**Originally Listed At $250**

Davidialuk Alasua Amittu (Inuit, 1910-1976). "Inuit Woman Transformed into a Seagull" stonecut, 1968, inscription and date in pencil below AND Jamasie Teevee (Inuit, 1910-1985). "At the Weir" engraving, 1967. Edition 42 of 50. Title, signature, date, and edition number in pencil below. A pair of prints by Inuit artists, including Davidialuk Alasua Amittu's stonecut entitled "Inuit Woman Transformed into a Seagull" depicting a transforming figure - part human and part avian - with a seagull flying beyond, as well as Jamasie Teevee's engraving entitled "At the Weir" depicting five fishermen spearing fish. Both are delineated in the Inuit artists' compelling styles with bold imagery and imaginative compositions. Size (platemark for Jamasie): 11.75" L x 9.625" W (29.8 cm x 24.4 cm) Size (sight view): 14.25" L x 12" W (36.2 cm x 30.5 cm) Size (frame): 20.875" L x 18.25" W (53 cm x 46.4 cm) Size (sight view Davidialuk): 12.875" L x 12.875" W (32.7 cm x 32.7 cm) Size (frame): 18" L x 17.7" W (45.7 cm x 45 cm)

According to Inuit Art Quarterly, "Davidialuk Alasua Amittu was a widely respected storyteller from the Nunavgirnaraq winter camp in Nunavik, QC, who was greatly inspired by the traditional stories he heard as a child. Amittu lived mostly around the Kuugaluk and Puvirnituq rivers and settled in Puvirnituq, Nunavik, QC where he began his artistic career by carving using wood, ivory and stone. During these years, his technique developed rapidly and he expanded his artistic practice to include drawing before turning to printmaking in the 1970s." Daidialuk Alasua Amittu's art has been collected by the National Gallery of Canada, Ottawa, ON, the Canadian Museum of History, Gatineau, QC, the Glenbow Museum, Calgary, AB, the Musee des beaux-arts de Montréal in Montreal, QC and the Royal Ontario Museum, Toronto, ON. His work has also been exhibited in the United States, Europe, and Asia. In addition, it has been published in Inuit Art Quarterly and was featured on the cover in Fall of 2014.

According to Dorset Fine Arts, "[Jamasie Teevee] began to draw in the early 1960s while living in an Inuit Camp on the coastline of southern Baffin Island. During that time, he concentrated primarily on the copper engraving technique, ferrying copper plates back and forth between his campsite and the cooperative in Cape Dorset. Many of his engravings, published in the 1960s and early 1970s, depicted the traditional Inuit camp and hunting activities." Jamasie Teevee's art has been collected by Agnes Etherington Art Centre, Queen's University, Kingston; Amon Carter Museum of Western Art, Fort Worth, Texas; Anchorage Museum of History and Art, Anchorage, Alaska; University of Michigan Museum of Art; Winnepeg Art Gallery; Royal Ontario Museum, Toronto; Museum of Anthropology, University of British Columbia; among others. His works have been widely exhibited: "A New Day Dawning: Early Cape Dorset Prints" University of Michigan; "Arctic Spirit 35 Years of Canadian Inuit Art" Frye Art Museum; "Building on Strengths: New Inuit Art from the Collection" Winnipeg Art Gallery; "Canadian Eskimo Art: a representative exhibition from the collection of Professor and Mrs. Philip Gray" Fine Arts Gallery, Montana State University; among many others.

Provenance: private John Lindemann collection, Broomfield, Colorado, USA, inherited from brother, Eugene Lindemann, Brooklyn, New York, USA, acquired from Saskatchewan in the early 1970s

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#178020

The Davidialuk stonecut has an inscription and date handwritten in pencil below. The Jamasie engraving has the title, signature, date, and edition number handwritten in pencil below the image. Both prints are mounted behind glass in custom frames. Artworks have not been examined outside the frames. Both appear with normal age wear. Frames have a few minor scuffs but are otherwise very nice. Both have "Jubilee Gallery 7-88 117 Henry St. Brooklyn Hts. MS/EM" identifying the framer written on black gallery paper on verso. Both are fit with suspension wire