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Inuit Art NOVEMBER 20, 2018


AUCTION DATE

INUIT ART SPECIALIST

COVER

Tuesday, November 20, 2018 at 7:00 pm

Duncan McLean adm@waddingtons.ca

Lot 170

416-847-6183 AUCTION & PREVIEW HELD AT

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

Friday, November 16, 2018 from 12:00 pm to 5:00 pm Saturday, November 17, 2018 from 11:00 am to 5:00 pm Sunday, November 18, 2018 from 11:00 am to 5:00 pm

CONSIGNMENT COORDINATOR

Rochelle Konn rk@waddingtons.ca 416-847-6191

INSIDE FRONT COVER

Lot 209 FRONTIS PIECE

Lot 227 INSIDE BACK COVER

ABSENTEE AND PHONE BIDDING

Lot 168

phone: 416-504-9100 fax: 416-504-0033 bids@waddingtons.ca

Monday, November 19, 2018 from 10:00 am to 12:00 pm Select lots may be viewed otherwise by appointment. ALL LOTS CAN BE VIEWED ONLINE AT

www.waddingtons.ca

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

This catalogue and its contents © 2018 Waddington McLean and Company Ltd. All rights reserved.

Photography and design by Waddington’s 


TUESDAY, NOVEMBER 20,

2018

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MY 40 YEARS WITH INUIT ART 1978 • • • • • • •

1990

The phone call from Ontario’s Office of the Public Trustee to Waddington’s in 1978 requesting our services to inventory and sell the gallery stock of the Eskimo House Gallery, as well as the personal collection of the gallery’s recently deceased owner, William Eccles, set me off on what was to become 40 years (and counting) of my involvement with Inuit art. Looking back through the thousands of wonderful pieces, exciting auction room dramas, those early collections and all the fascinating people - it was without a doubt an amazing and timely opportunity. I’m very proud of Waddington’s track record of Inuit art auctions and the impact they have had: providing a forum to bring together the original collectors with the new; the many records achieved; consistently demonstrating market strength and – spreading the good word about Inuit art to expand an appreciative audience. At this end of my career I also reflect on the many exceptional people I have had the privilege to learn from and work with, who I am indebted to for generously sharing their knowledge and experiences when I needed it. The early gallery owners who provided guidance and built the commercial foundation; the passionate and visionary early collectors who recognized the uniqueness, strength and beauty of this art form; and the dedicated public servants throughout the north and the south – sadly many of whom have since passed away.

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The Global Positioning System (GPS) was launched. The top song was Night Fever by the BeeGee’s. Best picture went to Annie Hall. Minimum wage in Canada was $2.60 per hour. Montreal won the Stanley Cup. Eliyakota’s Field of Birds graced that year’s Cape Dorset Graphic catalogue. Kosmos 954, a USSR satellite broke up over the Canadian Arctic scattering radioactive material. Waddington’s offers The William Eccles Collection of Inuit art.

JOHN ROBERTSON Provided a crash course on Inuit art while helping me sort out the hundreds of Eccles pieces in 1978. GEORGE SWINTON Agreed to write the forward in The Eccles Collection Auction catalogue and was very generous with his time and knowledge as I fumbled through my first auctions. His book was my guiding source while trying to identify those early pieces. BUDD FEHELEY Friend, mentor and inspiration, not only with Inuit art but in the art of business and enjoying life. Budd was one of a kind. TERRY RYAN Best of times – Terry and Budd would come to Waddington’s and help me identify early Cape Dorset pieces – of course with a splash of Irish whiskey on the side. JOE MURPHY I always visited Joe when I was in Vancouver looking for pieces. The Inuit Gallery was very close to Sam Houston’s apartment in Gastown – and it was the 80’s! FAYE SETTLER It was always stimulating talking Inuit art (and anything else) with Faye. She had great energy.


AV ISAACS It was a privilege to be able to call one of Canada’s most important and influential art dealers a friend. I spent a week in 1998 with Av in the backroom of the John Street gallery he was closing. We were preparing an auction that would offer many of the items left over from the many diverse shows he had held: “From The Catacombs: Elements of Avrom Isaacs’ 30 Years of Wanderings”. JAMES & ALMA HOUSTON I spent a week in 1981 assisting Alma prepare her new gallery, Houston North Gallery in Lunenburg, Nova Scotia, painting walls, filling display cases and framing pieces. I can even claim a credit in a Houston film when I assisted Jim on a film shoot in Cape Dorset in 1998 about his father. LORNE BALSHINE There was nothing like being a good buddy of Lorne’s in the 1980’s - great times out on the town in Vancouver and setting auction records with him in Toronto. FRED COMAN The quintessential, self-made Arctic entrepreneur in Frobisher Bay (Iqaluit). A good friend, my Arctic fishing guide, and a reliable source of Henry bears, Nooveya musk oxen and other similar works throughout the 80’s. Fred was a very active community member in Iqaluit and has a street named after him there. RAYMOND LAM The unlikely owner of Toachen Art Gallery in Yellowknife, the entrepreneurial Raymond arrived in Yellowknife via Vancouver in the early 80’s. A slightlybuilt young man from China, in Yellowknife he was often teased about being a “skinny Eskimo”. He was a great source of Charlie Ugyuk, Zeke Makichuk and Malle pieces, among many others. STANLEY ZAZELENCHUK Stanley was a visionary champion of the minimalist Keewatin sculptors when everyone else was buying Henry bears and Noveya Ipeelie musk oxen. He was an outspoken advocate for these artists and their pieces which would eventually rise to be some of

the most sought after. A total character with strong opinions and a great sense of humour – I always looked forward to seeing him at our auction previews. DR. WILLIAM TAYLOR JR. Dr. Taylor was an archaeologist, Arctic scholar, and the Director of The Museum of Man who generously offered advice, and information when I really needed it in the early 80s. It was always an experience chatting with him in his office in the museum’s original home at the Victoria Memorial Museum Building in Ottawa. PAT FURNEAUX After being the Government administrator in Povungnituk in the 1960’s, Pat was full of stories about the now famous 1967 fantasy carving competition he had staged, and all the artists of Pov. He was a close friend of Joe Talirunili and worked closely with Charlie Sivuarapik at the co-op. Pat is one of the many characters who should have recorded their Arctic experiences in a book. NICK LEBESSIS Nick was my go-to person for his opinions on the pieces and artists of Arviat (Eskimo Point), having lived in their community for several years and considering them all friends. Nick eventually moved south with his family to open his Inuit art gallery in Lake Louise. As we embark on this 41st year with Inuit art, it is especially rewarding to see what this art form has achieved – being recognized and admired globally as a uniquely Canadian expression – an art form whose artists stand alongside Canada’s greatest. We are very pleased and fortunate to offer such a powerful collection this season. I look forward to talking with you about all the pieces at our preview.

Duncan McLean

TUESDAY, NOVEMBER 20,

2018

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LOT 179


163 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), ᑭᓄᔭᐊ ᐊᓯᕗ, CAPE DORSET / KINNGAIT EVENING SPIRIT

stonecut, 1967, 40/50, framed sight 21.5 x 26.5 in — 54.6 x 67.3 cm $2,000—3,000

NOTE:

“She is the last of the founding artists in the printmaking studio established by James Houston, then a governmentappointed administrator, in Cape Dorset in the late 1950s. Houston gave her paper, but she made it her own, in drawings that combine the shadows and memories of the past with the luminosity of her imagination.” Sandra Martin, The Globe and Mail, first published January 12, 2013

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164 LUCY QINNUAYUAK (1915-1982), ᓗᓯ ᑭᓐᐅᐊᔪᐊ, CAPE DORSET / KINNGAIT BIRDS STARTLED BY SPIRIT

stonecut, 1965, 12/50, framed sight 18 x 27.5 in — 45.7 x 69.9 cm $1,000—1,500

NOTE: “Lucy Qinnuayuak is a prolific graphic artist, well known for illustrations of her favorite theme — the bird image, either singularly or in groups, and in all sorts of situations or relationships...Over the years she has drawn all kinds of birds in various poses — the features of their eyes and feathers connecting them to each other. In her compositions, movement and stability are often ambiguously juxtaposed.” Odette Leroux, North American Women Artists of the Twentieth Century: A Biographical Dictionary, New York, NY, Garland, 1995.

