Inuit Art | Nov. 22, 2016

Inuit Art Auction Tuesday 22 November 2016

Waddingtons.ca

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Inuit Art Auction Lots 1–201

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Inuit Art Auction Tuesday 22 November 2016 at 1:00 pm On View: Friday 18 November 2016 from 12:00 Noon to 5:00 pm Saturday 19 November 2016 from 11:00 am to 5:00 pm Sunday 20 November 2016 from 11:00 am to 5:00 pm Monday 21 November 2016 from 10:00 am to 12:00 Noon

Preview and Auction to be held at Waddington’s 275 King Street East, 2nd Floor Toronto Ontario Canada M5A 1K2 Inuit Art Specialist Christa Ouimet 416.847.6184 co@waddingtons.ca

Front Cover & Inside Front Cover Lot 80 KAROO ASHEVAK SPIRIT FACES (TOOTH PULL) Inside Back Cover Lot 158 LUKE IKSIKTAARYUK SHAMAN’S BELT OR NECKLACE Back Cover Lot 196 BOB BOYER DROPPING ATOM BOMBS

Inuit Art Administrator Nadine Di Monte 416.504.9100 x6250 inuitart@waddingtons.ca Accounts Manager Karen Sander 416.847.6173 ks@waddingtons.ca Communications Tess McLean 416.504.9100 tm@waddingtons.ca

Absentee and Phone Bidding 416.504.0033 (Fax) bids@waddingtons.ca

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

This catalogue and its contents © 2016 Waddington McLean & Company Ltd. Photography by John Macdonald, Waddingtons.ca

Online Bidding www.invaluable.com

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

Waddingtons.ca

All rights reserved.

Photography by Waddington’s

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

Fall 2016 Inuit Art Auction

One of the privileges and benefits of being an auction specialist is having the frequent opportunity to meet new collectors, and being granted a brief glimpse into their lives and histories. As an auction specialist, we are exposed to many interesting characters: some collecting out of passion for the art, others acquiring works as relics and reminders of their own experiences either living or travelling in the north.

Some inherited their collections from loved ones. Then there are those that know little about the artist or art form, and have simply acquired a work out of pure attraction for the individual object.

Over the years, these interactions have instilled in me an immense appreciation for the role the art collector plays both as expert and as visionary.

It can be argued that their contribution is as integral to the art ecosystem as that of the art institution, or the art dealer. Robert Swain acknowledged collectors as “very important to the cultural life of any nation” and that they bring “a wealth of experience, concentrated exposure to the art, a honed vision that separates at a glance the merely unusual from the truly significant”(1). Certainly, the collectors in the following pages of this catalogue fit this description. Aestheticist and academic Francis Sparshott contemplated the nature of the collector and his impact on art, and explained simply that for the collector “serious interest will go to the genres and artists he gets to know well and to love as one loves a friend.” Who among us cannot relate to that sentiment? This is clearly evident when collectors present their pieces to me with as much affection as they would a pet or family member.

We must acknowledge collectors as curators in their own right, for we would not have the exposure to the carefully crafted collections and individual masterpieces that we do now without their expertise. Collecting is not without risk or error, and there are no "sure things" when it comes to acquiring art; and yet even with this knowledge the collector forges ahead. As is the case with many Inuit art collectors, the vision that they share with the world via their buying habits and preferences helps to shape what we have come to know as acceptable or legitimate art, and in a way grants permission to others to follow suit.

This catalogue pays homage to those collectors, for it is because of their sensitivity, curiosity and foresight that these pieces have been brought together. I hope you will see the obvious cohesion and complementary elements of these particular collections and even detect a little of the person or people that loved and cared for the works for many years. These people embrace their role as temporary custodians of these fascinating objects and images, and wish above all else for their art to find new homes and admirers when the time comes for them to part with them.

I am confident that, from this superb group of collections, all of you, from the veteran to the novice collector and to everyone in between, will find something that draws you in, connects with you on some level and for a time becomes a part of your life.

Christa Ouimet Senior Inuit Art Specialist

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Table of contents: Specialist’s Introduction

page 3

Alaska on Madison Collection

page 13

The Peter J. Landry Collection

page 30

Essay: The Netsilik Triumvirate

page 64

Cover lot

page 66

Selected Works from a Private Collector

page 74

The Mr. & Mrs. R. W. Stone Collection

page 99

The Hon. W. Dan Chilcott Collection

page 104

The Dr. Francis Sparshott Collection

page 108

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

1 LUCY QINNUAYUAK (1915-1982), CAPE DORSET / KINGNAIT OPIALUK stonecut, 1975, 28/50, unframed 24.5" x 14" — 62.2 x 35.6 cm. $600—900

2 JESSIE OONARK, O.C., R.C.A. (1906-1985), BAKER LAKE / QAMANI’TUAQ A HOST OF CARIBOU silkscreen, 1976, 9/46, unframed 11" x 14.75" — 27.9 x 37.5 cm. $400—600

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InuitArt.Waddingtons.ca

3 JESSIE OONARK, O.C., R.C.A. (1906-1985), BAKER LAKE / QAMANI’TUAQ WHALES stonecut and stencil, 1972, 41/44, unframed 12" x 19" — 30.5 x 48.3 cm. $600—900

4 JESSIE OONARK, O.C., R.C.A. (1906-1985), BAKER LAKE / QAMANI’TUAQ PEOPLE OF THE INLAND stonecut, 1961, 42/50, framed, sight 19.5" x 12.75" — 49.5 x 32.4 cm. $2,000—3,000

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

5 JANET KIGUSIUQ (1926-2005), BAKER LAKE / QAMANI’TUAQ UNTITLED (BIRD RETURNING TO NEST WITH ITS CATCH) coloured pencil drawing, signed in syllabics, framed 22.25" x 30" — 56.5 x 76.2 cm. $1,000—1,500

6 JOE TALIRUNILI (1893-1976), POVUNGNITUK / PUVIRNITUQ HUNTING stonecut, 1963, unnumbered, no inscription, unframed 22" x 15.25" — 55.9 x 38.7 cm. $600—900

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7 INNUKJUAKJU PUDLAT (19131972), CAPE DORSET / KINGAIT OWL FAMILY stonecut, 1964, 9/50, unframed 19" x 23" — 48.3 x 58.4 cm. $1,000—1,500

8 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), CAPE DORSET / KINGAIT NIGHT HUNTER stonecut, 1969, 50/50, framed, sight 21.5" x 27" — 54.6 x 68.6 cm. $3,000—5,000

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

9 KELLYPALIK MANGITAK (1940-), CAPE DORSET / KINGAIT THOUGHTS OF BIRDS stonecut, 1959, 33/50, unframed 22.75" x 18" — 57.8 x 45.7 cm. $3,000—5,000

10 SHEKOALOAK (1940-1959), CAPE DORSET / KINGAIT YOUNG WOMAN stonecut, 9/50, 1959, unframed 22.75" x 12" — 57.8 x 30.5 cm. $2,500—3,500

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11 EGEVADLUQ RAGEE (1920-1983), CAPE DORSET / KINGNAIT VISION OF CARIBOU stonecut, 1960, 5/50, framed, sight 19.25" x 24.75" — 48.9 x 62.9 cm. $3,000—4,000

12 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), CAPE DORSET / KINGAIT DORSET BIRDS stonecut, 1975, 15/50, framed, sight 19.5" x 22.5" — 49.5 x 57.2 cm. $700—1,000

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The Alaska on Madison Collection Lots 13–42 In 1980, Inuit art was just finding its foothold outside of Canada as a collectible art when Hedy Mann opened The Alaska Shop, a small gallery on New York’s Upper East Side. The 360-square-foot shop was among the very first galleries in the United States to specialize in Indigenous Northern art, presenting Inuit art, Northwest Coast art, 19th and 20th century Alaskan art, and art from the Old Bering Sea cultures. Hedy was later joined in the gallery by her husband, Jack Bryan, and together they created an institution. In 1995, the gallery moved to Madison Avenue and was renamed Alaska on Madison.

The gallery quickly became a champion of Inuit art and a friend to a number of Inuit artists, including Michael Massie and Abraham Anghik. In November 1983, the gallery hosted the first American exhibition of work by Judas Ullulaq. Located near Fifth Avenue's museum mile, the gallery provided a highly visible showcase for what was then -- in the United States -- an almost unknown art form.

Besides displaying sculpture and graphic arts, the gallery became a social hub, and attracted an international clientele and celebrity patrons.

In 2011 Ann and Michael Lesk purchased the gallery from the original owners, Hedy Mann and Jack Bryan. It was a natural transition, with the Lesks continuing the gallery's tradition of presenting the top works of Indigenous art, while providing a space where the collector can acquire knowledge and a sense of community within the context of the shared appreciation for this art form.

Although Ann and Michael have closed the Madison Avenue premises, their enthusiasm for Inuit art is unabated, and they are continuing Alaska on Madison as an online gallery.

Waddington’s and Alaska on Madison have worked together in the development of the Inuit art market for almost 30 years. We are pleased to be offering the following selected works from the historic Madison Avenue gallery.

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13 BARNABUS ARNASUNGAAQ (1924-), BAKER LAKE / QAMANI’TUAQ MUSK OX stone, signed in syllabics 3" x 4.5" x 1.75" — 7.6 x 11.4 x 4.4 cm.

Note: A wonderful miniature version of Barnabus’s hulking musk oxen. Extremely tactile and animated. $600—900

14 BARNABUS ARNASUNGAAQ (1924-), BAKER LAKE / QAMANI’TUAQ KNEELING MAN stone, signed in syllabics, c. 1975 5.5" x 5" x 5" — 14 x 12.7 x 12.7 cm. $1,000—1,500

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

15 MATHEW AQIGAAQ (1940-2010), BAKER LAKE / QAMANI’TUAQ KNEELING HUNTER HOLDING MUSK OX HEAD stone, signed in syllabics, dated ‘78 6" x 5.5" x 6" — 15.2 x 14 x 15.2 cm. $2,500—3,500

16 THOMAS SIVURAQ (1941-), BAKER LAKE / QAMANI’TUAQ MOTHER WARMING CHILD IN AMAUTIQ stone, signed in syllabics 7.5" x 5" x 5" — 19.1 x 12.7 x 12.7 cm. $700—1,000

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17 THOMAS SIVURAQ (1941-), BAKER LAKE / QAMANI’TUAQ COMPOSITION WITH FACES, MUSK OX, AND CHAR stone, signed in syllabics 5" x 8.25" x 3" — 12.7 x 21 x 7.6 cm. $700—1,000

18 THOMAS SIVURAQ (1941-), BAKER LAKE / QAMANI’TUAQ MOTHER WITH CHILD IN HER AMAUT stone, signed in syllabics 5" x 3.5" x 2.5" — 12.7 x 8.9 x 6.4 cm. $400—600

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

19 THOMAS SIVURAQ (1941-), BAKER LAKE / QAMANI’TUAQ TRANSFORMING POLAR BEAR SHAMAN stone, signed in syllabics 6.25" x 4.5" x 3.25" — 15.9 x 11.4 x 8.3 cm. $700—1,000

20 THOMAS SIVURAQ (1941-), BAKER LAKE / QAMANI’TUAQ WOMAN IN HER AMAUTIQ stone, signed in syllabics 7.25" x 5" x 3.25" — 18.4 x 12.7 x 8.3 cm. $700—1,000

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21 ABRAHAM ETUNGAT, R.C.A. (1911-1999), CAPE DORSET / KINGAIT BIRD OF SPRING stone, signed in syllabics 8.75" x 12.24" x 3.5" — 22.2 x 31.1 x 8.9 cm. $2,500—3,500

22 ABRAHAM ETUNGAT, R.C.A. (1911-1999), CAPE DORSET / KINGAIT BIRD WITH WINDSWEPT WINGS stone, signed in syllabics 6.75" x 6.75" x 2.25" — 17.1 x 17.1 x 5.7 cm. $1,000—1,500

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

23 KANANGINAK POOTOOGOOK, R.C.A. (1935-2010), CAPE DORSET / KINGAIT WINDSWEPT MUSK OX stone, signed in syllabics, 2006 4.25" x 7" x 4" — 10.8 x 17.8 x 10.2 cm. $1,000—1,500

24 YAHA ANGNAYUINAK (19071980), ESKIMO POINT / ARVIAT MOTHER WITH HER TWO CHILDREN stone, signed in syllabics with disc number inscribed, c. 1960’s 6.5" x 2.75" x 4.5" — 16.5 x 7 x 11.4 cm. $1,000—1,500

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25 LUCY TASSEOR TUTSWEETOK (1934-2012), ESKIMO POINT / ARVIAT MOTHER WITH TWO CHILDREN stone, c. 1975 5.75" x 2" x 3.25" — 14.6 x 5.1 x 8.3 cm. $1,000—1,500

26 RITA PANIGONIAK AKKARALAK (1950-), ESKIMO POINT / ARVIAT SEATED WOMAN TENDING TO A QULLIQ stone, inscribed with disc number 8.75" x 10" x 7.5" — 22.2 x 25.4 x 19.1 cm. $1,000—1,500

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

27 POSSIBLY: NOAH NUNA (1900-D), FROBISHER BAY / IQALUIT MOTHER HOLDING CHILD IN HER LAP stone 11.5" x 6.75" x 9.5" — 29.2 x 17.1 x 24.1 cm. $600—900

28 MARY UTYE (1938-), LAKE HARBOUR / KIMMIRUT MOTHER NURSING CHILD stone, signed in Roman 3.75" x 2.5" x 2.5" — 9.5 x 6.4 x 6.4 cm.

