Inuit Art Select | June 4 - 9, 2022

Inuit Art Select JU N E ! "!— !$% !& '&&

BID1AND1VIEW1ALL1LOTS1ONLINE1AT www.waddingtons.ca ON1VIEW Thursday, June 2 from 10:00 am to 7:00 pm Friday, June 3 from 10:00 am to 5:00 pm Saturday, June 4 from 10:00 am to 4:00 pm Sunday, June 5 from 12:00 pm to 4:00 pm Monday, June 6 from 10:00 am to 7:00 pm

SENIOR1SPECIALIST Duncan Mclean adm@waddingtons.ca &$)-+&,-)$+-'

SPECIALIST Palmer Jarvis pj@waddingtons.ca &$)-+&,-)$+-

CONSIGNMENT1COORDINATOR Elizabeth Gagnon ekg@waddingtons.ca &$)-+&,-)$+&

COVER Lot $ DAVID!RUBEN!PIQTOUKUN LUMAK AND THE WHALE LEGEND

INSIDE1COVER1

Lot $% LUKE IKSIKTAARYUK FIGURE WITH PLEADING HANDS

INSIDE1BACK1COVER Lot $& MIRIAM!MAREALIK!QIYUK FIGURES'RECLINING'AMIDST'BIRDS

BACK1COVER1

Lot (% LUCY!QINNUAYUAK TULUKARA

PREVIEW1HELD1AT 275 King Street East, 2nd Floor Toronto, ON M5A 1K2 TEL﹕1./0-1".-2/""# TOLL1FREE﹕#/-344-1".-14""

This catalogue and its contents © !"!!# Waddington McLean & Company Ltd.

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

Photography & design by Waddington’s All rights reserved.

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DAVID!RUBEN!PIQTOUKUN!ᑎᕕᑎ!ᐱᑐᑯ!ᕈᐱᐃᓐ!"B#!$%&'()!

PAULATUK LUMAK!AND!THE!WHALE!LEGEND stone, ivory, twine; signed in Roman, 1990 9.5 x 12 x 4 in — 24.1 x 30.5 x 10.2 cm PROVENANCE" Private collection, Toronto, ON NOTE" The joy of hearing stories told by his mother and grandmother about shamanism and traditional beliefs influenced a young David Ruben Piqtoukun and has spawned images recurring throughout the artist’s career. In this work Piqtoukun has approached a traditional subject, that of the legend of Lumak.

In the legend, Lumak, a young blind boy, is taken advantage of by his greedy mother, until a loon takes pity on him and restores his eyesight through immersion in the sea.

Later Lumak punishes his mother by lashing her to a whale. [1] In the present work Piqtoukun has given us a lively image of Lumak atop the creature, being whisked undersea. Bristling with fine detail and life-like in posture, the work exemplifies Piqtoukun’s mastery of his cra!. As elsewhere in the work of Piqtoukun, the eyes of both whale and boy are emphasized by contrasting inlay.

(1) Boas, Frans, The Central Eskimo, (Nebraska: University of Nebraska Press, 1964), 217-218.

RELATED#WORKS" Fine Arts Museum of San Francisco, Cat. No. 2007.21.289, Kiviuq Saddleback (Man riding a fish), by David Ruben Piqtoukun. Click here to read more Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported. Please do not hesitate to contact one of our specialists for further details.

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* BILL!NASOGALUAK!ᐱᐃᓪ!ᓇᓱᒐᓗᐊᒃ!"B#!$%&*()!TUKTOYAKTUK SEAL!SPIRIT stone; unsigned 8.5 x 6.75 x 1.5 in — 21.6 x 17.1 x 3.8 cm PROVENANCE" Private collection, Toronto, ON NOTE" A vision o!en revisited by the artist, and subject to delightful variation, is the image of the transforming, or journeying shaman. Here we see Bill Nasogaluak’s confident handling of volume and movement in this diving creature.

RELATED#WORKS" Waddington’s Auctioneers, Toronto, ON, March 17, 2022, lot 7. Click here to read more

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% TOONOO!SHARKY!ᑐᓄ!ᓴᑭ!"B#!$%+'()!

KINNGAIT!"CAPE!DORSET( SPIRIT!BIRD stone; signed in syllabics, 1988 17.5 x 3 x 2.5 in — 44.5 x 7.6 x 6.4 cm PROVENANCE" Private collection, Toronto, ON NOTE" A wide-eyed and lively bird by Toonoo Sharky carved with supernatural features including an elongated and undulating neck. The work exhibits the refinement and a"ention to surface finish for which the artist is well known.

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+ NUVEEYA!IPELLIE!ᓄᕕᐊ!ᐃᐱᓕ!"$%,'-,'$'()!

IQALUIT!"FROBISHER!BAY( WILD-EYED!BEAR stone, ivory, baleen ; signed in Roman 6 x 2.5 x 3.5 in — 15.2 x 6.4 x 8.9 cm PROVENANCE" Private collection, Toronto, ON NOTE" Here, in a departure from the artist’s typical focus on musk oxen as subject ma"er, the talented Nuveeya Ipellie, son of the renowned artist Ennutsiak, has carved a delightful wideeyed and open-mouthed bear in a manner reminiscence of the classic early sculptures by artists such as Daniel Simaotik of Inukjuak (Port Harrison).

RELATED#WORKS" George Swinton, Sculpture of the Eskimo, (Toronto: McClelland and Stewart Ltd. 1972), 154, pl. 255.

Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported. Please do not hesitate to contact one of our specialists for further details.

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) DAVID!RUBEN!PIQTOUKUN! ᑎᕕᑎ!ᐱᑐᑯ!ᕈᐱᐃᓐ!"B#!$%&'()!PAULATUK TRANSFORMING!SHAMAN stone, ivory; signed in Roman, 1992 4.75 x 2.25 x 9 in — 12.1 x 5.7 x 22.9 cm PROVENANCE" Private collection, Toronto, ON NOTE" The joy of hearing stories told by his mother and grandmother about shamanism and traditional beliefs influenced a young David Ruben Piqtoukun and has spawned images recurring throughout the artist’s career. [1] Faces of men and animals o!en appear in mask-like forms in Piqtoukun’s work, an image derived, as here, from a tradition of ceremonial and ritual masks in the Western Arctic.

Taut of skin and mossy in its complexion, the present figure’s contorted face and demon-like horns suggest a menacing air.

(1) Wight, Darlene Coward, Between Two Worlds: David Ruben Piqtoukun, (Winnipeg: The Winnipeg Art Gallery, 1996), 3.

Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported. Please do not hesitate to contact one of our specialists for further details.

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, BILL!NASOGALUAK!ᐱᐃᓪ!ᓇᓱᒐᓗᐊᒃ!

"B#!$%&*()!TUKTOYAKTUK SKULL!TRANSFORMATION stone; signed in Roman, 2010 4.75 x 3.75 x 7 in — 12.1 x 9.5 x 17.8 cm PROVENANCE" Private collection, Toronto, ON NOTE" Informed by both Inuit mythology and Western and Inuit art historical traditions, here Nasogaluak has created a sculpture of a transforming head, half skull, and half living face crowned with a cascade of flowing hair. The work is evocative of both the interstitial domain of the shaman between life and death, and the Western memento mori.

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JOHN!TIKTAK!ᔭᓐ!ᑎᑕ)!R#C#A#!"$%$.-$%/$()!