165 LUCY QINNUAYUAK (1915-1982), ᓗᓯ ᑭᓐᐅᐊᔪᐊ, CAPE DORSET / KINNGAIT MY LAST OWL

stonecut, 1983, 8/50, framed sight 23 x 30 in — 58.4 x 76.2 cm $1,000—1,500

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166 LUCY QINNUAYUAK (1915-1982), ᓗᓯ ᑭᓐᐅᐊᔪᐊ, CAPE DORSET / KINNGAIT THREE BLUE BIRDS

sealskin stencil, 1961, 31/50, framed sight 15.5 x 30 in — 39.4 x 76.2 cm $1,200—1,600

167 KAKULU SAGIATUK (1940), ᑲᑯᓗ CAPE DORSET / KINNGAIT CARIBOU

stencil, 1965, 34/50, framed sight 22 x 30 in — 55.9 x 76.2 cm $1,000—1,500

TUESDAY, NOVEMBER 20,

2018

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168 NIVIAXIE (1909-1959), ᓂᕕᐊᓯ, CAPE DORSET / KINNGAIT CARIBOU WINTER LIGHT

skin stencil, 1959, 24/30, framed sight 7.25 x 11.25 in — 18.4 x 28.6 cm $6,000—9,000

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169 JOSEPHIE POOTOOGOOK (1887-1958), ᔭᓴᐱ ᑭᑐᒍ, CAPE DORSET / KINNGAIT SEAL HUNTER

stonecut, 1958, 3/30, unframed 12.5 x 9.5 in — 31.8 x 24.1 cm $3,000—5,000

TUESDAY, NOVEMBER 20,

2018

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170 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), ᑭᓄᔭᐊ ᐊᓯᕗ, CAPE DORSET / KINNGAIT THE ENCHANTED OWL

stonecut, 1960, 23/50, framed sight 21.75 x 24.75 in — 55.2 x 62.9 cm $100,000—120,000

What is it about “The Enchanted Owl?” For close to sixty years, it has been the most famous and recognizable image in the Inuit art canon. For many of those years, it held the record for the highest price paid at auction for an Inuit print. Widely reproduced, most visibly on a Canadian postage stamp, its popularity puts it in the same league with such Canadian art icons as Tom Thompson’s “The Jack Pine.” In fact, if you Google “most famous Canadian visual artists”, Kenojuak Ashevak appears in such august company as Emily Carr, Jean-Paul Riopelle, Mary Pratt and David Milne. Why is The Enchanted Owl so enchanting, after all these years? John Westren, in his clever and insightful essay, “Toward the Millennium,” published in “Cape Dorset Prints: A Retrospective,” says that it may be the perfect print, suggesting “almost endless possibilities of charm and delight.” He goes on to say, however, that it is a product of its time, “belonging to the overall world of 1960 design and culture.” Perhaps, but in my experience, people still love this image. It may be wistful and wishful thinking that we project onto the images we love, but for many reasons, Kenojuak’s “Enchanted Owl” continues to charm and delight. The image is a study in striking contrasts. The bold, two-colour division; the exaggerated plumage radiating from the body of a small owl; the oversized and powerful talons contrasted with the pleasing face of the young owl, whose eyes engage the viewer with an intelligent, curious gaze. It adds up to an image that is, as many have noted, “compositionally perfect.” These are the hallmarks of Kenojuak’s signature style. She was never a realist, but, like most Inuit, she had keen powers of observation developed over a lifetime of living on the land and among the birds and animals that she loved to draw. She was often asked if she had a favourite print, and she always answered, “my Enchanted Owl.” It was the only print she proudly displayed in her home in Cape Dorset. I have had the pleasure of visiting Kenojuak at her home many times, and I think “The Enchanted Owl” is a reflection of the woman herself: strong, authentic, enduring and enchanting. Leslie Boyd, Owner and Director, Inuit Fine Art Gallery, Port Hope October 2018

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171 PARR (1893-1969), ᐸ, CAPE DORSET / KINNGAIT UNTITLED (WALRUS HUNT)

coloured pencil drawing, unframed 20 x 26 in — 50.8 x 66 cm $3,000—5,000

NOTE: “Parr’s graphic images are best described as naïve. In the spring of 1961, I introduced Parr to drawing on paper. At that time, he was living to the north of the very small settlement of Cape Dorset at a place known as Tessikjakjuak. His initial efforts, using a graphite pencil, were done on a large format, spiral sketch pad. From the very first, he was obviously intrigued and totally committed to the undertaking, for he drew on both sides of the sheets, completely filling the very sizeable area. …Parr’s early drawings had a narrative theme, and his work continued in this vein throughout his brief but very prolific career. His figures, whether of man or beast, were direct and uninhabited. The sizes of the individual images done on the planar surface were directly related to the significance in his mind and not to any perspective representation.” Terrence Ryan, Cape Dorset, N.W.T., July 1979 Parr, 1893—1969, A Print Retrospective, Kingait Press 1979

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172 PARR (1893-1969), ᐸ, CAPE DORSET / KINNGAIT WALRUS HUNT

stonecut, 1964, 21/50, framed sight 17 x 32 in — 43.2 x 81.3 cm $2,500—3,500

TUESDAY, NOVEMBER 20,

2018

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173 UNIDENTIFIED, ARCTIC QUEBEC / NUNAVIK SEATED CARIBOU

stone, antler, soap inlay, c. 1965 4.5 x 7 x 1.75 in — 11.4 x 17.8 x 4.4 cm $600—900

174 ELIJASSIAPIK (1912-1972), ᐃᓚᐃᕋᓯᐃᐱ PORT HARRISON / INUKJUAK STANDING BEAR

stone, soap inlay, disc number inscribed, c. 1960 9.5 x 3.5 x 4 in — 24.1 x 8.9 x 10.2 cm $1,000—1,500 NOTE: Born in 1912, Elijassiapik’s full name is Putuji Ekujasi Qiirtuuq Elijassiapik. Like his brother, Johnny Inukpuk, he was a serious artist. According to Darlene Wight, curator of Inuit Art at the Winnipeg Art Gallery, Elijassiapik was likely not a very prolific carver as few of his works can be found in collections. His three sons, Harry, Simeonie, and Eli, were also carvers.

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175 THOMASSIE KUDLUK (1910-1989), ᑐᒪᓯ ᑲᓚ PAYNE BAY / BELLIN / KANGIRSUK TWO FIGURES SHAKING HANDS stone, signed in syllabics 7.25 x 9 x 2 in — 18.4 x 22.9 x 5.1 cm $600—900

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

stone, signed in syllabics 4 x 1.5 x 3.25 in — 10.2 x 3.8 x 8.3 cm $1,000—1,500

TUESDAY, NOVEMBER 20,

2018

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177 JOHN PANGNARK (1920-1980), ᔭᓐ ᐸᓇ, ESKIMO POINT / ARVIAT FIGURES

stone 6 x 7 x 3 in — 15.2 x 17.8 x 7.6 cm $1,500—2,500

178 OSUITOK IPEELEE, R.C.A. (1923-2005), ᐅᓱᐃᑐ ᐃᐱᓕ, CAPE DORSET / KINNGAIT GRACEFUL OWL

stone, signed in syllabics 8.75 x 6 x 2 in — 22.2 x 15.2 x 5.1 cm NOTE: “Osuitok grew up traditionally on the land and learned to carve by watching his father, Ohotok. He sold his first ivory carving in the 1940s and was already highly regarded for his artistry by the time James Houston arrived in 1951. Osuitok participated in the introduction of the Cape Dorset printmaking program in the late 1950s and his work was featured in the Sculpture of the Inuit: Masterworks of the Canadian Arctic show (1971-73) that toured the world.” Derek Norton, Cape Dorset Sculpture, Douglas&McIntyre, 2005. $4,000—6,000 20

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179 UNIDENTIFIED, PORT HARRISON / INUKJUAK HUNTER THROWING HARPOON stone, ivory, c. 1955 18 x 9 x 4 in — 45.7 x 22.9 x 10.2 cm $3,000—5,000

TUESDAY, NOVEMBER 20,

2018

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180 LUKE IKSIKTAARYUK (1909-1977), ᐃᓯᑕᔭ BAKER LAKE / QAMANI’TUAQ THREE WALKING FIGURES antler, c. 1972 6 x 11 x 3 in — 15.2 x 27.9 x 7.6 cm

PROVENANCE: Sanavik Co-op, Baker Lake, 1972 The Stanley and Jean Zazelenchuk Collection, NB EXHIBITED: The Zazelenchuk Collection of Eskimo Art, August 11 - November 12, 1978, page 24, Winnipeg Art Gallery. $4,000—6,000

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NOTE: Stanley and Jean knew the Iksiktaaryuk family well and Jean remembers that the children visited their house often in Baker Lake. They had moved there in 1971 and after unpacking their belongings, their first stop was a shopping trip at the Sanavik Co-op, where they would meet Sheila and Jack Butler, founders of the Co-op and other special art projects in the region. Jean recalls that Jack Butler regarded Iksiktaaryuk’s work very highly and much of it was reserved for southern galleries. This work was one of 500 sculptures and 100 graphics on loan to the Winnipeg Art Gallery. The Zazelenchuk Collection was widely regarded as one of the most diverse and rich, highlighting artwork from Belcher Islands, Great Whale River, Baker Lake and Rankin inlet.


