Inuit Art Auction | June 1, 2015

Inuit Art Auction Monday 1 June 2015 at 6:00 pm

On View Saturday 30 May 2015 from 11:00 am to 5:00 pm Sunday 31 May 2015 from 11:00 am to 5:00 pm Monday 1 June 2015 from 10:00 am to 12 Noon Select lots may be viewed otherwise by appointment.

Preview and Auction to be held at Waddington’s 275 King Street East, 2nd Floor Toronto Ontario Canada M5A 1K2 This auction is subject to the Conditions of Sale printed in the back of this catalogue.

All lots in the auction may be viewed online at InuitArt.Waddingtons.ca

Waddingtons.ca

Front Cover Lot 133 PAUTA SAILA (1916-2009), E7-990, CAPE DORSET GROWLING POLAR BEAR Inside Front Cover Lot 90 PITSEOLAK ASHOONA (1904-1983), E7-1100, CAPE DORSET TATTOOED WOMAN Title Page Lot 99 WILLIAM NOAH (1943-), E2-391, BAKER LAKE WOLF MAN Inside Back Cover Lot 136 EEGYVUDLUK POOTOOGOOK (1931-), E7-865, CAPE DORSET BIRD WITH HER YOUNG Back Cover Lot 144 POSSIBLY BY OR CAMP OF: AKEEAKTASHUK (1898-1954), E9-713, INUKJUAK HUNTER WITH INSET IVORY EYES AND TEETH

All lots in the auction may be viewed

online at InuitArt.Waddingtons.ca This catalogue and its contents © 2015 Waddington McLean & Company Ltd. All rights reserved.

Photography by Waddington’s

Specialist Christa Ouimet 416 847 6184 co@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca Absentee and Phone Bidding 416 504 0033 (Fax) bids@waddingtons.ca Online Bidding www.invaluable.com Communications Tess McLean 416 504 9100 tm@waddingtons.ca

This spring season we are pleased to offer you one of the finest and most diverse groups of Inuit sculpture on the market. This exhibition is a comprehensive representation of works from across the Canadian Arctic, spanning from the classic period to the contemporary.

Highlighting this season's offering is an early and massive Pauta Saila Polar Bear, an exquisite John Tiktak Figure and some extraordinary miniature gems in our Small Wonders segment that will cause you to make space in your cabinets.

Not to be overlooked are the original graphic works that have been a joy to handle and research. These include finely detailed works on paper by Kananginak Pootoogook and whimsical drawings by Jessie Oonark and Janet Kigusiuq. Other graphics of note are Wolf Man by William Noah, Pitseolak's Tattooed Woman from 1963 as well as the large untitled, uncatalogued Luke Anguhadluq print of a traditional drum dance, all of which are true collector's pieces.

The strength of this auction is in the classic period works that we have been entrusted with, including a 15 inch Hunter from Inukjuak and a stunning Female Figure from the Baffin region.

Our contemporary component features meticulously carved sculptures by the masters of stone, Abraham Anghik and David Ruben Piqtoukun, as well as some significant bone creations by Manasie Akpaliapik.

We are truly honoured to offer a group of exceptional artwork from the personal collection of M.F. (Budd) Feheley. As the founder of Toronto's Feheley Fine Arts and an avid collector and promotor of Inuit art since the earliest days, these sculptures represent his discerning eye for quality.

We are proud to present the following selection of Inuit art. There is so much more to show you so please join us for our preview and auction this spring.

— Christa Ouimet Specialist, Inuit Art

Waddington’s

Leadership Team

Waddington’s is Canada’s most diverse and significant provider of fine art auction and appraisal services. Based on a rich legacy in the industry, Waddington’s actively seeks to redefine our business to ensure we remain fresh and reactive to what our clients are seeking. Through our appraisal, auction, private sale and downsizing expertise, we are pleased to provide a complete range of services.

Waddington’s leadership team brings together three of the industry’s best. The combination of their experience, knowledge of market trends and client networks builds on Waddington’s 160 year legacy of growth and dominance.

Waddington’s is Canada’s original auction house, with a history of conducting auctions since 1850.

We are also an international auction house, providing access to world markets.

Waddington’s is an innovative leader. We enjoy pushing the limits, exploring new territory and creating new partnerships. From the marathon auction of Maple Leaf Gardens, our partnership with the LCBO to auction fine wine, to the launch of Concrete Contemporary and our new Pop-Up Gallery series, we are driven to find what’s new, what’s exciting, and what you want to buy or sell.

Waddington’s by Department Asian Art Canadian Fine Art Contemporary Art Auctions and Projects Decorative Arts International Art Inuit Art Jewellery, Watches & Numismatics “Off the Wall” Art Philanthropy and Community

Duncan McLean, President, is Waddington’s corporate leader, responsible for strategic development and innovation realization. Under his direction Waddington’s strives to not only continuously evolve to meet the needs of our clients and address the demands of the market, but to push the boundaries, with integrity, creativity and passion.

Mr. McLean has been involved in the auction industry for over 35 years, as art specialist, appraiser, auctioneer and corporate leader. His knowledge base spans the diversity of Waddington’s offerings, with internationally-recognized expertise in Inuit Art. As Vice President Business Development, Stephen Ranger is focused on identifying new markets, new clients and new ways to do business. For example, Mr. Ranger launched Waddington’s Contemporary Art venture, Concrete Contemporary, to reach an exciting new sector of art enthusiasts and artists.

Under Mr. Ranger’s guidance, new partnerships are also being created resulting in edgy new offerings like our Pop-Up Gallery series debuting in 2013.

Mr. Ranger brings over 25 years of diverse experience as an auctioneer, appraiser and consultant in the art and fine wine auction industry with specific expertise in Canadian Fine Art. Linda Rodeck, Vice President Fine Art, is one of Canada’s most trusted and respected Canadian Art specialists. Her impressive career of 25+ years includes leadership roles in the country’s most distinguished auction houses. Ms. Rodeck’s keen understanding of the market and her extensive network are invaluable in her role of sourcing the best works and providing the best service to our clients.

As Vice President of Waddington’s Fine Art, Ms. Rodeck plays a critical role in developing new business leveraging her success in the Canadian art market.

Inuit Art

Canadian Fine Art

Waddington’s is internationally recognized as one of the leading authorities in marketing Inuit Art. No other auction house has been as intrinsically linked to the development of a market for this art form. Inuit Art is a proud part of our DNA. From our first landmark auction in 1978 of the William Eccles Collection, Waddington’s has offered thousands of works, set record prices, and expanded the market well beyond Canada’s borders.

Waddington’s has been a major force in the Canadian art sector for over five decades, beginning with our first auction of Canadian Fine Art held at the Queen Elizabeth Building at the CNE in 1967.

Since that historic event, Waddington’s has offered some of the most important Canadian works, set record prices, and has been an integral part of driving the Canadian art market.

Our legacy of successful Inuit Art auctions, our ability to achieve continually increasing values and our creation of an international market have been key factors in validating Inuit art as a whole and establishing it as an integral part of the Canadian Art scene.

Duncan McLean Senior Specialist, Inuit Art

Christa Ouimet Specialist, Inuit Art

Linda Rodeck Senior Specialist, Canadian Art Vice President, Fine Art

Concrete Contemporary Auctions and Projects

Jewellery, Watches and Numismatics

Waddington’s launched its newest division, Concrete Contemporary Auctions and Projects in March 2012 with a vision and mandate to create a secondary market for contemporary Canadian art.

Waddington's has conducted auctions of Fine Jewellery and Numismatics for close to three decades. Highly respected expertise and in-depth knowledge of both domestic and international markets are the anchors of the ongoing success and popularity of our auctions.

Concrete Contemporary Auctions merges the worlds of traditional auction and the retail gallery, where our relationships with artists, art dealers, curators and collectors result in exciting new sources of contemporary works. The auctions are tightly focused on Canadian contemporary art since 1980 with an emphasis on midand late-career artists with exhibition history in the private and public sphere.

An exciting initiative is the introduction of our Pop-Up Gallery series. These shortduration single artist exhibitions offer works by some of Canada’s most accomplished and influential working artists. As well, the groundbreaking Concrete Contemporary Acquisition Fund assists museums and public galleries in the acquisition of works by artists included in the auction.

Led by one of Canada’s most plugged-in arts experts, Stephen Ranger, we are committed to exploring new ways to connect, expand and support the contemporary art community.

Stephen Ranger Senior Specialist, Contemporary Art

Our auctions are composed of a wide spectrum of contemporary and period jewellery featuring examples by some of the most desired names in jewellery including Tiffany, Cartier, Fabergé, Jensen, Yurman and Van Cleef & Arpels. Also featured in our auctions are fine wrist and pocket watches, designer fashion jewellery and all forms of numismatics including coins, tokens, banknotes and ancients.

Donald McLean Senior Specialist, Jewellery, Watches and Numismatics

Decorative Arts

International Art

Decorative Arts at Waddington’s encompasses a broad and diverse variety of objects and the department's client database is one of our largest. From ancient to modern, delicate to deadly, Waddington’s Decorative Arts department redefines the term, bringing much more than traditional silverware and porcelain figurines to market, and with remarkable success.

Waddington’s International Art department presents auctions of fine art from around the world, offering original works from art centres across North America and Europe while continuing to expand our scope to bring our collectors works from Asia, South Asia, Russia and South America. A major element of Waddington’s legacy, our International art auctions draw on Canada’s cultural diversity. The combination of our expertise and our expansive global network ensures the highest standards of authentication and research.

Waddington’s reputation for developing new markets is well represented by our Decorative Arts department, as is our ability to present large collections – notable recent sales have included Contemporary Studio Glass, Scientific Instruments and Militaria.

Rare and important paintings, sculptures, prints and photographs are offered in our live and online auctions, attracting buyers worldwide.

The department regularly offers auctions which include bronzes, items of Canadian historical interest, ceramics, devotional works of art, glass, lighting, militaria, mirrors, objets de vertu, porcelain, silver, scientific instruments, travel and exploration maps.

Susan Robertson Senior Specialist, International Art

Sean Quinn Specialist, Decorative Arts

Bill Kime Senior Specialist, Decorative Arts

Asian Art

“Off the Wall” Art

Waddington’s Asian Art department is Canada’s leader in serving the demands of the rapidly growing Asian market supported by our recognized and credible expertise. Our ability to achieve exceptional prices for works is based on our international reputation and network with the community.

Our “Off The Wall” Art online auctions are a unique opportunity to showcase accessible art. Drawing from our International Art, Canadian Art and Inuit Art divisions, “Off The Wall” Art auctions feature paintings, prints and sculpture.

Specializing in jade, paintings, porcelain, religious works of art, textiles, woodblock and export wares, we present works from China, Japan, Korea, South East Asia, South Asia, Himalaya and others.

These monthly, online auctions are always an eclectic selection of affordable works – a great way to learn, enjoy art and start building a collection. Working closely with our other divisions, this auction has developed its own diverse and extensive network of clients.

Anthony Wu Specialist, Asian Art

Doug Payne Specialist, Fine Art

Philanthropy and Community

Waddington's is committed to working within the community by contributing our time and expertise to charity fundraising events and appraisal clinics. We are honoured to work with countless museums, galleries, art organizations and fund raising events and contribute our time to over 20 events each year raising over $2,000,000 annually for the community.

In addition, the Concrete Contemporary Acquisition Fund each year funds 50% of the purchase price for a work of contemporary Canadian art for a public institution.

Organizations we support include: Aids Committee of Toronto, SNAP Best Buddies Birdlife International Canadian Opera Company Canadian Film Centre Calgary Contemporary Casey House, Art with Heart Casey House, Snowball CAMH Unmasked Covenant House Design Hope The Furniture Bank Integra Foundation Lake Ontario Waterkeepers OCAD University Metro Toronto Zoo

Montreal Children’s Hospital Music and Beyond, Ottawa Nyota School, Kenya Princess Margaret Hospital Robert McLaughlin Gallery Second Harvest, Toronto Taste Serve Canada St. Mary’s General Hospital, Kitchener St. Michael’s Hospital, ARTGEMS The STOP Foodbank Toronto Symphony Orchestra The Varley Gallery Windsor Art Gallery Warchild Canada York University Fisher Fund

Inuit Art Auction

5 KANANGINAK POOTOOGOOK (1935-2010), E7-1168; KENOJUAK ASHEVAK (1927-2013), E7-1035; AFTER Lots 1–279 PETER PITSEOLAK (1902-1973), E7-970, CAPE DORSET THE WORLD WILDLIFE FUND COLLECTION OF THE ART OF THE ESKIMOS stonecuts; stonecut and stencil, 1977, proofs contains: OMINGMUNGJUAQ (BIG MALE MUSK OX); WALRUS; METIK (DUCKS); CARIBOU; OWL OF THE SEA; HAWK, framed, sight 28.5” x 22.25” — 72.4 x 56.5 cm.

Note: Together with the original leather-bound, pewter-trimmed portfolio. $3,000—5,000 *Additional images available on our website.

InuitArt.Waddingtons.ca

1 MELIA JAW (1934-), E7-922, CAPE DORSET ANCIENT VISIONS etching and aquatint, 2002, 44/50, unframed 13” x 28” — 33 x 71.1 cm. $600—900

2 NINGEOKULUK TEEVEE (1963-), CAPE DORSET TULUGAK’S VIEW etching and aquatint, 2013, unframed 23.5” x 17.75” — 59.7 x 45.1 cm. $600—900

3 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET DANCING RAVENS stonecut and stencil, 2003, 27/50, unframed 24.25” x 29” — 61.6 x 73.7 cm. $700—1,000

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

4 KANANGINAK POOTOOGOOK (1935-2010), E7-1168, CAPE DORSET PARLIAMENT OF OWLS stonecut and stencil, 2005, 42/50, unframed 24” x 32” — 61 x 81.3 cm. $800—1,200

5 KANANGINAK POOTOOGOOK (1935-2010), E7-1168; KENOJUAK ASHEVAK (1927-2013), E7-1035; AFTER PETER PITSEOLAK (1902-1973), E7-970, CAPE DORSET THE WORLD WILDLIFE FUND COLLECTION OF THE ART OF THE ESKIMOS stonecuts; stonecut and stencil, 1977, proofs contains: OMINGMUNGJUAQ (BIG MALE MUSK OX); WALRUS; METIK (DUCKS); CARIBOU; OWL OF THE SEA; HAWK, framed, sight 28.5” x 22.25” — 72.4 x 56.5 cm.

Note: Together with the original leather-bound, pewter-trimmed portfolio. $3,000—5,000 *Additional images available on our website.

6 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET OWLS GATHER TOGETHER stonecut and stencil, 1984, 42/50, framed, sight 25” x 34” — 63.5 x 86.4 cm. $600—900

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7 LUCY QINNUAYUAK (1915-1982), E7-1068, CAPE DORSET BIRDS I KNOW stonecut, 1976, 16/20, framed 24” x 30” — 61 x 76.2 cm. $600—900

8 CHARLIE SIVUARAPIK (1911-1968), E9-1460, POVUNGNITUK UNTITLED stonecut, 1961, 5/15, unframed 12” x 9” — 30.5 x 22.9 cm.

Note: One print from the Povungnituk Experimental Collection, 1961. The image of the female figure holding a child is the same for the print “Legend.” The additional background was likely inked from a bone or stone for a rough effect.

