KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET)
Smiling Polar Bear, early 1960s
stone, 4.25 x 2.75 x 1.25 in (10.8 x 7 x 3.2 cm)
signed, "ᑭᓄᐊᔪᐊ".

Provenance
Collection of Terry Ryan, Cape Dorset / Toronto;
Feheley Fine Arts, Toronto;
Collection of John & Joyce Price, Seattle, WA.

This whimsical small sculpture depicts the head and torso of a polar bear, an unusual subject for Kenojuak. It is bursting with personality, the head tilted, the mouth seeming to open in a smile. The placement of the swinging arms suggests that the bear is dancing. Perhaps it was carved from a leftover piece of stone, its form naturally dictating the subject and pose. At any rate, the sculpture's undeniable charm makes it a delightful and rare treasure. Created in the early 1960s, this work was selected by Terry Ryan, the then-manager of the Cape Dorset Co-op, for his personal collection.

References: For other sculptures by Kenojuak from the 1960s see First Arts, 5 December 2022, Lot 39; First Arts, 4 December 2023, Lots 8 and 30; First Arts, 10 June 2024, Lot 82. See also the section on Kenojuak’s sculptures in Kenojuak, (Toronto: Firefly Books / Mintmark Press Ltd., 1985), pp. 67-72.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

TUDLIK (1890-1966) KINNGAIT (CAPE DORSET)
Hawk, 1960
stone, 3.75 x 1.75 x 1.25 in (9.5 x 4.4 x 3.2 cm)
unsigned.

Provenance
Collection of Terry Ryan, Cape Dorset/Toronto;
Collection of John & Joyce Price, Seattle, WA.

Published:
This sculpture is illustrated in George Swinton, Eskimo Sculpture, (Toronto: McClelland and Stewart, Ltd., 1965), p. 171.

The respected elder Tudlik tried his hand at carving soon after settling in Cape Dorset in the early 1950s. Although there are several spectacular bears produced by the artist, he is justifiably most famous for his delightful carvings of birds, with owls being his preferred subject. We love the somewhat atypical design of this majestic fellow with its noble demeanor and casual elegance. It should be noted that this sculpture, reproduced in Swinton’s 1965 pioneering book Eskimo Sculpture, is described as a hawk. Certainly more slender and streamlined than Tudlik’s owls, it is nonetheless just as charming.

References: For birds by Tudlik see First Arts, 14 June 2022, Lot 11; First Arts, 4 December 2023, Lot 3. See also George Swinton, Eskimo Sculpture, (Toronto: McClelland & Stewart, 1965), p. 85; George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972), figs. 6, 441, p. 9, 183; Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cats. 196, 199. See the section on Tudlik in Darlene Coward Wight, Early Masters: Inuit Sculpture 1949-1955, (Winnipeg Art Gallery, 2006), pp.172-175.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ATTRIBUTED TO AMIDLAK (1897-1961) m., INUKJUAK (PORT HARRISON)
Bird's Head Match Holder, c. 1949
stone, soap, white and black inlay, 2.5 x 5.75 x 2 in (6.3 x 14.6 x 5.1 cm)
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

Published:
George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 50, p. 32.

Darlene Wight’s Early Masters exhibition catalogue illustrates several very early decorated match holders from Inukjuak, carved in stone and tusk by unknown hands. Also illustrated are similar functional but quite artistic objects attributed to three important artists: Akeeaktashuk, Pilipusi Novalinga, and Amidlak. [1] Of these, the example that seems strikingly like this lovely piece is the Owl-Shaped Match Holder by Amidlak. Both of these delightfully quirky artworks transcend the category of “souvenir” even if they are functional objects.

1. See Darlene Coward Wight, Early Masters: Inuit Sculpture 1949-1955, (Winnipeg Art Gallery, 2006), pp. 25-27, 33, 43, 46.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

SOLOMONIE TIGULLARAQ (1924-2000) KANGIQTUGAAPIK (CLYDE RIVER)
Wolf, c. 1964
stone, 4 x 9.25 x 1.75 in (10.2 x 23.5 x 4.4 cm)
inscribed with artist's disc number, "E5347".

Provenance
A Canadian Private Collection (probably Terry Ryan, Toronto / Kinngait (Cape Dorset);
Collection of John & Joyce Price, Seattle, WA.

Son of the famous Cape Dorset artist Tudlik (see Lot 2) and brother of Latcholassie (see Lot 53), Tigullaraq moved to Clyde River in the early 1960s. He created drawings for Terry Ryan on Ryan’s 1964 trip to North Baffin but also a couple of stunning sculptures: probably this Wolf and certainly the equally astonishing Caribou, which was included in the famous Sculpture/Inuit exhibition of 1971-73 (cat. 141), and sold at the First Arts auction of 5 December 2022, Lot 3.

Adopting a virtually identical stance, Wolf is every bit as sleekly elegant as Caribou and is equally charming. Tigullaraq became the most important Clyde River carver, known for his eccentric subject matter and sculptural form, but arguably he never surpassed the brilliance of these, his earliest masterpieces.

References: For illustrations of a Caribou of essentially identical form by Tigullaraq see First Arts, 5 Dec. 2022, Lot 3; Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cat. 141; and George Swinton, Eskimo Sculpture, (Toronto: McClelland and Stewart, Ltd., 1965), p. 187. For a biographical overview of the artist see Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), p. 148-149, and Maria Von Finckenstein, “Salomonie Tigullaraq: One of those Unnoticed Artists,” Inuit Art Quarterly, Winter 2001, Vol. 16, No. 4, p. 38-42.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ANNIE POOTOOGOOK (1969-2016) KINNGAIT (CAPE DORSET)
Portrait of My Grandmother, 2004
pencil and ink on paper, 20 x 19.5 in (51 x 49.8 cm)
signed, "ᐊᓂ ᐳᑐᒍ".

Provenance
Collection of John & Joyce Price, Seattle, WA.

This monochrome drawing is unusual, as Annie Pootoogook’s signature works generally overflow with primary colours. It is also rare in that it is based on a photograph of the artist’s grandmother, Pitseolak Ashoona, taken by Tessa Macintosh in the mid-1970s. In the photograph Pitseolak is seated, with her parka over one shoulder, working on a drawing in the busy milieu of the Kinngait Studios. Pootoogook strips away the entire background shown in the photo, so that her grandmother is depicted in a space defined only by the vertical and horizontal lines of the drawing paper, table, and the door behind her. It is a masterful composition: within the triangular structure of the drawing the subtle shading of her clothing contrasts with the dark of her hair and the heavy glasses that frame her eyes – the focal point of the drawing. Pitseolak’s gaze is calm and self-assured; originally directed at the photographer, it becomes redirected straight at her granddaughter and fellow-artist Annie, and by extension to us the viewers. No doubt this is how Pootoogook wanted her grandmother to be remembered. Annie’s love and pride shine through; Portrait of My Grandmother is a powerful and beautifully poignant work of art.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ITEE POOTOOGOOK (1951-2014) KINNGAIT (CAPE DORSET)
Old Outboard Motor, 2011
coloured pencil on paper, 46.75 x 48 in (118.7 x 121.9 cm), framed.
titled, signed, and dated, "Old Outboard Motor / Itee Pootoogook / 2011".

Provenance
Marion Scott Gallery, Vancouver, BC;
Acquired from the above by John & Joyce Price, Seattle, WA.

This unusually large drawing by Itee Pootoogook is based on a photograph taken by Bill Ritchie, then studio manager at the Cape Dorset Co-op. Pootoogook often used photographs as his reference for works. His earlier drawings were based on his own photos, but increasingly he used images taken by either Ritchie or fellow-artist Tim Pitsiulak as a frame of reference. In a way, this drawing falls into the still-life tradition; it is a study of an outboard motor lying, perhaps abandoned, on rocks – which remind us of Itee’s love of landscape. As in so many of his works, Pootoogook softens the photographic image so that colours, rather than line, define the image. The artist has covered the surface of the paper with nuanced layers of complementary shades so that the background does not in any way detract from the subject, which itself is also softly defined by shades of colour. Only the outline and the horsepower and logo of the vintage motor appear in sharp detail.

References: For more information on the artist and his art (including another work that uses one of Bill Ritchie’s photograph as the visual source, Cutting Whale), see Nancy Campbell, Itee Pootoogook: Hymns to the Silence, (Toronto: Goose Lane Editions / Kleinburg: McMichael Canadian Art Collection, 2019). See also Jessica Newton, “Itee Pootoogook: A Comfort Level in the Medium,” Inuit Art Quarterly, Vol. 25, No. 3, Fall 2010; see also Sandra Dyck, “Itee Pootoogook: Drawing on Photographs”, Inuit Art Quarterly, Vol. 29, No. 4, Winter 2016.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JOSIAH NUILAALIK (1928-2005) QAMANI'TUAQ (BAKER LAKE)
Caribou/Man, c. 1996
stone, and antler, 10.75 x 12.75 x 6.5 in (27.3 x 32.4 x 16.5 cm)
signed, "ᓄᐃᓚᓕ".

Provenance
Marion Scott Gallery, Vancouver, BC;
Collection of John & Joyce Price, Seattle, WA.

Exhibited:
Vancouver, BC, Marion Scott Gallery, Two Great Image Makers From Baker Lake: Sculptures by Josiah Nuilaalik / Wallhangings by Irene Avaalaaqiaq, 27 Feb – 20 Mar 1999, cat. 30.

Published:
Bob Kardosh, Two Great Image Makers From Baker Lake: Sculptures by Josiah Nuilaalik / Wallhangings by Irene Avaalaaqiaq, (Vancouver: Marion Scott Gallery, 1999), cat. no. 30, p. 38.

It is apt that Josiah Nuilaalik’s sculptures were exhibited alongside Irene Avaalaaqiaq’s works on cloth in the exhibition that included this masterful work; one can imagine this Caribou/Shaman or spirit figure inhabiting one of her fine hangings. That exhibition featured two other masterpieces by Nuilaalik: Shaman (see First Arts, 14 June 2022, Lot 134) and Female Shaman (First Arts, 5 December 2022, Lot 69).

Caribou/Man gazes heavenward with an air of ecstasy or expectation, in a manner like the winged Shaman referenced above. But while his face wears the contemplative look of many Nuilaalik figures, the caribou body of this hybrid creature seems to strut along with some confidence and even nonchalance. Sculpturally, the figure possesses the wonderful sense of malleability that makes Nuilaalik’s shape-shifting transformation figures so uniquely believable.

The eldest son of Jessie Oonark, Nuilaalik was adopted out to his paternal grandmother but as they all lived together, he grew up with the rest of the family. He married the future textile and graphic artist Ruth Qaulluaryuk (daughter of Luke Anguhadluq) in 1948; they moved into Baker Lake in the late 1950s. Nuilaalik carved only occasionally until the late 1980s but is now considered to be one of Baker Lake’s major sculptural talents.



References: For a contemporaneous and stylistically similar Caribou/Bear Shaman see First Arts, 28 May 2019, Lot 66. For other important works by Nuilaalik see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cats. 30 (p. 30) and 66 (p. 77);the latter work is also illustrated in Walker’s Auctions, 18 November 2015, Lot 18.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

GEORGE TATANNIQ (1910-1991) QAMANI’TUAQ (BAKER LAKE)
Muskox, early 1960s
stone and musk horn, 4.5 x 8.25 x 1.5 in (11.4 x 21 x 3.8 cm)
inscribed with partial disc number, "2 179";
signed indistinctly.

Provenance
Collection of John & Joyce Price, Seattle, WA.

The muskox was a favoured subject that Tatanniq revisited regularly throughout his career. This lovely example was carved in a soft, semi-translucent stone that was used briefly in the very early 1960s until Qamani’tuaq carvers discovered more suitable grey and black varieties. As a result, its sculptural forms are gently rounded rather than crisply executed, as Tatanniq’s subsequent examples would be. Already, however, we see the artist’s signature style here: elegant, sweeping lines and a delicate treatment of the animal’s legs, head, and inset horns. Like all the best sculptures by Tatanniq, Muskox exudes an air of serenity and calm. Gorgeous.

A superficially quite similar example by Tatanniq’s colleague Dominic Kingilik was inadvertently attributed to Tatanniq and published as such in Norman Zepp’s 1986 Pure Vision: The Keewatin Spirit catalogue (cat. 65, p. 122). Subsequent research by Zepp has corrected the misattribution. We are grateful to Norman for his advice and opinion regarding a firm attribution to Tatanniq for the current work. It seems likely that Kingilik copied this beautiful sculpture by Tatanniq to create his own version.

References: For other fine muskoxen by George Tatanniq see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 84, p. 105; Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), fig. 112; Jean Blodgett, Selections from The John and Mary Robertson Collection of Inuit Sculpture, (Kingston: Agnes Etherington Art Centre, 1986), cat. 12, p. 33. See the section on the artist in Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), pp. 120-129. George Swinton, Sculpture of Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 701; Walker’s Auctions, Nov. 2012, Lot 43; and First Arts, 12 July 2020, Lot 58.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

TUNA IQUILIQ (1934-2015) QAMANI'TUAQ (BAKER LAKE)
Four Faces, c. mid to late 1970s
stone and antler, 8 x 12.25 x 10 in (20.3 x 31.1 x 25.4 cm)
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

Tuna Iquliq was born in Baker Lake but lived in Rankin Inlet for several years. Influenced by Tiktak and Kavik to some extent, Tuna nonetheless developed a unique brutalist style. Perhaps best known for his wonderful depictions of seated women of the 1970s, [1] Tuna also produced several spectacular heads (see First Arts 28 May 2019, Lot 48). This epic and enigmatic sculpture presents a massive head with faces gazing off in all four directions. Its precise meaning can only be guessed at, but the fangs certainly provide a clue. Perhaps Four Faces represents a fanged shaman with special powers of sight or attended by three ancestor spirits.

1. See First Arts 12 July 2020, Lot 38. For other examples see Art Gallery of Ontario, The People Within: Art from Baker Lake, (Toronto: AGO, 1976), unpaginated.

References: For a Head by Iquliq (WAG collection) from 1964 (and two human figures from 1963) see George Swinton, Eskimo Sculpture, (Toronto: McClelland & Stewart, 1965), pp. 159-161. The figures are also illustrated in Canadian Eskimo Arts Council, Sculpture/Inuit, (Toronto: University of Toronto Press, 1971), cats. 247 and 368. The Head is reproduced also in George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92) fig. 666. For other sculpted heads by the artist see Norman Zepp, The Williamson Collection of Inuit Sculpture, (Regina: Norman Mackenzie Art Gallery, 1987), cats. 40, 41; and Winnipeg Art Gallery, Eskimo Carvers of the Keewatin N.W.T. (Winnipeg: Winnipeg Art Gallery, 1964), cat. 35, p. 26. For an important and unusually large and brutal Head by Iquliq see First Arts Auctions, May 2019, Lot 48. For another important work by the artist see First Arts, July 2020, Lot 38.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

OSUITOK IPEELEE, R.C.A. (1923-2005) KINNGAIT (CAPE DORSET)
Caribou, c. 1997-98
patinated and painted bronze, 24 x 22 x 12.75 in (61 x 55.9 x 32.4 cm), measurements reflect dimensions with inset antlers
signed and numbered, "ᐄᐱᓕ / 11/12".

Provenance
Inuit Gallery of Vancouver;
Acquired from the above by a Canadian Private Collection c. 1998;
Inuit Gallery of Vancouver;
Acquired from the above by John & Joyce Price, Seattle, WA, 2014.

Exhibited:
Vancouver, Inuit Gallery of Vancouver, Tuktu / Caribou, 3-24 Oct 2014, cat. no. 1.
The work was also featured in the gallery’s exhibition ad in the Inuit Art Quarterly, Fall 2014, vol. 27, no. 3, p. 4.

Though bronze may be an uncommon choice of medium for older Inuit artists, the stunning result seen in the present work demonstrates its undeniable effectiveness. Two bronze editions originated from Osuitok’s visit to Vancouver in 1993 for a solo exhibition at the Inuit Gallery of Vancouver. During his stay the gallery organized a city tour which included a visit to a local foundry. Fascinated by the casting process, Osuitok decided to have two of his stone sculptures cast in limited editions of twelve: the present Caribou and Hunter and Walrus. These works retain the spirit of his stone carvings while embracing the unique qualities of bronze, seamlessly merging tradition with innovation.

The polished surface splendidly displays the sleekly vigorous form of the animal, capturing its agility and grace with striking naturalism. Caribou stands in a dynamic pose, its neck gracefully extended, and its head and nose tipped upward as if alerted to some approaching danger. Slender legs give the sculpture a sense of balance and stability while yet suggesting movement and lightness. The antlers, with their long, branching points extending upward and outward, taper elegantly and punctuate the space around them. Darker patination at the joints and base of the neck enhances the natural shadows, adding visual weight and depth, while the beautifully naturalistic colouring of the antlers makes them stand out as striking, distinct features.

We speculate that the stone and antler model for this magnificent bronze sculpture is the Walking Caribou offered by First Arts on 13 July 2021, Lot 27. [1] Our description of that masterpiece began thus: “This stunning sculpture is just about as close to perfection as Osuitok ever achieved in his long career. Walking Caribou is supremely elegant in its design, extraordinarily graceful in its pose, and flawless in its execution.” By choosing that sublime work to translate into a new medium, this iconic artist ensured the image as a powerful symbol of the timeless, fragile beauty of the caribou made more permanent through the legacy of bronze.

1. That remarkable sculpture was carved with an integral stone base.

References: For a similarly posed caribou in the Sarick Collection at the Art Gallery of Ontario see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 57, p. 77. For other fine examples of Caribou works by the artist see First Arts, 13 July 2021, Lot 27. See also Ken Mantel, Tuvaq: Inuit Art and the Modern World, (Bristol, U.K.: Sansom and Company, 2010), fig. 211; Loveland Museum Gallery, Survival: Inuit Art, (Loveland, CO: Loveland Museum Gallery, 2004), p. 125 (Wagonfeld Collection), which was offered at Walker’s Auctions, Ottawa, May 2017, Lot 73. For a discussion of Osuitok’s life and work see Jean Blodgett, “Osuitok Ipeelee” in Alma Houston, ed., Inuit Art: An Anthology, (Winnipeg: Watson & Dwyer, 1988), pp. 42-55.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET)
The Enchanted Owl, 1960
Platemaker: IYOLA KINGWATSIAK (1933-2000) KINNGAIT (CAPE DORSET)
Printmaker Unknown, Probably EEGYVUDLUK POOTOOGOOK (1931-1999) KINNGAIT (CAPE DORSET)
stonecut print in blue ink, 24 x 31.25 in (60.6 x 79.7 cm), framed.
with the artist's later added signature, signed twice, "ᑭᓄᐊᔪᐊ".†
colour trial proof (“Artist's Proof II”) aside from the numbered edition of 50 [1].

Provenance
Acquired in Kinngait by Norman Hallendy, c. 1960;
Acquired from the above by a Private Collection;
Acquired from the above by Feheley Fine Arts, Toronto;
Acquired from the above by John & Joyce Price, Seattle, WA, 1996.

Exhibited:
Toronto, Art Gallery of Ontario, Tunirrusiangit: Kenojuak Ashevak and Tim Pitsiulak, 16 June - 12 Aug 2012, exh. inv. no. 141665, their label affixed verso.

Published:
Koomuatuk Curley et al, Tunirrusiangit: Kenojuak Ashevak and Tim Pitsiulak, Art Gallery of Ontario, (Toronto: Art Gallery of Ontario / Fredericton: Goose Lane Editions, 2018), ill. pp. 64-65, as “Colour trial proof”;
This print is illustrated in an installation shot in Lisa Myer, “Tunirrusiangit: Kenojuak Ashevak and Tim Pitsiulak”, IAQ Online, 29 Jan 2019, https://www.inuitartfoundation.org/iaq-online/tunirrusiangit-review, accessed 22 Aug 2024. It is pictured next to the green-tail version, which was sold at First Arts’s sale of the Price Collection on 5 Dec 2022, Lot 30.

After its 1960 release, Kenojuak’s The Enchanted Owl, with its wise and piercing gaze, garnered critical acclaim and became, arguably, the symbol of Inuit art. Both the “red-tail” and “green-tail” version of this iconic image have been reproduced extensively, appearing in numerous publications, posters, mugs, scarves, postcards, and more, cementing its status as a cultural icon. How extraordinary it is, then, to behold this rare artifact that captures both the early essence of Kenojuak’s legendary artistic journey as well as the birth of an icon.

This work is one of only a handful of surviving trial proofs from the creative process that preceded the landmark release of the 1960 Cape Dorset Print Collection. This rare proof offers an unparalleled glimpse into the experimentation and refinement in Kinngait at this time, capturing the evolution of a masterpiece before it was unveiled to the world.

Differing from the two-tone schemes of red-black and green-black of the editioned prints of The Enchanted Owl, the present work is distinguished by its bold use of a single, monolithic colour. Likely inked and printed by Eegyvudluk Pootoogook, this work features the classic blue hue that defined the early prints of Kinngait. This crisp, cool blue ink was applied with such vigor that it retains an astonishing freshness, as if still wet even after more than sixty years. The porous, slightly mottled effect, with textured circular spots scattered throughout the ink, suggests that a sponge — rather than a roller, which was used for the editioned prints — was employed to create this striking finish.

The off-register marks, evident only on the tips of the owl’s now iconic tail and the plumes around its head, vividly capture the essence of the experimental period in which this extraordinary work was created. These marks radiate a raw, unbridled energy that embodies the bold creativity of a time when Kinngait’s pioneering artists were fearlessly exploring, pushing boundaries, and foraging their artistic legacies.

This unique work not only retains the allure of its editioned counterparts but also serves as a rare, tangible connection to the emergence of a cultural masterpiece. It holds a significant place in Inuit art history, preserving on paper the formative period of experimentation that led to one of the most celebrated works in all of Canadian art.

†That this is inscribed "Artist's Proof II suggests that there are other numbered proofs, the whereabouts of which are not known to us. In 2007, an uninscribed green "colour trial proof" was sold by Dorset Fine Arts.
††John and Joyce Price have confirmed Kenojuak signed this work during one of her visits to their home.

References: See First Arts, 5 Dec 2022, Lot 30 for “Green-Tailed” and First Arts, 4 Dec 2023, Lot 11 for “Red-Tailed”. See Jean Blodgett, Kenojuak, (Toronto: Firefly Books / Mintmark Press Ltd., 1985), fig. xvi, p. 57, for the original graphite drawing. It would be nearly impossible to list every publication that features The Enchanted Owl. Pick up any seminal text on Inuit art, and chances are you’ll find its commanding gaze staring back at you. Article and magazines that reproduced The Enchanted Owl contemporaneously to its purchase availability include but are not limited to: “Poetess of the Arctic,” The Kingston Whig-Standard, 24 July 1961, p. 7; Lloyd Stewart, “Carlin Galleries Open Eskimo Art Exhibition,” Fort Worth Star-Telegram, Texas, USA, 22 July 1961, p. 14; Pearl McCarthy, “Cape Dorset Eskimo Community Is First to Employ White Adviser,” Globe and Mail, 7 Aug 1961, p. 13; “Kenojuak-Poet of the Arctic,” Toronto Daily Star, 8 August 1961, p. 28; “Poet of the Arctic,” Calgary Herald, 23 September 1961, p. 5; Kenneth Saltmarche, “Eskimo Art Coming to Gallery,” Windsor Star, 25 February 1961; Carl Weiselberger, “Stone-Cut and Seal Skin Art,” Ottawa Citizen, 1 March 1961, p. 15.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
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[JOSEPH] POOTOOGOOK (1887-1958) KINNGAIT (CAPE DORSET)
Joyfully I see Ten Caribou, 1959 #29
Printmaker: KANANGINAK POOTOOGOOK, R.C.A. (1935-2010) KINNGAIT (CAPE DORSET)
linocut and stencil [1], 12 x 17 in (30.5 x 43.2 cm), framed.
24/50

Provenance
Collection of John & Joyce Price, Seattle, WA.

A respected elder, Josephie Pootoogook was enlisted by James Houston to help build local support for Kinngait's budding printmaking experiments. Among the first prints produced in the nascent program was this striking image, Joyfully I See Ten Caribou. Printed by Pootoogook’s son, Kananginak and Osuitok Ipeelee, the work masterfully blends stencil and linocut techniques. The warm purple-grey stenciled areas define the man’s parka, framing the dense black linocut elements that bring the hunter’s friendly and confident face to life. His smiling eyes and toothy grin convey his joy, while the emphatic gesture of his splayed hands – signaling to fellow hunters that he has spotted caribou – is depicted in remarkable detail. Kananginak's sensitive stencil technique beautifully contrasts with the crisp details of the man’s fingers and palms, noteworthy for their almost tactile realism. Their finely carved lines capture the natural creases brought on by age and hard work.

1. This famous print was originally catalogued as a stonecut but is in fact a linocut and stencil. Kananginak recalls that he and Osuitok collaborated on the printmaking; see his comments in Christine Lalonde and Leslie Boyd Ryan, Uuturautiit: Cape Dorset 1959-2009, (Ottawa: National Gallery of Canada, 2009), p. 18.

References: This image has been widely reproduced including in: James Houston, Eskimo Prints, (Don Mills, ON: Longman Canada Ltd., 1971) p. 82 p. 33; pl. 195, unpaginated; Dorothy Eber, “Looking for the Artists of Dorset in Eskimo Art,” Canadian Forum, vol. 52 (July/August 1972), p. 12-16. Carol Finley, Art of the Far North: Inuit Sculpture, Drawing, and Printmaking, (Minneapolis, MN: Lerner Publications Company, 1998), p. 49, fig. 18, as “Kananginak Pootoogook” [sic]; Leslie Boyd Ryan, Cape Dorset Prints: A Retrospective (Pomegranate, 2007) p. 76, and in the National Museum of Man travelling exhibition catalogue The Inuit Print (NMM, 1977) p. 54. Also illustrated (along with Pootoogook’s original drawing) in Christine Lalonde and Leslie Boyd Ryan, Uuturautiit: Cape Dorset Celebrates 50 Years of Printmaking, exh. cat., (Ottawa: National Gallery of Canada, 2009), p. 37, cat. 37.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

PARR (1893-1969) KINNGAIT (CAPE DORSET)
Untitled (Three Figures), Spring 1961
graphite on cerlox bound paper, 23.75 x 18 in (60.3 x 45.7 cm), framed.
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

When the Cape Dorset arts advisor Terry Ryan handed him a large-format sketch pad and pencils in the spring of 1961, Parr was almost seventy years old. (He was still living at Tessikakjuak Lake northwest of Kinngait, and finally moved into the community later that year due to ill health.) Parr probably had little knowledge of Cape Dorset graphic art, let alone drawing in general; he literally learned to make images from scratch, so it should be no surprise that his very early efforts look like the drawings of young children.

Three Figures is one of his very first drawings and is noticeably even more simplified than the lovely Men with Geese, Dog, Seals, and Wha/le dated July 1961 (see First Arts, 4 December 2023, Lot 53). The figures’ tent-like bodies dwarf their small heads and minuscule limbs and seem to float like ghostly apparitions on the page; the smallest one even lacks facial features and feet. The clothing resembles dresses, but the figures might in fact depict a small family. Already recognizable are the trademark dot-and-dash facial features that Parr would continue to employ, as well as the “lines of division” the artist invented and would keep using to structure his human and animal figures. Marvelous.

References: For similarly styled early drawings by the artist see Ingo Hessel, “The Drawings of Parr: A Closer Look,” Inuit Art Quarterly, (Fall 1998, Vol. 3, No. 4, pp. 12 – 20), fig 2; and (incorporating three very similar human figures) see Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 167. See also First Arts, 4 December 2023, Lot 53. See also Marion Jackson, Parr: His Drawings, (Halifax, Mount Saint Vincent University, 1988).

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ISABEL RORICK (1955-) HAIDA, OLD MASSET, HAIDA GWAII
Wove Hat with Three Status Rings, mid-1990s
wove spruce root, 11 x 12.5 x 12.5 in (27.9 x 31.8 x 31.8 cm)
with artist's signature "three skip stitch pattern concentric circles".

Provenance
Collection of John & Joyce Price, Seattle, WA.

This woven hat is a masterwork by one of the most accomplished and celebrated weavers of this generation, Isabel Rorick, showcasing both her artistry and her deep cultural knowledge. Her skill in transitioning the intricate pattern of the hat to the stacked rings requires a technical expertise undertaken only by the most skilled weavers. The rings signify the number of potlatches hosted by a specific chief. A chief of high status might host three or four major potlatches in their lifetime, with the years in between spent navigating political currents, overseeing trade and allegiances with near and distant villages, and commissioning great art works: carved masks, woven robes, and hats worthy of the highest nobility. Equally important was stockpiling food for these events, which sometimes carried on for months. The potlatch rings were prominently featured on the hats of carved watchmen on totem poles. These poles faced the sea and acted as guardians, declaring a village’s ceremonial history and artistic excellence to all who approached by canoe. Woven hats were a testimony of inherited rights and status, worn by nobility during ceremonies at home and while attending events hosted in other villages.

Spruce root is both fine and durable. It is a material that requires time and patience to gather, clean, and soften for weaving. The weaving itself is arduous and unforgiving, with intense attention paid to the finest of details. The ancient patterns are the timeless slug trail, spider web, and fishbone, and Rorick has been faithful to these patterns.

Isabel Rorick, the great-granddaughter of Charles and Isabella Edenshaw, began weaving spruce root baskets under the direction of her grandmother, Selena Peratrovich, her mother, Primrose Adams, her aunt, Delores Churchill, and her cousins, April and Holly Churchill – all elite master weavers. She started weaving hats in 1982. Rorick’s works have been included in most of the exhibitions and publications dedicated to excellence in Northwest Coast art over the past three decades, and several are included in museum collections including the British Museum, the Canadian Museum of History, The Vancouver Art Gallery, and the Seattle Art Museum.

Gary Wyatt

References: In Gary Wyatt’s book Mythic Beings: Spirit Art of the Northwest Coast (D&M, 1999), the artist recounts two charming stories. The first tale tells of how Spider and Slug created the beautiful weaves and patterns found in Haida hats; the second story explains how baskets came to be (p. 66). Three of Rorick’s stunning hats (including a potlatch hat strikingly similar to this one) are illustrated on the facing page in that book. For an interview with Rorick (and more examples of her work, including a five-skil chief’s hat) see Vancouver Art Gallery, Raven Travelling: Two Centuries of Haida Art, (D&M, 2006), pp. 126-139.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JESSIE OONARK, O.C., R.C.A (1906-1985) QAMANI'TUAQ (BAKER LAKE)
Untitled (On the Land), c. 1967-68
stroud, felt, and cotton thread, 33.5 x 28 in (85.1 x 71.1 cm)
signed, "ᐅᓇ".

Provenance
A Canadian Private Collection, purchased from the artist;
Feheley Fine Arts, Toronto;
Collection of John & Joyce Price, Seattle.

Jessie Oonark started creating drawings and a variety of sewn items for sale soon after her evacuation to Baker Lake in 1958. It is thought that she sold her first small “hangings” to the Baker Lake crafts officer Gabe Gély as early as 1963, and she was selling appliqué works on cloth regularly by about 1965. These were sold mostly to qallunaat residents and visitors, so few early examples found their way into museum collections and catalogues. Oonark’s early works on cloth are relatively small and all are narrative, depicting mostly hunting and camp scenes. However, even at this early stage in her career Oonark enjoyed experimenting with composition, subject matter, appliqué, embroidery, and stitching, so these hangings vary considerably in style and execution (see First Arts, 13 July 2021, Lots 15 and 81 for two fine examples).

This lovely work on cloth is one of perhaps three purchased directly from the artist in Baker Lake by a collector who lived there at the time. This coincides with the years 1967-68 when Oonark was beginning to devote considerable efforts to drawing, which might explain the more “graphic clarity” of the figures. [1] Her works on cloth from just a year or two before had been embellished with a fair amount of embroidery, while this work is relatively unadorned and notable for its somewhat larger, fewer, and more boldly rendered figures, which really pop against the rich gold background. Noteworthy also is the division of the action into three distinct narratives and tiers – a compositional feature that would characterize her later works on cloth. The upper and lower registers illustrate typical scenes of life on the land, while unusually, the central narrative hints at an unsettling encounter with a stranger or foe. [2]

It’s quite possible that by 1967 Oonark was already visualizing her imagery as potentially both drawn and sewn, with drawings and works on cloth cross-pollinating each other in content but also in style. (For a contemporaneous work on cloth with similarly unadorned, bold appliqué figures see First Arts, 14 June 2022, Lot 106.) By 1970, Oonark’s career as both a textile and graphic artist would come into full bloom. In the meantime, remarkable works like Untitled (On the Land) epitomize important steps in that direction.

1.Oonark produced a remarkable series of drawings on coloured card stock in 1967. See Sarah Milroy’s article, “Flashback: Jessie Oonark” in Inuit Art Quarterly, (Vol. 30.3, Fall 2017), pp. 82-95.

2.Oonark’s imagery rarely shows or even hints at violence. Two prints that do so are A Terrifying Challenge (1973 #18) and Man is a Killer (1982 #16).

References: For a slightly later work on cloth by Oonark (c. 1969) see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 140, p. 165, also illustrated in Walker’s Auctions, 18 November 2015, Lot 114. For more Oonark drawings of the period see Richard Lewis ed., I Breathe a New Song: Poems of the Eskimo, (New York: Simon and Schuster, 1971). See also a work from the Sam Wagonfeld Collection in Survival: Inuit Art, (Loveland, CO: Loveland Museum/Gallery, 2004), p. 94. For a comprehensive overview of Oonark’s life and work see Jean Blodgett and Marie Bouchard, Jessie Oonark: A Retrospective, (Winnipeg: Winnipeg Art Gallery, 1986).

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

LUKE IKSIKTAARYUK (1909-1977) BAKER LAKE (QAMANI’TUAQ)
Shaman Taking Flight, early 1970s
antler and hide, 8 x 11.5 x 5.75 in (20.3 x 29.2 x 14.6 cm)
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

Of all the attributes of the Inuit shaman, perhaps the most impressive was the ability to fly. Shamans might fly in human form, sprout wings, or perhaps even transform themselves into birds. In this striking sculpture Iksiktaaryuk presents us with a shaman kitted out with a formidable talisman belt, his arms transformed into wings raised aloft as he prepares to take flight. Inuit shamans did not generally wear special costumes, but they did don special belts and headbands on important occasions and to distinguish themselves from other folk. [1] Suspended from a shaman’s belt might be bones, teeth, and other animal parts, scraps of clothing, and carved amulets. For examples of how the carved amulets might have looked see a spectacular set of shaman’s amulets carved by Barnabus Arnasungaaq (First Arts, 4 December 2023, Lot 147). Each one of these objects, whether gathered or created, was invested with its own magic and power. Luke Iksiktaaryuk had the uncanny knack for imbuing his sculptures with similar magical intensity.

1. Jean Blodgett, The Coming and Going of the Shaman: Eskimo Shamanism and Art, (Winnipeg: Winnipeg Art Gallery, 1978), p. 155. For illustrations of various shamanic paraphernalia including belts see pp. 161-177 in that catalogue. And see images of Iksiktaaryuk shamans flying and/or wearing belts, pp. 29, 98-99, 127.

References: For larger versions of a winged shaman by Iksiktaaryuk in the Winnipeg Art Gallery Collection, see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 85, p. 107; and Jean Blodgett, The Coming and Going of the Shaman: Eskimo Shamanism and Art, (Winnipeg: Winnipeg Art Gallery, 1978), cat. 1, p. 29, and cat. 50, pp. 98-99. See three examples in Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), pp. 58 and 137-139. See also Walker’s Auctions, 25 May 2016, Lot 47. See Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 133.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ELIZABETH NUTARAALUK AULATJUT (1914-1998) ARVIAT (ESKIMO POINT)
Seated Woman, c. early 1970s
stone, 8.75 x 6.25 x 6.5 in (22.2 x 15.9 x 16.5 cm)
signed, "ᓄᑕᒐᓗ".

