LUCY TASSEOR TUTSWEETOK, INUIT, Family Group, c. mid-late 1970s
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Description
LUCY TASSEOR TUTSWEETOK (1934-2012) Arviat (Eskimo Point)
Family Group, c. mid-late 1970s
stone, 7.5 x 8.5 x 5 (19.1 x 21.6 x 12.7 cm)
signed, "ᑕᓯᐅ / ᓗᓯ / ᑐᓱᐊᑐ".
ESTIMATE: $7,000 — $10,000
Provenance
Waddington's, Toronto, November 2003, Lot 370;
Acquired from the above Norman Zepp & Judith Varga, Saskatoon, SK.
This beautiful example of Tasseor’s classic mature style from the mid-late 1970s perfectly illustrates her willingness to follow the natural shape of the stone and to place the heads and faces of her subjects – a mother and her children – seemingly at random. But of course, they are not “randomly” placed; rather the children cluster mostly around the dominant figure of the mother, though it seems that several of the more adventurous ones have strayed quite far from her embrace. It’s a charming composition, full of movement and energized by the angularity of the stone. That odd tilt together with the boisterous nature of the children and the almost precarious slant of the mother’s body bring to mind the old nursery rhyme “There was an old woman who lived in a shoe…”!
For comparable works by Tasseor see Norman Zepp’s Pure Vision: The Keewatin Spirit (1986), cats. 39-41, pp. 93-95.
References: For a discussion of Tasseor’s work see Norman Zepp, Pure Vision: The Keewatin Spirit (Regina: Norman Mackenzie Art Gallery, 1986); for works see pp. 88-95.
Family Group, c. mid-late 1970s
stone, 7.5 x 8.5 x 5 (19.1 x 21.6 x 12.7 cm)
signed, "ᑕᓯᐅ / ᓗᓯ / ᑐᓱᐊᑐ".
ESTIMATE: $7,000 — $10,000
Provenance
Waddington's, Toronto, November 2003, Lot 370;
Acquired from the above Norman Zepp & Judith Varga, Saskatoon, SK.
This beautiful example of Tasseor’s classic mature style from the mid-late 1970s perfectly illustrates her willingness to follow the natural shape of the stone and to place the heads and faces of her subjects – a mother and her children – seemingly at random. But of course, they are not “randomly” placed; rather the children cluster mostly around the dominant figure of the mother, though it seems that several of the more adventurous ones have strayed quite far from her embrace. It’s a charming composition, full of movement and energized by the angularity of the stone. That odd tilt together with the boisterous nature of the children and the almost precarious slant of the mother’s body bring to mind the old nursery rhyme “There was an old woman who lived in a shoe…”!
For comparable works by Tasseor see Norman Zepp’s Pure Vision: The Keewatin Spirit (1986), cats. 39-41, pp. 93-95.
References: For a discussion of Tasseor’s work see Norman Zepp, Pure Vision: The Keewatin Spirit (Regina: Norman Mackenzie Art Gallery, 1986); for works see pp. 88-95.
Condition
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NOTE
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NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.
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LUCY TASSEOR TUTSWEETOK, INUIT, Family Group, c. mid-late 1970s
Estimate CA$7,000 - CA$10,000
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