Though bronze may be an uncommon choice of medium for older Inuit artists, the stunning result seen in the present work demonstrates its undeniable effectiveness. Two bronze editions originated from Osuitok’s visit to Vancouver in 1993 for a solo exhibition at the Inuit Gallery of Vancouver. During his stay the gallery organized a city tour which included a visit to a local foundry. Fascinated by the casting process, Osuitok decided to have two of his stone sculptures cast in limited editions of twelve: the present Caribou and Hunter and Walrus. These works retain the spirit of his stone carvings while embracing the unique qualities of bronze, seamlessly merging tradition with innovation.

The polished surface splendidly displays the sleekly vigorous form of the animal, capturing its agility and grace with striking naturalism. Caribou stands in a dynamic pose, its neck gracefully extended, and its head and nose tipped upward as if alerted to some approaching danger. Slender legs give the sculpture a sense of balance and stability while yet suggesting movement and lightness. The antlers, with their long, branching points extending upward and outward, taper elegantly and punctuate the space around them. Darker patination at the joints and base of the neck enhances the natural shadows, adding visual weight and depth, while the beautifully naturalistic colouring of the antlers makes them stand out as striking, distinct features.

We speculate that the stone and antler model for this magnificent bronze sculpture is the Walking Caribou offered by First Arts on 13 July 2021, Lot 27. [1] Our description of that masterpiece began thus: “This stunning sculpture is just about as close to perfection as Osuitok ever achieved in his long career. Walking Caribou is supremely elegant in its design, extraordinarily graceful in its pose, and flawless in its execution.” By choosing that sublime work to translate into a new medium, this iconic artist ensured the image as a powerful symbol of the timeless, fragile beauty of the caribou made more permanent through the legacy of bronze.

1. That remarkable sculpture was carved with an integral stone base.

References: For a similarly posed caribou in the Sarick Collection at the Art Gallery of Ontario see Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 57, p. 77. For other fine examples of Caribou works by the artist see First Arts, 13 July 2021, Lot 27. See also Ken Mantel, Tuvaq: Inuit Art and the Modern World, (Bristol, U.K.: Sansom and Company, 2010), fig. 211; Loveland Museum Gallery, Survival: Inuit Art, (Loveland, CO: Loveland Museum Gallery, 2004), p. 125 (Wagonfeld Collection), which was offered at Walker’s Auctions, Ottawa, May 2017, Lot 73. For a discussion of Osuitok’s life and work see Jean Blodgett, “Osuitok Ipeelee” in Alma Houston, ed., Inuit Art: An Anthology, (Winnipeg: Watson & Dwyer, 1988), pp. 42-55.