Inuit Art | December 4 - 9, 2021

Inuit Art Auction DECEMBER 4 - 9, 2021

AUCTION STARTS

INUIT ART

COVER

Saturday, December 4 at 9am ET

416-847-6191 inuitart@waddingtons.ca

Lot 33 JESSIE OONARK DREAMS AND MEMORIES

AUCTION ENDS

Thursday, December 9 at 7pm ET

SENIOR SPECIALIST

BID AND VIEW ALL LOTS

Duncan McLean

ONLINE AT

www.waddingtons.ca

CONSIGNMENT SPECIALIST

Palmer Jarvis

COVER Lot 37 HELEN KALVAK FROM PEOPLE TO ANIMALS

Absentee bidding available upon request.

INSIDE BACK COVER

All lots including additional images, essays and reports can be viewed online at www.waddingtons.ca

Lot 152 KAROO ASHEVAK DRUMMER

IMPORTANT NOTE

OPPOSITE

We are pleased to provide in-person previews for this auction.

Please visit our website for confirmation of dates and times.

Lot 13 JESSIE OONARK WOMAN IN PROFILE

Waddington’s 275 King Street East, 2nd Floor Toronto, Ontario M5A 1K2 1-877-504-5700 416-504-9100

This auction is subject to the Conditions of Sale on our website.

This catalogue and its contents ©2021 Waddington McLean and Company Ltd. All rights reserved.

Photography and design by Waddington’s.

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JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ SHAMAN MUSK OX TRANSFORMATION

Waddington’s is pleased to present our major Fall 2021 auction of exceptional works of Inuit Art. This auction reflects the lifetime collecting journeys of W.A. Ross MacFadden, Toronto, Ontario and Fred & Laura Reif, Berkeley, California, accompanied by notable works sourced from private collectors across North America.

We are particularly pleased to offer Mr. MacFadden’s remarkable collection of 43 Qamani’tuag (Baker Lake) prints issued in 1970. To honour Mr. MacFadden’s pursuit of assembling the entire 1970 collection (with the exception of a single print*) – we are offering all 43 prints as a single lot.

Another exceptional work from Mr. MacFadden’s collection is a wall hanging by the great Jessie Oonark, Dreams and Memories, exhibited in Jessie Oonark, A Retrospective, 1986-1987, and documented in Jean Blodgett’s and Marie Bouchard’s accompanying 1986 book.

Several superlative examples of sculpture include a remarkably rendered bear cut from banded stone by Kiawak Ashoona (documented in George Swinton’s 1968 Sculpture of the Eskimo), a rare family of three owls by Tudlik, and an important whalebone carving of a drummer by Karoo Ashevak. Also included are works of genius from less welldocumented oeuvres including a small sculpture of a mother and child that bear all the characteristics of a masterwork by Inukjuak (Port Harrison) artist Pilipusi Novalinga.

The auction concludes with an array of unusual and imaginative ceramic works, including a multi-tiered figural vase, unsigned, but distinctly in the style of the renowned sculptor and ceramicist John Kavik.

Waddington’s takes great pride in presenting some of the finest graphic and sculptural work by Inuit artists, supported by the singular visions of the collectors who have shepherded these works through the years. We hope that you will enjoy browsing this catalogue and find works that will enrich your own journey of discovery. * Print no. 3, Victoria Mamnguqsualuk, Wolf Hunt, 1969, released as an edition of 20, sought by W.A. Ross MacFadden, was never acquired, leaving his collection unfinished.

Palmer Jarvis 416-847-6191 pj@waddingtons.ca

THE W.A. ROSS MACFADDEN COLLECTION OF INUIT ART Some of us buy art to fill an empty space in our homes, others because the object calls out to them. And then there are those who collect to express a world view, to work towards an idea of singularity and connoisseurship.

William Albert (Ross) MacFadden (1935 – 2020) was one of the latter. A prominent Toronto businessman, avid art connoisseur and collector, Mr. MacFadden was raised in Toronto, attending Rosedale Public School, Jarvis Collegiate and The University of Toronto (Trinity College), where he received his degree in Commerce and Finance. Like his father, Mr. MacFadden became a Chartered Accountant, a career path he followed until his retirement. He joined McDonald Currie & Co (later known as Coopers & Lybrand, currently PricewaterhouseCoopers) as a student in accounts in 1958 and was admitted to partnership in 1968, having earned a reputation for his detail-oriented approach. His keen eye for art did not go unnoticed at work, where he served on the firm’s art committee.

After he retired from corporate accounting, Mr. MacFadden worked for the Canada Revenue Agency (CRA), up to the year of his passing. He travelled across the country giving lectures to CRA staff about finding hidden misdemeanors, while also devoting time to auditing a large conglomerate. His work allowed the CRA to collect millions of dollars in unpaid taxes on behalf of Canadian taxpayers.

In his golden years, Mr. MacFadden gardened, travelled extensively with his wife Marilyn, and pursued his lifelong passion for fine art. All mediums of Inuit art interested Mr. MacFadden, who assembled a beautiful personal collection, for which he reserved a special room in his North York bungalow. Duncan McLean, Waddington’s President and Head of the Inuit Art department notes that “Ross was a member of the group of pioneering collectors who had the vision to collect in the early years, helping to build the foundation for today’s vibrant Inuit art market.

Lot 33, the striking work on cloth by Jessie Oonark, arguably

LUKE ANGUHADLUQ ᓗᐅᒃ ᐊᒐᓴᓗ MANY FACES (DETAIL)

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INUIT ART AUCTION

the gem in Ross’s collection, was an obvious choice for this catalogue’s cover.”

Mr. MacFadden was known for always having a project, one of the biggest being the extensive renovation of a farm in Creemore. Another of his ‘passion’ projects was to assemble a complete set of prints from the 1970 Qamani’tuaq (Baker Lake) release. Mr. MacFadden kept meticulous records, with numerous appraisals, inventories and even wishlists. It is clear from these documents that he was a determined collector, having bought the majority of these Baker Lake prints directly upon their release from the Canadian Guild of Crafts on Cumberland Street in Toronto. There were only five he was not able to purchase when first issued, four of which he was able to acquire subsequently over the years. Only one print eluded him—Victoria Mummookshoarluk’s Wolf Hunt, of which only 20 were printed.

McLean recalls “I always enjoyed seeing Ross at our Inuit art auction previews. He was keenly interested in the goings-on of the Inuit art market and we would discuss the pieces on offer that caught his eye. I particularly enjoyed his stories of relentlessly tracking down and acquiring the prints he needed to complete his goal, compiling a complete set of the Baker Lake studio’s first graphics portfolio released in 1970.” It is clear from Mr. MacFadden’s estate records that he was one of the original patrons of Inuit Art, able to recognize its power and beauty before it entered the mainstream.

topic, which was the case with each of his interests.

Mr. MacFadden also collected paintings, specifically drawn to the detailed realism of 19th century British and Dutch schools.

Susan Robertson, Senior Specialist in Waddington’s International Art department, recalls that she would always reserve a catalogue for Mr. MacFadden, who would walk around the preview gallery pointing out the merits of each painting and noticing occasionaloverlooked details. Mr. MacFadden was known for his deep understanding of art, immediately recognizing early works by painters of whom he was particularly fond of. His knowledge extended beyond the canvas, even encompassing the picture frames. Robertson again recalls Mr. MacFadden being able to identify a frame’s country of origin at a glance. She writes that “he always preferred to purchase pairs of paintings especially if they were purchased in matching frames.

We will miss those discussions and his enthusiasm for art.”

Mr. MacFadden passed away December 31, 2020, at the age of 85. He will be remembered by friends, colleagues and Waddington’s as an animated raconteur, as well as a connoisseur of art.

A man of many interests, many of Waddington’s staff remember his immaculately dressed presence at previews, as well as his expertise. Sean Quinn, Senior Specialist in our Decorative Arts department, remembers speaking to Mr. MacFadden about another of his interests, French clocks. Quinn notes that he possesed an in-depth knowledge of the

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INUIT ART AUCTION

1 JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), QAMANI’TUAQ (BAKER LAKE) CONTROLLING SPIRIT stencil, 1976, 5/22 22 x 29 in — 55.9 x 73.7 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $800—1,200 VIEW THIS LOT

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2 LUKE ANGUHADLUQ ᓗᐅᒃ ᐊᒐᓴᓗ, (1895-1982), QAMANI’TUAQ (BAKER LAKE) KAYAK AND CARIBOU stonecut, 1971, 6/46 24.75 x 39.5 in — 62.9 x 100.3 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $3,000—5,000 VIEW THIS LOT

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3 LUKE IKSIKTAARYUK (1909-1977), QAMANI’TUAQ (BAKER LAKE) THE ANCIENT WAY OF DANCING stonecut and stencil, 1971, 6/28 39.24 x 24.5 in — 99.7 x 62.2 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $3,000—5,000 VIEW THIS LOT

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4 LUKE IKSIKTAARYUK (1909-1977), QAMANI’TUAQ (BAKER LAKE) THE HERD stonecut and stencil, 1972, 5/40 24.5 x 39.5 in — 62.2 x 100.3 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $3,000—5,000 VIEW THIS LOT

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5 LUCY QINNUAYUAK ᓗᓯ ᑭᓐᐅᐊᔪᐊ, (1915-1982), KINNGAIT (CAPE DORSET) EVENING OWL stonecut, 1971, 43/50 20 x 24.5 in — 50.8 x 62.2 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $2,000—4,000

VIEW THIS LOT DECEMBER 4 - 9, 2021

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

VIEW THIS LOT

RETURN FROM THE HUNT coloured pencil drawing, signed in syllabics 17.5 x 22 in — 44.5 x 55.9 cm PROVENANCE:

The Innuit Gallery, Toronto, ON, 1970; Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a handwritten Innuit Gallery of Eskimo Art invoice, 1970. $2,000—3,000 16

INUIT ART AUCTION

7 LUCY QINNUAYUAK ᓗᓯ ᑭᓐᐅᐊᔪᐊ, (1915-1982), KINNGAIT (CAPE DORSET) NESTING BIRD stonecut, 1969, 48/50 18 x 23.5 in — 45.7 x 59.7 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $1,000—1,500 VIEW THIS LOT

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8 TOMMY NUVAQIRQ (1911-1982), PANNIRTUQ (PANGNIRTUNG) MAN WITH HARPOON whalebone, antler 5.75 x 16 x 7 in — 14.6 x 40.6 x 17.8 cm PROVENANCE:

Canadian Guild of Crafts, Montreal, PQ, 1970; Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by the collector’s inventory page, 1981. $1,500—2,500

VIEW THIS LOT 18

INUIT INUIT ART ART AUCTION AUCTION

9 POSSIBLY: OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ, R.C.A. (1923-2005), KINNGAIT (CAPE DORSET) TWO SPIRITED MAN whalebone 3.75 x 12 x 7 in — 9.5 x 30.5 x 17.8 cm PROVENANCE:

Canadian Guild of Crafts, Montreal, PQ, 1970; Estate of W.A. Ross MacFadden, Toronto, ON With a great economy of form, the artist has created an image of a hunter divided into two men—or perhaps two hunters joined as one. Each is on alert, one with a club and one with binoculars in hand. A label affixed to the underside of the sculpture reads: “Osuitok.” Both the finesse in carving and the crisply rendered fine edge of the hunters’ parka suggest the hand of the master Osuitok Ipeelee.

This lot is accompanied by the collector’s inventory page, 1971. $2,000—3,000 VIEW THIS LOT

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10 PETER PITSEOLAK (1902-1973), KINNGAIT (CAPE DORSET)

Please see Lot 79 for details on the Artist.

LARGE OWL stone 13 x 9 x 12 in — 30.5 x 33 x 30.5 cm

This lot is accompanied by a Canadian Guild of Crafts invoice, 1970; the collector’s inventory page; and a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections, ref. no. A-3-10.

PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $4,000—6,000 20

INUIT ART AUCTION

VIEW THIS LOT

11 PETER PITSEOLAK (1902-1973), KINNGAIT (CAPE DORSET) OWL stone, circa 1966 10 x 12 x 5.5 in — 25.4 x 30.5 x 14 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $1,500—2,500

Please see Lot 79 for details on the Artist.

This lot is accompanied by an original Bowring Brothers Limited receipt, 1967; and a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-42.

VIEW THIS LOT

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12 BARNABUS ARNASUNGAAQ ᐸᓇᐸᓯ ᐊᓇᓴᒐ, (19242017), QAMANI’TUAQ (BAKER LAKE) MUSKOX stone 9 x 15 x 6.5 in — 22.9 x 38.1 x 16.5 cm PROVENANCE:

Canadian Guild of Crafts, Montreal, PQ, 1972; Estate of W.A. Ross MacFadden, Toronto, ON

This example is notable for its subtle and confidently executed suggestion of movement—one hoof cranked backward, the muskox appears to lumber forward, its massive weight conveyed by the hard dark stone indigenous to Qamani’tuaq (Baker Lake).

This lot is accompanied by a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-2.

RELATED WORKS:

$8,000—12,000 Barnabus Arnasungaaq brings a familiar vastitude and reductive simplicity to his iconic and often revisited subject matter. Rows of short incised lines suggest both the long hair of the muskox, as well as draw the eye to an undulating surface that evokes the massive musculature of the creature.

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Portland Museum of Art, Ca. No. 2012.127.13 Click here to read more Katilvik. “Barnabus Arnasungaaq, ᐸᓇᐸᓯ Click here to read more VIEW THIS LOT

ᐊᓇᓴᒐ”

13 JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), QAMANI’TUAQ (BAKER LAKE) WOMAN IN PROFILE coloured pencil drawing, signed in syllabics 30 x 21.5 in — 76.2 x 54.6 cm PROVENANCE:

The Canadian Guild of Crafts, Montreal, PQ, 1971; Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a Canadian Guild of Crafts invoice, 1971. $4,000—6,000 VIEW THIS LOT

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VIEW THIS LOT

14 LUKE ANGUHADLUQ ᓗᐅᒃ ᐊᒐᓴᓗ, (1895-1982), QAMANI’TUAQ (BAKER LAKE) HUNTING CARIBOU FROM KAYAKS stonecut and stencil, 1976, 5 /19 25 x 39.5 in — 63.5 x 100.3 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $3,000—5,000 In a 1976 interview conducted by John K. Robertson, Jack Butler, founder of the Sanavik Inuit Cooperative, said of Hunting Caribou from Kayaks: “In the Autumn, the Inuit camped near the usual crossing places of the migrating caribou herds, hunting the animals from Kayaks as they swam across the rivers. Anguhadluq shows from three different viewpoints the conical tens at the water’s edge, the hunters setting out in kayaks, 24

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and the caribou. Composed of four stone-cuts and several stencils, both splattered and brushed, the print is of such technical complexity that an edition of only nineteen was pulled.” 1 We are pleased to offer a rare example of this complex and irregular print. The events depicted are laid out from right to left in an arrangement unfamiliar to European composition. The black silhouettes of caribou swim across dark waters— perhaps in the dim of morning light—as hunters emerge in their kayaks illuminated in a bright field of pink. A few caribou at the front of their herd appear mysteriously in blue, as do the hunters’ flattened dwellings.