Sandra B. Barz, Inuit Artists Print Workbook, Volume 3, Book 2: Print Documentation, p. 31 $600—900

9 LEAH QUMALUK (1934-), E9-1721, POVUNGNITUK TORNGAIT stonecut, 1965, 7/30, framed, sight 25.5” x 20.5” — 64.8 x 52.1 cm. $400—600

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10 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE KUDLOOPUDLOOALLOOK stencil, 1970, 4/34, unframed 22” x 30” — 55.9 x 76.2 cm. $700—1,000

11 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE DIFFERENCE IN THOUGHT stonecut and stencil, 1976, 32/34, unframed 18.25” x 25” — 46.4 x 63.5 cm. $600—900

12 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE I SEE CARIBOU stonecut and stencil, 1972, 20/39, unframed 12” x 13.75” — 30.5 x 34.9 cm. $600—900

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13 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE ANGUTKOQ serigraph, 1975, 5/50, unframed 13” x 16” — 33 x 40.6 cm. $400—600

14 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE MAN AND HIS CATCH stonecut, 1974, 36/50, unframed 13.5” x 19.25” — 34.3 x 48.9 cm. $400—600

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

15 MARIE KUUNNUAQ (1933-1990), E2-126, BAKER LAKE BEARS ENTER MAN

16 PETER SEVOGA (1940-2007), E2-225, BAKER LAKE MUSK OX stone, signed in syllabics

stone, c. 1978, signed in syllabics and inscribed with disc number 4” x 7.75” x 3” — 10.2 x 19.7 x 7.6 cm.

9” x 6” x 6” — 22.9 x 15.2 x 15.2 cm. $400—600 Note: Kuunnuaq enjoyed carving and according to her husband used every opportunity to do so, bringing stone and tools with her when camping and fishing. This work depicts the composite beings typical of a Shamanic transformation, as the title suggests the two bears (the Shaman’s spirit helpers) are entering the man (presumably the Shaman). $300—500

17 BASIL APTANIK (1952-), E2-503, BAKER LAKE KNEELING FIGURE WITH KNIFE

18 VITAL MAKPAAQ (1922-1978), E2-120, BAKER LAKE FATHER EMBRACING CHILD

stone, antler, signed in syllabics

stone, signed in syllabics

8” x 6” x 8.5” — 20.3 x 15.2 x 21.6 cm.

9.5” x 6.25” x 6.75” — 24.1 x 15.9 x 17.1 cm.

$600—900

$600—900

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19 DAVID IKUTAAQ (1929-1984), E2-349, BAKER LAKE STANDING MAN

20 LUCY TIKIQ TUNGUAK (1939-), E2-231, BAKER LAKE INUIT FAMILY

stone, signed in syllabics

stone, signed in syllabics

11” x 8” x 6.25” — 27.9 x 20.3 x 15.9 cm.

5” x 11.75” x 4” — 12.7 x 29.8 x 10.2 cm.

$700—1,000

$700—1,000

21 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE MUSK OX

22 DAVID IKUTAAQ (1929-1984), E2-349, BAKER LAKE STANDING WOMAN WITH RAISED ARM

stone, signed in syllabics

stone, dated 1973, signed in syllabics

7” x 10.25” x 3.25” — 17.8 x 26 x 8.3 cm.

8.25” x 5.5” x 5.25” — 21 x 14 x 13.3 cm.

$1,000—1,500

$1,000—1,500

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23 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE MUSK OX

24 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE WOMAN WITH QULLIQ

stone, signed in syllabics

stone, signed in syllabics

5” x 9” x 4.75” — 12.7 x 22.9 x 12.1 cm.

7.5” x 4.5” x 3.25” — 19.1 x 11.4 x 8.3 cm.

$1,500—2,500

$1,500—2,000

25 JOHNNY IQULIQ (1966-), E3-1743, BAKER LAKE MAN WITH KNIFE

26 THOMAS SIVURAQ (1941-), E2-236, BAKER LAKE MOTHER AND CHILD

stone, antler, signed in syllabics

stone, signed in syllabics

14” x 11” x 6” — 35.6 x 27.9 x 15.2 cm.

10.75” x 6.5” x 4.75” — 27.3 x 16.5 x 12.1 cm.

$1,500—2,000

$1,500—2,000

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27 THOMAS SIVURAQ (1941-), E2-236, BAKER LAKE WOMAN WITH BEAR CUB IN AMAUT

28 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE MOTHER AND CHILD

stone, c. 1980, signed in syllabics

stone

8” x 4.5” x 4.5” — 20.3 x 11.4 x 11.4 cm.

7” x 5.25” x 3.5” — 17.8 x 13.3 x 8.9 cm.

29 MARC ALIKASWA (1928-), E1-121, ARVIAT MOTHER AND CHILD stone 5.5” x 5” x 4” — 14 x 12.7 x 10.2 cm. $400—600

$1,800—2,200 Note: “Thomas Sivuraq lived on the land as long as he could, even after his siblings had been evacuated by plane because they were staving. His parents died and he stayed alone running his trapline.”

Maria von Finckenstein, Celebrating Inuit Art, 1999, pg. 168 $1,500—2,500

30 ATTR: JOY KILUVIGYUAK HALLAUK (19402000), E1-366, ARVIAT WOMAN OPPOSITE WOMAN stone 7.25” x 6” x 4.25” — 18.4 x 15.2 x 10.8 cm. $1,000—1,500 *Additional images available on our website.

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31 MINA WEETALUKTUK (1954-), E9-2109, INUKJUAK UNTITLED (TRADITIONAL ARCTIC MOTIFS BEARING DESCRIPTIONS IN INUKTITUT) cotton fabric, felt, sealskin, embroidery floss, signed in syllabics, framed 61.5” x 96.5” — 309.9 x 154.9 cm.

Note: This work is stylistically similar to tapestries made by Caroline Napartuk, Mina Napartuk, Malaya Crow and Annie Niviaxie. Mina taught the other women to make tapestries and often times they collaborated. $3,000—5,000

32 UNIDENTIFIED, ARVIAT BEADED AMAUTI stroud, duffle, fabric, satin, thread, embroidery floss, beads 66” x 52” x 2.5” — 167.6 x 132.1 x 6.4 cm.

Provenance: The Arctic Trading Company, Churchill, MB, Purchased by the present collector, during the 1990’s $2,000—3,000

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33 ELIZABETH ANGRNAQQUAQ (1916-2003), W1-224, BAKER LAKE UNTITLED (FIGURES AND WILDLIFE) stroud, felt, thread, signed in syllabics 36” x 28” — 91.4 x 71.1 cm.

Note: Angrnaqquaq’s mother died when she was young so she learned to sew from her grandmother and later from other women in the community. She uses the feather stitch in abundance here, covering her appliqued animals with a fur like effect. Sheila Butler noted, “Angrnaqquaq’s designs show an anatomical and textural understanding of the creatures she portrays.”

Northern Lights, Inuit Textile Art from the Canadian Arctic, The Baltimore Museum of Art, 1994, pg. 38. $1,000—1,500

34 IRENE AVAALAAQIAQ TIKTAALAAQ (1941-), E2-423, BAKER LAKE UNTITLED (BIRD SHAMAN WITH SURROUNDING SPIRITS) stroud, felt, thread 34.5” x 25” — 87.6 x 63.5 cm.

Note: “My grandmother used to tell me about how an animal could turn into a man and a man could turn into an animal... I remember these stories and put them into my wall hangings and drawings.”

Irene Avaalaaqiaq, as quoted in Women of the North, Marion Scott Gallery, 1992, pg. 27 $600—900

35 UNIDENTIFIED, BAKER LAKE CHILD’S VEST DECORATED WITH EMBROIDERY AND APPLIQUED POLAR BEARS stroud, felt, thread, embroidery floss, antler button, c. 1970 17” x 15” — 43.2 x 38.1 cm.

Provenance: Acquired by the vendor from Jack and Sheila Butler. $300—500

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36 UNIDENTIFIED TWO INUIT DOLLS (FEMALE WITH CHILD IN AMAUT)

37 IGAH HAINNU (1962-), E5-1758, CLYDE RIVER GOOSE FOOT BASKET WITH APPLIQUED BIRDS IN FLIGHT

bone, caribou fur, wood, skin, c. 1950, with inset eyes

goose feet, sealskin, thread, tin interior

10.25” x 4.5” x 2” — 26 x 11.4 x 5.1 cm.; 9” x 3.5” x 2” — 22.9 x 8.9 x 5.1 cm.

7.5” x 6.75” x 6” — 19.1 x 14 x 17.1 cm. $400—600

Provenance: Douglas Moodie, RCMP officer, By descent to present owner

*Additional information available on our website.

$300—500 *Additional information available on our website.

38 UNIDENTIFIED MODEL KAYAK

39 MAGDALINE UKPATIKU (1931-1999); HATTIE ASSIVAARYUK, BAKER LAKE HAIR CLIP, NEEDLE CASE, COMB, SNOW KNIFE

skin, sinew, wood antler, leather, bone, c. 1970, signed in syllabics 5” x 52” x 6” — 12.7 x 132.1 x 15.2 cm.

16” x 1.5” x .5” — 40.6 x 3.8 x 1.3 cm. $400—600 Provenance: Work sourced by Jack & Sheila Butler for the vendor. $300—500

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Small Wonders

40 MANASIE AKPALIAPIK (1955-), E5-1155, TORONTO HOODED FACE

41 TUUKAK KIATAINAQ (1935-), E9-1287, WAKEHAM BAY FAMILY AND SEALS

bone, 1993

ivory, antler, wood

9” x 6” x 3” — 22.9 x 15.2 x 7.6 cm.

2.25” x 11.5” x 1” — 5.7 x 29.2 x 2.5 cm.

$400—600

$200—400

43 UNIDENTIFIED, PELLY BAY LEAPING CARIBOU

44 UNIDENTIFIED HUNTER IN KAYAK

ivory, bone

ivory, skin

3” x 4” x 2” — 7.6 x 10.2 x 5.1 cm.

2.5” x 9.25” x 2.75” — 6.4 x 23.5 x 7 cm.

42 UNIDENTIFIED WALKING POLAR BEAR ivory, stone

Provenance: Waddington’s Auctioneers & Appraisers, May 1979, lot 212E, illustrated on p. 47 Private collection, ON $200—400

2” x 5.5” x 1.25” — 5.1 x 14 x 3.2 cm. $300—500

$300—500

45 AGNES NULLUQ IQQUGAQTUQ (1930-2006), E3-302, PELLY BAY WOMAN HOLDING PAIL AND DIPPER ivory, skin, signed in syllabics 3” x 1.5” x 1” — 7.6 x 3.8 x 2.5 cm.

Provenance: Waddington’s Auctioneers & Appraisers, May 1989, lot 219 Private collection, ON $200—300

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46 KIAWAK ASHOONA (1933-2014), E7-1103, CAPE DORSET TUSK ETCHED WITH ARCTIC ANIMALS ON BASE

47 JACOPOSIE TIGLILK (1952-), E6-656, PANGNIRTUNG DRUM DANCER WITH TOTEM ivory, stone

ivory, stone, signed in syllabics 5” x 4.5” x 2.75” — 12.7 x 11.4 x 7 cm. $400—600

7” x 3” x 2” — 17.8 x 7.6 x 5.1 cm.

Provenance: Waddington’s Auctioneers & Appraisers, May 1980, lot 186 Private collection, ON $600—900

48 UNIDENTIFIED, ALASKA OR LABRADOR A WOLF EMERGING FROM ITS DEN

49 UNIDENTIFIED HUNTER IN KAYAK

ivory, mid 20th century

ivory

1.5” x 4.75” x 1.5” — 3.8 x 12.1 x 3.8 cm.

3” x 12.75” x 2” — 7.6 x 32.4 x 5.1 cm.

$200—400

$200—400

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50 UNIDENTIFIED, GREENLAND HUNTER IN KAYAK

51 UNIDENTIFIED, GREENLAND TUPILAK WITH CAPTURED SOUL

52 UNIDENTIFIED, GREENLAND TUPILAK ivory

skin, wood, ivory ivory, c. 1970 3” x 2” x 15.75” — 7.6 x 5.1 x 40 cm. $250—350

5.25” x 2.75” x 2.25” — 13.3 x 7 x 5.7 cm.

3.5” x 1.25” x 1.25” — 8.9 x 3.2 x 3.2 cm. $300—500

$800—1,200

53 UNIDENTIFIED, GREENLAND TUPILAK

54 CECILIE KLEIST (1949-), GREENLAND BIRD WITH SPIRIT FACES

ivory, measurements reflect only dimensions of the figure, on base: 5” x 2” x 2.5” — 12.7 ivory, initials inscribed x 5.1 x 6.4 cm.

4.25” x 2” x 1.5” — 10.8 x 5.1 x 3.8 cm.

5.25” x 2” x 1.5” — 13.3 x 5.7 x 3.8 cm. $600—900 $600—900

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55 UNIDENTIFIED, GREENLAND DRUMMER WITH TOP KNOT ivory, wood 4.75” x 1.5” — 12.1 x 3.8 cm. $400—600

Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

56 POOTOOGOOK QIATSUK (1959-), E7-1668, CAPE DORSET BIRD WITH RAISED WINGS stone, signed in syllabics 11.25” x 5” x 2.75” — 28.6 x 12.7 x 7 cm. $600—900

57 CHARLIE UGYUK (1931-1999), E4-341, SPENCE BAY POLAR BEAR CAUGHT A SCENT stone, signed in syllabics 4.25” x 6.25” x 3” — 10.8 x 15.9 x 7.6 cm. $700—1,000

58 DAVIDIALUK ALASUA AMITTU (1910-1976), E9-824, POVUNGNITUK WOMAN WITH BAG AND KAMIK stone, c. 1965, signed in Roman 4” x 5.25” x 2” — 10.2 x 13.3 x 5.1 cm. $500—700

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59 DAVIDIALUK ALASUA AMITTU (1910-1976), E9-824, POVUNGNITUK WALRUS AND POLAR BEAR stone, signed in syllabics, 1976 as per date on tag 2.5” x 7.5” x 5.5” — 6.4 x 19.1 x 14 cm.

Note: The syllabics on the underside tells the Inuit story of a polar bear that broke his fangs while trying to drag a live walrus, the walrus wins the struggle and kills the polar bear.

Translation by Sammy Kudluk, Avataq Cultural Institute / Inuit Art Foundation. $600—900

60 THOMAS SIVURAQ (1941-), E2-236, BAKER LAKE BIRD SHAMAN stone, c. 1980, signed in syllabics 6.25” x 5” x 2.75” — 15.9 x 12.7 x 7 cm. $800—1,200

61 ELI SALLUALU QINUAJUA (1937-2004), E9-846, POVUNGNITUK TRANSFORMATION stone, signed in Roman 5.5” x 3.75” x 1.5” — 14 x 9.5 x 3.8 cm. $300—500

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

62 JUANISI JAKUSI ITUKALLA (1949-), E9-1886, POVUNGNITUK WALRUS AND YOUNG stone, dated 82, signed in Roman 4.25” x 4.5” x 3” — 10.8 x 11.4 x 7.6 cm. $400—600

63 GEORGE TATANIQ (1910-1991), E2-179, BAKER LAKE BIRD stone, signed in syllabics 3.75” x 5” x 2” — 9.5 x 12.7 x 5.1 cm. $400—600

64 ATTR: RACHEL OTTUK OTUKPALANAK (1915-), E1-133, ARVIAT KNEELING MOTHER WITH CHILD IN AMAUT stone, signed in syllabics 4.75” x 2.5” x 3” — 12.1 x 6.4 x 7.6 cm.

