Major Spring Auction: Inuit Art | May 8 - 29, 2025

Major Spring Auction: Inuit Art MAY 8 - 29, 2025

bid and view all lots online at bid.waddingtons.ca

inuit art inuitart@waddingtons.ca

auction ends Thursday, May 29, 2025 starts to close at 6 pm ET

senior specialist Duncan McLean

on preview Wednesday, May 21 from 10 am to 7 pm Thursday, May 22 from 10 am to 5 pm

senior specialist Palmer Jarvis 416-847-6191

consignment coordinator Elizabeth Gagnon 416-847-6184

Friday, May 23 from 10 am to 5 pm Saturday, May 24 from 12 pm to 4 pm Sunday, May 25 from 12 pm to 4 pm Monday, May 26 from 10 am to 5 pm Tuesday, May 27 from 10 am to 5 pm Wednesday, May 28 from 10 am to 5 pm Thursday, May 29 from 10 am to 12 pm Or by appointment. preview held at 100 Broadview Ave., Suite 200 Toronto, Ontario M4M 3H3 register to bid You must be registered to bid in this auction. Please register at bid.waddingtons.ca

This catalogue and its contents © 2025 Waddington McLean & Company Ltd. This auction is subject to Waddington’s Conditions of Sale.

Photography & design by Waddington’s.

All rights reserved.

front cover Lot 18 Marion Tuu'luq Untitled (Winter Scene), ca. 1977 front inside cover Lots 53, 16, 117 opposite Lot 61 Pudlo Pudlat Man Carrying Reluctant Wife, 1961 back inside cover Lot 8 Pauta Saila Dancing Bear (detail) back cover Lot 11 Jessie Oonark Untitled (Owl), ca. 1970-1975

Celebrating 175 Years

Founded in 1850, Waddington’s has watched Canada grow and prosper and we've adapted to each change over the course of our history.

Firmly anchored by our diverse areas of expertise, including fine art, Inuit and First Nations art, decorative arts and design, fine jewellery, and fine wine and spirits, we’ve been entrusted with some of the most interesting and iconic collections of Canadian history. Selling the contents of Maple Leaf Gardens comes to mind, a marathon auction broadcast by TSN which saw us catalogue everything from the rafters down to the benches. More sobering experiences include handling the estates of luminary Canadian politicians, artists and industry leaders.

Some of our most meaningful experiences have been working with clients who we have come to know and consider part of the Waddington’s family. Relationships passed down through families and friends. Collecting interests change – our commitment to providing trusted expertise does not.

As we celebrate our 175th anniversary, we also celebrate Canada and our mutual strength in diversity.

Duncan McLean President, Waddington's

Select work from lot 65 Parr Blue Geese Feeding, 1961

1 ABRAHAM ETUNGAT ᐊᐃᐊᔭᑲ ᐃᑐᒐ, RCA (1911-1999) KINNGAIT (CAPE DORSET) MAN WITH BIRD, CA. 1960s stone, unsigned 6.25 x 5.5 x 2.5 in — 15.9 x 14 x 6.4 cm PROVENANCE: Private Collection, Ontario $1,000—1,500

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2 LATCHOLASSIE AKESUK ᓚᓴᓚᓯ ᐊᑲᓴ (1919-2000) KINNGAIT (CAPE DORSET) OWL WITH OUTSTRETCHED WINGS, CA. 1960 stone, unsigned 4.5 x 10.5 x 2 in — 11.4 x 26.7 x 5.1 cm PROVENANCE: Private Collection, Ontario $2,000—3,000

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3 MATTOO MOONIE MICHAEL ᒧᑐᔭ ᒪᐃᑯ (B. 1958) KIMMIRUT (LAKE HARBOUR) UKALIQ (ARCTIC HARE), 1983 stone, signed in syllabics; dated 7.5 x 5.75 x 4.25 in — 19.1 x 14.6 x 10.8 cm PROVENANCE: Private Collection, Toronto, ON $500—700

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4 KIUGAK (KIAWAK) ASHOONA ᑭᐊᒐ, OC, RCA (1933-2014), KINNGAIT (CAPE DORSET) HUNTER WITH CATCH, CA. 1965 stone, unsigned 8 x 10 x 4.75 in — 20.3 x 25.4 x 12.1 cm PROVENANCE: Galerie Elca London, Quebec, 2016 Private Collection, New York, NY $1,000—2,000

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5 KANANGINAK POOTOOGOOK ᑲᓇᒋᓇ ᐳᑐᒍᑭ, RCA (1935-2010), KINNGAIT (CAPE DORSET) FOX, 1987 stone, signed in syllabics; dated 4.5 x 5.5 x 3 in — 11.4 x 14 x 7.6 cm PROVENANCE: The Collection of David Sutherland, Victoria, BC $1,000—2,000

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6 UNIDENTIFIED ARTIST, KINNGAIT (CAPE DORSET) SWIMMING BIRD, CA. 1975 stone, unsigned 4.5 x 8.25 x 3.75 in — 11.4 x 21 x 9.5 cm PROVENANCE: Private Collection, Montreal, QC $700—900

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7 VITAL MAKPAAQ ᒪᐸ (1922-1978), QAMANI’TUAQ (BAKER LAKE) MUSK OX, CA. 1970S stone, signed in syllabics 5.5 x 10 x 3.75 in — 14 x 25.4 x 9.5 cm PROVENANCE: The Collection of David Sutherland, Victoria, BC $1,000—1,500

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8 PAUTA SAILA ᐸᐅᑕ ᓯᓚ, RCA (1916-2009), KINNGAIT (CAPE DORSET) DANCING BEAR stone, antler, signed in syllabics 19 x 20 x 8 in — 48.3 x 50.8 x 20.3 cm; leg diameter 6.5 in — 16.5 cm PROVENANCE: Marion Scott Gallery, Vancouver, BC Private Collection, British Columbia $50,000—70,000

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9 PUDLO PUDLAT ᐳᓗ ᐳᓚ (1916-1992), KINNGAIT (CAPE DORSET) RAVEN WITH FISH, 1963 stonecut, titled, dated, and numbered proof III; artist’s name in syllabics; inscription verso, unframed sheet 18.25 x 24.25 in — 46.4 x 61.6 cm PROVENANCE: Private Collection, Pennsylvania, USA $2,000—3,000

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10 JESSIE OONARK ᔪᓯ ᐅᓇ, OC, RCA (1906-1985), QAMANI’TUAQ (BAKER LAKE) THE SHAMAN’S HELPING SPIRITS, 1971 stonecut and stencil, titled, dated, and numbered 15/40; artist’s and printer’s name in Roman and syllabics, unframed sheet 35.5 x 24 in — 90.2 x 61 cm PROVENANCE: Private Collection, New York, NY $4,000—6,000

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11 JESSIE OONARK ᔪᓯ ᐅᓇ, OC, RCA (1906-1985), QAMANI’TUAQ (BAKER LAKE) UNTITLED (OWL), CA. 1970-1975 stroud, felt, embroidery floss, thread, signed in syllabics verso; accompanied by a “Canada Eskimo Art” tag inscribed “J. Oonark / 27 x 27 / C25003 B.L. / #0118 Owl” 26.25 x 34.25 in — 66.7 x 87 cm PROVENANCE: Inukshuk Gallery, Waterloo, ON, 1977 Private Collection, Ontario $8,000—10,000 An artist of an exceptionally fertile imagination and seemingly boundless creative energy, Jessie Oonark produced a truly remarkable body of drawings, prints and nivingajuliat (tapestry or wall hangings) over her long career.

Drawing from childhood memory, and from dreams, Oonark’s images often take on a fanciful and mysterious character, as is the case with the present depiction of an owl, whose staring eyes, and arm-like wings remind us that owls and some other birds were once closely associated with transforming shaman among people of the Keewatin, an association which would not have been lost on Oonark, whose father and grandfather were said to have been shaman.1 A departure from conventions of square and rectangular presentation, Untitled (Owl), circa 1970-1975 is a striking example of figural nivingajuliat from a period of experimentation in the early to mid-1970s in which Oonark investigated a series of unconventional profiles, including ulus, human figures, and snow beaters.2 While a small number of compositions by Oonark include bird imagery related to the present work, large single animal profile nivingajuliat

by Oonark are remarkably uncommon.

1 Jean Blodgett and Marie Bouchard, Jessie Oonark: A Retrospective (Winnipeg: Winnipeg Art Gallery, 1986), 65.

2 Ibid.

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12 KENOJUAK ASHEVAK ᑭᓄᐊᔪᐊ ᐊᓯᕙ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET) OWL SPIRIT, 1969 stonecut, titled, dated, and numbered 45/50; artist’s name in Roman sight 21 x 29.25 in — 53.3 x 74.3 cm PROVENANCE: Private Collection, Montreal, QC $3,000—4,000

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13 OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ, RCA (1923-2005), KINNGAIT (CAPE DORSET) CARIBOU, CA. 1990S patinated bronze, signed in syllabics; numbered 1/12 to underside of hoof including antlers 24 x 21 x 11 in — 61 x 53.3 x 27.9 cm PROVENANCE: Inuit Gallery of Vancouver, Vancouver, BC Private Estate, Toronto, ON

Feats of balance and precision, Osuitok’s caribou express a graceful elegance and the sensitivity of their subject in a way that few other artists have been able to approach.

In 1993 Osuitok visited Vancouver for a solo exhibition at the Inuit Gallery of Vancouver, and while there, witnessed firsthand bronze casting process at a local foundry. Impressed with the medium’s inherent strength and capacity for rendering delicate features, a collaboration was embarked upon that would see Osuitok’s iconic caribou translated in the medium of bronze in an edition of twelve. The present sculpture is the first of the twelve cast.