REFERENCES:

Goetz, Helga, and Dr. William E Taylor Jr. The Inuit Print / T’estampe Inuit. Ottawa: National Museum of Man, 1977. p. 233 1

15 LUCY QINNUAYUAK ᓗᓯ ᑭᓐᐅᐊᔪᐊ, (1915-1982), KINNGAIT (CAPE DORSET) LUCY’S OWL stonecut, 1969, 14/50 22.5 x 31.75 in — 57.2 x 80.6 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $1,500—2,000

VIEW THIS LOT

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16 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, C.C., R.C.A. (1927-2013), KINNGAIT (CAPE DORSET) FESTIVE OWL stonecut, 1970, 14/50 22.75 x 32 in — 57.8 x 81.3 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $3,000—5,000 VIEW THIS LOT

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17 PARR ᐸ (1893-1969), KINNGAIT (CAPE DORSET) SEAL HUNTER stonecut, 1968, 27/50 24.5 x 17.25 in — 62.2 x 43.8 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $1,500—2,500 VIEW THIS LOT

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18 JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), QAMANI’TUAQ (BAKER LAKE) BIG WOMAN stonecut and stencil, 1974, 8/50 24 x 34 in — 61 x 86.4 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by an Innuit Gallery of Eskimo Art invoice, 1974. $5,000—7,000 VIEW THIS LOT 28

INUIT ART AUCTION

19 LUCY QINNUAYUAK ᓗᓯ ᑭᓐᐅᐊᔪᐊ, (1915-1982), KINNGAIT (CAPE DORSET) SUN BIRD stonecut, 1969, 24/50 17 x 24 in — 43.2 x 61 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $1,000—1,500

VIEW THIS LOT

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20 PITSEOLAK ASHOONA, O.C., R.C.A. (1904-1983), KINNGAIT (CAPE DORSET) FIRST BIRD OF SPRING lithograph, 1975, 6/31 30 x 22 in — 76.2 x 55.9 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $500—700 VIEW THIS LOT

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INUIT ART AUCTION

21 LUCY QINNUAYUAK ᓗᓯ ᑭᓐᐅᐊᔪᐊ, (1915-1982), KINNGAIT (CAPE DORSET) FEATHERED BIRD stonecut, 1968, 28/50 21 x 27 in — 53.3 x 68.6 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a Beckett Gallery Limited receipt, 1974. $600—900 VIEW THIS LOT DECEMBER 4 - 9, 2021

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22 MARY KAHOOTSUAK MIKI, ARVIAT (ESKIMO POINT) MOTHER AND CHILD stone 6 x 5 x 5.5 in — 15.2 x 12.7 x 14 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $400—600 VIEW THIS LOT

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INUIT ART AUCTION

23 AMAGUYAK, KUGAARUK (PELLY BAY) WOMAN WITH BUCKET AND SHOVEL ivory, bone, hide 3.75 x 2 x 3 in — 9.5 x 5.1 x 7.6 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $200—400 VIEW THIS LOT

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24 MATHEW AQIGAAQ ᒪᑐ ᐊᑭᒐ, (1940-2010), QAMANI’TUAQ (BAKER LAKE) MOTHER AND CHILD stone, signed in syllabics 14 x 10 x 8 in — 36 x 26 x 21 cm PROVENANCE:

Canadian Guild of Crafts, Montreal, PQ, 1970; Estate of W.A. Ross MacFadden, Toronto, ON $3,000—5,000 This lot is accompanied by a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-6; and the collector’s inventory page.

VIEW THIS LOT

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25 GEORGE TATANIQ ᑕᑕᓂ (1910-1991), QAMANI’TUAQ (BAKER LAKE) WOMAN stone, signed in syllabics, circa 1972 5.5 x 2.5 x 2.5 in — 14 x 6.4 x 6.4 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $1,000—1,500 This lot is accompanied by a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-3.

VIEW THIS LOT

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26 VARIOUS ARTISTS, QAMANI’TUAQ (BAKER LAKE) BAKER LAKE PRINT COLLECTION 1970 Ross MacFadden’s collection of 43 prints from the 1970 Baker Lake Print Collection: PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by six Canadian Guild of Crafts invoices; a handwritten Innuit Gallery of Eskimo Art invoice, 1970; an Upstairs Gallery invoice, 1977; and the collector’s inventory page, Baker Lake 1970.

Also included is an original catalogue in self-wraps, Baker Lake Prints/Estampes, Ottawa: National Printers Ltd., 1970. $35,000—45,000 VIEW THIS LOT

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VICTORIA MAMNGUQSUALUK (MUMMOOKSHOARLUK) ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ (1930-2016) KEEVEEOK’S JOURNEY, 1969

stencil, 16/18 20 x 32 in — 50.8 x 81.3 cm WILLIAM NOAH ᕕᓕᐊᒪ ᓄᐊ (1943-2020), TWO PTARMIGAN, 1969

stencil, 4/12 13.75 x 16.25 in — 34.9 x 41.3 cm VICTORIA MAMNGUQSUALUK (MUMMOOKSHOARLUK) ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ (1930-2016) TRAPPING FISH, 1969,

stencil, 14/26 16.5 x 12.25 in — 41.9 x 31.1 cm VICTORIA MAMNGUQSUALUK (MUMMOOKSHOARLUK) ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ (1930-2016) ATTACK, 1969

stencil, 6/24 17 x 23 in — 43.2 x 58.4 VICTORIA MAMNGUQSUALUK (MUMMOOKSHOARLUK) ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ (1930-2016) A FAMILY TRIP, 1969

stonecut, a/p 11/11 14 x 34 in — 35.6 x 86.4 cm VICTORIA MAMNGUQSUALUK (MUMMOOKSHOARLUK) ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ (1930-2016) THE PREY, 1969

stencil, 6/40 6.25 x 9.5 in — 15.9 x 24.1 cm VICTORIA MAMNGUQSUALUK (MUMMOOKSHOARLUK) ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ (1930-2016) RIDING DOGS, 1969

stencil, 20/24 16.75 x 12.25 in — 42.5 x 31.1 cm ITOOLOOKUTNA LEGENDS, 1970

stonecut, 21/50 27 x 25.25 in — 68.6 x 64.1 cm

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VITAL MAKPAAQ (1922-1978) ARCHER, 1970

stonecut, 27/44 8.25 x 12 in — 21 x 30.5 cm VITAL MAKPAAQ (1922-1978) HUNTER, 1970

stonecut, 27/50 8.25 x 12 in — 21 x 30.5 cm JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), SHAMAN, 1969

stonecut, 6/50 11 x 12 in — 27.9 x 30.5 cm JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), HORNED SPIRIT, 1969

stencil, 30/35 12 x 12 in — 30.5 x 30.5 cm JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), WOMAN, 1970

stonecut, 16/50 31.5 x 27.75 in — 800.1 x 70.5 cm JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), THE PEOPLE WITHIN, 1970

stonecut, 5/50 12 x 19 in — 30.5 x 48.3 cm JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), DRUM DANCE, 1970

stonecut, 5/50 16.5 x 10.5 in — 41.9 x 26.7 cm JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), DREAM OF THE BIRD WOMAN, 1969

stonecut, 7/21 22 x 17 in — 55.9 x 43.2 cm VICTORIA MAMNGUQSUALUK (MUMMOOKSHOARLUK), ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ, (1930-2016) CONFRONTATION, ‘IF I KILL THE LEADER WITH THE FLESHLESS LEGS, THEY WILL LEAVE US AND NOT EAT OUR PEOPLE’, 1970

stonecut, 4/40 25 x 37 in — 63.5 x 94 cm 42

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JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), PROUD FISHERMAN, 1969

stonecut and stencil, 11/26 24 x 25 in — 61 x 63.5 cm JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), ICE FISHING, 1969

stencil, 12/18; 4/18- 1969 18 x 14.25 in — 45.7 x 36.2 cm JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), CARIBOU, 1970

stonecut, 6/30 7.5 x 12.5 in — 19.1 x 31.8 cm LUKE ANGUHADLUQ ᓗᐅᒃ ᐊᒐᓴᓗ (1895-1982), ANIMALS, 1970

stonecut, 44/50 13 x 20 in — 33 x 50.8 cm LUKE ANGUHADLUQ ᓗᐅᒃ ᐊᒐᓴᓗ (1895-1982), KAYAK, 1970

stonecut, 23/29 16 x 9.5 in — 40.6 x 24.1 cm LUKE ANGUHADLUQ ᓗᐅᒃ ᐊᒐᓴᓗ (1895-1982), FISHERMAN AND HUNTER, 1969

stonecut, XXVI, 8/47 24.5 x 22 in — 62.2 x 55.9 cm ETOOLOOKTUNA DRUM, 1969

stonecut, 5/31 16 x 17.75 in — 40.6 x 45.1 cm JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985),, DAY SPIRIT, 1969

stonecut and stencil, 4/20 21 x 17 in — 53.3 x 43.2 cm LUKE ANGUHADLUQ ᓗᐅᒃ ᐊᒐᓴᓗ (1895-1982), CARIBOU, 1969

stencil 4/50 11.5 x 16.75 in — 29.2 x 42.5 cm

44

INUIT ART AUCTION

DECEMBER 4 - 9, 2021

45

WILLIAM NOAH ᕕᓕᐊᒪ ᓄᐊ (1943-2020), WOLF, 1969

stencil, 5/38 20.25 x 26 in — 51.4 x 66 cm WILLIAM NOAH ᕕᓕᐊᒪ ᓄᐊ (1943-2020), TUNDRA, 1969

stencil, 5/14 17 x 21 in — 43.2 x 53.3 cm ALEXIS PAMEOK UTATNAQ (B.1951) INNUK HUNTER’S DREAM, 1969

stencil, 49/50 16.5 x 12 in — 41.9 x 30.5 cm LUKE IKSIKTAARYUK (1909-1977) GIANT, 1970

stonecut, 6/40 26.5 x 20.5 in — 67.3 x 52.1 cm LUKE IKSIKTAARYUK (1909-1977) CRANE, 1969

stonecut, 2/14 22 x 24.25 in — 55.9 x 61.6 cm LUKE IKSIKTAARYUK (1909-1977) TROUT, 1969

stonecut, 17/30 14 x 25 in — 35.6 x 63.5 cm LUKE IKSIKTAARYUK (1909-1977) FLIGHT OF GEESE, 1969

stonecut, 24/30 21 x 24.5 in — 53.3 x 62.2 cm LUKE IKSIKTAARYUK (1909-1977) BIRD CATCHING FISH, 1969

stonecut, 17/50 20 x 24.5 in — 50.8 x 62.2 cm LUKE IKSIKTAARYUK (1909-1977) FANCIFUL PTARMIGAN, 1969

stonecut, 6/27 24.5 x 26 in — 62.2 x 66 cm

46

INUIT ART AUCTION

DECEMBER 4 - 9, 2021

47

ELIZABETH KUGMUCHEAK ALOOQ (B.1943) TEEREEGAMYAK, THE SLY FOX, 1970

stonecut, 12/50 20 x 25.5 in — 50.8 x 64.8 cm HANNAH KIGUSIUQ (1931-1995) WRESTLING, 1969

stonecut, 5/35 17 x 21 in — 43.2 x 53.3 cm HANNAH KIGUSIUQ (1931-1995) A HUNTER’S IGLOO, 1969

stonecut, 21/45 17 x 21 in — 43.2 x 53.3 cm LUKE ANGUHADLUQ ᓗᐅᒃ ᐊᒐᓴᓗ (1895-1982),

BOY, 1970 stonecut, 23/44 25 x 20 in — 63.5 x 50.8 cm

FANNY ARNGNAKIK ARNASUNGAAQ (1929-2001) WOMAN WITH ULU, 1969

stencil, 26/35 12.5 x 17.25 in — 31.8 x 43.8 cm SARAH ANAUTAQ IQULIQ (B.1943) INNUK, 1969

stencil, 30/32 17 x 12 in — 43.2 x 30.5 cm WINNIE TATYA (B.1931) ACROBAT, 1969

stonecut, 4/50 18.5 x 12.5 in — 47 x 31.8 cm WINNIE TATYA (B.1931) PACKING A DOG, 1969

stonecut, 12/50 12.5 x 19 in — 31.8 x 48.3 cm

48

INUIT ART AUCTION

DECEMBER 4 - 9, 2021

49

27 MOSES AUPALUKTUK (1924-1983), PUVIRNITUQ (POVUNGNITUK) BIRDS AND LANDSCAPE ivory, bone 3.5 x 6 x 5 in — 8.9 x 15.2 x 12.7 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-17. $300—500 VIEW THIS LOT

50

INUIT INUIT ART ART AUCTION AUCTION

28 EMILY PANGNERK ILLUITOK, KUGAARUK (PELLY BAY) IGLOO, ANIMALS, PEOPLE AND LANDSCAPE ivory, whalebone, hide, sinew 5 x 10 x 13.5 in — 12.7 x 25.4 x 34.3 cm PROVENANCE:

Balzac Fine Arts, Toronto; Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a Balzac Fine Arts receipt and certification of value. $500—700

VIEW THIS LOT

DECEMBER DECEMBER 4 4 -- 9, 9, 2021 2021

51

29 PAULOOSIE KARPIK (1911-1988), PANNIRTUQ (PANGNIRTUNG) BIRD whalebone 9 x 19 x 11 in — 22.9 x 48.3 x 27.9 cm PROVENANCE:

Purchased in Montreal, PQ, 1969; Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-20. $600—900

VIEW THIS LOT

30 UNIDENTIFIED ARTIST PICTOGRAPHIC WALRUS TUSK ivory, etching with caribou and hunting scenes length 1.5 x 15 x 1 in — 3.8 x 38.1 x 2.5 cm PROVENANCE:

Canadian Guild of Crafts, Kamchatka Venture Collection, Montreal, PQ, 1971; Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a Canadian Guild of Crafts invoice and accompanying exhibition list for The Kamchatka Venture Collection, 1971; the collector’s inventory page, 1971; and a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections documents, ref. no. A-3-39 and A-3-40.

VIEW THIS LOT

$400—600

31 UNIDENTIFIED ARTIST NEEDLE CASE antler, hide 8 x 1 in — 20.3 x 2.5 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON INUIT ART AUCTION 52 $200—400

VIEW THIS LOT

32 GEORGE TATANIQ ᑕᑕᓂ, (1910-1991), QAMANI’TUAQ (BAKER LAKE) MOTHER AND CHILD stone, signed in syllabics 10 x 8 x 5.5 in — 25.4 x 20.3 x 14 cm PROVENANCE:

Canadian Guild of Crafts, Montreal, PQ, 1970; Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-11. $5,000—7,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

53

33 JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), QAMANI’TUAQ (BAKER LAKE) DREAMS AND MEMORIES stroud, thread, embroidery floss, signed in syllabics 47.2 x 53.7 in — 120 x 136.4 cm PROVENANCE:

The Innuit Gallery, Toronto, ON, 1971; Estate of W.A. Ross MacFadden, Toronto, ON 54

INUIT ART AUCTION

EXHIBITED:

Jessie Oonark, A Retrospective, Winnipeg Art Gallery, 1986-1987, cat.39; See: Blodgett, Jean, and Marie Bouchard. Jessie Oonark: A Retrospective.

Winnipeg: Winnipeg Art Gallery, 1986. p113, pl. 39. $50,000—70,000

Jessie Oonark is the most celebrated Qamani’tuaq (Baker Lake) artist, a master in both graphic and textile arts. Her many drawings, prints and wall hangings can be found in the most important public and private collections of Inuit art worldwide. Her work, regardless of the scale, is always deeply intimate. Oonark’s genius for narrative, exceptional in its seamless inclusion of both symbolic and purely decorative elements, is both nostalgic and at times bracingly lively.

In this early masterwork of nivingajuliat (tapestry, or wall-hanging) dating circa 1970, Oonark has created a vibrant composition of colour and form. Drawing heavily from imagery revisited by the artist throughout her career, in a 1971 interview in Toronto, she said of this work that it was inspired by “dreams and memories”. 2 Figures in the nivingajuliat seem to both radiate outward from and border a sun-like central face whose surface bristles with depictions of natural life, as well as the crescent shaped ulu knives so strongly associated with the duties of women. The central figure bears a facial tattoo of the type already old-fashioned at the time of Oonark’s youth, and which the artist herself refused to receive.1 3 This lot is accompanied by an Innuit Gallery of Eskimo Art invoice, 1971; a newspaper clipping from the Globe and Mail pertaining to the exhibition of the work, 1971; and a photocopy of Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-5.

PUBLISHED:

Blodgett, Jean, and Marie Bouchard. Jessie Oonark: A Retrospective. Winnipeg: Winnipeg Art Gallery, 1986. p113, pl. 39.

REFERENCES:

Blodgett, Jean, and Marie Bouchard. Jessie Oonark: A Retrospective. Winnipeg: Winnipeg Art Gallery, 1986. p. 9.

2 Carson, Jo. “Toronto Atmosphere Offends The Artist from Baker Lakes”, The Globe and Mail, April, 3, 1971.

3 Krutak, Lars. Tattoo Traditions of Native North America: Ancient and Contemporary Expressions of Identity. Volendam: LM Publishers, 2014. p. 19.