Note: Although the syllabic signature reads otherwise, this piece bears a striking resemblance to works by Rachel Ottuk Otukpalanak. $300—500

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65 POSSIBLY: BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE POLAR BEAR SHAMAN TRANSFORMATION stone 1.5” x 5” x 3” — 3.8 x 12.7 x 7.6 cm. $300—500

66 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE MUSK OX stone, dated 1985, signed in syllabics 2.5” x 4” x 1” — 6.4 x 10.2 x 2.5 cm. $700—1,000

67 PAUTA SAILA (1916-2009), E7990, CAPE DORSET DANCING POLAR BEAR stone, signed in syllabics 6.5” x 4.25” x 1.5” — 16.5 x 10.8 x 3.8 cm. $2,000—3,000

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

68 UNIDENTIFIED TWO HUNTERS WITH RIFLES ON POLAR BEARS stone, c. 1960, inscribed in syllabics 1.5” x 3.5” x 3.5” — 3.8 x 8.9 x 8.9 cm. $600—900

Note: The underside of this special work reveals that it has been carved from a piece of a discarded qulliq (Inuit oil lamp). It also spells out a message or description in Inuktitut, “I am shaking too much, I might not hit it”, in reference to the polar bear hunters depicted on the opposite side. The use of the qulliq could be a coincidence, an example of an artist using what is available to him, however one could also interpret the use of the qulliq as symbolic of the hunter’s desire for warmth and thus steadier hands.

The genius of this palm sized piece is not only in the quality of the carving itself but the set-up of the scene by the artist. He carves the subject of the hunt - the polar bears, as part of the surface that the hunters lie on, clearly representing what lies down the barrel of their rifles.

Translation by Sammy Kudluk of Avataq Cultural Institute, Inuit Art Foundation, 2015.

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69 KOOMWARTOK ASHOONA (1930-1984), E7-1102, CAPE DORSET TRANSFORMATION

70 POOTOOGOOK QIATSUK (1959-), E7-1668, CAPE DORSET BIRD LOOKING BACK

stone

stone, signed in syllabics

3.5” x 6.5” x 2” — 8.9 x 16.5 x 5.1 cm.

6.5” x 4” x 2.75” — 16.5 x 10.2 x 7 cm.

$600—900

$300—500

71 QAUNAQ MIKKIGAK (1932-), E7-1014, CAPE DORSET WOMAN GATHERING BERRIES

72 PAULASSIE POOTOOGOOK (1927-2006), E7-1176, CAPE DORSET HUSKY

stone, signed in syllabics

stone, 2003, signed in syllabics

5.5” x 4.5” x 3.75” — 14 x 11.4 x 9.5 cm.

4.25” x 6.25” x 2” — 10.8 x 15.9 x 5.1 cm.

$300—500

$400—600

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

73 JOE TALIRUNILI (1893-1976), E9-818, POVUNGNITUK WOMAN CARRYING PAIL AND QULLIQ stone, c. 1964, signed in Roman and disc number 6.75” x 2.75” x 2” — 17.1 x 7 x 5.1 cm.

Note: For a similar work from the same period by the artist see, Waddington’s spring 2013 auction catalogue, lot 119. $3,000—5,000

74 JOE TALIRUNILI (1893-1976), E9-818, POVUNGNITUK STANDING HUNTER stone, wood, thread, antler, skin, signed in Roman 6.5” x 3” x 2” — 16.5 x 7.6 x 5.1 cm.

Note: In addition to his migration sculptures, Talirunili is equally known for his hunters, owls and female figures (see lot 73). Each hunter is somewhat unique, defined by subtle differences in his outfitting with tools and attire. This work is a great example of Joe’s distinct style; a solitary figure, staring straight forward, minimally polished but laden with traditional weapons.

This fellow looks pleased to be out on the land. $2,500—3,500

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76 DAVID IKUTAAQ (1929-1984), E2349, BAKER LAKE MUSK OX

77 PAULOSIE PAULOSIE (19151979), E9-1540, INUKJUAK FAMILY OF SWIMMING LOONS

stone, signed in syllabics

stone, c. 1960

2.75” x 5.5” x 2” — 7 x 14 x 5.1 cm.

2.75” x 8.25” x 3.5” — 7 x 21 x 8.9 cm.

$400—600

$300—500

78 MARK TUNGILIK (1913-1986), E3-320, REPULSE BAY MUSK OX

79 SILAS QAYAQJUAQ (1956-), E51324, OTTAWA “SHAMAN’S DRUM”

80 SEEPEE IPEELIE (1940-2000), E7-511, IQALUIT MUSK OX

stone, antler, signed in syllabics

stone, antler, dated 2000, signed in syllabics and Roman, titled in Roman

stone, antler, signed in syllabics

75 UNIDENTIFIED MOTHER AND CHILD stone, c. 1950 4.5” x 2” x 1.75” — 11.4 x 5.1 x 4.4 cm. $300—500

3.5” x 6” x 2.5” — 8.9 x 15.2 x 6.4 cm.

6.5” x 3.25” x 2” — 16.5 x 8.3 x 5.1 cm.

4.75” x 6” x 3.25” — 12.1 x 15.2 x 8.3 cm.

$500—700 Exhibited: In the Shadow of the Midnight Sun: Sami and Inuit Art 2000-2005, curated

by Jean Blodgett, Art Gallery of Hamilton, Hamilton, ON, 2007 $500—700

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$600—900

Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

81 THOMAS SIVURAQ (1941-), E2-236, BAKER LAKE STANDING HUNTER WITH KNIFE

82 JUDAS ULLULAQ (1937-1999), E4-342, GJOA HAVEN FIGURE SHARPENING AN ULU

stone, antler, signed in syllabics

stone, horn, ivory, signed in syllabics

7” x 4.25” x 1.75” — 17.8 x 10.8 x 4.4 cm.

5.25” x 6.25” x 3.5” — 13.3 x 15.9 x 8.9 cm.

$1,000—1,500

$1,200—1,600

83 SILAS QAYAQJUAQ (1956-), E5-1324, OTTAWA THROAT SINGING

84 JACOPOSIE TIGLILK (1952-), E6-656, PANGNIRTUNG TWO TOTEMS ON BASE

stone, ivory, signed in syllabics with Roman, titled in Roman stone, ivory, signed in Roman 2” x 2.5” x 1.5” — 5.1 x 6.4 x 3.8 cm.

7” x 8.5” x 2.5” — 17.8 x 21.6 x 6.4 cm.

Exhibited: In the Shadow of the Midnight Sun: Sami and Inuit Art 20002005, curated by Jean Blodgett, Art Gallery of Hamilton, Hamilton, ON, 2007

$1,000—1,500

$400—600

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85 UNIDENTIFIED, INUKJUAK MOTHER AND CHILD stone, soap inlay, c. 1950 4.25” x 2.25” x 1.5” — 10.2 x 5.1 x 3.8 cm.

Provenance: From the personal collection of M.F. Feheley. $1,500—2,000 *Additional images available on our website.

86 UNIDENTIFIED SURFACING POLAR BEAR WITH FISH wood, c. 1955 2.5” x 2.75” x 2.25” — 6.4 x 7 x 5.7 cm.

Note: The source of wood in the north was often salvaged from shipping crates. $300—500

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

87 PARR (1893-1969), E7-1022, CAPE DORSET THREE HUNTERS WITH WALRUS stonecut, 1967, 11/50, unframed 21” x 31” — 53.3 x 78.7 cm. $2,500—3,500

88 PARR (1893-1969), E7-1022, CAPE DORSET UNTITLED #57 etching, 1962, 41/50 11.5” x 9.75” — 29.2 x 24.8 cm. $1,500—2,000

89 PARR (1893-1969), E7-1022, CAPE DORSET HUNTERS OF OLD stonecut, 1974, 27/50, unframed 34” x 24” — 86.4 x 61 cm. $3,000—5,000

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90 PITSEOLAK ASHOONA (1904-1983), E7-1100, CAPE DORSET TATTOOED WOMAN stonecut, 1963, 33/50, unframed 26" x 24.5" — 59.1 x 59.1 cm. $3,000—5,000

Note: This simple yet powerful image of an Inuit woman illustrates the artist and printmaker’s attention to detail and artistry. There is a sense of movement evident in what would otherwise be a static portrait. This sense is facilitated not only by the tilt of the woman’s head but by the intersecting lines of the voluminous parka, facial tattoos and features.

Pitseolak describes the tradition of facial tattoos, “Many of the woman had tattoo marks on their faces and my mother had them, too. They used to do it with a needle and caribou thread soaked in oil and soot from the kudlik - the seal oil lamp. They used to pull the thread through the skin and the skin would be swollen for many days.”

Inuit Women Artists, Voices from Cape Dorset, Canadian Museum of Civilization, 1994, pg. 51.

Pitseolak “later identified the woman in this image as her mother; Tattooed Woman can be viewed as an homage both to her mother and to Inuit women of earlier generations.”

“As one of her earliest prints, made from a graphite line drawing and not yet indicative of this lively character for which she would later be recognized, this elegant image is nonetheless one of Pitseolak’s best known and has become an icon of Canadian art.”

Christine Lalonde, Pitseolak Ashoona: Life & Work, Art Canada Institute, May 2015, ebook, pgs. 19 & 20.

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

91 SHEOUAK (1918-1961), E7-816, CAPE DORSET SHORE BIRDS ON ROCK

Provenance: A member of the Department of Justice, NWT, c. 1960, Private collection, ON.

stonecut, 1962, 50/50, unframed 12.25” x 23.75” — 31.1 x 60.3 cm. $3,000—5,000

91A LUKTA QIATSUK (1928-2004), E7-1060, CAPE DORSET CANADA GEESE-NESTING GROUND skin stencil, 1959, 25/30, unframed 8” x 13” — 20.3 x 33 cm. $800—1,200

Note: According to Norman Vorano, “... evidence suggests that, with the possible exception of gift cards or fabric printing, stencil was used only as a supplement to relief block printing. ...Kananginak Pootoogook recalled that only after getting two more helpers in the studio, Lukta Qiatsuk and Iyola Kingwatsiak, did Houston ask Kananginak to move into what he described, in highly qualified terms, as a more “delicate material” like stencil. After Houston’s return from Japan in the spring of 1959, stenciling

assumed a more central role in the Cape Dorset studio... By the end of that year 19 of the total 40 prints in the studio’s 1959 annual collection were listed as “sealskin stencils,” although in reality the artists used wax stiffened paper or discarded X-ray film, as sealskin proved too costly and was unsuitable as a stencil medium.

Inuit Prints: Japanese Inspiration, Early Printmaking in the Canadian Arctic, Canadian Museum of Civilization, 2011, pg. 55.

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92 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET HARE SPIRITS stencil, 1960, 50/50, unframed 18” x 23” — 45.7 x 58.4 cm.

Provenance: A member of the Department of Justice, NWT, c. 1960, Private collection, ON. $5,000—7,000

93 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET GEESE FRIGHTENED BY A FOX stonecut, 1960, 8/50, unframed 21.5” x 23.75” — 54.6 x 60.3 cm.

Note: “...in the print by Kenojuak entitled Geese Frightened by Fox, the fox leaps at a gosling caught on the ground. The exaggerated neck and bill of the parent above reveals its alarm. Here, Kenojuak has captured the remarkably tense exchange between parent and offspring, predator and prey.”

Bernadette Driscoll, Uumajut, Animal Imagery in Inuit Art, The Winnipeg Art Gallery, 1985, pg. 46 $7,000—10,000

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

94 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET BIRDS AND WOMAN’S FACE stonecut, 1963, 38/50, unframed 34” x 24.5” — 86.4 x 62.2 cm. $1,000—1,500

95 EEGYVUDLUK POOTOOGOOK (1931-), E7-865, CAPE DORSET WATER BABY AND SEA DOG stonecut, 1961, 50/50, framed, sight 12” x 17” — 30.5 x 43.2 cm. $1,200—1,600

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96 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET OWL OF SUMMER lithograph, 1983, 22/100, framed, sight 22” x 30” — 55.9 x 76.2 cm. $1,500—2,000

97 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET TUULLIQ TAANISIQTUQ stonecut, 2006, 13/50, framed, sight 29.25” x 26” — 74.3 x 66 cm. $1,500—2,000

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

98 LUKE ANGUHADLUQ (1895-1982), E2-294, BAKER LAKE UNTITLED stonecut and stencil, 1972, A/P III/III (3/3), unframed

Note: “One of the most significant Inuit artists the western world has encountered...”, Luke Anguhadluq was 73 when he began to draw, after having lived as a hunter out on the land all of his life.

Only a small edition was produced of this fabulous print that depicts one of Anguhadluq’s favourite subjects. His fanning out of the dancers around a central drummer conveys a sense of community and joyous occasion.

39.5” x 24.5” — 100.3 x 62.2 cm.

Provenance: Work sourced by Jack & Sheila Butler for the vendor.

Meeka Walsh, Luke Anguhadluq, Baker Lake Prints and Drawings 19701982, The Upstairs Gallery, pg. 2

$5,000—7,000

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99 WILLIAM NOAH (1943-), E2-391, BAKER LAKE WOLF MAN stonecut and stencil, 1970, 22/40, unframed 26.5” x 20.5” — 67.3 x 52.1 cm.

Note: “An officer of the Royal Canadian Mounted Police, with stripes on his shoulder, is portrayed as a Wolf Man. Transformation of humans and animals was not an uncommon event among the Eskimos, but this member of the force, which was one of the first outside agencies in the north, seems to be associated with a particular animal. Apparently, policemen were actually referred to in the Eskimo language as wolf men.”

Jean Blodgett, Eskimo Narrative, The Winnipeg Art Gallery, 1979, pg. 42, pl. 53

$3,000—5,000 Image also appears on the front cover of this exhibition catalogue.

Image was used as the cover for the Baker Lake annual graphics catalogue for the 1971 release.

