Lot 1
Possibly PAUTA SAILA, R.C.A. (1916-2009) KINNGAIT (CAPE DORSET)
Polar Bear, c. 1957-60
stone, 4.5 x 10 x 2.75 in (11.4 x 25.4 x 7 cm)
unsigned.

Provenance
A British Columbia Collection.

Our research suggests that this fine old Polar Bear might have been carved by Pauta. Pauta of course was the author of the famous Bear Family, c. 1956-57, illustrated in Sculpture/Inuit (cat. 122) and elsewhere, and we see a distinct “family resemblance” between that work and this one. Bear Family is quite naturalistic in form, while most Pauta bears of the early-mid 1960s are decidedly more stylized and chunky — making our Polar Bear the perfect bridge between the two styles. This elegant sculpture has wonderfully strong form combined with true sensitivity. We love how the bear’s powerful extended neck ends with a playful tilt of the small, almost delicate head.

References: For a stone polar bear by the artist dated to 1959 see George Swinton, Eskimo Sculpture, (Toronto: McClelland and Stewart, Ltd., 1965), p. 200. For Pauta’s Bear Family from c. 1956-57 see Canadian Eskimo Arts Council, Sculpture/Inuit, (Toronto: University of Toronto Press, 1971) cat. 122; see also George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92) fig. 461, and elsewhere. See also the slightly later work by the artist in the Twomey Collection, illustrated in Darlene Coward Wight, The Jerry Twomey Collection, (Winnipeg: Winnipeg Art Gallery, 2003), p. 58.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 2
OSUITOK IPEELEE, R.C.A. (1922-2005) KINNGAIT (CAPE DORSET)
Curious Bird, c. 1968-72
stone, 5.75 x 10 x 1.75 in (14.6 x 25.4 x 4.4 cm)
signed, "????".

Provenance
Private Collection, USA.

Perhaps best known for his delicate, naturalistic compositions, Osuitok was equally at ease at the more minimal end of the spectrum. Rather than amazing us with his daring and technical virtuosity, here Osuitok has opted for a simple, crisp silhouette on this charmingly quizzical bird, which dates to the late 1960s or very early 1970s. There is a purity of form and line that is almost graphic in its sensibility. The sculpture’s virtual two-dimensionality is reinforced when we note that this bird is supported by a single, sturdy leg.

References: For similarly styled birds by the artist see Waddington’s, April 2005 (Klamer Collection), Lot 143 and Walker’s Auctions, 25 May 2016, Lot 140. For other examples of animals from a similar time period see, Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), cats. 71 & 92, pp. 114-5.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 3
PAUTA SAILA, R.C.A. (1916-2009) KINNGAIT (CAPE DORSET)
Seal, early 1960s
stone, 5.5 x 6.25 x 2 in (14 x 15.9 x 5.1 cm)
signed, "??? / ???".

Provenance
Arctic Experience Gallery, Hamilton, ON;
Purchased from the above by the present Private Collection, Toronto, 1986.

We are all very familiar with the justifiably famous “Pauta Bears” (see Lots 70 and 90), but the artist produced a broad range of subjects throughout his long career. While his sculptures of birds are sometimes not so easily identifiable as works by the master, his wonderful seals truly stand apart from the rest of the herd. While not dancing per se, this graceful creature is marvellously animated. The combination of skilled and sensitive execution with the lovely, variegated serpentinite stone common to Kinngait in the early 1960s makes this wonderful Pauta pinniped an equal to the best of its ursid “cousins.”

References: For a charming fat seal from 1965 by Pauta see Virginia Watt et al., Canadian Guild of Crafts Quebec: The Permanent Collection: Inuit Arts and Crafts c. 1900-1980, (Montreal: Canadian Guild of Crafts Quebec, 1980), cat. 67, p. 71. See also Seal Form by the artist, also early 1960s, in Walker’s Auctions, Ottawa, May 18, 2017, Lot 164.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 4
Possibly QAQAQ (KAKA) ASHOONA (1928-1996) KINNGAIT (CAPE DORSET)
Bust of a Woman with Plaited Hair, c. 1952-54
stone, 5 x 4.5 x 2.5 in (12.7 x 11.4 x 6.3 cm)
unsigned.

Provenance
Private Collection, USA.

Though unsigned, there are features which point to a possible attribution to Qaqaq Ashoona as the author of this wonderfully serene composition. This portrait bust is carved from the dark grey stone in common usage in Kinngait in the early-mid 1950s. The artist has carefully etched the stone to highlight design elements of the woman’s amautiq. A feature we love is the coquettish tilt of the woman’s pose. The style of this quite early sculpture is simultaneously naïve and brilliant, and so we put forward Qaqaq’s name as a prime candidate.

References: For slightly later works, similarly styled and by or attributed to Qaqaq, see Darlene Coward Wight, Early Masters: Inuit Sculpture 1949-1955, (Winnipeg: Winnipeg Art Gallery, 2006), p. 144; Cynthia Waye Cook, Inuit Sculpture In the Collection of the Art Gallery of York University, (North York, ON: Art Gallery of York University, 1988), cat. 2, p. 10 and cat. 50, p. 63. For the famous Bust of a Woman from 1956 by Qaqaq, see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 47, p. 63; George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 501, p. 193; and Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cat. 402. In Sculpture / Inuit, see also cat. 330. For a similarly styled Standing Woman with Kakivak attributed to Qaqaq see First Arts, June 14, 2022, Lot 45.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 5
OVILOO TUNNILLIE, R.C.A. (1949-2014) KINNGAIT (CAPE DORSET)
Fly, c. late 1980s
stone, 3.5 x 13.5 x 11.5 in (8.9 x 34.3 x 29.2 cm)
signed, "??? / ???".

Provenance
Private Collection, San Francisco.

Fly is a delightful and typically daring departure from Oviloo’s usual subject matter. Interestingly, there have been various depictions of insects in Inuit art over the years, in sculpture, graphic art, and even in works on cloth. With her usual flair for elegance, and in this case a quite precise clarity of form, Oviloo has created an intriguing and quite remarkable sculpture. Fly seems uncannily anatomically correct – at least so far as we can see without a microscope – and if Oviloo has taken any artistic liberties, it is to make the insect look like a jet fighter. Oviloo is known to have depicted at least one airplane during her career, by the way.

References: For a depiction of an airplane by the artist see Odette Leroux, Marion E. Jackson and Minnie Aodla Freeman, ed., Inuit Women Artists: Voices from Cape Dorset, (Vancouver: Douglas & McIntyre / Gatineau: Canadian Museum of Civilization, 1994), p. 232. For interesting depictions of insects by various Inuit artists see Harold Seidelman & James Turner, The Inuit Imagination: Arctic Myth and Sculpture, (Vancouver: Douglas & McIntyre Ltd., 1993), figs. 5 and 6, p. 24-25.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 6
KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET)
Geese Frightened by Fox, 1960 #16
Printmaker: LUKTA QIATSUK (1928-2004) KINNGAIT (CAPE DORSET)
stonecut print, 19 x 21 in (48.3 x 53.3 cm), framed, sight
3/50

Provenance
Collection of John and Joyce Price, Seattle.

Elsewhere we have discussed the flowing and imaginative designs of Kenojuak Ashevak’s early graphic works, noting the ways in which the artist’s fluidity and natural sense of balance added a rhythmic quality and sense of weightlessness to her works so that they appear like the ethereal figures of a shadow game played inside a tent. There is, perhaps, no more suitable image for this kind of “lighter than air” quality than Geese Frightened by Fox. In this print, the birds alight and soar — with their wings dramatically upswept or furiously flapping — as they make their frenzied ascent away from the nimble arctic fox. Even this intruding light-footed predator leaps on its hindquarters, seemingly unaffected by any gravitational pull of the earth, toward the gosling at lower left. The overall buoyancy of the image, in addition to its success at rendering how a scene of such a predator and prey would play out, gives the composition a sprightly and lively sense of drama. We can practically hear the chorus of fevered honks and hissing escape the sheet.

Negative space places a clear role in the image. To delineate the separation of the birds, which are apparent in Kenojuak’s graphite drawing (reproduced in Jean Blodgett’s 1985 monograph on the artist) printmaker Lukta Qiatsuk employs the use of a thin, carved band to divide their forms. He has also added a hollow oval on the belly of the front-facing goose, which exposes the lilac tint of the rolled ground. This furthers the sense of airiness to the scene and adds an interesting visual element of texture.

It is interesting to note the change from drawing to print. In Keonjuak’s graphite drawing, we see that the gosling has not yet opened its wings as the predator bounds toward it. In the printed image, however, the young bird appears with its feathers raised to begin its flight, suggesting it has a fighting chance to make a narrow escape.

References: This important print has been reproduced in several texts, including in Irene Baird, “Land of Lively Arts,” The Beaver, Autumn 1961, p. 21; Dorothy LaBarge, From Drawing to Print: Perception and Process in Cape Dorset Art, (Calgary: Glenbow Museum, 1986), p. 27; See this print image next to Kenojuak’s original graphite drawing in Jean Blodgett, Kenojuak, (Toronto: Firefly Books / Mintmark Press Ltd., 1985), fig. xiv, p. 56. For other examples of the rolled ground and silhouetted images by the artist, see Complex of Birds, 1960 #17 and Vision in Autumn, 1960 #21, See First Arts, July 2020, Lots 14 & 25 for our discussion on these works.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 7
NAPACHIE POOTOOGOOK (1938 -2002) KINNGAIT (CAPE DORSET)
Eskimo Sea Dreams, 1960 #42
Printmaker: IYOLA KINGWATSIAK (1933-2000) KINNGAIT (CAPE DORSET)
stonecut, 19.25 x 24 in (48.9 x 61 cm)
4/50

Provenance
Private Collection, St Paul, MN, USA.

Napachie moved into Cape Dorset in the late 1950s and began drawing almost immediately, at the same time as her mother Pitseolak (see Lots 17, 18). Napachie’s Eskimo Sea Dreams beautifully conveys Inuit myth overlapping with traditional Inuit life in an imagined world. Here are two scenes, each depicted against a mottled blue sea. Humans go about their day, apparently unaware or unbothered by the supernatural figures going about their own business. For young Napachie, however, this was the stuff of legend, not experience:
The image is a whaling scene and telling a tale. Whales and bears and other animals turn into humans in Inuit mythology. It is depicting an Inuit myth even though I have not witnessed anything happening like that in real life.
—Napachie in Leroux et al ed., Inuit Women Artists, 1994, p. 137

References: For an overview of the artist’s life and work, see Odette Leroux, Marion E. Jackson and Minnie Aodla Freeman, ed., Inuit Women Artists: Voices from Cape Dorset, (Vancouver: Douglas & McIntyre / Gatineau: Canadian Museum of Civilization, 1994), p. 133-157. See also Leslie Boyd Ryan and Darlene Coward Wight, Napachie Pootoogook, (Winnipeg: Winnipeg Art Gallery, 2004), and Leslie Boyd Ryan, "Mannaruluujujuq" (Not So Long Ago): The Memories of Napachie Pootoogook," Inuit Art Quarterly, Vol. 20, No. 3, Fall 2005, p. 9-16. See also Jean Blodgett, et.al. Three Women, Three Generations: Drawings by Pitseolak Ashoona, Napatchie Pootoogook and Shuvinai Ashoona, (Kleinberg, ON: McMichael Canadian Art Collection, 1999).

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 8
KIUGAK (KIAWAK) ASHOONA, O.C., R.C.A. (1933-2014) KINNGAIT (CAPE DORSET)
Hawk and Fox, 1960 #35
stonecut, 10 x 10.5 in (25.4 x 26.7 cm)
, framed, sight
47/50

Provenance
Collection of John and Joyce Price, Seattle.

A sculptor throughout his life, Kiugak Ashoona did experiment with a small jaunt into printmaking in the early 1960s. This charming stonecut from the 1960 annual collection, a small vignette depicting an encounter between a fox and a hawk, is his first of four prints and the only one for which he cut the stone. Ever one to have his own style, Kiugak created an image that stands out in the 1960 catalogue. While the work is modest in size, the background provides a solid field of black for the outlined figures. Kiawak’s notable eye for detail comes through with scratched and incised lines along the hawk’s wings and body, and the fox’s snout. As a result, far from looking flat, the figures exhibit a quite high degree of naturalism. The inscriptions, integrated right into the printed image, are the musings of the fox as he stares up at the flapping hawk, “I will grab you ... will I not eat again?” Norman Vorano hints that the inclusion of an inscription might have been influenced by certain Japanese prints that James Houston brought to Cape Dorset [1].

1. Norman Vorano, Inuit Prints: Japanese Inspiration, 2011, p. 72.

References: This print image is illustrated in Norman Vorano, Inuit Prints: Japanese Inspiration, (Gatineau: Canadian Museum of Civilization, 2011), cat. 11, p. 72; For an overview of the life and work of the artist, including his graphic work, see Marie Routledge and Darlene Coward Wight, Kiugak Ashoona: Stories and Imaginings from Cape Dorset, (Winnipeg: Winnipeg Art Gallery, 2010). For more information on Kiugak’s only another stonecut print, see Helga Goetz, The Inuit Print, international travelling exhibition, (Ottawa: National Museums of Canada and the Department of Indian and Northern Affairs, 1977), pl. 30, p. 84.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 9
JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK)
Three Hunters in a Canoe, c. 1967-68
stone and antler, 2.25 x 6.5 x 2.5 in (5.7 x 16.5 x 6.3 cm), measurements reflect inset paddles
faintly signed, “JOE”.

Provenance
Manitoba Handicrafts Guild, Winnipeg;
Purchased from the above by a Private Collection, Winnipeg, MB.

Joe Talirunili carved his first Migration Boat (in the Montreal Museum of Fine Arts collection) in late 1964. Other early examples include one from c. 1965-66 in the Twomey Collection at the WAG, another the TD Bank Collection, and a fine large one from c. 1966 sold at First Arts in December 2020 (Lot 32). Based on its style and workmanship, we feel that Three Hunters in a Canoe dates from not long after the latter example, from 1967 or 1968, and it is clearly contemporaneous with a somewhat larger Boat with Hunters and Dogs sold at Walker’s Auctions in May 2018 (Lot 55). This artist’s depictions of very small watercraft are quite rare.

Three Hunters in a Canoe is a lovely and almost delicately carved little sculpture. The forms of the canoe and the figures themselves are crisply delineated, and each hunter is given his own space. The sense of forward movement is nicely implied, but it’s certainly not the frenzied paddling of a Migration scene. This work, and similar examples, do not relate directly to Talirunili’s recorded marine adventures, although according to Marybelle Myers, possibly every boat trip was an adventure for Talirunili, “He was always smashing his boat but would survive the disaster, find another boat, and make the most of it. Invincible, he always came out a hero – of sorts” [1].

Clearly this sculpture does not depict a disaster. There are no weapons on board the canoe, so it may not even illustrate a hunting trip, but rather simply an excursion. In any case, we wish Joe and his companions an enjoyable (and safe) adventure.

1. Marybelle Myers, Joe Talirunili: a grace beyond the reach of art, 1977, p. 5.

References: For a contemporaneous, slightly larger Boat with Hunters and Dogs, see Walker’s Auctions, May 2018, Lot 55. For another similarly styled small boat with six paddlers and two dogs see Waddington’s Auctions, Toronto, Nov. 2008, Lot 166. For a large and fine, and slightly earlier Migration Boat see First Arts, 1 December 2020, Lot 32. See Marybelle Myers, Joe Talirunili: a grace beyond the reach of art, (Montreal: La Federation des cooperatives du Nouveau-Quebec, 1977) for various examples of boats by Joe Talirunili.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 10
ELIJASSIAPIK (1912-1972) INUKJUAK (PORT HARRISON)
Roaring Polar Bear, c. 1952-53
stone and antler, 6 x 13.5 x 4.5 in (15.2 x 34.3 x 11.4 cm)
inscribed with artist's disc number, "E9-915".

Provenance
Bonham’s, USA;
Private Collection, USA.

This delightful Roaring Polar Bear is likely one of Elijassiapik’s earlier efforts, carved a year, or perhaps two, before most of his published works (the majority of which are dated to c. 1954-55). A fine seated Polar Bear, c. 1954 was published in Darlene Wight’s 2006 Early Masters exhibition catalogue (p. 88). Two other fine examples are dated 1955: a charming Reclining Polar Bear (First Arts, 13 July 2021, Lot 95) and Seated Polar Bear (First Arts, 5 Dec. 2022, Lot 17). All three of these mid-1950s versions are embellished with walrus tusk: eyes, noses, and in one case paw pads; it is probable that Elijassiapik was, at some point, influenced by the more experienced artist and his good friend Johnny Inukpuk, at whose camp he lived in the early 1950s (see Early Masters, p. 85).

Try as he might, our Roaring Polar Bear is simply too charming to scare anyone. He’s a large specimen, but even his considerable heft seems more endearing than intimidating to us. Elijassiapik has created a sculpture with presence and personality, in a style that is both naïve and incredibly appealing. We have searched the literature for comparable works, and have realized that polar bears were actually not very common subjects in Inukjuak art, especially before about 1954-55 or so. There are a few notable examples by Akeeaktashuk, and a handful by other artists (although polar bears do feature regularly in the quirky Inuit “totem poles” carved in the early years). One similar work we do recall is a Growling Bear possibly by Elijassiapik (see Walker’s Auctions, May 2012, Lot 45).

References: For fine examples by this artist see First Arts, July 13, 2021, Lot 95. For similarly styled works see also Walker’s Auctions, 3 May 2012, Lot 45; and 25 May 2016, Lot 3. See the artist’s Seated Polar Bear in Darlene Coward Wight, Early Masters: Inuit Sculpture 1949-1955, (Winnipeg, Winnipeg Art Gallery, 2006) pp. 88-89. For a fine Snarling Bear that is most likely by Elijassiapik see George Swinton, Eskimo Sculpture, (Toronto: McClelland & Stewart, 1965) p. 198. For a similarly styled and no doubt contemporaneous Bear and Walrus by the artist see Canadian Guild of Crafts Quebec, The Permanent Collection, (Montreal: CGCQ, 1980), figs. 285-286.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 11
HENRY EVALUARDJUK (1923-2007) IQALUIT (FROBISHER BAY)
Dancing Polar Bear, mid-late 1970s
stone, 19 x 10 x 9.25 in (48.3 x 25.4 x 23.5 cm)
signed, "HENRY / ??? ??".

Provenance
Waddington’s Auctions, 15 Dec. 1981, Lot 475;
Purchased in 1986 by the father-in-law of the present Private Collection;
by descent in the family.

Throughout much of the 1970s and ‘80s sculpted depictions of polar bears were loosely divided between two approaches championed by two master sculptors: Pauta Saila and Henry Evaluardjuk. Whereas Pauta chose to capture the “spirit” of the polar bear, Evaluardjuk had a much more studied approach. The best Pauta pieces, despite their open jaws and prominent canine teeth, can have a decidedly congenial character. Evaluardjuk, on the other hand, had a far more naturalistic approach to portraying them; “Henry” bears are based more on careful observation of the animals and their movement. We can learn about the physiognomy and habits of his subjects. Evaluardjuk’s bears are not stylized or idealized depictions but verge on portraiture (the same can be said of Evaluardjuk’s human subjects; see Lot 60).

This monumental sculpture is quite large for an artist who generally preferred to work on a smaller scale. Dancing Polar Bear stands on its back legs either in an aggressive show of force or perhaps to better capture a scent. We sense the powerful musculature of this imposing specimen. Despite the closed mouth, one can see from the powerful paws that this is an apex predator ready to pounce. Evaluardjuk may have decided to try his hand at carving a “dancing bear” but this animal, lean and mean and ready for action, is nothing like the bears of Pauta and his followers. Awesome!

References: For a similarly larger bear seated on a rock by Evaluardjuk see First Arts, May 28, 2019, Lot 22. For other impressive bears by the artist see First Arts, 5 December 2022, Lots 110, 136; First Arts, 30 November 2021, Lot 92; Walker’s Auctions, 16 May 2018, Lot 118; Ken Mantel et al., Tuvaq: Inuit Art and the Modern World,(Bristol, UK: Sansom and Company Ltd., 2010), fig. 144, p. 150, and fig. 148, p. 155.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 12
HENRY EVALUARDJUK (1923-2007) IQALUIT (FROBISHER BAY)
Bear Climbing a Boulder, late 1970s
stone, 4.5 x 4.25 x 3 in (11.4 x 10.8 x 7.6 cm)
signed, "HENRY / ??? ??".

Provenance
Private Collection, Ottawa;
Walker's Auction, Ottawa, 5 May 2018, Lot 1;
Acquired from the above by the present Private Collection, Toronto.

The preceding work (Lot 11) by Henry Evaluardjuk presents the viewer with a portrait of a bear as a powerful, fearsome predator. With this endearing sculpture however, Henry shows us a more sensitive side to his character. Clearly, he was equally at ease showing a more humorous side of the polar bear personality. This sculpture features a much younger and innocent bear cub exploring his environment and burning off some “puppy energy.” Evaluardjuk sensitively conveys the seemingly clumsy movements of a young bear not yet in full control of its physical movements yet nonetheless displaying curiosity and intelligence. Charming!

References: For a larger bear seated on a rock by Evaluardjuk, see First Arts, Toronto, 28 May 2019, Lot 22. For other bears by the artist see First Arts, 5 December. 2022, Lots 110, 136; First Arts, 30 November. 2021, Lot 92; Walker’s Auctions, 16 May 2018, Lot 118; Ken Mantel et al., Tuvaq: Inuit Art and the Modern World, (Bristol, UK: Sansom and Company Ltd., 2010), fig. 144, p. 150, and fig. 148, p. 155.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 13
NANCY PUKINGRNAK AUPALUKTUQ (1940-) QAMANI'TUAQ (BAKER LAKE)
Woman Shaman, 1976
stone and antler, 9 x 11 x 7.5 (22.9 x 27.9 x 19.1 cm), measurements reflect depth with inset tusks, without: 6 in (15.2 cm)
signed, "???".

Provenance
Collection of Mr. Jack Butler, acquired directly from the artist.
Jack and Sheila Butler was an arts advisor in Baker Lake in the crucial years of artistic flowering in the community from 1969 to 1976.


Exhibited
Winnipeg Art Gallery, The Coming and Going of the Shaman: Eskimo Shamanism and Art, March - June 1987, cat. no. 2.

Published
Jean Blodgett, The Coming and Going of the Shaman: Eskimo Shamanism and Art, Winnipeg Art Gallery, March-June 1978, catalogue no. 2, pp. 14 and 30.

This stunning sculpture by Nancy Pukingrnak, Oonark’s youngest daughter, is as mysterious as it is compelling. Here is one possible explanation: a shamanic séance often involved the summoning of helping spirits by the angakok. One or more animal spirits would enter his/her body and transform it. This shaman might be using one of her several props to produce the effect of animal transformation, in this case teeth. Here is another: Jean Blodgett quotes from Knud Rasmussen’s Iglulik Eskimos in describing a shamanic disciple’s “lighting” or “enlightenment” as a
“...mysterious light which the shaman suddenly feels in his body, inside his head, within the brain, an inexplicable searchlight, a luminous fire, which enables him to see in the dark, both literally and metaphorically speaking, for he can now, even with closed eyes, see through darkness and perceive things and coming events which are hidden from others...[1].

Pukingrnak’s Woman Shaman has eyes that are large yet apparently unseeing. But we are almost certain that she has “vision” beyond her surroundings. We are also curious regarding the hands at her shoulders. We’ve never seen a sculptural bust posed in this way. We wonder if they could be the guiding hands of this apprentice shaman’s teacher. Extraordinary.

1. Jean Blodgett, The Coming and Going of the Shaman, 1978, p. 36.

References: For fine sculptures by the artist see Winnipeg Art Gallery, The Zazelenchuk Collection of Eskimo Art, (Winnipeg: Winnipeg Art Gallery, 1978), cat. 31, p. 34; and Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), cat. 22, pp. 60-61. A spectacular untitled drawing from 1978 by Pukingrnak, depicting a young couple on the land surrounded by Janus-faced “creatures,” is illustrated in Bernedette Driscoll, Inuit Myths, Legends, and Songs, (Winnipeg: Winnipeg Art Gallery, 1982), cat. 66, pp. 15 (colour) and 75. Some of these very human-looking creatures’ faces sprout fangs just like the ones on this sculpture.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 14
MATHEW AQIGAAQ (1940-2010) QAMANI'TUAQ (BAKER LAKE)
Muskox, 1981
stone, 7 x 11.25 x 4.75 in (17.8 x 28.6 x 12.1 cm)
signed and dated, "??? / 1981".

Provenance
Marion Scott Gallery, Vancouver;
Acquired from the above by the present Private Collection, San Francisco, 1986.

In addition to caribou, the Kivallirmiut hailing from the Kazan River area relied on the muskox as a vital resource for food and clothing. Undoubtedly inspired by his reverence for this important animal, Aqigaaq acknowledged the significance of the muskox by carving portrayals throughout his career. The rounded, pillowy volumes of this work convey the expressive essence of Mathew Aqigaaq’s style. Aqigaaq’s muskox is not shaggy, but rather wears its coat like a soft blanket. The animal stands immutably still, with its head slightly cocked, perhaps alerted to a noise of an unseen predator in the distance.

References: For a very similar work in the National Gallery of Canada collection see Christine Lalonde, Sanaugavut: Inuit Art from the Canadian Arctic, (Ottawa: National Gallery of Canada, 2010), cat. 27, p. 64. For two quite similar, contemporaneous examples see Mathew Aqigaaq: Recent Sculpture, (London, U.K.: Theo Waddington, 1979), unpaginated.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 15
TUNA IQULIQ (1934-2015) QAMANI'TUAQ (BAKER LAKE)
Composition, c. 1978-80
stone, 3.5 x 13 x 8.25 in (8.9 x 33 x 21 cm)
signed, "???".

Provenance
Private Collection, USA.

Tuna Iquliq developed the distinctive, primal carving style for which he is perhaps best known while living in Rankin Inlet in the 1960s, although he was also known for his delicate, semi-abstract carvings of birds. It was in the spirit of this latter style that Tuna created this unusual, gorgeous sculpture. Delicately carved and polished in the most beautiful black Baker Lake stone, Composition is as enigmatic as it is lovely. A few possible interpretations come to mind. The work might depict a deceased person traveling to the next world, surrounded by his ancestors and the animals he loved. Possibly it illustrates a person dreaming of a spirit voyage; or a shaman actually taking such a voyage, surrounded by helping spirits. Whether elegiac or visionary, the work is lovely and quite moving.

References: For a simpler but related composition by the artist, also featuring heads and birds, see Marie Bouchard, An Inuit Perspective: Baker Lake Sculpture from the Collection of the Art Gallery of Ontario, Gift of Samuel and Esther Sarick, (Baker Lake: Itsamittakarvik Inuit Heritage Centre / Toronto: Art Gallery of Ontario, 2000), p. 55. For several related compositions from 1979-80 see the solo exhibition catalogue Tuna Iquliq (Mannheim, Germany: Inuit Galerie, 1981), unpaginated.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 16
UNIDENTIFIED ARTIST, INUKJUAK (PORT HARRISON)
Standing Woman and Child, c. 1957-58
stone, soap, and waxed string, 13.5 x 14.5 x 7 in (34.3 x 36.8 x 17.8 cm)
unsigned.

Provenance
Nickerson Family Collection, Winnipeg, purchased with the advice of George Swinton, probably from the Hudson’s Bay Company in Winnipeg;
by descent to a Private Collection, Ontario;
Walker's Auctions, Ottawa, May 2018, Lot 68, reproduced on the front cover of the catalogue;
Acquired from the above by the present Private Collection, Europe.

Years ago, and again this year, we have spent many hours trying to establish an attribution for this marvelous sculpture. Darlene Wight has suggested Abraham POV (1927-1994) to us, based on the mother’s staring eyes, her downturned mouth, and realistic treatment of her sagging parka hood. We had thought of him as a candidate as well and think he is a distinct possibility, but other possible names present themselves – all from Inukjuak – based on the many works and hundreds of photos we have examined: Abraham Nastapoka, Eli Weetaluktuk, and Aculiak for example. Today we feel that Johnny Inukpuk is a strong contender. We still hope to someday make a firm attribution.

Lot 17
PITSEOLAK ASHOONA, R.C.A., O.C., (1904-1983) KINNGAIT (CAPE DORSET)
Tattooed Woman, 1963 #22
Printmaker: LUKTA QIATSUK (1928-2004) KINNGAIT (CAPE DORSET)
stonecut, 28.75 x 24.5 in (73 x 62.2 cm), framed
6/50

Provenance
Collection of John and Joyce Price, Seattle.

In Tattooed Woman, the figure is shown with an air of gravity and personal dignity, qualities that are underscored in the choice to modulate the work not with colour but instead with variations in the weight of the stonecut lines. This conscious aesthetic refinement draws the viewer’s eye toward the face of the woman, whose seemingly sightless gaze is accompanied by densely packed rows of tattoos on her forehead, cheeks, and especially her chin. While colonial suppression saw the practice of tattooing dwindle in the Arctic, depictions of the practice persisted in Inuit generated, self-pictorial records that were reproduced in anthropological reports. By the 1950s and the arrival of arts and crafts programs, depictions of tattooed faces occupied a prominent position in Inuit graphic and sculptural art from communities throughout the Canadian Arctic, including in Kinngait (Cape Dorset). Pitseolak Ashoona created this alluring portrait, which reads as both a statement of sovereignty and celebration of femininity, in 1960. It was made into a stonecut print and released three years later.

References: This print has been widely reproduced including in Dorothy Eber and Pitseolak Ashoona, Pitseolak: Pictures out of my life, (Montreal / Kingston: McGill-Queen’s University Press, 1971, second edition, nd, 2003?), p. 21. On page 20, the artist provides her own comments on the imagery. See also Odette Leroux, Marion E. Jackson and Minnie Aodla Freeman, ed., Inuit Women Artists: Voices from Cape Dorset, (Vancouver: Douglas & McIntyre / Gatineau: Canadian Museum of Civilization, 1994), p. 51; The print and its preparatory drawing are reproduced in Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), and in Christine Lalonde, Pitseolak Ashoona: Her Life & Work, (Toronto: Art Canada Institute, 2015, digital publication), p. 17 & 18 respectively. For Inuit artist created images of tattooed women in early anthropological reports, see Diamond Jenness, Material Culture of the Copper Eskimo, (Ottawa: Edmond Cloutier, 1946), p. 147; Knud Rasmussen, The Netsilik Eskimos, (Copenhagen: Gyldendalske Boghandel, 1931), p. 312r, 313v; Knud Rasmussen, Intellectual Culture of the Copper Eskimos, (Copenhagen: Gyldendalske, 1932), p. 269v

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 18
PITSEOLAK ASHOONA, R.C.A., O.C., (1904-1983) KINNGAIT (CAPE DORSET)
Festive Bird, 1970 #14
Printmaker: KANANGINAK POOTOOGOOK, R.C.A. (1935- 2010) KINNGAIT (CAPE DORSET)
stonecut, 23.5 x 33.5 in (59.7 x 85.1 cm)
29/50

Provenance
Collection of John and Joyce Price, Seattle.

A self-taught and prolific artist, Pitseolak Ashoona produced thousands of drawings, and her prints were mainstays of the Cape Dorset print collections almost from the beginning. Many will recognize Pitseolak’s birds as studies in colour, texture, and curved limbs. In some ways Festive Bird is part of that canon of works - on steroids! This bird practically disappears in an explosion of plumage, whose different colours radiate in gentle swirls. There are no actual “wings”; they have dematerialized into the feather shapes. One needs a second look to find the fine lines outlining an arched body and legs flying back in the wind. This now famous print by Pitseolak was chosen to grace the cover of the 1971 Cape Dorset print catalogue.

References: This now famous print by Pitseolak was chosen to be the cover of the 1971 Cape Dorset print catalogue. It is also reproduced in Ernst Roch, ed., Arts of the Eskimo: Prints, (Signum/Oxford 1974) p. 119. For an introduction to Pitseolak’s life and art see Dorothy Eber ed., Pitseolak: Pictures out of my life, (Montreal/Toronto: Design Collaborative Books/Oxford University Press, 1971) unpaginated. For this work, see Christine Lalonde, Pitseolak Ashoona: Her Life & Work, (Toronto: Art Canada Institute, 2015, digital publication) p. 40, and the publication as a whole for an overview of her life and work. See also Odette Leroux, Marion E. Jackson and Minnie Aodla Freeman, ed., Inuit Women Artists: Voices from Cape Dorset, (Vancouver: Douglas & McIntyre / Gatineau: Canadian Museum of Civilization, 1994), p. 51.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 19
PARR (1893-1969) KINNGAIT (CAPE DORSET)
Untitled Drawing (Hunter and Dog with Walrus, Polar Bear, and Goose), c. 1965-67
graphite on paper, 20 x 25.5 in (50.8 x 64.8 cm)
signed, "?".

Provenance
Private Collection, Hamilton.

Parr was already in his late sixties when he was approached by Terry Ryan to pursue an art career. This drawing comes from the middle years of Parr’s foray into art making; its relatively loose style shows his evolution as a draughtsman. His memories of a traditional lifestyle that focused mainly on animals and the hunt were clearly still fresh in his mind and inspired his works throughout his brief career. This drawing depicts a lone hunter (and likely his dog) and three different preys: a walrus, polar bear, and goose. Parr’s own life, which began in the late nineteenth century and straddled the transition between the old ways and the new in Canada’s Arctic, is reflected in this autobiographical image of Parr the hunter, armed with a harpoon and rifle. The large size of the rifle indicates its relatively greater importance for the hunter’s success and survival.

References: For an overview of Parr’s stylistic progression: see Marion Jackson, Parr: His Drawings, (Halifax, Mount Saint Vincent University, 1988) and Ingo Hessel, “The Drawings of Parr: A Closer Look,” Inuit Art Quarterly, Fall 1998, Vol. 3, No. 4, p.12-20; For works of a similar age, see: Gerald McMaster ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 166-7. For information about the artist, see Terry Ryan, “Parr” in The Beaver, Autumn 1979; this article was subsequently reprinted in Alma Houston, ed., Inuit Art: An Anthology, (Winnipeg: Watson & Dwyer, 1988), pp. 38-41. Stylistically and in overall composition, this drawing closely resembles two of Parr’s published prints: Walrus Hunters on Sea Ice from 1967, and Hunters of Old from 1974 (posthumous release). See a felt-tip pen drawing by Parr c. 1966 in Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 120, p. 149.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 20
LUCY QINNUAYUAK (1915-1982) KINNGAIT (CAPE DORSET)
Bird with a Fish, 1964 (1964/65 #7)
Printmaker: IYOLA KINGWATSIAK (1933-2000) KINNGAIT (CAPE DORSET)
stencil, 18.5 x 15 in (47 x 38.1 cm), framed, sight.
29/50

Provenance
Collection of John and Joyce Price, Seattle.

In Bird with a Fish, Lucy Qinnuayak offers viewers a realistic scene of Arctic wildlife while maintaining a degree of delight. The form of the bird is one that is obviously rooted in observation of the animal’s movements. The fowl plummets downward on the sheet, halting its downward motion to feed on a fish. Its brilliantly orange talons are arched as two parabolas that mimic the shape of its wings, which rush forward to slow its descent. While the study of the mannerisms of the bird and its prey are clear, the forms of the animals merely evoke the creatures without adherence to strict imitation. The feathers of the bird are illustrated as undulating curves and saw-toothed spikes that fold and flow into its body, which is animated from within by the tonality of the ink that the stencil process affords. Only its eyes are differentiated by use of a circular mask of un-inked paper. The captured fish is coloured in a single swath of orange, with its dorsal fin pierced by the razor sharp beak of the bird.

References: Bird with a Fish is reproduced in James Houston, Eskimo Prints, Barre, Massachusetts: Barre Publishers, 1967), p. 81. See the section on the artist in Odette Leroux, ed, Inuit Women Artists: Voices from Cape Dorset, (Hull, QC: Canadian Museum of Civilization, 1994), pp. 71-91.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 21
CHARLES EDENSHAW (DAAX’IGANG or TAHAYGEN) (1839-1920), MASSET, HAIDA GWAII
Model Totem Pole, c. 1900-10
argillite, 10.25 x 2.5 x 2 in (26 x 6.3 x 5.1 cm)
unsigned.

Provenance
A Vancouver Collection.

Daax’igang, aka Charles Edenshaw, was a prolific and versatile Haida artist of the late 19th and early 20th centuries. In the early part of his artistic life, the 1860s, he produced memorable works in support of Haida ceremonial culture, such as carved chests, at least one settee decorated with a graceful dogfish design, at least two transformation masks, wooden bowls with crest images, totem poles, and carved screens, and he painted at least one canoe made by his relative Alfred Davidson. With the arrival of missionaries in the 1870s and their ongoing suppression of Haida traditional culture, Edenshaw and many of his contemporaries turned to producing artworks for sale and trade outside the culture (which was condoned by the missionaries). These included model canoes, model totem poles in wood, model houses painted with crest designs, silver and gold work, as well as carved figures, bowls with crest images, chests with decorated sides, and painted spruce root hats woven by his relatives. Edenshaw also carved figures, elaborate bowls, and model totem poles from argillite, a black carbonaceous shale that had been carved into items for trade with Euro-American sailors since the 1820s.

Daax’igang’s argillite poles, especially in his later years, tended to be richly sculpted, with deeply carved profiles and intertwined subsidiary figures as can be seen in this example. At the top of this pole, a small beaver (identified by its large incisor teeth) with its body facing the pole, clings with its hands and feet to the top of the pole and the figure below, its head turned 180 degrees to look straight outward like the rest of the figures. Why Edenshaw chose his unusual composition is unknown, but it probably represents a tale of Haida oral literature that includes this beaver and the rest of the imagery on this pole. The next figure down is a larger beaver, also with large incisors and holding a stick in its front paws beneath its chin. The textured paddle-tail of the beaver is turned up between its hind feet covering its belly, and the hind legs arc over the upright ears of the figure below. The relative sizes of the two beavers suggests that the lower one is an adult and the upper one possibly a pup, perhaps a troublesome or wayward offspring.

The lower half of the pole includes a tall figure that may be either a sea wolf or sea bear, indicated by the formline-embellished pectoral fins that extend down from the figure’s forelegs. The forelegs themselves are long, reaching down over the shoulders of a subsidiary figure that appears to be either a wolf or bear, perhaps a yearling. The yearling’s forelegs are draped over the larger figure’s forelegs, which reach down to touch upon the pectoral fins. The hind legs of the sea-bear/wolf are short, drawn up as though the figure is seated on the base of the pole. The hind legs of the yearling are also drawn up, its feet resting between the feet of the larger figure.

