Stonecut & Stencil 39/50 - Dorset 1975 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 24 ins x 33.5 ins (60.96 cm x 85.09 cm) Unframed Provenance: Private Collection Pudlo Pudlat (1916 – 1992 Indigenous / CAD) Born at Kamadjuak Camp, Baffin Island, Canada, Pudlat lived for much of his life in the Kimmirut region in what is now the Canadian Territory of Nunavut, hunting and fishing with his family along the southwest coast of Baffin Island. Pudlo began drawing in the early 1960s after he abandoned the semi-nomadic way of life and settled in Cape Dorset. He experienced firsthand the radical transformation of life in the Arctic that occurred in the 20th Century and reached its peak in the 1950s. In 1950, he married fellow Inuit artist Innukjuakju Pudlat, and they remained together until her death in 1972. Until he was six, he lived around Coral Harbour; later, he moved to the region of Lake Harbour, now called Kimmirut. In the late 1950s, when he was already in his 40s, he moved to Kiaktuuq near Cape Dorset to recover from a bout of tuberculosis. It was there he met Inuit art pioneer James Archibald Houston and began his career as an artist. Pudlat spent 33 years creating art. He began by carving sculpture, but he found carving difficult because of an arm injury, so he switched to drawing around 1959 or 1960. Initially encouraged by James Houston and then by Terry Ryan of the West Baffin Eskimo Co-operative, he embraced drawing and later printmaking and painting as these media were introduced in the north. Pudlo occasionally traveled south and to other parts of the Arctic for medical treatment. The objects he encountered his travels, especially airplanes, are prominent in his subject matter. In 1972 one of Pudlat's prints was selected for reproduction on a UNICEF greeting card. Pudlo travelled to Ottawa to attend the opening of an exhibition of the works. He remembered it as the first work for which he was invited south and accorded public recognition. Pudlat died in 1992, at Cape Dorset.

Stonecut & Stencil 45/50 - Dorset 1985 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 22 ins x 25 ins (55.88 cm x 63.5 cm) Unframed Paper: Natural Unbleached Provenance: Private Collection Pitaloosie Saila (1942 – 2021 Indigenous / CAD) R.C.A. Born on July 11, 1942, however, several galleries give her birth day at August 11, 1942. She was born in Kinngait, or Cape Dorset, in what was then Northwest Territories (now Nunavut) in Canada. Her parents were Sam Pudlat and Katauga. She spent much of her childhood in hospitals in Quebec and Ontario, for treatment of tuberculosis. She learned English through her hospital stays, and often served as translator for her neighbours. Her mother died when she was two years old while her father was away on a walrus hunt, and she was raised by her grandmother. She has stated that it was difficult for her to relearn Inuktitut once she returned to Baffin Island in 1957, at the age of 15. A graphic artist widely known for her 113 stunning images featured in Cape Dorset print collections since 1968, Pitaloosie Saila came from a family of extremely successful artists. Her husband Pauta Saila was a highly respected sculptor, and her stepmother, Mary Pudlat, has been a regular contributor to Cape Dorset print collections. Pitaloosie's two uncles, Pudlo Pudlat and Osoochiak Pudlat, have both gained considerable attention for their graphic works, and her father's famous cousin, Peter Pitseolak, was one of the first South Baffin Inuit to produce a sustained body of artistic work over an extended period of years. She began to draw in the early 1960s and immediately developed a personal style. She participated in an annual engraving collection in Cape Dorset since 1968. However, she began to draw completely on her own initiative in the early 1960s during the time that James Archibald Houston was at Cape Dorset, and her style was distinctively her own. She tended towards images of strong, nurturing women or mothers with their children, and frequently drew birds and mythical Taleelayu (or Sedna) figures as well. Pitaloosie Saila had numerous opportunities to travel in southern Canada and abroad in connection with her art. With Pauta Saila, she spent the summer of 1967 in Toronto with their family while Pauta executed a carving for the International Sculpture Symposium. In 1974, Pitaloosie attended the opening of her first solo exhibition in Hamilton, Ontario, and subsequent showings of her work took her to major cities in southern Canada, the United States and Europe. In 1977, in recognition of the contribution of Inuit art to the cultural heritage of Canada, Canada Post used her 1971 print, Fisherman's Dream, as one of a series of four illustrated postage stamps. Her 1980 print, Arctic Madonna, was selected for a UNICEF greeting card in 1983. Saila's works are included in some of the most important Inuit art collections, including those of the National Gallery of Canada, the Montreal Museum of Fine Arts (MMFA), the Winnipeg Art Gallery, and the Canadian Museum of History. In 2004, she was elected a member of the Royal Canadian Academy of Arts.

Stonecut & Stencil 30/50 - Dorset 1979 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 25 ins x 34 ins (63.5 cm x 86.4 cm) Unframed Paper: Natural Provenance: Private Collection Eegyvudluk Ragee (1920 – 1983 Indigenous / CAD) Eegyvudluk was the oldest child born to Pamiaktok and Sorisolutu at the small campsite of Ikarasak, on the southern tip of Baffin Island. Upon the birth of a younger sister, Eegyvudluk moved to the home of her grandparents, who lived in a nearby camp. She recalled little of her childhood, until her marriage to Kootoo. A son and daughter were born, the former having died as an infant. Kootoo himself died soon after of an undisclosed illness. When Eegyvudluk’s daughter reached the age of four, she married again, to Sakkiassie Ragee (arver & graphic artist). Together they adopted four children and lived first at Nuvudjuak, then later moving to Tikerak, some eight miles from Cape Dorset. From 1955-58 Eegyvudluk, Sakkiassie, and their oldest adopted son Peter, were in the Brandon, Manitoba sanitorium recovering from tuberculosis. They returned to Tikerak once again. Her daughter Sorosoluto Onalik is a graphic artist and carver, now living in Iqaluit.

Woodblock Print 36/50 Titled, Numbered & Signed Across Lower Border Sheet - 26 ins x 22 ins (66 cm x 55.88 cm) Framed Under Glass Provenance: Private Collection Aoudla Pudlat (1951 – 2006 Indigenous/CAD ) A prolific and versatile artist from Kinngait (Cape Dorset), NU. Pudlat practised in many styles and mediums, becoming renowned as both a lithographer and illustrator. He began as a sculptor in the mid 1960s carving subjects such as families, northern wildlife and Sedna. In the 1970s Pudlat started drawing and began an apprenticeship at the Kinngait Studios. His work first appeared in the Cape Dorset Annual Print Collection in 1980 and continued to appear in subsequent collections, alongside lithographs he had produced of other artists’ works. Honing his artistic skill set, Pudlat came to both illustrate and print his own compositions for the catalogue by the 1990s. Pudlat’s graphic style varied from photorealistic to fantastical. His lithograph Woman at Inukshuk Point (c.1983–1986), a reproduction of a photo taken by Jimmy Manning, is an example of his capability as a realist illustrator. Pudlat’s fine attention to detail is evident from the shape of a baby in the woman’s amautiq to the lichen patterning the stones of the inukshuk. Pudlat played with framing and three-dimensional space within several of his works. His Shamminizing (2000) prints featured bold black patterns that fill the entirety of the page, overlapping multiple perspectives and abstract figures in the compressed space. Conversely, his naturalistic bird illustrations subvert containment, emerging past the page’s neat lines to approach the viewer. Pudlat’s surreal renditions of birds frequently appeared in the Cape Dorset Annual Print Collection. His resplendent lithograph Bird of Baffin (1981) is both a visual and technical accomplishment. Pudlat’s work first appeared in the solo exhibition Aoudla Pudlat: Drawings (1980–1981) organized by Theo Waddington Inc. in New York, NY. Pudlat’s work continued to appear in exhibitions throughout the 1980s and 1990s in Canada, the United States and Europe. In 1996 Pudlat moved to Qamani'tuaq (Baker Lake), NU, to study printmaking techniques at Nunavut Arctic College [4]. He contributed several innovative works to the Baker Lake Print Collection, including the woodcut and stencil Then and Now (2001). Pudlat continued to carve and make prints in Qamani'tuaq until his death in 2006. His works can be found in the permanent collections of numerous artistic institutions, including the National Gallery of Canada in Ottawa, ON, the Winnipeg Art Gallery in Manitoba and the Canadian Museum of History in Gatineau, QC.

Stonecut & Stencil 13/40 - 1979 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 10.5 ins x 10.5 ins (26.67 cm x 26.67 cm) Unframed Paper: Natural Provenance: Private Collection

Etching & Aquatint 6/25 - Dorset 1981 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 18 ins x 20 ins (45.72 cm x 50.6 cm) Unframed Paper: Natural Unbleached Provenance: Private Collection Kananginak Pootoogook (1935 – 2010 Indigenous/CAD) R.C.A. Born at a traditional Inuit camp called Ikerasak, near Cape Dorset, Northwest Territories (now Kinngait, Nunavut) to Josephie (Eegyvudluk) Pootoogook, leader of the camp, and Sarah Ningeokuluk. The family lived a traditional lifestyle hunting and trapping while living in an iglu in the winter and a sod house in the summer and did not move into their first southern style house until 1942. In 1957 Pootoogook married Shooyoo, moved to Cape Dorset and began work for James Houston. Originally, Pootoogook did some carving, made prints and lithographs for other artists. At the same time he was a leader in setting up the West Baffin Eskimo Co-operative (WBEC), the first Inuit owned co-op, now part of the Arctic Co-operatives Limited and served from 1959 until 1964 as the president. Although Kananginak had worked with his father, Josephie, in 1959, it was not until the 1970s that Kananginak began work as a full-time artist producing drawings, carvings and prints. In 1977 he cut 13 original blocks for prints that were used exclusively for the first WBEC calendar that was issued in a limited edition of 500. According to Terry Ryan, former Co-op manager, Pootoogook was both influenced by and an admirer of the works of his uncle, photographer and historian Peter Pitseolak. The inukshuk at Rideau Hall created by artist Kananginak Pootoogook for former Governor General of Canada, Roméo LeBlanc, for National Aboriginal Day, unveiled on 21 June 1997. The World Wildlife Fund released a limited edition set in 1977 that included four of Pootoogook's images and in 1980 he was elected to the Royal Canadian Academy of Arts. In 1997 Pootoogook built a 1.8 m (6 ft) inukshuk in Cape Dorset for former Governor General of Canada, Roméo LeBlanc. The inukshuk was dismantled and shipped to Ottawa and with the assistance of his son, Johnny, it was rebuilt at Rideau Hall and unveiled on 21 June, National Aboriginal Day. Pootoogook had several exhibitions and showings of his work. In 2010, he went to Vancouver for the 2010 Winter Olympics and to open a showing of his work at the Marion Scott Gallery. He also had a showing of his work, his first solo exhibition at a public institution, at the Museum of Inuit Art in Toronto from February to May 2010. He also received a 2010 National Aboriginal Achievement Award in the arts category from the National Aboriginal Achievement Foundation. While working on his final, and unfinished, drawing of a Peterhead boat owned by his father, he was struck by coughing spells, which he declared was cancer. Along with his wife, Shooyoo, he flew to Ottawa, staying at the Larga Baffin home, and was diagnosed with lung cancer. In October 2010, he underwent surgery and did not recover.

Stonecut & Stencil 4/50 - Dorset 1985 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 25 ins x 34 ins (63.5 cm x 86.4 cm) Unframed Paper: Natural Provenance: Private Collection Kenojuak Ashevak (1927 – 2013 Inuit / CAD) C.C., Onu, R.C.A. Born in an igloo in an Inuit camp, Ikirasaq, at the southern coast of Baffin Island. Kenojuak Ashevak became one of the first Inuit women in Cape Dorset to begin drawing. She worked in graphite, coloured pencils and felt-tip pens, and occasionally used poster paints, watercolours or acrylics. She created many carvings from soapstone and thousands of drawings, etchings, stonecut prints and prints — all sought after by museums and collectors. She designed several drawings for Canadian stamps and coins, and in 2004 she created the first Inuit-designed stained-glass window for the John Bell Chapel in Oakville, Ontario. In 2017, the $10 bill released in celebration of Canada's 150th birthday features Kenojuak's stone-cut and stencil printed work called "Owl’s Bouquet" in silver holographic foil. During Ashevak's stay at Parc Savard hospital in Quebec City, 1952 to 1955, she learned to make dolls from Harold Pfeiffer and to do beadwork. These crafts later attracted the attention of civil administrator and pioneer Inuit art promoter James Archibald Houston and his wife Alma. Houston introduced print-making to Cape Dorset artists in the 1950s, and he and his wife began marketing Inuit arts and crafts, including an exhibit of Inuit art in 1959. She was hesitant at first, claiming that she could not draw and that drawing was a man’s business. Yet the next time that she visited the Houstons, the sheets of paper that Alma had given her were filled with pencil sketches. In 1958 her first print, Rabbit Eating Seaweed, was produced from one of her designs on a sealskin bag, and by 1959 Kenojuak and other Cape Dorset Inuit had formed the West Baffin Eskimo Co-operative as a senlavik (workshop) for aspiring Inuit artists, later known as Kinngait Studios. Fellow members included Pitaloosie Saila, Mayoreak Ashoona, and Napatchie Pootagook. Her reception in southern Canada was rapidly favourable. In 1963 she was the subject of a National Film Board documentary by producer John Feeney, Eskimo Artist: Kenojuak, about Kenojuak, then 35, and her family, as well as traditional Inuit life on Baffin Island. The film showed a stonecutter carving her design into a relief block in stone, cutting away all the non-printing surfaces; she would then apply ink to the carved stone, usually in two or more colours, and carefully make 50 "shadow" prints for sale. With the money she earned from the film, Johnniebo was able to purchase his own canoe and become an independent hunter to help provide for the family, which now included a new daughter, Aggeo, and an adopted son, Ashevak. Ashevak created several pieces of work to commemorate the creation of Nunavut, the third Canadian Territory, including a piece commissioned by the Department of Indian and Northern Affairs, Nunavut Qajanatuk (Our Beautiful Land) for the signing of the Inuit Land Claim Agreement in Principle in April 1990; Nunavut, a large hand-coloured lithograph to commemorate the signing of the Final Agreement early in 1994; a large diptych titled Siilavut, Nunavut (Our Environment, Our Land) in April 1999, when the Territory officially came into being. Kenojuak became the first Inuit artist inducted into Canada's Walk of Fame in 2001, and traveled to Toronto with her daughter, Silaqi, to attend the ceremony. Up until her death, Kenojuak contributed annually to the Cape Dorset Annual Print Release and continued to create new works. She was one of the last living artists from the West Baffin Eskimo Cooperative. Since her death, prices for Kenojuak's work have reached new records, including $59,000CAD paid for a copy of Rabbit Eating Seaweed. In 1967, she was made an Officer of the Order of Canada and was promoted to Companion in 1982. In 1970, Canada Post placed her 1960 print Enchanted Owl on a stamp to commemorate the centennial of the Northwest Territories. In 1974, she was elected a member of the Royal Canadian Academy of Arts. In 1980, Canada Post used her 1961 print Return of the Sun on a seventeen-cent stamp as part of its Inuit postage stamp series. In 1982, she has appointed a Companion of the Order of Canada. In 1991, she received an honorary doctorate from Queen's University. In 1992, she was awarded an honorary doctorate from the University of Toronto. In 1993, Canada Post featured 1969 drawing The Owl on a stamp for its Masterpieces of Canadian Art series. In 1999, a famous piece of hers, the "Red Owl" was featured on the April issue of the 1999 Millennium quarter series. Her initials in Inuktitut were on the left of the design, the first time the language had appeared on circulation coinage. In 2001, she was inducted into Canada's Walk of Fame. In 2004, she created the first-ever Inuit-designed stained glass window for the John Bell Chapel at Appleby College in Oakville, Ontario. In 2008, she received the renowned $25,000 Governor General's Award in Visual and Media Arts from the Canada Council of the Arts. In 2012, she was appointed a member of the Order of Nunavut. In 2017, the Bank of Canada unveiled a commemorative $10 banknote in honour of Canada's 150th birthday; Ashevak's print Owl's Bouquet is featured on the note.

Stonecut 23/50 - Dorset 1975 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 24.5 ins x 33.5 ins (62.23 cm x 85.09 cm) Unframed Paper: Natural Provenance: Private Collection Pudlo Pudlat (1916 – 1992 Indigenous / CAD) Born at Kamadjuak Camp, Baffin Island, Canada, Pudlat lived for much of his life in the Kimmirut region in what is now the Canadian Territory of Nunavut, hunting and fishing with his family along the southwest coast of Baffin Island. Pudlo began drawing in the early 1960s after he abandoned the semi-nomadic way of life and settled in Cape Dorset. He experienced firsthand the radical transformation of life in the Arctic that occurred in the 20th Century and reached its peak in the 1950s. In 1950, he married fellow Inuit artist Innukjuakju Pudlat, and they remained together until her death in 1972. Until he was six, he lived around Coral Harbour; later, he moved to the region of Lake Harbour, now called Kimmirut. In the late 1950s, when he was already in his 40s, he moved to Kiaktuuq near Cape Dorset to recover from a bout of tuberculosis. It was there he met Inuit art pioneer James Archibald Houston and began his career as an artist. Pudlat spent 33 years creating art. He began by carving sculpture, but he found carving difficult because of an arm injury, so he switched to drawing around 1959 or 1960. Initially encouraged by James Houston and then by Terry Ryan of the West Baffin Eskimo Co-operative, he embraced drawing and later printmaking and painting as these media were introduced in the north. Pudlo occasionally traveled south and to other parts of the Arctic for medical treatment. The objects he encountered his travels, especially airplanes, are prominent in his subject matter. In 1972 one of Pudlat's prints was selected for reproduction on a UNICEF greeting card. Pudlo travelled to Ottawa to attend the opening of an exhibition of the works. He remembered it as the first work for which he was invited south and accorded public recognition. Pudlat died in 1992, at Cape Dorset.