KANGIQLINIQ!"RANKIN!INLET( GRIMACING!HEAD stone; signed in syllabics 4 x 3.5 x .87 in — 10.2 x 8.9 x 2.2 cm PROVENANCE" Waddington’s Auctioneers, Toronto, ON, November 25, 1980, lot 413; Private collection, Ontario NOTE" In this late work by the artist, John Tiktak has carved a panel of variegated partially translucent greenish stone into a low relief face. While Tiktak is well known for his globular, bulbous carvings of human heads, this work is one of his departures from sculpture carved fully in the round. The work maintains the sometimes anxious intensity of his more elaborate investigations of the subject.

RELATED#WORKS" Gerald McMaster, Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2011), 126-127.

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/ JOHN!PANGNARK!ᔭᓐ!ᐸᓇ!"$%,'-$%/'()!

ARVIAT!"ESKIMO!POINT( FIGURE stone; unsigned, ca. 1969 3 x 3.25 x 3.75 in — 7.6 x 8.3 x 9.5 cm PROVENANCE" Private collection, Toronto, ON NOTE" Possessing a lively surface and an irregular, even chaotic silhoue"e, this late 1960s sculpture by John Pangnark finds an unlikely serine energy in the artist’s distinctive rendering of the subject’s calm face.

RELATED#WORKS" Gerald McMaster, Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2011), 121.

National Museum of the American Indian, Cat. No. NMAI 26/260, Figure, by John Pangnark.

Click here to read more

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LUCY!TASSEOR!TUTSWEETOK! ᓗᓯ!ᑕᓯᐅ!ᑎᓯᑕ!"$%*0-,'$,()!

ARVIAT!"ESKIMO!POINT( FAMILY stone; unsigned 5.5 x 7 x 3 in — 14 x 17.8 x 7.6 cm PROVENANCE" Private collection, Toronto, ON NOTE" The sculptures of Lucy Tasseor Tusweetok are o!en said to represent families. Here the ju"ing irregular surface of the rock is surmounted by a cascade of faces, large in the centre, and small toward the peripheries where the head of a child is upturned amidst the seemingly playful tumult.

RELATED#WORKS" Bernade"e Driscoll, Eskimo Point / Arviat, (Winnipeg: The Winnipeg Art Gallery, 1982), 98-99, pl. 79.

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ATTRIBUTED!TO!ANDY!MIKI!ᒥᑭ! "$%$/-$%/*()!ARVIAT!"ESKIMO!POINT( FIGURE stone; unsigned 3 x 3 x .5 in — 7.6 x 7.6 x 1.3 cm PROVENANCE" Private collection, Toronto, ON NOTE" A simple but appealing work by the artist, intimate in scale and enigmatic in form, this palm-sized sculpture

by Andy Miki evokes a creature neither animal nor human. Evident here is the artist’s inclination toward simplicity of form and contentment working with hard, unyielding material sometimes meager in size.

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ADA!EYETOAQ!ᐊᑕ!ᐃᔨᑐᐊ!"B#!$%*0()!

QAMANI’TUAQ!"BAKER!LAKE( MAN!EMBRACING!DOGS stone; signed in syllabics, old label affixed to underside 3.5 x 2.5 x 1.75 in — 8.9 x 6.4 x 4.4 cm PROVENANCE" Dr. Francis Sparsho", Toronto, ON; Waddington’s Auctioneers, Toronto, ON, November 22, 2016, lot 147; Private collection, Toronto, ON NOTE" Ada Eyetoaq seems to have largely favoured carving figures in small groups. Humans in her sculptures are sometimes paired with animals as here, where the central figure is portrayed embracing two playful dogs.

RELATED#WORKS" Canadian Museum of History, Cat. No. IV-C-5297, Woman with Bird, by Ada Eyetoaq.

Click here to read more Waddington’s Auctioneers, Toronto, ON, April 6, 2009, lot 289. Click here to read more

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!* MAATA!QISSUALUK!ᒪᑕ!ᑭᓱᐊᓗ!"B#!$%,$()!

IVUJIVIK SEATED!WOMEN stone; unsigned, ca. 1958 5.5 x 3 x 4 in — 14 x 7.6 x 10.2 cm PROVENANCE" Private collection, Toronto, ON NOTE" A sculpture of compact form and integrated composition, the semi-circular arrangement of the figure’s arms rhymes with the gentle arches in the figure’s hood, and curved front of the sculpture’s ovular base. The la"er is rendered as a dress concealing legs carved in the round.

Closely related to a sculpture by the artist documented in George Swinton’s Sculpture of the Eskimo, the present work is notable for its surface studded with small shining imbedded inclusions of iron pyrite within the serpentine stone from which the sculpture was carved.

RELATED#WORKS" Swinton, George, Sculpture of the Eskimo, (Toronto: McClelland and Stewart Ltd. 1972), 177, pl. 403 Waddington’s Auctioneers, Toronto, ON, May 2, 2011, lot 56. Click here to read more

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!% ANAUTAQ!KIATAINAQ!ᐊᓇᐅᑕᖅ!ᑭᐊᑌᓇᖅ!

"B#!$%,+()!KANGIQSUALUJJUAQ! "GEORGE!RIVER( WOMAN!TANNING!HIDE stone; signed in syllabics, disc number inscribed 3.75 x 2 x 1.5 in — 9.5 x 5.1 x 3.8 cm PROVENANCE" Private collection, Quebec NOTE" Li"le information is readily available about Anautaq Kiatainaq, although the quality of carving in the present sculpture is suggestive of a large output by the artist. Small in scale, the sculpture is rich in detail. Fine a"ention has been paid to the women’s loop of hair, and to the depiction of the frame used for stretching the hide.

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!+ MIRIAM!MAREALIK!QIYUK!ᒪᕆᐊᒪ!ᑭᔪ!

"B#!$%**()!QAMANI’TUAQ!"BAKER!LAKE( FIGURES!RECLINING!AMIDST!BIRDS stone; signed in Roman 14.5 x 10 x 3 in — 36.8 x 25.4 x 7.6 cm PROVENANCE" Private collection, Toronto, ON NOTE" Throughout her career Miriam Marealik Qiyuk carved images of birds. Low relief carvings, bustling with avian heads, sometimes accompanied by figures as here where the image of two copulating figures and a child may illustrate an episode in the story of Kiviuq, a figure in Inuit mythology whose trials were in some stories eased by a protective bird amulet and instructions delivered by numerous small heads.

[1] (1) Allen, Joel, Bulletin of The American Museum of Natural History, (New York: The American Museum of Natural History), Vol. 15, p. 182.

RELATED#WORKS" Waddington’s Auctioneers, Toronto, ON, April 19, 2010, lot 134. Click here to read more

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LUKE!IKSIKTAARYUK!ᓗᐅᒃ!ᐃᒃᓯᒃᑕᕈᒃ! "$%'%-$%++()!

QAMANI’TUAQ!"BAKER!LAKE( FIGURE!WITH!PLEADING!HANDS antler; unsigned, ca. 1960s 10.5 x 6.5 x 5.5 in — 26.7 x 16.5 x 14 cm PROVENANCE" Upstairs Gallery, Winnipeg NOTE" Notably Iksiktaaryuk was one of only two Qamani’tuaq (Baker Lake) artists chosen by curator Norman Zepp to be included in his superlative exhibition Pure Vision, The Keewatin Spirit. Much of Iksiktaaryuk’s work exhibits an anxious otherworldly character as here, where an aged man’s bulbous head appears to emerge from within a wafer-thin body, strangely posed with outstretched, perhaps pleading hands.

RELATED#WORKS" Gerald McMaster, Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2011), 132-133.

Norman Zepp, Pure Vision, The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery University of Regina, 1986), 132, pl. 74-76.

