Inuit Art Blog
The gallery will be holding an exhibition in honour of the late Jutai Toonoo.
His drawings and prints had an international presence on par with other master print makers like Kenojuak Ashevak and Tim Pitseolak.
The gallery received some of his last works available and will be putting them on display. One of his master works - "Happy, 2013" was recently acquired by the gallery. It is one of his best works to date.
This is an original drawing created by Jutai Toonoo in 2013. (This a not a limited edition print, it is an original oil on paper drawing, only one was made by Jutai).
The coloration, subject matter, and texture of this drawing has resonated itself into a lasting image of memory. I made the assertion that these two drawings must be hung in our studio immediately.
This image exemplifies both Toonoos’s sense of being and the demons he struggled with on an everyday basis.
Jutai was born in an igloo on a cold December morning in 1959 just outside Cape Dorset. He recalls the traditional way of life of his family and learned by watching his father go about the daily tasks that enable the family to survive. He and his sister, renowned sculptor, Oviloo Tunnillie, learned about stone carving by watching their father. Jutai did his first carvings when he was seven years old.
By 1982, carving was his major source of income. One day he calculated his income and realized that he was making too little as a carver and decided to work in an office instead. Eventually he realized that sitting at a desk all day was not a life for him. In 1992 he resumed carving. In 1995 he also took his first jewellery and metalwork course and discovered a new artistic discipline.
Information courtesy of Nunavut Arctic College 1996.
Jutai Toonoo (1959 - 2015 )
Community: Cape Dorset
Jutai was an illustrator, printmaker and sculptor.
Jutai was born in an igloo on December 05,1959 just outside Cape Dorset.
Jutai Toonoo is a son of Inuit artists Sheojuk and Toonoo. He, along with his siblings—renowned sculptors Oviloo Tunnillie and Samonie Toonoo - learned to carve at a young age from his father and began his artistic career in the 1990s, beginning with sculpting and moving towards drawing and printmaking. Jutai became known for a bold art style that was representative of his emotional process. His works are dark and humorous, often focusing on religious themes or the social issues that concerned him within his community.
Collections: National Gallery of Canada, Art Gallery of Ontario, McMichael Collection
To understand the servitude and influence legendary Axangayuk Shaa has on the world of Inuit art, one must first go back to when the industry came to prominence back in the 1960's. What was first a small settlement of a few hundred hunters and families - (at the time called Kingait), has since flourished into one of the most prominent regions for Inuit art.
Axangayuk Shaa is was one of those pioneering master carvers. He shares acclaids with the likes of other master artists like Nuna Parr, Jimmy Iqaluq, Kenojuak Ashevak and Tim Pitseolak. Remarkably, at 82 years old, he is still carving today and is the master carver who is a living legend. His status revolves around his grandesque, large scale dancing walruses. They are truly remarkable pieces and have toured around the world in countless exhibitions.
Never has there been an artist quite like Axangayuk Shaa who continuously releases gorgeous pieces of art... and my heart literally skips a beat every single time.
His walruses are world famous because of their strong sense of dynamics, motion and beautiful proportions. “He captures the spirit and vigorous movement for a total effect…concentrating on special interaction, expressive qualities and overall form…his carvings are compact, robust, solid…with outward dynamic forms…”
The man is a living legend that puts him on the level of all other great carvers of centuries past. His ability to capture the essence and raw beauty of the mammal is greatly enhanced with his choices of brilliant colored stones. This renders his walrus into carvings that set apart from all other artists.
Currently, He lives in Cape Dorset, Baffin Island with his wife, Kilabuk Shaa, who is also a carver. Three of their sons, Pudalik, Qiatsuq and Qavavau Shaa are also carvers in Cape Dorset.
Axangayuk Shaa was elected to the Royal Academy of Arts in 2003. Academicians are elected to membership of the RCA on the basis of their significant body of work that has been recognized by their peers in the discipline of their choice for its excellence and innovation. Candidates are nominated and brought forward by seven RCA members in good standing for review by the Membership Committee, which is a multi-discipline body representing all regions of Canada.
