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Artworks
AQJANGAJUK (AXANGAYU) SHAA, R.C.A. (1937-2019) KINNGAIT (CAPE DORSET)
Standing Woman, early to mid 1950sstone, 11.75 x 7.25 x 4 in (29.8 x 18.4 x 10.2 cm)
unsigned.LOT 2
ESTIMATE: $4,000 — $6,000Further images
Later in his long career Aqjangajuk would focus primarily on dynamic and whimsical depictions of drum dancers, bears, and walruses poised in all manner of precarious positions. His works from...Later in his long career Aqjangajuk would focus primarily on dynamic and whimsical depictions of drum dancers, bears, and walruses poised in all manner of precarious positions. His works from the 1950s and 1960s, however, are generally less fanciful and were grounded on a keen observation of daily camp life. This beautifully detailed and quite imposing Standing Woman is a classic example of early to mid-1950s Kinngait sculpture and compares very favourably with contemporaneous works by Kiakshuk and Niviaqsi. We love how the artist takes great care to accurately delineate the design and decoration of the woman’s amautiq. The multitude of creases in her garment show that Aqjangajuk was already keen to depict movement.
References: For major works by the artist see George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), figs. 476-480, 894. For other examples of the artist’s wide-ranging sculptural style see Darlene Coward Wight, The Jerry Twomey Collection, (Winnipeg: Winnipeg Art Gallery, 2003), p. 57; and Jean Blodgett, Cape Dorset, (Winnipeg: Winnipeg Art Gallery, 1980), cat. 64, p. 99. For others see Derek Norton and Nigel Reading, Cape Dorset Sculpture, (Vancouver: Douglas and McIntrye, 2005), p. 92; Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 66, p. 88; and Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), pp. 75-78.Provenance
An Ottawa Collection.
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