1

VIEW THIS LOT

DECEMBER 4 - 9, 2021

55

34 MALAYA AKULUKJUK (1915-1995), PANNIRTUQ (PANGNIRTUNG) UNTITLED wool weaving, signed on the verso in syllabics and Roman, 1972 25 x 45.5 in — 63.5 x 115.6 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by two Canadian Guild of Crafts invoices, 1972. $400—600 VIEW THIS LOT

56

INUIT ART AUCTION

35 HAM EKAKEPALOOK KADLOO (B.1936), MITTIMATALIK (POND INLET) SEDNA stone circa 1969 1.75 x 5.5 x 3 in — 4.4 x 14 x 7.6 cm This lot is accompanied by a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-27. $300-$500 VIEW THIS LOT

36 JOE KILOONIK (1938-2011), TALOYOAK (SPENCE BAY) DRUM DANCER stone, antler, signed in syllabics 9.5 x 12.5 x 7 in — 24.1 x 31.8 x 17.8 cm PROVENANCE:

Waddington’s Auctioneers, Toronto, ON, May 2013, lot 224; Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a Waddington’s invoice, 2013. $2,000—3,000 VIEW THIS LOT DECEMBER 4 - 9, 2021

57

37 HELEN KALVAK, C.M., R.C.A. (1901-1984), ULUKHAKTOK (HOLMAN) FROM PEOPLE TO ANIMALS, ORIGINAL STONEBLOCK AND ACCOMPANYING PRINT stone, 1968, 20/50, includes custom fabricated display stand 16 x 18 x 2 in — 44.5 x 61 x 5.1 cm PROVENANCE:

Canadian Guild of Crafts, Montreal PQ, 1971; Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a Canadian Guild of Crafts invoice, 1971. $2,000—3,000 58

INUIT ART AUCTION

VIEW THIS LOT

38 LUKE ANGUHADLUQ ᓗᐅᒃ ᐊᒐᓴᓗ (1895-1982), QAMANI’TUAQ (BAKER LAKE) MANY FACES coloured pencil drawing, signed in syllabics, disc number inscribed 25 x 19 in — 63.5 x 48.3 cm PROVENANCE:

The Innuit Gallery, Toronto, ON, 1972; Estate of W.A. Ross MacFadden, Toronto, ON EXHIBITED:

From the Centre: The Drawings of Luke Anguhadluq, Art Gallery of Ontario, Toronto, 1993, pg.73, plate 25 This lot is accompanied by a conservator’s report from the Art Gallery of Ontario, 1995. $3,000—5,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

59

39 LUCY QINNUAYUAK ᓗᓯ ᑭᓐᐅᐊᔪᐊ, (1915-1982), KINNGAIT (CAPE DORSET) WOMAN WITH FISH SPEAR stonecut, 1961, 19/50 11 x 7 in — 27.9 x 17.8 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a Waddington’s invoice, 1983. $800—1,200 VIEW THIS LOT

60

INUIT ART AUCTION

40 PARR ᐸ, (1893-1969), KINNGAIT (CAPE DORSET) FOUR WOMEN engraving, 1963, 13/50 9.75 x 11.75 in — 24.8 x 29.8 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $1,500—2,500 VIEW THIS LOT

DECEMBER 4 - 9, 2021

61

41 SIMON TOOKOOME (1934-2010), QAMANI’TUAQ (BAKER LAKE) THE WORLD OF MAN AND THE WORLD OF ANIMALS COME TOGETHER IN THE SHAMAN stonecut and stencil, 1973, 8/50 25 x 33 in — 63.5 x 83.8 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $800—1,200 VIEW THIS LOT 62

INUIT ART AUCTION

42 WILLIAM NOAH ᕕᓕᐊᒪ ᓄᐊ, (1943-2020), QAMANI’TUAQ (BAKER LAKE) SHAMAN stonecut, 1971, 6/13 37 x 25 in — 94 x 63.5 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $1,000—1,500 VIEW THIS LOT

DECEMBER 4 - 9, 2021

63

43 JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), QAMANI’TUAQ (BAKER LAKE) A SHAMAN’S HELPING SPIRITS stonecut and stencil, 1971, 30/40 46 x 24.5 in — 116.8 x 62.2 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $4,000—6,000 VIEW THIS LOT

64

INUIT ART AUCTION

44 PITALOOSIE SAILA, R.C.A. (1942-2021), KINNGAIT (CAPE DORSET) BIRD OF SARGO stonecut, 1972 21.5 x 24 in — 54.6 x 61 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $1,000—2,000 VIEW THIS LOT DECEMBER 4 - 9, 2021

65

45 KINGMEATA ETIDLOOIE (1915-1989), KINNGAIT (CAPE DORSET) SEA BIRD stonecut, 1972, 8/50 16 x 23 in — 40.6 x 58.4 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $300—500 VIEW THIS LOT

66

INUIT ART AUCTION

46 WILLIAM NOAH ᕕᓕᐊᒪ ᓄᐊ, (1943-2020), QAMANI’TUAQ (BAKER LAKE) OOMINGMUQ, THE MUSK OX stonecut and stencil, 1971, 6/47 25 x 34 in — 63.5 x 86.4 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $500—700 VIEW THIS LOT DECEMBER 4 - 9, 2021

67

47 PAUTA SAILA ᐸᐊ ᓯᓚ, R.C.A. (1916-2009), KINNGAIT (CAPE DORSET) DREAM OF OWL stonecut, 1972, 44/50 32.75 x 24.5 in — 83.2 x 62.2 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $500—700 VIEW THIS LOT

68

INUIT ART AUCTION

48 LUCY QINNUAYUAK ᓗᓯ ᑭᓐᐅᐊᔪᐊ, (1915-1982), KINNGAIT (CAPE DORSET) STARTLED BIRD stonecut, 1970, 20/50 22.5 x 31 in — 57.2 x 78.7 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $1,000—1,500 VIEW THIS LOT

DECEMBER 4 - 9, 2021

69

49 PITALOOSIE SAILA, R.C.A. (1942-2021), KINNGAIT (CAPE DORSET) WOMAN AND SNOW BIRD stonecut, 1973, 46/50 24 x 16.5 in — 61 x 41.9 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by an Innuit Gallery of Eskimo Art invoice, 1973. $4,000—6,000 VIEW THIS LOT

70

INUIT ART AUCTION

50 PITSEOLAK ASHOONA, O.C., R.C.A. (1904-1983), KINNGAIT (CAPE DORSET) FESTIVE BIRD stonecut, 1970, 35/50 24 x 34 in — 61 x 86.4 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a Michael Neill invoice, 1975. $2,000—4,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

71

51 PITSEOLAK ASHOONA, O.C., R.C.A. (1904-1983), KINNGAIT (CAPE DORSET) TATTOOED WOMAN stonecut, 1963, 25/50 26 x 24.5 in — 66 x 62.2 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by an Inukshuk Galleries Inc. invoice, 1975. $3,000—5,000 VIEW THIS LOT

72

INUIT ART AUCTION

52 LUKE ANGUHADLUQ, ᓗᐅᒃ ᐊᒐᓴᓗ, QAMANI’TUAQ (BAKER LAKE) DRUM DANCE stone cut, 1970, 10/50 18 x 25 in — 45.7 x 63.5 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $500—700 VIEW THIS LOT DECEMBER 4 - 9, 2021

73

53 PARR ᐸ, (1893-1969), KINNGAIT (CAPE DORSET) HUNTERS stonecut, 1969, 29/50 24 x 36 in — 61 x 91.4 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $3,000—5,000 VIEW THIS LOT

74

INUIT ART AUCTION

54 PITALOOSIE SAILA, R.C.A. (1942-2021), KINNGAIT (CAPE DORSET) ESKIMO LEADER stonecut, 1972, 35/50 24.5 x 33.5 in — 62.2 x 85.1 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $2,000—3,000 VIEW THIS LOT DECEMBER 4 - 9, 2021

75

55 PITSEOLAK ASHOONA, O.C., R.C.A. (1904-1983), KINNGAIT (CAPE DORSET) SUMMER VOYAGE stonecut, 1971, 17/50 24 x 34 in — 61 x 86.4 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a Waddington’s invoice, 2003. $1,000—1,500 VIEW THIS LOT 76

INUIT ART AUCTION

56 JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), QAMANI’TUAQ (BAKER LAKE) WOMAN WITH BEAUTIFUL HAIR stonecut, 1971, 14/37 19 x 24 in — 48.3 x 61 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $2,000—3,000 VIEW THIS LOT DECEMBER 4 - 9, 2021

77

57 OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ, R.C.A. (1923-2005), KINNGAIT (CAPE DORSET) YOUNG GOOSE stone 10 x 6 x 3.25 in — 25.4 x 15.2 x 8.3 cm PROVENANCE:

Helen Arthur Galleries (Mazelow Gallery), Toronto, ON, 1971; Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a Helen Arthur Galleries Ltd. invoice, 1971; and a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-7. $2,000—3,000 VIEW THIS LOT

78

INUIT ART AUCTION

58 ADAM TOTALIK (B.1924), TALOYOAK (SPENCE BAY) GATHERING EGGS whalebone, stone 8 x 9 x 5.5 in — 20.3 x 22.9 x 14 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-36. $400—600 VIEW THIS LOT

59 ABRAHAM POV ᐊᐃᐊᔭᑲ ᑕᓕᕈᓂᓕ ᐱᐅᕕ, (1927-1994), INUKJUAK (PORT HARRISON) CUTTING A SEAL stone, signed in syllabics, disc number inscribed 9 x 9 x 8 in — 23 x 23 x 21 cm PROVENANCE:

Purchased in Montreal, PQ, 1968; Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-15. $700—1,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

79

60 MARIE KUUNNUAQ (1933-1990), QAMANI’TUAQ (BAKER LAKE) MAN AND DOG antler, hide, signed in syllabics, disc number inscribed 10 x 15 x 8 in — 25.4 x 38.1 x 20.3 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by the collector’s inventory page, and a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-4. $500—700

VIEW THIS LOT

80

INUIT INUIT ART ART AUCTION AUCTION

61 KANGOOK, PANNIRTUQ (PANGNIRTUNG) HUNTER AND SLAIN FOX whalebone, antler, circa 1969 11 x 7 x 6 in — 27.9 x 17.8 x 15.2 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by an invoice and subsequent receipt from the Canadian Guild of Crafts, 1969; the collector’s inventory page, 1971; and and a photocopy of an Indian and Northern Affairs Canada record of Inuit art in public and private collections document, ref. no. A-3-19. $800—1,200 VIEW THIS LOT

DECEMBER DECEMBER 44 -- 9, 9, 2021 2021

81

62 LUKE ANGUHADLUQ ᓗᐅᒃ ᐊᒐᓴᓗ, (1895-1982), QAMANI’TUAQ (BAKER LAKE) UNTITLED coloured pencil drawing, signed in syllabics, disc number inscribed 30 x 22 in — 76.2 x 55.9 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON LITERATURE:

Cook, Cynthia Waye. From The Centre. Ontario: Art Gallery of Ontario, 1993. p 85 pl. 48 $1,500—2,000 VIEW THIS LOT

82

INUIT ART AUCTION

63 PUDLO PUDLAT ᐳᓗ ᐳᓚ, (1916-1992), KINNGAIT (CAPE DORSET) UMINGMUK stonecut, 1970, 9/100 23.75 x 33.5 in — 60.3 x 85.1 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $800—1,200 VIEW THIS LOT

DECEMBER 4 - 9, 2021

83

64 JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), QAMANI’TUAQ (BAKER LAKE) PURSUIT WITH SPEARS AND KAYAKS stonecut, 1971, 6/34 23.75 x 34 in — 60.3 x 86.4 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $1,000—2,000 VIEW THIS LOT

84

INUIT ART AUCTION

65 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, C.C., R.C.A. (1927-2013), KINNGAIT (CAPE DORSET) SUMMER OWL stonecut and stencil, 1975, 22/50 34 x 24.5 in — 86.4 x 62.2 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $2,000—3,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

85

66 LUCY QINNUAYUAK ᓗᓯ ᑭᓐᐅᐊᔪᐊ, (1915-1982), KINNGAIT (CAPE DORSET) BIRDS I KNOW stonecut, 1976, 35/50 24.75 x 30.25 in — 62.9 x 76.8 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON This lot is accompanied by a Mazelow Gallery invoice, 1977. $700—1,000 VIEW THIS LOT 86

INUIT ART AUCTION

67 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, C.C., R.C.A. (1927-2013), KINNGAIT (CAPE DORSET) YOUNG GIRL’S THOUGHTS OF BIRDS stonecut, 1974 24.75 x 34 in — 62.9 x 86.4 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $1,500—2,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

87

68 JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), QAMANI’TUAQ (BAKER LAKE) A TERRIFYING CHALLENGE stencil, 1973, 5/44 19 x 24 in — 48.3 x 61 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $700—1,000 VIEW THIS LOT

88

INUIT ART AUCTION

69 ANIRNIK OSHUITOQ ᐊᓂᓂ, (1902-1983), KINNGAIT (CAPE DORSET) COMPOSITION stonecut, 1967, 35/50 17 x 24.5 in — 43.2 x 62.2 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $300—500 VIEW THIS LOT

DECEMBER 4 - 9, 2021

89

70 PUDLO PUDLAT ᐳᓗ ᐳᓚ, (1916-1992), KINNGAIT (CAPE DORSET) PERILS OF THE HUNTER stonecut, 1969, 28/50 24.5 x 29.25 in — 62.2 x 74.3 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $400—600 VIEW THIS LOT

90

INUIT ART AUCTION

71 JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), QAMANI’TUAQ (BAKER LAKE) EVIL SPIRITS SURROUND THE IGLOO stonecut and stencil, 5/39 23 x 25.25 in — 58.4 x 64.1 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto, ON $800—1,200 VIEW THIS LOT

DECEMBER 4 - 9, 2021

91

92

TUDLIK FAMILY OF OWLS

INUIT ART AUCTION

THE FRED AND LAURA REIF COLLECTION A special collection assembled over decades, the Fred and Laura Reif collection of Inuit art originates in Berkeley, California.

Friedrich Reif was born in Vienna, Austria in 1927 to Gerschon Reif, a dentist, and Klara Gottfried Reif, a homemaker, who had come to that city after World War I from their native Galicia. In 1938, Nazi Germany annexed Austria, and new laws began to curtail the daily life of Jews. These events would throw the prosperous family into crisis, culminating in the brutal Kristallnacht pogrom and Gerschon’s suicide. Soon after, Fred and his mother and sister attempted to flee Europe on the ill-fated voyage of the S.S. St. Louis, memorialized in the 1976 film Voyage of the Damned, and on their return to Europe were forced to live as refugees in Nazi-occupied France. Aged eleven, Fred became the head of his small family, pursuing an education while begging for food with his sister, under the noses of the Nazis and their French collaborators.

By late 1941, they were finally able to secure visas to the United States, putting down roots in Brooklyn, New York. Fred began his studies at Columbia University, but was drafted at age 18 into the U.S. military. After nearly blowing up his unit with a live grenade during basic training, the army realized that strategic language study would be a better fit for this bookish youth, and sent him to Yale to learn Japanese. The war ended just before he was to be shipped off to Japan, and he returned to Columbia, where he would earn his Bachelor of Arts in 1948, followed by his PhD in Physics at Harvard University. Fred, now Dr. Frederick Reif, made significant contributions in Physics over the following decades, including writing books that remain standard texts in the field today. He held faculty positions at the University of Chicago, the University of California at Berkeley and Carnegie Mellon University, studying a wide range of topics, from superfluids to cognition and education.

Fred’s successful professional life hid deep scars from the loss of his father and his experiences during the war. His nephew, Damon Lehrer, writes that this may have been part of his attraction to Inuit art, noting “I think he felt some kinship with the difficult lives that the Inuit had lived, very close to the bone. I think he found the beauty and humanity of their carvings and imagery soothing, connecting it with a culture that seemed less cruel than the world he’d grown up in.”

Fred and his second wife Laura shared a modernist aesthetic, choosing to live in spare, clean-lined homes in the Berkeley Hills. It was in their second home, in the late 1960s, that they began to collect, focusing on Inuit art. Both Laura and Fred were passionate about the genre, and as Damon recalls “they purchased things that both agreed were wonderful in some way.”

Laura Reif (née Ott) was temperamentally very different from Fred. She was bubbly, optimistic, and outgoing, bringing humor and levity into their lives. As one of his former students put it tactfully, “Fred was distinctively Fred.” He was “a pessimist who loved optimists,” and Laura was that brilliant optimist for him, like a bridge to a sunnier world. Born in Cleveland, Ohio, Laura trained as a nurse at University of California at Berkeley, where she met Fred. She had a prominent career as a health care policy advisor to the State of California, specializing in gerontological care.

Fred passed away on August 11th, 2019, at the age of 92, and Laura, at the age of 80, less than two months later on October 1 of the same year.

Waddington’s is honoured to present this special collection and we thank members of Fred and Laura Reif’s family for their contributions to this essay.

