John Kavik, Mother with child, ex coll. William Johnstone
6 1/8 x 2 3/8 x 3 1/4 in.
From "Tuvaq," by Ken Mantell: "[I]t is hard not to detect a certain innate sympathy in Bill [Johnsone]'s tastes towards the artists of the Keewatin/Western Hudson Bay communities . . . where artists like . . . John Kavik . . . wrestling with the often extremely hard-to-work local stone available to them come up with artistic solutions of the most startling formal and powerfully expressive character . . . . [Kavik's] much larger and apparently very early stone piece, Mother and Child, has a rough monumentality and quiet dignity about it that is very moving. pp. 195-7.
John Kavik | Mother with child, ex coll. William Johnstone | | Alaska on Madison
2 / 23
Latcholassie Akesuk, BIRD, ex coll. William Johnstone
7 x 7 x 2 in.
From "Tuvaq," by Ken Mantell: "The son of legendary carver Tudlik (noted for his small owls), Latcholassie is best known for his much bolder, larger and abstracted carvings of owls, other birds, humans and mythical pieces. These pieces have a very distinctive style, being rendered with minimal impact on the stone. . . . His birds often have a joyful quality, with the artist's enthusiasm and sense of humour shining through. They tend to have a strong sense of mass -- the large forms requiring little working to create a remarkably expressive effect."
Latcholassie Akesuk | BIRD, ex coll. William Johnstone | | Alaska on Madison
3 / 23
Henry Evaluardjuk, Fox hunter with dog
14 x 7 1/4 x 7 in.
Ex coll. Peter Murdoch, presented to him in appreciation of his work as Superintendent of the Frobisher Bay Rehabilitation Centre. Murdoch had hired Henry Evaluardjuk to supervise the arts program at the Rehabilitation Centre.
This is a major work by Henry. The hunter is imposing, but the dog's excitement is palpable, and the dead fox hanging down the hunter's back can only be described as animated. Both animals prefigure Henry's later masterful carvings of bears and other wildlife.
Henry Evaluardjuk | Fox hunter with dog | | Alaska on Madison
4 / 23
Josiah Nuilaalik, Fox-bird transformation
2 1/2 x 6 1/4 x 1 1/2 in.
Formerly in the Albrecht Collection of Arctic Art, this intriguing fox-bird transformation is an elegant, delicate and highly tactile carving. Foxes are a relatively rare subject for Inuit carvings, and fox transformations are even rarer.
Josiah Nuilaalik | Fox-bird transformation | | Alaska on Madison
5 / 23
Levi Qumaaluk, Hunter with pack
9 3/4 x 7 1/8 x 7 3/8 in.
An INAC biography of Qumaaluk said, "[S]ubject matter . . . seems subordinate to the sensual depiction of detail in braided hair, rippling garments and hunting implements. Tools and weapons are carefully rendered, seams, either in clothing, tents or kayaks, are precisely delineated." This sculpture is the perfect embodiment of that statement. The contents of the hunter's pack are displayed on the outside of the pack in careful detail. Levi's carefully detailed and finished carvings present an interesting contrast with the rougher carvings of his brother, Joe Talirunili.
Levi Qumaaluk | Hunter with pack | | Alaska on Madison
6 / 23
Barnabus Arnasungaaq, Mother and child
6 1/4 x 6 3/4 x 6 1/4 in.
This carving of a child sheltering behind his mother is one of the most beautiful carvings by Barnabus that I have seen. It is relatively small in scale, but full of well-executed details. The mother radiates the strength necessary to survive in the Arctic, and the child is confident relying on that strength.
Barnabus Arnasungaaq | Mother and child | | Alaska on Madison
7 / 23
Charlie, attributed to Sivuarapik, Seated hunter
5 1/2 x 5 1/2 x 7 3/4 in.
This hunter is a fine example of early carvings from Povungnituk. The details of the clothing are carefully depicted, including delicate seams, but the body is somewhat rigid. It is not signed, but attributed to Charlie Sivuarapik.
Charlie, attributed to Sivuarapik | Seated hunter | | Alaska on Madison
8 / 23
Osuituk Ipeelee, Walrus-bird transformation
8 1/4 x 5 1/4 x 3 3/4 in.
Osuitok Ipeelee carved relatively few animal-animal transformations. Combining a walrus and bird is a compositional challenge, which Osuitok solved by eliminating the bodies of both subjects, representing the walrus solely by its head, and the bird by its wings and feet. The thin, rippling wings are a tour de force of carving.