$15,000—25,000 “Tuktu / Caribou”, Inuit Gallery of Vancouver, October 2014. https://inuit.com/ pages/tuktu-caribou

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14 LUCASSIE IKKIDLUAK ᓗᑲᓯ ᐃᑭᓗᐊ (B. 1949), KIMMIRUT (LAKE HARBOUR) MUSK OX, 1997 stone, antler, signed in syllabics; dated 8 x 10 x 4.5 in — 20.3 x 25.4 x 11.4 cm PROVENANCE: Private Collection, British Columbia $3,000—5,000

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15 MANASIE AKPALIAPIK ᒪᓇᓯ ᐊᐸᓕᐊᐱ (B. 1955), IKPIARJUK (ARCTIC BAY) WALRUS, 1997 stone, ivory, signed in syllabics; dated 7.76 x 6.75 x 14.75 in — 19.7 x 17.1 x 37.5 cm PROVENANCE: Private Collection, Toronto, ON $2,000—3,000

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16 JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ (1937-1999), UQSUQTUUQ (GJOA HAVEN) MUSK OX, CA. 1980s stone, antler, musk ox horn, signed in syllabics 12 x 21 x 12 in — 30.5 x 53.3 x 30.5 cm PROVENANCE: Private Collection, USA $10,000—15,000

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17 KIAKSHUK ᑭᐊᓱ (1886-1966), KINNGAIT (CAPE DORSET) STONE IMAGES MARK THE WESTERN SEA ROUTE, 1960 sealskin stencil, titled, dated, and numbered 21/50; artist’s name in Roman unframed sheet 19 x 25.75 in — 48.3 x 65.4 cm PROVENANCE: Private Collection, Toronto, ON $3,000—5,000

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18 MARION TUU’LUQ ᒪᕆᓂ ᑐᓗ, RCA (1910-2002), QAMANI’TUAQ (BAKER LAKE) UNTITLED (WINTER SCENE), CA. 1977 stroud, felt, embroidery floss, thread, signed in syllabics; also inscribed “ᐃᓄ ᓇᐱᑐ” 56 x 58.5 in — 142.2 x 148.6 cm PROVENANCE: Miqsuvik Sewing Shop, Qamani’tuaq, NU, 6 May 1977 The Collection of David Sutherland, Victoria, BC $50,000—70,000 Dense, vibrant, and skilfully constructed, Untitled (Winter Scene) by Marion Tuu’luq is a rich tableau of winter life in stroud and felt. With its crown of igloos, it seems to offer a counterpoint to the artist’s many spring and summer scenes, dotted by warm weather tents.

Winter in the Arctic has traditionally been the Inuit ceremonial season, a time of transformation, and of commune with spirits, both benign and malevolent. Notable in the present work are the many images of the apparently supernatural amidst the everyday hurly-burly of the composition. Animals with humanoid faces, humanoid figures with tails, and toward the bottom left of the composition, a wolf or fox-like figure standing on two legs, seem to cause little concern to their more commonplace counterparts.

A sprawling, monumental scene by Tuu’luq, the work embodies a marvellous sense of rhythmic, sometimes colliding movement. The frenetic depiction of life on the move, or the raucous, at times chaotic life of the settlement is distinctive to Tuu’luq’s oeuvre, but is depicted as elsewhere in the artist’s work using a linear stylistic device more commonly found in the drawings of Tuu’luq’s husband Luke Anguhadluq (see lot 19).

Speaking of Tuul’uq’s work in her 2002 book on the artist, Marie Bouchard presciently observed that “[Tuu’luq’s] compositions are based on repetitions of format, motif, and colour that are as rhythmic as the seasons. All explore simple yet intricate aboriginal notions of regeneration, a rebirth that contributes to a sense of place, history, and endurance.”1 Untitled (Winter Scene), is one of over 20 exceptional works in the present auction from the important lifetime collection of former Northwest Territories Arts and Crafts Development Officer David Sutherland.

1 Marie Bouchard, Marion Tuu’luq (Ottawa: National Gallery of Canada, 2002), 34.

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19 LUKE ANGUHADLUQ ᓗᐅᒃ ᐊᒐᓴᓗ (1895-1982), QAMANI’TUAQ (BAKER LAKE) UNTITLED (ANIMALS AND MEN), CA. 1971 coloured pencil on paper, signed in syllabics; disc number inscribed; inscribed in pencil verso “Angosaglo / #12”, unframed sheet 22.5 x 30.5 in — 57.2 x 77.5 cm PROVENANCE: Private Collection, Hamilton, ON $2,000—3,000

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20 LUKE ANGUHADLUQ ᓗᐅᒃ ᐊᒐᓴᓗ (1895-1982), QAMANI’TUAQ (BAKER LAKE) THE MEN HUNTING CARIBOU IN KAYAKS, 1978 stonecut and stencil, titled, dated, and numbered 36/55; artist’s and printer’s name in Roman and syllabics, unframed sheet 34.75 x 24.5 in — 88.3 x 62.2 cm PROVENANCE: Gallery One, Toronto, ON Private Collection, Toronto, ON $1,000—1,500

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t

Of two of the three significant works of nivingajuliat (tapestry, or wall-hanging) by Marion Tuu’luq in the present auction, lots 21, Untitled (Transportation) and 22, Untitled (Travelling) are closely related, and may have been conceived as an informal diptych.

Both images are made up of objects in rhythmic, sometimes colliding movement, a feature distinctive to the oeuvre of Tuu’luq, but unusual for its depiction in the present works, of mechanical conveyances.

Untitled (Travelling) is composed of vehicles and their occupants, and Untitled (Transportation) only vehicles (save a pair of disembodied legs). Both images feature frenetic movement interspersed with maple leaves in a manner typical of what author Marie Bouchard has called a “gentle disorderliness” in the images of Tuu’luq. Images of maple leaves are often emblazoned in Qamani’tuaq on vehicles visiting from the South, but also signal notions of place and identity which Marie Bouchard notes, were very much on the mind of the artist, “[Tuu’luq’s] art explores the issues of self-identity and collective cultural identity and how these could be negotiated between two cultures whose boundaries of understanding are in constant flux and open to outside influences.” 1 A combination of vibrant and muted colours in the compositions are an exemplar of Tuu’luq’s interest in the abstract visual elements of her craft, and bring a complex visual texture to these two important works of nivingajuliat.

Untitled (Travelling) and Untitled (Transportation) is one of over 20 exceptional works in the present auction from the important lifetime collection of former Northwest Territories Arts and Crafts Development Officer David Sutherland.

An artist in his own right, and former student of the Vancouver School of Art (now Emily Carr Institute), Sutherland developed a lifelong passion for Inuit art, and was an outspoken advocate and author on all matters Inuit, in addition to his role for over 20 years as Northwest Territories Arts and Crafts Development Officer.

Sutherland and his wife Aiko were popular residents in the various locations in which they were posted, including Inuvik, Churchill, and Yellowknife. Successful in his work, he had to decline promotions to be able to stay in the Arctic, where he continued to develop artists’ facilities into environments of creativity and self-discipline—values not reinforced by all of Sutherland’s predecessors.

Sutherland’s work brought him into intimate contact with important artists who he continued to champion after his retirement from his post in 1986, including Marion Tuu’luq, Janet Kigusiuq, John Pangnark, Lucy Tasseor Tutsweetok, John Kavik, Andy Miki, Luke Iksiktaaryuk, Mathew Aqigaaq and countless others. An avid collector, Sutherland also purchased works, primarily from the Miqsuvik Sewing Shop, and other craft stores in the communities in which he served.

1 Marie Bouchard, Marion Tuu’luq (Ottawa: National Gallery of Canada, 2002), 21.

Gunther Abrahamson, “David Sutherland (1931-2004)”, Inuit Art Quarterly. Vol. 20. No. 1, spring, 2025, 43.

Marie Bouchard, Marion Tuu’luq (Ottawa: National Gallery of Canada, 2002), 100.

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21 MARION TUU’LUQ ᒪᕆᓂ ᑐᓗ, RCA (1910-2002), QAMANI’TUAQ (BAKER LAKE) UNTITLED (TRANSPORTATION), CA. 1980 stroud, felt, embroidery floss, thread, signed in syllabics 25 x 29.75 in — 63.5 x 75.6 cm PROVENANCE: Miqsuvik Sewing Shop, Qamani’tuaq, NU, 1980 The Collection of David Sutherland, Victoria, BC $8,000—10,000

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22 MARION TUU’LUQ ᒪᕆᓂ ᑐᓗ, RCA (1910-2002), QAMANI’TUAQ (BAKER LAKE) UNTITLED (TRAVELLING), CA. 1980 stroud, felt, embroidery floss, thread, signed in syllabics 27 x 29.75 in — 68.6 x 75.6 cm PROVENANCE: Miqsuvik Sewing Shop, Qamani’tuaq, NU, 1980 The Collection of David Sutherland, Victoria, BC $8,000—10,000

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23 JANET KIGUSIUQ ᔭᓇ ᑭᒍᓯᐊ (1926-2005), QAMANI’TUAQ (BAKER LAKE) UNTITLED (FIGURES AND ANIMALS), CA. 1980 duffel, felt, embroidery floss, thread, unsigned 28 x 28.75 in — 71.1 x 73 cm PROVENANCE: Miqsuvik Sewing Shop, Qamani’tuaq, NU, ca. 1981 The Collection of David Sutherland, Victoria, BC $1,000—2,000

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24 PITSEOLAK ASHOONA ᐱᓯᐅᓚ ᐊᓱᓇ, OC, RCA (1904-1983), KINNGAIT (CAPE DORSET) PLAYING KICKBALL WITH DEMONS, 1960 stonecut, titled, dated, and numbered 38/50; artist’s name in Roman, unframed sheet 18.5 x 23.75 in — 47 x 60.3 cm PROVENANCE: Private Collection, Ontario $3,000—5,000

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25 PUDLO PUDLAT ᐳᓗ ᐳᓚ (1916-1992), KINNGAIT (CAPE DORSET) AVINGALUK (THE BIG LEMMING), 1961 stonecut, titled, dated, and numbered 24/50; artist’s name in Roman, unframed sheet 30.5 x 24.5 in — 77.5 x 62.2 cm PROVENANCE: Private Collection, Pennsylvania, USA $1,500—2,500

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26 PUDLO PUDLAT ᐳᓗ ᐳᓚ (1916-1992), KINNGAIT (CAPE DORSET) THE OWL, 1967 stonecut, titled, dated, and numbered 15/50; artist’s name in Roman and syllabics, unframed sheet 17 x 24.5 in — 43.2 x 62.2 cm PROVENANCE: Private Collection, Pennsylvania, USA $1,000—1,500

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27 JOHNNIEBO ASHEVAK ᔭᓂᕗ ᐊᓴᕙ (1923-1972); KENOJUAK ASHEVAK ᑭᓄᐊᔭᐊ ᐊᓯᕙ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET), KINNGAIT (CAPE DORSET) UNTITLED (BIRD WITH PLUMAGE), CA. 1970 felt tip on paper, signed in syllabics “Johnniebo” lower right; embossed with West Baffin Eskimo Cooperative blind stamp sheet 20 x 26 in — 50.8 x 66 cm PROVENANCE: Private Collection, New York, NY $700—900

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28 JAMES ARCHIBALD HOUSTON, OC, FRSA (1921-2005), CANADIAN ARCTIC MOTHER AND CHILD, 1969 lithograph, titled, dated, and numbered 34/200; artist’s name in Roman sight 16 x 13.25 in — 40.6 x 33.7 cm PROVENANCE: Private Collection, Toronto, ON $500—700

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29 JOHN PANGNARK ᔭᓐ ᐸᓂ (1920-1980), ARVIAT (ESKIMO POINT) WOMAN WITH OUTSTRETCHED ARMS, CA. 1975 stone, signed in syllabics 9.5 x 5.5 x 4 in — 24.1 x 14 x 10.2 cm PROVENANCE: The Collection of David Sutherland, Victoria, BC $4,000—6,000

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Woman with Outstretched Arms, is one of over 20 exceptional works in the present auction from the important lifetime collection of former Northwest Territories Arts and Crafts Development Officer David Sutherland.

