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Inuit Art Auction including First Nations Art Monday 16 November 2015 at 6:00 pm

On View Saturday 14 November 2015 from 11:00 am to 5:00 pm Sunday 15 November 2015 from 11:00 am to 5:00 pm Monday 16 November 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 93 KAROO ASHEVAK SHAMAN DRUMMER Inside Front Cover Lot 114 JOE TALIRUNILI JOE’S ESCAPE Title Page Lot 117 JOE TALIRUNILI OWL CAUGHT A HARE Inside Back Cover Lot 128 OSUITOK IPEELEE OWL WITH PLUMAGE Back Cover Lot 171 ROBERT DAVIDSON THUNDERBIRD

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


Waddington’s is pleased to present this extraordinary selection of Inuit art for our fall season. We are fortunate enough to be handling the Jonny Kalisch and James Bisback Collection of Inuit art which comprises a large portion of the wonderful carvings from the Kivalliq region in this sale. It also allows us to handle some exceptional works by major artists Andy Miki, John Pangnark and Lucy Tasseor Tutsweetok. Another special collection that came to us out of the United States includes the phenomenal Osuitok Ipeelee Owl whose feathers are incised to perfection and beak hollowed out and darkened to create a life-like effect. In this very same collection, we are privileged to have received the Joe Talirunili Boat that depicts another real-life aquatic escape for Joe and his son. We are equally excited to present it to you along with Joe's own handwritten and illustrated recollection of the event. Also worthy of your attention is our outstanding collection of Pangnirtung weavings. Sometimes over-looked when offered through auction, these are true artistic achievements, with striking and complicated images that testify to the amount of effort and creativity involved in making them. A collector that fascinated us once before is with us again. Arden Barnes, whose stories of her summers spent living in Joe Talirunili’s shed, sadly passed away last year. We are offering a number of phenomenal carvings by Joe that Arden acquired from him directly, as well as a special work by Davidialuk Alasua Amittu. Once again, we have a strong group of Small Wonders. It is a portion of our auction that is close to our hearts and has been since we began promoting small-scale carvings over a decade ago. The pieces that call out for recognition in this section include: the bust of a woman with perfectly plaited hair playing the accordion (lot 53); the tiny version of Kananginak's musk ox (lot 44); and a five inch Pauta Saila bear acquired by the consignor in 1979 from Pauta himself (lot 42). I cannot conclude this introduction without mentioning the superb collection of graphics we have, thanks in part to a prominent Toronto collector with an impeccable eye for quality. Each print and drawing excites me more than the next, which makes it difficult to single out only a handful here. From important drawings to early prints and images that don’t often become available, peruse the pages of our catalogue to enjoy them as much as we have. As always, we look forward to having you at our preview and auction this November. — 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 Fine Wine and Spirits

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 Inuit Art. No other auction house has been as intrinsically linked to the development of a market for this art form. From our first landmark auction of the William Eccles Collection in 1978, 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 establishing Inuit Art as an integral part of the Canadian and international art scenes. Linda Rodeck Senior Specialist, Canadian Art Vice President, Fine Art

Christa Ouimet Senior Specialist, Inuit Art


Concrete Contemporary Auctions and Projects

Jewellery, Watches and Numismatics

Waddington’s launched its newest division, Concrete Contemporary Auctions and Projects in 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 is the anchor of our ongoing success and the 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 created since 1980 with an emphasis on mid- and late-career artists with exhibition history in the private and public sphere. Concrete is committed to exploring new ways to connect, expand and support the arts community.

Our auctions include unmounted gemstones, finely crafted pieces by many of the most desirable names in jewellery including Tiffany, Cartier, Gucci, Hermes, Van Cleef & Arpels, etc., fine watches, as well as antique pieces, coins and banknotes.

Donald McLean Senior Specialist, Jewellery, Watches and Numismatics Stephen Ranger Senior Specialist, Contemporary Art


Decorative Arts

International Art

Decorative Arts at Waddington’s encompasses a broad and diverse variety of objects 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. A major element of Waddington’s legacy, our International Art auctions thrive on Canada’s cultural diversity. The combination of our expertise and that of our substantive 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 Charles Bronfman’s Claridge Collection, Contemporary Studio Glass, Scientific Instruments and Militaria. The department regularly offers auctions which include: bronzes, items of Canadian historical interest, ceramics, devotional works of art, lighting, mirrors, objets du vertu, porcelain, silver, travel and exploration maps.

Sean Quinn Specialist, Decorative Arts

Bill Kime Senior Specialist, Decorative Arts

Rare and important paintings, sculpture, photographs and prints are offered in our live auctions and online auctions, attracting international clients.

Susan Robertson Senior Specialist, International Art


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, including the Canadian record for the highest price for an Asian work of art, is based on our international reputation and network with the community.

Our Off The Wall auctions are a unique opportunity to offer accessible art. Drawing from our International, Inuit and Canadian Art divisions, Off The Wall features paintings, prints and sculpture in an online auction format.

Our Asian Art department represents works of art from China, Japan, Korea, South East Asia, South Asia and Himalaya.

The 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 all our other divisions, Off The Wall has developed a diverse and extensive network of clients.

We specialize in bronzes, jade, paintings, porcelain, religious works of art, textiles, woodblock and export wares.

Doug Payne Specialist, Fine Art

Chih-En Chen 陳之恩 Specialist, Asian Art


Fine Wine & Spirits

Appraisals

Waddington’s is the only auction company to be able to provide fine wine and spirit auction services in Ontario. Awarded an exclusive contract under the authority of the LCBO in September 2015, Waddington’s presents its first auctions in the fall of 2015.

Waddington’s has been providing quality appraisal services for over 160 years. Our specialists are internationally recognized as experts in their fields. We create comprehensive written appraisals with objective, justified values that can be prepared to ISA and USPAP standards.

The popularity of collecting wine as an investment grows every year. Many wines offered at auction will appreciate in value, especially rare and acclaimed vintages, making auctions an excellent way to build a fine wine portfolio. Auctions provide an opportunity to buy wines that aren’t available through other channels and allow restaurants to build world-class wine lists. Waddington’s will conduct live and online auctions of fine wines and spirits providing client access to worldwide markets.

Ryan Corrigan Specialist, Fine Wine & Spirits

Stephen Ranger Vice President, Business Development

Whether a simple valuation for sale or a complex inventory, we can provide you with the information you need to make informed decisions. We can also provide verbal appraisals when circumstances warrant a more informal, lower cost approach. Our clients include fiduciaries, executors and beneficiaries responsible for settling estates, as well as private clients looking to downsize and turn their material encumbrances into a monetary resource.

Ellie Muir ISA member USPAP certified Appraisals Coordinator


Philanthropy and Community

Social good is an important part of our business philosophy. For over 50 years, we have donated our time, services and expertise in support of a wide range of charitable organizations. From conducting major event auctions to fundraising appraisal clinics and supporting museum acquisitions through the Concrete Contemporary Auctions and Projects Fund, our team combines personal passion and skills to create real impact in the community. Currently we participate in over 25 events each year, helping to raise $2,000,000 annually in support of causes we care about. Our network of knowledgeable collectors, nurtured relationships and our online platform, allows us to assist the non-profit sector to raise funds in an exciting – and impactful way.

Organizations we support include: The Advocates Society Best Buddies Birdlife International, Ottawa Canadian Art Foundation Gala Canadian Film Centre Canadian Opera Company Casey House, “Art with Heart” Centre For Addiction and Mental Health (CAMH) Covenant House Lake Ontario Waterkeepers Montreal Children’s Hospital Music and Beyond, Ottawa Nyota School, Kenya OCADU, “Project 31” Princess Margaret Hospital Ratanek International “Buy Art Not Kids” Robert McLaughlin Gallery Scotiabank Contact Photography Festival Serve Canada St. Mary’s General Hospital, Kitchener St. Michael’s Hospital “ARTGEMS” STOP Foodbank Toronto Symphony Orchestra Varley Art Gallery Art Gallery of Windsor


Inuit Art Auction including First Nations Art Lots 1–263


InuitArt.Waddingtons.ca

The Arden Barnes Collection of Inuit Art

The following essays were written by Arden Barnes and published in Waddington’s November 1999 catalogue. Barnes’ collection was met with great enthusiasm - the Migration Boat, populated by owls and a single dog and referenced by Barnes in the subsequent essay, sold for $50,600. Beginning the summer of 1962, Arden spent the following eight summers living in the Inuit settlement of Povungnituk, Quebec, on the east coast of Hudson Bay. Arden Barnes passed away in May 2014. Povungnituk in the Early ’60’s My father was a fur buyer who went to Churchhill, Manitoba, alone, by dog team in the early 1900's to purchase furs from the trappers along the route. I took the train to Churchhill in 1960 to experience the country he traveled with his dogs. While in Churchhill I purchased a small soapstone carving of a bird with an E-9 number on it. I was curious as to its origin so I called Ottawa and found it was a Povungnituk carving and so began many trips to this village on the north east of Hudsons Bay. Beginning in 1961 I flew with Austin Airways from Moosonee in the mail planes, Catalina flying boats, which landed on water as well as land. There was a landing strip at Great Whale River but we landed on water at Port Harrison and Povungnituk. Great numbers of freight canoes met us when we landed and they carried all sorts of cargo to the shore, including mail sacks and people. There were no seats in the plane so we sat on the cargo and there no windows either. Father Steinman had the post office at the Catholic Mission in those days. Mail days were very exciting. I stayed at the Mission until I acquired my 'dog house'

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from Joe Talirunili. Povungnituk was-ice free in July and August and during that time freight ships from many parts of the world brought in winter supplies including food and fuel in 50 gallon barrels. All of the barrels were handled by hand, rolled up over the rocks. Everyone helped, it was like a huge social event and no one really thought of it as hard work. Later Shell Oil built bulk tanks so there are fewer barrels to handle. Hunting and fishing were always very good around Povungnituk, which is located at the mouth of the Povungnituk River. Every once in a while there would be a whale to butcher and that was a community project. There was muktuk to chew on for weeks. Fishing on the Kugaluk River was a great trip too. We usually traveled in a group on a Peterhead and stayed for several days. The crew would erect a tent for me on the deck out of the sail and I learned to cook a six course meal on a primus stove. Those little stoves are tricky when it's windy. The Peterhead was powered by an inboard gasoline engine but was equipped with a mast and canvas for sail for good wind conditions. We built inukshuks on the Kugaluk and left messages in them for other travelers. I found a wingtank from a downed plane and hauled it back to the village. Joe Talirunili claimed it as he said he found it there many years ago. He was happy to have the tank at his house to store water. The first set of prints from Povungnituk was displayed for sale in Quebec city in 1962. I went there for the opening and it was quite thrilling to see that works of

art displayed in such a sophisticated environment, having witnessed their production in the stone print shop near the Mission in Povungnituk. I purchased one print that evening in Quebec. Most of the soapstone carvings in Povungnituk were sold to the Hudson Bay Company [sic] or the Co-op. One could wander about the village and negotiate with the carvers if you saw something you liked and wished to purchase it. The artists had a pretty good idea what they wanted for their work, and of course, they received cash. The shipping crates had to be built and the carvings packed in wood excelsior and newspaper. The crates were piled on the deck of an outbound freighter, with the hope that someday they’d be out on a train in Montreal. Shipping carvings by parcel post was too expensive and one was limited to box size. I can remember a tugboat sinking while towing a barge load of freight out to deeper water to be put onto an ocean-going vessel. Then were were the stone houses which were built during the reign of Father Steinman. These canvas-roofed stone structures served to house tourists who were beginning to arrive with no place to stay. The houses lacked a lot of creature comforts but had a very special charm which thrilled the guests who had been everywhere else in the world and now wanted to visit an Eskimo village. Austin Airways provided wonderful Woods four star sleeping bags for the stone house residents who arrived by mail plane. My beautiful grey husky sled dog, Uma, was one of Davidialuk’s puppies and though chosen by me in Povungnituk


Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

and too young to leave her mother, she arrived in Minnesota in the arms of Vik Tinkl who had spent several years in Povungnituk helping the print shop to get into production. His input and direction were invaluable to the development of print making in Povungnituk. Uma spent many happy years on Rainy Lake. She pulled sleds and rode my snowmobile with me. Never was there a more faithful friend, she was my Povungnituk connection for many years. My last trip to Povungnituk was in July of 1969, my work as a nurse anesthetist and other obligations prevented me from going north after that. My memories of Pat and Vola Furneaux and little Eva, the memories of Mina and me in the stone houses, Vik Tinkl and his dedication to print making in Povungnituk, Father Steinman, Alicie, Daniel, Evie Eckidluak, Joe T., Charlie Sheeguapik, Davidialuk, Paulossie Sivuak, and all the fine people of Povungnituk shall be a part of me as long as I live. I have traveled over much of the north but nothing could compare in my mind with Povungnituk in the early 60’s. I am so fortunate to have been there then. Thought I am seventy years old at this time, I dream of a canoe trip from Chub Crater to Povungnituk on the Povungnituk River, it just may happen! The people of Povungnituk called me Ungukudluk (the little woman).

Some Memories of Joe Talirunili (1893-1976) I was thirty-two years old in 1961, Joe was sixty-eight. I met Joe when I made my first trip to Povungnituk in 1961 via Austin Airways’ mail plane from Moosonee; it was my first trip of nine summers spent in that community. Father Steinman insisted that I stay at the Catholic Mission and it was a wonderful introduction to Povungnituk as the mission was the social centre of the settlement. Joe lived in a yellow house just up the hill from the Catholic Mission, He was Anglican. When I decided to have a house of my own, Joe sold me an old dog house he no longer used. It was about 8’ x 8’ and made of 1/2” plywood. I covered the outside with orange canvas purchased at the Hudson’s Bay Company and lined the inside with aluminum foil. I pitched my orange mountain tent on the flat roof for sleeping space and I was settled in Povungnituk. The tent blew across the tundra many times and Joe helped me retrieve it on several occasions. It made for some good laughs in the village! Joe was my closest neighbor and truly a caring friend. We’d drink tea and he’d tell me stories of his youth in that rugged country, fascinating Inuit legends and fishing trips on the Kugaluk River. Joe Talirunili’s carvings were very unique and did not require a signature to recognize them. He was noted for his owls and I purchased many from him. Later in the 60’s, Joe made print stones that depicted owls and hunting scenes as well.