Provenance: Acquired by an officer of the RCMP, c.

1965, Waddington’s, November 2007, lot 42, Alaska on Madison, N.Y.C., U.S.A. $400—600

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29 UNIDENTIFIED, NORTHWEST COAST TWO SPOONS horn, abalone shell 7.5" x 8" x 3" — 19.1 x 20.3 x 7.6 cm. $400—600

30 OOTOOVA KOONARK (1930-), POND INLET/ MITTIMATALIK MOTHER WITH CHILD IN HER AMAUT stone, signed in Roman with disc number inscribed, c. 1960s 6.75" x 3" x 2" — 17.1 x 7.6 x 5.1 cm. $800—1,200

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

31 DAVIDEE SAUMIK (1925-1984), PORT HARRISON / INUKJUAK MOTHER CHEWING A KAMIK WITH CHILD IN AMAUT stone, disc number inscribed, c. 1960 13.25" x 7.25" x 5.5" — 33.7 x 18.4 x 14 cm. $4,000—6,000

32 LEVI NUNGAQ (1925-), PORT HARRISON / INUKJUAK POLAR BEAR EATING SEAL stone, ivory, sinew, c. 1960 4.75" x 9" x 4" — 12.1 x 22.9 x 10.2 cm. $700—1,000

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33 AKEEAKTASHUK (1898-1954), PORT HARRISON / INUKJUAK HUNTER CONFRONTING POLAR BEAR stone, soap inlay, c. 1950 5.5" x 6.5" x 2.5" — 14 x 16.5 x 6.4 cm. $1,000—1,500

34 UNIDENTIFIED, PORT HARRISON / INUKJUAK KNEELING WOMAN stone, c. 1960 6.75" x 6" x 5" — 17.1 x 15.2 x 12.7 cm. $1,000—1,500

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

35 JOE TALIRUNILI (1893-1976), POVUNGNITUK / PUVIRNITUQ HUNTER CARRYING PACK, BOW AND GUN stone, ivory, thread, plastic, signed in Roman, c. 1960 7" x 3" x 2.5" — 17.8 x 7.6 x 6.4 cm. $2,500—3,500

36 MOSES AUPALUKTUK (19241983), E9-833, POVUNGNITUK / PUVIRNITUQ MOTHER AND CHILD stone, antler 9" x 8.25" x 12" — 22.9 x 21 x 30.5 cm. $1,500—2,500

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37 JOHN KAVIK (1897-1993), RANKIN INLET / KANGIQLINIQ PLAYFUL MOTHER AND CHILD stone, inscribed to underside with “Kaverk, Rankin Inlet, N.W.T.” 8.5" x 5" x 7" — 21.6 x 12.7 x 17.8 cm. $2,000—3,000

38 JOHN KAVIK (1897-1993), RANKIN INLET / KANGIQLINIQ MOTHER WITH CHILD IN HER AMAUT stone, signed in syllabics 4.75" x 2" x 2" — 12.1 x 5.1 x 5.1 cm.

Provenance: Waddington’s, 7 November 2015, Lot 65, Alaska on Madison, N.Y., U.S.A. $800—1,200

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

39 EVA ATAMMIQ KEATAINAK (1919-1988), SUGLUK / SALLUIT KNEELING MOTHER WITH CHILD IN HER AMAUT AND HOLDING A KAMIK stone, disc number inscribed, c. 1960 8.5" x 5.5" x 7" — 21.6 x 14 x 17.8 cm. $2,500—3,500

40 UNIDENTIFIED ARCHAIC FIGURE CARVED IN OKVIK STYLE wood, c. 1880 4.5" x 1" x .5" — 11.4 x 2.5 x 1.3 cm. $300—500

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41 PAUTA SAILA, R.C.A. (1916-2009), CAPE DORSET / KINGAIT POLAR BEAR STROLLING ON HIND LEGS stone, signed in syllabics, c. 1975 9" x 7.5" x 4" — 22.9 x 19.1 x 10.2 cm. $4,000—6,000

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

42 PAUTA SAILA, R.C.A. (1916-2009), CAPE DORSET / KINGAIT POLAR BEAR STANDING ON HIND LEGS stone, possibly signed, mounted to lucite base, c. 1975 5.25" x 3" x 2" — 13.3 x 7.6 x 5.1 cm. $2,000—3,000

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The Peter J. Landry Collection of Inuit Art Lots 43–79

In the late 1980's, Landry lent a number of pieces from his collection to the Art Gallery of Windsor for their travelling exhibition Sugluk: Sculpture in Stone, 1953-1959. The exhibition was focused on the development of the regional style and themes of Salluit (formerly Sugluk). Landry’s collection was comprised of a great number of works that featured the grey stone native to Salluit. This light-weight stone was well suited to receive the artist's detailed incising and served to create intimate scenes of daily life.

In the catalogue introduction, Michael Neill instructs that one must approach the works without “all the baggage – the mythology of the solitary genius, the rich inventory of theory and art historical fact – that is conveniently brought up to the experience of western art.” Neill continues, “Instead it is the work of a traditional familycentred people who used their hands to look backwards at the very moment they began to be absorbed by the modern world. Homey, often awkward and always modest in scale, it is a simple and direct art of little statement about daily life. A genre art firmly rooted in the last days of a way of life that has now vanished, it is also an important chapter in the birth of contemporary Inuit art.”

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43 MIAIJI UITANGI USAITAIJUK (1911-1965), SUGLUK / SALLUIT MOTHER SEWING stone, sinew, ivory, c. 1956 9.8" x 5" x 6.5" — 24.8 x 12.7 x 16.5 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated with two views, pages 32 & 33, cat. no. 22 This work is accompanied by the Art Gallery of Windsor hand written exhibition label. $4,000—6,000

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Literature: Sugluk: Sculpture in Stone, 1953-1959, page 26 & 31 Note: Mother Sewing by Miaji (Mary) Usaitiajuk Uitangi, “emphasizes the central role of the woman in Sugluk. The sculpture represents a woman mending a child’s parka with thread dried and split from caribou sinew. The arcing rhythmic thread constructs a memorable metaphor of woman as the provider and protector of her children at the center of the world.”

This maternal portrait of the altruistic mother and her child empathizes the significance of the role of women and reiterates the regional preference for modest scenes of daily life.

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

44 MARY SANAAQ PAPIGATOK (1910-1987), SUGLUK / SALLUIT KNEELING WOMAN HOLDING HER CHILD stone, disc number inscribed, c. 1956 10" x 5" x 6.5" — 25.4 x 12.7 x 16.5 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $3,000—4,000

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45 SARAH AUPALURTAQ KAITAK (1907-1985), SUGLUK / SALLUIT MOTHER HOLDING HER CHILD stone, disc number inscribed, c. 1956 10.5" x 5.5" x 5.75" — 26.7 x 14 x 14.6 cm. $2,500—3,500

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Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated in two views on pages 26 & 27, cat. no. 12

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

46 SIASIE KAKANGAK ANGUTIGIRK (1916-1982), SUGLUK / SALLUIT MOTHER CRADLING HER SWADDLED CHILD stone, disc number inscribed, c. 1956 12.75" x 5" x 5" — 32.4 x 12.7 x 12.7 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $3,000—5,000

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47 MATHEWSIE SAKIAGAK (1923-), GEORGE RIVER / KANGIQSUALUJJUAQ MOTHER WITH CHILD stone, signed in syllabics and inscribed with disc number, c. 1956 13.6" x 6.5" x 5" — 34.6 x 16.5 x 12.7 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $3,000—5,000

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Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated page 60, cat. no. 24 This work is accompanied by the Art Gallery of Windsor hand written exhibition label.

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

48 NAALUK NAPPAALUK (1928-), GEORGE RIVER / KANGIQSUALUJJUAQ MOTHER WITH CHILD IN AMAUT stone, signed in syllabics with disc number inscribed, c. 1955 7.75" x 4.25" x 2.5" — 19.7 x 10.8 x 6.4 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $700—1,000

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49 MATUSI UNGNAITOOK (1905-1961), SUGLUK / SALLUIT MAN AND BEAR stone, c. 1956 9" x 8.5" x 6.5" — 22.9 x 21.6 x 16.5 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, 1992, illustrated page 37 and on the catalogue cover, cat. no. 8 This work is accompanied by the Art Gallery of Windsor hand written exhibition label. $2,500—3,500

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

50 PADLI UTTUUJAQ ILISITUK (1931-), SUGLUK / SALLUIT HUNTER DRAGGING A POLAR BEAR stone, disc number inscribed, c. 1956 8.75" x 5" x 5.5" — 22.2 x 12.7 x 14 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $1,500—2,500

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51 ELISAPIE TAQAQ SAVIAKJUK (1914-), SUGLUK / SALLUIT MAN AND ANIMAL stone, inscribed with disc number, c. 1956 7" x 3" x 3.4" — 17.8 x 7.6 x 8.6 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $400—600

40

Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated page 53, cat. no. 19 This work is accompanied by the Art Gallery of Windsor hand written exhibition label.

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

52 JOSEPIE NINGIOK KUPIRKRUALUK (1930-), SUGLUK / SALLUIT MAN SKINNING FOX stone, signed in syllabics with disc number inscribed, c. 1956 8.5" x 8.25" x 4.75" — 21.6 x 21 x 12.1 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, 1992, illustrated page 23, cat. no. 10 This work is accompanied by the Art Gallery of Windsor hand written exhibition label.

Literature: Ted Fraser, Sugluk: Sculpture in Stone, 1953-1959, page 22 Note: “...these sculptures-in-the-round are liberated from the static limitations of a base - a Eurocentric convention that had influenced contemporary Inuit art. Rotated in the hands of the artist while being fashioned, Man Skinning Fox (1956) by Josephie Ningiok Kupirkruluk (1926-) can be viewed in more than one position.” $500—700

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53 JOSEPHIE TAQULIK KAITAK (1941-), E9-1089, SUGLUK / SALLUIT MAN stone, inscribed with disc number, c. 1956 6.5" x 4" x 1.5" — 16.5 x 10.2 x 3.8 cm. $300—500

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Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated page 30, cat. no. 13 This work is accompanied by the Art Gallery of Windsor hand written exhibition label.

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

54 MUSUSI UNIURTITAK AINALIK (1934-), E9-988, IVUJIVIK MAN AND WALRUS stone, ivory, inscribed with disc number, c. 1956 8" x 9.75" x 5.25" — 20.3 x 24.8 x 13.3 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated page 35, cat. no. 7 This work is accompanied by the Art Gallery of Windsor hand written exhibition label.

$600—900

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55 MUSUSI AUDLALUK (1916-), E91076, IVUJIVIK MAN FLENSING A SEAL stone, inscribed with disc number, c. 1956 8.5" x 12" x 4.5" — 21.6 x 30.5 x 11.4 cm. $500—700

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Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, cat. no. 11 This work is accompanied by the Art Gallery of Windsor hand written exhibition label.

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

56 SAKARIASI TUTUTTUK TARRIASUK (1929-), IVUJIVIK HUNTER FLENSING A SEAL stone, disc number inscribed, c. 1956 5.75" x 10" x 6.25" — 14.6 x 25.4 x 15.9 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $600—900

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57 KULULAK TAYARAK (1935-), SUGLUK / SALLUIT WOMAN WITH LINE stone, string, inscribed with disc number, c. 1956 6.25" x 5.5" x 3.25" — 15.9 x 14 x 8.3 cm. $1,000—1,500

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Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, 1992, illustrated page 67, cat. no. 20 This work is accompanied by the Art Gallery of Windsor hand written exhibition label.

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

58 MAGGIE ITTUVIK TAYARAK (1898-1961), GEORGE RIVER / KANGIQSUALUJJUAQ WOMAN WITH ULU

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated page 66, cat. no. 43

stone, disc number inscribed, c. 1956 10.5" x 5" x 6" — 26.7 x 12.7 x 15.2 cm. $2,500—3,500

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59 SANAAQ TARKIRK (1938-), SUGLUK / SALLUIT WOMAN WITH BRAIDS stone, inscribed with disc number, c. 1956 10.5" x 3.5" x 4.5" — 26.7 x 8.9 x 11.4 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $1,000—1,500

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Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated with two views page 51, cat. no. 21 This work is accompanied by the Art Gallery of Windsor hand written exhibition label.

Note: This work is a fine example of the preferred content and regional style.

Here, a single figure stands her hands clasped to create a sculpture that is self-contained and autonomous. Her coiffure is typical of the region, her center parted hair is rendered with careful incising which extends down her back in two broad braids.