Provenance
Collection of John & Joyce Price, Seattle, WA.

The elder and matriarch Elizabeth Nutaraaluk was one of the most important Arviat artists, known for her love of family as portrayed in her moving and emotionally charged sculptures. Her mature works from the early 1970s are considered to be her most “beautiful”; her later sculptures became increasingly raw and primal as her strength and eyesight diminished. Simple in form she may be, but Seated Woman is a lovely and eloquent evocation of rest and contemplation, things that were probably in short supply for the busy and hardworking mother and grandmother Nutaraaluk.

References: For a strikingly similar work by Nutaraaluk see Inuit Gallery of Vancouver, Kivalliq Collections, October 2007, catalogue 34. For a contemporaneous, similarly styled work by Nutaraaluk see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 103, p. 127. See also Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 39, p. 40.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

Probably MATEE ATANGAK TIKTAK (1916-D) KANGIQLINIQ (RANKIN INLET)
Standing Figure , c. 1959-61
stone, 5 x 2 x 1 in (12.7 x 5.1 x 2.5 cm)
inscribed with partial disc number and signed by John Tiktak, the artist's husband "E2/ ᑎᑕ";
inscribed in black ink with a registration number [?], "62R12".

Provenance
Waddington’s, Toronto, 5-6 Nov 2001, Lot 227, as “John Tiktak”;
Collection of John & Joyce Price, Seattle, WA.

This doll-like Standing Figure, signed by the artist’s husband John Tiktak, somewhat reflects the simplicity and abstraction characteristic of his celebrated works. However, Matee Atangak’s design distinguishes itself with an elongated body, straight arms seamlessly integrated into the torso, and column-like legs that enhance its streamlined form. The rounded head features minimal, incised facial details—small circular eyes, a nose, and a mouth. With its angular, geometric form and smooth, uniform texture, the figure’s striking simplicity captures a demure elegance.

References: For another work attributed to the artist, and also signed by John Tiktak, see First Arts, 4 Dec 2023, Lot 120.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

WILLIAM ANAUTALIK (1931-1987) QAMANI' TUAQ (BAKER LAKE)
Boy Playing with a Whirligig Toy, c. 1970s
stone and waxed string, 7.25 x 2 x 3.5 in (18.4 x 5.1 x 8.9 cm)
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

Commonly played as noise-making toys, whirligigs (sometimes known as bullroarers or buzzers) are found in cultures around the world. Strings passed through buttons or other small objects are used elsewhere, while Inuit commonly used bones and sinew. Though carved with minimal detail, this charming figure's concentration is palpable. The boy’s face, framed by a dramatic hood, draws our attention downward. His hands grip the sinew on either side of a disc, notched to suggest the rapid spinning motion of the toy. His mouth is open in a cry of delight.

References: See the 1967 National Film Board documentary Tuktu and the Indoor Games for a short demonstration of this game inside an igloo (https://collection.nfb.ca/film/tuktu-and-the-indoor-games.) For other known works by the artist, see Sanavik Cooperative, Baker Lake Sculpture 1974, (Baker Lake: Sanavik Cooperative, 1974), p. 27, which features a similar facial composition; and Marie Bouchard, An Inuit Perspective: Baker Lake Sculpture from the Collection of the Art Gallery of Ontario, Gift of Samuel and Esther Sarick, (Baker Lake: Itsamittakarvik Inuit Heritage Centre / Toronto: Art Gallery of Ontario, 2000), p. 39. See also Harold Seidelman & James Turner, The Inuit Imagination: Arctic Myth and Sculpture, (Vancouver: Douglas & McIntyre Ltd., 1993), p. 48, fig. 25. This referenced work was sold at Walker’s, Ottawa, 3 May 2014, Lot 43.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

DON YEOMANS (1958-) HAIDA / MÉTIS, PRINCE RUPERT, B.C.
Bent Corner Box with Lid, 2006
cedar wood and acrylic paint, 9.25 x 13.5 x 8.75 in (23.5 x 34.3 x 22.2 cm)
inscribed with artist's initials and dated, "DY 06".

Provenance
Collection of John & Joyce Price, Seattle, WA.

At age twenty-two Don Yeomans was the youngest artist to be included in the Legacy collection, an international touring exhibition and collection created by the Royal British Columbia Museum in 1980. [1] He has received numerous prestigious commissions including the 10.7 metre (35 foot) totem pole titled Celebration of Flight for the atrium linking the domestic and international terminals at the Vancouver airport, and a pole for Stanford University in California.

This classic bentwood box features motifs used on Naaxim or Chilkat robes, the most complex of the weaving traditions created by the master weavers of the Northwest Coast. Traditionally, bentwood boxes were multi-purpose boxes, ranging from examples used for utilitarian storage to heavily carved and painted art pieces used to store and present objects of great value. The use of Naaxim designs on a box would imply that the contents were of great importance: perhaps family masks carved by historic masters, or a gift to be presented to a guest chief of high status. Chiefs would often use the boxes as seats of honour, drawing attention to the mastery of the artist and the mystery of the contents.

1. Peter L. Macnair, Alan L. Hoover and Kevin Neary, The Legacy: Tradition and Innovation in Northwest Coast Indian Art, (Victoria: Royal BC Museum, 1980).

Gary Wyatt

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JESSIE OONARK, O.C., R.C.A (1906-1985) QAMANI'TUAQ (BAKER LAKE)
Untitled (Family with Spirit Faces), c. 1976-78
coloured pencil and graphite on paper, 22 x 30 in (55.9 x 76.2 cm), framed.
signed, "ᐅᓇ".

Provenance
Collection of John & Joyce Price, Seattle, WA.

This stunning drawing by Oonark was probably created in the latter part of her most productive period, c. 1976-78. Its essentially symmetrical composition is dominated by two brilliantly drawn figures against the paler coloured ground: a splendidly attired man and woman. Arranged between them are a similarly clothed small figure (probably a male child) and a pair of faces that are markedly different in appearance. Uncoloured, they are almost ghost-like, suggesting to us that they are spirits. We wonder if they act as interlocutors or “go-betweens” between the man and woman. They lend an enigmatic quality to what otherwise might have been a straightforward portrayal of a family. We are reminded of a 1980 (#29) print by Oonark titled i>The Loving Couple/i>, where double figures similarly stand between the man and woman.

Oonark’s abiding interest in clothing design shines through in this spectacular image. She had seen and was knowledgeable about clothing patterns from several different regions. In this drawing the designs appear to be Copper Inuit style, where the woman’s parka is short-waisted at front and both men’s and women’s parkas have a rear tail. Oonark would have encountered these designs in her travels along the Arctic coast west of Chantrey Inlet.

Jessie Oonark made her very first drawing in 1958 or 1959 after seeing those made by school children in Baker Lake (see First Arts Auction, Dec. 2020, Lot 52); soon after she was encouraged by Dr. Andrew Macpherson, a visiting biologist with the Canadian Wildlife Service. She made mostly clothing and works on cloth in the early to mid 1960s, then began drawing again until around 1967. Her artistic career took off in 1969 after the arrival of arts advisors Jack and Sheila Butler, after which time she created her now famous drawings and works on cloth for another ten years.

References: For two similarly styled drawings by the artist see Gerald McMaster, ed., i>Inuit Modern: The Samuel and Esther Sarick Collection/i>, (Toronto: Art Gallery of Ontario, 2010), pp. 162-163. For a c. 1970 work on cloth with similar imagery see Jean Blodgett and Marie Bouchard, i>Jessie Oonark: A Retrospective/i>, (Winnipeg: Winnipeg Art Gallery, 1986), cat. 41, p. 114.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JANET KIGUSIUQ (1926-2005) QAMANI'TUAQ (BAKER LAKE)
Untitled Drawing (Four Figures Sleeping), c. 1970s
coloured pencil on heavy wove paper, 30 x 22.25 in (76.2 x 56.5 cm)
inscribed with artist's disc number and signed, "E271-ᑭᒍᓯᐅ".

Provenance
Collection of John & Joyce Price, Seattle, WA.

Janet Kigusiuq’s early graphics were energetic black-and-white depictions of people immersed in daily life and traditional activities. In the late 1980s she “discovered” colour and gradually transformed her work into powerful explorations of abstract colour fields. Untitled (Four Figures Sleeping) exemplifies this shift, where bold blocks of colour command the composition. Complementary orange and green define each couple’s sleeping space, contrasted against a pink ground. The pillows are rendered as bands of yellow and orange, while a plum-coloured stripe adds depth to the background. True to her late style, Kigusiuq uses the white of the sheet to define the figures' faces, capturing their tranquil expressions with simple smiles, noses, and closed eyes. The entire scene is enclosed by a vibrant lime-green border, intensifying the sense of intimate seclusion within this private moment.

References: For some biographical information about the artist see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), p. 134-135. For further notes on her work on paper, prime examples of Kigusiuq’s drawings from all periods of her career are reproduced in Cynthia Waye, The Urge to Abstraction: The graphic art of Janet Kigusiuq, (Toronto: Museum of Inuit Art, 2008). See also Kigusiuq and Her Contemporaries, exh. cat., (Toronto: Feheley Fine Arts, 2007).

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

VICTORIA MAMNGUQSUALUK (1930-2016) QAMANI'TUAQ (BAKER LAKE)
Untitled (Qiviuq Legend), c.early-mid 1970s
graphite and coloured pencil on paper, 29.75 x 41.5 in (75.6 x 105.4 cm)
inscribed by the artist, "ᐃᑐᓯ ᑲᔭ ᑲᒐ / ᐊᓗᒐᒐ ᓗᐊᓗᒍ /ᒥᒋᓗᒍ ᐸᒐᓯᐅ /ᐅᑲᑐᒍ ᑕᓇ";
further inscribed by the artist, "ᑲᔭᓕ ᑕᕙ";
further inscribed by the artist, “ᑯᒍ ᐸᓂᒥᓂ / ᑯᒪᐃᓯᑐᓗᓂ [directional arrow] ᑲᐱᓯᔪᒍ";
signed, "ᒪᒍᓯᐊᓗ".

Provenance
Collection of John & Joyce Price, Seattle, WA.

In an unpublished interview conducted by Marion E. Jackson in 1983, the artist commented on two thematically related prints, which helps to explain what is going on in the upper half of this remarkable drawing. It is the story of an unmarried woman who convinces her many children to kill their grandfather, who had treated them all badly. They all lick a kayak (left centre) before killing him (right). The bottom (apparently unrelated) scene describes Qiviuq’s adventure being pursued by a man on the two-headed dog Aloolah; Qiviuq is shown killing the dog by precisely shooting it in the ear with bow and arrow. One of Mamnguqsualuk’s trademarks is her “serial” depiction of several stories in one image. This large and incredibly complex coloured pencil drawing is crisply executed with densely packed figures, and colours used minimally but strongly applied. Teeming with both life and death, it’s a brilliant example of Mamnguqsualuk’s imagination and artistry.

References: Mamnguqsualuk’s 1972 (#20) print Legend illustrates the story of the grandchildren preparing to kill their grandfather. See also her 1971 (#36) print Aloolah (Two-Headed Dog); the Baker Lake catalogue includes a lengthy explanation of the story. For more information about Victoria Mamnguqsualuk and her myth-related art see Charles Moore, Keeveeok Awake!: Mamnguqsualuk and the Rebirth of Legend at Baker Lake, (Edmonton: Ring House Gallery / University of Alberta Press, 1986). Note also the recent solo exhibition of work in Victoria Mamnguqsualuk, Toronto, Art Gallery of Ontario, 10 September 2022 - 2 January 2023.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET)
Vision in Autumn, 1960 #21
Printmaker: LUKTA QIATSUK (1928- 2004) or JOANASSIE SALAMONIE (1938-1998) KINNGAIT (CAPE DORSET)
stonecut, 19 x 24 in (48.3 x 61 cm)
a "Stone block W.B.E.C." proof, aside from the numbered edition of 50

Provenance
Collection of John & Joyce Price, Seattle, WA.

Like other stylistically similar “silhouette” print images by Kenojuak from the early 1960s — which recall the shadow games played inside a tent or igloo — Vision in Autumn makes an immediate visual impact with its bold simplicity. With this image Kenojuak's mastery of fluid, rhythmic design is on full display. Arctic animals radiate in all directions from a central hooded figure, their bodies defined solely by their lyrical silhouettes. The absence of interior detail creates an inherent tension between what is visible and what remains unseen. Set against a brilliant yellow-orange background, the figures emerge like forms against a glowing sunset.

Dorothy Eber’s interviews with Kenojuak reveal that the artist first created cardboard cut-out patterns for her sealskin designs in the 1950s, which later informed her earliest drawings. [1] This technique evolved into the fluid, interconnected forms for which Kenojuak is justly famous. These have been described by curator Dorothy LaBarge as ones where “birds, fish, and human figures were departure points for abstract designs." [2]

1. Discussed in Jean Blodgett, Kenojuak, 1985, p. 39.

2. See Dorothy LaBarge, From Drawing to Print: Perception and Process in Cape Dorset Art, 1986, p. 22.

References: For a red version of this print (probably a proof) see Kenojuak, (Toronto: Firefly Books, 1985), fig. 8; for a green-gold version see Walker's Auctions, May 2017, Lot 19. See other similarly composed prints in the 1960 Cape Dorset print collection such as Complex of Birds, Birds from the Sea, and Night Spirits.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET)
Owl Protected by Wolves and Birds, March 2005
coloured pencil on paper, 35 x 50 in (88.8 x 126.7 cm)
signed, "ᑭᓄᐊᔪᐊ".

Provenance
Spirit Wrestler Gallery, Vancouver;
Collection of John & Joyce Price, Seattle, WA.

Exhibited:
Vancouver, Spirit Wrestler Gallery, Kenojuak: The Light of Happiness, September 14 - October 5, 2013, cat. no. 1.

Throughout her career, Kenojuak Ashevak constantly refined her drawing style, moving from graphite to crayon to coloured pencil as these became available. However, she maintained her favourite subject matter, owls and birds, throughout her career. This drawing is from 2005, a time when the artist was increasing the complexity and scale of her graphic compositions. As in most of her works, symmetry and balance define the drawing’s structure; the strong blue of the ravens counterbalances the diagonal shape of the owl’s body. The less colourful wolves serve to fill in the voids between the larger birds and their placement subtly adds to the balance of the entire composition. The artist always chose the coloured pencils that she wanted to use prior to beginning a drawing; blue and green do not immediately suggest the plumage of Arctic birds and yet the artist uses them brilliantly to add both drama and balance to this beautiful drawing.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

MARION TUU'LUQ, R.C.A. (1910-2002) QAMANI'TUAQ (BAKER LAKE)
Untitled Work on Cloth, c. 1976
duffle, stroud, and cotton thread, 29.5 x 29.25 in (74.9 x 74.3 cm)
signed, "ᑐᓗ".

Provenance
Marion Scott Gallery, Vancouver;
Collection of John & Joyce Price, Seattle, WA.

Marion Tuu’luq was born in the early 1900s and lived a traditional Inuit life for five decades before she and her second husband Luke Anguhadluq moved into the community of Baker Lake in 1961. Tuu’luq began working with textiles in 1966, shortly after her cousin and best friend Oonark had done so, and she became one of Canada’s foremost textile artists. In the 1970s and 1980s Tuu’luq created more than one hundred works on cloth, as well as delightful drawings and print images. She and Anguhadluq were given a two-person show at the Winnipeg Art Gallery in 1976 (and a commercial show at the Upstairs Gallery in Winnipeg), [1] followed by a solo show for her at the Upstairs Gallery in 1980. Tuu’luq was honoured with a solo exhibition and catalogue at the National Gallery of Canada in Ottawa in 2002. We at First Arts are honoured to have presented three masterpieces included in that National Gallery show: Crowd of People from 1974; Trumpeter Swans from 1973; and The Prayer Meeting from 1989. [2]

As Marie Bouchard, co-curator and primary author of the NGC show/catalogue, writes: “Tuu’luq’s images are decorative, richly coloured, and ornamental rather than imitative. Her compositions are based on repetitions of format, motif, and colour that are as rhythmic as the seasons.” [3] This Untitled Work on Cloth from c. 1976 is no exception and in fact is an early exemplar of some of Tuu’luq’s most important imagery and recurring decorative motifs. The smiling central face with its radiating fish probably represents the sun. Among other well-known examples by the artist, Untitled (an exactly contemporaneous work from c. 1976) is remarkably close in imagery; The Prayer Meeting (Tuu’luq’s very last work on cloth, from 1989) also contains strikingly similar sun/fish imagery. [4] In our example, the round shape of the central face but also the myriad circle motifs surrounding the fish reference not only the sun (or moon), the drum, igloos, and tents – all important elements of Inuit cosmology and community life. The many fish form the rays of the sun but on their own they also symbolize plenty. [5] Altogether, this work on cloth by Tuu’luq is a marvelous and joyous celebration of life-giving abundance.

1. It’s quite possible that the present work was exhibited at the 1976 Upstairs Gallery exhibition.

2. See First Arts auction catalogues of 14 June 2022, Lot 36; 5 December 2022, Lot 24; and 4 December 2023, Lot 21 respectively.

3. Marie Bouchard, “Negotiating a Third Space: The Works on Cloth of Marion Tuu’luq” in National Gallery of Canada, Marion Tuu’luq, (Ottawa: NGC, 2002:17-45), p. 34.

4. For several works with similar imagery see cats. 12, 15 (Untitled), 33 and 36 (The Prayer Meeting) in the National Gallery catalogue.

5. In her reminiscences in Hattie Mannik ed., Inuit Nunamiut: Inland Inuit, (Baker Lake: 1998:44-57), Tuu’luq discusses fish and fishing at some length. At one point she remarks, “I grew up with only fish in Utkuhiksalik” (p. 45).

References: For more information and other masterpieces by the artist see Jean Blodgett, Tuu'luq / Anguhadluq: An Exhibition of Works by Marion Tuu'luq and Luke Anguhadluq of Baker Lake, (Winnipeg: Winnipeg Art Gallery, 1976), cat. 33 (as Birds and Men); Marie Bouchard and Marie Routledge, Marion Tuu’luq, (Ottawa: National Gallery of Canada, 2002); Katharine W. Fernstrom and Anita E. Jones, Northern Lights: Inuit Textile Art from the Canadian Arctic, (Baltimore: Baltimore Museum of Art, 1994)

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

OVILOO TUNNILLIE, R.C.A. (1949-2014) KINNGAIT (CAPE DORSET)
Ikayukta Tunnillie Carrying her Drawings to the Co-op, 1997
stone, 20 x 11.5 x 14.5 in (50.5 x 29.5 x 37 cm)
dated and signed, "97 / ᐅᕕᓗ ᑐᓂᓕ".

Provenance
Collection of John & Joyce Price, Seattle, WA.
Exhibited:
Winnipeg, MB, Winnipeg Art Gallery, Oviloo Tunnillie: A Woman’s Story in Stone, May 21 - 11 September 2016, cat. 4;
Oviloo can be seen carving this work in Adrienne Clarkson Presents, “Women’s Work: Inuit Women Artists,” season 8, episode 19, aired 12 Nov 1997, on the Canadian Broadcasting Corporation. Around the 41-minute mark, John, Joyce, and Oviloo can be seen in the video when the Prices are acquiring the work and John says, "Well it's absolutely beautiful and we are going to be proud to have it in our home."

Published:
Darlene Wight, Oviloo Tunnillie: A Woman’s Story in Stone, (Winnipeg, MB: Winnipeg Art Gallery, 2016), exh. cat., cat. no. 4, reproduced p. 9;
Darlene Coward Wight, Oviloo Tunnillie: Life & Work, E-publication, 2019, reproduced p. 39.

In this powerful and sizable sculpture, Oviloo Tunnillie celebrates the artistic legacy of her husband’s grandmother, Ikayukta Tunnillie (1911-1980). This sculpture, the earliest of at least three known works depicting Ikayukta, portrays her with a bent posture, leaning on a cane for support as she trudges forward, carrying her drawings rolled up in a tube holder on her back.

Oviloo masterfully uses negative space to create depth and bring the sculpture to life. By carving out the spaces between Ikayukta’s body and her cane support, the artist allows light to pass through, accentuating the elder’s forward-leaning stance. This deliberate use of negative space transforms the stone, giving the piece a dynamic, lifelike energy that contrasts with its solid form. Ikayukta’s mouth is slightly agape, suggesting a deep breath as she presses on toward the Co-op, embodying both the physical exertion and the inner resolve needed to continue her artistic journey. The light green stone, with its highly polished surfaces, enhances the careful attention to the folds of the garments, showcasing Oviloo's skill in balancing stylization with naturalism.

Oviloo, who lived with Ikayukta in the elder artist’s later years, spoke of Ikayukta with great affection during a 1997 episode of Adrienne Clarkson Presents, where she was filmed carving the present work. “I really liked my husband’s grandmother, so I like the carving [...] I think of the advice Ikayukta used to give me and I can still use the advice today,” she shared, revealing how deeply she valued Ikayukta’s wisdom and artistic mentorship, even though the specifics of that advice remain unknown [1].

In examining this work, it is easy to see why this carving resonated with Oviloo and why it became the focus of an episode of Adrienne Clarkson Presents. The sculpture powerfully conveys the elder’s enduring spirit, while reflecting the deep respect and affection Oviloo held for her. This large, masterful work goes beyond portraying Ikayukta’s physical presence — it embodies the profound and lasting influence she had on Oviloo’s life and artistic journey.



1. Adrienne Clarkson Presents, “Women’s Work: Inuit Women Artists,” season 8, episode 19, aired 12 Nov 1997, on the Canadian Broadcasting Corporation, 41:00.

References: For other works celebrating women artists, see: Darlene Wight, Oviloo Tunnillie: A Woman’s Story in Stone, (Winnipeg, MB: Winnipeg Art Gallery, 2016), exh. cat., cat. nos. 5, 47, 48, 49, 51, and 52. Oviloo is one of the artists featured in Odette Leroux, Marion E. Jackson and Minnie Aodla Freeman, ed., Inuit Women Artists: Voices from Cape Dorset, (Vancouver: Douglas & McIntyre / Gatineau: Canadian Museum of Civilization, 1994), pp. 220-239.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

TIM PITSIULAK (1967-2016) KINNGAIT (CAPE DORSET)
I vory Polar Bear, 2012
coloured pencil, oil stick, and chalk pastel on paper, 44 x 60 in (111.8 x 152.4 cm)
titled, signed, and inscribed, '"I vory Polar Bear" / Tim Pitsiulak ᑭᖖᒐᕐᐃᑦ (Kinngait)'.

Provenance
Inuit Gallery of Vancouver;
Acquired from the above by John & Joyce Price, Seattle, WA.
Exhibited:
Vancouver, BC, Inuit Gallery of Vancouver, Tim Pitsiulak - Drawings of Myth and Machine, 2014, no. cat. no.

Like many of Tim Pitsiulak’s most celebrated masterpieces, I vory Polar Bear commands attention with its large scale and extraordinary precision, where photographic realism merges with the impossible to create a vision both fantastical and awe-inspiring. Here, the bear's robust and powerful form dominates the composition, set against the stark black of the sheet. Rendered in a naturalistic palette of earthy browns, greys, and beiges, with subtle highlights of pure white, the magnificent creature takes on the look of aged walrus tusk. This connection to antiquity is no coincidence, as the art and objects produced by the Dorset and especially the Thule people deeply inspired Tim Pitsiulak, with their artistic traditions and techniques providing the foundation for much of the imagery in his works during a particularly intriguing period in his career.

Trained as a jeweler, Tim Pitsiulak brings an extraordinary level of detail to this large-scale work, inviting us to savour each intricate element as we explore the bear's form. The animal’s body is adorned with large and smaller whale shapes, honouring the Thule people's mastery of whaling. Fish and fish scale patterns, walruses, and even sharks are nods to Thule (and subsequent Inuit) reliance on various marine resources. The depiction of a man hunting caribou by kayak, as well as a flock of geese, round out the animal elements. Finally, design patterns along the spine and head echo the intricate carvings on Thule tools, weapons, and art objects. Astonishing.

References: In conversation with Patricia Feheley, the artist shared, “I was fascinated by the work of Thule culture. They didn’t have power tools,” as cited in Koomuatuk Curley et al, Tunirrusiangit: Kenojuak Ashevak and Tim Pitsiulak, (Toronto: Art Gallery of Ontario / Fredericton: Goose Lane Editions, 2018), p. 102. For other works that incorporate ancient imagery, see Migrating Walrus, 2012, and How They Caught Big Game, 2016, op. cit. p. 103 & 104. See also the prints Kiinappak (Mask), 2011 #33, Bowhead Whale, 2013. The artist spoke specifically about whaling and the Thule people in an undated interview for Tale of a Town, “The Thule People and The Bowhead Whale”, https://www.youtube.com/watch?v=vXqikcyJDcY&t, accessed 31 Aug 2024.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

SHUVINAI ASHOONA (1961-) KINNGAIT (CAPE DORSET)
Untitled (Monsters at the Foot of a Woman), 2014
coloured pencil on paper, 49.5 x 48.25 in (126 x 122.4 cm)
signed, dated, and signed again, "Shuvinai Ashoona 2014 ᓱᕕᓇᐃ ᐊᓱᓇ".

Provenance
Collection of John & Joyce Price, Seattle, WA.

Beginning in the early 2010s, Shuvinai's work began to prominently showcase a distinctive array of hybrid animals, monsters, and otherworldly beings, all brought to life in vibrant, rich colours. Untitled (Monsters at the Foot of a Woman) showcases this imagery with striking brilliance, blending unsettling intensity with a touch of absurd humour. Here, at left, two fanged creatures – who appear to wear bowls or pots as makeshift hardhats – engage in a conspiratorial exchange, seemingly egging one another on. The green, lizard-like monster, spurred on by the other's encouragement, finally musters the nerve to reach out, tentatively extending its black-clawed hand toward the hemline and boot of a larger figure, only a hint of which is visible to the viewer. In stark contrast, a third creature with pale skin and wide, fearful eyes, cowers beneath a cream-coloured blanket adorned with hearts and stars. Almost paralyzed with fear, it can barely muster the courage to peek out at its friends’ foolish antics.

Shuvinai’s depiction of these monsters as cowards is a striking reversal of expectations. Typically, monsters are envisioned as powerful, fearsome beings that evoke terror. Yet here, the image of one cowering under a blanket while the others timidly interact with the giant woman completely disrupts this narrative. Instead of embodying ferocity, these monsters are rendered vulnerable, perhaps scared even of each other, a twist that is humorous and delightfully ironic.

References: For an overview of the artist’s life and work, see Nancy G. Campbell, Shuvinai Ashoona: Life & Work, (Toronto: Art Canada Institute, 2019). See also Jean Blodgett, et.al. Three Women, Three Generations: Drawings by Pitseolak Ashoona, Napatchie Pootoogook and Shuvinai Ashoona, (Kleinberg, ON: McMichael Canadian Art Collection, 1999), and Sandra Dyck, Shuvinai Ashoona: Drawings, (Ottawa: Carleton University Art Gallery, 2012). For other examples of drawings by the artist, see Gaëtane Verna, Shuvinai Ashoona: Mapping Worlds, (Toronto: Power Plant Contemporary Art Gallery, 2021), and Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), pp. 200-203.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
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HENRY EVALUARDJUK (1923-2007) IQALUIT (FROBISHER BAY)
Dancing Bear, mid-late 1970s
stone, 11.5 x 8.25 x 4.75 in (29.2 x 21 x 12.1 cm)
signed, "HENRY / ᐃᕙᓗ ᐊᔪ".

Provenance
Waddington’s, Toronto, 14 December 1981, Lot 179;
Collection of John & Joyce Price, Seattle, WA.

Henry Evaluardjuk and Pauta Saila (see Lot 38) were arguably the finest Inuit carvers of polar bears, with the former renowned for his naturalistic portrayals and the latter for his idealized ones. Henry bears are based on a keen observation of the animal in all stages of life and in all manner of poses (but especially striding or stalking poses). This delightful Dancing Bear breaks somewhat from Henry’s customary approach in that it is decidedly anthropomorphic and even comical. The depiction of a less than sure-footed ursine shows us that Henry was at times possessed of a playful sense of humour. [1]

1. For other fine exceptions to Henry’s typical approach see First Arts, 5 December 2022, Lot 136 (hilarious), and 12 June 2023, Lot 11 (impressive).

References: For another Dancing Polar Bear by the artist see 12 June 2023, Lot 11. For a large Waving Polar Bear Seated on a Rock from the mid-late 1970s see First Arts Auction, 28 May 2019, Lot 22. For other impressive bears by the artist see First Arts, 5 December 2022, Lots 110, 136; First Arts, 30 November 2021, Lot 92; Walker’s Auctions, 16 May 2018, Lot 118; Ken Mantel et al., Tuvaq: Inuit Art and the Modern World, (Bristol, UK: Sansom and Company Ltd., 2010), fig. 144, p. 150, and fig. 148, p. 155.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

MICHAEL MASSIE, C.M., R.C.A. (1962-) KIPPENS, NEWFOUNDLAND AND LABRADOR
Big Eyes, 12 March 2003
limestone, antler, and wood, 11 x 14 x 5.5 in (27.9 x 35.6 x 14 cm)
titled, '"Big Eyes'";
signed and dated, "Massie 03 / March 12".

Provenance
Collection of John & Joyce Price, Seattle, WA.

This sculpture by Michael Massie, from earlier in his career, was sparked by the artist’s fascination with the enormous size of an owl’s eyes relative to its body. Massie has brilliantly emphasized this by creating a contrast between the huge inlaid eyes and the dynamic liveliness of the bird itself. The deep indents in the wings suggest that they are flapping, and swirling lines cover the torso above the feet, one of which steps forward. The dynamic energy of the sculpture in contrast with the calm gaze of the owl underlines the fact that owls do, indeed, have very big eyes!

References: For numerous fine examples of Massie’s work in stone and metal see the exhibition catalogue by Gloria Hickey, Silver and Stone: The Art of Michael Massie, (St. John’s, NF: The Rooms, 2006); and Gloria Hickey, “Silver and Stone: The Art of Michael Massie”, Inuit Art Quarterly, Vol. 21, No. 4, Winter 2006, pp. 18-29. For an excellent survey of the artist’s sculptural work, see Spirit Wrestler Gallery, 50 @ 50: Celebration of Metal and Stone: Michael Massie, (Vancouver, 2012). See also First Arts, 5 December 2022, Lot 87; First Arts, 12 June 2023, Lots 46, 96; Feheley Fine Arts, Michael Massie: Stories in Silver & Stone, (Toronto: Feheley Fine Arts, 2022), p. 11-12.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED INUIT MAKER, EASTERN CANADIAN ARCTIC
Qulliq (Kudlik / Oil Lamp), early to mid 1900s
stone, 3.25 x 20.5 x 9.25 in (8.3 x 52.1 x 23.5 cm)

Provenance
Collection of John & Joyce Price, Seattle, WA.

The qulliq (or kudlik), a crescent-shaped stone lamp usually fueled by seal blubber oil, was used to heat and light Inuit homes and to cook food. This was especially important in winter, when survival literally depended on this vital piece of technology. Usually, dried moss or cottongrass was laid along the straight edge as a wick, and the qulliq was carefully tended by the woman of the house using a stick (taqqut). Qulliit (pl.) were precious possessions which, with luck, were passed from one generation to the next. They epitomize the very idea of hearth and home and like the woman’s curved ulu knife, they are often seen as accessories in artworks or depicted as symbolic decorative shapes. A qulliq is frequently lit in Inuit ceremonies, and one is represented on the Nunavut coat of arms. This example, with its marvelous patina of age and use, is particularly impressive and evocative.

References: For fine examples of Inuit art featuring qulliit see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 49, p. 65 (Johnny Inukpuk); and Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), cat. 116, pp. 28 and 175 (Elijassiapik), and cat. 118, p. 179 (Nayoumealook). See the prints Qullik (Seal Oil Lamp) by Sheojuk Etidlooie (Cape Dorset Special Release, 2000); and Stone Qulliq by Shuvinai Ashoona (Cape Dorset, 2003 #31). See Oviloo Tunnillie’s sculpture, Bannock Cooking on Qulliq from 1999 in Darlene Wight, Oviloo Tunnillie: A Woman’s Story in Stone, (Winnipeg: Winnipeg Art Gallery, 2016), cat. 19, p. 32. For a stone qulliq from c. 1900 see Virginia Watt et al., Canadian Guild of Crafts Quebec: The Permanent Collection: Inuit Arts and Crafts c. 1900-1980, (Montreal: Canadian Guild of Crafts Quebec, 1980), cat. 225, p. 160.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
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JOHNNIEBO ASHEVAK (1923-1972) and/or KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET)
Animals out of Darkness, 1961 [uncatalogued]
Platemaker: EEGYVUDLUK POOTOOGOOK (1931-1999) KINNGAIT (CAPE DORSET)
Printmaker: JOANASSIE SALAMONIE (1938-1998) KINNGAIT (CAPE DORSET)
stonecut, 22.5 x 24.5 in (57.1 x 62.2 cm)
4/50

Provenance
Collection of John & Joyce Price, Seattle, WA.

Though the print is inscribed with "Kenoyuak" and bears her chop mark, Sandra Barz’s research identifies the artist as being her husband, Johnniebo. In the 1960s, Kenojuak's images routinely fetched higher prices, making it financially practical to attribute works to her! Regardless of authorship, there is a wonderful energy to Animals Out of Darkness. A varied pack of animals – two birds and several hybrid creatures – sprints across the page, leaping and striding into the sunlight from the dark shadows. The animals’ fins and tails splay out as they run, further adding to the frenetic feeling of the image. Printmaker Joanassie Salamonie brilliantly creates the effect of the sun bathing the emerging creatures in its glowing light and warmth.

References: For more information about the artist and other works, see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), p. 72.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET)
Women and Birds, 1992-93
ink on paper, 26 x 40 in (66 x 101.6 cm)
signed, "ᑭᓄᐊᔪᐊ".

Provenance
Collection of John & Joyce Price, Seattle, WA.

As much as Kenojuak Ashevak often used colour in spectacular ways, her monochrome drawings have a presence all their own. Through careful application, lines and texture help to define the subjects as well as any rainbow could. Here, a mirrored composition presents birds stacked and grasping and flowing into each other, with pairs of female figures adding to the complexity of the design and the enigmatic meaning of the image. The birds’ bodies are densely packed with tiny lines and shading, creating a subtle look of depth and shadow but with the feel of “television static.” Remarkable. A thick, black band arches over the whole composition, anchoring several birds in unusual ways and adding to the abstracted feeling of the scene. The result is a striking and mysterious drawing, made by a sure hand and a brilliant mind.

References: For an overview of Kenojuak Ashevak’s life and artistic canon, see Jean Blodgett, Kenojuak, (Toronto: Firefly Books / Mintmark Press Ltd., 1985), Anna Hudson, ‎Jocelyn Piirainen, ‎& Georgiana Uhlyarik, Tunirrusiangit: Kenojuak Ashevak and Tim Pitsiulak, exh. cat., (Toronto: Art Gallery of Ontario, 2018), Odette Leroux ed., Inuit Women Artists, (Vancouver: Douglas & McIntyre / Gatineau: Canadian Museum of Civilization, 1994), and Ansgar Walk, Kenojuak: The Story of An Inuit Artist, (Ottawa: Penumbra Press, 1999).

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

PITALOOSIE SAILA, R.C.A. (1942-2021) KINNGAIT (CAPE DORSET)
Eskimo Leader, 1972 #11
Printmaker: LUKTA QIATSUK (1928-2004) KINNGAIT (CAPE DORSET)
stonecut, 24.25 x 33.5 in (61.6 x 85.1 cm)
28/50

Provenance
Collection of John & Joyce Price, Seattle, WA.