An artist in his own right, and former student of the Vancouver School of Art (now Emily Carr Institute), Sutherland developed a lifelong passion for Inuit art, and was an outspoken advocate and author on all matters Inuit, in addition to his role for over 20 years as Northwest Territories Arts and Crafts Development Officer.

Sutherland and his wife Aiko were popular residents in the various locations in which they were posted, including Inuvik, Churchill, and Yellowknife. Successful in his work, he had to decline promotions to be able to stay in the Arctic, where he continued to develop artists’ facilities into environments of creativity and self-discipline—values not reinforced by all of Sutherland’s predecessors.

Sutherland’s work brought him into intimate contact with important artists who he continued to champion after his retirement from his post in 1986, including Marion Tuu’luq, Janet Kigusiuq, John Pangnark, Lucy Tasseor Tutsweetok, John Kavik, Andy Miki, Luke Iksiktaaryuk, Mathew Aqigaaq and countless others. An avid collector, Sutherland also purchased works, primarily from the Miqsuvik Sewing Shop, and other craft stores in the communities in which he served.

Gunther Abrahamson, “David Sutherland (1931-2004)”, Inuit Art Quarterly. Vol. 20. No. 1, spring, 2025, 43.

Marie Bouchard, Marion Tuu’luq (Ottawa: National Gallery of Canada, 2002), 100.

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30 LUCY TASSEOR TUTSWEETOK ᓗᓯ ᑕᓯᐅ ᑎᓯᑕ (1934-2012), ARVIAT (ESKIMO POINT) FAMILY, 1974 stone, signed in syllabics; dated 9.75 x 8.5 x 4 in — 24.8 x 21.6 x 10.2 cm PROVENANCE: Greater Northwest Territories Craft Shop, Arviat, NU The Collection of David Sutherland, Victoria, BC $1,500—2,500

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31 GEORGE ARLUK ᐊᓗ (1949-2023), ARVIAT (ESKIMO POINT) SPIRIT, CA. 1978 stone, signed in syllabics 10 x 11.5 x 2 in — 25.4 x 29.2 x 5.1 cm PROVENANCE: Private Collection, Ontario EXHIBITED: George Arluk: The Song in the Stone, Images of the North, San Francisco, CA, Jul 21-Aug 25, 1979 Accompanied by a copy of the exhibition catalogue. $800—1,200

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32 JOHN TIKTAK ᔭᓐ ᑎᑕ, RCA (1916-1981), KANGIQLINIQ (RANKIN INLET) FACES, CA. 1970 stone, signed in syllabics, 6.5 x 7 x 4.5 in — 16.5 x 17.8 x 11.4 cm PROVENANCE: Private Collection, Toronto, ON $10,000—15,000

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33 KAROO ASHEVAK ᑲᔪ ᐊᓯᕙ (1940-1974), TALOYOAK (SPENCE BAY) SPIRIT, CA. 1973 whalebone, baleen, signed in syllabics 17.75 x 14 x 10.5 in — 45.1 x 35.6 x 26.7 cm PROVENANCE: Makler Gallery, Philadelphia, 1973 Private Collection, Ontario $60,000—90,000 One of the most distinctive talents in circumpolar art, Karoo Ashevak’s small body of work has had an outsized impact for a career that only lasted five years. His untimely death in a fire at the age of 34 brought an abrupt end to a surge of creative output that continues to draw interest and admiration from both Canadian and international audiences.

Karoo was born and worked in the Canadian high north of Taloyoak (Spence Bay) developing a style that fused his unique vision of dreams, spirituality, and shamanism with his exceptional artistic talents and attention to surface and material. Karoo chose the material for his sculptures carefully. The artist benefited from a relative abundance of time-cured whalebone deposited on the land by 19th century whalers, and also in ancient middens and dwelling sites long pre-dating Europeans arrival in the Arctic.1 The present work undeniably ranks among Karoo’s great expressions, and is one of two masterworks purchased and sold by Makler Gallery of Philadelphia in 1973 (the other, Drummer sold at Waddington’s in December 2021).

Makler, one of the great pioneering galleries of Philadelphia in the 20th century, represented artists including Alexander Calder, Milton Avery, Anselm Keifer, Jacques Lipchitz and the Cobra Group among others.2 Notably of the two works by Karoo selected by Makler, both are cut from a point of intersection in the whalebone in which a distinctive pattern of scattershot channels in the bone emanate. The channels, which once carried the blood of the whale to its extremities have been located by Karoo in the head of Drummer, and in the left shoulder of Spirit. The feature brings a distinct directionality to the compositions, echoed in the asymmetry of the figures. In the present work, particularly the curvature of its horn, and its small arm carved in relief, all of which masterfully draw the eye outward to the imposing weight of the figure’s oversized right hand. As elsewhere in Karoo’s work, the porosity of the whalebone itself, is suggestive of the immaterial character of the shaman’s domain.3

1 Pamela Harris, Karoo Ashevak Spirits (New York: American Indian Arts Center, 1973), unpaged.

2 Paul Makler et al., “Pioneering Art in the 1960s: Philadelphia”, Sloughtart, April 6 2005. https://slought.org/resources/pioneering_art 3 Jean Blodgett, Karoo Ashevak (Winnipeg: The Winnipeg Art Gallery, 1977), unpaged.

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34 DAVIE ATCHEALAK ᑎᕕ ᐊᓯᐊᓪ (1947-2006), IQALUIT (FROBISHER BAY) DANCING BEAR, CA. 1980S whalebone, signed in Roman 19.5 x 15 x 7 in — 49.5 x 38.1 x 17.8 cm PROVENANCE: Private Estate, Ontario $3,000—5,000

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35 LUKE AIRUT ᐊᐃᕈ (1942-2018), IGLULIK (IGLOOLIK) SHAMAN DRUMMING, CA. 2002 bone, sinew, signed in Roman 8.5 x 8.75 x 6.5 in — 21.6 x 22.2 x 16.5 cm PROVENANCE: Purchased directly from the artist Private Collection, Ontario $2,000—3,000

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36 NICK SIKKUARK ᓂᑯᓚ ᓯᑯᐊ (1943-2013), KUGAARUK (PELLY BAY) SEAL TRANSFORMATION, CA. 1980s antler, signed in syllabics 4.5 x 7.25 x 2.25 in — 11.4 x 18.4 x 5.7 cm PROVENANCE: Northern Images, Yellowknife, NWT The Collection of David Sutherland, Victoria, BC $800—1,200

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37 BILL NASOGALUAK ᐱᐃᓪ ᓇᓱᒐᓗᐊᒃ (B. 1953), TUKTUYAAQTUUQ (TUKTOYAKTUK) THE BREAKING OF THE SOUL, CA. 2009 stone, synthetic thread, unsigned 14.75 x 8 x 4 in — 37.5 x 20.3 x 10.2 cm PROVENANCE: Private Collection, Toronto, ON $4,000—6,000 The art of Bill Nasogaluak, an accomplished selftaught sculptor, painter and instructor originally from Tuktoyaktuk, Northwest Territories, has garnered notable curatorial attention in recent years.

Nasogaluak has created a body of distinctive, socially conscious artworks, sometimes wry in humour and often unflinching in their directness. His imagery draws on Inuit Shamanism and mythology, as well as both Inuit and Western art historical traditions, to investigate a wide range of the artist’s experience.

Artworks confront issues as diverse as climate change, self-harm, depression, and the impacts of industry in the North.

In a 2020 interview, Nasogaluak explained the impetus for an iteration of his subject entitled The Breaking of the Soul. Nasogaluak relayed that his cousin suffered from alcoholism and succumbed to the illness, ultimately taking his own life. The present work both honours Nasogaluak’s late cousin, and serves as a haunting image of the deteriorating and isolating effects of addiction.

Bill Nasogaluak, “Bill Nasogaluak: Shapeshifter,” March 26, 2020, Feheley Fine Arts, YouTube. https://www.youtube.com/watch?v=Tj1kGWeN4zE

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38 DAVID RUBEN PIQTOUKUN ᑎᕕᑎ ᐱᑐᑯ ᕈᐱᐃᓐ (B. 1950), PAULATUK SHAMAN WITH KAKINIIT (TATTOOS), 1987 stone, antler, steel, signed in Roman; dated 11 x 21 x 11.5 in — 27.9 x 53.3 x 29.2 cm PROVENANCE: Images Art Gallery, Toronto, ON, 6 Oct 1987 The Collection of David Sutherland, Victoria, BC $3,000—5,000

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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. One such image, the image of flight, occurs with particular frequency in the oeuvres of Piqtoukun and his brother Abraham Anghik, and are said to originate in the supposed otherworldly travels of their grandfather and grandmother, reputed shaman.1 Notably the figure in the present work bears the kakiniit (tattoos) worn by woman of Piqtoukun’s grandmother’s generation.

Shaman with Kakiniit (Tattoos), is one of over 20 exceptional works in the present auction from the important lifetime collection of former Northwest Territories Arts and Crafts Development Officer David Sutherland.

An artist in his own right, and former student of the Vancouver School of Art (now Emily Carr Institute), Sutherland developed a lifelong passion for Inuit art, and was an outspoken advocate and author on all matters Inuit, in addition to his role for over 20 years as Northwest Territories Arts and Crafts Development Officer.

Sutherland and his wife Aiko were popular residents in the various locations in which they were posted, including Inuvik, Churchill, and Yellowknife. Successful in his work, he had to decline promotions to be able to stay in the Arctic, where he continued to develop artists’ facilities into environments of creativity and self-discipline—values not reinforced by all of Sutherland’s predecessors.

Sutherland’s work brought him into intimate contact with important artists who he continued to champion after his retirement from his post in 1986, including Marion Tuu’luq, Janet Kigusiuq, John Pangnark, Lucy Tasseor Tutsweetok, John Kavik, Andy Miki, Luke Iksiktaaryuk, Mathew Aqigaaq and countless others. An avid collector, Sutherland also purchased works, primarily from the Miqsuvik Sewing Shop, and other craft stores in the communities in which he served.

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

Gunther Abrahamson, “David Sutherland (1931-2004)”, Inuit Art Quarterly. Vol. 20. No. 1, spring, 2025, 43.

Marie Bouchard, Marion Tuu’luq (Ottawa: National Gallery of Canada, 2002), 100.

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39 DAVID RUBEN PIQTOUKUN ᑎᕕᑎ ᐱᑐᑯ ᕈᐱᐃᓐ (B. 1950), PAULATUK STRIDING BEAR, 1976 nephrite jade, signed in Roman; dated 8.25 x 13.5 x 9 in — 21 x 34.3 x 22.9 cm PROVENANCE: Private Collection, Australia $4,000—6,000

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Early in David Ruben Piqtoukun’s career, the artist had the opportunity to work in nephrite jade, a demanding material, with ancient roots among Indigenous peoples of the Western Arctic and Northern Northwest Coast.