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

100 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE FAVOURITE DAUGHTER stonecut and stencil, 1985, 22/50, unframed 36.75” x 24.5” — 93.3 x 62.2 cm. $1,000—1,500

101 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE MY HANDS ARE LIKE BIRDS stonecut and stencil, 1984, 24/50, unframed 24.5” x 37” — 62.2 x 94 cm. $1,000—1,500

102 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE SISTERS stonecut, 1973, 25/50, unframed 17” x 21” — 43.2 x 53.3 cm. $1,000—1,500

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103 CHARLIE UGYUK (1931-1999), E4-341, SPENCE BAY TWO NARWHALS ON DEMON FACE bone, ivory, antler, stone, signed in syllabics, 1985 13.5” x 18” x 6.5” — 34.3 x 45.7 x 16.5 cm. $3,000—5,000

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

104 CHARLIE UGYUK (1931-1999), E4-341, SPENCE BAY SWIMMING NARWHAL ON BASE bone, horn, stone, antler, signed in syllabics 5.25” x 13.25” x 2.5” — 13.3 x 33.7 x 6.4 cm. $800—1,200

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105 RALPH PORTER (1942-), E4-66, GJOA HAVEN DEVIL SPIRIT bone, antler, stone, 1989 17.5” x 15.5” x 5.25” — 44.5 x 39.4 x 13.3 cm. $3,000—5,000

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

106 JACOBIE AVINGAQ (1941-), E5-453, IGLOOLIK SWIMMING SEDNA WITH TATTOOED FACE bone, signed in Roman 4.25” x 12.75” x 4.25” — 10.8 x 32.4 x 10.8 cm. $600—900

107 DAVIDEE ITULU (1929-2006), E7-1042, LAKE HARBOUR ETCHED TUSK WITH ARCTIC MOTIFS ON BASE ivory, stone 19” x 3.5” x 3” — 48.3 x 8.9 x 7.6 cm. $1,000—1,500

108 DAVIDEE ITULU (1929-2006), E7-1042, LAKE HARBOUR ETCHED TUSK WITH ARCTIC MOTIFS ON BASE ivory, stone, dated 1983, signed in Roman with syllabics 17.5” x 5” x 3.5” — 44.5 x 12.7 x 8.9 cm. $700—1,000

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109 ELIJAH CRIPPLE, SALLUIT IGLOO WITH FAMILY TABLEAU

Provenance: Acquired directly from the artist, c. 1940 by the vendor’s father, an employee of the Hudson’s Bay Company, By descent to present owner.

ivory, stone, wood, acrylic, c. 1940 5.5” x 16” x 11” — 14 x 40.6 x 27.9 cm. $3,000—5,000

Note: A beautifully constructed model igloo made almost entirely out of ivory, including the joints between the “snow blocks”. A window in the main body of the snow house reveals a family preparing a meal, the baby that is embraced by its mother is removable.

For a similar piece see, The Eskimo Art Collection of the Toronto Dominion Bank, 1967, pg 42

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

110 LUKE AIRUT (1942-), E5-556, IGLOOLIK ELABORATELY CARVED SKULL bone, ivory, skin, antler, stone, signed in Roman 10” x 24” x 9.25” — 25.4 x 61 x 23.5 cm.

Provenance: Acquired directly from the artist by the vendor, c. 2003 $3,000—5,000

111 LUKE IKSIKTAARYUK (1909-1977), E2-45, BAKER LAKE FIGURES ON BASE antler 9.5” x 13” x 5.5” — 24.1 x 33 x 14 cm.

Note: For a similar piece see Gerald McMaster, Inuit Modern: the Samuel and Esther Sarick Collection, The Art Gallery of Ontario, 2011, pg. 133 $4,000—6,000

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112 MANASIE AKPALIAPIK (1955-), E5-1155, TORONTO WIND SWEPT MUSK OX bone, dated ‘95, signed in syllabics 10” x 19” x 6” — 25.4 x 48.3 x 15.2 cm. $4,000—6,000

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Provenance: Gallery Indigena, Stratford, ON, 1995, Private collection, Windsor, ON

Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

113 MANASIE AKPALIAPIK (1955-), E5-1155, TORONTO SEDNA AND SEA CREATURES bone, dated 1995, signed in Roman 12.5” x 16” x 7” — 31.8 x 40.6 x 17.8 cm.

Provenance: Private collection, Windsor, ON $2,000—3,000

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113A ATTR: GEORGE OKHEENA (1938-), W2-115, HOLMAN BIRTH SCENE bone 13.5” x 35” x 18.5” — 34.3 x 88.9 x 47 cm. $3,000—4,000

113B PAULOOSIE KARPIK (1911-1988), E6-187, PANGNIRTUNG HUNTER WITH HARPOON bone, antler, leather 28” x 19.5” x 20” — 71.1 x 49.5 x 50.8 cm.

Provenance: Lippel Gallery, Montreal, QC, 1970’s, Private collection, Toronto, ON Note: This remarkable piece of whalebone could be regarded as a piece of art in and of itself. Although it was the source of many useful items in prehistoric and historic times, whalebone was not initially used in contemporary Inuit art. It was a lack of available stone in some communities that really stimulated the use of whalebone in carving in the late 1960’s and ‘70’s. The response from the public was positive and through the masterful use by certain artists, it became a very popular and sought after material. Like the work shown here, whalebone offers natural textures and shapes that an artist can incorporate in their creation. It has its own set of challenges too, of course. Most of the whalebone works we see on the market today are from Arctic Bay, Igloolik, Clyde River, Spence Bay, Gjoa Haven and Pangnirtung where most of the bone was flown in from Thule sites. $3,000—5,000 *Additional images available on our website.

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

114 ATTR: MANASEE MANIAPIK (1939-), E6-290, PANGNIRTUNG SEDNA

115 NORMAN QUMUAQTUQ (1948-), E6-535, PANGNIRTUNG COMPOSITION OF WOMAN, HAND AND BIRDS

116 PETER ASSIVAARYUK (1914-), E2-485, BAKER LAKE STANDING HUNTER ON BASE antler

bone, dated 1995 bone, stone 16” x 9” x 9” — 40.6 x 22.9 x 22.9 cm.

Provenance: Gallery Indigena, Stratford, ON, Private collection, Windsor, ON Note: Stylistically, this work is more reminiscent of Manasee Maniapik’s work. It had been previously attributed to Manasie Akpaliapik.

18” x 9.5” x 6.25” — 45.7 x 24.1 x 15.9 cm.

11.5” x 5.5” x 6.5” — 29.2 x 14 x 16.5 cm. $800—1,200

$2,500—3,000 *Additional images available on our website.

$1,500—2,000

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117 PETER KUNILIUSEE (1930-), E5-279, CLYDE RIVER FEROCIOUS POLAR BEAR bone, stone, ivory 8.75” x 4.25” x 4.5” — 22.2 x 10.8 x 11.4 cm. $300—500

118 PETER MORGAN (1951-), E8-675, KANGIQSUALUJJUAQ COMPOSITION WITH WALRUS, GOOSE AND SEAL antler, inlay 7” x 14” x 2” — 17.8 x 35.6 x 5.1 cm.

Provenance: The Snow Goose, Ottawa, ON, Private collection, Windsor, ON $600—900

119 Lot as may appear

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

120 UNIDENTIFIED WINGED SHAMAN vertebrae 14” x 20” x 6.75” — 35.6 x 50.8 x 17.1 cm. $600—900

121 UNIDENTIFIED STANDING HUNTER ON BASE bone 14” x 11” x 4.5” — 35.6 x 27.9 x 11.4 cm. $300—500

122 UNIDENTIFIED TWO HUNTERS AND OPPOSING BIRD bone, inset stone, c. 1970 7” x 9” x 2.25” — 17.8 x 22.9 x 5.7 cm.

Note: The faces, although less finished than we typically see from Ashevak, are reminiscent of Karoo’s work. See Waddington’s fall 2013 auction catalogue, lot 118. $300—500 *Additional images available on our website.

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123 LUCY TASSEOR TUTSWEETOK (1934-2012), E1-135, ARVIAT CLUSTER OF FACES stone, c. 1975 9.5” x 12.75” x 4.5” — 24.1 x 32.4 x 11.4 cm. $5,000—7,000 *Additional images available on our website.

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Note: “Works such as these have a strong primordial sense, the rock itself triggering associations with the craggy frost-shattered rocks which characterize this region.”

Norman Zepp, Pure Vision, The Keewatin Spirit, Norman Mackenzie Art Gallery, 1986, pg. 41.

Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

124 GEORGE TATANIQ (1910-1991), E2-179, BAKER LAKE MOTHER AND CHILD stone, signed in syllabics 13.25” x 9.5” x 6.25” — 33.7 x 24.1 x 15.9 cm.

Provenance: The Guild Shop, Toronto, ON, 1977, Private collection, Toronto, ON $5,000—7,000

125 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE SHOULDER RIDE stone 16” x 10.5” x 7” — 40.6 x 26.7 x 17.8 cm.

Provenance: Galerie Le Chariot, Ottawa, ON, Private collection, Windsor, ON $4,000—6,000

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126 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE MOTHER AND CHILD stone 13” x 8” x 6.75” — 33 x 20.3 x 17.1 cm. $3,000—5,000

127 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE MUSK OX stone, signed in syllabics 6.5” x 11.5” x 3” — 16.5 x 29.2 x 7.6 cm. $2,500—3,500

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

128 MATHEW AQIGAAQ (1940-2010), E2-350, BAKER LAKE MOTHER WITH CHILD IN AMAUT stone, signed in syllabics 9.5” x 5.75” x 6” — 24.1 x 14.6 x 15.2 cm. $2,500—3,500

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129 GEORGE TATANIQ (1910-1991), E2-179, BAKER LAKE FOX WOMAN stone, c. 1970, signed in syllabics 6” x 4” x 3” — 15.2 x 10.2 x 7.6 cm.

Provenance: Work sourced by Jack & Sheila Butler for the vendor.

Note: “Baker Lake art is noted for the depiction of mythological and religious subjects. A legend which Tataniq illustrates again and again is that of the Fox Woman. [...] There is some debate as to whether or not the woman in the legend turns into a fox or a wolf. The broad features ... certainly appear more wolf-like, even resembling a bear more than a fox. However, I defer to a quote from the artist as recorded by Marie Routledge: ‘It is a fox. The story I heard before was that she turned into a woman. [One] leg has a human foot and the other one [a] fox’s paw.’”

$2,000—3,000 Norman Zepp, Pure Vision, The Keewatin Spirit, Norman Mackenzie Art Gallery, 1986, pg. 47 & 54

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

130 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE MUSK OX stone 7.5” x 11.5” x 4.5” — 19.1 x 29.2 x 11.4 cm.

Provenance: Galerie Le Chariot, Ottawa, ON, Private collection, Windsor, ON $2,000—3,000

131 THOMAS SIVURAQ (1941-), E2-236, BAKER LAKE MOTHER AND CHILD stone, signed in syllabics 17” x 9” x 6.25” — 43.2 x 22.9 x 15.9 cm. $2,500—3,500

132 PAUL TOOLOOKTOOK (1947-2003), E2-377, BAKER LAKE MOTHER HOLDING CHILD stone, dated 1992, signed in syllabics 11” x 12” x 7” — 27.9 x 30.5 x 17.8 cm. $1,800—2,500

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133 PAUTA SAILA (1916-2009), E7-990, CAPE DORSET GROWLING POLAR BEAR stone, ivory, c. 1975, signed in syllabics and Roman 17.5” x 13.5” x 8.5” — 44.5 x 34.3 x 21.6 cm.

Provenance: Images Art Gallery, Toronto, ON, Private collection, Mississauga, ON $35,000—40,000

Note: Perhaps what is most notable about this work is its sheer mass. Standing on two legs, and with its head turned completely to the right this bear is almost regal if not quietly powerful. Pauta discusses his art in the following interview: “I like the idea of this exhibition on animal images and am interested in it. I carve all kinds of animals, particularly polar bears, in order to support my family. Qallunaat like my carvings.

I carve bears with longer and shorter necks, some that are fat or lean.

They are in different positions because bears are always doing something.

Sudden moves are possible with shorter necks. Polar bears are like human beings. If they are not distracted they can see better, even when they move fast.

I am sure that the older hunter Niviaqsi (a well known Cape Dorset artist who died while polar bear hunting) had a heart attack. When men are out hunting they get excited and their hearts beat faster when they see what they desire.

I like to carve what I feel, not merely what I see. It is the feeling that goes along with whatever one is doing. I also think about the material, the stone. I like to think how to carve it so that it does not break. I do what the Creator wants me to do, not merely by seeing but by feeling too.

Carving is very different from making a photograph. I think and feel that the bear has a spirit to be put into the carving. But each person has different thoughts when he is carving.

Today I am not worrying about making an amulet or a charm. I have to be pleased with what I am doing as does the person who is asking for the carving. I have to please myself and the buyer.

At times I feel like keeping some of my carvings. In fact I have even said good-bye to some.”

Bernadette Driscoll, Uumajut, Animal Imagery in Inuit Art, The Winnipeg Art Gallery, 1985, pg. 46

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

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133A UNIDENTIFIED, CAPE DORSET WOMAN CARRYING A FISH stone, sinew, ivory, c. 1955 8.75” x 5” x 3” — 22.2 x 12.7 x 7.6 cm. $3,000—5,000

Provenance: Acquired by the first woman on the board of the Hudson’s Bay Company, By descent to present owner.

This finely sculpted, classic period work could be the handiwork of Kiawak Ashoona or his brother Kaka. However, the beauty of this sculpture is emblematic of any of the master carvers from that era.

For similar works see Darlene Coward Wight, Early Masters, Inuit Sculpture 19491955, 2006, pgs 142-144.

*Additional images available on our website. This work brings to mind a quote from Jean Blodgett’s Selections from the John and Mary Robertson Collection of Inuit Sculpture, 1986. In it, John wrote, “In visual arts the created object should speak for itself. It stands or hangs before us, wordless. Its language is its form, its texture, its evocation, its power, its sensuality. Valid art reflects the temperament, the background and the experience of the artist. The Inuit artist offers no explanations; he has no theories of art; he has eyes to see and assumes that we too have eyes to see.”

For information on Inuit art during the classic period see, Patricia Feheley’s three part series State of the Art, Inuit Art Quarterly, Fall 2014.

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

134 OSUITOK IPEELEE (1923-2005), E7-1154, CAPE DORSET CARIBOU AND OWL SPIRIT stone, c. 1975 19” x 21” x 3” — 48.3 x 53.3 x 7.6 cm. $6,000—9,000

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135 PAUTA SAILA (1916-2009), E7-990, CAPE DORSET DANCING BEAR stone, c. 1970, signed in Roman 9.5” x 7” x 3” — 24.1 x 17.8 x 7.6 cm. $5,000—7,000

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Provenance: The vendor worked as a psychiatrist in Cape Dorset in the 1970’s. The work was acquired directly from the artist during that time.

Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

136 EEGYVUDLUK POOTOOGOOK (1931-), E7-865, CAPE DORSET BIRD WITH HER YOUNG stone, 1962 7.5” x 4.5” x 7.5” — 20.3 x 25.4 x 19.1 cm.

Provenance: From the personal collection of M.F. Feheley.

Note: Like his brother, renowned artist Kananginak Pootoogook, Eegyvudluk is also well known for his work in the print shop.

His early creations were of a quality indistinguishable from his contemporaries such as Osuitok, Sheokjuk, the Ashoonas, Kiakshuk, Tudlik. $4,000—6,000 *Additional images available on our website.

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137 NUNA PARR (1949-), E7-764, CAPE DORSET PLAYFUL WALRUS stone, ivory, c. 1990, signed in Roman 30” x 14” x 12” — 76.2 x 35.6 x 30.5 cm. $4,000—6,000

Note: This giant walrus exudes a sense of movement and playfulness. It was carved from a massive piece of flattering green stone (likely serpentinite) typical of that region.

Susan Gustavison’s, Northern Rock, Contemporary Inuit Stone Sculpture, McMichael Canadian Art Collection, 1999, pg. 53, details the sometimes harrowing events that can take place during quarrying expeditions. “That year, an overhang collapsed burying Nuna Parr up to his chest in sand and stones for a number of hours until he could be freed.”