In Eskimo Leader, the figure's ample, rounded forms and flowing curves create a powerful sense of fullness and movement. Textured patterns echo these shapes, emphasizing the figure’s substantial presence and inner strength, contained within its own space yet radiating outward with quiet robustness. The face in this artwork is a striking focal point, divided into two distinct, Picasso-like halves: one deep crimson red, the other simply denoted with minimalistic black lines. While the division is bold, the face remains unified in its overall form. The facial tattoos, abstracted to appear almost mustache-like, are an essential cultural marker that identify the figure as a woman. Indeed, Eskimo Leader is a portrait of the artist’s grandmother, Quppa, who raised Pitaloosie from the age of two after her mother’s death. [1] The image celebrates the central role of women in Inuit society, where they are nurturers, sources of strength, and carriers of knowledge, tradition, and culture.

1. See the artist’s comment in Susan Gustavison and Darlene Coward Wight, Pitaloosie Saila: A Personal Journey, (Winnipeg Art Gallery, 2017), p. 27.

References: The drawing for the print is in the McMichael Canadian Art Collection, object number CD.16.1074. Another edition of this print was gifted to Jean Chretien by Canadian Arctic Producers in 1974. In a 1979 interview with Marion Jackson, Pitaloosie addressed the commentary on the similarity of this work to Picasso stating, “I didn’t know that guy before [...] it’s my own [...] I just followed my heart.” Hear the interview at https://www.historymuseum.ca/capedorsetprints/include/modalArtefact.php?lang=en&code=60). Image ill. In Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 48, p. 64. A version of this print is illustrated in Odette Leroux, Marion E. Jackson and Minnie Aodla Freeman, ed., Inuit Women Artists: Voices from Cape Dorset, (Vancouver: Douglas & McIntyre / Gatineau: Canadian Museum of Civilization, 1994), p. 169, with considerable commentary by the artist.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

KANANGINAK POOTOOGOOK, R.C.A. (1935-2010) KINNGAIT (CAPE DORSET)
Untitled Drawing (Snowy Owl on Watch), 2000s
coloured pencil and black ink on Ragston-SN watermarked wove paper, 26 x 20 in (66 x 50.8 cm)
signed, "ᑲᓇᖕᒋᓇᖅ".

Provenance
Collection of John & Joyce Price, Seattle, WA.

Kananginak’s drawings, informed by his close observation and love of Arctic wildlife, showcase his mastery as a draughtsman. Here, the owl is depicted in an alert, natural pose, with wings slightly spread and head turned as if scanning its surroundings. Meticulous ink line work captures the intricate feather patterns, while subtle coloured pencil shading adds texture and depth. Soft hues of blue and sherbet pink-orange introduce dimensionality, while vibrant yellow in the eye and small hints of colour in the beak and talons add contrast.

References: For a recounting of an artistic career from Kananginak himself and those around him, see Ingo Hessel, Kananginak Pootoogook: Celebrating Five Decades of Artistic Achievement, (Toronto: Museum of Inuit Art, 2010). A further artist interview can be found in Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Phoenix, AZ: Heard Museum/Vancouver: Douglas & McIntyre, 2006), p. 107. Further reading on the artist’s career can be found in Leslie Boyd, Kananginak Pootoogook: Drawings and Prints from Kinngait, (Portland, OR: Pomegranate, 2023). For a beautiful print by the artist showing a frontal view of a similar owl see Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), cat. 44, p. 90.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

PAUTA SAILA, R.C.A. (1916-2009) KINNGAIT (CAPE DORSET)
Dancing Bear, late 1980s or early 1990s
stone, 9 x 6.75 x 3.75 in (22.9 x 17.1 x 9.5 cm)
signed, "ᐸᐅᑕ / ᓴᐃᓚ".

Provenance
Collection of John & Joyce Price, Seattle, WA.

While Pauta produced a wide variety of subjects over the course of his extended career, he is justifiably famous for his acrobatic depictions of dancing bears. If not the very first examples of this format, Pauta’s bears are certainly the quintessential expressions of the genre. Despite the tremendous demand for his work over many decades, Pauta managed to eschew the formulaic. One can tell from his work that Pauta loved and respected polar bears; he devoted his life’s work to doing justice to his polar muse:
I like to carve what I feel, not merely what I see. It is the feeling that goes along with whatever one is doing… I think and feel that the bear has a spirit to be put into the carving. [1]

This wonderful, youthful-looking bear is one of Pauta’s most abstract sculptures. The rhythmic placement of head and limbs on the overall triangular shape reminds us of a Thule culture toggling harpoon head. Fascinating.

1. Pauta Saila interviewed by George Swinton in Bernadette Driscoll, Uumajut: Animal Imagery in Inuit Art, (Winnipeg Art Gallery, 1985), p. 46.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

PITSEOLAK NIVIAQSI, R.C.A. (1947-2015) KINNGAIT (CAPE DORSET)
Caribou and Young, Sparring, c. 1998-2000
stone and antler, 18.75 x 19 x 4.25 in (47.6 x 48.3 x 10.8 cm)
signed, "ᐱᓯᐅᓚ / ᓂᕕᐊᓯ".

Provenance
Collection of John & Joyce Price, Seattle, WA.

Because he spent so much of his career working at the Kinngait printmaking studios, Pitseolak Niviaqsi was never a prolific sculptor. It must be said, however, that at his best he displayed a skill and genius rivaling that of the great Cape Dorset sculptors Osuitok Ipeelee and Lukta Qiatsuq. It is not surprising that in a community filled with such amazing carving talent, artists might occasionally look over their shoulders to see what the competition was up to. This impressive Caribou and Young reminds us of Osuitok’s Rearing Caribou with Nursing Calf of 1994 (see First Arts, 5 December 2022, Lot 43). Pitseolak in fact tried his own version of that very subject, [1] but here he has created a captivating scene in which mother and calf playfully dance together. Pitseolak displays a masterful manipulation of stone and superb finishing, but also reveals his personal artistic flair and his love of family. Caribou and Young beautifully exemplifies the ambitious, theatrical, and elegant Kinngait sculptural aesthetic.

1.See Spirit Wrestler Gallery, The Lyrical World of Pitseolak Niviaqsi, (Vancouver: Spirit Wrestler Gallery, 2001), cat. 9.

References: For other fine works by the artist see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 181; First Arts, May 2019, Lot 58; First Arts, 5 December 2022, Lot 29; First Arts, 4 December 2023, Lot 70; First Arts, 14 June 2022, Lot 108; Walker’s Auctions, May 2016, Lot 139.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

PRESTON SINGLETARY (1963-) TLINGIT
Double Raven Design Dish, 1999
blown and sand carved glass, 19.75 x 19.75 x 4.25 in (50.2 x 50.2 x 10.8 cm)
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

Over the past two decades, Preston Singletary has created a number of major museum collections, theme collections for yearly exhibitions for a small network of galleries and many commissions. Currently he is producing a full set design for the Pacific Northwest Ballet Company’s production of Sleeping Beauty (the historic story blended with Northwest Coast mythology). He has recently published the book Preston Singletary – Fusion Notes, a biographical portrait of his life and career as a glass artist and musician. He collaborated with writer Garth Stein to create a contemporary interpretation of Raven’s influence in a modern world with the catalogue and exhibition titled I Dream, Therefore I Am at the Travers Gallery in Seattle. Singletary has always challenged himself to make new and relevant work. He has a long history of collaborative projects with many of the world’s leading indigenous artists. This project extends the collaboration to include visual and literary arts.

The Double Raven Design Dish is an early work when he first shifted from traditional glass blowing to fully embracing his Tlingit roots and exploring traditional forms. Early in his career he was featured on magazine covers as an important new artist for glass and Northwest Coast art. Some of the most established collectors from both art forms bridged their collection with the addition of Preston Singletary pieces. The addition of future pieces over many years has been a statement of his ability to grow and evolve as an artist.

Gary Wyatt

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

CHRISTIAN WHITE (1962-) OLD MASSET, HAIDA GWAII
The First Men Emerging from the Clamshell, on Labret Base, 2006
argillite, wood, mastodon tusk, and pāua shell , 1.75 x 2.5 x 1.5 in (4.4 x 6.3 x 3.8 cm), measurements reflect dimensions with labret base.
signed with artist's initials and inscribed, "CW / Haida".

Provenance
Spirit Wrestler Gallery, Vancouver, BC;
Acquired from the above by John & Joyce Price, Seattle, WA, 2006.

Exhibited:
Vancouver, BC, Spirit Wrestler Gallery, Mini Masters I, 2006, cat. no. 58.

The First Men Emerging from the Clamshell is a classic Haida story on the origins of Haida Gwaii, and Raven discovering the people inside the clamshell at Rose Spit on the northern tip of Haida Gwaii. Even on a miniature scale, Christian White manages to capture a split second of the narrative with remarkable clarity. His skillful use of inlays engages the viewer, drawing one closer to observe the details and finally experience it in the hand as the artist did during its creation. The labret as a base is also one of White’s innovations, using the smooth traditional shape of the object to cradle the sculpture, and allowing the wood to contrast with the stone, thus supporting the sculpture without distraction. The Bill Reid Gallery in Vancouver is preparing the first solo exhibition of Christian White’s work, opening in January and running until the end of 2025.

Gary Wyatt

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

LARRY ROSSO (1944-2006) DAKELH (CARRIER/LAKE BABINE NATION)
Loon Feast Bowl, 1980s or 1990s
wood and acrylic paint, 8.5 x 24.5 x 9.25 in (21.6 x 62.2 x 23.5 cm)
signed with artist's initials, "LR".

Provenance
Collection of John & Joyce Price, Seattle, WA.

Larry Rosso was a highly skilled carver and design artist from the Northern Interior of British Columbia. Like other Athabaskan artists from First Nations neighbouring the Northwest Coast in the mid-20th century, Rosso created formline-driven art in a coastal style. In the late-1960s, Rosso studied carving and design with ‘Namgis/Kwakwaka’wakw artist Doug Cranmer (1927–2006), an early influence that is apparent in Rosso’s approach to formline and his choice of subject matter. Rosso’s work can be found in a number of prominent public and private collections, including the UBC Museum of Anthropology and the Vancouver International Airport.

Loon bowls and headdresses are closely associated with Kwakwaka’wakw culture, and this bowl is a synthesis of Rosso’s later, more Northern style of design and his roots in Kwakwaka’wakw artistic training. The loon was a motif that Rosso returned to frequently in various media including print and sculpture. Here, Rosso has depicted the loon with a prominent beak and crest, bold red and black painted formlines, and a human face in the tail feathers. All of the forms on this bowl have also been relief carved and incised which add an extra layer of complexity to the sculpture.

Christopher W. Smith

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

KIUGAK (KIAWAK) ASHOONA (1933-2014) or LUKTA QIATSUQ (1928-2004) KINNGAIT (CAPE DORSET)
Seated Woman Adjusting Her Hood, mid 1950s
stone, 13.25 x 11 x 6 in (33.7 x 27.9 x 15.2 cm)
unsigned.

Provenance
A Prominent Montreal Estate;
Galerie Elca London, Montreal; <>br>Acquired from the above by John & Joyce Price, Seattle, WA.

Most carvings from the early 1950s were unsigned. Additionally, almost all supporting documents (i.e. “Igloo Tags”, original bills of sale, etc.) have been lost to time. This often makes identification a rather difficult endeavour. Fortunately, many of the best early artists had, from day one, a “signature” style, even if that evolved over time. Many sculptures have stylistic clues which help narrow down the list of possibilities. The author of this wonderful Seated Woman is the subject of some debate as it shows stylistic clues that strongly suggest two important early Kinngait masters, Kiugak Ashoona (1933-2014) and his friend and contemporary Lukta Qiatsuq (1928-2004). While it might be expedient to give the attribution to Kiugak (as he is the better-known sculptor), we feel that Lukta’s rightful place in the pantheon of Kinngait sculpture is long overdue. In this case, heads or tails are both winners. Seated Woman is a brilliantly carved and beautifully composed work, full of movement and personality and yes, even a certain undeniable sexiness.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

KIAKSHUK (1886-1966) KINNGAIT (CAPE DORSET)
Woman with Pail, c. mid 1950s
stone, 6.25 x 3.5 x 2.75 in (15.9 x 8.9 x 7 cm)
unsigned.

Provenance
A Canadian Private Collection;
Feheley Fine Arts, Toronto;
Collection of John & Joyce Price, Seattle, WA.

Exhibited:
Toronto,Feheley Fine Arts, Dorset Magic: Four Decades of Sculpture from Cape Dorset, Oct. - Nov. 1999, reproduced on the front cover.

The dark grey stone sourced by Kinngait artists through most of the 1950s was considerably harder to carve than the serpentines discovered late that decade and used thereafter. By necessity, the early carvings are less detailed than those produced by the same artists a decade later. However, we absolutely love how Kiakshuk portrayed this wonderfully stout woman. What she lacks in “grace” she more than makes up for in strength, determination, and personality. Terrific.



References: For fine examples of human figures by Kiakshuk see First Arts, 5 December 2022, Lot 9; First Arts, 30 November 2021, Lot 43; Walker’s Auctions, 18 November 2015, Lot 82. Kiakshuk was also a carver of delightful birds, and a celebrated graphic artist.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

Attributed to PEESEE OSUITOK (OSHAWEETOK “A”) (1913-1979) KINNGAIT (CAPE DORSET)
Mother and Child, c. 1953-54
stone, 6 x 2.75 x 2.25 in (15.2 x 7 x 5.7 cm)
unsigned;
affixed with a handwritten label from the [guild shop?], to an old acrylic stand, "SOLD / MR. AIA [STRUCK] / [B] AMTMAN / TUDLIK".

Provenance
With Waddington's, their inventory no. S1139 / [7?] 02", Lot 117, sale date unknown;
Collection of John & Joyce Price, Seattle, WA.

Peesee Osuitok, one of the first carvers in Cape Dorset in the early 1950s, was referred to then as Oshaweetok “A” to distinguish him from the younger artist Osuitok Ipeelee, known as Oshaweetok “B” (even so, their names are sometimes confused). Peesee’s Mother and Child possesses a charming naïveté, but the sculpture is beautifully formed and expertly finished. We love how the two heads of mother and infant are placed side by side on the figure’s flat-topped shoulders! Our attribution is based on George Swinton’s re-attribution of a strikingly similar (and perhaps slightly later) work from Osuitok to Peesee; see Swinton’s Sculpture of the Inuit (1992 edition), fig. 509.

Reference: A masterpiece attributed to Peesee Osuitok, in the National Gallery of Canada collection, is illustrated in Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 20, p. 28. For other fine sculptures by the artist see also in Swinton’s book, figs. 335 and 506.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

QAUNAQ (HAUNAK) MIKKIGAK (1932- 2020) KINNGAIT (CAPE DORSET)
Man with Pack, c. 1970s
stone, 8.25 x 3.75 x 4.25 in (21 x 9.5 x 10.8 cm)
signed, "ᑲᐅᓇ".

Provenance
Collection of John & Joyce Price, Seattle, WA.

Qaunaq remembered trying her hand at carving tusk when she was a very young girl and began carving stone already in the 1950s. Best known as a sculptor, she also produced drawings and jewellery. In addition, Qaunaq was a respected storyteller and throat singer and even co-authored several children’s books. Qaunaq is featured in the landmark CMC exhibition and book Inuit Women Artists: Voices from Cape Dorset in 1994. This striking figure of an Inuk struggling against the weight of his pack is an example of the artist at the height of her powers.

References: Qaunaq’s sculptures and graphic works are strongly featured in Odette Leroux, Marion E. Jackson and Minnie Aodla Freeman, ed., Inuit Women Artists: Voices from Cape Dorset, (Vancouver: Douglas & McIntyre / Gatineau: Canadian Museum of Civilization, 1994), pp. 112-131.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ANNIE POOTOOGOOK (1969-2016) KINNGAIT (CAPE DORSET)
Three Generations of Women Artists, 2003
coloured pencil and ink on paper, 26 x 20 in (66 x 51.1 cm)
inscribed and signed, "ᐱᓯᐅᓚ / ᓇᐸᓯ / ᐊᓂ".

Provenance
Feheley Fine Arts, Toronto;
Collection of John & Joyce Price, Seattle, WA.

Exhibited:
In the Shadow of the Midnight Sun: Sami and Inuit Art 2000-2005, travelling exh., Hamilton, Ontario, Art Gallery of Hamilton, 14 January - 7 May 2006; St. John's, Newfoundland, The Rooms, 16 Feb - 20 April 2007; Winnipeg, Winnipeg Art Gallery, 19 May - 19 August 2007; Whitehorse, Yukon Territory, Yukon Arts Centre, 10 January - 9 March 2008; Ottawa, Ontario, National Gallery of Canada, 23 May - 17 August 2008, no cat no.

Published:
Jean Blodgett, In the Shadow of the Midnight Sun: Sami and Inuit Art 2000-2005, (Hamilton: Art Gallery of Hamilton, 2007), no cat. no., reproduced p. 53.

Annie Pootoogook often depicted herself together with her mother, Napachie Ashoona, and her grandmother, Pitseolak Ashoona. This drawing, however, is unique in her oeuvre. Instead of portraits, Annie chose to celebrate the continuity of artistic tradition in three generations of women in her family. Three stacked images are drawn in the distinct styles of her grandmother, her mother, and herself. The activities shown in the drawings are appropriate for each generation; at the top, Pitseolak’s image shows traditional life on the land; next, Napachie’s image of a kayaker is drawn in her late-career style. These “historical” black-and-white drawings contrast with the drawing at the bottom, a brightly coloured image of figures depicted in a typical Annie Pootoogook contemporary Interior. In case the viewer does not comprehend the artist’s intent, each small drawing bears the “signature” of the artist whose style is so cleverly portrayed. Lovely.

References: For more information on the artist and her art see Jan Allen, Annie Pootoogook: Kinngait Compositions, (Kingston: Agnes Etherington Art Centre, Queen’s University, 2011); Nancy Campbell, Annie Pootoogook: Cutting Ice, (Toronto: Goose Lane Editions and the McMichael Canadian Art Collection, 2017); Nancy Campbell, Annie Pootoogook, (Toronto: The Power Plant Contemporary Art Gallery, 2005), p. 26; Nancy Campbell, Annie Pootoogook (Calgary: Illingworth Kerr Gallery, Alberta College of Art + Design, 2007).

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JUTAI TOONOO (1959-2015) KINNGAIT (CAPE DORSET)
Worried, 2011
dry medium [chalk pastel?] on paper, 30 x 44.25 in (76.2 x 112.4 cm)
titled, dated, and signed, "Worried / 2011 / ᔪU ᑐᓄ".

Provenance
Feheley Fine Arts, Toronto;
Collection of John & Joyce Price, Seattle, WA.

Self-portraits abound in the work of Kinngait-based artist, Jutai Toonoo. He was acutely aware of his own emotions and often sought to capture them in his drawings. Here Jutai depicts himself as a worried man, with seemingly unfocused eyes gazing upwards. He has used dark tones for the portrait and sets it against a somber background on which criss-crossed light lines set the figure in relief. These lines become denser and more frenetic above his head where his eyes seem to be looking, perhaps echoing the intensity of his thoughts. It is a powerful and compelling image.

References: See fine examples of work by Jutai in First Arts, 4 December 2023, Lot 40, and First Arts, 12 June 2023, Lot 93. See the interview with Jutai in Still Life and Quick Wit: Interview with Jutai Toonoo, Inuit Art Quarterly, Vol. 27, No 2, Spring/Summer 2014, pp. 16-22. For an overview of the artist’s work on the human form, including his own, see the exhibition Jutai Toonoo: Body Contemplation, Toronto, Ontario, Feheley Fine Arts, 21 April - 12 May 2012, and the catalogue of the same name. See also the exhibition Life: A Retrospective Exhibition, Toronto, Ontario, Feheley Fine Arts, 5-26 March 2016 and accompanying catalogue.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

NICK SIKKUARK (1943-2013) UQSUQTUUQ (GJOA HAVEN)
Untitled (Worm Spirit), 2003
coloured pencil on paper, 13.5 x 11 in (34.3 x 27.9 cm)
signed and dated, "Nick Sikkuark 2003"

Provenance
Marion Scott Gallery, Vancouver;
Collection of John & Joyce Price, Seattle, WA.

Exhibited:
In the Shadow of the Midnight Sun: Sami and Inuit Art 2000-2005, travelling exh., Hamilton, Ontario, Art Gallery of Hamilton, 14 January - 7 May 2006; St. John's, Newfoundland, The Rooms, 16 Feb - 20 April 2007; Winnipeg, Winnipeg Art Gallery, 19 May - 19 August 2007; Whitehorse, Yukon Territory, Yukon Arts Centre, 10 January - 9 March 2008; Ottawa, Ontario, National Gallery of Canada, 23 May - 17 August 2008, no cat. no.

Published:
Jean Blodgett, In the Shadow of the Midnight Sun: Sami and Inuit Art 2000-2005, (Hamilton: Art Gallery of Hamilton, 2007), no cat. no, reproduced, p. 59, as “on loan from John and Joyce Price, Seattle”.

Featuring one of Sikkuark’s iconic motifs, the humanoid worm, the hyper-realism achieved through the artist’s expert use of coloured pencils gives this fantastical work a dramatic tension. Like Sikkuark’s best works, the present drawing inspires in its viewers a mix of horror and humour. The worm's segmented body is rendered with such precise detail that it appears almost tangible, as if we could reach in and feel its slimy texture. The caricature-like face, with its disproportionately large ears, teeters on the edge of the absurd. The overt sharpness of the teeth and the extreme facial expression — caught between a scream, a snarl, and a grimace — suggests a creature that is trying too hard to appear fearsome, making it humorous in its failure to fully convince. Even the surrounding swirl of smaller horned ice worms adds to the whimsical horror, their deft forms floating around the central figure like slithering, grotesque confetti.

References: See Sikkuark’s black paper drawing I Turn Myself Into a Worm in First Arts, 5 December 2022, Lot 60. For a discussion of Sikkuark’s use of black paper see, Marion Scott Gallery, The Art of Nick Sikkuark: Sculpture and Drawings, (Vancouver: Marion Scott Gallery, 2003), pp. 17-23. See the section on the artist in Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg: Winnipeg Art Gallery, 2000), pp. 32-43. For a discussion of Sikkuark's sculptural style see Robert Kardosh's two-part article, "Natural Fantasia: The Wonderful World of Nick Sikkuark”: Part I in Inuit Art Quarterly, (Vol. 20, No. 1, Spring 2005), pp. 8-14, and Part II in Inuit Art Quarterly, (Vol. 20, No. 2, Summer 2005), pp. 10-16.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

MATHEW AQIGAAQ (1940-2010) QAMANI'TUAQ (BAKER LAKE)
Two Men Fighting, c. 1970
stone, 13 x 12 x 8.75 in (33 x 30.5 x 22.2 cm)
signed, "ᐊᑭᒐ".

Provenance
Marion Scott Gallery, Vancouver;
Acquired from the above by John & Joyce Price, Seattle, WA, c. 1996.

Exhibited:
Vancouver, Marion Scott Gallery, Inspiration: Four Decades of Sculpture by Canadian Inuit, Nov. 18, 1995 - January 6, 1996, cat. no. 40.

Published:
Marion Scott Gallery, Inspiration: Four Decades of Sculpture by Canadian Inuit, (Vancouver: Marion Scott Gallery, 1995), cat. no. 40, p. 66.

Mathew Aqigaaq was recognized as an important sculptor while still in his twenties; three of his works from the mid-1960s were included in the famous Sculpture/Inuit international touring exhibition of 1971-73 (and none by Arnasungaaq and Sevoga). Interestingly, Aqigaaq was somewhat of a traditionalist, despite his young age. Proud of his style and confident of his working methods, he did not make the switch to power tools when they became popular.

Two Men Fighting is absolutely one of Aqigaaq’s masterpieces. A very large and impressive work from c. 1970, it proves that the artist was already at the height of his powers just as the visual arts were beginning to blossom in the community, cementing his place as a leader of the “Baker Lake School” of sculpture. Its massive bulk is accentuated by its compact, robust form and the bulging, convex shapes of the two figures. The scene does not feel particularly violent; were it not for the club being wielded by one of the men, it might be mistaken for an image of a father and son playing. Awesome.

References: For other important sculptures by the artist see Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 90. See also Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cats. 302, 303, 367; and George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), figs. 682, 714, 715. See also Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), cat. 9, pp. 42-43.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

MARK TUNGILIK (1913-1986), NAUJAAT (REPULSE BAY)
Musk Ox, c. 1978
stone and antler, 8 x 11.5 x 5.5 in (20.3 x 29.2 x 14 cm)
signed, "ᒪ. ᑐᒋᓕ"; inscribed, "ᓇᐅᔭ [Naujaat (Repulse Bay)".

Provenance
With the Arctic Circle Gallery, their igloo tag attached, as issued;
Collection of John & Joyce Price, Seattle, WA.

Tungilik was already a well-established carver before Houston’s arrival in Kugaaruk (then Pelly Bay) in 1950. Tungilik moved to Repulse Bay (now Naujaat) where he continued to be best known for his miniature tusk carvings, but he also enjoyed working in stone and even whale bone. In his tusk works Tungilik often depicted groups of hunters engaged in a muskox hunt, with the small figures pegged atop a stone or antler landscape base. His miniature muskoxen, often as small as a half inch (one cm) in length, are simply spectacular. When working in stone, Tungilik managed to supersize his miniature muskoxen brilliantly. But these stone muskoxen are not simply scaled-up miniatures; they have a powerfully stocky and rugged quality that more accurately portrays the animal’s bulk. This Muskox from c. 1978 is a particularly impressive (and charming!) example.

Reference: For an impressive, very similarly stylized and almost identically sized Muskox by Tungilik see First Arts, 1 December 2020, Lot 148.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET)
Bear and Owl Spirits, c. 1965
stone, 12.5 x 17 x 10.5 in (31.8 x 43.2 x 26.7 cm)
signed, "ᑭᓄᐊᔪᐊ".

Provenance
Waddington’s Auctions, Apr. 30, 1979, Lot 24;
Klamer Family Collection, Toronto;
Feheley Fine Arts, Toronto;
Collection of John & Joyce Price, Seattle, WA.

Exhibited:
Toronto, Feheley Fine Arts, Old Friends: Selections from the Klamer Family Collection of Inuit Art, October 26 - November 23, 1996.

Published:
Feheley Fine Arts, Old Friends: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Feheley Fine Arts), no. cat. no., unpaginated.

In this sculpture, Kenojuak Ashevak has created an image in which personality abounds. The bear-owl transformation figure appears to be smiling as he cuddles up to an owl spirit whose open beak suggests laughter or conversation. The two happily commune in their own world, separate from everything around them, sharing their private communication. In some ways, this large work reminds us of the much smaller carving, Smiling Polar Bear (Lot 1 in this auction), in which a happy bear appears to be swaying or even dancing. Both sculptures hail from the first half of the 1960s, early in Kenojuak’s career. We also recall her Double-Owl Figure from slightly later in the decade, with its charming big-eared owl spirit (see First Arts, 4 December 2023, Lot 30). It is always a treat to encounter the artistic license, joyfulness, and whimsy that crop up in Kenojuak’s work of the period.

References: For other sculptures by Kenojuak from the 1960s see First Arts, 5 December 2022, Lot 39; First Arts, 4 December 2023, Lots 8 and 30; First Arts, 10 June 2024, Lot 82. See also the section on Kenojuak’s sculptures in Jean Blodgett, Kenojuak, (Toronto: Firefly Books / Mintmark Press Ltd., 1985), pp. 67-72.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

LATCHOLASSIE AKESUK (1919-2000) KINNGAIT (CAPE DORSET)
Seated Owl Spirit, early 1970s
stone, 15.5 x 11.75 x 6.25 in (39.4 x 29.8 x 15.9 cm)
unsigned.

Provenance
Inuit Gallery of Vancouver, Vancouver, BC;
Collection of John & Joyce Price, Seattle, WA.

Exhibited:
Vancouver, BC, Horizons [Inuit Gallery 20th Anniversary Exhibition], October 1999, cat. no. 2.

Published:
Inuit Gallery of Vancouver, Horizons, (Vancouver, BC: Inuit Gallery of Vancouver, 1999), cat. no. 2 and front cover.

Latcholassie began carving in the early 1950s, influenced by his father Tudlik (1890-1966) who was a renowned carver of small birds (see Lot 2). He was also the brother of the Clyde River sculptor Solomonie Tigullaraq (see Lot 4). Latcholassie’s aesthetic leaned towards the abstract rather than the naturalistic, putting him somewhat outside the Cape Dorset mainstream. He is now admired as one of the community’s greatest sculptors, partly for his distinctive style but also because he created owls and other birds and bird-people with distinct personalities. Many Latcholassie sculptures are comically anthropomorphic and endearing, while others – such as this impressive example – are more solemn.

Seated Owl Spirit has a wonderfully contemplative air, as if pondering some thorny philosophical or spiritual question. Its posture is human-like, while its feet and ears appear almost ursine. Its personality reminds us of one of our favourite works by Latcholassie, his Owl-Bear Transformation from c. 1970 (see Walker’s Auctions, 16 May 2018, Lot 66). To our eyes, Latcholassie made better use of marble than any of his Cape Dorset peers except perhaps Pauta Saila.

References: For other fine marble owl sculptures by the artist see First Arts, 1 December 2020, Lot 99; First Arts, 14 June 2022, Lot 35; Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), pp. 136-137; and Jean Blodgett, Selections from The John and Mary Robertson Collection of Inuit Sculpture, (Kingston: Agnes Etherington Art Centre, 1986), cat. 14, p. 35. See also Robert Kardosh, Vision and Form: The Norman Zepp - Judith Varga Collection of Inuit Art, exh. cat., (Vancouver: Marion Scott Gallery, 2003), cat. 12, p. 30. See also Walker’s Auctions, 4 November 2012, Lot 164; Walker’s 3 November 2013, Lot 23.; and Walker’s 15 November 2014, Lot 73.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ELIZABETH ANGRNAQQUAQ (1916-2003) QAMANI'TUAQ (BAKER LAKE)
Animals and People, 2000
duffle, felt, embroidery floss, and cotton thread, 36.5 x 27.25 in (92.7 x 69.2 cm)
signed, "ᐃᓕᓴᐱ"

Provenance
Collection of John & Joyce Price, Seattle, WA.

Exhibited:
Vancouver, BC, Marion Scott Gallery, Works on Cloth: Imagery by Artists of Baker Lake, Nunavut, 2002, cat. no. unknown; In the Shadow of the Midnight Sun: Sami and Inuit Art 2000-2005, travelling exh., Hamilton, Ontario, Art Gallery of Hamilton, 14 January - 7 May 2006; St. John's, Newfoundland,The Rooms, 16 Feb - 20 April 2007; Winnipeg, Winnipeg Art Gallery, 19 May - 19 August 2007; Whitehorse, Yukon Territory, Yukon Arts Centre, 10 January - 9 March 2008; Ottawa, Ontario, National Gallery of Canada, 23 May - 17 August 2008, no cat. no.

Published:
Marion Scott Gallery, Works on Cloth: Imagery by Artists of Baker Lake, Nunavut, (Vancouver, BC: Marion Scott Gallery, 2002), cat. no. unknown, p. 14; Jean Blodgett, In the Shadow of the Midnight Sun: Sami and Inuit Art 2000-2005, (Hamilton: Art Gallery of Hamilton, 2007), no cat. no., reproduced p. 32.

As part of the first generation of Qamani’tuaq’s master textile artists, Elizabeth Angrnaqquaq was one of a collective of women who translated the traditional skill of sewing skin clothing to the art of producing works of art on cloth. With wool as a canvas, Angrnaqquaq absolutely fills this stunning example with felt appliqué human and animal figures, and spectacular stitchery. Carefully laid feather stitches delineate fur, feathers, and the tundra, in some places acting as a subtle change in hue to the background felt, and in others a high contrast and visual texture. Jean Blodgett summed up this artist’s greatest works rather well, stating that “the richness of colour and embroidery stitching makes each of these wall hangings a unique visual delight" [1]. Angrnaqquaq’s daughter Annie Taipanak followed in her footsteps to produce masterpieces of her own [2].

1. Blodgett, In the Shadow of the Midnight Sun, 2007, p. 14.

2. See First Arts, 12 June 2023, Lot 48.

References: See Upstairs Gallery, Elizabeth Angrnaqquaq Wall Hangings, May 1988 (Winnipeg: Upstairs Gallery, 1988), exhibition brochure with twenty-five illustrations. For more about works on cloth from Qamani’tuaq (including the technical aspects of stitchery) see Katharine W. Fernstrom and Anita E. Jones, Northern Lights: Inuit Textile Art from the Canadian Arctic, (Baltimore: Baltimore Museum of Art, 1994). For another example of the artist’s work, see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 143, p. 177; and Robert Kardosh, Vision and Form: The Norman Zepp - Judith Varga Collection of Inuit Art, exh. cat., (Vancouver: Marion Scott Gallery, 2003), cat. 46, p. 63. For a look into wall hangings as conveyors of traditional knowledge, see Krista Ulujuk Zawadski, “Threading Memories” in Inuit Art Quarterly, (Spring 2020, Vol. 33, No. 1), pg. 30-39. For a similarly styled work by the artist from 1981 in the Winnipeg Art Gallery Collection see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 143, p. 177.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JESSIE OONARK, O.C., R.C.A (1906-1985) QAMANI'TUAQ (BAKER LAKE)
Big Woman, 1976 (1977 #27)
Printmaker: FRANCIS KALURAQ (1931-1990) QAMANI'TUAQ (BAKER LAKE)
stencil, 35 x 26 in (88.9 x 66 cm)
21/46

Provenance
Collection of John & Joyce Price, Seattle, WA.

Jessie Oonark was never one to shy away from bold colours or distinct forms; Big Woman is as much a classic Oonark print as it is a fresh departure thematically. The vibrant colours, broad shoulders, and long amautiq tail stand out as the subject walks along, pail in hand. In a 1983 interview, Jessie Oonark revealed a surprising and profound backstory to Big Woman: "This is a woman, just my interpretation of a woman who is turning into a stone, in Chantrey Inlet. The stone itself is really colourful because this woman had a fancy parka... [She turned into a stone] because she never wanted to get married to anyone. The woman is supposed to be in a kneeling position, but I just drew it in the standing position anyway.” [1] This powerful image evokes Oonark’s famous early print, Woman (1970), showcasing her remarkable ability to intertwine personal stories with striking visual expression.

1. Marion E. Jackson, Transcripts of Interviews with Jessie Oonark and her Children (Unpublished, Spring 1983), p. 38.

References: For more about the artist and her work, see Jean Blodgett and Marie Bouchard, Jessie Oonark: A Retrospective, (Winnipeg: Winnipeg Art Gallery, 1986), where this original drawing is reproduced cat. 72, p. 130 and Marie Bouchard, Power of Thought: The Prints of Jessie Oonark, (Richmond, VA: Marsh Art Gallery, 2001). For other writings on Oonark’s depictions of women see Bernadette Driscoll, "Tattoos, Hairsticks and Ulus: The Graphic Art of Jessie Oonark" in Arts Manitoba, (Fall 1984), pp. 12-19; Maureen Flynn-Burhoe, “Jessie Oonark: Woman in the Centre”, Inuit Art Quarterly, (Vol. 14, No. 2, Summer 1999), pp. 26-30. See also Robert Enright, “The Art of Jessie Oonark: Ceremonies of Innocence” in Inuit Art Quarterly, (Vol. 2, No. 14, Winter 1987), pp. 3-6. Another version of this print is illustrated in Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 189, p. 232.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED INUIT ARTIST, KIVALLIQ (KEEWATIN) REGION
Beaded Amautiq Ceremonial Beaded Woman’s Amautiq, c. late 1990s
polyester fabric, sherpa fabric, stroud, felt, cotton fabric, plastic beads, cotton and polyester trims, fringe, hide, yarn, and cotton thread, 45 x 28.5 x 18 in (114.3 x 72.4 x 45.7 cm), dimensions variable

Provenance
Collection of John & Joyce Price, Seattle, WA.