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72 HENRY EVALUARDJUK ᐃᕙᓗᐊᔪ, (1923-2007), IQALUIT (FROBISHER BAY) STANDING FIGURE stone, circa 1985 15.25 x 6 x 5 in — 38.7 x 15.2 x 12.7 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $4,000—6,000 VIEW THIS LOT

94

INUIT ART AUCTION

73 OMALU PUDLAT (B.1948), KINNGAIT (CAPE DORSET) NURSING MOTHER stone, circa 1989, signed in syllabics 5.5 x 6 x 3 in — 14 x 15.2 x 7.6 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA, Berkeley, CA $600—900 VIEW THIS LOT

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95

74 LUKTA QIATSUK ᓗᑕ ᑭᐊᓱᑲ (1928-2004), KINNGAIT (CAPE DORSET) CARIBOU stone, antler, signed in syllabics 10.5 x 7.5 x 2.5 in — 26.7 x 19.1 x 6.4 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $1,500—2,500 VIEW THIS LOT

96

INUIT ART AUCTION

75 SHORTY SHOO, IQALUIT (FROBISHER BAY) RECLINING CARIBOU stone, antler, signed in Roman, circa 1979 8.5 x 10 x 4.5 in — 21.6 x 25.4 x 11.4 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $1,500—2,500 VIEW THIS LOT

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97

76 HENRY EVALUARDJUK ᐃᕙᓗᐊᔪ, (1923-2007), IQALUIT (FROBISHER BAY) HOODED FACE stone, accompanied by original igloo tag 8.5 x 7 x 4.5 in — 21.6 x 17.8 x 11.4 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $1,000—2,000 VIEW THIS LOT

77 MATHEW AQIGAAQ ᒪᑐ ᐊᑭᒐ, (1940-2010), QAMANI’TUAQ (BAKER LAKE) MOTHER AND CHILD stone, dated 1978, signed in syllabics 8.5 x 6 x 7 in — 21.6 x 15.2 x 17.8 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $2,000—3,000 VIEW THIS LOT

98

INUIT ART AUCTION

78 TYE AQPIK (B.1966), KIMMIRUT (LAKE HARBOUR) MOTHER AND CHILD stone, signed in Roman 11 x 4.25 x 6 in — 27.9 x 10.8 x 15.2 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $400—600 VIEW THIS LOT

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99

100

INUIT ART AUCTION

79 PETER PITSEOLAK (1902-1973), KINNGAIT (CAPE DORSET) MOTHER OWL AND CHILDREN stone 23 x 18 x 15 in — 58.4 x 45.7 x 38.1 cm PROVENANCE:

The Chair House Gallery of Folk Art, San Francisco, CA, 1975; Fred and Laura Reif Collection of Inuit Art, Berkeley, CA A complex and many-faceted figure, Peter Pitseolak was an important and powerful camp leader in Kinngait (Cape Dorset), once described by James Houston as “the most interesting man on the coast.” 1 Pitseolak is primarily remembered today for his early attempts at documenting the changing Inuit culture through a series of photographs taken by the artist from the 1940s to the 1960s. Pitseolak is also known for his many prints, and late in life, a series of recordings and written testimonials about Inuit culture.

Unknown to many, Pitseolak was also a technically skilled and ambitious carver. In 1955, along with fellow sculptor Osuitok Ipeeleee, Pitseolak was commissioned by the Crown to create a mace symbolic of legislative authority in the Northwest Territories for use in the House of Commons—an early and important recognition of Inuit arts.2 We are pleased to present three rare sculptural works by Pitseolak (lots 10, 11, and 79).

This sculpture (lot 79) is accompanied by an original invoice, 1975.

REFERENCES:

Eber, Dorothy Harley. Images of Justice. Montreal: McGill-Queens University Press, 2005. p. 79 1

Crandall, Richard C. Inuit Art A History. Jefferson, North Carolina, and London: McFarland & Company. 111-112 2

$8,000—12,000 VIEW THIS LOT

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101

80 ABRAHAM ETUNGAT ᐊᐃᐊᔭᑲ ᐃᑐᒐ, R.C.A. (1911-1999), KINNGAIT (CAPE DORSET) BIRD stone 4.5 x 8 x 1.75 in — 11.4 x 20.3 x 4.4 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $600—900 VIEW THIS LOT

102

INUIT ART AUCTION

81 SARAH AUPALURTAQ KAITAK (1907-1985), SALLUIT (SUGLUK) MOTHER WITH WILD CHILDREN stone, repair to one of children’s boots 9 x 4 x 5 in — 22.9 x 10.2 x 12.7 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $600—900 VIEW THIS LOT

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103

104

INUIT ART AUCTION

82 TUDLIK (1890-1966), KINNGAIT (CAPE DORSET) FAMILY OF OWLS stone, circa 1955 6 x 4 x 2 in — 15.2 x 10.2 x 5.1 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $4,000—6,000 In looking at Tudlik’s iconic owls, it is remarkable to consider that they were carved by an artist born in 1890. Effortlessly modern, their plump masses and truncated arrow-shaped wings are charged with sign-like directionality and clarity of form.

Tudlik’s eyesight was significantly diminished by the late 1950s. Scholars sometimes hint at this impediment as the source of the simplicity and tactility in his work.1 Whatever the reason, Tudlik’s genius for refinement and his grasp of the essential in his subject matter is unquestionable. “Families” of owls carved by Tudlik are almost unknown to the market, and yet he appears to have conceived some as groupings. One such grouping (contemporary to the examples offered here and dated 1957) is illustrated in the 1971 publication Sculpture/Eskimo (p. 196).

Here Tudlik’s owls are again presented as a family. This adds an interactive dimension through the interplay of their shifting postures, and alert eyes. The composition is pure Tudlik through and through--a joy to behold.

RELATED WORKS:

See: Houston, James, George Swinton, William E. Taylor Jr. Sculpture/Inuit. Toronto: University of Toronto Press, 1971. p. 196.

REFERENCES: 1

Swinton, George. Sculpture of the Eskimo. Toronto: McClelland and Stewart Ltd. 1972. p. 8.

VIEW THIS LOT

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83 NUTARALUK UILIA IYAITUK, IVUJIVIK STRIDING BEAR stone, signed in Roman 10 x 20 x 4.5 in — 25.4 x 50.8 x 11.4 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $4,000—6,000 VIEW THIS LOT

106

INUIT ART AUCTION

84 MATHEW AQIGAAQ ᒪᑐ ᐊᑭᒐ (1940-2010), QAMANI’TUAQ (BAKER LAKE) HUNTER AND BEAR stone, antler, signed in syllabics 9 x 8 x 6 in — 22.9 x 20.3 x 15.2 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $2,500—3,500 VIEW THIS LOT

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107

85 PUDLOO JOSEPHIE, FROBISHER BAY / IQALUIT GRAZING CARIBOU stone, antler, signed in Roman on a tag affixed to the sculpture 8.5 x 14 x 4 in — 21.6 x 35.6 x 10.2 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $2,000—3,000 VIEW THIS LOT

108

INUIT ART AUCTION

86 JOY KILUVIGYUAK HALLAUK (1940-2000), ARVIAT (ESKIMO POINT) TWO FAMILIES stone largest 6.5 x 3.5 x 2 in — 16.5 x 8.9 x 5.1 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $400—600 VIEW THIS LOT

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109

87 ELIJAH POOTOOGOOK (B.1943), KINNGAIT (CAPE DORSET) WOMAN CLUTCHING BOSOM stone 25 x 8.5 x 12 in — 63.5 x 21.6 x 30.5 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $1,000—2,000 VIEW THIS LOT

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INUIT INUIT ART ART AUCTION AUCTION

88 ABRAHAM APAKARK ANGHIK ᐊᐃᐊᔭᑲ ᐊᐸᑲ ᐊᒋ (B.1951), PAULATUK SEDNA stone, signed in Roman, 1993 4 x 14 x 5 in — 10.2 x 35.6 x 12.7 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $700—1,000 VIEW THIS LOT

89 MOSESIE KOLOLA (1930-1985), KIMMIRUT (LAKE HARBOUR) PAIR OF SWIMMING WHALES stone, circa 1975, signed in Roman, accompanied by original igloo tag 4 x 16 x 6.5 in — 10.2 x 40.6 x 16.5 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $1,000—2,000 VIEW THIS LOT

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111

90 DAVIDEE MANNUMI (1919), KINNGAIT / CAPE DORSET ARCTIC HARE stone, circa 1965 9 x 14 x 3.5 in — 22.9 x 35.6 x 8.9 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA RELATED WORKS:

Blodgett, Jean. Cape Dorset. Winnipeg: Winnipeg Gallery of Art, 1980. pg. 73, pl. 26-27 $800—1,200 VIEW THIS LOT

112

INUIT ART AUCTION

91 UNIDENTIFIED ARTIST, KINNGAIT (CAPE DORSET) KNEELING MOTHER AND CHILD signed indistinctly in syllabics 7 x 9.5 x 4.5 in — 17.8 x 24.1 x 11.4 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $700—1,000 VIEW THIS LOT

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113

92 EVA ITULU (B.1930), KIMMIRUT (LAKE HARBOUR) MOTHER AND CHILD stone 7 x 6.5 x 4 in — 17.8 x 16.5 x 10.2 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $400—600 VIEW THIS LOT

114

INUIT ART AUCTION

93 MATHEW AQIGAAQ ᒪᑐ ᐊᑭᒐ (1940-2010), QAMANI’TUAQ (BAKER LAKE) MOTHER AND CHILD stone 7.5 x 5 x 6 in — 19.1 x 12.7 x 15.2 cm PROVENANCE:

Fred and Laura Reif Collection of Inuit Art, Berkeley, CA $800—1,200 VIEW THIS LOT

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115

94 KIAWAK ASHOONA ᑭᐊᓱ ᐃᓱᓇ, O.C., R.C.A. (1933-2014), KINNGAIT (CAPE DORSET) GROWLING BEAR stone, signed in syllabics, disc number inscribed, circa 1965 10 x 20 x 8 in — 25.4 x 53.3 x 20.3 cm PROVENANCE:

Paul Duval, Toronto, ON; Estate of Neil Kernaghan, Toronto, ON; Waddington’s, Toronto, ON, 2013; Private Collection, British Columbia $3,000—5,000 Kiawak Ashoona was perhaps at the height of his creative powers when he carved this bear. The minimal, abstracted body perfectly captures the massive volume of these creatures. Ashoona preferred to begin his pieces by first carving the heads of his figures, which often resulted in the intense and refined facial expressions so strongly exemplified here.1 The figure is set off by individually-carved ivory lower incisors, and by Ashoona’s masterful use of differing bands of colour which are naturally found in the stone from which he sometimes carved.

Unsurprisingly, this sculpture caught the attention of George Swinton when he chose to document it in his superlative 1972 publication Sculpture of the Eskimo. Also unsurprisingly— with its sensitive use of colour and evocation of the natural world, its first documented owner was Paul Duval, the seminal Canadian art critic and longtime friend and early champion of the Group of Seven Painter Lawren Harris.

PUBLISHED:

Swinton, George. Sculpture of the Eskimo. Toronto: McClelland and Stewart Ltd. 1972. p.

185, pl. 453 REFERENCES:

Katilvik. “Kiawak Ashoona, ᑭᐊᓱ

VIEW THIS LOT

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INUIT ART AUCTION

ᐃᓱᓇ”,

accessed October 31, 2021, Click here to read more

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117

95 DAVIDIALUK ALASUA AMITTU ᑎᕕᑎᐊᓗ, (1910-1976), PUVIRNITUQ (POVUNGNITUK) KATYUTAYUUQ stone, signed in Roman 6.5 x 4.5 x 3.25 in — 16.5 x 11.4 x 8.3 cm PROVENANCE:

Private Collection, Toronto, ON $1,200—1,800 A favoured subject of Davidialuk Alasua Amittu, Katyutayuuq was historically one of the most dreaded monsters in Inuit mythology, commonly represented as a huge female ogre and cannibal with enormous breasts protruding from her face.1 ,2 Here Katyutayuuq is depicted with a distorted, twisted mouth suckling on her own breast.

RELATED WORKS:

Wight, Darlene Coward, The First Passionate Collector. Winnipeg: Winnipeg Art Gallery, 1990.

Katilvik, “Davidialuk Alasua Amittu, ᑎᕕᑎᐊᓗ” Click here to read more REFERENCES:

Nungak, Zebedee, and Darlene Wright. The Harry Winrob Collection of Inuit Sculpture. Winnipeg: Winnipeg Art Gallery, 2008. p. 64 1

Patrick Furneaux, Leo Rosshandler.

Arts of The Eskimo: Prints. Montreal: Signum Press, 1974. p. 140 2

VIEW THIS LOT

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INUIT ART AUCTION

96 UNIDENTIFIED ARTIST, KINNGAIT (CAPE DORSET) PEOPLE OF THE BEAR stone 11.5 x 15 x 7 in — 29.2 x 38.1 x 17.8 cm PROVENANCE:

Private Collection, Quebec $1,500—2,000 VIEW THIS LOT

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119

97 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ, (1893-1976), PUVIRNITUQ (POVUNGNITUK) CARIBOU stone, bone, signed in Roman, disc number inscribed 4 x 5 x 1.5 in — 10.2 x 12.7 x 3.8 cm PROVENANCE:

Private Collection, Toronto, ON $1,500—2,500 Talirunili was born near Puvirnituq, Nunavik, QC, on the east coast of Hudson Bay at the turn of the 20th century. He became an avid and accomplished sculptor and maker of graphic images despite an early and catastrophic injury to one arm. At times deeply iconic in his imagery, Talirunili is also known for his power as a storyteller. His highly-prized narrative Migration Boat carvings are undisputed masterworks of northern sculpture.

This simple roughshod caribou exemplifies Talirunili’s iconic style. The right front leg of the sculpture exhibits an ambiguous band-shaped protuberance. Talirunili sometimes used this detail to represent a protruding knee on the front legs of his caribou.

RELATED WORKS:

McMichael Canadian Art Collection, Cat. No. 1984.15.1.A-.C Katilvik. “Joe Talirunili, ᔪᐅ ᑕᓚᕈᓂᓕ” Click here to read more VIEW THIS LOT

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INUIT ART AUCTION

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98 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ, (1893-1976), PUVIRNITUQ (POVUNGNITUK) OTTER WITH SEA BIRD stone, signed in Roman on the underside of the tail 3.75 x 7 in — 9.5 x 17.8 cm PROVENANCE:

Private Collection, Hamilton, ON $1,500—2,500 VIEW THIS LOT

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INUIT ART AUCTION

99 JOHN PANGNARK ᔭᓐ ᐸᓇ, (1920-1980), ARVIAT (ESKIMO POINT) FIGURE stone 4 x 4 x 2.75 in — 10.2 x 10.2 x 7 cm $2,000—4,000 VIEW THIS LOT

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100 ANDY MIKI ᒥᑭ, (1918-1983), ARVIAT (ESKIMO POINT) LONG SNOUTED ANIMAL stone 8.5 x 6 x 1 in — 21.6 x 15.2 x 2.5 cm PROVENANCE:

Private Collection, British Columbia Known for often small, enigmatic and decidedly quirky sculptures, many of Andy Miki’s wonders are doled out in small portions, best viewed in the palm of one’s hand. Not so here, where the master has with seeming effortlessness produced his clean, abstract, and always charmingly playful vision in proportions both bold and generous.

As in many of the artist’s works from his Arviat period (following his move there in 1969), this figure defies ready identification. With its softly-pointed ears, swooping upturned nose, and squared foot, it is neither dog, nor rabbit, nor bird—squat of profile and slender of cross section, it is pure Miki.