For further information on the stones used in Inuit art, see inuitartzone.com/pages/carving-stones

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

138 LATCHOLASSIE AKESUK (1919-2000), E7-1055, CAPE DORSET OWL stone, c. 1967 6.5” x 9” x 3” — 15.2 x 22.9 x 7.6 cm.

Provenance: From the personal collection of M.F. Feheley. $3,500—4,500

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139 PAUTA SAILA (1916-2009), E7-990, CAPE DORSET DANCING POLAR BEAR stone, c. 1975, signed in syllabics 9” x 7.5” x 4” — 22.9 x 19.1 x 10.2 cm. $3,500—4,500

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

140 KANANGINAK POOTOOGOOK (1935-2010), E7-1168, CAPE DORSET ALIGHTING GOOSE stone, c. 1975, signed in syllabics 11.75” x 18.5” x 4.5” — 29.8 x 47 x 11.4 cm.

Provenance: Galerie Elca London, Montreal, QC, Private collection, QC $3,000—4,000

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141 PAUTA SAILA (1916-2009), E7-990, CAPE DORSET DANCING MYTHICAL CREATURE stone 18” x 10” x 6” — 45.7 x 25.4 x 15.2 cm.

Provenance: Waddington’s Auctioneers & Appraisers, Toronto, ON, March 1990, lot 639, Private collection, CA $3,000—5,000

142 PAUTA SAILA (1916-2009), E7-990, CAPE DORSET DOG stone, c. 1967, signed in Roman 6.25” x 4.5” x 10” — 22.9 x 16.5 x 25.4 cm.

Provenance: From the personal collection of M.F. Feheley. $3,000—5,000 *Additional images available on our website.

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

143 MANNUMI SHAQU (1917-2000), E7-824, CAPE DORSET HUNTER WEARING QOLITSAQ WITH SASH

Provenance: Acquired while working in an Air Rescue Squadron at Goose Bay, Labrador U.S. air base in the early 1960’s, By descent to present owner, New Zealand.

stone, antler, ivory, c. 1960, disc number inscribed

Note: One of the major artists from Cape Dorset in the early days, Mannumi was friends with Osuitok and they often carved together. You can certainly see their stylistic similarities when comparing this work with Osuitok’s, such as lot 95 from Waddington’s fall 2005 auction catalogue.

10” x 4” x 2.25” — 25.4 x 10.2 x 5.7 cm. $1,000—1,500

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144 POSSIBLY BY OR CAMP OF: AKEEAKTASHUK (1898-1954), E9-713, INUKJUAK HUNTER WITH INSET IVORY EYES AND TEETH stone, ivory, soap, skin, wood, c. 1953 14.25” x 5.5” x 4.5” — 36.2 x 14 x 11.4 cm. $10,000—15,000

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Note: According to curator Darlene Coward Wight, Akeeaktashuk was one of the most prolific carvers during the early period and his style varied considerably.

For similar works see Darlene Coward Wight, Early Masters, Inuit Sculpture, 1949-1955, The Winnipeg Art Gallery, pgs 34 & 35.

Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

145 ATTR: AKEEAKTASHUK (1898-1954), E9-713, INUKJUAK HUNTER OVER WALRUS HOLE stone, ivory, skin, c. 1953 11.25” x 6” x 7” — 28.6 x 15.2 x 17.8 cm.

Note: Bears Akeeaktashuk’s signature hood ties.

For a similar piece see, Darlene Coward Wight, Early Masters, Inuit Sculpture, 1949-1955, The Winnipeg Art Gallery, pg.

28 $2,500—3,500

146 ATTR: LEVI AMIDLAK (1931-), E9-1564, INUKJUAK GROWLING POLAR BEAR stone, ivory, c. 1950, signed in Roman LIVI 3.75” x 6” x 3” — 15.2 x 7.6 x 7.6 cm.

Provenance: From the personal collection of M.F. Feheley. $1,000—1,500

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147 NELSON TAKKIRUQ (1930-), E4-120, GJOA HAVEN AMAYUQYUQ ABDUCTING A CHILD stone, bone, signed in syllabics 23” x 15” x 10” — 58.4 x 38.1 x 25.4 cm. $7,000—10,000

Note: The stylistic similarities between brothers Judas Ullulaq and Nelson Takkiruq is especially apparent in this work. The approach to carving is less concerned with representation and more focused on animation and expression.

The believed subject matter for the work is the Netsilik story of Amayuqyuq, a mythical creature whose story is told as a precautionary tale for children.

In conversation with Joseph Shuqslak, Judas Ullulaq provides an account of the creature as follows, “‘Amayuqyuq’ means ‘kidnapper of little children.’

This story about a fearsome female abductor was told to children to keep them from wandering too far from the camp, and getting into danger with wild animals, such as polar bears or wolves, or from getting lost on the tundra.”

Darlene Coward Wight, Art & Expression of the Netsilik, Winnipeg Art Gallery, 2000, pg. 169

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

148 NELSON TAKKIRUQ (1930-), E4-120, GJOA HAVEN BEAR WOMAN PACKING SCREAMING GIRL stone, ivory, bone, dated, 1990, signed in syllabics 18” x 11” x 17” — 45.7 x 27.9 x 43.2 cm.

Note: Illustrated in the exhibition catalogue with the following description: “Bear paws reveal that this is not a conventional mother and child composition. The woman has paws for feet, and the young girl’s wide open mouth and eyes express terror. Although the artist did not have the opportunity to comment on this work, it probably depicts one of the fearsome abductors of children that is the subject of several stories among the Netsilingmiut”

Exhibited: Darlene Coward Wight, Art & Expression of the Netsilik, Winnipeg Art Gallery, 2000, pg. 150, pl. 146 $10,000—15,000 *Additional images available on our website.

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149 NELSON TAKKIRUQ (1930-), E4-120, GJOA HAVEN WALRUS stone, antler, signed in syllabics 7.25” x 13.5” x 5.5” — 18.4 x 34.3 x 14 cm. $1,500—2,500

150 URIASH PUQIQNAK (1946-), E4-556, GJOA HAVEN BIRD CATCHER stone, antler, skin, dated 2009, signed in syllabics 14” x 9.75” x 10” — 35.6 x 24.8 x 25.4 cm. $1,500—2,500

151 ABRAHAM KINGMIATUQ (1933C. 1990), E4-329, SPENCE BAY BASKING SEAL stone, dated 1977, signed in syllabics 5.25” x 8.25” x 5.5” — 13.3 x 21 x 14 cm. $500—700

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

152 JOHN KAVIK (1897-1993), E2-290, RANKIN INLET MOTHER AND CHILD

Provenance: North of Sixty, St. Andrews, NB, 1990, Private collection, ON

stone, c. 1979 18” x 10.5” x 4” — 45.7 x 26.7 x 10.2 cm. $6,000—9,000

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153 JOHN KAVIK (1897-1993), E2-290, RANKIN INLET HUNTER WITH TWO FACES stone, signed in syllabics 11” x 7.5” x 3” — 27.9 x 19.1 x 7.6 cm.

Provenance: North of Sixty, St. Andrews, NB, 1989, Private collection, CA $2,500—3,500

154 JOHN KAVIK (1897-1993), E2-290, RANKIN INLET HEAD stone 6” x 6” x 2.75” — 15.2 x 15.2 x 7 cm. $1,200—1,600

155 JOHN KAVIK (1897-1993), E2-290, RANKIN INLET SEATED MOTHER AND CHILD stone, c. 1980, signed in syllabics 6.25” x 3.25” x 6” — 15.9 x 8.3 x 15.2 cm.

Provenance: North of Sixty, St. Andrews, NB, 1990, Private collection, ON $2,000—3,000

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

156 JOHN TIKTAK (1916-1981), E1-266, RANKIN INLET A FIGURE

Note: For a similar piece see, Norman Zepp, Pure Vision, The Keewatin Spirit, Norman Mackenizie Art Gallery, 1986, pg. 99, pl. 43

stone, c. 1965 8” x 2.75” x 2.75” — 20.3 x 7 x 7 cm. $12,000—16,000

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157 JOHN TIKTAK (1916-1981), E1-266, RANKIN INLET MAN HOLDING HIS HEAD stone, c. 1968, signed in syllabics 7.25” x 2.5” x 2.25” — 18.4 x 6.4 x 5.7 cm. $4,000—6,000

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Provenance: Waddington’s Auctioneers & Appraisers, Toronto, ON, March 1990, lot 224, Private collection, ON Note: What is most striking about this figure is its overt emotionality, which is uncharacteristic for the artist. Arms meet fluidly at the man’s head, creating a circular shape and an enclosing space for the work. This, in turn, emphasizes the figure’s three dimensionality and encourages the viewer to consider him from several angles. The work conjures the image from the iconic painting “The Scream” by Edvard Munch.

Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

158 THOMAS UGJUK (1921-), E2-288, RANKIN INLET HUNTERS STRUGGLING FOR A KNIFE stone, antler, signed in syllabics 13.25” x 13” x 5” — 33.7 x 33 x 12.7 cm. $3,000—5,000

Note: A remarkably animated work for the artist whose style is comparable to his father’s (John Kavik). In an interview with the artist in 1993, which appeared in the winter edition of the Inuit Art Quarterly, Ugjuk describes the difficulty he had in deciding what to carve. This may be why there are not many of his works available on the market. Both Kavik and Ugjuk were self-taught artists and took to carving whenever they were not hunting.

Ugjuk says, “I would try to concentrate on an idea of mine and gradually expand on it as I went along which would lead to some comprehensible form for the carving I was working on. And, other times, it seemed that trying to stay with one idea didn’t always work so, rather than getting stuck with one idea, I would just work on a carving and see what it would become.”

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159 HENRY EVALUARDJUK (1923-2007), E5-846, IQALUIT LUMBERING POLAR BEAR stone, signed in Roman with syllabics 7.5” x 14” x 4” — 19.1 x 35.6 x 10.2 cm. $4,000—6,000

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

160 HENRY EVALUARDJUK (1923-2007), E5-846, IQALUIT HOODED MOTHER AND CHILD stone, 1991, signed in Roman with syllabics 9” x 12” x 8” — 22.9 x 30.5 x 20.3 cm.

Note: An exquisite example of Henry’s signature style.

Round faces emerge from the hood, sensitively carved to convey the intimate relationship between mother and child. $4,000—6,000

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161 NUVEEYA IPELLIE (1920-2010), E7509, IQALUIT REARING WINDSWEPT MUSK OX stone, antler 17.5” x 9.25” x 5” — 44.5 x 23.5 x 12.7 cm. $1,000—1,500

162 NUVEEYA IPELLIE (1920-2010), E7509, IQALUIT SEDNA stone, signed in Roman 9.25” x 8.25” x 3.25” — 23.5 x 21 x 8.3 cm.

Provenance: Galerie D’Art Vincent, Chateau Laurier, Ottawa, ON, 1996, Private collection, Windsor, ON $700—1,000

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

163 UNIDENTIFIED, REPULSE BAY MOTHER AND CHILD stone 15.25” x 13.5” x 8” — 38.7 x 34.3 x 20.3 cm. $2,500—3,000

164 AGNES TOPIAK (1905-1979), W2-395, COPPERMINE MOTHER AND CHILD stone, c. 1967, signed in Roman 7” x 3” x 2.25” — 17.8 x 7.6 x 5.7 cm. $1,500—2,500

165 UNIDENTIFIED, NUNAVIK INUIT HUNTER WITH INSET EYES AND TEETH, HOLDING A HARPOON stone, ivory, c. 1955 10” x 6.5” x 3” — 25.4 x 16.5 x 7.6 cm.

Provenance: Acquired during employment on the DEW line, Nunavik, QC By descent to present owner, Toronto, ON $2,000—3,000

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166 UNIDENTIFIED, NUNAVIK WOMAN WITH CHILD FISHING THROUGH THE ICE stone, ivory, antler, soap, ink, c. 1950, each corner of base is numbered to corresponding peg. A wood base has been added recently to support the work.

8.5” x 5” x 3.5” — 21.6 x 12.7 x 8.9 cm.

Note: “The early sculpture [are] readily identifiable by their scale and use of inlay materials such as ivory, black vinyl from phonographs records, soap and wax crayons to give added realism.”

Darlene Coward Wight, Early Masters, Inuit Sculpture, 1949-1955, The Winnipeg Art Gallery, pg. 12 $3,000—5,000 *Additional images available on our website.

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

167 JOE TALIRUNILI (1893-1976), E9-818, POVUNGNITUK OTTER WITH FISH stone, c. 1965, signed in Roman 9” x 9” x 2.25” — 30.5 x 22.9 x 5.7 cm.

Provenance: From the personal collection of M.F. Feheley. $3,000—5,000 *Additional images available on our website.

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168 DAVIDIALUK ALASUA AMITTU (1910-1976), E9-824, POVUNGNITUK SEDNA SWIMMING WITH YOUNG stone, c. 1960, signed in Roman 5” x 8” x 3” — 12.7 x 20.3 x 7.6 cm.

Provenance: Acquired while working in an Air Rescue Squadron at Goose Bay, Labrador U.S. air base in the early 1960’s, By descent to present owner, New Zealand. $2,000—3,000

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

169 MAGGIE ITTUVIK TAYARAK (1898-1961), E9-1165, KANGIQSUALUJJUAQ WOMAN BRAIDING HAIR stone, c. 1950, disc number inscribed 5.5” x 3” x 3” — 12.7 x 7.6 x 7.6 cm.

Provenance: From the personal collection of M.F. Feheley. $1,500—2,000

170 MARKUSI PAPIGATOK (1906-1971), E9-1103, SALLUIT MOTHER WITH KAMIKS AND CHILD IN HER AMAUT stone, c. 1950, signed in syllabics with disc number 8.75” x 7” x 4.5” — 22.2 x 17.8 x 11.4 cm. $600—900

171 LUCY TASSEOR TUTSWEETOK (1934-2012), E1-135, ARVIAT UNTITLED (FAMILY) crayon and pastel drawing, signed in syllabics, unframed 18” x 12” — 45.7 x 30.5 cm. $400—600

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172 HAROLD QARLIKSAQ (1928-1980), E2-311, BAKER LAKE UNTITLED (BUILDING THE KAYAK)

173 HAROLD QARLIKSAQ (1928-1980), E2-311, BAKER LAKE UNTITLED (PREPARING THE FISH)

graphite drawing, signed in syllabics and dated 1973, unframed

graphite drawing, coloured pencil detail, dated 1973, signed in syllabics, unframed

20” x 26” — 50.8 x 66 cm.

20” x 25.75” — 50.8 x 65.4 cm.

Provenance: Work sourced by Jack & Sheila Butler for the vendor.

Provenance: Work sourced by Jack & Sheila Butler for the vendor.

$300—500

$300—500

174 JANET KIGUSIUQ (1926-2005), E2-71, BAKER LAKE UNTITLED (FIGHTING WOLF PEOPLE)

175 JANET KIGUSIUQ (1926-2005), E2-71, BAKER LAKE UNTITLED (LEGEND OF THE ORIGIN OF THE SUN AND THE MOON)

coloured pencil and graphite drawing, dated 1973, signed in syllabics and disc number, unframed

coloured pencil and graphite drawing, dated 1973, signed in syllabics and disc number, unframed

22” x 30” — 55.9 x 76.2 cm.

22.25” x 29.75” — 56.5 x 75.6 cm.

Provenance: Work sourced by Jack & Sheila Butler for the vendor.

Provenance: Work sourced by Jack & Sheila Butler for the vendor.

$400—600 $400—600 *Additional information available on our website.