Soon after the introduction of colourful trade beads to Canada’s Arctic by Hudson’s Bay Company traders in the 18th century, Inuit women in the Kivalliq (Keewatin) area began incorporating them into traditional amautiq designs. Lavishly decorated ceremonial amautiit became high fashion in the Kivalliq; the tradition continues and is a source of great pride to makers across the region. [1]

The great majority of amautiit created in recent decades are sewn from fabrics such as wool duffle and cotton/polyester blends rather than caribou skin. [2] Apart from those involving the preparation of skins, the steps are the same; these include cutting and sewing material in the proper proportions and beading and affixing the various decorative panels and fringes. Even the best seamstresses from Rankin Inlet, Arviat, and Baker Lake have created only a handful of these amautiit. These artists generally follow traditional patterns but have also developed trademark floral and geometric beaded designs. To date, we have not identified the maker of this superb example.

1. To learn more about the design and making of Inuit clothing see Judy Hall, Jill Oakes, and Sally Qimmiu’naaq Webster, Sanatujut: Pride in Women’s Work, (Hull: Canadian Museum of Civilization, 1994 (which illustrates numerous Caribou Inuit examples); and Betty Kobayashi Issenman, Sinews of Survival: The Living Legacy of Inuit Clothing, (Vancouver: UBC Press, 1997).

2. For a spectacular Beaded Caribou Skin Amautiq from the region see First Arts, 4 December 2023, Lot 20.

References: For a similarly styled fabric beaded amautiq by the Rankin Inlet artist Lizzie Naiktaa Ittinuar see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 161, pp. 194-195. For another example, by Salome Kalaserk from Rankin Inlet, see Walker’s Auctions, 25 May 2016, Lot 160. For one by Elisapee Kingaruyak from Arviat see Walker’s Auctions, 16 May 2018, Lot 39. For one by Martha Talerook from Baker Lake see Walker’s Auctions, 15 November 2014, Lot 39.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ARNAQU ASHEVAK (1956-2009) KINNGAIT (CAPE DORSET
Tattooed Women, Spring 2008 #7
Printmaker: STUDIO PM, Montreal
etching and aquatint, 37 x 28.75 in (94 x 73 cm)
3/30

Provenance
Collection of John & Joyce Price, Seattle, WA.

Tattooed Women is a poetic celebration of the Inuit tradition of soot tattooing, a practice nearly erased with the arrival of Christianity in the Canadian Arctic. Unlike other traditions that were undertaken in secrecy, this one endured mostly as cultural memory, preserved largely through art, as seen, for example, in The Woman Who Lives in the Sun, the famous print by the artist’s mother, Kenojuak Ashevak. In Tattooed Women, Arnaqu both celebrates the traditional and imagines a modern body tattoo, with a depiction of two women who, though facing away, radiate freedom and strength – and defy the images of coy nudes in Western art. The lovely printmaking by Studio PM utilizes rich, warm inks that boldly contrast against a neutral background. The resurgence of Inuit tattooing today, championed by figures like Aaju Peter and Alethea Arnaquq-Baril, may be partly inspired by the beauty of powerful prints such as this one. References: Tattooed Women was reproduced on the cover of Inuit Art Quarterly (Vol. 23, No 4, Winter 2008), and on p. 22; also reproduced in Christine Lalonde and Leslie Boyd Ryan, Uuturautiit: Cape Dorset Celebrates 50 Years of Printmaking, exh. cat., (Ottawa: National Gallery of Canada, 2009), p. 51, cat. no. 57.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ARNAQU ASHEVAK (1956-2009) KINNGAIT (CAPE DORSET
Blooming Tulips, early 2000s
stone and antler, 9 x 8 x 4 in (22.9 x 20.3 x 10.2 cm)
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

This artwork masterfully transforms hard, solid materials – caribou antler and stone – into delicate, graceful botanical forms. Two tall, slender flower stems, crafted from antler, are each topped with a subtly veined, soft grey marble flower, evoking a sense of natural beauty. The leaves, rendered in smoothly finished slivers of serpentine, feature flowing curves that further enhance the organic feel of the work. The contrast between the weight and permanence of the materials and the lightness of the subject matter illustrates Arnaqu’s ability to evoke movement and fragility from otherwise unyielding elements. This interplay between strength and delicacy creates a captivating tension, as if the flowers, though carved from solid substances, might sway in a soft breeze.

References: For similar works by Arnaqu see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 57, p. 67; and Jean Blodgett, In the Shadow of the Midnight Sun: Sami and Inuit Art 2000-2005, (Hamilton: Art Gallery of Hamilton, 2007), cat. p. 34.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET)
Song of Spring (Diptych), Spring 2006 #1
Printmaker: PITSEOLAK NIVIAQSI, R.C.A. (1947-2015) KINNGAIT (CAPE DORSET)
lithograph diptych, overall: 33.25 x 46 in (84.5 x 116.8 cm), each sheet: 33.25 x 23 in (84.5 x 58.4 cm)
1/50

Provenance
Collection of John & Joyce Price, Seattle, WA.

This ambitious work calls to mind two important lithograph diptychs by Kenojuak: Nunavut (Our Land) from 1992 and Silavut, Nunavut (Our Environment, Our Land) from 1999. All three were masterfully executed by printmaker Pitseolak Niviaqsi and feature circular imagery symbolizing the earth, seasons, and the universal themes of regeneration and life cycles. However, Song of Spring diverges by focusing on the animals themselves, and remarkably, by transforming circular motifs into a spherical one. Birds and wolves morph across the surface of an orb, flowing into one another to create a mesmerizing, almost hallucinatory effect that sets this work apart from its predecessors.

John Westren eloquently captures the vivid intensity of Kenojuak's imagination during this period of her career, "The mid-1990s through 2005 would see a revitalized Kenojuak Ashevak. This period was one of the most fertile, ambitious, and prolific of her career. I don't know what influences in Kenojuak's life might have encouraged this fecundity so late in her life, but I suspect that the rejuvenated printmaking program itself played no small part…The results of seeing her work writ large and in glorious Technicolor must have had an invigorating effect on her creative process…[S]he would move into works of movement and tremendous kinetic energy and on into dynamic large-scale prints that are more like paintings [1].

1. John A. Westren, "Toward the Millennium" in Leslie Boyd Ryan, Cape Dorset Prints: A Retrospective (San Francisco: Pomegranate, 2007), p. 261.

References: This diptych is reproduced in Leslie Boyd Ryan, Cape Dorset Prints: A Retrospective (San Francisco: Pomegranate, 2007), p. 286. The 1999 diptych Silavut, Nunavut is also reproduced, p. 232. Kenojuak's special commission Nunavut (Our Land) of 1992 is reproduced in Odette Leroux et al ed., Inuit Women Artists: Voices from Cape Dorset (Douglas & McIntyre/Canadian Museum of Civilization, 1994), p. 111.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JAMASEE PITSEOLAK (1968-) KINNGAIT (CAPE DORSET)
Tricycle, 2004
stone, antler, and metal, 3.5 x 4.25 x 3.5 in (8.9 x 10.8 x 8.9 cm)
signed, "Jamasie Pitseolak".

Provenance
Marion Scott Gallery, Vancouver;
Acquired from the above by John & Joyce Price, Seattle, WA, May 2005.

Following in the trailblazing footsteps of his grandfather, Peter Pitseolak — Baffin Island's first Inuk photographer — Jamasie works to expand and redefine what Inuit art can be. Jamasie skillfully uses traditional materials and techniques to create modern, everyday imagery that reflect contemporary life in the North. Interestingly, although depicting individual objects rather than interior house scenes, Jamasie’s works parallel the drawings of Annie Pootoogook. Here, the artist replicates a tricycle with striking precision. Its functional wheels and pedals are a hallmark of Jamasie’s practice, transforming the rigid medium of stone into a playful object associated with childhood and motion.

References: For a Vintage Bike by the artist from 2005 see Ken Mantel et al., Tuvaq: Inuit Art and the Modern World, (Bristol, UK: Sansom and Company Ltd., 2010), fig. 232, p. 220. For other examples by the artist, see Norman Vorano, “Jamasie Pitseolak: Coming from Today,” Inuit Art Quarterly, vol. 23, no. 1, Spring 2008, pp. 10-16 and Robert Kardosh, “The Object Truth: Jamasee Pitseolak’s World of Stone,” Inuit Art Quarterly, 2 March 2020, https://inuitartfoundation.org/iaq-online/the-object-truth-jamasee-pitseolak-s-world-of-stone, accessed 27 Aug 2024.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JESSIE OONARK, O.C., R.C.A (1906-1985) QAMANI'TUAQ (BAKER LAKE)
Flight of the Shaman, 1970 (1971 #13)
Printmaker: MARTHA NOAH (1943-) QAMANI'TUAQ (BAKER LAKE)
stonecut and stencil, 20.5 x 26.25 in (52.1 x 66.7 cm)
5/50

Provenance
Collection of John & Joyce Price, Seattle, WA.

Jessie Oonark’s conversion to Christianity in 1927 did little to stop her depictions of shamanism and the spirit world in her art. In fact, Flight of the Shaman, one of Oonark’s earliest prints, is one of the artist’s most overtly supernatural images. Here a shaman soars through the sky, accompanied by various animal helping spirits. These are arranged in interesting ways, most as if sewn like badges onto his parka while others are seemingly along for a ride. All illustrate the intimate relationship between the host and his helpers: birds line up along one arm and, significantly, one is perched on the shaman’s head (literally guiding him on his heavenly voyage), while wolves and caribou perhaps provide him with extra strength and courage. Subtle punches of red add pops of colour to a print that delivers a powerful graphic punch. For a different take on a shaman’s spirit flight by Oonark’s colleague the sculptor Luke Iksiktaaryuk, see Lot 17.

References: Oonark’s original drawing is illustrated in Jean Blodgett and Marie Bouchard, Jessie Oonark: A Retrospective, (Winnipeg: Winnipeg Art Gallery, 1986), cat. 42, p. 114. The image is reproduced in Ernst Roch ed., Arts of the Eskimo: Prints, (Montreal/Toronto: Signum/Oxford, 1974), and in Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), cat. 18, p. 57; also in Jean Blodgett, The Coming and Going of the Shaman: Eskimo Shamanism and Art, (Winnipeg: Winnipeg Art Gallery, 1978), cat. 60, p. 106.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

LUKE ANGUHADLUQ (1895-1982) QAMANI’TUAQ (BAKER LAKE)
Boy, 1969 (1970 #40)
Printmaker: MICHAEL AMAROOK (1941-1998) QAMANI’TUAQ (BAKER LAKE)
stonecut, 24.75 x 19.5 in (62.9 x 49.5 cm), framed.
23/44

Provenance
Collection of John & Joyce Price, Seattle, WA.

Based on one of Luke Anguhadluq’s earliest drawings, this print was erroneously titled Boy. Although the figure certainly seems child-like in its pose and charming demeanour, Anguhadluq stated in a 1970 interview with Jack Butler that it actually depicts a giant, an “almost human.” [1] This makes the work no less endearing, however. Arguably, re-imagining the figure as a friendly, lumbering giant rather than an unsteady toddler makes it extra surprising and delightful!

1. See Cynthia Waye Cook, From the Centre: The Drawings of Luke Anguhadluq, (Toronto: Art Gallery of Ontario, 1993), p. 17. The original drawing is illustrated on p. 18. Reference: Anguhadluq’s original drawing is illustrated in Cynthia Waye Cook, From the Centre: The Drawings of Luke Anguhadluq, (Toronto: Art Gallery of Ontario, 1993), fig. 1, p. 18. For additional reading on the artist and illustrations of his work see: Jean Blodgett, "Luke Anguhadluq," in Tuu'luq / Anguhadluq: An exhibition of works by Marion Tuu'luq and Luke Anguhadluq of Baker Lake, (Winnipeg Art Gallery, 1976); Charles H. Moore, "Anguhadluq's art: Memories of the Utkuhikhalingmiut" in Études/Inuit/Studies, Vol. 2, No. 2 (Université Laval, 1978), pp. 3-21; Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), fig. 121; and Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), pp. 103, 168-169.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JESSIE OONARK, O.C., R.C.A (1906-1985) QAMANI'TUAQ (BAKER LAKE)
Figure in Striped Clothing, 1971 (1972 #4)
Printmaker: THOMAS SIVURAQ (1941-) QAMANI'TUAQ (BAKER LAKE)
stonecut and stencil, 24.5 x 19.5 in (62.2 x 49.5 cm)
an artist's proof, inscribed "T / A/P," aside from the numbered edition of 48.

Provenance
Collection of John & Joyce Price, Seattle, WA.

Figure in Striped Clothing is one of only two known textile works by Jessie Oonark that served as the imagery source for a print of the same name, a rarity in the Canadian Arctic where prints typically originated from exclusive drawings rather than fabric works. While the print and wall hanging share a nearly identical composition, the print stands out with its clean, graphic lines and a restrained palette of tan and deep blue (almost black). This simplicity emphasizes the strong contrasts and stylized form, making the central figure's presence particularly striking.

References: This image is illustrated along the original work on cloth by Oonark in Bernadette Driscoll, Baker Lake Prints & Print-Drawings 1970-76, (Winnipeg: Winnipeg Art Gallery, 1983), p. 74 (the print is on the cover of the catalogue as well). Driscoll discusses the print on p. 10. The original work on cloth is also illustrated in Jean Blodgett and Marie Bouchard, Jessie Oonark: A Retrospective, (Winnipeg: Winnipeg Art Gallery, 1986), cat. 49, p. 83. Another print created from a wall hanging is Magic Circle, 1971 #3 (see Blodgett and Bouchard, cats. 50-51, pp. 118-119). We make the assertion that Voice from My Dreams, (1973 #3) is another such print (see First Arts, 12 Sept 2024, Lot 28).

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JESSIE OONARK, O.C., R.C.A (1906-1985) QAMANI'TUAQ (BAKER LAKE)
Kiviuk and the Grizzly, 1981 #9
Printmaker MAGDALENE UKPATIKU (1931-1999) QAMANI'TUAQ (BAKER LAKE)
linocut and stencil, 25.25 x 37.25 in (64.1 x 94.6 cm)
40/50

Provenance
Collection of John & Joyce Price, Seattle, WA.

This famous print faithfully captures a compelling episode from the Qiviuq (Kiviuk) legend, as depicted by Jessie Oonark in her original early 1970s drawing (offered in First Arts, 10 June 2024, Lot 20). The composition blends varied spatial and chronological perspectives, beginning with Qiviuq observing a pool of birds. The scene then shifts indoors to a bear's den, where Qiviuq lunges toward the bear, whose aerial depiction highlights its role in the chase and impending threat. The story moves to a bulging stream, expanding at Qiviuq’s command, before gracefully returning to the calm of the birds. Set against a vibrant orange-pink sunset, Oonark broadens the narrative’s temporal scope by intertwining day and night with a radiant sun, crescent moon, and scattered stars.

References: The drawing for this work has also been reproduced in Jean Blodgett and Marie Bouchard, Jessie Oonark: A Retrospective, (Winnipeg: Winnipeg Art Gallery, 1986), cat. no. 83, reproduced p. 91, syllabic inscription translated on p. 42-43. See also cat. no. 8 for a drawing of the Qiviuq story by Oonark from c. 1963.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

OSUITOK IPEELEE, R.C.A. (1922-2005) KINNGAIT (CAPE DORSET)
Caribou Head Emerging from Water, c. early 1980s
stone and antler, 22.5 x 29 x 9.5 in (57.1 x 73.7 x 24.1 cm)
signed and inscribed, "ᐅᓱᐃᑐ / ᐄᐱᓕ / ᑭᒐᐃ (Kinngait)".

Provenance
Collection of John & Joyce Price, Seattle, WA.

While we have been most fortunate in being able to present several spectacular walking, rearing, or resting caribou by Osuitok over the past several years, we take great pleasure in offering this spectacular swimming iteration of the artist's most famous subject. While we are perhaps more familiar with the animal presented in an upright pose as if seen from a distance, quite often the more compelling view for the Inuit hunter is an up-close encounter with a swimming caribou. Hunting scenes depicting swimming caribou pursued by hunters in kayaks are quite common in Inuit graphic art, particularly from Qamani’tuaq (Baker Lake). [1] And notably, not every sculptural portrait of a caribou head depicts a swimming animal. This lovely example truly gives the sense of the animal moving through water.

Instead of presenting us with a small and delicate head in scale with his “typical” portraits of the animal, Osuitok has opted to create a work at essentially life-size, matching the scale of the animal’s head to a full pair of antlers. And instead of stylizing the forms as he normally does, Osuitok has carved realistic proportions and details that are beautifully rendered, bestowing upon the sculpture a remarkably lifelike appearance. Furthermore, Osuitok has given the portrait a sense of fear and urgency, as it strains to reach the shore safely. Sensational!

1. For an example of a caribou hunting scene see Luke Anguhadluq’s Kayaks and Caribou (First Arts, 12 June 2023, Lot 126).

References: For other fine Caribou Heads by the artist see Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 139; and Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), cat. 72, p. 19 and 114; also Jean Blodgett, “Osuitok Ipeelee” in Alma Houston ed., Inuit Art: An Anthology, (Winnipeg: Watson and Dwyer Publishing, 1988), p. 51.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

PITSEOLAK NIVIAQSI, R.C.A. (1947-2015) KINNGAIT (CAPE DORSET)
Sedna and her Children, c. 1998-2000
stone, 11.5 x 20.5 x 6 in (29.2 x 52.1 x 15.2 cm)
signed, "ᐱᓯᐅᓚ / ᓂᕕᐊᓯ".

Provenance
Collection of John & Joyce Price, Seattle, WA.

Despite Pitseolak Niviaqsi’s skills as a master lithographer keeping him busy at the Kinngait print studios, his relatively small sculptural output is impressive, highlighting his keen eye for form and detail as well as a knack for creating beautiful movement out of static stone. Carefully carved, this large, gorgeous work is a delightful family portrait with a casual and fun air to the figures’ poses. Tails are curled up and over, hair is held aloft, and caring arms are draped behind heads and over shoulders. A close look illustrates Niviaqsi’s superb balance of positive and negative space, all portrayed in a gentle upward-sweeping composition. Given Niviaqsi’s penchant for having his wife Sita and their children be the subject matter of his artworks, Sedna and Children may well be a portrait of them in aquatic form! Lovingly grouped together for a “snapshot” in stone as they are, who are we to disagree?

References: For other fine works by the artist on both the familiar and aquatic theming, see Mother with Two Children, First Arts, Toronto, 5 December 2022, Lot 29, Sedna Holding Her Braid, First Arts, Toronto, 12 June 2023, Lot 131, and Mother Playing with Two Children, First Arts, Toronto, 4 December 2023, Lot 70.

For further works by the artist, including a depiction of the artist’s wife Sita and their twins, see the Spirit Wrestler solo exhibition catalogue, The Lyrical World of Pitseolak Niviaqsi, (Vancouver: Spirit Wrestler Gallery, 2001). For other important works by the artist see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 181 (see text), and the front cover of the Inuit Art Quarterly, Vol. 17, No. 1, Spring 2002, illustrating Fisherwoman with Twins from 2001.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

SHEOUAK PETAULASSIE (1918-1961) KINNGAIT (CAPE DORSET)
Bird in Blue, 1960 #58
Printmaker: IYOLA KINGWATSIAK (1933-2000) KINNGAIT (CAPE DORSET)
sealskin stencil, 12.25 x 24 in (31.1 x 61 cm), framed.
45/50

Provenance
Collection of John & Joyce Price, Seattle, WA.

Bird in Blue captivates with its striking simplicity. Sheouak’s clean, deliberate lines emphasize the bird's form, while Iyola’s choice of an intense, icy blue – using negative space only for the body and eyes – locks us in its piercing gaze. The wings, almost symmetrical but deliberately imperfect, unfurl regally across the breadth of the white sheet, while the crown-like plumage at the top of the head exudes an understated majesty, not to mention charm!

Having passed away in 1961, only nine of Sheouak’s images were selected for the 1960 and 1961 print collections, making her works a precious find in today's market. Bird in Blue has been offered publicly only twice since its release, once in 1993 and again in November 2021 by First Arts.

References: For several original drawings by Sheouak see Jean Blodgett and Susan Gustavison, Strange Scenes: Early Cape Dorset Drawings, (Kleinburg: McMichael Canadian Art Collection, 1993), pp. 106-111. There is limited information on Sheouak. For a brief overview of the artist, see Jean Blodgett, Kenojuak, (Toronto: Firefly Books, 1985), p. 43. Also James Houston, Eskimo Prints, (Toronto: Longman, 1971) pp. 52-54.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

SHEOUAK PETAULASSIE (1918-1961) KINNGAIT (CAPE DORSET)
Fantastic Creatures, c. 1950
graphite on wove paper, 16.5 x 21 in (41.9 x 53.3 cm)
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

In this work, three hybrid marine creatures drift in a loose formation, suspended in an undefined ocean realm. Their fluid forms – marked by flowing tails, flippers and other limbs, horns, and hook-like appendages – evoke a sense of movement and freedom, but also mystery. The interplay of positive and negative space, a hallmark of Sheouak’s distinctive drawing style, is especially evident in the two “segmented” figures at the left. Fellow artist Iyola Kingwatsiak noted, “She was very creative in drawing animals that are broken up. They look better than if the lines were totally surrounding the figure.” [1] We wholeheartedly agree.

1. In Blodgett, Strange Scenes, 1993, p. 106.

References: For several similar works, see Jean Blodgett & Susan Gustavison, Strange Scenes: Early Cape Dorset Drawings, (Kleinburg, ON: McMichael Canadian Art Collection, 1993), figs., 62-4, pp. 107-109.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

KIAKSHUK (1886-1966) KINNGAIT (CAPE DORSET)
Nine Arctic Birds, 1960 #27
Printmaker: EEGYVUDLUK POOTOOGOOK (1931-1999) KINNGAIT (CAPE DORSET)
stencil, 15.25 x 25 in (38.7 x 63.5 cm)
38/50

Provenance
Collection of John & Joyce Price, Seattle, WA.

In his original graphite drawing, as shown in Dorothy LaBarge’s 1986 Glenbow Museum catalogue From Drawing to Print (p. 16), Kiakshuk includes a third tier of figures in his composition — four monstrous creatures brimming with nervous energy. By simplifying the composition, the print shifts focus, celebrating the everyday inhabitants of Kinngait's skies rather than merging the natural world with frightful fantasy – almost; the two creatures at the top left look hybrid, but seem playfully benign. The nine birds are brought to life through the printmaker Eegyvudluk’s expert use of stencil, blending black, blue, and a striking touch of an almost maroon red to create vibrant, dynamic forms.

Literature: Nine Arctic Birds is illustrated alongside Kiakshuk’s original drawing in Dorothy LaBarge, From Drawing to Print: Perception and Process in Cape Dorset Art (Calgary: Glenbow Museum, 1986), pp. 16-17.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

KIAKSHUK (1886-1966) KINNGAIT (CAPE DORSET)
Untitled Drawing (Figures and Animals), c. 1960-65
graphite on wove paper, 18 x 22.25 in (45.7 x 56.5 cm)
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

An early participant in the arts programs of Kinngait, Kiakshuk was a versatile artist and a chronicler of Inuit life and history. As with many of his drawings, this work features a fantastic level of detail when depicting clothes, while the animals are rendered in a quirkier style with individual characters and expressions. The almost “laid out” presentation of the figures gives the sense of a demonstrative paper, perhaps a guide to local people and animals for the viewer to review and enjoy. Utterly charming.

References: For a similarly styled drawing by the artist see Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), pp. 164. For further examples of original graphite drawings by Kiakshuk, see Marion Jackson and Judith Nasby, Contemporary Inuit Drawings, (Guelph: Macdonald Stewart Art Centre, 1987), cats. 16-17.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

SHEOJUK ETIDLOOIE (1932-1999) KINNGAIT (CAPE DORSET)
Untitled Drawing (Three Owls), 1997-98
coloured pencil and graphite on wove paper, 20 x 26 in (50.8 x 66 cm)
signed, "ᓯᐅᔪ".

Provenance
Collection of John & Joyce Price, Seattle, WA.

Sheojuk began drawing late in life, decades after most other Cape Dorset artists of her generation, but hit the ground running when her first prints were published in the 1994 collection. Sheojuk’s drawings and prints seem naïve, almost childlike in their simplicity, but with a directness and clarity that make them seem simultaneously ancient and very modern. Although the artist created numerous striking single figures, Sheojuk is also well-known for her serial imagery, in which one image is drawn two or several times on the paper with only minor differences in details or colour variations. Three Owls is a marvelous example of this aspect of her art.

References: For biographical information and other works by the artist, see First Arts, The Graphic Art of Sheojuk Etidlooie, exh. 26 Jan - 22 February 2021. See also Feheley Fine Arts, Sheojuk Etidlooie: Original Drawings, 14 Nov - 5 Dec 1998, and Feheley Fine Arts, Transformed: The Last Works of Sheojuk Etidlooie, 13 Nov - 11 Dec 1999.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

MIRIAM NANURLUQ QIYUK (1933-2016) QAMANI'TUAQ (BAKER LAKE)
Together (Family Sleeping), 1984
stone, 1.75 x 8.5 x 6 in (4.4 x 21.6 x 15.2 cm)
signed, "M QIYUK".

Provenance
Norman Zepp and Judith Varga Collection, Saskatoon; Marion Scott Gallery, Vancouver;
Acquired from the above by John and Joyce Price, Seattle, WA.

Exhibited:
Vancouver, Marion Scott Gallery, Vision and Form: The Norman Zepp - Judith Varga Collection of Inuit A/rt, cat. no. 97.

Published:
Robert Kardosh, Vision and Form: The Norman Zepp - Judith Varga Collection of Inuit Art, exh.cat., (Vancouver: Marion Scott Gallery, 2003), p. 125, cat. no. 97

Miriam Qiyuk is famous for her charming depictions of families in various configurations: mothers and children; families in boats; long rows of figures posed as if for a family photo; and nude sleeping couples. The latter are among this artist’s favourite and most endearing subjects. They express affection and the simple pleasure of togetherness rather than eroticism. This subject matter is beautifully suited to Qiyuk’s preference for carving horizontal rather than vertical compositions. Robert Kardosh gives a lengthy appreciation of this work in the Vision and Form catalogue (see Publications), and rightfully so. The sculpture is an unusual example, depicting either three sleeping couples or one couple in three positions. Sensitively carved in rustic yet gorgeous high relief, Sleeping Figures is one of our favourite Miriam Qiyuk sculptures of all time.

References: For other examples of this charming theme by Miriam Qiyuk see First Arts, 30 November 2021, Lot 6; Walker’s Auctions, November 2012, Lot 39; May 2013, Lot 40; and November 2013, Lot 254. See also Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre, 1998), fig. 44 for an example that relates to the Kiviuk legend. For other fine sculptures by Mirriam Qiyuk see First Arts, 10 June 2024, Lot 70; First Arts, 1 December 2020, Lot 30; Darlene Coward Wight, Creation and Transformation: Defining Moments in Inuit Art, (Winnipeg: Winnipeg Art Gallery, 2012), cat. 90.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED INUIT ARTIST, QAMANI'TUAQ (BAKER LAKE)
Standing Mother and Child, early 1960s
stone, 10 x 7 x 2.75 in (25.4 x 17.8 x 7 cm)
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

It pains us to leave a magnificent sculpture unattributed, although a couple of important names come to mind. The shape of the faces and their quite distinctive features suggest Francis Kaluraq (1931-1990), although his figures tend to be much blockier in form. Another possibility is David Iqutaaq (1929-1984), whose striking early 1960s sculptures have always impressed us. This figure of a Mother and Child is both substantial and delicate, powerful and serene. We love how the woman’s formidable shoulders contrast with her slender limbs, as she moves forward at a gentle walking pace. Superb.

References: For fine works by Francis Kaluraq see George Swinton, Eskimo Sculpture, (Toronto: McClelland and Stewart, Ltd., 1965), pp. 93, 100; George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 684, p. 222; Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cat. 259; First Arts, 5 December 2022, Lot 51. For fine early works by David Ikutaaq see George Swinton, Eskimo Sculpture, (Toronto: McClelland and Stewart, Ltd., 1965), pp. 114-115; George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), figs. 119, 673-677; Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cats. 262, 263, 368.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

Possibly SARAH MEEKO NASTAPOKA (1925-d) or ISA AQIATTUSUK SMILER (1921-1986),INUKJUAK (PORT HARRISON)
Standing Mother and Child, 1950s
stone, soap, and tusk, 9 x 4.5 x 3 in (22.9 x 11.4 x 7.6 cm)
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

James Houston’s first exposure to Inuit art came in 1948 when he hitched a ride on a medical flight to Inukjuak (then Port Harrison). The rest, as they say, is history. It should come as no surprise, then, that some of the most spectacular works from the early 1950s hail from Inukjuak, a community that was already working at full steam when other settlements were just getting started. Attributions of early 1950s Inukjuak sculptures are too often optimistic and occasionally even spurious. This stunning Standing Mother and Child shows strong stylistic similarities to certain early works by Isa Smiler (see First Arts, 4 December 2023, Lot 25) but might possibly be amongst the earliest sculptural efforts of the immensely talented Sarah Nastapoka (see Darlene Wight, Early Masters, WAG, 2006, p. 78). We wonder if this mightn’t be by the hand of the latter. The sculpture is a wonderful celebration of the female form, featuring a charming hairdo and design details on her amautiq including soap inlay and a delicate tusk toggle. Stunning!

References: For a fine Kneeling Woman Mending a Kamik by Sarah Nastapoka see First Arts, 12 July 2020, Lot 102. For a stunning Standing Mother and Child by Isa Smiler see First Arts, 14 June 2022, Lot 21.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ANDY MAMGARK (1930-1997) ARVIAT (ESKIMO POINT)
Child Seeking its Mother's Attention, c. early 1970s
stone, 6.25 x 6.5 x 6 in (15.9 x 16.5 x 15.2 cm)
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

The naturalistic works of Arviat sculptor Andy Mamgark made him something of an outlier in a community best known for its semi-abstract and even minimalist style. A 1967 sculpture by him was included in the famous Sculpture/Inuit travelling exhibition of 1971-73. He is best known for his sleekly realistic portrayals of polar bears that he carved for a dozen years before his life was tragically cut short in a carving accident, but he occasionally revisited the theme of mother and child throughout the years. This charming and tender Child Seeking its Mother's Attention, created near the beginning of Mamgark’s career, presents a polished and very refined and sensitive depiction of the subject.

References: For a lovely seated Mother and Child by the artist in the Winnipeg Art Gallery collection see Darlene Coward Wight, The Jerry Twomey Collection, (Winnipeg: Winnipeg Art Gallery, 2003), p. 99; also illustrated in Winnipeg Art Gallery, Eskimo Point/Arviat (Winnipeg Art Gallery, 1982), cat. 45.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED NUU-CHAH-NULTH or MAKAH ARTIST
Painted Rain Hat, c. 1920s or 1930s
wove spruce root, cedar bark, and pigments, 5.25 x 15.5 x 15.5 in (13.3 x 39.4 x 39.4 cm)
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

The Nuu-chah-nulth, formerly known as the Nootka, are the Indigenous peoples of the West Coast of Vancouver Island. Woven hats and baskets are central to Nuu-chah-nulth culture and have long been sought by collectors of Northwest Coast art. This rain hat is a fine example of Nuu-chah-nulth basketry and features a painted formline design of an animal – perhaps a seal or bear – in yellow, red, green, black, and blue pigments and a more abstracted design in black, blue, and red on the verso. The animal motif is representational and alludes to Northern Northwest Coast formal conventions while the opposing design is highly abstracted and draws more from Nuu-chah-nulth elements, such as the pill-shaped ovoids with black tertiary filler around the eyes and the repeating u-forms around the rim. The inside of this hat features several methods of weaving including plaiting, twining, and imbrication, making the hat as beautiful inside as it is outside.

Christopher W. Smith

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED QUINAULT (COAST SALISH) ARTIST, WASHINGTON STATE
Lidded Basket, 1920s or 1930s
sweet grass, bear grass, cedar bark, and dyes, 2.5 x 4.75 x 3.5 in (6.3 x 12.1 x 8.9 cm)
unsigned.

Provenance
The Legacy Gallery, Ltd., Seattle, WA;
Acquired from the above by John & Joyce Price, Seattle, WA, 15 June 1989, accompanied by their tag.

The Quinault are a Southwestern Coast Salish tribe made up of the descendants of Coast Salish, Chimakum, and Chinookan peoples on the Olympic Peninsula in Washington State. This twined lidded basket is an unusual oblong shape and features dyed purple designs against a field of natural grass. While very similar in appearance to Nuu-chah-nulth or Makah baskets, Quinault baskets differ in their weaving techniques and how grass is utilized as the base of the basket. The expansive, non-figural design used here is also more indicative of Quinault work than their neighbours to the north. The lid fits nicely, and the purple dye has somewhat mellowed, giving this basket a pleasing, warm appearance.

Christopher W. Smith

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED UNANGAX (ALEUT) ARTIST
Telescopic Carrying Case, late 19th or early 20th century
beach grass and silk thread, dimensions variable, the first sleeve: 5 x 2 x 2 in (12.7 x 5.1 x 5.1 cm) / the second sleeve: 4.75 x 1.75 x 1.75 in (12.1 x 4.4 x 4.4 cm)

Provenance
Collection of John & Joyce Price, Seattle, WA.

Unangax (or Aleut) weaving is among the most refined and delicate in the world. It’s not uncommon for Aleut woven objects to have hundreds of stitches per square inch, giving the work the look and feel of fine linen more than grass basketry. This weaving is a two-piece telescoping carrying case, perhaps made for spectacles or cigars. The two parts are adorned with vibrantly coloured silk threads in yellow, blue, red, green, and orange. This unusual weaving is similar in concept to the more common wallets and cigar case covers made by Aleut weavers in the late 19th and early 20th centuries, but unique in its tubular shape. A fine and unique example of Aleut weaving.

Christopher W. Smith

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED TLINGIT ARTIST
Basket, c. 1920s
spruce root and dyed grass, 3.75 x 4.25 x 5 in (9.5 x 10.8 x 12.7 cm)
unsigned.

Provenance
Collection of John & Joyce Price, Seattle, WA.

Tlingit spruce root baskets are renowned for their tight weaving and colourful patterns rendered in false imbrication (meaning it’s visible on the outside, but not the inside, of the basket). It takes an incredible amount of knowledge, time, and labour to gather and prepare the roots even before the weaving begins, skills that are passed down by master weavers to their apprentices. The weaving process itself is exacting and time consuming, taking many years to master.

Tlingit baskets often display patterns with specific names and meanings that may allude to crests or stories known to the weaver and observer. This basket features three rows of patterns made up of two designs: the top and bottom designs in orange and black are the “Shaman’s hat pattern,” also known as “Spirit around the head,” while the diamond-shaped gold and brown patterns around the middle are called the “Half a salmonberry head” design. [1] This smaller basket is complete and in very good condition.

1. Frances Lackey Paul. 1889. 1944. Spruce Root Basketry of the Alaska Tlingit; Edited by Willard W. Beatty. Kansas: Haskell institute, 1944.

Christopher W. Smith

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

PAUTA SAILA, R.C.A. (1916-2009) KINNGAIT (CAPE DORSET)
Standing Bear, mid-1970s
stone, 5.5 x 2.5 x 1.75 in (14 x 6.3 x 4.4 cm)
signed, "ᐸᐅᑕ / ᓴᐃᓚ".

