

110 PAUTA SAILA ᐸᐊ ᓯᓚ, ᓯᓚ R.C.A. (1916-2009), CAPE DORSET / KINNGAIT BIRDS CONVERSING stonecut, 1967, 21/50 18.5 x 24.75 in — 47 x 62.9 cm PROVENANCE:

Private Collection, Toronto, ON $600—900

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111 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, C.C., R.C.A. (1927-2013), CAPE DORSET / KINNGAIT TWO RAVENS stonecut, 1968, 43/50 20 x 25 in — 50.8 x 63.5 cm PROVENANCE:

Private Collection, Toronto, ON $1,000—1,500

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106

Inuit Art Auction

112 LUCASSIE KUMARLUK (1921), PORT HARRISON / INUKJUAK TWO BIRDS stone, soap inlay, c.1954 4.5 x 9 x 3 in — 11.4 x 22.9 x 7.6 cm PROVENANCE:

Private Collection, Hamilton, ON $600—900

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113 CAMP OF: ABRAHAM NASTAPOKA (1900-1981), PORT HARRISON / INUKJUAK WALRUS WITH TWO BEARS stone, ivory, soap inlay, c.1955 5.5 x 7.5 x 3 in — 14 x 19.1 x 7.6 cm PROVENANCE:

Private Collection, Hamilton, ON $2,000—3,000

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WEDNESDAY, SEPTEMBER 16, 2020

107

114 AKEEAKTASHUK ᐊᑭᐊᑐᓱ, (1898-1954), PORT HARRISON / INUKJUAK HUNTER AND WALRUS stone, ivory 8.75 x 7 x 5.5 in — 22.2 x 17.8 x 14 cm PROVENANCE:

Private Collection, Oshawa, ON $3,000—4,000

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115 UNIDENTIFIED, PORT HARRISON / INUKJUAK HUNTER WITH KNIFE AND SPEAR stone, with an inset ivory face and tools, early-mid 1950’s 6.75 x 3.5 x 3.5 in — 17.1 x 8.9 x 8.9 cm PROVENANCE:

Private Collection, Hamilton, ON $1,500—2,500

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108

Inuit Art Auction

116 ABRAHAM APAKARK ANGHIK ᐊᐸᑲ ᐊᒋ, (b.1951), SALT SPRING ISLAND SPIRIT TOTEM stone, signed in Roman, dated ‘05 33.5 x 13 x 10 in — 85.1 x 33 x 25.4 cm PROVENANCE:

Private Collection, LA, USA $7,000—10,000

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WEDNESDAY, SEPTEMBER 16, 2020

109

117 ELI SALLUALU QINUAJUA ᐃᓕ ᓴᓗᐊᓗ ᑭᓄᐊᔪᐊ (1937-2004), POVUNGNITUK / PUVIRNITUQ CREATURE stone, signed in Roman 5 x 6 x 1.5 in — 12.7 x 15.2 x 3.8 cm PROVENANCE:

Private Collection, Hamilton, ON $700—1,000

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118 UNIDENTIFIED, KING ISLAND, ALASKA/UGIUVAK SHAMAN MASK wood, c.1930 12 x 8 in — 30.5 x 20.3 cm PROVENANCE:

Private Collection, Toronto, ON $1,500—2,500

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110

Inuit Art Auction

119 JOATA SUQSLAK (1918-1986), GJOA HAVEN / UQSUQTUUQ WOMAN HOLDING AN ULU WITH SPIRIT HEAD bone with inset antler, signed in syllabics, c.1970’s 13 x 21.5 x 5.5 in — 33 x 54.6 x 14 cm PROVENANCE:

The Collection of Dr. Francis Sparshott Private Collection, Toronto, ON $1,000—2,000

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120 UNIDENTIFIED, ALASKA WALRUS TUSK CRIBBAGE BOARD ivory, black colouring, carved like an arctic fox with incised decorative detail 2 x 9.5 x 1.5 in — 5.1 x 24.1 x 3.8 cm PROVENANCE:

Private Collection, Kirkfield, ON $800—1,200

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WEDNESDAY, SEPTEMBER 16, 2020

111

121 BARNABUS ARNASUNGAAQ ᐸᓇᐸᓯ ᐊᓇᓴᒐ (1924-2017), BAKER LAKE / QAMANI’TUAQ WOMAN HOLDING CHILD IN ONE ARM stone 13.5 x 8 x 4.5 in — 34.3 x 20.3 x 11.4 cm PROVENANCE:

Private Collection, Toronto, ON $1,200—1,800

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122 BARNABUS ARNASUNGAAQ ᐸᓇᐸᓯ ᐊᓇᓴᒐ (1924-2017), BAKER LAKE / QAMANI’TUAQ MOTHER AND CHILD stone 8 x 8 x 3.5 in — 20.3 x 20.3 x 8.9 cm PROVENANCE:

Private Collection, Oshawa, ON $1,200—1,600

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112

Inuit Art Auction

123 ATTRIBUTED TO: SHEOKJUK OQUTAQ ᓱᐅᔪ ᐅᑯᑕ, (1920-1982), CAPE DORSET / KINNGAIT STANDING MAN IN PARKA stone, c.1960 10 x 4 x 3.5 in — 25.4 x 10.2 x 8.9 cm PROVENANCE:

Private Collection, Toronto, ON $1,500—2,500

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124 MANNO (1923-1973), FROBISHER BAY / IQALUIT TWO BEARS FISHING stone, both signed in Roman 3.5 x 6.5 x 3.5 in — 8.9 x 16.5 x 8.9 cm; 6 x 4 x 3.5 in — 15.2 x 10.2 x 8.9 cm PROVENANCE:

Private Collection, Midhurst, ON $1,000—1,500

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WEDNESDAY, SEPTEMBER 16, 2020

113

125 KIAWAK ASHOONA ᑭᐊᓱ ᐃᓱᓇ, O.C., R.C.A. (1933-2014), CAPE DORSET / KINNGAIT MAN, CHILD AND SEAL stone 18 x 13 x 17 in — 45.7 x 33 x 43.2 cm PROVENANCE:

Private Collection, Oshawa, ON $6,000—9,000

VIEW THIS LOT

114

Inuit Art Auction

Index A

AKEEAKTASHUK 17, 114 AKESUK, LATCHOLASSIE 83 AKPALIAPIK, MANASIE 49, 86, 87 AKULUKJUK, HANNA 109 ALIKTILUK, EVA TALOOKI 96 ANGHIK, ABRAHAM APAKARK 116 ANOWTALIK, LUKE 26 ANOWTALIK, MARY AYAQ 62, 97 ARNASUNGAAQ, BARNABUS 9, 15, 79, 121, 122 ASHEVAK, KAROO 82 ASHOONA, KIAWAK 89, 125 ASHEVAK, KENOJUAK 1, 2, 3, 5, 6, 39, 43, 44, 47, 68, 111 ASHOONA, SHUVINAI 67, 71 ATCHEALAK, DAVIE 103 AUPALUKTUQ, NANCY PUKINGRNAK 91

OONARK JESSIE OQUTAQ, SHEOKJUK OQUTAQ, SHEOKJUK

48, 70, 72 123 54

PANGNARK, JOHN 64 PETAULASSIE, TIMANGIAK PITSIULAK, TIM 66 POOTOOGOOK, JOSEPHIE POOTOOGOOK, NAPATCHIE PUDLAT, PUDLO 76

4 41 46

ENNUTSIAK 33 ETUNGAT, ABRAHAM 21 EVALUARDJUK, HENRY 88 EYETOAQ, ADA 11

QAMANIRQ, PANILUK 20 QAMUGAALUK, EVIE TULLAUGAQ QIATSUK, LUKTA 24, 53 QINNUAYUAK, TIKITU 8 QINUAJUA, ELI SALLUALU 117 QIYUK, MIRIAM MAREALIK 13, 78 QUPPAPIK, SIMEONIE 105