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

176 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE UNTITLED felt tip, coloured pencil, and graphite drawing, dated 1968, signed in syllabics, unframed 19” x 23” — 48.3 x 58.4 cm.

Provenance: Work acquired from Jack & Sheila Butler by the vendor. $2,500—3,500

Note: “In this drawing Oonark’s traditional arched igloo shape has an added complexity: wing-like structures emerging from each side so that the overall shape mimics an aerial view of an airplane. The ‘wings’ provide a platform on which the two men outside the igloo stand.

The drawing has a joyous, playful feeling: the figures in the igloo are drawn clambering up various levels of the interior space. This may well be an abstracted depiction of the family members playing acrobatics on sinew strings extended between the walls of the igloo. An activity that kept them amused during the long winters, it was played largely by the men (shown in the first, second and fourth register). Interestingly, children, shown in the third layer, can be identified by their clothing – a one-piece suit including feet (atajut) on the right and on the left, a modified atajut with the traditional pointed ‘tail’ sewn on the back.

Outside, a man with bolos stands on one of the ‘wings’ as he aims at birds perched on top of the igloo. The man on the left is dressed in a Back River (Utkuhikhalingmiut) parka with the longer squared-off back flap; the man on the right, the Baker Lake parka (Qairnirmiut) with a straight lower edge. Depicting various clothing styles was something Oonark enjoyed, making these drawings significant not only as great works of art but as documents of Inuit culture.”

Interpretation provided by Cynthia Waye (curator of From The Centre, The Drawings of Luke Anguhadluq, Art Gallery of Ontario, 1993), April 2015

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177 LUKE ANGUHADLUQ (1895-1982), E2-294, BAKER LAKE UNTITLED (HUNGRY POLAR BEAR) graphite drawing, signed in syllabics, unframed 8.25” x 8.5” — 21 x 21.6 cm.

Provenance: Work sourced by Jack & Sheila Butler for the vendor, 1970’s Note: The isolated polar bear is surrounded only by the white of the paper, indicative of its natural environment of snow and ice. This work, along with the following small drawing (lot 178), perfectly reflects the directness of Anguhadluq’s vision. $300—500

178 LUKE ANGUHADLUQ (1895-1982), E2-294, BAKER LAKE UNTITLED (MOTHER AND CHILD) coloured pencil drawing, signed in syllabics, unframed 5.5” x 4.25” — 14 x 10.8 cm.

Provenance: Work sourced by Jack & Sheila Butler for the vendor, early 1970’s Note: “In 1969 Anguhadluq began to draw in earnest under the encouragement of the Butlers. His drawings from that year are in pencil and coloured pencil [...] In about 1972 Anguhadluq did a series of drawings on pieces of Carlyle Japan cut into small cards.”

Jean Blodgett, Tuu’luq/Anguhadluq, An exhibition of works by Marion Tuu’luq and Luke Anguhadluq of Baker Lake, The Winnipeg Art Gallery, Winnipeg, MB, 1976, pg. 21 $400—600

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179 MARJORIE ESA (1934-), E3-257, BAKER LAKE UNTITLED (PILE OF FISH) graphite and coloured pencil drawing, dated Aug. 1969, signed in Roman, unframed 14.5” x 19” — 36.8 x 48.3 cm.

Provenance: Acquired from Jack and Sheila Butler by the vendor, 1969. $200—300

180 ANNIE POOTOOGOOK (1969-), CAPE DORSET UNTITLED (FIRST STEPS) felt tip and coloured pencil drawing, signed in syllabics, unframed 11” x 14” — 27.9 x 35.6 cm. $600—900

181 KANANGINAK POOTOOGOOK (1935-2010), E7-1168, CAPE DORSET UNTITLED (EXHAUSTED DOG AT SUNSET) felt tip and coloured pencil drawing, dated 2002, signed in syllabics, unframed 26” x 20” — 66 x 50.8 cm. $500—700

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182 KANANGINAK POOTOOGOOK (1935-2010), E7-1168, CAPE DORSET UNTITLED (MANY FISH) felt tip and coloured pencil drawing, dated 2006, signed in syllabics, unframed 18.5” x 26” — 47 x 66 cm. $400—600

183 KANANGINAK POOTOOGOOK (1935-2010), E7-1168, CAPE DORSET UNTITLED (POLAR BEAR WITH CUBS EMERGING FROM DEN) felt tip and coloured pencil drawing, dated 2002, signed in syllabics, unframed 26” x 20” — 66 x 50.8 cm. $500—700

184 KENOJUAK ASHEVAK (19272013), E7-1035, CAPE DORSET UNTITLED (YOUNG GIRL/OWL SPIRIT) felt tip drawing, signed in syllabics, unframed 19.75” x 25” — 50.2 x 63.5 cm. $1,000—1,500

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

185 PARR (1893-1969), E7-1022, CAPE DORSET UNTITLED (EXCITED DOGS WITH HUNTERS) graphite drawing, c. 1960, signed in syllabic, unframed 13.75” x 16.25” — 34.9 x 41.3 cm. $2,000—3,000

186 PARR (1893-1969), E7-1022, CAPE DORSET UNTITLED (HUNTER AND ARCTIC ANIMALS) graphite drawing, c. 1960, signed in syllabic, unframed 13.75” x 16.5” — 34.9 x 41.9 cm. $2,000—3,000

187 PARR (1893-1969), E7-1022, CAPE DORSET UNTITLED (HUNTER WITH POLAR BEAR AND WALRUS) graphite drawing, c. 1960, unframed 18.25” x 24” — 46.4 x 61 cm. $700—1,000

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188 PARR (1893-1969), E7-1022, CAPE DORSET UNTITLED (HUNTER WITH SEALS AND DOG) graphite drawing, c. 1960, signed in syllabic 14” x 16.75” — 35.6 x 42.5 cm. $2,000—3,000

189 PAUTA SAILA (1916-2009), E7-990, CAPE DORSET UNTITLED (MAN) ink and felt tip drawing, signed in syllabics, unframed 30” x 22” — 76.2 x 55.9 cm. $600—900

190 PETER PITSEOLAK (1902-1973), E7-970, CAPE DORSET UNTITLED (MAN WITH SEAL AND WOMAN JIGGING FOR FISH) felt tip and coloured pencil drawing, signed in syllabics, unframed 20” x 25.75” — 50.8 x 65.4 cm. $400—600

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191 PITSEOLAK ASHOONA (1904-1983), E7-1100, CAPE DORSET UNTITLED (INUIT WOMAN WITH FISH SPEAR AND BIRD) felt tip drawing, 1969, signed in syllabics, unframed 19.25” x 24” — 48.9 x 61 cm.

Note: For a similar drawing see Dorothy Eber, ed., Pitseolak: Pictures Out of My Life, 1970, p. 100. Of this comparable work, Pitseolak comments, “I did not want to leave the fish spear alone; that is why I put the bird on her head.” $700—1,000

192 PITSEOLAK ASHOONA (1904-1983), E7-1100, CAPE DORSET UNTITLED (BIRDS IN FLIGHT) felt tip drawing, signed in syllabics, unframed 22.5” x 17.25” — 57.2 x 43.8 cm.

Note: ‘Pitseolak’s name may have given her a personal affinity for birds: “My name is Pitseolak, the Eskimo word for sea pigeon. When I see pitseolaks over the sea, I say, There go those lovely birds-that’s me, flying!”’

Christine Lalonde, Pitseolak Ashoona: Life & Work, Art Canada Institute, May 2015, ebook, pg. 24 $400—600

193 PITSEOLAK ASHOONA (1904-1983), E7-1100, CAPE DORSET UNTITLED (FEEDING BIRD) felt tip drawing, signed in syllabics, unframed 22.5” x 17.5” — 57.2 x 44.5 cm.

Note: “Felt-tip pens were Pitseolak’s ideal drawing medium. With their rich and vibrant colour, they best expressed the joyfulness that characterizes her work.”

Christine Lalonde, Pitseolak Ashoona: Life & Work, Art Canada Institute, May 2015, ebook, pg. 57 $400—600

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194 PITSEOLAK ASHOONA (1904-1983), E7-1100, CAPE DORSET UNTITLED (FIGURE ON SUMMIT WITH GEESE)

195 PUDLO PUDLAT (1916-1992), E7-899, CAPE DORSET UNTITLED (LANDING IN CAPE DORSET WITH CARIBOU, MAN IN BOAT AND SEALS ON FLOE) mixed media, signed in syllabics, unframed

felt tip drawing, signed in syllabics, unframed 22.5” x 17.5” — 57.2 x 44.5 cm.

22” x 24” — 55.9 x 61 cm. $400—600

Note: “Pitseolak’s drawings of the land are an expression of her emotional ties and experiences.”

Christine Lalonde, Pitseolak Ashoona: Life & Work, Art Canada Institute, May 2015, ebook, pg. 61 $400—600

196 PUDLO PUDLAT (1916-1992), E7-899, CAPE DORSET UNTITLED (RETURNING FROM THE HUNT)

197 SHEOJUK ETIDLOOIE, E7-919, CAPE DORSET UNTITLED (ARCTIC ANIMALS) graphite drawing, annotated “Sheokju”, unframed

felt tip drawing, signed in syllabics, unframed 18” x 24” — 45.7 x 61 cm.

22” x 30” — 55.9 x 76.2 cm. $400—600 $400—600

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198 JAMES ARCHIBALD HOUSTON (1921-2005) TWO-SIDED DRAWING: MOTHER AND CHILD mixed media, signed both recto and verso, unframed, sight 9.5” x 13.5” — 24.1 x 34.3 cm. $700—1,000

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199 DAVID RUBEN PIQTOUKUN (1950-), W3-1119, TORONTO FALCON WITH PREY stone, dated 1984, signed in Roman 18” x 17.5” x 9” — 45.7 x 44.5 x 22.9 cm.

Note: “One of my favourite subjects is the peregrine falcon. The eyes and claws are symbols of determination. I once had my own falcon when I was travelling with my sister and brother-in-law out on the land.

I became deathly ill and was feverish for several days. My bird stayed by my side constantly in the tent and covered me with its wings for protection. I’ll never forget that time.”

Darlene Coward Wight, Out of Tradition, Abraham Anghik / David Ruben Piqtoukun, Winnipeg Art Gallery, 1989, pg. 56. $3,000—5,000

200 DAVID RUBEN PIQTOUKUN (1950-), W3-1119, TORONTO OWL MAN NO MORE stone, dated 2007, signed in Roman.

11.25” x 21” x 9.5” — 28.6 x 53.3 x 24.1 cm. $3,000—5,000

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201 DAVID RUBEN PIQTOUKUN (1950-), W3-1119, TORONTO POLAR BEAR stone, dated 1998, signed in Roman 7.5” x 14” x 6” — 19.1 x 35.6 x 15.2 cm. $1,000—1,500

202 DAVID RUBEN PIQTOUKUN (1950-), W3-1119, TORONTO WHALE TAIL stone, dated 2002, signed in Roman 15.25” x 12” x 3.5” — 38.7 x 30.5 x 8.9 cm. $700—1,000

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203 UNIDENTIFIED SHAMAN TRANSFORMING INTO A POLAR BEAR stone 24” x 13” x 7” — 61 x 33 x 17.8 cm. $1,000—1,500

204 UNIDENTIFIED HUNTER AND SEAL stone, sinew, c. 1955 8.5” x 6” x 4.25” — 21.6 x 15.2 x 10.8 cm. $500—700

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205 ABRAHAM APAKARK ANGHIK (1951-), W3-1205, SALT SPRING ISLAND RAVEN EMBRACING WOMAN stone, dated 1995, signed in Roman 8.25” x 9” x 3.25” — 21 x 22.9 x 8.3 cm. $800—1,200

206 ABRAHAM APAKARK ANGHIK (1951-), W3-1205, SALT SPRING ISLAND DRUM DANCING SHAMAN stone, bone, antler, fabric, wood 18” x 10” x 8.75” — 45.7 x 25.4 x 22.2 cm. $2,500—3,500

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207 ABRAHAM APAKARK ANGHIK (1951-), W3-1205, SALT SPRING ISLAND KNEELING WOMAN WITH RAVEN SPIRIT stone 13” x 6.25” x 9” — 33 x 15.9 x 22.9 cm. $2,000—2,500

208 ABRAHAM APAKARK ANGHIK (1951-), W3-1205, SALT SPRING ISLAND POLAR BEAR SHAMAN stone 17.5” x 14” x 8” — 44.5 x 35.6 x 20.3 cm. $3,000—5,000

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209 ABRAHAM APAKARK ANGHIK (1951-), W3-1205, SALT SPRING ISLAND COMPOSITION OF RAVEN AND POLAR BEARS stone, dated ‘95, signed in Roman 10.5” x 7.25” x 5.5” — 26.7 x 18.4 x 14 cm. $500—700

210 ABRAHAM APAKARK ANGHIK (1951-), W3-1205, SALT SPRING ISLAND TATTOOED FACE stone, dated ‘83, signed in Roman, measurements reflect dimensions with base, without: 15” x 14” x 3.5” — 38.1 x 35.6 x 8.9 cm.

19.5” x 14” x 8” — 49.5 x 35.6 x 20.3 cm. $2,500—3,500

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211 ABRAHAM APAKARK ANGHIK (1951-), W3-1205, SALT SPRING ISLAND TRANSFORMATION WITH EGG stone, dated ‘01, signed in Roman 15.25” x 11” x 9” — 38.7 x 27.9 x 22.9 cm. $1,500—2,000

212 ABRAHAM APAKARK ANGHIK (1951-), W3-1205, SALT SPRING ISLAND WOMAN CRADLING CHILD stone, dated ‘95, signed in Roman 7” x 8.5” x 5.25” — 17.8 x 21.6 x 13.3 cm. $700—1,000

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213 OVILU TUNNILLIE (1949-2014), E7-779, CAPE DORSET BATH TIME stone, signed in syllabics 22” x 6.5” x 12” — 55.9 x 16.5 x 30.5 cm. $2,500—3,000

214 ASHEVAK TUNNILLIE (1956-), E7-1516, CAPE DORSET WALKING POLAR BEAR stone, signed in syllabics 10” x 20” x 8” — 25.4 x 50.8 x 20.3 cm. $2,000—3,000

215 KUMAKULUK SAGGIAK (1944-), E71192, CAPE DORSET TWO BIRDS stone, dated 1974, signed in Roman 12” x 12.25” x 4.5” — 30.5 x 31.1 x 11.4 cm. $2,000—3,000

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216 LATCHOLASSIE AKESUK (1919-2000), E7-1055, CAPE DORSET OWL stone, c. 1975 8.5” x 10.5” x 7” — 21.6 x 26.7 x 17.8 cm.

