The Johnstone Collection of Inuit Art | Nov. 20, 2018

The Johnstone Collection of 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 35

416-847-6183 AUCTION & PREVIEW HELD AT

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

CONSIGNMENT COORDINATOR

Lot 59

Rochelle Konn rk@waddingtons.ca

FRONTIS PIECE

416-847-6191

Lot 40

Friday, November 16, 2018 from 12:00 pm to 5:00 pm

ABSENTEE AND PHONE BIDDING

Saturday, November 17, 2018 from 11:00 am to 5:00 pm

416-504-9100 fax: 416-504-0033

Sunday, November 18, 2018 from 11:00 am to 5:00 pm

INSIDE FRONT COVER

INSIDE BACK COVER

Lot 42

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,

LOT 40

2018

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LOT 34 4 The Johnstone Collection of Inuit Art

THE BILL JOHNSTONE COLLECTION How does a superb collection of Inuit art find itself on the edge of the Scottish border in Northern England? The craggy rock and rural landscape of Cumbria actually does seem a fitting backdrop. Add in a life-long interest in art and design, an extraordinary eye, and an openness to appreciate something new and exciting, and you’ve described the Bill Johnstone Collection of Inuit Art. To answer the ‘how’ is to follow a life immersed in art and design. Being a student of architecture and textile design, and a career in the fashion textile industry is a strong starting point for art appreciation. Appreciation turns to passion over 40 years of collecting Scottish 20th century art, Zimbabwean stone sculpture, and the largest and most significant collection of Inuit art in the United Kingdom.

Inuit art first caught Johnstone’s eye on one of his frequent business trips to North America. It was a visit to Montreal in the 1960s when Johnstone saw the very first piece of Inuit sculpture in a gallery in his hotel. He just had to own it. Subsequent trips to Montreal, Toronto and New York provided further opportunities to discover, learn and collect from leading Inuit art galleries, and at Waddington’s auctions. Johnstone cultivated a network of friends in the Inuit art world who also contributed to his growing knowledge and appreciation. Later on a fellow Brit would also provide influence and guidance as Johnstone sought to find a broader audience for Inuit art in the U.K. This would result in Johnstone lending his collection to the Scott Polar Research Institute in Cambridge, England for the first exhibition of Inuit Art, in 2010. In addition, Johnstone’s collection would be featured in a major publication aligned with the exhibition “Tuvaq - Inuit Art and the Modern World”. (Please note that we have quoted generously from the section: Inuit Art in the Johnstone Collection” by Nicholas Underwood in this catalogue.)

We have deep respect for the vision and commitment of Bill and his wife Mara in their quest to assemble an outstanding Inuit art collection that is comprehensive in scope and thoughtful in its content. From pre-historic ivories to representation across the regions, styles and generations, the Johnstone Collection is a true testament to the immense artistic and cultural importance of this art form.

Our sincere thanks to Bill and Mara for the time we spent with them this summer. What an absolute privilege to hear their stories of forty years of collecting.

BILL JOHNSTONE

LOT 36

1 ALICE ALASHUAK (1919), ᐊᓚᓱᐊ, POVUNGNITUK / PUVIRNITUQ CATCHING GEESE IN MOULT stonecut, 1961, 4/20, framed, sight 11 x 17 in — 27.9 x 43.2 cm $400—600

2 ALASI AUDLA TULLAUGAK (1935), ᑐᓚᒐ, POVUNGNITUK / PUVIRNITUQ ICE FISHING

stonecut, 1958, framed, sight 9.5 x 9 in — 24.1 x 22.9 cm $300—500

3 (AFTER) JOHNNY NOVALINGA (1908-1978), ᓄᕙᓕᖓ, POVUNGNITUK / PUVIRNITUQ CARIBOU

stencil, 1983, 28/50, framed, sight 10 x 10.5 in — 25.4 x 26.7 cm $200—400

TUESDAY, NOVEMBER 20,

2018

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4 LEAH QUMALUK (1934), ᑯᒪᓗ, POVUNGNITUK / PUVIRNITUQ stonecut, 1965, 19/30, unframed 19.5 x 28 in — 49.5 x 71.1 cm $200—300

5 AISARA NUVALINGA NUNGA (1923), ᓄᕙᓕᒐ, POVUNGNITUK / PUVIRNITUQ BEAR SHAMAN OVER FISH

stonecut, framed 9.5 x 6.25 in — 24.1 x 15.9 cm $300—500

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The Johnstone Collection of Inuit Art

6 UNIDENTIFIED HUNTERS WITH WALRUS CATCH stone

PROVENANCE:

Waddington’s Auctioneers, Toronto, November 1999, Lot 357 Alaska Shop Gallery of Eskimo Art, New York, 2000 $700—1,000

7 ERIC KOPEVQUALUK FAMILY BOAT MAKING

stone 4.3 x 8.7 x 5.5 in — 11 x 22 x 14 cm PROVENANCE:

Arctic Showcase, White Plains, New York, 1986 $600—900

8 UNIDENTIFIED SPIRIT

antler 2.2 x 1.8 x 1.2 in — 5.5 x 4.5 x 3 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1991 In conversation with collector Bill Johnstone, he noted this work reminded him of Edvard Munch’s 1893 The Scream. $100—200 TUESDAY, NOVEMBER 20,

2018

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9

10

RUPEE NATSIAPIK (1933), ᓄᕈᐊᐱ, BROUGHTON ISLAND / QIKIQTARJUAQ

UNIDENTIFIED

TWO WALRUS

stone 8.3 x 3.5 x 3.5 in — 21 x 9 x 9 cm

whalebone, antler 10.6 x 9.4 x 5.5 in — 27 x 24 x 14 cm

HUNTER

PROVENANCE:

PROVENANCE:

Niagara Falls, ON, 1983

The Brett Schneider Collection Alaska Shop Gallery of Eskimo Art, New York, 2001

$500—700

$400—600

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The Johnstone Collection of Inuit Art

11 UNIDENTIFIED HUNTER WITH ARCTIC HARE stone 14.2 x 9.8 x 5.1 in — 36 x 25 x 13 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1999 $1,500—2,000

12 THOMASSIE KEN, ᑐᓚᓯ HUNTER WITH CATCH

stone, signed in syllabics 9.8 x 11.8 x 5.9 in — 25 x 30 x 15 cm PROVENANCE:

Arctic Showcase Inc., Elmsford, New York, 1983 $600—900

TUESDAY, NOVEMBER 20,

2018

11

13 ANNIE AQPIQ, ᐊᓂ CROUCHING MAN

stone, signed in syllabics 7.9 x 7.1 x 5.9 in — 20 x 18 x 15 cm PROVENANCE:

Galerie D’Art Esquimau, Montreal, 1988 $600—900

14 THOMAS SIVURAQ (1941), ᑕᒪ ᓯᕗᕋ, BAKER LAKE / QAMANI’TUAQ FISHERMAN HOLDING CHAR

stone, signed in Roman and in syllabics 11.4 x 9.8 x 6.7 in — 29 x 25 x 17 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1997 $1,000—2,000

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The Johnstone Collection of Inuit Art

15 CAMILLE IQULIQ (1962-2005), ᐃᑯᓕ, BAKER LAKE / QAMANI’TUAQ MOTHER AND CHILD

stone 8.3 x 8.7 x 7.9 in — 21 x 22 x 20 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1999 $500—700

16 THOMAS SIVURAQ (1941), ᑕᒪ ᓯᕗᕋ, BAKER LAKE / QAMANI’TUAQ CROUCHING MOTHER AND CHILD

stone, signed in syllabics, dated 1977 10.2 x 7.9 x 5.9 in — 26 x 20 x 15 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2001 $700—1,000

TUESDAY, NOVEMBER 20,

2018

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17 NALENIK TEMELA (1939-2003), ᑎᒥᓚ, LAKE HARBOUR / KIMMIRUT SWIMMING NARWHAL

stone, ivory 4.9 x 13.8 x 9.8 in — 12.5 x 35 x 25 cm PROVENANCE:

L’Oiseau Blanc, Hotel Reine-Elizabeth, Montreal, 1981 NOTE:

Spotted at L’Oiseau Blanc in Montreal’s Queen Elizabeth Hotel in the 1980s - Bill describes this as his most spontaneous purchase, exclaiming to himself: “I must have that!” $700—1,000

18 MARRIAH QUILLAAQ, ᑭᐃᓚᐊᐊ BASKING SEAL

whalebone 6.7 x 26 x 9.1 in — 17 x 66 x 23 cm PROVENANCE:

Narwhal Gallery, London, at Glasgow Millennium Hotel, Glasgow Art Fair, 2002 $1,000—1,500

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The Johnstone Collection of Inuit Art

19 KOUJOU PEE, ᐱ, CAPE DORSET / KINNGAIT BIRD

stone 4.5 x 11.4 x 5.5 in — 11.5 x 29 x 14 cm PROVENANCE:

Galerie D’Art Esquimau, Montreal, 1989 $600—900

20 SUZANNA SINGORIE (1925), ᓯᓇᒐᕆ, POND INLET/ MITTIMATALIK BIRD & YOUNG

stone, signed in syllabics 7.9 x 7.9 x 9.1 in — 20 x 20 x 23 cm PROVENANCE:

Hudson Bay Co. Gimpel Fils, London, 1988 $300—500

TUESDAY, NOVEMBER 20,

2018

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21 IIKOO ANGUTIKJUAK (1942), ᐊᒍᑎᔪᐊ, CLYDE RIVER / KANGIQTUGAAPIK ANIMAL COMPOSITION

whalebone 9 x 20 x 16 in — 23 x 48 x 43 cm PROVENANCE:

Cooperative Gallery, Montreal, 1988 NOTE:

“I think this is a wonderful translation of a shape. Inuit carvers have a unique, fresh approach, without academic training – no other influence.

They have a purely innate connection to the environment; other artists have a visual history to refer to. You can tell by how they carve, they understand movement of the animals.”