Edenshaw’s well-defined and developed sculpture reveals these images in an elegant purity, each figure comfortably ensconced in relation to the others without being cramped or bulky. The back of this pole is flat, suggesting a creation after 1900, and it rests on a small base with chamfered edges.

Steven C. Brown

Charles Edenshaw is a true icon of Haida art. His virtuosic skill in several artistic media is legendary, as was his knowledge of Haida art history. Spanning the end of the 19th and the early 20th centuries, his art career was founded on tradition but was truly innovative. Edenshaw’s works and his versatility have inspired generations of Haida artists, and represent the gold standard among collectors of Northwest Coast art. The Vancouver Art Gallery’s major retrospective travelling exhibition of 2013, Charles Edenshaw, was accompanied by a lavish and scholarly catalogue.

References: For an impressive retrospective exhibition catalogue/book on the artist see Robin K. Wright and Daina Augaitis, editors, Charles Edenshaw, (Vancouver Art Gallery and Black Dog Publishing, 2013); the publication has numerous illustrations of argillite poles by Edenshaw. But the artist’s works are widely published elsewhere, including Steven C. Brown, Native Visions: Evolution in Northwest Coast Art from the Eighteenth through the Twentieth Century, (Seattle: Seattle Art Museum / Vancouver: Douglas & McIntyre, 1998), pp. 113-114; Peter L. Macnair and Alan J. Hoover, The Magic Leaves: A History of Haida Argillite Carving, (Victoria: Royal British Columbia Museum, 1984/2002), figs. 193-196, pp. 175-179. For two argillite poles by Edenshaw see also Ralph T. Coe et al, The Responsive Eye: Ralph T. Coe and the Collecting of American Indian Art, (New York: Metropolitan Museum of Art, 2003), cats. 91, 92. See Helen Abbott, ed., The Spirit Within: Northwest Coast Native Art from the John H. Hauberg Collection, (Seattle: Seattle Art Museum, 1995), cat. 52, p. 145. For an early but quite extensive discussion of his work see Marius Barbeau, Haida Carvers in Argillite, (Ottawa: Department of Northern Affairs and Natural Resources / National Museum of Canada, 1957; repr. 1974), pp. 154-178.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 22
JOHN CROSS (1867-1939) SKIDEGATE, HAIDA GWAII
Model Totem Pole, c. 1920
argillite, 12 x 3.25 x 3.75 in (30.5 x 8.3 x 9.5 cm)
unsigned.

Provenance
A Vancouver Collection.

Here a trio of primary figures is densely overlapped with subsidiary images that weave the larger creatures together. At the top is a seated eagle with folded wings, its head leaning forward as if scanning for prey. The eagle is seated on what appears to be a whale, its pectoral fins flanking the body and its tail turned up and held within its mouth. The bird’s wings and the whale’s pectoral fins feature small formline complexes that employ a large main ovoid much wider than it is tall, an identifying marker of John Cross’s style. A man’s head and arms protrude from beneath the whale, perhaps representing Gunarnasimgyet. At the bottom of the composition is an astoundingly large bear, making a meal out of a whale. The whale’s tail is draped over the bear’s feet, its body grasped by the bear’s forelegs, over which hang the pectoral fins. The whale’s head is covered by the bear’s mouth. This pole has a flat back, and is proportioned deeper than it is wide, both of which are characteristics of a later stage in argillite pole development, perhaps around 1920. A thick square base with flattened corners and chamfered edges helps to stabilize the sculpture.

Steven C. Brown

References: For an early discussion of John Cross and his work see Marius Barbeau, Haida Carvers in Argillite, (Ottawa: Department of Northern Affairs and Natural Resources / National Museum of Canada, 1957; repr. 1974), pp. 123-129. For argillite works by the artist see Michael D. Hall and Pat Glascock, Carvings and Commerce: Model Totem Poles 1880-2010, (Saskatoon: Mendel Art Gallery / Seattle: University of Washington Press, 2011), pp. 99-100. For a discussion of late argillite poles (after c. 1895) see Peter L. Macnair and Alan J. Hoover, The Magic Leaves: A History of Haida Argillite Carving, (Victoria: Royal British Columbia Museum, 1984/2002), pp. 175-188.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 23
UNIDENTIFIED HAIDA ARTIST
Russian Orthodox Priest, c. 1880 or earlier
argillite, 7 x 2.5 x 2 in (17.8 x 6.3 x 5.1 cm)


Provenance
Private Collection, Montreal.

Haida argillite carvers have created images of foreigners almost since the beginning of the slate-carving tradition. Statuettes of American and British sea-captains and sailors, Protestant clergy in their vestments, well-dressed Victorian ladies and others have manifested the artists’ impressions, often somewhat comical, of the newcomers to the region and their foreign occupations. Carvings of Orthodox Catholic churchmen, on the other hand, are extremely rare. They were probably seldom, if ever, seen outside of Sitka, where the Russian Orthodox church held sway; otherwise, there were almost no opportunities to encounter a fully dressed priest from this denomination. Russian America Company policies toward the Tlingits, whose land they occupied, did not extend to the proselytizing and sweeping assimilation pressures of the Protestant church of Canada. They in many ways left the Tlingits to pursue their own culture and enjoined those who wished to follow Orthodox ways to do so.

An interesting historical case developed in the village of Old Kasaan on Prince of Wales Island, where a European trader named Baronovich was married to the daughter of a high-ranking Haida house leader known as Skowal. A forty-four-foot totem pole was carved to commemorate the occasion. Figures on the pole included a bearded Baronovich, the archangel Michael, a Haida style eagle at the top (the only Haida image), complex foliate borders on each side and a richly robed Orthodox priest. The priest crosses his arms in the manner of one conducting the ritual of communion and Eucharistic service.

The Skowal pole was carved and erected in 1880, and the priest has been said to commemorate Skowal’s journey to Sitka, most likely for his daughter’s wedding, and where he may have taken up the Orthodox faith, as some stories have told. (Alternative interpretations have included the priest as an object of ridicule for attempting to convert the Indigenous, but this seems like a more recent attempt at re-telling the story. A priest as an object of ridicule would most likely not be so elaborately and accurately represented).

It’s possible that this argillite priest may have been associated with the story of the Skowal pole, where another bearded and robed priest was represented in a Haida village. This would suggest a c.1880 date for the argillite carving. It’s also possible that the sculpture was from an earlier time when argillite carvers were regularly creating caricatures of foreign visitors to their shores.

The priest wears an elaborate cloak and tunic. His cloak is decorated with fancy epaulets and the back panel with foliate design; his tunic is diamond-patterned. The underside of the sculpture is carved to reveal the bottoms of his shoes and the hem of his tunic. The priest’s features are well-defined and portrait-like, his hair and beard well-coiffed and very finely detailed. His small hands are clasped together at the front of his cloak.

Steven C. Brown

References: For a discussion of more typical argillite Euro-American figure sculptures see Peter L. Macnair and Alan J. Hoover, The Magic Leaves: A History of Haida Argillite Carving, (Victoria: Royal British Columbia Museum, 1984/2002), pp. 79-87. See also Leslie Drew and Douglas Wilson, Argillite: Art of the Haida, (Vancouver: Hancock House Ltd., 1980), p. 189-199 and elsewhere.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 24
UNIDENTIFIED KWAKWA_KA_'WAKW ARTIST
Bear Forehead Mask with Articulated Jaw, c. 1880
red cedar, hide, iron, and pigment, dimensions variable, 13.5 x 17.5 x 11.75 in (34.3 x 44.5 x 29.8 cm)
ears and lower jaw professionally restored by John Livingston (1951-2019), adopted Kwakwaka'wakw Master Carver

Provenance
A Vancouver Collection.

Kwakwaka'wakw artists were adept at creating articulated masks of many different creatures both real and mythological. Here is a straightforward unadorned bear, its lower jaw attached by short pieces of leather and tacks, acting as the hinges on which the mouth opens and shuts. The bear is carved out in every way that such a forehead mask was traditionally made. There once would have been a wood and leather harness to hold it on a dancer’s forehead pointing slightly upward. The ears and lower jaw are restorations that perfectly replicate what the original parts would have looked like, right down to the surface patina.

Holes pierced along the rear edge of the mask may have once been for attachment of a piece of cloth or hide designed to obscure the dancer. Without a known context in which this mask was used, it’s difficult to know precisely what its performance would have looked like. It may have been made for a solo performance of the great bear, Walas Na’n, the expression of a family crest, or perhaps part of a group dance with many other kinds of animals and spirits also represented.

Steven C. Brown

References: For similarly styled bear masks see Audrey Hawthorn, Kwakiutl Art, (Vancouver: Douglas & McIntyre, 1988), pp. 197-198. See also Audrey Hawthorn, Art of the Kwakiutl Indians and Other Northwest Coast Tribes, (Seattle: University of Washington Press, 1967), pp. 257-259.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 25
UNIDENTIFIED NUU-CHAH-NULTH ARTIST
Model Totem Pole, c. 1910-20
yellow cedar and paint, 18.25 x 3.75 x 4.25 in (46.4 x 9.5 x 10.8 cm)
unsigned;
inscribed in graphite in an unknown hand: "The Hydah / [sic] Indian Totem / Alaska / $12".

Provenance
A Vancouver Collection.

This model pole was produced by an as-yet-unidentified Nuu-chah-nulth carver who worked for the Ye Olde Curiosity Shop (YOCS) in Seattle, Washington, in the first quarter of the 20th century. Although we do not currently know the name of this artist, the consistent style and iconography of their poles – along with their preference for distinctively thick wooden bases with live-edges – allows us to identify this as the same maker as the poles illustrated on page 173 of Kate Duncan’s book 1001 Curious Things: Ye Olde Curiosity Shop and Native American Art (2000). In the text, Duncan explains how J.E. Standley, the founder and owner of YOCS, provided model poles by this maker to company Rookwood Pottery to be reproduced as architectural features in the newly built New Washington Hotel in Seattle. [1] Those pottery totem poles remained in the building until 2016, when they were replaced by wooden poles by Tlingit artist Odin Lonning. [2] This pole features, from top, a small bird-like figure, raven, and seated bear with a human face between its legs. The pole is mounted on a dense, burly base with a live edge and is painted in black, red, burgundy, and green pigments.

1. Kate Duncan. 1001 Curious Things: Ye Olde Curiosity Shop and Native American Art. Seattle: University of Washington Press, 171-172.
2. Louis McGill, “Parish’s New Totem Poles Depict Region’s Native, Catholic History,” Northwest Catholic, March 4, 2016,

Christopher W. Smith

Wooden model totem poles were a common type of object offered in souvenir and curio shops in Vancouver, Seattle, and SE Alaska in the late 19th and early 20th centuries. This model was most likely carved by a Nuu-chah-nulth artist, probably between 1900 and 1920. What appears to be a small bird occupies the top position, its wings folded about its body like a cloak. The next figure down represents a raven, its head and long pointed beak turned down upon its body. The wings are folded on each side, and decorated with a single U-form complex to represent feathers. A seated bear is at the bottom, its forelegs tidily poised upon its chest. The bear’s hind legs are drawn up, and between them appears a human face, possibly a reference to the story of the human that married a bear. The pole is attached to a tall square base cut from burly wood. The style and subjects of the carving are in some ways as representative of a more northern origin as one in Nuu-chah-nulth territory on the west coast of Vancouver Island.

Steven C. Brown

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 26
BILL REID (IIJUWAS), O.B.C., R.C.A. (1920-1998), HAIDA
Killer Whale Brooch, 1972
testing 22 kt cast gold with chased and engraved highlights, 2.5 x 2 x 0.5 in (6.3 x 5.1 x 1.3 cm)
/ 21 gramswith artist's Wasgo stamp;
signed, dated, and numbered, ""Reid - '72 / 2/10”*.*from the planned edition of 10 but only 3 were made, one of which was gifted from Pierre Trudeau to his wife, Margaret.

Provenance
An Ottawa Collection.

Iijuwas, Bill Reid, was born in Victoria, B.C. in 1920. In the late 1940s he began to pursue his personal interest in jewellery with courses at Ryerson Institute of Technology while working as an announcer for CBC Radio in Toronto. At the same time, he was exposed to Haida masterworks in Toronto museums which altered his artistic direction. In 1963 he established a studio in Gastown back in Vancouver, after several years working on monumental projects, to devote time to creating Haida pieces in precious metals. It was during this time that he would produce some of the definitive masterworks of Haida art. Several of these pieces were exhibited at the two major showcases for Northwest Coast art in the 1960s: the Canadian Pavilion at Expo ’67 in Montreal, and the exhibition Arts of the Raven at the Vancouver Art Gallery. In 1968, Reid received a Canada Council grant that allowed him to study goldsmithing at the Central School of Design in London, England, where he learned to add new techniques to Haida and contemporary jewellery pieces. Following his time in London, he established a studio in Montreal where he could quietly pursue his career as an artist; there he carved the boxwood sculpture Raven and the First Men which would become the maquette for the famous seven-foot monumental sculpture for the new UBC Museum of Anthropology. He continued to produce pieces in argillite, wood, and walrus tusk.

Reid was interested in Haida mythology, which he related in compelling stories, and which formed the basis of numerous multi-figured sculptures, drawings, and jewellery pieces. The Killer Whale appears in several myth-based pieces, particularly the story of Nanasimeget and his wife. He also carved the Killer Whale as a solitary figure such as with the Killer Whale Brooch, the monumental Killer Whale for the Vancouver Aquarium, and a sculpted box with an arching killer whale handle in 1971. All three works capture the whale in a similar position, with an exaggerated and heavily designed dorsal fin, an arched back, and riding on its back flukes as it leaves the water. This 1972 Killer Whale Brooch was in a stated edition of ten, but only three were ever cast, hand carved, and finished. The first of the three was gifted by Prime Minister Trudeau to his wife, Margaret.

Gary Wyatt

References: For an early Killer Whale Brooch in gold and shell from 1964 see Martine J. Reid, Bill Reid Collected, (Vancouver: Douglas & McIntyre Ltd., 2016), p. 66; see pp. 92-93 for Killer Whale Earrings and a Killer Whale Box, and p. 118 for a boxwood Killer Whale sculpture by the artist; and finally pp. 124, 126 for a Killer Whale bronze, and the large Killer Whale at the Vancouver Aquarium. Many of these can also be found in Doris Shadbolt, Bill Reid, (Vancouver: Douglas & McIntyre, 1986), pp. 55, 124, 136-139. For an illustration of Bill Reid’s 1984 bronze sculpture Killer Whale in the Vancouver Art Gallery Collection, see Daina Augaitis et al., Raven Travelling: Two Centuries of Haida Art, (Vancouver: Vancouver Art Gallery / Douglas & McIntyre, 2006), cat. 29, p. 42.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 27
GARY MINAKER-RUSS (1958), MASSET, HAIDA GWAII
Haida Supernatural Hawk Man with Paddle and Hawk Rattle, 2008
argillite, 11.5 x 9 x 5.5 in (29.2 x 22.9 x 14 cm)
titled, signed, and inscribed, "HAIDA / SUPER NATURAL [sic] / HAWK MAN [sic] WITH PAddlE / + HAWK RATTLE / GARY MINAKER-RUSS / MASSET."

Provenance
Inuit Gallery of Vancouver, B.C.;
Acquired from the above by the present Private Collection, Toronto.

Gary Minaker-Russ is a contemporary master argillite carver. He was a middle child in a large family and chose to move in with his brother, Ed, and sister-in-law, Faye, while still a teenager to learn to carve. This also afforded him the opportunity to learn about Haida cultural history and to gain some business acumen.

His work has been widely collected and exhibited internationally. Minaker-Russ’s distinctive style includes narrative depictions of Haida mythology, the natural world, and ceremonial dancers sometimes in full regalia – or like the Hawkman here in a state of transformation between bird and human – figures in motion and fully rendered in the round. Gary Minaker-Russ was influenced by the workmanship and work ethic of Charles Edenshaw; this artist is committed to making major pieces, and he strives to develop select pieces requiring both time and detail, such as a full village scene taking months or even years to complete.

Gary Wyatt

References: For an important work by the artist from 1998, The Blind Halibut Fisherman, see First Arts, 30 November 2021, Lot 78. For the chapter on the artist’s life and work see Carol Sheehan’s book Breathing Stone; Contemporary Haida Argillite Sculpture, (Calgary: Frontenac House Ltd., 2008), pp. 130-141.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 28
JESSIE OONARK, O.C., R.C.A (1906-1985) QAMANI'TUAQ (BAKER LAKE)
Untitled (Composition with Skidoos and Ulus), c. 1971-72
wool duffle, felt, cotton thread and embroidery thread, 53 x 50.75 in (134.6 x 128.9 cm)
signed, "??".

Provenance
Innuit Gallery of Eskimo Art, Toronto;
Purchased from the Above by a Private Collection, Winnipeg, MB.


Exhibited
Toronto, Art Gallery of Ontario, The People Within, 24 June - 4 August 1976, cat. no. 49.

Published
The People Within, (Toronto: Art Gallery of Ontario, 194), cat. no 49, reproduced as a colour plate, unpaginated, as "Untitled, c. 1972-75, Collection of Canadian Arctic Producers, Ottawa, and 53.5 x 53 in [sic]"; The Beaver, Autumn 1972, front cover, to accompany "Wall Hangings from Baker Lake” by Sheila Butler (pp. 26-31), discussed on p. 31.

Composition with Skidoos and Ulus is exceptional (and possibly unique) in its blend of imagery. More than in perhaps any other of her important works on cloth, here Oonark has boldly juxtaposed very traditional and symbolic with very modern images. As Bernadette Driscoll has observed,

The triangular knife with a curved blade and handle, known as the ulu, is recognized across the arctic as the symbol of the woman. Yet no other artist has employed it as consistently as Oonark, raising the implement itself to the level of a graphic and symbolic convention” [1]. Here the ulu shapes radiate from the heads of smiling women. It is one of her most brilliant and visually pleasing inventions. Oonark has incorporated traditional Inuit women’s tattoo imagery as well – brilliantly and charmingly – on the woman’s face at the centre of the radiating circles that likely represent drums or drumbeats. (Can you find the other tattoos?) The modern images are, of course, the three snowmobiles (or skidoos, as they are often called). Oonark’s snowmobiles quite resemble the form of early 1960s Ski-Doo machines. We love the way the handlebars just float in the drivers’ hands! As strikingly modern as skidoos would have been in the early 1970s, visually they don’t seem out of place, perhaps because of their similarity to traditional sleds.

Although it has been noted that Oonark depicted modern forms of transportation such as snowmobiles, airplanes, and helicopters, we have not found more than a handful of images in the literature. (It is quite a remarkable coincidence, therefore, that we are offering the c. 1976-78 drawing Transformations in this auction, Lot 128.) Therefore, Composition with Skidoos and Ulus is quite rare in its imagery and certainly ground-breaking. Created possibly as early as late 1971 or in 1972 (it was published in Fall 1972), this work on cloth is contemporaneous with or slightly predates two other important works on cloth with very similar imagery dated to 1972; one features three skidoos, the other four radiating ulus, both are untitled, and one is housed in the Canadian Museum of History collection (see Blodgett and Bouchard, Jessie Oonark, WAG, 1987, cats. 54 and 56; the CMH work is also illustrated in Hessel, Inuit Art, 1988, pl. 138). We have so far not seen Oonark drawings or works on cloth with this imagery made earlier than this date (although unpublished examples may exist).

Composition with Skidoos and Ulus is a brilliantly conceived work on cloth from Oonark’s early mature period. Its relatively large visual elements are beautifully balanced; note that the composition is not arranged in tiers as slightly later works would be. The artist effortlessly fills gaps in the layout with the figure of a man and three charming little drum spirits; as usual, nothing looks out of place. Oonark’s love of colour changes and alternating patterns is much in evidence, in both her choice of felt appliqué and contrasting embroidery floss. Her clever use of embroidery has already been mentioned regarding the gorgeous tattooing in the lower right quadrant, but we would like to point out Oonark has changed up the positions of the skidoo drivers’ legs. We should also mention that this marvelous work on cloth is in pristine condition, its strong, brilliant colours as bright as ever. Fabulous.

1. Driscoll, Arts Manitoba, Fall 1984, p. 16.

References: For important works on cloth by Oonark with similar or related imagery see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 138, p. 170 (depicting three snowmobiles). See also Jean Blodgett and Marie Bouchard, Jessie Oonark: A Retrospective, (Winnipeg: Winnipeg Art Gallery, 1986), cats. 50-51, pp. 118-119, cat. 56, p. 123, and cat. 76b, p. 132 (radiating ulus); and Marion Jackson, Judith Nasby and William Noah, Qamanittuaq: Where the River Widens, (Guelph, ON: Macdonald Stewart Art Centre, 1995), cat. 9 (radiating ulus and “ladle” shapes). For Driscoll's full article, seeBernadette Driscoll, “Tattoos, Hairsticks and Ulus: The Graphic Art of Jessie Oonark,” Arts Manitoba (Fall 1984:12-19). For additional important examples see First Arts, May 28, 2019, Lot 24; and Dec. 1, 2020, Lot 39.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 29
ELIZABETH NUTARAALUK AULATJUT (1914-1998) ARVIAT (ESKIMO POINT)
Mother with Two Children, 1974
stone, 11 x 7 x 5.25 in (27.9 x 17.8 x 13.3 cm)
signed, "????";
dated, "74"

Provenance
Collection of John and Joyce Price, Seattle.

Elizabeth Nutaraaluk was the wife of Aulatjut, the leader of the famous inland Ahiarmiut (Caribou Inuit) camp at Ennadai Lake (known by local Inuit as Kitigaq). After she and her family suffered famine and several forced relocations in the 1950s, they finally settled in Arviat in the early 1960s. Nutaraaluk soon took up carving, and is today considered to be the grande dame among sculptors in Arviat.

Nutaraaluk’s Mother with Two Children is unusual in her oeuvre for a few reasons. Relatively large compared with other examples from the early 1970s, this impressive sculpture exudes an indomitable monumentality. Furthermore, the mother carries two children rather than one; we do know of another fine example from 1975 (see Hessel, Arctic Spirit, cat. 39), but that work is literally half the size of this one. Finally, the mother lacks Nutaraaluk’s trademark criss-cross braid. Here her head is framed by her amautiq hood. However, the artist’s highly distinctive hatch mark treatment of the woman’s hands is here, and Nutaraaluk’s overall primal carving style is very much in evidence.

Nutaraaluk’s compositions are seldom “pretty” in the typical sense of the word, but they are beautiful works of art, charged with emotional power and sculptural strength. Nutaraaluk’s works are a testament to her suffering, but they also symbolize her love for her family. We love the stoical demeanour of this woman, as she holds her infant with one arm while trying to hang on to a fidgety youngster with the other.

References: For a contemporaneous work by Nutaraaluk also depicting a mother and two children see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 39, p. 41. For similar works by the artist see Marion Scott Gallery, Vision and Form, (Vancouver, 2003), p. 122; and Inuit Gallery of Vancouver, Classic Inuit, (2005) cat. 30. For another similar example in the Sarick Collection at the AGO, see Ingo Hessel, Inuit Art: An Introduction, (Douglas & McIntyre, 1998), fig. 104; also illustrated in Julian Spalding, The Best Art You've Never Seen: 101 Hidden Treasures from Around the World, (London: Rough Guides, 2010), p. 191.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 30
LUKE ANOWTALIK (1932-2006) ARVIAT (ESKIMO POINT)
Family Group, late 1990s
stone, 8.5 x 7.5 x 4.25 in (21.6 x 19.1 x 10.8 cm)
signed, "?????".

Provenance
Private Collection, Toronto.

While Arviat sculptors John Pangnark and Andy Miki concentrated on single human or animal forms reduced to their purest contours, fellow Arviat artists Lucy Tasseor Tutsweetok, Mary Ayaq, and Ayaq’s husband, Luke Anowtalik, espoused a “busier” aesthetic. In some examples by Anowtalik there is no surface that is left undecorated. In this wonderful sculpture, Anowtalik populates the stone’s surface with heads and faces both large and small, creating a wonderful sense of “all-overness.” One wonders whether Anowtalik is depicting his extended family, perhaps even including ancestors who have gone before yet still make up the fabric of the Inuit family. We love the rough-hewn details and omnipresent tool marks which act almost as Anowtalik’s fingerprints.

References: For similarly styled stone sculptures by the artist see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 136, p. 160. See also First Arts, Toronto, 1 December 2020, Lot 128; and First Arts, Toronto, 14 June 2022, Lot 63.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 31
LUCY TASSEOR TUTSWEETOK (1934-2012) ARVIAT (ESKIMO POINT)
Family Group, early-mid 1980s
stone, 4 x 8.25 x 1.5 in (10.2 x 21 x 3.8 cm)
unsigned.

Provenance
Innuit Gallery of Eskimo Art, Toronto;
Acquired from the above by the present Private Collection, Toronto, June 1986.

It’s the imagination of the shape that I like. It does not look just like the real thing. If it looked like a real person, you would simply see a copy of what is alive. —Lucy Tasseor Tutsweetok, interviewed by Ingo Hessel, 1989

Lucy Tasseor Tutsweetok was fond of telling the story of how her works were inspired by her grandfather’s drawings of faces in the sand, and on the surface of it one can see those drawings echoed in her work. Peering and craning from the shard-like piece of stone, this Family Group emerges from the stone as if it had always been there. Though modest in scale, this carving still possesses some of the monumentality that is intrinsic to Tasseor’s works, large and small; the family as an eternal, immutable entity, is bound together in this sculpture.

References: See the section on Lucy Tasseor in Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), pp. 86-95; for similar works see Faces Emerging from Stone (cat. 39), and Head Cluster (cat. 40). See also Feheley Fine Arts, Lucy Tasseor: I Turn to Stone, (Toronto: Feheley Fine Arts, 2015), solo exhibition catalogue with an essay by Ingo Hessel.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 32
JUDAS ULLULAQ (1937-1999) Uqsuqtuuq (Gjoa Haven)
Excited Fisherman, c. 1984
stone, antler, string, and muskox horn, 13.5 x 16 x 11 in (34.3 x 40.6 x 27.9 cm)
signed, "???".

Provenance
Ex. Coll. Don Morgan, Toronto;
Acquired from the above by Fred and Mary Widding, Ithaca, NY. January 2001;
First Arts, 1 December 2020, Lot 23;
Acquired from the above by the present Private Collection.


Exhibited
Ithaca, NY, Handwerker Gallery, Gannett Center, Ithaca College, Of the People; Inuit Sculpture from the Collection of Mary and Fred Widding, 26 February - 6 April 2008, cat. no. 25.

Published
Cheryl Kramer & Lillian R. Shafer eds., Of the People; Inuit Sculpture from the Collection of Mary and Fred Widding, exh. cat., (Ithaca, NY: Handwerker Gallery, Gannett Center, Ithaca College, 2008), reproduced, cat. no. 25; “Artists Speak: Judas Ullulaq”, Inuit Art Quarterly, Vol. 14, No. 22, Summer 1995, p. 18.

We know that Judas Ullulaq began making small carvings and models in 1961, and he carved whale bone in the late 1960s; there are virtually no documented pieces by him from the 1970s, however, so it is safe to assume that he carved only sporadically during these years. Ullulaq may have felt slightly intimidated by the extraordinary success of his nephew Karoo Ashevak (1940-1974) in those years. He began to carve more seriously just before his move to Uqsuqtuuq (Gjoa Haven) in 1982, and it was there that his art and his career blossomed. Ullulaq quickly forged a strong personal style and was given two successful solo shows in southern galleries in 1983. He himself soon became the most important and influential artist in the Kitikmeot region.

Excited Fisherman was carved about a year after his delightful Drum Dancer from c. 1983 (see First Arts Auctions, 5 Dec. 2022, Lot 133). It shares several stylistic attributes with that fine work but is even closer in style to the artist’s Tiqmiaqhiuqtuq (Bird Hunter) of 1984 (see Darlene Wight’s WAG Netsilik catalogue, cat. 148). Wight correctly observes that many of the wonderfully expressive faces of Ullulaq’s hunters and fishermen are self-portraits. Those of us who were lucky enough to spend time with him fondly recall Ullulaq’s apparently inexhaustible cheerfulness, his sense of humour, and his infectious smile and lively eyes. Indeed, there is no question in our minds that Excited Fisherman depicts Ullulaq himself.

This sculpture is classic Ullulaq, a masterpiece of the artist’s early mature style. The overall composition of the sculpture is beautifully conceived (we love the way the figure is balanced on his knees!) The fisherman’s body is realistic in pose and carefully modeled, with a handsome matte finish. Ullulaq also pays careful attention to the kakivak (fishing spear) and jigger (he enjoyed fashioning dolls and other craft items as a young boy [1]). But it is clearly to the figure’s head and face that Ullulaq has devoted special attention; the face is brilliantly carved, with exaggerated but not grotesque features. With his inlaid muskox horn eyes and teeth, protruding tongue, bulging cheeks, large ears, and hair swept back from an almost non-existent forehead, Excited Fisherman is one of the most expressive, engaging, and charming sculptures ever created by this beloved artist.

1. See Darlene Coward Wight, Art & Expression of the Netsilik, 2000, p. 152.

References:For a similarly themed work by the artist in the National Gallery of Canada collection see Christine Lalonde, Sanaugavut: Inuit Art from the Canadian Arctic, (Ottawa: National Gallery of Canada, 2010), cat. 32, p. 72, and Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg Art Gallery, 2000), cat. 149; the section on this important artist in Wight’s Netsilik catalogue is extensive, pp. 152-171. See also Innuit Gallery of Eskimo Art, Ooloolah Spence Bay (Toronto: 1983), solo exhibition catalogue; Canadian Arctic Producers, Judas Ooloolah (1983), solo exhibition catalogue. For more thematically related works see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum (Vancouver: Douglas & McIntyre/Phoenix: Heard Museum, 2006), pp. 126-127.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 33
DAVID RUBEN PIQTOUKUN (1950-) PAULATUK / ONTARIO
Nuna, 1995
Brazilian soapstone and African wonderstone, 17 x 11 x 5.25 in (43.2 x 27.9 x 13.3 cm)
unsigned.

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

Exhibited
Winnipeg, Winnipeg Art Gallery, Between Two Worlds: Sculpture by David Ruben Piqtoukun, 26 May - 26, 1996, cat. 37.

Published
Darlene Coward Wight, Between Two Worlds: Sculpture by David Ruben Piqtoukun, (Winnipeg: Winnipeg Art Gallery, 1996), cat. 37, p. 23.

Nuna, the land, was seen as a nurturing mother that supported the animals, the spirits and the Inuit. Income from government programs has been a very poor substitute. The founding of Nunavut is changing the outlook of many people who now want to take charge of their lives again. This hope is reflected in the upturned face at the top of the sculpture.

This commentary by the artist in the catalogue from Darlene Wight’s 1996 solo exhibition at the Winnipeg Art Gallery looks hopefully forward toward the then founding of the Territory of Nunavut in 1999. That must have been a bittersweet occasion for Piqtoukun, whose home community of Paulatuk lies in the far western Inuvialuit Settlement Region, which remained part of the Northwest Territories. Nonetheless, Inuit and Inuvialuit across Canada today have a much greater say in their destiny.

The sweeping, lyrical forms of this sculpture beautifully echo the aspirational – and inspirational – meaning ascribed to it by the artist. Piqtoukun’s use of the universal mother-and-children motif to illustrate his theme is apt and poetic. We love the interplay of subtle curves, elegant visages, and tool marks. In form and feeling Nuna reminds us of one of Piqtoukun’s most famous and impressive works, Spirit World of the Inuit from 1984, in the Sarick Collection at the AGO (see Darlene Wight, Out of Tradition, cat. 55 and Ingo Hessel, Inuit Art, pl. 2). Lovely.

David Ruben Piqtoukun’s work is currently being shown in a major retrospective exhibition, Radical Remembrance: The Sculptures of David Ruben Piqtoukun, running until June 25, 2023 at the Art Gallery of Ontario in Toronto. Piqtoukun won the Governor General’s Award in Visual and Media Arts in 2022.

References: Similar in form and feeling if not in content, Nuna reminds us of one of David Ruben’s most famous sculptures, Spirit World of the Inuit from 1984, in the Sarick Collection at the Art Gallery of Ontario; see Darlene Wight, Out of Tradition: Abraham Anghik / David Ruben Piqtoukun (Winnipeg: Winnipeg Art Gallery, 1989), cat. 55, pp. 48 and 60, and Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 2, p. vi. Another visually similar work can be found in Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 211.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 34
ABRAHAM ANGHIK RUBEN, O.C. (1951-), PAULATUK / SALT SPRING ISLAND, B.C.
Shaman with Spirit Helpers, 1979
whale bone, stone, antler, and baleen, 20.25 x 18.5 x 6.75 in (51.4 x 47 x 17.1 cm)
unsigned.

Provenance
Pollock Gallery, Toronto;
Acquired from the above by the present Private Collection, Toronto.

Abraham Anghik Ruben is today one of the biggest names in contemporary Inuit art, but this sculpture was created very early in the artist’s career. The sculpture was acquired from the Pollock Gallery (Toronto) in 1979 shortly after the artist’s first one-person exhibition there in 1977. (Interestingly, Jack Pollock was also the first gallerist to champion the work of Norval Morrisseau.) Despite its early date, we can see the beginnings of the wonderful imagination and creativity for which the artist has become justifiably famous.

Given the similarity of their natural shapes, whale bone vertebrae have long lent themselves to the seemingly endless repetition of either Janus heads or sun/moon images on either side of the “disc” area by sculptors across the Arctic. Rather than succumb to the formulaic, Anghik has opted to utilize and adorn almost every surface of the bone to present a shaman with a multitude of helping spirits. We love the complexity of this piece as opposed to the default recto/verso treatment. “Side A” depicts the shaman surrounded by charmingly spooky mini spirits, while “Side B” presents the clearly more powerful walrus familiar.

References: See the article “Where We Go From Here: Four Generations and the New Arctic Reality” by the artist in Inuit Art Quarterly, Vol. 30, No 3, Fall 2017, pp. 54-63. For more works by the artist, see Abraham Anghik Ruben, Rocco Pannese and Cosimo Stifani, Abraham Anghik Ruben, (Kipling Gallery: Vaughan, Ontario, 2016); Abraham Anghik Ruben and Rocco Pannese, Abraham Anghik Ruben : The World of Man Animals and Spirits, (Kipling Gallery: Vaughan, Ontario, 2014); Abraham Anghik Ruben and Darlene Coward Wight, Abraham Anghik Ruben, (Winnipeg Art Gallery: Winnipeg, 2001). See also Darlene Coward Wight, Out of Tradition: Abraham Anghik / David Ruben Piqtoukun, (Winnipeg: Winnipeg Art Gallery, 1989).

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 35
OSUITOK IPEELEE, R.C.A. (1922-2005) KINNGAIT (CAPE DORSET
Caribou Composition, c. 1968-70
stone, 13.5 x 8 x 5 in (34.3 x 20.3 x 12.7 cm)
signed, "????".

Provenance
Collection of Terry Ryan, Kinngait / Toronto;
Feheley Fine Arts, Toronto;
Purchased from the above by John and Joyce Price, Seattle.


Exhibited

Toronto, John B. Aird Gallery, Christopher Chapman / Osuitok Ipeelee Indigenous People: A New Partnership, 8-30 Oct 1993, cat. VII.

This two-person exhibition featured the sculptures of Osuitok and the photographs of the Canadian filmmaker Christopher Chapman.

Published
Royal Canadian Academy of Arts / Sharon Van Raalte, Christopher Chapman / Osuitok IpeeleeIndigenous People: A New Partnership, (Oakville, ON: Mosaic Press, 1993), cat. VII, unpaginated.

In Sharon Van Raalte’s appreciation of the man and artist Osuitok in the Royal Academy of Art exhibition catalogue, she writes,
Unlike the stereotype of the Inuit artist looking into the stone to see the form struggling to be released, Osuitok walks the corridors of his own imagination. His images come during dream time, flowing from the trance-like state between two worlds – messengers from another reality. They wait, like seeds promising life, until he finds a piece of stone that will carry their projection [1].

We cannot think of a more apt description of Osuitok’s art as it applies to this remarkable, lyrical image. Much has been made of Osuitok’s idealized yet naturalistic portrayals of animal and human subjects – especially his famous caribou – and rightly so. Sculptures like Walking Caribou (First Arts, 13 July 2021); Rearing Caribou with Nursing Calf (First Arts, 5 December 2022, Lot 43; and Fisherwoman (First Arts, 28 May 2019, Lot 28) are staggeringly beautiful and technical marvels. With Caribou Composition we get to appreciate Osuitok’s imagination in a whole new light. Carved at the end of a decade of spectacular artistic flowering in Cape Dorset, the sculpture seems to harken back to the early 1960s when sculptors and graphic artists alike (but perhaps most notably Kenojuak) were creating marvelous flowing, dreamy images of spirits and animals.

Caribou Composition does indeed seem to flow from a “trance-like” state of mind. Osuitok’s charming menagerie – caribou, hare, owl and other birds, bear, seal – does not look or feel like a group-portrait; instead, the image comes across as dream-like, even visionary. Here Osuitok aims not for precision and mastery of the stone, but rather for poetry and magic. This sculpture is truly, quite literally enchanting.

1. Sharon Van Raalte, “Osuitok Ipeelee,” p. 42

References: For a contemporaneous work by the artist, in the same stone and similarly styled but with very different imagery, see Waddington’s, Toronto, April 2005 (Klamer Collection), Lot 107. For a discussion of Osuitok’s life and work see Jean Blodgett, “Osuitok Ipeelee” in Alma Houston, ed., Inuit Art: An Anthology, (Winnipeg: Watson & Dwyer, 1988), pp. 42-55. For the fine article on the sculpture of Osuitok Ipeelee see John Westren, “A Quest for the Real: The Art of Osuitok Ipeelee,” Inuit Art Quarterly, Vol. 34, No. 4, Winter 2021, pp. 42-51.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 36
LUKE ANGUHADLUQ (1895-1982) QAMANI’TUAQ (BAKER LAKE)
Qiviuq, 1970
coloured pencil on heavy wove paper, 29.25 x 41.25 in (74.3 x 104.8 cm)
extensively inscribed in graphite by the artist with didactic text in Inuktitut;
signed and inscribed with disc number, "???? E2-294".