Note: For similar works by the artist see, Gerald McMaster, Inuit Modern, The Samuel and Esther Sarick Collecton, Art Gallery of Ontario, pgs. 136 & 137. $2,000—3,000

217 ATTR: KULULA ITULU (1952-), E7-1353, CAPE DORSET STANDING POLAR BEAR stone 22.5” x 9.25” x 9” — 57.2 x 23.5 x 22.9 cm. $1,000—2,000

218 ABRAHAM ETUNGAT (1911-1999), E7-809, CAPE DORSET BIRD WITH SPEAD WINGS stone, 1983, signed in syllabics 6” x 9” x 2.75” — 15.2 x 22.9 x 7 cm. $1,500—2,500

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219 JUTAI TOONOO (1959-), E7-1682, CAPE DORSET “THE PEOPLE FROM NEWFOUNDLAND HAS [SIC] ALL THE JOBS AND WE ARE STILL 70% UNEMPLOYED” stone, dated 2007, signed in syllabics, inscribed in Roman 19.75” x 13.5” x 5.5” — 50.2 x 34.3 x 14 cm. $1,500—2,000

220 KAKA ASHOONA (1928-1996), E7-1101, CAPE DORSET FIGURE CARRYING FIGURE stone, signed in syllabics 18” x 16” x 5” — 45.7 x 40.6 x 12.7 cm.

Note: One possible subject for the work is the story of a giant who carried a dwarf. $1,500—2,500

221 MIKISITI SAILA (1939-2008), E7-992, CAPE DORSET MOTHER WITH CHILD IN AMAUT stone, dated 1983, signed in Roman and syllabics 19.75” x 9.25” x 6.75” — 50.2 x 23.5 x 17.1 cm. $1,500—2,000

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222 QAVAROAK TUNNILLIE (1928-), E7-929, CAPE DORSET PREENING BIRD stone, signed in syllabics 8.5” x 9.75” x 4.75” — 21.6 x 24.8 x 12.1 cm. $1,500—2,000

223 TOONOO SHARKY (1970-), E7-2729, CAPE DORSET STARTLED BIRD stone 9.5” x 22” x 3.5” — 24.1 x 55.9 x 8.9 cm. $1,500—2,500

224 UNIDENTIFIED, CAPE DORSET DRUM DANCER stone, skin, wood, sinew, 1978 17.5” x 16” x 9” — 44.5 x 40.6 x 22.9 cm. $1,500—2,000

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225 ADAMIE ASHEVAK, E4-139, CAPE DORSET FIERCE POLAR BEAR stone, signed in syllabics 6” x 11” x 5.75” — 15.2 x 27.9 x 14.6 cm. $1,000—1,500

226 KELLYPALIK QIMIRPIK (1948-), E7-754, CAPE DORSET HUNTER CARRYING FISH stone, skin, ivory, dated 1976, signed in Roman 18” x 15” x 7” — 45.7 x 38.1 x 25.4 cm. $1,000—1,500

227 ATTR: LATCHOLASSIE AKESUK (1919-2000), E7-1192, CAPE DORSET OWL stone, c. 1970 8.5” x 6.75” x 6” — 21.6 x 17.1 x 15.2 cm. $600—900

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228 OVILU TUNNILLIE (1949-2014), E7-779, CAPE DORSET WOMAN PREPARING A SKIN stone, 2001, signed in syllabics 5.75” x 8” x 4.25” — 14.6 x 20.3 x 10.8 cm.

Provenance: Feheley Fine Arts, Toronto, ON, Private collection, NY, USA $1,000—1,500

229 SHEOKJUK OQUTAQ (1920-1982), E7-919, CAPE DORSET FISH stone, signed in syllabics 2.5” x 9.5” x 1” — 6.4 x 24.1 x 2.5 cm. $1,000—1,500

230 TYE ADLA (1936-1990), E7-915, CAPE DORSET OWL SHAMAN TRANSFORMATION stone, signed in syllabics 10” x 6.75” x 3.5” — 25.4 x 17.1 x 8.9 cm. $1,000—1,500

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231 ADAMIE ASHEVAK (1959-), E7-1676, CAPE DORSET DRUM DANCER stone, antler, wood, fabric, signed in syllabics 16” x 12.5” x 7” — 40.6 x 31.8 x 17.8 cm. $800—1,200

232 AQJANGAJUK SHAA (1937-), E7-1065, CAPE DORSET NARWHAL stone, bone 12.5” x 17.5” x 5.5” — 31.8 x 44.5 x 14 cm. $800—1,200

233 ATTR: JOE JAW (1930-1987), E7-1002, CAPE DORSET POLAR BEAR WITH CATCH stone, c. 1965 6.7” x 9.75” x 4.75” — 17 x 24.8 x 12.1 cm.

Note: For similar works see, Jean Blodgett, Selections from The John and Mary Robertson Collection of Inuit Sculpture, 1986, pg. 40.

See also, Waddington’s Spring 2005, auction catalogue - The Klamer Family Collection, lot 133. $700—1,000

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234 UNIDENTIFIED, CAPE DORSET, CAPE DORSET MUSK OX stone, c. 1965 7.25” x 9.5” x 3.75” — 18.4 x 24.1 x 9.5 cm. $700—1,000

235 AQJANGAJUK SHAA (1937-), E7-1065, CAPE DORSET DRUM DANCER stone, antler 13” x 7.75” x 4.25” — 33 x 19.7 x 10.8 cm. $600—900

236 JUTAI TOONOO (1959-), E7-1682, CAPE DORSET LIVING ROCK stone, 2001, signed in syllabics, inscribed “Please water me periodically” in Roman 11” x 7.5” x 6” — 27.9 x 19.1 x 15.2 cm.

Provenance: Feheley Fine Arts, Toronto, ON, Private collection, NY, USA $600—900

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237 ETIDLOOIE ETIDLOOIE (1911-1981), E7-986, CAPE DORSET BIRD ON BASE

238 QAUNAQ MIKKIGAK (1932-), E7-1014, CAPE DORSET MOTHER CARRYING CHILD

stone, signed in syllabics

stone, 1972

4” x 9.25” x 4.75” — 10.2 x 23.5 x 12.1 cm.

8.25” x 4.5” x 3.25” — 21 x 11.4 x 8.3 cm.

$400—600

Provenance: Feheley Fine Arts, Toronto, ON, Private collection, NY, USA $400—600

239 TAYARAQ TUNNILLIE (1934-), E7-821, CAPE DORSET BIRDS

240 MANNUMI SHAQU (1917-2000), E7-824, CAPE DORSET CARIBOU

stone

stone, antler, signed in syllabics

6” x 12” x 1.75” — 15.2 x 30.5 x 4.4 cm.

7.75” x 9.5” x 2” — 19.7 x 24.1 x 5.1 cm.

$400—600

$300—500

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241 PITALOOSIE SAILA (1942-), E71006, CAPE DORSET STRANGE LADIES

242 ANNIE POOTOOGOOK (1969-), CAPE DORSET A FRIEND VISITS

243 ITEE POOTOOGOOK (1951-2014), E7-788, CAPE DORSET LOOKING NORTH

lithograph, 2006, 14/50, unframed

lithograph, 2008, 15/50, unframed

lithograph, 2008, 30/50, unframed

15” x 22.5” — 38.1 x 57.2 cm.

15” x 22” — 38.1 x 55.9 cm.

15” x 22.5” — 38.1 x 57.2 cm.

$300—500

$400—600

Note: Itee moved to Cape Dorset as a child from Kimmirut where he was born. His parents are Paulassie and Ishuhungitok Pootoogook. Although he began drawing in the 1980’s, he became one of the leaders of the new generation of artists in Cape Dorset that excelled at drawing in the late 2000’s. He had several successful solo exhibitions prior to his death in 2014. $400—600

244 KENOJUAK ASHEVAK (19272013), E7-1035, CAPE DORSET YOUNG OWL TAKES A RIDE

245 LUCY QINNUAYUAK (1915-1982), E7-1068, CAPE DORSET OWL AT DAYBREAK

246 NINGEOKULUK TEEVEE (1963-), CAPE DORSET SHAMAN REVEALED

stonecut and stencil, 1984, 42/50, unframed

stonecut and stencil, 1982, 34/50, unframed

lithograph, 2007, 50/50, unframed

19.25” x 25.25” — 48.9 x 64.1 cm.

25.25” x 28.5” — 64.1 x 72.4 cm.

$400—600

$400—600

20” x 12” — 50.8 x 30.5 cm. $400—600

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247 SHEOJUK ETIDLOOIE (19291999), E7-941, CAPE DORSET WINTER PTARMIGAN

248 ANNAGO ASHEVAK (19562009), E7-1526, CAPE DORSET IN THE WAKE OF THE WHALE

249 KENOJUAK ASHEVAK (19272013), E7-1035, CAPE DORSET ARCTIC GULLS

stonecut, 1997, 32/50, unframed

stonecut and stencil, 2002, 32/50, unframed

stonecut, 1972, 44/50, unframed 24.75” x 34” — 62.9 x 86.4 cm.

18.25” x 22” — 46.4 x 55.9 cm.

28” x 25” — 71.1 x 63.5 cm.

$500—700

$400—600 $500—700

250 PITALOOSIE SAILA (1942-), E71006, CAPE DORSET MY FATHER’S PIPE

251 PITALOOSIE SAILA (1942-), E71006, CAPE DORSET OUT OF THE PAST

252 SUVINAI ASHOONA (1961-), CAPE DORSET PIPE DREAMS

lithograph, 2005, 16/50, unframed

lithograph, 2008, 15/50, unframed

etching and aquatint, 2008, 15/50, unframed

22” x 30” — 55.9 x 76.2 cm.

22” x 29.5” — 55.9 x 74.9 cm.

$500—700

$500—700

22” x 14.75” — 55.9 x 37.5 cm. $500—700

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253 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET A BIRD IN DANGER

254 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET BIRDS FEEDING AMONG SPRING FLOWERS

lithograph, 1983, 21/50, unframed 20” x 27” — 50.8 x 68.6 cm.

stonecut and stencil, 1983, 46/50, unframed

$600—900

25.25” x 34” — 64.1 x 86.4 cm. $600—900

255 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET BIRDS OF NUWATA

256 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET NAUJIIT

stonecut, 1970, 8/50, unframed

lithograph, 1996, 32/50, framed

21.25” x 24” — 54 x 61 cm.

22” x 30” — 55.9 x 76.2 cm.

$600—900

$600—900

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257 JONASIE QUARQORTOK FABER (1944-), GREENLAND MUSK OX

258 JULIA AMAROALIK (1935-), E5-505, IGLOOLIK WOMAN AND CHILD WITH KUDLIK stone, dated 1993, signed in Roman

stone, dated 1982, signed in Roman with syllabics 9.5” x 12.25” x 5” — 24.1 x 31.1 x 12.7 cm.

11” x 9” x 5.75” — 27.9 x 22.9 x 14.6 cm. $1,000—1,500

$1,500—2,000

259 LUKE AIRUT (1942-), E5-556, IGLOOLIK DRUM DANCER

260 LUKE AIRUT (1942-), E5-556, IGLOOLIK MUSK OX

stone, skin, wood, sinew, antler, signed in Roman

stone, antler, signed in Roman

11.75” x 7.75” x 5.25” — 29.8 x 19.7 x 13.3 cm.

6” x 8” x 4” — 15.2 x 20.3 x 10.2 cm. $500—700

Provenance: Acquired directly from the artist by the vendor, ON, 2003 $400—600

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261 PETER TUKI (1921-1976), E9-1769, INUKJUAK HUNTER FLENSING SEAL

262 PETER QAULLI TUKULA (1909-), E9-1435, POVUNGNITUK HUNTER TREKKING ACROSS THE TUNDRA

stone, c. 1960, disc number inscribed stone, c. 1960, disc number inscribed 7.5” x 7.5” x 4.75” — 19.1 x 19.1 x 12.1 cm.

6.75” x 5.5” x 4.5” — 17.1 x 14 x 11.4 cm.

Provenance: Acquired while working in an Air Rescue Squadron at Goose Bay, Labrador U.S. air base in the early 1960’s, By descent to present owner, New Zealand.

$300—500 *Additional information available on our website.

$400—600

263 MOSES ETTUK, E9-1585, INUKJUAK WOMAN MENDING A KAMIK

264 SYOLLIE WEETALUKTUK (1906-1962), E9-1745, INUKJUAK HUNTER BITING DOG

stone, c. 1960, signed in Roman stone, c. 1960, disc number inscribed 9.5” x 12” x 8” — 24.1 x 30.5 x 20.3 cm.

8” x 8.25” x 5.5” — 20.3 x 21 x 14 cm. $1,000—1,500 $1,000—2,000

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265 UNIDENTIFIED, INUKJUAK BEAR WITH WALRUS

266 ALLIE KASUDLUAK (1926-1982), E9-1670, INUKJUAK MOTHER HOLDING CHILD

stone, ivory, c. 1955 stone, c. 1968, signed in Roman 6.5” x 8.25” x 4.75” — 16.5 x 21 x 12.1 cm.

6.75” x 7” x 5” — 17.1 x 17.8 x 12.7 cm. $600—900 $500—700

267 JOHNNY INUKPUK (1911-2007), E9-904, INUKJUAK PERCHED BIRD

268 NOAH NOWRAKUDLUK (1916-), E9-1612, INUKJUAK WOMAN STRETCHING A SKIN

stone, c. 1970 stone, c. 1960, inscribed with disc number 7” x 10.75” x 4.25” — 17.8 x 27.3 x 10.8 cm.

8.75” x 5” x 7” — 22.2 x 12.7 x 17.8 cm. $400—600 $400—600

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269 TIMOTHY KUTCHAKA (1924-), E9-774, INUKJUAK WALRUS

270 NUYALIAQ QIMIRPIK (1937-2007), E7-99, LAKE HARBOUR MUSK OX

stone, ivory, signed in syllabics with disc number stone, antler, signed in syllabics 5.5” x 14” x 6.5” — 14 x 35.6 x 16.5 cm.

9.5” x 14.25” x 4.75” — 24.1 x 36.2 x 12.1 cm. $300—500 $2,000—3,000

271 NALENIK TEMELA, E7-71, LAKE HARBOUR PLAYFUL NARWHAL

272 ELIJAH MICHAEL (1929-2008), E7-127, LAKE HARBOUR ARCTIC HARE

stone, ivory, c. 1965-70, signed in syllabics stone 16” x 10.5” x 7.25” — 40.6 x 26.7 x 18.4 cm.

6” x 7” x 4.25” — 15.2 x 17.8 x 10.8 cm. $700—1,000 $600—900

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Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

273 MATTOO MOONIE MICHAEL (1958-), E7-1454, LAKE HARBOUR ARCTIC HARE

274 ATTR: PHILLIP HAKULUK (1916-D), E3-1, RANKIN INLET HEAD

stone, dated 2007, signed in syllabics

ceramic

7” x 4.25” x 3.25” — 17.8 x 10.8 x 8.3 cm.

9” x 6.5” x 7.75” — 22.9 x 16.5 x 19.7 cm.

$500—700

$300—500

275 EVOO SAMGUSAK MANGELIK (1942-), E2-169, RANKIN INLET VASE WITH OPPOSING SHAMANS

276 UNIDENTIFIED, POVUNGNITUK MOTHER WITH HER TWO CHILDREN stone

ceramic 10.5” x 10” x 1.25” — 26.7 x 25.4 x 3.2 cm.