In conversation with Bill Johnstone, July 2018 $1,000—1,500

22 JOHNNY JOANAS, ᔪᓇ BIRD WITH ARCHED BACK

whalebone 6.9 x 13.8 x 9.6 in — 17.5 x 35 x 24.5 cm PROVENANCE:

Images Boréales, Montreal, 1990 $700—1,000

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The Johnstone Collection of Inuit Art

23 GEORGE ARLUK (1949), ᐊᓗ, ESKIMO POINT / ARVIAT SMILING MAN

stone 3.9 x 1.4 x 2.8 in — 10 x 3.5 x 7 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1997 $500—700

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

stone, signed in syllabics 5.1 x 3.9 x 2.4 in — 13 x 10 x 6 cm PROVENANCE:

Galerie D’Art Esquimau, Montreal, 1989 $700—1,000

TUESDAY, NOVEMBER 20,

2018

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

stone 5.9 x 3.9 x 2.4 in — 15 x 10 x 6 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1993 $1,000—2,000

26 JOHN PANGNARK (1920-1980), ᔭᓐ ᐸᓇ, ESKIMO POINT / ARVIAT SPIRIT FIGURE

stone 3.1 x 1.6 x 0.6 in — 8 x 4 x 1.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1993 NOTE:

“Four pieces form the extra-ordinary Arviat-based artist John Pangnark in the collection and, while each, in its intensely minimalist approach, is recognisably by the same hand, each of them also represents a rather different formal solution to the subject in hand – a crouching hunter, a spirit figure and two mothers and children – and the material available to work in.

Spirit Figure is a small, thin slip of stone with the most rudimentary of faces depicted on one of the thin edges, a work quietly haunting, out of all proportion to its tiny scale.

Mantel, Ken, TUVAQ ᑐᕙᖅ Inuit Art and the Modern World, Sansom and Company Ltd., Bristol, UK, 2010, page. 195.

Subsequent references indicated by page number in brackets. $700—1,000

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The Johnstone Collection of Inuit Art

27 JOHN PANGNARK (1920-1980), ᔭᓐ ᐸᓇ, ESKIMO POINT / ARVIAT MOTHER AND CHILD

stone 5.5 x 5.5 x 3.5 in — 14 x 14 x 9 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, November 1999, Lot 325 Alaska Shop Gallery of Eskimo Art, New York, 1999 EXHIBITED:

Canada House, UK, 2010 NOTE:

“There is... a gentle feeling to the more polished stone form of the Mother and Child, the forms wrapping and enveloping themselves massively round each other.” (195) $1,000—1,500

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

stone, signed in syllabics 3.1 x 4.7 x 2.4 in — 8 x 12 x 6 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1994 $1,000—1,500

TUESDAY, NOVEMBER 20,

2018

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29 VITAL MAKPAAQ (1922-1978), ᒪᒪᑲᐸᐃ, BAKER LAKE / QAMANI’TUAQ WEASEL ATTACKING MUSK OX

stone, ivory 6.7 x 7.5 x 5.5 in — 17 x 19 x 14 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, November 1999, Lot 160 Waddington’s Auctioneers, Toronto, November 2001, Lot 296 Alaska Shop Gallery of Eskimo Art, New York, 2002 $1,000—1,500

NOTE:

According to Inuit legend, during one of the seasons, much starvation spread across the Arctic land, so much so that there was nothing to eat. A group of hungry foxes spying a big fat muskox turned to the wolf and said, “Please go kill the muskox so that all of us can eat and we will survive.” The wolf responded, “I am too weak and cannot kill such a big animal.” Suddenly a small voice piped up, it was the weasel who said, “If you wish, I will kill the muskox and there will be food for all.” All the animals laughed at him for how could such a small insignificant animal, such as a weasel, harvest a muskox when the mighty wolf could not. The little weasel went off, sneaking and creeping around the muskox, then swifty, the weasel attacked the musk ox digging into the muskox’s anus causing the muskox to bleed to death. The weasel became a hero to the other starving animals for with his cunning he had saved all the animals from starvation.

For a similar work by Makpaaq, see Bernadette Driscoll, Uumajut: Animal Imagery in Inuit Art (WAG 1985), cat, 88.

Also, Inuit Art in the 1970’s, Agnes Etherington Art Centre, 1979, page 49, plate 24

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The Johnstone Collection of Inuit Art

30 MATHEW AQIGAAQ (1940-2010), ᒪᑐ ᐊᑭᒐ, BAKER LAKE / QAMANI’TUAQ MOTHER WITH CHILD

stone, signed in syllabics 11.6 x 6.9 x 7.5 in — 29.5 x 17.5 x 19 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1997 EXHIBITED:

Canada House, UK, 2010 $1,500—2,500

31 BARNABUS ARNASUNGAAQ (1924-2017), ᐸᓇᐸᓯ ᐊᓇᓴᒐ, BAKER LAKE / QAMANI’TUAQ CROUCHING FIGURE WITH SNOW KNIFE stone, signed in syllabics, disc number inscribed 10.2 x 7.7 x 9.4 in — 26 x 19.5 x 24 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1997 $3,000—5,000

TUESDAY, NOVEMBER 20,

2018

21

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

stone 9.8 x 14.2 x 4.7 in — 25 x 36 x 12 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, November 1999, Lot 162 Alaska Shop Gallery of Eskimo Art, New York, 2000 $3,000—5,000

33 MATIUSIE IYAITUK (1950), ᒪᑎᐅᓱ ᐃᐊᑕ, IVUJIVIK CROUCHING FIGURE WITH INSET ANTLER FACE stone, antler 13 x 13 x 12 in — 33 x 33 x 30.5 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, November 2000, Lot 420 Alaska Shop Gallery of Eskimo Art, New York, 2001 $3,000—5,000

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The Johnstone Collection of Inuit Art

34 PAUTA SAILA, R.C.A. (1916-2009), ᐸᐊ ᓯᓚ, CAPE DORSET / KINNGAIT DANCING BEAR

stone, ivory, signed in syllabics 11.8 x 6.3 x 3.1 in — 30 x 16 x 8 cm PROVENANCE:

Johnston’s collection included ”two characteristically lively Pauta Saila polar bears, of which the smaller dark serpentine piece of a Dancing Bear, balanced in virtuoso fashion on just one foot...its inserted teeth giving it a disconcertingly human expression!...”

“Not for nothing did he (Pauta) once observe that ‘Polar bears are just like people. They can do many things humans can do. They can stand, or sit, just like us. They look around just as we do.’” (200)

Alaska Shop Gallery of Eskimo Art, New York, 1993 $15,000—20,000

TUESDAY, NOVEMBER 20,

2018

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

stone, antler, signed in syllabics, 1990 21.5 x 12 x 3.5 in — 53 x 30.5 x 8.9 cm PROVENANCE:

Images Boréales, Montreal, 1990 “In green steatite and caribou antler, ... a piece of exquisite grace, fragility and refinement, full of poetic truthfulness that only a lifetime’s (Osuitok was already in his late 60s when he made it) study of both the animal’s anatomy and spirit could bring about – that famous story of James and Alma Houston’s visit to his igloo in 1951 and finding its ceiling plastered with animal and bird illustrations out of books – makes absolute sense in the face of this piece.”

(200) $25,000—35,000

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The Johnstone Collection of Inuit Art

36 JACOPOSEE OOPAKAK (1948), ᐅᐅᐸᑲ, FROBISHER BAY / IQALUIT ANTLER ELABORATELY CARVED WITH ARCTIC CREATURES antler, stone 15.7 x 16.5 x 11.8 in — 40 x 42 x 30 cm PROVENANCE:

Canadian Guild of Crafts Quebec, Montreal, 1990 $4,000—6,000

TUESDAY, NOVEMBER 20,

2018

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37 JUDAS ULLULAQ (1937-1999), ᔪᑕ ᐅᓗᓚ, GJOA HAVEN / UQSUQTUUQ MUSK OX THROWING HUNTER

stone, ivory, signed in syllabics, dated 1990 12 x 17 x 6 in — 40 x 43.2 x 15.2 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2000 $8,000—12,000 NOTE:

“Ullulaq remembered his grandfather who was a very determined hunter. Before there were guns, his grandfather would go right up to a muskox, in front of its nose. On more than one occasion, he was lifted up in the air on its horns.

Then he would kill the muskox with his spear.

Ullulaq’s art is mainly concerned with human activities and emotions. When he occasionally depicts animals, they are not passive prey, but as intellectually and emotionally active as his human figures.”

Wight, Darlene, Art & Expression of the Netsilik, exh. cat., from the Winnipeg Art Gallery (Winnipeg, MB), 2000, p. 160, pl. 156 26

The Johnstone Collection of Inuit Art

38 JOE TALIRUNILI (1893-1976), ᔪᐅ ᑕᓚᕈᓂᓕ, POVUNGNITUK / PUVIRNITUQ HUNTER HARPOONING WALRUS

stone, signed in Roman, disc number inscribed, c. 1962 4.5 x 14 x 3 in — 36.5 x 35.6 x 7.6 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, November 1997, Lot 1233 Alaska Shop Gallery of Eskimo Art, New York, 1997

NOTE:

In addition to his haunting boat migration scenes, Joe’s carvings documented traditional Inuit life as in this hunting scene. With a carving style completely his own, he had an innate ability to bring sophistication to what at first glance could be perceived as naïve.

Known for both graphics and sculpture, Talirunili was most prolific during the last 15 years of his life.

For a closely related work, see Joe Talirunili: a grace beyond the reach of art, La Federation des cooperatives du Nouveau-Quebec, 1977, page 24.

Also, Céline Saucier, Image Inuit du Nouveau-Québec, 1988, page 205.

EXHIBITED:

Canada House, UK, 2010 $12,000—16,000

TUESDAY, NOVEMBER 20,

2018

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39 JOHN TIKTAK, R.C.A. (1916-1981), ᔭᓐ ᑎᑕ, RANKIN INLET / KANGIQLINIQ STANDING INUK (MAN)

stone, signed in syllabics, c. 1965 9.1 x 5 x 3.5 in — 23 x 12.7 x 8.9 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, December 1994, Lot 983 Alaska Shop Gallery of Eskimo Art, New York, 1995 $15,000—25,000 28

The Johnstone Collection of Inuit Art

NOTE:

John Tiktak’s Standing Inuk (Man) may be no more than 23 cm tall but in terms of formidable presence he certainly seems a lot bigger than that, full of swagger and self-confidence…” Bill Johnstone (195)

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

stone, c. 1975 9 x 6 x 5 in — 23.5 x 15.2 x 12.7 cm PROVENANCE:

Eskimo Art Gallery, Montreal $2,500—3,500

NOTE:

Much of Tutsweetok’s work is attributed to her grandfather’s influence; memories of many human faces that he had created. Her grandfather, Isumataruaq, was a storyteller who would illustrate his stories with shapes drawn in the sand along with stones and is often cited as the single greatest influence on her work.

“When I first started carving, no one was interested in buying my work.

Finally my grandfather advised me. He showed me what to carve by drawing in the sand. He drew a figure with many heads. It was only then that people became interested to buy my carvings”.

