Inuit Art Auction

Inuit Art AuctionMonday 18 November 2013

Waddingtons.ca

Inuit Art AuctionMonday 18 November 2013at 6:00 pm

On ViewSaturday 16 November from 11:00 am - 4:00 pmSunday 17 November from 11:00 am - 4:00 pmMonday 18 November from 10:00 am - 12:00 Noon

Preview and Auction to be held at Waddington’s275 King Street East, 2nd FloorToronto Ontario CanadaM5A 1K2

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

All lots in the auction may be viewed online at InuitArt.Waddingtons.ca

Waddingtons.ca

Leadership Team

Waddington’s leadership team brings together threeof the industry’s best. The combination of their ex-perience, knowledge of market trends and clientnetworks builds on Waddington’s 160 year legacy ofgrowth and dominance.

Duncan McLean, President, is Waddington’s corpo-rate leader, responsible for strategic developmentand innovation realization. Under his directionWaddington’s strives to not only continuouslyevolve to meet the needs of our clients and addressthe demands of the market, but to push the bound-aries, with integrity, creativity and passion.

Mr. McLean has been involved in the auction indus-try for 35 years, as art specialist, appraiser, auction-eer and corporate leader. His knowledge base spansthe diversity of Waddington’s offerings, with inter-nationally-recognized expertise in Inuit Art.

As Vice President Business Development, StephenRanger is focused on identifying new markets, newclients and new ways to do business. For example,Mr. Ranger launched Waddington’s ContemporaryArt venture, Concrete Contemporary, to reach anexciting new sector of art enthusiasts and artists.Under Mr. Ranger’s guidance, new partnerships arealso being created resulting in edgy new offeringslike our Pop-Up Gallery series debuting in 2013.

Mr.Ranger brings over 25 years of diverse experi-ence as an auctioneer, appraiser and consultant inthe art auction industry with specific expertise inCanadian Fine Art.

Linda Rodeck, Vice President Fine Art, is one ofCanada’s most trusted and respected Canadian Artspecialists. Her impressive career of 25+ years in-cludes leadership roles in the country’s most distin-guished auction houses. Ms. Rodeck’s keenunderstanding of the market and her extensive net-work are invaluable in her role of sourcing the bestworks and providing the best service to our clients.

As Vice President of Waddington’s Fine Art, Ms. Rodeck will play a critical role in developingnew business leveraging her success in the Cana-dian art market.

Waddington’s is Canada’s most diverse and signifi-cant provider of fine art auction and appraisal serv-ices. Based on a rich legacy in the industry,Waddington’s actively seeks to redefine our busi-ness to ensure we remain fresh and reactive towhat our clients are seeking. Through our appraisal,auction, private sale and downsizing expertise, weare pleased to provide a complete range of services.

Waddington’s is Canada’s original auction house,with a history of conducting auctions since 1850.We are also an international auction house, provid-ing access to world markets.

Waddington’s is an innovative leader. We enjoypushing the limits, exploring new territory and cre-ating new partnerships. From the marathon auctionof Maple Leaf Gardens, our partnership with theLCBO to auction fine wine, to the launch of Con-crete Contemporary and our new Pop-Up Galleryseries, we are driven to find what’s new, what’s ex-citing, and what you want to buy or sell.

Waddington’s by Department

Asian ArtCanadian Fine ArtContemporary Art Auctions and ProjectsDecorative ArtsInternational ArtInuit ArtJewellery, Watches & Numismatics“Off the Wall” ArtTransitionsPhilanthropy and Community

Waddington’s

Waddington’s has been a major force inthe Canadian art sector for over fivedecades, beginning with our first auctionof Canadian Fine Art held at the QueenElizabeth Building at the CNE in 1967.Since that historic event, Waddington’s hasoffered some of the most important Cana-dian works, set record prices, and has beenan integral part of driving the Canadian artmarket.

With the return of Linda Rodeck, one ofCanada’s most respected art specialists,Waddington’s is proud to rename ourCanadian Art division under the Wadding-ton’s brand umbrella.

Linda RodeckSenior Specialist, Canadian ArtVice President, Fine Art

Canadian Fine Art

Waddington’s is internationally recognizedas one of the leading authorities in mar-keting Inuit Art. No other auction househas been as intrinsically linked to the de-velopment of a market for this art form.Inuit Art is a proud part of our DNA. Fromour first landmark auction in 1978 of theWilliam Eccles Collection, Waddington’shas offered thousands of works, set recordprices, and expanded the market well be-yond Canada’s borders.

Our legacy of successful Inuit Art auctions,our ability to achieve continually increasingvalues and our creation of an internationalmarket have been key factors in validatingInuit art as a whole and establishing it asan integral part of the Canadian Art scene.

Duncan McLeanSenior Specialist, Inuit Art

Christa OuimetSpecialist, Inuit Art

Inuit Art

Leadership Team

Waddington’s leadership team brings together threeof the industry’s best. The combination of their ex-perience, knowledge of market trends and clientnetworks builds on Waddington’s 160 year legacy ofgrowth and dominance.

Duncan McLean, President, is Waddington’s corpo-rate leader, responsible for strategic developmentand innovation realization. Under his directionWaddington’s strives to not only continuouslyevolve to meet the needs of our clients and addressthe demands of the market, but to push the bound-aries, with integrity, creativity and passion.

Mr. McLean has been involved in the auction indus-try for 35 years, as art specialist, appraiser, auction-eer and corporate leader. His knowledge base spansthe diversity of Waddington’s offerings, with inter-nationally-recognized expertise in Inuit Art.

As Vice President Business Development, StephenRanger is focused on identifying new markets, newclients and new ways to do business. For example,Mr. Ranger launched Waddington’s ContemporaryArt venture, Concrete Contemporary, to reach anexciting new sector of art enthusiasts and artists.Under Mr. Ranger’s guidance, new partnerships arealso being created resulting in edgy new offeringslike our Pop-Up Gallery series debuting in 2013.

Mr.Ranger brings over 25 years of diverse experi-ence as an auctioneer, appraiser and consultant inthe art auction industry with specific expertise inCanadian Fine Art.

Linda Rodeck, Vice President Fine Art, is one ofCanada’s most trusted and respected Canadian Artspecialists. Her impressive career of 25+ years in-cludes leadership roles in the country’s most distin-guished auction houses. Ms. Rodeck’s keenunderstanding of the market and her extensive net-work are invaluable in her role of sourcing the bestworks and providing the best service to our clients.

As Vice President of Waddington’s Fine Art, Ms. Rodeck will play a critical role in developingnew business leveraging her success in the Cana-dian art market.

Waddington’s is Canada’s most diverse and signifi-cant provider of fine art auction and appraisal serv-ices. Based on a rich legacy in the industry,Waddington’s actively seeks to redefine our busi-ness to ensure we remain fresh and reactive towhat our clients are seeking. Through our appraisal,auction, private sale and downsizing expertise, weare pleased to provide a complete range of services.

Waddington’s is Canada’s original auction house,with a history of conducting auctions since 1850.We are also an international auction house, provid-ing access to world markets.

Waddington’s is an innovative leader. We enjoypushing the limits, exploring new territory and cre-ating new partnerships. From the marathon auctionof Maple Leaf Gardens, our partnership with theLCBO to auction fine wine, to the launch of Con-crete Contemporary and our new Pop-Up Galleryseries, we are driven to find what’s new, what’s ex-citing, and what you want to buy or sell.

Waddington’s by Department

Asian ArtCanadian Fine ArtContemporary Art Auctions and ProjectsDecorative ArtsInternational ArtInuit ArtJewellery, Watches & Numismatics“Off the Wall” ArtTransitionsPhilanthropy and Community

Waddington’s

Waddington’s has been a major force inthe Canadian art sector for over fivedecades, beginning with our first auctionof Canadian Fine Art held at the QueenElizabeth Building at the CNE in 1967.Since that historic event, Waddington’s hasoffered some of the most important Cana-dian works, set record prices, and has beenan integral part of driving the Canadian artmarket.

With the return of Linda Rodeck, one ofCanada’s most respected art specialists,Waddington’s is proud to rename ourCanadian Art division under the Wadding-ton’s brand umbrella.

Linda RodeckSenior Specialist, Canadian ArtVice President, Fine Art

Canadian Fine Art

Waddington’s is internationally recognizedas one of the leading authorities in mar-keting Inuit Art. No other auction househas been as intrinsically linked to the de-velopment of a market for this art form.Inuit Art is a proud part of our DNA. Fromour first landmark auction in 1978 of theWilliam Eccles Collection, Waddington’shas offered thousands of works, set recordprices, and expanded the market well be-yond Canada’s borders.

Our legacy of successful Inuit Art auctions,our ability to achieve continually increasingvalues and our creation of an internationalmarket have been key factors in validatingInuit art as a whole and establishing it asan integral part of the Canadian Art scene.

Duncan McLeanSenior Specialist, Inuit Art

Christa OuimetSpecialist, Inuit Art

Inuit Art

Concrete Contemporary Auctions and Projects

Waddington’s launched its newest division,Concrete Contemporary Auctions andProjects (CCAP) in March 2012 with a vi-sion and mandate to create a secondarymarket for contemporary Canadian art.

Concrete Contemporary Auctions mergesthe worlds of traditional auction and theretail gallery, where our relationships withartists, art dealers, curators and collectorsresult in exciting new sources of contem-porary works. The auctions are tightly fo-cused on Canadian contemporary art since1980 with an emphasis on mid- and late-career artists with exhibition history in theprivate and public sphere.

An exciting initiative of CCAP is the launchof our Pop-Up Gallery series in 2013.These short-duration, single artist showsoffer works by some of Canada’s most ac-complished working artists.

Led by one of Canada’s most plugged-inart experts, Stephen Ranger, CCAP iscommitted to exploring new ways to con-nect, expand and support the arts commu-nity.

Stephen RangerSenior Specialist, Contemporary Art

Decorative Arts at Waddington’s encom-passes a broad and diverse variety of ob-jects and the department's client databaseis one of our largest. From ancient tomodern, delicate to deadly, Waddington’sDecorative Arts department redefines theterm, bringing much more than traditionalsilverware and porcelain figurines to mar-ket, and with remarkable success.

Waddington’s reputation for developingnew markets is well represented by ourDecorative Arts department, as is our abil-ity to present large collections – notablerecent sales have included ContemporaryStudio Glass, Scientific Instruments andMilitaria.

The department regularly offers auctionswhich include bronzes, items of CanadianHistorical interest, ceramics, devotionalworks of art, glass, lighting, militaria, mir-rors, objets de vertu, porcelain, scientificinstruments, travel and exploration maps.

Bill KimeSenior Specialist, Decorative Arts

Sean QuinnSpecialist, Decorative Arts

Decorative Arts

Waddington’s International Art depart-ment has expanded its scope to presentauctions of fine art from around the world,with a focus on works from the UnitedKingdom, across Europe, Russia and theUnited States. A major element ofWaddington’s legacy, our International Artauctions thrive on Canada’s cultural diver-sity. The combination of our expertise andthat of our substantive network ensuresthe highest standards of authenticationand research.

Original works, photographs, prints andsculpture are offered in our live auctionsand online auctions, attracting interna-tional clients.

Susan RobertsonSenior Specialist, International Art

International Art

Waddington’s Asian Art department isCanada’s leader in serving the demands ofthe rapidly growing Asian market sup-ported by our recognized and credible ex-pertise. Our ability to achieve exceptionalprices for works, including the Canadianrecord for the highest price for an Asianwork of art, is based on our internationalreputation and network with the commu-nity.

Specializing in jade, paintings, porcelain,religious works of art, textiles, woodblockand export wares, we present works fromChina, Japan, Korea, South East Asia,South Asia, Himalaya and others.

Anthony WuSpecialist, Asian Art

Asian Art

Jewellery, Watches and Numismatic

Waddington’s has conducted auctions ofFine Jewellery and Numismatics for closeto three decades. Highly respected expert-ise and in-depth knowledge of both do-mestic and international markets is theanchor of our ongoing success and thepopularity of our auctions.

Our auctions include unmounted gem-stones, finely crafted pieces by many ofthe most desireable names in jewellery in-cluding Tiffany, Cartier, Gucci, Hermes,Van Cleef & Arpels, etc., fine watches, aswell as antique pieces, coins and ban-knotes.

Donald McLeanSenior Specialist, Jewellery, Watches andNumismatics

Our “Off The Wall” Art online auctions area unique opportunity to showcase accessi-ble art. Drawing from our International Artand Canadian Art divisions, “Off The Wall”Art auctions feature paintings, prints andsculpture.

These monthly, online auctions are alwaysan eclectic selection of affordable works –a great way to learn, enjoy art and startbuilding a collection. Working closely withour other divisions, this auction has devel-oped its own diverse and extensive net-work of clients.

Doug PayneSpecialist, Fine Art

“Off the Wall” Art

Waddington's is committed to workingwithin the community by contributing ourtime to charity fundraising events and ap-praisal clinics. We are honoured to workwith countless museums, galleries, art or-ganizations and fund raising events andcontribute our time to over 20 events eachyear raising over $2,000,000 annually forthe community.

In addition, the Concrete ContemporaryAcquisition Fund each year funds 50% ofthe purchase price for a work of contem-porary Canadian art for a public institu-tion.

In 2012/2013 we have supported the fol-lowing organizations:

Aids Committee of Toronto, SNAPBest BuddiesBirdlife InternationalCanadian Opera Company Casey House, Art with HeartCasey House, SnowballCAMH UnmaskedCovenant HouseThe Furniture BankIntegra FoundationLake Ontario WaterkeepersOCAD UniversityMetro Toronto ZooMontreal Children’s HospitalNyota School, KenyaPrincess Margaret HospitalRobert McLaughlin Gallery Second Harvest, Toronto TasteServe CanadaSt. Mary’s General Hospital, KitchenerSt. Michaels Hospital, ARTGEMSThe STOP FoodbankToronto Symphony OrchestraThe Varley GalleryWindsor Art GalleryWarchild CanadaYork University Fisher Fund

Philanthropy and Community

Transitions is Waddington’s downsizing andestate management service, createdspecifically for clients going through atransition who require knowledgeable,qualified and professional advice.

Successful downsizing and estate planningrequire an accurate appraisal of tangibleassets. Drawing on Waddington’s 160years of experience across our diverseareas of specialties, Transitions helpsclients make informed decisions to keep,gift, sell or donate.

Our clients include fiduciaries, executorsand beneficiaries responsible for settlingestates, as well as private clients lookingto downsize and turn their material en-cumbrances into a monetary resource.

Transitions is an end-to-end solution tohelp you sort, value, sell and move on tothe next stage.

Marcia KimManager

Ellie MuirCoordinator

Transitions

Inuit ArtLots 1–308

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InuitArt.Waddingtons.ca

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Collecting Inuit Art A message from Iris Gray

The Dr. and Mrs. Philip H. GrayFolkart Collection of Inuit Artpresently contains in excess of 344graphics, stone, bone, ivory carvings,and artifacts from Canada, Alaska,and Greenland. While the fourtraditional front doors for amassingsignificant collections of CanadianInuit art were (1) being a professionalartist oneself, as was George Swinton,(2) having contact with the northernArctic, as did Jerry Twomey, (3) beinga part of the dealer-distributor-curative network, as was WilliamEccles, and (4) having sufficientwealth to buy the attention andservices of those in a position to grantthem, as the Albrechts were able todo when they collected arepresentative set of prints andcarvings, some of which are now inthe Heard Museum in Phoenix. Since these front doors were not opento us, my late husband, Philip,sometimes whimsically referred to theGray Collection as having been pickedup at the back door. For the mostpart, the sculpture in the GrayCollection is as good as it is becausePhilip and I visited a staggeringnumber of galleries, departmentstores, craft and gift shops in Canadaand the United States, always on thealert for the treasure that might haveslipped through the funnel of thedealer-distributor-curator network.For each piece of sculpture we boughtwe looked at literally thousands ofunsatisfactory pieces.

