Lot 84
The Complete 1959
Cape Dorset Graphics Collection
Comprised of 39 Graphics
Est. $400,000/450,000
Inuit Art Auction
Smart Phone and Tablet Version
of this Catalogue Available at:
www.waddingtons.ca/1959-Cape-Dorset-Graphics
Monday 6 May 2013 at 6pm
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* The comments marked with an asterisk indicate they have been
reprinted from the original promotional catalogue for the Cape
Dorset 1959 Graphics release.
Additional images available at inuitart.waddingtons.ca
Condition reports available upon request.
This auction is subject to the Conditions of Sale printed at the back
of this catalogue.
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permitted in the auction hall
This catalogue and its contents © 2012 Waddington McLean & Company Ltd.
All rights reserved. Photography by Waddingtons.ca.
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Forward
In the long history of creating art there have been spontaneous bursts of
genius that irreversibly changed the artistic landscape. These extraordinary
periods of creativity are sparked by the convergence of unique conditions
within a certain environment – the Renaissance, Impressionism and of course,
the Group of Seven. In Canada’s far north, the work of a group of unlikely
Inuit artists would ignite their own era of artistic genius.
This collection of 1959 Cape Dorset graphics is the result of a special people
who relied on their exquisite powers of observation, a profound knowledge
of their environment and an innate genius for crafting the tools and methods
they needed from the barren Arctic in order to survive. Given the simplest of
tools - paper and pencils, generations of pent-up creativity exploded onto
the paper with beautifully colourful, striking, and uniquely Inuit images.
Bringing together a group of people who had recently been nomadic hunters
and gatherers in the Arctic, a people who had never previously had the
technologies or tools to visually express their stories, beliefs and life
experiences, created an art form that opened a window into the wonder of
the Inuit people and their land.
The 1959 release of this first portfolio of Inuit prints sold out quickly creating
a sensation in the Canadian art market. It is responsible for launching an
important Canadian art movement based in drawing and print making which
subsequently spread throughout the Canadian Arctic and is now collected
around the world.
That this complete portfolio exists at all is due to the passion of the previous
collectors whose vision ensured this collection stayed together, ultimately to
be celebrated in Canada’s National Gallery in the important 2009 exhibition
– Uuturautiit: Cape Dorset Celebrates 50 Years of Printmaking.
This auction lot, which is to the best of our knowledge, the last complete
1959 Cape Dorset Graphics portfolio, represents an extraordinary moment in
modern Canadian art and presents an unprecedented acquisition opportunity
for a collector, company or institution. Each year Canada's major auction
houses offer the market hundreds of art works in vastly varying themes, by
a myriad of artists and at prices ranging from the affordable to the
stratospheric, but very few if any would truly qualify as being nationally
important as this pristine portfolio surely does.
Since conducting our first Inuit art auction in 1978, Inuit graphics have been
a key part of Waddington’s engagement with Canadian art. We greatly look
forward to presenting this collection in our spring Inuit art auction and invite
everyone to come and enjoy viewing it.
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Inuit Prints
An Introduction by Norman Vorano
While the 1959 Cape Dorset collection may have been the
first “official” annual release of prints, printmaking in the
community began a few years earlier. In January of 1955,
not yet living in Cape Dorset as the Area Administrator,
James Houston suggested to his superiors in the
Department of Northern Affairs of the possibility of
introducing “a graphic art native in concept as they have in
Congo or Haiti,” as a means of enlarging the scope of crafts
produced in the north. After James and Alma moved to
Cape Dorset in 1956, they got to work immediately with
Osuitok Ipeelee and Kananginak Pootoogook to make block
prints on fabric. Examples of these were shown to the
Canadian Handicrafts Guild later that summer as Houston
discussed with Alice Lighthall and Jack Molson, both of the
Guild, his plan to “teach twelve Eskimos to make stone
blocks for use in hand blocking yard goods,” with designs
“native in character.” Over the next year, the two Cape
Dorset printmakers migrated from yard to paper, and began
creating gift cards, wrapping paper and likely other paper
crafts using a rudimentary method of hand block
printmaking.
By November of 1957, the printmakers Osuitok, Kananginak
and Joanasie Salomonie had shifted from printed crafts to
easel-style fine-art prints. Their attempt to make a multiblock relief print resulted in Houston taking a three month
trip to Japan beginning in October of 1958 to study with a
variety of Japanese printmakers, chief among which was
Un’ichi Hiratsuka.
Houston returned to Cape Dorset in the spring of 1959 and
the studio—now including Eegyvudluk Pootoogook, Iyola
Kingwatsiak and Lukta Qiatsuq—bristled with activity and a
clearer sense of purpose. Some of the prints created
between April and June of 1959 were exhibited at the
Stratford Festival, alongside a variety of crafts and many of
the previous “experimental” prints created before 1958. At
some point after the test-marketing that summer in
Stratford, print editions were raised from 30 to 50 (which
explains why a handful of the 1959 prints are editioned in 30
while most others are editioned in the standard 50). The
Cape Dorset studio ramped up its production that autumn
and the entire collection, some 39 images in total (plus 2
“rubbings”), was officially released to the public on a snowy
Friday evening of February 26, 1960, at the Montreal
Museum of Fine Arts. It was, according to newspaper
sources, opened a week later in New York City and an
exhibition followed in Toronto. The collection went on sale
across Canada on March 1st.
This inaugural Cape Dorset print collection was a fullyrealized, bold, and original aesthetic statement that
resonated with audiences as a modern artistic form. It
included the first print by the doyenne of Inuit art, the late
Kenojuak Ashevak, along with the late Osuitok Ipeelee’s only
designs (the latter became a prominent sculptor). In a preopening interview with the Montreal Gazette, Donald
Snowden, Chief of the Industrial Division for Northern
Affairs, called the Cape Dorset designs “beatnik” in style—
a nod to their hip appeal for sophisticated, young collectors.