1981 Cape Dorset Sculptors and Their Sculpture. The Inuit Art Collector. Mr. & Mrs. James F. Bacon. Manchester, Connecticut. USA
1981 The Jacqui and Morris Shumiatcher Collection
1980 Four Sculptors from Baffin Island. Upstairs Gallery. Winnipeg, Manitoba
1980 Waddington's Inuit Auction. Waddington Galleries. Toronto, Ontario
1980 1980 Canadian Eskimo Art: Carvings, Cape Dorset Prints with sculptures by Axangayu. Franz Bader Gallery. Washington, D.C. USA
1980 The Klamer Family Collection of Inuit Art from the Art Gallery of Ontario. University of Guelph. Guelph, Ontario
1980 First Annual Collectors' Invitational Exhibition. Eskimo Art. San Fransico, California
1980 Collector's Choice. Waddington Galleries. Toronto, Ontario
1980 Cape Dorset. Winnipeg Art Gallery. Winnipeg, Manitoba
1979 Sculpture of the Inuit: Masterwork Exhibitors of the Canadian Arctic. Inuit Gallery of Vancouver. Vancouver, British Columbia
1979 Exhibition and Sale of Musk-Oxen & Bears. Cottage Craft Gifts & Fine Arts Ltd. Calgary, Alberta
1979 Die Kunst der Arktis. Villa Waldrich, Siegen, Germany. Inuit Galerie. Mannheim, West Germany
1977-1982 The Inuit Print. National Museum of Man, and the Department of Indian Affairs and Northern Development. Ottawa, Ontario
1977 Kaka and Axangayuk. Gallery Shop. London Public Library. London, Ontario
1975 Cape Dorset/Selected Sculpture from the Collection of W.A.G.. Winnipeg Art Gallery. Winnipeg, Manitoba.
1974 Eskimo Art. Queens Museum. Flushing, New York, USA
1974 Eskimo Stone Sculpture, featuring Azangayuk, Johnniebo, Kenojuak. Arctic Circle. Los Angeles, California. USA
1974 Inuit Sculpture 1974. Lippel Gallery. Montreal, Quebec
1974 Cape Dorset Sculpture. Canadian Guild of Crafts Quebec. Montreal, Quebec
1972 Eskimo Fantastic Art. Gallery 111, School of Art. University of Manitoba. Winnipeg, Manitoba.
1971-1973 Sculpture/Inuit: Masterworks of the Canadian Arctic. Canadian Eskimo Arts Council. Ottawa, Ontario
1971 The Art of the Eskimo, Simon Fraser Gallery, Simon Fraser University, Burnaby, British Columbia
1970 Mythology in Stone. Canadian Guild of Crafts Quebec. Montreal, Quebec
1969 Eskimo Sculpture '69. Robertson Galleries. Ottawa, Ontario
1967 Eskimo Sculpture. Winnipeg Art Gallery presented at the Manitoba Legislative Building. Winnipeg, Manitoba
1966 Major Eskimo Sculpture- Cape Dorset, Isaacs Gallery. Toronto, Ontario
1961 Cape Dorset Graphics
I used to live in the Canadian far North. My endeavors of becoming a pilot was what brought me there. One thing that I remember well is just how little sunlight there was in the winter time. So much so, that you could easily get depressed and suffer from cabin fever and isolation.
I remember those sombre 5AM flights, waking up, looking outside at a blizzard in the starkness of night. It would stay that way for an entire week before the sun would pop out again through the clouds.
Here is a wonderful video that really captures how the mood can sometimes be in the far North. It often gets ignored in favor of the nostalgia of the Inuit ancestors. But it is real and it is here and will never leave.
The video is about teen youth living in the remote community of Arviat. To escape the winter depression, the community organized a dance competition. It is an accurate depiction of life in the North and is how I experienced it.