Joe became famous for his carvings of boat loads of people which portrayed a rescue mission in his early years. He produced many carvings of people in boats and buyers never stopped asking for these. One day Joe came to my orange house with a soapstone carving of a boat load of owls (about 37) and one dog. It had a bone mast, sealskin sail, bone tiller arm and sinew lines to the sail. Joe’s name was on the bow of the boat and the carving was magnificent. Joe’s face beamed and he smiled as only Joe could do. I could not believe that carving was for me. But Joe was like that, he knew I loved owls so why shouldn’t I have a boat full? That was his first carving like that but I do not know if it was his last. This boat with all its owls is being sold at Waddington’s Auction House in November. Joe was so easy to communicate with and his open smiling face was an inspiration. His hair was thick and white and cut in a bowl-like fashion. The memories of Joe and Sarah Joe, as my neighbors in the early 60’s in Povungnituk are indeed very precious to me. The bright little orange house served as a beacon for the pilots (so they told me) as it stood out on the somber tundra landscape. Items from this collection are indicated with a blue square. Lots 56, 116, 117, 118, 119, 121

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InuitArt.Waddingtons.ca

1 ANGOTIGOLU TEEVEE (1910-1967), E7-978, CAPE DORSET STARTLED OWL stonecut, 1960, 42/50, framed 29.75” x 20” — 75.6 x 50.8 cm. $700—1,000

2 ANIRNIK OSHUITOQ (1902-1983), E7-965, CAPE DORSET THE PROPHET stonecut, 1964, 15/30, unframed 17.25” x 24.5” — 43.8 x 62.2 cm. Note: From Cape Dorset Revisited, 1994 (McMichael Canadian Art Collection) $400—600

3 ELISAPEE ISHULUTAQ (1925-), E6-176, IQALUIT THE VOYAGE stencil, 1972, 10/39, framed 16.5” x 24.5” — 41.9 x 62.2 cm. $300—500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

4 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET INLAND BIRDS stonecut, 1994, 35/50, unframed 24.25” x 26.5” — 61.6 x 67.3 cm. $500—700

5 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET TATTIGAK stonecut, 1995, 32/50, unframed 24.5” x 32” — 62.2 x 81.3 cm. $600—900

6 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET UNTITLED (NO. 29) engraving, 1962, 39/50 9” x 11.75” — 22.9 x 29.8 cm. $600—900

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InuitArt.Waddingtons.ca

7 PITALOOSIE SAILA (1942-), E7-1006, CAPE DORSET THREE YOUNG RAVENS stonecut, 1970, 47/50, unframed 22.5” x 16.25” — 57.2 x 41.3 cm. $400—600

8 PITSEOLAK ASHOONA (1904-1983), E7-1100, CAPE DORSET BEAR ATTACKING SEAL stonecut, 1973, 27/50, framed 25” x 16.5” — 63.5 x 41.9 cm. $300—500

9 NAPATCHIE POOTOOGOOK (1938-2002), E7-1104, CAPE DORSET SEALSKIN BUCKETS stonecut, 1962, 6/40, unframed 16.5” x 12.25” — 41.9 x 31.1 cm. Note: One of four images from the Cape Dorset 2002 Spring Collection. These archival prints were numbered in the year created. $400—600

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

10 TIMANGIAK PETAULASSIE (1940-), E7-1097, CAPE DORSET WALRUS stonecut, 1964, 11/50, unframed 16.25” x 20” — 41.3 x 50.8 cm. $600—900

11 ULAYU PINGWARTOK (1904-1978), E7-1038, CAPE DORSET RAVENS stonecut, 1969, 28/50, unframed 17” x 24” — 43.2 x 61 cm. $300—500

12 LUKTA QIATSUK (1928-2004), E7-1060, CAPE DORSET ESKIMO WHALE HUNT stonecut, 1989, 30/30, unframed 15.5” x 12” — 39.4 x 30.5 cm. $1,000—1,500

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InuitArt.Waddingtons.ca

13 PARR (1893-1969), E7-1022, CAPE DORSET WALRUS HUNT stonecut, 1964, 6/50, unframed 24.5” x 34.75” — 62.2 x 88.3 cm. $1,000—1,500

14 PUDLO PUDLAT (1916-1992), E7-899, CAPE DORSET FISH WITH GULLS stencil, 1961, 35/50, framed 17.5” x 24.5” — 44.5 x 62.2 cm. $1,000—1,500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

15 PUDLO PUDLAT (1916-1992), E7-899, CAPE DORSET UMINGMUK stonecut, 1970, 20/50, framed, sight 22” x 29” — 55.9 x 73.7 cm. $1,000—1,500

16 TIKITU QINNUAYUAK (1908-1992), E7-1067, CAPE DORSET FEMALE EIDERS FRIGHTENED skin stencil, 1960, 19/50, unframed 20” x 26” — 50.8 x 66 cm. $1,000—1,500

17 LUCY QINNUAYUAK (1915-1982), E7-1068, CAPE DORSET NESTING BIRD stonecut, 1969, 20/50, framed, sight 16.75” x 23.75” — 42.5 x 60.3 cm. $1,000—1,500

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InuitArt.Waddingtons.ca

18 LUCY QINNUAYUAK (1915-1982), E7-1068, CAPE DORSET SEABIRDS stonecut, 1969, 30/50, framed 16.25” x 24” — 41.3 x 61 cm. $1,000—1,500

19 LUCY QINNUAYUAK (1915-1982), E7-1068, CAPE DORSET SUN BIRD stonecut, 20/50, framed, sight 16.25” x 24” — 41.3 x 61 cm. $1,000—1,500

20 LUCY QINNUAYUAK (1915-1982), E7-1068, CAPE DORSET EVENING OWL stonecut, 1971, 39/50, framed 20” x 24.5” — 50.8 x 62.2 cm. $500—700

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

21 IGAH HAINNU (1962-), E5-1758, CLYDE RIVER GOOSE FOOT BASKET WITH APPLIQUED SWIMMING WHALES goose feet, sealskin 7.5” x 7” x 6.25” — 19.1 x 17.8 x 15.9 cm. $400—600

22 IRENE AVAALAAQIAQ TIKTAALAAQ (1941-), E2-423, BAKER LAKE BIRD SHAMAN TRANSFORMATIONS duffel, felt, thread, embroidery floss 57.5” x 55.5” — 146.1 x 141 cm. $600—900

23 IRENE AVAALAAQIAQ TIKTAALAAQ (1941-), E2-423, BAKER LAKE MANY SHAMANS duffel, stroud, embroidery floss, c. 1975 19.75” x 32” — 50.2 x 81.3 cm. $400—600

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InuitArt.Waddingtons.ca

24 MARION TUU’LUUQ (1910-2002), E2-98, BAKER LAKE ARCTIC MOTIFS AMONGST FANTASTIC CREATURES stroud, duffel, felt, thread, embroidery floss 71.5” x 49” — 181.6 x 124.5 cm. $12,000—16,000

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Exhibited: This work was on display at the Canadian Embassy in Tokyo, Japan since 2000.


Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

25 ATTR: VICTORIA MAMNGUQSUALUK (1930-), E2-386, BAKER LAKE MANY FANTASTIC CREATURES duffel, thread, felt, embroidery floss 56” x 59.75” — 142.2 x 151.8 cm. $600—900

26 ATTR: VICTORIA MAMNGUQSUALUK (1930-), E2-386, BAKER LAKE MANY ARCTIC ANIMALS duffel, felt, thread, embroidery floss, 1979 26.25” x 28.75” — 66.7 x 581 cm. $400—600

27 NANCY KANAYUQ (1925-), E2-262, BAKER LAKE COMPOSITION WITH STANDING PEOPLE, BIRD SHAMAN AND EMBRACING FIGURES duffel, felt, embroidery floss, thread, 1979 34” x 27.75” — 86.4 x 70.5 cm. $300—500

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InuitArt.Waddingtons.ca

28 MALAYA AKULUKJUK (1915-), E6-240, PANGNIRTUNG MALAYA’S STORY wool weaving, 12/20, signed in Roman with syllabics 100” x 45” — 254 x 114.3 cm. Literature: Maria von Finckenstein, Nuvisavik, The Place Where We Weave, exh. cat., 2003 Note: The tapestry artist for this extraordinary weaving was Kawtysee Kakee and the weaver was Hanna Akulukjuk. “In this composite of drawings Kawtysee Kakee combined six different narrative scenes by setting them against a snowy landscape. The course grain of the wool simulates the texture of snow, and the shifts in colour lead the eye on and suggest the expansion of a landscape receding into the distance.” $3,000—5,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

29 MALAYA AKULUKJUK (1915-), E6-240, PANGNIRTUNG SUNRISE AT TANAQAAQ wool weaving, 7/20, signed in Roman and syllabics 49” x 58” — 124.5 x 147.3 cm. $800—1,200

30 MALAYA AKULUKJUK (1915-), E6-240, PANGNIRTUNG CARRIED AWAY BY TWO BIRDS wool weaving, 1979, 1/10, signed in Roman and syllabics 32” x 36” — 81.3 x 91.4 cm. $500—700

31 MALAYA AKULUKJUK (1915-), E6-240, PANGNIRTUNG MONSTER WITH FOUR BIRDS wool weaving, 1979, 2/60, signed in Roman with syllabics 37” x 33” — 94 x 83.8 cm. $400—600

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32 ANNIE KILABUK (1932-2005), E6-400, PANGNIRTUNG FRIGHTENED OWL wool weaving, 4/10, signed in Roman with syllabics 56” x 55” — 142.2 x 139.7 cm. Note: In 1981, an exhibition at the Upstairs Gallery in Winnipeg showcased Pangnirtung tapestries. The show was reviewed for the Free Press and this weaving was heralded for being the star of the show. $700—1,000

33 ATUNGAUYAK EESEEMAILEE (1923-1989), E6-66, PANGNIRTUNG SPRINGTIME PTARMIGAN AND RABBITS FEEDING wool weaving, 10/10 22” x 53” — 55.9 x 134.6 cm. $800—1,200

34 JOELEE MANIAPIK (1960-), E6-905, PANGNIRTUNG THE STORY TELLER wool weaving, 7/10, signed in Roman and syllabics 49” x 58” — 124.5 x 147.3 cm. $700—1,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

Small Wonders (Lots 35-67)

35 EVA TALOOKI ALIKTILUK (1927-1995), E1-75, ARVIAT SHAMAN TRANSFORMING

36 EVA TALOOKI ALIKTILUK (1927-1995), E1-75, ARVIAT TWO INUIT WOMEN IN DECORATED DRESS, ONE WITH INSET EYES HOLDING A BAG

stone, antler, beads, felt 5.75” x 1.5” x 7” — 14.6 x 3.8 x 17.8 cm. Note: Small in scale, with the head carved from the hard grey stone used in Arviat, Talooki has added an antler element here and adorned this possible shamanic figure with a beaded collar. This is a superb example of Talooki’s work.

stone, beads, felt 3.25” x 1.5” x 1.75” — 8.3 x 3.8 x 4.4 cm.; 2.5” x .75” x 1” — 6.4 x 1.9 x 2.5 cm. $500—700

$500—700

37 LUCY TASSEOR TUTSWEETOK (1934-2012), E1-135, ARVIAT MOTHER HOLDING CHILD

38 ANDY MIKI (1918-1983), E1-436, ARVIAT BIRD stone, c. 1979, signed in syllabics with disc number

stone 2.25” x 6.25” x 1.5” — 5.7 x 15.9 x 3.8 cm. 3.25” x 3” x 1.25” — 8.3 x 7.6 x 3.2 cm. $500—700 $400—600

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

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

stone, signed in syllabics

stone

2.25” x 4.25” x 1” — 5.7 x 10.8 x 2.5 cm.

4.25” x 7” x 2.5” — 10.8 x 17.8 x 6.4 cm.

$600—900

$700—1,000

41 KOOMWARTOK ASHOONA (1930-1984), E7-1102, CAPE DORSET BIRD

42 PAUTA SAILA (1916-2009), E7-990, CAPE DORSET POLAR BEAR

stone, 1979, signed in Roman

stone, 1979, signed in syllabics and Roman

3.5” x 2.5” x 3” — 8.9 x 6.4 x 7.6 cm.

5.5” x 4” x 1.75” — 14 x 10.2 x 4.4 cm.

$300—500

$2,500—3,500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

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

44 KANANGINAK POOTOOGOOK (1935-2010), E7-1168, CAPE DORSET WINDSWEPT MUSK OX

stone, 1979, signed in Roman

stone, signed in syllabics

4” x 7” x 3” — 10.2 x 17.8 x 7.6 cm.

4” x 6.75” x 4” — 10.2 x 17.1 x 10.2 cm.

$400—600

$1,000—1,500

45 PEGGY EKAGINA (1919-1993), W2-290, COPPERMINE ANIMAL/SEDNA TRANSFORMATION

46 CHARLIE KLENGENBERG AVAKANA (1935-1986), W2-481, COPPERMINE MAN FEEDING DOG SCRAPS

stone, dated ‘75 and signed in Roman

stone, 1968, signed in Roman

1.5” x 3.75” x .75” — 3.8 x 9.5 x 1.9 cm.

5.5” x 5” x 2” — 14 x 12.7 x 5.1 cm.

$600—900

$300—500

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47 JUDAS ULLULAQ (1937-1999), E4-342, GJOA HAVEN TWO STANDING FIGURES

48 JUDAS ULLULAQ (1937-1999), E4-342, GJOA HAVEN DRUM DANCER

ivory, antler

stone, antler, signed in syllabics

1” x .5” x .5” — 2.5 x 1.3 x 1.3 cm.; 1.2” x .05” x 0.3” — 3 x 0.1 x .75 cm.