The appeal was widespread. Interest poured in from across
Canada and the United States, and later in 1960, the
Department of External Affairs added this collection of
prints to an ongoing traveling exhibition of Inuit sculpture,
then-touring across Eastern Europe. The success of this first
collection generated roughly $20,000 for the newly formed
West Baffin Eskimo Cooperative, and gave the studio the
economic means to hire its first outside “arts advisor”—a
young artist from Toronto by the name of Terry Ryan. The
artistic strength of this collection, along with savvy
marketing and strong institutional support, sparked an
artistic flame that continues to burn strongly today.
i See: Norman Vorano, “Introduction: Early Printmaking in the Canadian Arctic,” in Inuit
Prints, Japanese Inspiration: Early Printmaking in the Canadian Arctic, Gatineau, QC:
Canadian Museum of Civilization Corporation, 2011: 1-12.
ii Arch Mackenzie, “Eskimo Art Sales Boom,” Montreal Gazette, Thursday, February 18,
1960. P.4
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Lot 84
The Complete 1959
Cape Dorset Graphics Collection
Comprised of 39 Graphics
Est. $400,000/450,000
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KENOJUAK ASHEVAK (1927-2013), E7-1035, Cape Dorset
RABBIT EATING SEAWEED, sealskin stencil, 1959, No. 8, 20/30, framed,
8” x 22” — 20.3 x 55.8 cm.
“Rabbit Eating Seaweed was the only print by Kenojuak Ashevak included
in the 1959 collection and it immediately positioned her as one of the most
innovative of these artists ... In this, her first print image, Kenojuak’s
distinct and definitive style was already evident.”
Patricia Feheley, printed in Cape Dorset Prints, A Retrospective, Fifty Years
of Printmaking at the Kinngait Studios, Leslie Boyd, 2007 pg 79
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SHEKOALOAK (1940-1959), Cape Dorset
YOUNG WOMAN, stonecut, 1959, No. 32, 14/50, framed,
24” x 12” — 60.9 x 30.4 cm.
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TUDLIK (1890-1966), E7-1050, Cape Dorset
BIRD DREAM FOREWARNING BLIZZARDS, stonecut, 1959, No. 16, 22/30,
framed, 24” x 18” — 60.9 x 45.7 cm.
* The Eskimos believe that dreams are a sign of future happenings and when they
see birds in their dreams it means that blizzards are coming soon.
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TUDLIK (1890-1966), E7-1050, Cape Dorset
DIVISION OF MEAT, stonecut, 1959, No. 24, 21/50, framed, 12” x 9” — 30.4 x 22.8 cm.
* The Eskimos have a very complicated system for cutting up seals depending on the number of
people hunting, their ages, their status, their experience and their sex. Certain parts of the seal
are allotted to each person on the hunt, and this print shows the traditional division of the seal
when cutting it up.
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TUDLIK (1890-1966), E7-1050, Cape Dorset
EXCITED MAN FORGETS HIS WEAPONS, stonecut, 1959, No. 25, 14/50, framed,
12” x 18” — 30.4 x 45.7 cm.
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TUDLIK (1890-1966), E7-1050, Cape Dorset
SEAL THOUGHTS OF MAN, stonecut, 1959, No. 27, 14/50, framed,
24” x 7.9” — 60.9 x 20. cm.
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OSUITOK IPEELEE (1923-2005), E7-1154, Cape Dorset
FOUR MUSKOXEN, skin stencil, 1959, No. 18, 9/30, framed,
12” x 24” — 30.5 x 60.9 cm.
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OSUITOK IPEELEE (1923-2005), E7-1154, Cape Dorset
ESKIMO LEGEND: OWL, FOX AND HARE, skin stencil, 1959, No. 21, 21/30,
framed, 24” x 18” — 60.9 x 45.7 cm.
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KELLYPALIK MANGITAK (1940-), E7-999, Cape Dorset
ARCTIC GULL, skin stencil, 1959, No. 13, 15/30, framed,
18” x 12” — 45.7 x 30.5 cm.
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KELLYPALIK MANGITAK (1940-), E7-999, Cape Dorset
MAN CARRIED TO THE MOON, stonecut, 1959, No. 21, 14/30, framed,
24” x 18” — 60.9 x 45.7 cm.
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KELLYPALIK MANGITAK (1940-), E7-999, Cape Dorset
THOUGHTS OF BIRDS, stonecut, 1959, No. 22, 20/50, framed,
24” x 18” — 60.9 x 45.7 cm.
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KELLYPALIK MANGITAK (1940-), E7-999, Cape Dorset
BLUE GEESE ON SNOW, skin stencil, 1959, No. 26, 20/30,
framed, 10.5” x 7.5” — 26.6 x 19 cm.
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KELLYPALIK MANGITAK (1940-), E7-999, Cape Dorset
CANADA GEESE, stonecut, 1959, No. 29, 14/50, framed,
22” x 26” — 55.8 x 66 cm.
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IYOLA KINGWATSIAK (1933-2000), E7-914, Cape Dorset
ARCTIC ROCK COD, skin stencil, 1959, No. 15, 20/30,
framed, 17” x 24” — 43.1 x 60.9 cm.
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IYOLA KINGWATSIAK (1933-2000), E7-914, Cape Dorset
SNOWY OWLS AND EGG, stonecut, 1959, No. 19, 15/30,
framed, 18” x 6” — 45.7 x 15.2 cm.
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NIVIAXIE (1908-1959), E7-1077, Cape Dorset
SNOWHOUSE BUILDERS, stonecut, May 1959, No, 6, 14/30, framed,
12” x 12” — 30.5 x 30.5 cm.