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

60 SIASIE KAKANGAK ANGUTIGIRK, SUGLUK / SALLUIT WOMAN PULLING ON A KAMIK

Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated page 40, cat. no. 17

stone, c. 1956 7.5" x 4.5" x 7.5" — 19.1 x 11.4 x 19.1 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $1,000—1,500

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61 AVINGAK LUCY KADYULIK (1937-), SUGLUK / SALLUIT WOMAN stone, disc number inscribed, c. 1956 5" x 2.5" x 2.5" — 12.7 x 6.4 x 6.4 cm. $400—600

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Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated page 52, cat. no. 23 This work is accompanied by the Art Gallery of Windsor hand written exhibition label.

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

62 EVA IDLASUK PAUYUNGIE (1941-), SUGLUK / SALLUIT KNEELING WOMAN stone, signed in syllabics with disc number inscribed, c. 1956

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Note: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated page 63, cat. no. 18

8" x 5.75" x 4.5" — 20.3 x 14.6 x 11.4 cm. $600—900

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63 MARKUSI PAPIGATOK (19061971), SUGLUK / SALLUIT MAN AND WALRUS stone, disc number inscribed, c. 1956 5" x 11.5" x 2.75" — 12.7 x 29.2 x 7 cm. $400—600

64 JOHNNY KAIGALALUK (18841963), SUGLUK / SALLUIT MAN ON KOMATIK stone, signed in syllabics with disc number, c. 1956 5" x 3" x 9.5" — 12.7 x 7.6 x 24.1 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated page 24, cat. no. 15 $600—900

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Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated page 24, cat. no. 14 This work is accompanied by the Art Gallery of Windsor hand written exhibition label.

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

65 AUDLALUK KUPIRKRUALUK (1926-D), SUGLUK / SALLUIT MAN PULLING ON KAMIK stone, disc number inscribed, c. 1956 6" x 11" x 3.5" — 15.2 x 27.9 x 8.9 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated page 68, cat. no. 9 This work is accompanied by the Art Gallery of Windsor hand written exhibition label.

$500—700

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66 JOHNNY ISSAJA PAPIGATOK (1923-), SUGLUK / SALLUIT WOMAN HOLDING QULLIQ stone, disc number inscribed, c. 1956 7.5" x 4" x 3.75" — 19.1 x 10.2 x 9.5 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $600—900

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

67 LUCASSIE USAITAIJUK (18971962), SUGLUK / SALLUIT HUNTER APPROACHING POLAR BEAR stone, disc number inscribed, c. 1956 7.25" x 10.25" x 3.5" — 18.4 x 26 x 8.9 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $600—900

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68 ALAIN IYERAK (1920-), IGLULIK / IGLOOLIK POLAR BEAR SPIRIT AND HUNTER WITH SEAL AND DOG stone, signed in Roman, c. 1960 9" x 8" x 4" — 22.9 x 20.3 x 10.2 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $600—900

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

69 TIMOTHY KUTCHAKA (1924-), PORT HARRISON / INUKJUAK HUNTER PULLING IN A SEAL

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A.

stone, leather, antler, soap inlay, c. 1956 7.25" x 5" x 5.5" — 18.4 x 12.7 x 14 cm. $600—900

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70 CONLUCY NAYOUMEALOOK (1891-1958), PORT HARRISON / INUKJUAK MAN INFLATING SEAL BLADDER stone, c. 1958 8.25" x 6.5" x 6" — 21 x 16.5 x 15.2 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $1,000—1,500

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

71 ISA OOMAYOUALOOK (19151976), PORT HARRISON / INUKJUAK HUNTER STOOPING OVER SEAL HOLE IN THE ICE

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Note: An early and well executed version of this frequented subject matter for the artist. For a similar work see Darlene Coward Wight, Early Masters: Inuit Sculpture 1949-1955, page 57.

stone, soap inlay, leather, c. 1956 9.5" x 4.5" x 7" — 24.1 x 11.4 x 17.8 cm. $1,000—1,500

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72 AISA QUPIRUALU ALASUA (1916-), POVUNGNITUK / PUVIRNITUQ HUNTER PULLING WALRUS stone, ivory, c. 1953 9.5" x 12" x 9.5" — 24.1 x 30.5 x 24.1 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $1,500—2,000

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

73 NIVIAXIE (1909-1959), CAPE DORSET / KINGAIT RECLINED POLAR BEAR CUB EATING SEAL stone, c. 1957 3.25" x 5" x 8" — 8.3 x 12.7 x 20.3 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $700—1,000

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74 UNIDENTIFIED, CAPE DORSET / KINGAIT PENSIVE MAN stone, c. 1955 6.25" x 4.75" x 3.25" — 15.9 x 12.1 x 8.3 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Note: The sensitively carved facial features belonging to this man imply that it is likely a portrait of someone he knew well. $700—1,000

75 POSSIBLY: LYTA SUDLOO (1951-), FROBISHER BAY / IQALUIT KNEELING MOTHER WITH CHILD IN AMAUT stone, c. 1958 8" x 4" x 5" — 20.3 x 10.2 x 12.7 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $600—900

76 ULAYU PINGWARTOK (1904-1978), CAPE DORSET / KINGAIT SEATED MAN stone, c. 1955 7" x 3.75" x 7" — 17.8 x 9.5 x 17.8 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $600—900

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

77 KIAKSHUK (1886-1966), OR KAKA ASHOONA (1928-1996), CAPE DORSET / KINGAIT MOTHER WITH CHILD IN AMAUT stone, c. 1958 9" x 7" x 3" — 22.9 x 17.8 x 7.6 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Note: This particular parka treatment was seen in the early works of both Kaka and Kiakshuk. $600—900

78 ATTR: KIAKSHUK (18861966), CAPE DORSET / KINGAIT YOUNG WOMAN HOLDING A CHILD stone, c. 1955 5.25" x 2.5" x 3.5" — 13.3 x 6.4 x 8.9 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. $600—900

79 KOPAPIK “A” QAQYUARQYUK (1923-1969), CAPE DORSET / KINGAIT KNEELING HUNTER stone, c. 1960 7" x 5.5" x 4" — 17.8 x 14 x 10.2 cm.

Provenance: The Peter J. Landry Collection of Inuit Art, U.S.A. Literature: This work bears similarities to the 1962 “Mother and Child” work by the same artist pictured in George Swinton’s Eskimo Sculpture, 1965, page 91. $500—700

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The Netsilik Triumvirate The Netsilingmiut or Netsilik Inuit are

As all three artists could likely have

talons and meticulously detailed

one of a number of groups living mainly

attested, whalebone is not an easy

feathers, as seen in the Perched Falcon

in the Kitikmeot central arctic region.

medium to work from. Certainly, when

and Flying Falcon (lot numbers 98 & 99

Among the artistic communities that

one thinks of whalebone Inuit carvings,

in this catalogue). His art was an

make up the Kitikmeot region, Gjoa

these are the artists who come to mind -

inspiration to not just Judas and Karoo,

Haven and Spence Bay are the most

as each of them mastered the medium

but for many carvers in the region. Of

associated with the unique carving style

in their own way. Ashevak’s approach

the three men, Ashevak’s work is

that evolved in this area from the 1960’s

was to defy its conflicting elements of

arguably the most refined and finished

on. Out of this region sprung three

fragility, porosity and density, removing

although Ugyuk displayed technical skill

major artistic talents who inspired each

the edges and inconsistencies, moulding

comparable to Karoo’s and when he

other yet developed their own distinct

it as if it were clay.

began to explore spiritual subject matter Ashevak’s influence on Ugyuk’s work

means of expression through carving, brothers Judas Ullulaq (Gjoa Haven) and

Ashevak was said to have been a man of

became clear. Ugyuk’s work evolved

Charlie Ugyuk (Spence Bay) and their

extremes, oftentimes “as exuberant as

from the highly detailed realism of

nephew Karoo Ashevak (Spence Bay).

his art.”(2) Other times there were bouts

Fisherman (see lot 97 of this catalogue)

Their works have been the most

of depression. Cynthia Waye pondererd

to supernatural creatures (fine examples

commercially successful and have come

that in a society that does not openly

are lot 83 & 101) which can be both

to define the sculpture associated with

display emotion, Karoo stood out and

terrifying and humorous in nature.

the region.

that his technical precision in his carving

Darlene Coward Wight writes that

could have been an attempt at exerting

“Ugyuk has commented that the

What one can expect from Karoo’s style

some control over his feelings.(3)

missionaries denounced Inuit shamans

of carving is almost always voluminous

Ashevak died when he was just 34 but is

as devils, and he makes visual reference

entities incised with deeply carved,

remembered for his legendary

to this demonization in many of his

misshapen and often misplaced features,

personality and is credited with

sculptures.”(6) Like Ashevak and

complemented by inset details and

contributing to what is now known as

Ullulaq’s work, the viewer is instantly

accoutrements constructed from varied

the expressionistic style of the Kitikmeot

captivated by the images he has created

textures of bone, antler or small pieces

area.

and there is rarely an ambivalent response to his carvings.

of stone. His pieces are carefully (if not obsessively) finished. The double sided

Described as “the strongest spiritual

Spirit Faces (lot 80 of this catalogue) is

carver in the central arctic”(4) Charlie

Judas started out his carving career

a perfect example of his work’s most

Ugyuk or “Big Charlie” as he was known,

using bone in the late ’60’s, and

defining features, exhibiting all of these

could alternate between high realism

transitioned to stone when it became

elements. Judy McGrath notes that

and intensely imaginative subject matter.

available after 1973. Like Ugyuk, he

“unlike that of most (Inuit) carvers, who

However the latter was no easy subject

carved both mediums skillfully. Also

believe that the form of the finished

for him to tackle, Inuk Charlie explains

similar to his brother and nephew, Judas

carving already exists within any piece of

that those intricately carved demons he

infused his sculpture with the humour

stone or bone … Ashevak…begins …

created caused terrible nightmares for

and energy for which he himself was

with an idea in mind and then chooses

his father (5). Charlie loved birds (as did

known. His work was never static,

material of appropriate sizes and

his nephew Karoo) and his fascination

almost always dynamic and complex,

shapes.”. She continues, that “it is with

lay with falcons specifically, a subject

and “his love of meticulous

the grotesque and wonderful pieces of

matter he visited repeatedly throughout

craftsmanship manifested itself in finely

whalebone that his genius has

his career. His work’s characteristic

detailed faces, with horn and antler

exploded.”(1)

intensity is demonstrated through

inlay.”(7) Recognition of Judas’s genius

bulging eyes, rigid claws with sharpened

began in the early ’80’s and he had his

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first solo exhibition at the Innuit Gallery

creating his artwork ”.(8)

Shop exhibition in New York City.

Darlene Coward Wight suggested Judas’s figures often bore "resemblance

in Toronto 1983 followed by the Alaska In comparison to Ugyuk and Ashevak,

to their creator." (10)

Judas seemed less bound to the habit of Noted Canadian philosopher, aestheticist

duplicating subjects. His studies ranged

With these artists’ imagination and skill,

and collector Dr. Francis Sparshott (see

from legends, shamans, figures engaged

the founding members of the Netsilik

lots 125-180) “observed that Judas

in activities such as hunting musk ox or

school, Judas Ullulaq, Charlie Ugyuk and

employed a "variety of techniques to

fishing for char, and animals “not as

Karoo Ashevak are recognized with

score... or scarify the intransigent

passive prey but as intellectually and

inspiring a generation of artists and

brilliance of the polished surfaces of the

emotionally active as his human

creating works that represent the height

sculptures." He added that Judas'

figures.”(9) Happy Fisherman (lot 112 in

of creative genius in the region.

technique is “classic”,' part of an "older

this catalogue) could easily be a

Inuit tradition," and therefore, not the

portrayal of the artist himself after

result of a ”mannered” approach to

having gleefully caught a large char, as

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80 KAROO ASHEVAK (1940-1974), SPENCE BAY / TALOYOAK SPIRIT FACES (TOOTH PULL) A monumental work in dense whalebone carved to both sides with dramatic shaman or spirit faces, highlighted by antler, stone and bone inlaid eyes and with inset bone teeth. The tattooed face grinning widely with a prominent third eye and the opposing face with crossed eyes, mouth agape and a removable tooth attached by sinew, signed in syllabics 14" x 19" x 6" — 35.6 x 48.3 x 15.2 cm.

Provenance: Acquired directly from the artist by a gallery owner, Yellowknife, By descent to present owner, British Columbia $35,000—45,000

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

Note: Karoo Ashevak is perhaps the most internationally recognized Canadian Inuit sculptor. Very few works prior to 1970 have been discovered, his main body of work was created during four short years before his untimely death in 1974. His work brought him great joy, Karoo’s sister, Eeteemunga remembered “seeing him working on huge pieces. He was always so full of joy as he worked away on a new piece.

He was also so proud of himself. He would pause and study a piece that he was working on... thinking or meditating. Sometimes he would put it aside...and glance at it from a distance... When he finished he would be pouring with sweat and looking joyful and exuberant!”

Like many of Karoo’s works there is a not so hidden narrative behind his carving. This work shows two opposing faces, the first with a joyous expression and a prominent toothy grin, the second clearly expressing distress conveyed humorously as the top tooth is pulled out by a piece of thread (traditional sinew has been used here).

Exhibiting many characteristics that indicate his most developed and mature artistic phase, this work is dated circa 1973/74.