RELATED WORKS:

Canadian Museum of History, Col. No. 2017.87.585 Click here to read more Katilvik. “Andy Miki, ᒥᑭ” Click here to read more $4,000—6,000 VIEW THIS LOT

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INUIT ART AUCTION

101 LUKE ANOWTALIK ᐊᓇᐅᑕᓕ, (1932-2006), ARVIAT (ESKIMO POINT) MOTHER AND CHILDREN stone 17.5 x 13 x 8 in — 44.5 x 33 x 20.3 cm PROVENANCE:

Private Collection, Toronto, ON $3,500—5,000 VIEW THIS LOT

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125

102 LUCY TASSEOR TUTSWEETOK ᓗᓯ ᑕᓯᐅ ᑎᓯᑕ, (1934-2012), ARVIAT (ESKIMO POINT) FAMILY stone, signed in syllabics 12 x 9 x 8 in — 30.5 x 22.9 x 20.3 cm PROVENANCE:

Private Collection, Toronto, ON $2,000—3,000 VIEW THIS LOT

126

INUIT ART AUCTION

103 OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ, R.C.A. (1923-2005), KINNGAIT (CAPE DORSET) CARIBOU stone, antler, signed in syllabics 20.5 x 20 x 5 in — 52.1 x 50.8 x 12.7 cm Walking Caribou presents a tour de force of delicacy, the subtle refinement of detail that is so distinctive to Osuitok Ipeelee. With its slightly upturned head and bent rear legs, Ipeelee has captured something of the stilled energy of his subject. The work buzzes with a sense of the animal’s cautious curiosity. $20,000—30,000 VIEW THIS LOT

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104 ABRAHAM APAKARK ANGHIK ᐊᐃᐊᔭᑲ ᐊᐸᑲ ᐊᒋ, (B.1951), PAULATUK SPIRIT TOTEM stone 18.5 x 6.5 x 6 in — 47 x 16.5 x 15.2 cm PROVENANCE:

Private Collection, Ontario $5,000—7,000 VIEW THIS LOT

128

INUIT ART AUCTION

105 POSSIBLY: KAKA ASHOONA ᑲᑲ ᐊᓴᓇ, (1928-1996), KINNGAIT (CAPE DORSET) OWL WOMAN stone, signed indistinctly, 1999 16.5 x 9.5 x 8 in — 41.9 x 24.1 x 20.3 cm PROVENANCE:

Private Collection, Toronto, ON $2,000—2,500 VIEW THIS LOT

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129

106 ADAMIE INUKPUK (1943-2017), INUKJUAK (PORT HARRISON) SEATED INUK WITH FISH stone, circa 1975, signed in syllabics, disc number inscribed 4.5 x 3 x 3.5 in — 11.4 x 7.6 x 8.9 cm PROVENANCE:

Private Collection, Hamilton, ON $250—350 VIEW THIS LOT

130

INUIT ART AUCTION

107 ASHEVAK KULLUALIK (B.1923), PANNIRTUQ (PANGNIRTUNG) KOMATIK AND DOGS ivory, sinew, accompanied by a Canadian Eskimo Art tag reading “Kaksalik, Pangnirtung” 2 x 25 x 1 in — 5.1 x 63.5 x 2.5 cm PROVENANCE:

Private Collection, Ontario $300—500

VIEW THIS LOT

108 UNIDENTIFIED ARTIST HUNTER AND KAYAK ivory 3.5 x 11 x 8 in — 8.9 x 27.9 x 20.3 cm PROVENANCE:

Private Collection, Ontario $200—300 VIEW THIS LOT

109 I ALOOKIE, IQALUIT (FROBISHER BAY) HUNTERS DRAGGING WALRUS ivory, sinew 1.5 x 9.5 x 1 in — 3.8 x 24.1 x 2.5 cm PROVENANCE:

Private Collection, Ontario $150—250

VIEW THIS LOT

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110 GEORGE ARLUK ᐊᓗ (B.1949), ARVIAT (ESKIMO POINT) FAMILY stone, signed in syllabics 5 x 4.25 x 2.75 in — 12.7 x 10.8 x 7 cm PROVENANCE:

Private Collection, Florida $500—700 VIEW THIS LOT

111 ELIJASSIAPIK (1912-1972), INUKJUAK (PORT HARRISON) MOTHER AND CHILDREN HARNESSING A DOG stone, signed in syllabics, disc number inscribed, circa 1965 7 x 10 x 6 in — 17.8 x 25.4 x 15.2 cm PROVENANCE:

Private Collection, Montreal, QC $700—1,000 VIEW THIS LOT

132

INUIT ART AUCTION

112 JUSI QUMALUK (1929-1984), PUVIRNITUQ (POVUNGNITUK) MAN HAULING KAYAK stone, signed in Roman, disc number inscribed, circa 1965, paddle not present 5 x 14 x 7 in — 12.7 x 35.6 x 17.8 cm PROVENANCE:

Private Collection, Montreal, QC $700—1,000 VIEW THIS LOT

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133

113 DAVID IKUTAAQ, QAMANI’TUAQ (BAKER LAKE) HUNTER WITH MUSKOX HEAD stone, signed in syllabics, 1978 10 x 6.5 x 2.75 in — 25.4 x 16.5 x 7 cm PROVENANCE:

Private Collection, Hamilton, ON $400—600 VIEW THIS LOT

134

INUIT ART AUCTION

114 DAVIDIALUK ALASUA AMITTU ᑎᕕᑎᐊᓗ, (1910-1976), PUVIRNITUQ (POVUNGNITUK) STANDING WOMAN CARRYING BAG stone, 1965, signed in Roman 4.5 x 2 x 2 in — 11.4 x 5.1 x 5.1 cm PROVENANCE:

Private Collection, Hamilton, ON $500—700 VIEW THIS LOT

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135

115 JOHN PANGNARK ᔭᓐ ᐸᓇ, (1920-1980), ARVIAT (ESKIMO POINT) FIGURE stone, signed indistinctly 4.5 x 2 x 4.75 in — 11.4 x 5.1 x 12.1 cm PROVENANCE:

Purchased directly from the artist by Elaine and John Gold while stationed in Churchill, Manitoba, and gifted to the current owner in 1975.

A subtle and beautifully carved figure by John Pangnark, in which many of the artist’s talents are on display. This sculpture’s previous owner suggested that the work represents a mother with a child tucked in her amauti—and indeed, we cannot deny how the oblong line encompassing the face of the figure does evoke that form. A small asymmetrical protrusion at the rear of the figure echoes the curved line around the face and provides a balance in the composition.

The surface texture is characterized by scattershot fine lines. $1,500—2,500 VIEW THIS LOT

136

INUIT ART AUCTION

116 JOHN PANGNARK ᔭᓐ ᐸᓇ (1920-1980), ARVIAT (ESKIMO POINT) FIGURE stone 2.25 x 3 x 1.5 in — 5.7 x 7.6 x 3.8 cm $1,000—1,500 VIEW THIS LOT

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137

117 LUCY TASSEOR TUTSWEETOK ᓗᓯ ᑕᓯᐅ ᑎᓯᑕ, (1934-2012), ARVIAT (ESKIMO POINT) FAMILY stone 11 x 10.5 x 6.5 in — 27.9 x 26.7 x 16.5 cm PROVENANCE:

Private Collection, Florida $1,500—2,000

VIEW THIS LOT

138

INUIT ART AUCTION

118 LATCHOLASSIE AKESUK ᓚᓴᓚᓯ ᐊᑲᓴ, (1919-2000), KINNGAIT (CAPE DORSET) OWL TRANSFORMATION stone, signed indistinctly in syllabics 12 x 9 x 7 in — 30.5 x 22.9 x 17.8 cm PROVENANCE:

Private Collection, Toronto, ON $1,500—2,500 VIEW THIS LOT

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139

119 LATCHOLASSIE AKESUK ᓚᓴᓚᓯ ᐊᑲᓴ, (1919-2000), KINNGAIT (CAPE DORSET) OWL TRANSFORMATION stone, signed in syllabics 11.5 x 13 x 8 in — 29.2 x 33 x 20.3 cm PROVENANCE:

Private Collection, Toronto, ON $2,500—3,500 VIEW THIS LOT

140

INUIT ART AUCTION

120 SEEPEE IPEELIE ᓯᐱ ᐃᐱᓕ, (1940-2000), IQALUIT (FROBISHER BAY) MUSK OX stone, antler, signed in syllabics, dated ‘85 7 x 9 x 4.5 in — 17.8 x 22.9 x 11.4 cm $1,000—1,500 VIEW THIS LOT

DECEMBER 4 - 9, 2021

141

121 HENRY EVALUARDJUK ᐃᕙᓗᐊᔪ, (1923-2007), IQALUIT (FROBISHER BAY) FALCON stone 5 x 2.5 x 4.5 in — 12.7 x 6.4 x 11.4 cm PROVENANCE:

Private Collection, Ontario $500—700 VIEW THIS LOT

142

INUIT ART AUCTION

122 UNIDENTIFIED ARTIST A PAIR OF BOOKENDS DECORATED WITH TWO FIGURES stone, circa 1955 each 7 x 3 x 4 in — 17.8 x 7.6 x 10.2 cm PROVENANCE:

Private Collection, Toronto, ON $2,000—3,000 VIEW THIS LOT

123 BUNNEE KACHOOK (B.1929), MITTIMATALIK (POND INLET) A PAIR OF BOOKENDS DECORATED WITH TWO HUNTERS stone, ivory, circa 1965, signed in Roman and syllabics, disc number inscribed each 6.5 x 3.75 x 4 in — 16.5 x 9.5 x 10.2 cm PROVENANCE:

Private Collection, Hamilton, ON $700—1,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

143

VIEW THIS LOT

144

INUIT ART AUCTION

124 PILIPUSI NOVALINGA (1906-1987), INUKJUAK (PORT HARRISON) MOTHER AND CHILD stone, bone, string, circa 1950 4 x 3 x 4.5 in — 10.2 x 7.6 x 11.4 cm PROVENANCE:

Canadian Guild of Crafts, Montreal, QC; Private Collection, Hamilton, ON $4,000—5,000 Following a study of the artist Pilipusi Novalinga (1906-1987) in the 2006 book Early Masters: Inuit Sculpture 1949-1955, a series of related early Inukjuak masterpieces have been attributed to the artist. Thirteen known works are cited in the text, six of which are in the possession of the Winnipeg Art Gallery. Subsequently, a small additional number of works have been tentatively attributed to the artist by various sources. Of these, we are aware of four sculptures, including the example offered here, that share the subject matter of a seated mother enshrouded in an amauti with a child or children.

A superb work, the sculpture displays a crispness of carving and clarity of form. The squat body of the mother in her amauti is defined in soft billowing rhymes of shape contrasted with the abstract disc-like plane of her hood from which the head emerges, drawing the eye up to the refined features of her face. Two hands composed of bone inserts centre the viewer’s eye on the independently carved and free-hanging figure of a child. Both figures’ mouths are ajar, and while the child may be crying, it is unclear if the mother is gasping or singing to soothe her little one.

This remarkable work has been unknown to the market since its original sale by the Canadian Guild of Crafts in Montreal to the current owner.

RELATED WORKS:

Montreal Museum of Fine Arts, Cat. No. 2018.102 Click here to read more Waddington’s. “Unidentified, Mother and Child”. 2008. Accessed October, 16, 2021.

Click here to read more Walker’s, Walker’s Fine Art & Estate Auctions, “Inuit and First Nations Art”. Ottawa: Walker’s, May, 18, 2017, lot 116.

REFERENCES:

Wight, D.C. Early Masters: Inuit Sculpture 1949-1955. Winnipeg: Winnipeg Art Gallery, 2006. p. 39-44.

DECEMBER 4 - 9, 2021

145

146

INUIT ART AUCTION

125 VITAL OKOKTOK (1912-D), KANGIQLINIQ (RANKIN INLET) TOTEM stone, circa 1963, disc number inscribed 6.5 x 3 x 2.5 in — 16.5 x 7.6 x 6.4 cm PROVENANCE:

Private Collection, Ontario $400—600 Very little information is readily available on the early Kangiqliniq artist Vital Okoktok. Clearly an artist of strong and consistent vision, Okoktok’s work is often marked, as here, by a brut power.

The artist appears to have employed a largely consistent body of stylistic devices sometimes suggestive of a spiritual or shamanistic subject matter.

While the motif of the “totem” pole is well known to have been introduced to Inuit artists in the 20th century, its varied use by Okoktok and other carvers suggests a more complex history.1 Okoktok’s human and animal figures are often physically linked together, sometimes wresting in “totem” pole-like stacks, or emanating from a single mass—linked together with small points of contact in vertical web-like compositions of meaning and form on whose significance we can only speculate. One of the few accessible illustrations of Okoktok’s work can be found in Sculpture of the Eskimo by George Swinton, where a closely related work, dated 1963, can be seen illustrated on page 213, plate 637.

RELATED WORKS:

See: Swinton, George. Sculpture of the Eskimo. Toronto: McClelland and Stewart Ltd. 1972. p. 213, pl. 637 REFERENCES:

Huston, James. Eskimo Handicrafts. Montreal: The Canadian Handicrafts Guild & the Dept. of Resources & Development, 1951. p. 9.

1

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DECEMBER 4 - 9, 2021

147

126 VITAL OKOKTOK (1912-D), KANGIQLINIQ (RANKIN INLET) PREENING BIRDS stone, signed in syllabics, disc number inscribed 8 x 12 x 3 in — 20.3 x 30.5 x 7.6 cm PROVENANCE:

Private Collection, Hamilton, ON $600—900 This apparently atypical example of the artist’s work follows lot 125 as the second example in this auction of rarely-seen sculpture by Vital Okoktok. Here the artist offers a robust and weighty—if slightly surreal—rendering of two preening long-billed Arctic curlew.

RELATED WORKS:

Katilvik. “Vital Okoktok A Louse” Click here to read more VIEW THIS LOT

148

INUIT ART AUCTION

127 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ, (1893-1976), PUVIRNITUQ (POVUNGNITUK) WOMAN stone, signed in Roman, disc number inscribed 8.5 x 4.5 x 3 in — 21.6 x 11.4 x 7.6 cm PROVENANCE:

Private Collection, Hamilton, ON $2,500—3,500 VIEW THIS LOT

DECEMBER 4 - 9, 2021

149

128 ANDY MIKI ᒥᑭ, (1918-1983), ARVIAT (ESKIMO POINT) BIRD stone, signed in syllabics 6 x 7.25 x 2.25 in — 15.2 x 18.4 x 5.7 cm PROVENANCE:

Private Collection, British Columbia $2,500—3,500 VIEW THIS LOT

129 ILISITUK KIATAINAK (1902-D), IVUJIVIK (NUNAVIK) ARCTIC GREETING stone, circa 1975, disc number inscribed 6 x 8 x 6 in — 15.2 x 20.3 x 15.2 cm PROVENANCE:

Private Collection, Hamilton, ON $700—1,000 VIEW THIS LOT

150

INUIT ART AUCTION

130 POSSIBLY: ISA OOMAYOUALOOK, INUKJUAK (PORT HARRISON) MAN INFLATING AN AVATAQ (SEALSKIN FLOAT) stone, circa 1960 7.1 x 5.1 x 10.6 in — 18 x 13 x 27 cm PROVENANCE:

Private Collection, British Columbia $1,000—1,500

Isa Oomayoualook was a prolific Inukjuak sculptor in the early 1950s. While best known for producing quirky Inuit “totem” poles, his later work often took inspiration from hunters. Although unsigned, Man Inflating an Avataq bears an unmistakable similarity to several seated figures known to be by or attributed to this artist. A lively work, it is beautifully wrought from dark green stone found in what is referred to as the “Nuvvuagittuq Greenstone Belt.” The artist’s care and attention to detail are apparent both in the treatment of the sculpture’s surface, as well as in the overall character of the carving, in which the hem of the hunter’s parka continues uninterrupted on the underside of the figure.

VIEW THIS LOT REFERENCES:

Wight, D.C. Early Masters: Inuit Sculpture 1949-1955.

Winnipeg: Winnipeg Art Gallery, 2006. p. 213, pl. 637.