Occasionally other collectors sold ussomething they no longer wanted andcould see that we did. Thus, in 1970,we acquired two carvings from ArcticBay from a resident in Winnipeg, whohad lived in that far northerncommunity and had received themfrom the artist himself. GeorgeSwinton sold us a small head byTiktak, which we would never havebeen able to acquire unless we hadactually visited Rankin Inlet, or hadknown a dealer who would havecontacted us upon receiving ashipment from that area, becauseTiktak was much sought after bycollectors.Or, we would be present in a gallerywhen major items for sale came backfrom a loan exhibition, as in the caseof our acquisition of a ceramic byKukshout, of Rankin Inlet, in 1975.After attending an exhibition at theCraft Guild of Manitoba in Winnipegin 1969, we dropped in at the localHudson’s Bay department store andencountered a clerk who knew of ourinterest in Inuit carvings. She hadsaved us a beautiful piece from PortHarrison, because she couldn’t thinkof anyone else who would appreciateit more.In 1978, Philip won a bid on anexcellent carving at the William Ecclesauction in Toronto, becauseapparently he alone rememberedhaving seen it pictured in GeorgeSwinton’s 1972 edition of Sculpture ofthe Eskimo* (page 150). Swinton hadbeen present at that auction and evenhe had not recalled that a photo ofthe carving was in his book, and that

it had been misidentified. When Philip arrived in Winnipeg in theautumn of 1968 as a visitingprofessor in the department ofpsychology at the University ofManitoba, there were old and unsoldprints available from the distributioncenters, if one could find a gallerywilling to obtain them. Fleet Gallerygraciously provided that service for usand we managed to buy several dozenprints, which a year or so later simplyweren’t available. After our return toMontana, to get a new outstandingCape Dorset print meant standinglong hours in the October cold, inorder to be first in line when theparticular Alberta gallery featuring thelatest edition of prints opened.When Philip decided to seriouslycollect Inuit art he felt the lack of aguide to the artist themselves, theirage, their experience, what kind ofwork they did, and an indication ofthe meaning of their work to othercollectors. Some artists were famous,and presumably anything from theirhand would be worth collecting. Buthow could one be certain that thispiece of sculpture in a gallery was bythat famous Meeko and not byanother Meeko who had noreputation at all?*Please note – The word “Eskimo”often is used incorrectly in identifyingnative peoples. This language reflectsthe time in which and by whom it waswritten.So, in 1974, Philip privately publishedhis A Directory of Eskimo Artists inSculpture and Print. The first editionof 250 copies sold out immediately to

The Dr. and Mrs. Philip H. GrayCollection of Inuit Art

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Inuit Art Auction – Monday 18 November 2013 at 6 p.m.

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the Canadian galleries and collectors,necessitating a second printing.Richard C. Crandall, in 2000,published Inuit Art: A History, inwhich he cited Philip on page 206:“It [Philip’s directory] was importantfor two reasons. First, it emphasizedthe concept that individuals made theart and that there were differences inthe quality of the work theyproduced. Second, it providedcollectors with an idea of how othershad evaluated, by exhibitions orawards, the work of artists whoseworks might be in their collections orwhose works they were consideringbuying.”In 2006, Duncan McLean ofWaddington’s Auctioneers andAppraisers, of Toronto, wrote:“I remember the first Inuit artist/disc# reference I ever used was youroriginal 1974 index. It came to mewith my first collection, the WilliamEccles collection which formed myfirst auction in 1978.”When we moved to Montana in 1960,we fell in love with the western artistsand made a brief start at collecting.However, we soon realized that wedidn’t have a plausible art budget. Butwhat type of art could we afford?Philip’s move to Canada as a visitingprofessor proved to be fortuitous. Ourfirst encounter with Inuit art was inWinnipeg. The Winnipeg Art Galleryhad mounted an exhibit of carvings inManitoba’s Legislature Building tocelebrate the Centennial of theConfederation of Canadian Provincesin 1967. Although Philip didn’t see theexhibit (a friend took me and our

children to see the exhibit and wewere charmed by the stone carvingsof arctic animals and birds andexamples of the way of life in theArctic), he was impressed with ourenthusiastic descriptions of what wehad seen. Later he went to theUniversity of Manitoba’s bookstoreand found a copy of James Houston’sbook on prints and George Swinton’son sculpture. I expressed an interest inthe prints as a possible type of art wemight be able to afford to decorateour walls. Philip purchased a fewstone carvings to give our daughterand son for “show and tell”.Then he proceeded to educate himselfabout the print program, anddiscovered that printmaking byCanadian Inuits was started at CapeDorset on Baffin Island by JamesHouston in 1957—the same artist whohad got the world interested in Inuitsoapstone carving nearly 10 yearspreviously. By 1958 the first group ofprints from Cape Dorset wereproduced, but not widely sold.However, in 1959 the procedure wasstandardized and commercialized andInuit prints soon became a hot itemfor interior decorators. Prints weremade in lots of 50 and the cut stoneor stencil then destroyed. Ten yearslater the production of graphicsincluded stonecuts, stencils, andetchings, with the stonecuts pricedfrom as low as $30 to a high of $90.Thus, concluded Philip, the printsmight be just the thing for us todecorate our walls.Of the artists involved in the program,a young woman and mother,

Kenojuak, had obtained aninternational reputation with her“Enchanted Owl”, released in 1960,and by 1969, her work was almostimpossible to obtain, being sold outimmediately upon release. Pitseolak,another woman artist, was moreprolific and had a multitude ofthemes. Parr was ultra primitive andpopular only with collectors, andPhilip really liked him. In 1965, stonecut prints were on themarket by Holman Island natives inthe western Arctic. While the Dorsetprints tended to be fanciful, theHolman prints tended to be symbolic.As Philip expressed it: “I’ve yet to seeanything more poignant thanEkootak’s ‘Break of the Family’ wherethe man walks off with his huntingdog, the woman goes in the otherdirection with her oil lamp, the igloolies in ruins, the children are a pile ofbroken pieces.”James Houston has written: “Eskimoprints and carvings are historicaldocuments of a people withoutwritten records. Their prints are animportant lasting contribution to theart of America, which establishes astrong human link between past andpresent. Viewing their prints may helpus to know the Eskimo people, butmore important their art may helpthem to go on knowing themselves inthese changing times.”Our collection of carvings began togrow and tended to reflect the earlyways of living and hunting—adiversification of animals and lifestylesof the hunter from the old world ofthe Arctic. The Inuit lived a hard life

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and, if he failed to hunt successfully,his family starved. He treated theanimal he hunted with respect—witness Abraham Pov’s carving“Freeing the Spirit”, thus ensuring hewould be successful in huntinganother seal in the future. As apsychologist Philip also developed astrong interest in the Inuit’s depictionof transformation in animals tohumans or vice versa, and of animalsto animals, such as the transformationof the owl to the bear. Although survival in the Arctic wasdifficult, the Inuit exhibited a greatsense of humor in his art forms: themother decanting her infant from herhood to prevent it from wetting her;the hunter faced with the decision torelease the seal or lose his pants inthe freezing cold; the hunter stickingout his tongue at the walrus, whenthe line to his catch breaks; the boychasing the goose who winds upchasing him and catching him.The stone for the carvings which weown was primarily mined in thevicinity of the artist’s community.Many sources have since dried up andthe stone imported from greaterdistances. The stone from CapeDorset, Baker Lake, Port Harrison,Coppermine, the Belcher Islands, LakeHarbour, etc., is generallyrecognizable. Our collection ofcarvings and artifacts includes 166pieces from 29 communities in theCanadian Arctic, one piece fromGreenland and 20 pieces from Alaska.Our 157 graphics are representative of10 communities, and 86 of them areframed and hanging on the walls of

our home. The collection portrays the end of anera—an existence that could be brutal(a bear has captured the hunter’s armholding his copper knife he intendedto use in killing his prey, and the lookof despair is clearly detailed on thehunter’s face); a spirit of intenseenergy (depictions of the hunterbending into the wind with his catch);a reverence for the artist’s ancestry(witness Kominerk’s portrayal of hisgrandfather). Philip collected piecesthat literally “spoke” to him. Once heput his hand on the piece, it was ours.He admired the way the carver couldcontemplate a block of stone andthen proceed to carve the image thatemerged from the stone, takingadvantage of the coloring andstriations in the stone to enhance theimage, as did Philip Kominerk whenhe carved his ptarmigan, revealing thebone structure in the bird. The Inuit ofold knew his animals—their skeletalstructure, how they moved on land orhow they swam or flew. Even the functional pieces of theartist, such as a tightly wovenwaterproof basket, tools, games, dogwhips, needle cases, snow beaters,and ashtrays, were decorated andpleasing to the eye.The hunt for a carving of a caribou ora muskox, or a seal, or a hawk, or amother and child, or a drum dancer,or of a print by a particular artistbecame a part of every trip that ourfamily took, whether traveling inCanada or the United States. But wealso thrilled at the opportunity to seegreat exhibits in the museums, as

well, and, yes, even when we visited agallery which contained exhibitionspriced out of our reach. Our daughterand son shared in the adventure ofthe search and in the pleasure ofliving in a household surrounded bythe imaginative efforts of the Inuitartist.

Lots from this collection are listedbelow and indentified with a bluesquare in the catalogue.

13, 14, 15, 25, 31, 32, 35, 36, 38, 39, 44, 67, 76, 106, 114, 122, 125, 126, 128, 130, 133, 134, 135, 136, 137, 138, 140, 141, 143, 144, 155, 156, 157,158, 175, 176, 178, 180, 183, 191, 192,200, 203, 205, 206, 210, 217, 221, 253, 254, 255, 258, 270, 272, 275, 278, 284, 286, 292 and 293.

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The Zazelenchuk Collection of Inuit Art

A message from Mary HelenZazelenchuk, Stanley’s daughter

Stanley Zazelenchuk: Inuit artcollector, teacher, gardener, optimist.

Born Feb. 22, 1941, in Stornoway,

Sask., died March 25, 2013, in Saint

John of a stroke, aged 72.

Stanley was born on a farm in

Saskatchewan, where he developed a

life-long love of nature. His mother

died of cancer when he was 17, and

he’d still get choked up about it more

than 50 years later.

He considered becoming a wildlife

officer, but instead turned to teaching.

Seized by the adventurous spirit of

the 1960s, he travelled to the

Canadian Arctic and taught there for

13 years. He met his wife, Jean, in

Kuujjuarapik, Que., in 1967, and

married her a year later. Their

daughter Mary Helen was born in

1974.

Stanley fell in love with the Arctic, the

people and their artwork. His

experiences there would define the

rest of his life.

He collected Inuit art compulsively,

often hiding new purchases under the

bed so that his wife wouldn’t find out

about them. The family collection was

shown at the Winnipeg Art Gallery in

1978.

At age 40, Stanley decided to change

careers, and opened an Inuit art

gallery in New Brunswick, where his

wife had family ties.

In 2005, he visited Baker Lake

(Qamani’tuaq) with his daughter. His

arrival was announced on community

radio, and Mary Helen was astounded

by the crowd that came to a reception

in his honour. At the end of that trip,

he said, “Where else but here would

your dad be a hero?”

It wasn’t a question that needed to be

asked. While Stanley didn’t suffer

fools gladly, his warmth and genuine

interest in other people’s lives meant

that he made many friends.

In later years, he gardened

extensively. He took delight from his

more than 1,000 rosebushes and the

five-acre park around his house. He

drove his tractor every day, clearing

bush, grinding stumps and mowing.

Once, upon meeting a new neighbour,

he chatted a few minutes before

declaring, “Well, there are two kinds

of people – those who stand around

and talk and those who work; I know

which kind I am,” and returned

unceremoniously to his weeding.

That’s not to say he didn’t like to talk.

He had a phenomenal memory for

names of both roses and people. He

shared his passions for art and

gardening with whomever would

listen, and prided himself on

remembering visitors to his gallery

from years before.

He was an optimist, believing firmly

each year that mice would not come

into the basement or that the loose

doorknob would fix itself. And while

that might have been avoidance, he

knew that every year was the year

that things were going to be better

than ever. Most of the time that was

true.

Stanley was fierce. He was always in a

hurry. He surged forward into life. He

always wanted do more, see more,

know more, have more, be more. He

didn’t die because his body gave out,

but because there was so much work

to be done elsewhere.

Lots from this collection are listedbelow and indentified with a greensquare in the catalogue.

2, 4, 6, 7, 92, 96, 112, 113, 145, 146,

148, 179, 181, 185, 187, 188, 189,

214, 215, 216, 222, 227, 228, 229,

296 and 297.

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1OLASSIE AKULUKJUK (1951-), E6-632, PangnirtungBIRD WITH SPREAD WINGS

wool weaving, signed in Roman, 40.5” x 38.5” — 102.9 x 97.8 cm.

$400/600

2ELIZABETH ANGRNAQQUAQ(1916-), W1-224, Baker LakeTHE LAND

felt, thread, embroidery floss, signed insyllabics, 9.5” x 39” — 24.1 x 99.1 cm.

$400/600

3IRENE AVAALAAQIAQTIKTAALAAQ (1941-), E2-423,Baker LakeSEDNAS AND ANIMALS

stroud, thread, embroidery floss, signed insyllabics, 51” x 29” — 129.5 x 73.7 cm.

$1,500/2,500

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4MARY KUUTSIQ (1926-2011), E4-192, Baker LakeFOUR TOY BIRDS: MOTHER ANDYOUNG

fabric, polychrome embroidery, 9” x 11” x 3” — 22.9 x 27.9 x 7.6 cm.; 5” x 6.5” x 2” — 12.7 x 16.5 x 5.1 cm.

Note: For similar works see, Crafts from ArcticCanada:An exhibition organized by theCanadian Eskimo Arts Council, page 28,30, # 157, 158, 159

$400/600

5UNIDENTIFIED, Baker LakeCAMP SCENE

felt, thread, embroidery floss, c. 1970, 21” x 37” — 53.3 x 94 cm.

$600/900

6VICTORIA MAMNGUQSUALUK(1930-), E2-386, Baker LakeARCTIC HARES

stroud, thread, felt, signed in syllabics,19.5” x 58” — 49.5 x 147.3 cm.

$600/900

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7WINNIE TATYA (1931-), E2-312,Baker LakeFOLIAGE

stroud, embroidery floss, signed insyllabics, 10.5” x 13” — 26.7 x 33 cm.; 11”x 27” — 27.9 x 68.6 cm.

Note: “One might also draw attention to WinnieTatya’s classically-organizedcompositions... all tightly embroideredwith great and rewarding care.” Robert Kardosh, Works on Cloth, Imageryby artists of Baker Lake, Nunavut, MarionScott Gallery, ex. cat. 2002, p. 10

$500/700

8HELEN KALVAK (1901-1984), W2-423, HolmanSPEARING CHAR

stonecut and stencil, 1979, 33/50,unframed, 18.5” x 14.75” — 47 x 37.5 cm.

$200/300

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9AGNES NANOGAK (1925-2001),W2-473, HolmanTHE EXHAUSTED RAVEN

felt tip drawing; stencil, 1984, 35/50,unframed, 19” x 23.75 “ — 48.3 x 60.3cm.; 19” x 26” — 48.3 x 66 cm.

$400/600

Note: In the 1984 Holman annual graphics catalogue, the print is accompanied byan explanation that reads as follows, “The Raven was known to be a thiefand, because of that, he had never been able to find a wife. One day theRaven asked some ducks swimming by if he could marry into their family.Knowing him to be a thief, the ducks said no. Later, some Canada geesecame by and they agreed to let him marry a young goose from their flock.

When the time came to migrate south, the Raven flew off with his newfamily. He could not fly as well as the geese, so, when he tried, he would flyon the back of his young wife. This greatly tired his wife and eventually shehad to leave her husband behind because her family was by then far ahead.

The Raven, now very tired indeed, saw nothing but sea for miles around.Suddenly, he saw a shape and dived towards it. When he came close he sawthat it was a whale but by then he couldn’t stop and so he flew right downthe blow-hole [sic]. Inside the whale it was nice and warm and there wasmuch to eat, so the Raven happily stuffed himself.

When the whale felt the Raven inside his stomach he said, “don’t touchTHAT!”. [sic] The Raven obeyed the whale for a long time but finally hiscuriosity became to great and he touched “THAT”. The whale then diedbecause it was his heart that the raven touched. Soon their was no food leftfor the Raven.

The dead whale finally washed up on the shore and the Raven heard peopleshouting as they began to cut up the carcass. The Raven knew he was indanger so he flew out the blow-hole, so fast, that no one saw him. Later. inhuman form, he returned to the beach. He asked if anyone had seenanything coming out of the whale. One man replied that he had seen a darkflash.

The Raven told people that the dark flash meant that the whale meat wasbad , and that the would die if they ate it. Frightened by this warning, thepeople left. The Raven, returned to his bird form, remained behind and atehappily ever after.

-Holman Annual Graphics Catalogue, 1970, Holman Eskimo Cooperative,NWT, pl. 18

10


10LUKE TUNGUAK “TUNUWAK”(1927-2008),E2-192, Baker LakeBIRD AND ANIMALS

stonecut, 1965, proof 1 (1961 written on print),framed, sight, 9.75” x 15.5” — 24.8 x 39.4 cm.