Stonecut & Stencil 49/50 - Dorset 1982 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 23 ins x 28.5 ins (58.42 cm x 72.39 cm) Unframed Paper: Natural Provenance: Private Collection Pitseolak Ashoona (1904 – 1983 Indigenous / CAD) C.M., R.C.A. Born on Nottingham Island in the Northwest Territories, now Nunavut. Her name means "sea pigeon" in Inuktitut. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island. They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. She was also one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist. Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print collection. First working with graphite pencil, Pitseolak would later move on to coloured pencil and felt-tip pens. In the last two decades of her life, from 1960 onwards, she produced a collection of more than 7,000 images, 233 of which were created as prints in her Cape Dorset Collection. She said these illustrated life pre-contact, "the things we did long ago before there were many white men." Her artwork focuses on both daily life and legends, or Taleelayu. Pitseolak was inspired by other artists in her community who started before her, saying: "I don't know who did the first print, but Kiakshuk, Niviaksiak, Oshawetok and Tudlik were all drawing at the beginning. I liked the first prints ... because they were truly Eskimo." Pitseolak was accepted into the Royal Canadian Academy of Arts in 1974 and was awarded the Order of Canada in 1977 for her work. Through the following decade and until her death in 1983, Pitseolak continued to draw, and to work with new media. An arts grant awarded to her in 1975 sparked experimentation in a new medium – acrylic paint on canvas. Initially, she approached painting like drawing, outlining in pencil and then filling in with colour. As she gradually adapted to the nuances of the medium, she began laying down bold colours side by side to achieve her vivid affect. In 1973 she narrated her story in the National Film Board's animated documentary Pictures out of My Life, directed by Bozenna Heczko and based on interviews from Eber's book. Pitseolak was also featured on a stamp, issued on March 8, 1993 and designed by Heather J. Cooper, in commemoration of International Woman's Day. Pitseolak's work has been featured in exhibitions at Canadian museums, including the National Gallery of Canada, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Canadian museum of civilizations, and the Vancouver Art Gallery. In 1975 she had a retrospective at the Smithsonian Institution in Washington D.C., organized by the Department of Indian and Northern Affairs Canada. In 2020, Ashoona was one of eight finalist for the person to be depicted on $5 polymer bills in Canada.

Lithograph 35/50 1982 Signed Lower Right & in Syllabics - Titled, Dated & Numbered Lower Border Unframed Sight - 20 ins x 26 ins (50.8 cm x 66 cm) Provenance: Private Collection Mayoreak Ashoona (1946 – Indigenous / CAD) R.C.A. Born in Saturituk, NU., and for a very long time Mayoreak lived at an outpost camp and being great distances away from people demands self-sufficiency. This required an income to provide for necessities. So Mayoreak took up carving as well as drawing because it made economic sense to do so and also kept herself occupied. Mayoreak’s carvings are very dynamic and strong and having uniquely feminine perspectives in their rendering as do her drawings. You can see the influences from her background in the art she produces. Ashoona draws in a variety of styles (including abstract) and the figures that she produces are engaged in a variety of activities. Ashoona has in the context of her paintings and drawings an ability to explore, to work and capture the essence and master techniques of abstract or figurative representation through symmetry and balance. Ashoona’s work has been in exhibitions internationally across Canada, Germany and Japan. Her work has appeared in the Cape Dorset Annual Print Collection and was part of the Uuturautiit: Cape Dorset Celebrates 50 Years of Printmaking at the National Gallery of Canada, Ottawa, ON in 2010. In 2003 she was elected to the Royal Canadian Academy. Ashoona has appeared in various publications including multiple times in the Inuit Art Quarterly.

Acrylic On Paper Signed Lower Right Sight - 12 ins x 11 ins (30.48 cm x 27.94 cm) Provenance: Private Collection Rick Beaver (1948 – Indigenous / CAD) Rick Beaver was born in 1948 on the Alderville Indian Reservation on the shores of Rice Lake in southern Ontario. His degree in wildlife biology greatly influenced his paintings, when he devoted himself to it full time in 1981. His art expresses an emotional response that dates back to the origin of man on earth. By combining art and nature, Rick's works show us contrasts of a well-determined structure. The backgrounds are slightly blurry and melodious compared to the graphic precision of the creature he has chosen to represent. This melting of forms, which remain faithful to biology, embellished with abstract backdrops, constitute the essence of Rick Beaver's paintings.

Stonecut 40/50 - Dorset 1974 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 24.5 ins x 34 ins (62.23 cm x 86.4 cm) Unframed Provenance: Private Collection Pudlo Pudlat (1916 – 1992 Indigenous / CAD) Born at Kamadjuak Camp, Baffin Island, Canada, Pudlat lived for much of his life in the Kimmirut region in what is now the Canadian Territory of Nunavut, hunting and fishing with his family along the southwest coast of Baffin Island. Pudlo began drawing in the early 1960s after he abandoned the semi-nomadic way of life and settled in Cape Dorset. He experienced firsthand the radical transformation of life in the Arctic that occurred in the 20th Century and reached its peak in the 1950s. In 1950, he married fellow Inuit artist Innukjuakju Pudlat, and they remained together until her death in 1972. Until he was six, he lived around Coral Harbour; later, he moved to the region of Lake Harbour, now called Kimmirut. In the late 1950s, when he was already in his 40s, he moved to Kiaktuuq near Cape Dorset to recover from a bout of tuberculosis. It was there he met Inuit art pioneer James Archibald Houston and began his career as an artist. Pudlat spent 33 years creating art. He began by carving sculpture, but he found carving difficult because of an arm injury, so he switched to drawing around 1959 or 1960. Initially encouraged by James Houston and then by Terry Ryan of the West Baffin Eskimo Co-operative, he embraced drawing and later printmaking and painting as these media were introduced in the north. Pudlo occasionally traveled south and to other parts of the Arctic for medical treatment. The objects he encountered his travels, especially airplanes, are prominent in his subject matter. In 1972 one of Pudlat's prints was selected for reproduction on a UNICEF greeting card. Pudlo travelled to Ottawa to attend the opening of an exhibition of the works. He remembered it as the first work for which he was invited south and accorded public recognition. Pudlat died in 1992, at Cape Dorset.

Stonecut & Stencil 46/50 - Dorset 1982 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 21.5 ins x 27 ins (54.61 cm x 68.6 cm) Unframed Paper: Natural Provenance: Private Collection Eegyvudluk Ragee (1920 – 1983 Indigenous / CAD) Eegyvudluk was the oldest child born to Pamiaktok and Sorisolutu at the small campsite of Ikarasak, on the southern tip of Baffin Island. Upon the birth of a younger sister, Eegyvudluk moved to the home of her grandparents, who lived in a nearby camp. She recalled little of her childhood, until her marriage to Kootoo. A son and daughter were born, the former having died as an infant. Kootoo himself died soon after of an undisclosed illness. When Eegyvudluk’s daughter reached the age of four, she married again, to Sakkiassie Ragee (arver & graphic artist). Together they adopted four children and lived first at Nuvudjuak, then later moving to Tikerak, some eight miles from Cape Dorset. From 1955-58 Eegyvudluk, Sakkiassie, and their oldest adopted son Peter, were in the Brandon, Manitoba sanitorium recovering from tuberculosis. They returned to Tikerak once again. Her daughter Sorosoluto Onalik is a graphic artist and carver, now living in Iqaluit.

Stonecut & Stencil 42/50 - Dorset 1983 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 27.5 ins x 25 ins (69.85 cm x 63.5 cm) Unframed Paper: Natural Provenance: Private Collection Pitseolak Ashoona (1904 – 1983 Indigenous / CAD) C.M., R.C.A. Born on Nottingham Island in the Northwest Territories, now Nunavut. Her name means "sea pigeon" in Inuktitut. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island. They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. She was also one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist. Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print collection. First working with graphite pencil, Pitseolak would later move on to coloured pencil and felt-tip pens. In the last two decades of her life, from 1960 onwards, she produced a collection of more than 7,000 images, 233 of which were created as prints in her Cape Dorset Collection. She said these illustrated life pre-contact, "the things we did long ago before there were many white men." Her artwork focuses on both daily life and legends, or Taleelayu. Pitseolak was inspired by other artists in her community who started before her, saying: "I don't know who did the first print, but Kiakshuk, Niviaksiak, Oshawetok and Tudlik were all drawing at the beginning. I liked the first prints ... because they were truly Eskimo." Pitseolak was accepted into the Royal Canadian Academy of Arts in 1974 and was awarded the Order of Canada in 1977 for her work. Through the following decade and until her death in 1983, Pitseolak continued to draw, and to work with new media. An arts grant awarded to her in 1975 sparked experimentation in a new medium – acrylic paint on canvas. Initially, she approached painting like drawing, outlining in pencil and then filling in with colour. As she gradually adapted to the nuances of the medium, she began laying down bold colours side by side to achieve her vivid affect. In 1973 she narrated her story in the National Film Board's animated documentary Pictures out of My Life, directed by Bozenna Heczko and based on interviews from Eber's book. Pitseolak was also featured on a stamp, issued on March 8, 1993 and designed by Heather J. Cooper, in commemoration of International Woman's Day. Pitseolak's work has been featured in exhibitions at Canadian museums, including the National Gallery of Canada, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Canadian museum of civilizations, and the Vancouver Art Gallery. In 1975 she had a retrospective at the Smithsonian Institution in Washington D.C., organized by the Department of Indian and Northern Affairs Canada. In 2020, Ashoona was one of eight finalist for the person to be depicted on $5 polymer bills in Canada.

Lithograph 276/300 Signed Lower Right - Numbered Lower Left, Titled & Dated au Verso Sight - 22.5 ins x 36 ins ( 57.15 cm x 91.4 cm) Framed Under Glass Provenance: Waddington's Private Collection Robert Redbird (1939 – 2016 USA) Born in Lawton, Oklahoma, a Native American artist who painted in order to preserve and communicate the Kiowa culture. He is known primarily for his blanket-wrapped Southern Plains figures and depiction of Kiowa folklore. He was raised at his grandparents' farm in Gotebo, Oklahoma in Kiowa County. Redbird's grandfather, Monroe Tsatoke, was a member of the Kiowa Six, an important cohort of painters who popularized Southern Plains Flatstyle painting. Inspired by Tsatoke, At Redbird started practicing his own skills at eight years old. When Redbird was 16, he sold his first piece of artwork to a doctor in Carnegie, Oklahoma, and gave the proceeds to his grandmother for groceries. Oklahoma Governor Brad Henry declared June 7, 2003, as "Robert Redbird Day" to celebrate the artist's many creative and humanitarian achievements.

Stonecut & Stencil 30/50 - Dorset 1978 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 18 ins x 30.5 ins (45.72 cm x 77.47 cm) Unframed Paper: Natural Provenance: Private Collection Soroseelutu Ashoona (1941 – Indigenous / CAD) Born In Cape Dorset, she is married to the sculptor, Kiawak Ashoona. She is the granddaughter of artists, Pootoogook and Ningeookaluk. Sorosiluto is also the half-sister of Joanasie Solomonie. “If it weren’t for Pitseolak, my mother-in-law, I don’t think I would have ever learned to draw. For a long time, she kept asking me to try but because I was afraid to try, it wasn’t until a year later that I started. Sometimes I try to do some pictures of stories I have heard about the old days. Sometimes it seems when I begin to draw that not on purpose, I am drawing the same thing I have done before. Sometimes when I see the finished print, I can’t really remember when I did the drawing but I like the prints better than the drawings because of the colours.” (1941 – Indigenous / CAD) Born In Cape Dorset, she is married to the sculptor, Kiawak Ashoona. She is the granddaughter of artists, Pootoogook and Ningeookaluk. Sorosiluto is also the half-sister of Joanasie Solomonie. “If it weren’t for Pitseolak, my mother-in-law, I don’t think I would have ever learned to draw. For a long time, she kept asking me to try but because I was afraid to try, it wasn’t until a year later that I started. Sometimes I try to do some pictures of stories I have heard about the old days. Sometimes it seems when I begin to draw that not on purpose, I am drawing the same thing I have done before. Sometimes when I see the finished print, I can’t really remember when I did the drawing but I like the prints better than the drawings because of the colours.”

Stonecut & Stencil 18/50 - Dorset 1982 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 19.5 ins x 24 ins (49.53 cm x 60.96 cm) Unframed Paper: Natural Provenance: Private Collection Jamasie Teevee (1910 – 1985 Indigenous / CAD) Jamasie began to draw in the early 1960s while living in an Inuit Camp on the coastline of southern Baffin Island. During that time, he concentrated primarily on the copper engraving technique, ferrying copper plates back and forth between his campsite and the co-operative in Cape Dorset. Many of his engravings, published in the 1960s and early 1970s, depicted the traditional Inuit camp and hunting activities. In the early 1980s, Jamasie … returned to drawing on paper, using graphite and coloured pencils, in addition to felt-tip pens. His drawings were executed in precise, simple and uncluttered lines. Jamasie was the father of Anirnik Ragee, Parnee Peter, Nicotai Simigak, and Simeonie Teevee, all Cape Dorset sculptors. Jamasie’s wife, Cape Dorset artist Angotigolu Teevee, died in 1967.

Stonecut 47/50 - Dorset 1975 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 24 ins x 33.5 ins (60.96 cm x 85.09 cm) Unframed Paper: Natural Provenance: Private Collection Jamasie Teevee (1910 – 1985 Indigenous / CAD) Jamasie began to draw in the early 1960s while living in an Inuit Camp on the coastline of southern Baffin Island. During that time, he concentrated primarily on the copper engraving technique, ferrying copper plates back and forth between his campsite and the co-operative in Cape Dorset. Many of his engravings, published in the 1960s and early 1970s, depicted the traditional Inuit camp and hunting activities. In the early 1980s, Jamasie … returned to drawing on paper, using graphite and coloured pencils, in addition to felt-tip pens. His drawings were executed in precise, simple and uncluttered lines. Jamasie was the father of Anirnik Ragee, Parnee Peter, Nicotai Simigak, and Simeonie Teevee, all Cape Dorset sculptors. Jamasie’s wife, Cape Dorset artist Angotigolu Teevee, died in 1967.

Stonecut & Stencil 41/50 - Dorset 1983 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 24 ins x 34 ins (60.96 cm x 86.4 cm) Unframed Paper: Natural Provenance: Private Collection Pudlo Pudlat (1916 – 1992 Indigenous / CAD) Born at Kamadjuak Camp, Baffin Island, Canada, Pudlat lived for much of his life in the Kimmirut region in what is now the Canadian Territory of Nunavut, hunting and fishing with his family along the southwest coast of Baffin Island. Pudlo began drawing in the early 1960s after he abandoned the semi-nomadic way of life and settled in Cape Dorset. He experienced firsthand the radical transformation of life in the Arctic that occurred in the 20th Century and reached its peak in the 1950s. In 1950, he married fellow Inuit artist Innukjuakju Pudlat, and they remained together until her death in 1972. Until he was six, he lived around Coral Harbour; later, he moved to the region of Lake Harbour, now called Kimmirut. In the late 1950s, when he was already in his 40s, he moved to Kiaktuuq near Cape Dorset to recover from a bout of tuberculosis. It was there he met Inuit art pioneer James Archibald Houston and began his career as an artist. Pudlat spent 33 years creating art. He began by carving sculpture, but he found carving difficult because of an arm injury, so he switched to drawing around 1959 or 1960. Initially encouraged by James Houston and then by Terry Ryan of the West Baffin Eskimo Co-operative, he embraced drawing and later printmaking and painting as these media were introduced in the north. Pudlo occasionally traveled south and to other parts of the Arctic for medical treatment. The objects he encountered his travels, especially airplanes, are prominent in his subject matter. In 1972 one of Pudlat's prints was selected for reproduction on a UNICEF greeting card. Pudlo travelled to Ottawa to attend the opening of an exhibition of the works. He remembered it as the first work for which he was invited south and accorded public recognition. Pudlat died in 1992, at Cape Dorset.

Serigraph on Rag Paper 51/78 - c1977 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 31 ins x 21 ins (78.7 cm x 53.34 cm) Unframed Paper: Rag Provenance: Private Collection Norval Morrisseau (1932 – 2007 CAD) R.C.A., Order of Canada Also known as Copper Thunderbird, was an Indigenous Canadian artist from the Bingwi Neyaashi Anishinaabek First Nation. Known as the "Picasso of the North", Morrisseau created works depicting the legends of his people, the cultural and political tensions between native Canadian and European traditions, his existential struggles, and his deep spirituality and mysticism. His style is characterized by thick black outlines and bright colors. He founded the Woodlands School of Canadian art and was a prominent member of the “Indian Group of Seven”. Morrisseau was a self-taught artist. He developed his own techniques and artistic vocabulary that captured ancient legends and images that came to him in visions or dreams. He was originally criticized by the native community because his images disclosed traditional spiritual knowledge. Initially he painted on any material that he could find, especially birchbark, and also moose hide. Dewdney encouraged him to use earth-tone colors and traditional material, which he thought were appropriate to Morrisseau's native style. The subjects of his art in the early period were myths and traditions of the Anishnaabe people. He is acknowledged to have initiated the Woodland School of native art, where images similar to the petroglyphs of the Great Lakes region were now captured in paintings and prints. His later style changed: he used more standard material and the colors became progressively brighter, eventually obtaining a neon-like brilliance. The themes also moved from traditional myth to depicting his own personal struggles. He also produced art depicting Christian subjects: during his incarceration, he attended a local church where he was struck by the beauty of the images on stained-glass windows. Some of his paintings, like Indian Jesus Christ, imitate that style and represent characters from the Bible with native features. After he joined the new age religion Eckankar in 1976, he started representing on canvas its mystical beliefs.