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81 LATCHOLASSIE AKESUK (1919-2000), CAPE DORSET / KINGAIT ANIMAL stone, c. 1970 13.5" x 4.5" x 10" — 34.3 x 11.4 x 25.4 cm. $2,500—3,500

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

82 LUCY TASSEOR TUTSWEETOK (1934-2012), ESKIMO POINT / ARVIAT FAMILY OR GROUP COMPOSITION stone, signed in syllabics, c. 1970’s 12.5" x 4.5" x 3" — 31.8 x 11.4 x 7.6 cm.

Note: Tasseor has described her carvings as heads or human groupings, relaying a sense of family or community.

This work conveys a hierarchical composition of bodies and faces, much like a west coast totem pole. $2,500—3,500

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83 CHARLIE UGYUK (1931-1999), SPENCE BAY / TALOYOAK FLYING DEMON stone, bone, antler, musk ox horn, signed in syllabics, mid 1980’s 17" x 14" x 7.5" — 43.2 x 35.6 x 19.1 cm.

Provenance: Acquired directly from the artist by the consigner’s mother who lived and worked in Spence Bay during the 1980’s. Examined and appraised in 1988 by two employees of Hudson Bay Company Northern Stores, Inuit Marketing Service at which time the work was declared “a magnificent devil” and an “excellent benchmark for future spirits by this artist.”

Note: Ugyuk has created the effect of a demon or devil taking flight by constructing a vertical support for the intricately carved demon to sit atop. $10,000—15,000

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

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84 JUDAS ULLULAQ (1937-1999), GJOA HAVEN / UQSUQTUUQ SHAMAN WITH HELPING SPIRITS, WITH INSET MOVEABLE EYES stone, musk ox horn, antler, c. 1988 20.75" x 18.75" x 7" — 52.7 x 47.6 x 17.8 cm. $20,000—25,000

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

85 PETER SEVOGA (1940-2007), BAKER LAKE / QAMANI’TUAQ FAMILY PORTRAIT stone, c. 1960’s 6" x 14.5" x 5" — 25.4 x 36.8 x 12.7 cm. $4,000—6,000

73

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Selected Works from a Private Collector Lots 86–99

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

86 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), CAPE DORSET / KINGAIT COMPLEX OF BIRDS stonecut, 1960, 20/50, framed 23.5" x 26" — 59.7 x 66 cm. $6,000—9,000

75

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87 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), CAPE DORSET / KINGAIT FESTIVE OWL stonecut, 1970, 18/50, framed, sight 22.75" x 32" — 57.8 x 81.3 cm. $3,000—5,000

76

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

88 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), CAPE DORSET / KINGAIT BLUE OWL stonecut, 1969, 19/50, framed 23.5" x 33" — 59.7 x 83.8 cm. $2,500—3,500

77

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89 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), CAPE DORSET / KINGAIT SEAMAIDS AND OWL stonecut and stencil, 1980, 24/50, framed 23.5" x 26" — 59.7 x 66 cm. $600—900

90 LUCY QINNUAYUAK (1915-1982), CAPE DORSET / KINGAIT SUNBIRD stonecut, 1969, 19/50, framed, sight 16.5" x 22.75" — 41.9 x 57.8 cm. $800—1,200

78

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

91 QAVAROAK TUNNILLIE (1928-1993), CAPE DORSET / KINGAIT MOTHER BEAR EMBRACING YOUNG stone, signed in syllabics 18" x 11" x 12" — 45.7 x 27.9 x 30.5 cm. $3,000—5,000

79

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92 PAUTA SAILA, R.C.A. (1916-2009), CAPE DORSET / KINGAIT DANCING POLAR BEAR The beautifully proportioned bear balances on one leg and bears characteristic claws and inset ivory teeth, signed in syllabics, c. 1985 12.5" x 13" x 4" — 31.8 x 33 x 10.2 cm. $18,000—22,000

80

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

93 PAUTA SAILA, R.C.A. (1916-2009), CAPE DORSET / KINGAIT DANCING POLAR BEAR Carved from stunning lime green serpentine with typical incised claw markings to all four paws and inset ivory incisors, mounted to a revolving base 15.25" x 12" x 5" — 38.7 x 30.5 x 12.7 cm. $18,000—22,000

81

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94 OVILU TUNNILLIE, R.C.A. (19492014), CAPE DORSET / KINGAIT FALCON CATCHES FISH stone, signed in syllabics 15" x 17" x 12.5" — 38.1 x 43.2 x 31.8 cm.

Literature: Inuit Women Artists, Odette Leroux, et. al, eds., 2006, page 233 $4,000—6,000

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Note: Ovilu commented of a similar work during a 1991 interview with Odette Leroux, “right now the bird is my favourite subject to carve. [...] Right now, I like carving birds with the wings spread out. I like to carve the stone very thin on the wings.

When I do this, a lot of the stone comes off because I try to take the bulk of the weight off.“ In lot 94, a falcon descends upon its prey, its great carved wings are swept upward to suggest that it was airborne only moments before.

Carried out very naturalistically and with great technical ability, this work is surely one of the finest examples of a falcon by the late artist.

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

95 OVILU TUNNILLIE, R.C.A. (1949-2014), CAPE DORSET / KINGAIT FALCON stone, signed in Roman 11.5" x 8" x 15" — 29.2 x 20.3 x 38.1 cm. $2,500—3,500

83

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96 LUCASSIE IKKIDLUAK (1949-), LAKE HARBOUR / KIMMIRUT RUNNING MUSK OX stone, antler, signed in syllabics, dated 1988 12.5" x 19" x 8.5" — 31.8 x 48.3 x 21.6 cm. $6,000—9,000

84

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

97 CHARLIE UGYUK (1931-1999), SPENCE BAY / TALOYOAK FISHERMAN An elaborately constructed dark green serpentine carving of an Inuk wearing a parka, kneeling over a hole in the ice, musk ox horn and sinew fish line and lure in one hand, bone and horn fish harpoon in the other, the hunter with inset ivory features and with a swiveling head raised on three antler legs, signed in syllabics under the hunter, (height including fishing spear 23" — 58.4 cm.)

20.5" x 14" x 12" — 52.1 x 35.6 x 30.5 cm. $15,000—20,000

Provenance: Tao Chen Gallery, Yellowknife, 1980, Waddington’s, Toronto, 1983, lot 101, Private Collection, Toronto Note: For a similar work see, Darlene Coward Wight, Art & Expression of the Netsilik, Winnipeg Art Gallery, 2000, page 105

85

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98 CHARLIE UGYUK (1931-1999), SPENCE BAY / TALOYOAK PERCHED FALCON stone, ivory, signed in syllabics, c. 1980’s 12.5" x 7" x 9" — 31.8 x 17.8 x 22.9 cm. $4,000—6,000

86

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

99 CHARLIE UGYUK (19311999), SPENCE BAY / TALOYOAK FLYING FALCON SWOOPING TOWARD PREY stone, antler, bone, c. 1980’s 14.25" x 9.25" x 8.5" — 36.2 x 23.5 x 21.6 cm. $3,000—5,000

87

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100 PAUTA SAILA, R.C.A. (1916-2009), CAPE DORSET / KINGAIT DANCING POLAR BEAR The marbled green stone animated bear with head thrown back presumably in mid bellow, with quintessential inset ivory teeth, 1982 10.5" x 12.25" x 6.25" — 26.7 x 31.1 x 15.9 cm.

Provenance: Acquired directly from the artist when the consigner was working in Cape Dorset, 1982. $10,000—15,000

88

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

101 CHARLIE UGYUK (1931-1999), SPENCE BAY / TALOYOAK NAKED DEVIL PULLING STRING stone, horn, ivory, signed in syllabics, 1985 11" x 10" x 5.5" — 27.9 x 25.4 x 14 cm.

Provenance: Acquired directly from the artist by the consigner in 1985 while working in Spence Bay. $4,000—6,000

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102 JUDAS ULLULAQ (1937-1999), GJOA HAVEN / UQSUQTUUQ HUNTER WITH DOG antler, signed in syllabics 14" x 19" x 11" — 35.6 x 48.3 x 27.9 cm.

Provenance: A family member of the consigner acquired the work during his time teaching in Spence Bay during the 1970’s & ‘80’s. $8,000—12,000

90

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

103 KIAWAK ASHOONA O.C., R.C.A. (1933-2014), CAPE DORSET / KINGAIT BIRD SPIRIT stone, signed in syllabics, 1988 18" x 11" x 8" — 45.7 x 27.9 x 20.3 cm.

Literature: Darlene Coward Wight, Kiugak Ashoona, Stories and Imaginings from Cape Dorset, Winnipeg Art Gallery, page 19 Note: “Kiugak created a series of impressive ‘bird spirit’ carvings over his career. [...] In 2008 interviews, he made it clear that these sculptures depicted the bird shaman, Natturalik (Golden Eagle), from a story told to him by Kiakshuk and others. It is a story about the eagle that abducts a young woman and takes her to his cliff top nest where she becomes his wife. Kiugak described the beginning of the story as involving two girls who were playing together. They pretended to have husbands, using the bones of a bowhead whale. One of the bones turned into an eagle: Natturalik.” $7,000—10,000

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104 KIAWAK ASHOONA O.C., R.C.A. (1933-2014), CAPE DORSET / KINGAIT MAGIC MAN stone, leather, signed in syllabics, 1989 21" x 15" x 6.5" — 53.3 x 38.1 x 16.5 cm. $7,000—10,000

92

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

105 LUCY TASSEOR TUTSWEETOK (1934-2012), ESKIMO POINT / ARVIAT FAMILY stone 4" x 7" x 3" — 10.2 x 17.8 x 7.6 cm. $1,000—1,500

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106 JOHN KAVIK (1897-1993), RANKIN INLET / KANGIQLINIQ STANDING FIGURE stone, c. 1983 6.5" x 5" x 3.5" — 16.5 x 12.7 x 8.9 cm. $1,000—1,500

94

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

107 LUKE IKSIKTAARYUK (1909-1977), BAKER LAKE / QAMANI’TUAQ SEA SPIRIT antler, signed in syllabics 5" x 17.5" x 3" — 12.7 x 44.5 x 7.6 cm. $6,000—9,000

95

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108 NUNA PARR (1949-), CAPE DORSET / KINGAIT DANCING POLAR BEAR stone, signed in Roman 20" x 13" x 5.75" — 50.8 x 33 x 14.6 cm.

Provenance: Balzac Fine Arts, Toronto, Private Collection, Montreal $4,000—6,000

96

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

109 HENRY EVALUARDJUK (1923-2007), FROBISHER BAY / IQALUIT STALKING POLAR BEAR stone, signed in Roman 5.5" x 15" x 5" — 14 x 38.1 x 12.7 cm. $4,000—6,000

97

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110 MARY SANAAQ PAPIGATOK (1910-1987), SUGLUK / SALLUIT WOMAN MAKING A KAMIK stone, inscribed with disc number 7.25" x 3.75" x 3.25" — 18.4 x 9.5 x 8.3 cm. $1,000—1,500

111 JUANISI JAKUSI ITUKALLA (1949-), POVUNGNITUK / PUVIRNITUQ POLAR BEAR AND YOUNG stone, dated 1980, signed in Roman 14" x 18.5" x 9" — 35.6 x 47 x 22.9 cm. $2,500—3,500

98

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Collection of Mr. & Mrs. R. W. Stone Lots 112–118 During two back-to-back tours in 1985 and 1991, Stone was involved with the deconstruction of the Distant Early Warning (DEW) construction of the replacement radars of the North Warning System (NWS), and construction of the Forward Operating Locations (FOLs), deployment facilities for CF-18 fighter operations in the north.

112 JUDAS ULLULAQ (1937-1999), GJOA HAVEN / UQSUQTUUQ HAPPY FISHERMAN stone, bone, sinew, antler, musk ox horn, c. 1987, signed in syllabics 16.5" x 12" x 7" — 41.9 x 30.5 x 17.8 cm.

Provenance: Acquired directly from the artist by the consigner in 1987. $7,000—10,000

While in the Arctic, Stone had the opportunity to discover Inuit art and acquired pieces made by many of the artists with whom he’d come to know, or that had been gifted to him during his tenure in the North. One such gift was lot 114 in this catalogue. Stone recounts that one afternoon in Spence Bay in 1988, he asked “Big Charlie” if he would create a carving for him. Ugyuk reached into the pocket of his parka and produced a small polar bear bone carving which he gave to Stone.

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113 JUDAS ULLULAQ (1937-1999), GJOA HAVEN / UQSUQTUUQ FISHERMAN WITH CATCH bone, antler, stone, signed in syllabics 5.5" x 7.75" x 6.25" — 14 x 19.7 x 15.9 cm.

Provenance: Acquired directly from the artist by the consigner in 1987. $3,000—5,000

100

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

114 CHARLIE UGYUK (1931-1999), SPENCE BAY / TALOYOAK SINGING DRUM DANCER WITH INSET EYES AND TONGUE bone, musk ox horn, stone 5" x 4" x 3.25" — 12.7 x 10.2 x 8.3 cm.

Provenance: Gifted directly to the consigner by the artist in 1988. $1,000—1,500

101

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115 UNIDENTIFIED, GREENLAND TWO TUPILAKS ivory 6.75" x 2" x 2.5" — 17.1 x 5.1 x 6.4 cm.; 6" x 1.5" x 3" — 15.2 x 3.8 x 7.6 cm.