Provenance
Collection of Mr. Jack Butler, acquired directly from the artist.
Jack and Sheila Butler were arts advisors in Baker Lake in the crucial years of artistic flowering in the community from 1969 to 1976.



Published
K. J. Butler, “Remembering the Ancient Spirit Songs” in Keeveeok, Awake! Mamnguqsualuk and the Rebirth of Legend at Baker Lake, exh. cat., (Edmonton: University of Alberta, Ring House Gallery, 1986), p. 14, as “Kiviuq.” Butler and Ruby Angrna’naaq provide a translation of the syllabics, pp. 16-18;
Cynthia Waye Cook, From the Centre: The Drawings of Luke Anguhadluq, (Toronto: Art Gallery of Ontario, 1993), fig. 11, p. 27.

Most known for his depictions of traditional scenes of life on the land, in the present drawing, Anguhadluq departs from his usual subject matter to depict an episode of the Qiviuq story. Qiviuq, a legendary adventurer whose tales of heroism and narrow escapes from danger are well known though by most Inuit in Qamani’tuaq, is a subject seen serially throughout art produced in the community. In syllabics, Anguhadluq provides an extensive excerpt from the famous legend. In brief, it reads that a lone man arrives in an unknown village, where he is granted amnesty from cannibals by a woman in an igloo. The man flees from danger, escaping his would be captors by shooting the tracking dog, Alulla’q, in the ear.

The height of this dramatic tale — Qiviuq taking aim at the two-headed dog — is depicted at the centre right of the sheet, relatively small in comparison to the figures and fish elsewhere. Immediately beside this scene, we see the hero in profile, making his great escape. This imagery provided by Anguhadluq is composed without concern for the orientation of his didactic text. Jack Butler, the former Baker Lake arts advisor and the custodian of this work, described that this was due, in part, to the artist’s method of drawing. Anguhadluq, Butler explained, would work with his paper on the floor, rotating the sheet as he went [1]. However, this does not account for the artist’s variation of time, perspective, and spatial depth. Anguhadluq’s creative multiplicity of viewpoints rivals the dedication of European Cubist artists who consciously experimented with the ambiguities of representation in two dimensional works. The key difference, however, is that Anguhadluq’s aims come from an untutored, entirely intuitive place in the artist.

1. Marion Jackson, Baker Lake Inuit Drawings, 1985, p. 150.

References: For another segment of the Qiviuq story by Anguhadluq, see the serigraph print, Qiviuq Crossing the Ocean, 1975 #20. For the author's brief commentary on myth in Anguhadluq's art, see Jean Blodgett, Tuu'luq / Anguhadluq: An Exhibition of Works by Marion Tuu'luq and Luke Anguhadluq of Baker Lake, (Winnipeg: Winnipeg Art Gallery, 1976). The artist’s account closely follows Knud Rasmusseun’s 1931 report on the nakasungnaicut (those who have no calves); see Knud Rassmussen, The Netsilik Eskimos: Social Life and Spiritual Culture, Report of the Fifth Thule Expedition 1921-24, Vol. VIII, nos. 1 & 2, (Copenhagen: Gyldendalske Boghandel, 1931), p. 373-5. The reference recorded by Rasmussen is not identified as part of the Qiviuq legend, nor is the dog described with two heads (see also p. 301). For Rasmussen’s account of the Qiviuq stories, see p. 364-77 and 521-4, the latter, Rasmussen describes as the stories of Qiviuq that were “familiar to the Utkuhikjalikimut (Utkuhiksalingmiut). An episode of the hero’s story begins in a similar way: Qiviuq finds himself alone in a strange land, where he happens upon a group of cannibals and narrowly escapes certain death using his cunning and wits. Janet Kigusiuq depicts the nakasungnaicut in one of her coloured pencil drawings which is reproduced in Bernedette Driscoll, Inuit Myths, Legends, and Songs, (Winnipeg: Winnipeg Art Gallery, 1982), cat. 26, p. 40.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 37
JESSIE OONARK, O.C., R.C.A (1906-1985) QAMANI'TUAQ (BAKER LAKE)
Big Woman, 1974 #2
Printmaker: SIMON TOOKOOME (1934-2010) QAMANI’TUAQ (BAKER LAKE)
stonecut and stencil, 25 x 37.25 in (63.5 x 94.6 cm)
15/50

Provenance
Private Collection, Hamilton.

In Big Woman, we gaze at a plenitude of feminine objects: two beautifully dressed rose-red and white tudliit (hairsticks) tumble from the woman’s face, which is left un-inked save the densely incised lines of her composite facial tattoos. On either side, the figure is flanked by opposing stylized ulus (women’s knives) brilliantly coloured in complementary hues of orange and purple. These colours (along with bright yellow) are echoed in the beautiful amautiq (woman’s parka) with its kiniq (front flap), and her boots or leggings), along with the central addition of blazing yellow on the coat. The small figure atop her head may be read as a spirit helper but may also represent a child in her amautiq hood or as the concept of a maternal instinct made visible.

Oonark’s strategy of construction for her feminine imagery and accouterments, the latter of which are mostly unique to traditional Inuit culture, has been discussed at length by several scholars as a celebration of feminine display. However, we propose that this visual feast of feminine emblems, when combined with the powerful and imposing scale of the work, bridge the notions of femininity and feminism. We are stirred by the symbolism in Big Woman and moved by its meticulous authorship.

Interestingly, Oonark revealed that this image depicts “…a woman who is turning into a stone, in Chantrey Inlet. The stone itself is really colourful because this woman has a fancy parka. She turned into stone because she never wanted to get married to anybody…. The woman is supposed to be in a kneeling position, but I just drew it in a standing position anyway” [1]. The hairsticks seem to emphasize this stance, while the ulus radiate their own energy.
1. As told to Marion Jackson in 1984, quoted in Maureen Flynn-Burhoe, “Jessie Oonark: Woman in the Centre” in Inuit Art Quarterly (Vol. 14, No. 2, Summer 1999: 26-30), p. 28.

References: This image has been widely reproduced and discussed. See Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), cat. 21, reproduced in colour, p. 18 and p. 55, pp. 54-7; Canadian Museum of Civilization, ed., In The Shadow Of The Sun : Perspectives On Contemporary Native Art, (Hull, QC: Canadian Museum of Civilization, 1993), p. 524; Marie Bouchard, Power of Thought: The Prints of Jessie Oonark, exh. cat., (Richmond, VA: Marsh Art Gallery, 2001), p. 24; and Bernadette Driscoll, Baker Lake Prints & Print-Drawings 1970-76, (Winnipeg: Winnipeg Art Gallery, 1983), p. 75, along with the original drawing. The original drawing is also reproduced in Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 131, p. 163; Jean Blodgett and Marie Bouchard, Jessie Oonark: A Retrospective, (Winnipeg: Winnipeg Art Gallery, 1986), cat. 62, p. 87. For other writings on Oonark’s depictions of women see Bernadette Driscoll, "Tattoos, Hairsticks and Ulus: The Graphic Art of Jessie Oonark" in Arts Manitoba (Fall 1984), pp. 12-19; Maureen Flynn-Burhoe, “Jessie Oonark: Woman in the Centre”, Inuit Art Quarterly, (Vol. 14, No. 2, Summer 1999), pp. 26-30. See also Robert Enright, “The Art of Jessie Oonark: Ceremonies of Innocence” in Inuit Art Quarterly, (Vol. 2, No. 14, Winter 1987), pp. 3-6.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 38
LUKE IKSIKTAARYUK (1909-1977) QAMANI’TUAQ (BAKER LAKE)
Crane, 1969 (1970 #32)
Printmaker: THOMAS NAKTURALIK MANNIK (1948-) QAMANI’TUAQ (BAKER LAKE)
stencil, 20 x 24.5 in (50.8 x 62.2 cm)
9/14

Provenance
Private Collection, Hamilton.

Luke Iksiktaaryuk, one of the most celebrated sculptors from Baker Lake, carved exclusively in caribou antler; his antler compositions are notable for their solemnity, expressive power, and minimalist forms. In Grasp Tight the Old Ways, Jean Blodgett speaks to Luke Iksiktaaryuk’s “economy of means” in the realization of these works. She also notes that “the same economic, almost austere, style is characteristic of Iksiktaaryuk’s graphics, where lines are used to maximum effect” [1]. Crane is a striking image that indeed exemplifies Iksiktaaryuk’s sparing use of line and colour. It is also notable in that it was the very first stencil print made at the Baker Lake print shop in 1969 after the arrival of Jack and Sheila Butler [2]. Kudos not only to Iksiktaaryuk for creating the original drawing, but also to young Nakturalik, the printmaker trained to create this lovely print.

1. Blodgett, Grasp Tight the Old Ways, 1983, p. 46.
2. Sheila Butler, The Beaver, Spring 1976, p. 22; reprinted in Alma Houston, ed., Inuit Art: An Anthology, 1988, p. 111.

References: For major works and a discussion of the artist see Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), pp. 48-51 and 130-139. For other examples of Luke’s prints, see First Arts, Toronto, 13 July 2021, Lot 70, and First Arts, Toronto, 23 March 2023, Lot 84.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 39
JOHNNY INUKPUK, R.C.A. (1911-2007) INUKJUAK (PORT HARRISON)
Mother Holding a Swaddled Infant, c. 1953-54
stone, walrus tusk, and black inlay, 9 x 9 x 12 in (22.9 x 22.9 x 30.5 cm)
unsigned.

Provenance
Waddington’s Auctions, Toronto, December 1988, Lot 257;
Collection of M.F. (Budd) Feheley, Toronto;
His sale, The Discreet Collector, Feheley Fine Arts, June 2002;
Acquired from the above by John and Joyce Price, Seattle, 2002.

Published
Feheley Fine Arts, The Discreet Collector, (Toronto: Feheley Fine Arts, June 2002) cat. no. 24.

One of Johnny Inukpuk’s greatest masterpieces from the early 1950s, this Mother Holding a Swaddled Infant was originally unattributed, but is clearly by the hand of the artist. Stylistically it is strikingly similar to a famous masterwork by Inukpuk, his Mother and Child of 1954 in the collection of the Canadian Museum of History, a work that has been much exhibited and published (see Hessel, Inuit Art, pl. 59; Early Masters, p. 82; and elsewhere). Our example is slightly larger, and somewhat differently posed (kneeling and holding a swaddled baby rather than seated in front of a qulliq) but overall, the two sculptures’ low centre of gravity and fulsome proportions are the very much the same, as are lovely small details such as the delicate facial tattoos and the parka trim. Both works are carved in the luscious, opalescent green stone that makes these impressive works especially attractive and prized. (In Early Masters Darlene Wight notes that Inukpuk was especially good at sourcing good stone; it may have been he who discovered this important deposit.) Indeed, the sculptures are so similar in style that it is anyone’s guess which one was carved first; our hunch is this one came first.

Mother Holding a Swaddled Infant features all the hallmarks of Johnny Inukpuk’s first important period. These include the ripe, voluptuous volumes of the sculpture overall; the mother’s head, clothing, and hands – and even the infant itself – appear as if they have been slightly over-inflated with a bicycle pump! The large hands would remain a strong feature of the artist’s work for many years to come. The generous sculptural volumes contrast beautifully with the elegant, incised details – especially the exquisite tattoo marks on the mother’s cheeks and chin. The walrus tusk inset eyes of mother and child are expertly done; their effect is beautifully haunting in the case of the mother, and hilarious in the case of the baby! And as with so many of Inukpuk’s depictions of mothers, this work is a portrait of the artist’s beloved wife Mary. Finally, we would like to call attention to the subtle and brilliant aspects of the composition itself. We love the interplay of angles and volumes throughout – in the swaddled infant, the arms and hands that hold it, and especially in the winsome tilt of the mother’s head. Fantastic.

References: For a quite similar and contemporaneous work by the artist in the Canadian Museum of History collection see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 49, p. 65; and Darlene Coward Wight, Early Masters: Inuit Sculpture 1949-1955, (Winnipeg: Winnipeg Art Gallery, 2006), p. 82. For a slightly later but similarly styled work by Inukpuk see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), figs. 70 and 289 (pp. 50 and 159). For a Woman Holding a Fish and Ulu by Inukpuk, also from 1964, see George Swinton, Eskimo Sculpture, (Toronto: McClelland and Stewart, Ltd., 1965), p. 142. For a fine, slightly earlier Mother and Child with Fish in the Power Family Collection at the University of Michigan (c. 1952-53) see Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cat. 260. For an earlier Mother and Child by Inukpuk (described as c. 1950 but more likely c. 1952) see Waddington’s Auctions, Toronto, Nov. 18, 2013, Lot 102. See also Man Inflating Avataq from 1954 in the Canadian Museum of History collection (Early Masters, p. 86).

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 40
LUKTA QIATSUK (1928-2004) KINNGAIT (CAPE DORSET)
Preening Loon, 1982
stone, 4.5 x 12 x 5 in (11.4 x 30.5 x 12.7 cm)
signed, “?? ???".

Provenance
Private Collection;
Waddington's, Toronto, 16 November 2015, Lot 127;
Acquired from the above by the present Private Collection, Toronto.

Lukta Qiatsuq was known by many as a master printer in the Cape Dorset stonecut studio and is perhaps less known for his drawings and sculptures that are, however, of equally exquisite quality. As a sculptor, Lukta excelled in creating elegant and fluid compositions. This graceful work succeeds in capturing the elongated body of a loon in the process of self-grooming, a subject the artist depicted multiple times throughout his career. The bird’s elegant neck is beautifully curved, arching back to the upturned wing in a movement that is perfectly balanced by a similar turn of the right foot. Carved in the finest Cape Dorset green serpentine, this dapper bird perfectly captures the brilliance which Lukta was able to bring to his sculptural subjects.

In Susan Gustavison’s catalogue Northern Rock, Lukta explains the technical carving process behind a similarly styled sculpture of the same name, “These days I have started using grinders, but I used an axe for the first pieces I did. In the early 1980s, I didn’t use a regular axe. I was using files that were welded together.” The artist goes on to discuss the differences between carving stone sculpture and carving stone in the stonecut print studio, explaining his preference for the former, “Making pieces like this is not as difficult as carving the stone blocks for printing. It was very difficult doing the outlines of the drawings on the stone. And it was just as difficult, or more difficult, applying the different colours of ink for the copies [original prints] made from the stone block. Some people would just give up and walk out. I would just keep trying harder at times, when it became too difficult” [1]. While stonecutting was Lukta’s primary job, sculpture in the round provided an avenue through which his own creative subjects could come to life. We are thankful that he took the time to do this; the results are spectacular.

1. The artist from a 1998 interview in Gustavison, Northern Rock: Contemporary Inuit Stone Sculpture, 1999, p. 63.

References: For a contemporaneous and very similarly styled example by Lukta, in the Sarick Collection at the AGO, see Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 97. For another similarly styled Bird Preening by the artist, carved in a darker stone, see Susan Gustavison, Northern Rock: Contemporary Inuit Stone Sculpture, (Kleinburg: McMichael Canadian Art Collection, 1999), cat. 18, p. 81.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 41
TUDLIK (1890-1966) KINNGAIT (CAPE DORSET)
Excited Man Forgets His Weapon, 1959 #25
Printmaker: LUKTA QIATSUK (1928-2004) KINNGAIT (CAPE DORSET)*
stonecut, 12 x 17.75 in (30.5 x 45.1 cm), framed
3/50
*chop upside down

Provenance
Collection of John and Joyce Price, Seattle.

One of Cape Dorset’s patriarchs, Tudlik’s Excited Man Forgets his Weapons conveys the artist’s fertile memories of a traditional way of life that, for men, was largely centered on one’s ability to navigate the resources of the land. While the imagery reflects the Inuit hunter’s life that Tudlik well-knew, it is also delightfully comical. The artist manages to convey the expression of the hunter in a sophisticated yet humorous way. The man, awe-struck by his luck and slack jawed, spots a polar bear and cub and he starts a sprightly tip-toe toward the pair. We, the viewer, “get” the joke when we reference the title: the delighted man has started his chase completely unarmed. Visually, the work is an exercise in restraint where the background of the sheet is unadorned and the palette is limited to a delicate balance of leaden blue and black.

References: This print is reproduced in W.T. Larmour, Inunnit: The Art of the Canadian Eskimo, (Ottawa: The Ministry of Indian Affairs and Northern Development, 1967),no. 69, p. 84. Christine Lalonde and Leslie Boyd Ryan, Uuturautiit: Cape Dorset 1959-2009, (Ottawa: National Gallery of Canada, 2009), cat. 7, p. 27.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 42
IYOLA KINGWATSIAK (1933-2000) KINNGAIT (CAPE DORSET)
Circle of Birds, 1966 #65
Printmaker: IYOLA KINGWATSIAK (1933-2000) KINNGAIT (CAPE DORSET)
stencil, 19.5 x 24 in (49.5 x 61 cm)
, framed
10/50

Provenance
Collection of John and Joyce Price, Seattle.





Iyola Kingwatsiak was one of the first five printmakers in Kinngait whose creativity and resourcefulness contributed to the success of the early Cape Dorset print collections. In Circle of Birds we get to appreciate the artist’s remarkable talent as both a printmaker and a draughtman. As he had done with Osuitok Ipeelee’s 1959 print Four Muskoxen, in the present print, Iyola repeats his single sleek goose shaped stencil five times on the sheet to create a wreath of acrobatic birds in flight. Each of the forms of this avian pinwheel is well articulated with their bodies and wings are described in a series of delicate pochoir yellows, teals, and black in varying tones.

References: For thematically similar works where the artist acted as both illustrator and printer, see Geese Leaving, 1964, First Arts, Toronto, 14 June 2022, Lot 185 and the experimental, Curlew Over Nest, First Arts, Toronto, 13 July 2020, Lot 104. To see examples of Iyola as printmaker, particularly his mastery of stencils, see Ousitok Ipeelee, Four Muskoxen, First Arts, Toronto, Lot 79, 5 December 2022, Kenojuak Ashevak, Rabbit Eating Seaweed, First Arts, Toronto, 20 November 2021, Lot 36, Niviaqsi (Niviaksiak), Polar Bear and Cub in Sea Ice and The Archer, First Arts, Toronto, 5 December 2022, Lot 135, and 14 June 2022, Lot 15, representatively.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 43
KAROO ASHEVAK (1940-1974) TALOYOAK (SPENCE BAY)
Spirit, c. 1971-72
whale bone, antler, and black inlay, 12.25 x 4.25 x 2.75 in (31.1 x 10.8 x 7 cm)
signed, "??".

Provenance
Klamer Family Collection, Toronto;
Their sale, Waddington's, Toronto, April 2005, Lot 135, as Shaman, Acquired from the above by the present Private Collection, Toronto.

Almost from the very beginning, Karoo Ashevak instilled his figures with spirituality, or at least with “spirit.” He rarely titled his sculptures, so it is difficult to tell if a particular figure is meant to represent an actual spirit, a shaman performing a spiritual ritual or being infused by a spirit, or simply a “regular” human. With Karoo’s art, however, there really is no such thing as “simply.” Almost every portrayal is ambiguous in both form and meaning. As early as 1971 but certainly by 1972 Karoo was freely mixing mostly organic carving materials to create truly fantastical imagery that revolutionized the way we look at Inuit sculpture.

Spirit, probably dating from late 1971 or early 1972, is a delightful example of Karoo’s early classic style. The figure is dominated by its large head carved from relatively porous whale bone, pinned atop the denser bone body which itself is balanced on the sculpture’s base. The face, with its mismatched eyes, flaring nostrils, and gaping toothy mouth, might be frightening if it weren’t so endearing. Even more wildly mismatched than the eyes are the spirit’s legs; it is Karoo’s genius that allows us to see these as hilarious rather than disturbing. Spirit has a doll-like charm yet possesses an undeniably powerful sculptural presence. Jean Blodgett’s landmark 1977 exhibition catalogue Karoo Ashevak illustrates several works that resemble Spirit, either stylistically or in terms of their various “parts”; see cats. 4, 9, 22, 34, and 39. See also First Arts, 5 Dec. 2022, Lot 81.

References: For an important work by the artist see First Arts, 5 Dec. 2022, Lot 81. For a contemporaneous and similarly styled figure by Karoo see Jean Blodgett, Karoo Ashevak, (Winnipeg: Winnipeg Art Gallery, 1977), cat. 22; this catalogue is still the most important work on the artist and his work. But see also American Indian Arts Center, Karoo Ashevak: Spirits, (New York: American Indian Arts Center, 1973), with an introduction by Judy McGrath. For works with similarly inlaid teeth, from 1972 and 1973, see Blodgett, Karoo Ashevak, 1977, cats. 27, 34, and 36; and First Arts, 5 Dec. 2022. Lot 81. For another, c. 1971-72, see Walker’s Auctions, Ottawa, May 25, 2016, Lot 19. For a later figure (1974) similarly formed but posed in reverse, see ibid., cat. 39. For a quite similar work by the artist see Waddington’s Auctions, Toronto, Nov. 2002, Lot 324.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 44
ABRAHAM KINGMIATUQ (1933-1990) TALOYOAK (SPENCE BAY)
Sea Spirit, 1989
stone, 14 x 7 x 3.5 in (35.6 x 17.8 x 8.9 cm)
unsigned.

Provenance
Images Art Gallery, Toronto;
Acquired form the above by a Private Collection, Toronto.


Exhibited
Winnipeg, Winnipeg Art Gallery, The Inuit Imagination, 7 Nov 1993 - 13 March, 1994, cat. no. 12.

Published
Harold Seidelman & James Turner, The Inuit Imagination: Arctic Myth and Sculpture, (Vancouver: Douglas & McIntyre Ltd., 1993), cat. 12, p. 35.

Surprisingly, Abraham Kingmiaqtuq made his first few carvings in 1955, well before commercial art-making became established in the Kitikmeot region in the late 1960s. He carved mostly whale bone until the early 1980s, then primarily stone until his death in 1990. He was well represented with six sculptures in Darlene Wight’s Art & Expression of the Netsilik exhibition of 2000 (cats. 62-67). Sea Spirit is a graceful yet powerfully expressive transformation sculpture; part polar bear and part walrus, the figure is carefully perched on a rocky base, with piercing eyes and snarling mouth agape. It likely represents a shaman’s two animal spirits; both of these large animals would have been formidable helping spirits, with the bear being perhaps the dominant one in this case.

References: For more information on the artist, and images of works in both stone and whale bone, see Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg: Winnipeg Art Gallery, 2000), pp. 80-83.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 45
DAVID RUBEN PIQTOUKUN (1950-) PAULATUK / ONTARIO
Bear Man Dancing on the Moon, 2002
cast and patinated bronze, 34.25 x 39.25 x 6.5 in (87 x 99.7 x 16.5 cm)
signed and dated, "DAVID RUBEN PIQTOUKUN 2002".an artist’s proof, aside from the numbered edition of 7.

Provenance
Purchased from the Artist by the present Private Collection, Toronto.

A few generations ago, all of nature was accessible to the most powerful angakoqs [shamans]. Long before the astronauts with their clumsy equipment, the shamans travelled to meet the moon spirit [1].

Few artists have such a distinct vision and the skills to bring that vision forth from raw materials. A master with stone, Piqtoukun carves and polishes his works to absolute perfection with what are now recognizable trademarks of his characters and stories. Here, however, the textures and varying sheens of the base, moon, and the spirit figure itself reveal the work’s material to be cast bronze [2]. With each element beautifully balanced on the next, this work is topped with a dancing shaman, himself balancing on one foot as he faces the heavens. The figure’s furry texture, his evident muscularity, his paw-hands, and his tail indicate that he is a bear-shaman. Earlier, related works by Piqtoukun describe the shaman’s connection to ravens.

David Ruben Piqtoukun’s work is currently being shown in a major retrospective exhibition, Radical Remembrance: The Sculptures of David Ruben Piqtoukun, running until June 25, 2023 at the Art Gallery of Ontario in Toronto. Piqtoukun won the Governor General’s Award in Visual and Media Arts in 2022.

1. An artist’s commentary in Darlene Coward Wight, Between Two Worlds, 1996, p. 13. 2. This figure is cast from a small stone sculpture by Piqtoukun.

References: For early career works by the artist, see Darlene Wight, Out of Tradition: Abraham Anghik / David Ruben Piqtoukun, (Winnipeg: Winnipeg Art Gallery, 1989). For 1990s works see Darlene Coward Wight, Between Two Worlds: Sculpture by David Ruben Piqtoukun, (Winnipeg: Winnipeg Art Gallery, 1996). For more recent works see David Shultz, “Dealer’s Choice: David Ruben Piqtoukun” in Inuit Art Quarterly, Vol. 18, No. 4, Winter 2003, pp. 22-25; Sonia Gunderson, “David Ruben Piqtoukun: In Search of a Softer Wind” in Inuit Art Quarterly, Vol. 22, No. 1, Spring 2007, pp. 28-35. For other bronzes by the artist, see Jessica MacDonald, “David Ruben Piqtoukun Through 5 Works of Art” as part of the Inuit Art Quarterly Online, January 20th, 2023,

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 46
MICHAEL MASSIE, C.M., R.C.A. (1962-) KIPPENS, NEWFOUNDLAND AND LABRADOR
Jarred, c. 2005
sterling silver, antler, walrus tusk, mahogany, cocobolo and cue ball, 6 x 10.5 x 3 in (15.2 x 26.7 x 7.6 cm)
, with artist's bird stamp.

Provenance
Collection of John and Joyce Price, Seattle.

Humorously titled Jarred, this curious mixed-media sculpture by Michael Massie depicts an owl encased in a sterling silver vase. A trained metalsmith, Massie explains how he conceived of this eccentric subject matter, a concept rooted in technique and materials, “When I made this piece I had just completed a vase from copper. I wanted to keep advancing my silversmithing technique, so I had decided to make another raised piece from silver and etched stylized feathers on its body. I had an old cue ball from home and figured I’d try it with this piece.” The owl’s head, carved from the cue ball, emerges from the elegant vase with a quirky expression and a crest of silver feathers reminiscent of the style of Kenojuak Ashevak’s decorative birds. But rather than trying to escape from the vase, it appears that the owl and vase have merged and are now one and the same: the delicately etched feathers on the vase are an extension of the owl’s body, as are the wings carved from antler. In this sense the piece depicts a new kind of transformation. Massie’s eccentric sculptures of animal characters are never complete without their exquisite inlay eyes — this time made from an appealing combination of walrus tusk, mahogany, and cocobolo wood.

References: For more examples of Massie’s signature style of eye inlay, see Feheley Fine Arts, Michael Massie: Stories in Silver & Stone, (Toronto: Feheley Fine Arts, 2022), p. 9, 12-18. For another charming example of the artist’s metal birds, see the cover of Inuit Art Quarterly, Vol. 19, No. 3-4, Fall/Winter 2004, and accompanying article, “Michael Massie: Playing in His Own World” by Sonia Gunderson. For publications on the artist see Spirit Wrestler Gallery, 50 @ 50: Celebration of Metal and Stone: Michael Massie, (Vancouver, 2012). See also the exhibition catalogue by Gloria Hickey, Silver and Stone: The Art of Michael Massie, (St. John’s, NF: The Rooms, 2006). For a review of his work, see ”Silver and Stone: The Art of Michael Massie, Inuit Art Quarterly, Vol 21, No. 4, Winter 2006, pp. 18-29. For a published interview with the artist and Matthew Fox, see “Michael Massie of Labrador”, Inuit Art Quarterly, Vol 11, No. 1, Spring 1996, pp. 16-24.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 47
BILL NASOGALUAK (1953-) TUKTOYAKTUK
Crying Shaman Transformation, 1998
stone with inset glass, 10.75 x 8.25 x 6.25 in (27.3 x 21 x 15.9 cm)
signed and dated, "B. NASOGALUAK 1998".

Provenance
Waddington’s, Toronto, 11 July 2012;
Private Collection, Toronto.

Nasogaluak’s admiration for the European Old Masters comes through in his graceful sculptural depictions of busts, faces, and the female figure. Carved in the round, this work’s sinuous curves and naturalistic faces recall Michelangelo. A completely different piece depending on which angle one views it from, Crying Shaman Transformation is an exquisite example of the “classical” European sculptural style hybridized with iconography from Inuit stories and myths.

This stunning sculpture is defined by two human faces, one on either side. The man with his eyes closed but facing the sky is likely the shaman; the female face on the opposite side bears a likeness to Sedna. Her long hair gracefully twists and winds across the sculpture – not unlike Michelangelo’s treatment of drapery – transforming gracefully into the waves of the sea where a bear and whales swim within her locks. A falcon and loon flank the sides separating the two faces. Uniquely, the sculpture includes a speckled appliqué design of green glass inlay. After a workshop which introduced the artist to the use of glass in three-dimensional design, Nasogaluak was known to integrate coloured glass into his sculptures. For a greater “otherworldly” effect, he added glass to some works related to shamanism and myths.

References: For an interview with the artist see Michael Olson, “Focus On: Bill Nasogaluak, Masterful Apprentice” in Inuit Art Quarterly, (Vol. 17, No. 1, Spring 2002), pp. 30-35. For more recent work by the artist, see Bill Naogaluak: Shapeshifter, Feheley Fine Arts, Toronto, Ontario, January 2020.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 48
ANNIE PIKLAK TAIPANAK (1931-) QAMANI'TUAQ (BAKER LAKE)
Untitled Work on Cloth, 2004
stroud and embroidery floss, 72 x 57.5 in (182.9 x 146.1 cm)
unsigned.

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

The art of stitchery was passed down to Annie Piklak Taipanak from her mother, the renowned wall hanging artist Elizabeth Angrnaqquaq (1916-2003). Angrnaqquaq had begun sewing works on cloth in the early 1970s and was known for her exuberant use of embroidery, which has often been described as “painterly.” Like her mother, Piklak was born on the land, only moving to Baker Lake with her husband, Jimmy Taipanak, in the late 1950s. She, herself, took up sewing appliqué works seriously around 1980 but for years used embroidery floss only sparingly, perhaps not wishing to copy her mother’s style too much. When she did embrace stitchery and adopt her mother’s style (more or less), it was wholeheartedly and with spectacular results.

This monumental work on cloth literally teems with many dozens of human and animal figures and faces, jumbled together with abstract shapes. There is no suggestion of narrative or even organized “activity” in the usual sense, even if the figures do seem extraordinarily active, or at least energized. The sense of energy is palpable, and a feeling of excited, jostling community buzz. Piklak’s thread work – which manages to look both meticulous and rough-hewn – covers this remarkable work from border to border. It is the “all-overness” of the net-like stitchery – and of course the artist’s extraordinary use of colour (in both appliqué and floss) – that creates both dynamism and unity in the composition. We love the way that her closed feather stitches snake around the embroidered felt figures and shapes. Also notable is the division of the large work into four panels. It almost creates the impression that we are looking at this joyous, almost hallucinogenic jumble of Inuit life through a big window. We have long been fans of Annie Piklak Taipanak’s works on cloth. This glorious, zany tour de force almost takes our breath away.

References: For smaller but similarly fine works on cloth by this artist see First Arts, 13 July 2021, Lot 68; and Walker’s Auctions, Ottawa, May 2017, Lot 91.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 49
PETER INUKSHUK (1896-1975) QAMANI’TUAQ (BAKER LAKE)
Standing Man (The King), 1969
stone, 8.75 x 5.5 x 2.75 in (22.2 x 14 x 7 cm)
signed and inscribed, "??? / ???? [I made] / ???? [it is good]" in graphite to the accompanying tag;
inscribed "399" in ink, probably by a member of the "Sculpture / Inuit" exhibition team.

Provenance
Collection of Mr. Jack Butler, acquired directly from the artist.
Jack and Sheila Butler were arts advisors in Baker Lake in the crucial years of artistic flowering in the community from 1969 to 1976.


Exhibited
Canadian Eskimo Arts Council, organizers, Sculpture / Inuit: Masterworks of the Canadian Arctic, travelling exh., Vancouver, Vancouver Art Gallery, 9 Nov 1971 - 9 Dec 1971; Paris, France, Le Grand Palais, 10 Feb - 2 April 1972; Copenhagen, Nationalmuseet, 26 April - 28 May 1972; Saint Petersburg [Leningrad], The Hermitage, 29 June -23 July 1972; Moscow, Pushkin Fine Arts Museum, 10 Aug - 10 Sept 1972; London, UK, Burlington Gardens Museum, 5 October - 10 Dec 1972; Philadelphia, Philadelphia, Museum of Art, - 24 Jan 1972- 4 March 1973; Ottawa, National Museum of Man, [?]; Ottawa, National Gallery of Canada, 18 May 1973- 17 June 1973, cat. 399.

Published
Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic , (Toronto: University of Toronto Press, 1971), cat. 399, unpaginated;
George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 57, p. 38.

Peter Inukshuk, a contemporary of the elder artist Anguhadluq, was not known to be a carver earlier in the 1960s and was quite possibly first encouraged to try his hand at sculpture in 1969 by Jack Butler, the newly arrived arts advisor. His works are relatively few, but all are very interesting; we know of a handful of lovely spirit birds and several standing male figures, almost all of them nudes. Of these latter works, this Standing Man (The King) is the most important. Jack Butler has always treasured the cheeky little note that Inukshuk provided with the sculpture that he was told, in effect, states, “This is good because I made it” or possibly, “I made this, and I know it’s good.”

Well, declaring that the sculpture is good was putting it mildly. The work is a masterpiece, and a remarkably cheeky one at that. Part of the work’s brilliance is its ambiguity. It is titled Standing Man but the figure’s proportions are more that of a young child. It’s almost impossible to be offended by the image since it has an almost childlike innocence. The King’s small body is carved in a quite rudimentary fashion. Clearly the artist was more interested in focusing on its genitalia and the impressively large head. The man seems to be laughing or singing – suspicious minds might suggest that the subtitle The King refers to Elvis. Any way you look at it, this sculpture is utterly charming and completely disarming in its saucy and irreverent humour.

References: For similar examples by the artist see Jean Blodgett, The Coming and Going of the Shaman: Eskimo Shamanism and Art, (Winnipeg: Winnipeg Art Gallery, 1978), cat. 24, p. 69; Darlene Coward Wight, The Faye and Bert Settler Collection, (Winnipeg: Winnipeg Art Gallery, 2004), p. 64; and Winnipeg Art Gallery, The Zazelenchuk Collection of Eskimo Art, (Winnipeg: Winnipeg Art Gallery, 1978), cat. 14, p. 24.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 50
ROBERT DAVIDSON (GUUD SANS GLANS), O.C., O.B.C., (1946-) HAIDA, MASSET / WHITE ROCK
U is Transforming, 1983
gouache on heavy wove paper, 41 x 29 in (104.1 x 73.7 cm)
signed and dated in graphite, "Robert Davidson 1983".

Provenance
With Maple Ridge Art Gallery, Maple Ridge, BC;
Inuit Gallery of Vancouver;
Acquired from the above by a Private Collection, 1989;
Spirit Wrestler Gallery, Vancouver, accompanied by their gallery literature;
Acquired from the above by the present Private Collection, Texas.

Exhibited
Maple Ridge, BC, Maple Ridge Art Gallery, Adding More Words to the Dictionary: In Appreciation of Robert Davidson’s most recent paintings / Robert Davidson: Recent Paintings, March 1983;
Inuit Gallery of Vancouver, Robert Davidson: An Exhibition of Northwest Coast Native Art, 13 April - 4 May 1989;

Published
“Beyond Tradition,” The Vancouver Sun, 11 March 1983, p. E3 describes the show at Maple Ridge Art Gallery: “The Fool in U, U Transforming [sic], Inside U are all glorious, humorous combinations of traditional shapes blown up, stretched and expanded. [...] The paintings, on heavy parchment-like paper, are rich, but convey a clean spaciousness.”;
Gary Wyatt with Robert Davidson, Echoes of the Supernatural: The Graphic Art of Robert Davidson, (Vancouver: Figure 1 Publishing Inc., 2023), p. 100, as U is Transforming I (to differentiate it from the second painting of the same title by Davidson);

U is Transforming was shown at the first major exhibition of Davidson’s paintings, and springs from a highly experimental and creative period that would establish a new direction and medium for the artist.

In the years building towards the 1967 landmark exhibition Arts of the Raven at the Vancouver Art Gallery, Robert Davidson was introduced to the work of a historical anonymous master artist whom Bill Holm and Bill Reid had named the ‘Master of the Black Field.” This artist would become an early influence on Davidson’s work – the Master’s ability to establish a shape within a shape and then design both the primary and internal designs in relation to each other was a critical influence on pieces throughout Davidson’s career. Davidson believes that each shape has its own supernatural and natural presence that can be brought to life.

In 1983 Davidson began painting as a serious medium; this led to an important early exhibition titled Adding More Words to the Dictionary – In Appreciation of Robert Davidson’s most recent paintings at the Maple Ridge Art Gallery. U is Transforming was included in this exhibition. Many of these paintings featured large formline elements within a shape which became the external form for the subject – titles such as Wolf Inside Its Own Foot, Seawolf Inside Its Own Dorsal Fin, and U is Transforming were strong examples of his new direction in designing. Five of these paintings were all sold as a set; this was Davidson’s first major painting sale, and it shifted his work towards producing original paintings. These same five paintings became the designs for a 1983 print series; these are among the most collected and documented images of the modern art form. U is Transforming was released for sale in the 1989 catalogued solo exhibition Robert Davidson at the Inuit Gallery of Vancouver. This exhibition was one of the first exhibitions to experiment with not pre-selling the exhibition; all major works were sold to people who formed a line in front of the gallery. The clients travelled from many international cities to participate in the sale and the ceremonial opening with the artist. Davidson has included paintings in every major commercial and retrospective exhibition since that time.

Gary Wyatt

References: “Beyond Tradition” in The Vancouver Sun, 11 March 1983, p. E3 describes the show at Maple Ridge Art Gallery: “The Fool in U, U Transforming [sic], Inside U are all glorious, humorous combinations of traditional shapes blown up, stretched and expanded. [...] The paintings, on heavy parchment-like paper, are rich, but convey a clean spaciousness.”

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 51
CHARLIE JAMES (YAKUDLAS), (1865-1961) KWAKWA_KA_'WAKW
Model Totem Pole, c. 1932-36
cedar wood and pigment, 14 x 7.25 x 3.75 in (35.6 x 18.4 x 9.5 cm)
signed, "CHARLIE / JAMES".