Provenance
Marian and John "Scotty" Scott, Manhattan Beach, CA;
Their sale, Bonham's, Los Angeles, 1 May 2020, Lot 19P;
Acquired from the above by the present Private Collection, Europe.

Conventional wisdom has it that a great “Pauta bear” should be posed dancing on one foot and depicted open-mouthed with four pronounced canine teeth. While this is often the case, there are numerous spectacular and delightful Pauta bears that go against conventional wisdom. As discussed in our description of Lot 38 (Vol. 1), Pauta had the remarkable ability to revisit his very favourite subjects – his beloved polar bears – over a career spanning many decades and somehow still manage to avoid the formulaic. Indeed, when comparing Pauta’s many bears, regardless of pose or size, we realize that Pauta was never interested in making facsimiles. Instead, each bear is entirely its own entity, invested with a unique look and personality. While diminutive in stature, this charming fellow – probably a cub – exudes personality in spades!

References: Pauta bears of various sizes and poses have been widely exhibited and published for many decades. For some examples see First Arts, 12 July 2020, Lot 46 and First Arts, 1 December 2020, Lot 55. For other important examples by the artist, see Ingo Hessel, Inuit Art: An Introduction, (Douglas & McIntyre, 1998) cover and fig. 102; from 1984 in the Sarick Collection, Art Gallery of Ontario (also illus. in Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 116; Bernadette Driscoll, Uumajut: Animal Imagery in Inuit, (Winnipeg: Winnipeg Art Gallery, 1985), cat. 1; TD Bank Collection (also illus. in Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), fig. 158); Susan Gustavison, Northern Rock: Contemporary Inuit Stone Sculpture, (Kleinburg: McMichael Canadian Art Collection, 1999) cat. 8. See also Marion Scott Gallery, Inspiration, (1996) cat. 23.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED INUIT ARTIST, PROBABLY KUUJJUARAAPIK (GREAT WHALE RIVER)
Hunter And Birds, early 1950s
stone, soap, and antler, 3.25 x 7.75 x 2.5 in (8.3 x 19.7 x 6.3 cm)
unsigned.

Provenance
Private Collection, Montreal.

This charming composition dates to the very early 1950s. Were it not for the typical Sanikiluaq (Belcher Islands) stone, we might be forgiven for assuming that it was produced in Inukjuak (then Port Harrison) due to the circle and dot decoration and soap inlay. We think it’s quite possible that the artist hailed from Kuujjuarapik, Sanikiluaq’s “sister community” on the mainland. This would explain both the Sanikiluaq stone and the stylistic influence from Inukjuak, just up the coast. What makes this work so delightful is that, far from looking like a hunting scene, it looks almost like a child urging on his team of sled-geese!

References: For charming early 1950s depictions of birds from Sanikiluaq see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 76, p. 87.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

HENRY EVALUARDJUK (1923-2007) IQALUIT (FROBISHER BAY)
Owl in Pursuit of an Arctic Hare, 1973
tusk, antler, stone, and black ink, 5.5 x 5.25 x 3.25 in (14 x 13.3 x 8.3 cm)
signed and dated, "HENRY / ᐃᕙᓗ ᐊᔪ / 1973".

Provenance
Private Collection.

Quite apart from numerous outstanding bear sculptures by the artist, we have been fortunate in being able to present some of the finest examples of other subjects by Henry Evaluardjuk (see First Arts, 1 December 2020, Lot 92, and 4 December 2023, Lot 118). We are now thrilled to present what is surely one of his most dynamic and spectacular small works. This incredible composition, depicting the life and death pursuit of an arctic hare desperately fleeing from an attacking owl, is simply magical in both conception and execution. The sheer mastery of an artist at the height of his powers is evident in every inch of this exquisite little work of art!

References: For an equally wonderful sculpture of the same subject by the Arctic Bay artist Manasie Akpaliapik, from 1994, see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 74, p. 86.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JACKOPOSIE OOPAKAK (1948-2015) IQALUIT (FROBISHER BAY)
Totemic Composition with Hunter, Sled, and Animals, c. 1980s
stone and tusk, 16 x 3 x 4.25 in (40.6 x 7.6 x 10.8 cm)
signed, "JACKOPOSIE".

Provenance
Heffel Auctions, 30 May 2015, Lot 527;
Acquired from the above by a Private Collection, Calgary.

Jackoposie became an tusk carver at a young age in his native Pangnirtung, then studied jewellery making after settling in Iqaluit in the early 1970s. Although he produced some works in stone, Jackoposie preferred to work almost exclusively in organic materials: antler, bone, and tusk. His most famous opus, Nunali, one of several astonishing full-rack caribou antler compositions he created in his lifetime, has been on frequent public display at the National Gallery of Canada in Ottawa. Like many of Jackoposie’s “totemic” walrus tusk compositions, this exceptional example features stacked animal and hunting imagery. Oopakak’s particular genius is his remarkable use of negative space, giving each figure or object its own fully realized sculptural presence.

References: For spectacular works by the artist in bone and antler, see First Arts, 1 December 2020, Lot 156, and First Arts, 5 December 2022, Lot 47.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JOHN KAVIK (1897-1993) KANGIQLINIQ (RANKIN INLET)
Figure with Upraised Arms, 1972
stone, 10.25 x 5.75 x 3.25 in (26 x 14.6 x 8.3 cm)
unsigned.

Provenance
Innuit Gallery of Eskimo Art, Toronto;
Acquired from the above by Mr. and Mrs. Ken Carpenter, Toronto;
Acquired from the above by Norman Zepp & Judith Varga, Saskatoon, 1998.

Exhibited:
Exhibited and Published: Norman Zepp, Pure Vision: The Keewatin Spirit, travelling exhibition: March 1986 – March 1987 (Regina: Norman Mackenzie Art Gallery, 1986), cat. 62, p. 118.

Published:
Ken Mantel et al., Tuvaq: Inuit Art and the Modern World, (Bristol, UK: Sansom and Company Ltd., 2010), fig. 108, p. 118. Norman Zepp, Pure Vision: The Keewatin Spirit (Regina: Norman Mackenzie Art Gallery, 1986), cat. 62, p. 118.

We generally don’t look for spiritual content in the art of John Kavik, but perhaps we should look more closely. In his Pure Vision exhibition catalogue, Norman Zepp notes the singular nature of this remarkable sculpture: “…the head is transformed into the body of an animated figure with a strong suggestion of a spirit.” [1] We are inclined to agree with Zepp, especially given the presence of the cup-like cavity carved atop the figure’s head. If the subject is human, might the cavity symbolize the willingness to receive a helping or ancestor spirit? Or the obverse: could it suggest the release of a soul or spirit? But perhaps the figure itself portrays a spirit and not a human; if so, surely it is a helping or benign one.

In purely sculptural terms, Figure with Upraised Arms is not merely unorthodox in its abbreviation of the human figure; it is also, unexpectedly, a visual delight – incredibly charming and positively exuberant in its pose and facial expression. Serendipitously, this masterpiece by Kavik reminds us of two other gems of Inuit art: Josephie Pootoogook’s famous 1959 print Joyfully I See Ten Caribou (Lot 12 in this auction), and the Spence Bay artist Sakkiassee Anaija’s 1969 gnome-like, whale bone Spirit (First Arts, 14 June 2022, Lot 70). Fantastic.

1. Norman Zepp, Pure Vision: The Keewatin Spirit, 1986, p. 46.

References: For the section on John Kavik in Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), see pages 108-119. For an appreciation of the artist and his work see Stanley Zazelenchuk, “Kavik: The Man and the Artist” in Arts & Culture of the North, (Vol. IV, No. 2 Spring 1980), pp. 219-221. Masterpieces by Kavik are widely published; see George Swinton, Sculpture of the Inuit (Toronto: McClelland & Stewart, 1972/92); Canadian Eskimo Arts Council, Sculpture/Inuit (Toronto: University of Toronto Press, 1971); Ingo Hessel, Inuit Art: An Introduction (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998); Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010); and many more books and exhibition catalogues.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ANDY MIKI (1918-1983) ARVIAT/TIKIRAQJUAQ (ESKIMO POINT/WHALE COVE)
Dog, c. 1960-62
stone 3.25 x 5 x 1.5 in (8.3 x 12.7 x 3.8 cm)
signed, "ᒥᑭ".

Provenance
Private Collection, Montreal.

Andy Miki and his family were removed from inland Kitigaq (Ennadai Lake) to Arviat in 1959. They soon resettled in Rankin Inlet for a time (where he began carving) before moving on to Whale Cove in the mid 1960s and finally back to Arviat in 1969. Miki’s early carvings are generally dated to his Whale Cove years, but we are quite certain that this remarkable and incredibly charming Dog dates from at least as early as his stay in Rankin Inlet (or possibly even from his first stint in Arviat), making it perhaps his very earliest documented carving. The presentation on a base suggests that Miki was still learning how to make sculpture. Dog has the naturalism of Miki’s later Whale Cove works yet hardly any degree of stylization or abstraction – apart from the head with its trademark eyes. Exciting!

References: For a fine Whale Cove period Dog by Miki see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 82, p. 103; also illustrated in Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), cat. 1, p. 62. This referenced work has been tentatively dated to c. 1960-64, but it likely dates from c. 1963-65.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ANDY MIKI (1918-1983) ARVIAT/TIKIRAQJUAQ (ESKIMO POINT/WHALE COVE)
Caribou, c. 1975
stone and antler, 3.75 x 5 x 1.25 in (9.5 x 12.7 x 3.2 cm)
signed, "ᒥᑭ".

Provenance
Spirit Wrestler Gallery, Vancouver, BC;
Acquired from the above Norman Zepp & Judith Varga, Saskatoon, SK, Aug 2015.

The great majority of Andy Miki’s sculptures were carved in stone, with relatively few made from caribou antler (see Lot 114 for a wonderful example). Even rarer are works combining the two materials. This marvelous and endearing Caribou from c. 1975 seems to us to be a reprise of Miki’s impressive Caribou Head from about a decade earlier, in the Vancouver Art Gallery collection. [1] Though considerably smaller than that sculpture, it feels more robust and looks more rugged in form and execution. Also, Caribou is not a “tabletop” sculpture but begs to be held on one’s hand. It leaves no guesswork as to the type of animal it portrays (unlike so many of Miki’s highly abstracted creations). The charmingly rudimentary antlers are, of course, a dead giveaway.

1. See Norman Zepp, Pure Vision (1986), cat. 4, pp. 34, 65; also illustrated in Canadian Eskimo Arts Council, Sculpture/Inuit (1971), cat. 147.

References: For a depiction of a Caribou by Miki dating from about ten years earlier (his Whale Cove period) see Norman Zepp, Pure Vision: The Keewatin Spirit (Regina: Norman Mackenzie Art Gallery, 1986), cat. 4, pp. 34, 65. Also illustrated in George Swinton, Sculpture of the Inuit (Toronto: McClelland & Stewart, 1972/92), fig. 86, p. 63; and Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic (Toronto: University of Toronto Press, 1971), cat. 147.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK)
Hunter and Walrus Scene, c. 1962-65
stone, 4.75 x 14.75 x 2.25 in (12.1 x 37.5 x 5.7 cm)
signed and inscribed with artists's disc number, "JOE E-9 818".

Provenance
Waddington’s Auctions, Nov. 1997, Lot 1233;
Alaska Shop, New York;
Acquired from the above by Bill Johnstone Collection, U.K., 1997;
His Sale, Waddington's, 20 November 2018, Lot 38 (as “Hunter Harpooning Walrus”);
Acquired from the above by the present Private Collection, Europe.

Exhibited:
Canada House, London, U.K., 2010.

Published:
Published: Ken Mantel et al., Tuvaq: Inuit Art and the Modern World, (Bristol, UK: Sansom and Company Ltd., 2010), fig. 222, p. 210.

Most famous for his Migration Boats (and other marine adventures) which he carved throughout the latter half of his career, Joe Talirunili is remembered also for his often-quirky carvings and sculptures of other themes and subjects, as well as an interesting body of drawings and prints (for which, it should be noted, he carved his own stone blocks). Most of his carvings are portrayals of single, standing figures: hunters with their weapons, women holding utensils, owls, and occasionally other animals such as caribou (see Lot 142). Exceedingly rare, but among his most remarkable sculptures, are hunting scenes. Two walrus hunting scenes were owned by Bill Johnstone, a collector in the U.K. [1] This Hunter and Walrus Scene is the larger of the two and the most impressive example we have seen.

In fact, apart from his boats, this work is the largest Talirunili sculpture we know of. Hunter and Walrus Scene is a work from the early 1960s, created when Joe was actively carving print stones for the new graphics program in his community. [2] We believe this is significant: it means that the artist was beginning to think in terms of narrative and story lines in his artmaking. This sculpture truly is a “scene” (arguably it’s more than one scene, just like many of his print images). Set along an expansive groundline, it incorporates not only the hunter and his present quarry, but also animals not related to the current action (in fact, the bear and otter are preying upon the other animals). The orientation along a groundline also reminds us of Joe’s stonecut prints of the period. In Puvirnituq, the uncarved outer edges of stone blocks were inked, thus “framing” the images and accidentally creating “groundlines” at most bottom edges. We are reminded especially of Joe’s print A Sure Good Meal, which depicts a caribou hunter and assorted animals (including an otter and fish!). [3]

Quite apart from its impressive scale and interesting imagery, Hunter and Walrus Scene is cleanly carved in a higher-quality stone than we see in many of Talirunili’s works, and is finished to a surprising degree. Joe makes good use of negative space, which gives the sculpture added vitality and visual interest. And in typically quirky Joe fashion, he simply conjures up a rifle support and a hunting blind to assist with the narrative. The hunter’s pose is dynamic and realistic, in obvious – and hilarious – contrast with the laid-back and truly charming figure of the basking walrus. Either the walrus is completely oblivious to his possible fate, or he is confident that Joe will miss his mark! Absolutely brilliant.

1. Both examples are illustrated in Ken Mantel et al., Tuvaq: Inuit Art and the Modern World (2010), p. 210. A later and rather cruder seal hunting scene is illustrated in Marybelle Myers, Joe Talirunili: a grace beyond the reach of art (Montreal: FCNQ, 1977), p. 24.

2. The sculpture has been assigned a date of c. 1962 but might have been carved a couple of years later.

3. The print is #336 in the 1966 Puvirnituq catalogue; interestingly, Joe’s carved stone block for this print is illustrated in Marybelle Myers, op. cit., p. 63.

References: The best introduction to the life and work of Joe Talirunili is still the landmark monograph by Marybelle Myers, Joe Talirunili: A Grace Beyond the Reach of Art, (Montreal: La Federation des cooperatives du Nouveau-Quebec, 1977). For Migration Boats by the artist see First Arts, 4 December 2023, Lot 37; First Arts, 1 December 2020, Lot 32; and First Arts, 28 May 2019, Lot 18 (and also two superb standing figures by the artist, Lots 55, 56). For a lovely Horned Owl see First Arts, 14 June 2022, Lot 90.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

BEAU DICK (1955-2017) KWAKWA̱KA̱ʼWAKW
Ba̱k’wa̱s (Bookwus / Bukwus / Wild Man of the Woods) Mask, c. early-mid 2000s
cedar wood, leather, horse hair, acrylic paint, and metal nails, 12 x 9 x 6 in (30.5 x 22.9 x 15.2 cm), measurements reflect dimensions without hair
signed, "Beau Dick".

Provenance
Important Private Collection, Pittsburgh, PA.

This mask embodies Ba̱k’wa̱s, the man-eating spirit of the forest, with powerful precision that rings throughout its every menacing feature. Amidst the diverse styles of the Northwest Coast, Beau Dick's portrayal of Ba̱k’wa̱s reflects a clear fidelity to Kwakwa̱ka̱ʼwakw symbolism, deeply rooted in Dick’s multifaceted connection to his culture. Reflecting an awareness of traditional portrayals of Ba̱k’wa̱s, the intense, almost feral expression of the present mask evokes a sense of malevolence, while the green surrounding the eye sockets calls forth the haunting presence of the forest in which Ba̱k’wa̱s lurks. The prominent hooked nose – reminiscent of a fearsome predator's beak – and the taut lips that curl back to expose a sinister smile, heightens the creature’s dreadful nature. Completing the portrait, wild, disheveled hair is deftly affixed around the rim of the mask to reinforce the feral energy of this terrifying figure.

Maintaining a continuance with Kwakwa̱ka̱ʼwakw visual language, the skeletal, gaunt appearance, of this mask refers to Ba̱k’wa̱s’s role as the Chief of Ghosts. While the artist’s carving and shaping of the wood is characteristically masterful, he elevates the ghostly effect by affixing leather to create deep, cavernous wrinkles. The leather, pigmented in red and black, is pinched and stretched over the brow and forehead as well as along the cheeks and chin, to evoke the effect of decay or rotting flesh. The use of leather to communicate the features for which Ba̱k’wa̱s was so known but with greater tactile realism showcases the innovative, creative brilliance that makes Beau Dick's work so extraordinary.

Through his virtually unmatched mastery of colour and texture, this Ba̱k’wa̱s Mask is brought to life, as though it were being danced in the glittering glow of firelight in a big house. The artist’s meticulous blending of red and black paints creates a dynamic interplay, making the mask appear to shift and move with changing light and shadow, despite being an inanimate object. As an initiated Hamat'sa dancer, Beau Dick was captivated by the powerful energy of cultural dances, which fueled his imagination and infused his works with theatrical intensity. He understood that mask making was a vibrant, living expression of Kwakwa̱ka̱ʼwakw culture, with each mask meant to ignite with life.

References: For similar work with leather features by Beau Dick, see LaTiesha Fazakas, et. al., Beau Dick: Devoured by Consumerism, (Vancouver: Figure 1 Publishing, 2019), p. 63. Diane Iona Persson discusses in depth the the composition of several Ba̱k’wa̱s masks using a systematic examination of mask attributes according to 36 variables and the frequency with which they occurred, See Diane Iona Persson, Mask, Myth, and Ritual: An Analysis of Interrelationships on the Northwest Coast, Master's thesis, University of Victoria, 1974. At the Museum of Anthropology at UBC, there is a mask, id. no. A5324, which incorporates leather along the sides. It is likely that Beau Dick was aware of this work and may have drawn inspiration from it. However, in the MOA mask, the leather serves a functional purpose as headgear, designed to allow the mask to be worn during performances.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

AUDLA PEE (1920-2002) KINNGAIT (CAPE DORSET)
Mother Holding Child, early 1960s
stone, 9 x 3.75 x 5.5 in (22.9 x 9.5 x 14 cm)
unsigned.

Provenance
Private Collection, USA;
A Toronto Collection.

This work reminds us of one of Audla's most famous works, a stunning Sedna figure in the TD Bank Collection. [1] Both works exhibit lovely female faces with delicate features and serene expressions, and both possess braids that are impossibly fine and seem to push the stone to its tensile limits.

Audla’s Mother Holding a Child, to our eyes, also recalls a very different tradition: the European Medieval and Renaissance Madonna and Child. As with so many sculpted and painted masterpieces illustrating that subject, this placid seated mother supports a lively young child on her lap in a protective embrace, evoking feelings of intimacy and maternal love. It’s an extraordinarily beautiful and moving work of art.

1. See George Swinton, Sculpture of the Inuit (Toronto: McClelland & Stewart, 1972/92), fig. 107.

References: In the 1955 publication, Eskimo Sculpture, (Department of Northern Affairs and National Resources and the National Gallery of Canada, Ottawa, 1955), no. 65, a Mother & Child by Audla is referenced but not illustrated. For another fine work by the artist see Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic (Toronto: University of Toronto Press, 1971), cat. 310; also illustrated in Darlene Coward Wight, The Jerry Twomey Collection, (Winnipeg: Winnipeg Art Gallery, 2003), p.55, and elsewhere.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ATTRIBUTED TO KIUGAK (KIAWAK) ASHOONA, O.C., R.C.A. (1933-2014) KINNGAIT (CAPE DORSET)
Howling Dog, c. 1960
stone, 7 x 6.5 x 3.75 in (17.8 x 16.5 x 9.5 cm)
unsigned.

Provenance
A British Columbia Private Collection;
An Ottawa Collection.

This carving captures the animal in a moment of primal intensity, its head thrown back in a powerful howl. Compact, muscular limbs convey strength, while soft, rounded features add undeniable charm. The large paws feel powerful, yet plush, while its thick tail curls around its body, appearing soft and full. Crafted from beautiful stone from Kinngait's halcyon days of carving, the work is smoothed and polished to enhance the natural greenish tones, showcasing a striking balance of texture and form. Notably, this work aligns with two fine contemporaneous Howling Dogs by Kiugak’s fellow artists Kananginak Pootoogook and Iyola Kingwatsiak (see Sculpture / Inuit: Masterworks of the Canadian Arctic, cats. 117 and 125).

References: For two fine contemporaneous howling dogs by Kiugak’s fellow artists Kananginak Pootoogook and Iyola Kingwatsiak see Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cats. 117 and 125.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ENNUTSIAK (1893-1976) IQALUIT (FROBISHER BAY)
Mealtime at Summer Camp, c. 1958-60
stone and tusk, 4.25 x 10 x 7 in (10.8 x 25.4 x 17.8 cm)
signed and inscribed with artist’s disc number, "ᐊᐱᓕ / ᐃᓄᓯᐊ / E7 - 603".

Provenance
Private Collection, Montreal.

This domestic scene typifies both the detailed artistic style and the primary preoccupation of the elder artist Ennutsiak. It presents a “snapshot” of traditional life on the land though created at a time of immense social and economic upheaval in the Canadian Arctic. Living at Frobisher Bay (now Iqaluit) and selling many works to American servicemen and people constructing NORAD’s DEW Line at the height of the Cold War in the 1950s, Ennutsiak witnessed first-hand the impact of qallunaat culture on the patterns of Inuit life. In detailed tableaux, however, the artist created intimate scenes to illustrate the “old ways,” perhaps unaware of the service this would provide to future generations. This engaging sculpture shows a family at mealtime outside their summer skin tent. Realistic details abound, from the patterning of the tent and clothing to the addition of tusk for the tent poles and traditional implements.

References: For important works by the artist see these First Arts auction catalogues: 28 May 2019, Lot 40; 14 June 2022, Lot 8; 5 December 2022, Lots 77 and 134. See also Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 83; Bernadette Driscoll, Baffin Island, (Winnipeg: Winnipeg Art Gallery, 1983), cats. 30-33; Bernadette Driscoll, The Inuit Amautik: I Like my Hood to be Full, (Winnipeg: Winnipeg Art Gallery, 1980), cat. 20, p. 62; Winnipeg Art Gallery, The Mulders’ Collection, (Winnipeg: Winnipeg Art Gallery, 1976), cat. 85; Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970, (Gatineau: Canadian Museum of Civilization, 1999), p. 131-133; George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 45, p. 26.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

QATJUAYUK ATCHEALAK (1911-1995) KINNGAIT (CAPE DORSET)
Birds, 1960 #1
Printmaker: LUKTA QIATSUK (1928- 2004) KINNGAIT (CAPE DORSET)
stonecut, 11.75 x 19.25 in (29.8 x 48.9 cm)
1/50

Provenance
Private Collection, Toronto.

Literature / Press:
This print was reproduced in “Arctic Art / Ontario Today,” Standard-Freeholder, (Cornwall, Ont), 1 July 1961, p. 6.

This print was Qatjuayuk Atchealak's only contribution to the Kinngait graphics program, leaving us wishing he had created more! Here, a central baby bird, whose gaze meets ours directly, is flanked by two larger birds, perhaps the chick’s parents. Their triangular arrangement is set against a rich blue background. Printmaker Lukta Qiatsuk uses minimal colour to highlight the stark contrast, emphasizing the clean, graphic beauty of this charming scene. Qatjuayuk was the father of the famous sculptor, Davie Atchealak.

References: Despite limited contributions to the print program, Qatjuayuk Atchealak has several drawings dated to c. 1959-1960 in the National Gallery (access. Nos. 35554, 35553, 35556, and 35557).

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

LUKE ANGUHADLUQ (1895-1982) QAMANI’TUAQ (BAKER LAKE)
Musk-ox Eating Grass, 1973 #16
Printmaker: SIMON TOOKOOME (1934-2010) QAMANI’TUAQ (BAKER LAKE)
stonecut and stencil, 23 x 34 in (58.4 x 86.4 cm), framed, sight
39/50

Provenance
Private Collection, Ontario.

Perhaps Anguhadluq’s greatest invention was his personal brand of mixed perspective, not only in his arrangement of figures but also sometimes in his depiction of a subject. This is perhaps most striking in his portrayal of muskoxen, where he swivels their heads ninety degrees so that we can better appreciate their impressive horns from a bird’s-eye view. In this image, he has done the same to the groundline so that we see the animal grazing. Printmaker Simon Tookoome masterfully translates Anguhadluq’s energetic drawing into the stonecut medium.

References: See Anguhadluq’s original drawing in Bernadette Driscoll, Uumajut: Animal Imagery in Inuit Art, (Winnipeg: Winnipeg Art Gallery, 1985), cat. 12, p. 55. The best introduction to the art and life of Anguhadluq is Cynthia Waye Cook, From the Centre: The Drawings of Luke Anguhadluq, (Toronto: Art Gallery of Ontario, 1993) and Marion E, Jackson, et. al, Qamanittuaq: Where the River Widens, (Guelph, ON: Macdonald Stewart Art Centre, 1995) as well as Marion E. Jackson, Baker Lake Inuit Drawings: A Study in the Evolution of Artistic Self-Consciousness, University of Michigan, PhD Dissertation, 1985; See also First Arts, Paper Pushers: Drawings from Qamani’tuaq, 11 May 2021.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

IRENE AVAALAAQIAQ TIKTAALAAQ (1941-) QAMANI'TUAQ (BAKER LAKE)
Untitled (Shaman and Bird Spirits), c. mid to late 1970s
duffle, felt, embroidery floss, thread, 57 x 57.5 in (144.8 x 146.1 cm)
unsigned.

Provenance
Private Collection, Montreal.

At first glance, this fabulous work on cloth by Irene Avaalaaqiaq is a visual jumble. Hybrid creatures dot and dance over the cloth: a wild medley of figures with both bird and human features. A closer look reveals the carefully mirrored symmetry to the composition, with human-headed birds darting to and fro, as well as bird-headed humans with expressive limbs and mouths. They shout and/or squawk from all corners; the noise must be deafening! The punchy coloured appliqué figures that dance against a dark background have contrasting stitchery, adding to the general feeling of frenzy in the work. Only the mysterious spirit heads at the top corners seem strangely calm, as well as the shaman at top-centre, who seems to be conducting this remarkable, high-energy performance.

References: For a look at the artist’s life and work, see Judith Nasby, Irene Avaalaaqiaq: Myth and Reality, (Montreal and Kingston: McGill-Queen’s University Press, 2002). For further examples of her works, see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), fig. 33; Sheila Butler, “Wall Hangings from Baker Lake'' in Alma Houston ed., Inuit Art: An Anthology, (Winnipeg: Watson and Dwyer Publishing, 1988), p. 96. Also see works by the artists in Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), cats. 10, 11, pp. 44-45. See the section on the artist in Marion Scott Gallery, Two Great Image Makers from Baker Lake, (Vancouver: Marion Scott Gallery, 1999). For an important work see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 111.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

VICTORIA MAMNGUQSUALUK (1930-2016) QAMANI'TUAQ (BAKER LAKE)
Untitled (Scenes of Hunting), early 1970s
stroud, felt, embroidery floss, and cotton thread, 49.5 x 71 in (125.7 x 180.3 cm)
signed, "ᒪᒍᓯᐊᓗ".

Provenance
Private Collection, Ottawa.

This lively work on cloth is one of Mamnguqsualuk’s early masterpieces. Interestingly, its imagery does not involve the hero Qiviuq or any other discernible mythological content. Rather, it is filled with scenes of traditional Inuit hunting in winter and summer seasons. In the upper portion, hunters use bow and arrows, dragging their kill home and even facing off a polar bear with spears – and a very angry bird! Below, they hunt seals through the ice and travel by dog sled (we love the figure exiting an igloo at the left). Mamngusqsualuk carefully balanced the composition; the polar bear is the centre around which the other figures are arranged. The work is packed with action, excitement, and danger; the hunters do not always appear to have the upper hand. The vibrant colours and surface stitching add texture and depth to this superbly designed and crafted example of Baker Lake textile art.

References: For other fine works on cloth by the artist see First Arts Auction, 4 December 2023, Lot 62; and Walker’s Auctions, Nov. 2016, Lot 42. See also Katharine W. Fernstrom and Anita E. Jones, Northern Lights: Inuit Textile Art from the Canadian Arctic, (Baltimore: Baltimore Museum of Art, 1994), cats. 12, 13; Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cats. 110 and 185. For a detailed study of Mamnguqsualuk’s Kiviuq imagery see Charles Moore, Keeveeok, Awake! Mamnguqsualuk and the Rebirth of Legend at Baker Lake, exh. Cat., (Edmonton, AB: University of Alberta, Ring House Gallery, 1986).

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED HAIDA ARTIST
Model Totem Pole, c. 1880s-1890
argillite, 15 x 3 x 3 in (38.4 x 7.9 x 8 cm)
unsigned;
inscribed in graphite, in an unknown hand, "No. 5".

Provenance
Crowther & Brayley, NS, Lot 195, 4 April 2023;
Private Collection, Nova Scotia.

An exceptional example of Haida argillite carving, this hollow back pole incorporates the imagery of a known, historic interior house post in its design. It’s unusual, but not unheard of, for argillite poles to reference monumental poles or house posts. The top half of this pole, which features a raven with two frogs hanging from its beak, a human wearing a conical hat emerging from the raven’s body, and a thunderbird with a transverse killer whale in its grasp is an iteration of an interior house post now in the collection of the Royal British Columbia Museum in Victoria, BC. [1] The bottom half of the pole depicts a bear mother holding her two cubs and a frog. [2] The level of detail is breathtaking, with every piece connecting to or interacting with every other aspect of the pole. The myriad tongues, faces, fingers, and teeth present in every recess of this carving are a pleasure to admire, with the currently unknown Haida master carver cutting no corners in the execution of this sculpture.

1. For an illustration and more info on the interior house post on which this pole is based, see Robin K. Wright’s Skidegate House Models: From Haida Gwaii to the Chicago World’s Fair and Beyond (Seattle: University of Washington Press, 2024), page 94, figure 3.68.

2. For an example of a very similar image to the bear mother figure, cubs, and frog, see ibid., page 121, figure 3.106.

Christopher W. Smith

References: For discussion of, and examples of, contemporaneous Haida argillite model poles see the section on early model poles in Peter L. Macnair and Alan J. Hoover, he Magic Leaves: A History of Haida Argillite Carving (Victoria: Royal British Columbia Museum, 2002), pp. 77-89. See also Leslie Drew and Douglas Wilson, Argillite: Art of the Haida (Vancouver: Hancock House Ltd., 1980), pp. 216-227 and throughout the book.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED TLINGIT ARTIST
Model Hollow Back Totem Pole, c. 1870s or 1880s
red cedar wood, mineral pigments with Chinese vermillion red, 17 x 3.75 x 2.5 in (43.2 x 9.5 x 6.3 cm)

Provenance
With Paul Goldstein, Albuquerque, NM;
Muchnick Milliren Collection, acquired February 1995;
Their sale, Bonham's Native American Art, 6 June 2011;
Acquired from the above by the present Private Collection, Toronto.

The production of Tlingit model totem poles dates as far back as at least the third quarter of the 19th century, with the earliest recorded model pole having a collection date of 1870. [1] This striking pole likely dates to the 1870s or 1880s and features a hollowed back, beveled base, indigenous pigments, Chinese vermilion, and bone black, in an earlier, customary style of Tlingit sculpture from the 19th century. Like other Tlingit objects from this time, the carving is more sophisticated than the painting, which is applied largely irrespective of the sculptural forms. It is carved in red cedar and depicts, from top, a raven laying on its back, a human head, a diving raven, and a humanoid head with segmented protrusions that may identify it as a woodworm or woodworm mother.

1. Robin K. Wright, Skidegate House Models: From Haida Gwaii to the Chicago World's Fair and Beyond (Seattle: University of Washington Press, 2024), p. 6.

Christopher W. Smith

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED HAIDA ARTIST
Argillite Platter, c. 1890
argillite, 17 x 17 x 2.75 in (43.2 x 43.2 x 7 cm)
unsigned.

Provenance
With Sotheby's, New York, 29 November, Lot 185;
Walker's Auctions, Ottawa, c. 1992-95;
By repute: Acquired from the above by the present Private Collection, Ottawa.

This large platter displays a highly idiosyncratic design style that differs from older, more traditional images. The elements themselves are of classic form but lack the connectivity that is so characteristic of most historic period design work. For example, the formline elements above and between the eyes are beautifully formed and composed in a well-integrated design pattern, but they exhibit no formline connection to the eye structures. The eyes have been formed into elaborated ovoids but are not connecting to the mouth/nose structure. The body and limbs of the centre figure appear connected to the mouth and nose, and the feet are overlapped by the pair of elaborated ovoid designs that balance with those of the head.

Steven C. Brown

References: See the chapter on argillite plates and platters in Leslie Drew and Douglas Wilson, Argillite: Art of the Haida (Vancouver: Hancock House, 1980), pp. 200-209. See also the chapter on Haida-style platters and plates in Peter L. Macnair and Alan J. Hoover, The Magic Leaves: A History of Haida Argillite Carving (Victoria: Royal BC Museum, 1984/2002), pp. 94-99.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED NUU-CHAH-NULTH ARTIST
Ceremonial Bird Rattle, c. 1910-1920
probably paper birch wood and pigment, 5.25 x 11 x 6 in (13.3 x 15.2 cm), dimensions reflect work without custom metal display stand.

Provenance
With Curtright and Son, Tacoma WA;
Ex. Coll. Important Private Collection, Vancouver, BC;
Acquired from the above by the present Vancouver Collection, 2003.

This finely carved Nuu-chah-nulth bird rattle with upturned, flexed wings, upturned tail, and slightly open beak is painted in black and orange pigments and carved in a light hardwood, perhaps birch. The shape of the wings and beak may indicate that this rattle represents a tern. As art historian Martha Black has noted, “rattles representing birds are among the most beautiful and sacred of Nuu-chah-nulth carvings. Some are abstract while others are realistic depictions of waterfowl and other kinds of birds.” [1] A charming and diminutive example of Nuu-chah-nulth carving.

1. Martha Black, HuupuKwanum Tupaat: Out of the Mist: Treasures of the Nuu-Chah-Nulth Chiefs, (Victoria: Royal British Columbia Museum, 1999), p. 92.

Christopher W. Smith

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ELLEN NEEL (1916-1966) KWAKWA̱KA̱ʼWAKW
Dzunuḵ̓wa Mask, c. 1958-1965
cedar wood, 10 x 8.25 x 4.5 in (25.4 x 21 x 11.4 cm)
signed, "Ellen Neel".

Provenance
Private Collection, Vancouver, BC.

Unlike other brightly coloured Kwakwa̱ka̱ʼwakw masks, Ellen Neel’s unpainted works highlight the natural wood grain and her meticulous carving, inviting viewers to contemplate both the craftsmanship and the inherent beauty of the cedar wood. Such a choice reflects Neel’s sophisticated understanding of her audience and her embrace of Modernist art aesthetics. Like the Modernist movement's emphasis on pure form, Neel’s unpainted works focus on the sculptural qualities of her carving, showcasing the beauty of material itself.

This approach also resonates with mid-20th century Japanese cryptomeria sculptures, crafted from so-called "Japanese Cedar" and celebrated for their simple, unadorned beauty. These creations became popular in North America after World War II, as returning individuals brought back art they had encountered abroad. Likewise, Neel was undoubtedly exposed to contemporary design trends, including the work of the newly established Witco in neighbouring Seattle, whose wood carvings were central to the mid-century Tiki movement in North America. Neel’s awareness of such trends, combined with her savvy business acumen, enabled her to seamlessly blend her traditional craftsmanship with contemporary tastes, making her work both culturally significant and strategically attuned to the art trends of her time. NB: First Arts acknowledges an error in our printed catalogue, where we mistakenly stated that Ellen Neel resided in Seattle. We apologize for this oversight and appreciate your understanding.