IKSIKTAARYUK, LUKE 69 IKUTAAQ, DAVID 30 IPEELEE, OSUITOK 23, 51 IQULIQ, TUNA 77, 80, 92, 94 IRKOK, JACOB 27 IYAITUK, MATIUSIE 28

RAGEE, EGEVADLUQ RAGEE, SAKIASSIE

KAVIK, JOHN 14 KIAKSHUK 106 KINGWATSIAK, IYOLA 7 KINGWATSIAK, POOTOOGOOK 74 KOMAK, PETER 31 KUDLU, NOAH 61 KUDLUK, THOMASSIE 65 KUKSHOUT, PIE 29 KUMARLUK, LUCASSIE 112 MANGITAK, KELLYPALIK MANNO 124 MIKI, ANDY 18, 63

73 45

100

SAILA, PAUTA 55, 81, 85, 110 SAILA, PITALOOSIE 108 SHEELAKY 107 SHUQSLAK, JOSEPH 98 SMILER, ISA AQIATTUSUK SUQSLAK, JOATA 119

102

TALIRUNILI, JOE 16, 34, 35, 36, 37, 38, 56, 57, 58, 59, 101 TATANIQ, GEORGE 90 TOOLOOKTOOK, PAUL 93 TUNNILLIE, OVILOO 25 TUTSWEETOK, LUCY TASSEOR 19 ULLULAQ, JUDAS 22, 50, 52, 104

UNIDENTIFIED 12, 32, 99, 115, 118, 120

NASTAPOKA, ABRAHAM 113 NIVIAXIE 40, 42 NUILAALIK, JOSIAH 10, 95 NUNA, SHARKY 84 TUESDAY, NOVEMBER 19, 2019

115

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, 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.

BUYER’S 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 draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000). ALL PRICES IN CANADIAN FUNDS

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.

Selling at Waddington’s BIDDING

To bid in person at the auction, you must register for a bidding number by showing identification acceptable to the Auctioneer upon entering the salesroom. Your number will identify you if you are the successful bidder. You will be responsible for all lots purchased on your bidding number. Banking information may be requested by Waddington’s™. You may submit an Absentee Bid Form if you are unable to attend the sale. Bidding by telephone, in limited circumstances, can be arranged prior to the sale. While we are pleased to offer absentee and telephone bidding as a service to our clients, and take great care in their commission, the Auctioneer will not be responsible for technical difficulties, errors or failure to execute bids. 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 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: PakShip 905-470-6874 / 905-470-6875 / 416-293-8225 taurus@pakship.ca / www.pakship.ca Safer Shipping Inc. 416-299-3367 / 416-299-9750 perry@safershipping.ca/www.safershipping.ca Fero Transport 514-453-1462 / www.ferotransport.ca

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

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% Items selling for $250 or less - 25% *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% *There is a minimum handling charge of $20 per item

INSURANCE A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts. 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 (416-504-9100). 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, setting forth terms and fees for our services.

Conditions of Sale 1. 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. 2. Each lot sold is subject to a 20% buyers premium as part of the purchase price. 3. 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). 4. 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. 5. 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.

6. 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 attendance at the sale. 7. 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 after 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, after 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, after which storage charges may be incurred. 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.

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 draft, 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 attribute 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.

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 written opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a written 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. TUESDAY, NOVEMBER 19, 2019

117

Canadian Fine Art Auction THURSDAY, SEPTEMBER 17

William Kurelek Relaxation, 1973 19 ins x 22 ins; 48.3 cms x 55.9 cms Estimate: $80,000â&#x20AC;&#x201D;100,000

canadianart@waddingtons.ca