TUESDAY, TUESDAY,NOVEMBER NOVEMBER20 20,, 2018 2018

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

stone 7.5 x 7.1 x 2.8 in — 19 x 18 x 7 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1997 $2,500—3,500

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The Johnstone Collection of Inuit Art

NOTE:

“John Kavik exemplifies the spirit of the tundra art. The sculpture of the Keewatin region is characterized by solid, eternal forms, without compromise. The artists of Eskimo Point and Rankin Inlet, by the merger of their unique individual styles, created a distinctive regional mannerism unparalleled in the Arctic.”

Derek Norton, Assistant Director, Inuit Gallery of Vancouver, John Kavik, 1990

42 UNIDENTIFIED, BAFFIN / QIKIQTAALUK REGION WOMAN IN AMAUTIQ WITH AMULET stone, ivory, c. 1959 9.25 x 6.5 x 3 in — 23 x 16.5 x 7.6 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, June 1993, Lot 903 Alaska Shop Gallery of Eskimo Art, New York, 1993

NOTE:

Selected as the cover of TUVAQ ᑐᕙᖅ Inuit Art and the Modern World, Ken Mantel, 2010. “...in its implicit sense of monumental dignity and quiet dignity, (it) has quite rightly been chosen to illustrate the front cover of this volume.” (215)

$15,000—25,000

TUESDAY, TUESDAY, NOVEMBER MAY 20 29,

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43 UNIDENTIFIED, PORT HARRISON / INUKJUAK BUILDING AN IGLOO

stone, bone, c. 1960 7.3 x 13 x 6.5 in — 18.5 x 33 x 16.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1999 $2,500—3,500

44 GEORGE ARLUK (1949), ᐊᓗ, ESKIMO POINT / ARVIAT SHAMAN TRANSFORMATION stone, signed in syllabics 8.3 x 4.3 x 2 in — 21 x 11 x 5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1991 $1,000—1,500

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The Johnstone Collection of Inuit Art

45 LUKE ANOWTALIK (1932-2006), ᐊᓇᐃᑕᓕ, ESKIMO POINT / ARVIAT MOTHER AND CHILD

stone, signed in syllabics 9.3 x 7.3 x 6.3 in — 23.5 x 18.5 x 16 cm PROVENANCE:

Galerie D’Art Esquimau, Montreal, 1989 $1,000—1,500

46 MARY AYAQ ANOWTALIK (1938), ᒪᕆ ᐊᓇᐃᑕᓕ, ESKIMO POINT / ARVIAT CROUCHING WOMAN WITH BRAID

stone 11.6 x 5.9 x 5.5 in — 29.5 x 15 x 14 cm PROVENANCE:

Galerie D’Art Esquimau, Montreal, 1990 $1,000—1,500

TUESDAY, NOVEMBER 20,

2018

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47 MICHAEL MASSIE, R.C.A. (1962-), ᒪᓯ, NUNATSIAVUT VESSEL SUPPORTED ON MINIATURE CROSSED KAKIVAKS padauk wood, bone, sinew, copper 2.8 x 7.3 x 6.9 in — 7 x 18.5 x 17.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2002 A fish spear used for fishing, the kakivak has three points with barbs. (katilvik.com) $2,000—3,000

48 QUILLIQ (KUDLIK)

stone 4.7 x 23.6 x 9.8 in — 12 x 60 x 25 cm PROVENANCE:

Galerie D’Art Esquimau, Montreal, 1990 $1,000—1,500

Soft soapstone was easy to carve into a bowl that could be used for a seal-oil lamp (qulliq). One end of a wick made from moss was dipped into the bowl of seal oil.

When the other end was lit, the lamp provided light and heat inside an igloo or skin tent.

Traditional Inuit used a bow-drill... with the drill bit removed, or other similar inventions to produce fire.

The drill stick was rotated quickly while it was pushed down upon. This created friction, which produced enough heat to start a flame.

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The Johnstone Collection of Inuit Art

While a lit qulliq could not be placed too close to a snow wall, its heat actually helped to strengthen an igloo. The heat from the qulliq and the body heat of the Inuit in the igloo created a thin layer of melted snow on the inside wall. When the Inuit extinguished the lamp and went to sleep, this layer would freeze, making the walls even stronger.

The Inuit Thought of It: Amazing Arctic Innovations.

Volume XIV Number 8, December 7, 2007

49 UNIDENTIFIED CARRYING WATER BAG AND DIPPER stone, disc number partially inscribed 8.7 x 4.7 x 4.9 in — 22 x 12 x 12.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2001 Waddington’s Auctioneers, November 2000, lot 387 $2,500—3,500

50 UNIDENTIFIED WOMAN FROM COPPERMINE stone 3.5 x 1.2 x 1.7 in — 9 x 3 x 4.25 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2001 $300—500

TUESDAY, NOVEMBER 20,

2018

35

51 ELIZABETH NUTARALUK AULATJUT (1914-1998), ᓄᑕᕋᓗ, ESKIMO POINT / ARVIAT BUST

stone, signed in syllabics 4.9 x 3.1 x 2 in — 12.5 x 8 x 5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1996 $700—1,000

52 JOHN PANGNARK (1920-1980), ᔭᓐ ᐸᓇ, ESKIMO POINT / ARVIAT MOTHER AND CHILD

stone 3.5 x 3 x 0.8 in — 9 x 7.5 x 2 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1993 $700—1,000

36

The Johnstone Collection of Inuit Art

53 POOTOOGOOK JAW (1959), ᔭ, CAPE DORSET / KINNGAIT DRUM DANCER

stone, bone 15.6 x 13.8 x 11.4 in — 39.5 x 35 x 29 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2000 $2,000—3,000

54 POSSIBLY: MANASEE MANIAPIK (1939), ᒪᓂᐊᐱ, PANNIRTUQ / PANGNIRTUNG OLD MAN AND SEDNA stone, c. 1965 13.2 x 19.1 x 9.1 in — 33.5 x 48.5 x 23 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1994 NOTE:

“Old Man and Sedna, is an intensely poetic and immensely moving physical embodiment of Inuit founding legend, the unmistakable lithe, animal fishiness of the Sedna figure and the tender depiction of age and infirmity of the old man, as fine an embodiment of the Inuit term sulijuk – truth and reality – as you could wish to find…”

(200) $2,500—3,500 TUESDAY, NOVEMBER 20,

2018

37

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

stencil, 1994, 27/50, framed, sight 16 x 21.5 in — 40.6 x 54.6 cm $500—700

56 KIAKSHUK (1886-1966), ᑭᐊᓱ, CAPE DORSET / KINNGAIT ESKIMO MOTHER WITH FOX TRAP stonecut, 1961, 18/50, unframed 27.5 x 14.5 in — 69.9 x 36.8 cm $600—900

38

The Johnstone Collection of Inuit Art

57 INNUKJUAKJU PUDLAT (1913-1972), ᐃᓄᔪᐊᕋᔪ, CAPE DORSET / KINNGAIT MOTHER AND CHILDREN

stonecut, 1960, 12/50, framed 17 x 12 in — 43.2 x 30.5 cm $700—1,000

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

graphite drawing, 1960, unframed 19.7 x 25.6 in — 50 x 65 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2005 NOTE:

“In the spring of 1961, I approached Parr to ask him about his interest in drawing.

He expressed reservations; however, I left him a large sketch pad and pencils. In the course of the following weeks, Parr filled the sketch pad with a myriad of images derived from aspects of the hunting culture which he had experienced. From that point on Parr became a prolific and constant participant.”

Terry Ryan, ‘Inuit Art: An Anthology’, 1988, page 38, (originally The Beaver, Autumn 1979) $4,000—6,000 TUESDAY, NOVEMBER 20,

2018

39

59 NIVIAXIE (1909-1959), ᓂᕕᐊᓯ, CAPE DORSET / KINNGAIT CARIBOU AND YOUNG

stonecut, 1958, 5/30, framed, sight 7.75 x 13.5 in — 19.7 x 34.3 cm $5,000—7,000

NOTE:

Although Kananginak’s name is the only name written on the prints and in the Hudson Bay Company list (Kudlalak on proofs and experiments), Terry Ryan attributes the work to Niviaksiak and cites Kananginak as the printer.

Barz, Sandra B., Inuit Artists Print Workbook, p. 360; The Inuit Print, exh. cat., from the National Museum of Man (Ottawa, ON), 1977, pp. 48-9, pl. 1

40

The Johnstone Collection of Inuit Art

60 LATCHOLASSIE AKESUK (1919-2000), ᓚᓴᓚᓯ ᐊᑲᓴ, CAPE DORSET / KINNGAIT BIRD

stone 7.1 x 7.1 x 2 in — 18 x 18 x 5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1993 EXHIBITED:

Canada House, UK, 2010 $1,000—1,500

61 MARY AYAQ ANOWTALIK (1938), ᒪᕆ ᐊᓇᐃᑕᓕ, ESKIMO POINT / ARVIAT MOTHER AND CHILD

stone, signed in syllabics 16.9 x 14.2 x 7.1 in — 43 x 36 x 18 cm PROVENANCE:

Images Boréales, Montreal, 1991 $2,000—3,000

TUESDAY, NOVEMBER 20,

2018

41

62 KIAWAK ASHOONA O.C., R.C.A. (1933-2014), ᑭᐊᓱ ᐃᓱᓇ, CAPE DORSET / KINNGAIT BEAR WITH SEAL

stone, signed in syllabics 7.3 x 8.5 x 4.5 in — 18.5 x 21.5 x 11.5 cm PROVENANCE:

Galerie D’Art Esquimau, Montreal, 1989 $2,500—3,500

63 MELIA PADLUQ (1940), ᐸᓗᒥ, CAPE DORSET / KINNGAIT OWL

stone, signed in syllabics 13.8 x 22.4 x 11 in — 35 x 57 x 28 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1999 EXHIBITED:

Winnipeg Art Gallery, Winnipeg, Manitoba $3,000—5,000

42

The Johnstone Collection of Inuit Art

64 PAUTA SAILA, R.C.A. (1916-2009), ᐸᐅᑕ ᓴᐃᓚ, CAPE DORSET / KINNGAIT POLAR BEAR

stone, ivory, c. 1969 11.25 x 8.25 x 4 in — 28 x 21 x 10.2 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1998

NOTE:

“...Pauta is primarily a sculptor, famous for his range of styles, and rightly renown for his carvings of polar bears. Bold and simple, monumental, lyrical - from the great, almost abstract bears, to his small graceful seals - his works reveal his complexity and his great personal freedom.”