References: For additional information on Neel’s career see Phil Nuytten, The Totem Carvers: Charlie James, Ellen Neel, Mungo Martin, (Vancouver: Panorama Press, Ltd., 1982), pp. 44-74. See also Christopher W. Smith's contributions in Carvings and Commerce: Model Totem Poles 1880-2010, (Saskatoon: Mendel Art Gallery / Seattle: University of Washington Press, 2011), pp. 130-132. Neel is discussed variously in Aldona Jonatis, Art of the Northwest Coast, (Seattle: University of Washington Press, 2006) and in Ronald William Hawker, Yakuglas' legacy : the art and times of Charlie James, (Toronto: University of Toronto Press, 2016). See also Scott Watson’s essay “Art/Craft in Early 20th Century,” eds. Charlotte Townsend-Gault, Jennifer Kramer, and Ḳi-ḳe-in, Native Art of the Northwest Coast: A History of Changing Ideas, (Vancouver: UBC Press, 2013), pp. 348-378. As of this publication, the text is not yet available, but we are confident that Ellen Neel’s works will be prominently featured in Curve! Women Carvers on the Northwest Coast, curated by Curtis Collins and Dana Claxton. The accompanying exhibition will run from November 23, 2024, to May 5, 2025 at the Audain Art Museum in Whistler, BC.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

KAROO ASHEVAK (1940-1974) TALOYOAK (SPENCE BAY)
Bird Protecting its Egg, 1972
whale bone and tusk, 17.75 x 11 x 9.5 in (45.1 x 27.9 x 24.1 cm)
signed "ᑲᔪ".

Provenance
Collection of Robert Noakes, Toronto;
Estate of the above.

Noakes was a renowned Canadian interior designer and owner of RNI Robert Noakes International.

Exhibited:
New York, NY, American Indian Arts Center, Karoo Ashevak: Spirits, s.d. [Winter, Jan-March? 1973], cat. no. 8.

Literature / Press:
Virginia Sheward, "From Whalebone [sic] to Art," Newsday Suffolk Edition, Mellville, NY, p. 4A, while not reproduced in this article, Sheward writes of "...an elaborate spirit-bird hovering over a pair of nests with removable tusk eggs in one...".

Published:
Pamela Harris, Karoo Ashevak: Spirits, (New York: American Indian Arts Centre, 1973), cat. no. 8, as "Spirit".

Lacking ready supplies of driftwood that were more commonly found in other parts of the Canadian Arctic, Netsilik Inuit had always made great use of whale bone and caribou antler. It is no surprise, then, that they happily took to carving the whale bone supplied to them in the late 1960s when sculpture production ramped up in Taloyoak. Karoo Ashevak had a special affinity for the material and loved its varied textures and shapes. Karoo did not merely “follow” the shapes of whale bone, however; he had very clear ideas about the sculptures he wished to create and spent considerable time hunting down suitable pieces for each work. Arguably, this is one of the reasons his works stand out as being especially unique and imaginative. Other reasons include his use of dreams rather than animals or narratives as inspiration, his incredibly high standards of workmanship, his love of mixing materials, and his interest in constructing complex, multi-part sculptures.

Although Karoo’s sculptures are wide-ranging in their appearance for the reasons stated above, his favourite subjects were relatively few: humans (including shaman figures); human-like spirit beings; and birds. He carved relatively few other animals. Birds were seldom far from Karoo’s thoughts: figures of birds and spirit birds; birds at their nests or with eggs; humans and spirits that flew or hovered like birds; shamans with bird helping spirits; and spirits with eggs in their mouths.

Bird Protecting its Egg is a marvelous example from 1972. Chosen as one of fifteen works exhibited in the landmark 1972/3 solo exhibition Karoo Ashevak: Spirits in New York City, it was given the generic title Spirit, as were all the others in the show (Karoo rarely titled his works). Balanced at the edge of its nest, the bird watches over a single enormous egg, screeching a warning at any who might come near. It is carved from a beautifully expressive piece of bone. Karoo has carefully honed the surface of its denser side while leaving the more porous flip side in a more natural state. The grooves of wings and talons balance each other effectively, as do the well-defined negative shapes of beak and between the legs (these also contrast with yet balance the strongly positive shape of the egg). We love how the bird’s tongue pierces the void of the gaping beak, reminding us of sculptures by Henry Moore! Fabulous.

References: Jean Blodgett's landmark retrospective show and catalogue Karoo Ashevak, (Winnipeg: Winnipeg Art Gallery, 1977) illustrates ten sculptures from 1972 (cats. 18-27); several of these, as well as works from other years, depict birds and bird spirits. See also American Indian Arts Center, Karoo Ashevak: Spirits, (New York: American Indian Arts Center, 1973) for many fine examples. For other fine works by Karoo see Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), pp. 118-119; Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), figs. 89-90, pp. 111-112; First Arts Auction, 12 July 2020, Lot 40; First Arts, 30 November 2021, Lot 58, First Arts, 5 December 2022, Lot 81. For another fine depiction of a Karoo Ashevak Bird see Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970, (Hull, QC: Canadian Museum of Civilization, 1999), p. 183.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

MOSES POV (1915-D) INUKJUAK (PORT HARRISON
Standing Woman, c. 1956
stone, tusk, and black inlay, 8.5 x 4.75 x 2.5 in (21.6 x 12.1 x 6.3 cm)
unsigned.

Provenance
Private Collection, Montreal.

Published:
Full-page illustration in Henry Schaefer-Simmern, Eskimo-Plastik aus Kanada, (Kassel, Germany: Friedrich Lometsch Verlag, 1958), unpaginated.

Moses P.O.V. was one of several Inuit who moved from Puvirnituq (Povungnituk) to Inukjuak in the 1950s. They were named “P-O-V” to distinguish them from local people with the same Christian names, and these surnames stuck. Although apparently only an occasional carver, Moses created two very similar and very fine depictions of standing women, both of which have been published. A Standing Woman from c. 1955 was, for many years, in the Robertson Collection in Ottawa. [1] Remarkably, ours was published in a little-known German book on Inuit sculpture published in 1958! We suggest that our Standing Woman was carved perhaps a year later than the Robertson piece, as it is rather more accomplished, with lovely proportions and greater finesse in the details. Beautifully carved and finished in the luscious marbled green stone that is highly prized among collectors of early Inukjuak sculpture, Standing Woman has a quite commanding presence. After such a promising start, it is a pity that Moses P.O.V. did not pursue his art career more seriously.

1. Jean Blodgett, Selections from The John and Mary Robertson Collection of Inuit Sculpture, (Kingston: Agnes Etherington Art Centre, 1986), cat. 35, p. 56.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ELISAPIE TAQAQ SAVIAKJUK (1914-D) SALLUIT (SUGLUK)
Woman Combing Child's Hair, c. 1955-57
stone, 7.75 x 8 x 5.5 in (19.7 x 20.3 x 14 cm)
inscribed with artist's disc number and signed, "E-9-1139 / ᐃᓕᓴᐱ".

Provenance
A Montreal Collection.

In his 1954 promotional publication, Canadian Eskimo Art, James Houston devoted a section to what he called “the women’s art,” stating that “few women have interested themselves in carving”, preferring instead to work with needle and thread. [1] While this might have been true in most Inuit communities, an obvious exception to the rule was Salluit, where fully half of the sculptors in the village were women. By the mid 1950s they were creating some of the finest stone works ever produced in the Arctic. This magnificent and sensitively rendered depiction of a seated mother lovingly combing her child’s hair is a classic example of Salluit sculpture at its apex.

1. James Houston, Canadian Eskimo Art, (Ottawa: Dept. of Northern Affairs and National Resources, 1954), p. 22.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ELI WEETALUKTUK (1910-1958) INUKJUAK (PORT HARRISON)
Snarling Bear, c. 1956-57
stone and tusk, 7.5 x 8.5 x 4.5 in (19.1 x 21.6 x 11.4 cm)
inscribed with disc number and signed, "E.9. 1758 / ᐃᓚᐃ".

Provenance
Private Collection, Montreal.

Eli Weetaluktuk was the younger brother of Sarollie (Syollie) Weetaluktuk (see Lot 140), camp leader at Kangirqsukallaq, forty kilometres from Inukjuak, where they would later settle. The brothers had a Peterhead boat which allowed them to hunt larger sea mammals. Accordingly, many of their great early works were carved from walrus tusk. This magnificent Snarling Bear uses tusk sparingly but to great advantage, and is equal parts fearsome and endearing. We think this sculpture is every bit as good as the fine bears by Eli’s contemporary Elijassiapik (see First Arts, 13 July 2021, Lot 95). Marvelous!

References: See the section devoted to the brothers Eli and Syollie (Sarollie) Weetaluktuk in Darlene Coward Wight, Early Masters: Inuit Sculpture 1949-1955, (Winnipeg: Winnipeg Art Gallery, 2006), pp. 62-69.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

CHARLES PETER (CHUCK) HEIT (YA’YA) (1951-2021) GITXSAN; With possible assistance from REG DAVIDSON (SKIL KAAT'LASS) (1954-) HAIDA, MASSET, and RODNEY HARRIS (1961-), KISPIOX, BC, GITXSAN or RICHARD HARRIS, GITXSAN
Beaver Totem Pole, 1983
cedar wood and acrylic paint, 85 x 27.25 x 19.5 in (215.9 x 69.2 x 49.5 cm)
signed with initials, "RH"; signed with initials, "RD";
dated and signed with Heit's stylized signature "/83 / YA YA".

Provenance
Acquired by the Present Private Collection from the artist on the occasion of the Canoe Festival in Ottawa, in 1983.

Literature / Press:
In a 29 June 1983 article in The Ottawa Citizen, Nancy Beale writes on what we are confident is the present work:
...Charlie Heit, a carver of the Gitsan tribe who is demonstrating the art of totem carving [...] The large block of red cedar which Heit is carving into a house pole draws a crowd. Heit uses an elbow adze which he made from steel from a truck,grinding, filing and binding it with fishing twine to a wooden handle. He works rhythmically, letting the adze bite into the surface of the wood while shavings of the aromatic cedar fall on the ground as he incises the beaver shapes outlined in red and black crayon. He will explain to anyone who asks that in the old days when a man hired a carver to make his totem, the carver and his family were kept in food for the duration of the work. (p. 64)

In June of 1983 Chuck Heit (Ya’Ya) was invited by the National Indian Arts and Crafts Corporation to carve a cedar pole on Victoria Island in the Ottawa River, as part of Ottawa’s Canoe Festival. The artist and his work often drew crowds, and he was not able to finish it on site. With the help of two assistants, Ya’Ya completed the work at the home of a collector who had committed to its purchase while it was still in progress. The result is this classic Haida totem featuring Beaver with large incisors and a patterned tail folded into the front of the design. The Beaver appears in many Northwest Coast stories as a creature of great wealth who is often also a victim of frequent thefts by Raven. Beaver finds and hoards many undiscovered wonders including a private lake of Salmon. Raven successfully steals the Salmon but drops them into the lakes, rivers and ocean all over the Northwest Coast during his escape.

This seven-foot totem has a presence that is undeniable and immersive. The rich graining of the cedar log is immediately striking; while the composition exhibits impressive, balanced proportions and clarity of form, with smooth transitions between the carved areas and the strong, clean lines of judiciously applied paint. The human face tucked between Beaver’s legs was carved by one of Ya’Ya’s assistants. [1]

Ya’Ya grew up immersed in the creative energy of the Gitanmaax (K’san) School in Hazelton, including the early years when many of the master or future master artists were travelling to the school for both instruction and the growing movement of the renaissance of Northwest Coast art. His family was instrumental in the founding of the school and his uncle, Walter Harris became an early mentor in his career. Ya’Ya assisted Harris, Earl Muldoe, and Ken Mowatt on pole commissions, and apprenticed with Robert Davidson for two years. [2] Dedicated to the art and culture of the Gitxsan nation, Chuck remained in Hazelton for his entire life, eventually teaching at the school himself. Ya’Ya created many traditional works, but several pieces were carved in the spirit of political or social commentary. [3]

1. The collector’s recollection is that Reg Davidson helped Ya’Ya finish the pole (hence “RD”), and that he carved the human face; however, Davidson cannot recall the project. It is believed that “RH” was one of Ya’Ya’s cousins, Rodney or Richard Harris.

2. Ya’Ya assisted Robert Davidson on his monumental commission, the triple Three Watchmen poles at College Park in Toronto in 1984 and returned to Ottawa in 1985 to assist his uncle Walter Harris in the creation of a forty-foot cedar pole, also on Victoria Island (“Asinabka”).

3. Two of three works in Gary Wyatt’s book Mythic Beings, (Vancouver: Douglas & McIntyre, 1999) have political content; see pp. 90-91 and 94-95. See also Allan J. Ryan, The Trickster Shift: Humour and Irony in Contemporary Native Art, (Vancouver: UBC Press, 1999), pp. 235, 250.

Gary Wyatt with First Arts

References: For examples of Chuck Heit’s work see Gary Wyatt, Mythic Beings, (Vancouver: Douglas & McIntyre, 1999); Allan J. Ryan, The Trickster Shift: Humour and Irony in Contemporary Native Art, (Vancouver: UBC Press, 1999); Stephen C. Brown, Native Visions: Evolution in Northwest Coast Art from the Eighteenth through the Twentieth Century, (Seattle Art Museum, 1998); Ian Thom, Challenging Traditions: Contemporary First Nations Art of the Northwest Coast, (Vancouver: Douglas & McIntyre, 2009); Gary Wyatt,Seekers and Travellers: Contemporary Art of the Pacific Northwest Coast, (Vancouver: Douglas & McIntyre, 2012); Ralph T. Coe, Lost and Found Traditions: Native American Art 1965-1985, (New York: American Federation of Arts / Vancouver: Douglas & McIntyre, 1986).

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

WILLIAM JAMES UKAS (YEEKA.AAS) (1834- c. 1902), TLINGIT
Raven Totem (Kiks.ádi) Model Pole, c. 1890-1900
white cherry wood, 34.25 x 2.25 x 2.25 in (87 x 5.7 x 5.7 cm)
inscribed in graphite in an unknown hand, [J.C. Eggleston ?], "Haida Indians [sic] / Wrangel [sic] Alaska";
further inscribed in graphite in an unknown hand [E.E. Beasley?], "White Cherry [underlined] / Totem / pole / my father, J.C. Eggleston brought this back on one of his three trips to Alaska";
inscribed in black ink by John S. Beasley II, in 2004, "Josiah Carr Eggleston / of Franklin, Tennessee / Father of my mother, Elsie Eggleston Beasley / brought this back from one of his / three trips to Alaska in the late 1890's - very / early 1900's / John S. BEASLEY II, 2004".

Provenance
Acquired by Mr Josiah "Joe" Carr Eggleston, Franklin, TN;
by descent in the family to his daughter, Elsie Eggleston Beasley;
by descent to her son, Mr John S. Beasley II;
Case Antiques, Knoxville, TN, Lot 475, 6 July 2024;
Acquired from the above by the present Private Collection, Toronto.

William Ukas was a Wrangell, Alaska, based Tlingit master carver who created some of the most iconic monumental totem poles in Southeastern Alaska, including the Chief Shakes Raven Pole and the Kiks.ádi Pole, among others. [1] Both of these monumental poles have been copied by hundreds of artists up and down the Northwest Coast for over a century. This masterfully carved model Kiks.ádi Totem by Ukas is unique for being by the maker of the full-sized pole and for displaying a sophisticated proportional scaling that is rarely seen in historic models. While Ukas primarily made objects for community usage, he also made jewelry and some model houses and poles for sale. [2] As mentioned earlier, he was especially skilled at scaling to make his smaller items look like his monumental work [3], a process that many, if not most, Northwest Coast model totem carvers struggled with in this time period.

Carved in a clear hardwood, this pole features, from top: mountain, frog, raven, nestling raven, beaver, and frog emerging from beaver. The little details that set this model apart from others is the masterful execution of the relief bird design in the mountaintop and the elegant faces of the human, beaver, frogs, and ravens. This model was collected by Judge Josiah Carr Eggleston (1855-1928) on one of three visits he made to Wrangell, Alaska, sometime in the late 19th century. It appears that he and his descendants documented this history on the pole’s verso (mistake about it being Haida notwithstanding), which has passed through the same family unbroken until the present owner purchased it at auction.

1. See Steve Brown, “In the Shadow of the Wrangell Master: Photo Documentation of the Work of Two Nineteenth Century Tlingit Artists,” American Indian Art Magazine, 19, no. 4 (1994): 75-85, 104.

2. See Zachary R. Jones’ 2018 dissertation Haa Léelk'w Hás Ji.Eetí, our Grandparents' Art: A Study of Master Tlingit Artists, 1750-1989, for more details about Ukas and his work. Please especially note Figure 129 (p. 141) for a photo of Ukas in his shop with a speaker staff and models that are very similar to this pole.

3. See the Chief Kadashan model pole (23/5607) in the collection of the Smithsonian National Museum of the American Indian for a comparable pole that also reflects Ukas’ ability to scale works. Although this pole is currently unattributed to Ukas in their records, it is most certainly carved by him. Please compare the speaker’s staff from the photo in Note 2 above with the photos of this model Kiks.ádi Pole and the model Kadashan Pole in NMAI. There is a strong affinity between the three, particularly in the human faces, raven’s wings, and pedestal-like bases.

Christopher W. Smith

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

RUDOLPH WALTON (1867-1951) TLINGIT, SITKA, ALASKA
Model Seal Form Grease Bowl, c. 1910-1920
wood, stain, bone, abalone, and glass trade beads, 4 x 16.75 x 7.5 in (10.2 x 42.5 x 19.1 cm)

Provenance
A Vancouver Collection.

Rudolph Walton, a member of the Tlingit Kiks.adi Clan (Raven/Frog), was a highly regarded silversmith and carver of wood and tusk in the late 19th and early 20th centuries. He was perhaps the earliest Northwest Coast Indigenous artist to establish and sell his own artwork from his own store, which he established in his home community of Sitka, Alaska. Walton was closely associated with the Sitka Training School, a Presbyterian institution founded and run by the missionary Sheldon Jackson (1834-1909). This seal is a bit unusual in that Walton most often depicted sea lions in his feast dish carvings, distinguished by their deeper bowls and somewhat blockier appearance. The shallower configuration of this piece lends it a more gracile and elegant appearance which is quite pleasing from a formal perspective. Beyond its slender shape, this bowl is a diagnostic example of Walton’s work and features his highly refined carving and careful inlays of glass, abalone, and bone.

Christopher W. Smith

References: For various related examples, attributed to Rudolph Walton and/or his partner Augustus Bean, see Robert Bruce Inverarity, Art of the Northwest Coast Indians, (Berkeley: University of California Press, 1950), fig. 199, as “Tribe: Unknown”; Erna Gunther, A Catalogue of the Ethnological Collections in the Sheldon Jackson Museum, (Sitka, Alaska: Sheldon Jackson Museum, 1976), cats. I.A.272, I.A.269, and I.A.271, I.A.295, p. 38-41; First Arts, 10 June 2024, Lot 56; First Arts, 14 June 2022, Lot 23. For a traditional Haida or Tlingit seal form bowl c. 1750, see Stephen C. Brown, Native Visions: Evolution in Northwest Coast Art from the Eighteenth through the Twentieth Century, (Seattle Art Museum, 1998), p. 27. For a similar example of a Walton and Bean seal form bowl see Walker’s Auctions, Nov. 2015, Lot 97.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

YOUNG DOCTOR (c. 1851-1934) MAKAH
Eagle Bowl, c. 1915
alder wood and pigment, 4.25 x 14.25 x 6.5 in (10.8 x 36.2 x 16.5 cm)


Provenance
Private Collection, Vancouver, BC.

Crafted by the masterful Makah carver Young Doctor, this decorative bowl embodies the same precision and artistry that made him legendary for his canoe-building skills. As noted by anthropologist James G. McCurdy in his unfinished manuscript Indian Days at Neah Bay (Gordon Newell, ed., 1961), “Canoe making [...] was the finest of Young Doctor’s skills” (p. 55). The unmistakable connection to his celebrated canoes is clear in this bowl’s form: its elegant, symmetrical design with stylized eagle heads at each end recalls “the true secret of the beauty of Young Doctor’s finished canoes [that is] the curved and ornately carved projections at the bow and stern…” (p. 57). The pill-shaped, vertically compressed ovoids—signature elements of the artist’s two dimensional works, particularly seen in the commissioned panel at the National Museum of Natural History (ID # E328606-0)—along with the abstracted forms representing the eagle’s plumage around the neck, heighten the visual impact of this work.

1. See Gordon Newell, ed., Indian Days at Neah Bay: from an Unfinished Manuscript by the late James G. McCurdy, (Seattle: Superior Publishing Company, 1961), p. 57.

References: See Gordon Newell, ed., Indian Days at Neah Bay: from an Unfinished Manuscript by the late James G. McCurdy, (Seattle, WA: Superior Publishing Company, 1961 for additional information on the artist’s canoe and art making practices. See the unpaginated front matter for an image of the artist creating a canoe. Through his connection with the Ye Olde Curiosity Shop in Seattle, Washington, Young Doctor's works were distributed worldwide and are now held in some of the most prestigious public collections. For works with similarly stylized works by the artist, see a presently unidentified “dish” in Southwest Museum of the American Indian Collection, Autry Museum of the American West, Los Angeles, CA, Object ID 491.G.1454 and “Painting on Wood” in National Museum of Natural History, Washington, DC, id. no., E328606-0.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JOHN TIKTAK, R.C.A. (1916-1981) KANGIQLINIQ (RANKIN INLET)
Cluster of Heads, c. 1970
stone, 9.25 x 11 x 6 in (23.5 x 27.9 x 15.2 cm)
signed, "ᑎᑕ".

Provenance
Acquired by the present Private Collection, Winnipeg, MB from Kissarvik Co-op in Kangiqliniq (Rankin Inlet), Fall 1971.

The anthropologist Robert Williamson, who lived in Rankin Inlet from 1960 to 1973, was Tiktak’s first supporter and champion. He described Tiktak and his art as having “a quiet and austere power” that could “…evoke intensity of feeling, simple insight and a stark and sad humanity that strikes upon the heart.” [1] Tiktak’s sculptures focus entirely on the human form: single standing figures; standing mothers and children; single heads and faces; and head and face clusters. Free of any Inuit cultural markers, clothing, and even extraneous anatomical details, the works are, effectively, universal statements on the human condition. George Swinton put it another way when he wrote, “…his communication is such that he requires the most elemental statements in content and form: he communicates elemental matter through primal form.” [2] This explains why, when we encounter Tiktak’s art, we experience not just an aesthetic and intellectual reaction but also a deep emotional and even visceral one.

Even in Tiktak’s figures, heads and faces dominate and define the images. Here, they almost overwhelm us with their power and mystery and emotional intensity. Cluster of Heads is one of the most profoundly moving examples we have seen. This work has the same potency and sculptural “presence” that some of the greatest examples by Tiktak share: Heads Emerging from Stone from 1967; Faces from 1971; Faces from 1973; Composition with Many Faces from 1974. [3] Each face has a singular demeanour; each has its own story to tell. Magnificent.

1. Robert G. Williamson, "An Arctic Gathering" in Norman Zepp, The Williamson Collection, (Regina: Norman Mackenzie Art Gallery, 1987) p. 7.

2. George Swinton, “Artists from the Keewatin” in Canadian Art, (No. 101, April 1966:32-34), p. 34.

3. See Sculpture/Inuit, (1971), cat. 404; McMaster ed., Inuit Modern, (2010), p. 127; Hessel, Inuit Art (1998), p. 98; and First Arts, 12 July 2020, Lot 18, respectively.

References: For important examples of this theme see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 76, p. 98. Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 127. See also Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), cat. 147, pp. 223-224. See also Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cat. 404; also illustrated in Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970, (Hull, QC: Canadian Museum of Civilization, 1999), pp. 174-175.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

HENRY EVALUARDJUK (1923-2007) IQALUIT (FROBISHER BAY)
Bear at the Floe Edge, 1988
stone, 9.5 x 24.25 x 7.25 in (24.1 x 61.6 x 18.4 cm)
signed, "HENRY / ᐃᕙᓗ ᐊᔪ".

Provenance
Private Collection, Virgina, USA.

Originally from Igloolik, Henry Evaluardjuk began carving there and actively carved while living on northern Baffin Island throughout the 1950s. Diagnosed with tuberculosis, he was hospitalized at a sanitorium in Hamilton where he continued to carve throughout his rehabilitation. Upon his release he settled in Frobisher Bay (now Iqaluit) where he was hired to supervise the rehab arts program.

In the pantheon of polar bear sculptors there are but two great masters: Pauta Saila (see Lots 38 & 80) and Evaluardjuk. While Evaluardjuk produced a wide variety of subjects in his lengthy career (see Lot 82), his polar bears were so extraordinary that he literally dominated the “bear market” throughout the 1970s and 1980s. Owning a “Henry bear” is still an almost mandatory requirement for many collectors of Inuit art! Like Pauta, Henry eschewed the formulaic, investing each bear with its own personality. Bear at the Floe Edge, an exceptionally large and truly impressive example, depicts a polar bear probably entering a crouching position – making itself smaller to avoid detection as it stalks potential prey, or in preparation to launch itself from the floe edge. Evaluardjuk is justly famous for his ability to depict sleek bears in all manner of naturalistic walking and stalking poses.

References: For fine examples of “Henry bears” in various poses see First Arts, 28 May 2019, Lot 22; 12 July 2020; Lot 111; 30 November 2021, Lot 92; 5 December 2022, Lot 136; 4 December 2023, Lot 117.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ABRAHAM ANGHIK RUBEN, O.C. (1951-) PAULATUK / SALT SPRING ISLAND, B.C
Mothers and Children, with Animal Spirits, c. 2000
stone, 19.5 x 15.75 x 8 in (49.5 x 40 x 20.3 cm)
unsigned.

Provenance
Probably Images Art Gallery, Toronto;
Private Collection, Toronto.

The Inuvialuit artist Abraham Anghik Ruben is celebrated for his imaginative compositions which incorporate Inuit traditional beliefs. This impressive sculpture by him is certainly a tour de force. At first, we see two mothers, arms around their children, and themselves embraced by an even larger figure (perhaps the grandmother); she is herself flanked by sinuous animal forms. Moving around the sculpture, we see further, intertwining children and animal shapes. The frontal view is a virtually symmetrical, balanced composition, yet tempered by its almost floral shape and grace. In contrast, the rear view is one of wild abandon: a dynamic scene of twisting, interwoven forms that partly wrap around the front. We come to realize that, taken together, the two parts illustrate widening circles of nurturing and protection – at first within the generations that make up human families, and enveloped in the protective embrace of Nature, represented by the swirling animal spirits. The artist masterfully varies the surface of the stone, playing the simpler, clothed human forms against sensuous animal bodies; soft, rounded contours against more sharply defined details; and highlights against deep shadows. Stunning.

References: For studies of this important artist’s work see Darlene Wight, Out of Tradition: Abraham Anghik / David Ruben Piqtoukun (Winnipeg Art Gallery, 1989); Darlene Coward Wight, Abraham Anghik Ruben (Winnipeg Art Gallery, 2001); and Rocco Pannese and Cosimo Stifani, Abraham Anghik Ruben (Vaughan, ON: Kipling Gallery, 2016). For works illustrated elsewhere see Ingo Hessel, Inuit Art: An Introduction (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 108, p. 131; Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection (Toronto: Art Gallery of Ontario, 2010), pp. 206-207.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JOHN PANGNARK (1920-1980) ARVIAT (ESKIMO POINT)
Figure with Outstretched Arms, c. 1968-69
stone, 4 x 5.5 x 3 in (10.2 x 14 x 7.6 cm)
signed, "ᐸᓂᔭ".

Provenance
Collection of John de Visser, Toronto (de Visser was a renowned Canadian photographer and photojournalist);
His sale, Feheley Fine Arts, Toronto;
Acquired from the above Norman Zepp & Judith Varga, Saskatoon, SK, 2006.

Exhibited:
Toronto, Feheley Fine Arts, de Visser’s Vision: Sculpture from the John de Visser Collection, April 8 - May 5, 2006, cat. 18, p. 16.

Published:
Ken Mantel et al., Tuvaq: Inuit Art and the Modern World, (Bristol, UK: Sansom and Company Ltd., 2010), fig. 107, p. 117.

After about 1970 Pangnark’s sculptural style veered quite strongly towards abstraction and minimalism, to the point that many works are barely discernible as human figures. But Pangnark’s works from the late 1960s are notable not only for their unmistakable figural content (despite their abstraction) but often also for their obvious gestural poses. Figure with Outstretched Arms is one of the masterpieces of this period and type. “Dancing Man” would be an apt alternate title; the figure’s facial expression is clearly ecstatic despite its minimally carved features, and it is easy to imagine him swaying to music as he spreads his arms wide in joy. Bearing only the subtlest of tool marks, the sculpture is polished to a lovely sheen that catches the light, enhancing the feeling of lively movement and grace.

References: For a similarly styled figure with one arm outstretched, dated 1969, see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 615, p. 210. For other similarly styled works, dated 1968-69, see Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), cats. 20-22, pp. 76-78; and Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cats. 394-396. See numerous examples of the artist’s work in Bernadette Driscoll, Eskimo Point/Arviat, (Winnipeg Art Gallery, 1982:13-19), cats. 59-72, pp. 84-93. Several late 1960s works are illustrated in Oonark / Pangnark, travelling exhibition catalogue, (Ottawa: National Museum of Man / Canadian Arctic Producers, 1970), unpaginated.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

LUCY TASSEOR TUTSWEETOK (1934-2012) ARVIAT (ESKIMO POINT)
Embracing Figures, c. 1970
stone, 2.5 x 2.5 x 1.25 in (6.3 x 6.3 x 3.2 cm)
unsigned.

Provenance
Private Collection, Montreal.

After all these years we are still astonished at how some of Lucy Tasseor’s smallest works manage to look and feel so monumental. At a mere 2.5 inches in height, Embracing Figures possesses the commanding presence of sculptures by Tasseor many times its size and weight. This depiction of a couple, or possibly a mother and child, is charged with tremendous energy and almost heroic emotional intensity. Deftly carved in the artist’s early but already mature abstract style from a fragment of stone that weighs almost nothing in the palm of your hand, this stunning miniature exemplifies the epitome of the Arviat sculptural aesthetic.

References: For similarly styled, small-scale sculptures by Tasseor, see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), figs. 607 and 609, p. 209. See also Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cats. 236, 286.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ANDY MIKI (1918-1983) ARVIAT/TIKIRAQJUAQ (ESKIMO POINT/WHALE COVE)
Animal Plaque, c. 1969
antler and twine, 5.5 x 11.25 x 0.75 in (14 x 28.6 x 1.9 cm), dimensions reflect measurements of only the figure
unsigned.

Provenance
Feheley Fine Arts, Toronto;
Acquired from the above Norman Zepp & Judith Varga, Saskatoon, SK.

The great Arviat minimalist sculptor Andy Miki almost always carved in stone. His occasional antler figures are mostly quite rudimentary, made from cylindrical sections of the material. Exceptional, however, is a small handful of animal “plaques” that Miki fashioned from larger, flat pieces of caribou antler known as brow tines. Of the three examples we know of, Wolf Plaque from the Winnipeg Art Gallery collection is as large as our example and equally fine. (It, and a similar Animal Plaque in stone, are illustrated in Norman Zepp’s Pure Vision catalogue, cats. 10 and 11.) The third antler work, sold at Walker’s Auctions in Nov. 2017 (Lot 38), is a smaller, charming work. We suspect that it, and our superb specimen, depict foxes rather than wolves – but that, as with the identification of so many Miki animal figures, is open to debate! Remarkably, all these plaques are carved as “pendants”; whether they were made to hang on a wall or float freely like mobiles is also open to discussion. Notably, none of the four plaques is carved with the characteristic eyes we associate with Miki’s work (which makes us wonder about a possible spiritual interpretation). They really do seem to constitute a separate class of artistic object. Fantastic.

References: For a very similar antler wolf by Miki, as well as a similar stone plaque, see Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), cats. 10, 11, p. 68. For another illustration of the stone plaque see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 903, p. 270.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

EVA TALOOKI ALIKTILUK (1927-1995) ARVIAT (ESKIMO POINT)
Mother and Child in a Beaded Amautiq, late 1980s
stone, glass beads, cotton thread, and felt, 4 x 4 x 2.25 in (10.2 x 10.2 x 5.7 cm)
signed, "ᑕᓗᑭ".

Provenance
Guild Shop, Toronto, 1990, accompanied by their igloo tag, as issued:
Acquired from the above by the present Private Collection, Toronto

Early this summer First Arts had the pleasure of hosting an exhibition devoted to the work of Eva Talooki. Always a personal favourite of ours, we are pleased that she is now garnering the respect and attention she so richly deserves. This first of two Talooki offerings (see also Lot 157) is a classic of the genre, a highly ornamented depiction of a mother carrying a child in her capacious amautiq pouch. We love the richly variegated beadwork on this piece, with different patterns distinguishing the two figures.

References: For monumental works by Talooki see First Arts, 5 December 2022, Lot 42; and in the Swinton Collection at the WAG, see Susan Gustavison, Northern Rock: Contemporary Inuit Stone Sculpture, (Kleinburg: McMichael Canadian Art Collection, 1999), cat. 32; also illustrated in Darlene Coward Wight, Creation and Transformation: Defining Moments in Inuit Art, (Winnipeg: Winnipeg Art Gallery, 2012), cat. 81. For other fine works by the artist see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cats. 151, 152. See the article by Dorothy Harley Eber, “Eva Talooki: Her Tribute to Seed Beads, Long-time Jewels of the Arctic” in Inuit Art Quarterly, (Vol. 19, No. 1, Spring 2004), pp. 12-17.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JUDAS ULLULAQ (1937-1999), UQSUQTUUQ (GJOA HAVEN)
Muskox Shaman, 1988
muskox horns and skull, stone, string, and black inlay, 17.5 x 24.5 9.5 in (44.5 x 62.2 cm)
signed, "ᐅᓗᓚ".

Provenance
Images Art Gallery, Toronto, ON;
Acquired from the above by the present Private Collection, Toronto.

Published:
Harold Seidelman & James Turner, The Inuit Imagination: Arctic Myth and Sculpture, (Vancouver: Douglas & McIntyre Ltd., 1993), fig. 24, p. 59.

Judas Ullulaq famously carved in both stone and whale bone to produce sculptures with a variety of themes and subjects. Muskoxen were favourite subjects: as single figures, in hunting scenes (see Lot 123), and in shamanic imagery. Muskox horn was also one of his favoured materials; Ullulaq used it as inlay or to fashion weapons and implements, but he also incorporated single horns or even full sets of two in large-scale compositions. [1] In a handful of works the artist invented a particularly daring compositional format in which he made use of a full set of horns still attached to part of the animal’s skull. A fine example of this is the marvelous Muskox Shaman with Spirit Helper from c. 1988-90, sold at auction by First Arts (13 July 2021, Lot 24).

In the present Muskox Shaman, Ullulaq takes his inventiveness to a new level by manipulating a set of old horns and skull (which he would have found on the land). By reorienting the position of the skull itself and re-attaching the horns, he has managed to free up a flat section on which to create the mesmerizing, skull-like face of a tattooed shaman. Ullulaq has meticulously carved ridged rings into the horns, transforming them into braids. These, together with the facial tattoos, identify this formidable shaman as a woman.