Between 1973-1976 he carved in the challenging medium, making a small number of sculptures. The material encouraged deliberate action, and the majority of the artist’s sculptures from the period are characterized by a forceful and reductive simplicity.

Speaking of the hardships of sculpting in nephrite in a 1994 interview for Inuit Art Quarterly, Piqtoukun expressed: “Jade develops a lot of patience. Working with the hardest material, you learn patience, competence, determination. Other materials are that much easier.” 1

1 David Ruben Piqtoukun and John Ayre, “David Ruben Piqtoukun”, Inuit Art Quarterly. Vol. 9. No. 3, Fall, 1994, 20.

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40 FLOYD KUPTANA (1964-2021), PAULATUK STALKING BEAR, 1997 stone, ivory, signed in Roman; dated; accompanied by a “Canada Eskimo Art” tag inscribed “Floyd Kuptana / Paulatuk/Toronto / 1996 / Bear” 7.5 x 19.5 x 6 in — 19.1 x 49.5 x 15.2 cm PROVENANCE: Private Collection, Montreal, QC $2,000—3,000

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41 WILLIAM CHICKSI (B. 1919), INUKJUAK (PORT HARRISON) HUNTER, DOG AND BEAR, CA. 1965 wood, ivory, unsigned including base 7.25 x 14.75 x 6.25 in — 18.4 x 37.5 x 15.9 cm PROVENANCE: Inuvik Sewing/Craft Shop (Rehabilitation Centre), Inuvik, NWT, mid 1960s The Collection of David Sutherland, Victoria, BC $400—600

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Although mid-20th century carving initiatives in the Canadian Arctic developed amidst considerable experimentation in the early years, sculpting in wood seems to have been largely discouraged by those purchasing from the artists, in favour of works made from indigenous stone.

Further West, artists more often worked in wood, continuing a long tradition of carving wood provided by traders, or carried into Arctic waters by Kamchatka and Alaskan ocean currents.

Surviving Inuit wooden sculptures from the early to mid-20th century are not always readily recognizable as the work of Inuit artists, unless like the present example, their collection provenance is recorded.

Hunter, Dog and Bear, is one of over 20 exceptional works in the present auction from the important lifetime collection of former Northwest Territories Arts and Crafts Development Officer David Sutherland.

An artist in his own right, and former student of the Vancouver School of Art (now Emily Carr Institute), Sutherland developed a lifelong passion for Inuit art, and was an outspoken advocate and author on all matters Inuit, in addition to his role for over 20 years as Northwest Territories Arts and Crafts Development Officer.

Sutherland and his wife Aiko were popular residents in the various locations in which they were posted, including Inuvik, Churchill, and Yellowknife. Successful in his work, he had to decline promotions to be able to stay in the Arctic, where he continued to develop artists’ facilities into environments of creativity and self-discipline—values not reinforced by all of Sutherland’s predecessors.

Sutherland’s work brought him into intimate contact with important artists who he continued to champion after his retirement from his post in 1986, including Marion Tuu’luq, Janet Kigusiuq, John Pangnark, Lucy Tasseor Tutsweetok, John Kavik, Andy Miki, Luke Iksiktaaryuk, Mathew Aqigaaq and countless others. An avid collector, Sutherland also purchased works, primarily from the Miqsuvik Sewing Shop, and other craft stores in the communities in which he served.

Gunther Abrahamson, “David Sutherland (1931-2004)”, Inuit Art Quarterly. Vol. 20. No. 1, spring, 2025, 43.

Marie Bouchard, Marion Tuu’luq (Ottawa: National Gallery of Canada, 2002), 100.

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42 AISA TULUGA (ISAH TOOL) (1899-1970), PUVIRNITUQ (POVUNGNITUK) MOTHER AND CHILD, CA. 1960 stone, signed in Roman; old tag to base inscribed “ISAH Waddingtons / March 5th / 318” 13.25 x 8.5 x 7 in — 33.7 x 21.6 x 17.8 cm PROVENANCE: Waddington’s Auctioneers, Toronto, ON Private Collection, Montreal, QC $2,000—3,000

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43 ABRAHAM NASTAPOKA ᐊᐃᐊᔭᑲ ᓇᓴᑕᐳᑲ (1900-1981), INUKJUAK (PORT HARRISON) MOTHER FEEDING CHILD, 1965 stone, signed in Roman; disc number inscribed; dated “4/12/65” 6 x 6.25 x 3.5 in — 15.2 x 15.9 x 8.9 cm PROVENANCE: Private Collection, Montreal, QC $1,000—2,000

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44 AKEEAKTASHUK ᐊᑭᐊᑐᓱ (1898-1954), INUKJUAK (PORT HARRISON) HUNTER, CA. 1950 stone, antler, lye soap, unsigned with base and implements 7.5 x 5 x 4 in — 19.1 x 12.7 x 10.2 cm PROVENANCE: Private Collection, Ontario $3,000—5,000

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45 GEORGE TATANIQ ᑕᑕᓂ (1910-1991), QAMANI’TUAQ (BAKER LAKE) DRUM DANCER, CA. 1975 stone, antler, signed in syllabics 9.5 x 5 x 6.5 in — 24.1 x 12.7 x 16.5 cm PROVENANCE: Private Collection, Alberta $1,000—1,500

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46 TUNA IQULIQ ᑐᓇ ᐃᑯᓕ (1935-2015), QAMANI’TUAQ (BAKER LAKE) HEAD, CA. 1965 stone, unsigned 5.25 x 3.25 x 1.25 in — 13.3 x 8.3 x 3.2 cm PROVENANCE: Private Estate, USA $500—700

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47 JOHN KAVIK ᔭᓐ ᑲᕕ (1897-1993), KANGIQLINIQ (RANKIN INLET) SLEEPING MAN, CA. 1970s ceramic, unsigned 4.25 x 12 x 5.5 in — 10.8 x 30.5 x 14 cm PROVENANCE: The Upstairs Gallery, Winnipeg, MB, 23 Oct 1984 The Collection of David Sutherland, Victoria, BC RELATED WORKS: Dr. Samuel Wagonfeld, Patricia Feheley, Tom Katsimpalis and Dr. Janice Currier, Survival: Inuit Art (Loveland: Loveland Museum/Gallery, 2004), 104. $1,500—2,500

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48 MATHEW AQIGAAQ ᒪᑐ ᐊᑭᒐ (1940-2010), QAMANI’TUAQ (BAKER LAKE) MOTHER AND CHILD WITH QULLIQ, 1978 stone, signed in syllabics; dated 7 x 8.5 x 6 in — 17.8 x 21.6 x 15.2 cm PROVENANCE: Sanavik Co-Operative, Qamani’tuaq, NU The Collection of David Sutherland, Victoria, BC $1,000—2,000

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49 PAUTA SAILA ᐸᐅᑕ ᓯᓚ, RCA (1916-2009), KINNGAIT (CAPE DORSET) DANCING WALRUS, CA. 1970 stone, whalebone, signed in Roman; accompanied by a “Canada Eskimo Art” tag inscribed “Cape Dorset / Walrus / Pauta” 18 x 16 x 9.5 in — 45.7 x 40.6 x 24.1 cm PROVENANCE: The Snow Goose, Ottawa, ON, 1972 Private Collection, Toronto, ON $15,000—20,000 The foremost carver of bears in his lifetime, Pauta was perhaps also the most dedicated and prolific in his exploration of the subject. Notably however, the artist did find time for other muses, as in this remarkable and monumental dancing walrus, circa 1970.

Interestingly, Pauta’s talented and powerful camp-leading father was associated with his gift for hunting walruses, as Pauta was noted for his affinity with bears.1 Although significant examples of walruses are infrequent, even rare, in Pauta’s oeuvre, like any Innuk hunter of his generation, the subject would have been intimately familiar to him.

In the present work Pauta has carefully captured the dark skin behind the walrus’ whiskers by orienting the sculpture so that the black striations of the Markham Bay stone colour the nose of the creature.

The walrus exudes the playful exultant air which Pauta always insisted was not purely fanciful, but was present in his subjects.

This lot is accompanied by the original 1972 bill of sale from The Snow Goose Gallery.

1 Norman Hallendy, Inuksuit: Silent Messengers of the Arctic (Vancouver/Toronto: Douglas & MacIntyre, 2000), 25.

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50 TOONOO SHARKY ᑐᓄ ᓴᑭ (B. 1970), KINNGAIT (CAPE DORSET) WALRUS AMIDST RAZOR CLAMS, CA. 2000 stone, ivory, signed in syllabics; dated 14.25 x 8.5 x 8 in — 36.2 x 21.6 x 20.3 cm PROVENANCE: Private Collection, Ontario $3,000—4,000

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51 KENOJUAK ASHEVAK ᑭᓄᐊᔪᐊ ᐊᓯᕙ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET) SNOWY OWL, CA. 1960 stone, signed in syllabics; disc number inscribed; old sticker to underside inscribed “Private Collection Charles Gimpel” 13 x 11 x 8.5 in — 33 x 27.9 x 21.6 cm PROVENANCE: Charles Gimpel Collection, London, UK Private Collection, Connecticut, USA $3,000—4,000

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52 JOANASSIE IGIU ᔪᐊᓇᓯ ᐃᒋᐅ (1923-1981), KINNGAIT (CAPE DORSET) BIRD, CA. 1960s stone, unsigned 11.5 x 10.7 in — 29.2 x 27.2 cm PROVENANCE: Private Collection, Ontario $1,000—2,000

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53 JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ (1937-1999), UQSUQTUUQ (GJOA HAVEN) SUCCESSFUL FISHERMAN, CA. 1980s stone, whalebone, sinew, antler, signed in syllabics 10 x 9.5 x 9.5 in — 25.4 x 24.1 x 24.1 cm

Judas Ullulaq’s figures radiate large personalities, the emotional disposition of his characters are sometimes ambiguous, but never restrained in the intensity of their expression. They are pervaded throughout by a sense of narrative humour, from an artist well known for his jocular disposition.

PROVENANCE: Purchased directly from the artist ca. 1980s Private Collection, Yellowknife, NT

Early works by Ullulaq are especially notable for the fineness and comparative precision of their carving.

Successful Fisherman is one of three remarkable works

by Ullulaq in the present auction, and one of two early examples epitomizing the artist’s mid-1980s style.