Stonecut & Stencil 42/50 - Dorset 1983 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 25 ins x 24 ins (54.61 cm x 71.1 cm) Unframed Paper: Natural Provenance: Private Collection Pitseolak Ashoona (1904 – 1983 Indigenous / CAD) C.M., R.C.A. Born on Nottingham Island in the Northwest Territories, now Nunavut. Her name means "sea pigeon" in Inuktitut. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island. They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. She was also one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist. Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print collection. First working with graphite pencil, Pitseolak would later move on to coloured pencil and felt-tip pens. In the last two decades of her life, from 1960 onwards, she produced a collection of more than 7,000 images, 233 of which were created as prints in her Cape Dorset Collection. She said these illustrated life pre-contact, "the things we did long ago before there were many white men." Her artwork focuses on both daily life and legends, or Taleelayu. Pitseolak was inspired by other artists in her community who started before her, saying: "I don't know who did the first print, but Kiakshuk, Niviaksiak, Oshawetok and Tudlik were all drawing at the beginning. I liked the first prints ... because they were truly Eskimo." Pitseolak was accepted into the Royal Canadian Academy of Arts in 1974 and was awarded the Order of Canada in 1977 for her work. Through the following decade and until her death in 1983, Pitseolak continued to draw, and to work with new media. An arts grant awarded to her in 1975 sparked experimentation in a new medium – acrylic paint on canvas. Initially, she approached painting like drawing, outlining in pencil and then filling in with colour. As she gradually adapted to the nuances of the medium, she began laying down bold colours side by side to achieve her vivid affect. In 1973 she narrated her story in the National Film Board's animated documentary Pictures out of My Life, directed by Bozenna Heczko and based on interviews from Eber's book. Pitseolak was also featured on a stamp, issued on March 8, 1993 and designed by Heather J. Cooper, in commemoration of International Woman's Day. Pitseolak's work has been featured in exhibitions at Canadian museums, including the National Gallery of Canada, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Canadian museum of civilizations, and the Vancouver Art Gallery. In 1975 she had a retrospective at the Smithsonian Institution in Washington D.C., organized by the Department of Indian and Northern Affairs Canada. In 2020, Ashoona was one of eight finalist for the person to be depicted on $5 polymer bills in Canada.

Stonecut & Stencil 41/50 - Dorset 1993 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 21.5 ins x 27 ins (54.61 cm x 68.6 cm) Unframed Printer: Qiatsug Niviaqsi Provenance: Private Collection Pudlo Pudlat (1916 – 1992 Indigenous / CAD) Born at Kamadjuak Camp, Baffin Island, Canada, Pudlat lived for much of his life in the Kimmirut region in what is now the Canadian Territory of Nunavut, hunting and fishing with his family along the southwest coast of Baffin Island. Pudlo began drawing in the early 1960s after he abandoned the semi-nomadic way of life and settled in Cape Dorset. He experienced firsthand the radical transformation of life in the Arctic that occurred in the 20th Century and reached its peak in the 1950s. In 1950, he married fellow Inuit artist Innukjuakju Pudlat, and they remained together until her death in 1972. Until he was six, he lived around Coral Harbour; later, he moved to the region of Lake Harbour, now called Kimmirut. In the late 1950s, when he was already in his 40s, he moved to Kiaktuuq near Cape Dorset to recover from a bout of tuberculosis. It was there he met Inuit art pioneer James Archibald Houston and began his career as an artist. Pudlat spent 33 years creating art. He began by carving sculpture, but he found carving difficult because of an arm injury, so he switched to drawing around 1959 or 1960. Initially encouraged by James Houston and then by Terry Ryan of the West Baffin Eskimo Co-operative, he embraced drawing and later printmaking and painting as these media were introduced in the north. Pudlo occasionally traveled south and to other parts of the Arctic for medical treatment. The objects he encountered his travels, especially airplanes, are prominent in his subject matter. In 1972 one of Pudlat's prints was selected for reproduction on a UNICEF greeting card. Pudlo travelled to Ottawa to attend the opening of an exhibition of the works. He remembered it as the first work for which he was invited south and accorded public recognition. Pudlat died in 1992, at Cape Dorset.

Stonecut & Stencil 49/50 - Dorset 1982 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 20 ins x 24 ins (50.8 cm x 60.96 cm) Unframed Paper: Natural Provenance: Private Collection Pitseolak Ashoona (1904 – 1983 Indigenous / CAD) C.M., R.C.A. Born on Nottingham Island in the Northwest Territories, now Nunavut. Her name means "sea pigeon" in Inuktitut. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island. They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. She was also one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist. Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print collection. First working with graphite pencil, Pitseolak would later move on to coloured pencil and felt-tip pens. In the last two decades of her life, from 1960 onwards, she produced a collection of more than 7,000 images, 233 of which were created as prints in her Cape Dorset Collection. She said these illustrated life pre-contact, "the things we did long ago before there were many white men." Her artwork focuses on both daily life and legends, or Taleelayu. Pitseolak was inspired by other artists in her community who started before her, saying: "I don't know who did the first print, but Kiakshuk, Niviaksiak, Oshawetok and Tudlik were all drawing at the beginning. I liked the first prints ... because they were truly Eskimo." Pitseolak was accepted into the Royal Canadian Academy of Arts in 1974 and was awarded the Order of Canada in 1977 for her work. Through the following decade and until her death in 1983, Pitseolak continued to draw, and to work with new media. An arts grant awarded to her in 1975 sparked experimentation in a new medium – acrylic paint on canvas. Initially, she approached painting like drawing, outlining in pencil and then filling in with colour. As she gradually adapted to the nuances of the medium, she began laying down bold colours side by side to achieve her vivid affect. In 1973 she narrated her story in the National Film Board's animated documentary Pictures out of My Life, directed by Bozenna Heczko and based on interviews from Eber's book. Pitseolak was also featured on a stamp, issued on March 8, 1993 and designed by Heather J. Cooper, in commemoration of International Woman's Day. Pitseolak's work has been featured in exhibitions at Canadian museums, including the National Gallery of Canada, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Canadian museum of civilizations, and the Vancouver Art Gallery. In 1975 she had a retrospective at the Smithsonian Institution in Washington D.C., organized by the Department of Indian and Northern Affairs Canada. In 2020, Ashoona was one of eight finalist for the person to be depicted on $5 polymer bills in Canada.

Stonecut & Stencil 30/50 - Dorset 1994 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 25 ins x 18.5 ins (63.5 cm x 46.99 cm) Paper: Woven Unframed Provenance: Private Collection Kavavaow Mannomee (1958 – Indigenous / CAD) Kavavaow (also known as Qavavau Manumie) was born in Brandon, Manitoba in 1958 where his mother, Paunichea, was hospitalized for treatment of Tuberculosis. He returned to Cape Dorset as a very young child and has lived there since. Kavavau has demonstrated a range of stylistic abilities- from the very literal to the more expressive. His thematic concerns include depictions of Inuit legends and mythology, Arctic wildlife and illustrations of some of the more contemporary aspects of Inuit life. For several years, Kavavaow has been involved in the Co-op’s graphic arts program as a printmaker – first in the lithography studio and more recently in the stonecutting shops. He is an accomplished and precise printmaker. Kavavaow lives with his wife and son, in Cape Dorset.

Stonecut & Stencil 31/50 - Dorset 1981 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 20.5 ins x 28 ins (52.07 cm x 71.1 cm) Unframed Paper: Natural Provenance: Private Collection Pitseolak Ashoona (1904 – 1983 Indigenous / CAD) C.M., R.C.A. Born on Nottingham Island in the Northwest Territories, now Nunavut. Her name means "sea pigeon" in Inuktitut. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island. They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. She was also one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist. Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print collection. First working with graphite pencil, Pitseolak would later move on to coloured pencil and felt-tip pens. In the last two decades of her life, from 1960 onwards, she produced a collection of more than 7,000 images, 233 of which were created as prints in her Cape Dorset Collection. She said these illustrated life pre-contact, "the things we did long ago before there were many white men." Her artwork focuses on both daily life and legends, or Taleelayu. Pitseolak was inspired by other artists in her community who started before her, saying: "I don't know who did the first print, but Kiakshuk, Niviaksiak, Oshawetok and Tudlik were all drawing at the beginning. I liked the first prints ... because they were truly Eskimo." Pitseolak was accepted into the Royal Canadian Academy of Arts in 1974 and was awarded the Order of Canada in 1977 for her work. Through the following decade and until her death in 1983, Pitseolak continued to draw, and to work with new media. An arts grant awarded to her in 1975 sparked experimentation in a new medium – acrylic paint on canvas. Initially, she approached painting like drawing, outlining in pencil and then filling in with colour. As she gradually adapted to the nuances of the medium, she began laying down bold colours side by side to achieve her vivid affect. In 1973 she narrated her story in the National Film Board's animated documentary Pictures out of My Life, directed by Bozenna Heczko and based on interviews from Eber's book. Pitseolak was also featured on a stamp, issued on March 8, 1993 and designed by Heather J. Cooper, in commemoration of International Woman's Day. Pitseolak's work has been featured in exhibitions at Canadian museums, including the National Gallery of Canada, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Canadian museum of civilizations, and the Vancouver Art Gallery. In 1975 she had a retrospective at the Smithsonian Institution in Washington D.C., organized by the Department of Indian and Northern Affairs Canada. In 2020, Ashoona was one of eight finalist for the person to be depicted on $5 polymer bills in Canada.

Stonecut 31/40 - Puvirnituq Co-op 1976 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 20 ins x 23 ins (50.8 cm x 58.42 cm) Unframed Provenance: Private Collection Josie Pamiutu Papialuk (Paperk) (1918 – 1997 Indigenous / CAD) Josie Pamiutu Papialuk, known also as "Josie Paperk" or simply "Puppy," was born in 1918 near Issuksiuvit Lake, just inland from Povungnituk. After the death of his wife Martha in 1975, he continued to live there with his only surviving son. Josie is a very jovial man, regarded in the community as an eccentric joker. His art is indicative of a special kind of genius: it reveals both his profound sense of observation and a keen insight. Josie produces both carvings and prints. He was one of the first Povungnituk artists to become involved in printmaking in the early 1960s. Initially, he produced small, whimsical soapstone carvings of birds, fish and human heads. Many elements of Josie's unique style are already apparent in some of his early carvings: scratched footprints to indicate past or future directions and captions to explain the action. In both his carvings and prints, Josie employs undulating lines to depict such invisible phenomena as wind, voices or bird chatter. In the introduction to the 1983 catalogue JOSIE PAPERK, Marion Scott remarked that "[Josie] has been able to capture in a gentle, philosophical and sometimes humorous way, the very essence of existence." George Swinton described his work as "naive realism," a style which to this day remains puzzling to most Inuit artists. Unlike many artists who might attempt to disguise a flaw in the stone, Josie often directs attention to it by carving a circle around it. This attitude towards maintaining and, to a certain extent, exploiting the integrity of the materials used is shared by many contemporary southern artists. His inclination towards whimsy does not cloud his artistic judgement. When asked why he sometimes puts only one leg on his birds, Josie answered "I put the second leg on when I need the extra money". Josie's work has been exhibited in several important exhibitions since 1962. His brother, is artist Isah Papialuk. His work is held in a variety of museums, including the National Gallery of Canada, the British Museum, the University of Michigan Museum of Art, the Canadian Museum of History, the Musée national des beaux-arts du Québec, the Montreal Museum of Fine Arts, and the McMaster Museum of Art.

Stonecut & Stencil 42/50 - Dorset 1983 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 25 ins x 34 ins (63.5 cm x 86.4 cm) Unframed Paper: Natural Provenance: Private Collection Kenojuak Ashevak (1927 – 2013 Inuit / CAD) C.C., Onu, R.C.A. Born in an igloo in an Inuit camp, Ikirasaq, at the southern coast of Baffin Island. Kenojuak Ashevak became one of the first Inuit women in Cape Dorset to begin drawing. She worked in graphite, coloured pencils and felt-tip pens, and occasionally used poster paints, watercolours or acrylics. She created many carvings from soapstone and thousands of drawings, etchings, stonecut prints and prints — all sought after by museums and collectors. She designed several drawings for Canadian stamps and coins, and in 2004 she created the first Inuit-designed stained-glass window for the John Bell Chapel in Oakville, Ontario. In 2017, the $10 bill released in celebration of Canada's 150th birthday features Kenojuak's stone-cut and stencil printed work called "Owl’s Bouquet" in silver holographic foil. During Ashevak's stay at Parc Savard hospital in Quebec City, 1952 to 1955, she learned to make dolls from Harold Pfeiffer and to do beadwork. These crafts later attracted the attention of civil administrator and pioneer Inuit art promoter James Archibald Houston and his wife Alma. Houston introduced print-making to Cape Dorset artists in the 1950s, and he and his wife began marketing Inuit arts and crafts, including an exhibit of Inuit art in 1959. She was hesitant at first, claiming that she could not draw and that drawing was a man’s business. Yet the next time that she visited the Houstons, the sheets of paper that Alma had given her were filled with pencil sketches. In 1958 her first print, Rabbit Eating Seaweed, was produced from one of her designs on a sealskin bag, and by 1959 Kenojuak and other Cape Dorset Inuit had formed the West Baffin Eskimo Co-operative as a senlavik (workshop) for aspiring Inuit artists, later known as Kinngait Studios. Fellow members included Pitaloosie Saila, Mayoreak Ashoona, and Napatchie Pootagook. Her reception in southern Canada was rapidly favourable. In 1963 she was the subject of a National Film Board documentary by producer John Feeney, Eskimo Artist: Kenojuak, about Kenojuak, then 35, and her family, as well as traditional Inuit life on Baffin Island. The film showed a stonecutter carving her design into a relief block in stone, cutting away all the non-printing surfaces; she would then apply ink to the carved stone, usually in two or more colours, and carefully make 50 "shadow" prints for sale. With the money she earned from the film, Johnniebo was able to purchase his own canoe and become an independent hunter to help provide for the family, which now included a new daughter, Aggeo, and an adopted son, Ashevak. Ashevak created several pieces of work to commemorate the creation of Nunavut, the third Canadian Territory, including a piece commissioned by the Department of Indian and Northern Affairs, Nunavut Qajanatuk (Our Beautiful Land) for the signing of the Inuit Land Claim Agreement in Principle in April 1990; Nunavut, a large hand-coloured lithograph to commemorate the signing of the Final Agreement early in 1994; a large diptych titled Siilavut, Nunavut (Our Environment, Our Land) in April 1999, when the Territory officially came into being. Kenojuak became the first Inuit artist inducted into Canada's Walk of Fame in 2001, and traveled to Toronto with her daughter, Silaqi, to attend the ceremony. Up until her death, Kenojuak contributed annually to the Cape Dorset Annual Print Release and continued to create new works. She was one of the last living artists from the West Baffin Eskimo Cooperative. Since her death, prices for Kenojuak's work have reached new records, including $59,000CAD paid for a copy of Rabbit Eating Seaweed. In 1967, she was made an Officer of the Order of Canada and was promoted to Companion in 1982. In 1970, Canada Post placed her 1960 print Enchanted Owl on a stamp to commemorate the centennial of the Northwest Territories. In 1974, she was elected a member of the Royal Canadian Academy of Arts. In 1980, Canada Post used her 1961 print Return of the Sun on a seventeen-cent stamp as part of its Inuit postage stamp series. In 1982, she has appointed a Companion of the Order of Canada. In 1991, she received an honorary doctorate from Queen's University. In 1992, she was awarded an honorary doctorate from the University of Toronto. In 1993, Canada Post featured 1969 drawing The Owl on a stamp for its Masterpieces of Canadian Art series. In 1999, a famous piece of hers, the "Red Owl" was featured on the April issue of the 1999 Millennium quarter series. Her initials in Inuktitut were on the left of the design, the first time the language had appeared on circulation coinage. In 2001, she was inducted into Canada's Walk of Fame. In 2004, she created the first-ever Inuit-designed stained glass window for the John Bell Chapel at Appleby College in Oakville, Ontario. In 2008, she received the renowned $25,000 Governor General's Award in Visual and Media Arts from the Canada Council of the Arts. In 2012, she was appointed a member of the Order of Nunavut. In 2017, the Bank of Canada unveiled a commemorative $10 banknote in honour of Canada's 150th birthday; Ashevak's print Owl's Bouquet is featured on the note.

Serigraph 39/50 - Ivujivik 1975 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 22 ins x 17 ins (55.8 cm x 43.18 cm) Unframed Provenance: Private Collection Tivi Paningajak (1917 – 1991 Indigenous / CAD) Ivujivik, Quebec. One of the participants in the Puvirnituq workshop was named Tivi Paningajak, who later became well known for his many prints alongside other artists like Tivi Etok and Leah Qumaluk. But his artistic skills were not limited to printmaking: he made jewellery—necklaces and rings made from ivory—sculptures and even qulliqs from soapstone and his own hunting gear. His daughter, Mary Paningajak, said that when her father went camping he would come back with pieces ready to be sold at the co-op. Beyond the pure joy the artists felt for creating, one of the reasons they started to sell prints was to support their family financially, to purchase hunting supplies and to provide food for their children during famine.

