Throughout much of the 1970s and ‘80s sculpted depictions of polar bears were loosely divided between two approaches championed by two master sculptors: Pauta Saila and Henry Evaluardjuk. Whereas Pauta chose to capture the “spirit” of the polar bear, Evaluardjuk had a much more studied approach. The best Pauta pieces, despite their open jaws and prominent canine teeth, can have a decidedly congenial character. Evaluardjuk, on the other hand, had a far more naturalistic approach to portraying them; “Henry” bears are based more on careful observation of the animals and their movement. We can learn about the physiognomy and habits of his subjects. Evaluardjuk’s bears are not stylized or idealized depictions but verge on portraiture (the same can be said of Evaluardjuk’s human subjects; see Lot 60).

This monumental sculpture is quite large for an artist who generally preferred to work on a smaller scale. Dancing Polar Bear stands on its back legs either in an aggressive show of force or perhaps to better capture a scent. We sense the powerful musculature of this imposing specimen. Despite the closed mouth, one can see from the powerful paws that this is an apex predator ready to pounce. Evaluardjuk may have decided to try his hand at carving a “dancing bear” but this animal, lean and mean and ready for action, is nothing like the bears of Pauta and his followers. Awesome!