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Open a larger version of the following image in a popup: JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK), Standing Woman with Pail and Scoop, mid-late 1960s
Open a larger version of the following image in a popup: JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK), Standing Woman with Pail and Scoop, mid-late 1960s
Open a larger version of the following image in a popup: JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK), Standing Woman with Pail and Scoop, mid-late 1960s
Open a larger version of the following image in a popup: JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK), Standing Woman with Pail and Scoop, mid-late 1960s
Open a larger version of the following image in a popup: JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK), Standing Woman with Pail and Scoop, mid-late 1960s

JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK)

Standing Woman with Pail and Scoop, mid-late 1960s
stone, antler, and, string, 4.5 x 2.25 x 2.25 in (11.4 x 5.7 x 5.7 cm)
signed, "JOE".
LOT 137
ESTIMATE: $1,200— $1,800

Further images

  • (View a larger image of thumbnail 1 ) JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK), Standing Woman with Pail and Scoop, mid-late 1960s
  • (View a larger image of thumbnail 2 ) JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK), Standing Woman with Pail and Scoop, mid-late 1960s
  • (View a larger image of thumbnail 3 ) JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK), Standing Woman with Pail and Scoop, mid-late 1960s
  • (View a larger image of thumbnail 4 ) JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK), Standing Woman with Pail and Scoop, mid-late 1960s
  • (View a larger image of thumbnail 5 ) JOE TALIRUNILI (1893-1976) PUVIRNITUQ (POVUNGNITUK), Standing Woman with Pail and Scoop, mid-late 1960s
Joe is most celebrated for his attentive depictions of life, most notably the harrowing chapters of his own story distilled in his “Migration Boat” works. He also returned again and...
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Joe is most celebrated for his attentive depictions of life, most notably the harrowing chapters of his own story distilled in his “Migration Boat” works. He also returned again and again to the form of a single standing figure, whether animal (see lots 79 and 138) or human, as a way of focusing his vision into one concentrated presence. Here, that presence takes the form of a woman who seems to pause amid her daily chores just long enough to be seen. She stands as though posing for a portrait, her weight resting on one foot in a gesture that gives her body both balance and sway. A pail in one hand and a scoop in the other ground her firmly in the cadence of everyday life, while her gaze meets ours directly. Her features — large eyes and a slight, knowing smile — are rendered with precision and sensitivity, suggesting that Joe sought not only to record her likeness but also to capture something of her spirit. Gorgeous.


ND


References: Several examples of standing women by Talirunili are reproduced in the landmark monograph by Marybelle Myers, Joe Talirunili: A Grace Beyond the Reach of Art, (Montreal: La Federation des cooperatives du Nouveau-Quebec, 1977). See also Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970, (Hull, QC: Canadian Museum of Civilization, 1999), p. 90; Céline Saucier and Eugen Kedl, Image Inuit du Nouveau-Québec, (Montreal: Fides / Musée de la civilisation, 1988), p. 113.
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Provenance

Collection of a prominent Montreal businessman, and probably obtained directly from the Fédération des coopératives du Nouveau-Québec with the assistance of Mr. Peter Murdoch;
by descent in the family to the present Private Collection, Montreal.
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