Flossie Pappidluk Sold at Auction Prices

b. 1916 -

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    • FLOSSIE PAPPIDLUK (1916-), LOONS, stonecut print together with the printing stone (framed), 17.75" x 22.75" — 45.1 x 57.8 cm.
      Jun. 27, 2017

      FLOSSIE PAPPIDLUK (1916-), LOONS, stonecut print together with the printing stone (framed), 17.75" x 22.75" — 45.1 x 57.8 cm.

      Est: $3,000 - $5,000

      FLOSSIE PAPPIDLUK (1916-)LOONSstonecut print together with the printing stone1966, 42/50 17.75" x 22.75" — 45.1 x 57.8 cm. Provenance:Gifted to a physician for working in the Western Arctic for many years, An Art Gallery on Government St.,Private Collection, Victoria, B.C., 1982By descent to present owner.Literature:George Elliott, Chairman, Canadian Eskimo Arts Committee, Holman Island Print Catalogue, 1966, forewardThe world has seen many instances of unforeseen bursts of artistic, creative genius producing previously new styles, techniques and subject matter.  Canadian Inuit Art joins the Renaissance, the Impressionists and Pop Art as prime examples. These episodes of artistic expression are the result of circumstances coming together in a perfect storm: technological advancement, social and cultural concerns, and very often hardship.The Inuit had not only survived, but flourished for millennium in arguably the world’s harshest environment. Having a keen awareness of their world was vital to their survival – their nomadic existence was determined by tracking herds of animals, finding their traditional summer fishing spots and navigating their way on a featureless and blinding white pack ice to hunt the vital seal. This lifestyle provided no means of recording their stories and culture – no pencils, no paper, no ability to carry anything nonessential. Instead, their experiences were passed down through verbal storytelling.This changed some 60 years ago when James Houston, artist and government official, introduced the Inuit to another way of using their great powers of observation and craftsmanship that they relied on to survive life in the Arctic. The creation of replicas in stone of the animals they hunted, or the shamanistic transformations they believed in, family gatherings, legends and stories could now be preserved in stone carvings as a permanent record and expression of who they were, how they lived and where they came from.Houston was also instrumental in the development of Inuit print making which began in the winter of 1957 in the small community of Cape Dorset on the southwest tip of Baffin Island. Houston describes his story:“[Osuitok], a famous [Inuit] carver and good friend, sat near me one evening casually studying the sailor head trademarks on two identical packages of cigarettes. He noted carefully every subtle detail of colour and form, and he suggested to me that it must be very tiresome for some person to sit and paint every one of the little heads with exact sameness on an endless number of packages. I started to explain in [Inuktitut], as best I could, about…technical progress in the field of printing…and the entire offset printing process. My explanation was not altogether successful, partly because of my inability to find the Inuit words to describe such terms as intaglio and colour register and partly because I was wondering whether this could have any practical application. Looking around in order to find some way to demonstrate printing, I saw an ivory walrus tusk that [Osuitok] had recently carved. [He had] carefully smoothed and polished it and had incised bold engravings on both sides. Into the lines of these engravings he had rubbed black soot gathered from a seal oil lamp. Taking an old tin of writing ink… I poured off the separated grey matter. With my finger I dipped up the heavy black residue and smoothed it over the tusk. Taking a thin piece of toilet tissue, I laid it carefully on the inked surface and rubbed it lightly and quickly. Stripping the paper from the tusk, I saw that by good fortune we had a clear negative image of [Osuitok’s] incised design.  We could do that, he said, with the instant decision of a hunter. And so we did.”This printing stone and print present a rare opportunity for collectors of Inuit art.Estimate: $3,000–5,000

      Waddington's
    • FLOSSIE PAPPIDLUK (1916-), JOURNEY BY AIR, stencil (unframed), 19.75" x 20.25" — 50.2 x 51.4 cm.
      Aug. 27, 2015

      FLOSSIE PAPPIDLUK (1916-), JOURNEY BY AIR, stencil (unframed), 19.75" x 20.25" — 50.2 x 51.4 cm.

      Est: -

      FLOSSIE PAPPIDLUK (1916-), W2-453, HOLMANJOURNEY BY AIRstencil, 1984, 21/50, unframed19.75" x 20.25" — 50.2 x 51.4 cm.Estimate: $100—200

      Waddington's
    • FLOSSIE PAPPIDLUK (1916-), W2-453; VICTOR EKOOTAK (1916-1965), W2-112, Holman
      Feb. 27, 2014

      FLOSSIE PAPPIDLUK (1916-), W2-453; VICTOR EKOOTAK (1916-1965), W2-112, Holman

      Est: $250 - $350

      FLOSSIE PAPPIDLUK (1916-), W2-453; VICTOR EKOOTAK (1916-1965), W2-112, Holman EXHAUSTED BEAR; LEGEND OF THE BEAR HUNTING DOGS, stonecut, 1964, 40/40; 1968, 24/48, unframed, 20" x 30" - 50.8 x 76.2 cm.; 18" x 24" - 45.7 x 61 cm. Provenance: From the Dr. and Mrs. Philip H. Gray Collection of Inuit Art

      Waddington's
    • FLOSSIE PAPPIDLUK (1916-), W2-453, Holman NESTING LOONS
      Jan. 24, 2011

      FLOSSIE PAPPIDLUK (1916-), W2-453, Holman NESTING LOONS

      Est: $100 - $200

      FLOSSIE PAPPIDLUK (1916-), W2-453, Holman NESTING LOONS, stonecut, 1979, 31/50, unframed, 18" x 24" - 45.7 x 61 cm.

      Waddington's
    • FLOSSIE PAPPIDLUK (1916-), W2-453, Holman
      Aug. 19, 2010

      FLOSSIE PAPPIDLUK (1916-), W2-453, Holman

      Est: $100 - $200

      FLOSSIE PAPPIDLUK (1916-), W2-453, Holman EXHAUSTED BEAR, stonecut, 1968, 25/48, unframed, 20" x 29.75" - 50.8 x 75.6 cm.

      Waddington's
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