5.5” x 4.25” x 1.75” — 14 x 10.8 x 4.4 cm. $700—1,000

$300—500

49 UNIDENTIFIED, INUKJUAK KNEELING ARCHER

50 HENRY EVALUARDJUK (1923-2007), E5-846, IQALUIT POLAR BEAR

stone, antler, string, c. 1955 stone, signed in Roman with syllabics 3.5” x 2.25” x 2.25” — 8.9 x 5.7 x 5.7 cm. 4” x 6.25” x 3.25” — 10.2 x 15.9 x 8.3 cm. $400—600 $800—1,200

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

51 A HEAD, OKVIK (OLD BERING SEA II) ivory, c. 100 - 300 CE 2” x 1.5” x 1.5” — 5.1 x 3.8 x 3.8 cm. $4,000—6,000

52 UNIDENTIFIED, ALASKA HUNTING SCENE; VESSEL DECORATED WITH OPPOSING SEALS AND DOGS ivory, early 20th century 1.1” x 5.2” x 4.3” — 2.8 x 13.2 x 10.9 cm.; 4.25” x 2” x 1.25” — 10.8 x 5.1 x 3.2 cm. Provenance: Theo Waddington Galleries, 1977, Montreal, QC, Ex. Coll. of C. F-S, Canada, Waddington’s Auctioneers and Appraisers, 08 November 2012, Lot 46; Private collection, Canada Exhibited: McCord Museum, Montreal, QC $600—900

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53 PAULOOSIE KARPIK (1911-1988), E6-187, PANGNIRTUNG WOMAN PLAYING AN ACCORDION stone, c. 1968, disc number inscribed 3.5” x 4” x 3.5” — 8.9 x 10.2 x 8.9 cm. Provenance: Collection of James Bisback & Jonny Kalisch, Shakespeare, ON Note: Although, the skin drum is the traditional instrument of the Inuit, when the first visitors came to the north, they were introduced to other instruments such as fiddles and accordions. Since then, accordion playing and folk music has become a tradition in parts of the Eastern Arctic. This anecdotal work depicts a musician enjoying her pastime and serves as evidence of the musical acculturation of the Inuit. $400—600

54 UNIDENTIFIED HUNTER CONFRONTING A POLAR BEAR stone, ivory, string, c. 1955 7.75” x 10.25” x 4.25” — 19.7 x 26 x 10.8 cm. $600—900

55 FABIAN OOGAAQ (1923-), E3-311, PELLY BAY REARING CARIBOU ivory, 1967 5” x 1.25” x 4” — 12.7 x 3.2 x 10.2 cm. Note: Fabian’s work was included in The Winnipeg Art Gallery exhibition, Art & Expression of the Netsilik in 1997. He is known for his small highly detailed ivory carvings and for his drawings. $400—600

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

56 JOE TALIRUNILI (1893-1976), E9-818, POVUNGNITUK CARIBOU stone, c. 1965, signed in Roman with disc number 4.25” x 5.75” x 1.5” — 10.8 x 14.6 x 3.8 cm. $800—1,200

57 DAVIDIALUK ALASUA AMITTU (1910-1976), E9-824, POVUNGNITUK ALIGHTING OWL stone, c. 1972, signed in Roman 3” x 1.5” x 3.5” — 7.6 x 3.8 x 8.9 cm. $400—600

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58 JOE TALIRUNILI (1893-1976), E9-818, POVUNGNITUK LOON stone, c. 1967, signed in Roman 4” x 7.25” x 1.5” — 10.2 x 18.4 x 3.8 cm. Note: This piece is reminiscent of Paulusi Paulusi’s style of loon. See Darlene Coward Wight, Early Masters, Inuit Sculpture, 1949-1955, The Winnipeg Art Gallery, p. 60 $1,000—1,500

59 JOHN TIKTAK (1916-1981), E1-266, RANKIN INLET BUST stone, c. 1970 5.75” x 3.5” x 2.75” — 14.6 x 8.9 x 7 cm. Provenance: Waddington’s, November 5, 2007, Lot 278, Private collection, Canada $2,500—3,500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

60 MARK TUNGILIK (1913-1986), E3-320, REPULSE BAY WEASEL AND YOUNG

61 MARK TUNGILIK (1913-1986), E3-320, REPULSE BAY FOUR MEN WITH BIRD ON BASE

ivory, stone, 1984, signed in syllabics

stone, ivory, signed in syllabics

1.25” x 2.5” x 2” — 3.2 x 6.4 x 5.1 cm.

0.5” x 1.7” x 0.75” — 0.9 x 4.2 x 1.6 cm.

$300—500

$300—500

62 MARK TUNGILIK (1913-1986), E3-320, REPULSE BAY WEASEL AND LEMMING

63 JOHN KAUNAK (1941-), E3-520, REPULSE BAY HUNTING SCENE WITH MAN AND DOG APPROACHING A POLAR BEAR

ivory, stone, 1984, signed in syllabics stone, wood, ivory, c. 1960 1.25” x 2.25” x 1” — 3.2 x 5.7 x 2.5 cm. 3.25” x 4.5” x 3.5” — 8.3 x 11.4 x 8.9 cm. $400—600 $600—900

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64 MARK TUNGILIK (1913-1986), E3-320, REPULSE BAY PANEL WITH INSET HUNTING SCENE OF ARCHERS, DOG, AND CARIBOU

65 MARK TUNGILIK (1913-1986), E3-320, REPULSE BAY ROCK WITH INSET ARCTIC ANIMALS

stone, ivory, signed in syllabics and inscribed with disc number

stone, ivory, antler, signed in syllabics and inscribed with disc number

1.5” x 8” x 3” — 3.8 x 20.3 x 7.6 cm.

2” x 3.75” x 2.75” — 5.1 x 9.5 x 7 cm.

$600—900

$400—600

66 UNIDENTIFIED COMPOSITION WITH FACES AND POLAR BEAR

67 UNIDENTIFIED HUNTER WITH INSET FACE

bone

stone, string, inset antler face with graphite detail, c. 1958

2.25” x 2.5” x 2.5” — 5.7 x 6.4 x 6.4 cm.

5” x 2.5” x 1.5” — 12.7 x 6.4 x 3.8 cm.

$300—500

Provenance: Waddington’s Auctioneers and Appraisers, November 5, 2007, Lot 19, Private collection, Canada $300—500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

68 GOYCE KAKEGAMIC (1948-) UNTITLED (TWO BIRDS) acrylic on paper, signed in Roman, framed, sight 22” x 29.5” — 55.9 x 74.9 cm. $400—600

69 ALEX SIMEON JANVIER (1935-), DENE SULINE/SAULTEAUX SATURDAY MORNING gouache on paper, signed in Roman lower left and titled in pencil verso, framed 11” x 15” — 27.9 x 38.1 cm. $1,000—1,500

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70 DAPHNE ODJIG (1919-) NANABOSHO AND THE WINDIGO (NANABUSH AND THE GIANT) pastel on paper, dated ‘68 and signed in Roman, framed 24” x .25” x 36.75” — 61 x 0.6 x 93.3 cm. $4,000—6,000

Provenance: Acquired directly from the artist by a private collector in 1968, during his tenure with the Department of Indian Affairs (Aboriginal Affairs and Northern Development), The Wah-Sa Gallery, Winnipeg, MB, c. 2008, Private collection, Canada Note: Nanabush is a trickster character from Anishinaabe mythology who is particularly prominent amongst the Ojibwa. A ‘windigo’ is a giant thing that eats people. In 1971, a ten book series on Nanabush was published by the Manitoba Department of Education that used the illustrations and re-telling of the legends of the Daphne Odjig.

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

71 NORVAL H. MORRISSEAU, R.C.A. (1931-2007), CREE NORVAL AS SHAMAN TAKING SOUL THROUGH PROTEL (SIC)

Provenance: Kinsman Robinson Galleries, Toronto, ON, Private collection, Toronto, ON

acrylic on canvas, dated 1990, signed in syllabics, titled in Roman verso lower left, framed 53” x 53” — 134.6 x 134.6 cm. $8,000—12,000

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72 NORVAL H. MORRISSEAU, R.C.A. (1931-2007), CREE UNTITLED DIPTYCH acrylic on MDF, each signed in syllabics, each signed in Roman and dated 81 verso, unframed Each panel 22” x 28” — 55.9 x 71.1 cm. Provenance: Acquired directly from the artist, Northern Intruders, Winnipeg, MB, 1998, Private collection, 2007, Private collection, Canada

Note: In a private correspondence, Alan Swanson of the Northern Intruders Gallery, proposed that this diptych depicts the artist, the figure in blue, receiving his Ojibwa name, ‘Ozaawaabiko-binesi’ or ‘Copper Thunderbird.’ Morrisseau recounts the story of the naming ceremony. After a grave illness, the artist was taken to visit a medicine woman. “She had already administered all the power she could, so there was only one thing left to do. This is the highest sort of power that can be given to anyone that is sick: and that is to give him a new name, a powerful name. [...] So at that special moment, she gave me a new name, the name of Copper Thunderbird. That was a very, very powerful new name; and it cured me. From then on I changed, because that was a name whose power you could actually feel. Copper is a very sacred metal, and here you can imagine a Thunderbird, a huge massive bird all made of copper, and he was actually flying!

$4,000—6,000 My name was changed to Copper Thunderbird. I sign my paintings Copper Thunderbird.”

73 NORVAL H. MORRISSEAU, R.C.A. (1931-2007), CREE COMMUNACTION [SIC] acrylic on canvas, signed in syllabics, titled verso, framed 20” x 40” — 50.8 x 101.6 cm. Provenance: The Wah-Sa Gallery, Winnipeg, MB, c. 2004, Private collections, Canada $3,000—5,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

74 NORVAL H. MORRISSEAU, R.C.A. (1931-2007), CREE SACRED BEAVER WITH MEDICINE BAG acrylic on paper, signed in syllabics, titled and dated c. 1964 to gallery label, framed 21” x 28.5” — 53.3 x 72.4 cm. Provenance: Kinsman Robinson Galleries, Toronto, ON, Private collection, Toronto, ON $2,500—3,500

75 ROY THOMAS (1949-2004) MATERNAL CONNECTION tempera on paper, dated 73 and signed in Roman, framed 23.5” x 19.5” — 59.7 x 49.5 cm. $1,000—1,500

76 ROBERT CHARLES DAVIDSON (1946-), HAIDA HALIBUT, HALIBUT, HALIBUT silkscreen, 2001, 25/120, unframed 42.75” x 30.25” — 108.6 x 76.8 cm. $500—700

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77 ANDY MIKI (1918-1983), E1-436, ARVIAT POLAR BEAR stone, c. 1970 9” x 5.5” x 3” — 22.9 x 14 x 7.6 cm. Provenance: Collection of James Bisback & Jonny Kalisch, Shakespeare, ON Literature: Norman Zepp, Pure Vision: The Keewatin Spirit, pg. 37 $4,000—6,000

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Note: “If the viewer detects a note of humour in Miki’s work, this is understandable. Inuit art has a strong undercurrent of humour and this is especially so for Miki. His animal or bird figures tilt, turn and lean; their sensitive snouts, always surmounted with two beady eyes, induce a smile. And yet, these works are remarkably statuesque and one must ultimately take them seriously.”


Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

78 ELIZABETH NUTARALUK AULATJUT (1914-1998), E1-445, ARVIAT FACE stone, antler, signed in syllabics 7.25” x 6” x 1.75” — 18.4 x 15.2 x 4.4 cm. Provenance: Collection of James Bisback & Jonny Kalisch, Shakespeare, ON $2,500—3,500

79 ELIZABETH NUTARALUK AULATJUT (1914-1998), E1-445, ARVIAT KNEELING WOMAN WITH BRAIDED HAIR stone, signed in syllabics 11” x 8” x 6” — 27.9 x 20.3 x 15.2 cm. $1,500—2,500

80 ELIZABETH NUTARALUK AULATJUT (1914-1998), E1-445, ARVIAT WOMAN CRADLING HER CHILD stone, signed in syllabics 10” x 5.5” x 7” — 25.4 x 14 x 17.8 cm. Provenance: Collection of a prominent American collector and dealer, CT. Literature: “Interviews with Eskimo Point Artists”, Bernadette Driscoll, from Eskimo Point/Arviat, Winnipeg Art Gallery, 1982, pg. 23 Note: “I adored my children and that’s probably why I love to carve a mother and a child. If I want to carve a particular position of a mother with her child, such as the feeding of the infant, I would observe that position before carving it. Sometimes I really admire a carving that I’ve done, especially after it’s finished and all smoothed out.” $1,000—2,000

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81 EVA TALOOKI ALIKTILUK (1927-1995), E1-75, ARVIAT WOMAN WITH CHILD HOLDING KAMIKS stone, beads, felt, fur, signed in syllabics 6” x 2.75” x 3.5” — 15.2 x 7 x 8.9 cm. Note: Talooki’s aunt, Susan Ootnooyuk was the first to adorn carvings with beadwork. However it was Talooki who became best known for this type of work. The colourful beading adds visual contrast to the hard, grey Arviat stone and context to her decidedly minimalist figures. $600—900

82 EVA TALOOKI ALIKTILUK (1927-1995), E1-75, ARVIAT WOMAN WEARING A BEADED SKIN AMAUTIQ stone, beads, felt, hide, sealskin 7.5” x 3.5” x 2” — 19.1 x 8.9 x 5.1 cm. $400—600

83 EVA TALOOKI ALIKTILUK (1927-1995), E1-75, ARVIAT WOMAN WEARING DECORATED AMAUTIQ stone, beads, felt, signed in Roman 5.75” x 2” x 2.5” — 14.6 x 5.1 x 6.4 cm. $500—700

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

84 JOHN PANGNARK (1920-1980), E1-104, ARVIAT HOODED FIGURE

Note: Pangnark was a mentor to artist Lucy Tasseor Tutsweetok and was said to be a generous figure in his community. As evident in this important work, he possessed an innate ability to transform an inanimate piece of stone into an expressive figure with only the slightest means.

stone, c. 1970 7.25” x 6.5” x 3.5” — 18.4 x 16.5 x 8.9 cm. Provenance: The Isaacs / Innuit Gallery, Toronto, ON, Private collection of a prominent Canadian family, Toronto, ON, Waddington’s April 2010, lot 64, cover image, Toronto, ON, Collection of James Bisback & Jonny Kalisch, Shakespeare, ON $6,000—9,000

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85 JOHN PANGNARK (1920-1980), E1-104, ARVIAT BIRD stone, dated 1968 8.25” x 7.25” x 3.25” — 21 x 18.4 x 8.3 cm. Provenance: Original collector held the position of Executive Secretary for the Canadian Eskimo Arts Council, mid-late 1960’s/ early 1970’s, Ottawa, ON, Waddington’s, November 2011, lot 274, Toronto, ON, Collection of James Bisback & Jonny Kalisch, Shakespeare, ON $3,000—5,000

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Note: A remarkable work by Pangnark in that he was known to carve primarily human figures, but animals only very rarely. At first glance one might be reminded of one of Pangnark’s contemporaries, Andy Miki, with its striking cut out shape and drilled eye holes. For a similar work see: Oonark / Pangnark, National Museum of Man (now the Canadian Museum of Civilization) exh. cat., 1970, pl. 12.


Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

86 JOHN PANGNARK (1920-1980), E1-104, ARVIAT FIGURE stone 6.5” x 5” x 3.75” — 16.5 x 12.7 x 9.5 cm. Provenance: Private collection, Edmonton, AB Waddington’s, April 2008, lot 60, Toronto, ON Collection of James Bisback & Jonny Kalisch, Shakespeare, ON Literature: “Memories of Eskimo Point 1967-1979” George Swinton, from Eskimo Point/Arviat, Winnipeg Art Gallery, 1982, pg. 14 Note: “He was doubtlessly the Brancusi of the North, with a rare feeling for abstraction and for the sheer beauty of curved and hard-edged shapes. He couldn’t put any of these thoughts into words, but he did what counts most: he made them into sculptures. These were more than mere objects for him; they were sensuous renderings of his sensibility for pure form, with a vague hint of subject matter without which the form had very little conscious meaning for him.” $2,500—3,500

87 JOHN PANGNARK (1920-1980), E1-104, ARVIAT SEATED WOMAN stone, 1967, signed in syllabics 4.25” x 4.25” x 4” — 10.8 x 10.8 x 10.2 cm. Provenance: Albrecht Collection, AZ, USA Waddington’s, November 2007, lot 98, Toronto, ON, Collection of James Bisback & Jonny Kalisch, Shakespeare, ON $2,500—3,500

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88 LUCY TASSEOR TUTSWEETOK (1934-2012), E1-135, ARVIAT MOTHER SURROUNDED BY HER CHILDREN stone, signed in syllabics 8.25” x 10” x 4” — 21 x 25.4 x 10.2 cm. $4,000—6,000

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Provenance: Private collection, Hamilton, ON, 1975, Waddington’s, November 2007, lot 235, Toronto, ON, Collection of James Bisback & Jonny Kalisch, Shakespeare, ON


Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

89 LUCY TASSEOR TUTSWEETOK (1934-2012), E1-135, ARVIAT MOTHER WITH CHILD

90 MARY AYAQ ANOWTALIK (1938-), E1-447, ARVIAT INUIT FAMILY stone, c. 1975, signed in syllabics

stone 13.25” x 9” x 6” — 33.7 x 22.9 x 15.2 cm. $800—1,200

10.5” x 10.5” x 8” — 26.7 x 26.7 x 20.3 cm. Provenance: Collection of James Bisback & Jonny Kalisch, Shakespeare, ON Note: This is a refined and sophisticated work from Anowtalik. Her style is similar to her husband Luke’s. Both had an affinity for faces that seem to emerge from the stone. $1,000—1,500

91 JIMMY MUCKPAH (1936-), E5-815, ARVIAT HUNTERS PURSUING PREY

92 MARGO ATATLOAK ANGNAYUINAK (1919-1987), E1-476, ARVIAT WOMAN WITH HER CHILDREN

stone, ivory, c. 1965, signed in Roman stone, c. 1970 4.5” x 10” x 4.25” — 11.4 x 25.4 x 10.8 cm. 10.5” x 9” x 5” — 26.7 x 22.9 x 12.7 cm. $400—600 Note: In Arviat’s typically understated fashion this mother is pleased to be ensconced by her family. A warm scene carved from the hard grey stone available to the artists from this region. $700—1,000

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93 KAROO ASHEVAK (1940-1974), E4-196, SPENCE BAY SHAMAN DRUMMER bone, inlay stone, signed in syllabics 19.5” x 13” x 17” — 49.5 x 33 x 43.2 cm. Provenance: Acquired directly from the artist. The father of the consignor was a Professor at the University of Alberta and specialized in northern people and lands. He worked throughout the Arctic for most of his life. He met Ashevak on one of his trips to Taloyoak (Spence Bay) and admired his work greatly. The exact year of acquisition was not recorded. Note: Karoo Ashevak was fortunate enough to possess the carving skills to bring his imaginative ideas to life. The result of this combination is his extraordinary body of work, full of spirituality, tradition, humour, complexity and the joy that so often described his temperament when he was carving. Ashevak is best known for his shaman drum dancers and they tend to be sought-after by collectors. and museums A significant part of Inuit spirituality, the shaman sets the tone and unites those involved in a ceremony by drumming and dancing. Whalebone was Ashevak’s favoured medium, and even though it is notoriously difficult to work with he seemed to utilize the existing shapes and manipulate the bone to portray his concepts. Whalebone was sparse in Taloyoak, so most was flown in for carving from prehistoric Thule and ancient whaling sites. $30,000—35,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

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94 KAROO ASHEVAK (1940-1974), E4-196, SPENCE BAY HOODED INUK bone, stone inlay 9” x 4.5” — 22.9 x 11.4 cm. $8,000—12,000

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Provenance: Acquired directly from the artist. The father of the consignor was a Professor at the University of Alberta and specialized in northern people and lands. He worked throughout the Arctic for most of his life. He met Ashevak on one of his trips to Taloyoak (Spence Bay) and admired his work greatly.


Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

95 POSSIBLY KAROO ASHEVAK (1940-1974), E4-196, SPENCE BAY AN OWL ON A BASE bone, inset wood, 1967 6.25” x 1.75” x 2.5” — 15.9 x 4.4 x 6.4 cm. Literature: Darlene Coward Wight, Art & Expression of the Netsilik, The Winnipeg Art Gallery, 2000

Provenance: Acquired directly from the artist in 1967. The consigner had a history working in the Arctic during most of the 1960’s. First working in Tuktoyaktuk in the early 1960’s making fur products for sale with local Inuit women. She then moved to the community of Spence Bay (Taloyoak), where she continued her work as a government official. As the Assistant Area Administrator, she enacted various roles including working with artists as part of the government initiated arts and crafts program. In Art & Expression of the Netsilik, Eeteemunga (Karoo’s sister) spoke of the development of craft industries in Spence Bay and the new craft officer that encouraged Ashevak to carve. On page 64 she exclaims, “Once he began, he didn’t think of anything else!”

Note: The works were carved from whalebone from Creswell Bay ancient Inuit campsite, Somerset Island. It was customary for whalebone to be salvaged and flown in to Taloyoak (Spence Bay) from Thule sites in the late 1960’s and 1970’s. $700—1,000

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96 CHARLIE UGYUK (1931-1999), E4-341, SPENCE BAY POLAR BEAR

97 GIDEON QAUQJUAQ (1941-), E4-392, SPENCE BAY MAN TURNED TO FISH

stone, signed in syllabics

stone, antler, musk ox horn, signed in Roman

4” x 8” x 3” — 10.2 x 20.3 x 7.6 cm.

11” x 17” x 5.75” — 27.9 x 43.2 x 14.6 cm.

$700—1,000

$600—900

98 MARY ARNANNUAQ KAYUQTUQ (1925-), E4-338, SPENCE BAY SHAMAN SPIRIT

99 ATTR: STEPHEN ALOOKEE (1937-), E5-43, SPENCE BAY THREE POLAR BEARS

bone, antler inlaid eyes and base

bone, 1967

9.5” x 9.25” x 2.5” — 24.1 x 23.5 x 6.4 cm.

2.5” x 7” x 1.75” — 8.9 x 58.4 x 2.5 cm.; 2.75” x 6.25” x 2” — 7 x 15.9 x 5.1 cm.; 2” x 7” x 3” — 5.1 x 17.8 x 7.6 cm.

$300—500

Provenance: Acquired directly from the artist in 1967. The consigner had a history working in the Arctic during most of the 1960’s. First working in Tuktoyaktuk in the early 1960’s making fur products for sale with local Inuit women. She then moved to the community of Spence Bay (Taloyoak), where she continued her work as a government official. As the Assistant Area Administrator, she enacted various roles including working with artists as part of the government initiated arts and crafts program. $600—900

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

100 JUDAS ULLULAQ (1937-1999), E4-342, GJOA HAVEN WOMAN AND CHILD WITH PAIL AND MALLET bone, c. 1980, signed in syllabics 36” x 24” x 17” — 91.4 x 61 x 43.2 cm. Provenance: Canadian Arctic Producers, Ottawa, ON, Private collection, Toronto, ON Literature: Inuit Art Quarterly, Summer 1995, Vol. 10, No. 2, Frontispiece

Note: Judas began carving whalebone in the late 1960’s. By 1980 Judas’s work matured and began to generate serious interest by the Co-op. Canadian Arctic Producers (CAP) in Ottawa acquired his sculpture for group and solo exhibitions. In 1983, his work became widely marketed and sought after through prestigious art galleries. Since then, his work was included in over 70 exhibitions. This particular carving was acquired at that time by the consignor from Jeanne Pattison at CAP. Ullulaq traveled extensively for his exhibition openings and was well liked by everyone he met. His creativity was arguably unmatched and whether carving inspirations from every day life or depicting shamanism, his sculptures are always highly expressive. For a similar work, see: Mother Carrying Pot, 1988, Collection of Samuel and Esther Sarick

$10,000—15,000

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101 JUDAS ULLULAQ (1937-1999), E4-342, GJOA HAVEN DISTRESSED MAN WITH LOUSE SPIRIT bone, stone, signed in syllabics 19.5” x 17” x 13.5” — 49.5 x 43.2 x 34.3 cm. Provenance: Collection of James Bisback & Jonny Kalisch, Shakespeare, ON Literature: Judas Ooloolah (Ullulaq) Gjoa Haven, The Upstairs Gallery, Winnipeg, MB, exh. cat., 1987, unpaginated $6,000—9,000

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Note: “Ullulaq’s sculpture is an extension of his real world. Each piece implies a context, with one or more figures interrelating, sometimes on a base that helps to define the context. Single figures are always engaged in an action that infers a specific environment. There is a pervasive dynamism in the carved works that is revealed in body movements, gestures, and emotionally involved in their world. As in the work of his famous nephew, Karoo Ashevak, round inlaid eyes and contorted mouths contribute a high degree of expression. However Karoo’s subjects were often imaginary spirits with magico-religious significance. Ullulaq’s work, like that of his talented brother, Charlie Ugyuk, is of the real world. The reality, for him, consists of people and of human emotion.”


Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

102 JUDAS ULLULAQ (1937-1999), E4-342, GJOA HAVEN HUNTER EATING MEAT WITH KNIFE stone, antler, musk ox horn, 1980’s, signed in syllabics 9.25” x 7.25” x 7.25” — 23.5 x 18.4 x 18.4 cm. $4,000—6,000

103 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET YOUNG GIRL FLANKED BY ARCTIC GULLS felt-tip drawing, signed in syllabics, framed, sight 19.5” x 25” — 49.5 x 63.5 cm. $600—900

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104 KIAKSHUK (1886-1966), E7-1057, CAPE DORSET FANTASTIC CREATURES graphite drawing, annotated “Kiakshook” and dated 8/61, unframed 18” x 24” — 45.7 x 61 cm. $300—500

105 PITSEOLAK ASHOONA (1904-1983), E7-1100, CAPE DORSET WOLF ATTACKING BIRDS felt tip drawing, signed in syllabics, unframed 19.5” x 26” — 49.5 x 66 cm. $300—500

106 SIASSIE KENNEALLY (1969-), CAPE DORSET INUKSHUK coloured pencil drawing, 2007, signed and titled in Roman, framed 37” x 26” — 94 x 66 cm. $400—600

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

107 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE FACES coloured pencil drawing, signed in syllabics, unframed 22” x 30” — 55.9 x 76.2 cm. $5,000—7,000

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108 LUKE ANGUHADLUQ (1895-1982), E2-294, BAKER LAKE HUNTER CARRYING KAKIVAK coloured pencil drawing, signed in syllabics, unframed 30” x 22.25” — 76.2 x 56.5 cm. $1,000—1,500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

109 PARR (1893-1969), E7-1022, CAPE DORSET HUNTING SCENE graphite drawing, c. 1961, unframed

Note: Encouraged by Terry Ryan, Parr began working in graphite in 1961 before moving on to coloured pencil, crayon and felt tip. He made more than 2000 drawings in eight years. This drawing is from one of his earliest sketch books. Terry Ryan is quoted as saying, “There was no pretense in Parr’s drawings; they were direct and honest.”