Sculpture of the Inuit masterworks exhibitors of the Canadian Arctic, Joseph Murphy, 1979

$15,000—25,000 TUESDAY, NOVEMBER 20,

2018

43

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

stone, antler, signed in syllabics 6.5 x 10.2 x 2.8 in — 16.5 x 26 x 7 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1999 EXHIBITED:

Canada House, UK, 2010 $10,000—15,000

44

The Johnstone Collection of Inuit Art

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

stone, signed in syllabics 13.6 x 18.1 x 7.9 in — 34.5 x 46 x 20 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1995 $5,000—7,000

TUESDAY, NOVEMBER 20,

2018

45

67 LATCHOLASSIE AKESUK (1919-2000), ᓚᓴᓚᓯ ᐊᑲᓴ, CAPE DORSET / KINNGAIT SPIRIT BIRD

stone 16.9 x 12.2 x 7.9 in — 43 x 31 x 20 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1998 $3,000—5,000

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

stone, signed in Roman and in syllabics 3.9 x 10.2 x 3.1 in — 10 x 26 x 8 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1995 $2,500—3,500

46

The Johnstone Collection of Inuit Art

69 HENRY EVALUARDJUK (1923-2007), ᐃᕙᓗᐊᔪ, FROBISHER BAY / IQALUIT MOTHER FEEDING HER CHILD

stone 10.6 x 5.9 x 4.3 in — 27 x 15 x 11 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, November 1980, Lot 590 Waddington’s Auctioneers, Toronto, November 1999, Lot 199 Alaska Shop Gallery of Eskimo Art, New York, 1999 $4,000—6,000 TUESDAY, NOVEMBER 20,

2018

47

70 JOE TALIRUNILI (1893-1976), ᔪᐅ ᑕᓚᕈᓂᓕ, POVUNGNITUK / PUVIRNITUQ HUNTER AND WALRUS SCENE

stone, signed in Roman, c. 1962 5 x 7 x 2.5 in — 19 x 17.8 x 6.4 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1998 NOTE:

Acutely observed and vividly rendered, this smallscale hunting scene illustrates the heavy reliance of the Inuit on hunting for survival. $6,000—9,000

48

The Johnstone Collection of Inuit Art

71 JOHN TIKTAK, R.C.A. (1916-1981), ᔭᓐ ᑎᑕ, RANKIN INLET / KANGIQLINIQ INUIT FAMILY

stone, signed in syllabics 2.8 x 7.5 x 5.1 in — 7 x 19 x 13 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, November 1998, Lot 72 Alaska Shop Gallery of Eskimo Art, New York, 2001 NOTE:

“I do not think out what I will do. My thought comes out while I work. My work expresses my thought.”

John Tiktak

detail

$3,000—4,000 TUESDAY, NOVEMBER 20,

2018

49

72 GEORGE KOPAK TAYARAK (1931-1990), ᑕᐊᔭᕋ, SUGLUK / SALLUIT POLAR BEAR REFLECTION

stone, signed in Roman 5.9 x 8.3 x 4.3 in — 15 x 21 x 11 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1996 NOTE:

“The other significant event in the shaping of his (Bill Johnstone’s) taste around this time was the famous touring exhibition Sculpture of the Inuit – Masterworks of the Canadian Arctic – specifically the image in the exhibition catalogue along with the same image in Cottie Burland’s 1973 book Eskimo Art of Manno’s celebrated sculpture of a bear looking at its reflection in the ice, part of the Eccles Collection at the time and now in the National Gallery Collection in Ottawa, Canada.

It was an image that was to haunt him, its quality a mark of the kind of work he was now to seek with an ever-increasing determination to add to his always perceptive aesthetic judgement.

Meanwhile the nearest he could immediately get to owning this piece (the Manno sculpture), or something that would remind him of it formally, was (this) delightful small soapstone piece

by George Kopak Tayarak of Polar Bear Reflection.” (187) $1,500—2,000

73 PADLUQ QIATSUK (1935), CAPE DORSET / KINNGAIT OWL WITH RAISED WINGS

stone 23.2 x 11.4 x 6.3 in — 59 x 29 x 16 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1997 $1,000—2,000 50

The Johnstone Collection of Inuit Art

74 PANNUYAK CARIBOU HUNT

stone, bone, signed in Roman 4.9 x 13.8 x 3.9 in — 12.5 x 35 x 10 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2000 $1,500—2,500

75 BOBBY QUPPAAPIK TARKIRK (1934), ᐸᐅᓗᓯᑕᓐ, SUGLUK / SALLUIT ARCTIC HUNTING SCENE

stone, hide, antler 3 x 14.2 x 4.7 in — 7.5 x 36 x 12 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2001 $2,000—3,000 TUESDAY, NOVEMBER 20,

2018

51

76 UNIDENTIFIED HUNTER WITH FOX IN TRAP stone 10.2 x 7.9 x 7.5 in — 26 x 20 x 19 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2000 $1,500—2,500

77 GEORGE KOPAK TAYARAK (1931-1990), ᑕᐊᔭᕋ, SUGLUK / SALLUIT HUNTER KILLING POLAR BEAR

stone, ivory 9.4 x 14.6 x 7.3 in — 24 x 37 x 18.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1996 NOTE:

George Swinton published his second book, Sculpture of the Eskimo, in 1972. Large and lavishly illustrated, it incorporated material from his 1965 book. The cover illustration ‘Hunter Killing Bear’ by George Tayarak from Sugluk is perhaps one of the most famous Inuit carvings. $2,500—3,500 52

The Johnstone Collection of Inuit Art

78 MATTOO MOONIE MICHAEL (1958), ᒧᓂ, LAKE HARBOUR / KIMMIRUT MUSK OX

stone, horn 18.1 x 18.9 x 9.1 in — 46 x 48 x 23 cm PROVENANCE:

Images Boréales, Montreal, 1990 $1,000—1,500

79 JOSEPH SHUQSLAK (1958), ᓱᐅᓴᓪ, GJOA HAVEN / UQSUQTUUQ MUSK OX

stone, horn, signed in syllabics 4.3 x 11.4 x 3.5 in — 11 x 29 x 9 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2003 $1,000—1,500

TUESDAY, NOVEMBER 20,

2018

53

80 VITAL MAKPAAQ (1922-1978), ᒪᒪᑲᐸᐃ, BAKER LAKE / QAMANI’TUAQ HUNTER OVER SEAL HOLE

stone, bone, signed in syllabics 5.5 x 5.5 x 4.3 in — 14 x 14 x 11 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, November 2001, Lot 294 Alaska Shop Gallery of Eskimo Art, New York, 2002 $600—900

81 PETER SEVOGA (1940-2007), ᐱᑕ ᓯᕗᒐ, BAKER LAKE / QAMANI’TUAQ TWO WRESTLING FIGURES

stone 9.8 x 14.4 x 4.3 in — 25 x 36.5 x 11 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1998 $1,000—1,500

54

The Johnstone Collection of Inuit Art

82 PETER SEVOGA (1940-2007), ᐱᑕ ᓯᕗᒐ, BAKER LAKE / QAMANI’TUAQ MOTHER WITH CHILD

stone 9.4 x 9.1 x 5.5 in — 24 x 23 x 14 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1985

$1,000—1,500

83 UNIDENTIFIED, BAKER LAKE / QAMANI’TUAQ OWL HUMAN TRANSFORMATION stone 10.6 x 8.3 x 6.5 in — 27 x 21 x 16.5 cm PROVENANCE:

Galerie D’Art Esquimau, Montreal, 1988 $1,000—1,500

TUESDAY, NOVEMBER 20,

2018

55

84 ADAMIE ALARIAQ (1930-1990), ᐊᓚᑭᐊᑲ, CAPE DORSET / KINNGAIT MAN DANCING

stone 13 x 5.9 x 11 in — 33 x 15 x 28 cm PROVENANCE:

Gimpel Fils, London, 1987 EXHIBITED:

A Cabinet of Drawings and Inuit Carvings, cat. No. 9, Gimpel Fils London, 1987 $800—1,000

85 DAVID IKUTAAQ (1929-1984), ᐃᑯᑕ, BAKER LAKE / QAMANI’TUAQ STANDING INUK

stone, signed in syllabics 4.3 x 2.4 x 2.4 in — 11 x 6 x 6 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2000 $600—900

56

The Johnstone Collection of Inuit Art

86 CAMILLE IQULIQ (1962-2005), ᐃᑯᓕ, BAKER LAKE / QAMANI’TUAQ INUIT GROUP WITH BIRD

stone 12.6 x 5.5 x 9.4 in — 32 x 14 x 24 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2001 $600—900

87 JACOPOSEE OOPAKAK (1948), ᐅᐅᐸᑲ, FROBISHER BAY / IQALUIT BEAR WITH SEAL

stone 11.4 x 8.3 x 6.3 in — 29 x 21 x 16 cm PROVENANCE:

Images Boréales, Montreal, 1991 $700—1,000

TUESDAY, NOVEMBER 20,

2018

57

88 UNIDENTIFIED, KEEWATIN MAN WITH HEAVY PACK

stone 9.4 x 4.3 x 3.7 in — 24 x 11 x 9.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1991 $400—600

89 UNIDENTIFIED WOMAN

stone, c. 1954 7.1 x 2.4 x 4.3 in — 18 x 6 x 11 cm PROVENANCE:

Harold Pfeiffer Collection, Waddington’s Auctioneers, Toronto, November 1998, Lot 243 Alaska Shop Gallery of Eskimo Art, New York, 1999 $1,500—2,500

58

The Johnstone Collection of Inuit Art

90 JOSEPH ANGATAJUAK (1935-1976), ᐊᒐᑕᔪᐊ, RANKIN INLET / KANGIQLINIQ MOTHER WITH CHILD

stone, signed in syllabics, disc number inscribed 6.3 x 3.5 x 2.6 in — 16 x 9 x 6.5 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, November 2001, Lot 292 Alaska Shop Gallery of Eskimo Art, New York, 2002 For a closely-related work, see: Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, 1983, pages 34 – 37. $800—1,200

91 JOHN KAVIK (1897-1993), ᔭᓐ ᑲᕕ, , RANKIN INLET / KANGIQLINIQ MOTHER WITH CHILD

stone, signed in syllabics 6.5 x 6.7 x 6.1 in — 16.5 x 17 x 15.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1993 NOTE:

“...apparently a very early stone piece, Mother and Child has a rough monumentality and quiet dignity about it that is very moving.” (203) $2,000—3,000

TUESDAY, NOVEMBER 20,

2018

59

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

NOTE:

MOTHER WITH CHILD

“Looking at the work (in the Johnstone Collection) as regional groups, it is hard not to detect a certain innate sympathy in Bill’s tastes towards the artists of the Keewatin/Western Hudson Bay communities – Arviat (Eskimo Point), Rankin Inlet, Whale Cove and Baker Lake – where artists like John Pangnark, John Tiktak, Peter Sevoga, Lucy Tasseor Tutsweetok, Joe Angaktaayuaq, John Kavik and one of Bill’s favourites, George Arlook, wrestling with the often extremely hard-to-work local stone available to them, come up with artistic solutions of the most startling formal and powerfully expressive character. (194)

stone 15.7 x 6.3 x 8.3 in — 40 x 16 x 21 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1991 $5,000—7,000 60

The Johnstone Collection of Inuit Art

“Crude but powerful” is how Bill Johnstone described this work by Kavik.