Note: From the Baker Lake experimental period. Tunuwak“emphasized that anyone could try out and did, andthat they were given new designs to try at their ownpace....William Noah thought Tunuwak was good,when he looked at the work I showed him, andwondered out loud why he didn’t continue in theprogram.” Sandra Buhai Barz, Inuit Artists Print Workbook,Volume 3, Book 2: Print Documentation, 2004, p. 165

$400/600

11THOMASSIAPIK SIVUARAPIK (1941-2009),E9-1462, PovungnitukHUNTERS WITH KAYAK

stonecut, 1961, framed, 8.25” x 12.25” — 21 x 31.1 cm.

Note: Part of the Povungnituk Experimental Collection, 1961.Of the thirty-five artists that debuted, twenty of themwould not participate in the program again -Thomassiapik included. Barz, Inuit Artists Print Workbook, Volume 3, Book 2:Print Documentation, p. 31

$200/300

12ANIRNIK OSHUITOQ (1902-1983), E7-965,Cape DorsetANIMAL AND BIRD

engraving, 1964, 28/50, framed, sight, 11.5” x 9.75” —29.2 x 24.8 cm.

$400/600

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13PARR (1893-1969), E7-1022, Cape DorsetFOUR WOMEN

engraving, 1963, 42/50, unframed, 9.75” x 11.75” — 24.8 x 29.8 cm.

Note:“In spite of the title of this print, the parkas worn bythese four mysterious beings define them as men; thereare no voluminous amautiq hoods, nor are there long,elegant skirt-tails and aprons, which every Eskimo womanwears. Beneath the short attire are not skirts butoverpants worn by hunters. Without distracting details ofany kind, this is the universal image of a group walkingtogether. To Parr, technique is a subservient of subject,which is realized with near-absolute directness.” Patrick Furneaux and Leo Rosshandler, Ernst Roch, ed.,Arts of the Eskimo: Prints, 1974, pp. 74-5

$800/1,200

14PARR (1893-1969), E7-1022, Cape DorsetUNTITLED

etching, 1962, 32/50, unframed, 9.75” x 11.75” — 24.8 x 29.8 cm.

$700/1,000

15PARR (1893-1969), E7-1022, Cape DorsetUNTITLED

etching, 1962, 36/60, unframed, 9.75” x 11.75” — 24.8 x 29.8 cm.

$1,000/1,500

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16SHEOJUK ETIDLOOIE (1932-1999), E7-941, Cape DorsetKIINANQUAQ

etching and aquatint, 1997, 12/50,unframed, 22.5" x 19.75" — 29.8 x 29.8 cm.

$800/1,200

17KENOJUAK ASHEVAK (1927-2013), E7-1035, Cape DorsetRETURN OF THE LOONS

lithograph, 1991, 44/50, framed, sight, 23.5” x 35” — 59.7 x 88.9 cm.

$400/600

13


18SHEOJUK ETIDLOOIE (1932-1999), E7-941, Cape DorsetUPINNQUAQ

lithograph, 1994, 44/50, framed, sight, 20.5” x 27.5” — 52.1 x 69.9 cm.

$1,000/1,500

19EFFIE ANGALI’TAAQARNALUAQ (1936-), E2-127, Baker LakeMOTHER OWL

stonecut, 1965, 1/9, framed, sight, 15” x 22.5” — 38.1 x 57.2 cm.

Note: From the Baker Lake experimental period.“Effie says she did image, but that ‘linoman’, she thinks Luke Tunuwak did thecutting and printing.” However the namePAUL UTATNAQ (1929-) “Uttanar E3-276” is on the actual print. Barz, Inuit Artists Print Workbook,Volume 3, Book 2: Print Documentation,171

$400/600

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Small WondersLots 20–57

20JOHN PANGNARK (1920-1980),E1-104, ArviatFIGURE

stone, 3.5” x 2” x 1.75” — 8.9 x 5.1 x 4.4 cm.

$400/600

22LUCY TASSEOR TUTSWEETOK(1934-2012), E1-135, ArviatTWO MINIATURES

stone, 1” x 2” x 1.5” — 2.5 x 5.1 x 3.8cm.; 2” x 1.75” x .75” — 5.1 x 4.4 x 1.9cm.

$300/500

21LUCY TASSEOR TUTSWEETOK(1934-2012), E1-135, ArviatFIGURE

stone, 2.75” x 2” x 1” — 7 x 5.1 x 2.5 cm.

$300/500

23LUCY TASSEOR TUTSWEETOK(1934-2012), E1-135, ArviatFAMILY

stone, 4” x 3.25” x 1.25” — 10.2 x 8.3 x 3.2 cm.

$800/1,200

25LUCY TASSEOR TUTSWEETOK(1934-2012), E1-135, ArviatMOTHER AND CHILD

stone, c. 1970, 3.5” x 4.75” x 1.75” — 8.9 x 12.1 x 4.4 cm.

$300/500

24LUCY TASSEOR TUTSWEETOK(1934-2012), E1-135, ArviatFAMILY WITH INCISED IGLOOAND BIRD MOTIFS

stone, 3.75” x 4” x 2” — 9.5 x 10.2 x 5.1 cm.

$600/900

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26ANDY MIKI (1918-1983), E1-436,ArviatANIMAL

stone, 4.75” x 1.75” x 3” — 12.1 x 4.4 x 7.6 cm.

$800/1,000

28MIRIAM MAREALIK QIYUK(1933-), E2-387, Baker LakeBIRDS ON A SEAL

stone, signed in Roman, dated 1988, 1” x 5” x 1.5” — 2.5 x 12.7 x 3.8 cm.

$300/500

27EVA TALOOKI ALIKTILUK (1927-1995), E1-75, ArviatMOTHER AND CHILD

stone, string, beads, 3.5” x 1.5” x 1.5” —8.9 x 3.8 x 3.8 cm.

$200/300

29JOSIAH NUILAALIK (1928-2005), E2-385, Baker LakeBIRD SPIRIT

antler, 2.5” x 3.25” x 1” — 6.4 x 8.3 x 2.5 cm.

$600/900

31DOMINIC KINGILIK (1939-1990),E2-121, Baker LakeHAWK

stone, signed in syllabics, 5” x 4” x 2.5” — 12.7 x 10.2 x 6.4 cm.

$300/500

30JOSIAH NUILAALIK (1928-2005), E2-385, Baker LakeSPIRIT FIGURE

musk ox horn, stone, antler, 4.5” x 3” x 3.75” — 11.4 x 7.6 x 9.5 cm.

$500/700

16


32BARNABUS ARNASUNGAAQ(1924-), E2-213, Baker LakeMUSK OX

stone, signed in syllabics, 3” x 4.75” x 1.5” — 7.6 x 12.1 x 3.8 cm.

$300/500

34BARNABUS ARNASUNGAAQ(1924-), E2-213, Baker LakeMAN AND FISH

stone, 4.25” x 3.5” x 3.5” — 10.8 x 8.9 x 8.9 cm.

$600/900

33DAVID IKUTAAQ (1929-1984), E2-349, Baker LakeHUNTER

stone, antler, signed in syllabics, 4.5” x 3” x 1.75” — 11.4 x 7.6 x 4.4 cm.

$500/700

35KANANGINAK POOTOOGOOK(1935-2010), E7-1168, Cape DorsetSTANDING HARE

stone, c. 1970-1975, initials inscribed, 5” x 2.75” x 2.5” — 12.7 x 7 x 6.4 cm.

$400/600

37MANNUMI SHAQU (1917-2000),E7-824, Cape DorsetMOTHER WITH CHILD INAMAUT

stone, signed in syllabics, 5.5” x 2” x 2” — 14 x 5.1 x 5.1 cm.

$300/500

36PITSIULA MICHAEL (1965-), E7-2211, Cape DorsetARCTIC HARE

stone, 1983, signed in syllabics, 4” x 2.75” x 5” — 10.2 x 7 x 12.7 cm.

$200/300

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18


38DAVIDIALUK ALASUA AMITTU(1910-1976), E9-824, PovungnitukLOUSE

stone, signed in Roman, 1” x 2” x 3.75” — 2.5 x 5.1 x 9.5 cm.

Note: “Although insignificant in size, thecommon louse was a ubiquitous and notinconsiderable element in the traditionalway of life, as seems to be indicated byits size and posture here.” Jean Blodgett, Eskimo Narrative, TheWinnipeg Art Gallery. 1979, p. 13, pl.10

$1,000/1,500

40HENRY EVALUARDJUK (1923-2007), E5-846, IqaluitHEAD

stone, signed in Roman and syllabics, 5” x 2.75” x 3” — 12.7 x 7 x 7.6 cm.

$300/500

39PEGGY EKAGINA (1919-1993),W2-290, CoppermineMUSK OX WOMAN WITHBRAIDS

stone, c. 1974, 1.75” x 3.75” x 1” — 4.4 x 9.5 x 2.5 cm.

$1,000/1,500

41HENRY EVALUARDJUK (1923-2007), E5-846, IqaluitPOLAR BEAR

stone, signed in Roman and syllabics,2.5” x 6.5” x 2” — 6.4 x 16.5 x 5.1 cm.

$700/1,000

43THOMASSIE KUDLUK (1910-1989), E8-873, KangirsukWEASEL

stone, inscribed with disc number, 2.25” x 6.25” x 1” — 5.7 x 15.9 x 2.5 cm.

$400/600

42DAVIE ATCHEALAK (1947-2006), E7-1182, IqaluitFOX


$600/900

18


44MAGGIE KOWCHARLIE (1917-D),E9-1727, KuujjuaraapikOWL AND BEARTRANSFORMATION

stone, signed in syllabics, 2.75” x 6.5” x 2” — 7 x 16.5 x 5.1 cm.

$400/600

46SILAS QAYAQJUAQ (1956-), E5-1324, OttawaDRUM DANCERS

stone, baleen, ivory, signed in Romanand syllabics, dated 1999, 5.75” x 4” x 3” — 14.6 x 10.2 x 7.6 cm.

Exhibited: In the Shadow of the Midnight Sun:Sami and Inuit Art 2000-2005, curatedby Jean Blodgett, Art Gallery ofHamilton, Hamilton, Ontario, 2007

$600/900

45SILAS QAYAQJUAQ (1956-), E5-1324, OttawaSPIRIT HELPING

stone, baleen, antler, signed in Romanand syllabics, 4.75” x 2.75” x 1.5” — 12.1 x 7 x 3.8 cm.

$300/500

47UNIDENTIFIEDMOTHER WITH CHILD INAMAUT OVER A FISHING HOLE

stone, ivory, sinew, c. 1950, 4.25” x3.25” x 4.75” — 10.8 x 8.3 x 12.1 cm.

$300/500

49MARK TUNGILIK (1913-1986),E3-320, Repulse BayWOMAN WITH A HANDBAG

ivory, antler, signed in syllabics, 2” x 2” x1” — 5.1 x 5.1 x 2.5 cm.

$600/900

48JOHN KAVIK (1897-1993), E2-290,Rankin InletSTANDING WOMAN

stone, 5.5” x 2.5” x 1” — 14 x 6.4 x 2.5 cm.

$600/900

19


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20


50MARK TUNGILIK (1913-1986), E3-320, Repulse BayPEOPLE

stone, ivory, .75” x 3.5” x .75” — 1.9 x 8.9 x 1.9 cm.

$400/600

51MANASIE AKPALIAPIK (1955-), E5-1155, TorontoSHAMAN

bone, stone, signed in syllabics, 6” x 6.5” x 3” — 15.2 x 16.5 x 7.6 cm.

$500/700

52BILL NASOGALUAK (1953-), W3-1258,YellowknifePOLAR BEAR

stone, signed in Roman, dated 2006, 3.5” x 6” x 2” — 8.9 x 15.2 x 5.1 cm.

$600/900

53MARIA TOWETOAKBLIND BOY AND THE LOON

antler, signed in Roman, 2.25” x 3” x 1” — 5.7 x 7.6 x 2.5 cm.

Provenance: Snow Goose Gallery, Ottawa, ON, Private Collection, ON

Note: The work depicts a portion of the Lumack Legend, in whicha blind boy is mistreated by his mother and receives theassistance of a loon. The loon takes hold of the boy,suddenly diving into the lake. The loon instructs the boy tokeep his eyes open as they go under water and when heemerges, the boy finds he can see.

$600/900

21


54MARIA TOWETOAKSEDNA’S DOG CHILD

antler, signed in Roman, 2.5” x 3.5” x 1” — 6.4 x 8.9 x 2.5 cm.

Provenance: Snow Goose Gallery, Ottawa, ON, Private Collection, ON

Note: At times fused with the story of the sea goddess, Sedna,the story of the girl who married a dog tells of a younggirl that would not have a husband and came to marry adog. After becoming pregnant, her father isolated her ona small, remote island. She bore a litter, some dogchildren and some human children. Knud Rasmussen, Report of the Fifth Thule Expedition,1921-4, vol. VII, no. 1, 1929, Copenhagen, p. 63-6

$600/900

55UNIDENTIFIEDCARIBOUivory, c. 1940, 3.5” x 6” x 1” — 8.9 x 15.2 x 2.5 cm.

$600/900

56UNIDENTIFIEDSHAMAN FOX TRANSFORMATION

stone, 1.75” x 4” x .75” — 4.4 x 10.2 x 1.9 cm.

$150/250

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22


57LUKE ANOWTALIK (1932-2006),E1-524, ArviatFOUR STANDING FIGURES

coloured pencil drawing, unframed, 22.5” x 30” — 57.2 x 76.2 cm.

$300/500

58PUDLO PUDLAT (1916-1992), E7-899, Cape DorsetANIMAL CHASING HUNTERSWITHOUT WEAPONS

mixed media, signed in syllabics, c. 1975,unframed, 19” x 22” — 48.3 x 55.9 cm.

$400/600

59RUTH ANNAQTUUSITULURIALIK (1934-), E2-16, Baker LakeCAMP SCENE

coloured pencil drawing, signed insyllabics, unframed, 22.25” x 30” — 56.5 x 76.2 cm.

$300/500

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23


60JESSIE OONARK (1906-1985), E2-384, Baker LakeHUMAN AND FISHCOMPOSITION

pastel drawing, signed in syllabics,unframed, 22.5” x 30” — 57.2 x 76.2 cm.

$3,000/5,000

61JESSIE OONARK (1906-1985), E2-384, Baker LakeTRANSFORMATIONCOMPOSITION

coloured pencil drawing, signed insyllabics, unframed, 22.25” x 30” — 56.5 x 76.2 cm.

$3,000/5,000

62JESSIE OONARK (1906-1985), E2-384, Baker LakeBOATS AND PEOPLE

coloured pencil drawing, signed insyllabics, unframed,22” x 30” — 55.9 x 76.2 cm.

$3,000/5,000

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63PARR (1893-1969), E7-1022, Cape DorsetCARIBOU AND WALRUS HUNT

coloured pencil drawing, signed in syllabics, unframed, 20” x 20.5” — 50.8 x 52.1 cm.

$3,000/5,000

64PARR (1893-1969), E7-1022, Cape DorsetWALRUS, POLAR BEARS AND HUNTER

coloured pencil drawing, signed in syllabics, unframed, 20” x 25.75” — 50.8 x 65.4 cm.

$3,000/5,000

65ANNIE POOTOOGOOK (1969-), Cape DorsetREMEMBERING ANCESTORS

coloured pencil and graphite, c. 2005, signed in syllabics, framed, Sheet 25” x 20” — 62.5 x 50 cm.

Note: “The three graves of Napachie Ashoona Pootoogook, EegyvudlukPootoogook, and Pitseolak Ashoona, Annie's mother, father, andgrandmother, respectively, are flanked by brilliantly coloured compositeflowers, their names inscribed in syllabics to the affixed crucifixes.Central in the image is the bust of a woman with her face obscured byher hands, her mouth rather widely parted. The figure is enclosed by anundulating contour that serves to create a sense of both literal andfigurative detachment from what is below. Yellow lines beam fromaround the encircled figure and burial sites, conceivably borrowed fromthe contemporary artist’s own iconography where yellow denotestenderness and warmth.This work is, perhaps, reflective of the artist's change to moreemotionally preoccupied motifs following the death of her mother in2002. Such very poignant subject matter is marvelously juxtaposedwith the very simple medium and the artist's signature honest anduncomplicated style.” References from Kyra Vladykov Fisher, Guide to Cape Dorset Artists,2008, p.170-172

$2,000/2,500

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25


66KENOJUAK ASHEVAK (1927-2013), E7-1035, Cape DorsetCOMPOSITION

stonecut, 1967, 12/50, unframed, 25" x 34" — 63.5 x 86.4 cm.

$3,000/5,000

67KENOJUAK ASHEVAK (1927-2013), E7-1035, Cape DorsetNIGHT HUNTER

stonecut, 1969, 37/50, unframed, 24.25” x 34” — 83.8 x 62.2 cm.