Provenance: Purchased in Greenland, c. 1945, Acquired by Mr. & Mrs. Stone in 1996 $1,000—2,000

116 UNIDENTIFIED, GREENLAND TWO TUPILAKS ivory 5" x 1.75" x 2" — 12.7 x 4.4 x 5.1 cm.; 5.5" x 1.25" x 2.25" — 14 x 3.2 x 5.7 cm.

Provenance: Purchased in Greenland, c. 1945, Acquired by Mr. & Mrs. Stone in 1996 $1,000—1,500

102

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

117 JESSIE OONARK (1906-1985), BAKER LAKE / QAMANI’TUAQ BIG WOMAN stonecut, 1976, 40/46, framed, sight 33" x 24" — 83.8 x 61 cm. $2,500—3,500

118 JESSIE OONARK (1906-1985), BAKER LAKE / QAMANI’TUAQ FAVOURITE DAUGHTER stonecut and stencil, 1985, 45/50, framed, sight 35" x 23.75" — 88.9 x 60.3 cm. $1,500—2,500

103

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The Hon. W. Dan Chilcott Collection W. Dan Chilcott was appointed special prosecutor of the Northwest Territories in 1958 and elevated to Deputy Magistrate in 1961. He was perhaps the youngest man at the time to preside over a northern court. He travelled extensively throughout the north and conducted courts in unusual places including out in the open, on an airplane and in Hudson Bay Company posts. He respected traditional Inuit life and culture and did not approve of southern interference causing drastic

119 ENNUTSIAK (1896-1967), FROBISHER BAY / IQALUIT MIDWIVES WITH BABY stone, c. 1958 4.5" x 7.75" x 6" — 11.4 x 19.7 x 15.2 cm. $8,000—12,000

104

changes to the Inuit lifestyle. Chilcott knew James Houston well and received an inscribed pen and ink drawing from the artist (lot 124 of this catalogue. Chilcott acquired works from the artists during visits to various communities in particular, Frobisher Bay (Iqaluit) where he spent much time and acquired the stunning and early midwives carving from Ennutsiak (lot 119).

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

120 ENNUTSIAK (1896-1967), FROBISHER BAY / IQALUIT WAITING OVER A SEAL HOLE stone, c. 1960 3" x 3.5" x 3.75" — 7.6 x 8.9 x 9.5 cm.

Provenance: The Hon. W. Dan Chilcott, Q.C. Collection, Ottawa Note: The Inuit hunter is doing his best to keep warm while he patiently waits for a seal to breech the icy waters. Ennutsiak was the master of including the viewer in the moment. One feels the Arctic chill just looking at this subtle little work. $400—600

121 UNIDENTIFIED, COPPERMINE / KUGLUKTUK JIGGING FOR CHAR stone, wood, copper, c. 1960 6.5" x 4" x 4.25" — 16.5 x 10.2 x 10.8 cm.

Provenance: The Hon. W. Dan Chilcott, Q.C. Collection, Ottawa Note: This carefully constructed piece includes a dangling fish inside the base of the carving. The work speaks to the inherent creativity of this unknown and clearly inventive carver. $400—600

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122 SAGGIAK (1897-1980), CAPE DORSET / KINGAIT HUNTER HAULING A SEAL stone, c. 1960 8.75" x 4.5" x 2.5" — 22.2 x 11.4 x 6.4 cm.

Provenance: The Hon. W. Dan Chilcott, Q.C. Collection, Ottawa $500—700

106

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

123 UNIDENTIFIED BOY HOLDING A BEAR CUB stone, c. 1960 9.5" x 4" x 4" — 24.1 x 10.2 x 10.2 cm.

Provenance: The Hon. W. Dan Chilcott, Q.C. Collection, Ottawa $400—600

124 JAMES ARCHIBALD HOUSTON, O.C., FRSA (1921-2005), CANADIAN TSIMSHIAN MAN IN CHILKAT BLANKET felt tip over graphite drawing, dated June 1968 and inscribed “tshimshan Indian in / chilkat blanket / for Dan Chilcott from / Jim Houston” in ink lower right, framed, sight 11.5" x 8.5" — 29.2 x 21.6 cm.

Provenance: The Hon. W. Dan Chilcott, Q.C. Collection, Ottawa $400—600

107

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The Collection of Dr. Francis Sparshott Lots 125–180

Dr. Francis Sparshott was an academic, a writer and a published poet. He was a University of Toronto Professor of Greek Philosophy, Ethics, and Aesthetics, and later Professor of Philosophy. He befriended Av Isaacs at the Innuit Gallery in Toronto during the 1970s.

Isaacs was known to have presented the most interesting works to southern collectors and for exhibiting works now part of major collections and in public institutions. Sparshott did the photography for the gallery in the early years and purchased almost exclusively from Isaacs, often being one of the first to access the many wonderful pieces that crossed the threshold of the Innuit Gallery.

Sparshott had an affinity for acquiring objects of masked beauty, works that at first glance are not easy for the viewer to understand and appreciate. At that time the Inuit art collecting trend was primarily focused on more conventionally beautiful works or the high realism that were more common to those of the Baffin and Nunavik regions.

Sparshott, however, seems to have been attracted to the unusual: those works which had depth of meaning or disobeyed the rules of form and expression, which put him well ahead of his time. In this way, he was a leader in the collecting world, unbiased and unaffected by what the majority found to be worthy of praise.

What makes his collection all the more interesting is the intersection of Sparshott’s appreciation of Inuit art and his role as a Professor of Aesthetics. We are fortunate then, that as an academic, we have recourse to some of his writings on Art and Aesthetics - including the article “Cold and Remote Art” (Journal of Aesthetics and Art Criticism, 1982) that focused on Inuit art specifically.

Sparshott outlines that in the case of Inuit art, it is how one relates to the art form in the structure of one’s own life, a knowledge, like a memory of your hometown, that is “too intimate to be shaken”. And that has more meaning, in fact, than the relationship structure “established by experts for the world at large.”

This collection represents Francis Sparshott’s unique understandings and appreciations of Inuit art, each piece with its own place and meaning in his story and in relation to each other. It is here that one of these pieces will perhaps intersect with a new collector’s own understandings and appreciations.

“We value what we feel to be our own, not as possessed but as intimate. We cherish our own families, our clothes, our places, our own art, for the ways they enter into our lives, which are not ours because they are the best lives but because they are the ones we turn out to be choosing to live.” ~ Dr. Francis Sparshott, 1982

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

125 JESSIE OONARK, O.C., R.C.A. (1906-1985), BAKER LAKE / QAMANI’TUAQ DOGS stone, 1970, 5/50, unframed 20" x 13" — 50.8 x 33 cm. $1,000—1,500

109

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126 AQJANGAJUK SHAA, R.C.A. (1937-), CAPE DORSET / KINGAIT MAN WITH HIS POLAR BEAR stone, c. 1970 measurements reflect dimensions without base: 22" x 12" x 12" — 55.9 x 30.5 x 30.5 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1974 $3,000—5,000

110

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

127 GROUP OF ARTIFACTS, ALASKA ivory, copper, comprised of a bear head implement; miniature harpoon with etched designs; two fishing points; seal with inset eyes, seal head; cigarette holder.

No later than 19th Century height 8.5" — 21.6 cm.

Provenance: The Collection of Dr. Francis Sparshott $400—600

128 BEAR HEAD; CARIBOU HEAD, THULE ivory, incised design height 1.25" — 3.2 cm.; 1.5" — 3.8 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1980 $300—500

129 WHALE HARPOON HEAD, ALASKA ivory, 18th Century 6.25" x 1.5" x .75" — 15.9 x 3.8 x 1.9 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1980 $300—400

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130 BOWHEAD WHALE AMULET; WHALE TOGGLE; THREE SMALLER WHALE AMULETS, ALASKA; CAPE WALES VILLAGE ivory, 19th Century; 16th-18th Century 3" x 1" — 7.6 x 2.5 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1976 & 1977 $300—500

131 HARPOON HEAD, PUNUK ivory, decorated with incised lines 3.75" x .5" x .75" — 9.5 x 1.3 x 1.9 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1982 $700—1,000

112

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

132 PIPE, ST. LAWRENCE ISLAND, ALASKA ivory, decorated with engraved standing caribou, geese, walrus hunting scenes and whale flukes, as well as celebratory figures, 19th Century 8.5" x 2" x 1.25" — 21.6 x 5.1 x 3.2 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1973 Literature: Fitzhugh and Kaplan, Inua, Spirit World of the Bering Sea Eskimo, 1982, page 265, pl. 330 Note: “Eskimo engravers quickly realized that Europeans were eager to own engraved ivories. Around the Bering Strait and to the North, an ivory carving industry developed, and many of the engraved scenes found on bag handles and drill bows were transferred onto non functional ivory pipes. “ $1,000—2,000

113

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133 UNIDENTIFIED, KING ISLAND, ALASKA / UGIUVAK TWO SHAMAN MASKS wood; wood and ivory 11" x 7.25" — 27.9 x 18.4 cm. $3,000—5,000

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Provenance: The Collection of Dr. Francis Sparshott, 1985 Literature: Dorothy Jean Ray, Eskimo Art: Tradition and Innovation in North Alaska, 1977, page 263 Note: King Island shaman masks represent the good shaman and the bad shaman.

The bad shaman is characterized by the thick lower lip and the good shaman by a thick upper lip.

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

134 CRIBBAGE BOARD, NUNIVAK ISLAND, ALASKA ivory, red and black ink, elaborately carved and etched with fish motif, late 19th / early 20th Century 7.5" x 1.5" x 1" — 19.1 x 3.8 x 2.5 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1979 $700—1,000

135 HARPOON HEAD, OLD BERING SEA ivory, decorated with incised lines 4.25" x 1" x .75" — 10.8 x 2.5 x 1.9 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1975 $800—1,200

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136 140

139

138

136 PREGNANT WOMAN

ivory, early 20th Century height 1" — 2.5 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1977 $200—300

137 JUDAS ULLULAQ (1937-1999), GJOA HAVEN / UQSUQTUUQ A COLLECTION OF EIGHT MINIATURES antler, including a man with a staff; three polar bears; two dogs; a komatik; a narwhal no larger than height 1.5" — 3.8 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1974 Note: This group of miniatures are from Ullulaq’s first show of miniatures at Isaacs Innuit Gallery in Toronto, 1976. $1,000—1,500

116

138 UNIDENTIFIED ARCTIC ANIMALS ivory, including sled dogs, arctic foxes, and a lemming, early 20th Century no larger than 2" x .75" x .5" — 5.1 x 1.9 x 1.3 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1975 $300—500

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

137

141

139 UNIDENTIFIED, LABRADOR / NUNATSIAVUT AN INUIT COUPLE ivory, red and black ink, wearing traditional clothing from the region, c.

20th Century 2.25" x 1" x .5" — 5.7 x 2.5 x 1.3 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1977 $400—600

140 REX GOOSE (1965-), HOLMAN / ULUKHAKTOK RUNNING WOMAN WITH CHILDREN AND DOG; MOTHER PLAYING WITH CHILD

141 AUGUSTIN ANAITTUQ (1935-), PELLY BAY / ARVILIQJUAQ FIGURE CARRYING FISH; FIGURE CARRYING PACK AND SEAL

antler

ivory, stone, signed in Roman

2.25" x 1.5" x 1" — 5.7 x 3.8 x 2.5 cm.; 1" x 1" x .5" — 2.5 x 2.5 x 1.3 cm.

1" x 1.25" x .5" — 2.5 x 3.2 x 1.3 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1995

Provenance: The Collection of Dr. Francis Sparshott, 1977 $200—250

Note: Rex Goose specializes in miniature carvings in ivory, antler, whalebone and white alabaster. These works have likely been inspired by images from his past and are extraordinarily detailed. $600—900

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Mark Tungilik Mark Tungilik was a happy man. He delighted in his work and was proud of the way he amazed family and friends with the detail of his ivory figures. He took life as he found it, and portrayed it in his work with all its joy, pride, sadness, fear, anxiety and superstition.

He was not the most gifted Inuit artist, but, certainly one of the most unique and distinctive. Qualities that have made his work admired and collected all over the world.

Although in his prime he carved beautifully detailed scenes of the hunt, in latter years Tungilik challenged deteriorating eyesight by carving smaller and smaller tableaus, still with humour and incredible detail. Notice the expressions of the three ferocious tiny hunters apparently bracing to grab a single snow goose (lot 145).

Mr. Tungilik seldom described the meaning of his carvings. The explanation of hunters cautiously approaching their game is obvious to us. But some works more linked to Inuit tradition are enigmatic to us and beg interpretation.

Part of the enjoyment of his work is to try to provide it.

Of course, the signature piece of this grouping leaves no room for misinterpretation (lot 142). The stone carver looks up in agony as blood gushes from his wound. Perhaps the most unique of all his carvings, this work still leaves questions. Is the blood stream freezing as it falls to the tundra?

Does it represent an unfortunate incident from his own past? My guess is yes. But you are free to guess for yourself. That is the fun of this phase of his work.