181 LUKE IKSIKTAARYUK (1909-1977), ᐃᓯᑕᔭ BAKER LAKE / QAMANI’TUAQ DRUM DANCE SCENE

antler, sinew, gut 8 x 13 x 14 in — 20.3 x 33 x 35.6 cm

NOTE: “Iksiktaaryuk’s use of antler demonstrates not only his sensitivity to and ability to work with this difficult medium, but also his economy of means in doing so”. Jean Blodgett, Grasp Tight The Old Ways: selections from the Klamer Family Collection of Inuit Art, AGO, 1983.

$10,000—15,000

TUESDAY, NOVEMBER 20,

2018

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182 CHARLIE UGYUK (1931-1999), ᓴᓕ ᐅᔭ, SPENCE BAY / TALOYOAK HAWK ATTACKING HARE

stone, musk ox horn, signed in syllabics 12 x 9.5 x 10 in — 30.5 x 24.1 x 25.4 cm $3,000—5,000

detail

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183 CHARLIE UGYUK (1931-1999), ᓴᓕ ᐅᔭ, SPENCE BAY / TALOYOAK SWIMMING NARWHAL WITH YOUNG stone, antler, ivory 9.5 x 14 x 4 in — 24.1 x 35.6 x 10.2 cm $1,500—2,000 NOTE: See Waddington’s Auctioneers, Toronto, November 2004, lot 388 for a closely-related work. detail

TUESDAY, NOVEMBER 20,

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184 JUDAS ULLULAQ (1937-1999), ᔪᑕ ᐅᓗᓚ, GJOA HAVEN / UQSUQTUUQ FISHERMAN WITH KAKIVAK

stone, antler, sinew, musk ox horn, inset ivory, signed in syllabics 15 x 12 x 7 in — 38.1 x 30.5 x 17.8 cm $6,000—9,000 NOTE: A kakivak is a fish spear (a type of harpoon) with a central point flanked by two arched pieces of ivory tipped with barbs. Once the fish was impaled on the central point, the arched pieces kept it from slipping off. 26

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detail


185 KIAWAK ASHOONA O.C., R.C.A. (1933-2014), ᑭᐊᓱ ᐃᓱᓇ, CAPE DORSET / KINNGAIT BIRD SPIRIT (NATTURALIK)

stone 22 x 10 x 17 in — 55.9 x 25.4 x 43.2 cm PROVENANCE: Private Collection, California $10,000—15,000

NOTE: “The story of Natturalik related the well-known Inuit legend of a young woman who was abducted by an eagle and taken to the bird’s nesting area on the top of a high cliff. The girl became the eagle’s wife, but she eventually escaped. She secretly saved the skins of animals the eagle brought to her for food and wove them into a long rope that enabled her to climb down the cliff to supposed safety... The girl tried to escape from Natturalik by boat with her father, but the eagle causes a terrible storm. To save himself, the father throws his daughter into the waves...where she sinks to the bottom and lives on as the powerful sea spirit (Sedna).” It is confirmed by the artist himself that his bird spirits are in fact depictions of Natturalik, a name that translates as Golden Eagle in Inuktitut. The powerful bird is often portrayed eating prey, as in this lot, perhaps devouring the head of Sedna’s father. Marie Routledge & Darlene Coward Wight, Kiugak Ashoona: Stories and Imaginings from Cape Dorset, 2010, pages 114-116.

TUESDAY, NOVEMBER 20,

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186 LUCY QINNUAYUAK (1915-1982), ᓗᓯ ᑭᓐᐅᐊᔪᐊ, CAPE DORSET / KINNGAIT LARGE BEAR

stonecut, 1961, 13/50, framed sight 19.25 x 27.75 in — 48.9 x 70.5 cm $4,000—6,000

187 KIAKSHUK (1886-1966), ᑭᐊᓱ, CAPE DORSET / KINNGAIT DRIVING MOULTING GEESE INTO PENS

sealskin stencil, 1960, 4/50, framed sight 18 x 23 in — 45.7 x 58.4 cm $2,000—3,000

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188 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), ᑭᓄᔭᐊ ᐊᓯᕗ, CAPE DORSET / KINNGAIT BIRDS IN MY DREAMS

stonecut, 1962, 3/50, framed sight 21.5 x 29.5 in — 54.6 x 74.9 cm $2,500—3,500 NOTE: “I just take these things out of my thoughts, and out of my imagination, and I don’t really give any weight to the idea of its being an image of something. In other words, I am not trying to show what anything looks like in the material world. I am just concentrating on placing it down on paper in a way that is pleasing to my own eye, whether it has anything to do with subjective reality or not. And that is how I have tried to make my images and that is still how I do it and I haven’t really thought about it in any other way than that. That is just my style, and that is the way I started and that is the way I am today.” - from an interview with Jean Blodgett, 1980” Canada House Gallery, London, UK, 2017 http://canadahouse.com/artist.asp?aid=356

189 LUCY QINNUAYUAK (1915-1982), ᓗᓯ ᑭᓐᐅᐊᔪᐊ, CAPE DORSET / KINNGAIT NIGHT VISION

stonecut and stencil, 1982, 29/50, unframed 23 x 24.5 in — 58.4 x 62.2 cm $2,500—3,500

TUESDAY, NOVEMBER 20,

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190 JESSIE OONARK, O.C., R.C.A. (1906-1985) ᔪᓯ ᐃᓇ / FRANCIS KALURAQ / ANINGARK, BAKER LAKE / QAMANI’TUAQ SPRING BREAK UP 1, SPRING BREAK UP 2

stonecut and stencil, 1970, 15/40;1970, 13/40, framed sight 21.5 x 30.5 in — 54.6 x 77.5 cm $2,500—3,500 NOTE: These prints were conceived by Oonark as a single image although the two parts are interchangeable. That is, they may be hung one above the other or side by side, but both parts are necessary to complete the image.

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191 JESSIE OONARK, O.C., R.C.A. (1906-1985), ᔪᓯ ᐃᓇ, BAKER LAKE / QAMANI’TUAQ WOMAN

stonecut, 1970, 19/50, framed 31.5 x 21.75 in — 80 x 55.2 cm $5,000—7,000 NOTE: This image was selected for the cover of the first official Baker Lake print catalogue in 1970.