Arviat is a very remote community. One of the industry's pioneering artists Lucy Tasseor comes from Arviat. They carve with a very condensed stone called steelite. It does not lend itself well to shaping and forming.
Her enigmatic face compositions have earned their way into the National Gallery of Canada.
Among subjects, mediums and styles, the "dancing bear" is one of the most prolific subjects in Inuit art. The dancing bear is the most prevalent subject made by artists and is also one of the most challenging to achieve.
It is this delicate balance, the movement and grace that made the dancing bear one of the most recognized inuit art subjects internationally.
The Dancing bear exemplifies and attests to the true beauty and craftsmanship of Inuit art. It was originally inspired in the 1960's from the small Inuit community Cape Dorset, Nunavut. Its concept signifies the transformation between shaman and spirit helper; arctic animals adopting naturalistic or humorous human-like poses (e.g. dancing bears, and Sedna - the sea goddess),
Since its introduction, it is understood that the dancing bear carving requires a much elevated skill set by the artist. This is because the entire stone has to be balanced on one leg of the bear without toppling over. This balancing act in carving is not a project for the beginning carver. Today, it is one of the most sought after subjects in Inuit art.
One of the first artists who conceived the idea of dancing bear was the late Palta Sala. Although basic in form, his dancing bears were the foundation and origins of this enigmatic subject we see today.
The sculptures from this older generation not only have a basic upright, singular orientation, they are also characterized by a unified, tight composition and form. The works tend to be solid and uniformly stone, rather than airy sculptures, punctuated by areas of space. The works rely on the single stone mass with very little play on the positive/negative space around or within the sculpture.
Then their came Nuna Parr. He is 72 years old and is by far, the most famous Inuit artist worldwide. His punctuation and achievements consist of formalizing a dancing bear, but in a superfluidity in dynamic and movement. This mastery of balance and form is also conducted in the lieu of gardenesque mass. Nuna Parr's bears are known to be large, flamboyant and majestic. They are construed in such a way that they are always the centre stage of any space.
New artists from today's generation have often worked under Nuna's apprenticeship. Noah Kelly, Joannie Ragee, Ashevak Adla are all top artists in today's Inuit art scene. This is both at a national and international level.
If you would like to own a dancing bear, please visit us at inuitsculptures.com, or check out our offerings below. You will see some achievements that will absolutely inspire you.
As the "About Us" section states, I am a pilot. I began my career as a bush pilot in the far North. I am not sure which came first... my fascination of the Inuit which lead me to this profession; or the profession itself which led to my relocation to the far North. Either way, it was an experience of a lifetime. Both in terms of pure joy and happiness, to absolute misery and depression. Becoming immersed in a completely different culture which is still considered the last frontier of America is something every young man should experience. It goes well beyond the "european backpacking trip". Living somewhere is a completely different experience from just visiting.
My experiences up there for those five years was a tremendous one. I learnt a great deal about other cultures and was particularly fascinated with the Inuit way of life. Their language is completely different. Their food is completely different. Their way of life is completely different. They are what I consider to be a true distinct society within Canada and North America.
Here is a wonderful documentary that exhibits the way of life of the Inuit today. It is an award winning documentary and I found it to be an exact rendition of my own experiences up their.
I recently did an appraisal for a client. His intent was to eventually sell the appraised piece. In doing so, he had little knowledge on how to maximize the return on his newly appraised piece.
This is when I realized, that my professional photography skills could be a huge asset to him. Hence, for a nominal fee. I offered to take professional quality photos of his appraised piece. He agreed and in doing so, this is what we achieved:
It took about two weeks for our client to not only sell his appraised piece, but they received 20% more than the value it was appraised for.
It is no secret that positioning and promotion are key elements to selling. This holds true for real estate, vacation resorts, retail goods and life in general. Afterall, appearances matter.
When you have an enigmatic high quality photo like the one above, there is little doubt that you will achieve the value you expect for your piece. Moreover, many clients will simply want a gorgeous photo to compliment their collection.
