Native American, Canada, northern Quebec, Nunavik, Puvirnituq, ca. 1960s to 1970s CE. Signed by Joe Talirunili (Inuit, 1893-1976) in English and syllabics. An adorable soapstone sculpture of a horned owl by renowned Inuit printmaker and sculptor Joe Talirunili. The delightful creature stands on thick legs, his plumed wings tucked as his head leans slightly forward presenting huge eyes beneath a narrowed brow and petite horns. Joe Talirunili, resident of Povungnituk, was known for his rough yet evocative descriptions of boats full of figures, as well as for owls. This owl is characteristically quite primitive in execution, yet full of spirit. Size: 2.9" W x 5.3" H (7.4 cm x 13.5 cm)

Born in either 1893, 1899, or 1906, Joe Talirunili used both sculpture and printmaking to depict the harshness of the northern climate and the survivalist lifestyle of a people dependent on a barren landscape, often crudely executed, as though emphasizing the artist’s urgency and conviction for documenting his thoughts. The rugged aesthetic Talirunili favored for his sculptures set them apart from the majority of those being produced from Puvirnituq at the time, which were increasingly being recognized for their "idealized, dreamlike quality," smooth surfaces and fine details. His sculpture "The Migration" made Talirunili one of the most sought-after Inuit artists, as it held the world record for a price paid for an Inuit artist at auction in 2012, a record that was only surpassed when "Migration Boat" (early to mid-1970s) sold for $408,000 in 2019. Both sculptures portray one of his childhood experiences, when families set sail in an umiak (large sealskin boat) to travel to better hunting grounds. This scene was repeatedly depicted in Joe's carvings, drawings, and prints. Talirunili's work has been included in over 30 exhibitions and was featured on a 14-cent Canadian stamp in 1976.

When speaking of Joe Talirunili in "Canadian Inuit Print Artist/Printer Biographies," Sandra Barz states, "He left a legacy of sculpture, prints and drawings, which were unique in the way he crafted even the most mundane subject. His owls were horned 'Joe' owls, his human figures, animals and hunting scenes were instantly distinguishable, as were the haunting 'migration' boat scenes, whether rendered as drawings, prints or sculptures. Perhaps redundant as identification, but part of his enormous charm, was the inevitable 'JOE' (sometimes backwards) carved into his stones, almost as part of the image. His contributions to editioned print collections started with the initial release in 1962 and continued without a break through the next 10 collections for a total of some 70 stonecut prints. He cut his own stones and probably tried his hand at printing, too, on occasion."

Provenance: private Greenwood Village, Colorado, USA collection

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#178765

Loss to upper part of beak and one talon on proper right foot. Minor chipping to ears, as well as some nicks and scratches in areas. Otherwise, nice condition with clear form. Artist's signature in English and syllabics on underside of feet.