TUESDAY, NOVEMBER 20,

2018

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192 LUCY QINNUAYUAK (1915-1982), ᓗᓯ ᑭᓐᐅᐊᔪᐊ, CAPE DORSET / KINNGAIT STRUTTING FALCON

stonecut, 1983, 7/50, unframed 21.25 x 25 in — 54 x 63.5 cm $800—1,200

193 LUCY QINNUAYUAK (1915-1982), ᓗᓯ ᑭᓐᐅᐊᔪᐊ, CAPE DORSET / KINNGAIT JOURNEY THROUGH A DREAM

stonecut, 1973, 9/50, framed sight 23.5 x 33 in — 59.7 x 83.8 cm $1,000—1,500

194 LUCY QINNUAYUAK (1915-1982), ᓗᓯ ᑭᓐᐅᐊᔪᐊ, CAPE DORSET / KINNGAIT STARTLED BIRD

stonecut, 1970, 12/50, framed sight 22.5 x 31 in — 57.2 x 78.7 cm $1,000—1,500

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195 JOHN KAVIK (1897-1993), ᔭᓐ ᑲᕕ, RANKIN INLET / KANGIQLINIQ FIGURES AND MUSK OX

coloured pencil drawing, unframed 21 x 29.5 in — 53.3 x 74.9 cm $2,500—3,500

196 PARR (1893-1969), ᐸ, CAPE DORSET / KINNGAIT INNUKSHUKS AT PLAY

stonecut, 1968, 46/50, framed sight 16 x 23.5 in — 40.6 x 59.7 cm $2,000—3,000

TUESDAY, NOVEMBER 20,

2018

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197 PARR (1893-1969), ᐸ, CAPE DORSET / KINNGAIT UNTITLED

graphite drawing, framed 20 x 25.75 in — 50.8 x 65.4 cm $3,000—5,000

NOTE: “Parr was an elderly man when his artistic career began, and from the outset he suffered bouts of senility. Impaired hearing also affected detailed verbal communication, although it was not in Parr’s nature to comment seriously on his drawings. Fellow Cape Dorset artists failed to show any appreciation for his work, but nevertheless he persisted in his endeavours until just shortly before his death. In his humble fashion, Parr would sit simply on his sleeping platform, balancing sheets of paper on his outstretched legs, drawing intently, and peering through eyeglasses that never seemed to fulfill their function to his satisfaction. By January 1969, Parr was no longer able to draw, yet in those few years as an artist he had executed over two thousand drawings. They remain as a testament today to a man anxious to record a fading way of life which he had shared.” Terrence Ryan, Parr, 1893—1969, A Print Retrospective, Kingait Press, Cape Dorset, N.W.T., Pg. 5, 1979.

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198 JOHNNY MEEKO SR. (1933), ᐃᓄᒥᒥ ᓯᐃᐃᑯ BELCHER ISLANDS / SANIKILUAQ BIRD TOTEM

stone, signed in Roman, dated 1966 8.25 x 10 x 6 in — 21 x 25.4 x 15.2 cm PROVENANCE: The Stanley and Jean Zazelenchuk Collection, NB EXHIBITED: The Zazelenchuk Collection of Eskimo Art, August 11 - November 12, 1978, page 59, Winnipeg Art Gallery $600—900 NOTE: This work was acquired when Stanley Zazelenchuk lived in the Belcher Islands.

199 OSUITOK IPEELEE, R.C.A. (1923-2005), ᐅᓱᐃᑐ ᐃᐱᓕ, CAPE DORSET / KINNGAIT GOOSE

stone, signed in syllabics 8.5 x 9 x 8.25 in — 21.6 x 22.9 x 21 cm $1,000—1,500

TUESDAY, NOVEMBER 20,

2018

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200 TUDLIK (1890-1966), ᑐᓕ, CAPE DORSET / KINNGAIT OWL

stone, c. 1957 6.5 x 4 x 1 in — 16.5 x 10.2 x 2.5 cm $3,000—5,000

201 ABRAHAM ETUNGAT, R.C.A. (1911-1999), ᐊᐃᐊᔭᑲ ᐃᑐᒐ, CAPE DORSET / KINNGAIT BIRD WITH UPSWEPT WINGS stone, signed in syllabics 5 x 3.5 x 1.75 in — 12.7 x 8.9 x 4.4 cm $1,000—1,500

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Inuit Art Auction


202 OSUITOK IPEELEE, R.C.A. (1923-2005), ᐅᓱᐃᑐ ᐃᐱᓕ, CAPE DORSET / KINNGAIT CARIBOU SPIRIT

stone, signed in syllabics 12 x 16.5 x 3 in — 30.5 x 41.9 x 7.6 cm PROVENANCE: Canadian Guild of Crafts, Montreal, 1978 $3,000—5,000 NOTE: “(Osuitok’s) sculptures gradually became more stylized and minimal, and by the late 1980s, his austere renderings of caribou were more symbol than depiction.” Derek Norton, Cape Dorset Sculpture, Douglas&McIntyre, 2005

verso TUESDAY, NOVEMBER 20,

2018

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203 ABRAHAM ETUNGAT, R.C.A. (1911-1999), ᐊᐃᐊᔭᑲ ᐃᑐᒐ, CAPE DORSET / KINNGAIT BIRD WITH UPSWEPT WINGS stone, signed in syllabics 15 x 10 x 4 in — 38.1 x 25.4 x 10.2 cm $5,000—7,000 NOTE: “Abraham Etungat was born at Tasiujajuak in the Amadjuak area of South Baffin Island in the year 1911. His first visit to Cape Dorset was at the age of ten on a trading trip with his family. He had lived all of his early life in camp in a manner similar to those who derived their living from the land.

Etungat has always been an independent soul, outspoken and capable as both a hunter and sculptor. He settled in Cape Dorset in the early 1960s having lived just prior to that north of Cape Dorset and the Hantzsch River in Foxe Basin. His first carvings were small and compact and often then as now depicted birds. His present style of carving has developed over these past few years resulting in the bird with raised wings being often copied by fellow artists. The Devonian Foundation of Calgary commissioned him to provide a maquette from which they created a heroic-sized bird image that was cast in bronze and is located in Toronto at the Ryerson Parkette (Yonge & Dundas). Etungat is today a man little involved in hunting given his health and age. He is a carver who is generally engaged in creating works of considerable power. He takes pride in his creations and will not bring a piece of sculpture to the co-operative that does not meet his standards of quality and creativity.” Terrence P. Ryan, Abraham Etungat, Sculpture
Images Art Gallery, Exhibition Catalogue, Toronto, 1981.

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Inuit Art Auction


204 PAUTA SAILA, R.C.A. (1916-2009), ᐸᐊ ᓯᓚ, CAPE DORSET / KINNGAIT STRUTTING POLAR BEAR

stone, signed in syllabics, c. 1968 8 x 7.5 x 3 in — 20.3 x 19.1 x 7.6 cm $6,000—9,000

TUESDAY, NOVEMBER 20,

2018

39


205 OSUITOK IPEELEE, R.C.A. (1923-2005), ᐅᓱᐃᑐ ᐃᐱᓕ, CAPE DORSET / KINNGAIT WALRUS AND POLAR BEAR CUB

stone, ivory, c. 1970 21 x 19 x 6 in — 53.3 x 48.3 x 15.2 cm

40

NOTE: “When John and Alma Houston traveled to Cape Dorset in the 1950s, they were told by the Inuit themselves that Osuitok was the finest artist on the south Baffin Coast. This local opinion is shared universally as Osuitok has become one of the best known and most admired of the contemporary Inuit sculptors.

PROVENANCE: Waddington’s Auctioneers, Toronto, March 1980, Lot 82 Feheley Fine Arts, Toronto, 1987 Corporate Collection, Toronto

...His subject matter is as remarkably broad as his style, ranging from naturalistic depictions of animals and narrative scenes to wonderful abstract compositions. His sculpture is characterized by a careful balancing of mass, fine surface finish and delicate detailing.”

$10,000—15,000

The Ryan Collection, Feheley Fine Arts, Exhibition Catalogue, Toronto, May 1998.

Inuit Art Auction


206 UNIDENTIFIED, ALASKA ELABORATELY CARVED TUSK ivory, ink, c. 1920s 22 x 3 x 2 in — 55.9 x 7.6 x 5.1 cm $6,000—9,000

TUESDAY, NOVEMBER 20,

2018

41


207 MICHAEL MASSIE, R.C.A., O.C. (1962), NUNATSIAVUT TEA WITH PABLO

silver, paudouk wood, signed on the bottom, dated ‘96 6.5 x 8 x 4.25 in — 16.5 x 20.3 x 10.8 cm EXHIBITED: Silver & Stone, the Art of Michael Massie, The Rooms Provincial Art Gallery, curated by Gloria Hickey, 2006, exhibition catalogue. $6,000—9,000 NOTE: Hickey notes, “As a contemporary artist bridging both Inuit and European cultures, Massie’s work embodies both this particular art history’s cause and effect. And making open reference to this broader intertextual context of sources and influences recurs throughout Massie’s work, as in tea with Pablo (1997). Massie estimates that his own style of distortion owes as much to Picasso as to Inuit shamanism...” “Massie was named a member of the Order of Canada in September 2018... honoured for pushing the boundaries of Inuit art for people to look at things differently... Massie was titled as a trailblazer for going against the grain and working with materials that in his early career were not considered for Inuit art, especially metals. He said when he came on the scene in the 1980s with Inuit art, there were only three major mediums considered which included stone carving, print making and tapestry... Massie’s silverwork and sculptures have received national and international accolades and his investiture to the Order of Canada in Ottawa makes his career and standing up for what he believed in worth it all.” Frank Gale, The Western Star, Published: Sept 07, 2018. 42