If you would like professional quality photos of your cherished Inuit art work, contact us and we will tell you how to proceed. Our fee for each photo set is $200 plus shipping. You will be required to send us your piece. We offer an additional 40% off if you package this with our appraisal services.
For further information, please review our appraisal section, or contact us as 1 800 457-8110.
We will review with you on how to proceed with the full appraisal and photography of your cherished art work.
This is a question many collectors ask, especially ones who are new to the Inuit art scene.
In most case, the best way to answer this question is … “Look for the Igloo tag.”
THE IGLOO TAG GUARANTEES THAT YOUR INUIT CRAFT IS AUTHENTIC!
IT CERTIFIES THE ARTWORK HAS BEEN
HAND MADE BY CANADIAN ABORIGINAL ARTISTS
The Government of Canada registered the symbol of the Igloo
as a trademark to identify Inuit artwork as authentic
and to protect Inuit artists and buyers.
This tag can only be attached to original Inuit
sculptures and art from northern Canada.
Artwork marketed by Northern Images bears this tag.
It’s sometimes confusing, particularly for new collectors, to determine what is genuine Inuit art and what is not. Some stores and gift shops sell souvenir “carvings” made of plastic, ceramic or stone, that have been mass-produced. These are NOT authentic Inuit art pieces from Canada's Arctic.
How can you tell the difference?
- If there are several pieces that look EXACTLY alike . . .
- If a piece has a cute, conventional look similar to a ceramic figurine . . .
- If a piece has marks made from the moulding process . . .
- If a piece is priced below $50 . . .
Check the base of the sculpture for a signature. Most carvers sign and date their work, either in Inuktitut syllabics or Roman orthography. Instead of a signature, older sculptures may have a number preceded by an ‘E’ or a ‘W’. These are Disc Numbers, a discarded form of identification the Canadian government imposed on Inuit individuals in the past.
What does the Igloo Tag tell people?
The Nuna Tag supplies specific, individual details about each work of Nunavut art or craft.
1. The Government of Nunavut’s guarantee that the piece was hand made by a Nunavut artist.
2. The name of the artist who created the piece, written by the artist or retailer. It may appear in Inuktitut syllabics — the language of Nunavut Inuit.
3. The name of the community where the artist lives. Many communities have changed their official names from English to Inuktitut. The map in this brochure uses the current official names of the communities.
4. The year the work of art or craft was created.
5. A description of the work by subject and materials: for example, “Drum dancer – stone and antler.”
The information on the Nuna Tag enhances the value of the Nunavut arts and crafts you purchase by guaranteeing their provenance. Keep your Nuna Tags in a safe place for easy reference and proof of origin.
I recently sold another narwhal tusk to a client. Of course they were absolutely thrilled with it, but wanted to know the best way to display it.
For your information - This is the WRONG way to display them:
We had a client in the past who told us they mounted it on their wall. They had it placed onto a red cherry wood base with two hooks.
It seemed interesting enough, but to be honest, I find in doing so makes them look like a trophy display hunters use to hang up onto their cabin walls.
On the contrary, a narwhal tusk is sleek, avant garde, exotic and modern looking and deserves to be showcased as such. (at least that's how I see them). For the longest time, we ourselves did not fully know what the best way to showcase them was.
That was up until I met my client and friend in Vancouver. She LOVES narwhal tusks and she had such a simple solution that really stood out from anything else I have ever seen. Picture below:
This is her gorgeous tusk overlooking beautiful Vancouver. When I went to her highrise condo and saw this... I WAS BLOWN AWAY!!!
This is the quintessential way to display modern art. She used a simple wine holder. So minimalist, so easy, and the definition of designer perfection. The wine holder does exactly what it is supposed to do (display the tusk). It does not compete with it. It does not look too flashy, nor is it tacky and ugly. It does not distract the attention of the viewer. Instead, it allows the tusk to draw the attention of the viewer all on its own.