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KUNU (1923-1966), E7-1078, Cape Dorset
GIRL WITH SKIN LINE, stonecut, 1959, No. 28, 14/30, framed,
12” x 9” — 30.4 x 22.8 cm.
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NIVIAXIE (1908-1959), E7-1077, Cape Dorset
ESKIMO SUMMER TENT, skin stencil, 1959, No. 1, 14/30, framed,
13” x 12” — 33 x 30.5 cm.
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NIVIAXIE (1908-1959), E7-1077, Cape Dorset
HUNTER WITH BEAR, skin stencil, 1959, No. 2,
20/30, framed, 15” x 11.5” — 38.1 x 29.2 cm.
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NIVIAXIE (1908-1959), E7-1077, Cape Dorset
BEAR HUNTER ON SEA ICE, stonecut, May 1959, No. 7, 20/30,
framed, 12” x 18” — 30.5 x 45.7 cm.
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NIVIAXIE (1908-1959), E7-1077, Cape Dorset
MAN HUNTING AT SEAL HOLE (IN ICE), skin stencil, May 1959, No. 11, 21/30, framed,
21” x 15” — 53.3 x 38.1 cm.
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NIVIAXIE (1908-1959), E7-1077, Cape Dorset
POLAR BEAR AND CUB IN ICE, skin stencil, June 1959, No. 12, 14/30, framed,
10.5” x 20” — 26.6 x 50.8 cm.
“The printmakers have used negative shape as an elegant solution to solve the
formal difficulty of depicting the white forms, a polar bear mother and cub as
well as the floe’s edge, on the white ground.”
Inuit Prints: Japanese Inspiration, Early Printmaking in the Canadian Arctic,
Norman Vorano, Canadian Museum of Civilization, page 82, catalogue 24
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NIVIAXIE (1908-1959), E7-1077, Cape Dorset
ESKIMOS FISHING THROUGH ICE, skin stencil, 1959, No. 17, 20/30, framed,
18” x 15” — 45.7 x 38.1 cm.
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NIVIAXIE (1908-1959), E7-1077, Cape Dorset
ARCTIC GULLS, skin stencil, June 1959, No. 22, 20/30,
framed, 8” x 22” — 20.3 x 55.8 cm.
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NIVIAXIE (1908-1959), E7-1077, Cape Dorset
CARIBOU, WINTER LIGHT, skin stencil, 1959, No. 25, 20/30, framed,
6.5” x 11” — 16.5 x 27.9 cm.
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KANANGINAK POOTOOGOOK (1935-2010), E7-1168, Cape Dorset
THREE NARWHALS, skin stencil, 1959, No. 9, 14/30, framed, 18” x 24” — 45.7 x
60.9 cm.
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KANANGINAK POOTOOGOOK (1935-2010), E7-1168, Cape Dorset
TWO SEA PIGEONS, skin stencil, 1959, No. 10, 21/30, framed, 18” x 20”
— 45.7 x 50.8 cm.
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JOSEPHIE POOTOOGOOK (1887-1958), E7-1166, Cape Dorset
LEGEND OF THE BLIND MAN, skin stencil, January 1957, April 1959, No. 5, 15/30, framed,
15” x 24” — 38.1 x 60.9 cm.
* A long time ago during the time of starvation a blind man was living in a snow house with
his wicked wife. One day a bear came along and partially destroyed the wall of the igloo.
The blind man’s wife was very excited and said to him “Kill that bear.” He replied, “But I am
blind.” She said to him “I will give you the bow and arrow and will tell you where to shoot at
the bear.” She gave him the bow and arrow, directed him and he shot at the bear. The arrow
went into the bear’s mouth. The bear ran away and died near the snow house. The blind
man asked his wife if he had hit the bear but she said no because she wanted the bear meat
for herself. Each day this wicked woman used to go out to eat from the dead bear while her
husband starved. The bear spirits like good hunters so they came and killed the blind
man’s wicked wife and showed the blind man where the remains of the bear were so that
he himself could eat and live.
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JOSEPHIE POOTOOGOOK (1887-1958), E7-1166, Cape Dorset
WOMAN WITH MUSICAL INSTRUMENT, stonecut, 1959, No. 3, 20/50,
framed, 18” x 24” — 45.7 x 60.9 cm.
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JOSEPHIE POOTOOGOOK (1887-1958), E7-1166, Cape Dorset
WITH THE RAVEN COMES THE FISH, stonecut, 1959, No. 26, 14/50, framed,
18” x 12” — 45.7 x 30.4 cm.
* The Eskimos say that with the raven comes the fish. When the raven passes
overhead, the fisherman should look into the water because the fish will be
passing underneath at the same time.
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JOSEPHIE POOTOOGOOK (1887-1958), E7-1166, Cape Dorset
JOYFULLY I SEE TEN CARIBOU, stonecut, 1959, No. 29, 14/50,
framed, 12” x 18” — 30.4 x 45.7 cm.
“A hunter from the inland ... signals to his hunting companions, using
his fingers to indicate the number of caribou he has seen.
Pootagook died in 1959, a wise and powerful leader among the
Kingnaimuit. His early offer of splendid drawings gave prestige to the
whole idea of printmaking and caused many others to contribute their
work. Pootagook was a most respected and enterprising man. He
believed in the skills of man’s hand, organization and hard work. He
would have been highly successful in almost any kind of society in this
world.”
Eskimo Prints, James Houston, page 32
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JOSEPHIE POOTOOGOOK (1887-1958), E7-1166, Cape Dorset
IGLOO BUILDER, stonecut, 1959, No. 30, 21/50, framed, 24” x 12”
— 60.9 x 30.4 cm.
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JOSEPHIE POOTOOGOOK (1887-1958), E7-1166, Cape Dorset
HUNTER, stonecut, 1959, No. 31, 14/50, framed, 18” x 12” — 45.7 x 30.4 cm.