Stonecut 39/50 - Holman Co-op 1980 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 17 ins x 24.5 ins (43.18 cm x 62.23 cm) Unframed Paper: Kozuke Kozo White paper Provenance: Holman Ulu Private Collection Helen Kalvak (1901 – 1984 Indigenous / CAD) O.C., R.C.A. A Copper Inuit graphic artist from Ulukhaktok (formerly Holman), Northwest Territories, Canada. Kalvak was born at Tahiryuak Lake, on Victoria Island and raised in the Prince Albert Sound area. Her family also spent some time at Minto Inlet. She lived a traditional Inuit lifestyle for most of her life. Her mother was Enataomik. Her father Halukhit encouraged her spiritual gifts and taught her to be an angatkuq (spiritual healer). Although Kalvak later converted to Christianity, she continued to reflect her traditional spirituality in her artwork, along with the stories which she had learned as a child. In 1960, Kalvak moved to Holman (present-day Ulukhaktok) after the sudden death of her husband, Edward Manayok. There in 1961 she helped a Roman Catholic priest, Rev. Henri Tardy, set up the Holman Eskimo Co-op. It was at this time that Kalvak began her artwork. In 1965, her artwork was turned into prints and sold throughout the world. Ten years later, in recognition of her work, Kalvak was inducted into the Royal Canadian Academy of Arts. This was followed in 1978 by her appointment to the Order of Canada. By 1978, Kalvak had produced an estimated 2,000 drawings. She was no longer able to use her hands due to Parkinson's disease. The following year, Canada Post used her work entitled The Dance for the 17¢ postage stamp. With 176 published prints, Kalvak is the Ulukhaktok artist with the largest body of published work. At the time of her death in 1984, Kalvak was one of the few remaining Inuit women in Ulukhaktok decorated with traditional beautifying facial tattoos. The school in Ulukhaktok is named after her.

Stonecut & Stencil 43/50 - Dorset 1978 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 25 ins x 34 ins (63.5 cm x 86.4 cm) Unframed Paper: Natural Provenance: Private Collection Jamasie Teevee (1910 – 1985 Indigenous / CAD) Jamasie began to draw in the early 1960s while living in an Inuit Camp on the coastline of southern Baffin Island. During that time, he concentrated primarily on the copper engraving technique, ferrying copper plates back and forth between his campsite and the co-operative in Cape Dorset. Many of his engravings, published in the 1960s and early 1970s, depicted the traditional Inuit camp and hunting activities. In the early 1980s, Jamasie … returned to drawing on paper, using graphite and coloured pencils, in addition to felt-tip pens. His drawings were executed in precise, simple and uncluttered lines. Jamasie was the father of Anirnik Ragee, Parnee Peter, Nicotai Simigak, and Simeonie Teevee, all Cape Dorset sculptors. Jamasie’s wife, Cape Dorset artist Angotigolu Teevee, died in 1967.

Stonecut & Stencil 6/30 - Dorset 1965 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 21.5 ins x 16 ins (54.61 cm x 40.64 cm) Unframed Paper: Natural Provenance: Private Collection LUKASSIE TUKALAK (1947 – ? Indigenous/CAD )

Stonecut & Stencil 43/50 - Dorset 1980 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 23.5 ins x 22 ins (59.69 cm x 55.88 cm) Unframed Provenance: Private Collection Ikayukta Tunnillie (1911 – 1980 Indigenous / CAD) Born in Nunavut and traveled for much of her life. Tunnillie's work in drawing and printmaking focused on animals and life in the North. She was one of the oldest printmakers to work with the West Baffin Eskimo Co-operative. Tunnillie's exact birth date is unknown, which is typical of that time in Nunavut. She was born somewhere near Frobisher Bay, Nunavut in 1911. As a teen, Tunnillie was taken in by an older man named Iyola Tunili. Tunili already had a wife named Samalinga, but also wished to marry Ikayukta. The family lived in harmony together. The family included Tunili, his first wife Samalinga, their child, and Ikayukta. They spent many years on the move, traveling from Resolute Bay, to Clyde River, Pangnirtung, Netiling Lake and finally to Cape Dorset. They lived in skin tents which they made and traveled by dogsled. As a young woman, Tunnillie traveled on the Nascopie ship from the south Baffin area to the Arctic Bay and the north Baffin coast. Tunnillie's first child was born aboard the Nascopie. After Iyola died from a respiratory infection, Tunnillie continued to travel with her second husband, Nungusweetuk. Tunnillie only settled in Cape Dorset in 1970, at the age of 59. Tunnillie began printmaking with the West Baffin Eskimo Co-operative, which was a craft center and co-op store that formed in 1959. The co-op was instrumental in bringing stonecut image art to the area. The practice was brought to the co-op by James Houston, who spent four months in Japan studying the art form. The Hudson's Bay company and the Canadian Guild of Crafts provided supplies for the co-op. Tunnillie's daughter Kakulu, who became a successful artist herself, began drawing before Ikayukta. Kakulu encouraged her mother to start drawing while Tunnillie was living in Aqiatalaulavik with her son. Her work was first exhibited in the 1971 Cape Dorset Annual Collection, and she was one of only 14 artists featured in the collection. Tunnillie also found financial empowerment through her artwork. In an interview with the Cape Dorset Collection, she recalled carrying her art to the co-op to sell it. Tunnillie remarked, "I get pleasure out of drawing when I feel like it. And also when there is not enough money to buy food I know that I can help [my family] by selling some drawings. When I notice that there is something missing or that my family doesn't have enough food for the weekend or the week, that's when I draw – and also, when I feel like drawing, that's when I draw". Selling drawings to the co-op was Tunnillie's only source of income. Tunnillie was very humble about her work, stating in the Dorset Annual Collection of 1980, "Even though I can't really draw well, it's fortunate that they put my prints in a book like this – even through I can't draw like the others do.

Felt Pen & Crayon Drawing - 1977/78 Dated au verso - Signed in Syllabics Bottom Right Sheet - 22 ins x 30 ins (55.88 cm x 76 cm) Unframed Paper: Natural Unbleached Provenance: Private Collection Lucy Qinnuayuak (1915 – 1982 Indigenous / CAD) Born in or near Salluit, Quebec in 1915. At an early age her family moved to Baffin Island, where they settled in Cape Dorset. She was married to Tikituk Quinnuayuak as a teenager, which was arranged.[2] Her husband Tikituk was a sculptor and graphic artist.[3] They continued living a traditional hunting lifestyle, moving around the Foxe Peninsula and within various camps such as the Shapujuak, Ittiliakjuk, Igalallik, and Kangia. Qinnuayuak began drawing in the late 1950s and was one of the first to respond to James Archibald Houston request for Inuit printmaking. Her work was first included in the Cape Dorset print collection in 1961, and by the time of her death in 1982, 136 of her prints were published in the collection. Qinnuayuak worked primarily in graphite and colored pencils, but did more experimenting in the 1970s–80s with watercolor and acrylic paints. In the final two decades of her life, she created thousands of images of the stylized birds and scenes depicting women's roles in the traditional Inuit culture. Known for her renderings of arctic birds, Qinnuayuak's work has exhibited extensively in and outside of Canada. One of her designs was used in promotional banners for the 1976 Summer Olympics and her stone cut We all have something to do is part of the Senate of Canada's Aboriginal art collection. Qinnuayuak's work has been exhibited in more than eighty group and solo shows including The Inuit Print exhibition, organized by the Department of Indian Affairs and Canadian Museum of Civilization, that toured internationally from 1977 to 1982. Her pieces are held by several institutions worldwide including the Art Gallery of Ontario, the Canadian Museum of History,the Inuit Cultural Institute, the Art Gallery of Sudbury, the Macdonald Stewart Art Centre, the University of Michigan Museum of Art, the Louisiana Art & Science Museum, the Albuquerque Museum, Saint Mary's College Museum of Art, the Museum of Anthropology at the University of British Columbia, the San Juan Islands Museum of Art, the Agnes Etherington Art Centre, the National Gallery of Canada, and the National Museum of the American Indian. Lucy and Tikitu had nine children, five of whom died in childhood. They also adopted two children, and took care of the five orphaned children of Tikitu's brother, Niviaqsi. Her husband and niece, Kenojuak Ashevak, were also involved in the arts.

Stonecut & Stencil 32/50 - Dorset 1980 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 24.5 ins x 30.5 ins (62.23 cm x 77.47 cm) Unframed Paper: Natural Provenance: Private Collection Kananginak Pootoogook (1935 – 2010 Indigenous/CAD) R.C.A. Born at a traditional Inuit camp called Ikerasak, near Cape Dorset, Northwest Territories (now Kinngait, Nunavut) to Josephie (Eegyvudluk) Pootoogook, leader of the camp, and Sarah Ningeokuluk. The family lived a traditional lifestyle hunting and trapping while living in an iglu in the winter and a sod house in the summer and did not move into their first southern style house until 1942. In 1957 Pootoogook married Shooyoo, moved to Cape Dorset and began work for James Houston. Originally, Pootoogook did some carving, made prints and lithographs for other artists. At the same time he was a leader in setting up the West Baffin Eskimo Co-operative (WBEC), the first Inuit owned co-op, now part of the Arctic Co-operatives Limited and served from 1959 until 1964 as the president. Although Kananginak had worked with his father, Josephie, in 1959, it was not until the 1970s that Kananginak began work as a full-time artist producing drawings, carvings and prints. In 1977 he cut 13 original blocks for prints that were used exclusively for the first WBEC calendar that was issued in a limited edition of 500. According to Terry Ryan, former Co-op manager, Pootoogook was both influenced by and an admirer of the works of his uncle, photographer and historian Peter Pitseolak. The inukshuk at Rideau Hall created by artist Kananginak Pootoogook for former Governor General of Canada, Roméo LeBlanc, for National Aboriginal Day, unveiled on 21 June 1997. The World Wildlife Fund released a limited edition set in 1977 that included four of Pootoogook's images and in 1980 he was elected to the Royal Canadian Academy of Arts. In 1997 Pootoogook built a 1.8 m (6 ft) inukshuk in Cape Dorset for former Governor General of Canada, Roméo LeBlanc. The inukshuk was dismantled and shipped to Ottawa and with the assistance of his son, Johnny, it was rebuilt at Rideau Hall and unveiled on 21 June, National Aboriginal Day. Pootoogook had several exhibitions and showings of his work. In 2010, he went to Vancouver for the 2010 Winter Olympics and to open a showing of his work at the Marion Scott Gallery. He also had a showing of his work, his first solo exhibition at a public institution, at the Museum of Inuit Art in Toronto from February to May 2010. He also received a 2010 National Aboriginal Achievement Award in the arts category from the National Aboriginal Achievement Foundation. While working on his final, and unfinished, drawing of a Peterhead boat owned by his father, he was struck by coughing spells, which he declared was cancer. Along with his wife, Shooyoo, he flew to Ottawa, staying at the Larga Baffin home, and was diagnosed with lung cancer. In October 2010, he underwent surgery and did not recover.

Silkscreen 1981 Artist Syllabic Monogram & Dated ‘81 In Plate Middle Left Sight - 22 ins x 30 ins (55.88 cm x 76 cm) Framed Under Glass Provenance: Private Collection Delmar Ashkewe (1947 – Indigenous / CAD ) Born in Cape Crocker I.R., Ontario, Canada. Potawattomi Holy Man/Artist, Activist, Bear Clan.

Acrylic On Paper 1980 Signed & Dated Lower Right - Titled Lower Left Sheet - 24 ins x 20 ins (60.96 cm x 50.8 cm) Framed Under Glass Provenance: The Art Loft Private Collection William Anthony Monague (1956 – 2019 First Nations / Ojibway) The self-taught Beausoleil First Nation artist, William Anthony Monague, grew up on an isolated island with no access to formal education or training in the arts. Monague – “Abwaudung” (The Visionary or Dreamer) discovered inspiration in the traditional teachings of Mother Earth, Spirit World and in the beauty of nature and in the Georgian Bay shores that surrounded him. Initially he was using the woodland style but soon developed his own more contemporary style of art. During the 1970’s and 80’s Monague followed the Pow Wow circuit in a van with his family down to Mexico. His work ended up in various museums and galleries along the way. Monague donates his time and artwork to many worthwhile causes, while helping others. “I feel my art speaks to my culture. I have made a name for myself with my work and reputation but it has taken a long time.” He passed away peacefully to the Spirit World at the Georgian Bay General Hospital with his family by his side in 2019.

Stonecut & Stencil 42/50 - Dorset 1983 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 28 ins x 24 ins (71.1 cm x 60.96 cm) Unframed Paper: Natural Provenance: Private Collection Pitseolak Ashoona (1904 – 1983 Indigenous / CAD) C.M., R.C.A. Born on Nottingham Island in the Northwest Territories, now Nunavut. Her name means "sea pigeon" in Inuktitut. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island. They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. She was also one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist. Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print collection. First working with graphite pencil, Pitseolak would later move on to coloured pencil and felt-tip pens. In the last two decades of her life, from 1960 onwards, she produced a collection of more than 7,000 images, 233 of which were created as prints in her Cape Dorset Collection. She said these illustrated life pre-contact, "the things we did long ago before there were many white men." Her artwork focuses on both daily life and legends, or Taleelayu. Pitseolak was inspired by other artists in her community who started before her, saying: "I don't know who did the first print, but Kiakshuk, Niviaksiak, Oshawetok and Tudlik were all drawing at the beginning. I liked the first prints ... because they were truly Eskimo." Pitseolak was accepted into the Royal Canadian Academy of Arts in 1974 and was awarded the Order of Canada in 1977 for her work. Through the following decade and until her death in 1983, Pitseolak continued to draw, and to work with new media. An arts grant awarded to her in 1975 sparked experimentation in a new medium – acrylic paint on canvas. Initially, she approached painting like drawing, outlining in pencil and then filling in with colour. As she gradually adapted to the nuances of the medium, she began laying down bold colours side by side to achieve her vivid affect. In 1973 she narrated her story in the National Film Board's animated documentary Pictures out of My Life, directed by Bozenna Heczko and based on interviews from Eber's book. Pitseolak was also featured on a stamp, issued on March 8, 1993 and designed by Heather J. Cooper, in commemoration of International Woman's Day. Pitseolak's work has been featured in exhibitions at Canadian museums, including the National Gallery of Canada, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Canadian museum of civilizations, and the Vancouver Art Gallery. In 1975 she had a retrospective at the Smithsonian Institution in Washington D.C., organized by the Department of Indian and Northern Affairs Canada. In 2020, Ashoona was one of eight finalist for the person to be depicted on $5 polymer bills in Canada.

Stonecut & Stencil 10/50 - Dorset 1983 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 22 ins x 25.5 ins (55.88 cm x 64.77 cm) Unframed Paper: Natural Provenance: Private Collection Pitseolak Ashoona (1904 – 1983 Indigenous / CAD) C.M., R.C.A. Born on Nottingham Island in the Northwest Territories, now Nunavut. Her name means "sea pigeon" in Inuktitut. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island. They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. She was also one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist. Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print collection. First working with graphite pencil, Pitseolak would later move on to coloured pencil and felt-tip pens. In the last two decades of her life, from 1960 onwards, she produced a collection of more than 7,000 images, 233 of which were created as prints in her Cape Dorset Collection. She said these illustrated life pre-contact, "the things we did long ago before there were many white men." Her artwork focuses on both daily life and legends, or Taleelayu. Pitseolak was inspired by other artists in her community who started before her, saying: "I don't know who did the first print, but Kiakshuk, Niviaksiak, Oshawetok and Tudlik were all drawing at the beginning. I liked the first prints ... because they were truly Eskimo." Pitseolak was accepted into the Royal Canadian Academy of Arts in 1974 and was awarded the Order of Canada in 1977 for her work. Through the following decade and until her death in 1983, Pitseolak continued to draw, and to work with new media. An arts grant awarded to her in 1975 sparked experimentation in a new medium – acrylic paint on canvas. Initially, she approached painting like drawing, outlining in pencil and then filling in with colour. As she gradually adapted to the nuances of the medium, she began laying down bold colours side by side to achieve her vivid affect. In 1973 she narrated her story in the National Film Board's animated documentary Pictures out of My Life, directed by Bozenna Heczko and based on interviews from Eber's book. Pitseolak was also featured on a stamp, issued on March 8, 1993 and designed by Heather J. Cooper, in commemoration of International Woman's Day. Pitseolak's work has been featured in exhibitions at Canadian museums, including the National Gallery of Canada, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Canadian museum of civilizations, and the Vancouver Art Gallery. In 1975 she had a retrospective at the Smithsonian Institution in Washington D.C., organized by the Department of Indian and Northern Affairs Canada. In 2020, Ashoona was one of eight finalist for the person to be depicted on $5 polymer bills in Canada.