It is the definition of minimalism and is by far the best way I have ever seen a tusk displayed. The wine holder costs less then 40 bucks.
You can get them, or others from amazon. Here is the link.
On that note, if you ever want to make an impression in your home or office, a narwhal tusk will be one of the coolest art pieces you will ever own. It will definitely intrigue your audience. It will be something that everyone will remember about your space. Having one will differ you from everyone else, drumming to the beat of your own path. And at the end of the day, this is what great art is supposed to do.
We only receive a few narwhal tusks a year, if you are interested in purchasing one, click here.
2017 NARWHAL TUSKS HAVE ARRIVED!! - 3 OF THEM ARE AVAILABLE
Click here to see them.
At Inuit Gifts Inc. we acquire several Narwhal Tusks very year that we like to offer to our clients. I recently had a client who purchased one this week and his wife had a simple yet frequent enough question before committing to the purchase. The question was:
"Are Narhwal only hunted for the tusks; Are they at all endangered?"
The simple answer to these two questions is NO - and let me explain.
The first NO refers to weather they are caught for the sole purpose of their tusks. Just to shed some light on Inuit culture and the villages they live in, it is a very communal and aggregate lifestyle in the North. There ways of life, traditions and willingness to share with one another is something that has been passed down by their ancestors. This communal form of living where everyone is equal, shares and takes care of one another is a way of living that has allowed them to survive the extreme elements of the North for hundreds of generations.
If it were left up to the Chinese, yes these Narwhals would be extinct by now (Like the Panda). Luckily for the Narwhal, their migrating patterns are in Canadian arctic waters, resulting in the whales being well monitored, and under very strict regulations.
Should there be NO tag attached to a tusk, it has ZERO value as there is no way for it to be sold on the open market. If a gallery is caught selling, transporting or buying a tusk without a tag, there are major major penalties ($100,000 +).
From time-to-time, we get asked by our clients how authentic these carvings are and if there are such a thing as a fake carving (ie. from China).
To address these concerns, for the most part the answer is NO. Inuit carvings are all unique hand crafted pieces made by the Inuit. It is such a niche industry - and a small one at that, that it is not worth the time nor efforts for countries of mass production (like China) to bother with. Watches, phones, electronics, brand name hand bags of course is another story.
It is important that you purchase your Inuit art from an Inuit Art Foundation licensed art gallery. You will know that they are licensed when you see that they carry an Igloo Tag with their gallery number at the corner.
At Inuitsculptures.com our Inuit Art Foundation license number is 15. You can find this number on the bottom right corner of the Igloo Tag.
It is very important that your carving has this certificate. This tag eliminates all of the guessing work as to weather the artwork is authentic or not.
The number at the corner classifies the gallery.
With this in mind, there are still some sculptures that resemble Inuit carvings that ARE mass produced which are tailored more for the "gift shop market".
These carvings include:
Gift Shop "Star Carved" Polar Miniature Polar Bears
found in many Canadian Parks Wildlife Gift shops.
Dimu pieces were sold in the 1960's & 70's at a much more affordable price point compared to original handcrafted pieces by the Inuit. Its core audience were mainly tourists visiting gift shops. Each piece is signed with "Dimu" so it is easy to notice.
DIMU is actually the signature of a German-Canadian artist named DIETER MUCKENHEIM. The works are somewhat mysterious and quite sparse, however they were his own original design. They are non-inuit sculpture. His pieces are usually dated to the in the 60s, 70s, 80s, and 90s.
Abbott Canada are hand made carvings made in Canada. These carvings are not handmade. They are mass produced. They are not classified as Inuit art, thus are worth substantially less. The word "Abbott Canada" will be marked on the carving.
This would be classified as gift ware that you would find in a boutique.
"Wolf Original carvings"
These are carving made out of soapstone. They are not carved by Inuit artists. Usually they are marked on the bottom as "wolf original".