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

stone 16.5 x 7.5 x 3.9 in — 42 x 19 x 10 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1996 NOTE:

Tutsweetok describes her sculpting technique: “I prefer to carve by the shape of the stone. If there is a curved area, I’ll put a head there.” The artist points out that when she first started using power tools she wasn’t confident with them, but now she feels “comfortable with them” for “fixing the body of the sculpture.” When creating faces she uses an axe or files to shape the nose or mouth. $3,000—5,000

TUESDAY, NOVEMBER 20,

2018

61

94 JOHN PANGNARK (1920-1980), ᔭᓐ ᐸᓇ, ESKIMO POINT / ARVIAT CROUCHING HUNTER

stone, signed indistinctly in syllabics 6.9 x 11 x 6.7 in — 17.5 x 28 x 17 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, November 1997, Lot 1147 Alaska Shop Gallery of Eskimo Art, New York, 2000 $3,000—5,000

NOTE:

“In Crouching Hunter, the real concern is for the stripped away, underlying geometry of the poised, tense figure, the roughly carved stone seemingly bursting with barely controlled human energy.” (195) “Compared to the work of his contemporaries, Pangnark’s carvings are generally small, but his forms are clean and bold, transformed from the abstract only by simple, straight-forward lines. Although it can be said that simplicity is a characteristic element of in most Eskimo art, it is rarely more pure than in the work of Pangnark.

His carvings are meant to stand, but he seldom smoothes the bottom enough. If people comment on this, Pangnark moves the carving all over the table until he finds a place where it will stand, or he bends over and squints at the level of the table or floor, saying the building is crooked.

Inevitably, he has to give in and file a flatter spot on the bottom of the carving.”

Oonark-Pangnark Exhibition Catalogue, National Arts Centre, Ottawa 1970

62

The Johnstone Collection of Inuit Art

95 LUKE ANOWTALIK (1932-2006), ᐊᓇᐃᑕ, ESKIMO POINT / ARVIAT INUIT GROUP

stone, signed in syllabics 15 x 9.4 x 6.5 in — 38 x 24 x 16.5 cm PROVENANCE:

Galerie D’Art Esquimau, Montreal, 1989 $3,000—5,000 TUESDAY, NOVEMBER 20,

2018

63

96 GEORGE ARLUK (1949-), ᐊᓗ, ESKIMO POINT / ARVIAT HUNTER AND BEAR

stone, signed in syllabics 9.8 x 8.5 x 3.9 in — 25 x 21.5 x 10 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1997 $3,000—5,000

97 ABRAHAM APAKARK ANGHIK (1951), ᐊᐃᐊᔭᑲ ᐊᐸᑲ ᐊᒋ, SALT SPRING ISLAND, B.C. LOON

stone, signed in Roman, dated ‘88 5.1 x 18.9 x 8.3 in — 13 x 48 x 21 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1992 NOTE:

Bill and Mara had differing opinions on this piece by Abe Anghik. To Bill, “it is too perfect, too refined”, however Mara really admired its gorgeous stone. As Mara liked it so much, Bill let himself be talked into buying it. $2,500—3,500

64

The Johnstone Collection of Inuit Art

98 ABRAHAM APAKARK ANGHIK (1951), ᐊᐃᐊᔭᑲ ᐊᐸᑲ ᐊᒋ, SALT SPRING ISLAND, B.C. A SHAMAN TEACHES (OLD MAN AND HIS GRANDSON) stone 18.1 x 17.1 x 9.8 in — 46 x 43.5 x 25 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1993 $4,000—6,000 TUESDAY, NOVEMBER 20,

2018

65

99 LATCHOLASSIE AKESUK (1919-2000), ᓚᓴᓚᓯ ᐊᑲᓴ, CAPE DORSET / KINNGAIT OWL

stone 26 x 11 x 10 in — 65.5 x 29 x 25 cm PROVENANCE:

Theo Waddington, London, UK, 1993 “The work of artists like Latcholassie and Parr is often referred to as primitive owing to its immediacy and directness and lack of convincing realism. Or, as Swinton preferred, these are artists concerned with ‘forms that are primary...Primary in that you can’t state it in a more simple fashion. Primitive means that it is untutored, unskilled and primary means that it is a distillation, it is the utmost’”. (116) While Cape Dorset (Kinngait) sculpture is most known for its serpentine stone, in shades of brown through green, a light-coloured marble is also very popular. The marble ranges in colour from white to green and to salmon pink, and is quarried at Andrew Gordon Bay, 50 km east of Cape Dorset. A massive vein of this predominately white stone which runs across Foxe Peninsula, was found as an alternative to the traditional quarry at Markham Bay where the familiar green carving stone is found.

This hard white stone was used in the early to mid 1970’s. Its characteristic hardness makes it a difficult medium for the sculptors to work with the tools they had available and therefore the resulting pieces lack the detail typical of Cape Dorset sculptures. However, they have a mass and luminescence that make them unique among Cape Dorset sculpture.

In conversation with Bill and Mara as we packed up the art for shipping to Canada, Bill commented: “My children will be very sad to see this guy go”.

For a closely related work, see Waddington’s Auctioneers, November 2000, lot 287 $7,000—10,000

66

The Johnstone Collection of Inuit Art

100 DAVIDIALUK ALASUA AMITTU (1910-1976), ᑎᕕᑎᐊᓗ, POVUNGNITUK / PUVIRNITUQ SEDNA CAUGHT IN A NET

stone, signed in Roman and in syllabics, disc number inscribed 4.3 x 10.4 x 1.6 in — 11 x 26.5 x 4 cm PROVENANCE:

Arden Barnes Collection, Waddington’s Auctioneers, Toronto, November 1999, Lot 253 Alaska Shop Gallery of Eskimo Art, New York, 2000 $5,000—7,000

TUESDAY, NOVEMBER 20,

2018

67

101 HENRY EVALUARDJUK (1923-2007), ᐃᕙᓗᐊᔪ, FROBISHER BAY / IQALUIT INUIT WOMAN HOLDING HER CHILD stone 18.5 x 6.5 x 6.3 in — 47 x 16.5 x 16 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, November 2000, Lot 360 Alaska Shop Gallery of Eskimo Art, New York, 2001 $7,000—10,000 NOTE:

“From Igloolik we moved to Pond Inlet. It was there that I started to carve. A white man there said that my uncle and one other man were the only people who carved in this settlement. I told him I knew I could carve too if I tried … I have been carving since then.

Excerpt courtesy Inuit Art Section, Indian and Northern Affairs Canada (INAC), 1997.

68

The Johnstone Collection of Inuit Art

102 HENRY EVALUARDJUK (1923-2007), ᐃᕙᓗᐊᔪ, FROBISHER BAY / IQALUIT KNEELING WOMAN

stone, signed in Roman and in syllabics, c. 1981 13.8 x 10.6 x 6.7 in — 35 x 27 x 17 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1993 $5,000—7,000 TUESDAY, NOVEMBER 20,

2018

69

103 KAROO ASHEVAK (1940-1974), ᑲᕈ ᐊᓴᕙ, SPENCE BAY / TALOYOAK BUST OF A SHAMAN

stone, signed in syllabics, c. 1973 4.5 x 1.5 x 1 in — 12 x 3.8 x 2.5 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, November 1999, Lot 369 Alaska Shop Gallery of Eskimo Art, New York, 2001 NOTE:

“…given the timeframe in which Johnstone has been forming this collection, some of the major figures from the very early (period) of modern Inuit art had already either died or, through age, largely ceased to practice. The short-lived Ashevak Karoo is presented only by a comparative small, though nonetheless typically haunting and powerful, piece, Bust of a Shaman. (190) $4,000—6,000

104 MARIE KUUNNUAQ (1933-1990), ᒧᕆ, BAKER LAKE / QAMANI’TUAQ FAMILY COMPOSITION

stone 16.5 x 11 x 5.9 in — 42 x 28 x 15 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1999 EXHIBITED:

Canada House, UK, 2010 $2,000—3,000

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105 DAVIE ATCHEALAK (1947-2006), ᑎᕕ ᐊᓯᐊᓪ, FROBISHER BAY / IQALUIT DANCING WALRUS

stone, antler, signed in Roman 43 x 16 x 16 in — 109.2 x 40.6 x 40.6 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1994 $3,000—5,000

106 MANNO (1923-1973), ᒪᓄ, FROBISHER BAY / IQALUIT TWO BEARS FIGHTING OVER WALRUS stone, bone 5.3 x 8.9 x 5.3 in — 13.5 x 22.5 x 13.5 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, 2003 NOTE:

Johnstone...did finally acquire three other fine Mannos, the most outstanding example of which is perhaps the almost translucent serpentine piece Two Bears fighting over a Walrus. (187) $2,500—3,500

TUESDAY, NOVEMBER 20,

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107 SIMON KRISTOFFERSON (1933-1990), NUUK, WEST GREENLAND WRESTLING

stone, signed in Roman 7.9 x 7.9 x 4.3 in — 20 x 20 x 11 cm PROVENANCE:

Sahva, Copenhagen, 1982 $1,500—2,000

108 MATHEW AQIGAAQ (1940-2010), ᒪᑐ ᐊᑭᒐ, BAKER LAKE / QAMANI’TUAQ INUIT DRUMMER

stone, bone, antler, signed in syllabics 10.6 x 5.9 x 6.7 in — 27 x 15 x 17 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2002 $2,500—3,500

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The Johnstone Collection of Inuit Art

109 ABRAHAM POV (1927-1994), ᐊᐃᐊᔭᑲ ᑕᓕᕈᓂᓕ ᐱᐅᕕ, PORT HARRISON / INUKJUAK WOMAN HOLDING FISH WITH CHILD AT HER SIDE

stone, signed in syllabics 16.9 x 12.8 x 6.3 in — 43 x 32.5 x 16 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1999 $3,000—5,000