Woman Preparing Goose Soapstone Carving Signed On Bottom E1749 Sight - 5.5H ins x 3L ins x 4W ( 13.97 cm x 7.62 cm x 10.16 cm) Provenance: Private Collection

Stonecut & Stencil A/30 - Dorset 1965 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 19 ins x 28 ins (48.26 cm x 48.26 cm) Unframed Paper: Natural Provenance: Private Collection LUKASSIE TUKALAK (1947 – ? Indigenous/CAD )

Stonecut 41/50 - Puvirnituq Co-op Titled, Numbered, Dated & Signed Across Lower Border Sheet - 25 ins x 37 ins (63.5 cm x 94 cm) Unframed Paper: Japan Printmaker: Simon Tookoome Provenance: Baker Lake Chop Private Collection Jessie Oonark (1917 – 1991 Indigenous / CAD) O.C., R.C.A. Oonark was born in 1906 near the Haningayok (Back River), Nunavut, an area known as the Barren Lands. She lived nomadically for the first 50 years of her life, involved in traditional pursuits such as processing and sewing animal hides to make clothing. These tasks would inform the subject and style of later artwork as well as instill a prodigious work ethic. In the 1950s, a decline in both caribou populations and the market for pelts caused a famine among her people. Oonark lost her husband and four of her twelve children to starvation. Along with hundreds of Inuit, Oonark and her family were relocated by the Canadian government to a permanent settlement in Qamani’tuaq (Baker Lake) in 1958. To support herself and her children, she worked various odd jobs including sewing, cooking and cleaning. Oonark had never made drawings before moving to Baker Lake at the age of 52. The story goes that Oonark saw some illustrations made by children and proclaimed that she could easily do better herself, and picked up the tools to prove it. Dr. Andrew Macpherson, a visiting biologist, saw the resulting drawings, and gave Oonark more materials. Over the ensuing years, the two swapped art supplies for art. Self-taught, her work also attracted the notice of members in both the Qamani’tuaq and Kinngait (Cape Dorset) artistic communities, giving her the opportunity to work with printmakers in both settlements. This is especially notable given that she did not live in Kinngait, and was the first non-resident to be accorded the privilege. Oonark was given a small studio and a stipend, allowing her to devote more of her time to creation. Wildly prolific and dedicated to her work, at times her output was around forty to fifty drawings per week, more than 100 of which were translated into prints for the annual Sanavik Cooperative Baker Lake Print Catalogue between 1970 and 1985. Her son, the artist William Noah, remembers her always working, at a loss to recall what his mother did for fun. He recalls that “there was always that determination to do every task to the very best of her abilities, and she told us we must do the same.” One of Oonark’s most recognizable images is a stonecut made in 1974, Big Woman. Highly sought after, one print from this edition of 50 is held in the National Gallery of Canada’s permanent collection.

Stonecut 26/50 - Dorset 1974 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 24 ins x 34 ins (60.96 cm x 86.4 cm) Unframed Paper: Natural Provenance: Private Collection Kenojuak Ashevak (1927 – 2013 Inuit / CAD) C.C., Onu, R.C.A. Born in an igloo in an Inuit camp, Ikirasaq, at the southern coast of Baffin Island. Kenojuak Ashevak became one of the first Inuit women in Cape Dorset to begin drawing. She worked in graphite, coloured pencils and felt-tip pens, and occasionally used poster paints, watercolours or acrylics. She created many carvings from soapstone and thousands of drawings, etchings, stonecut prints and prints — all sought after by museums and collectors. She designed several drawings for Canadian stamps and coins, and in 2004 she created the first Inuit-designed stained-glass window for the John Bell Chapel in Oakville, Ontario. In 2017, the $10 bill released in celebration of Canada's 150th birthday features Kenojuak's stone-cut and stencil printed work called "Owl’s Bouquet" in silver holographic foil. During Ashevak's stay at Parc Savard hospital in Quebec City, 1952 to 1955, she learned to make dolls from Harold Pfeiffer and to do beadwork. These crafts later attracted the attention of civil administrator and pioneer Inuit art promoter James Archibald Houston and his wife Alma. Houston introduced print-making to Cape Dorset artists in the 1950s, and he and his wife began marketing Inuit arts and crafts, including an exhibit of Inuit art in 1959. She was hesitant at first, claiming that she could not draw and that drawing was a man’s business. Yet the next time that she visited the Houstons, the sheets of paper that Alma had given her were filled with pencil sketches. In 1958 her first print, Rabbit Eating Seaweed, was produced from one of her designs on a sealskin bag, and by 1959 Kenojuak and other Cape Dorset Inuit had formed the West Baffin Eskimo Co-operative as a senlavik (workshop) for aspiring Inuit artists, later known as Kinngait Studios. Fellow members included Pitaloosie Saila, Mayoreak Ashoona, and Napatchie Pootagook. Her reception in southern Canada was rapidly favourable. In 1963 she was the subject of a National Film Board documentary by producer John Feeney, Eskimo Artist: Kenojuak, about Kenojuak, then 35, and her family, as well as traditional Inuit life on Baffin Island. The film showed a stonecutter carving her design into a relief block in stone, cutting away all the non-printing surfaces; she would then apply ink to the carved stone, usually in two or more colours, and carefully make 50 "shadow" prints for sale. With the money she earned from the film, Johnniebo was able to purchase his own canoe and become an independent hunter to help provide for the family, which now included a new daughter, Aggeo, and an adopted son, Ashevak. Ashevak created several pieces of work to commemorate the creation of Nunavut, the third Canadian Territory, including a piece commissioned by the Department of Indian and Northern Affairs, Nunavut Qajanatuk (Our Beautiful Land) for the signing of the Inuit Land Claim Agreement in Principle in April 1990; Nunavut, a large hand-coloured lithograph to commemorate the signing of the Final Agreement early in 1994; a large diptych titled Siilavut, Nunavut (Our Environment, Our Land) in April 1999, when the Territory officially came into being. Kenojuak became the first Inuit artist inducted into Canada's Walk of Fame in 2001, and traveled to Toronto with her daughter, Silaqi, to attend the ceremony. Up until her death, Kenojuak contributed annually to the Cape Dorset Annual Print Release and continued to create new works. She was one of the last living artists from the West Baffin Eskimo Cooperative. Since her death, prices for Kenojuak's work have reached new records, including $59,000CAD paid for a copy of Rabbit Eating Seaweed. In 1967, she was made an Officer of the Order of Canada and was promoted to Companion in 1982. In 1970, Canada Post placed her 1960 print Enchanted Owl on a stamp to commemorate the centennial of the Northwest Territories. In 1974, she was elected a member of the Royal Canadian Academy of Arts. In 1980, Canada Post used her 1961 print Return of the Sun on a seventeen-cent stamp as part of its Inuit postage stamp series. In 1982, she has appointed a Companion of the Order of Canada. In 1991, she received an honorary doctorate from Queen's University. In 1992, she was awarded an honorary doctorate from the University of Toronto. In 1993, Canada Post featured 1969 drawing The Owl on a stamp for its Masterpieces of Canadian Art series. In 1999, a famous piece of hers, the "Red Owl" was featured on the April issue of the 1999 Millennium quarter series. Her initials in Inuktitut were on the left of the design, the first time the language had appeared on circulation coinage. In 2001, she was inducted into Canada's Walk of Fame. In 2004, she created the first-ever Inuit-designed stained glass window for the John Bell Chapel at Appleby College in Oakville, Ontario. In 2008, she received the renowned $25,000 Governor General's Award in Visual and Media Arts from the Canada Council of the Arts. In 2012, she was appointed a member of the Order of Nunavut. In 2017, the Bank of Canada unveiled a commemorative $10 banknote in honour of Canada's 150th birthday; Ashevak's print Owl's Bouquet is featured on the note.

Stonecut 47/50 - Dorset 1982 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 22 ins x 31.5 ins (55.88 cm x 80.01cm) Unframed Paper: Natural Provenance: Private Collection Keeleemeeoomee Samualie (1919 – 1983 Indigenous / CAD) Born on the land on the west coast of Baffin Island, NU. Samualie’s work was featured in several Cape Dorset Annual Print Collections from 1969-1983, and has influenced multiple generations of artists, including her granddaughter, Nicotye Samayualie . Samualie pulled from childhood memories to guide her art practice, filtering her experiences into her work in a playful manner. In Fox and Seal (1978), Samualie’s animals are not drawn with the intention of being true to life but instead are flattened and depth is added into the work through the pattern and texture drawn on each animal’s skin. The resulting works emphasized Samualie's point of view and her own illustrative style, rather than being a naturalistic rendering.

Stonecut & Stencil 22/50 - Dorset 1977 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 25 ins x 17 ins (63.5 cm x 43.18 cm) Unframed Paper: Natural Provenance: Private Collection Pitseolak Ashoona (1904 – 1983 Indigenous / CAD) C.M., R.C.A. Born on Nottingham Island in the Northwest Territories, now Nunavut. Her name means "sea pigeon" in Inuktitut. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island. They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. She was also one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist. Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print collection. First working with graphite pencil, Pitseolak would later move on to coloured pencil and felt-tip pens. In the last two decades of her life, from 1960 onwards, she produced a collection of more than 7,000 images, 233 of which were created as prints in her Cape Dorset Collection. She said these illustrated life pre-contact, "the things we did long ago before there were many white men." Her artwork focuses on both daily life and legends, or Taleelayu. Pitseolak was inspired by other artists in her community who started before her, saying: "I don't know who did the first print, but Kiakshuk, Niviaksiak, Oshawetok and Tudlik were all drawing at the beginning. I liked the first prints ... because they were truly Eskimo." Pitseolak was accepted into the Royal Canadian Academy of Arts in 1974 and was awarded the Order of Canada in 1977 for her work. Through the following decade and until her death in 1983, Pitseolak continued to draw, and to work with new media. An arts grant awarded to her in 1975 sparked experimentation in a new medium – acrylic paint on canvas. Initially, she approached painting like drawing, outlining in pencil and then filling in with colour. As she gradually adapted to the nuances of the medium, she began laying down bold colours side by side to achieve her vivid affect. In 1973 she narrated her story in the National Film Board's animated documentary Pictures out of My Life, directed by Bozenna Heczko and based on interviews from Eber's book. Pitseolak was also featured on a stamp, issued on March 8, 1993 and designed by Heather J. Cooper, in commemoration of International Woman's Day. Pitseolak's work has been featured in exhibitions at Canadian museums, including the National Gallery of Canada, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Canadian museum of civilizations, and the Vancouver Art Gallery. In 1975 she had a retrospective at the Smithsonian Institution in Washington D.C., organized by the Department of Indian and Northern Affairs Canada. In 2020, Ashoona was one of eight finalist for the person to be depicted on $5 polymer bills in Canada.

Stonecut 27/50 - Dorset 1983 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 24 ins x 34 ins (60.96 cm x 86.4 cm) Unframed Paper: Natural Provenance: Private Collection Kenojuak Ashevak (1927 – 2013 Inuit / CAD) C.C., Onu, R.C.A. Born in an igloo in an Inuit camp, Ikirasaq, at the southern coast of Baffin Island. Kenojuak Ashevak became one of the first Inuit women in Cape Dorset to begin drawing. She worked in graphite, coloured pencils and felt-tip pens, and occasionally used poster paints, watercolours or acrylics. She created many carvings from soapstone and thousands of drawings, etchings, stonecut prints and prints — all sought after by museums and collectors. She designed several drawings for Canadian stamps and coins, and in 2004 she created the first Inuit-designed stained-glass window for the John Bell Chapel in Oakville, Ontario. In 2017, the $10 bill released in celebration of Canada's 150th birthday features Kenojuak's stone-cut and stencil printed work called "Owl’s Bouquet" in silver holographic foil. During Ashevak's stay at Parc Savard hospital in Quebec City, 1952 to 1955, she learned to make dolls from Harold Pfeiffer and to do beadwork. These crafts later attracted the attention of civil administrator and pioneer Inuit art promoter James Archibald Houston and his wife Alma. Houston introduced print-making to Cape Dorset artists in the 1950s, and he and his wife began marketing Inuit arts and crafts, including an exhibit of Inuit art in 1959. She was hesitant at first, claiming that she could not draw and that drawing was a man’s business. Yet the next time that she visited the Houstons, the sheets of paper that Alma had given her were filled with pencil sketches. In 1958 her first print, Rabbit Eating Seaweed, was produced from one of her designs on a sealskin bag, and by 1959 Kenojuak and other Cape Dorset Inuit had formed the West Baffin Eskimo Co-operative as a senlavik (workshop) for aspiring Inuit artists, later known as Kinngait Studios. Fellow members included Pitaloosie Saila, Mayoreak Ashoona, and Napatchie Pootagook. Her reception in southern Canada was rapidly favourable. In 1963 she was the subject of a National Film Board documentary by producer John Feeney, Eskimo Artist: Kenojuak, about Kenojuak, then 35, and her family, as well as traditional Inuit life on Baffin Island. The film showed a stonecutter carving her design into a relief block in stone, cutting away all the non-printing surfaces; she would then apply ink to the carved stone, usually in two or more colours, and carefully make 50 "shadow" prints for sale. With the money she earned from the film, Johnniebo was able to purchase his own canoe and become an independent hunter to help provide for the family, which now included a new daughter, Aggeo, and an adopted son, Ashevak. Ashevak created several pieces of work to commemorate the creation of Nunavut, the third Canadian Territory, including a piece commissioned by the Department of Indian and Northern Affairs, Nunavut Qajanatuk (Our Beautiful Land) for the signing of the Inuit Land Claim Agreement in Principle in April 1990; Nunavut, a large hand-coloured lithograph to commemorate the signing of the Final Agreement early in 1994; a large diptych titled Siilavut, Nunavut (Our Environment, Our Land) in April 1999, when the Territory officially came into being. Kenojuak became the first Inuit artist inducted into Canada's Walk of Fame in 2001, and traveled to Toronto with her daughter, Silaqi, to attend the ceremony. Up until her death, Kenojuak contributed annually to the Cape Dorset Annual Print Release and continued to create new works. She was one of the last living artists from the West Baffin Eskimo Cooperative. Since her death, prices for Kenojuak's work have reached new records, including $59,000CAD paid for a copy of Rabbit Eating Seaweed. In 1967, she was made an Officer of the Order of Canada and was promoted to Companion in 1982. In 1970, Canada Post placed her 1960 print Enchanted Owl on a stamp to commemorate the centennial of the Northwest Territories. In 1974, she was elected a member of the Royal Canadian Academy of Arts. In 1980, Canada Post used her 1961 print Return of the Sun on a seventeen-cent stamp as part of its Inuit postage stamp series. In 1982, she has appointed a Companion of the Order of Canada. In 1991, she received an honorary doctorate from Queen's University. In 1992, she was awarded an honorary doctorate from the University of Toronto. In 1993, Canada Post featured 1969 drawing The Owl on a stamp for its Masterpieces of Canadian Art series. In 1999, a famous piece of hers, the "Red Owl" was featured on the April issue of the 1999 Millennium quarter series. Her initials in Inuktitut were on the left of the design, the first time the language had appeared on circulation coinage. In 2001, she was inducted into Canada's Walk of Fame. In 2004, she created the first-ever Inuit-designed stained glass window for the John Bell Chapel at Appleby College in Oakville, Ontario. In 2008, she received the renowned $25,000 Governor General's Award in Visual and Media Arts from the Canada Council of the Arts. In 2012, she was appointed a member of the Order of Nunavut. In 2017, the Bank of Canada unveiled a commemorative $10 banknote in honour of Canada's 150th birthday; Ashevak's print Owl's Bouquet is featured on the note.

Stonecut & Stencil 17/50 - Dorset 1976 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 25 ins x 33 ins (63.5 cm x 83.8 cm) Unframed Paper: Natural Provenance: Private Collection Pudlo Pudlat (1916 – 1992 Indigenous / CAD) Born at Kamadjuak Camp, Baffin Island, Canada, Pudlat lived for much of his life in the Kimmirut region in what is now the Canadian Territory of Nunavut, hunting and fishing with his family along the southwest coast of Baffin Island. Pudlo began drawing in the early 1960s after he abandoned the semi-nomadic way of life and settled in Cape Dorset. He experienced firsthand the radical transformation of life in the Arctic that occurred in the 20th Century and reached its peak in the 1950s. In 1950, he married fellow Inuit artist Innukjuakju Pudlat, and they remained together until her death in 1972. Until he was six, he lived around Coral Harbour; later, he moved to the region of Lake Harbour, now called Kimmirut. In the late 1950s, when he was already in his 40s, he moved to Kiaktuuq near Cape Dorset to recover from a bout of tuberculosis. It was there he met Inuit art pioneer James Archibald Houston and began his career as an artist. Pudlat spent 33 years creating art. He began by carving sculpture, but he found carving difficult because of an arm injury, so he switched to drawing around 1959 or 1960. Initially encouraged by James Houston and then by Terry Ryan of the West Baffin Eskimo Co-operative, he embraced drawing and later printmaking and painting as these media were introduced in the north. Pudlo occasionally traveled south and to other parts of the Arctic for medical treatment. The objects he encountered his travels, especially airplanes, are prominent in his subject matter. In 1972 one of Pudlat's prints was selected for reproduction on a UNICEF greeting card. Pudlo travelled to Ottawa to attend the opening of an exhibition of the works. He remembered it as the first work for which he was invited south and accorded public recognition. Pudlat died in 1992, at Cape Dorset.