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!, JACOB!IRKOK!ᐃᕐ!ᑯᒃ!"$%*+-,''%()!

ARVIAT!"ESKIMO!POINT( SWIMMING!CARIBOU antler; unsigned 4.5 x 12.5 x 1.25 in — 11.4 x 31.8 x 3.2 cm PROVENANCE" Private collection, Toronto, ON NOTE" In the autumn, Inuit hunting caribou in the traditional way would camp near crossing places of the migrating herds, hunting the animals from kayaks as they swam across the rivers. A favoured subject for the artist, Irkok elegantly portrays the partially submerged creatures panting for breath as they traverse a stretch of water. Their variegated hides are hinted at by the mo"led colour of the antler from which they are carved.

RELATED#WORKS" Waddington’s Auctioneers, Toronto, ON, September 16, 2020, lot 27. Click here to read more Bernade"e Driscoll, Eskimo Point / Arviat, (Winnipeg: The Winnipeg Art Gallery, 1982), 55, pl. 15.

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ANNAGO!ASHEVAK!ᐊᓇᑯ!"$%&.-,''%()!

KINNGAIT!"CAPE!DORSET( SHAMAN’S!HAND ivory, whalebone; signed in syllabics, 1999 5.25 x 14.25 x 2.75 in — 13.3 x 36.2 x 7 cm PROVENANCE" Private collection, Toronto, ON NOTE" A talented artist, Annago (also Arnaqu) Ashevak is known for his use of traditional subjects and materials in sometimes unconventional ways. The adopted son of artists Jonniebo and Kenojuak Ashevak, his work has sometimes drawn on the shamanistic and otherworldly imagery for which his parents are well known. Here Annago has sculpted a mysterious image of a shaman’s arm.

Carved from the tapered tusk of a walrus and incised with black ink, the arm appears to emerge from mid-air.

Many historic Arctic depictions of otherworldly hands deliberately exclude the thumb, it has been said to diminish the power of the spirit to grab ahold of the living. [1] In the present work Annago has carved the hand with its digits fully intact.

(1) “The Yup’ik Dance Masks Tradition with Yup’ik dancer Chuna McIntyre and Curator Sean Mooney”, The Menil Collection, October 15, 2015.

Click here to read more Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported. Please do not hesitate to contact one of our specialists for further details.

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!/ LUKE!ANOWTALIK!ᐊᓇᐅᑕᓕ!"$%*,-,''.()!

ARVIAT!"ESKIMO!POINT( ACROBATS antler, wood, sinew; unsigned 6 x 18.5 x 8 in — 15.2 x 47 x 20.3 cm PROVENANCE" Private collection, Livingston, NJ NOTE" Distinctly kinetic, and full of lively whimsical energy, Luke Anowtalik’s playful antler carvings of frolicking figures are the counterpoint to his deeply restrained and even solemn carving in stone. Like all of Anowtalik’s work, the present sculpture invites and rewards touch.

RELATED#WORKS" Bernade"e Driscoll, Eskimo Point / Arviat, (Winnipeg: The Winnipeg Art Gallery, 1982), 49, pl. 5.

Waddington’s Auctioneers, Toronto, ON, November 8, 2010, lot 441.

Click here to read more

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!THOMAS!SIVURAQ!ᑕᒪᓯ!ᓯᕗᒐ!"B#!$%0$()!

QAMANI’TUAQ!"BAKER!LAKE( BIRD!SHAMAN stone; signed in syllabics 8 x 6.5 x 4.25 in — 20.3 x 16.5 x 10.8 cm PROVENANCE" Private collection, Toronto, ON NOTE" Still actively living off the land in the early 1960s, Thomas Sivuraq (also Tommy Sevoga) has been clear in articulating the reasons for his carving in the early days of his output, saying in a 1998 interview with Henry Kudluk “...carving was a way for me to get bullets for my rifle and supplies to go hunting.” [1] A highly talented and respected artist, Sivuraq was also an accomplished printer and was responsible for printing numerous important works of Qamani’tuaq (Baker Laker) graphics including works by Jessie Oonark and Luke Anguhadluq. [2] Here in this delightful figure, with downturned hawk-like beak and cloak-like wings, Bird Shaman the artist approaches transformational subject ma"er so o!en investigated in his work.

(1) Kudluk, Henry; Thomas Sivuraq, “Focus: Thomas Sivuraq” Inuit Art Quarterly, Vol. 14, No. 1, 1999. p. 27.

(2) Barz, Sandra BIm uhai, Inuit Artists Print Workbook, (New York: Arts and Culture of the North Publishers, 2003), Vol. III, Book 1.

RELATED#WORKS" Auctioneers, Toronto, ON, June 1, 2015, lot 60.

Click Here to read more

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*' BASIL!APTANIK!ᐸᓯ!ᑕᑕᓂ!"B#!$%&,()!

QAMANI’TUAQ!"BAKER!LAKE( SHAMAN!TRANSFORMATION stone; signed in syllabics 7.25 x 5.25 x 4 in — 18.4 x 13.3 x 10.2 cm PROVENANCE" Private collection, Toronto, ON NOTE" Joyful, but with an air of mystery if not menace, a transforming shaman stands in an exhaltant pose, its mouth open, perhaps in song. A subject revisited by the artist in several interesting iterations, the present work is closely related to a work sold by Waddingtons in February 2019 (see below).

RELATED#WORKS" Waddington’s Auctioneers, Toronto, ON, February 14, 2019, lot 95.

Click here to read more

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SHEELAKY!TAPUNGAI!ᓯᓚᑭ!"$%',-$%/&()!

KINNGAIT!"CAPE!DORSET( MAN!CALLING!TO!BIRDS stonecut; 1961, 7/50, unframed 18 x 24 in — 45.7 x 61 cm PROVENANCE" Private collection, O"awa, ON NOTE" An early and lively image of otherworldly encounters by the artist Sheelaky Tapungai. Sadly, of the artist’s many drawings, only this image Man Calling to Birds was printed during the artist’s lifetime.

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** PITSEOLAK!ASHOONA!ᐱᓯᐅᓚ!ᐊᓱᓇ)!O#C#)!R#C#A#! "$%'0-$%/*()!KINNGAIT!"CAPE!DORSET( SUMMER!WANDERERS!WATCH!WOMAN! SCRAPING!HIDE stonecut; 1961, 48/50, unframed, 18 x 24 in — 45.7 x 61 cm PROVENANCE" Private Collection, New Jersey NOTE" A lively, if somewhat eccentric composition by Pitseolak Ashoona.

Pitseolak worked closely with Alma Houston in the early cra! programs in Kinngait (Cape Dorset) before discovering her gi! for the drawn image.

Patrik Furneaux and Leo Rosshandler have described the scene transpiring in this print as follows: “The great inland excursions took place in the summertime, when sleds could not be used. All the belongings were carried on the backs of the Inuit and their dogs. These expeditions were to seek fish in the well-stocked rivers and to hunt the animals of the tundra, particularly the caribou. Here we see a family party, men and women fully loaded with skin tents, sleeping robes, weapons and utensils. Wet kamik are drying on sticks above the women’s backpacks. The wife of another hunter pegs out a caribou skin to dry. A wanton spirit monster follows the travelers, bringing good fortune.”

LITERATURE" Patrick Furneaux, Leo Rosshandler, Arts of the Eskimo: Prints, (Montreal: Signum Press Ltd. 1974), 54-55.

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*% PAUNICHEA!ᐸᓇᓯᐊ!"$%,'-$%./()!