DECEMBER 4 - 9, 2021

151

131 ABRAHAM NASTAPOKA (1900-1981), INUKJUAK (PORT HARRISON) BUST OF A WOMAN stone, signed in Roman, disc number inscribed, circa 1957 6 x 4.5 x 5.25 in — 15.2 x 11.4 x 13.3 cm PROVENANCE:

Private Collection, Montreal, QC $2,500—3,500 VIEW THIS LOT

152

INUIT ART AUCTION

132 KAKA ASHOONA ᐊᓱᓇ, (1928-1996), KINNGAIT (CAPE DORSET) HEAD stone, signed in syllabics, 1999, includes granite plinth 7.9 x 5.9 x 5.5 in — 20 x 15 x 14 cm PROVENANCE:

Private Collection, British Columbia $1,000—2,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

153

133 ANDY MIKI ᒥᑭ, (1918-1983), ARVIAT (ESKIMO POINT) SEATED FIGURE stone, signed in syllabics 5.5 x 4.5 x 4 in — 14 x 11.4 x 10.2 cm PROVENANCE:

Private Collection, Hamilton, ON $2,000—3,000 VIEW THIS LOT

154

INUIT ART AUCTION

134 PAUTA SAILA, R.C.A., KINNGAIT (CAPE DORSET) DANCING BEAR bronze, signed in syllabics, ABI 51/500 11 x 9 x 6 in — 27.9 x 22.9 x 15.2 cm PROVENANCE:

Private Collection, Ontario $1,000—2,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

155

135 TOONOO SHARKY (B.1970), KINNGAIT (CAPE DORSET) STRIDING HERON stone, ivory 13.5 x 9 x 6 in — 34.3 x 22.9 x 15.2 cm PROVENANCE:

Private Collection, Toronto, ON $2,500—3,500 VIEW THIS LOT

156

INUIT ART AUCTION

136 UNIDENTIFIED ARTIST OWL AND YOUNG stone, signed in syllabics 15 x 14 x 9 in — 38.1 x 35.6 x 22.9 cm PROVENANCE:

Private Collection, Toronto, ON $600—900 VIEW THIS LOT

DECEMBER 4 - 9, 2021

157

137 EEGEEVUDLUK POOTOOGOOK (1931-2000), KINNGAIT (CAPE DORSET) HOWLING WOLF stone, signed in syllabics 13 x 16 x 6 in — 33 x 40.6 x 15.2 cm PROVENANCE:

Private Collection, Toronto, ON $600—900 VIEW THIS LOT

158

INUIT ART AUCTION

138 PAUTA SAILA ᐸᐊ ᓯᓪ, (1916-2009), KINNGAIT (CAPE DORSET) DANCING BEAR stone, ivory, signed in syllabics 14 x 11.5 x 7.5 in — 35.6 x 29.2 x 19.1 cm PROVENANCE:

Private Collection, British Columbia A superb iteration of Pauta Saila’s joyously dancing bears. With control of proportion both deft and imaginative, the bear’s sinuous outline has been sculpted with confident precision.

The mass of the bear perched on one truncated foot, the animal seems ready to bob and twist in playful and exultant motion.

RELATED EXAMPLES:

Art Gallery of Ontario, Cat. No. 2001/331 Click here to read more Katilvik, “Pauta Saila, R.C.A., ᐸᐊ ᓯᓪ” Click here to read more $25,000—35,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

159

139 ABRAHAM ETUNGAT ᐊᐃᐊᔭᑲ ᐃᑐᒐ, R.C.A. (1911-1999), KINNGAIT (CAPE DORSET) BIRD WITH CATCH bronze, signed in syllabics, ABI 16/500 9 x 14 x 3.5 in — 22.9 x 35.6 x 8.9 cm PROVENANCE:

Private Collection, Ontario $600—900 VIEW THIS LOT

160

INUIT ART AUCTION

140 NIVIAXIE ᓂᕕᐊᓯ, (1909-1959), KINNGAIT (CAPE DORSET) THE ARCHER stencil, 1960, 35/50 24 x 12 in — 61 x 30.5 cm PROVENANCE:

Private Collection, Florida $5,000—7,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

161

141 ANIRNIK OSHUITOQ ᐊᓂᓂ, (1902-1983), KINNGAIT (CAPE DORSET) THE PROPHET stonecut, 1964, a/p 17 x 24,4 in — 43.2 x 619.8 cm $600—900 VIEW THIS LOT

142 JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. (1906-1985), QAMANI’TUAQ (BAKER LAKE) HELPED BY SPIRITS stonecut, 1970, 32/40 21 x 17 in — 53.3 x 2.5 cm $1,000—1,500 VIEW THIS LOT

162

INUIT ART AUCTION

143 PUDLO PUDLAT ᐳᓗ ᐳᓚ, (1916-1992), KINNGAIT (CAPE DORSET) THOUGHTS OF WALRUS stencil, 1961, 30/50 Garfield Galleries, Toronto label on verso, framed 23 x 12.5 in — 58.4 x 31.8 cm PROVENANCE:

Garfield Galleries, Toronto, ON; Private Collection, Ontario $3,000—5,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

163

144 PUDLO PUDLAT, KINNGAIT (CAPE DORSET) SPIRITS DOMAIN stonecut, 1964, 7/45, framed 22.75 x 57.8 in — 57.8 x 146.8 cm PROVENANCE:

Private Collection, Hamilton, ON $1,000—1,500 VIEW THIS LOT

164

INUIT ART AUCTION

145 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, C.C., R.C.A. (1927-2013), KINNGAIT (CAPE DORSET) SPIRIT OF THE RAVEN stonecut and stencil, 1979, 42/50 29 x 39 in — 61 x 99.1 cm PROVENANCE:

Private Collection, Minnesota $1,000—2,000 VIEW THIS LOT DECEMBER 4 - 9, 2021

165

146 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, C.C. R.C.A. (1927-2013), KINNGAIT (CAPE DORSET) TRIO OF BIRDS ink and coloured pencil drawing, Feheley Fine Arts label affixed to verso, framed 19.5 x 25.5 in — 49.5 x 64.8 cm PROVENANCE:

Feheley Fine Arts, Toronto, ON; Private Collection, Hamilton, ON $1,500—2,500 VIEW THIS LOT 166

INUIT ART AUCTION

147 HENRY EVALUARDJUK ᐃᕙᓗᐊᔪ, (1923-2007), IQALUIT (FROBISHER BAY) DANCING BEAR stone, signed in Roman and syllabics 9.5 x 6.5 x 5 in — 24.1 x 16.5 x 12.7 cm $3,000—5,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

167

148 SARAH MEEKO NASTAPOKA ᓯᐊᔭ, (B.1925), INUKJUAK (PORT HARRISON) WOMAN MENDING KAMIK stone 9 x 8 x 5.25 in — 22.9 x 20.3 x 13.3 cm PROVENANCE:

Private Collection, Florida $1,200—1,500 VIEW THIS LOT

168

INUIT ART AUCTION

149 ABRAHAM APAKARK ANGHIK ᐊᐃᐊᔭᑲ ᐊᐸᑲ ᐊᒋ, (B.1951), PAULATUK SHAMAN CONJURING SPIRITS stone 22.5 x 10 x 8 in — 57.2 x 25.4 x 20.3 cm PROVENANCE:

Private Collection, Toronto, ON $2,500—3,500 VIEW THIS LOT

DECEMBER 4 - 9, 2021

169

150 KANANGINAK POOTOOGOOK ᑲᓇᒋᓇ ᐳᑐᒍᑭ, (1935-2010), KINNGAIT (CAPE DORSET) RAVEN TRANSFORMATION stone 6.5 x 12.5 x 5.5 in — 16.5 x 31.8 x 14 cm PROVENANCE:

Private Collection, Ontario $3,000—4,000 VIEW THIS LOT

170

INUIT ART AUCTION

151 JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ, (1937-1999), UQSUQTUUQ (GJOA HAVEN) SHAMAN whalebone, antler, signed in syllabics 12.75 x 10.5 x 5 in — 32.4 x 26.7 x 12.7 cm PROVENANCE:

Private Collection, Ontario $2,500—4,500 VIEW THIS LOT

DECEMBER DECEMBER 4 4 -- 9, 9, 2021 2021

171

152 KAROO ASHEVAK ᑲᕈ ᐊᓴᕙ, (1940-1974), TALOYOAK (SPENCE BAY) DRUMMER whale bone, baleen 15 x 30 x 6.5 in — 38.1 x 76.2 x 16.5 cm PROVENANCE:

Private Collection, Ontario A composition comprising both an arresting asymmetry and sense of balance, this exceptional figure of a drummer by Karoo Ashevak embodies many of the characteristics for which the artist’s work is most lauded. Known for imagery evocative of spiritual and otherworldly beings, for his exploitation of organic forms found in whalebone, and an overall tone of playfulness, if not outright humour.

Here Ashevak has grounded his figure on one of two small feet. A long, sweeping, cantilever-like arm stretches out from the central mass of the composition, supported in mid-air and holding a hoop drum or kelaudi—the essential ritual instrument of the Angakkuq (shaman). A small second arm and mittened hand is carved in low relief—its disparity in size with its dominant counterpart suggests a magical air. The presence of the mittens may allude to the often-covered hands of the Angakkuq during dancing, or the necessity of covered hands during certain acts of divining. 3 The gnarled and contorted features of the face evoke the dream-inspired masks used in both secular dance and shamanic ritual throughout the Arctic.

With his noted sensitivity to material, Ashevak’s composition is emphasized by the pitted lines of the porous whalebone which seem to emanate outward from the head into the limbs of the figure, and which, perhaps as elsewhere in Ashavak’s work, hint at the immaterial character of the shaman’s domain. 2 RELATED WORKS:

Hessel, Ingo. Arctic Spirit: Inuit Art from The Alberecht Collection at the Heard Museum.

Phoenix: The Heard Museum, 2006. p. vii pl. 2 REFERENCES:

Blodgett, Jean. Karoo Ashevak. Winnipeg: The Winnipeg Art Gallery, 1977. p. 2

1

. Ibid., p. 5

2

Jean-Ray, Dorothy. Eskimo Masks: Art and Ceremony. Toronto: McClelland and Stewart Ltd., 1967, p. 30 3

$60,000—90,000

172

INUIT INUIT ART ART AUCTION AUCTION

VIEW THIS LOT

DECEMBER DECEMBER 44 -- 9, 9, 2021 2021

173

153 PETEROOSIE, KIMMIRUT (LAKE HARBOUR) INQUISITIVE BEAR stone, signed in Roman 3 x 6 x 2 in — 7.6 x 15.2 x 5.1 cm PROVENANCE:

Private Collection, Montreal, QC $300—500 VIEW THIS LOT

154 HENRY EVALUARDJUK ᐃᕙᓗᐊᔪ, (1923-2007), IQALUIT (FROBISHER BAY) WALKING POLAR BEAR stone, signed in Roman and syllabics 5.25 x 12 x 4 in — 13.3 x 30.5 x 10.2 cm $2,000—4,000 VIEW THIS LOT

174

INUIT ART AUCTION

155 GEORGE TATANIQ ᑕᑕᓂ, (1910-1991), QAMANI’TUAQ (BAKER LAKE) BEAR WITH PREY stone, signed in syllabics 5.1 x 11.6 x 3.7 in — 13 x 29.5 x 9.5 cm PROVENANCE:

Private Collection, British Columbia $2,000—3,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

175

156 ISA OOMAYOUALOOK (1915-1976), INUKJUAK (PORT HARRISON) WALRUS AND OWL ASHTRAY stone, ivory, inlay, circa 1958 6 x 11 x 5.5 in — 15.2 x 27.9 x 14 cm PROVENANCE:

Private Collection, Hamilton, ON $2,500—3,500 VIEW THIS LOT

157 UNIDENTIFIED ARTIST GROWLING BEAR stone, wood, circa 1960 4.5 x 9.5 x 4 in — 11.4 x 24.1 x 10.2 cm PROVENANCE:

Private Collection, Toronto, ON $2,000—4,000 VIEW THIS LOT

176

INUIT ART AUCTION

158 JOHNNY INUKPUK ᔭᓇ ᐃᓇᐸ, R.C.A. (1911-2007), INUKJUAK (PORT HARRISON) MAN BORING HOLE THROUGH ICE stone 17 x 11 x 8.5 in — 43.2 x 27.9 x 21.6 cm PROVENANCE:

Private Collection, Toronto, ON With forms swelled and rounded, here Johnny Inukpuk has carved a figure boring a hole through the ice in his typically exaggerated and light-hearted style. The man’s tongue protrudes from the side of his mouth as he bears down on his tool in concentrated effort. A playful gesture from Inukpuk on a grand scale.

RELATED WORKS:

Katilvik, “Johnny Inukpuk, ᔭᓇ ᐃᓇᐸ” Click here to read more Canadian Museum of History, Cat. No. IV-B-1871 Click here to read more $10,000—15,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

177

159 UNIDENTIFIED ARTIST, KIMMIRUT (LAKE HARBOUR) MISCHIEVOUS SPIRITS stone, circa 1975 In the manner of Sallualu Qinuajua 11 x 12.5 x 4 in — 27.9 x 31.8 x 10.2 cm PROVENANCE:

Private Collection, Montreal, QC $1,000—2,000 RELATED WORKS:

McMaster, Gerald. Inuit Modern Ontario: Art Gallery of Ontario, 2011. p.152.

VIEW THIS LOT

178

INUIT ART AUCTION

160 KUMAKULUK SAGGIAK (B.1944), KINNGAIT (CAPE DORSET) TRANSFORMATION stone 12.3 x 18 x 8 in — 31.2 x 45.7 x 20.3 cm PROVENANCE:

Private Collection, Ontario $1,000—2,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

179

161 ABRAHAM APAKARK ANGHIK ᐊᐃᐊᔭᑲ ᐊᐸᑲ ᐊᒋ (B.1951), PAULATUK SHAMAN AND SPIRITS stone, 1998 15 x 14 x 12 in — 38.1 x 35.6 x 30.5 cm PROVENANCE:

Private Collection, Toronto, ON $3,500—5,000 VIEW THIS LOT

180

INUIT ART AUCTION

162 DAVID RUBEN PIQTOUKUN ᑎᕕᑎ ᐱᑐᑯ ᕈᐱᐃᓐ, (B.1950), PAULATUK MASK stone, signed in Roman, 1998 14.5 x 12 x 3.5 in — 36.8 x 30.5 x 8.9 cm PROVENANCE:

Private Collection, Toronto, ON $1,500—2,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

181

163 MICHAEL MASSIE (B.1962), KIPPENS, NL WITH AGE COMES WISDOM stone, bone, wood, 2006, signed in Roman 13 x 9.5 x 4.5 in — 33 x 24.1 x 11.4 cm PROVENANCE:

Private Collection, Washington State $1,500—2,500 VIEW THIS LOT

182

INUIT ART AUCTION

164 UNIDENTIFIED ARTIST, IKPIARJUK (ARCTIC BAY) HUNTER CARRYING PACK stone 4 x 1.5 x 1 in — 10.2 x 3.8 x 2.5 cm PROVENANCE:

Private Collection, Hamilton, ON $100—200 VIEW THIS LOT

DECEMBER 4 - 9, 2021

183

165 ALICE EVAGLOK, KUGLUKTUK (COPPERMINE) DRUMMER stone, wood, skin, string, circa 1970 4 x 2.4 x 1.5 in — 10.2 x 6.1 x 3.8 cm PROVENANCE:

Private Collection, Hamilton, ON $400—600 VIEW THIS LOT

184

INUIT ART AUCTION

166 ADA EYETOAQ, QAMANI’TUAQ (BAKER LAKE) STANDING FIGURE IN ANNORAAQ stone, signed in syllabics 4.5 x 2.5 x 2 in — 11.4 x 6.4 x 5.1 cm PROVENANCE:

Private Collection, Hamilton, ON $150—250 VIEW THIS LOT

DECEMBER 4 - 9, 2021

185

167 MIRIAM MAREALIK QIYUK ᒪᕆᐊᒪ ᑭᔪ, (B.1933), QAMANI’TUAQ (BAKER LAKE) FAMILY stone, signed in Roman 14 x 10 x 7 in — 35.6 x 25.4 x 17.8 cm PROVENANCE:

Private Collection, Toronto, ON $1,500—2,500 VIEW THIS LOT

186

INUIT ART AUCTION

168 UNIDENTIFIED ARTIST SUPINE NUDE WOMAN stone 23.5 x 8 x 7 in — 59.7 x 20.3 x 17.8 cm PROVENANCE:

Private Collection, Toronto, ON $1,000—2,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

187

169 PAULOOSIE PADLUQ, KIMMIRUT (LAKE HARBOUR) BIRD AND SEALS stone, ivory largest 2 x 6 x 4 in — 5.1 x 12.1 x 10.2 cm PROVENANCE:

Private Collection, Ontario $400—600 VIEW THIS LOT

188

INUIT ART AUCTION

170 SAMSON KAYURYUK, (1927-1983), QAMANI’TUAQ (BAKER LAKE) BEAR stone, signed in syllabics, disc number inscribed 6 x 10 x 2.5 in — 15.2 x 25.4 x 6.4 cm PROVENANCE:

Private Collection, Virginia $1,200—1,500 VIEW THIS LOT

DECEMBER 4 - 9, 2021

189

171 UNIDENTIFIED KINNGAIT (CAPE DORSET) BIRD AND SEAL stone 4.5 x 11 x 3.25 in — 11.4 x 27.9 x 8.3 cm PROVENANCE:

Private Collection, Virginia Here in this curious amalgam of bird and seal we see many of the characteristics of the artist Pauta Saila. Sculpted from the beautiful mottled green stone found near Kinngait (Cape Dorset), the sculpture is more silhouette than finished form, but might be all the more charming for it.