Inuit Art Auction


208 MICHAEL MASSIE, R.C.A., O.C. (1962), NUNATSIAVUT ULU BOWL

silver, paudouk wood 2.5 x 4 x 4 in — 6.4 x 10.2 x 10.2 cm $3,000—4,000

TUESDAY, NOVEMBER 20,

2018

43


209 JESSIE OONARK, O.C., R.C.A. (1906-1985), ᔪᓯ ᐃᓇ, BAKER LAKE / QAMANI’TUAQ MATRIARCH AND HER COMMUNITY

stroud, felt, thread, embroidery floss, signed in syllabics 27.5 x 59 in — 69.9 x 149.9 cm

“During her lifetime, Oonark was much revered as a textile artist, building on her well-honed skills as a seamstress, and that craft would inform her image making in all media. Sewing garments, she would often create decorative embellishments by cutting away material and creating snugly fitted inserts of contrasting skin—a precise and exacting craft that she translated with apparent effortlessness to her brightly coloured wall hangings.” Sarah Milroy, Inuit Art Foundation, March 2, 2018

$40,000—60,000

detail

44

Inuit Art Auction

detail

detail


210 ATTRIBUTED TO: JOE JAW (1930-1987), ᔭ CAPE DORSET / KINNGAIT FACE WITH INSET IVORY EYES stone, ivory 5.25 x 7 x 6 in — 13.3 x 17.8 x 15.2 cm $2,000—3,000 NOTE: For a related work, see George Swinton, Eskimo Sculpture, McClelland & Stewart, Toronto, 1972, pg. 156.

VERSO

TUESDAY, NOVEMBER 20,

2018

45


211 HENRY EVALUARDJUK (1923-2007), ᐃᕙᓗᐊᔪ, FROBISHER BAY / IQALUIT POLAR BEAR

stone, signed in Roman and syllabics 5.5 x 11.5 x 4 in — 14 x 29.2 x 10.2 cm $5,000—7,000 NOTE: An incredible feat for the artist — the ability to imbue an individual personality and character into each of his bears. This polar bear with his great paws glides across the ice floe with grace and precision; an equally impressive feat for such a large and intimidating beast.

212 HENRY EVALUARDJUK (1923-2007), ᐃᕙᓗᐊᔪ, FROBISHER BAY / IQALUIT YOUNG POLAR BEAR

stone, signed in Roman and syllabics 4.5 x 7 x 2.75 in — 11.4 x 17.8 x 7 cm PROVENANCE: Private Collection, MA, USA $2,000—3,000

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Inuit Art Auction


SELECTIONS FROM THE TERRY RYAN COLLECTION

LOT 238 TUESDAY, NOVEMBER 20,

2018

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TERRY RYAN The right man in the right place at the right time – that was Terry Ryan in Cape Dorset. James Houston, in the 1950’s, had famously sparked an art movement in the eastern Canadian Arctic. But it was Terry’s passion, talent and determination that brought this fledgling movement to life and drove it to the heights and world-wide recognition it enjoys today. It was his thoughtful, quiet approach and his ability to recognize and inspire artistic talent that resulted in so many wonderful Inuit artists coming to the fore. His contribution not only to the Inuit people, their economy and culture – but to Canada itself – is profound and long lasting. His legacy is the thousands of Inuit sculptures and graphics in homes, museums and galleries, and the legions of Inuit art enthusiasts around the world. Waddington’s is privileged to offer select pieces from his personal collection.

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Inuit Art Auction


213 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), ᑭᓄᔭᐊ ᐊᓯᕗ, CAPE DORSET / KINNGAIT SPIRIT CREATURES

graphite drawing, unframed 18 x 23.75 in — 45.7 x 60.3 cm PROVENANCE: Collection of Terry Ryan $700—1,000

214 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), ᑭᓄᔭᐊ ᐊᓯᕗ, CAPE DORSET / KINNGAIT SPIRITS COMPOSITION

graphite drawing, unframed 18.75 x 23.75 in — 47.6 x 60.3 cm PROVENANCE: Collection of Terry Ryan $700—1,000

TUESDAY, NOVEMBER 20,

2018

49


215 PITALOOSIE SAILA, R.C.A. (1942), ᐱᑕᓗᓯ CAPE DORSET / KINNGAIT HOODED WOMAN

crayon, signed in syllabics, unframed 16 x 20 in — 40.6 x 50.8 cm PROVENANCE: Collection of Terry Ryan $300—500

216 AQJANGAJUK SHAA R.C.A. (1937), ᐊᔭᒐᔪ ᓴᐊ, CAPE DORSET / KINNGAIT CARIBOU

graphite drawing, unframed 18 x 24 in — 45.7 x 61 cm PROVENANCE: Collection of Terry Ryan $400—600

217 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), ᑭᓄᔭᐊ ᐊᓯᕗ, CAPE DORSET / KINNGAIT UNTITLED

felt tip drawing, signed in syllabics, unframed 5 x 6.5 in — 12.7 x 16.5 cm PROVENANCE: Collection of Terry Ryan $300—500

50

Inuit Art Auction


218 PARR (1893-1969), ᐸ, CAPE DORSET / KINNGAIT UNTITLED

graphite drawing, 1961, framed 24 x 17.5 in — 61 x 44.5 cm PROVENANCE: Collection of Terry Ryan $2,000—3,000

219 LUKTA QIATSUK (1928-2004), ᓗᑕ ᑭᐊᓱᑲ, CAPE DORSET / KINNGAIT MOTHER AND CHILD

stonecut, 1959, 1/31, unframed 6.25 x 5 in — 15.9 x 12.7 cm PROVENANCE: Collection of Terry Ryan $1,500—2,500

TUESDAY, NOVEMBER 20,

2018

51


220 INNUKI OQUTAQ (1926-1986), ᐃᓄᑭ CAPE DORSET / KINNGAIT WARLUS TUSK INCISED AND CARVED WITH ARCTIC MOTIFS

stone, mounted to a stone hare base, disc number inscribed 12.5 x 8 x 2 in — 31.8 x 20.3 x 5.1 cm PROVENANCE: Collection of Terry Ryan $300—500 NOTE: Innuki Oqutaq was the brother of Cape Dorset sculptor and graphic artist Osuitok Ipeelee. “Enooky (Innuki) is best known for his exquisitely engraved work on highly polished caribou antler. His precise and delicate line work combined with the free, natural form of the antler gives his work a sense of fluid movement. His images are often concerned with sea life and traditional Inuit hunting implements and clothing, particularly the kamik (boot). The kamik is often repeated many times on a particular work. Enooky has a keen sensitivity to the placement of these graphic elements within the positive and negative shape of the antler, making him one of the most sophisticated artists in this medium.” Enooky (Innuki Oqutaq), Image of the Inuit, exhibition brochure, Los Angeles, California, 1981.

221 UNIDENTIFIED, COPPERMINE / KUGLUKTUK BUSTS OF INUIT COUPLE stone

PROVENANCE: Collection of Terry Ryan $300—500

52

Inuit Art Auction


222 SAILA PUDLAT (1948), ᐳᓚ CAPE DORSET / KINNGAIT BIRD

stone, signed in Roman 6.5 x 8 x 3 in — 16.5 x 20.3 x 7.6 cm PROVENANCE: Collection of Terry Ryan $300—500

223 ELISAPEE NUNGUSUITUQ (1927-1985), ᐃᓕᓴᐱ CAPE DORSET / KINNGAIT FLOATING SEAL

stone, signed in syllabics 4 x 10 x 5 in — 10.2 x 25.4 x 12.7 cm PROVENANCE: Collection of Terry Ryan $300—500

TUESDAY, NOVEMBER 20,

2018

53


224 UNIDENTIFIED, CAPE DORSET / KINNGAIT BIRD

stone, c. 1965 8 x 3.5 x 7.5 in — 20.3 x 8.9 x 19.1 cm PROVENANCE: Collection of Terry Ryan $500—700

225 AUDLA PEE (1920-2002), ᐊᐃᓚ ᐱ CAPE DORSET / KINNGAIT CROUCHING DOG

stone, c. 1965 2.25 x 6.5 x 1.5 in — 5.7 x 16.5 x 3.8 cm PROVENANCE: Collection of Terry Ryan $400—600

54

Inuit Art Auction


226 EEGYVUDLUK POOTOOGOOK (1931), ᐃᔪᕙᓗ CAPE DORSET / KINNGAIT ARCTIC HARE

stone, signed in syllabics. c. 1965 9 x 6 x 8.75 in — 22.9 x 15.2 x 22.2 cm PROVENANCE: Collection of Terry Ryan $2,000—3,000

TUESDAY, NOVEMBER 20,

2018

55


227 SHEOKJUK OQUTAQ (1920-1982), ᓱᐅᔪ ᐅᑯᑕ, CAPE DORSET / KINNGAIT LOON

stone, signed in syllabics 5.5 x 10 x 4.25 in — 14 x 25.4 x 10.8 cm PROVENANCE: Collection of Terry Ryan $5,000—7,000

56

Inuit Art Auction

NOTE: “I try to carve them (loons) very fine, I only use a saw to carve, I never use an axe like a lot of people do…I have built houses and made boats. Making a carving is harder work than making a house or making a boat.” - Interview by Marion Jackson, Cape Dorset, January, 1979. Inuit Art in the 1970’s, Agnes Etherington Art Centre, Exhibition Catalogue, page 51, plate 26, 1979.