TUESDAY, NOVEMBER 20,

2018

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110 DAVIDIALUK ALASUA AMITTU (1910-1976), ᑎᕕᑎᐊᓗ, POVUNGNITUK / PUVIRNITUQ CROUCHING MOTHER AND CHILD

stone, signed in Roman, disc number inscribed 2.8 x 1.8 x 2 in — 7 x 4.5 x 5 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, November 1993, Lot 925 Alaska Shop Gallery of Eskimo Art, New York, 1994 $1,000—2,000

111 ABRAHAM POV (1927-1994), ᐊᐃᐊᔭᑲ ᑕᓕᕈᓂᓕ ᐱᐅᕕ, PORT HARRISON / INUKJUAK WOMAN WITH ULU AND WALRUS HEAD

stone, signed in syllabics, dated ‘82 11.8 x 11 x 6.3 in — 30 x 28 x 16 cm PROVENANCE:

Arctic Showcase Inc., Elmsford, New York, 1983 $600—900

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112 LUKE ANOWTALIK (1932-2006), ᐊᓇᐃᑕᓕ, ESKIMO POINT / ARVIAT KNEELING MOTHER WITH CHILD stone 5.1 x 4.7 x 3 in — 13 x 12 x 7.5 cm PROVENANCE:

Gimpel Fils, London, 1986 $400—600

113 LUKE ANOWTALIK (1932-2006), ᐊᓇᐃᑕᓕ, ESKIMO POINT / ARVIAT BUST OF A MAN

stone, signed in syllabics 3 x 3 x 2 in — 7.5 x 7.5 x 5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1999 $300—400

TUESDAY, NOVEMBER 20,

2018

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114 REGILEE PIUNGITUQ (1953), ᐱᐅᒋᑐ, CLYDE RIVER / KANGIQTUGAAPIK DRUM DANCER

whalebone, hide 7.5 x 6.3 x 6.3 in — 19 x 16 x 16 cm PROVENANCE:

Galerie D’Art Esquimau, Montreal, 1989 $600—900

115 REGILEE PIUNGITUQ (1953), ᐱᐅᒋᑐ, CLYDE RIVER / KANGIQTUGAAPIK DRUM DANCER

whalebone, antler 18.9 x 13.4 x 9.1 in — 48 x 34 x 23 cm PROVENANCE:

Galerie D’Art Esquimau, Montreal, 1989 $3,000—5,000

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116 LOU PAULA KUNNUK (1970), ᑯᓄ, IGLOOLIK / IGLULIK BIRD AND ANIMALS COMPOSITION

whalebone 16 x 10 x 10 in — 27 x 25.5 x 32 cm PROVENANCE:

Galerie D’Art Esquimau, Montreal, 1989 $700—1,000

117 MANNO (1923-1973), ᒪᓄ, FROBISHER BAY / IQALUIT HUNTER AND SEAL

stone, signed in Roman, disc number inscribed 7.9 x 4.5 x 4.1 in — 20 x 11.5 x 10.5 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, 2002, lot 48 $1,000—1,500

TUESDAY, NOVEMBER 20,

2018

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118 PUDLO MANIAPIK (1946), ᒪᓂᐊᐱ, PANNIRTUQ / PANGNIRTUNG SEDNA IN A PARKA

stone 2.8 x 8.7 x 4.3 in — 7 x 22 x 11 cm PROVENANCE:

Margot Gallery, New York, 1985 $300—500

119 JOANASIE NOWKAWALK (1926), ᓇᐃᑲᕈᐊ, PORT HARRISON / INUKJUAK HUNTER EATING MUKTUK

stone, signed in syllabics, disc number inscribed 7.1 x 7.7 x 5.5 in — 18 x 19.5 x 14 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2001 $400—600

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120 MANNO (1923-1973), ᒪᓄ, FROBISHER BAY / IQALUIT HUNTER WITH SEAL

stone, signed in Roman, disc number inscribed 8.5 x 7.3 x 5.1 in — 21.5 x 18.5 x 13 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, 2004 $1,000—1,500

121 LEVI QUMALUK (1919), ᑯᒪᓗ, POVUNGNITUK / PUVIRNITUQ INUK FISHING

stone, bone, hide, signed in Roman, dated ‘81 16.5 x 10.2 x 9.1 in — 42 x 26 x 23 cm PROVENANCE:

Arctic Showcase Inc., Elmsford, New York, 1983 EXHIBITED:

Canada House, UK, 2010 $1,000—1,500

TUESDAY, NOVEMBER 20,

2018

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122 UNIDENTIFIED, BARROW, ALASKA RINGED SEAL

ivory, ink 1 x 3.8 x 1.6 in — 2.5 x 9.75 x 4 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1994 $300—500

123 BOBBY R. NASHOOKPUK (1958), POINT HOPE, ALASKA IVORY BOX

ivory, incised and carved with seals, with an ivory carved seal inside 2.5 x 3 x 1.5 in — 6.4 x 7.6 x 3.8 cm $200—400

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The Johnstone Collection of Inuit Art

124 WALRUS TUSK CRIBBAGE BOARD, NUNIVAK ISLAND, ALASKA, C. 1880

ivory, elaborately relief carved with sea creatures width 18.9 in — 48 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1995 $5,000—7,000 NOTE:

“Inupiaq peoples were engraving representational images on ivory long before contact with EuroAmericans. Linear and circular designs have been found engraved on utilitarian tools at the earliest archaeological sites in the region and ivory featuring pictorial designs can be dated back to A.D. 12001800 (the time of Thule culture).

Northern Alaskans sold their belongings and engravings to occasional travelers and laborers on board ships for many years after arrival of EuroAmericans, but it was not until the gold rushes of the Klondike and Nome that permanent markets for Northern Alaskan art identified as “market art,” art described by Dorothy Ray Jean as art generally made for non-native consumers, was established.

In the first two decades of the 20th century, the new market for Northern Alaskan art emerged.

As gold-rush customers realized the local Native population was extremely adept at copying illustrations and objects in two and threedimensional forms, the market became flooded with ivory objects such as gavels, umbrella heads, napkin rings, tableware penholders, cigar holders, smoking pipes, long strings of beads, belt buckles, vases, toothpick holders, and many other objects.

The most popular item to appear among these goods was the cribbage board.”

State of Alaska Department of Education, Sheldon Jackson Museum, November 2013 TUESDAY, NOVEMBER 20,

2018

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IVORIES FROM THE JOHNSTONE COLLECTION What makes the Johnstone Collection particularly significant is the inclusion of items from the Prehistoric and Historic periods, providing a cultural and historical perspective, as well as challenging the notion that Inuit art only exists as a reflection of Western influence.

Throughout the various periods dating back to the middle of the first millennium B.C., the skilled workmanship and keen observation of their surroundings is evident in the tools, implements, engraved ornaments or figures they created. In an environment where wood was scarce, walrus tusk ivory was used. Walrus ivory survives extremely well in the permafrost of the north and when buried, the ivory becomes stained to a variety of rich, warm colours – yellow, brown and sometimes even black. When these objects were originally made they would have been the original warm, off-white of fresh walrus ivory.

These carved and decorated ivory objects provide insight into day-to-day life and the cultural development of the Bering Sea region. Much of the chronology of the prehistoric people inhabiting the Bering Strait is based on the changes in shapes and decoration of these objects.

The ivories in the Johnstone Collection include excellent examples from all the periods.

Old Bering Sea I/Okvik Period (ca. 1 A.D. –700 A.D.) Old Bering Sea, a fully developed maritime culture, evolved in the Bering Strait by the middle of the first millennium B.C. along the shores and on the islands of the Bering Sea and the Bering Strait, and on the neighboring Arctic shores. It flourished between the third and sixth century B.C. The archeological remains reveal a true Inuit way of life; a subsistence of hunting tools like harpoon toggles, snow goggles, winged objects, bow drills, as well as human figural objects theorized as either dolls for children or as having apotropaic functions.

Old Bering Sea II (ca 100 A.D. – 300 A.D.) “Each line and curve that followed the natural contours of an ivory artifact or a lifelike figure was cut by a forceful or featherlight hand to produce a design that seems to have evolved as the artist felt out his medium. Incredibly skillful combinations based on free-flowing curves fill whole broad faces of ivory artifacts, combining stylized small elements into a coordinated whole…The carvings of the Old Bering Sea appear…balanced and pleasing as if their artists lead a secure, even serene existence.”

Allen Wardwell, Ancient Eskimo Ivories of the Bering Strait, Hudson Hills Press, New York, 1986, pg. 63

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Old Bering Sea III (ca 300 A.D. – 500 A.D.) “This had been the Eskimo’s golden age. Eskimo art then rose to its greatest heights. Weapons, tools and implements were richly decorated with elaborate and sophisticated designs. Flowing lines, circles and ellipses deftly incised on walrus ivory combined to form decoration of rare grace and beauty.”

Allen Wardwell, Ancient Eskimo Ivories of the Bering Strait, Hudson Hills Press, New York, 1986, pg. 81 Birnirk/Punuk period (ca. 500 A.D.–1200 A.D.) The Punuk culture developed from the earlier Ancient (Old) Bering Sea Culture, brought on by an influx of new materials, techniques, implements and beliefs. They did not seem to hold the same spiritual concepts as the earlier artistic tradition. In addition to seal and walrus hunting, whaling from large boats and hunting on land were also developed, and people began living in larger settlements, as whale hunting required a larger number of hunters to capture. Iron was present during the Punuk times, and most of the engravings were done with metal, resulting in more formal and mechanical lines than the free hand Old Bering Sea expressions. Circles were cut with double pointed metal bits, like compasses, and therefore were perfectly round and lacking the irregularity of Old Bering Sea free hand ovals, which were more geometric.

Thule (ca. 900 A.D.–1500 A.D.) The Thule culture developed in coastal Alaska approximately AD 1000 and expanded eastwards across Canada, reaching Greenland by the 13th century. In the process, they replaced the earlier Dorset culture that had previously inhabited the region. They brought with them a sophisticated sea-hunting technology that had been developed in the Bering Sea area. They were excellent whalers and hunters, but beyond this their culture was relatively simple, and were not particularly accomplished artists, unlike their predecessors. By the end of the prehistoric period, most artifacts were void of decoration. The rich ivory carving traditions that had grown over a thousand years had gradually disappeared, surviving only in the south east arctic.