John Cowan, Inuit Art Collector, 2016 collectinginuitart@hotmail.com

Are the two distraught bearded figures apparently searching for something lost on the tundra, mocking reflections of his past experiences with the Christian clergy? (lot 144) And is he himself the proud figure standing beside a totem which could represent the members of his family? (lot 144) A southern woman shuffling awkwardly across the arctic ice carrying a purse would have been a curious sight to him (lot 145). Is this the meaning? It is fun to speculate.

142 MARK TUNGILIK (1913-1986), REPULSE BAY / NAUJAAT MAN CUT HIS HAND CARVING ivory, stone, signed in syllabics 2.5" x 2.25" x 1.25" — 6.4 x 5.7 x 3.2 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1977 $600—900

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

144 143

145

143 MARK TUNGILIK (1913-1986), REPULSE BAY / NAUJAAT THREE HUNTING SCENES

145 MARK TUNGILIK (1913-1986), REPULSE BAY / NAUJAAT FIGURE CARRYING BAG; AN ERMINE; THREE MEN AND BIRD ON MOUNT

ivory, stone, signed in syllabics, c. 1977 ivory, stone; horn, signed in syllabics, c. 1980 2" x 4" x 3.5" — 5.1 x 10.2 x 8.9 cm. .75" x 2" x 1" — 1.9 x 5.1 x 2.5 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1983

Provenance: The Collection of Dr. Francis Sparshott, 1977

$400—600 $300—400

144 MARK TUNGILIK (1913-1986), REPULSE BAY / NAUJAAT SHAMAN AND TOTEM POLE; TWO BEARDED SHAMANS ON A BASE ivory, stone, signed in syllabics, c. 1980 3" x 1.5" x .75" — 7.6 x 3.8 x 1.9 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1983 $300—500

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149 147

147

146 148

146 BARNABUS ARNASUNGAAQ (1924-), BAKER LAKE / QAMANI’TUAQ MUSK OX SHAMAN TRANSFORMATION

148 ELIZABETH NUTARALUK AULATJUT (19141998), ESKIMO POINT / ARVIAT WOMAN WITH BRAIDS

stone, signed in syllabics, no later than 1985

stone, c. 1980

3" x 4.75" x 2" — 7.6 x 12.1 x 5.1 cm.

4" x 1.5" x 2" — 10.2 x 3.8 x 5.1 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1985

Provenance: The Collection of Dr. Francis Sparshott

$500—700

$500—700

147 ADA EYETOAQ (1934-), BAKER LAKE / QAMANI’TUAQ FIGURE EMBRACING POLAR BEAR CUBS; THREE FRIENDS

149 JOHN PANGNARK (1920-1980), ESKIMO POINT / ARVIAT FIGURE stone, c. 1970

stone, signed in syllabics 4" x 1.75" x 3" — 10.2 x 4.4 x 7.6 cm.

3.5" x 2.5" x 1.75" — 8.9 x 6.4 x 4.4 cm.; 3.5" x 3" x 1.5" — 8.9 x 7.6 x 3.8 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1984 & 1982, respectively $600—900

120

Provenance: The Collection of Dr. Francis Sparshott, 1971 $600—900

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

151

152 150

150 DAVIDIALUK ALASUA AMITTU (1910-1976), POVUNGNITUK / PUVIRNITUQ TWO HORSESHOE CRABS

152 GEORGE ARLUK (1949-), ESKIMO POINT / ARVIAT INUK ON A SNOWMOBILE

stone, signed in Roman, c. 1970

stone, 1980

1" x 4.25" x 2.75" — 2.5 x 10.8 x 7 cm.

5" x 5" x 2.5" — 12.7 x 12.7 x 6.4 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1984

Provenance: The Collection of Dr. Francis Sparshott

$500—700

Literature: For a similar piece see, The Faye and Bert Settler Collection, Winnipeg Art Gallery, exh. cat, 2005, page 46

151 UNIDENTIFIED, PORT HARRISON / INUKJUAK MAN WITH SLEEPING DOG

$400—600

stone, sinew, c. 1955 man measures 3" x 4.25" x 3.25" — 7.6 x 10.8 x 8.3 cm.; 3" — 7.6 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1984 $400—600

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153 MAUDIE RACHEL OKITTUQ (1944-), SPENCE BAY / TALOYOAK ANGUISHED WOMAN stone, no later than 1980, signed in syllabics 5" x 2.5" x 1.5" — 12.7 x 6.4 x 3.8 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1980 Literature: Darlene Coward Wight, Art & Expression of the Netsilik, Winnipeg Art Gallery, 2000, page 97, pl. 87 Note: In its sullen composition, this work bears a resemblance to Okittuq’s “Poor Woman.”

In lot 153, a kneeling woman expresses a quiet and tender sadness, her mouth drawn into a great frown and her eyes down turned. Like “Poor Woman,” created during the same period, this work may also possess an autobiographical context. In an interview with Wight, Okittuq recalled “the anxious period in her childhood, after her mother died, when there was no one to make skin clothing for the family.” $600—900

154 HANNAH ALOOLOO AKIKULU (1950-) OR GEORGE AKIKULU (1940-), ARCTIC BAY / IKPIARJUK WOMAN IN TRADITIONAL CLOTHING stone, signed in syllabics, c. 1965 4" x 1.5" x 1" — 10.2 x 3.8 x 2.5 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1984 $300—500

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

155 AGNES NULLUQ IQQUGAQTUQ (1930-2006), PELLY BAY / ARVILIQJUAQ WOMAN AND OTTER ivory, antler, signed in syllabics 3" x 3" x 1.5" — 7.6 x 7.6 x 3.8 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1978 $200—400

156 SIMON QAMANIRQ (1953-), ARCTIC BAY / IKPIARJUK FLAYED SEAL; BEARDED FACE PENDANT; WISHBONE SHAPED BEAR/WALRUS/SEAL COMPOSITION antler; horn, c. 1980, pendant bears the word Inuit in Inuktitut 2.25" x 1.75" x .5" — 5.7 x 4.4 x 1.3 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1983 Note: Simon’s finely detailed carvings are his specialty. $800—1,200

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157 LUKE IKSIKTAARYUK (19091977), BAKER LAKE / QAMANI’TUAQ WINGED SHAMAN antler, leather, wearing a shaman’s traditional belt 8" x 8" x 4" — 20.3 x 20.3 x 10.2 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1978 $4,000—6,000

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

158 LUKE IKSIKTAARYUK (1909-1977), BAKER LAKE / QAMANI’TUAQ SHAMAN’S BELT OR NECKLACE antler, leather, comprised of 76 human heads, largest head measures 1.5" — 3.8 cm.

Literature: Norman Zepp, Pure Vision: The Keewatin Spirit, 1986, page 50 Seidelman & Turner, The Inuit Imagination; Arctic Myth and Sculpture, 1994, page 211 Jean Blodgett, The Coming and Going of the Shaman, Eskimo Shamanism and Art, 1978, page 155, 156

length 42" — 106.7 cm.

Provenance: The Isaacs / Innuit Gallery, Toronto, 1978, The Collection of Dr. Francis Sparshott $3,000—5,000

Note: A traditional shaman’s belt was worn by the shaman (angakoq) in everyday life as well as during ceremonies. Its purpose was much like the amulets that people wore for both protection and help from the spirit world. The difference was the types of objects that were suspended and the materials used, such as animal bones and teeth, ribbon or clothing scraps, sinew and carved images or objects. The belts were individualized to the shaman and his helper spirits.

Iksiktaaryuk portrayed shamans wearing these belts (see lot 157 in this catalogue) and was clearly inspired by the belts in the fabrication of this exceptional work. Norman Zepp notes, “The amulet belt is an important feature of Iksiktaaryuk’s shamans” and that “the artist, and his community, believed in the angakoq.” In this case, the individual heads are as dramatic as one of his flying shamans, what is not obvious is what significance the number of heads holds or the number of heads in each grouping. Perhaps each grouping is a family within his community. As described in The Inuit Imagination, “Iksiktaaryuk’s carving style was unique; simple but expressive human figures, individually or in groups, carved from caribou antler, a material that is in itself a symbol of birth and regeneration.”

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159 NICK SIKKUARK (1943-2013), PELLY BAY / ARVILIQJUAQ SEA BEAST DEVOURING MAN antler, bone, musk ox horn, down, qiviut (musk ox fur), signed in syllabics 5.25" x 11" x 4.5" — 13.3 x 27.9 x 11.4 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1982 $1,000—1,500

126

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

160

162

161

160 LUKTA QIATSUK (1928-2004), CAPE DORSET / KINGAIT RESPLENDENT BIRD

161 LUKTA QIATSUK (1928-2004), CAPE DORSET / KINGAIT SWIMMING LOON

162 POOTOOGOOK QIATSUK (1959-), CAPE DORSET / KINGAIT GOOSE

stone, possibly signed in syllabics, c. 1984

stone, c. 1984

stone, c. 1984

5" x 6" x 3" — 12.7 x 15.2 x 7.6 cm.

2.5" x 7.25" x 1.75" — 6.4 x 18.4 x 4.4 cm.

7.25" x 4.5" x 2.25" — 18.4 x 11.4 x 5.7 cm.

Provenance: The Collection of Dr. Francis Sparshott

Provenance: The Collection of Dr. Francis Sparshott, 1984

Provenance: The Collection of Dr. Francis Sparshott $600—900

$500—700 $500—700

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163 LUCY TASSEOR TUTSWEETOK (1934-2012), ESKIMO POINT / ARVIAT FAMILY stone, c. 1975 6" x 5" x 3.5" — 15.2 x 12.7 x 8.9 cm.

Provenance: The Collection of Dr. Francis Sparshott $1,000—1,500

128

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

164 NOAH ANNANACK (1937-), GEORGE RIVER / KANGIQSUALUJJUAQ BIRD WOMAN antler, articulated arms, fits into a slotted base 14" x 15" x 5.25" — 35.6 x 38.1 x 13.3 cm.

Provenance: The Collection of Dr. Francis Sparshott $600—900

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165 SANDY LUCAS ANNANACK (1949-), GEORGE RIVER / KANGIQSUALUJJUAQ SHAMAN CREATURE antler, signed in syllabics 11" x 6" x 9" — 27.9 x 15.2 x 22.9 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1982 $500—700

130

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

166 CECILIE KLEIST (1949-), GREENLAND SHAMAN DRUMMER ivory 5" x 1.75" x 2" — 12.7 x 4.4 x 5.1 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1975 $400—600

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167 UNIDENTIFIED, GREENLAND TWO TUPILAKS ivory, stone, c. 1950 5.5" x 1.75" x 3" — 14 x 4.4 x 7.6 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1975 $800—1,200

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

168 UNIDENTIFIED, GREENLAND TWO MINIATURE TUPILAKS ivory, stone, c. 1960 1.5" x .5" x .25" — 3.8 x 1.3 x 0.6 cm.

Provenance: The Collection of Dr. Francis Sparshott $300—500

169 BIANOO AGTASKA; PEEKE UTUM, GREENLAND THREE TUPILAKS horn, inset ivory, c. 1975 5" x 1" x 1" — 12.7 x 2.5 x 2.5 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1977, 1974, and 1977, respectively $400—600

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170 THOMASSIE KUDLUK (1910-1989), PAYNE BAY / BELLIN / KANGIRSUK THE MAN ARRIVES HOME BEFORE HIS DOG TEAM IN A SNOWSTORM, HUNGRY FOR THERE WERE NO ANIMALS stone, inscribed with the title/explanation in Inuktitut, signed in syllabics, 1977 5" x 6" x 1.75" — 12.7 x 15.2 x 4.4 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1981 $1,000—1,500

134

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

171 THOMASSIE KUDLUK (1910-1989), PAYNE BAY / BELLIN / KANGIRSUK THAT INUK HE FISHES, THE WATER IS DEEP AND WHEN THE GREAT FISH TAKES THE BAIT ITS POWER PULLS HIM OVER AND HE BUMPS HIS HEAD ON THE WIND BREAK stone, inscribed with the title/explanation in Inuktitut, signed in syllabics, c. 1976 8" x 10" x .75" — 20.3 x 25.4 x 1.9 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1981 $1,000—1,500

135

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172 JOE TALIRUNILI (1893-1976), POVUNGNITUK / PUVIRNITUQ HORNED OWL stone, c. 1970 6" x 2.5" x 2.5" — 15.2 x 6.4 x 6.4 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1976 $1,200—1,600

173 JOE TALIRUNILI (1893-1976), POVUNGNITUK / PUVIRNITUQ HORNED OWL stone, c. 1970 5" x 2.5" x 2.25" — 12.7 x 6.4 x 5.7 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1976 $800—1,200

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

174 ABRAHAM APAKARK ANGHIK (1951-), SALT SPRING ISLAND FALCON ON A ROCK stone, signed in Roman, dated 1980 11.75" x 4" x 3" — 29.8 x 10.2 x 7.6 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1981 $1,000—1,500

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175 PIE KUKSHOUT (1911-1980), RANKIN INLET / KANGIQLINIQ TWO FACED HEAD WITH CLIMBING FIGURE AND BIRD ceramic, signed in syllabics with disc number, c. 1970 11" x 7" x 9" — 27.9 x 17.8 x 22.9 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1979 Literature: Rankin Inlet / Kangirlliniq, Winnipeg Art Gallery, 1981, exh. cat., page 3334 Note: Some of the most innovative and imaginative work was created by Pie Kukshout during the original Rankin Inlet ceramics program. This work was acquired from the Innuit Gallery, exhibition, Rankin Inlet Ceramics, 1964-1972: A Fleeting Phenomenon which Av Isaacs held in 1979 at the Toronto Gallery. The critically successful ceramics program came to an end for various reasons but mainly due to lack of government funding and support. $700—1,000

176 PIE KUKSHOUT (1911-1980), RANKIN INLET / KANGIQLINIQ VASE DECORATED WITH MUSK OXEN AND CARIBOU ceramic, signed in syllabics and disc number, c. 1972 7" x 7" x 6" — 17.8 x 17.8 x 15.2 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1979 Literature: Rankin Inlet / Kangirlliniq, Winnipeg Art Gallery, 1981, exh. cat., page 32, pl.