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LUKTA QIATSUK (1928-2004), E7-1060, Cape Dorset
ARCTIC SHORE BIRDS, skin stencil, 1959, No. 3, 15/30, framed,
18” x 15” — 45.7 x 38.1 cm.
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LUKTA QIATSUK (1928-2004), E7-1060, Cape Dorset
OWL, stonecut, 1959, No. 4, 21/30, framed, 12” x 18” —
30.5 x 45.7 cm.
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LUKTA QIATSUK (1928-2004), E7-1060, Cape Dorset
MOTHER AND CHILD, stonecut, 1959, No. 14, 20/30, framed,
8.4” x 5.3” — 21.4 x 13.5 cm.
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LUKTA QIATSUK (1928-2004), E7-1060, Cape Dorset
ESKIMO WHALE HUNT, stonecut, 1959, No. 20, 15/30,
framed, 15” x 12” — 38.1 x 30.5 cm.
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LUKTA QIATSUK (1928-2004), E7-1060, Cape Dorset
CANADA GEESE ON NESTING GROUND, skin stencil,
1959, No. 24, 14/30, framed, 6.5” x 11” — 16.5 x 27.9 cm.
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LUKTA QIATSUK (1928-2004), E7-1060, Cape Dorset
TALLULIYUK (SEA GODDESS), stonecut, 1959, No. 33, 20/30, framed, 18” x 12” —
45.7 x 30.4 cm.
* Talluliyuk appears to kayak hunters. She waves her arms and causes bad fortune
in hunting if she is seen but to catch her is good fortune. Using a magical word the
Eskimos can make Talluliyuk come to them and when she approaches, they throw
their harpoons at her. But Talluliyuk is so quick no one has ever caught her.
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Original 1959 Catalogue
On a small island off the coast of Southeast Baffin Island is the tiny
community of Cape Dorset. Here live ten Eskimo families, the
Department of Northern Affairs Area Administrator and his family,
a Hudson's Bay Company Post Manager and his wife, a
Department of Health and Welfare nurse and his family, and the
Department of Northern Affairs Teacher. Within a few hundred
miles of this settlement lives 53 other Eskimo families who visit
Cape Dorset to trade Arctic fox skins and sealskin at the Post,
collect their family allowances and old age pension, and buy flour,
tea, sugar and other necessities.
Although Cape Dorset is dwarfed to even the smallest of cities, it
is a giant in the world of art. Here some of the finest Eskimo stone
and ivory carvings are produced. Each one is carefully hand-carved
and no two are ever the same. The newly developed Eskimo
Graphic Art form originated here is produced in no other area of
the world.
In the field of crafts, Cape Dorset has few rivals. Beautiful Eskimo
parkas are made by the Eskimo women the outstanding quality
and design of these garments is a product of a tradition more than
one thousand years old.
The men too produce superb crafts such as full-scale and model
harpoons, spears and other artifacts, which are an integral part of
their traditional existence.
The Dorset people are experimenting with polishing semi-precious
stones found near the settlement. They are also exploring the field
of printing on textiles, and to introduce the "southerner" to the
beauty and adventure of the Arctic they have established a sport
hunting and fishing camp near the community. The Cape Dorset
Eskimos have worked the west Baffin Eskimo Co-operative to
ensure the efficient operation of this camp. Here visitors, whether
men or women, can learn first-hand the thrill of seal hunting as the
Eskimos know it, test their fishing skills battling the powerful Arctic
char, and collect magnificent Eskimo arts and crafts.
The Industrial Division
Department of Northern Affairs
150 Kent Street
Ottawa, Ontario,
Canada
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Biographies of Eskimo Graphic Artists
Niviaksiak - d. 1959 at 39 years old, married Kunu (d?),
Early this winter, Niviaksiak was with a hunting party about 40
five children.
miles north of Cape Dorset. Returning one day to the place where
Niviaksiak was an excellent carver. He was also known by the
they had left the canoe, the Eskimos found it smashed; fresh bear
Eskimos as a man who deeply pondered many matters. Every
tracks lead off into the snow. Niviaksiak and another hunter set off
spring, he took only his harpoon and went alone to a little island
after the marauder, tracked it down for a few hours later. Oddly
where he lived simply for about two weeks, just thinking about
enough, the bear did not run as Niviaksiak advanced, rifle in hand;
life in general. The food that he ate was that which he could kill
instead, it stood still, watching. As Niviaksiak aimed, he suddenly
with his harpoon.
cried out: "It's dark. I'm falling.” Then he dropped into the snow
without firing and died.
Time Magazine - February 8, 1960
The North
His companion fled, but next day returned with the others. What
Hunter v. Spirit
they said they found was odder than the bear itself: the frozen
body of Niviaksiak was unmauled; the bear tracks ended
The white loneliness of Baffin Island oppresses the white man, but
mysteriously on the spot where the bear had faced the hunter.
to the Eskimo, the craggy, snow-covered wilderness is a veritable
Suspicious kadlunas, when they heard the story, guessed that
city of companions seen and unseen. Where his brother kadluna
Niviaksiak might have had a stroke or that the others were
(white man) spies only a distant blur, the Eskimo's keen hunting
covering up for some mishap. But to Eskimos of Cape Dorset there
eye will pick out a polar bear basking on a far-off drift, a seal or
was only one explanation, now firmly entrenched in the legends of
walrus on a floe, a caribou, a lemming, an owl or a raven. Where
Baffin Island: Niviaksiak offended the polar bear spirit by his
a kadluna sees only landscape, the Eskimo will mark the invisible
uncannily analytical carvings, and the vengeful spirit killed him
spur of some powerful northern spirit – perhaps of a monster from
with a glance and vaporized.
an icy crevasse, or one of the gods who creates the dazzling
northern lights by playing catch in Paradise with seal skulls.