Allen Wardwell, Ancient Eskimo Ivories of the Bering Strait, Hudson Hills Press, New York, 1986, pgs. 15-23

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125 YUP’IK BOWL, NUNIVAK ISLAND, ALASKA

wood, decorated with iconographs, late 19th century 1 x 7 x 7 in — 2.5 x 17.8 x 17.8 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1991 $1,000—1,500

126 YUP’IK MASKETTE WITH INSET LABRETS

wood, c. 19th century, collected in Uksuqalleq, Alaska 6.1 x 4.1 in — 15.5 x 10.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1999 $3,000—5,000

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The Johnstone Collection of Inuit Art

127 HAIR COMB, ALASKA

ivory, carved and engraved as a female figure, c. 19th century 3.1 x 1.1 x 0.4 in — 8 x 2.75 x 1 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1991 NOTE:

See: William Fitzhugh, Gifts from the Ancestors: Ancient Ivories of Bering Strait, 2009, page 153 for similar works $2,000—3,000

TUESDAY, NOVEMBER 20,

2018

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128 COMB WITH SEAL HEAD TOGGLE

ivory, early 19th century 0.4 x 5.9 x 0.8 in — 1 x 15 x 2 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1992 NOTE:

An ivory comb, used for cleaning and defrosting fur garments and bedding, and splitting strips of baleen and grass for weaving.

See: William Fitzhugh, Gifts from the Ancestors: Ancient Ivories of Bering Strait, 2009, page 153 $700—1,000

129 HARPOON SOCKET PIECE, ST. LAWRENCE ISLAND, ALASKA

bone, carved as a bear head 1.5 x 8 in — 3.8 x 20.3 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1993 $500—700

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The Johnstone Collection of Inuit Art

130 GOGGLES AND VISOR WITH FASTENINGS

wood and hide, c. 19th century 1.4 x 5.7 x 2 in — 3.5 x 14.5 x 5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1993 $1,500—2,500

TUESDAY, NOVEMBER 20,

2018

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131 THREE HAIR COMBS, THULE, BREVIG MISSION, ALASKA

bone, carved and incised, c. 18th century, 3 x 1.2 in — 7.5 x 3 cm; 7.75 x 3 in — 19.7 x 7.6 cm; 7.75 x 4.25 in — 19.7 x 10.8 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1987 $3,000—5,000

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132

133

ULU HANDLE, OLD BERING SEA II, ST. LAWRENCE ISLAND, ALASKA

DRAG HANDLE, GAMBEL, ST. LAWRENCE ISLAND, ALASKA

PROVENANCE:

PROVENANCE:

$3,000—5,000

$2,000—3,000

NOTE:

NOTE:

ivory, circle dot motif with fastening loop 1.5 x 4 in — 3.8 x 10.2 cm

Alaska Shop Gallery of Eskimo Art, New York, NY, 2000

Ulu handles, single edged knives used by women for butchering animals, removing blubber and processing fish, frequently received elaborate decoration. This piece is decorated with a combination of engraved lines and typical circle dot motifs.

See: William Fitzhugh, Gifts from the Ancestors: Ancient Ivories of Bering Strait, 2009, page 149, figure 12 for a similar handle.

ivory, carved and incised, c. early 19th century 1.2 x 3.1 x 0.4 in — 3 x 8 x 1 cm Alaska Shop Gallery of Eskimo Art, New York, NY, 1991

Drag handles were used to haul dead animals over snow and ice. The ivory handle would be attached to a permanent loop of seal skin or walrus hide.

Paul & Mary Thirty, Eskimo Artifacts: Designed for Use, 1977, page 294

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134 BOW DRILL, ST. LAWRENCE ISLAND, ALASKA ivory, decorated with pictographs, mid 19th century 0.5 x 20.1 in — 1.25 x 51 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1998 $3,000—5,000

Bow drills are used for piercing holes and for engraving works. The black paint was created from charcoal or gunpowder. The drill part is generally wooden with a point, made to revolve rapidly forwards and backwards.

A raw hide thong would be passed around it twice, and then fastened to the bow at each end and sewn back and forth, with the drill usually being held in the user’s teeth.

These types of engravings were in considerable vogue with Europeans in the 19th century, as they portrayed silhouettes of typical Inuit day to day life. However, ivories excavated in Cape Prince of Wales, Alaska dated from 1000 AD show that this was a genuinely Inuit artistic style, which had originated in the Bering Strait in prehistoric times. The excavated ivory depicted representations of four men in an umiak harpooning a whale, with two men in kayaks throwing bird spears at loons. This tradition of engraving seems to represent the backbone from which the later pictorial engravings emerged.

Susan M. Pearce, Eskimo Carving, Shire Publication, UK, 1985, page 14-15, 46

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135 MASKETTE, POSSIBLY DORSET ivory 1 x 1.5 in — 2.5 x 3.8 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1994 $1,500—2,500

136 BOX HANDLE, BREVIG MISSION, ALASKA

ivory, caved with floating seals, c. 19th century 0.8 x 6.1 in — 2 x 15.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1994 $2,000—3,000

TUESDAY, NOVEMBER 20,

2018

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137 FEMALE TORSO, OLD BERING SEA I, OKVIK

ivory, carved with finely incised detail figural height 4.3 in — 11 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1998 Collection of Mr. & Mrs. J. Gordon Douglas III $15,000—20,000 NOTE:

Illustrated in: Allen Wardwell, Ancient Eskimo Ivories Of The Bering Strait, 1986, figure 36

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The Johnstone Collection of Inuit Art

138 BOW DRILL CAP, 18TH/19TH CENTURY OR EARLIER ivory, carved with elaborately drilled and incised decoration 1 x 3 x 2.3 in — 2.5 x 7.5 x 5.75 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1996 $2,500—3,500

TUESDAY, NOVEMBER 20,

2018

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139 HARPOON COUNTER WEIGHT, OLD BERING SEA II ivory, carved and incised 3 x 6 x 1.2 in — 8 x 15.5 x 3 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2000 $3,000—5,000

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NOTE:

Harpoon counterweights were placed on the butt end of a hunter’s dart shaft to act as a counter balance when the darts were thrown. Masterfully decorated, expressive and dynamic, and perhaps inspired by the form of a bird with large wings, this example demonstrates the stylistic transition from the winged to the Punuk trident form.

William Fitzhugh, Gifts from the Ancestors: Ancient Ivories of Bering Strait,2009, page 185 for similar works.

140 DOLL HEAD, LATE PUNUK OR THULE

ivory, carved with incised decoration and labrettes 2 x 1.75 x 1.75 in — 5.1 x 4.4 x 4.4 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1999 For a similar piece and more information, see William Fitzhugh, Gifts from the Ancestors: Ancient Ivories of Bering Strait, 2009, page 237 figure 12, and page 287, figure 26. $2,000—3,000

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141

142

UMIAK WITH OARSMEN, POSSIBLY THULE, ST. LAWRENCE ISLAND, ALASKA

CARVED POLAR BEAR, OLD BERING SEA II, ST. LAWRENCE ISLAND, ALASKA

PROVENANCE:

PROVENANCE:

$1,000—1,500

$2,000—3,000

ivory 1.6 x 5.1 x 1 in — 4 x 13 x 2.5 cm

Alaska Shop Gallery of Eskimo Art, New York, 1996

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ivory .5 x 2.5 in — 1.3 x 6.4 cm

Alaska Shop Gallery of Eskimo Art, New York, 1995

Ivory amulets were often found on hunting visors and hats, the Inuit believing that such charms protected them from forces outside their control and aided them in the hunt. Although amulets functioned in a wide variety of context, they were often used to attract the animal to the hunter; to appease the animal so that it would allow itself to be killed, and to return the animal’s “shade” or spirit back to the land or sea.

Amulets generally represent the desired game and were often rendered in bone, antler, wood or most commonly, ivory.

Paul & Mary Thirty, Eskimo Artifacts: Designed for Use, 1977, page 140

143

144

BIRD; SEAL AMULETS, ALASKA

WALRUS AMULET, OLD BERING SEA II

ivory, drilled for attachment 0.7 x 0.8 x 0.6 in — 1.75 x 2 x 1.5 cm; 0.8 x 1.4 x 0.5 in — 2 x 3.5 x 1.25 cm

ivory 1 x 1 x 0.6 in — 2.5 x 2.5 x 1.5 cm PROVENANCE:

PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1994

Alaska Shop Gallery of Eskimo Art, New York, 1995

$300—500

$600—900

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145 CARVED FEMALE FIGURE, OLD BERING SEA I, OKVIK, ST. LAWRENCE ISLAND, ALASKA ivory figural height 9.8 in — 24.9 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1999 $8,000—12,000 NOTE:

Often theorized as having been created as children’s dolls, the true function of these human figures from the Bering Strait remains a mystery.

Collectors and historians rebut the doll theory and argue that they are far too beautiful to simply have been used as a children’s toy. Other scholars theorize the figures to have apotropaic functions, such as serving as fertility dolls, birthing amulets, or acting as general household guardians.

Regardless of the function, it is evident these figures played a complex role for the people in ancient Bering Strait culture.

Princeton University Art Museum, The Lloyd E. Cotsen, Class of 1950, Eskimo Bone and Ivory Carving Collection, 1997, page 106

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146 FEMALE FIGURE, PUNUK, ST. LAWRENCE ISLAND, ALASKA ivory, carved and incised figural height 4.7 in — 11.9 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1997 EXHIBITED:

American Federation of the Arts, Ancient Eskimo Ivories of the Bering Strait, July 1986 $7,000—10,000 TUESDAY, NOVEMBER 20,

2018

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147 ANTHROPOMORPHIC NEEDLE CASE, IPIUTAK

ivory, carved and elaborately incised figure height 4.1 in — 10.4 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1999 $2,000—3,000

100 The Johnstone Collection of Inuit Art

NOTE:

“Ipiutak art employs similar types of line art together with a wide repertoire of semihuman beastly faces, human forms, and animal representation with skeletal and join markings.”

For a similar figure, see Allen Wardell, Ancient Eskimo Ivories Of The Bering Strait, 1986, plate 148

148 FEMALE FIGURE, PUNUK

ivory, carved with incised detail figural height 6.25 in — 15 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1997 Collection of Mr. & Mrs. J. Gordon Douglas III

NOTE:

The straight and right-angled lines, some of them ending in dots, are typical of Punuk engraving.