$5,000—7,000

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54 NELSON TAKKIRUQ ᓇᐃᓴ ᑕᑭᕈ (1930-1999), UQSUQTUUQ (GJOA HAVEN) HUNTER AND BEAR, CA. 1990 stone, musk ox horn, signed in syllabics 6.5 x 7.5 x 6.5 in — 16.5 x 19.1 x 16.5 cm PROVENANCE: Private Collection, Michigan, USA $1,000—1,500

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55 OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ, RCA (1923-2005), KINNGAIT (CAPE DORSET) HUNTER, CA. 1980S stone, wood, ivory, hide, signed in syllabics without spear 15 x 11 x 10 in — 38.1 x 27.9 x 25.4 cm PROVENANCE: Private Collection, Seattle, WA $4,000—6,000

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56 THOMAS SIVURAQ ᑕᒪᓯ ᓯᕗᕋ (B. 1941), QAMANI’TUAQ (BAKER LAKE) IQAYQTI SPIRIT, CA. 1975 stone, antler, signed in syllabics sheet 10.5 x 3.25 in — 26.7 x 8.3 cm PROVENANCE: Private Collection, Ontario $2,500—3,500

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57 JESSIE OONARK ᔪᓯ ᐅᓇ, OC, RCA (1906-1985), QAMANI’TUAQ (BAKER LAKE) WOMAN, 1970 stonecut, titled, dated, and numbered 40/50; artist’s and printer’s name in Roman and syllabics, unframed sheet 31 x 21.75 in — 78.7 x 55.2 cm PROVENANCE: Gallery One, Toronto, ON Private Collection, Toronto, ON $5,000—7,000

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58 NAPATCHIE POOTOOGOOK ᓇᐸᓯ ᐳᑐᒍ (1938-2002), KINNGAIT (CAPE DORSET) MY NEW ACCORDION, 1989 lithograph, titled, dated, and numbered 26/50; artist’s name in Roman and syllabics, unframed sheet 44 x 31.5 in — 111.8 x 80 cm PROVENANCE: Private Collection, Toronto, ON $3,500—5,500

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59 KIAKSHUK ᑭᐊᓱ (1886-1966), KINNGAIT (CAPE DORSET) SINGING WOMEN SEW KAYAK, 1960 stonecut, titled, dated, and numbered 31/50; artist’s name in Roman, unframed sheet 24 x 12.75 in — 61 x 32.4 cm PROVENANCE: Private Collection, Ontario $3,000—4,000

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60 KANANGINAK POOTOOGOOK ᑲᓇᒋᓇ ᐳᑐᒍᑭ, RCA (1935-2010), KINNGAIT (CAPE DORSET) OOPIKJUAK, 1984 stonecut and stencil, titled, dated, and numbered 33/50; artist’s name in Roman and syllabics, unframed sheet 31.5 x 24.75 in — 80 x 62.9 cm PROVENANCE: Private Collection, Vermont, USA $1,000—1,500

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61 PUDLO PUDLAT ᐳᓗ ᐳᓚ (1916-1992), KINNGAIT (CAPE DORSET) MAN CARRYING RELUCTANT WIFE, 1961 sealskin stencil, titled, dated, and numbered 16/50; artist’s name in Roman, unframed sheet 23.5 x 18 in — 59.7 x 45.7 cm PROVENANCE: Private Collection, Pennsylvania, USA $6,000—9,000

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62 PUDLO PUDLAT ᐳᓗ ᐳᓚ (1916-1992), KINNGAIT (CAPE DORSET) RUNNING RABBIT, 1963 stencil, titled, dated, and numbered 30/50; artist’s name in Roman and syllabics, unframed sheet 24.75 x 19.75 in — 62.9 x 50.2 cm PROVENANCE: Private Collection, Pennsylvania, USA $3,000—5,000

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63 PITALOOSIE SAILA ᐱᑕᓗᓯ ᓴᐃᓚ, RCA (1942-2021), KINNGAIT (CAPE DORSET) ESKIMO LEADER, 1972 stonecut, titled, dated, and numbered 45/50; artist’s name in Roman, unframed sheet 24 x 33.5 in — 61 x 85.1 cm PROVENANCE: Private Collection, Toronto, ON $2,000—3,000

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64 ELEESHUSHE PARR ᐃᓕᓱᓯ ᐸ (1896-1975), KINNGAIT (CAPE DORSET) WOMAN WITH WATER PAIL, 1965 stonecut, titled, dated, and numbered 14/50; artist’s name in Roman and syllabics sight 22.75 x 16 in — 57.8 x 40.6 cm PROVENANCE: Private Collection, Toronto, ON $600—900

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65 PARR ᐸ (1893-1969), KINNGAIT (CAPE DORSET) THE COMPLETE COLLECTION OF PRINTS, 1961-1974 thirty-four prints, comprised of two stencils, twenty-six stonecuts, three engravings, and three etchings PROVENANCE: Gallery One, Toronto, ON Private Collection, Toronto, ON EXHIBITED: Parr 1893-1969: A Print Retrospective, Gallery One, Toronto, ON, Dec 1979 $50,000—70,000 Click here to view the complete catalogue

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In 1979 on the 10th anniversary of Parr’s death, the Toronto gallery, Gallery One, presented a complete retrospective of Parr’s prints. Assembled with great foresight and difficulty over a period of more than 15 years, the exhibition of 34 prints may have been the only time to date that the complete printed works of Parr have been viewable in one place. Waddington’s is honoured to present this important collection at auction, which has been held in storage since the exhibition.

The lot is accompanied by an original copy of the retrospective catalogue, Parr 1893-1969: A Print Retrospective.

The following is the introduction for the accompanying catalogue to the exhibition, which was published in collaboration between Gallery One and the West Baffin Co-operative.

Parr died on November 3rd, 1969, in his seventy-sixth year. As a young man, his lifestyle was one that we would likely call primitive, one that was in harmony with a society that, in his day, had little to do with material wealth. Parr’s relationship with the land involved a total commitment that was dictated by harsh circumstance. He lived his entire life on southern Baffin Island amidst the hunting culture that he so faithfully and forcefully depicted in all his drawings.

Parr’s graphic images are perhaps best described as naive. In the spring of 1961, I introduced Parr to drawing on paper. At that time, he was living to the north of the very small settlement of Cape Dorset at a place known as Tessikjakjuak. His initial efforts, using graphite pencil, were done on a large format spiral sketch pad. From the very first, he was obviously intrigued and totally committed to the undertaking, for he drew on both sides of the sheets, completely filling the very sizable area.

Parr’s early drawings had a narrative theme, and his work continued in this vein throughout his brief but very prolific career. His figures, whether of man or beast, were direct and uninhibited.

The sizes of the individual images done on the planar surface were directly related to their significance in his mind and not to any perspective representation. Unlike other Dorset artists, Parr seldom depicted any form of myth or transformation. Rather, he executed drawings of naturalistic subjects, those images fondly recalled from his early years as a hunter. Rarely would he do other than completely fill a page with animals and men. Select groups of figures were infrequent; this is especially true in the few appearances of women in his drawings.

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Parr’s extremely direct style of drawing and shading was very often further enhanced by the stonecut method of printing. The three master printers, Lukta, Ottochie and Iyola, were responsible for executing his designs and did so through precise and laborious efforts. Other of Parr’s drawings adopted quite another feeling when interpreted in stencil form, a feeling not unlike the original crayon, pastel and pentel works.

Parr found copper engraving a difficult task and refused to forsake his preferred medium of pencil on paper. In an attempt to help him better his copper-plate efforts, he was introduced to softground etching, yet he never fully understood nor wished to partake in controlling the acid-bath technique dictated by the medium. After several plates had been proofed and editioned in this manner, Parr returned once again to drawing on paper.

Parr was an elderly man when his artistic career began, and from the outset he suffered bouts of senility. Impaired hearing also affected detailed verbal communication, although it was not in Parr’s nature to comment seriously on his drawings. Fellow Cape Dorset artists failed to show any appreciation for his work, but nevertheless he persisted in his endeavours until just shortly before his death. In his humble fashion, Parr would sit simply on his sleeping platform, balancing sheets of paper on his outstretched legs, drawing intently, and peering through eye-glasses that never seemed to fulfill their function to his satisfaction.

By January, 1969, Parr was no longer able to draw, yet in those few years as an artist he had executed over two thousand drawings. They remain today as a testimony to a man anxious to record a fading way of life in which he had shared.

Terry Ryan, Parr 1893-1969: A Print Retrospective (Cape Dorset: Kingait Press, 1979)

OPPOSITE Parr My People, 1961

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66 JAMES ARCHIBALD HOUSTON, OC, FRSA (1921-2005), CANADIAN STRANDED WHALE, 1957 woodcut, titled, dated, and numbered 6/30; artist’s name in Roman, Good overall condition. unframed sheet 12 x 17.25 in — 30.5 x 43.8 cm PROVENANCE: Private Collection, Toronto, ON $500—700

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Before the creation of the legendary 1959 print release at Kinngait (Cape Dorset), James Houston travelled to Japan to gain knowledge about traditional Japanese printing techniques that would be invaluable in the development of printmaking in the Arctic.

Intent on studying with master printmaker Un’ichi Hiratsuka, Houston also worked with other Japanese printmakers including Shiko Munakata, Shoji Hamada, Keisuke Serizawa, Kichiemon Okamura, Sadoa Watanabe, and Yoshito Mori.1 Back in Kinngait, Osuitok Ipeelee, Iyola Kingwatsiak, Eegyvudluk Pootoogook, Kananginak Pootoogook, and Lukta Qiatsuk worked with techniques brought back by Houston, manipulating, adapting, and developing them to suit their needs and preferences. An artist himself, and eager to teach by example, James Houston was not to be left behind. Houston made prints of his own, including his iconic 1959 portrait of the mysterious artist Niviaksiak.

1 Norman Vorano et al., Inuit Prints: Japanese Inspiration: Early Printmaking in the

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Canadian Arctic (Gatineau: Canadian Museum of Civilization, 2011), 9.