Kunu – Born 1923 – Wife of Niviaksiak – 5 Children
Kunu is now in hospital for the second time. She has had no
Few men wondered more deeply about such spirits than a 39-
schooling.
year-old Cape Dorset Eskimo named Niviaksiak (meaning, for no
clear reason, "beautiful daughter"). Niviaksiak was more than a
Luktak – Born 1928 – Married with one child
hunter; he was a great artist as well, who added to a meager
Luktak is probably the shyest of all the Eskimos in Cape Dorset. He
trapping income trading his vivid soapstone carvings – many now
is very skillful in using the knife in his art work. He is also a carver
collectors items in Montréal and Toronto galleries – at the
who has spent all his life in Dorset and who has had no schooling.
Hudson's Bay Co. store. Last year Niviaksiak seemed to become
He helped to make the Mace of the N.W.T.
obsessed with the polar bear, a mysterious creature with as many
moods as a man has. For six months, Niviaksiak carved nothing
Tudlik – 72 years old
else, probing with his fine primitive art at the spirit of the shaggy
Tudlik’s wife and one son is dead and he has one living daughter.
beast. Some Eskimos thought he was searching deeper than a man
He is almost blind and is now at Moose Factory Hospital, his first
should into the mysteries of life.
time in southern Canada. He is due to return to Cape Dorset in the
spring of 1960. Tudlik’s carvings are now on display in most of the
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major galleries in the world, and his name is included in a European
card designs. He carves very little.
publication which lists the “Who’s Who” in the art world. Tudlik’s
favourite pastime is carving a large variety of Eskimo owls and
Kinoajuak – Born 1927 – Married with two children
although he has done many owl carvings, each one has been
Kinojuak is probably the cleverest woman in Cape Dorset in making
different.
skin appliqué designs. She has spent her whole life in Cape Dorset
and has had no schooling.
Kananginak – Born 1935 – Married with two children
Kananginak is an excellent carver and excellent print maker. He is
Mungituk – Born 1935 – Unmarried
president of the West Baffin Eskimo Co-operative and represented
He is an excentric artist. His prints often portray violence and his
the Eskimos of Cape Dorset in the official Canadian party which
wild dreams. He is a good carver but quite erratic in his carving.
visited Greenland several years ago.
He is a good hunter. He has spent his whole life in Cape Dorset
and has no schooling.
Oshaweetuk – Born 1923 – Married – six children
Oshaweetuk was the Eskimo who made the carving of the Queen
Shekoalook – Approximately 25 years old – died 1959
which was presented to her during her visit in Canada in 1959. He
– Unmarried
also helped to carve the Mace of the Northwest Territories. He
Shekoalook, in addition to being an excellent graphic artist, was
has lived all his life in Dorset and has no schooling.
also a fine carver. While setting a net for fishing in the fall of 1959
with two other men a violent blizzard came up. The two men who
Iyola – Born 1933 – Married with children
were with Sheloalook held on to each other and tried to find him.
Iyola was the artist who produced the print of “Canada Geese in
As they could see nothing in the blizzard, they could find him
Flight,” which was presented to the Queen during her visit to
nowhere but they were able to make their way to shore and
Canada in 1959. He is also an excellent carver and is considered
shelter. Later when the blizzard subsided, they found Sheloalook
one of the best hunters in the Cape Dorset area. He has spent all
lying dead in the snow. Sheloaklook spent his whole life in Cape
his life in Cape Dorset and has had no schooling.
Dorset and has had no schooling.
Pootagook – Died 1959 – 70 years of age
Pootagook was the “former king” of the Eskimos in the Dorset
area. He was a powerful absolute ruler, completely primitive and
had an outstanding knowledge and understanding of the Eskimo
language. He built up a powerful dynasty in the Cape Dorset area,
his domain extending 200 to 300 miles. Besides being an Eskimo
graphic artist, he was also an excellent carver. He spent his whole
life in Cape Dorset and had no education.
Ikaluk – 23 years old and Grandson of Pootagook
Ikaluk speaks some English which he learned while in hospital for
six years. He is a precise craftsman who produced a number of
Inuit Art Auction - Monday 6 May 2013 at 6 pm
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Printing Process:
1. Stone-Cut Prints
The stone is first taken from a quarry which is located fairly near Cape
Dorset. Big shale-like pieces are taken off a cliff by hand or broken off,
using another rock or a crowbar. The stone is a soft soapstone – either
serpentine or steatite. It is found along the coast of Baffin Island
approximately 100 miles away from Cape Dorset and is brought to the
settlement either by boat or by dog-sled.
The artist then takes a hand-made axe which consists of two files lashed
together like a cutting axe with one edge sharpened. The face of the
stone is flattened with this tool and following this the face of the stone
is filed. A polished surface is obtained by rubbung the face with seal oil
is and sometimes also using sand-paper.
Sometimes the artist draws directly on the block using black paint or a
pencil. This work is done at Eskimo camp and not at the Craft Centre.
Sometimes a preliminary sketch is drawn on the paper and sometimes the
design is directly cut into the block without any sketch being used. This
work is done by many of the Eskimos in camps in the Cape Dorset area
(on Foxe Peninsula).
The block is then etched using old sharpened files of different sizes. The
design can either be raised (i.e. the stone-cut print of the “Owl”) or
incised with the drawing dug out (i.e. “Eskimo Whale Hunt”). This latter
type of incised drawing is the traditional art which is over 2,000 years
old. The former type is similar to wood block cutting and this method was
taught to the Eskimos by Mr. James A. Houston, the Department of
Northern Affairs’ Area Administrator who is stationed in Cape Dorset. It
takes the average Eskimo approximately one week to make up a block.