$3,000/5,000

68KENOJUAK ASHEVAK (1927-2013), E7-1035, Cape DorsetOWLS, RAVENS AND DOGS


$3,000/5,000

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69JOSEPH POOTOOGOOK (1887-1958), E7-1166, Cape DorsetCARIBOU

Note: From the experimental print makingperiod in Cape Dorset.

stonecut, 1958, 24/30, unframed, 6” x 7.75” — 15.2 x 19.7 cm.

$5,000/7,000

27


70NIVIAXIE (1908-1959), E7-1077,Cape DorsetTHE ARCHER

sealskin stencil, 1960, 39/50, unframed,23.5” x 12.5” — 59.7 x 31.8 cm.

$4,000/6,000

28


71SHEOUAK (1923-1961), E7-816,Cape DorsetPOT SPIRITS

stencil, 1960, 18/50, unframed, 12” x 19” — 30.5 x 48.3 cm.

Note: “Traditionally, the Inuit believed that everyobject, be it animate or inanimate, had aspirit. This spiritual inhabitant, called bythe same word that means human, wasoften visualized as a tiny human being orhuman face. Here, the artist animates hercooking utensils with their respectivespirits.” Blodgett, Eskimo Narrative, p. 42, pl. 54

$5,000/7,000

29


72PARR (1893-1969), E7-1022, Cape DorsetGEESE, DOGS, AND WALRUS

stonecut, 1963, 16/50, unframed, 22.5” x 20.5” — 57.2 x 52.1 cm.

$4,000/6,000

73PARR (1893-1969), E7-1022, Cape DorsetGEESE, MAN AND ANIMALS

stencil, 1963, 9/50, unframed, 24.5” x 24” — 62.2 x 61 cm.

Note: “Parr’s art is distinguished by the absenceof narrative; his production is essentially acatalogue of Arctic elements. In this print,the artist does not hesitate to presentcontradictions. The running geese areflightless; they are summer geese, yet theman is dressed in winter garb and ispresumably seated on the snow.” Furneaux et al., Arts of the Eskimo:Prints, p. 76-77

$4,000/6,000

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74PARR (1893-1969), E7-1022, Cape DorsetMEN AND WALRUS

stonecut, 1961, 43/50, unframed, 27” x 18” — 68.6 x 45.7 cm.

Note: “Parr was an especially prolific artist, filling sketchbooks withhis naive forms of people and animals. Here the rock-like formof the central walrus expresses its great weight. Parr’s texturedblack pencil or wax crayon translates well into the medium ofthe stonecut print.” The Inuit Print, exh. cat., from the National Museum of Man,Ottawa, ON, 1977, p. 76, pl. 24

$3,000/5,000

75PARR (1893-1969), E7-1022, Cape DorsetTHREE MEN AND TWO DOGS

stonecut, 1963, 16/50, framed, sight, 26.75” x 23.75” — 67.9x 60.3 cm.

$3,000/5,000

76PARR (1893-1969), E7-1022, Cape DorsetBIRDS AND ANIMALS


$2,500/3,500

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77KIAKSHUK (1886-1966), E7-1057,Cape DorsetTHE MORNING SUN

sealskin stencil, 1961, 41/50, unframed,19” x 25” — 48.3 x 63.5 cm.

$3,000/5,000

78KIAKSHUK (1886-1966), E7-1057,Cape DorsetFAMILY OF WHALES

stencil, 1961, 27/50, unframed, 18” x 24.5” — 45.7 x 62.2 cm.

$2,500/3,500

79KIAKSHUK (1886-1966), E7-1057,Cape DorsetUNTITLED (KAYAKS, UMIAKS, 5 WHALES)


Note: From Cape Dorset Revisited - A Collectionof Previously Unreleased Prints, curatedby Susan Gustavison, 1994, McMichaelCanadian Art Collection, Kleinburg, ON

$2,500/3,000

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80KIAKSHUK (1886-1966), E7-1057,Cape DorsetDRIVING MOULTING GEESEINTO PENS

sealskin stencil, 1960, 30/30, unframed,17” x 26” — 43.2 x 66 cm.

$2,000/3,000

81KIAKSHUK (1886-1966), E7-1057,Cape DorsetGIANT KILLING BEARS


$1,000/1,500

82KIAKSHUK (1886-1966), E7-1057,Cape DorsetLUMIUK AND THE WHALES

stonecut, 1961, 34/50, 11.25” x 14.75” — 28.6 x 37.5 cm.

$1,000/1,500

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83AQJANGAJUK SHAA (1937-), E7-1065, Cape DorsetDANCING POLAR BEAR

stone, signed in syllabics, 19.75” x 17.5” x9.75” — 50.2 x 44.5 x 24.8 cm.

$4,000/6,000

84AQJANGAJUK SHAA (1937-), E7-1065, Cape DorsetPOLAR BEARTRANSFORMATION

stone, 20.5” x 19” x 11” — 52.1 x 48.3 x 27.9 cm.

$3,000/5,000

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85AQJANGAJUK SHAA (1937-), E7-1065, Cape DorsetSWIMMING CARIBOU

stone, antler, 28” x 24” x 28” — 71.1 x 61 x 71.1 cm.

$3,000/5,000

86KIAWAK ASHOONA (1933-), E7-1103, Cape DorsetPOLAR BEAR AND YOUNG

stone, 1967, 19” x 18” x 17” — 48.3 x 45.7 x 43.2 cm.

$5,000/7,000

35


87KIAWAK ASHOONA (1933-), E7-1103, Cape DorsetFALCON FAMILY

stone, 1985, 12” x 17” x 8.25” — 30.5 x 43.2 x 21 cm.

$4,000/6,000

88KIAWAK ASHOONA (1933-), E7-1103, Cape DorsetGROWLING POLAR BEAR

stone, ca. 1965, signed in syllabics withdisc number, 10” x 18” x 10” — 25.4 x45.7 x 25.4 cm.

Provenance: Estate of Neil Kernaghan, Toronto

Note: Please see, George Swinton, Sculpture ofthe Eskimo, p.185, pl. 453

$3,000/5,000

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89OSUITOK IPEELEE (1923-2005),E7-1154, Cape DorsetHUNTER WITH HARPOON

stone, hide, wood, ivory, 20” x 9” x 9” — 50.8 x 22.9 x 22.9 cm.

$12,000/16,000

90OSUITOK IPEELEE (1923-2005),E7-1154, Cape DorsetRECLINING CARIBOU

stone, antler, signed in syllabics, 9.8” x 16.9” x 4.1” — 25 x 43 x 10.5 cm.

$6,000/9,000

37


91KAKA ASHOONA (1928-1996), E7-1101, Cape DorsetSEDNA AND HER ATTENDANT


$4,000/6,000

92KANANGINAK POOTOOGOOK(1935-2010), E7-1168, Cape DorsetWIND SWEPT MUSK OX

stone, signed in syllabics, 8.5” x 13” x 8” — 21.6 x 33 x 20.3 cm.

$3,000/5,000

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93PAUTA SAILA (1916-2009), E7-990, Cape DorsetDANCING POLAR BEAR

stone, 1973, signed in syllabics, 16” x 14” x 5” — 40.6 x 35.6 x 12.7 cm.

$10,000/15,000

39


94PAUTA SAILA (1916-2009), E7-990, Cape DorsetDANCING POLAR BEAR/SHAMAN

stone, antler, signed in syllabics, 15.5” x 13” x 4” — 39.4 x 33 x 10.2 cm.

Note: Measurements reflect height and depth without base. With 17.5” - 44.5 cm (H) and 8” - 20.3 cm (D)

$15,000/20,000

40


95PAUTA SAILA (1916-2009), E7-990, Cape DorsetDANCING POLAR BEAR

stone, ivory, signed in syllabics, 2003,17.7” x 15” x 6.3” — 45 x 38 x 16 cm.

$15,000/20,000

41


96PAUTA SAILA (1916-2009), E7-990, Cape DorsetMUSK OX

stone, 17” x 23” x 12” — 43.2 x 58.4 x 30.5 cm.

$8,000/12,000

Provenance: Amon Carter Museum of American Art, Fort Worth, TexaxWaddington’s Auctioneers & Appraisers, November 2002, lot 270

42


97PITSEOLAK NIVIAQSI (1947-), E7-1081, Cape DorsetGIRL WITH BRAIDS

stone, 13” x 17” x 8” — 33 x 43.2 x 20.3 cm.

$3,000/5,000

43


98ANDY MIKI (1918-1983), E1-436,ArviatBIRD

stone, c. 1968, signed in syllabics and discnumber, 9” x 5.25” x 15.25” — 22.9 x 13.3x 38.7 cm.

$16,000/18,000

Note: “Indeed, even within an overall ‘Kivalliq aesthetic’ , Miki’s art stands out forits predeliction to abstraction and stylization. It is not surprising, therefore,that the greatest appreciation for him is found in an audience accustomedto the paradigm of modern European sculpture of the type produced byConstantin Brancusi or Henry Moore.” Norman Zepp, excerpt from Sanattiaqsimajut, Inuit Art from the CarletonUniversity Art Gallery Collection, 2009, p. 83

44


99ANDY MIKI (1918-1983), E1-436, ArviatCARIBOU

stone, c. 1968, signed in syllabics, 9” x 3.75” x 6.25” — 22.9 x 9.5 x 15.9 cm.

$10,000/15,000

45

100ANDY MIKI (1918-1983), E1-436, ArviatDOGstone, ca. 1969, 9” x 7” x 1.5” — 22.9 x 17.8 x 3.8 cm.

Provenance: Waddington’s Auctioneers & Appraisers,November 2006, lot 308,Private Collection

Exhibited: Norman Zepp, Pure Vision, The KeewatinSpirit, exh. cat., Norman Mackenzie ArtGallery, Regina, SK, 1986, p. 66, pl. 8Note: As noted by Norman Zepp on page83 of Sanattiaqsimajut, “Such works havestrong linear sense, as the eyes are led tothe outer edges where the form is definedby a single sensitive line.”

$5,000/7,000


stone, 3.75” x 5.5” x 3.75” — 9.5 x 14 x 9.5 cm.

$2,000/3,000

45



102ATTR: JOHNNY INUKPUK (1911-2007), E9-904, InukjuakMOTHER HOLDING HERCHILDREN

stone, ivory, soap, ca. 1950, 11” x 13” x 9” — 27.9 x 33 x 22.9 cm.

$30,000/35,000

Note: For a similar piece see, George Swinton, Sculpture of the Eskimo, p. 17, pl. 19


103ATTR: ISA SMILER (1921-1986),E9-706, InukjuakMOTHER WITH CHILD IN HERAMAUT

stone, ivory, soap inlay, ca. 1950, 12” x 9”x 9” — 30.5 x 22.9 x 22.9 cm.

$15,000/20,000

Note: For a similar piece see, George Swinton, Sculpture of the Eskimo, p.82, pl. 111

Head of the mother figure is removable.

50


104BARNABUS ARNASUNGAAQ (1924-),E2-213, Baker LakeMUSK OX

stone, signed in syllabics, 11” x 16” x 7” — 27.9 x 40.6 x 17.8 cm.


$4,000/6,000

51


105LUKE IKSIKTAARYUK (1909-1977), E2-45, Baker LakeSHAMAN TRANSFORMING

antler, 13.5” x 8.25” x 9” — 34.3 x 21 x22.9 cm.

$15,000/20,000

Provenance: The Isaacs Innuit Gallery of Eskimo Art, Toronto, ON, 1978,Private Collection, CA, USA

106LUKE IKSIKTAARYUK (1909-1977), E2-45, Baker LakeDRUM DANCE GATHERING

antler, wood, membrane, sinew, c. 1970,6” x 17.5” x 11.5” — 15.2 x 44.5 x 29.2 cm.

$15,000/20,000

Note: “In Luke Iksiktaaryuk we return to an artist whose interest is in the life ofthe traditional community. Detail and motion are kept to a minimum in hisfigure groups which become skeletal, evocative visions of life as it was.They are frozen in time and space.” Helga Goetz, The People Within, exh. cat., Art Gallery of Ontario, 1976,The Art of Baker Lake, p. IV

54

107JUDAS ULLULAQ (1937-1999), E4-342,Gjoa HavenMOTHER AND CHILD

stone, wood, antler, signed in sylllabics, 28.5” x 18.5” x 13” — 72.4 x 47 x 33 cm.

$12,000/16,000

55

108JUDAS ULLULAQ (1937-1999), E4-342,Gjoa HavenHUNTER AND BIRD

antler, signed in syllabics, 16” x 15” x 12” — 40.6 x 38.1 x 30.5 cm.

Est. $5,000/7,000

56


109NELSON TAKKIRUQ (1930-), E4-120, Gjoa HavenFIGURE WITH ULU AND WHALE

stone, antler, musk ox horn, leather, signed in Roman and syllabics, dated 1995, 14.5” x 18” x 10” — 36.8 x 45.7 x 25.4 cm.

$4,000/6,000

57


110PHILIP KAMIKPAKITTUQ (1955-),E2-556, Gjoa HavenDRUM DANCER

stone, bone, horn, signed in Roman, 1995,13” x 10.5” x 4” — 33 x 26.7 x 10.2 cm.

$4,000/6,000

Exhibited: Darlene Coward Wight, Art & Expression of the Netsilik,The Winnipeg Art Gallery, 2000, p.125

58


111URIASH PUQIQNAK (1946-), E4-556,Gjoa HavenMOTHER AND CHILD

stone, antler, hair, wood, metal, signed insyllabics and dated ‘96, 18” x 13” x 14” — 45.7 x 33 x 35.6 cm.

$5,000/7,000

59


112JOHN KAVIK (1897-1993), E2-290,Rankin InletFIGURE

stone, 11.5” x 5” x 6” — 29.2 x 12.7 x 15.2 cm.

$4,000/6,000

113JOHN KAVIK (1897-1993), E2-290,Rankin InletMUSK OX

stone, 8.75” x 13.25” x 3.5” — 22.2 x 33.7 x 8.9 cm.

$4,000/6,000

59

60


114JOHN TIKTAK (1916-1981), E1-266,Rankin InletHEAD

stone, c. 1970, signed in syllabics, 6” x2.75” x 3” — 15.2 x 7 x 7.6 cm.

Note: “Tiktak began carving after he suffered aserious hip injury while working inKangiqsliniq (Ranklin) nickel mine. Whilehe was recovering in hospital, a nurse toldhim that he could earn some money bycarving, so that is what he did. In 1963,Tiktak committed himself to being aprofessional carver, working with a fewspecific images, including mother andchild, single seated and standing figures,and heads. Tiktak’s work is furthercharacterized by a complete absence ofhands and by animated faces withfeatures which, over the years havebecome more and more deeply incised.”Emily E. Auger, The Way of the Inuit Art:Aesthetics and History in and Beyond theArctic, 2005, p. 116.

$5,000/7,000

115JOHN TIKTAK (1916-1981), E1-266,Rankin InletFACES

stone, signed in syllabics, 9.5” x 5.25” x 2.5” — 24.1 x 13.3 x 6.4 cm.

$3,000/5,000

61


116CHARLIE UGYUK (1931-1998), E4-341,Spence BayDEMON HOLDING YOUNG

stone, musk ox horn, ivory, signed in syllabics,22” x 11” x 14” — 55.9 x 27.9 x 35.6 cm.

$20,000/30,000

62


117CHARLIE UGYUK (1931-1998), E4-341,Spence BayFALCON WITH OUTSTRETCHED WINGS

stone, signed in syllabics, 10.5” x 17” x 6” — 26.7 x 43.2 x 15.2 cm.

$8,000/12,000

63

118KAROO ASHEVAK (1940-1974),E4-196, Spence BaySHAMAN’S FACE

stone, bone, ivory, 6.5” x 6.5” x 3.5” — 16.5 x 16.5 x 8.9 cm.

$8,000/12,000

119KAROO ASHEVAK (1940-1974),E4-196, Spence BayHUMAN HAND

bone, 5” x 3.75” x 2” — 12.7 x 9.5 x 5.1 cm.

Provenance: Waddington’s Auctioneers & Appraisers,November 2005, lot 354g, Mira GodardCollection of Inuit Art,Private Collection

$3,000/5,000

63


64


120HENRY EVALUARDJUK (1923-2007), E5-846, IqaluitALERT POLAR BEAR

stone, 12.5” x 20” x 7” — 31.8 x 50.8 x 17.8 cm.

$15,000/20,000

Provenance: Waddington’s Auctioneers & Appraisers, April 1980, lot 430,Estate of Neil Kernaghan, Toronto

65


121JOSIAH NUILAALIK (1928-2005),E2-385, Baker LakePOLAR BEAR/CARIBOUTRANSFORMATION,

stone, ivory, 11” x 8” x 5.25” — 27.9 x 20.3 x 13.3 cm.