Stonecut 8/32 - Baker Lake 1977 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 24 ins x 18 ins (60.96 cm x 45.72 cm) Unframed Paper: Kozuke Kozo White Paper Printmaker: Margaret Toodlik Amarook Provenance: Baker Chop Private Collection Luke Anguhadluq (1895 – 1982 Indigenous / CAD) Born at Chantrey Inlet in 1895 to the Utkuhikhalingmiut (meaning "people of the stone for cooking pots") people. Anguhadluq grew up living traditionally off of the land in the Back River area and by the age of 28 was considered to be a mature hunter and eventually a respected camp leader. The Utkuhikhalingmiut remained largely unaffected by settling Europeans and continued their traditions into the 1950s. A famine, resulting from a shift in the migratory patterns of caribou away from Back River, caused Anguhadluq and his extended family to leave the area. Anguhadluq led his family to Schultz Lake and Whitehills Lake before settling in Qamani'tuaq, or Baker Lake, in 1961. Anguhadluq's family arranged for him to marry his cousin Jessie Oonark, who is also a well-known artist, but the union never took place. Luke Anguhadluq had 3 wives and 7 children, including two sons whom he adopted. One of Anguhadluq's wives, Marion Tuu'luq, was also an artist specializing in wall-hangings and drawings. Anguhadluq continued to live in an igloo in the winter and a skin tent in the summer until he was 72. The artist hunted and fished almost daily on the lands around Baker Lake. Luke Anguhadluq died on 2 February 1982 at the age of 87 in Baker Lake. As per his wishes, Anguhadluq was not buried in the Anglican cemetery and his body was instead taken by dogsled to a hill overlooking Baker Lake where he spent many hours watching for caribou. Anguhadluq began his career as an artist when he was 65. It has been suggested that he could have been persuaded by Jessie Oonark's prosperity as an artist to begin exploring his illustrative talents. Anguhadluq took advantage of the crafting materials that were easily accessible in Baker Lake and created drawings, prints and sculptures early in his career. Anguhadluq would often draw sitting on the ground with the paper situated between his stretched-out legs, rotating the page as he went. Crafts Officers in Baker Lake quickly took notice of Anguhadluq's talent and encouraged him to continue drawing. Some of Anguhadluq's prints were sent in a collection to the Canadian Eskimo Arts Council, which resulted in the creation and development of a printmaking initiative in Baker Lake in 1969. Many of Anguhadluq's drawings were then made into prints, often by his sons, Thomas Iksiraq and Barnabus Oosuaq, who became printmakers. Luke Anguhadluq's prints, 81 in total, were a part of each annual Baker Lake Print Collection until he died. Jack Butler, a Craft Officer from 1969 to 1972 described Anguhadluq as a respected patriarch and his art was respected by the community as a result. For example, printmakers were encouraged to modify the base illustrations for their prints as they saw fit, but Anguhadluq's drawings remained unaltered in admiration of him. Anguhadluq's drawings depicted Utkuhikhalingmiut customs and his own lived experiences of these events. Hunting, drum dancing and people in Anguhadluq's community were often his inspirations. After being encouraged by Craft Officers in Baker Lake, Anguhadluq also began to include mythical components in his illustrations. Some modern objects also inspired Anguhadluq in his later artistic career, such as bedsprings. Anguhadluq's style has been described as abbreviated, with simplified images and a prudent use of line. He would also often use multiple perspectives and/or repeat his subjects for graphic effects. Historian Cynthia Cook has described Anguhadluq's work as having two distinct periods: the early period between 1960–1969 and the later period between 1970–1982. The early illustrations were often done in felt-tip pen and a limited range of coloured pencils. They most often depicted small figures, made of rugged and perturbed lines, surrounded by a vast expanse of blank paper. Later drawings used graphite and coloured pencil on handmade paper to show often larger figures, more balanced on the page than in previous works. Anguhadluq also began to use colour for visual appeal, organization of the subject and to connote symbolic value to the figures in his works. He also began to incorporate multiple perspectives during this period, which centred around a central point or figure in order to illustrate complicated events and to express his own lived experiences of time and space. Exhibitions Anguhadluq's work has been featured in over 94 national and international exhibitions between 1970 and 1996, including 6 exhibitions exclusively showing his works. Two of Anguhadluq's most notable exhibitions include a joint production with his wife, Marion Tuu'luq, in 1976 and a solo exhibition put together by the Art Gallery of Ontario and held at the National Art Gallery of Canada from 1993 to 1995. Collections Works by Luke Anguhadluq are at the Agnes Etherington Art Centre (Kingston, ON), Canadian Guild of Crafts Quebec (Montréal, QC), Canadian Museum of History (Hull, QC), Klamer Family Collection, Art Gallery of Ontario (Toronto, ON), Victoria and Albert Museum (London, UK), Edmonton Art Gallery (Edmonton, AB), the National Gallery of Canada (Ottawa, ON), Musée national des beaux-arts du Québec (Québec, QC) and the Museum of Anthropology, University of British Columbia (Vancouver, BC) among others. There are works by Luke Anguhadluk at commercial galleries including Feheley Fine Arts in Toronto, ON., and Spirit Wrestler Gallery in Vancouver, BC. Awards Anguhadluq was presented with a cultural award to attend the shared exhibition with his wife, which was held at the Winnipeg Art Gallery.[10] He has also been featured in the magazine Inuit Art Quarterly many times and is regarded as an important Canadian artist.[8] Anguhadluq's work is known to be held in the collections of at least 25 galleries and museums around the world.

Stonecut & Stencil 47/50 - Dorset 1982 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 19 ins x 15 ins (48.26 cm x 38.1 cm) Unframed Paper: Natural Provenance: Private Collection Pitseolak Ashoona (1904 – 1983 Indigenous / CAD) C.M., R.C.A. Born on Nottingham Island in the Northwest Territories, now Nunavut. Her name means "sea pigeon" in Inuktitut. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island. They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. She was also one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist. Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print collection. First working with graphite pencil, Pitseolak would later move on to coloured pencil and felt-tip pens. In the last two decades of her life, from 1960 onwards, she produced a collection of more than 7,000 images, 233 of which were created as prints in her Cape Dorset Collection. She said these illustrated life pre-contact, "the things we did long ago before there were many white men." Her artwork focuses on both daily life and legends, or Taleelayu. Pitseolak was inspired by other artists in her community who started before her, saying: "I don't know who did the first print, but Kiakshuk, Niviaksiak, Oshawetok and Tudlik were all drawing at the beginning. I liked the first prints ... because they were truly Eskimo." Pitseolak was accepted into the Royal Canadian Academy of Arts in 1974 and was awarded the Order of Canada in 1977 for her work. Through the following decade and until her death in 1983, Pitseolak continued to draw, and to work with new media. An arts grant awarded to her in 1975 sparked experimentation in a new medium – acrylic paint on canvas. Initially, she approached painting like drawing, outlining in pencil and then filling in with colour. As she gradually adapted to the nuances of the medium, she began laying down bold colours side by side to achieve her vivid affect. In 1973 she narrated her story in the National Film Board's animated documentary Pictures out of My Life, directed by Bozenna Heczko and based on interviews from Eber's book. Pitseolak was also featured on a stamp, issued on March 8, 1993 and designed by Heather J. Cooper, in commemoration of International Woman's Day. Pitseolak's work has been featured in exhibitions at Canadian museums, including the National Gallery of Canada, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Canadian museum of civilizations, and the Vancouver Art Gallery. In 1975 she had a retrospective at the Smithsonian Institution in Washington D.C., organized by the Department of Indian and Northern Affairs Canada. In 2020, Ashoona was one of eight finalist for the person to be depicted on $5 polymer bills in Canada.

Atungak Meets The Little People Stonecut 12/40 - Puvirnituq Co-Op 1970 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 15 ins x 29 ins (38.1 cm x 73.7 cm) Unframed Paper: Natural Printmaker: Caroline Qumaluk Provenance: Private Collection Davidialuk Alasua Amittu (1910 – 1976 CAD/ Indigenous) Davidialuk Alasua Amittu was born in 1910 in Nunagiirniraq Camp, Northern Quebec. A prolific and talented artist, much of his work contains a narrative element, relaying the stories and legends of traditional Inuit culture. An indifferent hunter, Davidialuk lived in poverty until he gained recognition as a folk artist near mid-life. Only then could he afford the hunter's indispensable dog team (and later snowmobile). Davidialuk was also a spellbinding storyteller - sharing stories based on legends, myths and of his own invention. These he later translated into stone carvings, prints and drawings. His last creative outpouring suggests an urgent need to articulate his personal view of Inuit history and morals. His brother, Syollie Awp once made some tapes of Davidialuk's stories and would play them in the local print shop to inspire other artists. Davidialuk had a close relationship with his cousin Joe Talirunili and they both produced many sculptures in the 1950s and graphics in the 1960s. Both men enjoyed long and fruitful careers, and passed away within months of each other in 1976. Davidialuk is the father to Puvirnituq artists Johnny Amituk and Aisa Amittu. His wife, Maina Aqurtu Assappa was a carver. Davidialuk's brother is Syollie Awp, and his nephew is Davidee Anutigirk, who are also artists in Puvirnituq.

Silkscreen 1980 - 11/98 Signed & Dated Lower Right - Titled & Numbered Lower Border Sight - 18.5 ins x 24.5 ins (46.99 cm x 62.23 cm) Framed Under Glass Provenance: Private Collection John Turo (1952 – 1997 Indigenous / CAD)

Stonecut & Stencil 19/40 - 1979 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 10.5 ins x 10.5 ins (26.67 cm x 26.67 cm) Unframed Paper: Natural Provenance: Private Collection C. Quamaluk

Stonecut & Stencil 50/50 - Dorset 1967 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 13 ins x 10 ins (33.02 cm x 25.4 cm) Unframed Provenance: Private Collection Iyola Kingwatsiak (1933 – 2000 Indigenous/CAD ) Born in Kinngait in the Qikiqtaaluk Region (Baffin Island). He was a visual artist that specialized in the creation of carvings, drawings and prints. Kingwatsiak started to develop his artistic practice in Kinngait (Cape Dorset) and resided there for the remainder of his life. Kingwatsiak commenced his artistic practice as a carver and later became known for his creation of prints in Kinngait between 1959 and 1977, as well as from 1984 to 1988. Kingwatsiak was one of the first Inuit artists, alongside Lukta Qiatsuq, Eegyvudluk Pootoogook and Kananginak Pootoogook, to engage in formal printmaking practices with artist and Canadian government official, James Houston in Kinngait during the late 1950s. He was also part of a group of four other Inuit artists including Kananginak Pootoogook, Joanasie Salamonie, Lukta Qiatsuq and Kiakshuk, who together signed the West Baffin Eskimo Co-operative’s first incorporation documents and initially contributed to its development as a renowned organization for the creation of Inuit art. Kingwatsiak’s artworks were exhibited in the Cape Dorset Print Collections between 1959 and 1993. He created 155 prints using a variety of methods, including etching, engraving, stencil and stonecut. He is noted for creating artworks that featured Inuit figures within northern environments and Arctic animals, such as birds, whales, walruses and bears. He was also known for his technical artistic experimentation with various media. Kingwatsiak was part of early experiments with copperplate engraving in Kinngait in 1962, and also attended workshops to learn about tools for carving hard stone. Kingwatsiak’s artwork is in many public collections across North America, such as the Museum of Modern Art, New York, the National Gallery of Canada, Ottawa and the Winnipeg Art Gallery. In addition to being one of the first printmakers in Kinngait, he was also one of the first to work with copperplate engraving in 1961. His artwork has been exhibited within galleries across Canada as well as internationally. He was also active in his northern community, including being President of the West Baffin Eskimo Cooperative from 1971 to 1973, as well as serving on numerous community boards and committees.

Stonecut & Stencil 41/50 - Dorset 1984 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 24 ins x 33.5 ins (60.96 cm x 85.09 cm) Unframed Paper: Natural Unbleached Provenance: Private Collection Kananginak Pootoogook (1935 – 2010 Indigenous/CAD) R.C.A. Born at a traditional Inuit camp called Ikerasak, near Cape Dorset, Northwest Territories (now Kinngait, Nunavut) to Josephie (Eegyvudluk) Pootoogook, leader of the camp, and Sarah Ningeokuluk. The family lived a traditional lifestyle hunting and trapping while living in an iglu in the winter and a sod house in the summer and did not move into their first southern style house until 1942. In 1957 Pootoogook married Shooyoo, moved to Cape Dorset and began work for James Houston. Originally, Pootoogook did some carving, made prints and lithographs for other artists. At the same time he was a leader in setting up the West Baffin Eskimo Co-operative (WBEC), the first Inuit owned co-op, now part of the Arctic Co-operatives Limited and served from 1959 until 1964 as the president. Although Kananginak had worked with his father, Josephie, in 1959, it was not until the 1970s that Kananginak began work as a full-time artist producing drawings, carvings and prints. In 1977 he cut 13 original blocks for prints that were used exclusively for the first WBEC calendar that was issued in a limited edition of 500. According to Terry Ryan, former Co-op manager, Pootoogook was both influenced by and an admirer of the works of his uncle, photographer and historian Peter Pitseolak. The inukshuk at Rideau Hall created by artist Kananginak Pootoogook for former Governor General of Canada, Roméo LeBlanc, for National Aboriginal Day, unveiled on 21 June 1997. The World Wildlife Fund released a limited edition set in 1977 that included four of Pootoogook's images and in 1980 he was elected to the Royal Canadian Academy of Arts. In 1997 Pootoogook built a 1.8 m (6 ft) inukshuk in Cape Dorset for former Governor General of Canada, Roméo LeBlanc. The inukshuk was dismantled and shipped to Ottawa and with the assistance of his son, Johnny, it was rebuilt at Rideau Hall and unveiled on 21 June, National Aboriginal Day. Pootoogook had several exhibitions and showings of his work. In 2010, he went to Vancouver for the 2010 Winter Olympics and to open a showing of his work at the Marion Scott Gallery. He also had a showing of his work, his first solo exhibition at a public institution, at the Museum of Inuit Art in Toronto from February to May 2010. He also received a 2010 National Aboriginal Achievement Award in the arts category from the National Aboriginal Achievement Foundation. While working on his final, and unfinished, drawing of a Peterhead boat owned by his father, he was struck by coughing spells, which he declared was cancer. Along with his wife, Shooyoo, he flew to Ottawa, staying at the Larga Baffin home, and was diagnosed with lung cancer. In October 2010, he underwent surgery and did not recover.

Acrylic On Paper 1986 Signed & Dated Lower Right & in Syllabics Sight - 22 ins x 14.5 ins (55.88 cm x 36.83 cm) Framed Under Glass Provenance: Private Collection Timothy Gregory (Tim) Restoule (1960 – Indigenous / CAD)

Stonecut & Stencil 16/50 - Dorset 1979 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 24 ins x 27 ins (60.96 cm x 68.6 cm) Unframed Paper: Natural Provenance: Private Collection Kenojuak Ashevak (1927 – 2013 Inuit / CAD) C.C., Onu, R.C.A. Born in an igloo in an Inuit camp, Ikirasaq, at the southern coast of Baffin Island. Kenojuak Ashevak became one of the first Inuit women in Cape Dorset to begin drawing. She worked in graphite, coloured pencils and felt-tip pens, and occasionally used poster paints, watercolours or acrylics. She created many carvings from soapstone and thousands of drawings, etchings, stonecut prints and prints — all sought after by museums and collectors. She designed several drawings for Canadian stamps and coins, and in 2004 she created the first Inuit-designed stained-glass window for the John Bell Chapel in Oakville, Ontario. In 2017, the $10 bill released in celebration of Canada's 150th birthday features Kenojuak's stone-cut and stencil printed work called "Owl’s Bouquet" in silver holographic foil. During Ashevak's stay at Parc Savard hospital in Quebec City, 1952 to 1955, she learned to make dolls from Harold Pfeiffer and to do beadwork. These crafts later attracted the attention of civil administrator and pioneer Inuit art promoter James Archibald Houston and his wife Alma. Houston introduced print-making to Cape Dorset artists in the 1950s, and he and his wife began marketing Inuit arts and crafts, including an exhibit of Inuit art in 1959. She was hesitant at first, claiming that she could not draw and that drawing was a man’s business. Yet the next time that she visited the Houstons, the sheets of paper that Alma had given her were filled with pencil sketches. In 1958 her first print, Rabbit Eating Seaweed, was produced from one of her designs on a sealskin bag, and by 1959 Kenojuak and other Cape Dorset Inuit had formed the West Baffin Eskimo Co-operative as a senlavik (workshop) for aspiring Inuit artists, later known as Kinngait Studios. Fellow members included Pitaloosie Saila, Mayoreak Ashoona, and Napatchie Pootagook. Her reception in southern Canada was rapidly favourable. In 1963 she was the subject of a National Film Board documentary by producer John Feeney, Eskimo Artist: Kenojuak, about Kenojuak, then 35, and her family, as well as traditional Inuit life on Baffin Island. The film showed a stonecutter carving her design into a relief block in stone, cutting away all the non-printing surfaces; she would then apply ink to the carved stone, usually in two or more colours, and carefully make 50 "shadow" prints for sale. With the money she earned from the film, Johnniebo was able to purchase his own canoe and become an independent hunter to help provide for the family, which now included a new daughter, Aggeo, and an adopted son, Ashevak. Ashevak created several pieces of work to commemorate the creation of Nunavut, the third Canadian Territory, including a piece commissioned by the Department of Indian and Northern Affairs, Nunavut Qajanatuk (Our Beautiful Land) for the signing of the Inuit Land Claim Agreement in Principle in April 1990; Nunavut, a large hand-coloured lithograph to commemorate the signing of the Final Agreement early in 1994; a large diptych titled Siilavut, Nunavut (Our Environment, Our Land) in April 1999, when the Territory officially came into being. Kenojuak became the first Inuit artist inducted into Canada's Walk of Fame in 2001, and traveled to Toronto with her daughter, Silaqi, to attend the ceremony. Up until her death, Kenojuak contributed annually to the Cape Dorset Annual Print Release and continued to create new works. She was one of the last living artists from the West Baffin Eskimo Cooperative. Since her death, prices for Kenojuak's work have reached new records, including $59,000CAD paid for a copy of Rabbit Eating Seaweed. In 1967, she was made an Officer of the Order of Canada and was promoted to Companion in 1982. In 1970, Canada Post placed her 1960 print Enchanted Owl on a stamp to commemorate the centennial of the Northwest Territories. In 1974, she was elected a member of the Royal Canadian Academy of Arts. In 1980, Canada Post used her 1961 print Return of the Sun on a seventeen-cent stamp as part of its Inuit postage stamp series. In 1982, she has appointed a Companion of the Order of Canada. In 1991, she received an honorary doctorate from Queen's University. In 1992, she was awarded an honorary doctorate from the University of Toronto. In 1993, Canada Post featured 1969 drawing The Owl on a stamp for its Masterpieces of Canadian Art series. In 1999, a famous piece of hers, the "Red Owl" was featured on the April issue of the 1999 Millennium quarter series. Her initials in Inuktitut were on the left of the design, the first time the language had appeared on circulation coinage. In 2001, she was inducted into Canada's Walk of Fame. In 2004, she created the first-ever Inuit-designed stained glass window for the John Bell Chapel at Appleby College in Oakville, Ontario. In 2008, she received the renowned $25,000 Governor General's Award in Visual and Media Arts from the Canada Council of the Arts. In 2012, she was appointed a member of the Order of Nunavut. In 2017, the Bank of Canada unveiled a commemorative $10 banknote in honour of Canada's 150th birthday; Ashevak's print Owl's Bouquet is featured on the note.