Provenance
Ingram Gallery, Toronto;
Acquired from the above by the present Private Collection, Toronto.

Charlie James was an influential artist who created objects for both community usage and the art market. He was one of the earliest Indigenous artists to consistently sign his work and was instrumental in popularizing model totem poles in the early 20th century. James was the stepfather of Mungo Martin and grandfather of Ellen Neel, both of whom were taught by James and went on to become renowned artists in their lifetimes. James also taught carving and painting to children at the St. Michael Indian Residential School in Alert Bay, BC, during the 1920s [1] and sold carvings and other items through William Webber’s The Thunderbird / Scenery Shop on Granville Street in the last several years of his life. [2] Webber was a dedicated patron of James and his art, selling a large selection of his original pieces and even using James’ thunderbird design as the logo for the shop. [3] Through his association with Webber, James’ designs appeared on enamel pins, pennants, money clips, and other ephemera sold through the store. Webber’s collection of objects, including many pieces by James, are now housed in the Museum of Vancouver.

This model pole features a Kolus (Young Thunderbird) over a diving Killer Whale with an anthropomorphized dorsal fin. The pole reflects James’ painterly style and fondness for quick, busy lines to create his trademark feather textures on the bird figure, its wings, and the killer whale face design on its chest. The Killer Whale figure on the bottom is depicted in a diving pose with the tail curling down into the back of the pole and the pectoral fins stretched down towards the handmade base. The Killer Whale is composed of two and three-dimensional elements which James has deployed in order to take advantage of a natural crook in the wood that enhances the sinuous lines of the Killer Whale and breaks what would be the bilateral symmetry of the pole. The pole is signed on the base verso, but the signature lacks the black frame that James would usually paint around it, likely indicating that this is an earlier piece by him. There is a very similar example illustrated in Plate 31 on page 22 of The Totem Carvers: Charlie James, Ellen Neel, and Mungo Martin (1982) [4].

1. Jacknis, Ira. 2002. The Storage Box of Tradition: Kwakiutl Art, Anthropologists, and Museums, 1881-1981. Washington, D.C: Smithsonian Institution Press, 285.
2. Nuytten, Phil. 1982. The Totem Carvers: Charlie James, Ellen Neel, and Mungo Martin. Vancouver: Panorama Publications, 31-32.
3. Ibid.
4. Ibid, 22.

Christopher W. Smith

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 52
ELLEN NEEL (1916-1966) KWAKWA_KA_'WAKW
Model Totem Pole, 1965
cedar wood and acrylic paint, 22.25 x 10.75 x 6.25 in (56.5 x 27.3 x 15.9 cm), measurements reflect dimensions with base
signed and dated, "Ellen Neel / 1965".

Provenance
Maslak McLeod Gallery, Toronto;
Acquired from the above by the present Private Collection, Toronto.

Born to a family of carvers, including grandfather Charlie James (Lot 51) and uncle Mungo Martin (Lot 53), Ellen Neel was one of a few pioneering female artists to try her hand at both carving and monetizing her artwork. While she began selling her model totems in her hometown of Alert Bay as young as twelve years old, after her husband's stroke in 1946, Neel turned to woodworking full-time to support her family. By the late 1940s, Neel and her family were selling their model poles in Vancouver’s Stanley Park. While the Neel family became something of a dynasty, with each of the children often contributing in the creation of a totem, Ellen Neel developed a highly distinctive style with a particularly audacious approach to composition. In this example, the elements — the finely crafted wings, carefully delineated formlines, and sense of balance — all point to an extraordinary technical accomplishment that could only be produced by the hand of a master carver. This sizeable and brilliantly hued example by Neel features a thunderbird atop a beaver with a chew stick, over a humanoid head with a simple bevelled cedar block as the base. As with her most desirable works, the wings of the thunderbird have been carved and affixed to the pole. The work is of the Type D variety found in the examples of the Neels’ Totem Art Studio brochures, wherein the totem is fully carved in yellow cedar but left natural as to ground and painted in “traditional” colours. Here we see black, vermillion, viridian green, and brown, finished with several coats of a high gloss lacquer.

References: For a large and record-setting example by the artist, see First Arts, Toronto, 7 December 2022, Lot 113. For additional information on Neel’s career see Phil Nuytten, The Totem Carvers: Charlie James, Ellen Neel, Mungo Martin, (Vancouver: Panorama Press, Ltd., 1982), pp. 44-74. See also Christopher W. Smith's contributions in Carvings and Commerce: Model Totem Poles 1880-2010, (Saskatoon: Mendel Art Gallery / Seattle: University of Washington Press, 2011), pp. 130-132. See also Scott Watson’s essay “Art/Craft in Early 20th Century,” eds. Charlotte Townsend-Gault, Jennifer Kramer, and K?i-k?e-in, Native Art of the Northwest Coast: A History of Changing Ideas, (Vancouver: UBC Press, 2013), pp. 348-378.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 53
MUNGO MARTIN (NAKAPANKAM) (c. 1879-1962) KWAKWA_KA_'WAKW
Mask, c. 1950
wood and pigment, 7.5 x 6.25 x 4 in (19.1 x 15.9 x 10.2 cm)
with partial signature, "ngo";
inscribed indistinctly in graphite in an unknown hand, "1950 [?]'

Provenance
Private Collection, Calgary.

Mungo Martin was amongst the most historically significant Northwest Coast First Nations artists of the 20th century. The stepson and apprentice of renowned Kwakwaka'wakw carver Yakudlas Charlie James (1867–1938) and uncle of Ellen Neel (1916 –1966), Martin was an important, early teacher to several prominent artists including Henry Hunt (1923 –1985) and Doug Cranmer (1927 – 2006). Working throughout and in spite of the potlatch ban, Martin’s name is synonymous with the mid-20th century revitalization of Northwest Coast art, and he is often credited with bridging the cultural and artistic practices of the 19th century with the reappraisal of Northwest Coast as fine art in the second half of the 20th century. In addition to his work as an artist, Martin collaborated on various projects with anthropologists such as Marius Barbeau, Wilson Duff, Ida Halpern, and Audrey and Harry Hawthorn. Martin worked for the Museum of Anthropology (MOA) from 1949 to 1952 and at the Royal British Columbia Museum (RBCM) throughout the 1950s, recreating and restoring totem poles on-site and connecting institutions and curators with communities and objects. [1] The MOA especially benefitted from this relationship, noting in Martin’s biography that he “[recorded] his personal knowledge about Kwakwaka’wakw histories and songs, and encouraged community members to sell their regalia to the Museum. The resulting collection is unique for its direct ties to families who hold ongoing rights to the privileges represented.” [2] Martin also hosted the first public, legal potlatch of the 20th century in 1953, two years after the lifting of the potlatch ban in 1951. [3].

This human mask by Mungo Martin is a fine example of his later work that features simplified, bold designs and a desirable white undercoat of paint. While Martin’s early work was nearly indistinguishable from that of his stepfather Charlie James, his later pieces became bolder, more simplified, and experimental in terms of the colours he was using (such as the mint green found on this mask). The style of this mask has a certain affinity to Ellen Neel, as well, and shows the influence that Martin had on her work. An important feature of Martin’s style that distinguishes his work from other makers is the way he used internally tangent circles to form his eyes, creating a certain “cross-eyed” expression that can be seen on this mask and on other pieces in the collections of the RBCM (objects 6442, 6443, and 6444) and MOA (2778/1 a-b). There is a partial signature of “ngo” on this mask and a date of 1950, perhaps indicating that this mask was carved while Martin was employed at the Museum of Anthropology in Vancouver.
[1] Glass, Aaron. 2006. "From Cultural Salvage to Brokerage: The Mythologization of Mungo Martin and the Emergence of Northwest Coast Art." Museum Anthropology 29 (1): 20-43. [2] “Mungo Martin (c. 1879 - 1962) Biography,” Museum of Anthropology at UBC, accessed April 23, 2023, [3] Hawker, Ronald. 2002. Tales of Ghosts: First Nations Art in British Columbia, 1922-61. Vancouver: UBC Press.

Christopher W. Smith

References: For additional information on Martin’s contributions to the anthropologists at UBC, see Aaron Glass, 2006, "From Cultural Salvage to Brokerage: The Mythologization of Mungo Martin and the Emergence of Northwest Coast Art." Museum Anthropology 29 (1): 20-43. For Mungo Martin’s role in potlatch at UBC in 1953, see Richard Hawker, Tales of Ghosts: First Nations Art in British Columbia, 1922-61, (Vancouver: UNC Press, 2003), pp.127-142. See also Phil Nuytten, The Totem Carvers: Charlie James, Ellen Neel, Mungo Martin, (Vancouver: Panorama Pres, Ltd., 1982), pp. 75-109. For additional information on Mungo Martin’s UBC restoration project, see the photo essay “Totem Pole Carver” by Audrey Hawthorn, The Beaver, March 1952, pp. 3-6. For an unpainted Echo Mask by the artist, see First Arts, 5 December 2022, Lot 137. See also Elizabeth Kirk, Tradition & Change on the Northwest Coast: The Makah, Nuu-chah-nulth, southern Kwakiutl and Nuxalk, (Seattle, WA: University of Washington Press, 1986), pp. 27-29.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 54
UNIDENTIFIED TLINGIT ARTIST, CHILKAT KWAAN
Chilkat Robe (Naaxein), c. 1880
mountain goat wool, yellow cedar bark and dyes, 52 x 68 in (132.1 x 172.7 cm), measurements reflect dimensions with fringe

Provenance
Equinox Gallery, Vancouver;
Private Collection, Toronto. First Arts, 28 May 2019, Lot 28;
Acquired from the above by the present Private Collection, Toronto.

The technique of twined tapestry known as Chilkat weaving (Naaxein in Tlingit) is one of the most complex styles of fabric decoration known in the world. Oral history tells us that the specialized braiding techniques that enable the weaving of circles and other rounded forms found in Northwest Coast two-dimensional design were developed by Nishga’a weavers in the Nass River valley, sometime around the latter part of the eighteenth century. Within a few generations, basic design forms had been mastered and refined into accurate reproductions of painted crest images in woven form. By the first decades of the nineteenth century, the characteristic five-sided border shape and distribution of complex formline imagery had evolved into the classic form as seen in the subject work. The weavings were made to duplicate design forms painted on wood panels with just over half of the symmetrical design represented. The weaver measures off this pattern board row by row to recreate the interconnected design forms of the painting.

Pattern boards were traditionally painted by men trained in the profession by master artists before them. Many unique patterns were used to create one-of-a-kind images in the first half of the nineteenth century, of which a number of examples survive in the world’s museums. By mid-century the pandemics of introduced diseases diminished the indigenous population, including skilled artists, and fewer unique pattern boards were being created. Single boards would be reproduced numerous times in weavings, sometimes with small changes adapted by the weaver. The lower center of the design field in this Naaxein is an example of that, where design elements from a different robe have been grafted into the mouth area of this weaving to distinguish it from others using the same or a similar original pattern. Here the design represents a diving whale; the head of the whale is shown at the bottom, and the tail across the top of the field.

Steven C. Brown

References: For a fine Chilkat Robe see First Arts, 5 Dec. 2022, Lot 52. See also Cheryl Samuel, The Chilkat Dancing Blanket, (Univ. of Oklahoma Press, 1990); see also the section on Chilkat blankets in George Thorton Emmons and Frederica de Laguna, The Tlingit Indians, (AMNH and Univ. of Washington Press, 1991) pp. 224-233. For another example see also Walker’s May 2017, Lot 53. For a robe of very similar design to the present example see Thomas Vaughan and Bill Holm, Soft Gold: The Fur Trade & Cultural Exchange on the Northwest Coast of America, p. 112. For various examples see Bill Holm, The Box of Daylight: Northwest Coast Indian Art, (Seattle, WA: Seattle Art Museum/University of Washington Press, Seattle, 1983), cats. 82-87, pp. 58-60.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 55
AISA QUPIRUALU ALASUA (1916-2003) PUVIRNITUQ (POVUNGNITUK)
Mother and Child, with Ulu and Knife, c. 1954-55
stone and walrus tusk, 8.5 x 7.5 x 10 in (21.6 x 19.1 x 25.4 cm)
inscribed with artist's disc number, "E9-801".

Provenance
Private Collection, Toronto;
Waddington's, Toronto, 27 May 2019, Lot 74, as "Mother with Child in Amaut";
Acquired from the above by the present Private Collection.

Qupirualu (sometimes known as Koperkualook) began carving in 1950, and eventually became one of the earliest members of the Povungnituk Sculptors Society (precursor to the Povungnituk Co-op) later in the decade. He was relatively prolific as a sculptor in the late 1950s and early 1960s; he also took part in the earliest printmaking experiments in 1961 but did not pursue it. In his own community Qupirualu became best known as an ordained Anglican minister and a respected elder and he carved very little after the 1960s. Almost from the beginning his carving style was quite realistic in both pose and form. Qupirualu’s figural sculptures of the early to mid 1950s, though few in number, are nonetheless of superlative quality.

Mother and Child, with Ulu and Knife is one of Qupirualu’s greatest masterpieces. While similar in pose to the lovely Mother and Child, c. 1953 in the Winnipeg Art Gallery Collection (see Darlene Wight’s Early Masters, p. 122), our example is not only larger and more imposing but also formally and aesthetically more resolved and sophisticated than this earlier work. Stylistically, Mother and Child, with Ulu and Knife is closer in style to the impressive Mother Holding Child, c. 1954 (see Sculpture Inuit, cat. 298). Our sense is that our example is contemporaneous with that work, or slightly later. While the overall realism and the exquisitely subtle walrus tusk inlay are very similar in the two sculptures, in Mother Holding Child the woman’s face is somewhat mask-like, whereas in our example the mother’s visage is stunningly beautiful. The child’s face too is sensitively rendered; in fact, the overall form and finish of the whole sculpture are remarkably elegant.

Impressive portraits of mothers and children like this one are relatively common in Inukjuak art of the early 1950s, but they are comparatively rare in Puvirnituq art of the period. Puvirnituq sculptors favoured realistic depictions of hunters and animals. Qupirualu’s glorious Mother and Child, with Ulu and Knife certainly invites comparison with the great examples by Inukjuak masters such as Johnny Inukpuk, Isa Smiler, and Sarah Nastapoka.

References: For a contemporaneous and similarly styled work by the artist see Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cat. 298; and George Swinton, Eskimo Sculpture, (Toronto: McClelland and Stewart, Ltd., 1965), p. 157 (head shown only). For a slightly earlier example in the Winnipeg Art Gallery collection see Darlene Coward Wight, Early Masters: Inuit Sculpture 1949-1955, (Winnipeg: Winnipeg Art Gallery, 2006), p. 122; Jean Blodgett, Povungnituk, (Winnipeg: Winnipeg Art Gallery, 1977), cat. 1, p. 51; and George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 388, p. 175.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 56
PETER SEVOGA (1940-2007), QAMANI’TUAQ (BAKER LAKE)
Mother and Child, early 1970s
stone, 12.5 x 13.5 x 9 in (31.8 x 34.3 x 22.9 cm)
signed, "?? / ???".

Provenance
A Private Collection, Toronto;
Acquired from the above by the present Private Collection, Toronto, 1994.

Sevoga gained fame while still in his twenties, and by the early 1970s was acknowledged as one of the great Baker Lake master sculptors. He is best known for his monumental yet sensitively portrayed figures and family groups; three fine examples are featured in the AGO exhibition and catalogue Inuit Modern: The Samuel and Esther Sarick Collection (2010), pp. 154-55. Hessel’s comments in the catalogue are apt here: “[Sevoga] imparts to his massive yet elegantly poised family groups, with their broad volumes and sensuous curves, a sturdy delicacy” (p. 108).

In Mother and Child, Sevoga achieves a perfect balance. The woman’s bulky sculptural volume and weight are gently supported by small but sturdy legs; we also love the triangular composition so favoured by this artist. The mother’s wave is a simple yet evocative gesture; her young child is safely nestled in the capacious hood. The sculpture’s overall form is stylized and simplified, yet the details of clothing and the mother’s placid facial features are beautifully rendered; the gentle bulges of her breasts are a subtle, sensuous touch. Interestingly, this gorgeous sculpture reminds us of the marvelous Standing Mother and Child by the Inukjuak master Isa Smiler, carved c. 1953 (see First Arts, 14 June 2022, Lot 21 and front cover). Although separated by both time and distance, these two masterpieces evoke the same sense of sturdiness, harmony, and quiet confidence.

References: For a similarly styled work by Sevoga see Jean Blodgett, Selections from The John and Mary Robertson Collection of Inuit Sculpture, (Kingston: Agnes Etherington Art Centre, 1986), cat. 11, p. 32. For other fine works from this period by Sevoga see Winnipeg Art Gallery, The Zazelenchuk Collection of Eskimo Art, (Winnipeg: Winnipeg Art Gallery, 1978), cats. 38-39, p. 37-38; and Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), pp. 154-155. See also Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 53, p. 69.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 57
YVONNE KANAYUQ ARNAKYUINAK (1920-1988) QAMANI'TUAQ (BAKER LAKE)
Mother with Five Children, 1970
stone, 4.5 x 3 x 2.75 in (11.4 x 7.6 x 7 cm)
signed and inscribed with artist's disc number, "??? / E2-241".

Provenance
Collection of Mr. Jack Butler, acquired directly from the artist.
Jack and Sheila Butler were arts advisors in Baker Lake in the crucial years of artistic flowering in the community from 1969 to 1976.



Published
George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 679, p. 221.

In our July 2021 sale, we had the pleasure of presenting one of Kanayuq’s largest sculptures (Lot 50). We are thrilled to now be able to offer what is one of her finest and most important works, published in Swinton’s landmark book Sculpture of the Inuit and hailing from the collection of Mr. Jack Butler. This spectacular composition depicts a kneeling Inuit woman supporting four young children on her lap, with the smallest safely stowed in her amautiq. The beautifully carved and arranged figures, with their sensitive and utterly charming facial expressions, are a testament to Kanayuq’s extraordinary talent as a novice sculptor. Mother with Five Children has both the beatific quality and the monumentality of the best religious statuary – all in a carving that can easily be held in the hand. Sublime.

Even though we know rather little about the details of Kanayuq’s life, she is one of the most important and beloved Baker Lake sculptors from the crucial decade of the 1970s. Her works have been featured in dozens of major exhibitions and are held in numerous public collections including the Art Gallery of Ontario, the Winnipeg Art Gallery, and the National Gallery of Canada. While perhaps not as well-known as her contemporaries, Kanayuq holds her own against the best of George Tatanniq, Peter Sevoga, Miriam Qiyuk, Barnabus Arnasungaaq, and Mathew Aqigaaq, even though the majority of her carvings are quite small.

References: The format of this outstanding sculpture is quite similar to several other examples that we know of by the artist; see Alistair Macduff and George M. Galpin, Lords of the Stone: An Anthology of Eskimo Sculpture, (North Vancouver: Whitecap Books, 1982), p. 96; Darlene Wight’s exhibition Winnipeg Collects: Inuit Art from Private Collections, (Winnipeg: Winnipeg Art Gallery, 1987), cat. 33. See also George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 61 (Mother and Children from 1970, WAG); and Darlene Coward Wight, The Faye and Bert Settler Collection, (Winnipeg: Winnipeg Art Gallery, 2004), pp. 55-57. See also Maria von Finckenstein, editor, Celebrating Inuit Art 1948-1970, (Gatineau: Canadian Museum of Civilization, 1999) p. 171 for an example once owned by James Houston and subsequently offered at Walker’s Auctions, Ottawa, November 2015, Lot 112. For a larger example by the artist, Mother with Three Children, see First Arts, July 13, 2021, Lot 50.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 58
JOHN TIKTAK, R.C.A. (1916-1981) KANGIQLINIQ (RANKIN INLET)
Mother and Child, 1965
stone, 6 x 4.75 x 2.75 in (15.2 x 12.1 x 7 cm)
unsigned;
inscribed with a museum registration number [?] in an unknown hand, "EC75 361"

Provenance
Ex. Collection TD Bank, Toronto;
Private Collection, USA;
Ex. Coll. Mr. Don Morgan Collection, Ontario;
Acquired from the above by Fred and Mary Widding, Ithaca, NY, January 2001;
First Arts, 1 December 2020, Lot 110;
Acquired from the above by the present Private Collection.


Exhibited
Winnipeg, MB, Gallery One-One-One, University of Manitoba School of Art, Tiktak: Sculptor from Rankin Inlet, N.W.T., March 4-21, 1970, cat. no. 23;
Ithaca, NY, Handwerker Gallery, Gannett Center, Ithaca College, Of the People; Inuit Sculpture from the Collection of Mary and Fred Widding, 26 February - 6 April 2008, cat. no. 13.

Published
George Swinton, Tiktak: Sculptor from Rankin Inlet, N.W.T., exh. cat., (Winnipeg, MB: University of Manitoba Press, 1970), cat. no. 23;
George Swinton, Sculpture of the Inuit, (Toronto: McClelland and Stewart, 1972/92), fig. 660;
Cheryl Kramer & Lillian R. Shafer eds., Of the People; Inuit Sculpture from the Collection of Mary and Fred Widding, exh. cat., (Ithaca, NY: Handwerker Gallery, Gannett Center, Ithaca College, 2008), reproduced, cat. no. 13.

Mother and Child is one of Tiktak’s most beautiful and moving examples of his favourite theme. Its relatively modest size makes it easy to hold in one’s hands, and you will do doubt wish to do so, as close contact will allow you a sense of intimacy not typically found in Tiktak’s sculptures. Mother and Child is both a tactile and a visual delight. Here the artist masterfully adapts his style to the smaller scale; the work is carved with extraordinary sensitivity, with wonderfully modulated forms and open spaces. As is typical, Tiktak leaves the marks of his files and rasps on every surface, but he masterfully balances the rugged and the delicate in this small masterpiece. Interestingly, the mother’s body is truncated at roughly hip level. This, together with the pronounced forward tilt of the mother’s body is unusual in Tiktak’s oeuvre. Her forward lean is echoed beautifully by the arched body of her energetic older child, who looks as if he is straining to see over his mother’s head. Utterly charming.

In his brief introduction to the landmark 1970 solo exhibition catalogue, George Swinton called Tiktak a poet and was moved to write about his sculpture in rather poetic language, “Child growth from mother’s body: exudes, extrudes, arches, stretches, strains, lives.” In his chapter “The new art form” in his landmark 1972 book Sculpture of the Inuit, Swinton further declares that “Tiktak’s work is his message. His work does not contain messages. Art is not merely about something; it is something” (p. 142). The idea that form itself gives meaning is sublimely expressed by this extraordinary work of art.

References: For similar fine examples by the artist see George Swinton, Tiktak: Sculptor from Rankin Inlet, N.W.T., (Winnipeg: Gallery One-One-One, University of Manitoba School of Art, 1970); note especially cats. 6, 24, 27, 28. See the section on the artist in Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), pp. 96-107. See also Bernadette Driscoll, Rankin Inlet/Kangirlliniq, (Winnipeg Art Gallery, 1981), 78-87. See also Gerald McMaster ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 126. For numerous examples from the 1960s see George Swinton, Sculpture of the Inuit, (Toronto: McClelland and Stewart, 1972/92), figs. 648-665.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 59
NUYALIAQ QIMIRPIK (1937-2007) KIMMIRUT (LAKE HARBOUR)
Horned Spirit and Owl, c. 1968-70
stone and antler, 17 x 15.5 x 17 in (43.2 x 39.4 x 43.2 cm)
signed and inscribed with artist's disc number, "NEMGILLIAK / E7-99".

Provenance
Private Collection, Ottawa;
First Arts, Toronto, 28 May 2019, Lot 23;
Acquired from the above the present Private Collection, Toronto.

For a brief period of perhaps no more than three or four years (c. 1968-1971), a small group of carvers in Kimmirut, led by Nuyaliaq, created a remarkable and delightful group of spirit carvings, apparently at the request of a local schoolteacher named Tony Whitbourne who was buying carvings for the government for a short time. This spiritual flowering of art reminds us of a similar occurrence in nearby Cape Dorset in the early 1960s, but unfortunately in the case of Kimmirut art the florescence was not sustained – a sad loss for Inuit art.

Nuyaliaq’s Horned Spirit and Owl is a splendid example of the style. On the one hand the sculpture is poetic and haunting, on the other, it is incredibly charming. The horned figure might in fact be a transforming shaman; its overall posture and very human hands contrast with the bear-like body and bird-like head. The large figure holds its young owl companion almost as if presenting it as an offering or readying it for a spiritual journey. Both mouth and beak are agape in awe.

Today Nuyaliaq Qimirpik is best known as an accomplished carver of muskoxen. It is our pleasure to offer this sculpture by the artist as a work of profound spirituality and captivating beauty.

References: For other fine spirit sculptures by this artist see Bernadette Driscoll, Baffin Island, (Winnipeg Art Gallery, 1983) cat. 57, or Darlene Wight, The Swinton Collection of Inuit Art, (Winnipeg Art Gallery, 1987) cat. 134; Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970, (Canadian Museum of Civilization, 1999) p. 129. A fine Spirit with Young from c. 1968 is illustrated in George Swinton, Sculpture of the Inuit, (McClelland & Stewart, 1972/92), fig. 517, p. 195. Three of Nuyaliaq’s spirit sculptures are illustrated in Maria von Finckenstein, “Four Works from Kimmirut” in Inuit Art Quarterly, (Vol. 14, No. 1, Spring 1999:40-41). Interestingly, a fourth work in that article (almost identical in style to two Nuyaliaq examples) is assigned to Nuyaliaq’s younger brother Shorty Killiktee (who was only twenty at the time), based on the signature; that work is also illustrated in Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), cat. 121, p. 185, and in Ingo Hessel, Inuit Art: An Introduction, (Douglas & McIntyre, 1998) pl. 72, p. 93. Despite the signature by Killiktee, we think there is good reason to re-attribute this work to Nuyaliaq.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 60
HENRY EVALUARDJUK (1923-2007) IQALUIT (FROBISHER BAY)
Head of a Man (Self Portrait), probably early-mid 1980s
stone, 9.25 x 7 x 7.5 in (23.5 x 17.8 x 19.1 cm)
signed, "HENRY / ??? ??".

Provenance
Marion Scott Gallery, Vancouver;
Acquired from the above by the present Private Collection, San Francisco, 1989.


Exhibited




Published


Evaluardjuk carved a number of impressive heads of men and women in the early 1960s. Several of the men depict religious figures. During a burst of creativity in the early-mid 1980s the artist created several other portrait heads. As discussed previously (see Lots 11 and 12) Evaluardjuk had a very studied approach to his subjects; as a rule, he eschewed the generic and formulaic in favour of specificity. Nowhere is this more evident than in his depictions of the human face. It is obvious that Henry’s faces fall into the realm of classic portraiture, for each subject is clearly different and identifiable. We are certain that this wonderful bust is a self-portrait of the artist in middle age, the period between Evaluardjuk’s clean-shaven appearance in youth and the moustache and goatee that he favoured as an elderly man [1].

1. For a very similar work see Self-Portrait from c. 1985 in The Sculpture of Henry Evaluardjuk (Montreal: Eskimo Art Gallery, May 1987), cat. 1.

References: For a portrait head of a bearded religious figure from 1963 see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 530, p. 197; and Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970, (Hull, QC: Canadian Museum of Civilization, 1999), p. 135. See also exhibition catalogue for The Sculpture of Henry Evaluardjuk, Montreal, Eskimo Art Gallery, 5-23 May 1987. See the article “Henry Evaluardjuk” by his grandson Jamesie Taligvat Evaluardjuk Fournier in Inuit Art Quarterly (Spring 2023, Vol. 36.1), pp. 70-71. See Head from 1976 in Marie Routledge, Inuit Art in the 1970s (Kingston, Agnes Etherington Art Centre, 1979), cat. 31, p. 53.

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

NOTE
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Lot 61
HENRY EVALUARDJUK (1923-2007) IQALUIT (FROBISHER BAY)
Trotting Arctic Fox, early 1980s
stone, 4.75 x 9 x 2.5 in (12.1 x 22.9 x 6.3 cm)
signed, "HENRY / ??? ??".

Provenance
Marion Scott Gallery, Vancouver;
Acquired from the above by the present Private Collection, San Francisco, 1992

Henry Evaluardjuk was a master at bringing stone to life. His animal portraits have some uncanny, true-to-life characteristics. This Trotting Arctic Fox, with its fur puffed up and thick against the tundra’s winds, has a beautiful, sleek presence not unlike its real-life counterpart. Far from being static, the sculpture is filled with movement. This fox strides forward confidently across the snow. The black stone could not be a less likely colour for this Arctic animal, but we can easily picture this white fox looking out into the snow, its snout up and keen to a new scent on the wind.

References: For another fine example of the subject by this artist see First Arts, Toronto, 5 December 2022, Lot 126. See also exhibition catalogue for The Sculpture of Henry Evaluardjuk, Montreal, Eskimo Art Gallery, 5-23 May 1987. For other fine examples of Henry’s work see the present catalogue, lots 11, 12, and 60.

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

NOTE
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Lot 62
ALACIE SAKIAGAQ (1928-1990) SALLUIT (SUGLUK) / KANGIQSUJJUAQ (WAKEHAM BAY)
Standing Woman Holding her Braids, c. 1955-6
stone, 15.5 x 9 x 4.5 in (39.4 x 22.9 x 11.4 cm)
signed, "???";
inscribed with artist's disc number, "E.9 1202".

Provenance
Private Collection;
Walker's, Ottawa, 12 December 2018, Lot 47, as "Unidentified Artist";
Private Collection, Toronto.

The sculptural style of Salluit (Sugluk), a small community in northern Nunavik (Arctic Québec), has long been one of our favourites. Although Salluit carvers made art before and long after, the community enjoyed a brief but brilliant artistic flowering between the years 1955 and 1960. Most adults in the community – women as well as men – became carvers; amazingly, for a brief time Salluit carving production exceeded Cape Dorset’s! Sadly, a lack of good carving stone and sagging market demand for the Salluit style soon ended the brave experiment.

As is often the case with Salluit artists, we know almost nothing about Alacie Sakiagaq. She is not even mentioned in the 1976 book The Artists of Sugluk, P.Q. by Barry A. Roberts. From old community lists we have discovered one interesting detail: her husband worked for probably a couple of years on Resolution Island, which in the 1950s housed an American military base and DEW line installation, and returned to Salluit in 1959, but we’re not certain if his family had joined him there (they eventually moved to Kangiqsujjuaq c. 1965). Only a handful of sculptures by Alacie Sakiagaq are known to exist, and only one masterpiece: this remarkable Standing Woman Holding her Braids.

The sculpture is a classic example of Salluit art from this period, however it is unusually tall and truly imposing in its sculptural presence. Overall, it has an air of solemnity; the woman’s facial expression, almost dour when seen straight on, softens as you move around the work; perhaps tending her hair has been more work than she expected. The trouble was worth it, however; we cannot recall ever seeing a more spectacular set of braids. Interestingly, braids feature quite prominently in Salluit art. We know of numerous examples where the artist has lavished special attention on women’s plaited hair (see references), and we must wonder whether long, impressive braids were a particular source of female pride and status in this community. In this sculpture, the braids seem to have a life force all their own, almost completely dominating the composition. Sakiagaq’s treatment of the rest of the figure is, by comparison, simplified; the sculptural shapes are beautifully formed and quite powerful, but they are unadorned – there aren’t the folds and pleats that we often see on clothing in Salluit works – so the woman’s bare shoulders and plain amautiq act as the perfect foil to her glorious coiffure.

References: For sculptures of rather different form by this artist see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 413, p. 178; and Barbara Lipton, Arctic Vision: Art of the Canadian Inuit, (Ottawa: Canadian Arctic Producers with the assistance of Indian and Northern Affairs Canada, 1984), cat. C11, p. 65 (that catalogue features a portrait photo of the artist). As mentioned, Barry Roberts’s 1976 book The Artists of Sugluk, P.Q. does not even mention Alacie Sakiagaq or her husband Mathewsie (who also carved a bit), and only Mathewsie is mentioned in the Art Gallery of Windsor Salluit catalogue (see below). The are many fine Salluit sculptures that depict women holding their braids; for example see First Arts, 5 Dec. 2022, Lot 70 (Maggie Ittuvik Tayarak); Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970, (Hull, QC: Canadian Museum of Civilization, 1999), p. 95 (Johnny Issaja Papigatok); that work (as well as a fine example by Maggie Ittuvik Tayarak) is also illustrated in Art Gallery of Windsor, Sugluk: Sculpture in Stone 1953-1959, (Windsor: AGW, 1992), p. 45. Ittuvik’s sculpture is also illustrated in George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 408, p. 178. Another Salluit sculpture that features braids prominently is Paulosikitak Alaku’s Mother and Children from 1959 in the Sarick Collection at the AGO (see Hessel, 1998, pl. 51, p. 67).

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

NOTE
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Lot 63
NORVAL MORRISSEAU, C.M. (1931-2007) ANISHINAABE (OJIBWE)
The Great Migration of the Ojibwa People, 1989
acrylic on canvas, 56.5 x 92.5 in (143.5 x 235 cm)
signed, "???·?????";
titled and dated to the Kinsman Robinson label, affixed verso;
inscribed in black ink, "KR3" to the left-centre vertical stretcher.

Provenance
Kinsman Robinson Galleries, Toronto, their label, verso, inventory number NM02 674;
Acquired from the above by the present Private Collection, Toronto, 2002, accompanied by a copy of the original invoice.

The Great Migration of the Ojibwa People depicts the Seven Fires Prophecy, traditionally taught to practitioners of Midewiwin, that inform and narrate the historic five hundred year migration of the Ojibweg from the Northeastern shores area of North America to the Great Lakes region. The first prophet divined that the Anishinaabe nation would follow the Sacred Shell of the Midewiwin Lodge toward a turtle shaped island that would be the first of seven stopping places during the migration. Central to the prophecy is that the chosen ground will be known by its abundance of “food that grows on water” or manoomin (wild rice). The Migration story is one that became an enduring source of invention for Morrisseau (see online references for details), but the present canvas – which stretches nearly eight feet in length – surely ranks amongst the most important accomplishments of the subject by the artist.

Painted in 1989, The Great Migration of the Ojibwa People offers a triumphant depiction of the oral tradition as well as affording viewers the exquisite pleasure of beautiful, unabashed colour. In a sunbathed two-toned body of water, members of the Anishinaabe nation populate the five canoes suspended on its placid surface, and travel westward. The canoes are painted with a decidedly looser brush that, when coupled with their bright and tonal yellow-orange colours, imitates the texture of birch bark. While each is decorated, the two vessels in the foreground display a series of dots and dashes that signify the stitch-work of their seams. The canoe on the left, which seems to lead the expedition, notably illustrates the turtle painted on its bow.

The occupants of the canoes vary considerably from boat to boat. We note several small children and even one dog. Several of the figures wear elaborate headdresses that reference the Anishanaabe doodeman (also toodaims or clans), including birds, a bear, and fish. From the underside of the canoe at the top right emerges a fishtail from the figure at the rear. When coupled with other visual cues — namely that his paddle reads more like Morrisseau’s depictions of sacred staffs and that top and lower registers of the lines of communication (see references) that connect the divided circles, sprout from the paddle's tip — we read this figure as a powerful shaman, propelling this group ever forward.

Beyond the still, pooled water, pine trees dot the land in the distance. In the foreground, flanking the canoes closest to us, is a throng of animals — including birds, fish, and a lone frog — swimming about in a carnival of colours alongside the vessels. An epic work of painterly bravura, The Great Migration of the Ojibwa People is a treasure trove of visual delights. Its exhilarating palette and dense, inspired imagery unite to convey a mood of historic importance and spiritual power.

References: For an account of The Migration tradition and the Seven Fires, see Edward Benton-Banai, The Mishomis Book: The Voice of the Ojibway, (St. Paul, MN: Indian Country Press, 1988), pp. 89ff. For works of the same subject see: Migration (The Great Flood), 1973, is illustrated in Lister Sinclair and Jack Pollock, The Art of Norval Morrisseau, (Toronto: Methuen Publications, 1979), p. 95, as “Collection of Noranda Mines, Toronto”. It is interesting to note that Morrisseau, through Pollock’s filtered authorship, describes the scene as individuals sailing across the Bering Strait after a great flood. It is also interesting to note the conflation of the Anishinaabe creation story with the Migration story, likely as a result of the growing Pan-Indianism movement at the time of its publication. See also Migrating, 1978, reproduced in Sinclair / Pollock, The Art of Norval Morrisseau, 1979, p. 152, as “Collection of Mr and Mrs Michael Landauer”; as well as Untitled (Migration), c. 1994, reproduced in Greg Hill et al., Norval Morrisseau: Shaman Artist, (Ottawa: National Gallery of Canada, 2006), cat. no. 47, reproduced p. 154-155, “Collection of Gabe and Michele Vadas.” Morrisseau’s The Great Migration of 1992 is the painting by the artist that is most similar to our example; it is illustrated in Norval Morrisseau: Travels to the House of Invention, (Toronto: Key Porter Books, 1997), pp. 30-31. At 48 x 85 inches, that painting is slightly smaller than this version and rather less complex, but it is still monumental; it is discussed by Armand Garnet Ruffo in The Thunderbird Poems, (Madeira Park, BC: Harbour Publishing Co. Ltd., 2015), p. 86-87. Ruffo described the 1992 painting in a way that is much similar to ours, “Morrisseau did numerous paintings based on this story. This version shows four canoes, and in one of them is a family, and among the family is the artist himself” (p. 86). For a discussion on the headdresses and Shamanism in Morrisseau’s art, see Greg Hill et al., Norval Morrisseau: Shaman Artist, (Ottawa: National Gallery of Canada, 2006), pp. 36. For a depiction of the Sacred Staff, see Self Portrait, 1975, McMichael Canadian Art Collection, Kleinberg, ON, Object no. 1981.87.2, accessed 10 April 2023. See Heidi Bohaker, “Anishinaabe Toodaims: Context for Politics, Kinship, and Identity in the Eastern Great Lakes,” in Gathering Places: Aboriginal and Fur Trade Histories, (Vancouver: UBC Press, 2010), pp.99-100 for additional information on Anishinaabe toodaims. Although it did not make it into Pollock’s Book (op. cit), in the drafts of the text, when discussing a work entitled, First Son of the Objiway Loon Totemic Clan, we read, “All Ojibways had totems of animals, fish and birds. The ancestors of Norval Morrisseau’s direct ancestor Little Grouse were Assiniboine or Stony Indians of the Canadian Plains. Their totem was the Great Grizzly Bear of the Plains.” See Norval Morrisseau File at the E.P. Taylor Library and Archives, Art Gallery of Ontario, Toronto, On, LA.SC154.S6.f9, 11-13, “Author’s Notes.”