RELATED WORKS:

Waddington’s, PAUTA SAILA (1916-2009) Click here to read more $700—900 VIEW THIS LOT

190

INUIT ART AUCTION

172 UNIDENTIFIED ARTIST BEAR CARRYING SEAL stone 3.75 x 7.75 x 2.25 in — 9.5 x 19.7 x 5.7 cm PROVENANCE:

Private Collection, Virginia $900—1,200 VIEW THIS LOT

DECEMBER 4 - 9, 2021

191

173 ASHEVAK TUNNILLIE (1956-2018), KINNGAIT (CAPE DORSET) POLAR BEAR stone, signed in syllabics 7.5 x 14 x 5.5 in — 19.1 x 35.6 x 14 cm PROVENANCE:

Private Collection, Toronto, ON $1,500—2,500 VIEW THIS LOT

192

INUIT INUIT ART ART AUCTION AUCTION

174 KIAWAK ASHOONA O.C., R.C.A., KINNGAIT (CAPE DORSET) DANCING WALRUS stone, circa 1965 12.75 x 10 x 7 in — 32.4 x 25.4 x 17.8 cm PROVENANCE:

Private Collection, Ottawa, ON $3,000—5,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

193

175 AQJANGAJUK SHAA ᐊᔭᒐᔪ ᓴᐊ, R.C.A. (1937-2019), KINNGAIT (CAPE DORSET) DANCING WALRUS stone 21 x 16 x 9 in — 53.3 x 40.6 x 22.9 cm PROVENANCE:

Private Collection, Santa Fe, NM $1,000—1,500 VIEW THIS LOT

176 TIM PITSIULAK ᑎᒻ ᐱᓯᐃᓚ, (1967-2016), KINNGAIT (CAPE DORSET) STANDING BEAR stone, signed in Roman, dated 1997 17 x 17 x 5 in — 43.2 x 43.2 x 12.7 cm PROVENANCE:

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

VIEW THIS LOT

194

INUIT ART AUCTION

177 JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ, (1937-1999), UQSUQTUUQ (GJOA HAVEN) SHAMAN MUSK OX TRANSFORMATION stone, antler, musk ox horn, signed in syllabics 14 x 20.5 x 27 in — 35.6 x 52.1 x 68.6 cm PROVENANCE:

Private Collection, Vancouver, BC $20,000—30,000

VIEW THIS LOT

A boldly wrought and charismatic figure by Judas Ullulaq, this monumental musk ox in transformation is a superlative example of this artist’s work and bears many of the characteristic touches of Ullulaq. It is remarkably compact in its simple form, with stylized hair represented by bold parallel grooves, echoed by two sweeping horns that outline a face defined by a wild and outsized grimacing expression—unmistakably Ullulaq!

RELATED WORKS:

Musée national des beaux-arts du Québec Click here to read more

DECEMBER 4 - 9, 2021

195

178 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, C.C., R.C.A. (1927-2013), KINNGAIT (CAPE DORSET) BIRD OF THE SUMMER LAND stonecut and stencil, 1979, 35/50, framed and glazed 24.25 x 30.5 in — 61.6 x 77.5 cm PROVENANCE:

Private Collection, Ontario $2,000—3,000 VIEW THIS LOT

179 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, C.C., R.C.A. (1927-2013), KINNGAIT (CAPE DORSET) LONG NECKED LOON lithograph, 2008, 21/50, archivally framed and glazed 29.5 x 41 in — 74.9 x 104.1 cm PROVENANCE:

Private Collection, Ontario $3,000—5,000 VIEW THIS LOT

196

INUIT ART AUCTION

180 KIAKSHUK ᑭᐊᓱ, (1886-1966), KINNGAIT (CAPE DORSET) STONE IMAGES MARK THE WESTERN SEA ROUTE stonecut, 1960, 35/50 19 x 25 in — 48.3 x 63.5 cm PROVENANCE:

Private Collection, Ontario $3,000—5,000 VIEW THIS LOT DECEMBER 4 - 9, 2021

197

181 TIM PITSIULAK ᑎᒻ ᐱᓯᐃᓚ, (1967–2016), KINNGAIT (CAPE DORSET) PIUJUMIK TUGAAPU graphite and coloured pencil 17 x 23.25 in — 43.2 x 59.1 cm PROVENANCE:

Madrona Gallery, Victoria, BC, purchased directly from artist; Private Collection, Ontario $3,000—5,000 VIEW THIS LOT 198

INUIT ART AUCTION

182 LUKE ANGUHADLUQ ᓗᐅᒃ ᐊᒐᓴᓗ (1895-1982), QAMANI’TUAQ (BAKER LAKE) MUSK OXEN stonecut, 1972, 31/50 24 x 31 in — 61 x 78.7 cm $1,000—1,500 VIEW THIS LOT

DECEMBER 4 - 9, 2021

199

183 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, C.C., R.C.A. (1927-2013), KINNGAIT (CAPE DORSET) FOUR RAVENS ON A PLATFORM ink and coloured pencil drawing, archivally framed and glazed 20 x 26 in — 50.8 x 66 cm PROVENANCE:

Albrecht Collection Heard Museum, Phoenix, AZ; Feheley Fine Arts, Toronto, ON; Walkers Auctions, Ottawa, ON, May, 2018. Lot. 191; Private Collection, Ontario $2,000—4,000 200

INUIT ART AUCTION

Ravens are among the few species of birds that permanently reside in the Canadian Arctic, and so are the most commonly seen birds in many communities. Animals of great intelligence and character, they figure prominently in Arctic mythology. Kenojuak depicted ravens with increasing regularity in the 1990s, revisiting the subject in a wide array of variations.

VIEW THIS LOT

184 MARY PITSEOLAK, KINNGAIT (CAPE DORSET) TWO SMALL BIRDS stone cut, 1963, 28/50, framed 16.5 x 11 in — 41.9 x 27.9 cm PROVENANCE:

Private Collection, Hamilton, ON $400—600 VIEW THIS LOT

DECEMBER 4 - 9, 2021

201

185 PETER NOWRA (1929-1994), INUKJUAK (PORT HARRISON) WALRUS stone, ivory, signed in Roman, disc number inscribed, circa 1965 2.75 x 5.75 x 3 in — 7 x 14.6 x 7.6 cm PROVENANCE:

Private Collection, Montreal, QC $150—250 VIEW THIS LOT

202

INUIT ART AUCTION

186 HENRY EVALUARDJUK (1923-2007), IQALUIT (FROBISHER BAY) POLAR BEAR stone, signed 3.9 x 4.7 x 3.1 in — 10 x 12 x 8 cm PROVENANCE:

Private Collection, British Columbia $2,000—3,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

203

187 HENRY EVALUARDJUK (1923-2007), IQALUIT (FROBISHER BAY) POLAR BEAR ON HIND LEGS stone, signed in Roman and syllabics 8.7 x 3.1 x 4.7 in — 22 x 8 x 12 cm PROVENANCE:

Private Collection, British Columbia. $3,000—5,000 VIEW THIS LOT

204

INUIT ART AUCTION

188 OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ, R.C.A., KINNGAIT (CAPE DORSET) BIRD WITH UPSWEPT WINGS stone, signed in Roman and syllabics 8.25 x 4.5 x 2 in — 21 x 11.4 x 5.1 cm $2,500—3,500 Here Osuitok Ipeelee has created a modest but charming work somewhat in the manner of Abraham Etungat.

A sculptor of great technical skill, Ipeelee appears to have sometimes playfully riffed off of the work of his contemporaries. In this instance, Ipeelee has approached the subject with his own more modest abstraction. Gone is the long squared tail of Etungat, also gone is the concavity between the legs, instead occupied by a slight crest suggesting the meeting of two plains of feathers. Lastly, Etungat’s ever-distinct dead-centre pupil has migrated to the front of the eye Ipeelee does Etungat, who knew!

VIEW THIS LOT

DECEMBER 4 - 9, 2021

205

189 PETER INUKSHUK (1896-1975), QAMANI’TUAQ (BAKER LAKE) FLOCK OF SPIRIT BIRDS stone, antler, wood, circa 1970, mounted to wooden base largest 7.5 x 10 x 2.5 in — 19.1 x 25.4 x 6.4 cm PROVENANCE:

Private Collection, Hamilton, ON $5,000—7,000 VIEW THIS LOT

206

INUIT ART AUCTION

190 TOMMY TAKPANIE SR., KINNGAIT / CAPE DORSET STRIDING BEAR stone, signed in syllabic and Roman 2.5 x 6 x 2.25 in — 8.9 x 7 x 7 cm PROVENANCE:

Private Collection, Hamilton, ON $200—300 VIEW THIS LOT

DECEMBER 4 - 9, 2021

207

191 UNIDENTIFIED ARTIST, ᒍᐃᓕᐊᓇᓇ, QAMANI’TUAQ (BAKER LAKE) PERCHED OWL stone, antler, signed in syllabics 6.5 x 4 x 7 in — 16.5 x 10.2 x 17.8 cm PROVENANCE:

Private Collection, Hamilton, ON $300—500 VIEW THIS LOT

208

INUIT ART AUCTION

192 UNIDENTIFIED ARTIST, KUGLUKTUK (COPPERMINE) RECLINING CARIBOU stone, antler 4 x 8.5 x 2 in — 10.2 x 21.6 x 5.1 cm PROVENANCE:

Private Collection, Hamilton, ON $400—600 VIEW THIS LOT

DECEMBER 4 - 9, 2021

209

193 BARNABUS ARNASUNGAAQ ᐸᓇᐸᓯ ᐊᓇᓴᒐ, (1924-2017), QAMANI’TUAQ (BAKER LAKE) MUSK OX stone, signed in syllabics, circa 1975 3 x 4.25 x 2 in — 7.6 x 10.8 x 5.1 cm Intimate in scale, this Barnabus muskox loses little if any of its subtlety of form or capacity for invocation for its modest size. An appealing counterpart to its more imposing, larger relatives.

RELATED WORKS:

Canadian Museum of History, Col. No. 2017.87.475 Click here to read more $1,500—2,000 VIEW THIS LOT

210

INUIT ART AUCTION

194 LUCY TIKIQ TUNGUAK ᐸᓇᐸᓯ ᐊᓇᓴᒐ (B.1939), QAMANI’TUAQ (BAKER LAKE) COMPOSITION OF FACES stone 4 x 3 x 2.5 in — 10.2 x 7.6 x 6.4 cm PROVENANCE:

Private Collection, Hamilton, ON $300—500 VIEW THIS LOT

DECEMBER 4 - 9, 2021

211

195 GEORGE ARLUK ᐊᓗ, (B.1949), ARVIAT (ESKIMO POINT) TRANSFORMING SHAMAN stone, signed indistinctly in syllabics 12 x 7.75 x 5.5 in — 30.5 x 19.7 x 14 cm PROVENANCE:

Private Collection, Florida $800—1,200 VIEW THIS LOT

212

INUIT ART AUCTION

196 NELSON TAKKIRUQ ᓇᐃᓴ ᑕᑭᕈ, (1930-1999), UQSUQTUUQ (GJOA HAVEN) DIVINING SHAMAN stone, antler 8.5 x 7.5 x 5 in — 21.6 x 19.1 x 12.7 cm PROVENANCE:

Private Collection, Virginia $1,500—2,500 VIEW THIS LOT

DECEMBER 4 - 9, 2021

213

197 JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ, (1937-1999), UQSUQTUUQ (GJOA HAVEN) THREE SPIRITS whalebone, stone, signed in syllabics 10 x 11 x 7 in — 25.4 x 27.9 x 17.8 cm PROVENANCE:

Private Collection, Toronto, ON $4,000—6,000 VIEW THIS LOT

214

INUIT ART AUCTION

198 OVILOO TUNNILLIE ᐅᕕᓗ ᑐᓂᓕ, R.C.A. (1949-2014), KINNGAIT (CAPE DORSET) SHOWING LOVE stone 26.5 x 11 x 8 in — 67.3 x 27.9 x 20.3 cm PROVENANCE:

Private Collection, Toronto, ON $4,000—6,000 VIEW THIS LOT

INUIT ART AUCTION DECEMBER 4 - 9, 20214 - 9,215 DECEMBER 2021

215

199 BARNABUS ARNASUNGAAQ ᐸᓇᐸᓯ ᐊᓇᓴᒐ, (1924-2017), QAMANI’TUAQ (BAKER LAKE) MUSKOX stone, 1979, signed in syllabics 8.5 x 13 x 4.5 in — 21.6 x 33 x 11.4 cm

Massive in its proportions and implied weight, this is a static and smooth-surfaced counterpart to lot 12 in this auction. Cut from darker stone, it exhibits the same skillfully rendered musculature as its brethren. A high hump between its shoulders defines the monumental character of this noble giant of the north.

PROVENANCE:

Private Collection, Hamilton, ON $6,000—10,000 VIEW THIS LOT 216

INUIT ART AUCTION

RELATED WORKS:

Portland Museum of Art, Ca. No. 2012.127.13

200 DAVID RUBEN PIQTOUKUN ᑎᕕᑎ ᐱᑐᑯ ᕈᐱᐃᓐ, (B.1950), PAULATUK MAN IN REPOSE stone 22 x 8.75 x 5 in — 55.9 x 22.2 x 12.7 cm PROVENANCE:

Private Collection, Toronto, ON $1,500—2,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

217

201 UNIDENTIFIED ARTIST, ARCTIC QUEBEC FISHERMAN WITH KAKIVAK stone, antler, circa 1970, kakivak later replacement 15 x 8 x 7 in — 38.1 x 20.3 x 17.8 cm PROVENANCE:

Private Collection, Hamilton, ON $2,500—3,500 VIEW THIS LOT

218

INUIT ART AUCTION

202 MARTHA TICKIQ (B.1939), QAMANI’TUAQ (BAKER LAKE) STANDING WOMAN IN ANNORAAQ stone, signed in syllabics and Roman on wooden base 8 x 5.5 x 2.5 in — 20.3 x 14 x 6.4 cm PROVENANCE:

Private Collection, Hamilton, ON $800—1,200 VIEW THIS LOT

DECEMBER 4 - 9, 2021

219

203 UNIDENTIFIED ARTIST SMOKING SHAMAN whale bone, hair, antler 7 x 7 x 3.5 in — 17.8 x 17.8 x 8.9 cm PROVENANCE:

Private Collection, Toronto, ON $400—600 VIEW THIS LOT

220

INUIT ART AUCTION

204 KAKA ASHOONA ᑲᑲ ᐊᓴᓇ, (1928-1996), KINNGAIT (CAPE DORSET) CROUCHING FIGURE stone 25.5 x 14 x 7 in — 64.8 x 35.6 x 17.8 cm PROVENANCE:

Private Collection, Toronto, ON $1,000—1,500 VIEW THIS LOT

DECEMBER 4 - 9, 2021

221

205 ABRAHAM APAKARK ANGHIK ᐊᐃᐊᔭᑲ ᐊᐸᑲ ᐊᒋ, (B.1951), PAULATUK BEAR DRUM DANCER stone 20 x 13 x 9 in — 50.8 x 33 x 22.9 cm PROVENANCE:

Private Collection, Toronto, ON $1,500—2,500 VIEW THIS LOT

222

INUIT ART AUCTION

206 UNIDENTIFIED ARTIST WILD CREATURE stone, hair, antler 15.5 x 9 x 5 in — 39.4 x 22.9 x 12.7 cm PROVENANCE:

Private Collection, Toronto, ON $600—900 VIEW THIS LOT

DECEMBER 4 - 9, 2021

223

MICHAEL ANGUTITUAK WOMAN RIDING A GOOSE

224

INUIT ART AUCTION

A COLLECTION OF INUIT CERAMICS Making items from clay is one of humankind’s oldest artistic pursuits. Despite their terrain being frozen for the majority of the year, the Inuit have been making pottery for over 2000 years. During the brief summer season, clay would be excavated, shaped and baked on open fires or left to air-dry. Increased contact with Western visitors decreased the practice of this ancient craft, with the clay and stone vessels being replaced with metal kettles and pots. By the beginning of the 20th century, Inuit ceramic production had nearly become extinct.