KINNGAIT!"CAPE!DORSET( FALLEN!ANGELS stonecut; 1961, 15/50, unframed, 18 x 24 in — 45.7 x 61 cm PROVENANCE" Private collection, Toronto, ON NOTE" The daughter of Kiakshuk and husband of Davidee Munamee, Paunichea cra!ed lively images o!en full of frolicking, sometimes whimsical figures, as here in Fallen Angels. The almost luminous yellow angels in the print dance in joyous, raucous celebration–a so very Inuit perspective on the behaviour of the spirits.

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*+ SHARNI!POOTOOGOOK!ᓴᓂ!ᑭᑐᒍ! "$%,,-,''*()!KINNGAIT! "CAPE!DORSET( FANTASY stonecut; 1964, 43/50, unframed, 25 x 30 in — 63.5 x 76.2 cm PROVENANCE" Private collection, Toronto, ON NOTE" In a lively and mysterious image, Sharni Pootoogook has captured the mischievous activities of spirits whose identities are unknown to us. The upper figure exhibits a strange protrusion embellished with a foliate design. The work is printed on delightful Japanese tatami paper whose surface is enlivened by the inclusion of rush straw fibres.

Pootoogook was from a family of talented artists including husband Pudlat Pootoogook, daughter Sarah Putuguk, adopted son Elijah Pootoogook and sister-in-law Kananginak Pootoogook.

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*) LUCY!QINNUAYUAK!ᓗᓯ!ᑭᓐᐅᐊᔪᐊ! "$%$&-$%/,()!KINNGAIT!"CAPE!DORSET( TULUKARA stonecut and stencil; 1977, 18/50, unframed, 23.25 x 25 in — 59.1 x 63.5 cm PROVENANCE" Estate of W.A. Ross MacFadden, Toronto, ON NOTE" Avian subjects were returned to time and again by the artist, each visitation enlivened by marvelous variation. Over time her representations became more amorphous and surreal, as here where the Talukara’s (young raven’s) body is dense with coloured line. The work is printed with exceptional talent by Timothy O"ochie.

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*, KENOJUAK!ASHEVAK!ᑭᓄᔭᐊ!ᐊᓯᕗ)!C#C#)!

R#C#A#!"$%,+-,'$*()!KINNGAIT! "CAPE!DORSET( GUARDIAN!OF!THE!NEST Stonecut on brown paper; 26/50, 2002, framed, sight 20.75 x 32.5 in — 63.5 x 82.6 cm PROVENANCE" Private collection, Toronto, ON NOTE" Owls abound in Kenojuak’s designs; she created countless drawings and prints with the subject ma"er. Here she has depicted a mother owl about to envelop her young in her wings, or perhaps flying upward in formation. The image is de!ly printed by Qiatsuq Niviaqsi on mellow brown paper.

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KENOJUAK!ASHEVAK!ᑭᓄᔭᐊ!ᐊᓯᕗ)!C#C#)!

R#C#A#!"$%,+-,'$*()!KINNGAIT!"CAPE!DORSET( THE!OWL!AND!I stonecut and stencil; 1975, 23/50, archivally framed and glazed, framed, sight 22 x 28.5 in — 55.9 x 72.4 cm PROVENANCE" Sotheby Parke Bernet, New York, NY, March 18, 1980, lot 181; Private collection, Ontario NOTE" Owls abound in Kenojuak’s designs; she created countless drawings and prints with the subject ma"er. Later in life she began to add the faces of women into the composition as here, where a figure is surrounded by her amauti which proliferates into organic, foliate designs emerging from a central owl.

LITERATURE" Jean Blodge", Kenojuak, (Toronto: Firefly Books, 1985), pl. 113

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*/ KENOJUAK!ASHEVAK!ᑭᓄᔭᐊ!ᐊᓯᕗ)!C#C#)!

R#C#A#!"$%,+-,'$*()!KINNGAIT! "CAPE!DORSET( BIRD!IN!MY!MIND stonecut; 1961, 49/50, archivally framed and glazed, framed, sight 11 x 14.5 in — 27.9 x 36.8 cm PROVENANCE" Waddington’s Auctioneers, Toronto, ON, March 3, 1980, lot 121a; Private collection, Ontario NOTE" Bird in My Mind is a fantastical creature whose mysterious, sometimes x-ray-like anatomy is unlike any animal known on land or in the air. A delightful avian subject by Kenojuak, who rarely fails to exhibit her intuitive mastery of formal composition. The eye is drawn through the image of the bird in a circular motion, the tail curves upwards toward the beak, the beak down to the grasping talons, which gesture upward through to exaggerated plumage of the tail.

LITERATURE" Jean Blodge", Kenojuak, (Toronto: Firefly Books, 1985), pl. 14

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*MARY!PUDLAT!ᒥᐊᔨ!ᐳᓚ!"$%,*-,''$()!

KINNGAIT!"CAPE!DORSET( PTARMIGAN stonecut and stencil; 1980, 13/50, unframed 21.75 x 23.75 in — 55.2 x 60.3 cm PROVENANCE" Estate of W.A. Ross MacFadden, Toronto, ON NOTE" An elegantly balanced composition and delightful image of maternal affection by the artist Mary Pudlat.

While Pudlat is well known for her images of human subjects, and particularly for her handling of fine details of costume, here she has shown the same a"ention to the pa"erning and colouration of the young ptarmigan and its snow white mother.

$*''#—#+''

%' LUCY!QINNUAYUAK!ᓗᓯ!ᑭᓐᐅᐊᔪᐊ! "$%$&-$%/,()!KINNGAIT!"CAPE!DORSET( YOUNG!BIRD!STRUTTING stonecut; 1967, 3/50, framed and glazed, framed, sight Sheet 17 x 24 in — 43.2 x 61 cm PROVENANCE" Private collection, Toronto, ON NOTE" Avian subjects were returned to time and again by the artist, each visitation enlivened by marvelous variation. Over time her representations became more amorphous and surreal. Here the artist has given us a charming image of a mother and her young in which one rogue youth appears to have indulged in an a"empt at flight (perhaps dance?) while its family looks on inquisitively.

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%!

ABRAHAM!APAKARK!ANGHIK! ᐊᐃᐊᔭᑲ!ᐊᐸᑲ!ᐊᒋ!"B#!$%&$()!PAULATUK RAVEN!TRANSFORMATION stone, resin ; signed in Roman, 1995 15.25 x 12.25 x 8 in — 38.7 x 31.1 x 20.3 cm PROVENANCE" Private collection, Toronto, ON NOTE" Abraham Anghik draws from both Inuit and Northwest Coast traditions to create an image of a mysterious transforming raven. A notorious trickster bird, central to Northwest Coast mythology, Raven also appears in central Inuit and Western Arctic traditions. Here Anghik has depicted Raven with one hand clutched to its breast, paired with one partially out swept wing, the la"er echoed above by an elongated downturned beak.

RELATED#WORKS" Waddington’s Auctioneers, Toronto, ON, October 21, 2021, lot 48. Click here to read more

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%* CHARLIE!UGYUK!ᓴᓕ!ᐅᔭ!"$%*$-$%%%()!

TALOYOAK!"SPENCE!BAY( DRUM!DANCER!WITH!CHILD stone, ivory, antler; signed in syllabics 13 x 7 x 7 in — 33 x 17.8 x 17.8 cm PROVENANCE" Private collection, Toronto, ON NOTE" Charlie Ugyuk gives us a delightful image of a drum dancing mother and child. O!en central to lively celebration and rarely if ever used outside of communal gatherings, the hoop drum is closely associated with community and shared experience, as perhaps here where it is accompanied by a shared vital expression on the face of both mother and child.

Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported. Please do not hesitate to contact one of our specialists for further details.

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%% JOSIAH!NUILAALIK!ᓄᐃᓚᓕ! "$%,/-,''&()!QAMANI’TUAQ! "BAKER!LAKE( SHAMAN!BEFORE!FLIGHT stone, antler; signed in syllabics 6.5 x 7 x 2.75 in — 16.5 x 17.8 x 7 cm PROVENANCE" Private collection, Toronto, ON NOTE" Born into a family of important artists, Josiah Nuilaalik, son of Jessie Oonark, created a significant and highly distinctive body of work late in his life. [1] Nuilaalik’s sculptures explore images of the spirit world and of transformation. While to our eye, far from naturalistic in their anatomy, his figures o!en convey their weight and a sense of stilled movement with an exceptional clarity.

Although Nuilaalik is sometimes quoted as having said that he had not encountered the fantastical images that he portrayed, this admission has been qualified by Harold Seidelman, once a patron of Nuilaalik’s, and author of The Inuit Imagination: Arctic Myth and Sculpture. Seidelman explains that Nuilaalik was very clear when questioned about the veracity of his sources. In one instance Seidelman queried if an image of a serpent with a man’s head carved

by Nuilaalik was a biblical reference, “No!” replied Nuilaalik “This is real!” [2] (1) Gerald McMaster, Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2011), 37.

(2) Harold Seidelman, personal correspondence with the author February 17, 2022.

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%+ JOSIAH!NUILAALIK!ᓄᐃᓚᓕ! "$%,/-,''&()!QAMANI’TUAQ! "BAKER!LAKE( SHAMAN!WITH!OUTSTRETCHED!WINGS stone, antler; signed in syllabics 5.25 x 6.25 x 4.75 in — 13.3 x 15.9 x 12.1 cm PROVENANCE" Private collection, Toronto, ON RELATED#WORKS" Waddington’s Auctioneers, Toronto, ON, March 17, 2022, lot 46. Click here to read more

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%) MAINA!AQURTU!ASSAPA!ᑎᕕᑎᐊᓗ!

"B#!$%'%()!PUVIRNITUQ! "POVUNGNITUK( SHAMAN!WITH!WINGS stone; signed in Roman, disc number inscribed 5 x 3 x 3.5 in — 12.7 x 7.6 x 8.9 cm PROVENANCE" Private collection, Massachuse"s NOTE" Sculpted by the wife of the talented artist Davidialuk, it is clear that talent in the family was not limited to the husband, artist children Johnny Amituk and Aisa Ami"u, nor cousin-in-law Joe Talirunili. Here Assapa has carved the image of a winged figure clutching the opening of his coat with a charmingly life-like if somewhat folky air in a style apparently shared by the husband and wife.

RELATED#WORKS" Waddington’s Auctioneers, Toronto, ON, November 5, 2007, lot 232. Click here to read more

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%, UNIDENTIFIED!ARTIST)!

KINNGAIT!"CAPE!DORSET( BIRD!WITH!OUTSTRETCHED!WINGS stone; signed indistinctly in syllabics 1.25 x 9.75 x 5 in — 3.2 x 24.8 x 12.7 cm PROVENANCE" Private collection, Massachuse"s NOTE" Finely carved in crisp detail by an unidentified artist, the delicate profile and style of embellishment in the present sculpture evoke the work of fellow Kinngait artists Abraham Etungat and Osuitok Ipeelee.

A lovely work in its own right, the sculpture dating the 1960s, is from an era that witnessed a remarkable flowering in Kinngait sculpture.

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%.

ENNUTSIAK!ᐃᓄᓯᐊ!"$/%.-$%.+()!

AKULIVIK ARCTIC!FOX!WITH!PREY stone; disc number inscribed 1.75 x 4 x .87 in — 4.4 x 10.2 x 2.2 cm PROVENANCE" Private collection, Toronto, ON NOTE" A delightful counterpart to lot 93 of The Canada Auction, this exquisite li"le tableau of a hungry fox and hare by the artist Ennutsiak shows that the artist’s talents were not limited to the elaborate and highly descriptive portrayals of human subject ma"er for which he is well known.

RELATED#WORKS" Bernade"e Driscoll, Baffin Island, (Winnipeg: The Winnipeg Art Gallery, 1983), 86-87.

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%/ THOMASIE!AMAGOALIK!ᑐᒪᓯ)!

INUKJUAK!"PORT!HARRISON( LIVELY!DOG stone; signed in syllabics and disc number inscribed, ca. 1950 3.25 x 7.25 x 2 in — 8.3 x 18.4 x 5.1 cm PROVENANCE" Private collection, Ontario NOTE" A work of charming fine detail, and distinctive character, this image of a lively dog is a rare example of the considerable talents of artist Thomasie Amagoalik, brothers in law of important Inukjuak artists Pilipusi Novalinga and Akeeaktashuk.

As with his brother-in-laws, no works by Amagoalik date past 1953 when he was relocated to Aujui"uq (Grise Fiord) in a misguided government project that promised to improve living conditions through the increased availability of game. [1,2] (1) McGrath, Melanie, The Long Exile, A Tail of Betray and Inuit Survival in the High Arctic, (New York: Knopf, 2009), 243.

(2) Samia Madwar, “Inuit High Arctic Relocations in Canada”, The Canadian Encyclopedia, 2020.

Accessed April 22, 2022, Click here to read more

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%BARNABUS!ARNASUNGAAQ!! ᐸᓇᐸᓯ!ᐊᓇᓴᒐ!"$%,0-,'$+()!

QAMANI’TUAQ!"BAKER!LAKE( MUSK!OX stone; signed in syllabics, ca. 1970 4.5 x 1.75 x 7 in — 11.4 x 4.4 x 17.8 cm PROVENANCE" Private collection, Toronto, ON NOTE" A classic early musk ox by the artist, exhibiting Barnabus’ seemingly limitless capacity for variation in his sculptural investigations of these massive creatures of the tundra. Lo!y and slender, it has been finely balanced and is as stable as many of his more robust and weighty compositions.

RELATED#WORKS" Waddington’s Auctioneers, Toronto, ON, December 9, 2021, lot 193. Click here to read more

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+' MARIE!KUUNNUAQ!ᑯᓇᐊ!"$%**-$%%'()!

QAMANI’TUAQ!"BAKER!LAKE( MUSKOX stone; signed in syllabics 2.5 x 4 x 1.5 in — 6.1 x 3.8 x 9.7 cm PROVENANCE" Private collection, Ontario NOTE" Elegant in its simplicity, and notable for the artist’s a"ention to the essential in her subject, this musk ox by Marie Kuunnuaq exhibits many of the charms associated with her Qamani’tuaq (Baker Lake) contemporary Barnabus Arnasungaaq. A sculpture that although modest in scale is outsized in its visual presence.

RELATED#WORKS" Canadian Museum of History, Cat. No. IV-C-5316, Muskox, by Marie Kuunnuaq. Click here to read more

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+!

UNIDENTIFIED!ARTIST)!

KINNGAIT!"CAPE!DORSET( WALRUS!EMERGING!FROM!ICE stone, ivory; unsigned 2.75 x 2 x 2.25 in — 7 x 5.1 x 5.7 cm PROVENANCE" Private collection, Toronto, ON NOTE" A walrus emerging from a hole in the ice has been charmingly rendered here by an unknown artist.

The sculpture is carved from the stone such that its areas of inherent mo"led brown colouration draw a"ention to the animal’s face, as do the fine incised designs that depict its whiskers.

Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported. Please do not hesitate to contact one of our specialists for further details

$!)'#—#*)'

+* HENRY!EVALUARDJUK!ᐃᕙᓗᐊᔪ! "$%,*-,''+()!IQALUIT! "FROBISHER!BAY( STRIDING!BEAR stone; signed in Roman and syllabics 5 x 11 x 2.5 in — 12.7 x 27.9 x 6.4 cm PROVENANCE" Waddington’s Auctioneers, Toronto, ON, November 24, 1980, lot 181; Private collection, Ontario NOTE" This striding bear, long and lithe, typifies the artist’s gi! for the life-like portrayal of the subject.

The carving has been carefully situated in the marvelously variegated green stone, to exploit the inherent colouration of the material.

RELATED#WORKS" Canadian Museum of History, Cat. No. IV-C-5331, Bear, by Henry Evaluardjuk. Click here to read more Penn Museum, Cat. No. 2012-25-46, Polar Bear, by Henry Evaluardjuk.Click here to read more

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+% HENRY!EVALUARDJUK!ᐃᕙᓗᐊᔪ! "$%,*-,''+()!IQALUIT!"FROBISHER! BAY( CURIOUS!BEAR stone ; signed in Roman and syllabics 3.75 x 7.5 x 1.75 in — 9.5 x 19.1 x 4.4 cm PROVENANCE" Waddington’s Auctioneers, Toronto, ON, November 26, 1980, lot 589a; Private collection, Ontario NOTE" As in many of the artist’s skillful renderings of bears, here the complex positioning of the figure betrays Henry Evaluardjuk intimate familiarity with his subject. The figure is carved from a modeled golden-brown stone polished to a lustrous finish.

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++ PAULASSIE!POOTOOGOOK)!R#C#A#! "$%,+-,''.()!KINNGAIT! "CAPE!DORSET( MUSK!OX stone; signed in syllabics 7 x 5.5 x 9 in — 17.8 x 14 x 22.9 cm PROVENANCE" Private collection, Massachuse"s NOTE" An artist with a gi! for complex and lively compositions, here Paulassie Pootoogook has directed his considerable talents to a largely stationary musk ox. The sole implication of movement in the work is found in a masterful articulation of the creature’s taut musculature and upturned howling head. The gentle curves of the body are set off by a highly polished and lustrous surface.

RELATED#WORKS" Canadian Museum of History, Cat. No. IV-C-5365, Muskox, by Paulassie Pootoogook.

Click here to read more

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+) JOANASSIE!IGIU!ᔪᐊᓇᓯ!ᐃᒋᐅ! "$%,*-$%/$()!KINNGAIT!"CAPE!DORSET( TRANSFORMATION stone; unsigned, ca. 1980 12.5 x 16 x 8 in — 31.8 x 40.6 x 20.3 cm PROVENANCE" Waddington’s Auctioneers, Toronto, ON, November 5, 2007, lot 274; Private collection, Ontario NOTE" Known for his fantastical compositions of transforming animals, here the artist has rendered the amorphous form of a spirit animal in subtle rounded volumes offset against the crisp edges of the creature’s face and dorsal fin. The sculpture is characterized by a refined surface, and the superb piece of banded Kinngait stone from which it has been hewn.

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+, KAKA!ASHOONA!ᑲᑲ!ᐊᓴᓇ!"$%,/-$%%.()!

KINNGAIT!"CAPE!DORSET( SEDNA!WITH!TRANSFORMING!HANDS stone; signed in syllabics 14.5 x 16 x 9 in — 36.8 x 40.6 x 22.9 cm PROVENANCE" Private collection, Toronto, ON NOTE" An image of Sedna emerging, perhaps from the surface of the water, she appears with long hair and a downturned mouth, the body is framed by two seal-like flippers. Notably, Kaka Ashoona has polished the surface of the stone to a watery sheen.

RELATED#WORKS" Waddington’s Auctioneers, Toronto, ON, May 30, 2017, lot 70A. Click here to read more

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+.

ROY!HENRY)!

HAUDENOSAUNEE!"ONONDAGA( FIGURE!WITH!WAMPUM stone; signed, 2000 14.5 x 13 x 7 in — 36.8 x 33 x 17.8 cm PROVENANCE" Private collection, Toronto, ON NOTE" Substantial in size and presence, artist Roy Henry has created a flowing and organic composition evocative of dream imagery rooted in Haudenosaunee tradition. The massiveness of the form is balanced by a lightness implied by the undercu"ing of stone around the hair of the figure, and a flowing band of wampum that appears intertwined with it.

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+/ ROY!HENRY)!

HAUDENOSAUNEE!"ONONDAGA( CORN!SISTER stone; signed, 1998 10 x 11 x 11 in — 25.4 x 27.9 x 27.9 cm PROVENANCE" Private collection, Toronto, ON NOTE" With its flowing interwoven hair and central tripartite space, Corn Sister elegantly alludes to the role of the >three sister (maize, squash, and beans) in Haudenosaunee mythology and tradition. The three co-dependent crops figure prominently in their oral tradition, and have been cited as the “foundation of (Haudenosunee) subsistence” by the respected scholar of Haudenosunee culture, William Fenton. [1] (1) Fenton, William N., “Northern Iroquoian Cultural Pa"erns,” Handbook of the North American Indians, Volume 15, Northeast, (Washington: Smithsonian Institution Press, 1978)

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+ABRAHAM!APAKARK!ANGHIK!ᐊᐃᐊᔭᑲ! ᐊᐸᑲ!ᐊᒋ!"B#!$%&$()!PAULATUK WOMEN!RAVEN!TRANSFORMATION stone, glass; signed in Roman, 1997 12 x 6.25 x 5 in — 30.5 x 15.9 x 12.7 cm PROVENANCE" Private collection, Toronto, ON NOTE" In an elegant image of transformation, a crisply defined woman’s face emerges from a veil of hair that also forms the body of Raven, the mysterious trickster bird of Northwest Coast mythology. The triangular relief implied by the women’s parted hair below the face suggests a trigon, a classic formal element in Northwest Coast design, cleverly used here by Anghik in a nod to traditional Haida imagery.

RELATED#WORKS" Darlene Wight, Out of Tradition, Abraham Anghik / David Ruben Piqtoukun, (Winnipeg: Winnipeg Art Gallery, 1989), 27, pl. 21.

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)' PANILUK!QAMANIRQ!ᐸᓂᓗᒃ!"B#!$%*&()!

IKPIARJUK!"ARCTIC!BAY( TRANSFORMING!SPIRIT stone; signed in Roman 8.5 x 3 x 2.75 in — 21.6 x 7.6 x 7 cm PROVENANCE" Private collection, Toronto, ON NOTE" Mysterious and amorphous in form, Paniluk’s sculptures, as in the present work, rarely betray with certainty the identity of her subject, or subjects.

Unconventional organic shapes hint at a vocabulary that would be further developed by her grandson Manasie Akpaliapik in his investigation of naturally occuring forms found in whalebone.

RELATED#WORKS" Bernade"e Driscoll, Baffin Island (Winnipeg: The Winnipeg Art gallery, 1983), 77, pl. 22.

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)!

PANILUK!QAMANIRQ!ᐸᓂᓗᒃ!"B#!$%*&()!

IKPIARJUK!"ARCTIC!BAY( TRANSFORMING!SPIRIT stone; unsigned 3.25 x 8.25 x 1.75 in — 8.3 x 21 x 4.4 cm PROVENANCE" Private collection, Toronto, ON RELATED#WORKS" Gerald McMaster, Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2011), 122.