Stonecut 12/39 - Baker Lake 1978 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 24 ins x 19.5 ins (60.96 cm x 49.53 cm) Unframed Paper: Kozuke Kozo White Paper Printmaker: David Mannik Provenance: Baker Chop Private Collection Luke Anguhadluq (1895 – 1982 Indigenous / CAD) Born at Chantrey Inlet in 1895 to the Utkuhikhalingmiut (meaning "people of the stone for cooking pots") people. Anguhadluq grew up living traditionally off of the land in the Back River area and by the age of 28 was considered to be a mature hunter and eventually a respected camp leader. The Utkuhikhalingmiut remained largely unaffected by settling Europeans and continued their traditions into the 1950s. A famine, resulting from a shift in the migratory patterns of caribou away from Back River, caused Anguhadluq and his extended family to leave the area. Anguhadluq led his family to Schultz Lake and Whitehills Lake before settling in Qamani'tuaq, or Baker Lake, in 1961. Anguhadluq's family arranged for him to marry his cousin Jessie Oonark, who is also a well-known artist, but the union never took place. Luke Anguhadluq had 3 wives and 7 children, including two sons whom he adopted. One of Anguhadluq's wives, Marion Tuu'luq, was also an artist specializing in wall-hangings and drawings. Anguhadluq continued to live in an igloo in the winter and a skin tent in the summer until he was 72. The artist hunted and fished almost daily on the lands around Baker Lake. Luke Anguhadluq died on 2 February 1982 at the age of 87 in Baker Lake. As per his wishes, Anguhadluq was not buried in the Anglican cemetery and his body was instead taken by dogsled to a hill overlooking Baker Lake where he spent many hours watching for caribou. Anguhadluq began his career as an artist when he was 65. It has been suggested that he could have been persuaded by Jessie Oonark's prosperity as an artist to begin exploring his illustrative talents. Anguhadluq took advantage of the crafting materials that were easily accessible in Baker Lake and created drawings, prints and sculptures early in his career. Anguhadluq would often draw sitting on the ground with the paper situated between his stretched-out legs, rotating the page as he went. Crafts Officers in Baker Lake quickly took notice of Anguhadluq's talent and encouraged him to continue drawing. Some of Anguhadluq's prints were sent in a collection to the Canadian Eskimo Arts Council, which resulted in the creation and development of a printmaking initiative in Baker Lake in 1969. Many of Anguhadluq's drawings were then made into prints, often by his sons, Thomas Iksiraq and Barnabus Oosuaq, who became printmakers. Luke Anguhadluq's prints, 81 in total, were a part of each annual Baker Lake Print Collection until he died. Jack Butler, a Craft Officer from 1969 to 1972 described Anguhadluq as a respected patriarch and his art was respected by the community as a result. For example, printmakers were encouraged to modify the base illustrations for their prints as they saw fit, but Anguhadluq's drawings remained unaltered in admiration of him. Anguhadluq's drawings depicted Utkuhikhalingmiut customs and his own lived experiences of these events. Hunting, drum dancing and people in Anguhadluq's community were often his inspirations. After being encouraged by Craft Officers in Baker Lake, Anguhadluq also began to include mythical components in his illustrations. Some modern objects also inspired Anguhadluq in his later artistic career, such as bedsprings. Anguhadluq's style has been described as abbreviated, with simplified images and a prudent use of line. He would also often use multiple perspectives and/or repeat his subjects for graphic effects. Historian Cynthia Cook has described Anguhadluq's work as having two distinct periods: the early period between 1960–1969 and the later period between 1970–1982. The early illustrations were often done in felt-tip pen and a limited range of coloured pencils. They most often depicted small figures, made of rugged and perturbed lines, surrounded by a vast expanse of blank paper. Later drawings used graphite and coloured pencil on handmade paper to show often larger figures, more balanced on the page than in previous works. Anguhadluq also began to use colour for visual appeal, organization of the subject and to connote symbolic value to the figures in his works. He also began to incorporate multiple perspectives during this period, which centred around a central point or figure in order to illustrate complicated events and to express his own lived experiences of time and space. Exhibitions Anguhadluq's work has been featured in over 94 national and international exhibitions between 1970 and 1996, including 6 exhibitions exclusively showing his works. Two of Anguhadluq's most notable exhibitions include a joint production with his wife, Marion Tuu'luq, in 1976 and a solo exhibition put together by the Art Gallery of Ontario and held at the National Art Gallery of Canada from 1993 to 1995. Collections Works by Luke Anguhadluq are at the Agnes Etherington Art Centre (Kingston, ON), Canadian Guild of Crafts Quebec (Montréal, QC), Canadian Museum of History (Hull, QC), Klamer Family Collection, Art Gallery of Ontario (Toronto, ON), Victoria and Albert Museum (London, UK), Edmonton Art Gallery (Edmonton, AB), the National Gallery of Canada (Ottawa, ON), Musée national des beaux-arts du Québec (Québec, QC) and the Museum of Anthropology, University of British Columbia (Vancouver, BC) among others. There are works by Luke Anguhadluk at commercial galleries including Feheley Fine Arts in Toronto, ON., and Spirit Wrestler Gallery in Vancouver, BC. Awards Anguhadluq was presented with a cultural award to attend the shared exhibition with his wife, which was held at the Winnipeg Art Gallery.[10] He has also been featured in the magazine Inuit Art Quarterly many times and is regarded as an important Canadian artist.[8] Anguhadluq's work is known to be held in the collections of at least 25 galleries and museums around the world.

Stonecut 38/50 - Holman Co-op 1969 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 18 ins x 24 ins (45.72 cm x 60.96 cm) Unframed Paper: Kozuke Kozo White Paper Provenance: Holman Ulu Private Collection Helen Kalvak (1901 – 1984 Indigenous / CAD) O.C., R.C.A. A Copper Inuit graphic artist from Ulukhaktok (formerly Holman), Northwest Territories, Canada. Kalvak was born at Tahiryuak Lake, on Victoria Island and raised in the Prince Albert Sound area. Her family also spent some time at Minto Inlet. She lived a traditional Inuit lifestyle for most of her life. Her mother was Enataomik. Her father Halukhit encouraged her spiritual gifts and taught her to be an angatkuq (spiritual healer). Although Kalvak later converted to Christianity, she continued to reflect her traditional spirituality in her artwork, along with the stories which she had learned as a child. In 1960, Kalvak moved to Holman (present-day Ulukhaktok) after the sudden death of her husband, Edward Manayok. There in 1961 she helped a Roman Catholic priest, Rev. Henri Tardy, set up the Holman Eskimo Co-op. It was at this time that Kalvak began her artwork. In 1965, her artwork was turned into prints and sold throughout the world. Ten years later, in recognition of her work, Kalvak was inducted into the Royal Canadian Academy of Arts. This was followed in 1978 by her appointment to the Order of Canada. By 1978, Kalvak had produced an estimated 2,000 drawings. She was no longer able to use her hands due to Parkinson's disease. The following year, Canada Post used her work entitled The Dance for the 17¢ postage stamp. With 176 published prints, Kalvak is the Ulukhaktok artist with the largest body of published work. At the time of her death in 1984, Kalvak was one of the few remaining Inuit women in Ulukhaktok decorated with traditional beautifying facial tattoos. The school in Ulukhaktok is named after her. *In the print Kidnapper (1973), Helen Kalvak portrays Arnakafaluk, the legendary woman who appears out of the sea to kidnap children who wander away from their parents' camp. A recurring theme in her work is the interrelationship between the human and animal worlds.

Indigenous Soap Stone Carving Disc Number Indistingushable Signed On Bottom Weight Approx. 16 lbs (7.26 kg) Sight - 8H ins x 5.5W ins x 8L ins ( 20.32 cm x 13.97 cm x 20.32 cm) Provenance: Private Collection

Stonecut & Stencil 45/50 - Dorset 1981 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 25 ins x 34 ins (63.5 cm x 86.4 cm) Unframed Provenance: Private Collection Pudlo Pudlat (1916 – 1992 Indigenous / CAD) Born at Kamadjuak Camp, Baffin Island, Canada, Pudlat lived for much of his life in the Kimmirut region in what is now the Canadian Territory of Nunavut, hunting and fishing with his family along the southwest coast of Baffin Island. Pudlo began drawing in the early 1960s after he abandoned the semi-nomadic way of life and settled in Cape Dorset. He experienced firsthand the radical transformation of life in the Arctic that occurred in the 20th Century and reached its peak in the 1950s. In 1950, he married fellow Inuit artist Innukjuakju Pudlat, and they remained together until her death in 1972. Until he was six, he lived around Coral Harbour; later, he moved to the region of Lake Harbour, now called Kimmirut. In the late 1950s, when he was already in his 40s, he moved to Kiaktuuq near Cape Dorset to recover from a bout of tuberculosis. It was there he met Inuit art pioneer James Archibald Houston and began his career as an artist. Pudlat spent 33 years creating art. He began by carving sculpture, but he found carving difficult because of an arm injury, so he switched to drawing around 1959 or 1960. Initially encouraged by James Houston and then by Terry Ryan of the West Baffin Eskimo Co-operative, he embraced drawing and later printmaking and painting as these media were introduced in the north. Pudlo occasionally traveled south and to other parts of the Arctic for medical treatment. The objects he encountered his travels, especially airplanes, are prominent in his subject matter. In 1972 one of Pudlat's prints was selected for reproduction on a UNICEF greeting card. Pudlo travelled to Ottawa to attend the opening of an exhibition of the works. He remembered it as the first work for which he was invited south and accorded public recognition. Pudlat died in 1992, at Cape Dorset.

Acrylic Signed Lower Right Sight - 16.5 ins x 22.5 ins ( 41.91 cm x 57.15 cm) Framed Under Glass Provenance: JSArt Private Collection Eddy Cobiness (1933 - 1986 Indigenous CAD) Professional Native Indian Artists Incorporation - “Indian Group Of Seven” He was an Ojibwe-Native Canadian and his art work is characterized by scenes from the life outdoors and nature. He began with realistic scenes and then evolved into more abstract work. He belonged to the "Woodland School of Art" and was a prominent member of the "Professional Native Indian Artists Incorporation", better known as the "Indian Group of Seven". Cobiness has taught painting himself. He was a graphic designer who began drawing pictures of birds in sand, snow or on cardboard, in his childhood. In the 1950s, during his military service years, he discovered working in watercolour. He studied colour and composition. In the 1960s his ink and watercolour drawings were commercially successful, and he began his art career. For Cobiness, the life outdoors and nature always was subject of his works. He began with realistic scenes and then evolve into more abstract work, influenced by his art colleague at the time, painter Benjamin Chee Chee. He further developed his work unimpeded and worked with several styles, using many media. It would bring him international recognition. It is known that Queen Elizabeth II has work of Cobiness in her collection.

Stonecut & Stencil 48/50 - Dorset 1982 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 27 ins x 24.5 ins (68.67 cm x 62.23 cm) Unframed Paper: Natural Provenance: Private Collection Pitseolak Ashoona (1904 – 1983 Indigenous / CAD) C.M., R.C.A. Born on Nottingham Island in the Northwest Territories, now Nunavut. Her name means "sea pigeon" in Inuktitut. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island. They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. She was also one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist. Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print collection. First working with graphite pencil, Pitseolak would later move on to coloured pencil and felt-tip pens. In the last two decades of her life, from 1960 onwards, she produced a collection of more than 7,000 images, 233 of which were created as prints in her Cape Dorset Collection. She said these illustrated life pre-contact, "the things we did long ago before there were many white men." Her artwork focuses on both daily life and legends, or Taleelayu. Pitseolak was inspired by other artists in her community who started before her, saying: "I don't know who did the first print, but Kiakshuk, Niviaksiak, Oshawetok and Tudlik were all drawing at the beginning. I liked the first prints ... because they were truly Eskimo." Pitseolak was accepted into the Royal Canadian Academy of Arts in 1974 and was awarded the Order of Canada in 1977 for her work. Through the following decade and until her death in 1983, Pitseolak continued to draw, and to work with new media. An arts grant awarded to her in 1975 sparked experimentation in a new medium – acrylic paint on canvas. Initially, she approached painting like drawing, outlining in pencil and then filling in with colour. As she gradually adapted to the nuances of the medium, she began laying down bold colours side by side to achieve her vivid affect. In 1973 she narrated her story in the National Film Board's animated documentary Pictures out of My Life, directed by Bozenna Heczko and based on interviews from Eber's book. Pitseolak was also featured on a stamp, issued on March 8, 1993 and designed by Heather J. Cooper, in commemoration of International Woman's Day. Pitseolak's work has been featured in exhibitions at Canadian museums, including the National Gallery of Canada, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Canadian museum of civilizations, and the Vancouver Art Gallery. In 1975 she had a retrospective at the Smithsonian Institution in Washington D.C., organized by the Department of Indian and Northern Affairs Canada. In 2020, Ashoona was one of eight finalist for the person to be depicted on $5 polymer bills in Canada.

Stonecut - Povirnituq 1978 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 11.5 ins x 13.5 ins (29.21 cm x 34.29 cm) Unframed Paper: Natural Provenance: Private Collection DAVIDIALUK ALASUA AMITTU (1910 – 1976 CAD/ Indigenous) Davidialuk Alasua Amittu was born in 1910 in Nunagiirniraq Camp, Northern Quebec. A prolific and talented artist, much of his work contains a narrative element, relaying the stories and legends of traditional Inuit culture. An indifferent hunter, Davidialuk lived in poverty until he gained recognition as a folk artist near mid-life. Only then could he afford the hunter's indispensable dog team (and later snowmobile). Davidialuk was also a spellbinding storyteller - sharing stories based on legends, myths and of his own invention. These he later translated into stone carvings, prints and drawings. His last creative outpouring suggests an urgent need to articulate his personal view of Inuit history and morals. His brother, Syollie Awp once made some tapes of Davidialuk's stories and would play them in the local print shop to inspire other artists. Davidialuk had a close relationship with his cousin Joe Talirunili and they both produced many sculptures in the 1950s and graphics in the 1960s. Both men enjoyed long and fruitful careers, and passed away within months of each other in 1976. Davidialuk is the father to Puvirnituq artists Johnny Amituk and Aisa Amittu. His wife, Maina Aqurtu Assappa was a carver. Davidialuk's brother is Syollie Awp, and his nephew is Davidee Anutigirk, who are also artists in Puvirnituq.