$4,000/6,000

Note:“When I first started carving, I was told to make human figures or animals.I carve more complicated pieces than this today by remembering legendsand stories that I have heard from my grandparents, who raised me, and byusing my imagination.” Marie Bouchard, An Inuit Perspective, Baker Lake Sculpture, 2000, p. 74

66


122PARR (1893-1969), E7-1022, Cape DorsetCHILDREN CHASING DOGS


$2,500/3,500

124PARR (1893-1969), E7-1022, Cape DorsetSEAL HUNTER


$2,500/3,500

123PARR (1893-1969), E7-1022, Cape DorsetHUNTERS

stonecut, 1969, 35/50, unframed, 24” x 36” — 61 x 91.4 cm.

$2,500/3,500

125PARR (1893-1969), E7-1022, Cape DorsetWALRUS HUNT

stonecut, 1964, 30/50, unframed,24.25” x 36.25” — 61.6 x 92.1 cm.

$2,500/3,500

127PARR (1893-1969), E7-1022, Cape DorsetMAN AND WHALE

stonecut, 1962, 48/50, framed, sight,9.5” x 22” — 24.1 x 55.9 cm.

$1,000/1,500

126PARR (1893-1969), E7-1022, Cape DorsetWALRUS HUNTERS ON SEA ICE


$2,500/3,500

66


128PAUTA SAILA (1916-2009), E7-990, Cape DorsetSTARTLED OWL


$800/1,200

129PITALOOSIE SAILA (1942-), E7-1006, Cape DorsetESKIMO LEADER


$3,000/5,000

130PITALOOSIE SAILA (1942-), E7-1006, Cape DorsetSHAMAN’S DANCE


$400/600

131PITSEOLAK ASHOONA (1904-1983), E7-1100, Cape DorsetPERILS OF THE SEATRAVELLER

stonecut, 1960, 49/50, unframed, 18.5” x 23” — 47 x 58.4 cm.

$2,000/3,000

Note: “The artist remembered the spine-tingling experience of being confrontedby a shaman performing. The magicelements, the antlers and the clawsindicate a shaman; the streaming hair,the long dancing tassels and thetraditional design on the boots indicatethat she is a woman.” Furneaux et al., Arts of the Eskimo:Prints p. 114-5

Note: Image presented to Prime Minister JeanChrétien 1974 by CAP; “The contemporary, Picasso-like image isof a powerful woman. She has tattoomarks under her nose as well ashorizontal stripes around the tops of herboots indicating she is a female figure.The design on men’s boots would gostraight down in a vertical line. The blackarea on the face represents shadow.Pitaloosie heard of some ‘boss women’existing a long time ago and she findsthe subject very interesting.” Personal Communication, June 1983,quoted in Arctic Vision: Art of theCanadian Inuit, exh. cat., CanadianArctic Producers, 1984, p. 29

67


68


132PITSEOLAK ASHOONA (1904-1983), E7-1100, Cape DorsetGIRL CHASED BY DOG

stonecut, 1961, Proof 3/3, framed, 7.25” x 14.25” — 18.4 x 36.2 cm.

$500/700

134PITSEOLAK ASHOONA (1904-1983), E7-1100, Cape DorsetYOUNG BEARS

stonecut and stencil, 1977, 12/50,unframed, 22” x 28” — 55.9 x 71.1 cm.

$400/600

133PITSEOLAK ASHOONA (1904-1983), E7-1100, Cape DorsetTHE LITTLE OWL


$400/600

135PITSEOLAK ASHOONA (1904-1983), E7-1100, Cape DorsetBELLOWING CARIBOU

stonecut, 1973, 16/50, unframed,24.25” x 17” — 61.6 x 43.2 cm.

$300/500

137PUDLAT POOTOOGOOK (1919-1985), E7-1173, Cape DorsetLARGE OWL


$400/600

136PITSEOLAK ASHOONA (1904-1983), E7-1100, Cape DorsetOUR CAMP

stonecut, 1974, 1/50, unframed, 34” x25” — 86.4 x 63.5 cm.

$300/500

68


69


69

138PUDLO PUDLAT (1916-1992), E7-899, Cape DorsetCOMPOSITION


$700/1,000

139PUDLO PUDLAT (1916-1992), E7-899, Cape DorsetFAMILY OF OWLS

stonecut, 1990, 5/50, framed, sight, 21.25” x 27” — 54 x 68.6 cm.

Note:The stone block from which the edition prints were createdcame from the slate of an abandoned pool table. Barz, Inuit Artists Print Workbook, p. 306

$600/900

140PUDLO PUDLAT (1916-1992), E7-899, Cape DorsetGOOSE


$600/800

141SAGGIAK (1897-1980), E7-1190, Cape DorsetA HUNTER’S WEAPONS


$400/600

70


142SHARNI POOTOOGOOK (1922-),E7-1174, Cape DorsetBUNTINGS

stonecut, 1964, 14/50, 20” x 24.5” — 50.8 x 62.2 cm.

$1,000/2,000

143SHARNI POOTOOGOOK (1922-),E7-1174, Cape DorsetWOMAN DRESSED IN CARIBOUCLOTHING

stonecut and serigraph, 1965, 49/50,unframed, 23” x 16.5” — 58.4 x 41.9 cm.

$400/600

144SHOUYU POOTOOGOOK (1937-),E7-1019, Cape DorsetBIRDS FEEDING


$400/600

70

71


145JOHN KAVIK (1897-1993), E2-290,Rankin InletMOTHER AND CHILD

stone, 1974, signed in syllabics, 8” x 6.5” x 6” — 20.3 x 16.5 x 15.2 cm.

$2,500/3,500

146JOHN KAVIK (1897-1993), E2-290,Rankin InletHEAD


$1,500/2,500

71

72


147PIE KUKSHOUT (1911-1980), E2-302, Rankin InletFIGURE WITH CHILD

stone, 11.5” x 10.5” x 5” — 29.2 x 26.7 x 12.7 cm.

$2,500/3,500

73


148PIERRE KARLIK (1931-), E3-145,Rankin InletRELIEF CARVED TOTEM ONSERPENT/SHAMAN BASE

ivory, stone, 1979, signed in Roman andsyllabics, 19” x 6.5” x 3” — 48.3 x 16.5 x 7.6 cm.

$1,500/2,000

149MARK TUNGILIK (1913-1986), E3-320, Repulse BayDRUM DANCER

stone, antler, inscribed with disc number,4.75” x 3.75” x 3.25” — 12.1 x 9.5 x 8.3 cm.

$300/500

150ANNIE IKILLUAQ SAVIAKJUK(1938-), E9-1197, SalluitSEATED WOMAN SCRAPING A SKIN

stone, ivory, inscribed with disc number,8.75” x 5.75” x 8” — 22.2 x 14.6 x 20.3 cm.

Provenance: Collection of M. F. (Budd) Feheley,Private Collection, ON

$3,000/5,000

73

74


151UNIDENTIFIED, SalluitWOMAN HOLDING QALLIK

stone, c. 1950, 8.75” x 4.25” x 4.25” — 22.2 x 10.8 x 10.8 cm.

Note: Clothing styles throughout the polar regions bear remarkable similarities.Here, the woman holds the qallik or pants. Traditionally, the mainmaterials for the qallik were caribou and seal, sewn together with sinew.

$1,000/2,000

152UNIDENTIFIED, SalluitWOMAN HOLDING HER BRAIDS WITH CHILD IN AMAUT

stone, c. 1950, 6.25” x 3” x 3.25” — 15.9 x 7.6 x 8.3 cm.

$1,000/2,000

153DANIEL QUMA ANGIJU (1929-1979), E9-952, PovungnitukHUNTER WITH SEAL

stone, signed in Roman, inscribed with disc number, c. 1955, 10.25” x 5” x7.75” — 26 x 12.7 x 19.7 cm.

Note:This work is featured as the June 1960 frontispiece of the United NationsWorld Refugee Year newsletter. The pamphlet covered the story of“Operation Eskimo,” in which the people of Iqaluit presented their worksto be auctioned in aid of the United Nations refugee rehabilitationprograms. Subsequent to the sale, journalist Teddi Donovan spoke of the work in theMay 6, 1960 Toronto Telegram, hailing this piece, “the evening’s classiccarving.”

$1,500/2,000

74

75


154DAVIDIALUK ALASUA AMITTU (1910-1976), E9-824, PovungnitukHUNTER RESCUING THE IQALUNAPPAA

stone, signed in Roman and in syllabics, 6.5” x 16” x 6” — 16.5 x 40.6 x 15.2 cm.

Note: A possible explanation for the subject matter is the story ofIqalunappaa or the half-fish. According to a storyrecounted by Davidialuk, a man was gathering driftwoodalong the shoreline when he spotted an enormous creaturethat was half human, half fish. After helping the beachediqalunappaa, the sea maiden wished to express her gratitudeand told the man she would place a gramophone, gun, andsewing machine on the shore at dawn. The man returnedthe next day to find the items on the shore with no sign ofthe half-fish. Story by Davidialuk, as retold in Zebedee Nungak & EugeneArima, Eskimo Stories - Unikkaatuat, National Museums ofCanada, Bulletin No. 235, Series No. 90, 1969, p. 53

$4,000/6,000

155DAVIDIALUK ALASUA AMITTU (1910-1976), E9-824, PovungnitukWOMAN WHO MARRIED A DOG

stone, signed in Roman, inscribed with disc number, c. 1974,5.5” x 9.5” x 6” — 14 x 24.1 x 15.2 cm.

$2,500/3,500

156JOE TALIRUNILI (1893-1976), E9-818, PovungnitukCARIBOU

stone, antler, signed in Roman and syllabics, 5.5” x 7” x 2” — 14 x 17.8 x 5.1 cm.

$1,500/2,500

75


157JOE TALIRUNILI (1893-1976), E9-818, PovungnitukOWL

stone, signed in Roman, 4.5” x 3.5” x 2.25” — 11.4 x 8.9 x 5.7 cm.

$1,000/1,500

158JOE TALIRUNILI (1893-1976), E9-818, PovungnitukPOLAR BEAR

stone, signed in Roman, 3.75” x 5” x 2.25” — 9.5 x 12.7 x 5.7 cm.

$800/1,200

159JOE TALIRUNILI (1893-1976), E9-818, PovungnitukOWL

stone, signed in Roman, inscribed withdisc number, 6” x 3.75” x 6.5” — 15.2 x 9.5 x 16.5 cm.

$700/1,000

76


160PAULOSIE SIVUAK (1930-1986),E9-1493, PovungnitukTHROAT SINGERS

stone, signed in Roman, 10.25” x 9.5” x 5” — 26 x 24.1 x 12.7 cm.

$1,000/2,000

161DAVIE ATCHEALAK (1947-2006),E7-1182, IqaluitDANCING POLAR BEAR

stone, 1983, 15” x 11” x 8” — 38.1 x 27.9 x 20.3 cm.

$4,000/6,000

162DAVIE ATCHEALAK (1947-2006),E7-1182, IqaluitDRUM DANCER

stone, bone, antler, sinew, signed in Roman, 22” x 11” x 18” — 55.9 x 27.9 x 45.7 cm.

$4,000/6,000

77

163HENRY EVALUARDJUK (1923-2007), E5-846, IqaluitDANCING POLAR BEAR

stone, signed in Roman and syllabics,dated 1971, 12.25” x 8” x 4.75” — 31.1 x 20.3 x 12.1 cm.

$3,000/5,000

164HENRY EVALUARDJUK (1923-2007), E5-846, IqaluitFOX

stone, 5.25” x 13.25” x 3” — 13.3 x 33.7 x 7.6 cm.

$3,000/5,000

165HENRY EVALUARDJUK (1923-2007), E5-846, IqaluitMOTHER AND CHILD

stone, signed in syllabics and Roman,10.25” x 8” x 4.5” — 26 x 20.3 x 11.4 cm.

$3,000/5,000

78


166HENRY EVALUARDJUK (1923-2007), E5-846, IqaluitTWO ETCHED TUSKS

ivory, stone, ink, dated 1972, signed in Roman and syllabics, 17” x 5” x 2.5” — 43.2 x 12.7 x 6.4 cm.; 16.25” x 5” x 2” — 41.3 x 12.7 x 5.1 cm.

$3,000/5,000


stone, signed in Roman with syllabics, 5.5” x 8” x 3” — 14 x 20.3 x 7.6 cm.

$2,000/3,000


stone, signed in Roman and syllabics, 4.5” x 10” x 3.5” — 11.4 x 25.4 x 8.9 cm.

$1,500/2,500

79


169NUYALIAQ QIMIRPIK (1937-2007), E7-99, Lake HarbourPERCHED FALCON


$700/1,000

170LUCASSIE IKKIDLUAK (1949-), E7-765, Lake HarbourRUNNING MUSK OX

stone, antler, signed in syllabics, 12” x 19” x 7.75” — 30.5 x 48.3 x 19.7 cm.

$4,000/6,000

171SILAS QIYUK (1933-), E2-397,Baker LakeTRANSFORMATION

stone, 2.75” x 10.25” x 3.75” — 7 x 26 x 9.5 cm.

Note: For a similar piece see, Blodgett, EskimoNarrative, p. 28, pl. 31

$400/600

80


172BARNABUS ARNASUNGAAQ(1924-), E2-213, Baker LakeMUSK OX

stone, signed in syllabics, 9.5” x 5.25” x 15” — 24.1 x 13.3 x 38.1 cm.

$3,000/5,000

173BARNABUS ARNASUNGAAQ (1924-), E2-213, Baker LakeSHAMAN TRANSFORMATION

stone, 8” x 6.75” x 3” — 20.3 x 17.1 x 7.6 cm.

$400/600

174EFFIE ANGALI’TAAQ ARNALUAQ(1936-), E2-127, Baker LakeTRANSFORMATION


$300/500

81


175GEORGE TATANIQ (1910-1991),E2-179, Baker LakeBIRD

stone, disc number inscribed, 6.3” x 3.1” x 4.1” — 16 x 8 x 10.5 cm.

$800/1,200

176GEORGE TATANIQ (1910-1991),E2-179, Baker LakeHUNTER WITH PIPE AND KNIFE

stone, bone, 6.25” x 3.75” x 2.75” — 15.9 x 9.5 x 7 cm.

$1,500/2,500

177JOSIAH NUILAALIK (1928-2005),E2-385, Baker LakeCOMPOSITION

stone, bone, ivory, 6” x 7” x 9” — 15.2 x17.8 x 22.9 cm.

$1,500/2,000

82


178MARIE KUUNNUAQ (1933-1990),E2-126, Baker LakeHUNTER AND DOG WITHPACKS

antler, sealskin, 8” x 9.75” x 4” — 20.3 x 24.8 x 10.2 cm.

$400/600

179MATHEW AQIGAAQ (1940-2010),E2-350, Baker LakeMUSK OX

stone, signed in syllabics, 9” x 13” x 5” — 22.9 x 33 x 12.7 cm.

$1,500/2,500

180PETER ASSIVAARYUK (1914-), E2-485, Baker LakeTWO CARIBOU

antler, 8” x 10.75” x 6.5” — 20.3 x 27.3 x 16.5 cm.

$1,500/2,000

83


181THOMAS SIVURAQ (1941-), E2-236, Baker LakeBIRD WITH OPPOSING FACE


$2,000/3,000

182THOMAS SIVURAQ (1941-), E2-236, Baker LakeCARIBOU SHAMAN

stone, antler, signed in syllabics, 10.75” x 3.75” x 3” — 27.3 x 9.5 x 7.6 cm.

$1,000/1,500

183THOMAS SIVURAQ (1941-), E2-236, Baker LakeRAVEN

stone, wood base, 30” x 23” x 11” — 76.2 x 58.4 x 27.9 cm.

$1,000/2,000

84


184THOMAS SUVAARAQ (1935-), E2-184, Baker LakeWALRUS SHAMAN

caribou antler, wolf fur, hide, c. 1980, 11” x 4.25” x 3.75” — 27.9 x 10.8 x 9.5 cm.

$600/900

185THOMAS SIVURAQ (1941-), E2-236, Baker LakeMOTHER AND CHILD


$400/600

186THOMAS SIVURAQ (1941-), E2-236, Baker LakeMOTHER AND CHILD


$400/600

85


187THOMAS SIVURAQ (1941-), E2-236, Baker LakeBIRD


$300/500

188TUNA IQULIQ (1935-), E2-167,Baker LakeMOTHER AND CHILD

stone, 13.5” x 10” x 7” — 34.3 x 25.4 x 17.8 cm.

$1,000/1,500

189TUNA IQULIQ (1935-), E2-167,Baker LakeOWL

stone, 12” x 7” x 12” — 30.5 x 17.8 x 30.5 cm.