Ullulaq’s love of texture and contrast is well-known and is on full display here. We love the way that both the colour and texture of the carved horn ridges contrast with the natural striations at the base of the horns (the “boss” – which itself looks like hair). The face brings a further change in colour and texture. The stone base (which looks dress-like) turns the sculpture almost into a full female figure. And finally, the back of the head – intentionally, we are certain – presents another, seriously spooky face.

Muskox Shaman is one of Ullulaq’s most brilliant inventions – one that manages to be incredibly eerie and genuinely lovely at the same time. It’s a powerful, stirring work of art. Astounding.
br<>1. See the section on Judas Ullulaq in Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg Art Gallery, 2000), pp. 152-171 – in particular, cats. 148, 154, 157.

References: For a closely related work by Ullulaq see First Arts, 13 July 2021, Lot 24. For a wider idea of how muskoxen appear in Ullulaq’s art see First Arts, 12 July 2020, Lot 1; 5 December 2022, Lots 59 and 155; and First Arts, 4 December 2023, Lot 59; see also Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cats. 84, 85. For a discussion of Ullulaq’s life and work, and illustrations of twenty sculptures see Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg: Winnipeg Art Gallery, 2000) pp. 152-171.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

BEAU DICK (1955-2017) KWAKWA̱KA̱ʼWAKW
Old Woman Mask, 1980
wood, hair, ribbon, and pigment, 9.5 x 7.5 x 4.5 in (24.1 x 19.1 x 11.4 cm), measurements reflect height without hair, with: 31.5 in (80 cm)
signed and dated, "Beau / Beau Dick 80".

Provenance
Lattimer Gallery, Vancouver;
Acquired from the above by the present Private Collection, Ottawa, 1988.

Benjamin “Beau” Dick is one of Canada’s most important artists of the last century. A Kwakwaka’wakw carver, culture bearer, activist, dancer, and musician, Beau seamlessly blended these aspects of his life into an artistic practice that welcomed in, but also challenged, the Canadian public. Throughout his life, Beau mastered several regional styles of Northwest Coast art as well as different styles from across time. Many of his pieces, particularly his later masks, were grand monuments that played with scale and brought to life the supernatural beings of the Kwakwaka’wakw universe. This is an earlier mask by Dick that depicts an elderly woman with long white hair, her face totally covered with wrinkles that underscore her age and wisdom. Like most of Dick’s masks, though, there is a flourish of humour in the expression of this kind-looking woman’s face, with her open mouth, protruding tongue, and missing tooth. Masks depicting the elderly, such as this one, were a popular exercise for both advanced and beginner carvers in the 1970s and 1980s to develop their skills in realism and portraiture.

Christopher W. Smith

References: For a compositionally similar work, see Komunokas (Rich Woman), 1992 in LaTiesha Fazakas, et. al., Beau Dick:Devoured by Consumerism (Vancouver: Figure 1 Publishing, 2019), p. 49. For another study of the artist see Darrin J. Martens, Beau Dick: Revolutionary Spirit (Vancouver: Figure 1 Publishing / Whistler: Audain Art Museum, 2018).

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

Attributed to RON RUSS (1953-), MASSET, BC, HAIDA GWAII
Model Bear Frontlet, early 1980s
argillite, 6.5 x 6.5 x 1.5 in (16.5 x 16.5 x 3.8 cm)
unsigned.

Provenance
Acquired directly from the artist by a Private Collection, Canada;
Acquired from the above by the present Vancouver Collection.

Attributed to Haida artist Ron Russ, this boldly carved frontlet in the form of a medallion likely depicts the Bear Mother legend, a recurring theme in his work. One of the bear children is nestled between the mother’s ears. Russ, known for his detailed wood and argillite carvings, has created several detailed model poles for the Prince Rupert Museum. He has carved argillite throughout his career, rendering traditional subjects such as poles and platters, and argillite medallions set with inlays with carved bezels of Yew wood.

Gary Wyatt

Created when the artist was likely in his late 20s, this piece stands out for its striking symmetry and bold presence. The contours of the face are sharply defined by precise, fluid lines, showcasing the artist’s control and skill. The deep relief carving creates dynamic shadows that bring the piece to life, making it visually captivating from every angle.

References: For an argillite work by Ron Russ see Gary Wyatt, Mythic Beings, (Vancouver: Douglas & McIntyre, 1999), p. 89. His work is included in the collections of the UBC Museum of Anthropology and the Prince Rupert Museum.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

RON RUSS (1953-), MASSET, HAIDA GWAII
Double Sided Dish, early 1980s
argillite, bone, and pāua shell, 7 x 7 x 0.75 in (17.8 x 17.8 x 1.9 cm), measurements reflect dimensions without custom metal display stand.
unsigned.

Provenance
Acquired directly from the artist by a Private Collection, Canada;
Acquired from the above by the present Vancouver Collection.

This finely crafted Double-Sided Dish reimagines two historic platters featured on pages 102 and 103 in Argillite: Art of the Haida (1980) – one of the first major texts on argillite after Marius Barbeau’s – co-authored by Leslie Drew and Haida carver Douglas Wilson. The side-by-side illustration of these historic platters in such a renowned publication highlights the direct influence of older works on the training and development of younger artists. This dish serves as a tangible link, showing how emerging artists studied and built upon these masterpieces to refine their skills and carry forward established traditions.

On the inside of the dish, Russ draws inspiration from Edenshaw’s Decorative Plate (Canadian Museum of History, VII-B-824). Russ omits the inlaid mollusk shell used around the rim in Edenshaw’s design, instead transferring the optically striking material — bone with inlaid pāua shell in his work —to enhance the raven’s wings, whale’s fins, and both creatures' eyes. Interestingly, Russ utilizes a European style to the Thunderbird’s claws, a feature commonly seen in historic platters but notably absent from the referenced Edenshaw plate.

The convex face of the dish reimagines another plate (CMH, VII-B-826) [1]. Russ has compacted the design to fit the circular form more than was necessary in his translation of the Edenshaw design, adapting the composition to suit the new shape while maintaining its intricate details. Like the verso, this side integrates bone and shell to generate visual contrast. Russ’s most striking change from the historic design is the addition of a central face, which creates a bold focal point.

1. This is most likely the work of Charles Edenshaw as well. While Marius Barbeau attributed it to Tom Price, Wilson Duff believed it to be Edenshaw's, and we concur with Duff's assessment. Notably, both pieces are credited to Edenshaw in his solo exhibition catalogue.

References: See the two works in Leslie Drew & Douglas Wilson, Argillite: Art of the Haida, (Vancouver: Hancock House Publishers, 1980), p. 102 and 103. The second dish work can be viewed at Canadian Museum of History. "Plate" Collections. Accessed 7 Oct 2024, https://www.historymuseum.ca/collections/artifact/59756. The Edenshaw plate can be viewed at Canadian Museum of History. "Plate" Collections. Accessed 7 Oct 2024, https://www.historymuseum.ca/collections/artifact/59755.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JOHN TIKTAK, R.C.A. (1916-1981) KANGIQLINIQ (RANKIN INLET)
Mother and Child, c. 1968-72
stone, 5.25 x 5.25 x 2 in (13.3 x 13.3 x 5.1 cm)
signed, "ᑎᑕ".

Provenance
Waddington’s 27 Nov 1991, Lot 1358, as "c. 1968";
Acquired from the above by the present Private Collection, Toronto.

One of the most important themes in Inuit art, and one that Tiktak returned to frequently, is that of mother and child. The years 1962-1966, early in his career, saw Tiktak create some of the most serene and sublime depictions (see Hessel, Inuit Art, p. 97; First Arts, 12 June 2023, Lot 58). Over the subsequent decade or so, the artist carved more superb examples, but in styles that varied depending on the hardness of stone, the tools used, and the artist’s state of health. Mother and Child makes for an interesting comparison with the First Arts example cited above. The two sculptures are similar in their modest size and their forward-leaning, truncated depictions. The early work has a rugged delicacy, while this later one exudes a rawness and stubborn strength more often associated with the art of Tiktak’s friend and colleague, John Kavik.

Like his marvelous little Hunched Man (see First Arts, 4 December 2023, Lot 164), this Mother and Child by Tiktak has a poignancy that speaks of hardship and fatigue, at least for the mother – and could almost be imagined as a companion piece to that work. The stone is very hard and veined and must have presented a great challenge to an artist increasingly bothered by an old injury. However, Tiktak hacked away and managed to open up the Henry Moore-like voids for which he is famous. For all its roughness, Mother and Child radiates a craggy beauty, a resolute strength of spirit – and in purely stylistic terms, a surprisingly high degree of abstraction. Outstanding.

References: For similarly themed works by Tiktak see Canadian Eskimo Arts Council, Sculpture/Inuit, (Toronto: University of Toronto Press, 1971), fig. 281; George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92) figs. 137, 659-661; Norman Zepp, The Williamson Collection of Inuit Sculpture, (Regina: Norman Mackenzie Art Gallery, 1987) cats. 73, 75. For more depictions of mothers and children by Tiktak see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre, 1998, fig. 75; Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986) cats. 43, 44, 50, 51; and several examples in George Swinton, Tiktak: Sculptor from Rankin Inlet, N.W.T. (Winnipeg: Gallery One-One-One, University of Manitoba, 1970). See also First Arts Auctions, 12 June 2023, Lot 58; 14 June 2022, Lot 109; 13 July 2021, Lot 23; December 2020, Lot 110; 28 May 2019, Lot 44. See also Walker’s Auctions, Ottawa, 16 November 2016; Lot 123; 15 November 2014, Lot 216.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

Attributed to YVONNE KANAYUQ ARNAKYUINAK (1920-1998) QAMANI'TUAQ (BAKER LAKE)
Standing Mother Holding Child, mid-1960s
stone, 11.25 x 5 x 4 in (28.6 x 12.7 x 10.2 cm)
inscribed with disc number and signed by Paul Arnakyuinak, Yvonne's Kanayuq's husband, "E2-178 / PAULIA".

Provenance
Private Collection, Quebec City;
Acquired from the above by the present Private Collection, Ottawa.

Although this fine sculpture is clearly signed by Yvonne Kanayuq’s husband Paul Arnakyuinak, we feel it was almost certainly carved by her. Several factors – the stone, the figure’s medium-large scale and standing pose, and the style – all point to this being quite an early example of her work, when Kanayuq was still experimenting and learning her craft. Fans of this important artist’s work are familiar with the lovely, mostly small, seated mothers and children the artist carved in the 1970s (for two spectacular examples see First Arts, 13 July 2021, Lot 50, and 12 June 2023, Lot 57). The way in which this already impressive Standing Mother holds her child is completely consistent with these and other later works, and the figures’ facial features match perfectly. To date, we have found no published examples of works by Kanayuq’s husband Paul; it is likely that he delivered it to the co-op and signed it as an expediency (perhaps Yvonne was still too shy to market her own work).

References: For important works by Yvonne Kanayuq see First Arts, 12 June 2023, Lot 57; and 13 July 2021, Lot 50; Alistair Macduff and George M. Galpin, Lords of the Stone: An Anthology of Eskimo Sculpture, (North Vancouver: Whitecap Books, 1982), p. 96; Darlene Wight, Winnipeg Collects: Inuit Art from Private Collections, (Winnipeg: Winnipeg Art Gallery, 1987), cat. 33; George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 61 (Mother and Children from 1970, WAG), and fig. 679; Darlene Coward Wight, The Faye and Bert Settler Collection, (Winnipeg: Winnipeg Art Gallery, 2004), pp. 55-57. See also Maria von Finckenstein, editor, Celebrating Inuit Art 1948-1970, (Gatineau: Canadian Museum of Civilization, 1999) p. 171 for an example once owned by James Houston and subsequently offered at Walker’s Auctions, Ottawa, November 2015, Lot 112.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

MICHAEL AMAROOK (1941-1998) QAMANI’TUAQ (BAKER LAKE)
Muskox, 1962-3
stone and antler, 8.5 x 14 x 5 in (21.6 x 35.6 x 12.7 cm)
unsigned.

Provenance
Waddington's, Toronto, 30 Aug 2018, Lot 242;
Acquired from the above Norman Zepp & Judith Varga, Saskatoon, SK.

Published:
The Eskimo Art Collection of the Toronto-Dominion Bank, (Toronto: Toronto-Dominion Bank, 1967), cat. 15.

Amarook carved only a small number of works in the early to mid 1960s. Working as a printmaker briefly in the early 1970s, he also managed the printshop. A smaller but stylistically quite similar Muskox from 1962, in the Winnipeg Art Gallery collection, has been exhibited and published several times including in Sculpture/Inuit (cat. 134) and Swinton (1972/92, fig. 700). Muskox is a classic example of the earliest Baker Lake sculptural style. Larger and more massive than most examples carved during this period, the sculpture is rendered even more powerful on account of its blocky shape and solid stance. This contrasts beautifully with the animal’s delicately crafted horns.

References: For a somewhat smaller but stylistically very similar work by the artist see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 700, p. 225; and Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cat. 134; also illustrated in Bernadette Driscoll, Uumajut: Animal Imagery in Inuit Art, (Winnipeg: Winnipeg Art Gallery, 1985), cat. 11, p. 55. Six works by Amarook were exhibited in Eskimo Carvers of Keewatin N.W.T., (Winnipeg: Winnipeg Art Gallery, 1964) but none was illustrated.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JUDAS ULLULAQ (1937-1999) UQSUQTUUQ (GJOA HAVEN)
Hunter Tossed by Muskox, c. 1988
stone, antler, and muskox horn, 7.25 x 10.5 x 5.5 in (18.4 x 26.7 x 14 cm)
signed, "ᐅᓗᓚ".

Provenance
Probably Images Art Gallery, Toronto;
Private Collection, Toronto.

Exhibited:
Winnipeg, Winnipeg Art Gallery, Art & Expression of the Nestilik, December 1997 - April 1998, cat. no. 156

Published:
Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg: Winnipeg Art Gallery, 2000), cat. 156, p. 160

The caption for this sculpture in Darlene Wight’s Art & Expression of the Netsilik exhibition catalogue is based on interviews she held with Ullulaq in 1997. It turns out that the story behind this captivating image is as remarkable as the work itself: Ullulaq remembered his grandfather who was a very determined hunter. Before there were guns, his grandfather would go right up to a muskox, in front of its nose. On more than one occasion, he was lifted up in the air on its horns. Then he would kill the muskox with his spear. [1]

Hats off to Ullulaq’s grandfather for his chutzpah and courage, and kudos to the artist for creating one of his most engaging and brilliant compositions. Masterfully conceived and executed, Muskox Tossing Hunter is a tour de force sculpture brimming with dynamism and humour. Both the hunter and muskox are portrayed as angst-filled (as it turns out they should be), even if it seems for the moment that the animal has the upper hand. We are especially impressed with Ullulaq’s unusual treatment of the muskox’s fur. First, the artist sculpts the fur into beautiful overlapping swathes, then applies his trademark parallel lines as texture. The resulting patterns add a feeling of turbulence to what is already a highly dramatic composition. Wow.

1. Darlene Coward Wight, Art & Expression of the Netsilik (Winnipeg Art Gallery, 2000), p. 160.

References: For a similarly themed work by Ullulaq see Susan Gustavison, Northern Rock: Contemporary Inuit Stone Sculpture (Kleinburg: McMichael Canadian Art Collection, 1999), cat. 62, p. 161. See also Ken Mantel et al., Tuvaq: Inuit Art and the Modern World, (Bristol, UK: Sansom and Company Ltd., 2010), fig. 226, p. 214. For a wider idea of how muskoxen appear in Ullulaq’s art see First Arts, 12 July 2020, Lot 1; 5 December 2022, Lots 59 and 155; and First Arts, 4 December 2023, Lot 59; see also Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cats. 84, 85. For a discussion of Ullulaq’s life and work, and illustrations of twenty sculptures see Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg: Winnipeg Art Gallery, 2000) pp. 152-171.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

NICK SIKKUARK (1943-2013) KUGAARUK (PELLY BAY) / UQSUQTUUQ (GJOA HAVEN)
Crawling Spirit, 1996
bone, antler, and fur, 2.25 x 7 x 2.25 in (5.7 x 17.8 x 5.7 cm)
signed and dated, "ᓂᑯᓚ ᓯᑯᐊ 1996.".

Provenance
Private Collection, Calgary, AB.

Sikkuark’s works, influenced by the surrealist traditions of the Kitikmeot region, where he lived before relocating to Kugaaruk, showcase his ability to blend the grotesque with a touch of whimsy. In Crawling Spirit, as in Lot 49, these traits are on full display. The creature is carved with Sikkuark’s characteristic exactitude, with its face so grotesquely exaggerated that it is cartoonish rather than terrifying. Small tusk bits are embedded within its contorted mouth to create a bizarre grin, while shocks of fur burst from its nose and ears, creating an unsettling yet strangely amusing effect. These humorous touches soften the grotesque creature, creating both a sense of discomfort and delight.

References: For an impressive overview of the artist’s life and work (with dozens of illustrations) see the National Gallery solo exhibition catalogue: Christine Lalonde et al, Nick Sikkuark: Humour and Horror (Ottawa: National Gallery of Canada, 2023). See also Marion Scott Gallery, The Art of Nick Sikkuark: Sculpture and Drawings, (Vancouver: Marion Scott Gallery, 2003). See the section on the artist in Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg: Winnipeg Art Gallery, 2000), pp. 32-43. For a discussion of Sikkuark's sculptural style see Robert Kardosh's two-part article, "Natural Fantasia: The Wonderful World of Nick Sikkuark”: Part I in Inuit Art Quarterly, (Spring 2005), pp. 8-14, and Part II in Inuit Art Quarterly, (Summer 2005), pp. 10-16.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

URIASH PUQIQNAK (1946-) UQSUQTUUQ (GJOA HAVEN)
Frighted Mother and Child, c. mid 1990s
whale bone, stone, and antler, 12.5 x 10.25 x 9 in (31.8 x 26 x 22.9 cm)
unsigned.

Provenance
Waddingtons, Toronto, 17 Nov 2011, Lot 3;
Acquired from the above by the present Private Collection, Toronto.

Deeply influenced by an artistic family and community, Uriash Puqiqnak is one of Gjoa Haven’s leading artists. His unique vision and hand, coupled with his strong feelings about passing on Inuit culture, legends and traditions through art, have made for a distinctive canon of work. Here, in one of Puqiqnak’s most masterful creations, whale bone becomes a canvas for powerful emotions of fear and angst. The woman reacts to some horror unseen by the viewer. The child, perhaps more entranced than terrified, nonetheless clings to its mother who, with hips askew under the child’s weight, has one foot back as if ready to run! Impressive.

References: See the section on the artist in Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg: Winnipeg Art Gallery, 2000), pp. 130-135. For other fine examples of the artist’s work see Robert Kardosh, Vision and Form: The Norman Zepp - Judith Varga Collection of Inuit Art, exh.cat., (Vancouver: Marion Scott Gallery, 2003), cat. 52, p. 71. For examples of the artist’s work see First Arts, Toronto, 14 June 2022, Lot 102, and Walker’s Auctions, Nov. 2017, Lot 153; and May 2018, Lot 211.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED HAIDA ARTIST, Probably MASSET, HAIDA GWAII
Hollow Back Model Totem Pole, c. 1890
argillite, 16.75 x 4.5 x 3 in (42.5 x 11.4 x 7.6 cm)
unsigned.

Provenance
A Vancouver Collection.

This large, well-carved Haida argillite pole dating to around 1890 features, from top to bottom: a bear, raven, raptor bird, and a bear holding a human mask or head. The figures on this substantial pole are all fully realized and well-sculpted, with finely incised formline designs on the birds' wings and chests. The discretely stacked configuration and the weight of the figures suggest a likely origin in Masset, Haida Gwaii. A strong indicator of the age of this pole is the hollowed out back and pronounced taper toward the top, which also serves to create some movement in the sculpture and to lighten up the overall composition. The craftsmanship and the balance between the figures are further enhanced by the pole’s mounting on a chamfered argillite base. This feature ties the work together, giving it both stability and a refined presentation typical of high-quality Haida argillite carvings from this period.

Christopher W. Smith

References: For discussion of, and examples of, contemporaneous Haida argillite model poles see the section on early model poles in Peter L. Macnair and Alan J. Hoover, The Magic Leaves: A History of Haida Argillite Carving, (Victoria: Royal British Columbia Museum, 2002), pp. 77-89. See also Leslie Drew and Douglas Wilson, Argillite: Art of the Haida, (Vancouver: Hancock House Ltd., 1980), pp. 216-227 and throughout the book.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

HENRY HUNT SR. (1923-1985), KWAKWA̱KA̱ʼWAKW
Model Totem Pole, c. 1957-58
wood and pigment, 18.5 x 3.25 x 2.25 in (47 x 8.3 x 5.7 cm)
without base 20.25 x 5 x 5 in (51.4 x 12.7 x 12.7 cm) with base,
affixed plaque inscribed, "1958 BRIER / B.C. CENTEBARY / MR. & MRS. W.M. STEWART / LITTLE & TAYLOR / STERLING";
signed, "HENRY / HUNT":
further inscribed in ink on bottom of base, "PAIEUTE".

Provenance
A Vancouver Collection.

Henry Hunt Sr. was a renowned Kwakwaka’wakw artist who apprenticed carving and painting under his father-in-law, Mungo Martin (Kwakwaka’wakw, 1879-1962), from 1954 until Martin’s passing in 1962. [1] Hunt and Martin worked together at Thunderbird Park in Victoria on Vancouver Island, creating monumental and model poles, masks, and other items for cultural usage and sale. This model pole is a very early piece for Hunt and shows a strong affinity with Martin’s work from this period, but it also foreshadows themes and elements that Hunt would explore for the rest of his career. It features, from top, a chief figure in a painted hat with basketry rings and button robe, a beaver, and a seated Hamatsa dancer wearing a red headband, neck ring and robe. The Hamatsa figure is seated in what appears to be a canoe or other structure. This pole is somewhat unusual for the time period for being both fully carved and painted. There is a similar pole by Martin in the Museum of Vancouver that features a chief figure and beaver (Identification number 57908). The base of the pole features a sterling silver plaque that notes that this pole was a presentation piece celebrating the British Columbia centennial.

1. Henry Hunt Biography. Archival holdings at the Museum of Anthropology, University of British Columbia. https://musa-atom002.moa.ubc.ca/index.php/henry-hunt?sf_culture=en. Accessed October 05, 2024.

Christopher W. Smith

References: For examples of Henry Hunt’s art see Peter Macnair et al., Down From the Shimmering Sky: Masks of the Northwest Coast, (Seattle / Vancouver: Univ. of Washington Press, 1998), cat. 106, ; Peter Macnair et al, The Legacy: Continuing Traditions of Canadian Northwest Coast Indian Art (Victoria: BC Provincial Museum, 1980), figs. 91, 92; Stephen C. Brown, Native Visions: Evolution in Northwest Coast Art from the Eighteenth through the Twentieth Century, (Seattle Art Museum, 1998), fig. 6.14, p. 157; Aldona Jonaitis, ed., Chiefly Feasts: The Enduring Kwakiutl Potlatch, (Seattle: University of Washington Press, 1991), figs. 5.5, p. 231 and 5.7, p. 234; Ralph T. Coe, Lost and Found Traditions: Native American Art 1965-1985. (New York: American Federation of Arts / Vancouver: Douglas & McIntyre, 1986) cat. 359, p. 274.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

TITUS CAMPBELL (1893-1966), TSIMSHIAN, KITSELAS
Model Totem Pole (Prince Rupert / Poles), 1940s
cedar wood and pigment, 40 x 6.25 x 5.5 in (101.6 x 15.9 x 14 cm)
inscribed by the artist and with Totem Pole Gift Shop, Prince Rupert, B.C., ink stamp, "THREE WATCHERS - / BEAR WITH / FROG / MYTHICAL MAN / CHIEF / RAVEN WITH TONGUE HANGING / OUT - SEA / OTTER IN EARS / WOLF IN MOUTH - / POLE IN / TOTEM PARK / PRINCE RUPERT - / Once a Ninstints (Haida) / Pole / from / Anthony Island / Queen Charlotte / Islands - / village + / tribe now / extinct / Known as / one of the / Prince Rupert / Poles - carved / by TITUS / CAMPBELL (KITSELAS) / PRINCE / RUPERT / B.C. / for" [with Totem Pole Gift Shop, Prince Rupert, B.C., ink stamp]".

Provenance
A Vancouver Collection.

Titus Campbell was a versatile Kitselas Tsimshian artist who was active in the second and third quarters of the 20th century. He’s especially interesting for his ability to convincingly create pieces in a number of regional and tribal styles, including Tsimshian, Haida, and Kwakwaka’wakw. Campbell developed these skills working for various curio shops, such as William Webber’s Thunderbird Scenery Shop in Vancouver and the Totem Pole Gift Shop of Prince Rupert, where this pole originated. Like his contemporary, Moses Alexcee (Tsimshian, 1878-1958), Campbell would often create models of poles from other cultures, but always signed his name and wrote a brief description on the verso so there was no confusion about authorship. This unusually large and complex model pole, although carved in Campbell’s Tsimshian style, depicts a Haida pole from the village of Ninstints in Haida Gwaii. The pole features an impressive thirteen figures, noted on the verso by Campbell, and is fully carved and painted. The pole also has an unusual stamp from the Totem Pole Gift Shop that was located in Prince Rupert, BC.

Christopher W. Smith

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JOHN KAVIK (1897-1993) KANGIQLINIQ (RANKIN INLET)
Standing Man, early 1980s
stone, 20 x 7.5 x 4 in (50.8 x 19.1 x 10.2 cm)
unsigned.

Provenance
Private Collection, NY, USA;
Waddington's, Toronto, 17 Nov 2014, Lot 153, as "Contemplative M/an, c. 1975., and "Prominent private collection, NY, USA;"
Acquired from the above by Robert Noakes, Toronto;
Estate of the above.

Noakes was a renowned Canadian interior designer and owner of RNI Robert Noakes International.

Born near Gjoa Haven in 1897, John Kavik lived for decades in his native Utkuhiksalingmiut territory, inland between Baker Lake and Cambridge Bay. Starvation forced him to relocate south in the late 1950s, first to Baker Lake where he reunited with his childhood friend Luke Anguhadluq. Kavik then moved to Rankin Inlet in 1958, but already over sixty years old, was unfit to work at the nickel mine there. Determined to make a living, he began carving in 1960 and kept at it until he was about ninety! The anthropologist Robert Williamson lived in Rankin Inlet from 1960 to 1973 and met Kavik at the very beginning of his art career. He described Kavik as an appealing humourist, full of fun, an artist who carved with joy, and a man of great kindness. [1] These comments might come as a surprise to those who perceive his art as stark and bleak. Stanley Zazelenchuk, Kavik’s neighbour in the 1970s, wrote in 1980 of his friend’s sense of humour, work ethic, and his independence from southern market demands. [2] Kavik was in his eighties by then and still going strong.

We recall describing our amazement that Kavik, age about eighty-three, could even have lifted the piece of stone used for a sculpture (First Arts, 30 November 2021, Lot 40). Well, Kavik was probably a couple of years older when he carved this colossus, one of his largest sculptures ever. Stylistically, it resembles a group of works, many small but some quite large, that he carved in the early to mid 1980s. This extraordinary late effort resulted in a solo exhibition at the Inuit Gallery of Vancouver in 1990. [3]

Standing Man was not in the exhibition but would certainly have been one of the stars of the show. Unlike the great majority of Kavik’s sculptures, it is evidently carved from a rectangular block of hard, quarried stone, with some straight edges left intact. Working this piece would have entailed a heroic effort, further complicated by an even harder, quartz-like white vein running down its length. The result is nothing short of awesome. Kavik removed a relatively small amount of material; it could be argued that this is one of his more minimalist creations. But the visual, psychological, and sheer physical impact of the sculpture is enormous. Once again, we are gobsmacked.

We wonder if this isn’t a self-portrait (perhaps many of Kavik’s sculptures are). In which case, a fitting title might be I’m Still Standing. (Apologies to Elton and Bernie)

1. Gleaned from his article, “Creativity in Kangirlliniq” in Bernadette Driscoll, Rankin Inlet / Kangirlliniq, (Winnipeg: Winnipeg Art Gallery, 1981), pp. 11-23.

2. Stanley Zazelenchuk, “Kavik: The Man and the Artist” in Arts & Culture of the North, (Vol. IV, No. 2 Spring 1980, 219-221).

3. Inuit Gallery of Vancouver, John Kavik, June 16 – July 7, 1990 (illustrated catalogue with 45 works).

References: For the section on John Kavik in Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), see pages 108-119. For an appreciation of the artist and his work see Stanley Zazelenchuk, “Kavik: The Man and the Artist” in Arts & Culture of the North, (Vol. IV, No. 2 Spring 1980), pp. 219-221. Masterpieces by Kavik are widely published; see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92); Canadian Eskimo Arts Council, Sculpture/Inuit (Toronto: University of Toronto Press, 1971); Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998); Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010); and many more books and exhibition catalogues.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JOHN KAVIK (1897-1993) KANGIQLINIQ (RANKIN INLET)
Hooded Face, early to mid 1970s
stone, 6.25 x 4 x 2.75 in (15.9 x 10.2 x 7 cm)
signed, "ᑲᕕ".

Provenance
An Ottawa Collection.

Kavik and his younger colleague, John Tiktak, were friends and enjoyed working together. While both are known for their carvings of standing figures, Tiktak produced numerous heads and faces during his career while Kavik carved relatively few. This striking visage by Kavik stands out due to its semi-abstract angularity and the fact that, rather than being a fully realized head, the work has an almost fragmentary look. Its purity of form and degree of finish are unusual in Kavik’s oeuvre; perhaps we detect the influence of his friend? Yet Hooded Face is a powerful presence with the expressiveness and deep emotional resonance we have come to expect from Kavik’s work. Lovely.

References: For the section on John Kavik in Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), see pages 108-119 (for a hooded face see cat. 63). For an appreciation of the artist and his work see Stanley Zazelenchuk, “Kavik: The Man and the Artist” in Arts & Culture of the North, (Vol. IV, No. 2 Spring 1980), pp. 219-221. Masterpieces by Kavik are widely published; for examples of heads and faces by the artist see First Arts, 30 November 2021, Lot 81; George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1992 ed. only), fig. 902.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

HENRY EVALUARDJUK (1923-2007) IQALUIT (FROBISHER BAY)
Walking Bear, c. 1980
stone, 6 x 10 x 4 in (15.2 x 25.4 x 10.2 cm)
signed, "HENRY / ᐃᕙᓗ ᐊᔪ".

Provenance
The Drum Dancer, Calgary;
Acquired from the above by a Private Collection, Calgary, 1986.

“A rose is a rose is a rose” but to the informed eye, a bear is not just a bear! Is Henry depicting a young bear or an aged one, a male or a female, a hungry bear or a well-nourished specimen? These are all things to consider when looking at the polar bears of Henry Evaluardjuk. While these important details might be lost on the casual viewer they were very of the utmost importance to the artist. Indeed, “Henry bears” can almost be deemed to be polar bear portraits. This incredible fellow is perhaps one of the most sensuous bears we have seen by the artist.

References: For fine examples of “Henry bears” in various poses see First Arts, 28 May 2019, Lot 22; 12 July 2020; Lot 111; 30 November 2021, Lot 92; 5 December 2022, Lot 136; 4 December 2023, Lot 117.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

BILL NASOGALUAK (1953-) TUKTOYAKTUK
Two-Headed Bear, 2013
stone and pigment, 8.25 x 16.5 x 6 in (21 x 41.9 x 15.2 cm)
signed and dated, "BILL / NASOGALUAK / 2013".

Provenance
Images Art Gallery, Toronto;
Acquired from the above by the present Private Collection, Calgary, 22 Aug 2013.

Bill Nasogaluak is one of several Inuvialuit artists from the western Arctic who have chosen to live and work in southern Canada. Interestingly, his works often reflect social issues and their effect on Inuit contemporary life. He is a master of realism as well, even when the subject matter is not entirely realistic. Here he captures the fluid form and movement of a polar bear whose two heads are both positioned naturally; one head is downcast, while the other looks up, alertly. Perhaps this bear is resigned to hunger one moment but becomes hopeful the next, as it scents potential prey.

References: For an interview with the artist see Michael Olson, “Focus On: Bill Nasogaluak, Masterful Apprentice” in Inuit Art Quarterly, (Vol. 17, No. 1, Spring 2002), pp. 30-35. For more recent work by the artist, see Bill Naogaluak: Shapeshifter, Feheley Fine Arts, Toronto, Ontario, January 2020. See also Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), pp.216-217.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET)
Rabbit Eating Seaweed II, 1999 (Special Release)
Printmaker: STUDIO PM, Montreal
etching and aquatint, sheet: 16.5 x 23.5 in (41.9 x 59.7 cm), framed, sight / plate: 14.25 x 21.5 in (36.2 x 54.6 cm)
a stage proof, aside from the numbered edition of 50.

Provenance
Galerie Elca London, Montreal;
Acquired from the above by a Private Collection, Calgary, AB.

1999 was a year of landmark events and anniversaries: the creation of Nunavut, the 50th anniversary of the first exhibition of Inuit art at the Canadian Guild of Crafts in Montreal, and the 40th anniversary of the inaugural Cape Dorset print collection. To celebrate these milestones, Galerie Elca London commissioned Kenojuak Ashevak to revisit her 1959 image Rabbit Eating Seaweed. Produced as an etching and aquatint, “Rabbit Redux” [1] is a tour de force with piercing blues reminiscent of several of the magnificent 1959 images by both Kenojuak and Niviaqsi.

1. Terry Ryan, the West Baffin Co-op’s longtime manager, jokingly dubbed this print “Rabbit Redux” as a nod to the author John Updike.

References: For information on the original 1959 print see First Arts, 4 December 2023, Lot 87. The 1959 print has been widely reproduced and discussed; see Leslie Boyd Ryan, Cape Dorset Prints: A Retrospective, (San Francisco: Pomegranate, 2007), p. 78; Christine Lalonde and Leslie Boyd Ryan, Uuturautiit: Cape Dorset 1959-2009, (Ottawa: National Gallery of Canada, 2009), cat. 2, p. 24-5; Jean Blodgett, In Cape Dorset We Do It This Way: Three Decades of Inuit Printmaking, (Kleinberg, ON: McMichael Canadian Art Collection, 1992), p. 24.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

SHEOJUK ETIDLOOIE (1932-1999) KINNGAIT (CAPE DORSET)
Untitled (Sailboat), c. 1999
oil stick on heavy wove paper, 19.75 x 20 in (50.2 x 50.8 cm), framed.
signed, "ᓯᐅᔪ".

Provenance
Private Collection, Ontario.

Sheojuk Etidlooie’s short artistic career began in 1993 when her images featuring unique, vivid creatures and scenes became known through her prints. By 1999, her original drawings were also greatly in demand: colourful abstracted forms of birds, seals, and giants drawn quickly in pencil crayon. Just months before her death, she created several works using oil stick. This exuberant drawing of a sailboat typifies these late works, in which vibrant colours and dynamic gestures verge on pure abstraction. In each of these, she left a small white area for her signature!

References: For a similarly styled and probably contemporaneous oil stick work by the artist see Ken Mantel et al., Tuvaq: Inuit Art and the Modern World, (Bristol, UK: Sansom and Company Ltd., 2010), fig. 71, p. 81.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED NUU-CHAH-NULTH ARTIST
Lightning Serpent Dance Mask, c. 1930
cedar wood, acrylic paint, and feathers, shoelaces, 8.25 x 25 x 8.5 in (21 x 63.5 x 21.6 cm)
unsigned.

Provenance
Potlatch Arts, Vancouver;
Acquired from the above by the Present Private Collection, Ottawa.

Serpent masks of this type were originally made from hand-split cedar boards, often including piercings to enhance and lighten the mask, as can be seen here. Here, the boards have been planed down to be quite thin, another means of keeping the mask as light as possible. The dancer would move in a semi-crouch, slowly turning their head from side to side as if searching for something of great importance. They would wear a cape-like robe that moves widely with the dancer’s steps and turns.