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

NOTE
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Lot 64
NORVAL MORRISSEAU, C.M. (1931-2007) ANISHINAABE (OJIBWE)
Bird Family, early 1970s
acrylic on composite press board, 32 x 24 in (81.3 x 61 cm)
, framed.signed, "???·?????";
inscribed in graphite in an unknown hand, verso, "II".

Provenance
Ex. Coll. Gail Guthrie Valaskakis, Montreal;
by descent in the family.

Birds of various types appear frequently throughout Morrisseau’s long career, often as onlookers to divine events or as the central theme of a work. This configuration, wherein the forms of his birds overlay one another to crowd the centre of the painting, is likewise a stylistic convention that the artist often utilized to suggest closeness of the family of animals. This focus on nearness and intimacy is accentuated by omitting any superfluous descriptive details of their surroundings. In Bird Family, the warmth and grace of this avian family is brought out in soft and pleasant neutral tints of earthen browns and green. We sense that rhythm is fundamental to the artist: Morrisseau composes the birds, the hovering sun, and their divided circles in characteristic heavy, flowing black lines that seem to have no clear starting or endpoint. There is just a sense of never ceasing movement that directs our eye throughout all the elements of the picture.

References: For a similarly configured composition of a family of birds, see Watching, 1968; Birds Thinking of Eggs, 1974; Swimming, 1976; Family of Nature, 1976 illustrated in Lister Sinclair and Jack Pollock, The Art of Norval Morrisseau, (Toronto: Methuen Publications, 1979), p. 84, 110, 126, and 133, respectively. See also Shaman and Birds, late 1970s, First Arts, Private Sale, and Ravens Speaking Awareness to the Middle Path, silkscreen, First Arts, 7 October 2021, Lot 3.

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

NOTE
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Lot 65
UNIDENTIFIED MI'KMAQ ARTIST
Quilled Lidded Box, c. 1850
porcupine quills, organic pre-aniline dyes, softwood, and birchbark, spruce root, and cotton thread, 6.5 x 7.25 x 9 in (16.5 x 18.4 x 22.9 cm)
inscribed in graphite in an unknown, hand, "1/17/27 / Micmac ? / C.F. Bessom / Marblehead Mass";
further inscribed indistinctly in graphite, in an unknown hand.

Provenance
C.F. Bessom Antiques, Marblehead, MA, USA;
Private Collection, Montreal.

While Mi’kmaq quillwork had gained popularity through trading, the continued decline of the fur trade throughout the 1800s really solidified the skill as a marketable one. The 1850s saw an uptick in Mi’kmaq artisans skillfully creating baskets, furniture, and even decorative elements for clothes for the burgeoning market. A lidded box was a favoured item with traders and buyers, but the trunk shape that can be seen in this example provided an extra challenge; as the large, flat planes had the tendency to buckle and fail when made of birch bark, a wooden liner was constructed to support the bark and quillwork. This extra step provided a larger canvas for the design work, further highlighting the skilled hand that wove these quills. In this exceptional example, the sides of the box have chevron designs, while the ends of the lid are half-chevron. The top of the lid features a lovely compass design, possibly incorporating the “eight-legged starfish” pattern.

References: For similar examples see Ruth Holmes Whitehead, Micmac Quillwork: Micmac Indian Techniques of Porcupine Quill Decoration: 1600-1950, (Halifax: The Nova Scotia Museum, 1982), nos. 135 and 136. This book remains the definitive introduction to the subject. See also Rectangular quilled box with lid, object number 1948.39.241 a,b, in the Philbrook Museum of Art. For a similarly fine though slightly smaller example from the George Terasaki Collection see Evan M. Maurer, The Native American Heritage: A Survey of North American Indian Art, (Chicago: Art Institute of Chicago, 1977), cat. 75, p. 99, and colour plate 4. See also Walrus Gallery, Quevillon Collection, (Kennebunkport, ME: Walrus Gallery), p. 31. For a somewhat larger but similarly styled quilled “trunk” from the 1840s, see Ralph T. Coe et al, The Responsive Eye: Ralph T. Coe and the Collecting of American Indian Art, (New York: Metropolitan Museum of Art, 2003), cat. 50.

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

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Lot 66
CECIL YOUNGFOX (1942-1987) MÉTIS / ANISHINAABE (OJIBWE)
A Naming Ceremony, 1981
acrylic on canvas, 30 x 30 in (76.2 x 76.2 cm)
signed and dated, "Youngfox /81" (recto);
titled, inscribed, and signed, "A Naming Ceremony / Each season people would / gather with their children. / The elders would [arrive + the?] / drum was played [ + the name?] / familiar to each child was / given / by Cecil Youngfox."

Provenance
Studio Colleen Inc., their partial label affixed to the frame verso;
Acquired from the above by a Private Collection, Ottawa;
by descent in the family.

Rich in atmosphere and poetic feeling, Youngfox’s A Naming Ceremony, celebrates the tradition of some Anishinaabe communities wherein a young child receives a name that is often reflective of his or her unique qualities and personality traits. In this work, there is an emphasis on the connection between a child and celebrating his or her place amongst the community. Here, revellers are nestled closely by four seated figures, who literally enshroud the child, causing him or her to be out of view for the spectator. The bodies of Youngfox’s figures are self contained concentric stacks of luminescent colours: a central swell of yellow surges into a flaxen gold, which billows into a series of oranges that culminate in a sulky burnt umber. The ceremony itself is situated in a landscape of earthen tones where the crowd enjoys the privacy and freedom of nature. These muted colours are interrupted by the iridescent blue tints of a tree, a limb of which provides a protective shelter for the gathering. In the distance, twilight yields to night as a super scarlet sun sinks into the easy evening sky.

References: There is, regrettably, limited written information on Cecil Youngfox. A brief biography about the artist can be found in, “Helena Wilson’s Portraits of Ontario Native Artists,” Canadian Fiction Magazine, [Toronto: s.n.(?)] 1987, no. 60. He is mentioned in Bonnie Devine, The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition, (Ottawa: National Gallery of Canada, 2007), p. 38; Daphne Odjig, Rosamond M. Vanderburgh, and Beth Southcott, A Paintbrush In My Hand, (Toronto : Natural Heritage/Natural History, c1992), p. 73. In 1978, he was awarded the Aboriginal Order of Canada. In 2002, his work Winter Travel was featured on the Canadian postage stamp. In October 2022, the Timber Village Museum hosted a retrospective of the artist’s work. Details can be found in a review in Jacqueline Rivet, “Timber Village Museum road trip, Elliot Lake Standard, 3 Nov 2022, accessed 16 March 2023.

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

NOTE
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Lot 67
KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET)
Multi-feathered Bird, 1961 #43
Printmaker: IYOLA KINGWATSIAK (1933-2000) KINNGAIT (CAPE DORSET)
stonecut, 13 x 24 in (33 x 61 cm), framed
26/50

Provenance
Collection of John and Joyce Price, Seattle.

Evocative of Kenojuak’s famous Enchanted Owl released one year prior, we could think of Multi-feathered Bird as a “pared down” version of that print. This splendid, elegantly composed image captures a bird in motion, darting swiftly toward a light source that gently illuminates its top half. In this sense, it can be interpreted as a study in motion and speed, as the tail feathers gradually sway backwards. It bears stylistic similarity to another image in Kenojuak’s oeuvre: the 1960 stonecut print Birds of the Sea, specifically the singular bird pictured gliding across the bottom half of the sheet. Even though one bird is swimming and the other flying, the composition of both multi-feathered birds in motion reveal Kenojuak’s love of birds and their movements already in the earliest years of her career. A review of the artist’s early drawings reveals many more examples of this type of bird imagery, often as part of larger compositions [1].

The suggestion of a light source gradually illuminating the top portion of Multi-feathered Bird is not unlike that of Kenojuak’s notable print The Arrival of the Sun, released in 1962. We know that the early 1960s were a period of bold experimentation with different coloured inks in Cape Dorset, and this print, among others, is reflective of such experiments. It should be noted that the variability in the application of the inks in these prints result in each numbered copy being almost unique.

1. See for example the c. 1962 drawing Sunwoman and Birds, in Jean Blodgett, Kenojuak (Toronto: Firefly Books / Mintmark Press Ltd., 1985), fig. viii); and a related untitled drawing c. 1961 in Marion E. Jackson and Judith M. Nasby, Contemporary Inuit Drawings, (Guelph: Macdonald Stewart Art Centre, 1987), cat. 32.

References: This print is Illustrated in Jean Blodgett, Kenojuak, (Toronto: Mintmark Press, 1981), fig. viii and Arts of the Eskimo (Oxford: Signum Oxford, 1974), cat. 30, p. 49. See also the Oscar-nominated short film by John Feeney, Eskimo Artist: Kenojuak (NFB, 1963), wherein Kenojuak and her husband and artistic collaborator Johnniebo are captured creating shadow puppets upon the interior walls of their igloo, using hands to simulate flying birds and howling wolves. These silhouetted forms created by one’s hands and figures suggest that this could be the source of the artist’s earliest images such as this one. For more information on this famous artist see Jean Blodgett, Kenojuak, (Toronto: Firefly Books / Mintmark Press Ltd., 1985); Anna Hudson, ?Jocelyn Piirainen, ?& Georgiana Uhlyarik, Tunirrusiangit: Kenojuak Ashevak and Tim Pitsiulak, exh. cat., (Toronto: Art Gallery of Ontario, 2018); Odette Leroux ed., Inuit Women Artists, (Vancouver: Douglas & McIntyre / Gatineau: Canadian Museum of Civilization, 1994).

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

NOTE
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Lot 68
PUDLO PUDLAT (1916-1992) KINNGAIT (CAPE DORSET)
Raven With Fish, 1963 #37
Printmaker: LUKTA QIATSUK (1928 - 2004) KINNGAIT (CAPE DORSET)
stonecut, 18 x 24 in (45.7 x 61 cm)
27/50

Provenance
Private Collection, Hamilton.

Much of Pudlo Pudlat’s later art features cultural contrasts of some kind, whether it be a helicopter being observed by a muskox, or a plane flying by a kayaker. Raven With Fish, a relatively early print, presents us with contrasts of a different sort. Stark against the handmade paper, this bird is almost unrecognizable as a raven, given his fantastical appearance with gnashing teeth and wild head plumage (incongruous in comparison to its carefully feathered wings). His supper, however — a fish with finely carved scales and splayed tail fin — looks as it should: snatched from the water and less than pleased to say the least! The colour contrast is interesting too; the heavy black of the predator versus the subtle ombre of the deep-red fish. The final contrast in Pudlo’s arsenal is the clash between violence and almost slapstick humour.

References: For three graphite drawings from c. 1961-62 see Marie Routledge and Marion Jackson, Pudlo: Thirty Years of Drawing, (Ottawa: National Gallery of Canada, 1990), cats. 10-12. This catalogue accompanied the National Gallery’s first-ever solo exhibition of an Indigenous Canadian artist. See also the exhibition Close-Ups: Prints and Drawings by Pudlo Pudlat, The National Gallery of Canada, Ottawa, Ontario, 16 February -16 April 2001.

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

NOTE
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Lot 69
SHEKOALOAK (c. 1940-1959) KINNGAIT (CAPE DORSET)
Young Woman, 1959 #32
Printmaker: IYOLA KINGWATSIAK (1933-2000) KINNGAIT (CAPE DORSET)
stonecut, 21 x 12 in (53.3 x 30.5 cm) irregular
35/50

Provenance
Collection of John and Joyce Price, Seattle.

While the image of a standing woman with a child peeking out from the depth of her amautiq hood are now defining icons of Inuit art, it is important to remember that Shekoaloak’s print, Young Woman — along with Lukta Qiatusk’s contribution — are the first graphic images produced for trade to depict the subject.

In Young Woman, there is a vivid sense of verticality that is reiterated by the sheer size of the figure’s form on the sheet where the woman stands in a sort of timeless suspension. The resulting effect is one that gives this young mother an undeniable presence. It is unfortunate that Shekoaloak would pass away before the inaugural Kinngait print collection release and before seeing what an enduring icon of Inuit art his imagery foreshadowed.

References: This print is reproduced along with the original drawing in Christine Lalonde and Leslie Boyd Ryan, Uuturautiit: Cape Dorset 1959-2009, (Ottawa: National Gallery of Canada, 2009), cat nos. 3 & 4, p. 26. See Lukta Qiatsuq’s Mother and Child, 1959 #14.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 70
PAUTA SAILA, R.C.A. (1916-2009) KINNGAIT (CAPE DORSET)
Dancing Polar Bear, c. 1986-88
stone and walrus tusk, 21.75 x 18.5 x 9 in (55.2 x 47 x 22.9 cm)
signed, "??? / ???".

Provenance
Inuit Gallery of Vancouver;
Acquired from the above by the present Private Collection, California, 1989.

The way I have seen the movement of polar bears is the way I have carved them. Not from looking at photos but having seen them with my own eyes. When polar bears are happy, they look like they are dancing…. When they don’t know people are around, they are playful. They are dangerous, but playful when they don’t see a person or dogs chasing them. White people often take photos, and when they look at the photos, they can see the action of the bear. I don’t take photos, but I do it from memory. They are not really dancing but it looks that way…. Wild animals are playful if they’re not attacked. White people think they are dancing but they are just being playful.
From an interview with the artist by Ingo Hessel, Cape Dorset, 2004

These words by the artist may clarify for some of us how Pauta thinks and feels about his favourite subjects, and how he approaches his portrayal of them. Pauta had been a keen (and unobtrusive) observer of polar since childhood and can be thought of as a true “bear whisperer.” The idea of the “dancing bear” did not spring from his imagination but came from observation and love for the animal. He likely would have preferred to call them “playful bears” because for him the term “dancing” implied a human activity. His aim was to share with us his fond memories of bears, not to anthropomorphize them.

This Dancing Bear is an exceptionally fine and quite large example. And, considering how hefty he is, this bear looks to be in top-notch physical condition. He’s not exactly svelte but his body seems well-toned and appears beautifully proportioned from every angle. The work is classic Pauta, meticulously carved and finished to perfection. The sculpture exhibits all the hallmarks of the type: powerful volumes, sensuous contours, and gorgeous curves; strong limbs pulled in to convey the sense of compressed energy; a beautifully formed head on a powerful neck; the precise detailing of the animal’s claws, eyes, nostrils and ears; the graceful parabolic shape of the mouth with its inset fangs; a perfectly balanced pose; all carved in a lovely stone. Absolutely brilliant.

References: For a similarly large, slightly later example see First Arts, Toronto, 12 July 2020, Lot 46 and its accompanying text. See also First Arts, Toronto, 1 December 2020, Lot 55. For other important examples by the artist, see Ingo Hessel, Inuit Art: An Introduction, (Douglas & McIntyre, 1998) cover and fig. 102; from 1984 in the Sarick Collection, Art Gallery of Ontario (also illus. in Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 116; Bernadette Driscoll, Uumajut: Animal Imagery in Inuit, (Winnipeg: Winnipeg Art Gallery, 1985), cat. 1; TD Bank Collection (also illus. in Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), fig. 158); Susan Gustavison, Northern Rock: Contemporary Inuit Stone Sculpture, (Kleinburg: McMichael Canadian Art Collection, 1999) cat. 8. See also Marion Scott Gallery, Inspiration, (1996) cat. 23. See also Walker's Auctions, Ottawa, 22 November 2017, Lot 62; 13 May 2013, Lot 15; 3 May 2012, Lot 24. See Waddington's Auctions, Toronto, 30 May 2016, Lot 40; 23 April 2007, Lot 79.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 71
JOHN KAVIK (1897-1993) KANGIQLINIQ (RANKIN INLET)
Pregnant Mother and Child, 1964
stone, 5.75 x 2.75 x 2 in (14.6 x 7 x 5.1 cm)
unsigned;
inscribed in an unknown hand, "M 192";
inscribed "284" in ink, probably by a member of the "Sculpture / Inuit" exhibition team.

Provenance
Gift of the artist to a Private Collection, Ottawa;
by descent in the family.


Exhibited
Canadian Eskimo Arts Council, organizers, Sculpture / Inuit: Masterworks of the Canadian Arctic, travelling exh., Vancouver, Vancouver Art Gallery, 9 Nov 1971 - 9 Dec 1971; Paris, France, Le Grand Palais, 10 Feb - 2 April 1972; Copenhagen, Nationalmuseet, 26 April - 28 May 1972; Saint Petersburg [Leningrad], The Hermitage, 29 June -23 July 1972; Moscow, Pushkin Fine Arts Museum, 10 Aug - 10 Sept 1972; London, UK, Burlington Gardens Museum, 5 October - 10 Dec 1972; Philadelphia, Philadelphia, Museum of Art, - 24 Jan 1972- 4 March 1973; Ottawa, National Museum of Man, [?]; Ottawa, National Gallery of Canada, 18 May 1973- 17 June 1973, cat. 284.

Published
Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cat. 284, unpaginated;
George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 642, p. 214; Maria von Finckenstein, “Almost 50 Years of Inuit Art Exhibitions” in Inuit Art Quarterly (Vol. 12, No. 4, Winter 1997:3-9), p. 3.

John Kavik and John Tiktak, the two most celebrated Rankin Inlet artists, knew each other well and frequently carved together early in their careers. No doubt they influenced each other, especially in the early 1960s when each of them was still developing his personal style. There is a good chance that Kavik saw, for instance, Tiktak’s 1963 Mother and Child, a lovely, relatively small sculpture once owned by Robert Williamson and illustrated in both of George Swinton’s books on Inuit sculpture (1965: p. 118; 1972/92: fig. 661), and similar early works by that artist. Kavik may have been influenced by Tiktak in the carving of this gem, but certainly by 1965 the two artists’ styles had noticeably diverged.

The fact remains that Kavik’s Pregnant Mother and Child is a masterpiece of his early mature period. In its relatively high degree of realism and finish it resembles other important works carved by him in the very same year, such as Somersaulting Man and Man Carrying Caribou (see illustrations in both of George Swinton’s books, in Sculpture/Inuit, and in Pure Vision). While the sculpture possesses the primal power that Kavik’s art is known for, it has none of the rawness we generally associate with his style. In fact, this work is especially notable for its undeniable beauty and charm. We know the story behind the work; it helps to explain the tenderness that is so clearly evident. Moiya Wright, the co-owner of the Snow Goose in Ottawa, visited her friend Kavik in Rankin Inlet, and the two discussed their families at some length (Wright had five children). Some months later she received a tin of flour from the artist in the mail; puzzled, she dug down only to discover this treasure safely hidden inside. We can share her delight if we turn Pregnant Mother and Child around in our hands. Viewing it from the back it looks as if the child is clinging to its mother but seeing it from the side we realize that the child is “floating.” Impossible and adorable!

References: For contemporaneous and similarly styled works by Kavik see George Swinton, Eskimo Sculpture, (Toronto: McClelland and Stewart, Ltd., 1965), pp. 110 and 116-117; and George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), pp. 214-215. See also Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), cat. 55, p. 112 and cat. 56, p. 113; and Norman Zepp, The Williamson Collection of Inuit Sculpture, (Regina: Norman Mackenzie Art Gallery, University of Regina, 1987), cat. 49, pp. 12 and 42.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 72
JOHN PANGNARK (1920-1980) ARVIAT (ESKIMO POINT)
Figure in a Parka, c. 1972-74
stone, 6 x 5.25 x 1.75 in (15.2 x 13.3 x 4.4 cm)
signed and inscribed with carving number, "??? / 1576-2";
accompanied by the original igloo tag, carving no. 1576-2.

Provenance
Private Collection, Lunenburg, NS.

Any examination of the works of John Pangnark quickly reveals that his primary concern as a sculptor was form. Impressively monumental despite measuring only six inches, Figure in a Parka is significant for its streamlined, sleek structure, which depicts the entirety of the figure as a singular, graceful form with lines that seem to sweep up and backward. This sense of buoyancy is punctuated by two angular notches that denote the figure’s arms. The elegant, linear configuration terminates at the top with a waggish rounded form that illustrates the tip of the figure’s parka hood. It’s a delightful bit of whimsy that suggests a piece of pulled taffy or a dollop of meringue!

References: For numerous works by Pangnark see Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), cats. 20-31; and Bernadette Driscoll, Eskimo Point/Arviat, (Winnipeg: Winnipeg Art Gallery, 1982), cats. 59-72.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 73
JOHN PANGNARK (1920-1980) ARVIAT (ESKIMO POINT)
Figure, c. 1972-74
stone, 4.5 x 2.5 x 2.5 in (11.4 x 6.3 x 6.3 cm)
signed, "??".

Provenance
Waddington's Auctions, Toronto, 6 May 2013, Lot 60;
Acquired from the above by the present Private Collection, Europe.

Filtered through the artist's particular economical genius, even smaller scale works such as this one are transformed into something timeless and even monumental. Figure is distilled and abstracted into Pangnark’s trademark minimalist sculptural language. Subtly shaped and smoothed to a soft matte surface, the stone used for this work highlights the elemental purity of the sculpture’s form. The streamlined body is reduced to only its essential features: delicately delineated facial features and two arms. From the solid mass of stone that indicates the lower part of the body, Figure tapers effortlessly upward at a slight angle before culminating in the rounded form of a hood.

References: It is difficult to find direct comparables for the artist’s works but for a somewhat similar example of Pangnark’s works see November 2021, Lot 38. For numerous other works by Pangnark in various shapes and sizes see First Arts, Nov. 2021, Lots 38-39; July 2021, Lots 32, 61; Dec. 2020, Lot 88; July 2020, Lot 30. See also George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), figs. 56, 615-624; Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina; Norman Mackenzie Art Gallery, 1986), cats. 20-31; and Bernadette Driscoll, Eskimo Point/Arviat, (Winnipeg: Winnipeg Art Gallery, 1982), cats. 59-72.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 74
CHARLIE UGYUK (1931-1998) TALOYOAK (SPENCE BAY)
Female Demon with Young, c. 1996-97
whale bone, muskox horn, walrus tusk, and stone, 23 x 26.5 x 15 in (58.4 x 67.3 x 38.1 cm)
signed, "??";
signed again, "?? ??".

Provenance
Marion Scott Gallery, Victoria, BC;
Acquired from the above by the present Private Collection, Toronto, 26 January 1998, accompanied by a copy of the original receipt.

The great Kitikmeot sculptors Karoo Ashevak, Judas Ullulaq, Charlie Ugyuk and their peers were all greatly influenced and inspired by the original shapes and textures of whalebone, which is probably the most naturally evocative carving material in the world. This particular piece of bone – probably a section of skull – inspired Ugyuk to create one of his most impressive compositions.

Earlier in the catalogue (see Lot 34) we discussed how the predetermined shapes of whale bone can lend itself to repetition of imagery. But not in the hands of artistic geniuses; it is interesting to compare this wonderful Ugyuk sculpture with the equally impressive Shaman Riding a Spirit by his brother Judas Ullulaq (see First Arts 1 Dec. 2020, Lot 69). Whereas Ullulaq worked within the confines of the existing bone, Ugyuk opted to graft onto the main bone two formidable and grotesque claw-like hands. The Ullulaq sculpture deals with very similar subject matter but has a positively benign appearance compared to this work. Ugyuk’s Demon is without a doubt a malevolent entity, poised to wreak havoc.

Shamanic and demonic imagery dominated Ugyuk’s art for many years (see Lot 121 for an example in stone). Female Demon with Young is quite close in style to Ugyuk’s similarly impressive whale bone Flying Shaman from 1995, exhibited in Darlene Wight’s Art & Expression of the Netsilik exhibition at the WAG (cat. 102, p. 104). The two works share not only their overall demonic appearance but also especially their powerful muscularity. In our example the main figure depicts a fierce winged demon sporting frightful horns, fangs, pincers, and claws. The work would be entirely disturbing were it not for one important detail, nestled behind the demon’s head. It is a flash of humour often associated with Ullulaq but seldom, if ever, with Ugyuk: a truly adorable baby demon! So we must re-evaluate; this astounding sculpture is both horrific and delightful!

References: For a discussion of the artist and his work as well as numerous illustrated examples see Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg: Winnipeg Art Gallery, 2000), pp. 104-113. For a similarly styled, contemporaneous Shaman by Ugyuk see Marion Scott Gallery, Vital North: The Spirited Sculpture of the Kitikmeot Inuit, (Vancouver: Marion Scott Gallery, 1996), cat. 14.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 75
LUCY TASSEOR TUTSWEETOK (1934-2012) ARVIAT (ESKIMO POINT)
Many Faces, late 1970s
stone, 15 x 9.25 x 6 in (38.1 x 23.5 x 15.2 cm)
signed, "?? / ???".

Provenance
Marion Scott Gallery, Vancouver;
Acquired from the above by the present Private Collection, San Francisco.

Lucy Tasseor began carving around 1965 or 1966. Encouraged by the local federal arts and crafts officer Dennis Webster, and not long after by the visiting art scholar George Swinton (who was no doubt responsible for the inclusion of five of her works in the famous international travelling exhibition Sculpture/Inuit of 1971-73), she often worked alongside her friend John Pangnark. The two artists each developed their own strong personal styles, but they shared an affinity for “abstraction.” Tasseor worked on a small scale for several years; her first important large sculpture, Mother and Children from c. 1970 is in the Winnipeg Art Gallery and has been widely published (see Zepp’s Pure Vision, cat. 35 and Hessel 1998, pl. 81). Even small carvings by Tasseor have a monumental quality, but her large works are true monuments; her three-foot People (Inuit) from 1991 at the National Gallery of Canada in Ottawa is frequently on display in one of the building’s interior courtyards.

Many Faces is a large and highly important work from the late 1970s. Its style falls somewhere between her Faces Emerging from Stone from c. 1975 (Canadian Museum of History Collection) and Face Cluster c. 1980, both illustrated in Pure Vision (cats. 39, 41). Many Faces is remarkable also for the sheer number of faces it depicts (over forty). Interestingly there is no single dominant “mother’s” face among them; rather the relatively small heads and faces seem to swarm all over the stone – except on one edge that seems to bear the marks of quarrying (a lovely touch), and one side, on which is faintly inscribed the left arm of the mother (yes, one of the upper heads must belong to the mother). The heads face every which way, which intensifies the “swarming” effect. The stone matrix is very dense, so Tasseor had to work extremely hard to fashion the heads, which are mostly in quite high relief; the marks of the artist’s simple hand tools are everywhere. Many Faces is one of the most impressive and expressive sculptures by Tasseor that we have ever seen. Magnificent.

References: For related works by Lucy Tasseor see Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), cat. 39, p. 93 and cat. 41, p. 95. See also Norman Zepp, Inspiration: Four Decades of Sculpture by Canadian Inuit, (Vancouver: Marion Scott Gallery, 1995), cat. 35, p. 59. For another large Tasseor sculpture with a similar “swarm” of faces see Waddington’s, 7 Nov. 2005, Lot 331.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 76
ANDY MIKI (1918-1983) ARVIAT (ESKIMO POINT)
Animal, early-mid 1970s
stone, 2.5 x 3.5 x 0.75 in (6.3 x 8.9 x 1.9 cm)
unsigned.

Provenance
Private Collection, Europe.

Animal illustrates Miki’s signature style, which is characterized by a simplicity of line and form that allows the natural beauty of his materials, in this case a grey-green steatite, to shine through. With great economy of means, the artist captures the essential form of his subject while doing so on an almost miniature scale. The adage “less is more” comes to mind as we turn the work over in our palm to admire it from all angles.

For a similar sized work from c. 1979, see the work by Miki in Robert Kardosh, Vision and Form: The Norman Zepp - Judith Varga Collection of Inuit Art, exh.cat., (Vancouver: Marion Scott Gallery, 2003), p. 113, cat. no. 88. For additional works by the artist, see the section on the artist in Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), pp. 96-107. For other examples and for the artist’s discussion on his carving, see Bernedette Driscoll, Eskimo Point / Arviat, (Winnipeg: Winnipeg Art Gallery, 1982), pp. 22, 24, 26, 29; cats. 46-48.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 77
MARION TUU'LUQ, R.C.A. (1910-2002) QAMANI'TUAQ (BAKER LAKE)
Untitled Work on Cloth (Humans and Spirits), c. 1988-89
stroud, felt, embroidery floss, and cotton thread, 26.25 x 29.25 in (66.7 x 74.3 cm)
signed, "??".

Provenance
Upstairs Gallery, Winnipeg;
Acquired from the above by the current Private Collection, Winnipeg, MB.

Marion Tuu’luq began experimenting with spiritual, mythological, and animal-human transformation imagery as early as 1971. Works on cloth such as My Homeland from 1973 and Night Sky from 1974, illustrated in the 2002 National Gallery of Canada exhibition catalogue Marion Tuu’luq (cats. 4 and 7) illustrate fish-people and human-faced totems. Humans and spirits populate the lower tier of Tuu’luq’s spectacular Crowd of People of 1974 (NGC cat. 10 and First Arts, 14 Jun 2022, Lot 36). Works such as Laughing at Men with Big Noses from 1978 (NGC cat. 19), and an untitled work from the mid 1970s (see First Arts, Dec. 2020, Lot 105), add another (and hilarious) line of imagery to the mix [1]. Few works on cloth by the artist synthesize and truly celebrate this quirky and delightful aspect of her art as much as Humans and Spirits. Sewn near the end of this artist’s sewing career, the work may also be seen as a way of acknowledging the traditional Inuit shamanic belief system that coexisted with Tuu’luq’s devout Christianity [2]. It also provides a wonderful outlet for her sense of humour.

Organizationally, if not literally, this composition has bilateral symmetry; three human figures populate the central axis, while four different animal-human creatures constitute the outer sides. Ranged between and among them is a jumble of mostly birds, human heads, and strange totemic inventions. Each of the three central figures is distinctive in its own way: the upper man proudly displays his genitalia; the central one grabs two geese by their beaks; while the lower figure – probably a woman and possibly Tuu’luq herself – faces away from us and seems to be “conducting” the whole bizarre assembly. The “men with big noses” provide more scatalogical humour, and we wonder if one of the heads isn’t shouting obscenities. Tuu’luq has created a comical and quite ribald display; we may never view her art and life in quite the same way again! Marvelous!

1. For further examples of this type of imagery see Bountiful Thoughts from 1978/79 and The Prayer Meeting from 1989 (NGC cats. 27 and 36).
2. See Marie Bouchard’s discussion of this in her essay “Negotiating a Third Space: The Works on Cloth of Marion Tuu’luq” in National Gallery of Canada, Marion Tuu’luq. (Ottawa: NGC, 2002:17-45), pp. 40-41.

References: For Tuu’luq works on cloth with similar imagery see Laughing at Men with Big Noses from 1978 in Marie Bouchard and Marie Routledge, Marion Tuu’luq, (Ottawa: National Gallery of Canada, 2002), cat. 19, p. 68; First Arts, Toronto, 1 December 2020, Lot 105. See also Jean Blodgett, Tuu'luq / Anguhadluq: An Exhibition of Works by Marion Tuu'luq and Luke Anguhadluq of Baker Lake, (Winnipeg: Winnipeg Art Gallery, 1976).

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 78
GEORGE TATANNIQ (1910-1991) QAMANI’TUAQ (BAKER LAKE)
Ptarmigan, early 1970s
stone, 5.5 x 6.5 x 3.5 in (14 x 16.5 x 8.9 cm)
signed, "???".

Provenance
Private Collection, USA.

As can be seen with his better-known figures of humans and muskoxen, George Tatanniq had an eye and hand for giving a calm, peaceful sense to his sculptures. This rotund Ptarmigan, too, possesses a kind of stillness and tranquility. The simple, gently rounded forms of the bird, seemingly puffed up against the cold, highlights some of the defining aspects of Tatanniq’s workmanship and style. There is a lovely gracefulness in the curves of this sculpture; the matte finish beautifully complements the placid look of this bird. Though larger than most other portraits of birds by the artist, this charming sculpture is still small enough, and appealing enough, to be cupped in one’s hands.

References: For a similarly large and impressive example by the artist see Norman Zepp, Inspiration: Four Decades of Sculpture by Canadian Inuit, (Vancouver: Marion Scott Gallery, 1995), cat. 44, p. 69. For a much smaller but nonetheless charming example of a bird by Tatanniq see Walker’s Auctions, Ottawa, Nov. 2016, Lot 35. For additional works by the artist, see the section on the artist in Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), pp. 120-129

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 79
ATTRIBUTED TO JOHNNY INUKPUK, R.C.A. (1911-2007), INUKJUAK (PORT HARRISON)
Harpoon Hunter, c. 1955-57
stone, wood, antler and hide, 23.5 x 13 x 24 in (59.7 x 33 x 61 cm)measurements reflect dimension with inset tools and later added base, without: 20.25 x 12 x 7.5 in (51.4 x 30.5 x 19.1 cm)
apparently unsigned.

Provenance
Private Collection, Montreal;
by descent to the present Private Collection, Toronto.

This monumental and strikingly handsome sculpture is one of the most impressive depictions of a hunter we have seen. In terms of its sculptural “presence,” artistic quality, and workmanship, Harpoon Hunter is a worthy successor to the best hunters by Akeeaktashuk. If Akeeaktashuk had remained in Inukjuak and not died young, we can imagine him creating a masterwork like this one. Based on the work’s overall style and form, its details, its impressive size, and its sheer bravado, we are attributing it to Johnny Inukpuk.

We know that Johnny Inukpuk was already forging a highly distinctive personal style as early as 1952. His masterpiece Mother Holding a Swaddled Infant, c. 1953-54 (Lot 39) is a superb example of his fully developed early style. Masterworks from the early 1960s including Mother and Child, Carrying a Pail (First Arts, 12 July 2020, Lot 24) and Mother and Child Scraping a Skin (First Arts, 1 Dec. 2020, Lot 68), illustrate a quite new sculptural style. Documented works from the very early 1950s and the later 1950s are surprisingly few. We have done a lot of rigorous research to fill in the gaps.

Johnny Inukpuk is, of course, best-known for his depictions of mothers and children. He carved relatively few hunters. Over the years we have attributed two early examples to him, based on very specific stylistic traits: Crawling Hunter with Knife and Spear from c. 1952 (First Arts, 14 June 2022, Lot 5); and Standing Hunter with Spear and Knife from c. 1952-53 (First Arts, 12 July 2020, Lot 65). The present Harpoon Hunter follows that stylistic trajectory, especially when one considers the style of intermediate works such as Mother Holding a Swaddled Infant (Lot 39) and Man Inflating Avataq from 1954 (Darlene Wight, Early Masters, p. 86 [Cdn. Museum of History]). These works all share very distinctive traits: generous body proportions, strongly modeled facial features, distinctive eyes, incised eyebrows – and in the case of this hunter and Man Inflating Avataq, almost identical incised patterns on the kamiks (boots). The increasing size of the works over the years is important when we remember that many of Inukpuk’s masterworks from the early 1960s are very large indeed. Harpoon Hunter is also, like the other examples mentioned, exceptionally well crafted and well-proportioned. Bravo, Mr. Inukpuk.

Johnny Inukpuk was born in Kuujjuaraapik (Great Whale River) in 1911, the son of a respected camp leader, and spent the first eighteen years of his life in the Richmond Gulf area north of there. His family then moved to the Inukjuak area where Inukpuk became a successful hunter and trapper along the Nowligavik River and eventually a camp leader in his own right. Apparently, he occasionally traded small carvings to travelers on the HBC supply ship Nascopie in the 1940s, but only took up carving seriously with the encouragement of James Houston around 1950. Inukpuk quickly became one of the most respected carvers in the region. Although his long and remarkable artistic career lasted until shortly before his death in 2007, it is his sculptures from the 1950s and 1960s that are most prized today.

References: For an earlier (c. 1952-53) Standing Hunter with Spear and Knife attributed to Johnny Inukpuk, see First Arts, 12 July 2020, Lot 65. See also First Arts, 14 June 2022, Lot 5 for a Crawling Hunter from c. 1952 attributed to the artist. For other important works by the artist see First Arts Auction, 12 July 2020, Lot 24; 1 December 2020, Lot 68, and George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 55. Darlene Coward Wight’s catalogue Early Masters: Inuit Sculpture 1949-1955, (WAG, 2006), pp. 83-87, illustrates several important early works by Inukpuk and discusses his early life and artistic career.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 80
ENNUTSIAK (1893-1967) IQALUIT (FROBISHER BAY)
Women Sewing Skins for a Kayak, c. 1958-60
stone and walrus tusk, 7 x 7.5 x 5 in (17.8 x 19.1 x 12.7 cm)
,signed and inscribed with artist’s disc number, "??? / ???? / E7 / 603".

Provenance
Private Collection, Montreal.

In our December 5, 2022 auction (Lot 134) we discussed how Ennutsiak can be seen as a documentarian, preserving in stone his memories of rapidly disappearing camp life. Indeed, it is in no small part thanks to artists such as Ennutsiak and the photographs of the late Peter Pitseolak of Cape Dorset (1902-1973) that we have such a compelling visual record of traditional Inuit life on the land. Unlike many of his contemporaries, Ennutsiak seldom depicted the “solitary Inuk" and he preferred, instead, to document scenes of a more communal nature. Ennutsiak carved a wide variety of subjects including intimate family scenes such as bible study, birthing scenes complete with midwives and attendants, and communal activities such as walrus hunting and boat building.

This wonderful composition comes from the same private collection as Women Making a Kayak from our December 2022 sale (Lot 77), and one wonders whether it was not intended as an earlier chapter in the same story. Here we see three women (accompanied by a disinterested child) busily sewing seal skins supported on a vertical pole. Presumably, once these skins have been properly sewn together, they will be ready to be stretched over and sewn onto the kayak frame. Beautifully carved from a single piece of stone with nothing but rudimentary tools (by today’s standards) and including an unusual amount of negative space for the artist, this sculpture is a testament to the ingenuity of Inuit women, and to Ennutsiak’s.