$800/1,200

86


190TUNA IQULIQ (1935-), E2-167,Baker LakeBIRD

stone, disc number inscribed, 7” x 5” x 3.75” — 17.8 x 12.7 x 9.5 cm.

$400/600

191VITAL MAKPAAQ (1922-1978), E2-120, Baker LakeDRUM DANCER

stone, bone, 1968, 6.3” x 2.8” x 4.3” — 16 x 7 x 11 cm.

$800/1,200

87


192JESSIE OONARK (1906-1985), E2-384, Baker LakeFIGURE IN STRIPED CLOTHING

stonecut and stencil, 1971, 35/48,unframed, 24.25” x 19.25” — 61.6 x 48.9 cm.

$2,500/3,500

194JESSIE OONARK (1906-1985), E2-384, Baker LakeSINGING NORTHERN LIGHTS

stonecut and stencil, 1985, Artist’sProof, 2/5, unframed, 25.25” x 37” — 64.1 x 94 cm.

$1,000/1,500

193JESSIE OONARK (1906-1985), E2-384, Baker LakeFISH WOMAN

stencil, 1979, 35/55, unframed, 30” x 36.5” — 76.2 x 92.7 cm.

$2,500/3,500

195JESSIE OONARK (1906-1985), E2-384, Baker LakeI SEE CARIBOU

stonecut and stencil, 1972, 28/39,unframed, 11.75” x 14” — 29.8 x 35.6 cm.

$600/900

197LUKE ANGUHADLUQ (1895-1982), E2-294, Baker LakeMUSK OX

stonecut and stencil, 1977, 33/50,unframed, 25” x 37” — 63.5 x 94 cm.

$1,000/1,500

196JESSIE OONARK (1906-1985), E2-384, Baker LakeANGUTKOQ

serigraph, 1975, 21/50, unframed, 13” x 16” — 33 x 40.6 cm.

$500/700

88


198LUKE ANGUHADLUQ (1895-1982), E2-294, Baker LakeSTRING GAME

stonecut and stencil, 1972, 23/50,unframed, 12.25” x 19.25” — 31.1 x 48.9 cm.

$600/900

200ELEESHUSHE PARR (1896-1975),E7-1023, Cape DorsetWOMAN WITH WATER PAIL


Note: “The monumental forms of this fullydressed Eskimo female bring to mindmany a powerful Eskimo sculpture. Inthis print, however, the rhythmic,sensitive handling of linear patternsdelicately softens the impression of themass.” Furneaux et al., Arts of the Eskimo:Prints, p. 92-3

$600/900

199EEGYVUDLUK POOTOOGOOK(1931-), E7-865, Cape DorsetRUNNING GOOSE

sealskin stencil, 1960, 4/50, unframed,13” x 21” — 33 x 53.3 cm.

$2,000/3,000

201KANANGINAK POOTOOGOOK(1935-2010), E7-1168, Cape DorsetOMINGMUNGJUAQ


Note: One of six prints from a speciallycommissioned work and part of the 1977Art of the Eskimos, a co-operativeproject between the West Baffin EskimoCo-operative and the International WorldWildlife Fund.

$1,000/2,000

203KENOJUAK ASHEVAK (1927-2013), E7-1035, Cape DorsetFLOWER BIRD

stonecut, 1970, 18/50, unframed, 24” x 34” — 61 x 86.4 cm.

$1,500/2,500

202KANANGINAK POOTOOGOOK(1935-2010), E7-1168, Cape DorsetCARIBOU



$400/600

89


204KENOJUAK ASHEVAK (1927-2013), E7-1035, Cape DorsetOWL OF THE SEA



$1,500/2,000

206KENOJUAK ASHEVAK (1927-2013), E7-1035, Cape DorsetSUMMER OWL

stonecut, 1975, 4/50, unframed, 34” x24.75” — 86.4 x 62.9 cm.

Note: “and stencil” is written in error on the print. Barz, Inuit Artists Print Workbook, p. 240

$1,000/1,500

205KENOJUAK ASHEVAK (1927-2013), E7-1035, Cape DorsetWINTER OWLS


$1,500/2,500

207KENOJUAK ASHEVAK (1927-2013), E7-1035, Cape DorsetRAVENS AND OWL

stonecut and stencil, 1979, 39/50,framed, 24” x 24” — 61 x 61 cm.

$400/600

Note: “A dangerous-looking dog; his furshining, ears pricked, alert, he bouncesacross the sheet, tension expressed inevery line. The curious distortion of thedog’s head, the masklike, geometricaldelineation of its features, plus thehypnotic eyes, combine to produce themenacing appearance.” Furneaux et al., Arts of the Eskimo:Prints, p. 70-71

$1,000/1,500

208LISSIE SAGGIAK (1924-1989), E7-858, Cape DorsetBIG DOG


90


209LUCY QINNUAYUAK (1915-1982), E7-1068, Cape DorsetSPIRIT BOAT


Note: “Lucy Qinnuayuak is best known for her fanciful renditions ofbirds. This print, created more than twenty years into herartistic career, shows a group of bird spirits manning a boatcomplete with its own sovereign flag. Highlighting theimportant role that they play in Inuit life both culturally andspiritually, birds are often portrayed with human-likecharacteristics.” Excerpt from the collections catalogue of the NationalGallery of Canada (Ottawa, ON), cat. no. 39846

$600/900

210LUCY QINNUAYUAK (1915-1982), E7-1068, Cape DorsetBIRD EATING BERRIES


$500/700

211MIKIGAK KINGWATSIAK (1943-), E7-917, Cape DorsetUGJUNGNUK


$1,000/1,500

91


212NAPATCHIE POOTOOGOOK(1938-2002), E7-1104, Cape DorsetESKIMO MOTHER FRIGHTENEDBY DEMONS


$1,500/2,000

213ATTR: ABRAHAM ETUNGAT(1911-1999), E7-809, Cape DorsetOWL WITH SPREAD WINGS

stone, c. 1970, 10.25” x 13” x 4” — 26 x 33 x 10.2 cm.

Note: For a similar piece see, Waddington’sAuctioneers & Appraisers auc. cat., Nov.2005, lot 87 as well as May 2011, lot 202

$1,000/2,000

214KAKA ASHOONA (1928-1996), E7-1101, Cape DorsetHUNTER’S THOUGHTS OF SEAL

stone, signed in Roman, 33” x 10” x 5” — 83.8 x 25.4 x 12.7 cm.

$2,500/3,500

92


215KANANGINAK POOTOOGOOK(1935-2010), E7-1168, Cape DorsetOWL

stone, 11” x 7” x 11” — 27.9 x 17.8 x 27.9 cm.

$1,000/2,000

216KENOJUAK ASHEVAK (1927-2013), E7-1035, Cape DorsetSWIMMING POLAR BEAR


$1,000/2,000

217KENOJUAK ASHEVAK (1927-2013), E7-1035, Cape DorsetBASKING SEAL

stone, c. 1970, 5.5” x 12.5” x 2.75” — 14 x 31.8 x 7 cm.

$800/1,200

93


218KIAWAK ASHOONA (1933-), E7-1103, Cape DorsetSTANDING MAN

stone, 1983, signed in syllabics, 10.5” x 9” x 2.25” — 26.7 x 22.9 x 5.7 cm.

$700/1,000

219KINGWATSIAK JAW (1962-), E7-1970, Cape DorsetSWIMMING SEDNA WITHBRAIDED HAIR

stone, signed in Roman, 7.5” x 14.5” x 3” — 19.1 x 36.8 x 7.6 cm.

$500/700

220KOOMWARTOK ASHOONA (1930-1984), E7-1102, Cape DorsetSEATED HUNTER WITH BEAR HEAD


$700/1,000

94


221KOOMWARTOK ASHOONA (1930-1984), E7-1102, Cape DorsetSPIRIT BIRD

stone, 1978, initial inscribed, 4.5” x 7” x 3” — 16 x 11 x 7.5 cm.

$400/600

222LATCHOLASSIE AKESUK (1919-2000), E7-1055, Cape DorsetOPPOSING SEALS

stone, 24” x 11” x 6” — 61 x 27.9 x 15.2 cm.

$3,000/5,000

223LATCHOLASSIE AKESUK (1919-2000), E7-1055, Cape DorsetOWL

stone, 1993, signed in syllabics, 11.75” x 6.75” x 11” — 29.8 x 17.1 x 27.9cm.

$2,500/3,500

95


224MANNUMI SHAQU (1917-2000),E7-824, Cape DorsetSTANDING FIGURE

stone, signed in syllabics, inscribed withdisc number, 10.5” x 2.5” x 2.75” — 26.7 x 6.4 x 7 cm.

$600/900

225MAYUREAK ASHOONA (1946-),E7-818, Cape DorsetHUMAN BIRDTRANSFORMATION

stone, 27.25” x 12” x 26” — 69.9 x 30.5 x 66 cm.

$4,000/6,000

226MAYUREAK ASHOONA (1946-),E7-818, Cape DorsetSEDNA AND FISH

stone, 16.5” x 27” x 6.5” — 41.9 x 68.6 x 16.5 cm.

$2,000/3,000

96


227NUNA PARR (1949-), E7-764, Cape DorsetDANCING POLAR BEAR

stone, 20.5” x 11” x 7” — 52.1 x 27.9 x 17.8 cm.

$1,000/1,500

228NUNA PARR (1949-), E7-764, CapeDorsetGOOSE


$1,000/2,000

229NUNA PARR (1949-), E7-764, Cape DorsetOWL


$800/1,200

97


230OSUITOK IPEELEE (1923-2005),E7-1154, Cape DorsetRECLINING CARIBOU

stone, signed in syllabics, 13” x 12” x 3” — 33 x 30.5 x 7.6 cm.

$2,000/3,000

231OVILU TUNNILLIE (1949-), E7-779, Cape DorsetFALCON


$1,500/2,000

232PAULASSIE POOTOOGOOK (1927-2006), E7-1176, Cape DorsetSEDNA BRAIDING HER HAIR

stone, signed in syllabics, 19.5” x 10” x 9.5” — 49.5 x 25.4 x 24.1 cm.

$3,000/5,000

98


233PITSEOLAK NIVIAQSI (1947-), E7-1081, Cape DorsetHAND WITH ULU

stone, signed in syllabics, 14” x 11.5” x 4” — 35.6 x 29.2 x 10.2 cm.

$2,500/3,000

234UNIDENTIFIED, Cape DorsetBIRD

stone, c. 1970, 7” x 8.25” x 11.25” — 17.8 x 21 x 28.6 cm.

$300/500

235UNIDENTIFIEDFALCON WITH SPREAD WINGS

bone, antler, 25.5” x 26.5” x 18” — 64.8 x 67.3 x 45.7 cm.

$1,500/2,500

99


236PAULOOSIE AKITIRQ (1935-), E5-90, Arctic BayCOMPOSITION

bone, 9” x 3.75” x 8” — 22.9 x 9.5 x 20.3 cm.

$300/500

237UNIDENTIFIEDDOG TEAM PULLING KOMATIK

skin, bone, stone, c. 1950, 5.25” x 29.5” x 9” — 13.3 x 74.9 x 22.9 cm.

Provenance: Acquired from M. F. (Budd) Feheley,Private Collection, Montreal, QC

Exhibited: Smithsonian Institute, Washington, D.C.,Private Collection, Montreal, Qc

Note: Measurements reflect dimensions with base

$2,000/3,000

238UNIDENTIFIEDRECLINED NUDE CAUCASIAN WOMAN

stone, c. 1960, 4.75” x 14” x 4” — 12.1 x 35.6 x 10.2 cm.

Provenance: Waddington’s Auctioneers & Appraisers, November2009, Lot 208, illustrated on p. 83, Private collection, Toronto

Note: The artist explained to the previous collector he wasdepicting a “white woman” in this work.

$1,500/2,500

100


239UNIDENTIFIEDCHESS SET

stone, ivory, c. 1960, 4.75” x 14.25” x 14.25” — 12.1 x 36.2 x 36.2 cm.

Note: Measurements reflect board withtallest piece.

$2,500/3,500

240ANDY MIKI (1918-1983), E1-436, ArviatANIMAL


$1,000/1,500

241ANDY MIKI (1918-1983), E1-436, ArviatANIMAL

stone, signed in syllabics, 5” x 1” x 4.75” — 12.7 x 2.5 x 12.1 cm.

$1,000/1,500

101


242ELIZABETH NUTARALUKAULATJUT (1914-2002), E1-445,ArviatINUIT FAMILY

stone, ivory, sinew, signed in syllabics,7.25” x 6” x 4.25” — 18.4 x 15.2 x 10.8 cm.

$1,000/1,500

243EVA TALOOKI ALIKTILUK (1927-1995), E1-75, ArviatFIGURE

stone, string, beads, 5.5” x 1.5” x 6” — 14 x 3.8 x 15.2 cm.

$300/500

244EVA TALOOKI ALIKTILUK (1927-1995), E1-75, ArviatFAMILY

antler, 3.25” x .75” x .5” — 8.3 x 1.9 x 1.3 cm.

Note: Measurements reflect that of the tallestfigure

$250/350

102


245JACOB IRKOK (1937-2009), E1-271, ArviatSWIMMING CARIBOU

antler, 3.5” x 11” x 1” — 8.9 x 27.9 x 2.5 cm.

$300/500


stone, 4.5” x 1” x 2.5” — 11.4 x 2.5 x 6.4 cm.

$400/600

247LUCY TASSEOR TUTSWEETOK(1934-2012), E1-135, ArviatMOTHER AND CHILD

stone, c. 1970, 6” x 6.75” x 4” — 15.2 x 17.1 x 10.2 cm.

$1,500/2,000

103


248LUCY TASSEOR TUTSWEETOK(1934-2012), E1-135, ArviatFAMILY

stone, 10.25” x 8” x 5” — 26 x 20.3 x 12.7 cm.

$600/900

249LUKE ANOWTALIK (1932-2006),E1-524, ArviatFAMILY

stone, 12” x 14” x 7” — 30.5 x 35.6 x 17.8 cm.

$2,000/3,000

250LUKE ANOWTALIK (1932-2006),E1-524, ArviatDANCING INUK

antler, 7.25” x 5” x 6” — 18.4 x 12.7 x 15.2 cm.

$300/500

104


251MARC ALIKASWA (1928-), E1-121,ArviatTRANSFORMATION

stone, 2.75” x 8.75” x 2.5”— 7 x 22.2 x 6.4 cm.

$300/500

252PEGGY EKAGINA (1919-1993), W2-290, CoppermineTRANSFORMATION

stone, signed in Roman, 2” x 2.5” x 6” — 5.1 x 6.4 x 15.2 cm.

$800/1,200

253SAM ANAVILOK (1936-1982), W2-235, AND MARTINAKLENGENBERG ANAVILOK(1937-), E4-46, CoppermineIGLOO INTERIOR SCENE WITHCOUPLE EATING

stone, copper, signed in Roman, 5.9” x 2.4” x 3.5” — 15 x 6 x 9 cm.

$400/600

105


254KASUDLUAK WEETALUKTUK,InukjuakCARIBOU

stone, 1988, signed in syllabics, 9” x 8.5” x 5” — 22.9 x 21.6 x 12.7 cm.

$400/600

255AKEEAKTASHUK (1898-1954), E9-713, InukjuakHUNTER SPEARING SEAL

stone, wood, ivory, skin, 1952, 5” x 4.25” x 5.5” — 12.7 x 10.8 x 14 cm.

$1,000/1,500

256NOAH NOWRAKUDLUK (1916-),E9-1612, InukjuakWALRUS

stone, c. 1955, 8.5” x 16” x 8” — 21.6 x 40.6 x 20.3 cm.


$1,000/1,500

106


257POSSIBLY LEVI NUNGAQ (1925-1999), E9-1762, InukjuakTUSK DEPICTING A HUNTING SCENE

stone, ivory, c. 1950, 18.5” x 1.75” x 2.5” — 47 x 4.4 x 6.4 cm.

Note: The work bears a striking resemblance to the piece featured on thefrontispiece of James Houston’s 1951 Eskimo Handicrafts. Thispamphlet, written and illustrated by Houston, was published byCanadian Handicrafts Guild (Montreal, 1951). This was, arguably, themaiden introduction of Inuit art to the south, especially the UnitedStates of America. Of the intricately carved tusk, Houston writes, “Thecarved ivory tusk tells the story of the Eskimo hunter. When it is donewith great cleverness it is a thing anyone would want...”

$1,000/1,500

258JOHNNY INUKPUK (1911-2007), E9-904, InukjuakFATHER AND SON

stone, c. 1970, 7.5” x 4” x 7.5” — 19.1 x 10.2 x 19.1 cm.

$1,500/2,500

259UNIDENTIFIED, InukjuakANIMAL TOTEM

stone, 6.5” x 2.25” x 2.75” — 16.5 x 5.7 x 7 cm.