Stonecut & Stencil 62/75 - Dorset 1992 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 25 ins x 30 ins (63.5 cm x 76 cm) Unframed Paper: Natural Provenance: Private Collection Kenojuak Ashevak (1927 – 2013 Inuit / CAD) C.C., Onu, R.C.A. Born in an igloo in an Inuit camp, Ikirasaq, at the southern coast of Baffin Island. Kenojuak Ashevak became one of the first Inuit women in Cape Dorset to begin drawing. She worked in graphite, coloured pencils and felt-tip pens, and occasionally used poster paints, watercolours or acrylics. She created many carvings from soapstone and thousands of drawings, etchings, stonecut prints and prints — all sought after by museums and collectors. She designed several drawings for Canadian stamps and coins, and in 2004 she created the first Inuit-designed stained-glass window for the John Bell Chapel in Oakville, Ontario. In 2017, the $10 bill released in celebration of Canada's 150th birthday features Kenojuak's stone-cut and stencil printed work called "Owl’s Bouquet" in silver holographic foil. During Ashevak's stay at Parc Savard hospital in Quebec City, 1952 to 1955, she learned to make dolls from Harold Pfeiffer and to do beadwork. These crafts later attracted the attention of civil administrator and pioneer Inuit art promoter James Archibald Houston and his wife Alma. Houston introduced print-making to Cape Dorset artists in the 1950s, and he and his wife began marketing Inuit arts and crafts, including an exhibit of Inuit art in 1959. She was hesitant at first, claiming that she could not draw and that drawing was a man’s business. Yet the next time that she visited the Houstons, the sheets of paper that Alma had given her were filled with pencil sketches. In 1958 her first print, Rabbit Eating Seaweed, was produced from one of her designs on a sealskin bag, and by 1959 Kenojuak and other Cape Dorset Inuit had formed the West Baffin Eskimo Co-operative as a senlavik (workshop) for aspiring Inuit artists, later known as Kinngait Studios. Fellow members included Pitaloosie Saila, Mayoreak Ashoona, and Napatchie Pootagook. Her reception in southern Canada was rapidly favourable. In 1963 she was the subject of a National Film Board documentary by producer John Feeney, Eskimo Artist: Kenojuak, about Kenojuak, then 35, and her family, as well as traditional Inuit life on Baffin Island. The film showed a stonecutter carving her design into a relief block in stone, cutting away all the non-printing surfaces; she would then apply ink to the carved stone, usually in two or more colours, and carefully make 50 "shadow" prints for sale. With the money she earned from the film, Johnniebo was able to purchase his own canoe and become an independent hunter to help provide for the family, which now included a new daughter, Aggeo, and an adopted son, Ashevak. Ashevak created several pieces of work to commemorate the creation of Nunavut, the third Canadian Territory, including a piece commissioned by the Department of Indian and Northern Affairs, Nunavut Qajanatuk (Our Beautiful Land) for the signing of the Inuit Land Claim Agreement in Principle in April 1990; Nunavut, a large hand-coloured lithograph to commemorate the signing of the Final Agreement early in 1994; a large diptych titled Siilavut, Nunavut (Our Environment, Our Land) in April 1999, when the Territory officially came into being. Kenojuak became the first Inuit artist inducted into Canada's Walk of Fame in 2001, and traveled to Toronto with her daughter, Silaqi, to attend the ceremony. Up until her death, Kenojuak contributed annually to the Cape Dorset Annual Print Release and continued to create new works. She was one of the last living artists from the West Baffin Eskimo Cooperative. Since her death, prices for Kenojuak's work have reached new records, including $59,000CAD paid for a copy of Rabbit Eating Seaweed. In 1967, she was made an Officer of the Order of Canada and was promoted to Companion in 1982. In 1970, Canada Post placed her 1960 print Enchanted Owl on a stamp to commemorate the centennial of the Northwest Territories. In 1974, she was elected a member of the Royal Canadian Academy of Arts. In 1980, Canada Post used her 1961 print Return of the Sun on a seventeen-cent stamp as part of its Inuit postage stamp series. In 1982, she has appointed a Companion of the Order of Canada. In 1991, she received an honorary doctorate from Queen's University. In 1992, she was awarded an honorary doctorate from the University of Toronto. In 1993, Canada Post featured 1969 drawing The Owl on a stamp for its Masterpieces of Canadian Art series. In 1999, a famous piece of hers, the "Red Owl" was featured on the April issue of the 1999 Millennium quarter series. Her initials in Inuktitut were on the left of the design, the first time the language had appeared on circulation coinage. In 2001, she was inducted into Canada's Walk of Fame. In 2004, she created the first-ever Inuit-designed stained glass window for the John Bell Chapel at Appleby College in Oakville, Ontario. In 2008, she received the renowned $25,000 Governor General's Award in Visual and Media Arts from the Canada Council of the Arts. In 2012, she was appointed a member of the Order of Nunavut. In 2017, the Bank of Canada unveiled a commemorative $10 banknote in honour of Canada's 150th birthday; Ashevak's print Owl's Bouquet is featured on the note.

Snow Buntings Return To Caribou Country Stonecut 10/50 - Dorset 1983 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 25 ins x 17 ins (63.5 cm x 43.18 cm) Unframed Paper: Natural Provenance: Private Collection Pitseolak Ashoona (1904 – 1983 Indigenous / CAD) C.M., R.C.A. Born on Nottingham Island in the Northwest Territories, now Nunavut. Her name means "sea pigeon" in Inuktitut. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island. They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. She was also one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist. Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print collection. First working with graphite pencil, Pitseolak would later move on to coloured pencil and felt-tip pens. In the last two decades of her life, from 1960 onwards, she produced a collection of more than 7,000 images, 233 of which were created as prints in her Cape Dorset Collection. She said these illustrated life pre-contact, "the things we did long ago before there were many white men." Her artwork focuses on both daily life and legends, or Taleelayu. Pitseolak was inspired by other artists in her community who started before her, saying: "I don't know who did the first print, but Kiakshuk, Niviaksiak, Oshawetok and Tudlik were all drawing at the beginning. I liked the first prints ... because they were truly Eskimo." Pitseolak was accepted into the Royal Canadian Academy of Arts in 1974 and was awarded the Order of Canada in 1977 for her work. Through the following decade and until her death in 1983, Pitseolak continued to draw, and to work with new media. An arts grant awarded to her in 1975 sparked experimentation in a new medium – acrylic paint on canvas. Initially, she approached painting like drawing, outlining in pencil and then filling in with colour. As she gradually adapted to the nuances of the medium, she began laying down bold colours side by side to achieve her vivid affect. In 1973 she narrated her story in the National Film Board's animated documentary Pictures out of My Life, directed by Bozenna Heczko and based on interviews from Eber's book. Pitseolak was also featured on a stamp, issued on March 8, 1993 and designed by Heather J. Cooper, in commemoration of International Woman's Day. Pitseolak's work has been featured in exhibitions at Canadian museums, including the National Gallery of Canada, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Canadian museum of civilizations, and the Vancouver Art Gallery. In 1975 she had a retrospective at the Smithsonian Institution in Washington D.C., organized by the Department of Indian and Northern Affairs Canada. In 2020, Ashoona was one of eight finalist for the person to be depicted on $5 polymer bills in Canada.

Stonecut & Stencil 28/50 - Dorset 1980 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 24 ins x 29.5 ins (60.96 cm x 74.93 cm) Unframed Paper: Natural Provenance: Private Collection Pitseolak Ashoona (1904 – 1983 Indigenous / CAD) C.M., R.C.A. Born on Nottingham Island in the Northwest Territories, now Nunavut. Her name means "sea pigeon" in Inuktitut. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island. They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. She was also one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist. Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print collection. First working with graphite pencil, Pitseolak would later move on to coloured pencil and felt-tip pens. In the last two decades of her life, from 1960 onwards, she produced a collection of more than 7,000 images, 233 of which were created as prints in her Cape Dorset Collection. She said these illustrated life pre-contact, "the things we did long ago before there were many white men." Her artwork focuses on both daily life and legends, or Taleelayu. Pitseolak was inspired by other artists in her community who started before her, saying: "I don't know who did the first print, but Kiakshuk, Niviaksiak, Oshawetok and Tudlik were all drawing at the beginning. I liked the first prints ... because they were truly Eskimo." Pitseolak was accepted into the Royal Canadian Academy of Arts in 1974 and was awarded the Order of Canada in 1977 for her work. Through the following decade and until her death in 1983, Pitseolak continued to draw, and to work with new media. An arts grant awarded to her in 1975 sparked experimentation in a new medium – acrylic paint on canvas. Initially, she approached painting like drawing, outlining in pencil and then filling in with colour. As she gradually adapted to the nuances of the medium, she began laying down bold colours side by side to achieve her vivid affect. In 1973 she narrated her story in the National Film Board's animated documentary Pictures out of My Life, directed by Bozenna Heczko and based on interviews from Eber's book. Pitseolak was also featured on a stamp, issued on March 8, 1993 and designed by Heather J. Cooper, in commemoration of International Woman's Day. Pitseolak's work has been featured in exhibitions at Canadian museums, including the National Gallery of Canada, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Canadian museum of civilizations, and the Vancouver Art Gallery. In 1975 she had a retrospective at the Smithsonian Institution in Washington D.C., organized by the Department of Indian and Northern Affairs Canada. In 2020, Ashoona was one of eight finalist for the person to be depicted on $5 polymer bills in Canada.

Stonecut & Stencil 49/50 - Dorset 1982 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 20 ins x 25 ins (50.8 cm x 63.5 cm) Unframed Paper: Natural Provenance: Private Collection Pitseolak Ashoona (1904 – 1983 Indigenous / CAD) C.M., R.C.A. Born on Nottingham Island in the Northwest Territories, now Nunavut. Her name means "sea pigeon" in Inuktitut. In 1922 (or 1923), Pitseolak married Ashoona, a hunter, in the Foxe Peninsula of Baffin Island. They had 17 children, though only six (Namoonie, Qaqaq, Kumwartok, Kiugak, Napachie, and Ottochie) lived with Pitseolak until adulthood. Some died in childhood, and others were adopted out according to custom, and raised by other Inuit families. Years of hardship followed the death of Ashoona, which occurred sometime in the early to mid 1940s. He died in the early years of the Second World War, a time of decline in the market for furs. Over time the loss of Ashoona led Pitseolak to become an artist. Making prints eased her loneliness and she described her art as what made her "the happiest since he died". Pitseolak's artwork later enabled her to support her family. Though her art arose from painful circumstances, it expressed mostly positive memories and experiences. As Christine Lalonde notes in Pitseolak Ashoona: Life & Work: "scenes of deprivation and suffering almost never appear in her drawings, though certain images convey sadness and longing" about the passing of Ashoona. Pitseolak is recognized as one of the first Inuit artists to create autobiographical works. Her art contained images of traditional Inuit life and contributed to the establishment of a modern Inuit art form, one that transmitted traditional knowledge and values while at the same time achieving worldwide popular and commercial success. She was also one of the first artists in the 1960s to make drawings for the print studio in Cape Dorset. She was a self-taught artist. Initially Pitseolak worked sewing and embroidering goods for sale as part of the arts and crafts program. It was initiated by the Department of Northern Affairs and National Resources as a way for Inuit to earn money. It was introduced by James Archibald Houston and Alma Houston at Cape Dorset in 1956. Upon seeing the work of her cousin Kiakshuk (1886–1966), who was part of the Cape Dorset graphic studio, Pitseolak decided to take up drawing. Her early work was well received and she soon became one of the most popular artists among those creating images for the Cape Dorset print collection. First working with graphite pencil, Pitseolak would later move on to coloured pencil and felt-tip pens. In the last two decades of her life, from 1960 onwards, she produced a collection of more than 7,000 images, 233 of which were created as prints in her Cape Dorset Collection. She said these illustrated life pre-contact, "the things we did long ago before there were many white men." Her artwork focuses on both daily life and legends, or Taleelayu. Pitseolak was inspired by other artists in her community who started before her, saying: "I don't know who did the first print, but Kiakshuk, Niviaksiak, Oshawetok and Tudlik were all drawing at the beginning. I liked the first prints ... because they were truly Eskimo." Pitseolak was accepted into the Royal Canadian Academy of Arts in 1974 and was awarded the Order of Canada in 1977 for her work. Through the following decade and until her death in 1983, Pitseolak continued to draw, and to work with new media. An arts grant awarded to her in 1975 sparked experimentation in a new medium – acrylic paint on canvas. Initially, she approached painting like drawing, outlining in pencil and then filling in with colour. As she gradually adapted to the nuances of the medium, she began laying down bold colours side by side to achieve her vivid affect. In 1973 she narrated her story in the National Film Board's animated documentary Pictures out of My Life, directed by Bozenna Heczko and based on interviews from Eber's book. Pitseolak was also featured on a stamp, issued on March 8, 1993 and designed by Heather J. Cooper, in commemoration of International Woman's Day. Pitseolak's work has been featured in exhibitions at Canadian museums, including the National Gallery of Canada, the Winnipeg Art Gallery, the Art Gallery of Ontario, the Canadian museum of civilizations, and the Vancouver Art Gallery. In 1975 she had a retrospective at the Smithsonian Institution in Washington D.C., organized by the Department of Indian and Northern Affairs Canada. In 2020, Ashoona was one of eight finalist for the person to be depicted on $5 polymer bills in Canada.

Legend Of Enuuarulik Following The Track Of A Fox Who Had A Trap On His… Stonecut 24/40 - Puvirnituq 1976 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 14 ins x 22.5 ins (35.56 cm x 57.15 cm) Unframed Paper: Natural Provenance: Private Collection Davidialuk Alasua Amittu (1910 – 1976 CAD/ Indigenous) Davidialuk Alasua Amittu was born in 1910 in Nunagiirniraq Camp, Northern Quebec. A prolific and talented artist, much of his work contains a narrative element, relaying the stories and legends of traditional Inuit culture. An indifferent hunter, Davidialuk lived in poverty until he gained recognition as a folk artist near mid-life. Only then could he afford the hunter's indispensable dog team (and later snowmobile). Davidialuk was also a spellbinding storyteller - sharing stories based on legends, myths and of his own invention. These he later translated into stone carvings, prints and drawings. His last creative outpouring suggests an urgent need to articulate his personal view of Inuit history and morals. His brother, Syollie Awp once made some tapes of Davidialuk's stories and would play them in the local print shop to inspire other artists. Davidialuk had a close relationship with his cousin Joe Talirunili and they both produced many sculptures in the 1950s and graphics in the 1960s. Both men enjoyed long and fruitful careers, and passed away within months of each other in 1976. Davidialuk is the father to Puvirnituq artists Johnny Amituk and Aisa Amittu. His wife, Maina Aqurtu Assappa was a carver. Davidialuk's brother is Syollie Awp, and his nephew is Davidee Anutigirk, who are also artists in Puvirnituq.

Stonecut 47/50 - Dorset 1975 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 19.5 ins x 24.5 ins (49.53 cm x 62.23 cm) Unframed Paper: Natural Unbleached Provenance: Private Collection Pitaloosie Saila (1942 – 2021 Indigenous / CAD) R.C.A. Born on July 11, 1942, however, several galleries give her birth day at August 11, 1942. She was born in Kinngait, or Cape Dorset, in what was then Northwest Territories (now Nunavut) in Canada. Her parents were Sam Pudlat and Katauga. She spent much of her childhood in hospitals in Quebec and Ontario, for treatment of tuberculosis. She learned English through her hospital stays, and often served as translator for her neighbours. Her mother died when she was two years old while her father was away on a walrus hunt, and she was raised by her grandmother. She has stated that it was difficult for her to relearn Inuktitut once she returned to Baffin Island in 1957, at the age of 15. A graphic artist widely known for her 113 stunning images featured in Cape Dorset print collections since 1968, Pitaloosie Saila came from a family of extremely successful artists. Her husband Pauta Saila was a highly respected sculptor, and her stepmother, Mary Pudlat, has been a regular contributor to Cape Dorset print collections. Pitaloosie's two uncles, Pudlo Pudlat and Osoochiak Pudlat, have both gained considerable attention for their graphic works, and her father's famous cousin, Peter Pitseolak, was one of the first South Baffin Inuit to produce a sustained body of artistic work over an extended period of years. She began to draw in the early 1960s and immediately developed a personal style. She participated in an annual engraving collection in Cape Dorset since 1968. However, she began to draw completely on her own initiative in the early 1960s during the time that James Archibald Houston was at Cape Dorset, and her style was distinctively her own. She tended towards images of strong, nurturing women or mothers with their children, and frequently drew birds and mythical Taleelayu (or Sedna) figures as well. Pitaloosie Saila had numerous opportunities to travel in southern Canada and abroad in connection with her art. With Pauta Saila, she spent the summer of 1967 in Toronto with their family while Pauta executed a carving for the International Sculpture Symposium. In 1974, Pitaloosie attended the opening of her first solo exhibition in Hamilton, Ontario, and subsequent showings of her work took her to major cities in southern Canada, the United States and Europe. In 1977, in recognition of the contribution of Inuit art to the cultural heritage of Canada, Canada Post used her 1971 print, Fisherman's Dream, as one of a series of four illustrated postage stamps. Her 1980 print, Arctic Madonna, was selected for a UNICEF greeting card in 1983. Saila's works are included in some of the most important Inuit art collections, including those of the National Gallery of Canada, the Montreal Museum of Fine Arts (MMFA), the Winnipeg Art Gallery, and the Canadian Museum of History. In 2004, she was elected a member of the Royal Canadian Academy of Arts.

Stonecut 39/39 - Puvirnituq Co-Op 1972 Titled, Numbered, Dated & Signed Across Lower Border Sheet - 23 ins x 25 ins (58.42 cm x 63.5 cm) Unframed Paper: Natural Provenance: Baker Lake Chop Private Collection Jessie Oonark (1917 – 1991 Indigenous / CAD) O.C., R.C.A. Oonark was born in 1906 near the Haningayok (Back River), Nunavut, an area known as the Barren Lands. She lived nomadically for the first 50 years of her life, involved in traditional pursuits such as processing and sewing animal hides to make clothing. These tasks would inform the subject and style of later artwork as well as instill a prodigious work ethic. In the 1950s, a decline in both caribou populations and the market for pelts caused a famine among her people. Oonark lost her husband and four of her twelve children to starvation. Along with hundreds of Inuit, Oonark and her family were relocated by the Canadian government to a permanent settlement in Qamani’tuaq (Baker Lake) in 1958. To support herself and her children, she worked various odd jobs including sewing, cooking and cleaning. Oonark had never made drawings before moving to Baker Lake at the age of 52. The story goes that Oonark saw some illustrations made by children and proclaimed that she could easily do better herself, and picked up the tools to prove it. Dr. Andrew Macpherson, a visiting biologist, saw the resulting drawings, and gave Oonark more materials. Over the ensuing years, the two swapped art supplies for art. Self-taught, her work also attracted the notice of members in both the Qamani’tuaq and Kinngait (Cape Dorset) artistic communities, giving her the opportunity to work with printmakers in both settlements. This is especially notable given that she did not live in Kinngait, and was the first non-resident to be accorded the privilege. Oonark was given a small studio and a stipend, allowing her to devote more of her time to creation. Wildly prolific and dedicated to her work, at times her output was around forty to fifty drawings per week, more than 100 of which were translated into prints for the annual Sanavik Cooperative Baker Lake Print Catalogue between 1970 and 1985. Her son, the artist William Noah, remembers her always working, at a loss to recall what his mother did for fun. He recalls that “there was always that determination to do every task to the very best of her abilities, and she told us we must do the same.” One of Oonark’s most recognizable images is a stonecut made in 1974, Big Woman. Highly sought after, one print from this edition of 50 is held in the National Gallery of Canada’s permanent collection.