28, illustrated on page 73 Note: Acquired from the Isaacs Innuit Gallery exhibition, Rankin Inlet Ceramics, 1964-1972: A Fleeting Phenomenon (1979). A similar work by Kukshout illustrated in the 1981 Winnipeg Art Gallery, Rankin Inlet exhibition catalogue is aptly described by Bernadette Driscoll, “Through a streaking chartreuse glaze, caribou and musk oxen are carved in high relief, and seem on the verge of rising to their feet.” $600—900

138

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

177 JOHN KAVIK (1897-1993), RANKIN INLET / KANGIQLINIQ A FIGURE EATING stone, signed in syllabics, c. 1970 10" x 6" x 2.75" — 25.4 x 15.2 x 7 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1976 $2,500—3,500

178 JOHN KAVIK (1897-1993), RANKIN INLET / KANGIQLINIQ JANUS HEAD stone, c. 1970 7" x 3.25" x 4" — 17.8 x 8.3 x 10.2 cm.

Provenance: The Collection of Dr. Francis Sparshott $1,000—1,500

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179 UNIDENTIFIED, SPENCE BAY / TALOYOAK SHAMAN WITH BIRD SPIRIT whalebone, stone, c. 1960’s 16.5" x 24" x 9" — 41.9 x 61 x 22.9 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1972 Note: A definitive attribution has not been assigned for this work. It is possible, based on stylistic similarities, that it is the work of Eli Inukpaluk (1916-1979). See Darlene Coward Wight, Art & Expression of the Netsilik, 2000, page 76, in it, Wight notes that “style and subject matter can be the most reliable guide, and he has done many “hulking” human figures, with arms extended horizontally, or hanging more naturally.” Sparshott noted this work to be attributed to Ookitook, presumably this would be Maudie or husband James Okittuq, however stylistically similar works have not been documented. $1,500—2,500

140

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

180 UNIDENTIFIED, SPENCE BAY / TALOYOAK TRANSFORMING SHAMAN WITH HELPER SPIRIT whalebone, c. 1960’s 17" x 14" x 8" — 43.2 x 35.6 x 20.3 cm.

Provenance: The Collection of Dr. Francis Sparshott, 1973 Note: A definitive attribution has not been assigned for this work. It is possible, based on stylistic similarities, that it is the work of Josie Ittiruttak (1899-1975). See Darlene Coward Wight, Art & Expression of the Netsilik, 2000, page 77. Sparshott noted this work to be attributed to Ookitook, presumably this would be Maudie or husband James Okittuq, however stylistically similar works have not been documented. $700—1,000

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181 JOHN PANGNARK (1920-1980), ESKIMO POINT / ARVIAT FIGURE IN VOLUMINOUS AMAUTIQ stone, signed in syllabics, c. 1975 4.75" x 5" x 2.25" — 12.1 x 12.7 x 5.7 cm.

Provenance: Acquired during the collector’s photography trip for the National Film Board of Canada, 1974–1976, Private Collection, British Colmubia $1,200—1,600

182 JOHN PANGNARK (1920-1980), ESKIMO POINT / ARVIAT FIGURE IN AMAUT stone, signed in syllabics, c. 1975 6" x 4.25" x 4.5" — 15.2 x 10.8 x 11.4 cm.

Provenance: Acquired during the collector’s photography trip for the National Film Board of Canada, 1974–1976, Private Collection, British Columbia $1,500—2,000

The artist holding this lot, photo taken by collector in 1975.

142

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

183 JOHN PANGNARK (1920-1980), ESKIMO POINT / ARVIAT PRAYING FIGURE stone, signed in syllabics, c. 1975 3.25" x 1.15" x 2.75" — 8.3 x 2.9 x 7 cm.

Provenance: Acquired during the collector’s photography trip for the National Film Board of Canada, 1974–1976, Private Collection, British Columbia $600—900

184 ANDY MIKI (1918-1983), ESKIMO POINT / ARVIAT FOUR ANIMALS ON BASE stone, c. 1975 5" x 4.5" x 2.75" — 12.7 x 11.4 x 7 cm.

Provenance: Acquired during the collector’s photography trip for the National Film Board of Canada, 1974–1976, Private Collection, British Columbia $1,000—1,500

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185 LUKE IKSIKTAARYUK (19091977), BAKER LAKE / QAMANI’TUAQ DRUM DANCE CIRCLE antler, string, seal membrane 5.5" x 15" x 10" — 14 x 38.1 x 25.4 cm. $6,000—9,000

144

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Inuit Art Auction - Tuesday 22 November 2016 at 1 p.m.

186 KANANGINAK POOTOOGOOK, R.C.A. (1935-2010), CAPE DORSET / KINGAIT MUSK OX WITH WINDSWEPT COAT stone, signed in syllabics 8" x 11" x 3.5" — 20.3 x 27.9 x 8.9 cm. $3,000—4,000

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187 JOE TALIRUNILI (1893-1976), POVUNGNITUK / PUVIRNITUQ HUNTER CARRYING HIS WEAPONS stone, plastic, thread, signed in Roman 6" x 3" x 2.5" — 15.2 x 7.6 x 6.4 cm.

Provenance: Drury Collection of Inuit Art, Private Collection, British Columbia Note: Mr. Drury was an executive at Hudson Bay Company during the years 1958 to 1965. $3,000—4,000

188 JOE TALIRUNILI (1893-1976), POVUNGNITUK / PUVIRNITUQ HORNED OWL stone, signed in Roman 5" x 3.25" x 1.5" — 12.7 x 8.3 x 3.8 cm.

Provenance: Drury Collection of Inuit Art, Private collection, British Columbia Note: Mr. Drury was an executive at Hudson Bay Company during the years 1958 to 1965. $1,000—1,500

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189 CECILIE KLEIST (1949-), GREENLAND TUPILAK ivory 4" x 2.5" x 1.75" — 10.2 x 6.4 x 4.4 cm. $600—800

190 PARR (1893-1969), CAPE DORSET / KINGAIT INNUKSHUKS AT PLAY stonecut, 1968, 14/50, framed, sight 24" x 16.5" — 61 x 41.9 cm. $2,500—3,500

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191 PARR (1893-1969), CAPE DORSET / KINGAIT ANOTHER TIME stonecut, 1964, 21/50, unframed 24.25" x 26.25" — 61.6 x 66.7 cm. $3,000—5,000

192 PARR (1893-1969), CAPE DORSET / KINGAIT WALRUS HUNTER ON SEA ICE stonecut, 1967, 22/50, framed, sight 22" x 29.75" — 55.9 x 75.6 cm. $2,500—3,500

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193 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), CAPE DORSET / KINGAIT THE OWL stone, 1969, 77/100, unframed 24" x 36" — 61 x 91.4 cm. $3,000—5,000

194 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), CAPE DORSET / KINGAIT OWL, RAVENS, AND DOGS stonecut, 1967, 46/50, unframed 24.5" x 34" — 62.2 x 86.4 cm. $3,000—5,000

195 KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013), CAPE DORSET / KINGAIT SONG OF SPRING (DIPTYCH) lithograph, 2006, 32/50, unframed 33.25" x 23" — 84.5 x 58.4 cm. $2,500—3,500

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196 BOB BOYER (1948-2004) DROPPING ATOM BOMBS mixed media on blanket, signed, titled (faded) and dated Spring ‘88 on the reverse 91" x 69.75" — 231.1 x 177.2 cm.

Provenance: Cineplex Odeon Corp., Head Office, 1988, Private Collection, Canada, 1990 Literature: Lee-Ann Martin, Bob Boyer: His Life’s Work, MacKenize Art Gallery, 2008, exh. cat.

Deidre Hanna, “Bob Boyer: Saskatchewan Artist’s Wonderfully Witty Blanket Paintings Weave Modernism with tradition,” NOW, 10-16 Nov 1994, 36 as quoted in Bob Boyer: His Life’s Work, pages 55 & 58 Bob Boyer, letter to John Armstrong & Sarah Quinton, 19 July 1991, as quoted in Bob Boyer: His Life’s Work, page 37 Robert Enright, “The Sky is the Limit: Conversations with First Nations Artists – Blanket Approval, the Art of Bob Boyer,” Border Crossing 11, (Dec 1992), page 54 as quoted in Bob Boyer: His Life’s Work, page 46 $4,000—5,000

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Note: Bob Boyer is Métis with a cultural background influenced by the Assiniboine and Sioux. His works, broadly, speak to notions of a dual cultural perspective of his Native heritage and Western traditions of abstract and contemporary art.

Though he worked in a variety of media throughout his career, Boyer is perhaps best known for his series of blanket paintings completed between 1983 and 1995. Boyer elected to use a blanket as his substrate rather than a traditional canvas to address the political issues of First Nations people.

In January 1988, the winter preceding the creation of this work, Boyer delivered a presentation in conjunction with the exhibition, Bob Boyer: A Blanket Statement at the University of British Columbia, Museum of Anthropology in Vancouver.

Martin comments that blankets are symbolic of a gift that North American Aboriginal peoples hold in high regard. Boyer recounted to author Robert Enright, “I used to help my mother make quilts. Making quilts and giving blankets is important in Plains culture.” In a personal correspondence with John Armstrong & Sarah Quinton, Boyer also stated, “the blanket to me is a symbol of all things that are comforting in the world.”

Thus, these works juxtapose the traditional sense of the domesticity associated with a blanket against a vocabulary of modern Western techniques. Reductive and hard-edged geometry – motifs borrowed from the Aboriginal peoples of the northern Plains – in this work are composed with blazing hues on a subversively soft and yielding material which turns the blanket, an object from which one should derive comfort, into something aggressive.

The incongruity of its formal qualities reinforces the already compromised idea of the blanket as it relates to Aboriginal populations, which were decimated in alarming numbers by the deliberate spread of the Smallpox virus using contaminated blankets in the nineteenth century.

“In 1994, Deidre Hanna remarked that these blanket paintings expand ‘the realm of post-painterly abstraction while acting as an in-your-face reminder of the devastation wrought among Canada’s First Nations. It’s this kind of turn that has earned Boyer a place in most of Canada’s public collections.’”

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197 DAPHNE ODJIG, C.M. O.B.C. (19192016), POTAWATOMI THE MAGIC GUN, 1971 acrylic on board, signed and dated /71 lower right, titled and inscribed by Schwarz on the reverse, “Property of Herbert Schwarz, MD” 30" x 40.75" — 76.2 x 103.5 cm.

Provenance: Ex. Coll. Herbert T. Schwarz, 1980, Private Collection, Canada, c. 1985, Private Collection, Toronto Literature: Peter Goddard, “Family feeling,” The Toronto Star, 15 March 2008 Herbert T. Schwarz, Tales from the Smokehouse, Edmonton: Hurtig Publishers, 1974, pages 49-59, illustrated in colour on page 50 $6,000—9,000

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Note: In 1974, the same year she opened her first Canadian gallery that represented First Nations art in Winnipeg, MB, Odjig illustrated Dr. Herbert Schwarz’s Tales from the Smokehouse. In this publication, Odjig created a number of graphic erotica for a compilation of First Nations tales gathered

by Dr. Schwarz, who was responsible for introducing Odjig to Picasso.

Following a 2008 exhibition of her works at the Canadian Museum of History (formerly the Canadian Museum of Civilization), Odjig commented of the erotically charged images, “People were shocked at the time, although things have changed now. The native community was the least shocked of all, though. We were brought up as children to accept these things. Sexual matters were part of life."

In this work, one sees the moment before the ensuing drama: Dancing Light sits and “gravely puffed at his pipe, not knowing what to say” after being visited by Crooked Mouth. Crooked Mouth has come to collect his debts accumulated by the widow’s husband (now Dancing Light’s wife).

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198 NORVAL H. MORRISSEAU, R.C.A. (1931-2007) THE SHAMAN SPEAKING FOR ARTIST TO THE MERMAN black and red ink on paper, signed in syllabics, framed 22" x 30" — 55.9 x 76.2 cm.

Provenance: Kinsman Robinson Galleries, Toronto, with their label to frame verso, Private Collection, Toronto $800—1,200

199 ALEX JANVIER, A.O.E. (1935-) TOM-21 NO FEAR OF LOUD VOICES acrylic on paper, signed and dated ‘72, framed, sight 9" x 12" — 22.9 x 30.5 cm.