228 SHEOKJUK OQUTAQ (1920-1982), ᓱᐅᔪ ᐅᑯᑕ, CAPE DORSET / KINNGAIT LOON

stone, signed in Roman, dated 1962 4.25 x 7.5 x 3 in — 10.8 x 19.1 x 7.6 cm PROVENANCE: Collection of Terry Ryan $2,500—3,500

TUESDAY, NOVEMBER 20,

2018

57


229 SHEOJUK ETIDLOOIE (1929-1999), ᓯᐅᔪ ᐃᑎᐃᑎᓚᐃ, CAPE DORSET OOKPIL

mixed media on paper, unframed 11.25 x 10 in — 28.6 x 25.4 cm PROVENANCE: Collection of Terry Ryan $800—1,200

230 LUKTA QIATSUK (1928-2004), ᓗᑕ ᑭᐊᓱᑲ, CAPE DORSET / KINNGAIT UNTITLED

etching, 1962, artists proof, unframed PROVENANCE: Collection of Terry Ryan $700—1,000

58

Inuit Art Auction


231 KUNU (1923-1966), ᑲᓄ CAPE DORSET / KINNGAIT UNTITLED

graphite drawing, signed, disc number inscribed, unframed 18 x 24 in — 45.7 x 61 cm PROVENANCE: Collection of Terry Ryan $300—500

232 DAVIDEE ITULU (1929-2006), ᑎᑯᑎ ᐃᑐᓗ LAKE HARBOUR / KIMMIRUT KOMATIK AND DRIVER

coloured pencil drawing, signed in syllabics, unframed image 9.5 x 22 in — 24.1 x 55.9 cm PROVENANCE: Collection of Terry Ryan $400—600 TUESDAY, NOVEMBER 20,

2018

59


233 KINGMEATA ETIDLOOIE (1915-1989), ᑭᒥᐊᑕ ᐃᑎᓗᐃ CAPE DORSET / KINNGAIT SETTING UP CAMP

mixed media on paper, signed in syllabics, unframed 16 x 20 in — 40.6 x 50.8 cm PROVENANCE: Collection of Terry Ryan $300—500

234 SHEOUAK PETAULASSIE (1923-1961), ᓯᐅᕋ CAPE DORSET THREE FIGURES WALKING graphite drawing, unframed 16.75 x 21 in — 42.5 x 53.3 cm PROVENANCE: Collection of Terry Ryan $500—700

60

Inuit Art Auction


235 PAULASSIE POOTOOGOOK, R.C.A. (1927-2006), ᐸᓗᓯ ᐳᑐᒍ, CAPE DORSET / KINNGAIT PRIEST

stone, signed in syllabics 9.5 x 3 x 2 in — 24.1 x 7.6 x 5.1 cm PROVENANCE: Collection of Terry Ryan $600—900 NOTE: For a similar subject see Waddington’s Auction November 2000, lot 259.

236 GEORGE TATANIQ (1910-1991), ᑕᑕᓂ BAKER LAKE / QAMANI’TUAQ MUSK OX

stone, musk ox horn, signed in syllabics 5.5 x 7 x 2.75 in — 14 x 17.8 x 7 cm PROVENANCE: Collection of Terry Ryan $2,500—3,500

TUESDAY, NOVEMBER 20,

2018

61


237 PAUTA SAILA, R.C.A. (1916-2009), ᐸᐊ ᓯᓚ, CAPE DORSET / KINNGAIT FIGURE OF CHRIST

stone, signed, dated 1962 12.5 x 6.25 x 3 in — 31.8 x 15.9 x 7.6 cm PROVENANCE: Collection of Terry Ryan $7,000—10,000 NOTE: This piece was commissioned by Terry Ryan. Illustrated in: George Swinton, Sculpture of the Eskimo, 1972, page 187, plate 463.

62

Inuit Art Auction


238 PETER PITSEOLAK (1902-1973), ᐱᑕ ᐱᓯᐅᓚ CAPE DORSET / KINNGAIT MAN, WOMAN AND DOG

wood 8.75 x 8.25 x 3 in — 22.2 x 21 x 7.6 cm PROVENANCE: Collection of Terry Ryan $1,000—2,000

NOTE: Peter Pitseolak used his eyes and ears to preserve the memory of his people. An Inuit photographer, he saw the old ways passing away. Pitseolak also turned his creative energy to painting, sculpting and the collecting of oral history. His legacy is a body of work illustrating, from an Inuit perspective, northern life at the intersection of past and present. “Not all of our young people will learn the good ways, but the better ones, the ones who care about themselves, will learn the new ways...For myself, I am sad that the Eskimo way has gone.” Peter Pitseolak, circa 1973

TUESDAY, NOVEMBER 20,

2018

63


239 UNIDENTIFIED, CAPE DORSET / KINNGAIT SEATED DOG

stone, c. 1950’s 3 x 1.5 x 2.25 in — 7.6 x 3.8 x 5.7 cm PROVENANCE: Collection of Terry Ryan $300—500

240 OOPIK PITSIULAK (1946), ᐅᐱ ᐱᓯᐃᓚ CAPE DORSET / KINNGAIT CROUCHING WOMAN WITH PIPE stone, signed in syllabics 5.25 x 5 x 3 in — 13.3 x 12.7 x 7.6 cm PROVENANCE: Collection of Terry Ryan $400—600

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Inuit Art Auction


241 QAVAROAK TUNNILLIE, (1928-1993), ᑲᕙᕋᒃ ᑐᓂᓕ CAPE DORSET / KINNGAIT MOTHER AND CHILD

stone 6 x 6.5 x 3.75 in — 15.2 x 16.5 x 9.5 cm PROVENANCE: Collection of Terry Ryan $1,500—2,500

242 UNIDENTIFIED, CAPE DORSET / KINNGAIT BIRD

ceramic, decorated with a mottled glaze 13 x 6.5 x 11 in — 33 x 16.5 x 27.9 cm PROVENANCE: Collection of Terry Ryan $700—900

TUESDAY, NOVEMBER 20,

2018

65


243 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), ᑭᓄᔭᐊ ᐊᓯᕗ, CAPE DORSET / KINNGAIT PREENING OWL

stonecut, 1995, 6/50, framed sight 19.5 x 29 in — 49.5 x 73.7 cm $2,000—2,500 NOTE: “Drawing out of your imagination is a lot better to me anyway. What you see in your head, is what you try to put on drawing...I try to make my drawings look attractive enough.” Kenojuak Ashevak, interview with Odette Leroux, 1991. Canada House Gallery, London, UK, 2017, http://canadahouse.com/ artist.asp?aid=356.