References: For a fine sculpture by the artist from 1963, Gathering for a Meal, see 14 June 2022, Lot 8. For two smaller but similar subjects by Ennutsiak see Waddington’s Auctions, Toronto, 9 June 2022, Lot 93, and Waddington’s Auctions, Toronto, 16 September 2020, Lot 33. For a single figure working on a skin, see First Arts, Toronto, 13 July 2021, Lot 25. For other works by the artist see Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970, (Gatineau: Canadian Museum of Civilization, 1999) pp. 131-133.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 81
BARNABUS ARNASUNGAAQ (1924-2017) QAMANI'TUAQ (BAKER LAKE)
Family Group, mid 1970s
stone, 14.25. 12.5 x 10.5 in (36.2 x 26.7 cm)
signed, "?????".

Provenance
The Quest of Sausalito, Sausalito, CA;
Acquired from the above by the present Private Collection, San Francisco, 1983.

Arnasungaaq began carving in the late 1950s, first in caribou antler, muskox horn, wood, and then in stone when the supply of it increased. By the early 1960s he had quickly risen to prominence as one of Baker Lake’s foremost artists. Despite the constant demands for his muskoxen, Barnabus maintained that people were his favourite subjects. Over the course of his long and storied career, Barnabus’s style gradually evolved from carefully realized compositions (such as the present example) to a far more pared-down style in his later years, likely due to the hardness of the local stone and his declining health and strength.

Arnasungaaq was born on the land and he and his family endured periods of starvation, sickness, and death. Indeed, one wonders whether this monumental sculpture might represent his own small family mourning the loss of a young child. It is also entirely possible that the work represents something far less forlorn, and instead features a happy couple playing with their two boys. Subject and mood can indeed be in the eye of the beholder. Either way, Family Group is an eloquent and moving work of art.

References: For a similarly themed and styled work by Arnasungaaq see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1992 ed. only), fig. 869, p. 260. See also an impressive family group in Walker’s Auctions, Ottawa, 18 May 2017, Lot 102. Arnasungaaq speaks of starvation and losing his second-oldest son because he had no more milk to suck on in Hattie Mannik ed., Inuit Nunamiut: Inland Inuit, (Baker Lake, 1998), p. 216.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 82
RUFUS MOODY, C.M. (1923-1998) SKIDEGATE, B.C.
Pair of Model Mortuary Totem Poles, 1973
each argillite and antler, the first: 20 x 7.75 x 4.75 in (50.8 x 19.7 x 12.1 cm)
, / the second: 20 x 7 x 4.75 in (50.8 x 17.8 x 12.1 cm)
;
the first: signed, inscribed, and dated: "Rufus Moody / Skiedgat [sic] Mission / B.C. / © 21/2/73";
the second: signed, inscribed, and dated: "Rufus Moody / Skiedegate [sic] Mission / B.C. / © 3/2/73".

Provenance
Private Collection, British Columbia.


Exhibited




Published


These two large model poles (twenty inches tall!) were made as a pair, one after the other, in February and March 1973, by Rufus Moody. By that time, he had worked through what might be called the “lean years,” those decades in which there were ever fewer artists and argillite carvers among the Haida, mainly due to colonial oppression. Moody became well known around the region for doing the work of carving argillite and maintaining the tradition. Moody was made famous outside his region about this time, in part due to inclusion of his name and work in several art/photo books that came out in the early 1970s. This was an interesting time in Northwest Coast art history; when the last of the old timers who came up through the end of the nineteenth century and the early- to mid-twentieth were still producing traditional work, and a new generation of Native artists was just beginning to thrive and expand the historical tradition, going back to the styles of the early- to mid-nineteenth century to work with and perpetuate what those earlier generations had attained artistically.

Moody was somewhere in between the generations outlined above. He was born after the nineteenth-century masters had already passed (e.g. Edenshaw in 1920), and became famous among a generation whose artistic skills were often below the standards of the traditional masters, yet who maintained a significant foothold on artistic production and maintenance, holding on to cultural arts despite outside pressures and passing on the torch, as it were, to the offspring of a new generation.

These two poles represent what have been called mortuary poles, which at one time held the remains of high-ranking community members in burial chests that rested behind the large horizontal panel(s) at the top of the poles. The ones here are carved to represent a bent-corner chest, with a three-dimensional crest figure at the centre and supporting formline work on each side. The crest appears to be thunderbird, judging by the recurved beak of the sculpture and the representations of wings and feet on the side panels.

The top figures on the vertical portions of these poles are mountain goats, indicated by the horns on their heads, in this case carved of antler. In a reversal of reality, we see white horns on black goats instead of black horns on white goats! The goats are sitting peacefully on top of the lower figures, with their legs and split-toed hooves drawn up in the classic hocker position often seen in this medium. The bottom figures could be bears with salmon, or at another level sea monsters holding whales. Tiny faces are carved in their ears, adding another level of detail to the work. On the backs of the poles, one is hollowed and one is not. This is often an indicator of the time period in which an argillite pole was carved, but in this case Moody refers back to an earlier period in which the backs of poles were commonly hollowed out. The second, flat-backed pole in this pair appears to have shallow marks outlining the area to be hollowed out like the other.

Steven C. Brown

References: A historical photo, dated 1878, that includes a very similar mortuary pole, raised for Skedans (head chief at Skedans Village) at Skidegate in 1870, and can be seen in George F. MacDonald’s two important books on Haida art: Haida Monumental Art, ( Vancouver: UBC Press, 1983), pl. 55; and Haida Art, (Vancouver: Douglas & McIntyre, 1996), pl. 123, p. 169. The imagery is essentially identical to that of these two models; Rufus Moody, who was born in Skidegate, would have been familiar with this pole. Interestingly, Bill Reid carved a version of the same pole in Stanley Park, Vancouver in 1964; the formlines on either side of the face appear to be based on that pole. For a monumental and similarly styled argillite Model Mortuary Pole by the artist see First Arts, 14 June 2022, Lot 115.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 83
UNIDENTIFIED HAIDA ARTIST
Late Trade Pipe, c. late 1880s
argillite, 2.75 x 10.25 x 1.5 in (7 x 26 x 3.8 cm), measurements reflect dimensions without metal stand.

Provenance
A Vancouver Collection.

The Haida argillite “trade pipe” tradition began c. 1850, lasting until the end of the 19th century. Early examples were based on European clay pipes (a bowl and long, narrow stem). Haida artists added figural embellishments, many resembling contemporaneous ship panel pipe imagery. Later trade pipes (beginning c. 1880) depicted Haida imagery almost exclusively, although European faces still often embellish the bowls.

This pipe includes fairly typical Haida imagery, but in an uncommon configuration. Rather than being in the form of a forward-facing human head, or incorporated into an animal’s body, the bowl is unadorned and in second-last position. A fully carved rear-facing eagle extends beyond the bowl, looking back at a raven and frog. The raven lies on its back and joins its beak with the mouth of the frog crouching in the bird’s belly.

References: See the chapter on late trade pipes in Peter L. Macnair and Alan J. Hoover, The Magic Leaves: A History of Haida Argillite Carving, (Victoria: Royal BC Museum, 1984/2002), pp. 119-126. See also Leslie Drew and Douglas Wilson, Argillite: Art of the Haida, (Vancouver: Hancock House, 1980), pp. 164-165.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 84
UNIDENTIFIED TLINGIT ARTIST
Raven Rattle, c. 1880s
maple wood and pigments, 5 x 11 x 3.5 in (12.7 x 27.9 x 8.9 cm), measurements reflect dimensions without custom stand

Provenance
Letty Washburn, wife of the vice president of the Alaska Steamship Company;
Collection of Mr. & Mrs. W.R. Holman (the Holman’s were early settlers and prominent citizens in Pacific Grove, CA.);
by descent in the family;
A Vancouver Collection.

Raven rattles are some of the most iconic objects representing Northwest Coast cultures. Originating with the Tsimshian/Nishga’a of the Nass River valley, the tradition spread out among the Tlingit, Haida, Haisla, Heiltsuk and other nations as distant as the Kwakwaka'wakw of Vancouver Island. Many variations of the basic figures that make up the raven rattle appear in the historic record, but the primary ones at the core of the tradition are the flying raven itself, the man reclining on its back, and the tail-bird, which appears in two types, facing forward and facing aft. The image has been said to represent a kingfisher.

This rattle features the basic imagery with the tail facing aft, and includes a small frog situated on the man’s chest, its tongue entering the man’s mouth. This tongue connection is a metaphor for the transfer of esoteric secrets and knowledge, and appears between the man and the tail-bird when it is facing forward and no frog is present. The typical paint colors of black, red, and blue-green appear to be all Native pigments.

This rattle exhibits the classic sweep of the wings, up the neck to the head and out to the tip of the beak. The body of the reclining man does not touch the raven’s back, and his short legs and feet contact the ends of the tail-bird’s head-feathers. The tail sits on an unusual, raised platform instead of the rounded end of the raven’s body, but its function is the same. On the raven’s breast, the recurved beak of that face is often said to represent a hawk, but it may be more likely Raven-At-The-Head-Of-The-Nass. The carving and painting of this face are rough and asymmetrical, as is much of the other painting onboard. The classic forms of the overall sculpture suggest that the carver had a history with the tradition and was not a first-time rattle-maker. Perhaps an older man carved this rattle when his eyes and hands were less well guided.

Steven C. Brown

References: For a Tlingit rattle c. of similar form from c. 1850 see Steven C. Brown, Native Visions: Evolution in Northwest Coast Art from the Eighteenth through the Twentieth Century, (Seattle: Seattle Art Museum / Vancouver: Douglas & McIntyre, 1998), fig. 4.39, p. 86. For a Tsimshian rattle of similar composition see Aldona Jonaitis, From the Land of the Totem Poles: The Northwest Coast Indian Art Collection at the American Museum of Natural History, (New York: AMNH, 1988), pl. 25. See also Bill Holm and William Reid, Form and Freedom: A Dialogue on Northwest Coast Indian Art, (Houston: Institute for the Arts, Rice University, 1975), no. 79; and Bill Holm, The Box of Daylight: Northwest Coast Indian Art, (Seattle, WA: Seattle Art Museum/University of Washington Press, Seattle, 1983), cats. 12-14, pp. 26-27.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 85
ROBERT DAVIDSON (GUUD SANS GLANS), O.C., O.B.C., (1946-) HAIDA, MASSET / WHITE ROCK
Eyes of the Mind, 1996
patinated bronze, 11 x 10 x 8.5 in (27.9 x 25.4 x 21.6 cm)
14 x 9.5 x 9.5 in (35.6 x 24.1 x 24.1 cm)measurements reflect dimensions with base
signed, numbered, and dated, "?D / 8/12 96".

Provenance
Spirit Wrestler Gallery, Vancouver, accompanied by their gallery literature;
Acquired from the above by the present Private Collection, Texas.

When I realized that my spirit has a helper, I started to wonder if my mind has eyes. — Robert Davidson’s description of this work, 1996

Robert Davidson (Guud Sans Glans) began working in bronze as a possible medium for public art commissions in the mid 1980s. While visiting the site that would become a commission for three totem poles titled Three Variations of the Killer Whale Myth at the Donald M. Kendell Sculpture Garden, Pepsico World Headquarters in Purchase, New York, Davidson carried a wooden frog medallion in his pocket, which he famously described as squirming and trying to leap into the pond in front of the poles. This led to a commission for a three-foot bronze casting in which the “medallion” floats just above the surface of the pond. Davidson decided to experiment with smaller bronze editions to maintain market presence during a decade in which his work was in extremely high demand. He would leave bronze as a medium in favour of hollow aluminum sculptures, which he could adjust in scale from tabletop to monumental works that could withstand Canadian winters in public spaces.

Gary Wyatt

References: For the first major publication discussing Robert Davidson’s art and career see the exhibition catalogue by Ian M. Thom, ed., Robert Davidson: Eagle of the Dawn, (Vancouver: Vancouver Art Gallery/Douglas & McIntyre, 1993), see pp. 92-93 for Thom’s discussion of Davidson’s early bronze efforts.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 86
RAYMOND STEVENS (1953-1981) HAIDA / NISGA'A
Split Eagle Bracelet, 1978
engraved testing 22kt gold, 2.5 x 2 x 0.375 in (6.3 x 5.1 x 1 cm)
, 16 gramssigned and dated, "R. Stevens 1978";
with various small engraved ‘doodles’ and signed again inscribed, "R. Stevens / 22KT

Provenance
An Ottawa Collection.

Raymond Stevens was born in 1953 in Prince Rupert, raised in Skidegate on Haida Gwaii, and schooled in North Vancouver. In 1955, he was adopted by master carver Bill Reid and Mabel Stevens, but he would return to Haida Gwaii where he studied argillite carving with Rufus Moody and later with his stepfather Billy Stevens. After studying goldsmithing at the Central School of Design in London, England, Bill Reid set up a studio in Montreal where he would remain for three years. Raymond joined Reid in Montreal, and learning from him, began to seriously carve jewellery. He found a strong market for his work, and even received government commissions. Stevens was a skilled craftsman and sought to replicate the tight crosshatching used by Haida masters such as Charles Edenshaw. This Split Eagle, with an elongated beak and feather details, features his skill in tight cross-hatching on a narrow bracelet. Stevens enjoyed playing with designs on the insides of bracelets; these included doodle-like drawings such as the charming ones he included here, along with his signature. His work is included in the collections of the UBC Museum of Anthropology and was featured in the 2006 exhibition Raven Travelling: Two Centuries of Haida Art at the Vancouver Art Gallery. Stevens died tragically in 1981.

Gary Wyatt

References: For a silver cuff bracelet by the artist see Daina Augaitis et al., Raven Travelling: Two Centuries of Haida Art, (Vancouver: Vancouver Art Gallery / Douglas & McIntyre, 2006), cat. 124, p. 153.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 87
ROBERT DAVIDSON (GUUD SANS GLANS), O.C., O.B.C., (1946-) HAIDA, MASSET / WHITE ROCK
Spoon, c. 1976
finely carved and engraved, 2 x 4.75 x 1.5 in (5.1 x 12.1 x 3.8 cm)
signed, "Davidson".

Provenance
Spirit Wrestler Gallery, Vancouver, accompanied by their gallery literature;
Acquired from the above by the present Private Collection, Texas.


Exhibited




Published


Robert Davidson credits spoons as being an important transition in his carving style from symmetrical to asymmetrical forms. Bracelets and pendants were often split forms mirrored from the centre, but spoons required asymmetrical designs to fit their shape. Davidson became interested in the design possibilities of asymmetry and began to experiment in asymmetrical designs on bracelets; this quickly elevated his designs and carving style to a new level. He would apply this same technique to printmaking, using templates from designs on spoons, pendants, and bracelets to create new print designs. Davidson will still occasionally reacquaint his hands with the jewellery tools and produce a small series of pieces for family or special clients, but this has become very rare in recent years due to the demand for sculptural works and paintings. During the 1970s when this spoon was created, the demand was quite high for jewellery commissions.

Gary Wyatt

References: For two somewhat earlier examples by the artist see Ian Thom, ed., Robert Davidson: Eagle of the Dawn, (Vancouver: Vancouver Art Gallery, 1993), pp. 34-35.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 88
BERNARD KERRIGAN (1963-) HAIDA
Model Totem Pole, 1987
argillite, 11.75 x 2.75 x 3.25 in (29.8 x 7 x 8.3 cm)
signed, with stylized initials, and dated, "Bernard N. Kerrigan / BNK 87".

Provenance
A Vancouver Collection.

Bernard Kerrigan is a Haida artist with roots in the village of Dadens on Lanagra Island. He was born in Queen Charlotte City in 1963 and raised in Quesnel. He studied law at UBC and spent several years in Vancouver before deciding to relocate to Haida Gwaii to become a full-time artist. Kerrigan had visited Haida Gwaii many times during his childhood, working with various relatives who were artists including Claude Davidson. Bernard’s brother Keith also attended law school, and set up a legal practice in Prince George where he blends his legal career with making Haida art.

Kerrigan largely works in argillite and precious metals and has an open studio for sales and commissions in Haida Gwaii. This model totem pole is topped with a whale with a folded tail design; below it are an eagle, and a beaver sitting on a frog base, with numerous support figures rendered in the bellies, wings, and ears.

Gary Wyatt

References: For an overview of contemporary argillite works, see Carol Sheehan’s book Breathing Stone; Contemporary Haida Argillite Sculpture, (Calgary: Frontenac House Ltd., 2008). For a historic overview of argillite works, see Peter L. Macnair and Alan J. Hoover, The Magic Leaves: A History of Haida Argillite Carving, (Victoria: Royal British Columbia Museum, 1984/2002).

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 89
FLOYD JOSEPH TYEE (1953-) COAST SALISH, SQUAMISH, B.C.
Salish Wolf Spirit House Post, 1990
red cedar and paint, 77.5 x 17 x 7 in (196.8 x 43.2 x 17.8 cm)
inscribed, signed, and dated, " COAST SALISH / FLOYD JOSEPH TYEE / 1990";
titled, "SALISH WOLF SPIRIT HOUSE POST".

Provenance
Marion Scott Gallery, Vancouver, B.C.;
Acquired from the above by the present Private Collection, Toronto, 1190.

Published
Marion Scott Gallery, Vancouver, BC, Tyee, 4-20 October 1990, no cat. no., unpaginated, described as "Represents family unity and the power to transform".

In 1990, the Marion Scott Gallery hosted a solo catalogued exhibition titled Tyee for Coast Salish artist Floyd Joseph. This exhibition highlighted the unique style of this artist, with bold colours and contemporary interpretations of a wide range of subjects by a modern artist. Floyd Joseph was born in Capilano, North Vancouver, in 1951 and he is a hereditary chief for the Squamish nation and a full-time artist. The design is based on classic Salish houseposts and depicts a wolf and female form. The catalogue inscription quotes Tyee as saying that the pole represents family unity and the power to transform.

Gary Wyatt

References: For an overview of the artist's work, especially works on paper, see the permanent collection at the University of Victoria's Legacy Art Gallery.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 90
PAUTA SAILA, R.C.A. (1916-2009) KINNGAIT (CAPE DORSET)
Dancing Polar Bear, mid-1980s
stone and antler, 15.5 x 10.5 x 5.25 in (39.4 x 26.7 x 13.3 cm)
signed, "??? / ???".

Provenance
Images Art Gallery, Toronto;
Galerie Elca London, Montreal;
Acquired from the above by the present Private Collection, Toronto.

This marvelous Dancing Bear by Pauta is certainly in a lower weight class than his cousin (Lot 70), but he is, nonetheless, also a champion. Not only can this agile bear deftly dance on one foot, but he also balances remarkably well on the other. With this innovation, Pauta has, in effect, created two quite different sculptures. The idea was virtually unheard of when the master carved this beauty. This balancing trick is something that many followers and imitators of Pauta have learned to do over the years but their efforts almost always pale in comparison. Only a small number of Pauta bears are “ambidextrous” in this way, and only a few are as elegant and stylish as this example. This proportions of this Dancing Bear are beautiful in either position and the sculpture’s dynamics are superb either way. We wonder whether this piece flowed easily from Pauta’s gifted hands or if it took a long time to execute. But we are certain that Pauta really knocked this one out of the park. Home Run! (We apologize for the mixed sports metaphors, but we feel that Pauta really aced it with this piece.)

References: For other examples of Pauta Dancing Bears that balance on either foot see Harold Seidelman & James Turner, The Inuit Imagination: Arctic Myth and Sculpture, (Vancouver: Douglas & McIntyre Ltd., 1993), fig. 171, p. 206. For a bear similar in style and pose see George Swinton, Sculpture of the Inuit, (Toronto: McClelland and Stewart, 1992 ed. only), fig. 892, p. 267.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 91
KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET)
Red Fox, 2012 #4
Printmaker: CEE POOTOOGOOK (1967-) KINNGAIT (CAPE DORSET)
stonecut, 21 x 27 in (53.3 x 68.6 cm), framed.
34/50

Provenance
Collection of John and Joyce Price, Seattle.

In the latter part of her career, Kenojuak Ashevak remained open to innovative materials and compositions. After the completion of the remarkable stained-glass window for Appleby College in Oakville, she embraced working with new techniques which gave her images a different style. Released in the year before the artist’s death, this striking stonecut print, Red Fox, similarly represents a compelling departure of style and subject matter. The startlingly bold figure of a bright red fox fills the picture plane, with only the almond-shaped eye, nose, and tip of the tail detailed in black. This is what Leslie Boyd has explained as an “example of reductive printmaking in stonecut, with the red body of the fox inked and printed first, then cut away leaving the outline to be inked and printed in black” (see Cape Dorset Annual Print Collection, 2012, p. 2). The print is one of several released in the 2012 collection where black outlines highlight Kenojuak’s whimsical subjects, signaling a unique stylistic change notable in this print collection. The artist’s drawings where black Fineliner was used to outline forms were translated quite faithfully into her prints at this time.

References: For A similarly coloured work, see Kenojuak Ashevak’s stonecut print The Woman Who Lives in the Sun (1960), First Arts, 28 May 2019, Lot 15 for an interesting connection between one of her earliest and latest prints. For more information on this famous artist see Jean Blodgett, Kenojuak, (Toronto: Firefly Books / Mintmark Press Ltd., 1985); Anna Hudson, ?Jocelyn Piirainen, ?& Georgiana Uhlyarik, Tunirrusiangit: Kenojuak Ashevak and Tim Pitsiulak, exh. cat., (Toronto: Art Gallery of Ontario, 2018); Odette Leroux ed., Inuit Women Artists, (Vancouver: Douglas & McIntyre / Gatineau: Canadian Museum of Civilization, 1994).

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 92
ARNAQU ASHEVAK (1956-2009) KINNGAIT (CAPE DORSET)
Evening, 2001
black ink and coloured pencil on paper, 20 x 26 in (50.8 x 66 cm), framed
titled, signed, and dated, '"EVENING / A. Ashevak '01."

Provenance
Feheley Fine Arts, Toronto: Acquired from the above by John and Joyce Price, Seattle, 2004.


Exhibited
Toronto, Feheley Fine Arts, Kenojuak and Onward: Arnaqu Ashevak, Adamie Ashevak, Kenojuak Ashevak, November 2004, cat. 28;
In the Shadow of the Midnight Sun: Sami and Inuit Art 2000-2005, travelling exh., Hamilton, Ontario, Art Gallery of Hamilton, 14 January - 7 May 2006; St. John's, Newfoundland, The Rooms, 16 Feb - 20 April 2007; Winnipeg, Winnipeg Art Gallery, 19 May - 19 August 2007; Whitehorse, Yukon Territory, Yukon Arts Centre, 10 January - 9 March 2008; Ottawa, Ontario, National Gallery of Canada, 23 May - 17 August 2008,

Published
Toronto, Feheley Fine Arts, Kenojuak and Onward: Arnaqu Ashevak, Adamie Ashevak, Kenojuak Ashevak, November 2004, cat. 28;
Jean Blodgett, In the Shadow of the Midnight Sun: Sami and Inuit Art 2000-2005, (Hamilton: Art Gallery of Hamilton, 2007), no cat. no., reproduced p. 33.

Arnaqu Ashevak, adopted son of Kenojuak Ashevak, was a brilliant artist whose career was cut off too soon with his premature death from cancer in 2009. Throughout the 1990s and the first decade of the 2000s, he consistently surprised the Inuit art world with his continued search for innovative subject matter and media. Arnaqu’s mastery was well-recognized at the time when he was selected to attend the Banff Centre for the Arts for a workshop in ceramics.

Known for his mobiles made of bone and antler and his drawings inspired by global images, this drawing of a quiet and serene landscape at sunset seems to be a stylistic deviation for Arnaqu. This, however, was part of the magic of Arnaqu’s artistry – rather than sticking with a conventional style, he constantly pushed the limits of subject and media. He was also seamlessly able to show his mastery of various media used by his colleagues in Kinngait. In this simple and yet sumptuous landscape, he uses coloured pencil to masterfully capture the serenity and beauty of a summer sunset on South Baffin Island.

References: For more information about the artist, see “A Filtered Vision: The World According to Arnaqu Ashevak” in Inuit Art Quarterly, Vol. 21, No. 2, Summer 2006, pp. 24-31. For further examples of Arnaqu’s drawn work, see the exhibition Making Marks: Drawings From Kinngait, Toronto, Ontario, First Arts, 22 January - 24 February 2023. For some brief information about the artist, see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat 57, p. 67.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 93
JUTAI TOONOO (1959-2015) KINNGAIT (CAPE DORSET)
Composition (Self Portrait), 39295
oilstick on paper, 45 x 45 in (114.3 x 114.3 cm), framed
signed, "?? ??".

Provenance
Feheley Fine Arts, Toronto;
Acquired from the above by John and Joyce Price, Seattle, 2009.

Published
Image reproduced in Michelle Lewin, "Breaking Ground: New Oilstick drawings from Cape Dorset," Inuit Art Quarterly, Spring 2009, Vol.24, No. 1, p. 25. Also reproduced on the cover wherein the artist is depicted finishing the work at his easel. On pages 28-9, Jutai is pictured laying on top of the present sheet to have Bill Ritchie trace his outline so that he could begin this self portrait.

Jutai Toonoo came from an artistic family. He was the son of carver Toonoo and graphic artist Sheojuke Toonoo, younger brother of Oviloo Tunnillie, and older brother of Samonie Toonoo – both innovative contemporary artists who introduced new subject matter to the traditional medium of stone sculpture. While he had worked as a printmaker, Jutai remained a sculptor until the remarkable first decade of the 21st century when the Kinngait Studios, sparked by the unprecedentedly raw drawings of Annie Pootoogook, began to see a rise in artistic innovation, particularly with works on paper. Oilstick was introduced in a workshop as a new drawing tool, one in which bold strokes and bright patches of colour could allow for a level of expression that coloured pencil could not provide in the same way.

Jutai was among the few artists at the Kinngait Studios who successfully embraced the sometimes-unforgiving oil stick medium. Using an old easel belonging to Terry Ryan, Jutai created masterful, expressionist compositions. To create this exquisite self-portrait, he laid down on a large sheet of paper and asked Bill Ritchie (then the studio manager) to draw his outline. He then created this image in which he portrays himself as made up two selves – a common theme found in this artist’s oeuvre. Featured on the cover of Inuit Art Quarterly (24.9), this is perhaps Jutai’s best-known drawing, and a remarkable example of the genius and unique vision of this master artist.

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

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 94
JOHNNY INUKPUK, R.C.A. (1911-2007) INUKJUAK (PORT HARRISON)
Girl and Bear, c. 1967-70
stone, 17 x 14.5 x 6.5 in (43.2 x 36.8 x 16.5 cm)
signed and inscribed with artist's disc number, "?? / E9-904."

Provenance
Waddington's, Toronto, 8-13 May 2021, Lot 35, as "Girl Uncover a Hibernating Bear" [sic];
Acquired from the above by the present Private Collection, Toronto.

While many of the greatest Inuit sculptors have been interviewed and their thoughts preserved for posterity, the sad fact remains that once they have shuffled off this mortal coil, they are no longer available to answer questions about their art. This does not present a challenge when dealing with subject matter for which the artist was renowned, but when presented with atypical works, one wishes that their creator could be consulted. Such is the case with this striking sculpture by Johnny Inukpuk.

This work has previously been described as depicting a young girl happening upon, and being surprised by, a hibernating bear. Polar bears do not hibernate, and while this woman appears youthful, she is not a young girl. What are the other possibilities? We do know that Johnny Inukpuk occasionally depicted stories; see First Arts, 5 December 2022, Lot 74 for the intriguing Story in Stone. There is an Inuit legend of a woman who encountered a motherless polar bear cub and adopted it as her own. Is it possible that Inukpuk is presenting us with a scene from that story? The small scale of the bear’s head suggests that it is not a mature animal, though we admit it does look fierce – in which case the woman’s surprise is completely understandable. It may also be the case that Inukpuk is illustrating an unusual but real-life incident.

Regardless of the meaning of this fascinating image, we should note that the woman Inukpuk chose as the model for the sculpture is almost certainly the artist’s wife Mary; her cleft lip is clearly visible, and her other physical traits match many of the artist’s portraits of her (see First Arts, 12 July 2020, Lot 24, and 13 July 2021, Lot 53, for example). The woman’s oversize hands, her hairstyle, and her clothing are classic Inukpuk from the mid-late 1960s.

One of the marks of a successful work of art is that it provokes thought and discussion. In this regard, Inukpuk has certainly accomplished these goals. This compelling sculpture shows Inukpuk still at the height of his powers, delivering strong proportions, interesting detail, and impactful subject matter. One could look at this piece and contemplate for hours!

References: For a roughly contemporaneous work by the artist see Christine Lalonde, Sanaugavut: Inuit Art from the Canadian Arctic, (Ottawa: National Gallery of Canada, 2010), cat. 8. For other important works by the artist see First Arts Auction, 12 July 2020, Lot 24; Dec. 2020, Lot 68, and George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 55. Darlene Coward Wight’s catalogue Early Masters: Inuit Sculpture 1949-1955, (WAG, 2006), pp. 83-87, illustrates several important early works by Inukpuk and discusses his early life and artistic career.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 95
ABRAHAM ANGHIK RUBEN, O.C. (1951-), PAULATUK / SALT SPRING ISLAND, B.C.
Bird Shaman, 1997
stone, 24.5 x 34 x 14 in (62.2 x 86.4 x 35.6 cm)
signed and dated: “ANGHIK ‘97”.

Provenance
Important Private Collection, Ontario;
Their sale, Heffel, Toronto, 16 August 2021, Lot 232;
Acquired from the above by the present Manitoba Collection.

Michelangelo is famously quoted as saying “I saw the angel in the marble and carved until I set him free.” During interviews, most Inuit sculptors describe a similar approach, studying the rock until it suggests what might be contained therein. As a result, most Inuit sculptures are monolithic (barring complementary implements or the occasional base). As discussed in Lot 34, Anghik eschews the traditional approach to art making and his creativity is not restrained by the limitations of his raw material.

In this elegant sculpture Anghik has imagined something for which he literally needed to think outside the block of stone. This striking shaman transformation is constructed from numerous smaller elements set into the central humanoid torso. It is interesting to note that these appendages are all the same stone as opposed to contrasting coloured or textured materials. In theory, the same piece could be carved en bloc from a larger piece of stone, had Anghik had access to such a piece. Better, however, to carve the individual pieces, which can be shipped more safely. Please note: Some Assembly Required!

As a mature artist, Anghik has developed a hybrid personal style that, over the years, has fused Inuit/Inuvialuit, Northwest Coast, and even Viking traditions. In this sculpture one also senses the influence of Christian imagery. The outspread wings of the raven-shaman resemble depictions of Jesus with arms opened wide in a gesture of love and protection. Bird-Shaman is a truly impressive work, both artistically and as a feat of engineering.

References: See the article “Where We Go From Here: Four Generations and the New Arctic Reality” by the artist in Inuit Art Quarterly (Vol. 30, No 3, Fall 2017), pp. 54-63. For more works by the artist, see Abraham Anghik Ruben, Rocco Pannese and Cosimo Stifani, Abraham Anghik Ruben, (Kipling Gallery: Vaughan, Ontario, 2016); Abraham Anghik Ruben and Rocco Pannese, Abraham Anghik Ruben : The World of Man Animals and Spirits, (Kipling Gallery: Vaughan, Ontario, 2014); Abraham Anghik Ruben and Darlene Coward Wight, Abraham Anghik Ruben, (Winnipeg Art Gallery: Winnipeg, 2001). See also Darlene Coward Wight, Out of Tradition: Abraham Anghik / David Ruben Piqtoukun, (Winnipeg: Winnipeg Art Gallery, 1989).

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 96
MICHAEL MASSIE, C.M., R.C.A. (1962-) KIPPENS, NEWFOUNDLAND AND LABRADOR
Shape Shifting Shaman, 36999
limestone, moose bone, antler, mahogany, and ebony, 14.25 x 11 x 5.5 in (36.2 x 27.9 x 14 cm)
titled, dated, signed, and dated again, '"Shape Shifting Shaman" / April 18/04 / Massie 04".

Provenance
Spirit Wrestler Gallery, Vancouver;
Acquired from the above by the present Private Collection, Toronto.

Published
Spirit Wrestler Gallery, Tea and a Story with Michael Massie, (Vancouver: Vancouver, 2005), cat. 5.

The subject of the shapeshifter or transforming shaman is one of the most common subjects in Inuit art, yet Kippens-based artist Michael Massie has consistently been able depict the subject with a keen sense of originality and wit. Across most Arctic communities, shamans were known to shapeshift from human to animal form, and perhaps complete a spiritual journey or task in their animal body. Shamans were respected and sometimes feared for their unpredictable, supernatural abilities. With the wide Christianization in the Canadian Arctic, the tradition of shamanism has largely disappeared as the presence of priests replaced shamans as the intermediary between the physical and spiritual worlds. Yet, through the depiction of this lost tradition in art, the stories relating to this incredible part of Inuit culture live on.

In this impressive sculpture, Massie masterfully depicts a shaman’s body melded with those of a walrus and owl. The shaman’s face is distorted by the shapeshifting event, growing whiskers and tusks. Equally shocking are his limbs, which have morphed into the flippers of a walrus in 'front', and the feathers and talons of the owl at the 'back.' In the Spirit Wrestler exhibition pamphlet Massie explains the idea behind this transformation piece, “There are three aspects to this piece – the owl, the walrus, and the shaman. The shaman’s connection to the human world is shown by the left eye still in its proper position in the head, and by the left arm, which is still covered by the parka. The right eye of the shaman is positioned on the top of the head more like the walrus. This is a powerful shaman, with this tremendous ability to move from one form to another—and here he is moving from the walrus to the owl – so he is powerful in both the sea and the sky.”

Massie’s incredible skill working with mixed media remains as present as ever in this work. Carved expertly from a limestone, the eyes have been inlaid with a combination of materials. This includes moose bone for the whites of the eyes, and mahogany and ebony wood for the iris and pupils. Antler is also meticulously carved into tusks and whiskers and carefully attached to the grotesque face.

References: For a similarly styled work, see Feheley Fine Arts, Michael Massie: Stories in Silver & Stone, (Toronto: Feheley Fine Arts, 2022), p. 11-12. See also the exhibition catalogue by Gloria Hickey, Silver and Stone: The Art of Michael Massie, (St. John’s, NF: The Rooms, 2006); and Gloria Hickey, “Silver and Stone: The Art of Michael Massie”, Inuit Art Quarterly, Vol. 21, No. 4, Winter 2006, pp. 18-29. For an excellent survey of the artist’s sculptural work, see Spirit Wrestler Gallery, 50 @ 50: Celebration of Metal and Stone: Michael Massie, (Vancouver, 2012).

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 97
JUDAS ULLULAQ (1937-1999), UQSUQTUUQ (GJOA HAVEN)
Mother and Child with Pail and Ulu, c. 1990-92
stone, antler, sealskin, and sinew, 11.75 x 7.5 x 7.5 in (29.8 x 19.1 x 19.1 cm)
unsigned.

Provenance
Marion Scott Gallery, Vancouver;
Ex. Collection Dan and Martha Albrecht, Arizona;
Their sale, Walker's, 26 May 2016, Lot 6;
Acquired from the above by the present Private Collection, BC.


Exhibited
Winnipeg, Winnipeg Art Gallery,Art & Expression of the Netsilik, 7 December 1997 - April 1998, cat. no. 167;
Loveland, CO, Loveland Museum / Gallery, Survival: Inuit Art, 2004, no cat. no.

Published
Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg: Winnipeg Art Gallery, 2000), cat. no. 167, reproduced p. 171;
Loveland Museum / Gallery, Survival: Inuit Art, (Loveland, CO: Loveland Museum / Gallery, 2004), reproduced p. 106, as "c. 1988" and "11.75 x 8 x 8.25 in".

Ullulaq is best-known for his carvings of hunters and fishers, shamans, and spirits, but some of his most engaging sculptures are lively depictions of women at work, often accompanied by wailing children. For a sculpture by Ullulaq that is truly similar both in style and in spirit to this one, Mother Killing Fish from 1990, see Ingo Hessel, Inuit Art: An Introduction, pl. 93, p. 116. In this appealing work, Ullulaq created one of his trademark comical/angst-filled faces, contorting it in an almost animal-like grimace, to perhaps convey the mother’s exasperation – or is it fear? It’s quite powerful stuff. The woman’s pail and ulu were likely crafted by Ullulaq himself; the artist enjoyed making dolls and crafts as a boy [1]. Another unusual feature of this zany and strangely compelling sculpture is Ullulaq’s treatment of the mother’s legs and feet. We don’t recall seeing this before in his work and wonder whether it might be a nod to Ullulaq’s nephew Karoo Ashevak.

1. See Wight, Art & Expression of the Netsilik, 2000, p. 171.

References: For a slightly different take on a similar subject by the artist see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 93, p. 116. For a discussion of the artist and his work as well as numerous illustrated examples see Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg: Winnipeg Art Gallery, 2000), pp. 152-171; cat. 159 (p. 163) is especially close in style to our example.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 98
INNUKI OQUTAQ (1926-1986) KINNGAIT (CAPE DORSET)
Antler Decorated with Arctic Motifs, early 1970s
antler, black ink and stone, 32 x 19 x 4.25 in (81.3 x 48.3 x 10.8 cm)
signed, "Enooky".

Provenance
A Toronto Collection.

Like his brothers Osuitok Ipeelie and Sheokjuk Oqutaq, Innuki was a supremely gifted artist. Whereas his siblings are best known for their works in sculpture, Innuki (also Enooky) was primarily a scrimshander. The technique of scrimshaw is very exacting. The surface to be decorated must be sanded smooth to prepare it for the etched designs. Then ink or graphite (or lampblack) is rubbed across the surface and penetrates the etched areas. There is literally no margin for error. Interestingly, despite his mastery of line, Innuki only produced three graphic works at the Kinngait printshop, one each in the years 1968, 1969, & 1970.

In the realm of Inuit scrimshaw work (at least in the Canadian Arctic) the only other artist who could compete with Innuki was Davidee Itulu from Kimmirut (Lake Harbour). Itulu preferred to work on walrus tusks, smoothing out surface irregularities to achieve a perfect “canvas.” Innuki, however, generally preferred caribou antler. Taking advantage of its natural shapes, he carefully and creatively faceted the antler into a multitude of planar surfaces; each might feature a variety of designs drawn from traditional Inuit camp life, clothing, and wildlife. This spectacular example, with its marvelous animal-like shape, is one of the largest and finest that we have seen.