Provenance: The Pollock Gallery Limited, Toronto Private Collection, Alberta $1,500—2,000

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200 JAMES ARCHIBALD HOUSTON, O.C., FRSA (1921-2005), CANADIAN SEATED WOMAN graphite drawing, signed lower right and dated Feb. 1955 at Ennadai Lake lower left, matted and unframed 11" x 15" — 27.9 x 38.1 cm. $400—600

201 JAMES ARCHIBALD HOUSTON, O.C., FRSA (1921-2005), CANADIAN WOMAN WITH BED MAT TWIGS (TWO-SIDED DRAWING) felt tip over graphite, signed, dated Feb. 1955 at Ennadia [sic] Lake / NWT lower left recto, unframed 14" x 10.75" — 35.6 x 27.3 cm. $300—500

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The Netsilik Triumvirate Essay End notes

1) Judy McGrath, Karoo Ashevak: Spirits, Fifteen whalebone carvings, American Indian Art Center, New York, exhibition catalogue. (Based on an unpublished article by Judy McGrath, submitted to Arts Canada), 1973, unpaginated

Specialist’s Introduction Endnotes

1) Jean Blodgett, Selections from The John and Mary Robertson Collection of Inuit Sculpture, 1986, page 13.

2) Judy McGrath, 1973 3) Cynthia Cook, “Transcending the Specifics of Inuit Heritage: Karoo in Ottawa”, Inuit Art Quarterly, Summer 1995, page 34 4) Peter Lau, Charlie Ugyuk’s obituary, 1998 5) Inuk Charlie, Charlie Ugyuk’s obituary, 1998 6) Darlene Coward Wight, Art & Expression of the Netsilik, Winnipeg Art Gallery, 2000, page 104 7) Wight, 2000, page 152 8) Emily E. Auger, The Way of Inuit Art, Aesthetics and History in and Beyond the Arctic, 2005, page 135; Francis Sparshott, 1983, "Ooloolah of Spence Bay," gallery pamphlet, Toronto: Innuit Gallery of Eskimo Art. 9) Wight, 2000, page 160 10) Wight, 2000, page 152

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Index

A AGTASKA, BIANOO...169 AKEEAKTASHUK (1898-1954), E9-713...33 AKESUK, LATCHOLASSIE (1919-2000), E7-1055...81 AKIKULU, GEORGE (1940-), E7-1138...154 AKIKULU, HANNAH ALOOLOO (1950-) E5-1103...154 AMITTU, DAVIDIALUK ALASUA (1910-1976), E9-824...150 ANAITTUQ, AUGUSTIN (1935-), E3-353...141 ANGHIK, ABRAHAM APAKARK (1951-), W3-1205...174 ANGNAYUINAK, YAHA (1907-1980), E1-475...24 ANNANACK, NOAH (1937-), E8-507...164 ANNANACK, SANDY LUCAS (1949-), E8-664...165 AQIGAAQ, MATHEW (1940-2010), E2-350...15 ARLUK, GEORGE (1949-), E3-1049...152 ARNASUNGAAQ , BARNABUS (1924-), E2-213...13, 14, 146 ASHEVAK, KAROO (1940-1974), E4-196...80 ASHEVAK, KENOJUAK (1927-2013), E7-1035...8, 12, 86, 87, 88, 89, 193, 194, 195 ASHOONA, KIAWAK (1933-2014), E7-1103...77, 103, 104 ATAMMIQ KEATAINAK, EVA (1919-1988), E9-1119...39 AUDLALUK, MUSUSI (1916-), E9-1076...54, 55 AUPALUKTUK, MOSES (1924-1983), E9-833...36 AUPALURTAQ KAITAK, SARAH (1907-1985), E9-1085...45 B BOYER , BOB (1948-2004)...196 E ENNUTSIAK (1896-1967), E7-603...119, 120 ETUNGAT, ABRAHAM (1911-1999), E7-809...21, 22 EVALUARDJUK, HENRY (1923-2007), E5-846...109 EYETOAQ, ADA (1934-), E2-352...147 G GOOSE, REX (1965-), W2-1082...140 H HOUSTON, JAMES ARCHIBALD (1921-2005)...124, 200, 201 I IDLASUK PAUYUNGIE , EVA (1941-), E9-1117...62 IKKIDLUAK, LUCASSIE (1949-), E7-765...96 IKSIKTAARYUK, LUKE (1909-1977), E2-45...107, 157, 158, 185 INUKPALUK, ELI (1916-1979), E4-344...180 ITTUVIK TAYARAK, MAGGIE (1898-1961), E9-1165...58 ITUKALLA, JUANISI JAKUSI (1949-), E9-1886...111 IYERAK, ALAIN (1920-), E5-473...68 J JANVIER, ALEX (1935-)...199 K KADYULIK, AVINGAK LUCY (1937-), E9-1185...61 KAIGALALUK, JOHNNY (1884-1963), E9-1110...64 KAKANGAK ANGUTIGIRK, SIASIE (1916-1982), E9-1142...46, 60 KAVIK, JOHN (1897-1993), E2-290...37, 38, 106, 177, 178 KIAKSHUK (1886-1966), E7-105...77 KIGUSIUQ , JANET (1926-2005), E2-71...5 KLEIST, CECILE (1949-)...166, 189 KOONARK, OOTOOVA (1930-), E5-814...30 KUDLUK, THOMASSIE (1910-1989), E8-873...170, 171 KUKSHOUT, PIE (1911-1980), E2-302...175, 176 KUPIRKRUALUK , AUDLALUK (1926-D), E9-1031...65 KUPIRKRUALUK, JOSEPIE NINGIOK (1930-), E9-1032...52 KUTCHAKA, TIMOTHY (1924-), E9-774...69 M MANGITAK, KELLYPALIK (1940-), E7-999...9 MIKI, ANDY (1918-1983), E1-436...184 MORRISSEAU, NORVAL H. (1931-2007)...198

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N NAPPAALUK, NAALUK (1928-), E9-1235...48 NAYOUMEALOOK, CONLUCY (1891-1958), E9- 1567...70 NIVIAXIE (1909-1959), E7-107...73 NULLUQ IQQUGAQTUQ, AGNES (1930-2006), E3-302...155 NUNA, NOAH (1900-D), E7-877...27 NUNGAQ, LEVI (1925-), E9-1762...32 NUTARALUK AULATJUT , ELIZABETH (1914-1998), E1-445...148 O ODJIG, DAPHNE (1919-2016)...197 OKITTUQ...179 OKITTUQ, MAUDIE RACHEL (1944-), E4-393...153 OOMAYOUALOOK, ISA (1915-1976), E9-1576...71 OONARK, JESSIE (1906-1985), E2-384 ...2, 3, 4, 117, 118, 125 P PANGNARK, JOHN (1920-1980), E1-104...149, 181, 182, 183 PANIGONIAK AKKARALAK, RITA (1950-), E1-519...26 PAPIGATOK , MARKUSI (1906-1971), E9-1103...63 PAPIGATOK, JOHNNY ISSAJA (1923-), E9-1111...66 PAPIGATOK, MARY SANAAQ (1910-1987), E9-1104...44, 110 PARR (1893-1969), E7-1022...190, 191, 192 PARR, NUNA (1949-), E7-764...108 PINGWARTOK, ULAYU (1904-1978), E7-1038...76 POOTOOGOOK, EEGYVUDLUK (1931-), E7-865...11 POOTOOGOOK, KANANGINAK (1935-2010), E7-1168...23, 186 PUDLAT, INNUKJUAKJU (1913-1972), E7-852...7 Q QAMANIRQ, SIMON (1953-), E5-1131...15 QAQYUARQYUK, KOPAPIK “A” (1923-1969), E7-1011...79 QIATSUK, LUKTA (1928-2004), E7-1060...160, 161 QIATSUK, POOTOOGOOK (1959-), E7-1668...162 QINNUAYUAK, LUCY (1915-1982), E7-1068...1, 90 QUPIRUALU ALASUA, AISA (1916-), E9-801...72 S SAGGIAK (1897-1980), E7-1190...122 SAILA, PAUTA (1916-2009), E7-990...41, 42, 92, 93, 100 SAKIAGAK, MATHEWSIE (1923-), E9-1201...47 SAUMIK, DAVIDEE (1925-1984), E9-876...31 SEVOGA, PETER (1940-2007), E2-225...85 SHAA, AQJANGAJUK (1937-), E7-1065...126 SHEKOALOAK (1940-1959)...10 SIKKUARK, NICK (1943-2013), W1-209...159 SIVURAQ, THOMAS (1941-), E2-236...16, 17, 18, 19, 20 SUDLOO, LYTA (1951-), E7-332...75 T TALIRUNILI, JOE (1893-1976), E9-818...6, 35, 172, 173, 187, 188 TAQAQ SAVIAKJUK , ELISAPIE (1914-), E9-1139...51 TAQULIK KAITAK, JOSEPHIE (1941-), E9-1089...53 TARKIRK, SANAAQ (1938-), E9-1169...59 TASSEOR TUTSWEETOK, LUCY (1934-2012), E1-135...25, 82, 105, 163 TAYARAK , KULULAK (1935-), E9-1168...57 TUNGILIK, MARK (1913-1986), E3-320...142, 143, 144, 145 TUNNILLIE, OVILU (1949-2014), E7-779...94, 95 TUNNILLIE, QAVAROAK (1928-1993), E7-929...91 TUTUTTUK TARRIASUK, SAKARIASI (1929-), E9-970...56 U UGYUK, CHARLIE (1931-1999), E4-341...83, 97, 98, 99, 101, 114 UITANGI USAITAIJUK, MIAIJI (1911-), E9-1174...43 ULLULAQ, JUDAS (1937-1999), E4-342...84, 102, 112, 113, 137 UNGNAITOOK, MATUSI (1905-1961)...49 USAITAIJUK, LUCASSIE (1897-1962), E9-1173...67 UTTUUJAQ ILISITUK, PADLI (1931-), E9-1212...50 UTUM, PEEKE...169 UTYE, MARY (1938-), E7-168...28

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Conditions Of Sale

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

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

2. Each lot sold is subject to a premium of 20% of the successful bid price of each lot.

3. Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of that province, whether it HST or GST (Goods and Services Tax).

4. The auctioneer reserves the

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

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

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

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

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

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

8. Immediately after the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the auctioneer with respect to payment of the whole or any part of the purchase price requested by the auctioneer, failing which the auctioneer in his sole

discretion may cancel the sale, with or without re-offering the item for sale.

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

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

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

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

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

the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for: (a) any deficiency in price between the re-sale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer.

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

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

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

13. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of

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Buying at Waddington’s

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

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

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 inquire as to the

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.

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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.

Invaluable Live! clients will be charged a buyer's premium of 25% of the successful bid price of each lot.

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).

ALL PRICES IN CANADIAN FUNDS

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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

Waddington’s 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 Canadian Art Department Commission Rates Items selling for $7,500 or more 10% Items selling for $2,501 to $7,499 15% Items selling for $2,000 or less 20% *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

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 Canadian Fine Art Linda Rodeck canadianart@waddingtons.ca Anna Holmes Fine Art Administrator 416 504 5100 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 Fine Art Administrator 416 847 6182 npd@waddingtons.ca Inuit Art Christa Ouimet 416 847 6184 co@waddingtons.ca Nadine Di Monte Fine Art Administrator 416 504 9100 x6250 inuitart@waddingtons.ca

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

President

Appraisal Co-ordinator

Duncan McLean 416 847 6183 adm@waddingtons.ca

Holly Mazar-Fox 416 847 6167 hmf@waddingtons.ca

Vice President Business Development

Communications

Stephen Ranger 416 847 6194 skr@waddingtons.ca

Building Manager

Monthly Fine Art Doug Payne 416 847 6180 dp@waddingtons.ca

Tess McLean 416 504 9100 tm@waddingtons.ca

Vice President Fine Art Linda Rodeck canadianart@waddingtons.ca

Steve Sheppard 416 847 6186 ss@waddingtons.ca Client Services

Decorative Arts

General Manager

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

Duane Smith 416 847 6172 das@waddingtons.ca

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

Creative & Technical Manager Sean Quinn Sculpture, Decorations, Clocks & Lighting 416 847 6187 sq@waddingtons.ca Andrew Brandt Rugs & Carpets 416 504 9100 ext 6200 ab@waddingtons.ca

Jamie Long 416 847 6188 jl@waddingtons.ca Otto Lam Assistant ol@waddingtons.ca

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

Solomon Alaluf Assistant sa@waddingtons.ca

Vancouver.Waddingtons.ca

Accounts Manager

Vancouver, Canada

Karen Sander 416 847 6173 ks@waddingtons.ca

Jacqui Dixon 778 837 4588 jd@waddingtons.ca

Fine Wine & Spirits Stephen Ranger 416 847 6194 skr@waddingtons.ca

Online Auction Support / Accounts Manager Elda Pappada 416 504 9100 x6213 ep@waddingtons.ca Customer Service Administrator Dee Ismail 416 504 9100 di@waddingtons.ca

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Inuit Art Auction Waddingtons.ca

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

Telephone: 416.504.9100 Fax: 416.504.0033 Toll Free: 1.877.504.5700