In 1962 in Kangiqliniq (Rankin Inlet), a nickel mine that underpinned the local economy was closed, leaving many without a steady income. The Department of Northern Affairs and Natural Resources launched the Rankin Inlet Ceramics Project, which they believed might function as an alternative industry.

The CBC notes that “similar arts projects had proven successful elsewhere in the Arctic, with prints and stone carvings in high demand in southern markets.

Officials decided ceramics would be an appropriate niche for the area.” This decision was in part due to the area’s scarcity of stone suitable for carving—the region’s rock is very hard and porous—even though local artists like John Tiktak, George Arluk and John Kavik were already known in southern Canada for their sculptures.

The Quebecois ceramicist Claude Grenier came to the region in 1963 to launch the project at the newly created Arts and Crafts Centre, which welcomed both established Inuit carvers and novices to participate.

Clay offered artists the ability work indoors through long winters, whereas carvers work outside to avoid inhaling stone dust. The medium also allowed for new forms that would be too complex to render in stone.

While at first Grenier and his artists used imported southern clay, soon they switched to a local variety harvested from the Kangiqliniq riverbanks, which they mixed with crushed particles of local rock. With it, they created experimental ceramics with bold glazes and bright colours.

Though the earliest ceramics were innovative, imaginative and even psychedelic, the studio was soon told by the Canadian Eskimo Council, a governmental body which decided which work was brought to market, that only “northern colours” that echoed earth and lichen and specific forms would be exported for sale. Bright glazes were discouraged, and utilitarian, easily transportable forms such as bowls and tiles were to take precedence.

The ceramics that did make it to market in the late 60s and early 70s received modest interest from collectors. A reason commonly given for their low performance is that they were not perceived by conservative Southern collectors as being “authentically Inuit.” New glazes and techniques were introduced to boost sales, but demand remained sluggish. Grenier retired in 1977, and the government’s ceramic program closed shortly thereafter.

Ceramic art flourishes in the Arctic today, through the efforts of artists and galleries, such as Matchbox Gallery, a workshop and exhibition space founded in 1991 by American artists Jim Shirley and his wife Sue Shirley. More recently, in 2020, southern ceramist Shary Boyle collaborated with Kangiqliniq artists on the major exhibition Earthlings, introducing the extraordinary ceramics created at the Matchbox Gallery to contemporary art audiences across Canada.

Boyle said in an article in IAQ, “By inviting Aupilardjuk, Kurok and other artists to share the exhibition in this prestigious contemporary art gallery, it was my intention to dissolve the invisible walls, in our minds and institutions, that divide fine art from craft, folk from MFA’s and Indigenous from non-Indigenous artists. If an artist desires to use clay—a material demeaned by critics as “craft” as well as culturally “inauthentic”—the only thing the artist can do is smile and flip those authorities the bird.”

DECEMBER 4 - 9, 2021

225

207 OCTAVE TIGUMIAK KAPPI (B.1921), KANGIQLINIQ (RANKIN INLET) SHAMAN ceramic, signed in syllabics, disc number inscribed 11.75 x 7 x 8.5 in — 29.8 x 17.8 x 21.6 cm PROVENANCE:

Private Collection, Connecticut $1,500—2,500 VIEW THIS LOT

226

INUIT ART AUCTION

208 ROGER AKSADJUAK (B.1972), KANGIQLINIQ (RANKIN INLET) VASE WITH SEAL ceramic, signed in Roman 6 x 4.5 x 3.75 in — 15.2 x 11.4 x 9.5 cm PROVENANCE:

Private Collection, Ontario $400—600 VIEW THIS LOT

DECEMBER 4 - 9, 2021

227

209 ELI TIKEAYAK (1933-1996), KANGIQLINIQ (RANKIN INLET) SPIRIT BIRD ceramic, signed in syllabics 7 x 4.5 x 5.5 in — 17.8 x 11.4 x 14 cm PROVENANCE:

Private Collection, Connecticut $800—1,200 VIEW THIS LOT

228

INUIT ART AUCTION

210 ROGER AKSADJUAK (B.1972), KANGIQLINIQ (RANKIN INLET) HUNTER WITH SEAL ceramic, signed in Roman 7.5 x 7 x 6.5 in — 19.1 x 17.8 x 16.5 cm PROVENANCE:

Private Collection, Toronto, ON $500—700 VIEW THIS LOT

DECEMBER 4 - 9, 2021

229

211 ELI TIKEAYAK (1933-1996), KANGIQLINIQ (RANKIN INLET) SEA SPIRIT WITH YOUNG ceramic 5 x 8.25 x 3.5 in — 12.7 x 21 x 8.9 cm PROVENANCE:

Private Collection, Connecticut $800—1,200 VIEW THIS LOT

212 MICHAEL ANGUTITUAK (1912-1982), KANGIQLINIQ (RANKIN INLET) WOMAN RIDING A GOOSE ceramic, signed in syllabics, disc number inscribed 10.5 x 11 x 8.5 in — 26.7 x 27.9 x 21.6 cm PROVENANCE:

Private Collection, Connecticut $2,000—3,000 VIEW THIS LOT

230

INUIT ART AUCTION

213 PIE KUKSHOUT (1911-1980), KANGIQLINIQ (RANKIN INLET) MOTHER AND CHILD ceramic, signed in syllabics, disc number inscribed 9 x 6.25 x 7 in — 22.9 x 15.9 x 17.8 cm PROVENANCE:

Private Collection, Connecticut $1,000—1,500 VIEW THIS LOT

DECEMBER 4 - 9, 2021

231

214 ELI TIKEAYAK (1933-1996), KANGIQLINIQ (RANKIN INLET) WOMAN ceramic, signed in syllabics 12.5 x 5 x 5 in — 31.8 x 12.7 x 12.7 cm PROVENANCE:

Private Collection, Connecticut $800—1,200 VIEW THIS LOT

232

INUIT ART AUCTION

215 ELI TIKEAYAK (1933-1996), KANGIQLINIQ (RANKIN INLET) FIGURE ceramic, signed in syllabics 7.5 x 6 x 3 in — 19.1 x 15.2 x 7.6 cm PROVENANCE:

Private Collection, Connecticut $700—900 VIEW THIS LOT

216 UNIDENTIFIED, KANGIQLINIQ (RANKIN INLET) COMPOSITION ceramic, signed “R I K” 4.5 x 3.25 x 4 in — 11.4 x 8.3 x 10.2 cm PROVENANCE:

Private Collection, Connecticut $500—700 VIEW THIS LOT

DECEMBER 4 - 9, 2021

233

217 ELI TIKEAYAK (1933-1996), KANGIQLINIQ (RANKIN INLET) HEAD ceramic, signed in syllabics, disc number inscribed 7.5 x 5.5 x 7 in — 19.1 x 14 x 17.8 cm PROVENANCE:

Private Collection, Connecticut $600—800 VIEW THIS LOT

218 LUCY SANERTANUT, KANGIQLINIQ (RANKIN INLET) MASK ceramic 5 x 9 x 6.75 in — 12.7 x 22.9 x 17.1 cm $500—700 VIEW THIS LOT

234

INUIT ART AUCTION

219 JOHN KUROK (B.1977), KANGIQLINIQ (RANKIN INLET) MASK ceramic, signed in Roman, circa 2003 4.75 x 4 x 3 in — 12.1 x 10.2 x 7.6 cm PROVENANCE:

Private Collection, New Jersey $300—500 VIEW THIS LOT

220 DONAT ANAWAK (1920-1990), KANGIQLINIQ (RANKIN INLET) HEAD ceramic, signed in syllabics, disc number inscribed 8.5 x 6 x 8 in — 21.6 x 15.2 x 20.3 cm PROVENANCE:

Private Collection, Connecticut $600—900 VIEW THIS LOT

DECEMBER 4 - 9, 2021

235

221 PIE KUKSHOUT (1911-1980), KANGIQLINIQ (RANKIN INLET) COMPOSITION ceramic, signed in syllabics 12 x 11 x 7 in — 30.5 x 27.9 x 17.8 cm PROVENANCE:

Private Collection, Connecticut $2,000—3,000 VIEW THIS LOT

222 ELI TIKEAYAK (1933-1996), KANGIQLINIQ (RANKIN INLET) BIRD ON AN IGLOO ceramic 7.5 x 5.25 x 7 in — 19.1 x 13.3 x 17.8 cm PROVENANCE:

Private Collection, Connecticut $2,000—3,000 VIEW THIS LOT

236

INUIT ART AUCTION

223 JOHN KAVIK, ᔭᓐ ᑲᕕ, KANGIQLINIQ (RANKIN INLET) IGLOO ceramic, signed in syllabics 5 x 4 x 4 in — 12.7 x 10.2 x 10.2 cm PROVENANCE:

Private Collection, Connecticut $2,000—3,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

237

224 JOHN KAVIK ᔭᓐ ᑲᕕ, (1897-1993), KANGIQLINIQ (RANKIN INLET) VASE DECORATED WITH TWO FIGURES ceramic 10.5 x 6 x 5 in — 26.7 x 15.2 x 12.7 cm PROVENANCE:

Private Collection, Connecticut $2,000—4,000 VIEW THIS LOT

238

INUIT ART AUCTION

225 JOHN KUROK (B.1977), KANGIQLINIQ (RANKIN INLET) VASE WITH OPPOSING FACES ceramic, signed in Roman, dated ‘04 6.5 x 9 x 6 in — 16.5 x 22.9 x 15.2 cm $500—700 VIEW THIS LOT

226 JOHN KAVIK ᔭᓐ ᑲᕕ, (1897-1993), KANGIQLINIQ (RANKIN INLET) IGLOO ceramic, signed in syllabics 5 x 4.5 x 4.5 in — 12.7 x 11.4 x 11.4 cm PROVENANCE:

Private Collection, Connecticut $2,000—3,000 VIEW THIS LOT

DECEMBER 4 - 9, 2021

239

227 ROGER AKSADJUAK (B.1972), KANGIQLINIQ (RANKIN INLET) BEAR WITH FISH ceramic, signed in Roman 6.5 x 9 x 7 in — 16.5 x 22.9 x 17.8 cm PROVENANCE:

Private Collection, Toronto, ON $500—700 VIEW THIS LOT

228 ROGER AKSADJUAK (B.1972), KANGIQLINIQ (RANKIN INLET) TWO BEARS ceramic, signed in Roman 10.5 x 8 x 4.5 in — 26.7 x 20.3 x 11.4 cm PROVENANCE:

Private Collection, Toronto, ON $600—900 VIEW THIS LOT

240

INUIT ART AUCTION

229 ROGER AKSADJUAK (B.1972), KANGIQLINIQ (RANKIN INLET) POLAR BEAR WITH WALRUS ceramic, signed in Roman 7 x 10 x 8.5 in — 17.8 x 25.4 x 21.6 cm PROVENANCE:

Private Collection, Toronto, ON $600—900 VIEW THIS LOT

DECEMBER 4 - 9, 2021

241

Index A

I

AKESUK, LATCHOLASSIE 118, 119

IKSIKTAARYUK, LUKE

AKSADJUAK, ROGER 208, 210, 227, 228, 229

IKUTAAQ, DAVID 113

AKULUKJUK, MALAYA

ILLUITOK, EMILY PANGNERK

ALOOKIE, I

34

109

28

INUKPUK, ADAMIE

106

INUKPUK, JOHNNY

158

INUKSHUK, PETER

189

ANAWAK, DONAT 220

IPEELEE, OSUITOK

9, 57, 103, 188

ANGHIK, ABRAHAM APAKARK 88, 104, 149, 161, 205

IPEELIE, SEEPEE 120

AMAGUYAK 23 AMITTU, DAVIDIALUK ALASUA

95, 114

ANGUHADLUQ, LUKE 2, 14, 38, 52, 62, 182 ANGUTITUAK, MICHAEL

212

ANOWTALIK, LUKE

101

AQIGAAQ, MATHEW

24, 77, 84, 93

AQPIK, TYE

78

ARLUK, GEORGE 110, 195 ARNASUNGAAQ, BARNABUS ARTISTS, VARIOUS

26

ASHEVAK, KAROO

152

12, 193, 199

ASHEVAK, KENOJUAK 16, 65, 67, 145, 146, 178, 179, 183 ASHOONA, KAKA 132, 204

92

IYAITUK, NUTARALUK UILIA 83 J JOSEPHIE, PUDLOO

85

K KACHOOK, BUNNEE

123

KADLOO, HAM EKAKEPALOOK

35

KAITAK, SARAH AUPALURTAQ

81

KALVAK, HELEN . 37 KAPPI, OCTAVE TIGUMIAK 207

ASHOONA, KIAWAK

94, 174

ASHOONA, PITSEOLAK

20, 50, 51, 55

AUPALUKTUK, MOSES

27

KARPIK, PAULOOSIE KAVIK, JOHN

29

223, 224, 226

KAYURYUK, SAMSON

170

KIAKSHUK 180

E

KIATAINAK, ILISITUK

ELIJASSIAPIK, 111

KOLOLA, MOSESIE

ETUNGAT, ABRAHAM

80, 139

EVAGLOK, ALICE

165

EVALUARDJUK, HENRY

72, 76, 121, 147, 154, 186, 187

89

KUKSHOUT, PIE 213, 221 KULLUALIK, ASHEVAK KUROK, JOHN

86

107

219, 225

KUUNNUAQ, MARIE

H HALLAUK, JOY KILUVIGYUAK

129

KILOONIK, JOE 36

ETIDLOOIE, KINGMEATA 45

INUIT ART AUCTION

ITULU, EVA

KANGOOK 61

ASHOONA, POSSIBLY: KAKA 105

242

3, 4

60

POV, ABRAHAM 59

M MANNUMI, DAVIDEE

90

PUDLAT, OMALU 73

MASSIE, MICHAEL

163

PUDLAT, PUDLO 63, 70, 143, 144

MIKI, ANDY

100, 128, 133

MIKI, MARY KAHOOTSUAK 22

Q QIATSUK, LUKTA 74 QINNUAYUAK, LUCY

5, 7, 15, 19, 21, 39, 48, 66

N

QIYUK, MIRIAM MAREALIK 167

NASTAPOKA, ABRAHAM 131

QUMALUK, JUSI 112

NASTAPOKA, SARAH MEEKO

148

NIVIAXIE 140

S

NOAH, WILLIAM 42, 46

SAGGIAK, KUMAKULUK

160

SAILA, PAUTA

47, 134, 138

SAILA, PITALOOSIE

44, 49, 54

SANERTANUT, LUCY

218

SHAA, AQJANGAJUK

175

O

SHARKY, TOONOO

135

OKOKTOK, VITAL 125, 126

SHOO, SHORTY 75

NOVALINGA, PILIPUSI

124

NOWRA, PETER 185 NUVAQIRQ, TOMMY

8

OOMAYOUALOOK, ISA 156 OOMAYOUALOOK, POSSIBLY: ISA 130

T

OONARK, JESSIE 1, 6, 13, 18, 33, 43, 56, 64, 68, 71, 142

TAKKIRUQ, NELSON

196

OSHUITOQ, ANIRNIK

TAKPANIE , TOMMY SR.

190

69, 141

TALIRUNILI, JOE 97, 98, 127 TATANIQ, GEORGE

P PADLUQ, PAULOOSIE

169

TICKIQ, MARTHA 202

PANGNARK, JOHN

99, 116

TIKEAYAK, ELI

PANGNARK, JOHN

115

TOOKOOME, SIMON

PARR

17, 40, 53

25, 32, 155

209, 211, 214, 215, 217, 222 41

TOTALIK, ADAM 58

PETEROOSIE 153

TUDLIK 82

PIQTOUKUN, DAVID RUBEN

162, 200

TUNGUAK, LUCY TIKIQ

194

PITSEOLAK, MARY

184

TUNNILLIE, ASHEVAK

171, 173

PITSEOLAK, PETER

10, 11, 79

TUNNILLIE, OVILOO

198

PITSIULAK, TIM

176, 181

TUTSWEETOK, LUCY TASSEOR

102, 117

POOTOOGOOK, EEGEEVUDLUK 137

ULLULAQ, JUDAS

POOTOOGOOK, ELIJAH 87

UNIDENTIFIED 30, 31, 91, 96, 108, 122, 136, 157, 159, 164, 166, 168, 172, 173, 191, 192, 201, 203, 206, 216

POOTOOGOOK, KANANGINAK

150

151, 177, 196, 197

DECEMBER 4 - 9, 2021

243

244

INUIT ART AUCTION