10.5” x 8.25” x 6.5” — 26.7 x 21 x 16.5 cm. $1,500—2,000 $400—600

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277 LEVI QUMALUK (1919-D), E9-843, POVUNGNITUK MAN CARRYING WINGED SHAMAN stone, signed in Roman 9.5” x 7.25” x 5” — 24.1 x 18.4 x 12.7 cm. $800—1,200

278 BILLY MERKOSAK, POND INLET MUSK OX stone, antler, signed in syllabics 8” x 12.5” x 7” — 20.3 x 31.8 x 17.8 cm. $600—900

279 TIMOTHY QIATALLA ASSAPA (1914-1982), E9-811, POVUNGNITUK HUNTER FLENSING A SEAL stone, antler, c. 1960, inscribed with disc number 8.5” x 6.5” x 4” — 21.6 x 16.5 x 10.2 cm. $400—600

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Index

A ADLA, TYE...230 AIRUT, LUKE...110, 259, 260 AKEEAKTASHUK...145 AKESUK, LATCHOLASSIE...138, 216, 227 AKPALIAPIK, MANASIE...40, 112, 113, 114 ALIKASWA, MARC...29 AMAROALIK, JULIA...258 AMIDLAK, LEVI...146 AMITTU, DAVIDIALUK ALASUA...58, 59, 168 ANGHIK, ABRAHAM APAKARK...205, 206, 207, 208, 209, 210, 211, 212 ANGRNAQQUAQ, ELIZABETH...33 ANGUHADLUQ, LUKE...98, 177, 178 APTANIK, BASIL...17 AQIGAAQ, MATHEW...128 ARNASUNGAAQ, BARNABUS...21, 23, 24, 28, 65, 66, 125, 126, 127, 130 ASHEVAK, ADAMIE...225, 231 ASHEVAK, ANNAGO...248 ASHEVAK, KENOJUAK...3, 5, 6, 92, 93, 94, 96, 97, 184, 244, 249, 253, 254, 255, 256 ASHOONA, KAKA...220 ASHOONA, KIAWAK...46 ASHOONA, KOOMWARTOK...69 ASHOONA, PITSEOLAK...90, 191, 192, 193, 194 ASHOONA, SUVINAI...252 ASSAPA, TIMOTHY QIATALLA...279 ASSIVAARYUK, HATTIE...39 ASSIVAARYUK, PETER...116 AVAALAAQIAQ TIKTAALAAQ, IRENE...34 AVINGAQ, JACOBIE...106 C CRIPPLE, ELIJAH...109 E ESA, MARJORIE...179 ETIDLOOIE, ETIDLOOIE...237 ETIDLOOIE, SHEOJUK...197, 247 ETTUK, MOSES...263 ETUNGAT, ABRAHAM...218 EVALUARDJUK, HENRY...159, 160 F FABER, JONASIE QUARQORTOK...257 H HAINNU, IGAH...37 HAKULUK, PHILLIP...274

HALLAUK, JOY KILUVIGYUAK...30 HOUSTON, JAMES ARCHIBALD...198 I IKSIKTAARYUK, LUKE...111 IKUTAAQ, DAVID...19, 22, 76 INUKPUK, JOHNNY...267 IPEELEE, OSUITOK...134 IPEELIE, SEEPEE...80 IPELLIE, NUVEEYA...161, 162 IQULIQ, JOHNNY...25 ITTUVIK TAYARAK, MAGGIE...169 I ITUKALLA, JUANISI JAKUSI...62 ITULU, DAVIDEE...107, 108 ITULU, KULULA...217 J JAW, JOE...233 JAW, MELIA...1 K KARPIK, PAULOOSIE ...113B KASUDLUAK, ALLIE...266 KAVIK, JOHN...152, 153, 154, 155 KIATAINAQ, TUUKAK...41 KIGUSIUQ, JANET...174, 175 KINGMIATUQ, ABRAHAM...151 KLEIST, CECILIE ...54 KUNILIUSEE, PETER...117 KUTCHAKA, TIMOTHY...269 KUUNNUAQ, MARIE...15 M MAKPAAQ, VITAL...18 MERKOSAK, BILLY...278 MICHAEL, ELIJAH...272 MICHAEL, MATTOO MOONIE...273 MIKKIGAK, QUANAQ...71, 238 MORGAN, PETER...118 N NASOGALUAK, BILL...203 NOAH, WILLIAM...99 NOWRAKUDLUK, NOAH...268 NULLUQ IQQUGAQTUQ, AGNES...45 O OKHEENA, GEORGE...113A OONARK, JESSIE...10, 11, 12, 13, 14, 100, 101, 102, 176 OQUTAQ, SHEOKJUK...229 OTTUK OTUKPALANAK, RACHEL...64 P PAPIGATOK, MARKUSI...170

PARR...87, 88, 89, 185, 186, 187, 188 PARR, NUNA...137 PAULOSIE, PAULOSIE...77 PITSEOLAK, PETER...5, 190 POOTOOGOOK, ANNIE...180, 242 POOTOOGOOK, EEGYVUDLUK...95, 136 POOTOOGOOK, ITEE...243 POOTOOGOOK, KANANGINAK...4, 5, 140, 181, 182, 183 POOTOOGOOK, PAULASSIE...72 PORTER, RALPH...105 PUDLAT, PUDLO...195, 196 PUQIQNAK, URIASH...150 Q QARLIKSAQ, HAROLD...172, 173 QAYAQJUAQ, SILAS...79, 83 QIATSUK, LUKTA...91A QIATSUK, POOTOOGOOK...56, 70 QIMIRPIK, KELLYPALIK...226 QIMIRPIK, NUYALIAQ...270 QINNUAYUAK, LUCY...7, 245 QINUAJUA, ELI SALLUALU...61 QUMALUK, LEAH...9 QUMALUK, LEVI...277 QUMUAQTUQ, NORMAN...115

TEMELA, NALENIK...271 TIGLILK, JACOPOSIE...47, 84 TIKIQ TUNGUAK, LUCY...20 TIKTAK, JOHN...156, 157 TOOLOOKTOOK, PAUL...132 TOONOO, JUTAI...219, 236 TOPIAK, AGNES...164 TUKI, PETER...261 TUKULA, PETER QAULLI...262 TUNGILIK, MARK...78 TUNNILLIE, ASHEVAK...214 TUNNILLIE, OVILU...213, 228 TUNNILLIE, QAVAROAK...222 TUNNILLIE, TAYARAQ...239 U UGJUK, THOMAS...158 UGYUK, CHARLIE...57, 103, 104 UKPATIKU, MAGDALINE...39 ULLULAQ, JUDAS...82 W WEETALUKTUK, MINA...31

R RUBEN PIQTOUKUN, DAVID...199, 200, 201, 202 S SAGGIAK, KUMAKULUK...215 SAILA, MIKISITI...221 SAILA, PAUTA...67, 139, 133, 135, 141, 142, 189, 234 SAILA, PITALOOSIE...241, 250, 251 SAMGUSAK MANGELIK, EVOO...275 SEVOGA, PETER...16 SHAA, AQJANGAJUK...232, 235 SHAQU, MANNUMI...143, 240 SHARKY, TOONOO...223 SHEOUAK...91 SIVUARAPIK, CHARLIE...8 SIVURAQ, THOMAS...26, 27, 60, 81, 131 T TAKKIRUQ, NELSON...147, 148, 149 TALIRUNILI, JOE...73, 74, 167 TASSEOR TUTSWEETOK, LUCY...123, 171 TATANIQ, GEORGE...63, 124, 129 TEEVEE, NINGEOKULUK...2, 246

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Buying at Waddington’s

All lots will be offered and sold subject to the Conditions of Sale which appear in this catalogue as well as any Glossary and posted or oral announcement. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any oral announcement or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s™ and the consignor (seller) of the lot.

Descriptions or photographs of lots are not warranties and each lot is sold “as is” in accordance with the Conditions of Sale.

inquire as to the condition of a lot before bidding.

Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale.

Condition of Lots All of the items are to be considered, unless otherwise noted in the description, in good condition. The definition of “good” when used in reference to condition, describes an object as having had no major damage or repair but as with the nature of the material, may show minor surface wear, discolouration etc., which indicates the acceptable wear that the piece may acquire with age.

If you are particular about minor flaws, you should examine the pieces in person or have our staff answer any questions before bidding.

Sizes are approximate. It is the sole responsibility of the bidder to

Invaluable Live! clients will be charged a buyer's premium of 23% of the successful bid price of each lot up to and including $50,000 and 18% on any amount in excess of $50,000 as part of the total purchase price.

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

Buyers Premium A premium of 20% of the successful bid price of each lot up to and including $50,000 and 15% on any amount in excess of $50,000 is paid by the buyer as part of the total purchase price.

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

Bidding To bid in person at the auction, you must register for a bidding number by showing identification acceptable to the Auctioneer upon entering the salesroom. Your number will identify you if you are the successful bidder. You will be responsible for all lots purchased on your bidding number. Banking information may be requested by Waddington’s™. You may submit an Absentee Bid Form if you are unable to attend the sale. Bidding by telephone, in limited circumstances, can be arranged prior to the sale.

While we are pleased to offer absentee and telephone bidding as a service to our clients, and take great care in their commission, the Auctioneer will not be responsible for technical difficulties, errors or failure to execute bids. The Auctioneer may also execute bids on behalf of the consignor to protect the reserve. The reserve is the confidential minimum price the seller is willing to accept for his or her property, below which it will not be sold.

Payment Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000). As Waddington's requires written authorization for all credit card purchases, credit cards must be presented in person by the cardholder and therefore cannot be accepted over the telephone. However, fax authorization arrangements can be made.

ALL PRICES IN CANADIAN FUNDS

Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

Selling at Waddington’s

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

Reliable pre-auction estimates of shipping costs of lots offered in this sale may be obtained from: Pak Mail 905.470.6874 905.470.6875 416.293.8225 taurus@pakmailmarkham.ca www.pakmailmarkham.ca Envoy 416.299.3367 416.299.9750 ph@envoy.ca www.envoypackandship.com Removal of Purchases Purchases must be paid for within 48 hours of the date of the sale, and removed from premises within 10 days of the date of sale (see Conditions of Sale, conditions 8 to 15). Clients are advised that packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.

Paintings, drawings, prints, furniture, jewellery and all forms of decorative arts and collectibles may be brought to our Toronto office where we can provide you with preliminary auction estimates and consignment procedures.

Please visit our website at www.waddingtons.ca for details on our various departments and how to contact the specialists. We also accept mailed and emailed requests for advice on the marketability of objects. A photograph and phone number must accompany a full description of each item.

Our specialists regularly travel to major Canadian cities to meet with prospective consignors. For further information, or to arrange an appointment, please contact our Toronto office.

Notice for our International Clients

Commission Rates Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15% Items selling for $251 to $2,500 20% Items selling for $250 or less 25% *There is a minimum handling charge of $20 per item Insurance A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.

Restrictions exist regarding the export of species protected under CITES (Convention on International Trade in Endangered Species).

The export and importation of items made of or containing whalebone, ivory, tortoise shell, seal skin, rhinoceros horn and other animal parts is strictly controlled or forbidden by most countries. Please review your country’s laws before shipping or purchasing pieces made of or containing these restricted items. Obtaining the appropriate permits is the responsibility of the client.

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

For more information please visit: www.cites.org

Property normally arrives at Waddington’s at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items.

Consignors will receive a contract to sign, setting forth terms and fees for our services.

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Conditions Of Sale

1. All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted or announced verbally in the auction room prior to the time of sale. While the auctioneer has endeavoured not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made. An opportunity for inspection of each article is offered prior to the time of sale. No sale will be set aside on account of lack of correspondence of the article with its description or its reproduction, if any, whether colour or black & white. Some lots are of an age and/or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others.

Frames on artwork are not included as part of purchase or condition. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid, relying upon their own advisers, and to bid accordingly.

2. Each lot sold is subject to a premium of 20% of the successful bid price of each lot up to and including $50,000 and 15% on any amount in excess of $50,000 as part of the purchase price.

3. Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of

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that province, whether it HST or GST (Goods and Services Tax).

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

5. The auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion. The auctioneer reserves the right not to accept and not to reject any bid.

Without limitation, any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance over the previous bid may not be recognized.

6. Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor.

The auctioneer may bid, or direct an employee to bid, on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant to the instructions of prospective purchasers not in attendance at the sale.

7. The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from the sale, or to re-offer it at the same or a subsequent sale. The auctioneer’s decision in all cases shall be final.

8. Immediately after the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the auctioneer with respect to

payment of the whole or any part of the purchase price requested by the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without re-offering the item for sale.

authorization for all credit card purchases, credit cards must be presented in person by the cardholder and therefore cannot be accepted over the telephone.

However, fax authorization arrangements can be made.

9. The buyer shall pay for all lots within 48 hours from the date of the sale, after which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale.

The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale , after which storage charges may be incurred.

13. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for:

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

11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 14 days following the sale a written opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a written request by the buyer for rescission of the sale, then the sale of the lot will be rescinded and the sale price refunded to the buyer.

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

(a) any deficiency in price between the re-sale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer.

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

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

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

Inuit Art Auction - Monday 1 June 2015 at 6 p.m.

Operational Sta

Specialist Departments

Asian Art Anthony Wu 416 847 6185 aw@waddingtons.ca Yvonne Li 416 847 6195 yl@waddingtons.ca Chih-En Chen cc@waddingtons.ca

Jewellery, Watches & Numismatics Don P. McLean 416 847 6170 dpm@waddingtons.ca Lynda Macpherson Jewellery Administrator 416 847 6190 lm@waddingtons.ca Monthly Fine Art

Canadian Fine Art Linda Rodeck 416 847 6176 lr@waddingtons.ca Erin Rutherford Fine Art Administrator 416 504 5100 er@waddingtons.ca

Doug Payne 416 847 6180 dp@waddingtons.ca

Kristin Vance Fine Art Administrator 416 504 9100 ext 6178 kv@waddingtons.ca International Art

Building Manager Steve Sheppard 416 847 6186 ss@waddingtons.ca

Vice President Business Development Stephen Ranger 416 847 6194 skr@waddingtons.ca

Client Services Andrew Brandt 416 504 9100 ext 6200 ab@waddingtons.ca

Vice President Fine Art Linda Rodeck 416 847 6176 lr@waddingtons.ca

Decorative Arts

General Manager Duane Smith 416 847 6172 das@waddingtons.ca

Bill Kime Silver, Glass & Ceramics 416 847 6189 bk@waddingtons.ca

Creative & Technical Manager Jamie Long 416 847 6188 jl@waddingtons.ca

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

Queeny Xu Assistant qx@waddingtons.ca

Contemporary Art Stephen Ranger 416 847 6194 skr@waddingtons.ca

President Duncan McLean 416 847 6183 adm@waddingtons.ca

Ellie Muir Decorative Arts Assistant 416 847 6196 em@waddingtons.ca

Valerie Brown 705 445 8811 vb@waddingtons.ca

Elda Pappada 416 504 9100 x6213 ep@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca

Nadine Di Monte Assistant 416 847 6182 npd@waddingtons.ca

Ali Nasir 416 847 6181 an@waddingtons.ca

Inuit Art

Appraisal Co-ordinator Ellie Muir 416 847 6196 em@waddingtons.ca

Nadine Di Monte Assistant 416 847 6182 npd@waddingtons.ca

P. O. Box 554, Collingwood ON L9Y 4B2

Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca

Susan Robertson 416 847 6179 sr@waddingtons.ca

Christa Ouimet 416 847 6184 co@waddingtons.ca

Waddingtons.ca/Collingwood

Communications Tess McLean 416 504 9100 tm@waddingtons.ca

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Inuit Art Auction Waddingtons.ca

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

Telephone: 416.504.9100 Fax: 416.504.0033 Toll Free: 1.877.504.5700