24” x 18” — 61 x 45.7 cm. $4,000—6,000

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110 PARR (1893-1969), E7-1022, CAPE DORSET WALRUS HUNTING graphite drawing, c. 1961, unframed 24” x 18” — 61 x 45.7 cm. $4,000—6,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

111 PARR (1893-1969), E7-1022, CAPE DORSET HUNTERS PULLING WALRUS graphite drawing, 1962, unframed 18.5” x 21.25” — 47 x 54 cm. $2,000—300

112 PARR (1893-1969), E7-1022, CAPE DORSET WALRUS HUNTERS WITH BAG, AVATAQ, AND HARPOONS felt-tip and coloured pencil drawing, framed, sight 19.5” x 25.75” — 49.5 x 65.4 cm. $600—900

113 DAVIDIALUK ALASUA AMITTU (1910-1976), E9-824, POVUNGNITUK ATUNGAK ENTERING THE SNOW HOUSE OF THE KUKILIGASIAK coloured pencil, graphite and felt-tip drawing, signed in Roman, annotated in syllabics, unframed 14” x 17.25” — 35.6 x 43.8 cm. Note: The story of Atungak tells of the journey of Atungak, his wife and son embarking on adventure around the world. During this trip Atungak encounters the land the Kukilgasiak or “the clawed ones.” Atungak sends his son to retrieve fire from the Kukiligasiak. Atungak’s son is eaten by the Kukiligasiak. Enraged, Atungak returns to the snow house of the Kukiligasiak and kills the inhabitants. Story by Davidialuk, edited from a tape, 1970, from Davidialuk 1977, Marybelle Myers, ed., La Fédération des Coopératives du Nouveau-Québec, 1977, illustrated exh. cat., pl. 14, unpaginated $400—600

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114 JOE TALIRUNILI (1893-1976), E9-818, POVUNGNITUK JOE’S ESCAPE stone, wood, c. 1970, signed in Roman 4.5” x 7.5” x 2.5” — 11.4 x 19.1 x 6.4 cm. Provenance: Collection of a prominent American collector and dealer, CT. Literature: Joe Talirunili, Joe Talirunili: A Grace Beyond the Reach of Art, La Federation des cooperatives du Nouveau-Quebec, 1977, pg. 40 $20,000—30,000

Note: This work represents an important piece of Joe Talirunili’s astonishing life story as well as an integral part of his body of work. This unusually expressive little piece is a snapshot in time, much like his famous Migration series. What makes this so special is that Joe had not just one brush with death while traveling by umiak in his lifetime. This boat occupied by Joe and his son was constructed from the wreckage of their boat when it hit a reef. The story depicted here is best described by Joe himself in the following excerpt: “This sculpture shows how the boat was made, the keg being behind me, Joe, and my son Joshua sitting in the wash tub while the kettle buoyed up the front of our boat. Because of this boat five people were saved though four were lost. Though I grieved for the four that died during their attempts to swim from the reef to the island, some of us who were on that wreck are still alive, though some have died since of sickness. Davidialuk, who had swum to the island, and me, Joe, who constructed the boat, are the only two old people who survived that accident.” The survivors who swam to the island from the reef were picked up once Joe and Joshua reached Kugaluk in their makeshift boat and alerted the Hudson’s Bay Company outpost in Povungnituk. This lot includes an 8.25” x 11” piece of paper with the illustrated story inscribed in Inuktitut by Talirunili himself. For a similar piece, see: Sculpture of the Eskimo, ed. 3 George Swinton, McClelland & Stewart, Toronto, ON, 1972, pg. 170, pl. 361

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

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115 JOE TALIRUNILI (1893-1976), E9818, POVUNGNITUK HUNTER stone, wood, signed in Roman 9.25” x 5” x 3” — 22.9 x 12.7 x 7.6 cm. $4,000—6,000

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Provenance: Waddington’s, April 2006, lot 237, Toronto, ON, Private collection, Winnipeg, MB


Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

116 JOE TALIRUNILI (1893-1976), E9-818, POVUNGNITUK SEATED MOTHER AND CHILD HOLDING A DOG AND VESSEL stone, c. 1965, signed in Roman 6.5” x 4.5” x 5.5” — 16.5 x 11.4 x 14 cm. $3,000—5,000

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117 JOE TALIRUNILI (1893-1976), E9-818, POVUNGNITUK OWL CAUGHT A HARE stone, c. 1965, signed in Roman with syllabics 6.5” x 8” x 7” — 16.5 x 20.3 x 17.8 cm. Note: Joe Talirunili’s sculptures are typically static portraits of people, animals or events. This piece seems to defy this trait, the owl is carved with wings spread mid flight, beak ajar implying an owl’s screech, its claws curled around its prey. $2,500—3,500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

118 JOE TALIRUNILI (1893-1976), E9-818, POVUNGNITUK THE OWL AND LEMMING

Note: Talirunili could be depicting the animal fable of the owl and lemming here. The lemming narrowly escapes through the owl’s legs while distracting him. Of course this could also be a young arctic hare seated between the owl’s claws.

stone, c. 1965, signed in Roman and syllabics 7.5” x 4.25” x 3.5” — 19.1 x 10.8 x 8.9 cm. $2,000—3,000

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119 JOE TALIRUNILI (1893-1976), E9-818, POVUNGNITUK WOMAN WITH CHILD HOLDING HER DOG stone, c. 1965, signed in Roman with disc number 6.25” x 3” x 3” — 15.9 x 7.6 x 7.6 cm. $2,000—3,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

120 JOE TALIRUNILI (1893-1976), E9-818, POVUNGNITUK OWL stone, signed in Roman 5.25” x 2.75” x 2” — 13.3 x 7 x 5.1 cm. $1,000—1,500

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121 DAVIDIALUK ALASUA AMITTU (1910-1976), E9-824, POVUNGNITUK MOTHER WITH CATERPILLAR CHILD stone, c. 1965, signed in syllabics 7.5” x 5.5” x 4.5” — 19.1 x 14 x 11.4 cm. Literature: Unikkaatuat sanaugarngnik atyingualiit Puvirngniturngmit. Eskimo stories from Povungnituk, Quebec, Zebedee Nungak & Eugene Y. Arima, National Museum of Canada, Ottawa, 1969, pg. 43 Intellectual Culture of the Hudson Bay Eskimos, Knud Rasmussen, 1930, pgs. 33-4, 90 $2,500—3,500

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Note: The believed subject for this work is the story of the the woman who adopted a caterpillar as a child. A childless woman happened across a caterpillar. The woman adopted the caterpillar and looked after the creature as she would her own child. The woman nursed the caterpillar until it grew large enough to speak, crying “tee, tee, tee.”


Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

122 DAVIDIALUK ALASUA AMITTU (1910-1976), E9-824, POVUNGNITUK WHALE CAUGHT IN A NET stone, signed in Roman 6.5” x 13” x 7” — 16.5 x 33 x 17.8 cm. $1,500—2,000

123 DAVIDIALUK ALASUA AMITTU (1910-1976), E9-824, POVUNGNITUK PACK-DOG WITH LADEN SADDLE stone, signed in Roman 6.5” x 6.75” x 3.5” — 16.5 x 17.1 x 8.9 cm. $400—600

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124 ELI SALLUALU QINUAJUA (1937-2004), E9-846, POVUNGNITUK STARTLED FANTASTIC CREATURE stone, signed in Roman and syllabics 2” x 10.75” x 6.75” — 5.1 x 27.3 x 17.1 cm. $700—1,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

125 ENNUTSIAK (1896-1967), E7-603, IQALUIT TRAVELING HUNTERS WITH HEAVY PACKS AND RIFLES IN SCABBARDS stone, ivory, c. 1965 5.25” x 8.75” x 2” — 13.3 x 22.2 x 5.1 cm. Provenance: Collection of a prominent American collector and dealer, CT. $2,500—3,500

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126 PAUTA SAILA (1916-2009), E7-990, CAPE DORSET GROWLING POLAR BEAR ON HIND LEGS stone, c. 1965 13.5” x 9.5” x 6” — 34.3 x 24.1 x 15.2 cm. $15,000—20,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

127 LUKTA QIATSUK (1928-2004), E7-1060, CAPE DORSET PREENING LOON stone, 1982, signed in syllabics 4.5” x 12” x 5” — 11.4 x 30.5 x 12.7 cm. Provenance: Collection of a prominent American collector and dealer, CT. Note: Lukta was a known for being a sculptor, graphic artist and an important printer in the print shop having been involved with hundreds of major prints. The grace and elegance of his loons are comparable to the work of his cousin, Sheokjuk. $1,000—1,500

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128 OSUITOK IPEELEE (1923-2005), E7-1154, CAPE DORSET OWL WITH PLUMAGE

Note: “Perhaps no work elevates the art of Cape Dorset as does that of Osuitok Ipeelee.” For a similar work, see: Waddington’s, May 2013, lot 105.

stone, c. 1968, signed in syllabics 16” x 10” x 6” — 40.6 x 25.4 x 15.2 cm. Literature: Norman Zepp, Inspiration, Four Decades of Sculpture by Canadian Inuit, Marion Scott Gallery, 1995, pg. 42 $10,000—15,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

129 OSUITOK IPEELEE (1923-2005), E7-1154, CAPE DORSET BUST OF A FEMALE

Note: Adding a level of interest to this piece is the facial expression of displeasure that the artist chose to convey. She is carved from the preferable green stone available in the early years and mastered by Osuitok and his contemporaries in Cape Dorset.

stone, c. 1965 7” x 7” x 4” — 17.8 x 17.8 x 10.2 cm. $2,500—3,500

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130 OSUITOK IPEELEE (1923-2005), E7-1154, CAPE DORSET POLAR BEAR stone, c. 1965, signed in syllabics 16.5” x 7” x 3.5” — 41.9 x 17.8 x 8.9 cm. Note: This work is signed in syllabics, Osuitok Oqutaq. Oqutaq was Osuitok’s father and a number of pieces are signed this way. $1,800—2,200

131 OSUITOK IPEELEE (1923-2005), E7-1154, CAPE DORSET GOOSE SPIRIT CARRYING A PAIL stone, c. 1965, signed in syllabics 14” x 6.75” x 7” — 35.6 x 17.1 x 17.8 cm. Note: This work is signed in syllabics, Osuitok Oqutaq. Oqutaq was Osuitok’s father and a number of pieces are signed this way. $1,200—1,600

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

132 PAUTA SAILA (1916-2009), E7-990, CAPE DORSET POLAR BEAR stone, 1979, signed in syllabics 11.75” x 8.75” x 3.25” — 29.8 x 22.2 x 8.3 cm. $7,000—10,000

133 PAUTA SAILA (1916-2009), E7-990, CAPE DORSET POLAR BEAR stone, 1979, signed in syllabics 8.75” x 6.75” x 2.25” — 22.2 x 17.1 x 5.7 cm. $5,000—7,000

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134 QUVIANATULIAK TAKPAUNGAI (1942-), E7-1093, CAPE DORSET FEEDING CARIBOU stone, antler 16.25” x 21” x 9” — 41.3 x 53.3 x 22.9 cm. $3,000—5,000

135 SAGGIAK (1897-1980), E7-1190, CAPE DORSET STANDING HUNTER stone, c. 1970 15” x 8” x 3.75” — 38.1 x 20.3 x 9.5 cm. $1,500—2,500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

136 KAKA ASHOONA (1928-1996), E7-1101, CAPE DORSET DANCING WALRUS stone, signed in Roman 13.5” x 16.5” x 8” — 34.3 x 41.9 x 20.3 cm. $2,000—3,000

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137 POSSIBLY: KAKA ASHOONA (1928-1996), E7-1101, CAPE DORSET HUNTER stone, c. 1970 11.5” x 6” x 12” — 29.2 x 15.2 x 30.5 cm. Note: This work could possibly be signed by the artist in which case it would not be by Kaka. The attribution has been made on the basis of style but the syllabics that the front of the sculpture bears sound out A NI $600—900

138 LAURENT AKSADJUAK (1935-2002), E1-17, RANKIN INLET LARGE VASE WITH POLAR BEAR HEAD HANDLES AND DECORATED WITH FIGURES AND FACES IN RELIEF ceramic, signed in syllabics 19” x 19” x 15” — 48.3 x 48.3 x 38.1 cm. Provenance: Private collection, ON Waddington’s, April 2008, lot 54, Toronto, ON Collection of James Bisback & Jonny Kalisch, Shakespeare, ON $1,000—1,500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

139 JOHN TIKTAK (1916-1981), E1-266, RANKIN INLET SMILING INUK

Provenance: Private collection, ON Waddington’s, November 2009, lot 243, Toronto, ON Collection of James Bisback & Jonny Kalisch, Shakespeare, ON

stone, signed in syllabics 8.25” x 7” x 2” — 21 x 17.8 x 5.1 cm. $10,000—15,000

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140 JOHN TIKTAK (1916-1981), E1-266, RANKIN INLET MULTIPLE HEADS stone, signed in syllabics 7” x 8” x 3” — 17.8 x 20.3 x 7.6 cm. Provenance: The Upstairs Gallery, Winnipeg, MB By descent to present owner Literature: Tiktak, Sculpture from Rankin Inlet, N.W.T., A retrospective exhibition, 1970, Gallery One-One-One, Winnipeg Note: Although he started professionally carving in 1963 after an accident while working in the mine, Tiktak had been carving as a pastime since he was young. His carvings emphasize the importance of form over narration. “Multiple heads” is a common theme for the artist, as seen here, the faces are expressive even with minimal detail. $4,000—6,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

141 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE MUSK OX stone 9.5” x 16.25” x 7” — 24.1 x 41.3 x 17.8 cm. $4,000—6,000

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142 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE MUSK OX TRANSFORMATION stone, signed in syllabics 7” x 14” x 5” — 17.8 x 35.6 x 12.7 cm. $3,000—4,000

143 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE MUSK OX stone, signed in syllabics 9.75” x 14” x 5” — 24.8 x 35.6 x 12.7 cm. $3,000—4,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

144 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE MUSK OX stone 6.5” x 11.75” x 5” — 16.5 x 29.8 x 12.7 cm. $2,000—3,000

145 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE HAULING A ROCK stone, c. 1970, signed in syllabics 10.75” x 6.75” x 5.5” — 27.3 x 17.1 x 14 cm. Provenance: Collection of James Bisback & Jonny Kalisch, Shakespeare, ON $1,500—2,000

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146 BARNABUS ARNASUNGAAQ (1924-), E2-213, BAKER LAKE SHOULDER RIDE stone 9.5” x 6” x 3” — 24.1 x 15.2 x 7.6 cm. $1,000—1,500

147 MATHEW AQIGAAQ (1940-2010), E2-350, BAKER LAKE STANDING MUSK OX stone, signed in syllabics 8” x 15” x 4.5” — 20.3 x 38.1 x 11.4 cm. $3,000—5,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

148 MATHEW AQIGAAQ (1940-2010), E2-350, BAKER LAKE HUNTER WITH SPIRIT stone, signed in syllabics 9” x 8” x 8” — 22.9 x 20.3 x 20.3 cm. Provenance: Private collection, Montreal, QC, Waddington’s, November 2008, lot 96, Toronto, ON Collection of James Bisback & Jonny Kalisch, Shakespeare, ON $2,500—3,500

149 PETER SEVOGA (1940-2007), E2-225, BAKER LAKE TATTOOED WOMAN ADJUSTING CHILD IN HER AMAUT stone, signed in syllabics 11.25” x 10” x 5.5” — 28.6 x 25.4 x 14 cm. $1,500—2,500

150 PETER SEVOGA (1940-2007), E2-225, BAKER LAKE MOTHER WITH CHILD IN AMAUT stone, signed in syllabics 12” x 11” x 11” — 30.5 x 27.9 x 27.9 cm. $700—1,000

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151 NIVIAXIE (1909-1959), E7-1077, CAPE DORSET TWO BEARS HUNTING stonecut, 1959, 6/50, unframed 16.25” x 21” — 41.3 x 53.3 cm. $6,000—9,000

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Note: This work is an uncatalogued Dorset Series print, (prints in this category were only offered for sale in Cape Dorset). It was printed in blue and back as well.


Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

152 OSUITOK IPEELEE (1923-2005), E7-1154, CAPE DORSET ESKIMO LEGEND: OWL, FOX AND HARE stencil, 1959, 29/30, unframed 23.5” x 18.25” — 59.7 x 46.4 cm. $8,000—12,000

Note: This important print graces the cover of Norman Vorano’s book, which explores early Inuit print making, Inuit Prints: Japanese Inspiration. In it, it is noted that James Houston’s shaving brush was used as a stencil brush (pg. 57). In these early days, there was much experimentation by the printmakers and this option of blending the colours through the stencil provided a softer effect than the one created by use of a roller to apply colour. Although Osuitok had a history of creating graphic art, he would become much better known for his incredible carvings. Osuitok had been incising on tusks before he met James Houston and even tried his hand at watercolour. He was integral to the start of the print making program in Cape Dorset but only contributed two prints in the 1959 collection and nothing further after that. This print is rarely available on the market and one of the most sought after.

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153 PARR (1893-1969), E7-1022, CAPE DORSET ANOTHER TIME stonecut, 1964, 21/50, unframed 24.5” x 26” — 62.2 x 66 cm. $3,000—5,000

154 PARR (1893-1969), E7-1022, CAPE DORSET 7 GEESE, 4 PEOPLE, 2 DOGS stonecut, 1964, 23/45, unframed 22” x 24.5” — 55.9 x 62.2 cm. Note: From Cape Dorset Revisited - A Collection of Previously Unreleased Prints, McMichael Canadian Art Collection, Kleinburg, ON, 1994 $2,000—3,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

155 PITALOOSIE SAILA (1942-), E71006, CAPE DORSET WOMAN AND SNOW BIRD stonecut and stencil, 1973, 20/50, unframed 24.5” x 17” — 62.2 x 43.2 cm. $6,000—9,000

Literature: Art of the Far North: Inuit Sculpture, Drawing, and Printmaking, Carol Finley, Lerner Publications, 1998, pg. 22-3, fig. 3 “Tradition and Innovation”, Patricia Feheley, from Cape Dorset Prints: A Retrospective, 2007, pg. 89, ill. pg. 200 Note: “I designed it like a shadow, like one part of the face being in the face being in the dark. As if it wasn’t brightly lit in the home in those days. Also, a face is different on both sides.” Patricia Fehley notes that Pitaloosie is celebrated for her “consistently strong and innovative images.”

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156 PITSEOLAK ASHOONA (1904-1983), E7-1100, CAPE DORSET FESTIVE BIRD stonecut, 1970, 13/50, framed 23.5” x 33.5” — 59.7 x 85.1 cm. $2,000—3,000

157 PITSEOLAK ASHOONA (1904-1983), E7-1100, CAPE DORSET MOSQUITOES ATTACKING DOG stencil, 1961, 44/50, unframed 14.5” x 12” — 36.8 x 30.5 cm. $2,500—3,500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

158 SAKIRIASIE KINAPPA NAPPATU (1928-), E9-1383, AKULIVIK GOOSE stencil, 1961, 10/50, unframed 18.75” x 25” — 47.6 x 63.5 cm. Literature: Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, Jean Blodgett, 1983, pg. 203, pl. 135 Note: “Here Sackareasie has sensitively used the stencil printing technique to apply lighter and darker areas to his long-necked goose, thus distinguishing different parts of the body and achieving a certain degree of shading and modelling. This and possibly one other uncatalogued print are the only graphics Sackareasie has done. He now lives in Akulivik.” $1,000—1,500

159 SHEKOALOAK (1940-1959), CAPE DORSET YOUNG WOMAN stonecut, 1959, 50/50, unframed 24” x 12” — 61 x 30.5 cm. $2,500—3,500

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160 SHEOUAK PETAULASSIE (1923-1961), E7-816, CAPE DORSET POT SPIRITS stencil, 1960, 1/50, unframed 12.5” x 19” — 31.8 x 48.3 cm. $4,000—6,000

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Literature: Karoo Ashevak, retrospective, exhibition catalogue, Winnipeg Art Gallery, 1977, unpaginated. Note: In the Inuit world, all objects have life. “Everything lives! The lamp wanders about; the walls of the tent have their voice, the urine tub has its special country and house. The skins which sleep in the bag talk in the evening. The antlers lying on the graves get up in the night and wander about in the burial ground.” - Chukchi shaman


Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

161 LUKE ANGUHADLUQ (1895-1982), E2-294, BAKER LAKE FATHER AND BROTHER GOING HUNTING linocut and stencil, 1982, 30/45, unframed 25” x 37” — 63.5 x 94 cm. $800—1,200

162 LUKE ANGUHADLUQ (1895-1982), E2-294, BAKER LAKE BEAR CATCHES SEAL stencil, 1981, 26/50, unframed 24.5” x 37” — 62.2 x 94 cm. Literature: “Tradition and Innovation”, Patricia Feheley, from Cape Dorset Prints: A Retrospective, 2007, pg. 89, ill. pg. 200 $400—600

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163 LUKE IKSIKTAARYUK (1909-1977), E2-45, BAKER LAKE CRANE stencil, 1969 II, 5/14, unframed 20.5” x 24.5” — 52.1 x 62.2 cm. Note: The first Baker Lake stencil print. $2,000—3,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

164 LUKE IKSIKTAARYUK (1909-1977), E2-45, BAKER LAKE FISHING THROUGH THE ICE stencil, 1971, 31/44, unframed 13” x 20” — 33 x 50.8 cm. $400—600

165 VICTORIA MAMNGUQSUALUK (1930-), E2-386, BAKER LAKE KEEVEOK’S JOURNEY stencil, 1969, 5/18, framed 20” x 32” — 50.8 x 81.3 cm. Literature: Alma Houston, Inuit Art: An Anthology, Winnipeg, MB, 1988, pg. 107 Note: The idea for this print technique came from a coffee stain on a piece of print paper. Ruby Angrna’naaq, the printer, noticed that it had made a lovely shape with a dark curved edge and wanted to create a similar effect. Sheila Butler earmarked this image for Ruby’s idea. $1,500—2,000

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166 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE WOMAN

Note: The inaugural Baker Lake Print Collection was released in 1970 and exhibited at the Edmonton Art Gallery to critical acclaim. In this exhibition, “Oonark’s work ... figured prominently [and] the print catalogue cover featured the impressive Oonark print, Woman.”

stonecut, 1970, 11/50, unframed 31.5” x 21.75” — 80 x 55.2 cm. Literature: Marie Bouchard, “Old Master: Oonark,” Inuit Art Quarterly, Winter 1987, Vol. 2, No.1, pg. 7 Woman is illustrated in Jean Blodgett and Marie Bouchard, Jessie Oonark, A Retrospective, Winnipeg Art Gallery, exh. cat., 1986-7, pg. 112, pl. 37 Patrick Furneaux et al., Arts of the Eskimo: Prints, 1974, pg. 196-7 The Inuit Print, exh. cat., from the National Museum of Man (Ottawa, ON), 1977, pg. 200-1, pl. 114 $5,000—7,000

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“The Baker Lake print shop made its debut into contemporary graphic art with a catalogue featuring this exciting print on its cover. Geometry, abstraction, design and activated symmetry are all combined to bring out the very real image of a woman in her winter dress. The brilliant colours emphasize the contrasting shades of caribou skin, beautifully assembled to form a traditional design on the parka. With this print Oonark set a style for herself to which she has remained true - strong and explicit use of line, an intelligent positioning of mass and daring choice of colour. [Printer, Thomas] Manik, inspired by Oonark’s splendid drawing, cut the stone and printed the edition with a deep understanding of the subject.” “The influence on Oonark’s prints of her work in appliquéd wall hangings is obvious in this figure, with its broad, flat colour areas. The inset patterns of traditional caribou clothing are formalized in a brilliantly coloured decorative pattern.”


Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

167 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE FAVOURITE DAUGHTER stonecut and stencil, 1983, 8/50, unframed 37” x 25” — 94 x 63.5 cm. $2,000—3,000

168 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE MAN IS A KILLER stonecut and stencil, 1982, Proof 6/7, unframed 24” x 36” — 61 x 91.4 cm. $1,500—2,500

169 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE HANDS AND FEET LIKE ULUS stencil, 1981, 1/30, unframed 21” x 26” — 53.3 x 66 cm. $1,500—2,000

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170 REG DAVIDSON (1954-), HAIDA BEAR MASK red cedar, cedar bark, operculum shell, signed 13” x 12” x 10” — 33 x 30.5 x 25.4 cm. $2,000—3,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

171 ROBERT CHARLES DAVIDSON (1946- ), HAIDA THUNDERBIRD bronze, incised 3/1 14” x 9.75” x 10” — 35.6 x 24.8 x 25.4 cm. $9,000—12,000

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172 TSIMSHIAN CARVED AND POLYCHROMED PADDLE red cedar wood, c. 1900, inscribed “A1551 / Tsminshian” in ink 1.75” x 67.25” x 6.25” — 4.4 x 170.8 x 15.9 cm. $1,500—2,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

173 TWO HAIDA CARVED HORN SPOONS, HAIDA horn, abalone inlay 10” x 3.25” x 4.75” — 25.4 x 8.3 x 12.1 cm.; 8.25” x 3.75” x 6” — 21 x 9.5 x 15.2 cm. $400—600

174 DON “CHIEF LELOOSKA” SMITH (1933-1996), KWAKWAKA’AWKW FROG WITH TOP KNOT FRONTLET cedar, horse, hair, string, signed in Roman 6.5” x 7” x 7” — 16.5 x 17.8 x 17.8 cm. $1,500—2,000

175 DON “CHIEF LELOOSKA” SMITH (1933-1996), KWAKWAKA’AWKW RAVEN MASK WITH ARTICULATED BEAK cedar, horse hair, string, signed in Roman 8.5” x 22.5” x 8.25” — 21.6 x 57.2 x 21 cm. $2,500—3,500

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176 KLATLE-BHI (1966-), KWAKWAKA’WAKW MOON MASK red cedar, cedar bark, signed, titled and dated Feb. 11, 05 16” x 16” x 5” — 40.6 x 40.6 x 12.7 cm. $1,000—1,500

177 BEAU DICK (1955-), KWAKWAKA’WAKW OTTER WOMAN MASK red cedar, horse hair, signed 19” x 17” — 48.3 x 43.2 cm. Note: The otter is considered to be the most powerful guardian spirit. It is believed that they were once human and therefore still possess the knowledge of the human world in addition to the animal world. The tongue, which is protruding in this example, is the site of knowledge in Shamanism and therefore very important to the Shaman. $3,000—5,000

178 LLOYD WADHAMS JR. (1967-), KWAKWAKA’WAKW RAVEN RATTLE cedar, 1968, signed in Roman 4.5” x 15.5” x 12” — 11.4 x 39.4 x 30.5 cm. $1,000—1,500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

179 HAIDA BEAR CARVING wood 26.5” x 11” x 10” — 67.3 x 27.9 x 25.4 cm. $600—900

180 NORTHWEST COAST FIGURE wood, polychrome, abalone 33.25” x 8.25” x 8.25” — 84.5 x 21 x 21 cm. $600—900

181 SALISH SUITCASE cedar, metal hinges 13.25” x 23.75” x 7.5” — 33.7 x 60.3 x 19.1 cm. $300—500

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182 COILED HOPI BASKET; TWO COILED SALISH LIDDED BASKETS grass; cedar 4” x 6.5” x 5.5” — 10.2 x 16.5 x 14 cm.; height 6.25” — 15.9 cm., diameter 8.5” — 21.6 cm.; height 5” — 12.7 cm., diameter 6.25” — 15.9 cm. $400—600

183 LARRY JOSEPH (1942-2002), SALISH; UNIDENTIFIED TWO TALKING STICKS wood, the first, signed in Roman 60.25” x 2” x 2.25” — 153 x 5.1 x 5.7 cm.; 54.75” x 12.25” x 2.25” — 139.1 x 31.1 x 5.7 cm. $800—1,200

184 NORTHWEST COAST CARVED BEAVER BOWL cedar 5” x 17” x 8” — 12.7 x 43.2 x 20.3 cm. $300—500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

185 TLINGIT BIRD AMULET

186 TLINGIT AMULET WOLF

ivory ivory, abalone, mid 20th century 3.25” x 1.5” x .25” — 8.3 x 3.8 x 0.6 cm. 1” x 4” x 1” — 2.5 x 10.2 x 2.5 cm. $700—1,000 $1,500—2,000

187 ROBERT GEORGE RAVEN RATTLE

188 KEN KIDDER OYSTER CATCHER RATTLE

wood, abalone, c. 1950

wood

4” x 13.25” x 4.5” — 10.2 x 33.7 x 11.4 cm.

13” x 7.5” x 4.5” — 33 x 19.1 x 11.4 cm.