Osuituk Ipeelee | Walrus-bird transformation | | Alaska on Madison
9 / 23
Latcholassie Akesuk, Bird-seal transformation, c. 1965
2 1/2 x 5 1/4 x 1 1/4 in. (6.3 x 13.3 x 3.2 cm)
Ex Albrecht Collection
In true Latcholassie fashion, this carving is somewhat ambiguous in appearance. Although the overall form is that of a seal, its head is decidedly bird-like. The carving’s small size and beautiful finish lend this
creature an intimate quality that is not often found in Latcholassie’s work.
Latcholassie Akesuk | Bird-seal transformation | c. 1965 | Alaska on Madison
10 / 23
Omalluq Oshutsiaq, Birthing scene
3 x 6 3/4 x 6 1/2 in.
This beautiful birthing scene shows the mother assisted by a midwife and supported by an older child. A very intimate carving by a female artist.
Omalluq Oshutsiaq | Birthing scene | | Alaska on Madison
11 / 23
Audla Pee, Container in the form of a human-animal transformation, c. 1950-55
Stone, 4 x 2 x 5 1/4 in.
Provenance: Albrecht Collection of Arctic Art. In the early 1950s, when the Canadian Government was anxious to help develop a market for Inuit Art, it sponsored a [somewhat ill-advised] pamphlet, "Eskimo Handicrafts" that depicted both some genuine Inuit art and artifacts, but that also included pictures of non-Inuit objects, such as ashtrays. The purpose was to encourage the Inuit to produce similar objects. There is no other reasonable explanation for the inspiration for this altogether charming work -- a handsome human head with distinctly animal ears mounted on the front of a box suitable for business cards. Audla Pee, the carver, went on to become a prominent Cape Dorset artist, carving more traditional subject matter.
Audla Pee | Container in the form of a human-animal transformation | c. 1950-55 | Alaska on Madison
12 / 23
Noah Nowrakudluk, Hunter in kayak with seal and walrus head, c. 1960-1969
Stone, 2 3/4 x 13 x 3 1/2 in. (7 x 33 x 8.9 cm)
This is a fine example of Arctic Quebec "slice of life" carvings. The hunter has had an excellent day -- a walrus head floats beside the kayak, and he carries a seal on the kayak's rear deck. Arctic Quebec artists favored subjects drawn from everyday life for their carvings, and a grouping of five or six vividly shows the range of activities in camp life.
Noah Nowrakudluk | Hunter in kayak with seal and walrus head | c. 1960-1969 | Alaska on Madison
13 / 23
Axangayu Shaa, Igloo scene, 1981
Serpentine, ivory, sinew, 8 1/2 x 12 x 12 in. (21.6 x 30.5 x 30.5 cm)
The igloo is composed of separate blocks of serpentine, glued and pegged on the inside. An ivory kayak is sitting on a komatik (sled) and mounted on pegs on the side of the igloo. A frame for stretching skins and a sealskin float are also mounted on pegs. (Such items were mounted on the igloo in order to keep them away from the dogs.) In front of the igloo, a man runs to meet a woman who is carrying a pot, while three dogs wait nearby. A pair of kamiks (boots) is drying on a rack in the background. The igloo is signed by Axangayu in syllabics, and the figures are miniature versions of his larger sculptures, undoubtedly by his hand.
Axangayu Shaa | Igloo scene | 1981 | Alaska on Madison
14 / 23
Luke Airut, Shaman Summoning Hunting Spirits
Bone, antler, sinew, 4 1/4 x 10 x 7 in. (10.8 x 25.4 x 17.8 cm)
Truly a tour de force, this elaborate scene is carved from a single walrus jaw bone. The large drum dancer in the center is flanked by a smaller drum dancer and a hunter, with a polar bear and a beluga on one end, and a bowhead whale and another beluga on the other end. The drums and drum beaters are carved separately, but all of the other figures comprise one integrated composition. Nothing is pegged. The delicacy of the carving has to be seen to be believed.
Luke Airut | Shaman Summoning Hunting Spirits | | Alaska on Madison
15 / 23
Tye Adla, Man-owl transformation
8 x 4 3/4 x 3 in.
ex coll. Terry Ryan
This understated transformation is a carving, but has the qualities of a graphic; it is clearly intended to be viewed from the front. This is not surprising, since Tye Adla was also a printmaker. The carving radiates serenity and self-possession, having almost a Buddha-like affect.
Tye Adla | Man-owl transformation | | Alaska on Madison
16 / 23
Miaiji Uitangi Usaitajuk, Mother sewing
9 3/4 x 5 x 6 1/2 in.