244 LUCY QINNUAYUAK (1915-1982), ᓗᓯ ᑭᓐᐅᐊᔪᐊ, CAPE DORSET / KINNGAIT BEAR, BIRDS AND FISH

stonecut, 1967, 4/50, framed sight 23.5 x 33 in — 59.7 x 83.8 cm $600—900

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Inuit Art Auction


245 LUCY QINNUAYUAK (1915-1982), ᓗᓯ ᑭᓐᐅᐊᔪᐊ, CAPE DORSET / KINNGAIT ACROBATIC BIRD

stonecut, 1971, 40/50, unframed 24.25 x 33.75 in — 61.6 x 85.7 cm $800—1,200

246 LUCY QINNUAYUAK (1915-1982), ᓗᓯ ᑭᓐᐅᐊᔪᐊ, CAPE DORSET / KINNGAIT NESTING BIRD

stonecut, 1969, 33/50, framed sight 16.5 x 19 in — 41.9 x 48.3 cm $700—1,000 NOTE: Kenojauk Ashevak remembers Lucy Qinnuayuak: “I will now talk about my Aunt Lucy, who was also an artist. I remember she always drew geese, more so than anything else. I remember she always enjoyed drawing especially geese. I would also babysit my aunt’s children.” Jackson and Freeman Leroux, Inuit Women Artists, Voices from Cape Dorset, Canadian Museum of Civilization 1994.

TUESDAY, NOVEMBER 20,

2018

67


247 PUDLO PUDLAT (1916-1992), ᐳᓗ ᐳᓚ, CAPE DORSET / KINNGAIT AEROPLANE

stonecut and stencil, 1976, 43/50, unframed 23.75 x 34 in — 60.3 x 86.4 cm $1,000—1,500 NOTE: This image was selected for reproduction on a Canadian postage stamp in 1978.

248 TIKITU QINNUAYUAK (1908-1992), CAPE DORSET / KINNGAIT FEMALE EIDERS FRIGHTENED

skin stencil, 1960 16/50, framed sight 18 x 25 in — 45.7 x 63.5 cm $1,000—1,500

68

Inuit Art Auction


249 KIAKSHUK (1886-1966), ᑭᐊᓱ, CAPE DORSET / KINNGAIT NINE ARCTIC BIRDS

skin stencil, 1960, 35/50, framed sight 14.75 x 24.5 in — 37.5 x 62.2 cm $1,500—2,000

250 JOE TALIRUNILI (1893-1976), ᔪᐅ ᑕᓚᕈᓂᓕ, POVUNGNITUK / PUVIRNITUQ POOTOOGOOK HARPOONING A BEAR

stonecut, 1964, 1/30, framed sight 17 x 16 in — 43.2 x 40.6 cm $700—1,000 NOTE: One of the founding members of the Puvirnituq print shop in the 1950s, Joe Talirunili created over 70 prints in his lifetime. His graphics were included in the Puvirnituq annual print collections in the 1960s.

TUESDAY, NOVEMBER 20,

2018

69


251 JOE JAW (1930-1987), CAPE DORSET / KINNGAIT FISHERMAN WITH OWL stonecut, 1961, 7/50, framed 16 x 12 in — 40.6 x 30.5 cm $800—1,200

252 EGEVADLUQ RAGEE (1920-1983), CAPE DORSET / KINNGAIT WATER BABY AND SEA DOG stonecut, 1961, 16/50, framed sight 14 x 17 in — 35.6 x 43.2 cm $1,000—1,500

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Inuit Art Auction


253 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), ᑭᓄᔭᐊ ᐊᓯᕗ, CAPE DORSET / KINNGAIT OWL SPIRIT

stonecut, 1969, 27/50, framed sight 21 x 31 in — 53.3 x 78.7 cm $3,000—5,000

254 LIPA PITSIULAK (1943-2010), ᓕᐸ ᐱᓯᐅᓚ PANNIRTUQ / PANGNIRTUNG DISGUISED ARCHER

stonecut, 1976, 10/50, framed sight 23 x 31 in — 58.4 x 78.7 cm $1,000—1,500 NOTE: “A long time ago, our ancestors used to hunt like this. This story was told by my father. They used to hunt the caribou covered with caribou skin, pretending to be caribou. They hunted with a bow and arrow before they used the rifle. This man has built a stone blind and waited inside it. You can see those blinds to this day. A lot of hunters disguised themselves in that way. Some of them were shot by arrow accidentally because there were so many hunting at the same time. All of those men died. (Lipa’s commentary in the 1976 Pangnirtung print catalogue) Inuit Art in the 1970’s, Agnes Etherington Art Centre, 1979, page 77, plate 60. This image was selected for reproduction on a Canadian postage stamp in 1977.

TUESDAY, NOVEMBER 20,

2018

71


255 SEEPEE IPEELIE (1940-2000), ᓯᐱ ᐃᐱᓕ, FROBISHER BAY / IQALUIT MUSK OX

stone, antler, signed in syllabics 9 x 17 x 5.5 in — 22.9 x 43.2 x 14 cm $2,000—3,000

256 KANANGINAK POOTOOGOOK, R.C.A. (1935-2010), ᑲᓇᒋᓇ ᐳᑐᒍᑭ, CAPE DORSET / KINNGAIT WIND SWEPT MUSK OX

stone, signed in syllabics 7.5 x 10 x 5.5 in — 19.1 x 25.4 x 14 cm $3,000—4,000

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Inuit Art Auction


257 HENRY EVALUARDJUK (1923-2007), ᐃᕙᓗᐊᔪ, FROBISHER BAY / IQALUIT POLAR BEAR

stone, signed in Roman and syllabics 3.5 x 7.25 x 2.75 in — 8.9 x 18.4 x 7 cm $2,000—3,000

258 HENRY EVALUARDJUK (1923-2007), ᐃᕙᓗᐊᔪ, FROBISHER BAY / IQALUIT YOUNG POLAR BEAR (2)

stone; sterling silver, to the second, signed in syllabics, numbered 1/50 each 1.75 x 3.25 x .75 in — 4.4 x 8.3 x 1.9 cm $2,500—3,500 NOTE: Includes the Canadian Polar Marketing Ltd. certificates for both the original bear sculpture as well as the silver casting.

TUESDAY, NOVEMBER 20,

2018

73


259 SHORTY KILLIKTEE (1949-1993), ᓱᑎ ᑭᓕᑎ, CAPE DORSET / KINNGAIT BIRD WITH CATCH

stone, signed in syllabics, dated 1987 16 x 11 x 9 in — 40.6 x 27.9 x 22.9 cm $2,000—2,500

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

stone, 1978, signed syllabics 13 x 6 x 4 in — 33 x 15.2 x 10.2 cm PROVENANCE: The Stanley and Jean Zazelenchuk Collection, NB $3,000—5,000 NOTE: Jean Zazelenchuk recalled that in 1978 when this sculpture was created, Kavik lived with his son (Thomas Ugyuk) and his son’s family.

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Inuit Art Auction


261 POSSIBLY: KAKA ASHOONA (1928-1996), ᑲᑲ ᐊᓴᓇ, CAPE DORSET / KINNGAIT WOMAN IN AN AMAUTIQ

stone 27 x 14 x 7 in — 68.6 x 35.6 x 17.8 cm $1,500—2,000

262 MARK ILISITUK (1902), ᒪᑲ ᐃᓕᓯᑕᑲ, SUGLUK / SALLUIT WOMAN HOLDING PAIL

stone, signed in disc number, c. 1950 10.25 x 6.25 x 4.5 in — 26 x 15.9 x 11.4 cm $4,000—5,000

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2018

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263 MOSESIE KOLOLA (1930-1985), ᒧᓯᓯ ᑲᓗᓚ, LAKE HARBOUR / KIMMIRUT BREECHING WHALE

stone 15 x 18 x 8 in — 38.1 x 45.7 x 20.3 cm $2,000—2,500

264 AQJANGAJUK SHAA R.C.A. (1937), ᐊᔭᒐᔪ ᓴᐊ, CAPE DORSET / KINNGAIT SEAL

stone 16.5 x 22 in — 41.9 x 55.9 cm $1,000—1,500

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Inuit Art Auction


265 AQJANGAJUK SHAA R.C.A. (1937), ᐊᔭᒐᔪ ᓴᐊ, CAPE DORSET / KINNGAIT MOTHER AND CHILD

stone 22 x 10 x 7 in — 55.9 x 25.4 x 17.8 cm $3,000—5,000

266 UNIDENTIFIED, BAKER LAKE / QAMANI’TUAQ HUNTER WITH PACK

stone 18 x 13 x 8 in — 45.7 x 33 x 20.3 cm $2,500—3,500

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2018

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Index

A Ashevak, Kenojuak (1927-2013) E7-1035…163, 170, 188, 213, 214, 217, 243, 253 Possibly: Ashoona, Kaka (1928-1996) E7-1101…261 Ashoona, Kiawak (1993-2014) E7-1103…185 E Elijassiapik (1912-1972) E9-1774…174 Etidlooie, Kingmeata (1915-1989) E7-895…233 Etidlooie, Sheojuk (1929-1999) E7-941…229 Etungat, Abraham (1911-1999) E7-809…201, 203 Evaluardjuk, Henry (1923-2007) E5-846…211, 212, 257, 258