67 PUDLO PUDLAT ᐳᓗ ᐳᓚ (1916-1992), KINNGAIT (CAPE DORSET) FISH LINE, 1965 stonecut, titled, dated, and numbered 12/50; artist’s name in Roman and syllabics, unframed sheet 17 x 24.5 in — 43.2 x 62.2 cm PROVENANCE: Private Collection, Pennsylvania, USA $800—1,200

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68 PARR ᐸ (1893-1969), KINNGAIT (CAPE DORSET) THE WALRUS HUNT, 1963 stonecut, titled, dated, and numbered 36/50; artist’s name in syllabics, unframed sheet 17 x 24 in — 43.2 x 61 cm PROVENANCE: Private Estate, Ontario $1,000—1,500

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69 KENOJUAK ASHEVAK ᑭᓄᐊᔪᐊ ᐊᓯᕙ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET) UNTITLED (OWL WITH ENTWINED RAVENS), 2002/2003 felt tip on paper, signed in syllabics; embossed with West Baffin Eskimo Cooperative blind stamp, unframed sheet 20 x 26 in — 50.8 x 66 cm PROVENANCE: Private Collection, Vermont, USA $4,000—5,000

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70 KENOJUAK ASHEVAK ᑭᓄᐊᔪᐊ ᐊᓯᕙ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET) BIRD HUMANS, 1960 stonecut, titled, dated, and numbered 29/50; artist’s name in Roman, unframed sheet 23.75 x 28.25 in — 60.3 x 71.8 cm PROVENANCE: Private Collection, Ontario $8,000—10,000

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71 MARTHA ITTULUKA’NAAQ ᐃᑕᓗᑲᓇ (1912-1981), QAMANI’TUAQ (BAKER LAKE) MUSK OXEN AND WOLVES, 1970 stonecut, titled, dated, and numbered 15/24; artist’s and printer’s name in Roman and syllabics, unframed sheet 16.75 x 24 in — 42.5 x 61 cm PROVENANCE: Private Collection, Toronto, ON $800—1,200

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72 ANDY MIKI ᒥᑭ (1918-1983), ARVIAT (ESKIMO POINT) COMPOSITION WITH TWO FIGURES, CA. 1970 stone, signed in syllabics; inscribed “P / 11061-2” 9 x 8.25 x 1.5 in — 22.9 x 21 x 3.8 cm PROVENANCE: Mayberry Fine Art, Winnipeg, MB & Toronto, ON Marion Scott Gallery, Vancouver, BC Donald Ellis Gallery, New York, NY Private Collection, British Columbia EXHIBITED: Modern Vision, Inuit Masterworks from The 1960s and 1970s, Marion Scott Gallery, Vancouver, BC, 23-28 Jul 2012 Two Thousand Years of Inuit Art, Frieze Masters Art Fair, Donald Ellis Gallery, London, UK, 5-8 Oct 2017 $3,000—5,000

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73 JOHN PANGNARK ᔭᓐ ᐸᓂ (1920-1980), ARVIAT (ESKIMO POINT) FIGURE, CA. 1970 stone, signed in syllabics 7 x 6 x 5 in — 17.8 x 15.2 x 12.7 cm PROVENANCE: Greater Northwest Territories Craft Shop, Arviat, NU The Collection of David Sutherland, Victoria, BC $3,000—4,000

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74 ANDY MIKI ᒥᑭ (1918-1983), ARVIAT (ESKIMO POINT) ANIMAL, CA. 1974 stone, signed in syllabics 6.5 x 4.75 x 3.5 in — 16.5 x 12.1 x 8.9 cm PROVENANCE: Greater Northwest Territories Craft Shop, Arviat, NU, 15 May 1974 The Collection of David Sutherland, Victoria, BC $2,000—3,000

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75 JOHN PANGNARK ᔭᓐ ᐸᓂ (1920-1980), ARVIAT (ESKIMO POINT) FIGURE WITH ARMS RAISED, CA. 1974 stone, signed in syllabics 5 x 3 x 2 in — 12.7 x 7.6 x 5.1 cm PROVENANCE: Greater Northwest Territories Craft Shop, Arviat, NU, 15 May 1974 The Collection of David Sutherland, Victoria, BC $1,500—2,500

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92 Inuit Art

76 LUCY TASSEOR TUTSWEETOK ᓗᓯ ᑕᓯᐅ ᑎᓯᑕ (1934-2012), ARVIAT (ESKIMO POINT) FAMILY, CA. 1980 stone, unsigned 3.75 x 1.5 x 1 in — 9.5 x 3.8 x 2.5 cm PROVENANCE: Private Collection, Toronto, ON $300—500

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77 ABRAHAM ETUNGAT ᐊᐃᐊᔭᑲ ᐃᑐᒐ, RCA (1911-1999), KINNGAIT (CAPE DORSET) BIRD OF SPRING, CA. 1975 stone, signed in syllabics 7 x 9.25 x 2 in — 17.8 x 23.5 x 5.1 cm PROVENANCE: Gallery One, Toronto, ON Private Collection, Toronto, ON $1,500—2,500

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May 8 - 29, 2025

93

78 ABRAHAM ETUNGAT ᐊᐃᐊᔭᑲ ᐃᑐᒐ, RCA (1911-1999), KINNGAIT (CAPE DORSET) BIRD WITH WINDSWEPT WINGS, CA. 1980 stone, signed in syllabics 12 x 9 x 2.25 in — 30.5 x 22.9 x 5.7 cm PROVENANCE: Private Collection, Toronto, ON $2,000—3,000

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94 Inuit Art

79 JOE TALIRUNILI ᔪᐅ ᑕᓚᕈᓂᓕ (1893-1976), PUVIRNITUQ (POVUNGNITUK) OWL, CA. 1970 stone, signed in Roman 6.25 x 2.5 x 2.5 in — 15.9 x 6.4 x 6.4 cm PROVENANCE: Private Collection, British Columbia $2,500—3,500

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80 ISAACI QURQAQ PADLAYAT (B. 1934), SALLUIT (SUGLUK) WOMAN MENDING KAMIK, CA. 1955 stone, unsigned; disc number inscribed 7.75 x 5 x 4 in — 19.7 x 12.7 x 10.2 cm PROVENANCE: Private Collection, British Columbia $1,000—2,000

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May 8 - 29, 2025

95

81 TUMIRA ASHOONA ᑐᒥᕋ (B. 1943), KINNGAIT (CAPE DORSET) INUKSHOO, 1964 stonecut, titled, dated, and numbered 18/50; artist’s name in Roman unframed sheet 24.5 x 16.75 in — 62.2 x 42.5 cm PROVENANCE: Private Collection, Toronto, ON $1,000—2,000

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96 Inuit Art

82 ANNIE POOTOOGOOK ᐊᓂ ᐳᑐᒍ (1969-2016), KINNGAIT (CAPE DORSET) UNTITLED (OLD LIFE, NEW LIFE) coloured pencil and felt tip on paper, signed in syllabics lower right; embossed with West Baffin Eskimo Cooperative blind stamp, unframed sheet 19.5 x 25.5 in — 49.5 x 64.8 cm PROVENANCE: Private Collection, Connecticut, USA $5,000—7,000

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May 8 - 29, 2025

97

83 OVILOO TUNNILLIE ᐅᕕᓗ ᑐᓂᓕ, RCA (1949-2014), KINNGAIT (CAPE DORSET) MOTHER AND CHILD, CA. 2000 stone, signed in syllabics 20.5 x 7 x 2 in — 52.1 x 17.8 x 5.1 cm PROVENANCE: Private Collection, Victoria, BC $8,000—12,000

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98 Inuit Art

84 AUDLALUK KUPIRKRUALUK ᐊᐅᓚᓗ (B. 1926), SALLUIT (SUGLUK) MOTHER NURSING CHILDREN, CA. 1960 stone, signed in syllabics; disc number inscribed 9.5 x 8.25 x 7.25 in — 24.1 x 21 x 18.4 cm PROVENANCE: Private Estate, Ontario $2,000—3,000

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May 8 - 29, 2025

99

85 NAPATCHIE POOTOOGOOK ᓇᐸᓯ ᐳᑐᒍ (1938-2002), KINNGAIT (CAPE DORSET) BIRD SPIRITS, 1960 stonecut, titled, dated, and numbered 44/50; artist’s name in Roman, unframed sheet 19.25 x 23.75 in — 48.9 x 60.3 cm PROVENANCE: Private Collection, Gettysburg, PA $3,000—5,000

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86 KUDLALAK OR KELLYPALIK MANGITAK ᒪᒋᑕ (B. 1940), KINNGAIT (CAPE DORSET) SEA GULLS ON ARCTIC ICE, 1960 skin stencil, titled, dated, and numbered 37/50; artist’s name in Roman, unframed sheet 12 x 22.5 in — 30.5 x 57.2 cm PROVENANCE: Private Collection, Charlottesville, VA $3,000—5,000

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100 Inuit Art

87 NINGIUKULU (NINGEOKULUK) TEEVEE ᓂᒋᐅᑯᓗ ᑎᕕ (B. 1963), KINNGAIT (CAPE DORSET) NEUTRALIZER, 2016 stonecut, titled, dated, and numbered 16/50; artist’s name in Roman and syllabics sheet 24 x 17.5 in — 61 x 44.5 cm PROVENANCE: Private Collection, British Columbia $1,500—2,500

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88 UDLURIAK MANNING ᐅᓗᕆᐊ (1924-1971), KINNGAIT (CAPE DORSET) UNDER SEA BEAST, 1960 stonecut and sealskin stencil, titled, dated, and numbered 39/50; artist’s name in Roman, unframed sheet 23.75 x 11.75 in — 60.3 x 29.8 cm PROVENANCE: Private Collection, Ontario $700—900

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May 8 - 29, 2025

101

89 OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ, RCA (1923-2005), KINNGAIT (CAPE DORSET) BOUNDING CARIBOU, CA. 1965 stone, antler, signed in syllabics; collector’s inventory label on underside 11.5 x 11.25 x 11 in — 29.2 x 28.6 x 27.9 cm PROVENANCE: Private Collection, Toronto, ON $8,000—12,000 Bounding Caribou is a decided departure from the lithe and lean creatures typical of Osuitok’s address of the subject. The abstract proportions and soft curvaceous shapes of the sculpture are more at home among the artist’s abstract spirit images of the mid-60s and early 70s. Notably however, Bounding Caribou avoids the psychic tension of Osuitok’s spirit images, the closed eyes of the Caribou evoking an air of serenity.