$500—700

$1,800—2,200

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189 ENUYA SHOOYOOK (1942-), E5-236, ARCTIC BAY MAN STRADDLING A POLAR BEAR stone, signed in Roman with disc number 7” x 10” x 5” — 17.8 x 25.4 x 12.7 cm. $400—600

190 PANILUK QAMANIRQ (1935-), E5-244, ARCTIC BAY ANIMAL stone, signed in Roman 6” x 7” x 1.75” — 15.2 x 17.8 x 4.4 cm. $400—600

191 PANILUK QAMANIRQ (1935-), E5-244, ARCTIC BAY KNEELING WOMAN WITH TATTOOED FACE stone, inscribed with disc number 8.5” x 3.5” x 5.5” — 21.6 x 8.9 x 14 cm. $300—500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

192 ATTR: SILAS AITTAUQ (1933-), E2-465, BAKER LAKE KAUTYAYUK stone, signed and inscribed in syllabics 3.5” x 8” x 8” — 8.9 x 20.3 x 20.3 cm. Literature: Unikkaatuat sanaugarngnik atyingualiit Puvirngniturngmit. Eskimo stories from Povungnituk, Quebec, Zebedee Nungak & Eugene Y. Arima, National Museum of Canada, Ottawa, 1969, pg. 31 Note: The believed story for this work is that of Kautyayuk, an orphaned boy who was mistreated by others in his community. One night, three bears entered the camp and demanded “give us food or we will eat you.” Kautyayuk was being chased out by the others in the snow house who wanted him to go out and be eaten. Once outside, Kautyayuk grew larger and larger and killed the people and polar bears. This carving depicts the orphan after he has grown large and with a polar bear at his flank. He holds a whip in his right hand, as per another version of the story, in which Kautyayuk lashes his enemies. $300—500

193 BASIL APTANIK (1952-), E2-503, BAKER LAKE BIRD WOMAN WITH CHILDREN IN AMAUT stone, antler, signed in syllabics 7.25” x 6.5” x 4.75” — 18.4 x 16.5 x 12.1 cm. $600—900

194 DAVID IKUTAAQ (1929-1984), E2-349, BAKER LAKE PTARMIGAN stone, signed in syllabics 6” x 7.25” x 3.75” — 15.2 x 18.4 x 9.5 cm. $300—500

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195 ERIC NIUQTUK (1937-1994), E2-181 OR IRENE AMAAK NIUQTUK, E2-181, BAKER LAKE CURLEW WITH ARTICULATED HEAD antler with inlaid eyes, signed in syllabics 19.25” x 6.75” x 5.75” — 48.9 x 17.1 x 14.6 cm. Provenance: Acquired c. 1960 while on a trip with the Anglican Bishop, Donald Marsh, by descent to the present owner, Toronto $300—500

196 IRENE AMAAK NIUQTUK (1940-), E2-194, BAKER LAKE WALKING POLAR BEAR stone, signed in syllabics 3.5” x 9” x 2.75” — 8.9 x 22.9 x 7 cm. $300—500

197 THOMAS SIVURAQ (1941-), E2-236, BAKER LAKE MOTHER WITH CHILD IN AMAUT stone, signed in syllabics 12.5” x 8.5” x 6” — 31.8 x 21.6 x 15.2 cm. $1,500—2,500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

198 THOMAS SIVURAQ (1941-), E2-236, BAKER LAKE POLAR BEAR WOMAN WAVING stone, signed in syllabics 9” x 6.25” x 4.5” — 22.9 x 15.9 x 11.4 cm. $800—1,200

199 TUNA IQULIQ (1935-), E2-167, BAKER LAKE A FAMILY stone, c. 1975 8” x 7” x 8” — 20.3 x 17.8 x 20.3 cm. Provenance: Collection of James Bisback & Jonny Kalisch, Shakespeare, ON Literature: The Williamson Collection of Inuit Sculpture, Norman Zepp, 1987, pg. 15 Note: “Toona Iquliq is an enigmatic figure whose art, at times, is able to attain the sublime.” Norman Zepp also notes in his introduction, Iquliq’s mastery of volume. $700—1,000

200 TUNA IQULIQ (1935-), E2-167, BAKER LAKE BIRD stone 7” x 8.5” x 5” — 17.8 x 21.6 x 12.7 cm. $600—900

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201 POSSIBLY: LUKTA QIATSUK (1928-2004), E7-1060, CAPE DORSET KNEELING WOMAN ADJUSTING HER AMAUT stone, c. 1965 15.25” x 8.5” x 8” — 38.7 x 21.6 x 20.3 cm. $300—500

202 ALASHUA ANINGMIUQ (19141972), E7-1149, CAPE DORSET FEROCIOUS POLAR BEAR stone, signed in syllabics 12.25” x 9.5” x 4” — 31.1 x 24.1 x 10.2 cm. $700—1,000

203 ETIDLOOIE ETIDLOOIE (1911-1981), E7-986, CAPE DORSET FACES AND BIRD TOTEM stone, signed in syllabics with disc number 28” x 9” x 12” — 71.1 x 22.9 x 30.5 cm. $1,500—2,000

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

204 KOOMWARTOK ASHOONA (1930-1984), E7-1102, CAPE DORSET YOUNG FALCON stone, 1979, signed in Roman 5.5” x 7” x 2” — 14 x 17.8 x 5.1 cm. $600—900

205 KUMAKULUK SAGGIAK (1944-), E7-1192, CAPE DORSET “CARRYING SADDLED PACK” stone, dated Feb 1983, signed and titled in Roman 15.5” x 13.25” x 5.25” — 39.4 x 33.7 x 13.3 cm. $1,000—2,000

206 LATCHOLASSIE AKESUK (1919-2000), E7-1055, CAPE DORSET OWL stone 12” x 8” x 7” — 30.5 x 20.3 x 17.8 cm. $1,500—2,500

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207 LATCHOLASSIE AKESUK (1919-2000), E7-1055, CAPE DORSET TWO SEALS stone 5.5” x 8.25” x 5.25” — 14 x 21 x 13.3 cm. $1,000—1,500

208 LUKTA QIATSUK (1928-2004), E7-1060, CAPE DORSET HUNTER SIGNALING CARIBOU SIGHTING stone, signed in syllabics 15” x 8” x 4.5” — 38.1 x 20.3 x 11.4 cm. $800—1,200

209 NUNA PARR (1949-), E7-764, CAPE DORSET PLAYFUL WALRUS stone, ivory, c. 1983, signed in Roman 14.5” x 16.75” x 7.75” — 36.8 x 42.5 x 19.7 cm. $2,500—3,500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

210 OHITO ASHOONA (1952-), E7-1304, CAPE DORSET PLAYFUL POLAR BEAR stone, signed in Roman 4.75” x 7.25” x 5.75” — 12.1 x 18.4 x 14.6 cm. Provenance: Ohito Ashoona, solo exhibition, Eskimo Art Gallery, 1983; Private collection, Toronto, ON $500—700

211 OVILU TUNNILLIE (1949-2014), E7-779, CAPE DORSET SEDNA stone, signed in syllabics 23” x 11.5” x 6.5” — 58.4 x 29.2 x 16.5 cm. $2,000—3,000

212 OVILU TUNNILLIE (1949-2014), E7-779, CAPE DORSET BIRD IN FLIGHT stone, dated 2000, signed in syllabics 4” x 25” x 18.25” — 10.2 x 63.5 x 46.4 cm. $1,500—2,000

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213 PAULASSIE POOTOOGOOK (1927-2006), E7-1176, CAPE DORSET PREENING HAWK stone, signed in syllabics 12” x 18.5” x 9.5” — 30.5 x 47 x 24.1 cm. $700—1,000

214 UNIDENTIFIED MAN WITH GIANT INSECT ON HIS BACK stone, antler 13” x 7” x 6.5” — 33 x 17.8 x 16.5 cm. $700—1,000

(detail of insect)

215 UNIDENTIFIED, E9-713, CAPE DORSET/INUKJUAK WOMAN WEARING AMAUTIQ stone, c. 1950, possible disc number inscribed 11” x 4.5” x 2.5” — 27.9 x 11.4 x 6.4 cm. Note: A lovely early work that is sure to spark a debate among Inuit art experts and collectors. As always, we endeavor to provide you with all of the evidence, where a conclusive identification cannot be made. We urge you to appreciate the wonder of the early days of collecting, when pieces were not signed, documented and regulated, and often found their way into their new custodian’s hands by virtue of being in the right place at the right time. This lovely woman in amautiq is inscribed with what appears to be a disc number, E9-713 which is associated with Akeeaktashuk from Inukjuak (Port Harrison). However, it does not bear any resemblance or characteristics of Akeeaktashuk’s work. The elderly owner of the carving recalls that the sculpture was traded for a knife and a shirt by her father in 1947 while he was working as a carpenter in Port Harrison. There is a faded letter that accompanies the work from her father to her mother that supports this story. Based on the appearance of the sculpture, it is characteristic of Cape Dorset (Kingait), from the stone used to the style and detailing on the amautiq. $1,500—2,500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

216 TUKI (1888-1979), E9-1766, INUKJUAK FATHER AND SON PLAYING stone, c. 1957, signed in syllabics with disc number, 7” x 6” x 3.5” — 17.8 x 15.2 x 8.9 cm. Provenance: Private collection, ON Waddington’s, November 2008, lot 153, Toronto, ON Collection of James Bisback & Jonny Kalisch, Shakespeare, ON $400—600

217 SIMON KASUDLUAK (1925-), E9-1716, INUKJUAK BIRD CLUTCHING PREY stone, signed in syllabics and inscribed with disc number 10.25” x 9.25” x 10.5” — 26 x 23.5 x 26.7 cm. Provenance: Collection of James Bisback & Jonny Kalisch, Shakespeare, ON $400—600

218 ISA SMILER (1921-1986), E9-706, INUKJUAK HOODED WOMAN & AGGRESSIVE WALRUS stone, c. 1975, signed in syllabics 8” x 9.5” x 2” — 20.3 x 24.1 x 5.1 cm. $300—500

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219 PITSIULA QIMIRPIK (1967-), E7-2457, IQALUIT OWL

220 NUTARALUK UILIA IYAITUK (1943-), E9-966, IVUJIVIK ROBED MAN HOLDING SEAL

stone, dated 05, signed in syllabics

stone, signed in Roman

9.25” x 5” x 6.25” — 23.5 x 12.7 x 15.9 cm.

14.25” x 8.5” x 6” — 36.2 x 21.6 x 15.2 cm.

$800—1,200

$600—900

221 MOSES ETOK (1919-), E8-576, KANGIQSUALUJJUAQ COMPOSITION WITH WALRUS, SEAL, FLAGS, MAN, CROSS AND HEART PIERCED BY ARROW stone, signed in Roman, inscribed in syllabics 9” x 12.5” x 2.75” — 22.9 x 31.8 x 7 cm. $300—500

(reverse)

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

222 ANNIE MICHAEL (1935-1999), E7-22, LAKE HARBOUR MOTHER FEEDING CHILD

223 UNIDENTIFIED, NUNAVIK INUKS STRUGGLING ON A KOMATIK stone, c. 1960

stone, dated 1986, signed in syllabics 13.5” x 8” x 9.5” — 34.3 x 20.3 x 24.1 cm.

5” x 13.75” x 9” — 12.7 x 34.9 x 22.9 cm. $600—900

$1,000—1,500

224 PAULOOSIE KARPIK (1911-1988), E6-187, PANGNIRTUNG SHAMAN FACES

225 JAMASIE MIKE (1928-), E6-203, PANGNIRTUNG SPARRING MUSK OXEN bone, 1976, signed in Roman

bone 3” x 10” x 1.5” — 7.6 x 25.4 x 3.8 cm. 18.5” x 13.25” x 12” — 47 x 33.7 x 30.5 cm. $200—400 $1,500—2,500

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226 DAVID RUBEN PIQTOUKUN (1950-), W3-1119, TORONTO HEAD stone, dated 2008, signed in Roman 15.25” x 23” x 9.5” — 38.7 x 58.4 x 24.1 cm. $2,000—3,000

227 DAVID RUBEN PIQTOUKUN (1950-), W3-1119, TORONTO SEARCHING FOR SEDNA stone, dated 2008, signed in Roman 14.25” x 13” x 10” — 36.2 x 33 x 25.4 cm. $2,500—3,500

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228 DAVID RUBEN PIQTOUKUN (1950-), W3-1119, TORONTO WALKING POLAR BEAR stone, dated 1975, signed in Roman 5.5” x 10.5” x 3.5” — 14 x 26.7 x 8.9 cm. $800—1,200

229 MANASIE AKPALIAPIK (1955-), E5-1155, TORONTO PATIENT OWL stone, antler, dated ‘03, signed in syllabics 14.5” x 14.5” x 6.5” — 36.8 x 36.8 x 16.5 cm. $600—900

230 MANASIE AKPALIAPIK (1955-), E5-1155, TORONTO TATTOOED FACE EMERGING FROM FLORA stone 9.5” x 11.5” x 13.75” — 24.1 x 29.2 x 34.9 cm. $800—1,200

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231 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE HIGH PLAY

232 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE THREE FISH

stonecut and stencil, 1972, 30/50, unframed

silkscreen, 1979, 6/50, unframed

21.5” x 28.25” — 54.6 x 71.8 cm.

22.25” x 30” — 56.5 x 76.2 cm.

$700—1,000

$700—1,000

233 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE CHALLENGING WRESTLE

234 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE DRYING FISH

silkscreen, 1976, 26/51, unframed

stonecut, 1970, 46/50, unframed

22.25” x 30” — 56.5 x 76.2 cm.

20” x 25” — 50.8 x 63.5 cm.

$600—900

$600—900

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235 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE HELPED BY SPIRITS

236 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE INUIT FAMILY ON THE MOON

stonecut, 1970, 39/45, unframed

silkscreen, 1975, 32/50, unframed

21” x 17.25” — 53.3 x 43.8 cm.

19” x 15” — 48.3 x 38.1 cm.