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)* DAVIDEE!KAVIK!Uᕕᑎ!ᑲᕕ!"B#!$%$&()!

SANIKILUAQ!"BELCHER!ISLANDS( HUNTER!AND!SEDNA stone; signed in syllabics, disc number inscribed 13.25 x 12.5 x 5 in — 33.7 x 31.8 x 12.7 cm PROVENANCE" Waddington’s Auctioneers, Toronto, ON, May 02, 2011, lot 63; Private collection, Toronto, ON NOTE" A typically abstract and angular composition by the artist, here Kavik has tackled a complex composition in his distinctive style, and has included fine detail such as the whispers of hair on the man’s face, and the braids of Sedna’s hair.

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)% MARK!TUNGILIK!ᒪᑭ!ᑕᒐᓕ!"$%$*-$%/.()!

NAUJAAT!!"REPULSE!BAY( BIRD stone, antler; signed in syllabics 9 x 8 x 5 in — 22.9 x 20.3 x 12.7 cm; PROVENANCE" Upstairs Gallery, Winnipeg NOTE" Weighty but compact, and simple in design, here sculptor Mark Tungilik has turned his restrained style and eye for the elemental in his subject to the image of a squat ptarmigan, quirky in its delightfully off-kilter symmetry. A charming counterpart to the Tungilik muskox, lot 122 The Canada Auction

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)+ BARNABUS!ARNASUNGAAQ!! ᐸᓇᐸᓯ!ᐊᓇᓴᒐ!"$%,0-,'$+()!

QAMANI’TUAQ!"BAKER!LAKE( MOTHER!AND!CHILD stone; unsigned 9.75 x 8.5 x 7 in — 24.8 x 21.6 x 17.8 cm PROVENANCE" Private collection, Toronto, ON NOTE" A sculpture of monumental weight and presence, Barnabus brings an unusual gravity to his subject by allowing the substantial volume of the mother and child to rest atop a small and visually off-centre base. The two figures lean forward, light sca"ershot fine lines and toolmarks defining the character of the surface of the work. Around the rear of the sculpture, the stone exhibits an inclusion of white quartz.

RELATED#WORKS" Canadian Museum of History, Cat. No. 2017.87.468, Sculpture, by Barnabus Arnasungaaq.

Click here to view more

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)) JOY!KILUVIGYUAK!HALLAUK!ᐊᓴᔪᐊ! "$%0'-,'''()!ARVIAT!"ESKIMO!POINT( MANY!FACES stone; signed in syllabics 10 x 6.5 x 2.75 in — 25.4 x 16.5 x 7 cm PROVENANCE" Private collection, Toronto, ON NOTE" A talented and prolific sculptor, Joy Kiluvigyuak Hallauk developed her distinctive style working alongside her husband Luke Hallauk (brother of Arviat master carver Andy Miki). Depictions of clusters of figures o!en invoking familial connections dominate the compositions for which both artists are best known.

The present work is notable both for its large size and for the refined detail in the faces of the figures. The sculpture includes the profile of a bird and basking seal.

REFERENCES" Heller, Jules; Nancy G. Heller, “Joy Kiluvigyuak Hallauk”, North American Women Artists of the Twentieth Century: A Biographical Dictionary (London: Routledge, 1997) RELATED#WORKS" Waddington’s Auctioneers, Toronto, ON, February 28, 2013, lot 72A. Click here to read more

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), BARNABUS!ARNASUNGAAQ! ᐸᓇᐸᓯ!ᐊᓇᓴᒐ!"$%,0-,'$+()!

QAMANI’TUAQ!"BAKER!LAKE( STANDING!FIGURE!IN!AMAUTI signed in syllabics, disc number inscribed 10 x 6 x 5 in — 25.4 x 15.2 x 12.7 cm PROVENANCE" Private collection, Toronto, ON NOTE" Crisply defined and dynamic in form, Barnabus’ portrait of a woman in her voluminous amauti is a charming counterpart to the musk oxen for which he is best known and which his clientele o!en expected him to produce. As exemplified here, his skillful depictions of musk oxen did not define the artist’s extensive talents.

RELATED#WORKS" Kröller-Müller Museum, Cat. No. KM 130.667, Man met speer (Man with spear), by Barnabus Arnasungaaq. Click here to read more

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).

BARNABUS!ARNASUNGAAQ!! ᐸᓇᐸᓯ!ᐊᓇᓴᒐ!"$%,0-,'$+()!

QAMANI’TUAQ!"BAKER!LAKE( MOTHER!AND!SWADDLED!CHILD stone; signed in syllabics 5.5 x 3 x 2.5 in — 14 x 7.6 x 6.4 cm PROVENANCE" Private collection, Toronto, ON NOTE" Perhaps less stylized than its companion, lot 56, the present sculpture exhibits a more restrained style.

Here Barnabus’ skill for gesture and the posturing of his figures is apparent, as is his use of varied texture to draw interest and a"ention to form.

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)/ SILASSIE!TUKI!ᑐᐃᓚᓯ!"B#!$%$%()!

INUKJUAK!"PORT!HARRISON( HUNTER!AND!WALRUS stone, sinew; signed in syllabics, disc number inscribed 12.5 x 7.5 x 4 in — 31.8 x 19.1 x 10.2 cm PROVENANCE" Private collection, Toronto, ON NOTE" A compact composition with a monumental character in which the artist exhibits his use of subtle details of figuration to evoke a mood. Notable is the detail of the downturned right kamik of the hunter as he struggles to li! his prey.

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)PITALOOSIE!SAILA!ᐱᑕᓗᓯ!ᓴᐃᓚ)!R#C#A#!! "$%0,-,',$()!KINNGAIT!"CAPE!DORSET( STOPPING!TO!REST stonecut; 1984, 19/50, unframed, 19.5 x 25 in — 49.5 x 63.5 cm PROVENANCE" Estate of W.A. Ross MacFadden, Toronto, ON NOTE" In a complicated composition of many interrelated parts, Pitaloosie Saila depicts two mothers with their children. The crowded image finds calm in the artist’s de! use of negative space.

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,' LUCY!QINNUAYUAK!ᓗᓯ!ᑭᓐᐅᐊᔪᐊ! "$%$&-$%/,()!KINNGAIT!"CAPE!DORSET( WOMEN!CARRYING!FISH stonecut; 1972, 35/50, unframed, 24 x 16 in — 61 x 40.6 cm PROVENANCE" Estate of W.A. Ross MacFadden, Toronto, ON NOTE" Here Lucy Qinnuayuak’s sense of rhythm found elsewhere in her work is evident in the rhyming costumes of the three women and the cascade of fine short lines that gives texture to their amautis.

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,!

SHARNI!POOTOOGOOK!ᓴᓂ!ᑭᑐᒍ! "$%,,-,''*()!KINNGAIT!"CAPE! DORSET( WOMAN!DRESSED!IN!CARIBOU! CLOTHING stonecut; 1965, 45/50, unframed, 17 x 24 in — 43.2 x 61 cm PROVENANCE" Estate of W.A. Ross MacFadden, Toronto, ON NOTE" Sharni Pootoogook is known for her sometimes whimsical images, as here where a mother’s smiling face emerges from the billowing garment forward of her petulant frowning child. The mother’s amauti is alive with a cascade of fine short lines giving texture and form to the garment.

Pootoogook was from a family of talented artists including husband Pudlat Pootoogook, daughter Sarah Putuguk, adopted son Elijah Pootoogook and sister-in-law Kananginak Pootoogook.

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,* ULAYU!PINGWARTOK!ᐅᓚᔪ!"$%'0-$%+/()!