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102 Inuit Art

90 PAUTA SAILA ᐸᐅᑕ ᓯᓚ, RCA (1916-2009), KINNGAIT (CAPE DORSET) DANCING BEAR, CA. 1975 stone, signed in syllabics 9.25 x 6.5 x 2.5 in — 23.5 x 16.5 x 6.4 cm PROVENANCE: Gallery One, Toronto, ON Private Collection, Toronto, ON $7,000—9,000

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May 8 - 29, 2025

103

91 AQJANGAJUK SHAA ᐊᔭᒐᔪ ᓴᐊ, RCA (1937-2019), KINNGAIT (CAPE DORSET) WALRUS TRANSFORMATION, CA. 1985 stone, antler, no visible signature; mounted to base not including base 22 x 17 x 11 in — 55.9 x 43.2 x 27.9 cm PROVENANCE: Private Collection, Montreal, QC Walker’s Auctioneers, Ottawa, ON, 16 Nov 2016, lot 142 Private Collection, Toronto, ON $3,000—5,000

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104 Inuit Art

92 HENRY EVALUARDJUK ᐃᕙᓗᐊᔪ (1932-2007), IQALUIT (FROBISHER BAY) STRIDING BEAR, CA. 1970s stone, signed in Roman and syllabics 3.25 x 7.5 x 2.75 in — 8.3 x 19.1 x 7 cm PROVENANCE: Private Collection, Toronto, ON $900—1,200

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May 8 - 29, 2025

105

93 LUKE IKSIKTAARYUK ᐃᓯᑕᔪ (1909-1977), QAMANI’TUAQ (BAKER LAKE) WOMAN WALKING, CA. 1975 antler, unsigned 10.25 x 6 x 5.25 in — 26 x 15.2 x 13.3 cm PROVENANCE: Craft Shop, Qamani’tuaq, NU, 1970s The Collection of David Sutherland, Victoria, BC $3,000—5,000

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94 UNIDENTIFIED ARTIST, QAMANI’TUAQ (BAKER LAKE) FLYING SHAMAN, CA. 1970 antler, unsigned 13 x 1 in — 33 x 2.5 cm PROVENANCE: Canadian Arctic Producers Shop, Churchill, MB, 1973 The Collection of David Sutherland, Victoria, BC $800—1,200

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106 Inuit Art

95 LUKE AIRUT ᐊᐃᕈ (1942-2018), IGLULIK (IGLOOLIK) WALRUS SKULL, 2002 bone, ivory, sinew, composite, signed in Roman 12 x 18.5 x 11 in — 30.5 x 47 x 27.9 cm PROVENANCE: Purchased directly from the artist, 2002 Private Collection, Ontario $6,000—8,000

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May 8 - 29, 2025

107

96 MANASIE AKPALIAPIK ᒪᓇᓯ ᐊᐸᓕᐊᐱ (B. 1955), IKPIARJUK (ARCTIC BAY) ON THE LAND, CA. 1995 whalebone, stone, skull, signed in syllabics including base 38 x 15 x 14 in — 96.5 x 38.1 x 35.6 cm PROVENANCE: Waddington’s Auctioneers, Toronto, ON, 10 Nov 2008, lot 212 Private Collection, Toronto, ON $3,000—4,000

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108 Inuit Art

97 KAROO ASHEVAK ᑲᕈ ᐊᓴᕙ (1940-1974), TALOYOAK (SPENCE BAY) FIGURE WITH CLENCHED TEETH, CA. 1972 whalebone, signed in syllabics; old sticker to underside inscribed “Karoo Ashevak / Spence Bay” 14 x 3.75 x 3 in — 35.6 x 9.5 x 7.6 cm PROVENANCE: Private Collection, Calgary, AB $10,000—15,000 Always known for his outsized and eccentric personality, the subject matter of Karoo’s work became increasingly unique and otherworldly toward the end of his short career. His earliest works foreshadow something of what was to come, and as in Figure with Clenched Teeth, embody a tension between Karoo’s love of humour, and his focus on the anxious world of the spirits.

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May 8 - 29, 2025

109

98 JOE KILOONIK ᑭᓗᓂ (1938-2011), TALOYOAK (SPENCE BAY) SHAMAN AND ATTENDANT SPIRITS, CA. 1990 stone, antler, signed in syllabics including implement 12.25 x 15 x 9.5 in — 31.1 x 38.1 x 24.1 cm PROVENANCE: Private Collection, British Columbia $5,000—7,000

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110 Inuit Art

Images of transformation and otherworldly power course through the sculptures of Joe Kiloonik. His images of shaman drumming, and figures in wide-eyed transformation seem to epitomize what proselytizing missionaries in the first half of the 20th century fought so hard to suppress in many Inuit communities. Born in 1938, Kiloonik started carving in stone in the 1970s, but seems to have hit his stride in the 1980s and early 90s with works such as Shaman and Attendant Spirits.

Darlene Coward Wight, Art & Expression of the Netsilik (Winnipeg: Winnipeg Art Gallery, 2000), 78-79.

99 JOSIAH NUILAALIK ᓄᓚᓕ (1928-2005), QAMANI’TUAQ (BAKER LAKE) TRANSFORMING SHAMAN, CA. 2003 stone, antler, signed in syllabics 7.5 x 10.5 x 7 in — 19.1 x 26.7 x 17.8 cm PROVENANCE: Private Collection, Toronto, ON $2,500—3,500

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100 NELSON TAKKIRUQ ᓇᐃᓴ ᑕᑭᕈ (1930-1999), UQSUQTUUQ (GJOA HAVEN) NULIAJUK, 1995 stone, antler, signed in syllabics; initialled; accompanied by a “Canada Eskimo Art” tag inscribed “Nelson Takkiruq / Gjoa Haven / 01 Feb 95 / Nuliayok” 9 x 14.5 x 4.5 in — 22.9 x 36.8 x 11.4 cm PROVENANCE: Private Collection, Ontario $1,500—2,500

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May 8 - 29, 2025

111

101 UNIDENTIFIED WESTERN ARCTIC MAKER KAMLEIKA, CA. 1900 marine mammal intestine, hide, cloth, rubber 41 x 61.5 in — 104.1 x 156.2 cm PROVENANCE: Donald Ellis Gallery, New York, NY Private Collection, Toronto, ON $1,000—1,500

112 Inuit Art

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102 POSSIBLY PETER AWA (B. 1947), IGLULIK (IGLOOLIK) SPIRIT OF LAND AND SEA, 1968 whalebone, baleen, unsigned; bearing a collector’s label inscribed “Awa Igloolok 1968” 10.75 x 16.4 x 5.25 in — 27.3 x 41.7 x 13.3 cm PROVENANCE: Private Collection, Toronto, ON $3,000—4,000

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May 8 - 29, 2025

113

103 PAULOOSIE KOVIK, KIMMIRUT (LAKE HARBOUR) BEAR DREAMS OF NARWHAL, CA. 1960s ivory, baleen, unsigned; old inventory tag on underside reads: “385 / Paulusse Kovik” 2.25 x 5 x 1 in — 5.7 x 12.7 x 2.5 cm PROVENANCE: Private Collection, Toronto, ON $400—600

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114 Inuit Art

104 UNIDENTIFIED YUPIK OR CHUKCHI ARTIST MAN ON KOMATIK, CA. 1900 ivory, unsigned 1 x 2 x .75 in — 2.5 x 5.1 x 1.9 cm PROVENANCE: Private Collection, Ontario $800—1,200

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May 8 - 29, 2025

115

116 Inuit Art

105 KENOJUAK ASHEVAK ᑭᓄᐊᔪᐊ ᐊᓯᕙ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET) THEO WADDINGTON COMMISSIONED PORTFOLIO, 1979 lithographs, 12 works; each titled, dated, and numbered 33/50; artist’s name in Roman and syllabics; accompanied by cloth-covered portfolio each sheet 22.25 x 31 in — 56.5 x 78.7 cm PROVENANCE: Private Collection, Toronto, ON $15,000—20,000 Portfolio includes: Bears and My Birds, My Birds Together, Nanulu Timialu (Bear and Birds), Opiilu Timialu (Owl and Birds), Owl Sentinel, Proud Young Owl, Ravens Guard the Sun Owl, Spirit Owl, Strong Young Wings, Summer Owl, Sun Owl and Foliage, Tulugak (Raven).

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May 8 - 29, 2025

117

106 KENOJUAK ASHEVAK ᑭᓄᐊᔪᐊ ᐊᓯᕙ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET) FESTIVE OWL, 1970 stonecut, titled, dated, and numbered 25/50; artist’s name in Roman sight 22.5 x 30 in — 57.2 x 76.2 cm PROVENANCE: Galerie Elca London, Montreal, QC A Prominent Private Collection Heffel, Toronto, ON, 27 Jun 2024, lot 204 Private Collection, Toronto, ON $3,000—5,000

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118 Inuit Art

107 KANANGINAK POOTOOGOOK ᑲᓇᒋᓇ ᐳᑐᒍᑭ, RCA (1935-2010), KINNGAIT (CAPE DORSET) UNTITLED (NORTHERN GOSHAWK), 1992 coloured pencil and felt tip on paper, signed in syllabics; dated; possibly titled in syllabics, unframed sheet 26 x 20 in — 66 x 50.8 cm PROVENANCE: Private Collection, Vermont, USA $2,000—3,000

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108 PUDLO PUDLAT ᐳᓗ ᐳᓚ (1916-1992), KINNGAIT (CAPE DORSET) OUR MASSIVE FRIEND, 1984 stonecut, titled, dated, and numbered 31/50; artist’s name in Roman and syllabics sheet 25.25 x 38.5 in — 64.1 x 97.8 cm PROVENANCE: Private Collection, USA $1,000—1,500

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May 8 - 29, 2025

119

109 UNIDENTIFIED ARTIST, ARVIAT (ESKIMO POINT) HEADS (WATCHING THE DRUM DANCE), CA. 1980 stone, unsigned 2 x 6.5 x 1 in — 5.1 x 16.5 x 2.5 cm; 2 x 6.5 x 1 in — 5.1 x 16.5 x 2.5 cm; 2.25 x 5 x 1 in — 5.7 x 12.7 x 2.5 cm PROVENANCE: Padlei Co-Operative Association Ltd., Arviat, NU, ca. 1984 The Collection of David Sutherland, Victoria, BC $500—700

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110 LUCY TASSEOR TUTSWEETOK ᓗᓯ ᑕᓯᐅ ᑎᓯᑕ (1934-2012), ARVIAT (ESKIMO POINT) FAMILY, CA. 1980 stone, unsigned 3.5 x 2.75 x .75 in — 8.9 x 7 x 1.9 cm PROVENANCE: Private Collection, Toronto, ON $300—500

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120 Inuit Art

111 JOHN PANGNARK ᔭᓐ ᐸᓂ (1920-1980), ARVIAT (ESKIMO POINT) FIGURE, CA. 1975 stone, signed in syllabics 1.75 x 2.5 x 1.5 in — 4.4 x 6.4 x 3.8 cm PROVENANCE: Private Collection, Toronto, ON $700—900

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112 ANDY MIKI ᒥᑭ (1918-1983), ARVIAT (ESKIMO POINT) ANIMAL, CA. 1970 stone, unsigned 1.5 x 5.25 x .5 in — 3.8 x 13.3 x 1.3 cm PROVENANCE: Private Collection, Toronto, ON $700—900

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May 8 - 29, 2025

121

113 THOMASSIE KUDLUK ᑐᒪᓯ ᑲᓚ (1910-1989), KANGIRSUK (PAYNE BAY) HUNTER WITH GUN, CA. 1980 stone, signed in syllabics; also inscribed “ᐅᒪᔪᓂ ᑲᓂᓴᑐ” 3.25 x 6 x 1.75 in — 8.3 x 15.2 x 4.4 cm PROVENANCE: Private Collection, Toronto, ON $400—600

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114 THOMASSIE KUDLUK ᑐᒪᓯ ᑲᓚ (1910-1989), KANGIRSUK (PAYNE BAY) HUNTER WITH SHIELD, CA. 1980 stone, signed in syllabics; also inscribed “EA / ᐅᓴᓂᐊᑐ” 5.75 x 4.5 x 2.75 in — 14.6 x 11.4 x 7 cm PROVENANCE: Waddington’s Auctioneers, Toronto, ON, 19 Apr 2010, lot 347 Private Collection, Toronto, ON $400—600