$400/600

107


260UNIDENTIFIED, InukjuakHUNTER WITH INSET FACE

stone, c. 1955, 7” x 4.25” x 2.75” — 17.8 x 10.8 x 7 cm.

$600/900

261UNIDENTIFIED, InukjuakSTALKING HUNTER

stone, ivory, c. 1960, 7.5” x 5” x 5” — 19.1 x 12.7 x 12.7 cm.

$600/900

262UNIDENTIFIED, InukjuakWALRUS

stone, ivory, c. 1955, 4.5” x 13” x 8” — 11.4 x 33 x 20.3 cm.

$600/900

108


263MAKUSIKALLA ALIQUQULLIALU (1930-1989), E9-1309,AkulivikHUNTER SPEARING POLARBEAR

stone, c. 1965, inscribed with discnumber, 4.25” x 7” x 3.75” — 10.8 x 17.8 x 9.5 cm.

$300/500

264ILKOK OOPAKAK (1917-D), E6-346, IqaluitHUNTING SCENE

stone, sinew, ivory, signed in syllabics,inscribed with artist disc number, 10” x 14.5” x 7” — 25.4 x 36.8 x 17.8 cm.

$600/900

265MATIUSIE IYAITUK (1950-), E9-1939, IvujivikLUMAAQ WITH HER ADOPTEDWHALE BABY

stone, 30” x 14” x 11” — 76.2 x 35.6 x 27.9 cm.

$5,000/7,000

109


266LIPA PITSIULAK (1943-), E6-436,PangnirtungTHREE FACES INCISED ONBONE

bone, 17.5” x 31.5” x 9.25” — 44.5 x 80 x 23.5 cm.

$4,000/6,000

267THOMASSIE KUDLUK (1910-1989), E8-873, KangirsukTWO FIGURES AND A BEAR

stone, signed in syllabics, c. 1980, 1.5” x 5.75” x 4.5” — 3.8 x 14.6 x 11.4 cm.

$400/600

268THOMASSIE KUDLUK (1910-1989),E8-873, KangirsukPIPE SMOKING BEAR


$400/600

110


269THOMASSIE KUDLUK (1910-1989),E8-873, KangirsukGRAZING CARIBOU

stone, signed in syllabics, c. 1980, 3.5” x 5.75” x 1.25” — 8.9 x 14.6 x 3.2 cm.

$300/500

270THOMASSIE KUDLUK (1910-1989), E8-873, KangirsukHUNTER FLENSING SEAL

stone, ivory, signed in syllabics and disc number,4.7” x 4.5” x 2” — 11.9 x 11.4 x 5.1 cm.

$300/500

271POSSIBLY SARAH ABRAHAM(1934-), E8-204, KuujjaqKNEELING HUNTER

stone, ivory, signed in Roman and syllabics,8.25” x 5.75” x 3” — 21 x 14.6 x 7.6 cm.

$600/900

111


272ECHALOOK NUTARALUK (1941-), E9-1392, PovungnitukSEAL HUNTER IN DISTRESS


$300/500

273ISAH AJAGUTAINA TUKULA(1905-1977), E9-1432, PovungnitukHUNTER HAULING A SEAL

stone, inscribed with disc number, 5.25” x 4” x 6” — 13.3 x 10.2 x 15.2 cm.

$500/700

274FRED IYAK TRIMBLE (1961-),NanaimoMUSK OX

stone, antler, signed in Roman, 8.5” x 12” x 8” — 21.6 x 30.5 x 20.3 cm.

$800/1,200

112


275ENOOK MANOMIE (1941-), E7-828, IqaluitCARIBOU

stone, ivory, c. 1960, 6.5” x 6.5” x 2” — 16.5 x 16.5 x 5.1 cm.

$300/500

276ADAM PUDLOO KILABUK (1942-), E6-418, PangnirtungWRESTLING FIGURES

stone, signed in Roman, 15” x 11.5” x 6.75” — 38.1 x 29.2 x 17.1 cm.

$600/900

277JOSEPHEE KAKEE (1911-1977), E6-50, PangnirtungTREE WITH A BIRD PERCHEDON TOP

bone, ivory, skin, antler, disc numberinscribed, 18” x 5.75” x 5.5” — 45.7 x 14.6 x 14 cm.

Provenance: Waddington’s Auctioneers & Appraisers,1990,Private Collection

$1,500/2,000

113


278ROBERT KUPTANA (1962-),PaulatukSHAMAN THREATENING A PRIEST

stone, wood, leather, bone, sinew, signed insyllabics, dated 1996, 7.25” x 6.75” x 3.5” — 18.4 x 17.1 x 8.9 cm.

$600/900

279NICK SIKKUARK (1943-), W1-209,Pelly BaySHAMAN

antler, muskox horn, signed in syllabics,9.5” x 3.25” x 6.5” — 24.1 x 8.3 x 16.5 cm.

$1,000/1,500

280NICK SIKKUARK (1943-), W1-209,Pelly BayBIRD SHAMAN

antler, bone, signed in syllabics, 7” x 3.5” x 3.25” — 17.8 x 8.9 x 8.3 cm.

$800/1,200

114


281NICK SIKKUARK (1943-), W1-209,Pelly BayTWO NARWHALS ON BASE

horn, antler, signed in syllabics, 5.75” x 12.25” x 5.5” — 14.6 x 31.1 x 14 cm.

$800/1,200

282EMILY PANGNERK ILLUITOK(1943-2012), E3-378, Pelly BayCAMP SCENE

stone, fur, ivory, horn, antler, skin, sinew,7.75” x 32.25” x 15” — 19.7 x 81.9 x 38.1 cm.

$2,500/3,500

283MARTHA KOONOO (1939-),E5-808, Pond InletKNEELING MOTHER WITHCHILD

stone, disc number inscribed, 7.25” x 4” x 6” — 18.4 x 10.2 x 15.2 cm.

$400/600

115


284HAM EKAKEPALOOK KADLOO(1936-), E5-807, Pond InletOWL OVER DEAD HARE

stone, bone, signed in Roman with discnumber, 6.7” x 4.7” x 5.3” — 17 x 12 x 13.5 cm.

$400/600

285HAROLD PFEIFFER (1908–1998),Quebec City, QCSTANDING INUK

bronze, signed in Roman, 1/10, 9” x 4” x 3.75” — 22.9 x 10.2 x 9.5 cm.

$300/500

286UNIDENTIFIED, Naparyarmiut,AlaskaTWO WOVEN LIDDEDCONTAINERS

beach grass, 6” x 4” x 4” — 15.2 x 10.2 x 10.2 cm.; 7” x 4” x 4” — 17.8 x 10.2 x 10.2 cm.

$600/900

116


Note: Harold Pfeiffer made his first trip north in1954 on the patrol ship, C.D. Howe, as anx-ray assistant, liaison officer, andsculptor. This trip marked first of severaltours to the north that would servePfeiffer in his art. Pfeiffer sought tocapture some essence of the respect anddelight he had for the northern peoples ofCanada, Alaska, Greenland, and Siberia.His efforts toward realism and presentingNorthern narratives are clear in this work.Here, perhaps, we see a standing figureheralding in the close of perlerorneq(literally ‘to feel the weight of life’). Thistraditional Greenland Inuit practicedictates that upon first seeing the sun,one must remove a mitt and hold theirhand in the air. The more devout alsosmile with half their face. From Harold Pfeiffer & John A. Stevens,The Man Who Makes Heads With HisHands: The Art and Life of HaroldPfeiffer, Sculptor. Burnstown, ON: GeneralStore Publishing, 1997 & Kobalenko, Jerry,The Horizontal Everest: Extreme Journeyson Ellesmere Island, BPS Books, 2010)

287UNIDENTIFIED, AlaskaPARASOL HANDLE DECORATEDWITH HANDS, FOX, WALRUS,POLAR BEAR

ivory, ink, early 20th century, 11.5” x 2” x 1” — 29.2 x 5.1 x 2.5 cm.

Note: Once gifted from the 1st Bishop of theAnglican Arctic Diocese.

$1,000/1,500

288UNIDENTIFIED, Northwest coastHAIDA TOTEM POLE

argillite, 14.5” x 3” x 3” — 36.8 x 7.6 x 7.6 cm.

$800/1,200

289HERMAN COLLINSON, SkidegateMissionHAIDA TOTEM POLE

argillite, dated ‘72, signed in Roman, 13.5” x 2.75” x 3.5” — 34.3 x 7 x 8.9 cm.


$1,500/2,000

117


290MOSES MEEKO (1920-1975), E9-22, SanikiluaqHUNTER HARPOONING AWALRUS

stone wood, ivory, sealskin, signed inRoman, inscribed with disc number, 5.5” x 4” x 5.75” — 14 x 10.2 x 14.6 cm.

$300/500

291UNIDENTIFIED, SanikiluaqHUNTER AND POLAR BEAR

stone, wood, 3.5” x 9.5” x 2” — 8.9 x 24.1 x 5.1 cm.

$300/500

292GEORGE EMIQUTAILAQ (1946-),E9-88, SanikiluaqHUNTER CONFRONTING A DEMON

stone, ivory, wood, signed in Roman withdisc number, 8.7” x 4.3” x 3.1” — 22 x 11 x 8 cm.

Provenance: Acquired from the William EcclesCollection.

Note: For another image of this piece see,George Swinton, Sculpture of the Eskimo,George Swinton, page 150, p. 232

$1,000/2,000

118


293JUDAS ULLULAQ (1937-1999), E4-342, Gjoa HavenBIRD WITH WORM

stone, ivory, signed in syllabics, 7.5” x 5.9” x 4.3” — 19 x 15 x 11 cm.

$2,000/3,000

294GIDEON QAUQJUAQ (1941-), E4-392, Spence BayFACE

bone, 10” x 5.75” x 3.5” — 25.4 x 14.6 x 8.9 cm.

Note: Measurements without base, with: 13.75” x 5.75” x 4” — 34.9 x 14.6 x 10.2 cm.

$800/1,200

295JOE POODLAT (1951-), E4-563,Spence BaySHAMAN

bone, 16” x 10.25” x 11” — 40.6 x 26 x 27.9 cm.

$800/1,200

119


296MAUDIE RACHEL OKITTUQ(1944-), E4-393, Spence BayBIRD SPIRIT

stone, 9” x 6.5” x 6.5” — 22.9 x 16.5 x 16.5 cm.

$300/500

297MAUDIE RACHEL OKITTUQ(1944-), E4-393, Spence BayCREATURE


$200/400

298SAMUEL NAHAULAITUQ (1923-1999), E4-288, Spence BayPOLAR BEAR WITH SEAL

stone, pyroxene, signed in syllabics, 8” x 12” x 5” — 20.3 x 30.5 x 12.7 cm.

$1,500/2,000

120


299ABRAHAM APAKARK ANGHIK,W3-1119, Salt Spring IslandLOON

stone, beads, 4.75” x 21.25” x 5.5” — 12.1 x 54 x 14 cm.

$700/1,000

300UNIDENTIFIEDRECLINING DOG

bone, c. 1975, 6” x 11.5” x 5” — 15.2 x 29.2 x 12.7 cm.

$300/500

121


122


301UNIDENTIFIEDNECKLACE

ivory, antler, string, height 21” — 53.3 cm.

Note: largest pendant measures 1.25” x 1” x 0.4”— 3.2 x 2.5 x .9 cm.

$300/500

302UNIDENTIFIEDHUNTER AND DOG WITH PACK

bone, antler and baleen inset eyes, 9.75” x 11.25” x 3.5” — 24.8 x 28.6 x 8.9 cm.

$400/600

303WAYUWOMAN WITH FISH AND HARE

stone, 11” x 5.5” x 5” — 27.9 x 14 x 12.7 cm.

$400/600

304UNIDENTIFIEDMOTHER AND CHILD

stone, 7” x 3” x 5.5” — 17.8 x 7.6 x 14 cm.

$400/600

123


124


305UNIDENTIFIEDMOTHER WITH CHILD IN AMAUT

stone, c. 1955, 7.25” x 4.25” x 1.5” — 18.4 x 10.8 x 3.8 cm.

$400/600

306UNIDENTFIEDFACES

bone, c. 1975, 19” x 7.5” x 7” — 48.3 x 19.1 x 17.8 cm.

$600/900

307UNIDENTIFIEDHUNTER CONFRONTS A POLAR BEAR

bone, 10.5” x 11.75” x 5.25” — 26.7 x 29.8 x 13.3 cm.

$600/900

308UNIDENTIFIEDBUST OF AN INUK

bone, 13.5” x 5.5” x 8.25” — 34.3 x 14 x 21 cm.