When the artist has completed the block, he then brings it to Craft Centre
and the Eskimo printers have a look at it. They have to think in terms of
the design backwards because the print is a reverse of the plate design.
This aspect is most surprising to the Eskimos. The top printers
Kananginak or Iyola then pull a number of sample prints from the block.
If there are any flaws in the block such as high spots, the block will be cut
down by the artist. The artist then suggests the colours which he thinks
would be preferable for the design and sometimes helps with the printing
process.
Several background colours are then tried and the final colours are
established.
The printers then mix the inks and using brushes or rollers, ink the block.
The paper is placed on top of the block and rubbed either by hand or
with a baren. Sometimes the artist himself participates in the printing
after the forth or fifth print has been run off by the “experts.” The artist
then checks all prints made to ensure that they are all top quality.
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A limited number of numbered prints are pulled and when the series is
completed the face of the stone is removed and a new design is carved
into it. About ten designs can be cut from one block.
2. Stone Rubbings
Stone rubbing is carried out in a somewhat similar manner to placing a
coin under a piece of paper and bringing out the design by rubbing a
pencil on top of the paper. The paper is placed on top of the block and
the surface is rubbed with a special implement.
3. Sealskin Prints
The first experiments with this type of printing were carried out using
paper stencils. These were not found to be satisfactory because the ink
ran, so the Eskimos came up with the idea of using a sealskin stencil. The
design is cut out of sealskin using an ordinary knife or an ulu (an Eskimo
woman’s knife) and paint is applied using a brush to force the paint
through and opening in the sealskin. Because it is water-repellant,
sealskin resists paint where paper soaks it up. Sometimes the stencil
forms the complete design (i.e. “Legend of the Blind Man and the Bear”)
and sometimes a number of overprints are made (i.e. “Four Muskoxen”).
A limited number of numbered sealskin prints are made and the stencil
is destroyed.
In a sense, sealskin printing is the most important because of the colour
combination which the Eskimo has to choose from.
The Eskimos living in the camps away from the settlement prefer to do
stone-cut printing whereas the artists working in the Craft Centre itself
tend toward sealskin printing.
4. General
Only two colours of ink can be made up locally in Dorset. These are black
and red. Red is made from iron rust from locally found iron. The iron is
put in water which turns a brownish-red colour. The thickest part of this
is mixed with seal oil or even machine oil and red paint is thereby
produced. For making black paint, the residue at the bottom of the seal
oil lamp is mixed with oil thereby producing black paint. These two
colours were used for centuries by the Eskimos in their traditional art. The
other colours in the printing process are commercial inks.
If the artist does all the printing and makes all the decisions only his
name appears on the print. However, if the artist produces the design and
the block and one of the printers does the printing, both the name of the
artist and the name of the printer appear on the print.
The signature of the artist and symbol of the Eskimo Art trademark are
stamped on by using small stone stamps.
Buying at Waddingtons.ca
Buyers Premium
Condition:
All lots will be offered and sold subject to this Condition of Sale as well
as any Glossary and posted or oral announcements. By bidding at
auction, bidders are bound by those Conditions and Glossary, as
amended by any oral announcements or posted notices, which together
form the contract of sale between the successful bidder (buyer),
Waddington’s™ (auctioneer), and the consignor (seller) of the lot.
Description or photographs of lots are not warranties and each lot is sold
“as is” in accordance with the Conditions of Sale.
A buyer’s premium of 20% of the successful bid price of each lot up to
and including $50,000 and 15% on any amount in excess of $50,000 is
paid by buyer as part of the total purchase price.
Condition of Lots:
All of the items are to be considered, unless otherwise noted in the
description, in good condition. The definition of “good” when used in
reference to condition, describes an object as having had no major
damage or repair but as with the nature of the material, may show minor
surface wear, discolouration etc., which indicates the acceptable wear
that the piece may acquire with age. If you are particular about minor
flaws, you should examine the pieces in person or have our staff answer
any questions before bidding. Sizes are approximate. It is the sole
responsibility of the bidder to inquire as to the condition of a lot before
bidding. Condition reports are available upon request by phone, fax, email
or in person. You are advised to make any requests well in advance of the
sale.
Absentee Bidders:
All absentee bidders are required to contact our offices at 416-504-9100
to confirm whether they have been successful.
Shipping:
The Auctioneers will not undertake packing or shipping. The purchaser
must designate and arrange for the services of an independent shipper
and be responsible for all shipping, insurance expenses and any necessary
export permits that may apply. The Auctioneers will, upon request,
provide names of professional packers and shippers but will not be held
responsible for the service or have any liability for providing this
information. Reliable pre-auction estimates of shipping costs of lots
offered in this sale may be obtained from:
Artfact Live! clients will be charged a buyer's premium of 23% of the
successful bid price of each lot up to and including $50,000 and 18% on
any amount in excess of $50,000 as part of the total purchase price.
A charge of 13% HST (Harmonized Sales Tax) is applicable on the
hammer price and buyer's premium, except for purchases exported from
Canada. In the case where purchases are shipped out of the province of
Ontario, the HST or GST is charged based on the tax status of that
province.
Permits may be required for international shipments due to export
restrictions. For further information, please see 'Information For Buyers'
located at the back of the catalogue.
ALL PRICES IN CANADIAN FUNDS
Notice for our International Clients
Restrictions exist regarding the export of species protected under CITES
(Convention on International Trade in Endangered Species).
The export and importation of items made of or containing whalebone,
ivory, tortoise shell, seal skin, rhinoceros horn and other animal parts is
strictly controlled or forbidden by most countries. Please review your
country’s laws before shipping or purchasing pieces made of or containing
these restricted items. Obtaining the appropriate permits is the
responsibility of the client.