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122 Inuit Art

115 NANCY PUKINGRNAK AUPALUKTUQ ᐳᑭᓇ (B. 1940), QAMANI’TUAQ (BAKER LAKE) MAN WITH PIPE, CA. 1980 stone, signed in syllabics 3 x 3.5 x 2 in — 7.6 x 8.9 x 5.1 cm PROVENANCE: Private Collection, Toronto, ON $300—500

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116 MIRIAM MAREALIK QIYUK ᒪᕆᐊᒪ ᑭᔪ (1933-2016), QAMANI’TUAQ (BAKER LAKE) MOTHER AND CHILD, CA. 1968 stone, signed in syllabics; disc number inscribed 4 x 2.75 x 1.5 in — 10.2 x 7 x 3.8 cm PROVENANCE: Private Collection, Ontario $800—1,000

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May 8 - 29, 2025

123

117 JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ (1937-1999), UQSUQTUUQ (GJOA HAVEN) WOMAN WITH ULU, CA. 1980s stone, whalebone, signed in syllabics 9.75 x 7.5 x 4.25 in — 24.8 x 19.1 x 10.8 cm PROVENANCE: Purchased directly from the artist ca. 1980s Private Collection, Yellowknife, NT $4,000—6,000

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124 Inuit Art

118 NELSON TAKKIRUQ ᓂᐅᓴ ᑕᑭᕈ (1930-1999), UQSUQTUUQ (GJOA HAVEN) SEDNA WITH QULLIQ, CA. 1980 stone, signed in syllabics 4 x 11 x 5 in — 10.2 x 27.9 x 12.7 cm PROVENANCE: Northern Images, Yellowknife, NWT The Collection of David Sutherland, Victoria, BC $1,000—2,000

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May 8 - 29, 2025

125

119 JOHN TIKTAK ᔭᓐ ᑎᑕ, RCA (1916-1981), KANGIQLINIQ (RANKIN INLET) MOTHER AND CHILD, CA. 1975 stone, signed in syllabics 11.5 x 6.5 x 3.5 in — 29.2 x 16.5 x 8.9 cm PROVENANCE: Gallery One, Toronto, ON Private Collection, Toronto, ON $10,000—15,000

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126 Inuit Art

120 ANDY MIKI ᒥᑭ (1918-1983), ARVIAT (ESKIMO POINT) BIRD, 1974 stone, signed in syllabics; dated 4 x 7.5 x 5 in — 10.2 x 19.1 x 12.7 cm PROVENANCE: Greater Northwest Territories Craft Shop, Arviat, NU, 15 May 1974 The Collection of David Sutherland, Victoria, BC $1,500—2,500

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May 8 - 29, 2025

127

121 KENOJUAK ASHEVAK ᑭᓄᐊᔭᐊ ᐊᓯᕙ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET) CELESTIAL RAVENS, 2003 etching and aquatint, titled, dated, and numbered 14/50; artist’s name in Roman and syllabics, unframed sheet 28 x 31.5 in — 71.1 x 80 cm PROVENANCE: Private Collection, Vermont, USA $2,000—3,000

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128 Inuit Art

122 JEAN BLODGETT (1945-2020) & KENOJUAK ASHEVAK ᑭᓄᐊᔪᐊ ᐊᓯᕙ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET) GRAPHIC MASTERWORKS OF THE INUIT: KENOJUAK, 1981 4to; buff blind stamped cloth, backed in caribou hide, green lettering on spine, buff blind stamped cloth slip case, Blodgett, Jean, Graphic Masterworks of the Inuit: Kenojuak (Toronto, ON: National Library of Canada, 1981); limited edition 158/275, signed by the author and the artist; illustrated with full colour plates; accompanied by a hand-coloured etching Myself and I, titled, dated, and numbered 158/275, artist’s name in Roman and syllabics 12.5 x 14 x 3.5 in — 31.8 x 35.6 x 8.9 cm PROVENANCE: Waddingtons Auctioneers, Toronto, ON, 2 Mar 2023, lot 1 Private Collection, Toronto, ON $1,000—1,500

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129

123 JESSIE OONARK ᔪᓯ ᐅᓇ, OC, RCA (1906-1985), QAMANI’TUAQ (BAKER LAKE) DREAM OF THE BIRD WOMAN, 1969 stonecut, titled, dated, and numbered 14/21; artist’s and printers names in Roman and syllabics, unframed sheet 21.25 x 17 in — 54 x 43.2 cm PROVENANCE: Private Collection, Ontario $2,000—3,000

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130 Inuit Art

124 ELEESHUSHE PARR ᐃᓕᓱᓯ ᐸ (1896-1975), KINNGAIT (CAPE DORSET) BOY PLAYING WITH DOGS, 1966 stencil, titled, dated, and numbered 40/45; artist’s name in Roman sight 22 x 24.75 in — 55.9 x 62.9 cm PROVENANCE: Private Collection, Toronto, ON $500—700

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125 NINGIUKULU (NINGEOKULUK) TEEVEE ᓂᒋᐅᑯᓗ ᑎᕕ (B. 1963), KINNGAIT (CAPE DORSET) SURFACING, 2005 stonecut, titled, dated, and numbered 48/50; artist’s name in Roman and syllabics, unframed sheet 21 x 24 in — 53.3 x 61 cm PROVENANCE: Private Collection, Vermont, USA $1,000—2,000

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May 8 - 29, 2025

131

126 MATHEW NINGIURUVIK (1918-1985), KANGIRSUJUAQ (WAKEHAM BAY) HUNTER CARRYING BEAR, CA. 1960s stone, unsigned; disc number inscribed; accompanied by a “Canada Eskimo Art” tag inscribed “Wakeham Bay / Massew / E8-994” 7 x 6 x 3.25 in — 17.8 x 15.2 x 8.3 cm PROVENANCE: Private Collection, Montreal, QC $400—600

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127 MATHEW AQIGAAQ ᒪᑐ ᐊᑭᒐ (1940-2010), QAMANI’TUAQ (BAKER LAKE) BEAR, CA. 1980s stone, signed in syllabics 7.5 x 5.5 x 4.5 in — 19.1 x 14 x 11.4 cm PROVENANCE: Northern Images, Yellowknife, NWT, Sep 1997 The Collection of David Sutherland, Victoria, BC $1,000—2,000

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132 Inuit Art

128 FRANCIS ATUT ᐊᑐ, KUGLUKTUK (COPPERMINE) BOOKENDS (SUN/MOON), CA. 1960s stone, ivory, bookends signed in Roman; disc number inscribed; also inscribed in syllabics “ᑕᐊ / ᑲᒋᓯᓂᒥ ᓴᓇᔪ / ᐊᐅᑐ / ᓴᓇᔭᒋ ᓇᓄ”; accompanied by small Arctic library including: Captain William Scoresby, The Arctic Regions (London: The Religious Tract Society, ca. 1848) Captain William Scoresby, The Northern Whale-fishery (London: The Religious Tract Society, ca. 1848) Unidentified Author, The Story of Dr. Scoresby (London: T. Nelson and Sons, 1878) Robert Routledge, The Marvels of the Polar World (London: George Routledge and Sons Ltd., ca. 1880) David Cowans, Anecdotes of A Life on the Ocean (Montreal: John Lovell, 1871) each 6 x 4.25 x 3.5 in — 15.2 x 10.8 x 8.9 cm PROVENANCE: Private Collection, Toronto, ON $900—1,200

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133

129 AKEEAKTASHUK ᐊᑭᐊᑐᓱ (1898-1954), INUKJUAK (PORT HARRISON) HUNTER WITH CATCH, CA. 1950 stone, sinew, ivory, lye soap, unsigned including base 4.5 x 6.75 x 3 in — 11.4 x 17.1 x 7.6 cm PROVENANCE: Private Collection, Montreal, QC $1,000—1,500

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130 PAULASSIE POOTOOGOOK ᐸᐅᓚᓯ ᐳᑐᒍ, RCA (1927-2006), KINNGAIT (CAPE DORSET) MUSK OX, CA. 1975 stone, unsigned 7.5 x 12 x 5.5 in — 19.1 x 30.5 x 14 cm PROVENANCE: Private Collection, British Columbia $1,000—2,000

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134 Inuit Art

131 MOSESIE KOLOLA ᒧᓯᓯ ᑯᓗᓚ (1930-1985), KIMMIRUT (LAKE HARBOUR) INCISED TUSK, CA. 1979 ivory, stone, signed in syllabics 16.5 x 5 x 4 in — 41.9 x 12.7 x 10.2 cm PROVENANCE: Private Collection, Calgary, AB $700—900

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135

132 MATTOO MOONIE MICHAEL ᒧᑐᔭ ᒪᐃᑯ (B. 1958), KIMMIRUT (LAKE HARBOUR) REARING MUSK OX, CA. 1975 stone, ivory, unsigned; accompanied by a “Canada Eskimo Art” tag inscribed “Matoo Michael / Lake harbour / Musk Ox” 19.25 x 11 x 8 in — 48.9 x 27.9 x 20.3 cm PROVENANCE: Christel Galleries of Fine Art, Scarborough, ON Private Collection, Ontario $3,000—5,000

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136 Inuit Art

133 ABRAHAM APAKARK ANGHIK ᐊᐃᐊᔭᑲ ᐊᐸᑲ ᐊᒋ, OC (B. 1951), PAULATUK SHAMAN’S TRANSFORMATION, 2004 stone, unsigned; accompanied by a “Canada Eskimo Art” tag inscribed “Abraham Anghik Ruben / Paulatuk, NWT / 4/2004 / Birdman Dancer” 16.5 x 22 x 12 in — 41.9 x 55.9 x 30.5 cm PROVENANCE: Appleton Galleries, Vancouver, BC, 2007 Private Collection, Ontario $2,000—3,000

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May 8 - 29, 2025

137

134 ABRAHAM APAKARK ANGHIK ᐊᐃᐊᔭᑲ ᐊᐸᑲ ᐊᒋ, OC (B. 1951), PAULATUK SHAMAN WITH DRUM, CA. 2000 stone, unsigned 10.75 x 23 x 7 in — 27.3 x 58.4 x 17.8 cm PROVENANCE: Private Collection, Toronto, ON $2,000—3,000

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138 Inuit Art

135 OVILOO TUNNILLIE ᐅᕕᓗ ᑐᓂᓕ, RCA (1949-2014), KINNGAIT (CAPE DORSET) WOMAN WITH CLASPED HANDS, CA. 2000 stone, signed in syllabics 18 x 6.75 x 6 in — 45.7 x 17.1 x 15.2 cm PROVENANCE: Private Collection, Victoria, BC $4,000—6,000

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May 8 - 29, 2025

139

Major Spring Auction: First Nations Art MAY 8 - 29, 2025