References: For a similarly large example by the artist see Spirit Wrestler Gallery, The Cedar Creek Collection of First Nations Art: Susy and Jack Wadsworth, (Vancouver: Spirit Wrestler Gallery, 2019), pp. 4-5. For his brief foray into printmaking, see Hunters at Floe Edge, 1968 #29, Mask, 1970 #54, and Owl and Nest, 1970 #55. Despite being in colour, his prints harken to his graphic, black and white scrimshaw lines.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 99
AQJANGAJUK SHAA, R.C.A. (1937-2019) KINNGAIT (CAPE DORSET)
Dancing Walrus, early-mid 1980s
stone and antler, 16 x 17 x 11.25 in (40.6 x 43.2 x 28.6 cm)
unsigned.

Provenance
Spirit Wrestler Gallery, Vancouver;
Acquired from the above by the present Private Collection, Toronto.

A lifelong artist, Aqjangajuk Shaa is one of Cape Dorset’s “master carvers.” His career began at the age of seventeen with a sculpture sold to James Houston, and he would continue to carve through to the very end of his life. While his portrayal of Arctic wildlife made him a household name with collectors, dancing walruses became a signature of his skill and artistic bravado. Walruses are animals that might easily be described as inelegant and lumbering, but in Shaa’s hands they become graceful and even charming. Dancing animals by Shaa are known for their sense of fluid movement, and this Dancing Walrus is an energetic example. Twisting to unheard music, this walrus dynamically shifts and twirls on one well-balanced flipper.

Dancing Walrus can be appreciated from every angle, his various flippers pointing out in various directions as he dances. Another hallmark of Shaa’s style is a minimal, controlled use of detail. His emphasis is on the sculptures having a “total effect” when viewed. Combined with fine finishing techniques on the dark green and black stone, this allows us to enjoy the work for its expressive qualities and form.

References: For major works by the artist see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), figs.. 476-480, 894. For an early (1963) version that already clearly exhibits Aqjaganjuk’s penchant for dramatically posed animal subjects see Darlene Coward Wight The Jerry Twomey Collection, (Winnipeg: Winnipeg Art Gallery, 2003), p. 57; and Jean Blodgett, Cape Dorset, (Winnipeg: Winnipeg Art Gallery, 1980), cat. 64, p. 99. For an example from 2002 see Derek Norton and Nigel Reading, Cape Dorset Sculpture, (Vancouver: Douglas and McIntrye, 2005), p. 92. For other examples of Aqjangajuk’s powerful sculptural style see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 66, p. 88.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 100
TOONOO SHARKY (1970-) KINNGAIT (CAPE DORSET)
Dancing Bird Shaman, 1999
stone and antler, 23.5 x 17.5 x 4.5 in (59.7 x 44.5 x 11.4 cm)
signed and dated, "?? ?? / 1999."

Provenance
Galerie Elca London, Montreal;
Acquired from the above by the present Private Collection, Toronto, 2001.

Toonoo Sharky began carving at the ripe old age of nine or ten, first watching carefully as his grandfather Quppapik Ragee carved and then making his own works. By the age of sixteen he was supporting himself and he has never looked back. With his superlative craftsmanship and daring bravado, Toonoo is considered by many to be his generation’s answer to Osuitok Ipeelee. His marvelous depictions of birds of prey certainly rival the animal sculptures of the great master (see First Arts, 5 December 2022, Lot 28 and back cover).

While Toonoo is most famous for his bird sculptures, he has also produced a fair number of works that explore supernatural themes. Dancing Bird Shaman is the most overtly shamanic work by the artist that we can recall. This sculpture is certainly notable for its impressive size and flamboyant style, but especially for its markedly muscular depiction of a shamanic transformation. Although an atypical work both for the artist and the community, this sculpture comfortably holds its own alongside many of the finest supernatural pieces hailing from the Kitikmeot region, both in terms of quality of execution and visual impact.

References: For a smaller, less complex version of this theme, dated 2005, see Walker’s Auctions, 22 Nov. 2017, Lot 211. For more information about the artist, see the article by Jessica Tomic-Bagshaw, “Contemporary Artist: Toonoo Sharky” in Inuit Art Quarterly, Vol. 16, No. 3, Fall 2001, pp. 4-6, and a brief overview in Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), p. 82. Other, more realistic birds by Sharky can be found in Derek Norton and Nigel Reading, Cape Dorset Sculpture, (Vancouver: Douglas and McIntrye, 2005), p. 76, and see also First Arts, Toronto, 5 December 2022, Lot 28, and Lot 135 of this sale.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 101
JOHN TIKTAK, R.C.A. (1916-1981) KANGIQLINIQ (RANKIN INLET)
Standing Man, c. 1966-67
stone, 14.5 x 5 x 3.5 in (36.8 x 12.7 x 8.9 cm)
signed, "??".

Provenance
Inuit Gallery of Vancouver;
Acquired from the above by the present Private Collection, San Francisco, 1991.

Standing Man is one of Tiktak’s most elegant single figures. Carved shortly after the magnificent and much published Mother and Child of 1966 (AGO Collection, see Hessel, 1998, p. 97; Zepp, 1996, p. 8, 98; and Sculpture/Inuit, 1971, cat. 281), this sculpture is not quite as impressively tall as that work but it has the slim proportions and stateliness. Likewise, it has the crisp, clean lines and contours that we associate with Tiktak’s work from the first half of the 1960s – later examples tend to be more robust and sometimes even crude in their execution and demeanour. Though on the one hand it lacks the finesse of small-scale masterpieces by the artist (see Mother and Child from 1965, Lot 58), Standing Man does have considerable sculptural presence.

It is obvious to us that Tiktak took considerable pains to work out every curve and hollow with precision, for the sculpture is well-proportioned from literally every vantage point. We find the slender arms, and the generous hollows carved between them and the man’s torso, to be especially elegant and refined. The artist took care to get the balance right as well, because this tall Standing Man is surprisingly steady on his unusually small feet and stands quite comfortably in his almost casual hands-in-pockets pose. His face, too, seems relaxed if not serene. This sculpture is a prime example of Tiktak’s artistry.

References: For a somewhat larger but similarly styled and proportioned Mother and Child by the artist see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 75, p. 97; Norman Zepp, Pure Vision: The Keewatin Spirit, (Regina: Norman Mackenzie Art Gallery, 1986), cat. 44, pp. 8 and 98; George Swinton, Tiktak: Sculptor from Rankin Inlet, N.W.T., (Winnipeg: Gallery One-One-One, University of Manitoba, 1970), cat. 27; and Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cat. 281. In Pure Vision see also cat. 49, p. 104. For a fine Standing Man by the artist from 1968 see First Arts, 14 June 2022, Lot 33. For another large standing figure of bulkier proportions see Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970, (Hull, QC: Canadian Museum of Civilization, 1999), p. 176. See also Christine Lalonde and Natalie Ribkoff, ItuKiagâtta! Inuit Sculpture from the Collection of the TD Bank Financial Group, (Ottawa: National Gallery of Canada, 2005), pl. 13/cat. 42, p. 50; and Christine Lalonde, Sanaugavut: Inuit Art from the Canadian Arctic, (Ottawa: National Gallery of Canada, 2010), cat. 25, p. 62. For smaller but similarly posed and contemporaneous works see George Swinton, Tiktak: Sculptor from Rankin Inlet, N.W.T., (Winnipeg: Gallery One-One-One, University of Manitoba, 1970), cats. 18 and 24. For an important Standing Man from 1968 see First Arts, June 14, 2022, Lot 33.

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

NOTE
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Lot 102
ANDY MIKI (1918-1983) ARVIAT/TIKIRAQJUAQ (ESKIMO POINT/WHALE COVE)
Resting Seal, c. 1965-68
stone, 4.25 x 6.5 x 4.5 in (10.8 x 16.5 x 11.4 cm)
signed, "??".

Provenance
A British Columbia Collection.

This work is a stellar example of Andy Miki’s carving style from the mid 1960s, when he was still living in Whale Cove. The Whale Cove works are known for their degree of naturalism. Miki’s emphasis in those years was still largely on animal form and movement rather than radical abstraction; he gave us more tantalizingly realistic hints, even if we cannot consequently identify a species of animal precisely. This elegant and captivating Reclining Animal is probably either a caribou or seal. Miki’s background was inland Caribou Inuit, but he was living along the coast in Whale Cove, so either guess seems perfectly plausible. Lovely.

References: For a slightly different take on a reclining animal by the artist, First Arts, Toronto, 12 July 2020, Lot 115; Gerald McMaster ed., Inuit Modern, (Toronto: AGO, 2010), p. 135; see also Marion Scott Gallery, Inspiration (Vancouver: 1996) cat. 29. For stylistically related works see Norman Zepp, Pure Vision, (Norman Mackenzie Art Gallery, 1986), cat. 16; For other examples by the artist from his Whale Cove years see First Arts, 12 July 2020, Lot 60; 13 July 2021, Lot 60. Also see Walker's Auctions, Ottawa, 16 November 2016, Lot 50 (rough, with notches); 18 May 2017, Lot 255 (overall form).

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 103
ERIC NIUQTUK (1937-1994) QAMANI’TUAQ (BAKER LAKE)
Muskox, early 1960s
stone and muskox horn, 9 x 12.25 x 5.5 in (22.9 x 31.1 x 14 cm)
signed, "???".

Provenance
The collection of a retired RCMP officer, purchased by him from the artist;
Albrecht Collection, Scottsdale, Arizona;
Their sale, Walker's, Ottawa, 25 May 2016, Lot 161;
Acquired from the above by the present Private Collection, BC.


Exhibited
Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, 2006 [?], travelling exh.,Phoenix, AZ, The Heard Museum, 2006 [?], College Station, TX, J. Wayne Stark University Center Galleries, Texas A&M University; Coral Gables, FL, Lowe Art Museum, University of Miami; Anchorage, AK; Richmond, Virginia, Joel and Lila Harnett Museum of Art, University of Richmond; Tucson, AZ, Arizona State Museum, University of Arizona, dates unknown, cat. 86.

Published
Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 86, p. 98.

This truly impressive Muskox by Niuqtuk is one of the largest examples we know of from this early period of Baker Lake art. Its sculptural form is superb: both the pleasing outline and the sensuous volumes emphasize the animal’s bulk. We have always admired a pristine Musk Ox from 1963 by George Tatanniq (see Zepp, Pure Vision, cat. 66); Niuqtuk’s is larger and much bulkier, but it is every bit as beautiful. As with most other early 1960s examples there is no texture indicating the animal’s thick hair, but the marble veining of the stone beautifully conveys the impression of texture. This type of stone was sometimes used by Baker Lake artists in the early 1960s, but its colouration could be a distraction from the carved forms; here the veining actually enhances the beauty of the massive sculpture. There are additional features we admire about Muskox: we love the unusually large ears of the animal, which we find charming; and we feel that the contrast between the stone and the delicate horns is particularly elegant.

References: For a fine later example of the same subject by the artist (c. 1970) see See also Norman Zepp, Inspiration: Four Decades of Sculpture by Canadian Inuit, (Vancouver: Marion Scott Gallery, 1995), cat. 45, p. 70. For another later example (1972) see Winnipeg Art Gallery, The Zazelenchuk Collection of Eskimo Art, (Winnipeg: Winnipeg Art Gallery, 1978), cat. 29, p. 32.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 104
PETER INUKSHUK (1896-1975) QAMANI’TUAQ (BAKER LAKE)
Man Signalling Caribou Sighting, c. 1970
stone, 9 x 7 x 1.75 in (22.9 x 17.8 x 4.4 cm)
signed and inscribed in graphite to the accompanying tag, "??? / ???? [i made]".

Provenance
Collection of Mr Jack Butler, acquired directly from the artist.
Jack and Sheila Butler were arts advisors in Baker Lake in the crucial years of artistic flowering in the community from 1969 to 1976.

Peter Inukshuk was an elder artist who created a small but interesting oeuvre of sculptures before his death in 1975. Most of his figures are unclothed standing males, some quite distinctive for their depiction of genitalia (see Lot 49 for the artist’s masterpiece in this genre). Inukshuk carved human figures with details so sparse that it’s hard to tell if they are clothed or not; come to think of it, in that sense they are reminiscent of many works by the Rankin Inlet sculptors John Tiktak (see Lot 101) and John Kavik (see Lot 71). Even though Inukshuk’s style is spare and elegant, the artist beautifully conveys a sense of excitement with Man Signalling Caribou Sighting.

References: Fine examples of standing male figures by Inukshuk are illustrated in George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 57, p. 38; Canadian Eskimo Arts Council, Sculpture / Inuit, Sculpture of the Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), fig. 399; Winnipeg Art Gallery, The Zazelenchuk Collection of Eskimo Art, (Winnipeg: Winnipeg Art Gallery, 1978), cat. 14; Jean Blodgett, The Coming and Going of the Shaman, (Winnipeg: Winnipeg Art Gallery, 1979), p. 69; and Darlene Coward Wight, The Faye and Bert Settler Collection, (Winnipeg: Winnipeg Art Gallery, 2004), p. 64.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 105
GEORGE TATANNIQ (1910-1991), QAMANI’TUAQ (BAKER LAKE)
Woman with Child in Her Amaut, early-mid 1970s
stone and antler, 7.25 x 3.75 x 3.25 in (18.4 x 9.5 x 8.3 cm)
signed, "???".

Provenance
Upstairs Gallery, Winnipeg, MB;
Acquired from the above by the present Private Collection, Toronto.

While the early years of Geroge Tatanniq’s carving career were focused on the animals of the north, the late sixties saw a move towards more human subjects. Woman with Child in Her Amaut is a subtly graceful example of his figural style, carved in a modest scale favoured by the artist. The curves and edges of the mother’s amaut are crisply rendered, as are the rustic yet delicate facial features. The ulu provides a lovely, visual balance to the beautifully shaped hood, which veers off in the opposite direction, seemingly blowing in the wind. The hood opening provides a snug oval frame for the two faces peering from it, protected against the elements around them.

References: For a similarly posed but slightly later example by the artist see Upstairs Gallery, Baker Lake Sculpture, (Winnipeg: Upstairs Gallery, 1989), cat. 22 (front cover). For a somewhat larger Standing Woman see First Arts, 1 December 2020, Lot 108, and another First Arts, Toronto, 28 May 2019, Lot 14. For a selection of great works see the section on the artist in Norman Zepp, Pure Vision: The Keewatin Spirit, (Norman Mackenzie Art Gallery, 1986) pp. 120-129. For important human figures by Tatanniq see George Swinton, Sculpture of the Inuit, (McClelland & Stewart, 1972/92) fig. 681; Gerald McMaster ed., Inuit Modern: The Samuel and Esther Sarick Collection, (AGO, 2010) pp. 130-131.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 106
ANGUS TRUDEAU (1908-1984) ANISHINAABE (ODAWA)
Norisle, Manitowaning Bay, c. 1980
mixed media (glossy paint, gouache, ink, dry medium, graphite, metallic paint, and collage) on heavy card, 30.5 x 40 in (77.5 x 101.6 cm), framed.
signed with artist's stylized initials, "AT".

Provenance
Ex. Collection Rya and Eric Levitt;
Maslak McLeod Gallery, Toronto;
Acquired from the above by the present Private Collection, Toronto.

Exhibited
Angus Trudeau’s Manitoulin, travelling exhibition, Kleinburg, Ontario, McMichael Canadian Art Collection, 18 May - 4 Aug 1986; Sarnia, Ontario, Sarnia Public Library and Art Gallery, 16 Jan - 16 Feb 1987; London, Ontario, London Regional Art Gallery, 26 June - 9 Aug 1987; Mendel Art Gallery, Saskatoon, Saskatchewan; 26 June - 9 Aug 1987, Thunder Bay, Ontario, Thunder Bay Art Gallery, 17 Oct - 14 Nov 1987, cat. no. 10.

Quite apart from the so-called Woodlands School of his fellow Anishinaabe artists, Angus Trudeau is a self-taught artist whose passion for his home of the Manitoulin Islands is evident in the cheerful works that he created. Norisle, Manitowaning Bay exemplifies Trudeau's flat, stylised composition of the ferry boats, lake freighters, and other ships that populated the bays of Lake Huron.

Although it is uncertain when the artist began to paint, Trudeau’s initial foray into the commercial art world came by way of trading one of his pictures to the Mastin family — where it hung in their general store — in satisfaction of a debt. This method of bartering places Trudeau within the legacy of other self-taught artists, such as Maud Lewis and Horace Pippin, who traded their artworks in exchange for goods and services. Unlike these artists, however, Trudeau occasionally employed a collage method in his two-dimensional works. This technique was perhaps to aid him in accomplishing what he felt that he did not have the graphic skills to convey, or was possibly a result of his model making, where the artist made use of whatever materials were at hand, including Pez candies. In Norisle, Manitowaning Bay, the anchor at the bow of the steamship has been clipped from an island newspaper, or perhaps a postcard, and affixed to the heavy card by the artist.

This picture is dated after 1975, as the inspiration for the scene was drawn from a photo essay on the Norisle, which was moored in the Manitowaning harbour after being decommissioned and replaced by the Chi-cheemaun in 1974. Beyond the mighty ferry, we see the Manitoulin Roller Mills and Burns Wharf warehouse, which the artist has meticulously identified, despite his limited knowledge of the English language. In the foreground is the extremely rare inclusion of two figures docking a boat; the human element is usually absent in Trudeau’s ship portraits. Equally striking is Trudeau’s rendering of a cloud-filled sky in which he achieves an airy quality and delicacy that is rarely seen in non-academic paintings. It makes a lovely contrast with the calm waters and the shoreline below.

References: For a biographical account of the artist, see Av Isaac’s remembrances as well as Ian Thom’s introduction in Angus Trudeau’s Manitoulin, (Kleinburg, Ontario, McMichael Canadian Art Collection, 1987). Planning for this retrospective at the McMichael is extensively documented in Av Isaac’s fonds. See, files 1996-036/025(34 & 35) - [TIG artist files] Trudeau, Angus: Correspondence, etc. at York University Archives & Special Collections (CTASC), Toronto. Contained in this folder is also a photograph of a ship model made by the artist of the Norisle. For the photo essays that inspired the artist’s works, see Manitoulin Expositor, 10 April 1975, p. 1 and 24 July 1975, various.

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

NOTE
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Lot 107
ROBERT HOULE, R.C.A. (1947-) NAHKAWININIWAK (SAULTEAUX / PLAINS OJIBWAY)
Untitled (Abstract Sweetgrass in Purples), 1972
acrylic on canvas, 30 x 40 in (76.2 x 101.6 cm)
signed and dated, "R. Houle / 72".

Provenance
Ex. Coll. Gail Guthrie Valaskakis, Montreal;
by descent in the family.

With an eye toward the Color Field and Geometric Abstraction art movements, Robert Houle’s 1972 work, Untitled (Abstract Sweet Grass in Purples) finds its luxury in opulent colour and clean, hard edged forms. Whereas the abstract art of those working contemporaneously to Houle in the early 1970s, such as Yves Gaucher and Claude Tousignant, derives from indistinct sources, in the case of the present canvas, the source for the work is clear. Undoubtedly informed by his study of First Nations and Métis quillwork and other objects, dividing the canvas into three parts are the stalks of two blades of sweet grass. From these stem-stanchions sprout leaves configured in carefully delineated parallelograms and trapezoids. Houle’s sense of colour theory adds to the intensity of the image. Using a monochromatic palette of purple, Houle creates an illusionistic sense of space. The angular leaves are densely coloured with three perfectly calibrated hues emphasize their materiality, with each thrust and counter-thrust of the fragrant grass piercing into the lighter toned ground.

References: For two stylistically similar works, see Robert Houle, Ojibwa Motif, Purple Leaves, Series No. 2, 1972, Carleton University Art Gallery, Ottawa, ON and Robert Houle, Red Is Beautiful, 1970, Canadian Museum of History, Gatineau, QC. For an overview of the artist’s career and his efforts in Abstraction see Carol Podeworny, curator, Troubling Abstraction: Robert Houle, (Hamilton: McMaster Museum of Art, 2007) and Shirley Madill, Robert Houle: Life & Work, Art Canada Institute, Toronto, digital publication, 2018.

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

NOTE
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Lot 108
CARL BEAM, R.C.A. (1943-2005) ANISHINAABE (OJIBWE)
Bowl with Shaman Family, 1982
Manitoulin clay and natural pigments, 4.5 x 14.5 x 14.5 in (11.4 x 36.8 x 36.8 cm)
unsigned;
dated 1982 to the accompanying Whetung Gallery invoice.

Provenance
Whetung Gallery, Curve Lake, Ontario;
Acquired from the above by the present Private Collection, Toronto, accompanied by a copy of the original invoice

In 1980, Carl Beam moved to New Mexico, where he learned the Anasazi “coil-and scrape” manufacturing technique. His tutelage also included finding and identifying appropriate clays, which he then used to create works made from suitable clays native to his home of Manitoulin Island. Thereafter, Beam created bowls which intrigued viewers with their combination of revival Anasazi and Mimbres designs with both Woodlands and Western imagery.

In the centre from an abstract display of black sprinkles that gently drift about on the unglazed orange-red ground, emerges three shadowy figures whose hands are locked together. The arrangement of this shamanic family is a trio that obviously captivated the artist. He repeated it several times throughout his career, including for his commission at the entrance of the Ojibwe Cultural Foundation. In particular, the central horned figure is recurrent in Beam’s works. This horned silhouetted figure is a transmutation of the enduring images of the petroglyphs, which Beam described as “figures from our cultural past” [1]. Concentric bands around the rim echo design elements found on ancient Mimbres bowls but Beam interrupts the innermost belt with four cross shapes. The cross motif can also be found on the left breast of the horned figure, in place of its heart. This motif is repeated in Beam’s work, as well as in the works of other Anishinaabe artists, and is a symbol of the four directions. At the top, Beam, writes the letters A and Z, which may symbolize the notion of the fundamental or elemental, a reference to the natural materials of the bowl and to Beam’s own personal zenith, “let us remember that we are all related” [2].

1. As cited in Greg A. Hill, ed., Carl Beam: The Poetics of Being, 2010, p. 57.
2. Ibid., p. 41

References: For a very similar example of close vintage, see Shaman Family, 1984, illustrated in Robert Reid,"Ontario; Carl Beam in Brantford," Art Post Magazine, August/September, 1985, p. 30. For similar examples from the 2000s, see figs. 19 and 21 in Greg A. Hill, ed., Carl Beam: The Poetics of Being, (Ottawa: National Gallery of Canada, 2010), pp. 43-44. For additional information on Beam’s use of the Anasazi pottery technique, see Virgina Eichorn, “All Related: The Ceramic Work of Carl Beam,” in Carl Beam: The Poetics of Being, Greg A. Hill, ed., (Ottawa: National Gallery of Canada, 2010), pp. 41-59. See also Alan Corbier and Crystal Migwans, “Foundations: Carl Beam’s Work and the Continuing Influence Among Manitoulin’s Anishinaabek”in Carl Beam: The Poetics of Being, Greg A. Hill, ed., (Ottawa: National Gallery of Canada, 2010), pp. 51-52. In a brief note in Gerald McMaster, ed., Reservation X, (Hull, QC: Canadian Museum of Civilization, 1998), p. 26. It is worth noting that Beam’s reverence for the medium was so great that, when he returned to Manitoulin Island in 1983, he applied the skill to build an adobe (mudbrick) style home and advocated that it be adopted by others in the community. For a discussion of Shamanic figure(s), see Alan Corbier and Crystal Migwans, “Foundations: Carl Beam’s Work and the Continuing Influence Among Manitoulin’s Anishinaabek”in Carl Beam: The Poetics of Being, Greg A. Hill, ed., (Ottawa: National Gallery of Canada, 2010), pp. 56-7. The Beams’s early works were exhibited at the Maxwell Museum of Anthropology in Albuquerque in 1982 but it was not until 2004 when The Canadian Clay and Glass Gallery in Waterloo premiered the show It’s All Relative: Carl, Ann, and Anong Beam that Beam’s ceramics, to us, began to be fully appreciated. We are unable to find any records of the 1982 exhibition but it is discussed contemporaneously in Joseph Traugott, “Two Artists’ Works Show Slight Influence of Indian Design,” Albuquerque Journal, 14 March 1982, p. D-2 and subsequently in Robert Reid, "Ontario; Carl Beam in Brantford," Art Post Magazine , August/September, 1985, pp. 29-30 and John K. Grande, “Carl Beam: Dissolving Time,” The Canadian Forum, Vol. 72, No. 820, pp. 19-23.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 109
UNIDENTIFIED HAIDA ARTIST
Hollow Back Model Totem Pole, c. 1880
argillite, 13.5 x 3.75 x 2.75 in (34.3 x 9.5 x 7 cm)
unsigned.

Provenance
A Vancouver Collection.

Three highly polished figures make up this model totem pole. The hollowed back suggests that this was made relatively early in the argillite totem pole continuum, c. 1880. Like its wooden counterparts, the sculpture is wider than it is deep, a reflection of the half-log shape common to large Haida totem poles. The high polish connects this model to many later examples. Top to bottom, the figures are the bodiless head of a shark or dogfish, the snout arcing above its humanoid face. The fishes’ gill slits are carved into the forehead, and the knife-like teeth do much to indicate its identity. Beneath is the head of a raven, its beak laid down against its breast, its formline “ears” flanking the shark’s jaw. The wings are folded forward, the outer surface embroidered with a single large ovoid shape at the top. Feathers are represented by long, narrow parallel lines extending to the tips of the wings, part of which are tucked behind the upright ears of the large beaver figure below. A short stack of status rings atop the beaver’s head is grasped by the raven’s beak. The beaver is seated in what is often called the hocker position, its forefeet curled around the ends of a stout stick, a consistent feature of a beaver image. The stick is clamped between the large incisors in the beaver’s mouth, the primary identifier of Northwest Coast beavers. An unidentified face that looks out from between the beaver’s hind legs appears to be wearing a hat, the surface of which is textured, perhaps to suggest a woven pattern. A separate square base is attached at the bottom to add stability to the sculpture.

Steven C. Brown

References: For a discussion of early argillite poles (c. 1880-1900) see Peter L. Macnair and Alan J. Hoover, The Magic Leaves: A History of Haida Argillite Carving, (Victoria: Royal British Columbia Museum, 1984/2002), pp. 111-126. For a discussion of miniature argillite poles see Leslie Drew and Douglas Wilson, Argillite: Art of the Haida, (Vancouver: Hancock House Ltd., 1980), p. 216-227; additional examples throughout the book.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 110
CAPTAIN ANDREW BROWN (1879-1962) HAIDA
Model Totem Pole, c. 1910
argillite, 7.5 x 1.75 x 2 in (19.1 x 4.4 x 5.1 cm)
unsigned.

Provenance
A Vancouver Collection.

A particularly fine three-figure argillite pole attributed to Captain Andrew Brown, a Haida artist from Yan, Haida Gwaii, who was known primarily for his argillite carving. The pole features what appears to be a female bear holding her cub over an anthropomorphic male bear, a likely reference to the Haida story of the Bear Mother, which was a popular motif in argillite carvings. Although unsigned, this pole is almost certainly the work of Brown and reflects an earlier, more refined style of his carving. Distinctive features of Brown’s work found on this pole include large, flat eyes with center marks and broad, downturned mouths. Brown was a prolific maker who was heavily influenced by fellow Haida carver Charles Edenshaw (ca. 1839-1920), a fact which can be seen on this pole by the way the bear cub breaks the bilateral symmetry of the totem pole configuration. Brown was also a friend and informant of Canadian anthropologist Marius Barbeau, who promoted and published Brown’s work in his seminal book Haida Carvers in Argillite (1957). [1] The combination of Brown’s visibility in Barbeau’s books combined with his long career has meant that his pieces can be found in many public and private collections around the world. [1] Barbeau, Marius. 1957. Haida Carvers in Argillite. Vol. no. 139; no. 38; Ottawa: Department of Northern Affairs and Natural Resources, National Museum of Canada

Christopher W. Smith

References: For a discussion of the artist and his work see Marius Barbeau, Haida Carvers in Argillite, (Ottawa: Department of Northern Affairs and Natural Resources, National Museum of Canada, Bulletin no. 139; no. 38, 1957; repr. 1974), pp. 203-207. For a discussion of late argillite poles (after c. 1895) see Peter L. Macnair and Alan J. Hoover, The Magic Leaves: A History of Haida Argillite Carving, (Victoria: Royal British Columbia Museum, 1984/2002), pp. 175-188 (for a pole by Capt. Andrew Brown see fig. 221, p. 188. See also Leslie Drew and Douglas Wilson, Argillite: Art of the Haida, (Vancouver: Hancock House Ltd., 1980), p. 246-248. For other examples by the artist see First Arts, 12 July 2020, Lot 52.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 111
UNIDENTIFIED HAIDA ARTIST
Model Totem Pole, c. 1900-1920
argillite, 6.5 x 1.75 x 2 in (16.5 x 4.4 x 5.1 cm)
unsigned.

Provenance
A Vancouver Collection.

This small model pole is made up of two main figures, very elegantly posed. The raven on top features a stack of three status rings atop its head, its long, folded wings embroidered with well-composed formline elements. A frog’s head appears between the wings on top of the lower figure’s head. This figure is a bird of unknown species. It’s unlikely to be an eagle, though the shape of the head and beak might suggest that. Raven and Eagle are opposite moieties in Haida culture and would not appear on the same object. The breast of this bird is covered with spots made with small cuts in the stone. This could be intended to represent a flicker, the small bird with black spots on its breast and tail feathers that are orange and black with pointed tips, frequently seen on headdresses with carved frontlets. The wings on this pole echo the formline embroidery of the raven above, and a swish of tail feathers appears behind the wing. The back of the pole is flat, typical of post-1900 examples. The base includes an unusual scallop cut on each corner, a treatment seldom seen if not unique in this tradition.

Steven C. Brown

References: For a discussion of late argillite poles (after c. 1895) see Peter L. Macnair and Alan J. Hoover, The Magic Leaves: A History of Haida Argillite Carving, (Victoria: Royal British Columbia Museum, 1984/2002), pp. 175-188. For a discussion of miniature argillite poles see Leslie Drew and Douglas Wilson, Argillite: Art of the Haida, (Vancouver: Hancock House Ltd., 1980), p. 216-227; additional examples throughout the book.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 112
YOUNG DOCTOR (c. 1851-1934) MAKAH
Model Totem Pole, c. 1900
red cedar and pigment, 29 x 4 x 5 in (73.7 x 10.2 x 12.7 cm)


Provenance
Ye Olde Curiosity Shop, Seattle, WA, their red and white label affixed to the pole, verso;
A British Columbia Collection.

Young Doctor was a prolific and well-known Makah carver and canoe maker in the first quarter of the 20th century. Through his association with the Ye Olde Curiosity Shop in Seattle, Washington, Young Doctor’s creations were sold around the globe and can still be found in some of the most prestigious public collections today. Collectors of Young Doctor’s work included George Gustav Heye (1874-1957), whose collection would form the nucleus of the Smithsonian National Museum of the American Indian (NMAI) which still houses pieces by Young Doctor including a large spirit canoe (11/4254) and the iconic half-scale model whaling canoe and crew (6/8874). Other major collections with Young Doctor’s work include the Smithsonian National Museum of Natural History (E328606-0; E336592-0; E336590-0), Burke Museum (1992-90/51), Autry Museum of the American West (643.G.158; 611.G.115; 491.G.1454; 577.G.4; 491.G.1816), Ye Olde Curiosity Shop, and the Makah Cultural & Research Center Museum. Young Doctor was also frequently photographed carving and posing with his objects, which has added to his visibility and desirability among collectors. See Kate Duncan’s 1001 Curious Things: Ye Olde Curiosity Shop and Native American Art (2001) [1] for more information on Young Doctor’s relationship with the Ye Olde Curiosity Shop.

This larger model pole depicts an eagle or thunderbird over a human figure and frog. It is finely carved and painted in old white, green, orange, grey, black, and burgundy pigments. The almond-shaped eyes on the figures are characteristic of Young Doctor’s work in how the pupils are fully encircled in white and do not touch the eyelids. The painting is very fine and features some nice flourishes, including a reticulating pattern of alternating colours on the wings of the bird and orange stippling on its ears. There are five vertical v-cuts with orange paint on the back of the frog, which is carved in high relief from the shaft of the pole. The pole also features an original red sticker from the Ye Olde Curiosity Shop which reads: “FROM/YE OLDE CURIOSITY SHOP/ESTABLISHED 1899/COLEMAN DOCK FRONT/INDIAN RELICS, SEA SHELLS, ETC./MOST UNIQUE/SHOP IN THE WORLD/ J.E. STANDLEY, PROP.”

[1] Duncan, Kate. 2001. 1001 Curious Things: Ye Olde Curiosity Shop and Native American Art. Seattle: University of Washington Press.

Christopher W. Smith

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 113
MERVYN CHILD HUNT (1955-) KWAKWA_KA_'WAKW
Kwagu'l Sisiul, 2002
cedar, cedar bark, acrylic paint and copper, 19.25 x 73.25 x 9.5 in (48.9 x 186.1 x 24.1 cm)
titled, signed, and dated, "KWAGU'L / SISI'UL / Mervyn Child / 2002".

Provenance
Gallery Indigena, Stratford, Ontario;
Acquired from the above by the present Private Collection, 16 April 2004, accompanied by a copy of the receipt.

Mervyn Childs continues to live in his home village of T’sakis / Fort Rupert and to work in the Copper Maker Studio and gallery created by his uncle, Calvin Hunt. He is an active cultural performer, teacher, and artist.

The Sisuitl was often depicted in large panels installed in ceremonial longhouses. This supernatural creature had two heads with a central human form, with supernatural horns flanked by human hands, representing the possession of the supernatural power held by the Sisuitl. The Sisuitl is often associated with power crossing from the natural to the human world, with the ability to protect and heal, and it is therefore associated with shamanic rituals.

Gary Wyatt

References: For a Sisiutl mask by Charlie James see Peter L. Macnair, Alan L. Hoover, & Kevin Neary, The Legacy: Tradition and Innovation in Northwest Coast Indian Art, (Vancouver: Douglas & MacIntyre: Vancouver, 1984), p. 72. See also Audrey Hawthorn, Kwakiutl Art, (Vancouver: Douglas & McIntyre, 1988), pp. 125-126.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 114
SIMON DICK (1951-) KWAKWA_KA_'WAKW
Green Egret Headdress, 1998
cedar wood, cedar bark, and acrylic paint, 12 x 39 x 8.5 in (30.5 x 99.1 x 21.6 cm) measurements reflect dimensions without cedar bark fringe.
titled, signed, signed with artist's stylized initials, inscribed, and dated, "Tanis Katalawi / Simon Dick / SD/ 'Green Egret' / 98".

Provenance
Spirit Wrestler Gallery, Vancouver, accompanied by their gallery literature;
Acquired from the above by the present Private Collection, Texas.



Published
Gary Wyatt, Mythic Beings: Spirit Art of the Northwest Coast, (Vancouver: Douglas & McIntyre, 1999), p. 45.

Tanis, Simon Dick was born in Alert Bay in 1951 and raised in Kingcome Inlet. He was raised speaking the Kwakwaka’wakw language and participating in ceremonies as an artist and dancer. His contemporary style is a mix of washes and bleeds of colour blended with traditional formline, which he credits to his observations as a dancer and observer of masks seen by firelight. He is also interested in birds, which are less documented in traditional stories. This has offered him artistic licence to capture their plumage and colour in masks. He often uses feathers as well cedar bark to dress his masks and headdresses. Simon Dick has travelled to the Amazon rainforest with the musician Sting as an artist and activist, supporting protection and awareness of rainforest destruction. He was commissioned to construct the massive Thunderbird canopy for the public amphitheatre at the Canadian Pavilion at Expo ‘86 in Vancouver.

Gary Wyatt

“The Egret is a relative of the Heron, which has a much more prominent position in Northwest Coast mythology. The Egret is a very elusive bird and is rarely seen by people. My first attraction to the Egret was seeing its coloration, which is identical to the green, grey and brown commonly used by southern Kwakwaka’wakw artists.” (Words of the artist in Gary Wyatt, Mythic Beings, (1999), p. 44.

References: For two masks by the artist, this Green Egret and a similar Huxwhukw Mask, see Gary Wyatt, Mythic Beings: Spirit Art of the Northwest Coast, (Vancouver: Douglas & McIntyre, 1999), p. 45

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 115
ART THOMPSON (1948-2003) NUU-CHAH-NULTH
Sun Mask, 36404
cedar wood, pigment, fur, metal, copper, and mirrors, 33.5 x 48 x 9 in (85.1 x 121.9 x 22.9 cm), measurements reflect dimensions without fringe
signed and dated, "Art Thompson / Sept 1997 / Nitinat Lake / B.C.";
inscribed in an unknown hand in graphite, "Bonita 474-2032".

Provenance
Spirit Wrestler Gallery, Vancouver, accompanied by their gallery literature;
Acquired from the above by the present Private Collection, Texas.

Tsa-qua-sup, Art Thompson is a Ditidaht Nuu-chah-nulth artist from the village of Whyac on Nitinat Lake on the west coast of Vancouver Island. His childhood was interrupted with hospitalization for tuberculosis followed by forced enrollment in residential school, where he was severely abused. He would later become a prominent spokesperson for justice for residential school survivors. Despite years away from home, he was influenced by the cultural teachings of his grandfather, and at fourteen he was initiated into the high ranking Tlukwana Wolf Society. Thompson became a logger at a young age but was injured by a falling tree, which forced him to revalue his future. He enrolled at Camosun College in Victoria, and later at the Emily Carr Institute in Vancouver to study printmaking and sculpture. Thompson had an early understanding of Nuu-chah-nulth forms, and he was a natural born designer. His series of prints produced early in his career, now referred to as the “Seafood Series,” are among the most collected Northwest Coast prints. Together with the prints of Joe David, Ron Hamilton, and Tim Paul, they established a powerful presence in the art market, defined new directions for Nuu-chah-nulth art, and found an enthusiastic collector base. Art Thompson would create a legacy for innovative graphics and sculpture including masks, totem poles, rattles, and puppets. His fluid designs rendered in precise, sharp lines, continue to influence the styles of emerging artists. In 1995 Thompson was chosen to carve a totem pole for Stanford University to commemorate the first indigenous graduate from that university. He died in 2003 at the age of fifty-six, after several years of battling cancer.

This Sun Mask features two flanking wolves and an eagle painted on the forehead. Large-scale Sun Masks were frequently handheld above a screen. The mask is dressed with copper, horsehair, metal tacks, and mirrors which capture the reflective light of the sun.