$600—900

$600—900

237 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE IMAGE FOR ARTS & CULTURE OF THE NORTH ART-IN-CONFERENCE II

238 JESSIE OONARK (1906-1985), E2-384, BAKER LAKE POLAR BEAR STEALING WOLF’S PUP silkscreen, 1975, 29/50, unframed

serigraph, 1979, 90/175, unframed 21.5” x 31” — 54.6 x 78.7 cm. 22.5” x 30” — 57.2 x 76.2 cm. $400—600 Note: Arts & Culture of the North Art-in-Conference II Winnipeg Art Gallery Winnipeg May 4-6 1979 $600—900

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239 EEGYVUDLUK POOTOOGOOK (1931-), E7-865, CAPE DORSET SEA SPIRIT stonecut, 1965, 46/50, unframed 12.25” x 17” — 31.1 x 43.2 cm. $1,000—1,500

240 KANANGINAK POOTOOGOOK (1935-2010), E7-1168, CAPE DORSET UMINGMUK stonecut, 1973, 22/100, framed, sight 22” x 30” — 55.9 x 76.2 cm. $1,500—2,500

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241 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET BIRDS AND FOLIAGE stonecut, 1970, 20/50, framed 24.5” x 34” — 62.2 x 86.4 cm. $2,000—3,000

242 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET FESTIVE OWL stonecut, 1970, 20/50, framed 24” x 33.25” — 61 x 84.5 cm. $3,000—5,000

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243 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET FIREBIRD stonecut, 1969, 21/50, framed 24” x 36” — 61 x 91.4 cm. $2,000—3,000

244 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET NIGHT HUNTER stonecut, 1969, 20/50, framed 24.5” x 33” — 62.2 x 83.8 cm. $2,500—3,500

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245 KENOJUAK ASHEVAK (1927-2013), E7-1035, CAPE DORSET THE SUN’S RETURN stonecut and stencil, 1993, 43/100, unframed 24.5” x 30.25” — 62.2 x 76.8 cm. $1,000—1,500

246 KIAKSHUK (1886-1966), E7-1057, CAPE DORSET FAMILY OF WHALES stencil, 1961, 27/50, unframed 18.5” x 25.25” — 47 x 64.1 cm. $1,500—2,500

247 KIAKSHUK (1886-1966), E7-1057, CAPE DORSET HUNTER AND DOGS, 4 LARGE BIRDS stonecut, 1962, 16/40, unframed 24” x 36” — 61 x 91.4 cm. Note: From Cape Dorset Revisited, McMichael, Kleinberg, ON, 1994. $1,000—1,500

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248 LUCY QINNUAYUAK (1915-1982), E7-1068, CAPE DORSET FAMILY OF BIRDS stonecut, 1963, 29/50, unframed 20.5” x 28.75” — 52.1 x 73 cm. $1,000—1,500

249 NAPATCHIE POOTOOGOOK (1938-2002), E7-1104, CAPE DORSET BIRD SPIRITS stonecut, 1960, 17/50, unframed 19.25” x 24” — 48.9 x 61 cm. Literature: Odette Leroux, Marion E. Jackson, Minnie Aodla Freeman, Inuit Women Artists, Canadian Museum of Civilization, 1994, pg. 139 Note: “I have never seen a spirit. Perhaps if I saw a spirit, I would have a heart attack. I have heard people talking about having seen spirits. It would be quite a different story to me if I had seen one.” $1,500—2,500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

250 WOODLANDS PIPE STEM WITH BEAVER EFFIGY AND SERRATED EDGE wood, inlaid bead eyes, late 19th / early 20th century 1.5” x 20.5” x 2” — 3.8 x 52.1 x 5.1 cm. $400—600

251 GREAT LAKES LADLE maple, 19th century 12.5” x 10.5” x 5” — 31.8 x 26.7 x 12.7 cm. $200—250

252 PLAINS MOCCASINS DECORATED WITH THUNDERBIRDS hide, beads, string, late 19th century 10.5” x 4” — 26.7 x 10.2 cm. $700—1,000

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InuitArt.Waddingtons.ca

253 ATHABASKAN LEGGINGS WITH SPOT STITCHED BEADED PANELS ON FABRIC beads, thread, stroud, hide, late 19th century height 30” — 76.2 cm. $1,000—1,500

254 MI’KMAQ CROOKED KNIFE WITH SCROLLED HANDLE, CRISSCROSS PATTERNS AND TIERED HEART AND DIAMOND SHAPES; TOGETHER WITH A CROOKED KNIFE OF POSSIBLE NATIVE AMERICAN ORIGIN wood, leather, metal 11.5” x 2” x 1.75” — 29.2 x 5.1 x 4.4 cm. $1,000—1,500

255 PLAINS MAN’S BEADED VEST beads, fabric, thread, late 19th / early 20th century 20” x 19” — 50.8 x 48.3 cm. $600—900

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

256 CENTRAL PLAINS PIPE BAG DECORATED WITH SEED BEADS AND PORCUPINE QUILL, BELLS AND DYED FEATHERS

257 WOODLANDS SCOUT JACKET WITH EMBROIDERED FLORAL DESIGN AND FRINGE

hide, beads, porcupine quills, early 20th century

hide, silk, late 19th century

34” x 7.5” — 86.4 x 19.1 cm.

27” x 19” — 68.6 x 48.3 cm.

$800—1,200

$1,000—1,500

258 GREAT LAKES/EASTERN PLAINS CHILD’S DRESS WITH FRINGE

259 GREAT LAKES BANDOLIER BAG WITH FLORAL BEADED DESIGN

hide, sequins, beads, thread, cloth, early 20th century

beads, silk, thread, hide, c. 1880

height 31” — 78.7 cm.

height 35” — 88.9 cm.

$300—500

$800—1,200

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260 ATHABASKAN GUN CASE WITH FLORAL EMBROIDERY

261 TWO PLAINS STRIKE-A-LITE BEADED BAGS AND A BEADED POUCH

hide, silk, late 19th century

leather, beads; feathers, cloth, 20th century

height 45” — 114.3 cm.

height 12” — 30.5 cm.

$300—500

$400—600

262 WOODLANDS CARVED PIPE HEAD

263 ASSINIBOINE RAWHIDE RATTLE AND CLUB

stone, early 20th century

stone, hide, likely seeds

3” x 4.25” x 1.5” — 7.6 x 10.8 x 3.8 cm.

10.5” x 4” x 3.5” — 26.7 x 10.2 x 8.9 cm.

$300—400

Note: In religious ceremonies, the rattle is one of the messengers to the Great Spirit. However they were made for all occasions. $300—500

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Inuit Art Auction - Monday 16 November 2015 at 6 p.m.

Index

A AITTAUQ, SILAS...192 AKESUK, LATCHOLASSIE...206, 207 AKPALIAPIK, MANASIE...229, 230 AKSADJUAK, LAURENT...138 AKULUKJUK, MALAYA...28, 29, 30, 31 ALOOKEE, STEPHEN...99 AMITTU, DAVIDIALUK ALASUA...57, 113, 121, 122, 123 ANGUHADLUQ, LUKE...108, 161, 162 ANINGMIUQ, ALASHUA...202 ANOWTALIK, MARY AYAQ...90 APTANIK, BASIL...193 AQIGAAQ, MATHEW...147, 148 ARNANNUAQ KAYUQTUQ, MARY...98 ARNASUNGAAQ, BARNABUS...39, 40, 141, 142, 143, 144, 145, 146 ASHEVAK, KAROO...93, 94, 95 ASHEVAK, KENOJUAK...4, 5, 6, 103, 241, 242, 243, 244, 245 ASHOONA, KAKA...136, 137 ASHOONA, KOOMWARTOK...41, 43, 204 ASHOONA, OHITO...210 ASHOONA, PITSEOLAK...8, 105, 156, 157 ASSINIBOINE...263 ATATLOAK ANGNAYUINAK, MARGO...92 ATHABASKAN...253, 260 AVAALAAQIAQ TIKTAALAAQ, IRENE...22, 23 C CENTRAL PLAINS...256 D DAVIDSON, REG...170 DAVIDSON, ROBERT CHARLES...76, 171 DICK, BEAU...177 E EASTERN PLAINS...258 EESEEMAILEE, ATUNGAUYAK...33 EKAGINA, PEGGY...45 ENNUTSIAK...125 ETIDLOOIE, ETIDLOOIE...203 ETOK, MOSES...221 EVALUARDJUK, HENRY...50 G GEORGE, ROBERT...187 GREAT LAKES...251 , 258, 259 H HAIDA...173, 179 HAINNU, IGAH...21 HOPI...182 I IKSIKTAARYUK, LUKE...163, 164 IKUTAAQ, DAVID...194 IPEELEE, OSUITOK...128, 129, 130, 131, 152 IQULIQ, TUNA...199, 200 ISHULUTAQ, ELISAPEE...3 IYAITUK, NUTARALUK UILIA...220

J JANVIER, ALEx SIMEON...69 JOSEPH, LARRY...183 K KAKEGAMIC, GOYCE...68 KANAYUQ, NANCY...27 KARPIK, PAULOOSIE...53, 224 KASUDLUAK, SIMON...217 KAUNAK, JOHN...63 KENNEALLY, SIASSIE...106 KIAKSHUK...104, 246, 247 KIDDLER, KEN (KIDDER?)...188 KILABUK, ANNIE...32 KINAPPA NAPPATU, SAKIRIASIE...158 KLATLE-BHI...176 KLENGENBERG AVAKANA, CHARLIE...46 M MAMNGUQSUALUK, VICTORIA...25, 26, 165 MANIAPIK, JOELEE...34 MI’KMAQ...254 MICHAEL, ANNIE...222 MIKE, JAMASIE...225 MIKI, ANDY...38, 77 MORRISSEAU, NORVAL H....71, 72, 73, 74 MUCKPAH, JIMMY...91 N NIUQTUK, ERIC...195 NIUQTUK, IRENE AMAAK...195, 196 NIVIAxIE...151 NORTHWEST COAST...180, 184 NUTARALUK AULATJUT, ELIZABETH...78, 79, 80 O ODJIG, DAPHNE...70 OOGAAQ, FABIAN...55 OONARK, JESSIE...107, 166, 167, 168, 169, 231, 232,233, 234, 235, 236, 237, 238 OSHUITOQ, ANIRNIK...2

QINNUAYUAK, TIKITU...16 QINUAJUA, ELI SALLUALU...124 R RUBEN PIQTOUKUN, DAVID...226, 227, 228 S SAGGIAK...135 SAGGIAK, KUMAKULUK...205 SAILA, PAUTA...42, 126, 132, 133 SAILA, PITALOOSIE...7, 155 SALISH...181, 182 SEVOGA, PETER...149, 150 SHEKOALOAK...159 SHOOYOOK, ENUYA...189 SIVURAQ, THOMAS...197 198 SMILER, ISA...218 SMITH, DON “CHIEF LELOOSKA”...174, 175 T TAKPAUNGAI, QUVIANATULIAK...134 TALIRUNILI, JOE...56, 58, 114, 115, 116, 117, 118, 119, 120 TALOOKI ALIKTILUK, EVA...35, 36, 81, 82, 83 TASSEOR TUTSWEETOK, LUCY...37, 88, 89 TEEVEE, ANGOTIGOLU...1 THOMAS, ROY...75 TIKTAK, JOHN...59, 139, 140 TLINGIT...185, 186 TSIMSHIAN...172 TUKI...216 TUNGILIK, MARK...60, 61, 62, 64, 65 TUNNILLIE, OVILU...211, 212 TUU’LUUQ, MARION...24 U UGYUK, CHARLIE...96 ULLULAQ, JUDAS...47, 48, 100, 101, 102 W WADHAMS JR., LLOYD ...178 WOODLANDS...250, 257 262

P PANGNARK, JOHN...84, 85, 86, 87 PARR...13, 109, 110, 111, 112, 153, 154 PARR, NUNA...209 PETAULASSIE, SHEOUAK...160 PETAULASSIE, TIMANGIAK...10 PINGWARTOK, ULAYU...11 PLAINS...252, 255, 261 POOTOOGOOK, EEGYVUDLUK ...239 POOTOOGOOK, KANANGINAK...44, 240 POOTOOGOOK, NAPATCHIE...9, 249 POOTOOGOOK, PAULASSIE...213 PUDLAT, PUDLO...14, 15 Q QAMANIRQ, PANILUK...190, 191 QAUQJUAQ, GIDEON...97 QIATSUK, LUKTA...12, 127, 201, 208 QIMIRPIK, PITSIULA...219 QINNUAYUAK, LUCY...17, 18, 19, 20, 248

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InuitArt.Waddingtons.ca

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 16 November 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. 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.

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 import and export of species protected under CITES (Convention on International Trade in Endangered Species). This includes but is not limited to items made of or containing bone (whalebone etc.), ivory, tortoise shell, seal skin, rhinoceros horn and any other animal part and is strictly controlled or forbidden by most countries. Please review your country’s laws before bidding on pieces made of or containing these restricted items. It is the sole responsibility of the buyer to inquire about and obtain the proper permits for artwork purchased that may contain restricted materials, if such permit can be obtained. Please contact the department for further assistance. All Narwhal Tusks must have a Marine Harvest Number or a Marine and Mammal Transport number to be sold at Waddington's. For more information please visit: www.cites.org

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InuitArt.Waddingtons.ca

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.


InuitArt.Waddingtons.ca

Operational Staff

Specialist Departments

Asian Art Chih-En Chen 陳之恩 416 847 6185 cc@waddingtons.ca Simone Ludlow Asian Art Administrator 416 847 6195 scl@waddingtons.ca

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

Canadian Fine Art

Monthly Fine Art

Linda Rodeck lr@waddingtons.ca

Doug Payne 416 847 6180 dp@waddingtons.ca

Erin Rutherford Fine Art Administrator 416 504 5100 er@waddingtons.ca Anna Holmes Condition Reports 416 847 6191 canadianart@waddingtons.ca Contemporary Art Stephen Ranger 416 847 6194 skr@waddingtons.ca Kristin Vance Fine Art Administrator 416 504 9100 ext 6178 kv@waddingtons.ca International Art Susan Robertson 416 847 6179 sr@waddingtons.ca Nadine Di Monte Assistant 416 847 6182 npd@waddingtons.ca Inuit Art Christa Ouimet 416 847 6184 co@waddingtons.ca Nadine Di Monte Assistant 416 847 6182 npd@waddingtons.ca

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Decorative Arts Bill Kime Silver, Glass & Ceramics 416 847 6189 bk@waddingtons.ca Sean Quinn Sculpture, Decorations, Clocks & Lighting 416 847 6187 sq@waddingtons.ca Andrew Brandt Rugs & Carpets 416 504 9100 ext 6200 ab@waddingtons.ca Fine Wine & Spirits Ryan Corrigan 416.504.9100 x6255 rtc@waddingtons.ca

President Duncan McLean 416 847 6183 adm@waddingtons.ca

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 General Manager Duane Smith 416 847 6172 das@waddingtons.ca Creative & Technical Manager Jamie Long 416 847 6188 jl@waddingtons.ca Otto Lam Assistant ol@waddingtons.ca Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca Elda Pappada 416 504 9100 x6213 ep@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca Appraisal Co-ordinator Ellie Muir 416 847 6196 em@waddingtons.ca Communications Tess McLean 416 504 9100 tm@waddingtons.ca

Waddingtons.ca/Collingwood P. O. Box 554, Collingwood ON L9Y 4B2 Valerie Brown 705 445 8811 vb@waddingtons.ca


Inuit Art 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

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Inuit Art Auction | Nov. 16, 2015  

Inuit Art Auction | Nov. 16, 2015