For more information please visit: www.cites.org
Pak Mail
905.470.6874 905.470.6875 416.293.8225
[email protected]
www.pakmailmarkham.ca
Inuit Art Auction - Monday 6 May 2013 at 6 pm
51
CONDITIONS OF SALE
1 All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject 11 Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes
2
3
4
5
6
to variation to be posted or announced verbally in the auction room prior to the time of sale. While
arrangements satisfactory to the auctioneer for the inspection of such lot by a fully
the auctioneer has endeavoured not to mislead in the description issued, and the utmost care is
qualified person acceptable to the auctioneer to determine the genuineness or
taken to ensure the correct cataloguing of each item, such descriptions are purely statements of
authenticity of the lot, to be carried out promptly following the sale of the lot, and
opinion and are not intended to constitute a representation to the prospective purchasers and no
if, but only if, within a period of 14 days following the sale a written opinion of such
warranty of the correctness of such description is made. An opportunity for inspection of each
person is presented to the auctioneer to the effect that the lot is not genuine or
article is offered prior to the time of sale. No sale will be set aside on account of lack of
authentic, accompanied by a written request by the buyer for rescission of the sale,
correspondence of the article with its description or its reproduction, if any, whether colour or black
then the sale of the lot will be rescinded and the sale price refunded to the buyer.
& white. Some lots are of an age and/or nature which preclude their being in pristine condition
and some catalogue descriptions make reference to damage and/or restoration. The lack of such 12 Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person
only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank
a reference does not imply that a lot is free from defects nor does any reference to certain defects
draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000). As
imply the absence of others. Frames on artwork are not included as part of purchase or condition.
Waddington's requires written authorization for all credit card purchases, credit cards
It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which
must be presented in person by the cardholder and therefore cannot be accepted
they wish to bid, relying upon their own advisers, and to bid accordingly.
over the telephone. However, fax authorization arrangements can be made.
Each lot sold is subject to a premium of 20% of the successful bid price of each lot up to and
including $50,000 and 15% on any amount in excess of $50,000 as part of the purchase price. 13 In the event of failure to pay for or remove articles within the aforementioned time
limit, the auctioneer, without limitation of the rights of the consignor and the
auctioneer against the buyer, may resell any of the articles affected, and in such case
Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase
the original buyer shall be responsible to the auctioneer and the consignor for:
price including the buyer’s premium. For international buyers, taxes are not applicable when
(a) any deficiency in price between the re-sale amount and the
purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay
amount to have been paid by the original buyer;
taxes as per the tax status of that province, whether it HST or GST (Goods and Services Tax).
(b) any reasonable charge by the auctioneer for the storage of such
The auctioneer reserves the right to withdraw any lot from sale at any time, to divide any lot or to
articles until payment and removal by the subsequent buyer; and
combine any two or more lots at his sole discretion, all without notice.
(c) the amount of commission which the auctioneer would have
earned had payment been made in full by the original buyer.
The auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion.
The auctioneer reserves the right not to accept and not to reject any bid. Without limitation, any 14 It is the responsibility of the buyer to make all arrangements for insuring, packing
and removing the property purchased and any assistance by the auctioneer or his
bid which is not commensurate with the value of the article offered, or which is merely a nominal
servants, agents or contractors, in packing or removal shall be rendered as a courtesy
or fractional advance over the previous bid may not be recognized.
and without any liability to them.
Each lot may be subject to an unpublished reserve which may be changed at any time by agreement
between the auctioneer and the consignor. The auctioneer may bid, or direct an employee to bid, 15 The auctioneer acts solely as agent for the consignor and makes no representation
as to any attribute of, title to, or restriction affecting the articles consigned for sale.
on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and
Without limitation, the buyer understands that any item bought may be affected by
submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant
the provisions of the Cultural Property Export Act (Canada).
to the instructions of prospective purchasers not in attendance at the sale.
7 The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall 16 The auctioneer reserves the right to refuse admission to the sale or to refuse to
forthwith assume full risk and responsibility for the lot and must comply with such other Conditions
of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have
the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from
the sale, or to re-offer it at the same or a subsequent sale. The auctioneer’s decision in all cases
shall be final.
8 Immediately after the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the
auctioneer with respect to payment of the whole or any part of the purchase price requested by
the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without
re-offering the item for sale.
9 The buyer shall pay for all lots within 48 hours from the date of the sale, after which a late
charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole
discretion, may cancel the sale. The buyer shall not become the owner of the lot until paid
for in full. Items must be removed within 10 days from the date of sale , after which storage
charges may be incurred.
10 Each lot purchased, unless the sale is cancelled as above, shall be held by the auctioneer at
his premises or at a public warehouse at the sole risk of the buyer until fully paid for and
taken away.
THIRD PARTY LIABILITY
Any person on Waddington’s™ Auctioneers & Appraisers premises, before, during or after
the sale, shall deem to be there at his/her own risk and he/she shall have no claim against
Waddington’s™ or Joyner™ Waddington’s in respect of any injury he/she may sustain or any
accident which may occur.
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Waddingtons.ca
recognize any or all bids from any particular person or persons at any auction.
INFORMATION FOR BUYERS
All lots will be offered and sold subject to the Conditions of Sale which appear in this
catalogue as well as any Glossary and posted or oral announcement. By bidding at auction,
bidders are bound by those Conditions and Glossary, as amended by any oral
announcement or posted notices, which together form the contract of sale between the
successful bidder (buyer), Waddington’s™ or Joyner™ Waddington’s, and the consignor
(seller) of the lot. Descriptions or photographs of lots are not warranties and each lot is
sold “as is” in accordance with the Conditions of Sale.