I/J Iksiktaaryuk, Luke (1909-1977) E245…180, 181 Ilistuk, Mark (1902-d) E9-1211…262 Ipeelee, Osuitok (1923-2005) E7-1154…199, 200, 202, 205 Ipeelie, Seepee (1940-2000) E7-511…255 Itulu, Davidee (1929-2006) E7-1042…232 Jaw, Joe (1930-1987) E7-1002…251 Attributed to: Jaw, Joe (1930-1987) E7-1002…210 K Kavik, John (1897-1993) E2-290…195, 260 Kiakshuk (1886-1966) E7-105…187, 249 Killiktee, Shorty (1949-1993) E7-308…259 Kolola, Mosesie (1930-1985) E7-231…263 Kudluk, Thomassie (1910-1989) E8-873…175 Kunu (1923-1966) E7-1078…231 M Massie, Michael (b.1962)…207, 208 Meeko Sr., Johnny (b.1933) E968…198 Miki, Andy (1918-1983) E1-436…176 N Niviaxie (1909-1959) E7-107…168 Nungusuituq, Elisapee (1927-1985) E7-1145…223 O Oonark, Jessie (1906, 1985) E2-384…190, 191, 209 Oqutaq, Innuki (1926-1986) E3-740…220 Oqutaq, Sheokjuk (1920-1982) E7-919…227, 228

P Pangnark, John (1920-1980) E1-104…177 Parr (1893-1969) E7-1022…171, 172, 196, 197, 218 Pee, Audla (1920-2002) E7-1043…225 Petaulassie, Sheouak (1923-1961) E7-816…234 Pitseolak, Peter (1902-1973) E7-970…238 Pitsiulak, Lipa (1943-2010) E6-436…254 Pitsiulak, Oopik (b.1946) E7-251…240 Pootoogook, Eegyvudluk (b.1932) E7-865…226 Pootoogook, Josephie (1887-1958) E7-1166…169 Pootoogook, Kananginak (1935-2010) E7-1168…256 Pootoogook, Paulassie (1927-2006) E7-1176…235 Pudlat, Pudlo (1916-1992) E7-899…247 Pudlat, Saila (b.1948) E7-740…222 Q/R Qiatsuk, Lukta ( 1928-2004) E7-1060…219, 230 Qinnuayuak, Lucy (1915-1982) E7-1068…164, 165, 166, 186, 189, 192, 193, 194, 244, 245, 246 Qinnuayuak, Tikitu (1908-1993) E7-1067…248 Ragee, Egevagluq (1920-1983) E7-1013…252 S Sagiatuk, Kakulu (b.1940) E7-930…167 Saila, Pauta (1916-2009) E7-990…204, 237 Saila, Pitaloosie (b.1942) E7-1006…215 Shaa, Aqjangajuk (b.1937) E7-1065…216, 264, 265 T Talirunili, Joe (1893-1976) E9-818…250 Tataniq, George (1910-1991) E2-179…236 Tudlik (1890-1966) E7-1050…178 Tunnillee, Kababawa…241 U Ugyuk, Charlie (1931-1999) E4-341…182, 183 Ullulaq, Judas (1937-1999) E4-342…184


The Johnstone Collection of Inuit Art NOVEMBER 20, 2018

OSUITOK IPEELEE Caribou


Buying & Selling 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. 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 draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000). ALL PRICES IN CANADIAN FUNDS 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

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Inuit Art Auction

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.

WADDINGTON’S COMMISSION RATES Items selling for $7,501 or more — 10%

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 pre-auction estimates of shipping costs of lots offered in this sale may be obtained from:

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

PakShip 905-470-6874/905-470-6875/416-293-8225 taurus@pakship.ca / www.pakship.ca

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

Envoy 416-299-3367/416-299-9750 ph@envoy.ca / www.envoypackandship.com 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. 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

Items selling for $2,501 to $7,500 — 15% Items selling for $251 to $2,500 — 20% Items selling for $250 or less — 25%

CANADIAN ART DEPARTMENT COMMISSION RATES Items selling for $7,500 or more — 10% Items selling for $2,501 to $7,499 — 15% Items selling for $2,500 or less — 20%

Photography fee: $150 For auction advice on paintings, drawings, prints, jewellery, and various forms of decorative arts and other collectibles, please 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. For department-specific inquiries, please contact the specialist and/or department directly. All contact information can be found at www.waddingtons.ca. Our office is located in Toronto, 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 (416-5049100). 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. INSURANCE A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.


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. 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. 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 re-sale 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.

TUESDAY, NOVEMBER 20,

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Specialist Departments ASIAN ART

CONTEMPORARY ART

RUGS & CARPETS

Austin Yuen

Stephen Ranger

Andrew Brandt

416-847-6195

ay@waddingtons.ca Amelia Zhu

416-847-6185

az@waddingtons.ca

416-847-6194

skr@waddingtons.ca Kristin Vance

416-847-6168

ab@waddingtons.ca

416-847-6178

“DISCOVERY” ART

kv@waddingtons.ca

Doug Payne

416-847-6180

CANADIAN FINE ART Linda G. Rodeck canadianart@waddingtons.ca Anna Holmes 416-504-5100

canadianart@waddingtons.ca Rochelle Konn 416-847-6191

rk@waddingtons.ca

DECORATIVE ARTS Bill Kime Silver, Glass & Ceramics 416-847-6189

bk@waddingtons.ca Sean Quinn Sculpture, Decorations, Clocks & Lighting 416-847-6187

sq@waddingtons.ca Hayley Dawson Consignment Coordinator 416-504-6167

hd@waddingtons.ca

FINE PRINTS & PHOTOGRAPHY Susan Robertson 416-847-6179

sr@waddingtons.ca Kristin Vance 416-847-6178 kv@waddingtons.ca

dp@waddingtons.ca INTERNATIONAL ART Susan Robertson 416-847-6179

JEWELLERY, WATCHES & NUMISMATICS Don P. McLean 416-847-6170

sr@waddingtons.ca

dpm@waddingtons.ca

INUIT ART

FINE WINE & SPIRITS

Duncan McLean 416-847-6183 adm@waddingtons.ca

Stephen Ranger

Rochelle Konn

Joann Maplesden

rk@waddingtons.ca

jmm@waddingtons.ca

416-847-6191

416-847-6194

skr@waddingtons.ca 416-847-6182

Devin Hatfield 416-847-6181

dh@waddingtons.ca

Operational Staff PRESIDENT

DESIGN & PRODUCTION

ACCOUNTS Karen Sander

APPRAISALS & CONSIGNMENTS

416-847-6173

Ellie Muir

Duncan McLean

Julia Deo

416-847-6183

416-847-6188

adm@waddingtons.ca

jcd@waddingtons.ca

ks@waddingtons.ca

VICE PRESIDENT

Solomon Alaluf

Elda Pappada

Stephen Ranger 416-847-6194

skr@waddingtons.ca VICE PRESIDENT OF FINE ART Linda G. Rodeck canadianart@waddingtons.ca GENERAL MANAGER Duane Smith 416-847-6172

das@waddingtons.ca

416-504-9100

sa@waddingtons.ca PHOTOGRAPHY John Macdonald 416-847-6192

jm@waddingtons.ca

416-847-6177

ep@waddingtons.ca

416-847-6196

em@waddingtons.ca Brittany Boyd-Pyman 416-847-6175

bbp@waddingtons.ca COLLINGWOOD Valerie Brown

CLIENT SERVICES

705-445-8811

Andrew Brandt

vb@waddingtons.ca

416-847-6168

ab@waddingtons.ca COMMUNICATIONS Tess McLean 416-847-6171

tm@waddingtons.ca

VANCOUVER

Alec Kerr

Jacqui Dixon

416-847-6186

778-837-4588 jd@waddingtons.ca

ak@waddingtons.ca Nicole Schembre 416-504-9100

ns@waddingtons.ca


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Inuit Art Auction | Nov. 20, 2018  

Inuit Art Auction | Nov. 20, 2018