KINNGAIT!"CAPE!DORSET( WOMAN!TENDING!FIRE silkscreen; 1964, 12/50, unframed, 24.5 x 18.25 in — 62.2 x 46.4 cm PROVENANCE" Estate of W.A. Ross MacFadden, Toronto, ON NOTE" In this cut-away cross section of a mother’s dwelling, we see her tending her qulliq (lamp), surrounded by utilitarian tools and her nestled sleeping children.

The low light of her igloo home is implied by the bluish tone of her surroundings set against the off-white and amber hues of the straw embedded Japanese tatami paper onto which the image is printed.

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,% KEELEEMEEOOMEE!SAMUALIE!ᑭᓕᒥᐅᒥ! "$%$%-$%/*()!KINNGAIT!"CAPE!DORSET( THE!WHALE!HUNT!OF!OLD stonecut and stencil; 1983, 15/50, unframed, 19.5 x 26 in — 49.5 x 66 cm PROVENANCE" Estate of W.A. Ross MacFadden, Toronto, ON NOTE" An artist of great modesty and talent, Keeleemeeoomee praised the drawings of her daughter Eiyakota, but has suggested that her own were as much a ma"er of utility as of expression, and yet what expression she does give to her subjects [1] In the Whale Hunt of Old there is a marvelous rhythm in the scale of her creatures of the sea, as in the arching oars of the whalers straining to follow their prey.

(1) Ryan, Leslie Boyd, Cape Dorset Prints: A Retrospective Fi"y Years of Printmaking at Kinngait Studios, (Petaluma: Pomegranate Communications, 2007), 166.

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,+ INNUKJUAKJU!PUDLAT!ᐃᓄᔪᐊᕋᔪ!ᐳᓚ! "$%$*-$%+,()!KINNGAIT!"CAPE!DORSET( BEAR!AND!SEAL stonecut; 1964, 27/50, unframed, 20 x 24 in — 50.8 x 61 cm PROVENANCE" Estate of W.A. Ross MacFadden, Toronto, ON NOTE" Wife of the renowned graphic artist Pudlo Pudlat, 17 prints were made of Innukjuakju’s drawings in the 1960s, of which this example is characteristic. Printed here on delightful Japanese tatami paper whose surface is enlivened by the inclusion of rush straw fibres.

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,) LUCY!QINNUAYUAK!ᓗᓯ!ᑭᓐᐅᐊᔪᐊ! "$%$&-$%/,()!KINNGAIT!"CAPE!DORSET( YOUNG!HUNTERS stonecut; 1970, 34/50, unframed, 16.5 x 24 in — 41.9 x 61 cm PROVENANCE" Estate of W.A. Ross MacFadden, Toronto, ON NOTE" Avian subjects were returned to time and again by the artist, each visitation enlivened by marvelous variation. Here a colourful bird appears amidst a scene with hunters. The bowmen fumble with their arrows while the hapless bird takes flight.

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,, LUCY!QINNUAYUAK!ᓗᓯ!ᑭᓐᐅᐊᔪᐊ! "$%$&-$%/,()!KINNGAIT!"CAPE!DORSET( ROCK!BIRD stonecut; 1968, 24/50, unframed, 17 x 24.5 in — 55.9 x 62.2 cm PROVENANCE" Estate of W.A. Ross MacFadden, Toronto, ON NOTE" Lively and surreal in form, the present work is representative of Qinnuayuak’s turn toward the fantastical in her representation of avian subjects.

The bird here is shown with whirling tail feathers, and laurel-like feathers encircling its face.

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LUCY!QINNUAYUAK!ᓗᓯ!ᑭᓐᐅᐊᔪᐊ! "$%$&-$%/,()!KINNGAIT!"CAPE!DORSET( LITTLE!OWL stonecut; 1976, 44/50, unframed, 17 x 24.75 in — 43.2 x 62.9 cm PROVENANCE" Estate of W.A. Ross MacFadden, Toronto, ON NOTE" A dense composition, Qinnuayuak rarely fails to evoke a lively energy in her subjects. Here the solitary bird is buzzing with rhythmic dashes offset against bright orange-red talons.

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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'LOTS

All of the items are to be considered, unless otherwise noted in the description or condition report, in good condition. The definition of “good” when used in reference to condition, describes an object as having had no major damage or repair but as with the nature of the material, may show minor surface wear, discolouration etc., which indicates the acceptable wear that the piece may acquire with age. If you are particular about minor flaws, you should examine the pieces in person or have our staff answer any questions before bidding. Sizes are approximate. It is the sole responsibility of the bidder to inquire as to the condition of a lot before bidding. Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale.

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

BUYERS'PREMIUM

A premium of 20% of the successful bid price of each lot.

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

PAYMENT

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

ALL'PRICES'IN'CANADIAN'FUNDS

Selling at Waddington’s BIDDING

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.

SHIPPING

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%

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 preauction estimates of shipping costs of lots offered in this sale may be obtained from:

Items selling for $250 or less 25%

PakShip

*There is a minimum handling charge of $20 per item

#$%-'($-)*('+/+#$%-'($-)*(%+/+',)--#.-*--% taurus@pakship.ca / www.pakship.ca Safer Shipping Inc. ',)--##-..)( / ',)--##-#(%$ perry@safershipping.ca / www.safershipping.ca

REMOVAL'OF'PURCHASES

Purchases must be paid for within 48 hours of the date of the sale, and removed from premises within 10 days of the date of sale (see Conditions of Sale, conditions 8 to 15). Clients are advised that packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.

CITES

Restrictions exist regarding the import and export of species protected under CITES (Convention on International Trade in Endangered Species). This includes but is not limited to items made of or containing bone (whalebone etc.), ivory, tortoise shell, seal skin, rhinoceros horn and any other animal part and is strictly controlled or forbidden by most countries. Please review your country’s laws before bidding on pieces made of or containing these restricted items. It is the sole responsibility of the buyer to inquire about and obtain the proper permits for artwork purchased that may contain restricted materials, if such permit can be obtained.

Please contact the department for further assistance. Failure to obtain necessary import/ export permits will not void any sale.

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

*There is a minimum handling charge of $20 per item CANADIAN'ART'DEPARTMENT'COMMISSION''RATES Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15% Items selling for $2,500 or less 20%

INSURANCE

A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.

AUCTION'ADVICE

For auction advice on paintings, drawings, prints, jewellery, and various forms of decorative arts and other collectibles, please feel free to contact us via email or telephone.

We are pleased to review emails containing photographs and information on your pieces in order to provide auction estimates for you to consider.

For collections with a variety of objects, please contact our Appraisals and Consignments department (consignments@waddingtons. ca). For department-specific inquiries, please contact the specialist and/or department directly. All contact information can be found at www.waddingtons.ca.

Our offices are located in Toronto and Vancouver, but our specialists occasionally travel to major Canadian cities to meet with prospective consignors. To receive more information on Valuation Days across Canada or to arrange an appointment, please contact our Toronto office (',)-%$'-#,$$).

Please note that property typically arrives at Waddington’s at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items. Consignors will receive a contract to sign, se0ing forth terms and fees for our services.

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.

-1+ Each lot sold is subject to a 20% buyers premium as part of the purchase price. .1+ 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).

)1 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 a0endance at the sale.

(1+ 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 a"er 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, a"er 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, a"er which storage charges may be incurred.

'1 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.

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.

%1+ 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.

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 wri0en opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a wri0en 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 dra", electronic transfer (fee applies), and VISA or Mastercard (up to $25,000).

13. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for: (a) any deficiency in price between the resale 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 a0ribute 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.