Payment
Payment for purchases must be by cash, INTERAC direct debit (Cdn
clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque,
bank draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000). As
Waddington's requires written authorization for all credit card purchases, credit cards must
be presented in person by the cardholder and therefore cannot be accepted over the
telephone. However, fax authorization arrangements can be made.
A premium of 20% of the successful bid price of each lot up to and including $50,000
and 15% on any amount in excess of $50,000 is paid by the buyer as part of the total
purchase price.
Removal of Purchases
The purchaser will be responsible for shipping and insurance expenses. The Auctioneer will,
upon request, provide names of professional packers and shippers but will not be
responsible or have any liability for providing this information.
Purchases must be paid for within 48 hours of the date of the sale, and removed from
premises within 10 days of the date of sale (see Conditions of Sale, conditions 8 to 15).
Clients are advised that packing and/or handling of purchased lots by our employees or
agents is undertaken solely as a courtesy for the convenience of clients.
Restrictions exist regarding the export of species protected under CITES (Convention on
International Trade in Endangered Species). This includes but is not limited to whalebone,
tortoiseshell & ivory. It is the sole responsibility of the buyer to inquire about and obtain
the proper permits for artwork purchased that may contain restricted materials. Please
contact the appropriate Waddington's department for assistance.
A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer's
premium, except for purchases exported from Canada. In the case where purchases are
shipped out of the province of Ontario, the HST or GST is charged based on the tax status
of that province.
Frames on artwork are not included as part of purchase or condition.
Bidding
To bid in person at the auction, you must register for a bidding number by showing
identification acceptable to the Auctioneer upon entering the salesroom. Your number will
identify you if you are the successful bidder. You will be responsible for all lots purchased
on your bidding number. Banking information may be requested by Waddington’s™ or
Joyner™ Waddington’s.
You may submit an Absentee Bid Form if you are unable to attend the sale. Bidding by
telephone, in limited circumstances, can be arranged prior to the sale. While we are pleased
to offer absentee and telephone bidding as a service to our clients, and take great care in
their commission, the Auctioneer will not be responsible for technical difficulties, errors
or failure to execute bids.
The Auctioneer may also execute bids on behalf of the consignor to protect the reserve.
The reserve is the confidential minimum price the seller is willing to accept for his or her
property, below which it will not be sold.
INFORMATION FOR SELLERS
Paintings, drawings, prints, furniture, jewellery and all forms of decorative arts and
collectibles may be brought to our Toronto office where we can provide you with
preliminary auction estimates and consignment procedures. Please visit our website at
www.waddingtons.ca for details on our various departments and how to contact the
specialists. We also accept mailed and emailed requests for advice on the marketability
of objects. A photograph and phone number must accompany a full description of each
item.
Our specialists regularly travel to major Canadian cities to meet with prospective
consignors. For further information, or to arrange an appointment, please contact our
Toronto office.
Property normally arrives at Waddington’s™ or Joyner™ Waddington’s at least three months
before the sale in order to allow our specialists time to research, catalogue, photograph
and promote the items. Consignors will receive a contract to sign, setting forth terms and
fees for our services.
Restrictions exist regarding the export of species protected under CITES (Convention on
International Trade in Endangered Species). All Narwhal Tusks must have a Marine Harvest
Number or a Marine and Mammal Transport number to be sold at Waddington's.
Commission Rates
Items selling for $7,501 or more
Items selling for $2,501 to $7,500
Items selling for $251 to $2,500
Items selling for $250 or less
*There is a minimum handling charge of $20 per item
10%
15%
20%
25%
Insurance
A 1% insurance charge, based on the hammer price of the property, will be applied to all
accounts.
Inuit Art Auction - Monday 6 May 2013 at 6 pm
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Waddingtons.ca
SPECIALIST DEPARTMENTS
Waddingtons.ca/Cobourg
Asian Art
Jewellery, Watches & Numismatics
Anthony Wu
416 847 6185 [email protected]
Don P. McLean
416 847 6170 [email protected]
9 Elgin Street East, Cobourg ON K9A 0A1
Monthly Fine Art
General Manager
Doug Payne
416 847 6180 [email protected]
Paul Needham
905 373 0501 [email protected]
Silver, Glass & Ceramics
Absentee and Phone Bidding
Bill Kime
416 847 6189 [email protected]
905 373 1467 (Fax)
Canadian Fine Art
Geoffrey Joyner Robert Cowley
Lydia Abbott
Kristin Vance
416 504 5100 [email protected]
Canadian Contemporary Art
Stephen Ranger
416 847 6194 [email protected]
International Art
Susan Robertson
416 847 6179 [email protected]
Mandy Ilk
(Client Services Administrator)
416 847 6182 [email protected]
Sculpture, Decorations, Clocks & Lighting
Sean Quinn
416 847 6187 [email protected]
Transitions
Marcia Kim
416 847 6196 [email protected]
Inuit Art
Christa Ouimet
416 847 6184 [email protected]
Waddingtons.ca/Collingwood
P. O. Box 554, Collingwood ON L9Y 4B2
Valerie Brown
705 445 8811 [email protected]
OPERATIONAL STAFF
President
Accounts Manager
Duncan McLean
416 847 6183 [email protected]
Karen Sander
416 847 6173 [email protected]
C.F.O. / C.O.O.
Corporate Receptionist
Bonnie Herman
416 847 6171 [email protected]
Kate Godin
416 504 9100 [email protected]
General Manager
Appraisal Co-ordinator
Duane Smith
416 847 6172 [email protected]
Ellie Muir
416 847 6196 [email protected]
Vice President Business Development
Client Services
Stephen Ranger
416 847 6194 [email protected]
Steve Sheppard
416 847 6186 [email protected]
Creative & Technical Manager
Andrew Brandt
416 504 9100 ext 6200 [email protected]
Jamie Long
416 847 6188 [email protected]
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