Gary Wyatt

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 116
AKEEAKTASHUK (1898-1954) INUKJUAK (PORT HARRISON)
Hunter Pursuing a Seal, c. 1951
stone, walrus tusk, and soap inlay, 9.5 x 9.25 x 5.5 in (24.1 x 23.5 x 14 cm)
unsigned.

Provenance
Private Collection, USA.

More than virtually any work we have seen by this famous pioneer artist, Hunter Pursuing a Seal feels like a narrative hunting scene. The great majority of depictions of hunters by Akeeaktashuk show the human subject poised to throw a harpoon or spear, but alone. Of the works that depict hunter and prey mounted on a base, the image usually feels more symbolic than narrative; there is seldom a real sense of interaction between them. With Hunter Pursuing a Seal, the hunter’s weapon is aimed down not out; it’s a subtle distinction, but it works to convey movement in real time, rather than the “timelessness” of Akeeaktashuk’s other depictions. The hunter’s eyes appear to follow this downward trajectory as well, and his open mouth adds to the feeling of excitement. For its part, the seal appears to be trying to make its escape off the ice floe. In other respects, this work is classic Akeeaktashuk. It is carved with robust elegance, nicely polished, and inlaid with soap as was the fashion at the time in the early years of Inukjuak art. We have dated Hunter Pursuing a Seal to early in Akeeaktashuk’s career, likely 1951 or possibly earlier. Stylistically it reminds us very much of the artist’s Hunter and Walrus dated to c. 1950, formerly in the John and Mary Robertson Collection (see Jean Blodgett’s 1986 catalogue, cat. 31, p. 52, and Walker’s Auctions, 13 Nov. 2011, Lot 33).

References: For the noted composition by Akeeaktashuk, dated c. 1950, see Jean Blodgett, Selections from The John and Mary Robertson Collection of Inuit Sculpture, (Kingston: Agnes Etherington Art Centre, 1986), cat. 31, p. 52 (also illustrated in Walker’s Auctions, Ottawa, 13 November 2011, Lot 33); For a similarly posed Hunter and Bear mounted on a base by the artist from 1950 in the TD Bank Collection, see Darlene Coward Wight,Early Masters: Inuit Sculpture 1949-1955, (Winnipeg: Winnipeg Art Gallery, 2006), p. 31; for other examples of the artist’s work see Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), cat. 6; for a similarly posed Hunter by the artist from c. 1950-51 see First Arts, Toronto, 1 December 2020, Lot 24.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 117
UNIDENTIFIED ARTIST, POSSIBLY IQALUIT (FROBISHER BAY)
Standing Woman, c. 1949
stone, 7 x 3.25 x 1.75 in (17.8 x 8.3 x 4.4 cm)
unsigned.

Provenance
The Eskimo Art Gallery, Montreal;
Acquired from the above the present Private Collection, c. 1980.

Occasionally we come across a work that completely surprises us. A cursory glance at this small, delightful sculpture indicates beautiful workmanship and simple but very pleasing proportions. The surprise is in the details: the almost unique decorative treatment of the clothing details. We know of only one other Inuit carving with similar meticulously drilled patterns we see here on the woman’s (or girl’s) parka and skirt: a lovely work made by an unidentified Inukjuak artist c. 1949. We are certain that the two pieces were created by the same artist; the only major difference being the lack of soap inlay on this example. Especially notable here are the shield-like pattern on the parka; the gentle sway of the pleated skirt; and the sweet little shoulder tassels. In some ways Standing Woman reminds us of the remarkable early 1950s Standing Mother and Child by a Cape Dorset artist (see First Arts, July 2021, Lot 21). Charming and exquisite.

References: For a very similarly styled work from 1949, almost surely by the same artist, see Canadian Eskimo Arts Council, Sculpture / Inuit: Masterworks of the Canadian Arctic, (Toronto: University of Toronto Press, 1971), cat. 250; and George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 311, p. 163.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 118
NALENIK TEMELA (1939-2003) KIMMIRUT (LAKE HARBOUR)
Dancing Bear, 2001
stone, 16.25 x 13.5 x 6.5 in (41.3 x 34.3 x 16.5 cm)
signed and dated, "??? / ??? / 01".

Provenance
Maslak McLeod Gallery, Toronto;
Acquired from the above by the present Private Collection, Toronto, 2001.

Despite his own diminutive stature, many of Nalenik Temela's sculptures are massive and powerful looking. His monumental depictions of bears, which had a unique texture created by contrasting matte torsos and limbs with highly polished heads and paws, are his best-known works. Although perhaps inspired by the Cape Dorset sculptor Pauta Saila's "dancing bear" theme, Nalenik created his own distinctive style. His bears’ bodies are often contorted, more closely resembling the works of Pauta's colleague Aqjangajuk Shaa. Nalenik's best works feature a massive body with sinuous curves flowing seamlessly from the head and limbs. Small details like the creased snout and angry eyebrows contribute to the ferocity of the bear's roar. In this mid-sized but still quite hefty Dancing Bear the torso is comparatively small in relation to the animal’s thick neck and limbs. But it is the bear’s massive paws and head that truly dominate the work.

Nalenik started carving when he was fifteen years old in the mid 1950s, beginning with small walrus tusk carvings and progressing to larger stone portraits of bears and other animals. Nalenik and his family lived in camps on the land until the late 1970s, after which they moved to Kimmirut permanently. Nalenik had an old-school approach to carving, and he relied on the shape of the stone to determine what would emerge. Nalenik preferred using simple, homemade hand tools to create his art.

References: For other, albeit larger examples of Nalenik bears, see First Arts, Toronto, 12 July 2020, Lot 99; First Arts, and Toronto, 5 December 2022, Lot 152. For further examples of bears by the artist see Amway Environmental Foundation, Masters of the Arctic: Art in the Service of the Earth (1990), cover and pp. 66-67. The international touring exhibition was inaugurated at the United Nations General Assembly Gallery in NYC. See also George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1992), fig. 893. For an interesting Seated Bear by the artist from the early 1970s see Walker's Auctions, May 2013, Lot 93.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 119
LUCASSIE IKKIDLUAK (1949-) KIMMIRUT (LAKE HARBOUR)
Grazing Muskox, 1992
stone and antler, 9 x 16.5 x 7.25 in (22.9 x 41.9 x 18.4 cm)
signed, "??? ????";
inscribed and dated, "??? (Kimmirut) 1992".

Provenance
Waddington’s Auctions, Toronto, Nov. 2007, Lot 376;
Acquired from the above by the present Private Collection, San Francisco.

Lucassie Ikkidluak, much like his fellow Kimmirut artist Nalenik Temela (see Lot 118), makes the interplay of various textures within the same piece at least as important as the subject itself - although with startlingly different results. This Grazing Muskox is a striking example of the seemingly endless degrees of textured surfaces that Ikkidluak can coax from a single piece of stone. Many of Ikkidluak’s early sculptures feature a central figure (or figures) firmly situated on a landscape base. He incorporated the use of a base as a “groundline” for his first few muskoxen but discontinued it in the early 1990s. Grazing Muskox is, therefore, an interesting transitional sculpture where the base remains part of the narrative. The subject is portrayed sniffing the tundra in search of vegetation. Muskoxen are herbivores; during the winter they commonly eat willows but use their strong hooves to dig through the snow to expose lichens and other vegetation.

Lucassie Ikkidluak began carving seriously in 1967. While most of his works from the 1960s and 1970s depict human figures, by the mid 1980s Ikkidluak had begun carving imposing portrayals of muskoxen, which would become the major focus of his oeuvre going forward. Today, Ikkidluak is the foremost living carver of muskoxen producing works which are almost photographic in their realism.

References: For similar works by the artist see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1992 edition only), fig. 897, p. 268. See also Darlene Coward Wight, The Harry Winrob Collection of Inuit Sculpture, (Winnipeg: Winnipeg Art Gallery, 2008), p. 124; Darlene Wight, The Stafford Collection of Inuit Sculpture, (Winnipeg Art Gallery, 2012), fig. 10; Institute of American Arts Museum, Keeping Our Stories Alive: An Exhibition of the Art and Crafts from Dene and Inuit of Canada (Santa Fe, 1995), cat. 47; and Amway Environmental Foundation, Masters of the Arctic: Art in the Service of the Earth (1990), p. 32 (international touring exhibition inaugurated at the United Nations General Assembly Gallery in NYC, 1989).

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 120
JOE KILOONIK (1938-2011) TALOYOAK (SPENCE BAY)
Seated Drummer, 1996-97
stone and antler, 19.5 x 13 x 16.25 in (49.5 x 33 x 41.3 cm)
signed, "???".

Provenance
Spirit Wrestler Gallery, Vancouver;
Acquired from the above by the present Private Collection, California.

Published
Spirit Wrestler Gallery, Joe Kiloonik: Sculpture, (Vancouver: Spirit Wrestler Gallery, 1998), cat. 13.

Kiloonik, who was born in Gjoa Haven and later moved to Taloyoak with his family in the mid 1960s, only began carving in earnest during the early 1970s, after losing a foot and struggling to find regular employment. Fortunately, the Spence Bay carving industry was thriving at that time. Although many sculptors in Taloyoak at that time were influenced by Karoo's style, it was Kiloonik's bone sculptures that most closely followed Karoo's distinctive aesthetic. However, Kiloonik did not enjoy carving bone and switched to stone. In doing so he discovered his own distinctive style which featured lovely, smooth surfaces and rounded forms. Although not a prolific artist, Kiloonik had a solo exhibition in 1998 at the Spirit Wrestler Gallery in Vancouver, which showcased several exceptional compositions including this sculpture and the stunning Shamans Calling the Animals (see First Arts, 14 June 2022, Lot 101).

Not a prolific artist, Kiloonik never attained the notoriety of his contemporaries Judas Ullulaq and Charlie Ugyuk. One could easily argue that in terms of quality, Kiloonik’s work was more consistent than many of his competitors, who often opted for quantity over workmanship (perhaps due to greater demand). Kiloonik always seemed happy to create at his own pace, taking his time with each sculpture until he was satisfied and ready to release it for sale. His attention to detail and his pride of workmanship is certainly obvious in this wonderful Seated Drummer.

References: For a similarly styled Drummer by Kiloonik see Susan Gustavison, Northern Rock: Contemporary Inuit Stone Sculpture, (Kleinburg: McMichael Canadian Art Collection, 1999), cat. 54, p. 159. For a brief discussion of the artist and two examples of his work see Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg: Winnipeg Art Gallery, 2000), pp. 78-79. See also other drummers by the artist in the solo exhibition catalogue Joe Kiloonik: Sculpture, (Vancouver: Spirit Wrestler Gallery, 1998), cats. 7, 8, 14. For a later and somewhat smaller but similar subject by the artist see Walker’s Auctions, Ottawa, Nov. 2015, Lot 63. For a superb Shamans Calling the Animals by the artist, also dated 1996 and purchased at the same exhibition in Vancouver, see First Arts, June 14, 2022, Lot 101.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 121
CHARLIE UGYUK (1931-1998) TALOYOAK (SPENCE BAY)
Kneeling Female Demon, c. late 1980s
stone, 10.5 x 7 x 6.25 in (26.7 x 17.8 x 15.9 cm)
signed, "?? ??".

Provenance
Waddington’s Auctions, Toronto, Spring 1997, Lot 1184;
Acquired from the above by the present Private Collection, Toronto.

The older brother of Judas Ullulaq (see Lots 32 and 97), Charlie Ugyuk remained in Taloyoak when Ullulaq and their brother, Nelson Takkiruq, moved to Gjoa Haven in the early 1980s. Ugyuk wrestled with the personal demons of alcohol and violence for many years, and clearly had issues with Christianity; shamanic and demonic imagery dominated his art for at least the last dozen years of his life. Kneeling Female Demon blends human and satanic features, while lacking animal attributes seen in some similar examples; Darlene Wight is right to refer to these works as Ugyuk’s “fire-and-brimstone” imagery [1].

This sculpture is perhaps not for the faint of heart, but it’s a tremendously powerful work of art. The female demon kneels and holds her hands behind her back as if in bondage, yet the artist has carved no restraints. The figure’s visage truly is devilish, and it takes little imagination to hear her angry, defiant roar. Sculpturally speaking, perhaps the most remarkable aspect of this work is Ugyuk’s use of texture. The various textures look and feel like acts of violence. The demon’s pitted brows, mustache, and beard, and even her nipples look as if they have been attacked with a sharp pick; her hair looks mauled by animal paws; and the sculpture’s base appears to have been shredded by talons. Extraordinary.

1. Wight, Art & Expression of the Netsilik, 2000, p. 104.

References: For similarly themed or styled works by the artist see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 100, p. 122; and Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 173, pp. 212-213. For a discussion of the artist and his work as well as numerous illustrated examples see Darlene Coward Wight, Art & Expression of the Netsilik, (Winnipeg: Winnipeg Art Gallery, 2000), pp. 104-113; for the most similar works in this catalogue see cats. 113 and 115. For a fine depiction of Wrestling Demons see First Arts, July 13, 2021, Lot 44. For an impressive work from the mid 1980s see the cover of the Inuit Art Quarterly, Spring 1993 (Vol. 8, No. 1). For a kneeling Bear-Shaman from c. 1990 see Walker’s Auctions, 25 May 2016, Lot 127.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 122
DAVIDIALUK ALASUA AMITTU (1910-1976) PUVIRNITUQ (POVUNGNITUK)
The One Who Suddenly Grew Big, c. 1958
stone, 8.5 x 6 x 3.25 in (21.6 x 15.2 x 8.3 cm)
inscribed with disc number, signed, and inscribed, "E9 824 / DEVIDE / ????? ?????".

Provenance
Galerie Elca London, Montreal;
Acquired from the above by John and Joyce Price, Seattle.

Davidialuk’s syllabic inscription roughly translates as “a long story of one who suddenly grew big.” A quite similar sculpture (in the collection of the Canadian Museum of History) is illustrated in Zebedee Nungak and Eugene Arima’s book Inuit Stories: Povungnituk (1969; reissued 1988), p. 68; the fascinating old legend as recorded by Davidialuk is translated on pp. 69-71. Briefly: in a time of starvation, travelers return to an igloo to find only one survivor, an infant girl grown to gigantic proportions and wearing her mother’s amautiq around her neck. The infant gives chase, but the fleeing hunters whip her and throw her sealskin scraps to slow her down. She eventually tires and turns into a rocky island. Davidialuk loved old stories but was known to be unfussy about details when depicting them; here the half-naked infant is clearly a baby boy. This astonishing sculpture is an early masterpiece by the artist and reveals Davidialuk’s rustic realism and his flair for drama at their most brilliant.

References: A sculpture of the same subject (in the collection of the Canadian Museum of History) is illustrated in Zebedee Nungak and Eugene Arima, Inuit Stories: Povungnituk, (Gatineau: Canadian Museum of Civilization, 1988), p. 68; the fascinating legend recorded by Davidialuk is translated on pp. 69-71. A possibly related subject is illustrated in Darlene Coward Wight, Early Masters: Inuit Sculpture 1949-1955, (Winnipeg: Winnipeg Art Gallery, 2006), p. 120; and in George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 373, p. 172.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 123
JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK)
Owl, early 1970s
stone, 6.25 x 3 x 3 in (15.9 x 7.6 x 7.6 cm)
signed, "JOE".

Provenance
Private Collection, Michigan, USA.

As a personally favoured subject of Joe Talirunili, the owl crops up frequently throughout his career in both sculpture and in his graphic art. This Owl certainly shares “family traits” with others by the artist, but absolutely every one of them possesses a distinct personality and individuality. This specimen is tall and has an upright, slightly stern quality. The straight, bushy eyebrows lend it a bit of military bearing. Haughty? Perhaps that’s going a bit too far. Stoic? Yes, we would agree with that assessment. The stern and stoic form of this horned owl is familiar, with the broad, short face dominated by the large eyes and those straight eyebrows. His wings and tail feathers carry subtle tool marks to delineate direction and texture. Talirunili’s owls are at once unlike any other Inuit artists’ owls and immediately recognizable as his own.

References: For a similar work by the artist see Bernadette Driscoll, Uumajut: Animal Imagery in Inuit, (Winnipeg: Winnipeg Art Gallery, 1985), cat. 31, p. 66; for several examples see Marybelle Myers, Joe Talirunili: A Grace Beyond the Reach of Art, (Montreal: La Federation des cooperatives du Nouveau-Quebec, 1977), on pp. 4, 18-19, 26-27, 32, 40, and 50, as well as several prints depicting owls. See also First Arts, May 2019, Lot 1; Jean Blodgett, Povungnituk, (Winnipeg: Winnipeg Art Gallery, 1978), cats. 67-68; George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 360. For a very early owl (not a horned owl) from 1953, see Darlene Coward Wight, Early Masters: Inuit Sculpture 1949-1955, (Winnipeg: Winnipeg Art Gallery, 2006), p. 108. See also First Arts, Toronto, 14 June 2022, Lot 90.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 124
ENNUTSIAK (1893-1967) IQALUIT (FROBISHER BAY)
Hunter with Captured Bear, c. 1960-62
stone and walrus tusk, 7.75 x 5.5 x 4.25 in (19.7 x 14 x 10.8 cm)measurements reflect width without inset spear, with: 6 in (15.2 cm)
inscribed with artist's disc number, "E-7-603".

Provenance
Purchased in Iqaluit (Frobisher Bay), between 1958-1963;
by descent in the family.

This lovely sculpture depicts a hunter carrying a polar bear casually on his back. One must immediately ask whether the artist is crediting the hunter with almost superhuman strength, for surely even the smallest of polar bears cannot be so jauntily transported. There are indeed numerous stories of Inuit hunters performing feats of strength, so Ennutsiak can easily be forgiven the exaggeration.

We should also consider whether this sculpture refers to Inuit legend or oral history; it would be a departure for an artist whose favourite subjects were scenes from traditional camp life, but Ennutsiak was originally from Nunavik where the tradition of Inuit folklore is strong (see Lot 122). There are several Inuit legends featuring giants, so we would not be surprised if this sculpture depicts one. Also, stories about the ancient Dorsets (called Tunit by the Inuit) refer to them as large people with great physical strength. This would certainly explain how small the bear looks in comparison to the hunter and would account for the bulkiness of the hunter. Ennutsiak figures are generally far more svelte, but here, Ennutsiak could have used mass to convey the colossal. Should our hypothesis be correct, this is possibly the only work of its kind by the artist.

References: For other works by the artist see Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970, (Gatineau: Canadian Museum of Civilization, 1999) pp. 131-133. For other works of figures by the artist, see First Arts, Toronto, 14 June 2022, Lot 44, and First Arts, Toronto, 30 November 2021, Lot 22. For important works by the artist see First Arts Auction, May 2019, Lot 40; 14 June 2022, Lot 8. For a similarly themed work by the Clyde River artist Simeonie Qayaq see Walker’s Auctions, Ottawa, 3 May 2012, Lot 85.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 125
ENNUTSIAK (1893-1967) IQALUIT (FROBISHER BAY)
Muskox, c. 1960-62
stone and antler, 3 x 5 x 2.25 in (7.6 x 12.7 x 5.7 cm)
inscribed with artist's disc number, "E7-603".

Provenance
An Ottawa Collection.

We’ve long wondered why sculptures of muskoxen are so prevalent in both Cape Dorset and Iqaluit, particularly as the muskox has not been native to Baffin Island for some time. Did Inuit hunters encounter muskoxen during extended hunting voyages, or had the animal attained mythological properties in oral histories?

Perhaps the most prolific and best-known purveyors of the muskox in sculpted form were members of the Ipellie family: Nuveeya (1920-2010); his son Seepee (1940-2000); and his grandson Jomie (1963-2020). The patriarch of the Ipellie clan was none other than Ennutsiak who migrated to Baffin Island from Nunavik as a young man. However, while there is now a muskox herd in Nunavik, this was only the result of a reintroduction programme which began around 1967, the year of Ennutsiak’s death. Regardless of where the artist got the inspiration to carve this absolutely charming ovibos moschatus, could this sculpture potentially be the piece that kicked off a family industry which lasted for generations? Curiously, despite the abundance of muskoxen carved by his progeny, we cannot recall ever having seen another by great-grandfather Ennutsiak!

References: For important works by the artist see First Arts Auction, May 2019, Lot 40; 14 June 2022, Lot 8. For other works by the artist see Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970, (Gatineau: Canadian Museum of Civilization, 1999) pp. 131-133.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 126
LUKE ANGUHADLUQ (1895-1982) QAMANI’TUAQ (BAKER LAKE)
Kayaks and Caribou, 1971 (1972 #10)
Printmaker: THOMAS IKSIRAQ (1941-1991) QAMANI'TUAQ (BAKER LAKE)
stonecut, 23.25 x 30.5 in (59.1 x 77.5 cm), framed
8/46

Provenance
Collection of John and Joyce Price, Seattle.

Luke Anguhadluq's Kayaks and Caribou showcases both his remarkable capacity for keen observation and his imaginative expression, while its seemingly simple but crystal-clear style compellingly pulls us into his rich reservoir of memories. While the imagery of this hunt is easier to read than some of Anguhadluq’s other works, his unconventional approach to scale and perspective is still present in the flipped (and quite comical) orientation of one of the kayakers. The work is large, providing a wide expanse for the kayakers to traverse as they chase the swimming caribou, clustered together as they strain to reach the shore and safety. The stone for this stunning image was cut by the artist’s son Thomas Iksiraq; perhaps this is why it is so faithful to the original, drawn by Anguhadluq on a similarly large sheet of paper.

References: For an illustration of Anguhadluq’s original coloured pencil drawing, dated 1970, see Jean Blodgett, Eskimo Narrative, (Winnipeg, Winnipeg Art Gallery, 1979), cat.16, p. 17; or Bernadette Driscoll, Baker Lake Prints & Print-Drawings 1970-76, (Winnipeg: Winnipeg Art Gallery, 1983), p. 35. This work and some others by the artist are discussed by Jean Blodgett in Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), fig. 3, p. 38-39.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 127
LUKE ANGUHADLUQ (1895-1982) QAMANI’TUAQ (BAKER LAKE)
Musk-Oxen, 1973 #4
Printmaker: HUGH TULURIALIK (1944-) QAMANI’TUAQ (BAKER LAKE)
stonecut and stencil, 25 x 37 in (63.5 x 94 cm)
40/50

Provenance
Private Collection, Hamilton.


Exhibited





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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 128
JESSIE OONARK, O.C., R.C.A (1906-1985) QAMANI'TUAQ (BAKER LAKE)
Untitled (Helicopter and Bird Transformations), c. 1976-78
coloured pencil on paper, 22 x 30 in (55.9 x 76.2 cm)
signed, "??".

Provenance
Private Collection, Lunenburg, NS.


Exhibited
Edmonton, AB, Edmonton Art Gallery, Inuit Art in Edmonton Collections, as “Drawing (Helicopter, Inuit, Animals)” and "c. 1975".

As we noted in our discussion of Oonark’s fabulous work on cloth Composition with Skidoos and Ulus in this sale (Lot 28), modern forms of transportation such as snowmobiles, airplanes, and helicopters are quite rare, even though they have been remarked upon over the years – small wonder; they are remarkable! And it really is a fluke that we have two such works in one sale.

Helicopter and Bird Transformations is one of the most whimsical and delightful Oonark drawings we have seen in quite some time. Strongly rendered in lovely complimentary colours, the image is as confidently and crisply drawn as it is strangely enigmatic and puzzling. The helicopter seems to be transforming into a duck until we realize that the duck’s bill more resembles a wolf’s snout. Furthermore, its eyes are strangely human. We love the way Oonark has used a bit of mixed perspective, with the helicopter’s eyes shown on this side of the head, and the two pontoons drawn one below the other. Also hilarious are the male “pilot” and the female “back seat driver” – as if either of them would have any control over the situation. A small but curious element, too, is the furry ball sitting atop the rotor mast, which looks rather like a bird’s nest. Rounding out the magical quirkiness of this composition are two remarkable and incredibly charming creatures: a hare balancing on two legs on the helicopter’s tail cone, and a wonderful human-bird who seems to be running to catch the flight.

The popular Cape Dorset artist Pudlo Pudlo would become famous in the 1980s for his whimsical scenes involving airplanes and helicopters. If Oonark had lived longer, she certainly could have given him a run for his money. Absolutely sensational.

References: For another quite different take on a transforming helicopter by Oonark, see Jean Blodgett and Marie Bouchard, Jessie Oonark: A Retrospective, (Winnipeg: Winnipeg Art Gallery, 1986), cat. 73, p. 131, and the volume itself for an overview of drawings by Oonark. This catalogue remains the definitive publication on the life and work of the artist.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 129
RUTH QAULLUARYUK (1932-) QAMANI'TUAQ (BAKER LAKE)
An Owl and Her Children, 1980 #30
Printmaker: NANCY KANGERYUAQ SEVOGA (1936-) QAMANI’TUAQ (BAKER LAKE)
linocut, 33 x 23.75 in (83.8 x 60.3 cm), framed.
A/P, aside from the numbered edition of 50

Provenance
Collection of John and Joyce Price, Seattle.

After a fire in December 1977 destroyed the Sanavik co-operative equipment, the process of linocut printmaking was introduced by John Evans in order to accommodate the deadline for the release of the 1978 graphics collection. As a result, linocuts became a mainstay in the Qamani’tuaq print shop. A linoleum block, with its flat uneven surface, was ideally suited to the line effect produced by Ruth Qaulluaryuk in her original drawing. In this work, foliate designs, which recall lichen and flora depicted in embroidery in the artist’s works on cloth, sprout and vine between the animals. The effect is one that is impressive for its compressed yet undeniably dynamic energy.

References: For additional information on the 1977 fire and for an overview of graphic art production in Qamani’tuaq, see Marion Jackson et. al., Qamanittuaq: Where the River Widens: Drawings by Baker Lake Artists, (Guelph: Macdonald Stewart Art Centre, 1994), p. 37. According to Susan Gustavison, of the fifty-eight prints offered for review for the Canadian Eskimo Arts Council, only thirty-one were approved as they were considered the more inspired works of the offering. For the full account of the CEAC and 1980 Qamani’tuaq print collection, see Susan Gustavison, Arctic Expressions: Inuit Art and the Canadian Eskimo Arts Council 1961-1989, (Kleinburg: Ontario, 1994), p. 61-2. For embroidered works by the artist that feature the same vining flora, see First Arts, 5 December 2022, Lot 68. See also Qaulluaryuk’s Four Seasons on the Tundra series are illustrated in Bernadette Driscoll’s article “A Woman’s Vision, A Woman’s Voice: Inuit Textile Art from Arctic Canada”, Inuit Art Quarterly, (Vol 9, No. 2, Summer 1994), p. 9.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 130
OVILOO TUNNILLIE, R.C.A. (1949-2014) KINNGAIT (CAPE DORSET)
Resting Woman, 2000
stone, 6 x 19.5 x 7.5 in (15.2 x 49.5 x 19.1 cm)
signed and dated, "??? / ??? / 2000".

Provenance
Collection of John and Joyce Price, Seattle.

Oviloo Tunnillie, like her brother Jutai Toonoo (Lot 93), was one of Kinngait’s most innovative artists. She used the most traditional of media, sculpture in local stone, to depict subjects taken from her own life. She was notably the first woman sculptor from Kinngait to gain widespread recognition for an art that was traditionally designated to men. Oviloo took advantage of the medium – so often used to depict male hunters or animals – to give voice to the woman’s point of view and experience. Powerful depictions of women, including self-portraits, grieving mothers, tuberculosis nurses, nude torsos, and many more, dominated her work.

In this serene sculpture, a woman is depicted resting or sleeping peacefully, as indicated by her subtly upturned mouth resulting in a light smile. The artist manages to take this mundane subject matter and elevate it to a fully resolved, masterful composition. The beauty of this piece lies in Oviloo’s ability to convey emotion. Oviloo’s female subjects in mourning or distress have been considered highlights of her oeuvre, but subjects conveying happiness or delight also exist. Here, the woman appears to be enjoying a rest, perhaps after a long day – possibly on her couch at home, inside her summer tent, or in a hotel bed during travels down South (Oviloo had depicted travels to Toronto previously) [1]. Through the isolation of subject allowed by the sculptural medium, the context of a scene can be left up to the interpretation of the viewer, especially if the artist has not titled or interviewed about their work.

The subject of the resting, tired, or sleeping woman has been depicted by Oviloo several times, though each example has been styled differently. See Tired Woman from 2008, which depicts a woman almost desperately hugging a pillow, reflective of the artist’s experience undergoing chemotherapy for ovarian cancer [2].

1. See Wight, Oviloo, 2016, cat. 24, p. 37.
2. Ibid., cat. 30, p. 49; and cat. 33, p. 54.

References: For a similarly styled work see Darlene Coward Wight, A Woman’s Story in Stone, (Winnipeg: Winnipeg Art Gallery, 2016), cat. 30, p. 49, and the volume itself for a comprehensive study of the artist. See also Darlene Wight, Oviloo Tunnillie: Her Life & Work, (Toronto: Art Canada Institute, 2016), and Odette Leroux, ed., Inuit Women Artists: Voices from Cape Dorset, (Hull, QC: Canadian Museum of Civilization, 1994), p. 221-239. For further insight into Oviloo’s work on the female form, see both the IAQ articles Robert Kardosh, “Transcending the Particular: Feminist Vision in the Sculpture of Oviloo Tunnillie, Inuit Art Quarterly, Vol. 24, No. 3, Fall 2009, pp. 24-33, and Peter Millard, “Meditations of Womanhood: Oviloo Tunnillie,” Inuit Art Quarterly, Vol. 9, No. 4, Winter 1994, pp. 20-25.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 131
PITSEOLAK NIVIAQSI R.C.A. (1947-2015) KINNGAIT (CAPE DORSET)
Sedna Holding her Braid, c. 2005
stone, 12.25 x 13.5 x 3 in (31.1 x 34.3 x 7.6 cm)
signed, "???? ????".

Provenance
Collection of John and Joyce Price, Seattle.

As one of Kinngait’s most brilliant printmakers, Pitseolak Niviaqsi’s skills as a master lithographer made him instrumental in the creation of several hundred prints from the mid 1970s onwards. Kept busy in the print side of the studio, his sculptural output was sadly far less prolific as a result. Works such as this one, however, prove that quality overrides quantity. Sedna Holding her Braid has a lovely sense of balance and grace thanks to the asymmetrical play between the stone and negative space in the work. Here, a delightfully smiling Sedna supports her tail with one hand, while the other clasps her braid. We love the way the other braid flips over her tail in response. Sedna’s braids – and indeed all her parts – are exquisitely carved. If the whole work seems to defy gravity, it is because Pitseolak has captured the sense of underwater buoyancy so well. This Sedna is a playful, spry spirit who really seems to be engaging with us, the viewers. Her pose is slightly coquettish and utterly charming.

References: For similarly styled depictions of Sedna by the artist see Spirit Wrestler Gallery, The Lyrical World of Pitseolak Niviaqsi, (Vancouver, 2001), cats. 15 and 29. For other important works by the artist see Ingo Hessel, Arctic Spirit: Inuit Art from the Albrecht Collection at the Heard Museum, (Vancouver: Douglas & McIntyre / Phoenix: Heard Museum, 2006), cat. 181 (see text), and First Arts, Toronto, 5 December 2022, Lot 29.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 132
VICTOR EKOOTAK (1916-1965) ULUKHAKTOK (HOLMAN ISLAND)
Fighting over a Woman, 1963
stone, 5.5 x 10.25 x 4 in (14 x 26 x 10.2 cm)
signed, "VICTOR EKKOTAK / HOLMAN ISLAND /63".

Provenance
Collection of John and Joyce Price, Seattle.

One of founding members of the Holman Co-op, Victor Ekootak began working there in 1961 while he was still living on the land. He was one of the first to experiment with drawing and printmaking in Holman in the early 1960s. His death in 1965 cut short a promising art career; his naturalistic drawing style was much admired, as was his skill at carving stone. Fighting Over a Woman is sculpted and finished with extraordinary precision and realism. And amazingly, the complex scene is carved from a single piece of stone!

Holman sculptures from this early period are relatively rare. Much better known are the silhouette-style stonecut prints which illustrate a variety of hunting and camp scenes, shamanic themes, and like this carving, sometimes scenes of violence and social strife. Fellow artists Helen Kalvak and Flossie Pappidluk created drawings on this theme, and these were translated into prints. To our knowledge Ekootak did not, but this fine sculpture is almost like a classic Holman print come to life in three dimensions.

References: For Holman prints with the same theme see one by Helen Kalvak: Fight for Wife (1973 #3); and two by Flossie Pappidluk: She’s Mine! (1970 #49), and Fight for a Woman (1977 #28). For a similarly themed work by an unidentified Kugluktuk (Coppermine) carver see Dorothy Harley Eber, Images of Justice: A Legal History of the Northwest Territories as Traced Through the Yellowknife Courthouse Collection of Inuit Sculpture, (Montreal/Kingston: McGill-Queen’s Press, 1997), p. 76. For a discussion of Ekootak’s life and graphic art see Darlene Coward Wight, Holman: Forty Years of Graphic Art, (Winnipeg: Winnipeg Art Gallery, 2001), pp. 22-24.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 133
MARK EMERAK (1901-1983) ULUKHAKTOK (HOLMAN ISLAND)
Four Women with Children, 1982 #5
stonecut, 24 x 18 in (61 x 45.7 cm), framed
24/50

Provenance
Collection of John and Joyce Price, Seattle.

Mark Emerak, born at the turn of the 20th century, had probably never held a pencil until the mid 1960s. And not being a woman, he would have had no direct knowledge of Northern Copper Inuit clothing manufacture, but clearly, he was fascinated with clothing design. These designs are charged with symbolic meaning, but it may have their aesthetics that interested him more. This image of four women, each standing next to a child, concentrates on the patterns of the Copper Inuit style, with the broad, pointed shoulders, shortened sleeves and high waist, as well as the distinctive style of pants worn by the women of the area. He does not show the equally distinctive narrow back flap of the parka, however [1]. Four Women with Children, translated into a black silhouette image from the artist’s simple graphite line drawing (possibly dating from the 1960s), could be interpreted as Emerak’s tribute to womanhood and fertility, highlighting the diverse roles and valuable contributions that women make to their communities.

1. Emerak’s famous print Women Clothes [sic] from 1968 shows front and back views of women in similar clothing.

References: For details of the artist’s life, see Darlene Wight, Holman: Forty Years of Graphic Art, (Winnipeg: Winnipeg Art Gallery, 2002), p. 23-4. For other examples of the artist’s works where he illustrates the female style of dress, see Women[’s] Clothes, 1968 #36, reproduced in Bernadette Driscoll, The Inuit Amautik: I Like My Hood To Be Full, (Winnipeg: Winnipeg Art Gallery, 1980), cat. 80, p. 65-6 and Helga Goetz, The Inuit Print, international travelling exhibition, (Ottawa: National Museums of Canada and the Department of Indian and Northern Affairs, 1977), pl. 106, p. 181

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 134
PACOME KOLAUT (1925-1968) IGLOOLIK
Set of Chess Pieces, c. 1965
walrus tusk and stone, largest (the kings): 3.25 x 1 x 2 in (8.3 x 2.5 x 5.1 cm)
and smaller.

Provenance
Commissioned by the present Private Collection, Canada while working in Iqaluit (Frobisher Bay) in 1965.

Historically, whalers and other traders in the Canadian Arctic created a demand for decorated items from the Inuit such as cribbage boards, incised walrus tusks, and chess sets. With increasing Southern contact, production of the game pieces persisted into the period of commercial art making in the 1950s. By the 1960s, Pacome Kolaut had established himself as one of the foremost carvers of chess sets, receiving numerous commissions including one that was presented to the Queen. In examining the present set, it is easy to understand why Kolaut’s craftsmanship was highly sought after. Despite their small size, the figures themselves are executed with a high level of vigour, and they appear to have been carved for display as much as they were for use. The kings and queens are a quartet of sensitively rendered Inuit figures who wear traditional clothing. Each side is supported by a menagerie of Arctic animals, including seated polar bears as bishops, corpulent resting walruses as knights, swimming whales as rooks, and a pod of seals as pawns. To differentiate the opposing sides, the figures are supported on either walrus tusk or stone bases.

References: For similar chess sets by the artist see Christie, Manson and Woods (Canada), May 8, 1975, Lot 163; and Waddington’s, Toronto, 18 Nov 2013, Lot 239. Inuit chess sets have been carved in a variety of styles, and subject matter. For a quite different example see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 513, p. 195. For a 19th century example, see Jessie McNab Dennis and Charles K. Wilkinson, Chess: East and West, Past and Present, (New York: The Metropolitan Museum of Art, 1968), fig. 96. See Pacome Kolaut’s famous work in Bear Hunt (Canadian Museum of History, Artifact no. IV-C-3610, reproduced in Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 26, p. 38. We could find no record of the artist’s chess set in the Royal Collection but it is recorded in G. Anders, Northern Foxe Basin: An Area Economic Survey, (Ottawa: Indian Affairs and Northern Development Department Industrial Division, 1965), p. 87.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.

Lot 135
TOONOO SHARKY (1970-) KINNGAIT (CAPE DORSET)
Alighting Bird, 2001
stone, 13 x 4.25 x 3 in (33 x 10.8 x 7.6 cm)
signed and dated, "?? ?? / 2001".

Provenance
Private Collection, Toronto.

Alighting Bird captures everything that is typical of the unique sculptural style of Toonoo Sharky. As he has said, “You can look at [birds and animals] or work from your imagination. I don’t observe them, it is all from my head.” The artist’s process of not working directly from actual bird subjects but rather harnessing images from his imagination, accounts for the always whimsically creative bird forms he carves from stone. The delicate balance of the piece, with one foot raised and the other holding the entire weight of the sculpture, is a key element of the artist’s style. The arrested movement and element almost of surprise, with the open mouth and starkly open inlaid eyes are also notable elements that distinguish Toonoo’s style. His incredible carving skill is indicated by the elegant, raised wings, each stretching high above the body, carved individually from the one piece of serpentinite, soft enough to achieve such detail and intercarving, seen especially in the grounded foot of the bird. Instantly recognizable as a work by Toonoo, this sculpture is a whirlwind of energy, captured in a singular, frozen minute.

References: For a similarly styled (though smaller and less complex) example by the artist, see Walker’s Auctions, Ottawa, Nov. 2017, Lot 211, and for a larger example see First Arts, Toronto, 5 December 2022, Lot 28; see also, Ingo Hessel, Arctic Spirit, (Phoenix, AZ: The Heard Museum, 2006), p. 82-83.

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

NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.