Steven C. Brown

References: For a similar and possibly contemporaneous example see Martha Black, HuupuKwanum Tupaat : Out of the Mist: Treasures of the Nuu-chah-nulth Chiefs, (Victoria, BC: Royal British Columbia Museum, 1999), p. 43. In the same book see also pp. 76, 81, 106.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

GENE BRABANT (1946-) CREE, VICTORIA, B.C.
Kwag-uilth Sun (Kwakwa̱ka̱ʼwakw Style Sun Mask), Sept 1982
cedar wood and acrylic paint, 33 x 37 x 20 in (83.8 x 94 x 50.8 cm)
titled, signed and dated, "Kwag-uilth / Sun / Gene Brabant / 12/82".

Provenance
Snow Goose Gallery, Ottawa;
Acquired from the above by the present Private Collection, Ottawa.

Gene Brabant joined the Thunderbird Park artist collective in the 1970s, expanding his work beyond Kwakwa̱ka̱ʼwakw influences to explore various Northwest Coast styles. He focused on replicating historic techniques, such as using marine enamel paints and articulating transformation masks. The Sun Mask type, with its central face embodying human and supernatural forms, offered limitless theatrical possibilities, and it was often hand-held or suspended on wires.

Gary Wyatt At more than three feet in width, this mask most likely recalls those Sun Masks that would be suspended. The outward-reaching beams, carefully balanced and radiating from the central face, are designed to draw attention from all angles, making the work visually powerful even when viewed from a distance.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JIMMY JOHN (1876-1988), MOWACHAHT/MUCHALAHT (NUU-CHAH-NULTH)
Maquinna Mask , c. 1973-1975
cedar wood, abalone, pigment, and cord, 34.5 x 45.5 x 15.75 in (87.6 x 115.6 x 40 cm)
unsigned;
accompanied by a copy of Ulli Steltzer, "Indian Artists at Work" (1976).

Provenance
Collection of the artist;
Purchased from the Artist's Family, c. 1992 by the Present Private Collection, Ottawa.

Published:
This work is reproduced in a photo of the artist working on the present mask in Ulli Steltzer, Indian Artists at Work, (Vancouver: Douglas & McIntyre / Seattle: University of Washington Press, 1976), p. 84

Renowned Mowachaht/Muchalaht artist Jimmy John was born at Friendly Cove, British Columbia, and was a direct descendant of Chief Maquinna. John created pieces for cultural usage and sale for nearly a century and was among the most prolific and long-standing artists on the entire Pacific Northwest Coast. Known primarily for his model totem poles and a distinctive chip carving style that he developed in his older age, John’s works are widely held in major public and private collections.

This Maquinna Mask has to be among John’s best-known works, having been photographed with him in the process of carving it by celebrated photographer Uli Steltzer (1923-2018). That photograph - of a smiling, near-centenarian Jimmy John working on the unfinished mask - is published by Steltzer on page 82 in her photo essay book Indian Artists at Work (1976). Although the mask is unfinished in the Steltzer photo, several key elements allow this mask to be matched to the photograph. In particular, there is a large fissure in the photo where the wood is checking through the head of the killer whale on the proper right side of the mask, which can be matched today to a darker line in the same place where John fixed the checking. There is also a dark spot visible in the Steltzer photograph on the upper-right tooth of the mask, which is still present in the mask today.

The completed mask is a striking composition and important study in Jimmy John’s chip-carving style, with twenty kinetic appendages that are strung together to open and close in a dramatic fashion. Each appendage is incised with an eagle formline design, cross hatching, and split-u-forms that terminate in a rounded semi-circle. At the top of the mask are two raven figures back-to-back with inlaid abalone and red flourishes that anchor the other ten appendages on each side. The mask itself is flanked by a pair of killer whales carved in relief that frame the shape of the forehead and cheeks of the mask. The bulging eyes, bared teeth, and protruding tongue point to the mask probably being John’s interpretation of a Swai’xwe mask. The features of the mask are accentuated with abalone inlays and red and black paint, which enhances its theatrical impact.

Christopher W. Smith

References: See the Anthony Carter fonds, Series 03, File 04, in the archival holdings of the Museum of Anthropology, University of British Columbia, for additional photos of Jimmy John with a similar Maquinna Mask in 1968. For other works by or attributed to the artist see Martha Black, HuupuKwanum Tupaat : Out of the Mist: Treasures of the Nuu-chah-nulth Chiefs, (Victoria, BC: Royal British Columbia Museum, 1999), pp. 83, 107, 111.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

DAVIDIALUK ALASUA AMITTU (1910-1976) PUVIRNITUQ (POVUNGNITUK)
Seated Mother Softening a Skin, c. 1960
stone, 6 x 3.5 x 3.5 in (15.2 x 8.9 x 8.9 cm)
signed and inscribed, "DEVIDEALOK / SCP".

Provenance
Private Collection, Ottawa, ON.

Of all the great storytellers from Puvirnituq, Davidialuk and his cousin Joe Talirunili were arguably the best. Talirunili focused primarily on scenes from camp life (and, of course, his famous Migrations), while Davidialuk is best known for his depictions of Inuit folklore, stories, and legends. But Davidialuk was also a great documentarian who chronicled aspects of a lifestyle experiencing rapid change. This incredibly charming sculpture seems to be of a much more personal nature, perhaps depicting his wife as a multi-tasker, seamlessly juggling child rearing with the more mundane chores of Inuit camp life. This is an early work by the artist, exquisitely carved and lovingly detailed. Indeed, it is one of the most beautiful Davidialuk carvings we have ever seen.

References: For important works by the artist see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 37 and 61; Jean Blodgett, Povungnituk, (Winnipeg: Winnipeg Art Gallery, 1977), cats. 3-11., pp. 51-55; George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), figs. 15, 129, 204, 350, 362, 363, 365-373. Two books with numerous illustrations of Davidialuk’s works are Bernard Saladin d’Anglure, La parole changée en pierre: vie et oeuvre de Davidialuk Alasuaq, artiste inuit du Québec arctique, (Québec: Ministère des affaires culturelles, 1978), and Marybelle Myers, Davidialuk 1977, (Montreal : La Federation Des Cooperatives Du Nouveau-Quebec, Canada, 1977) (late works).

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

DAVIDIALUK ALASUA AMITTU (1910-1976) PUVIRNITUQ (POVUNGNITUK)
Eagle Caught in a Fox Trap, c. 1970
stone, 5 x 9 x 4 in (12.7 x 22.9 x 10.2 cm)
signed, "DEVIDE / ALLSOAK".

Provenance
Private Collection, New Jersey.

As discussed above (Lot 138), Davidialuk is best known for his depictions of Inuit folklore and legends. Many of these stories and legends are documented and easily recognizable (see Story of a Giant, First Arts, 4 December 2023, Lot 38), whereas others are more subtle or obscure. We are not familiar with a Nunavik Inuit story of an eagle caught in a trap. It may be a personal story of Davidialuk’s or a recollection. Perhaps an eagle once tried to raid his meat cache and was caught in a trap meant for foxes. While the story remains obscure, what is self-evident is the powerful composition and the sensitive surface decoration – a trademark technique of a sculptor who was also a renowned graphic artist.

References: For a famous sculpture of a mythological bird by the artist with similarly incised feathers, from c. 1958, see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 37, p. 50; also illustrated in numerous other publications.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

Attributed to SAROLLIE (SYOLLIE) WEETALUKTUK (1906-1962) INUKJUAK (PORT HARRISON)
Hunter, Dog Team, and Animals, c. 1952-53
tusk and black inlay, dimensions variable 5 x 13.25 x 1.25 in (12.7 x 33.7 x 3.2 cm)
unsigned.

Provenance
Acquired by a Canadian mining engineer during his travels, probably in Inukjuak;
By descent in the family to the present Private Collection, Toronto

This elegant and beautifully carved composition is identical in style to two 1953 carved tusks by Sarollie Weetaluktuk in the Canadian Guild of Crafts Quebec collection in Montreal. [1] We love the “processional” organization of the animals, mirroring the lineup of sled dogs. Drilled with two holes, it can be displayed in either orientation for twice the viewing pleasure! [2]

1. See the Canadian Guild of Crafts Quebec: The Permanent Collection (Montreal: CGCQ, 1980), cat. 47, p. 58, and cat 78, p. 78.

2. As was a carved tusk by Sarollie’s younger brother Simeonie. Apparently Simeonie’s design was inspired by the cover of James Houston’s 1951 instructional booklet (see Darlene Coward Wight, Early Masters, 2006, p. 16). Sarollie’s design is his own invention.

References: For two virtually identical compositions by Syollie Weetaluktuk see Virginia Watt et al., Canadian Guild of Crafts Quebec: The Permanent Collection: Inuit Arts And Crafts c. 1900-1980, (Montreal: Canadian Guild of Crafts Quebec, 1980), cat. 47, p. 58, and cat. 78, p. 78. For several more slightly different examples by him see ibid., cat. 119, p. 98; cat. 253, p. 171; cat. 282, p. 186.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

Possibly NIVIAQSI (NIVIAKSIAK) (1908-1959) m., KINNGAIT (CAPE DORSET)
Double-Sided Pictorial Panel, late 1940s or early 1950s
tusk and black ink, 2.5 x 8 x 2 in (6.3 x 20.3 x 5.1 cm)
unsigned.

Provenance
Acquired by a Canadian mining engineer during his travels, possibly on southern Baffin Island;
By descent in the family to the present Private Collection, Toronto.

This remarkable Pictorial Panel features two scenes: one depicts hunters returning to a summer camp, and the other a walrus hunt. The figures are delineated with extraordinary precision and lifelike movement in a style that suggests the hand of the Cape Dorset artist Niviaqsi (also known as Niviaksiak). Niviaqsi was a talented sculptor but is best known for his remarkable drawings and prints. The star of the 1959 Cape Dorset print collection, Niviaqsi sadly died in mysterious circumstances that very year. The style of his silhouette-style graphite and ink drawings on paper is highly distinctive: simplified yet confident and sharply defined. [1]

1. For examples of Niviaqsi’s original drawings on paper see First Arts, 10 June 2024, Lot 86 and First Arts, 5 December 2022, Lot 20. See also Walker’s Auctions, 22 November 2017, Lot 16; and Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), pp. 72-73.

References: It is certainly possible that this panel is the work of a yet-to-be identified artist from Inukjuak, rather than by Niviaqsi. Several artists (including Sarollie Weetaluktuk, see previous Lot 140), experimented with inlaid pictorial, rather than carved, tusk works around 1950. See Darlene Wight, Early Masters: Inuit Sculpture 1949-1955, (Winnipeg: Winnipeg Art Gallery, 2006), pp. 65-66, for examples by Sarollie; and pp. 14 and 26 for some rather more modest works by others.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK)
Standing Caribou, c. 1965
stone and antler, 4.25 x 6 x 1.5 in (10.8 x 15.2 x 3.8 cm), dimensions reflect measurements with antlers;
signed and inscribed with disc number, "JOE9818".

Provenance
Waddington's, Toronto, Nov 2015, Lot 56;
Acquired from the above Norman Zepp & Judith Varga, Saskatoon, SK.

If Joe Talirunili’s Migration scenes are among the most compelling Inuit images, his depictions of solitary caribou are certainly among the most charming. A hunting injury in his youth left Joe with a permanently damaged arm which made it challenging for him to carve works with fine detail. Given the fragility of stone and the delicate nature of caribou legs, Talirunili only carved them infrequently. Pity. This example is particularly winsome

References: For other examples of caribou by Talirunili see Robert Kardosh, Vision and Form: The Norman Zepp - Judith Varga Collection of Inuit Art, exh.cat., (Vancouver: Marion Scott Gallery, 2003), fig. 1, p. 22; and Marybelle Myers, Joe Talirunili: a grace beyond the reach of art, (Montreal: La Federation des cooperatives du Nouveau-Quebec, 1977), p. 12

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

PROBABLY THOMAS MOODY (1877-1947) HAIDA
Model Totem Pole, c. 1920-1930
argillite, 12.25 x 2.25 x 2.25 in (31.1 x 5.7 x 5.7 cm)
unsigned.

Provenance
A Vancouver Collection.

A slender and elegant argillite pole that, although unsigned, is probably by Haida artist Thomas Moody, the patriarch of the multigenerational family of Haida argillite carvers. The pole features, from the top: an eagle grasping a descending seal, a raven, a human head wearing a hat, and a wolf holding what looks like its cub. The slender profile, cross hatching on the beak of the raven, and the unusual way that the raven’s wings are decorated with rows of u-forms at 45-degree angles make it very likely to be the work of Moody. [1]

1. For comparable pieces by Thomas Moody, see Leslie Drew and Douglas Wilson, Argillite: Art of the Haida, (Vancouver: Hancock House Ltd., 1980), p. 254.

Christopher W. Smith

References: For a discussion of the artist and his work see Marius Barbeau, Haida Carvers in Argillite, (Ottawa: Department of Northern Affairs and Natural Resources / National Museum of Canada, 1957; repr. 1974), pp. 104-107.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

ROBERT RIDLEY (1855-1934) HAIDA
Model Totem Pole, c. 1910-1915
cedar wood and pigment, 21.5 x 3.5 x 3.25 in (54.6 x 8.9 x 8.3 cm), measurements reflect dimensions without later added base
apparently unsigned.

Provenance
Private Collection, New York, NY.

Robert Ridley was born in the village of Masset on Haida Gwaii, British Columbia. He was a prolific maker of wood and argillite model poles, model canoes, house models, and feast spoons. Ridley completed at least two large-scale poles, one for Thunderbird Park in Victoria and the other for the Capilano Suspension Bridge in North Vancouver. This pole reflects Ridley’s skill at capturing and expressing monumentality in a miniature scale. The pole features an eagle, bear, and bear holding a human at the bottom, with the verso hollowed out and the formline from the eagle’s wings wrapping around the back. It is painted in Ridley’s classic palette of burgundy, black, and green, exemplifying his reserved, but impactful, approach to Haida art.

Christopher W. Smith

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED HAIDA ARTIST
Platter, c. 1890
argillite, 13.25 x 5 x 1.5 in (33.7 x 12.7 x 3.8 cm)
unsigned.

Provenance
A British Columbia Collection.

This shallow ovate platter features raised, sharply angled ends that suggest a boat-like appearance. The design relief-carved within crosses the interior and almost fills it completely, leaving only small areas of exposed, cross-hatched background that help to define the silhouette of the creature depicted. The creature’s toothy mouth lies close to the centre of the vessel, just below the deeply relief-carved eyes. On either side of the mouth, a u-shaped cheek design can be seen, filling out the lower corners of the head. Small ovoids form the shoulder joints of the creature, which appears to be a sea bear. The simple forearms, bent at the elbows, connect to large, clawed forefeet, the ends of which taper down to connect with the upturned, whale-like tail of this fearsome aquatic mammal.

Steven C. Brown

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

UNIDENTIFIED HAIDA ARTIST
Late Trade Pipe, c. 1880-1890
argillite, 3.25 x 9 x 1.5 in (8.3 x 22.9 x 3.8 cm)
unsigned.

Provenance
Ex. Coll. John Piters West Vancouver, BC, c. 1960s;
A Vancouver Collection.

This late trade argillite pipe features an eagle, supernatural frog with dorsal fin, and bear with protruding tongue. As Macnair and Hoover have noted, late trade pipes are distinguished from earlier examples by their thicker stems and emphasis on Haida imagery over European motifs. [1] That said, the eagle on this pipe does appear to reference a Roman or colonial eagle rather than a strictly Haida design, especially in the manner in which the wings are positioned and are totally covered in incised feathers. The composition of the figures in relation to one another is also a nod to earlier figural groups, in which a number of figures, both human and animal, would be entwined and stacked together.

1. Peter L. Macnair and Alan J. Hoover, The Magic Leaves: A History of Haida Argillite Carving, (Victoria: Royal British Columbia Museum, 1984/2002), p. 119.

Christopher W. Smith

References: See the chapter on late trade pipes in Peter L. Macnair and Alan J. Hoover, The Magic Leaves: A History of Haida Argillite Carving, (Victoria: Royal BC Museum, 1984/2002), pp. 119-126. See also Leslie Drew and Douglas Wilson, Argillite: Art of the Haida, (Vancouver: Hancock House, 1980), pp. 164-165.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JUDAS ULLULAQ (1937-1999) Uqsuqtuuq (Gjoa Haven)
Man Chasing Caribou, early 1990s
stone and antler, 21.5 x 30.5 x 6 in (54.6 x 77.5 x 15.2 cm)
signed, "ᐅᓗᓚ".

Provenance
Probably with Images Art Gallery, Toronto;
Private Collection, Toronto.

Ullulaq’s zest for life, his sense of humour, and his inventiveness shine through in his art and never fail to delight and impress us. Hunter Chasing a Caribou is one of the most charming examples of his hunting scenes – not to mention one of the largest. Carved from a single chunk of stone, the sculpture is massive yet interestingly balanced, with hunter and caribou cantilevered out to either side, giving the work lots of open space and a pleasing outline. It reminds us of his Murder Scene of 1988, which is similarly balanced, on a smaller base. [1]

The sculpture has a great sense of movement as well; we feel the tension of the chase in the extended limbs of both figures. In reality, the two are probably farther apart than shown, but their proximity adds to our suspense. The hunter is certainly excited, and perhaps exhausted as well, as he races after his prey. For its part, the caribou is apparently nimbler than it looks and might be about to leap into the water to make its escape. Deciding who to root for is a tough choice for viewers of scenes like this by Ullulaq. He has a knack for investing both his human and animal subjects with real personality.

1. Illustrated in Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg Art Gallery, 2000), cat. 155, p. 159.

References: For a depiction by Ullulaq of a hunter aiming at a bird with a bow and arrow see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 113, p. 126. For another (and for several other works by the artist) see Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg: Winnipeg Art Gallery, 2000), pp. 152-171.

The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.

NOTE
Many countries and provinces 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.

JAMES UNGALAQ (1964- ) IGLULIK (IGLOOLIK)
Mask, 1990
stone and bear teeth, 10 x 6.25 x 2.5 in (25.4 x 15.9 x 6.3 cm), measurements reflect dimensions without acrylic stand.
apparently unsigned.

Provenance
Images Art Gallery, Toronto, ON;
Acquired from the above by the present Private Collection, Toronto.

Exhibited:
Verona, Galleria d’Arte Moderna e Contemporanea di Palazzo Forti, Immaginario Inuit: Arte e Cultura degli Esquimesi Canadesi, 19 March - 9 July 1995, cat. no. 37

Published:
Harold Seidelman & James Turner, The Inuit Imagination: Arctic Myth and Sculpture, (Vancouver: Douglas & McIntyre Ltd., 1993), fig. 135, p. 147; Immaginario Inuit: Arte e Cultura degli Esquimesi Canadesi (Verona: Palazzo Forti, 1995), cat. no. 37, p. 101.

The polar bear has been an animal of particular importance to shamanistic practice in the Canadian Arctic as early as the Dorset Culture (Paleo-Eskimo) period. [1] In Inuit times, bears have long been seen as powerful spirit helpers. Shamans sometimes used false teeth as “props” during performances and séances, and images of fanged shamans appear occasionally in modern Inuit art. [2] Though titled Mask, Ungalaq’s remarkable work is really a stone sculpture: a compelling portrait of a fierce bear-shaman. The artist has incorporated actual polar bear teeth, investing this work with added spiritual potency.

1. For a set of shaman’s teeth from the Dorset Culture see Jean Blodgett, The Coming and Going of the Shaman, (Winnipeg Art Gallery, 1978), cat. 111, p. 165. Note: this set was found near Igloolik.

2. See Lot 9 in this auction. See also First Arts, 4 December 2023, Lot 61; and 12 June 2023, Lot 13.

References: For other impressive works by the artist see Walker’s Auctions, 4 November 2012, Lot 150, and Walker’s Auctions, 18 November 2015, Lot 240. See also Barry Ace and July Papatsie, Transitions: Contemporary Canadian Indian and Inuit Art, (Ottawa: Dept. of Indian Affairs and Northern Development, 1997), p. 61.

ROBERT HOULE, R.C.A. (1947-) NAHKAWININIWAK (SAULTEAUX / PLAINS OJIBWAY)
Shield, 1982
pastel on paper, 50 x 38 in (127 x 96.5 cm)
signed and dated, "R. Houle."

Provenance
Private Collection, Ottawa.

Inspired by his in-person study of artists such as Piet Mondrian and hard-edge Abstract Expressionists, Shield comes at a time of change in Robert Houle’s artistic career. Houle found that the exploration of line, shape, and form shaped in colour and gesture suited how he wanted to communicate about his own Indigenous spirituality. Perhaps harkening back to his sketched “protest” works which had heralded his (then) recent resignation as a curator at the National Museum of Man, Shield gives a deceptively simple view to the viewer. The shapes throughout the work are intentional, however, as are the colours and minimal, placed details.

References: For an overview of the artist’s career and his efforts in Abstraction see Carol Podeworny, curator, Troubling Abstraction: Robert Houle, (Hamilton: McMaster Museum of Art, 2007) and Shirley Madill, Robert Houle: Life & Work, Art Canada Institute, Toronto, digital publication, 2018; and Wanda Nanibush, et. al., Red Is Beautiful, (Toronto: Art Gallery of Ontario, 2021). For some stylistically similar works, see Robert Houle, A Warrior Shield for the Lubicon, 1989, The Ottawa Art Gallery, Ottawa, ON, and Robert Houle, Seven Grandfathers, 2014, Art Gallery of Ontario, Toronto, ON.

ARTHUR SHILLING (1941-1986) ANISHINAABE (OJIBWE)
Self-Portrait, 1980
oil on masonite, 23 x 19.75 in (58.4 x 50.2 cm), framed.
signed and dated, "Shilling 80".

Provenance
Beckett Fine Art Ltd, Toronto;
Acquired from the above by the present Private Collection, Toronto.

Before his untimely death, Shilling penned a monograph, which was published posthumously as The Ojibway Dream, where he reflected on the nature of colour and form: ”At one point everything was color. There was no line, no division between colors. For a time I was frightened that there was no form. But then I saw that form was coming from within, and the light was coming from within. And that there was immortality in color” (p. 14). This insight profoundly connects to this self-portrait, where, despite his rather sober expression, light seems to radiate from within the work, as the colours themselves seem to generate vitality and form.

References: See Arthur Shilling, The Ojibway Dream, (Montreal/Plattsburgh, NY: Tundra Press, 1986) for additional quotations by the artist. Shilling was the subject of the 1978 National Film Board short, The Beauty of My People. A collection of Shilling’s later works were the subject of an exhibition at the Art Gallery of Peterborough. See the exhibition catalogue, William Kingfisher et. al, Arthur Shilling: The Final Works, (Peterborough, ON: The Art Gallery of Peterborough, 2016).

LAWRENCE PAUL YUXWELUPTUN (1957-) COAST SALISH / OKANAGAN, COWICHAN / SYILX FIRST NATIONS
Study for Right Half of “The Impending Nisga'a Deal, Last Stand, Chump Change", 1996
pen and ink on paper, 16.5 x 13.5 in (41.9 x 34.3 cm), framed, sight
signed and dated, "YUXWELUPTUN 96".

Provenance
Acquired directly from the artist by the present Private Collection, Toronto, 2001.

In this ink study, a poignant fragment of Yuxweluptun's large canvas now in the Art Gallery of Vancouver, [1] we witness a visual critique of the negotiations surrounding the Nisga'a Final Agreement. At the far left, we see the left hand and partial face of a First Nations figure, who points toward the despoiled landscape, symbolizing centuries of lost wealth through resource extraction. A central sxwayxwey-type mask sputters water onto the ravaged ground, futile in its attempt to heal or nourish.

The title, Last Stand evokes the desperate fight of the Nisga'a Nation to preserve their sovereignty, while Chump Change underscores the inadequacy of the treaty’s compensation, dismissing the true value of their land and rights.

1. The painting is illustrated in Barbara Brotherton, ed., S'abadeb = The Gifts: Pacific Coast Salish Art and Artists, (Seattle: Seattle Art Museum / University of Washington Press, 2008), fig. 5.40, p. 127.

References: The work is sometimes referred to as “The Impending Nisga'a Deal, Last Stand, Chump Change.” The canvas for this work, 1996, 183 x 213 cm, acrylic on canvas, Vancouver Art Gallery Acquisition Fund, Vancouver, BC., was reproduced in Barbara Brotherton, ed., S'abadeb = The Gifts: Pacific Coast Salish Art and Artists, (Seattle: University of Washington Press, 2008), fig. 5.40, p. 127 and on the back cover of Bruce Grenville and Scott Steedman, eds., Visions of British Columbia: A Landscape Manual, (Vancouver: Douglas & McIntyre, 2010).

JOHN LIVINGSTON (1951-2019), NON-INDIGENOUS, ADOPTED KWAKWA̱KA̱ʼWAKW
Tlingit Style Moon, 1979
alder wood, operculum shell, copper oxide paint, and acrylic paint, 15.25 x 14.5 x 5.25 in (38.7 x 36.8 x 13.3 cm)
signed, dated, titled, and inscribed, "John Livingston /79 / TLINGIT STYLE MOON / ALDERWOOD + / OPERCULUM SHELL / COPPER OXIDE PAINT".

Provenance
Snow Goose Gallery, Ottawa;
Acquired from the above by the present Private Collection, Ottawa, c. 1988.

John Livingston was known as “the Swiss Army Knife” of Northwest Coast artists. He was the assistant on many major commissions by master artists and he was considered an expert with a small long blade chainsaw that would remove the excess wood from totem poles and allow the artists to concentrate on the fine details, bringing the design to life. He oversaw a company that supplied all the materials known to Northwest Coast art; shells such dentalium, abalone and operculum, horse hair, feathers, and blank panels and paddles for carving. He was instrumental in the founding and operating the Arts of the Raven studio and gallery in Victoria. A space that offered instruction for new artists and a retail space where the work was properly showcased. Livingston was also a trusted restorer for wood and stone pieces and he travelled internationally to work on totem poles.

Moon masks were particularly powerful masks that held the supernatural connections between the natural and human worlds; gifts from the sky and the yearly cycles of weather, the arrival of salmon and berries and stories of historical events that shaped the world. Moon masks were associated with chiefs and shamans. The central face is a human emerging from an animal, possibly a bear and surrounded by two wolves, two creatures associated with transformation and yearly cycles. A small guardian spirit emerges from the chin.

Gary Wyatt

GLEN RABENA (1953-), NON-INDIGENOUS, ADOPTED HAIDA, HORNBY ISLAND
Mask, 1991
wood, acrylic paint, hair, and feathers, 18.25 x 9.75 x 8.25 in (46.4 x 24.8 x 21 cm), dimensions reflect measurements with feathers but without hair.
signed, "RABENA / 91".

Provenance
Potlatch Arts, Vancouver;
Acquired from the above by the Present Private Collection, Ottawa.

Glen Rabena began carving in the Northwest Coast style in 1970 and studied at the Gitanmaax School of Northwest Coast Native Art and Design for two years. He worked with Robert Davidson as an assistant, helping him create a large canoe and Davidson’s poles for the sculpture garden at Pepsico World Headquarters. Rabena was adopted into the Haida Eagle Clan by Claude Davidson in November 1987​. This classic Haida style mask shows his skill in both carving, inlaying, designing and painting, as well as his understanding of the drama and mystery of a mask in motion lit by firelight. The painted design is particularly strong, with bold shapes and fine lines that wrap around the mask to be revealed with a turn of the dancer.

Gary Wyatt

JOHN PANGNARK (1920-1980) ARVIAT (ESKIMO POINT)
Seated Figure, c. 1972
stone, 2.75 x 4.25 x 2 in (7 x 10.8 x 5.1 cm)
signed, "ᐸᓂ".

Provenance
Collection of Norman Zepp & Judith Varga, Saskatoon, SK.

By the early 1970s Pangnark’s style was becoming more abstract, and his figures ever more amorphous in shape, to the point that they were almost unrecognizable as depictions of humans to the casual observer. Despite its resolutely abstract form, this charming and quite lovely work retains its human identity, perhaps because its small size draws us close enough to clearly discern its minimalist facial features. Pangnark also files his trademark notches to further define the figure. They are subtle, to be sure, but they do the job. And the file marks even resemble fingers!

References: For numerous illustrations of works by the artist see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92); Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986); Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971); Bernadette Driscoll, Eskimo Point/Arviat, (Winnipeg Art Gallery, 1982:13-19). See also Lot 112 in this auction, and many fine examples in previous First Arts catalogues.

ANDY MAMGARK (1930-1997) ARVIAT (ESKIMO POINT)
Hunter in a Sleeping Bag, c. late 1960s
stone, 3.25 x 7 x 3.5 in (8.3 x 17.8 x 8.9 cm)
signed and inscribed with artist's disc number, "ᒪᒐ ./ E1-164”.

Provenance
By Repute: Canada House, Banff, AB, 5 Nov 1990;

Acquired from the above by the present Private Collection, Toronto.

As mentioned in Lot 75, Andy Mamgark is best known for his Arctic wildlife carvings, especially polar bears, making his rare figural works a special find. With two such pieces in this sale, including this dynamic figure, we see a rare departure from his typical motifs. A similar work appears in Swinton's Inuit Sculpture (fig. 586), this present work feels far more dynamic.

Unlike the Swinton figure, here, the man is prone, with his head and upper torso emerging from his sleeping bag, arms positioned forward, sparking our curiosity. Is he flipping the pillow for the cool side? Stirring awake in response to a distant sound? Or simply waking for a midnight pee break? Such a playful ambiguity draws us into the work, inviting us to explore its subtle tension between stillness and action.

References: For a very similar subject by Mamgark from 1967, in the Canadian Museum of History Collection, see George Swinton, Sculpture of the Inuit (Toronto: McClelland & Stewart, 1972/92), fig. 586, p. 205. Also illustrated in Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic (Toronto: University of Toronto Press, 1971), cat. 216. See also a lovely depiction of a mother and child in this auction (Lot 75). For a seated Mother and Child by the artist in the Winnipeg Art Gallery collection see Darlene Coward Wight, The Jerry Twomey Collection (Winnipeg: Winnipeg Art Gallery, 2003), p. 99; also illustrated in Winnipeg Art Gallery, Eskimo Point/Arviat (Winnipeg Art Gallery, 1982), cat. 45.

JOSEPH ANGATAJUAK (1935-1976) KANGIQLINIQ (RANKIN INLET)
Muskox, early 1970s
stone, 2.75 x 4.5 x 1.5 in (7 x 11.4 x 3.8 cm)
inscribed with artist's disc number and signed, "E1-486 / ᐊᒐᑕᒍᐊ";

Provenance
Private Collection, Quebec.

Born near Baker Lake, Angatajuak lived and worked in Rankin Inlet in the 1960s, Muskox embodies a unique fusion of influences from both communities. While the muskox is a somewhat uncommon subject for Rankin Inlet artists, it was a prevalent theme in Qamani’tuaq. Here, with the same finesse and skill of many of his Baker Lake peers, Angatajuak, skillfully captures the animal’s bulk through soft contours, despite the sculpture’s small size. Notably, the work retains key stylistic features shared with Rankin Inlet artists such as John Kavik and John Tiktak, including a minimalistic yet distinctive face. Here we see deep, narrow slits for the eyes, with softly carved brows and tear troughs adding depth and naturalistic contour to the face, while the animal’s horns emerge as protrusions from the head. ​​

References: For a biography of the artist and other works, see Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), p. 34-37. For other examples of the artist’s work see Marie Bouchard, An Inuit Perspective: Baker Lake Sculpture from the Collection of the Art Gallery of Ontario, Gift of Samuel and Esther Sarick, (Baker Lake: Itsamittakarvik Inuit Heritage Centre / Toronto: Art Gallery of Ontario, 2000), p. 41. See also Winnipeg Art Gallery, The Zazelenchuk Collection of Eskimo Art, (Winnipeg: Winnipeg Art Gallery, 1978), cat. 6, p. 19; and Darlene Coward Wight, The Faye and Bert Settler Collection, (Winnipeg: Winnipeg Art Gallery, 2004), p. 110.

EVA TALOOKI ALIKTILUK (1927-1995) ARVIAT (ESKIMO POINT)
Shaman Transforming, c. early 1980s
antler, stone, glass beads, felt, and cotton thread, 5 x 7.75 x 4.5 in (12.7 x 19.7 x 11.4 cm)
unsigned.

Provenance
Waddington's, Toronto, Nov 2015, Lot 35;
Acquired from the above Norman Zepp & Judith Varga, Saskatoon, SK.

Talooki’s carvings are mostly small, simple stone figures or mothers carrying children, with beads added to depict fancy clothing or other adornments. Her relatively few large sculptures can be monumental (see First Arts, 5 December 2022, Lot 42); occasionally, her antler works are impressive as well (see Ingo Hessel, Arctic Spirit, cat. 151). Shaman Transforming is both rare and fascinating for two reasons: it combines antler and stone and explores supernatural shamanic subject matter. Here the beads might represent a shaman’s amulet belt (see Lot 17 in this auction). The long tail may suggest a journey as well as animal transformation.

References: For other antler works by the artist see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 151, p. 180; and Robert Kardosh, Vision and Form: The Norman Zepp - Judith Varga Collection of Inuit Art, (Vancouver: Marion Scott Gallery, 2003), cat. 87, p. 112.

JACOB IRKOK (1937-2009) ARVIAT (ESKIMO POINT)
Standing Caribou, c. late 1960s
antler, 6 x 7.5 x 1.75 in (15.2 x 19.1 x 4.4 cm)
unsigned.

Provenance
An Ottawa Collection.

Like his Arviat colleague, Andy Mamgark (see Lots 75 and 155), Jacob Irkok’s aesthetic leans towards the naturalistic. Irkok often carved various subjects in stone, but he is now most famous for his graceful antler depictions of animals: birds, wolves, and especially caribou. Standing Caribou is an incredibly appealing work of art, capturing the spirit of the animal with a perfect blend of lightness, delicacy, and homespun charm.

References: For other fine antler carvings of caribou by the artist see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cats. 99, 100, pp. 110-111. See also Bernadette Driscoll, Eskimo Point/Arviat, (Winnipeg Art Gallery, 1982:13-19), cat. 30, p. 65; note: undated in the WAG catalogue, the artist identified that work as having been carved c. 1963 (personal communication with Ingo Hessel, August, 1989).

LUKE ANOWTALIK (1932-2006) ARVIAT (ESKIMO POINT)
Humans, Animals, and Altar, c. late 1990s
antler, 10.5 x 12.5 x 7 in (26.7 x 31.8 x 17.8 cm)
unsigned.

Provenance
Private Collection, USA;
A Toronto Collection.

Luke Anowtalik was a stone sculptor of some repute who often carved alongside (and in a style very similar to) his equally talented wife Mary Ayaq. In our estimation, however, it is his caribou antler works that really allowed his imagination and gentle spirit to sing. Anowtalik’s antler “acrobats” are charming, but his larger, more complex compositions of animals and humans are works of art that achieve a level of lighthearted magic and pure visual delight and whimsy rarely matched in Inuit sculpture. This highly unusual example blends Anowtalik’s personal Ahiarmiut (Caribou Inuit) iconography with Christian imagery.

References: For fine antler sculptures by Luke Anowtalik see First Arts, 5 December 2022, Lot 16; George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), figs. 592 and 863 (latter in 1992 edition only). See also Robert Kardosh, Vision and Form: The Norman Zepp - Judith Varga Collection of Inuit Art, exh.cat., (Vancouver: Marion Scott Gallery, 2003), cat. 73, p. 96, and cat. 89, p. 114; and Bernadette Driscoll, Eskimo Point/Arviat, (Winnipeg Art Gallery, 1982:13-19), pp. 49-51.