Illustrated in Allen Wardell, Ancient Eskimo Ivories Of The Bering Strait, 1986, plate 116

$6,000—9,000

TUESDAY, NOVEMBER 20,

2018

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149 FEMALE FIGURE, ST. LAWRENCE ISLAND, ALASKA

ivory, carved and incised with arms drawn back, c. 19th century figural height 3.25 in — 7.9 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1992 NOTE:

For a closely-related work, please see Sculpture/Inuit: Masterworks of the Canadian Arctic, Canadian Eskimo Arts Council, 19711973, plate 24 $2,000—3,000

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150 CARVED FIGURE, OKVIK, ST. LAWRENCE ISLAND, ALASKA ivory figural height 3.8 in — 9.7 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1993 NOTE:

These Okvik figures combine elegant facial features and simple skeletal-like lines on their torso that may represent garments or amulet straps, as in this figure, whose black colour is a result of soil mineralization. If you look closely, the figure also has tattooed cheeks, suggesting not only an ancient traditional culture, but a way to transform the body through aesthetic or ritual means. $3,000—5,000

TUESDAY, NOVEMBER 20,

2018 103

151 HARPOON POINT, OLD BERING SEA II

ivory, carved and incised 5.1 x 1 x 0.7 in — 13 x 2.5 x 1.75 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1993 $1,000—1,500

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NOTE:

The vital task of hunting required the cooperation of the most powerful spirits, so hunting equipment was singled out for exceptional craftsmanship and decoration. You can see the typical motifs of Old Bering Sea II in this lot, delving into more complex lines and circles.

152 AWL, ALASKA

ivory, carved with chain attachment and incised 0.6 x 6.5 in — 1.5 x 16.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1994 $1,000—1,500

153 AWL, OLD BERING SEA II, GAMBEL, ST. LAWRENCE ISLAND, ALASKA ivory, carved and incised as a seal 0.7 x 3.8 x 0.8 in — 1.75 x 9.75 x 2 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2000 $1,500—2,000 NOTE:

When bone or ivory needles are used to sew thick hide, the holes for the stitches are made with an awl. Awls, like bag fasteners and needle cases, are elaborately decorated by men and are among a woman’s treasured possessions.

Fitzhugh & Kaplan, inua: spirit world of the bering sea eskimo, 1982, page 136, plate 153

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154

155

ULU, OLD BERING SEA I, OKVIK, ST. LAWRENCE ISLAND, ALASKA

DOLL, GAMBELL, ST. LAWRENCE ISLAND, ALASKA

PROVENANCE:

PROVENANCE:

ivory, stone, carved and incised 2.8 x 4.7 x 0.7 in — 7 x 12 x 1.75 cm

Alaska Shop Gallery of Eskimo Art, New York, 1991 $2,000—3,000

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wood, carved with inset bead labrets 7.1 x 1.2 x 1.8 in — 18 x 3 x 4.5 cm

Alaska on Madison, New York City, NY, 2003 $2,500—3,500

156 DOLL, POSSIBLY DORSET

ivory 4.9 x 1.8 x 1 in — 12.5 x 4.5 x 2.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1996 $4,000—6,000

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2018 107

157 CARVED FIGURE, OKVIK, GAMBELL, ST. LAWRENCE, ALASKA ivory 3.9 x 1.4 x 0.8 in — 10 x 3.5 x 2 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 2001 $4,000—6,000

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The Johnstone Collection of Inuit Art

158 OIL DISH, PUNUK, ST. LAWRENCE ISLAND, ALASKA ivory 1 x 3.9 x 1.4 in — 2.5 x 10 x 3.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1991 $800—1,200

159 SEAL FORM DRILL CAP, PUNUK

ivory 1 x 4.3 x 1.4 in — 2.5 x 11 x 3.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1998 $1,500—2,000

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2018 109

160 NEEDLE CASE, NUNIVAK ISLAND, ALASKA

ivory, skin and sinew, carved with bears, mid 19th century 1.5 x 6.5 in — 3.8 x 16.5 cm PROVENANCE:

Alaska Shop Gallery of Eskimo Art, New York, 1992 $600—900

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The Johnstone Collection of Inuit Art

161 ETCHED PANEL

ivory, decorated with Arctic figures and scenes 3 x 24 x 2 in — 7.5 x 61 x 5 cm $1,000—1,500

162 WHALING HARPOON, NUU-CHA-NULTH NOOTKA

shell, resin, ivory, rope of sinew, elk horn, incised ivory, measured as pictured 9 x 12 in — 22.9 x 30.5 cm PROVENANCE:

Bears the James Hooper Collection inventory number 951.B. $700—900

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Index A Alariaq, Adamie (1930-1990) E7-1090…84 Alashuak, Alice (1919-d)…1 Akesuk, Latcholassie (1919-2000) E7-1055…60, 67, 99 Amittu, Davidialuk Alasua (1910-1976) E9-824…100, 110 Angatajuak, Joseph (1935-1976) E1-486…90 Anghik, Abraham Apakark (b.1951) W3-1205…97, 98 Angutikjuak, Iikoo (b.1942)…21 Anowtalik, Luke (1932-2005) E1-524…45, 95, 112, 113 Anowtalik, Mary Ayaq (b.1938) E1-447…46, 61 Aqigaaq, Mathew (1940-2010) E2-350…30, 108 Aqpiq, Annie…13 Arluk, George (b.1949) E3-1049…23, 44, 96 Arnasungaaq, Barnabus (1924-2017) E2-213…28, 31, 32 Ashevak, Karoo (1940-1974) E4-196…103 Ashevak, Kenojuak (1927-2013) E7-1035…55 Ashoona, Kiawak (1933-2014) E7-1103…62 Atchealak, Davie (1947-2005) E7-1182…105 E Etungat, Abraham (1911-1999) E7-809…66 Evaluardjuk, Henry (1923-2007) E5-846…68, 69, 101, 102 I Ipeelee, Osuitok (1923-2005) E7-1154…35, 65 Iquliq, Camille (1962-2005) E3-1471…15, 86 Ikutaaq, David (1929-1984) E2-349…85 Iyaituk, Matiusie (b.1950) E9-963…33 J Jaw, Pootoogook (b.1959) E7-1667…53 Joanas, Johnny…22 K Kavik, John (1897-1993) E2-290…41, 91, 92 Ken, Thomassie…12 Kiakshuk (1886-1966) E7-105…56 Kopevqualuk, Eric…7 Kristofferson, Simon (1933-1990)…107 Kunnuk, Lou Paula (b.1970)…116 Kuunnuaq, Marie (1933-1990) E2-126…104 M Makpaaq, Vital (1922-1978) E2-120…29, 80 Manno (1923-1973) E7-887… 106, 117, 120 Possibly: Maniapik, Manasee (b.1939) E6-290…54 Maniapik, Pudlo (b. 1946) E6-480…118 Massie, Michael (b.1962)…47 Michael, Matoo Moonie (b.1958) E7-1454….78 Miki, Andy (1928-1983) E1-426…25

N Nashookpuk, Bobby R. (b.1958)…123 Natsiapik, Rupee (b.1933) E6-139…9 Niviaxie (1909-1959) E7-107…59 After: Novalinga, Johnny (1908-1978) E9-1469…3 Nowkawalk, Joanasie (b.1926) E9-908…119 Nunga, Aisara Nuvalinga (b.1923) E9-1472…5 Nutaraluk, Elizabeth (1914-1998) E1-445…51 O/P Oopakak, Jacoposee (b.1948) E6-539…36, 87 Padluq, Melia (b.1940) E7-1151…63 Pannuyak…74 Pangnark, John (1920-1980) E1-104…26, 27, 52, 94 Parr (1893-1969) E7-1022…58 Pee, Koujou…19 Piungituq, Regilee (b.1953)…114, 115 Pov, Abraham (1927-1994) E9-884…109, 111 Pudlat, Innukjuakju (1913-1972) E7-852…57 Q Qiatsuk, Padluq (b.1935) E7-847…73 Quillaaq, Marriah…18 Qumaluk, Leah (b.1934) E9-1721…4 Qumaluk, Levi (1919-d) E9-843…121 S Saila, Pauta (1916-2009) E7-990…34, 64 Sevoga, Peter (1940-2007) E2-225…81, 82 Shuqslak, Joseph (b.1958) E4-810…79 Singorie, Suzanna (b.1925) E5-720…20 Sivuraq, Thomas (b.1941) E2-236…14, 16 T/U Talirunili, Joe (1893-1975) E9-818…38, 70 Tarkirk, Bobby Quppaapik (1934-d) E9-1054...75 Tayarak, George Kopak (1931-1990) E9-1167…72, 77 Temela, Nalenik (1939-2003) E-771…17 Tiktak, John (1916-1981) E1-266…39, 71 Tullaugak, Alasi Audla (B.1935) E9-1455…2 Tutsweetok, Lucy Tasseor (1934-2012 E1-135…24, 40, 93 Ullulaq, Judas (1937-1999) E4-342…37

Inuit Art Auction TUESDAY, NOVEMBER 20, 2018

Kenojuak Ashevak The Enchanted Owl

Including: The Johnstone Collection Selections from The Collection of Terry Ryan

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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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

The Johnstone Collection of Inuit Art

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.

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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

FINE PRINTS & PHOTOGRAPHY Susan Robertson 416-847-6179

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

dp@waddingtons.ca JEWELLERY, WATCHES & NUMISMATICS

Bill Kime Silver, Glass & Ceramics

INTERNATIONAL ART Susan Robertson

bk@waddingtons.ca

sr@waddingtons.ca

dpm@waddingtons.ca

Sean Quinn Sculpture, Decorations,

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

416-847-6189

Clocks & Lighting 416-847-6187

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

hd@waddingtons.ca

416-847-6179

416-847-6191

Don P. McLean 416-847-6170

416-847-6194

skr@waddingtons.ca 416-847-6182

Devin Hatfield 416-847-6181

dh@waddingtons.ca

Operational Staff PRESIDENT Duncan McLean 416-847-6183

adm@waddingtons.ca VICE PRESIDENT 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

DESIGN & PRODUCTION Julia Deo 416-847-6188

jcd@waddingtons.ca Solomon Alaluf 416-504-9100

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

jm@waddingtons.ca

ACCOUNTS Karen Sander

APPRAISALS & CONSIGNMENTS

416-847-6173

Ellie Muir

ks@waddingtons.ca Elda Pappada 416-847-6177

ep@waddingtons.ca

416-847-6171

tm@waddingtons.ca

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

bbp@waddingtons.ca COLLINGWOOD Valerie Brown 705-445-8811

vb@waddingtons.ca COMMUNICATIONS Tess McLean

416-847-6196

CLIENT SERVICES Andrew Brandt 416-847-6168

ab@waddingtons.ca VANCOUVER Jacqui Dixon

778-837-4588 jd@waddingtons.ca

Alec Kerr 416-847-6166

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

ns@waddingtons.ca

Inuit Art www.waddingtons.ca

Telephone: 416-504-9100 Fax: 416-504-0033 Toll Free: 1-877-504-5700

275 King Street East, Second Floor Toronto, Ontario Canada M5A 1K2