Man with Seal and Woman Jigging for Fish
Availability: Only 1 available
Felt tip and Coloured Pencil on cream coloured paper
1902-1973
Unframed
(For inquiries on custom framing, please contact the gallery)
CA$1,100.00
Only 1 available
Reserve this artwork- The Gallery can only hold items for 24-48 hours after which time they will be automatically released – please ask us for more details.
Reserve for Purchase
You may choose to reserve an item in consideration of purchase by clicking the "Reserve for Purchase" button (instead of Add to Shopping Cart). This allows you the opportunity to contact our gallery with any inquiries prior to purchase and it will ensure the item continues to be on hold while you are communicating with us.
If you should find an item already on "Reserve" that is of interest to you, please contact us directly at 604.684.9222 or [email protected] and we can provide you with the status of the piece and whether it will become available for purchase again, or if the sale is in progress with a buyer.
Layaway
One of life’s most rewarding experiences is collecting fine art, and sometimes it’s best to take a little more time to make these acquisitions with ease. We understand and want to do everything possible to make collecting your next artwork more comfortable. At Coastal Peoples Gallery, we offer an interest-free layaway program and offer flexible terms which can be customized to your individual needs.
- Description
- Additional Information
- Artist Bio
Felt tip and Coloured Pencil on cream coloured paper
1902-1973
Unframed
(For inquiries on custom framing, please contact the gallery)
Colour | Blue, Grey, Brown |
---|---|
Shape | Horizontal |
Symbol | Human, Salmon, Seal |
Dimensions | 20 x 25.75" (50.8 x 65.41cm) |
Product Number | S-9424 |
Exhibition Code | ACWV16 |
LOC | CP - Gastown - PD11 - ACWV16 |
Artist | Peter Pitseolak |
---|---|
Nation | Cape Dorset |
Description | Cape Dorset (1902 – 1973) Born September 2, 1902, Peter Pitseolak lived near Cape Dorset, Nunavut in camps which was the traditional way of life. He grew up during a time of great transformation amongst the Inuit people when there was a cultural shift from being nomads to living in settlements. Being witness to such changes made Peter dedicate himself to preserving his heritage through art in photography, graphics and writing in Inuktitut syllabics. As a young boy, his interest in photography was inspired by meeting documentary filmmaker and photographer Robert Flaherty who captivated the world with the film “Nanook of the North” (1922). He eventually married in 1923 to Annie with whom they had seven children and only two daughters survived – Udluriak (Manning) and Kooyoo (Ottochie). He had another daughter Mary with Nyla of Lake Harbour. When Annie died in 1939, Peter later married Aggeok (1906 – 1977) and she assisted him with his first photographs at a time when it was very difficult to obtain film and develop it. Even the lens filter was made from old sunglasses. As a sculptor, one of his Bear carvings was presented to the Royal Military College of Canada in 1970. As a painter, he even used watercolours to create a series in 1939 for the son of Governor General. At the time, the younger John Buchan was a fur trader with the Hudson’s Bay Company. Over a 20 year period Peter created more than 2,000 photographs and, at the age of 59, he left the Keatuk camp to settle in Cape Dorset. Following his death in 1973, more than 1,500 negatives and photographs were purchased from his wife Aggeok which are a part of the Canadian Museum of Civilization. His adopted son Mark Pitseolak married the famed sculptor Okpik (b. 1946) and Peter’s nephew Kanaginak Pootoogook (b. 1935-2010), who greatly admired his uncle, eventually became an internationally-renowned artist in his own right.
Exhibitions: June 2016 Arctic Wind V: Drawing from the Land, Coastal Peoples Fine Arts Gallery, Vancouver, BC |
you may also like
-
Hunters Struggling for a Spear
Thomas Ugjuk
CA$7,175.00Basalt, Antler1973
“A remarkably animated work for the artist whose style is comparable to his father’s (John Kavik). In an interview with the artist in 1993, which appeared in the winter edition of the Inuit Art Quarterly, Ugjuk describes the difficulty he had in deciding what to carve. This may be why there are not many of his works available on the market. Both Kavik and Ugjuk were self-taught artists and took to carving whenever they were not hunting.”
“Ugluk says, ‘I would try to concentrate on an idea of mine and gradually expand on it as I went along which would lead to some comprehensible form for the carving I was working on. And, other times, it seemed that trying to stay with one idea didn’t always work so, rather than getting stuck with one idea, I would just work on a carving and what it would become’.”