$600/900

125



A

ABRAHAM, SARAH 271

AKEEAKTASHUK 255

AKESUK, LATCHOLASSIE 222, 223

AKITIRQ, PAULOOSIE 236

AKPALIAPIK, MANASIE 51

AKULUKJUK, OLASSIE 1

ALIKASWA, MARC 251

ALIKTILUK, EVA TALOOKI 27, 243, 244

AMITTU, DAVIDIALUK ALASUA 38, 154,

155

ANAVILOK, MARTINA

KLENGENBERG 253

ANAVILOK, SAM 253

ANGIJU, DANIEL QUMA 153

ANGRNAQQUAQ, ELIZABETH 2

ANGUHADLUQ, LUKE 197, 198

ANOWTALIK, LUKE 57, 249, 250

AQIGAAQ, MATHEW 179

ARNALUAQ, EFFIE ANGALI'TAAQ 19, 174

ARNASUNGAAQ, BARNABUS 32, 34,

104, 172, 173

ASHEVAK, KAROO 118, 119

ASHEVAK, KENOJUAK 17, 66, 67, 68, 203,

204 205, 206, 207, 216, 217

ASHOONA, KAKA 91, 214

ASHOONA, KIAWAK 86, 87, 88, 218

ASHOONA, KOOMWARTOK 220, 221

ASHOONA, MAYUREAK 225, 226

ASHOONA, PITSEOLAK 131, 132, 133,

134, 135, 136

ASSIVAARYUK, PETER 180

ATCHEALAK, DAVIE 42, 161, 162

AULATJUT, ELIZABETH NUTARALUK 242

C

COLLINSON, HERMAN 289

E

EKAGINA, PEGGY 39, 252

EMIQUTAILAQ, GEORGE 292

ETIDLOOIE, SHEOJUK 16, 18

ETUNGAT, ABRAHAM 213

EVALUARDJUK, HENRY 40, 41, 120, 163,

164, 165, 166, 167, 168

I

IKKIDLUAK, LUCASSIE 170

IKSIKTAARYUK, LUKE 105, 106

IKUTAAQ, DAVID 33

ILLUITOK, EMILY PANGNERK 282

INUKPUK, JOHNNY 102, 258

IPEELEE, OSUITOK 89, 90, 230

IQULIQ, TUNA 188, 189, 190

IRKOK, JACOB 245

IYAITUK, MATIUSIE 265

J

JAW, KINGWATSIAK 219

K

KADLOO, HAM EKAKEPALOOK 284

KAKEE, JOSEPHEE 277

KAMIKPAKITTUQ, PHILIP 110

KARLIK, PIERRE 148

KAVIK, JOHN 48, 112, 113, 145, 146

KIAKSHUK 77, 78, 80, 81, 82, 79

KILABUK, ADAM PUDLOO 276

KINGILIK, DOMINIC 31

KINGWATSIAK, MIKIGAK 211

KOONOO, MARTHA 283

KOWCHARLIE, MAGGIE 44

KUDLUK, THOMASSIE 43, 267, 268, 269,

270

KUKSHOUT, PIE 147

KUPTANA, ROBERT 278

KUUNNUAQ, MARIE 178

KUUTSIQ, MARY 4

M

MAKPAAQ, VITAL 191

MAMNGUQSUALUK, VICTORIA 6

MANOMIE, ENOOK 275

MEEKO, MOSES 290

MICHAEL, PITSIULA 36

MIKI, ANDY 26, 98, 99, 100, 240, 241

N

NAHAULAITUQ, SAMUEL 298

NANOGAK, AGNES 9

NASOGALUAK, BILL 52

NIVIAQSI, PITSEOLAK 97, 233

NIVIAXIE 70

NOWRAKUDLUK, NOAH 256

NUILAALIK, JOSIAH 29, 30, 121, 177

NUNGAQ, LEVI 257

NUTARALUK, ECHALOOK 272

O

OKITTUQ, MAUDIE RACHEL 296, 297

OONARK, JESSIE 60, 61, 62, 194, 192,

193, 195, 196

OOPAKAK, ILKOK 264

OSHUITOQ, ANIRNIK 12

Index

126

P

PANGNARK, JOHN 20, 101, 246

PARR 13, 14, 63, 64, 73, 74, 75, 76, 122,

123, 124, 125, 126, 127

PARR, ELEESHUSHE 200

PARR, NUNA 227, 228, 229

PFEIFFER, HAROLD 285

PIQTOUKUN, DAVID RUBEN 299

PITSIULAK, LIPA 266

POODLAT, JOE 295

POOTOOGOOK, ANNIE 65

POOTOOGOOK, EEGYVUDLUK 199

POOTOOGOOK, JOSEPH 69

POOTOOGOOK, KANANGINAK 35, 92,

201, 202, 215

POOTOOGOOK, NAPATCHIE 212

POOTOOGOOK, PAULASSIE 232

POOTOOGOOK, PUDLAT 137

POOTOOGOOK, SHARNI 142, 143

POOTOOGOOK. SHOUYU 144

PUDLAT, PUDLO 58, 138, 139, 140

PUQIQNAK, URIASH 111

Q

QAUQJUAQ, GIDEON 294

QAYAQJUAQ, SILAS 45, 46

QIMIRPIK, NUYALIAQ 169

QINNUAYUAK, LUCY 209, 210

QIYUK, MIRIAM MAREALIK 28

QIYUK, SILAS 171

QULLIALU, MAKUSIKALLA ALIQU 263

S

SAGGIAK 141

SAGGIAK, LISSIE 208

SAILA, PAUTA 93, 94, 95, 96, 128

SAILA, PITALOOSIE 129, 130

SAVIAKJUK, ANNIE IKILLUAQ 150

SHAA, AQJANGAJUK 83, 84, 85

SHAQU, MANNUMI 37, 224

SHEOUAK 71

SIKKUARK, NICK 279, 280, 281

SIVUAK, PAULOSIE 160

SIVUARAPIK, THOMASSIAPIK 11

SIVURAQ, THOMAS 181, 182, 183, 185,

186, 187

SMILER, ISA 103

SUVAARAQ,THOMAS 184

T

TAKKIRUQ, NELSON 109

TALIRUNILI, JOE 156, 157, 158, 159

TATANIQ, GEORGE 175, 176

TATYA, WINNIE 7

TIKTAALAAQ, IRENE AVAALAAQIAQ 3

TIKTAK, JOHN 114, 115

TOWETOAK, MARIA 53, 54

TRIMBLE, FRED IYAK 274

TUKULA, ISAH AJAGUTAINA 273

TULURIALIK, RUTH ANNAQTUUSI 59

TUNGILIK, MARK 49, 50, 149

TUNGUAK, LUKE ”TUNUWAK" 10

TUNNILLIE, OVILU 231

TUTSWEETOK, LUCY TASSEOR 22, 23, 24,

25, 247, 248

U

UGYUK, CHARLIE 116, 117

ULLULAQ, JUDAS 107, 108, 293

W

WAYU,303

WEETALUKTUK, KASUDLUAK 254

127


128


All lots will be offered andsold subject to theConditions of Sale whichappear in this catalogue aswell as any Glossary andposted or oralannouncement. By bidding atauction, bidders are boundby those Conditions andGlossary, as amended by anyoral announcement or postednotices, which together formthe contract of sale betweenthe successful bidder (buyer),Waddington’s™ and theconsignor (seller) of the lot.Descriptions or photographsof lots are not warranties andeach lot is sold “as is” inaccordance with theConditions of Sale.

Condition of LotsAll of the items are to beconsidered, unless otherwisenoted in the description, ingood condition. Thedefinition of “good” whenused in reference tocondition, describes an objectas having had no majordamage or repair but as withthe nature of the material,may show minorsurface wear, discolourationetc., which indicates theacceptable wear that thepiece may acquire with age.If you are particular aboutminor flaws, you shouldexamine the pieces in personor have our staff answer anyquestions before bidding.Sizes are approximate. It isthe soleresponsibility of the bidder to

inquire as to the condition ofa lot before bidding.Condition reports areavailable upon request byphone, fax, email or inperson. You are advised tomake any requests well inadvance of the sale.

Frames on artwork are notincluded as part of purchaseor condition.

Buyers PremiumA premium of 20% of thesuccessful bid price of eachlot up to and including$50,000 and 15% on anyamount in excess of $50,000is paid by the buyer as partof the total purchase price.

Artfact Live! clients will becharged a buyer's premium of23% of the successful bidprice of each lot up to andincluding $50,000 and 18%on any amount in excess of$50,000 as part of the totalpurchase price.

A charge of 13% HST(Harmonized Sales Tax) isapplicable on the hammerprice and buyer's premium,except for purchasesexported from Canada. Inthe case where purchases areshipped out of the provinceof Ontario, the HST or GST ischarged based on the taxstatus of that province.

BiddingTo bid in person at theauction, you must register fora bidding number by showingidentification acceptable tothe Auctioneer upon enteringthe salesroom. Your numberwill identify you if you arethe successful bidder. You willbe responsible for all lotspurchased on your biddingnumber. Banking informationmay be requested byWaddington’s™. You maysubmit an Absentee Bid Formif you are unable to attendthe sale. Bidding bytelephone, in limitedcircumstances, can bearranged prior to the sale.While we are pleased to offerabsentee and telephonebidding as a service to ourclients, and take great care intheir commission, theAuctioneer will not beresponsible for technicaldifficulties, errors or failure toexecute bids. The Auctioneermay also execute bids onbehalf of the consignor toprotect the reserve. Thereserve is the confidentialminimum price the seller iswilling to accept for his orher property, below which itwill not be sold.

Absentee BiddersAll absentee and phonebidders are required tocontact our offices at 416-504-9100 to confirmwhether they have beensuccessful.

PaymentPayment for purchases mustbe by cash, INTERAC directdebit (Cdn clients in persononly), certified cheque (U.S.& Overseas not applicable),travelers cheque, bank draft,electronic transfer (feeapplies), VISA or Mastercard(up to $25,000). AsWaddington's requireswritten authorization for allcredit card purchases, creditcards must be presented inperson by the cardholder andtherefore cannot be acceptedover the telephone. However,fax authorizationarrangements can be made.

ALL PRICES IN CANADIAN FUNDS

Buying atWaddington’s

129


Shipping:The Auctioneers will notundertake packing orshipping. The purchaser mustdesignate and arrange for theservices of an independentshipper and be responsiblefor all shipping, insuranceexpenses and any necessaryexport permits that mayapply. The Auctioneers will,upon request, provide namesof professional packers andshippers but will not be heldresponsible for the service orhave any liability forproviding thisinformation. Reliable pre-auction estimates of shippingcosts of lots offered in thissale may be obtained from:

Pak Mail905.470.6874905.470.6875 [email protected]

Removal of PurchasesPurchases must be paid forwithin 48 hours of the dateof the sale, and removedfrom premises within 10 daysof the date of sale (seeConditions of Sale, conditions8 to 15). Clients are advisedthat packing and/or handlingof purchased lots by ouremployees or agents isundertaken solely as acourtesy for the convenienceof clients.

Paintings, drawings, prints,furniture, jewellery and allforms of decorative arts andcollectibles may be broughtto our Toronto office wherewe can provide you withpreliminary auction estimatesand consignment procedures.Please visit our website atwww.waddingtons.ca fordetails on our variousdepartments and how tocontact the specialists. Wealso accept mailed andemailed requests for adviceon the marketability ofobjects. A photograph andphone number mustaccompany a full descriptionof each item.

Our specialists regularlytravel to major Canadiancities to meet withprospective consignors. Forfurther information, or toarrange an appointment,please contact our Torontooffice.

Property normally arrives atWaddington’s™ at least threemonths before the sale inorder to allow our specialiststime to research, catalogue,photographand promote the items.Consignors will receive acontract to sign, setting forthterms andfees for our services.

Commission RatesItems selling for $7,501 or more 10%

Items selling for $2,501 to $7,500 15%

Items selling for $251 to $2,500 20%

Items selling for $250 or less 25%

*There is a minimum handlingcharge of $20 per item

InsuranceA 1% insurance charge,based on the hammer priceof the property, will beapplied to allaccounts.

Restrictions exist regardingthe export of speciesprotected under CITES(Convention on InternationalTrade in EndangeredSpecies).

The export and importationof items made of orcontaining whalebone, ivory,tortoise shell, seal skin,rhinoceros horn and otheranimal parts is strictlycontrolled or forbidden bymost countries. Please reviewyour country’s laws beforeshipping or purchasing piecesmade of or containing theserestricted items. Obtainingthe appropriate permits is theresponsibility of the client.

All Narwhal Tusks must havea Marine Harvest Number ora Marine and MammalTransport number to be soldat Waddington's.

For more information pleasevisit: www.cites.org

Notice for ourInternationalClients

Selling at Waddington’s

130


1. All lots are sold “AS IS”. Anydescription issued by theauctioneer of an article to besold is subject to variation to beposted or announced verbally inthe auction room prior to thetime of sale. While the auctioneerhas endeavoured not to misleadin the description issued, and theutmost care is taken to ensurethe correct cataloguing of eachitem, such descriptions are purelystatements of opinion and arenot intended to constitute arepresentation to the prospectivepurchasers and no warranty ofthe correctness of suchdescription is made. Anopportunity for inspection ofeach article is offered prior to thetime of sale. No sale will be setaside on account of lack ofcorrespondence of the articlewith its description or itsreproduction, if any, whethercolour or black & white. Somelots are of an age and/or naturewhich preclude their being inpristine condition and somecatalogue descriptions makereference to damage and/orrestoration. The lack of sucha reference does not imply that alot is free from defects nor doesany reference to certain defectsimply the absence of others.Frames on artwork are notincluded as part of purchase orcondition. It is the responsibilityof prospective purchasers toinspect or have inspected eachlot upon which they wish to bid,relying upon their own advisers,and to bid accordingly.

2. Each lot sold is subject to apremium of 18% of thesuccessful bid price.

3. Unless exempted by law, thebuyer is required to payHarmonized Sales Tax on thetotal purchase price including thebuyer’s premium. Forinternational buyers, taxes arenot applicable whenpurchases are shipped out ofcountry. Items shipped out ofOntario, the buyer is required topay taxes as per the tax status ofthat province, whether it HST orGST (Goods and Services Tax).

4. The auctioneer reserves theright to withdraw any lot from

sale at any time, to divide any lotor to combine any two or morelots at his sole discretion, allwithout notice.

5. The auctioneer has the right torefuse any bid and to advancethe bidding at his absolutediscretion. The auctioneerreserves the right not to acceptand not to reject any bid.Without limitation, any bid whichis not commensurate with thevalue of the article offered, orwhich is merely a nominal orfractional advance over theprevious bid may not berecognized.

6. Each lot may be subject to anunpublished reserve which maybe changed at any time byagreement between theauctioneer and the consignor.The auctioneer may bid, or directan employee to bid, on behalf ofthe consignor as agreed betweenthem. In addition, the auctioneermay accept and submit absenteeand telephone bids, to beexecuted by an employee of theauctioneer, pursuant to theinstructions of prospectivepurchasers not in attendance atthe sale.

7. The highest bidder accepted bythe auctioneer for any lot shall bethe buyer and such buyer shallforthwith assume full risk andresponsibility for the lot and mustcomply with such otherConditions of Sale as may beapplicable. If any dispute shouldarise between bidders theauctioneer shall have theabsolute discretion to designatethe buyer or, at his option, towithdraw any disputed lot fromthe sale, or to re-offer it at thesame or a subsequent sale. Theauctioneer’s decision in all casesshall be final.

8. Immediately after thepurchase of a lot, the buyer shallpay or undertake to thesatisfaction of theauctioneer with respect topayment of the whole or anypart of the purchase pricerequested by the auctioneer,failing which the auctioneer in hissole discretion may cancel thesale, with or without

re-offering the item for sale.

9. The buyer shall pay for all lotswithin 48 hours from the date ofthe sale, after which a latecharge of 2% per month on thetotal invoice may be incurred orthe auctioneer, in his solediscretion, may cancel the sale.The buyer shall not become theowner of the lot until paidfor in full. Items must beremoved within 10 days from thedate of sale , after which storagecharges may be incurred.

10. Each lot purchased, unlessthe sale is cancelled as above,shall be held by the auctioneer athis premises or at a publicwarehouse at the sole risk of thebuyer until fully paid for andtaken away.

11. Notwithstanding condition no. 1, if the buyer, prior toremoval of a lot, makesarrangements satisfactory to theauctioneer for the inspection ofsuch lot by a fully qualifiedperson acceptable to theauctioneer to determine thegenuineness or authenticity ofthe lot, to be carried outpromptly following the sale ofthe lot, and if, but only if, withina period of 14 days following thesale a written opinion of suchperson is presented to theauctioneer to the effect that thelot is not genuine orauthentic, accompanied by awritten request by the buyer forrescission of the sale,then the sale of the lot will berescinded and the sale pricerefunded to the buyer.

12. Payment for purchases mustbe by cash, INTERAC direct debit(Cdn clients in persononly), certified cheque (U.S. &Overseas not applicable),travelers cheque, bankdraft, electronic transfer (feeapplies), and VISA or Mastercard(up to $25,000). AsWaddington's requires writtenauthorization for all credit cardpurchases, credit cards must bepresented in person by thecardholder and therefore cannotbe accepted over the telephone.However, fax authorizationarrangements can be made.

13. In the event of failure to payfor or remove articles within theaforementioned time limit, theauctioneer, without limitation ofthe rights of the consignor andthe auctioneer against the buyer,may resell any of the articlesaffected, and in such casethe original buyer shall beresponsible to the auctioneer andthe consignor for:

(a) any deficiency in pricebetween the re-sale amount andthe amount to have been paid bythe original buyer;

(b) any reasonable charge by theauctioneer for the storage ofsuch articles until payment andremoval by the subsequentbuyer; and

(c) the amount of commissionwhich the auctioneer would haveearned had payment been madein full by the original buyer.

14. It is the responsibility of thebuyer to make all arrangementsfor insuring, packing andremoving the property purchasedand any assistance by theauctioneer or his servants, agentsor contractors, in packing orremoval shall be rendered as acourtesy and without any liabilityto them.

15. The auctioneer acts solely asagent for the consignor andmakes no representation as toany attribute of, title to, orrestriction affecting the articlesconsigned for sale. Withoutlimitation, the buyer understandsthat any item bought may beaffected by the provisions of theCultural Property Export Act(Canada).

16. The auctioneer reserves theright to refuse admission to thesale or to refuse to recognize anyor all bids from any particularperson or persons at any auction.

Conditions Of Sale

131


Asian Art

Anthony Wu416 847 [email protected]

Yvonne Li416 847 [email protected]

Canadian Fine Art

Linda Rodeck416 847 [email protected]

Kristin Vance416 504 [email protected]

Kathleen [email protected]

Contemporary Art

Stephen Ranger416 847 [email protected]

International Art

Susan Robertson416 847 [email protected]

Emma [email protected]

Inuit Art

Christa Ouimet416 847 [email protected]

Nadine Di [email protected]

Jewellery, Watches &Numismatics

Don P. McLean416 847 [email protected]

Monthly Fine Art

Doug Payne416 847 [email protected]

Silver, Glass & Ceramics

Bill Kime416 847 [email protected]

Shasha [email protected]

Sculpture, Decorations, Clocks & Lighting

Sean Quinn416 847 [email protected]

PresidentDuncan McLean416 847 [email protected]

Vice President Business DevelopmentStephen Ranger416 847 [email protected]

Vice President Fine ArtLinda Rodeck416 847 [email protected]

General ManagerDuane Smith416 847 [email protected]

Creative & Technical ManagerJamie Long416 847 [email protected]

Queeny [email protected]

Accounts ManagerKaren Sander416 847 [email protected]

Ellda Pappada416 504 9100 [email protected]

Corporate ReceptionistKate Godin416 504 [email protected]

Appraisal Co-ordinatorEllie Muir416 847 [email protected]

Building ManagerSteve Sheppard416 847 [email protected]

Client ServicesAndrew Brandt416 504 9100 ext [email protected]

Waddingtons.ca/Cobourg

9 Elgin Street East, Cobourg ON K9A 0A1

General ManagerPaul Needham 905 373 [email protected]

Absentee and Phone Bidding905 373 1467 (Fax)

Waddingtons.ca/Collingwood

P. O. Box 554, Collingwood ON L9Y 4B2

Valerie Brown705 445 [email protected]

Transitions.Waddingtons.ca

Marcia Kim416 847 [email protected]

SpecialistDepartments

Operational Staff

Inuit Art

Waddingtons.ca

275 King Street East, Second FloorToronto Ontario Canada M5A 1K2

Telephone: 416.504.9100 Fax: 416.504.0033 Toll Free: 1.877.504.5700

Inuit Art Auction

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Transcript of Inuit Art Auction