Provenance:The Peter J. Landry Collection of Inuit Art, U.S.A. Exhibited: Sugluk: Sculpture in Stone, 1953-1959, exh. cat., Art Gallery of Windsor, (Windsor, ON), 1992, illustrated with two views, pages 32 & 33, cat. no. 22. This work is accompanied by the Art Gallery of Windsor hand written exhibition label. Literature: Sugluk: Sculpture in Stone, 1953-1959, page 26 & 31. Note: Mother Sewing by Miaji (Mary) Usaitiajuk Uitangi, "emphasizes the central role of the woman in Sugluk. The sculpture represents a woman mending a child's parka with thread dried and split from caribou sinew. The arcing rhythmic thread constructs a memorable metaphor of woman as the provider and protector of her children at the center of the world." This maternal portrait of the altruistic mother and her child empathizes the significance of the role of women and reiterates the regional preference for modest scenes of daily life.
Miaiji Uitangi Usaitajuk | Mother sewing | | Alaska on Madison
17 / 23
Maudie Okittuq, Raven Mother and Child, 1990-99
Stone, 5 1/2 x 3 1/4 x 3 1/4 in.
This is an exceptionally tender and finely carved work by Maudie Okittuq. Maudie is known for her fantasy figures and transformations, rendered with gusto but not particularly refined. In contrast, this elegant mother and child are beautifully rendered and finished, with one added twist: the mother and child are ravens.
Maudie Okittuq | Raven Mother and Child | 1990-99 | Alaska on Madison
18 / 23
Kananginak Pootoogook, Windswept muskox
8 x 11 x 3 1/2 in.
Kananginak Pootoogook's muskoxen are legendary. He is to muskoxen what Pauta Saila is to dancing bears. Kananginak's muskox is compact, huddled against the wind, and displaying his magnificent coat. The motion in the coat makes you forget that this is carved from stone. Kananginak was not only a master carver, but also a mainstay of the Cape Dorset print workshop for decades, creating meticulously detailed portrayals of the birds and animals of Baffin Island, but also venturing into satire at times.
Kananginak Pootoogook | Windswept muskox | | Alaska on Madison
19 / 23
Timothy Kutchaka, Swimming goose
Stone, 3 1/2 x 5 x 2 1/4 in. (8.9 x 12.7 x 5.7 cm)
An elegant example of early work from Inukjuak. Timothy Kutchaka (1924-1986) was one of the first-generation artists in Inukjuak. This modest but elegant goose is beautifully proportioned. The feathers in its wings are suggested with a few incised strokes, reminiscent of Art Deco.
Timothy Kutchaka | Swimming goose | | Alaska on Madison
20 / 23
Barnabus Arnasungaaq, Standing bear
Stone, 5 x 2 x 2 1/2 in.
Another unusual small bear by a great artist known for his carvings of people. Barnabus was one of the great masters of Baker Lake. Given the difficulty of carving small details in Baker Lake's basaltic stone, Barnabus concentrated on portraying large masses with few details. This bear, carved on a much smaller scale than most of Barnabus' works, is alert, standing and scenting the wind.
Barnabus Arnasungaaq | Standing bear | | Alaska on Madison
21 / 23
Manasie Akpaliapik, Revenge, 1996
Whalebone, antler, 35 1/2 x 20 x 20 in. (90.2 x 50.8 x 50.8 cm)
SOLD. This is a masterpiece of whalebone carving, by Manassie Akpaliapik, probably the premier Inuit artist working in whalebone. Titled "Revenge," the principal figure is animated by intense feeling. Hidden within the work, however, are a majestic eagle, a hawk swooping in to land, a caribou (the main figure holds the caribou antler) and several other figures.
Manasie Akpaliapik | Revenge | 1996 | Alaska on Madison
Mattiusi Iyaituk's work is characterized by beautiful stone embodying Mattiusi's conceptual sculptures. Simply put, this is a sculpture about starvation, an all-too-real possibility when Mattiusi was growing up on the land. Provenance: Wagonfeld Collection; Spirit Wrestler Gallery
Exhibited and published: Spirit Wrestler Gallery, The Freedom to Dream: The sculpture of Mattiusi Iyaituk (2000) cat. 37; Loveland Museum Gallery, Survival: Inuit Art (2004) p. 39.
Mattiusi Iyaituk | Empty Stomach Craving Caribou Meat | | Alaska on Madison
23 / 23
Inuit Anonymous, Fantasy creature
Serpentine, 9 x 6 x 3 in.
SOLD I jokingly call this my "Inuit stegosaurus," but in fact it is a fantasy creature by an unknown artist. In the 1960's many Cape Dorset artists experimented with fanciful creatures, and this appears to be one of the results. The style is highly reminiscent of Latcheolassie Akesuk's minimalist carvings, but the piece is not signed and we cannot attribute it to any particular artist. It is guaranteed to bring a smile to your face.
Inuit Anonymous | Fantasy creature | | Alaska on Madison
Tip: You must first enter a valid email address in order to submit your inquiry