Pitaloosie Saila
Young Loons, Very large original color lithograph
1990

About the Item

This artwork titled "Young Loons, 1990 is an original color lithograph by Canadian Inuit noted artist Pitaloosie Saila. 1942-2021. It is hand signed, titled, dated, located, described and numbered 34/50 in pencil by the artist. The subject size is 38.75 x 23.25 inches, sheet size is 44 x 30 inches, framed is 51.75 x 37.25 inches. Custom framed in a metal frame, with grey/blue backing. It is in excellent condition. About the artist: Pitaloosie was born in 1942 on the southwest coast of Baffin Island near what is now the community of Cape Dorset. She spent her childhood years in various hospitals in Quebec and Ontario for treatment of tuberculosis. She learnedEnglish during this time, and recalls the difficulty she experienced in relearning her native language upon her return to Baffin Island in 1957. She is now one of the few of her generation who speak both English and Inuktitut fluently. Pitaloosie began drawing in the early 1960’s, and quickly established herself as a versatile and intelligent graphic artist. Over the years, she has become a familiar presence in the Kinngait Studios, and her work has been included in annual print collections since 1968. Since the late 1960’s, Pitaloosie has made frequent trips to southern Canada to attend exhibitions and conferences. In 1967, she spent several weeks in Toronto while her husband, the well-known sculptor Pauta Saila, participated in an International Sculpture Symposium. Subsequently, she has visited Halifax, Toronto, Ottawa, Kansas City and Vermont. Her work has been featured in solo drawing exhibitions, and in 1977, Canada Post issued a stamp depicting her print, Fisherman’s Dream. Her 1985 lithograph entitled In the Hills represented the Northwest Territories in the centennial celebration of the National Parks of Canada. Amnesty International, the international human rights organization, selected a drawing by Pitaloosie entitled Mother and Child to use for their 1990 Christmas card. She was also one of nine featured artists in the acclaimed exhibition Isumavut: The Artistic Expression of Nine Cape Dorset Women, which opened at the Canadian Museum of Civilization in the fall of 1994 and continues to travel to other venues. Pitaloosie’s husband, Pauta, passed away in Cape Dorset in June of 2009 at the age of 93. In 2004, both she and Pauta were appointed members of the Royal Canadian Academy of the Arts, in recognition of their life’s work and contributions to Canadian art. Selected Exhibitions: • 2019 60/60, Feheley Fine Arts, Toronto • 2016 Pitaloosie Saila: A Print Retrospective, Feheley Fine Arts, Toronto • Toronto • 2003 The Inuit 2004 Sanaasimasiatok/Fine Works: Sculpture from Cape Dorset, Feheley Fine Arts, Icon: Selections from Private Collections, Feheley Fine Arts, Toronto • 1996-1997 Pitaloosie & Pauta, McMichael Canadian Art Collection, Kleinburg, ON • 1994 – 1995 Isumavut: The Artistic Expression of Nine Cape Dorset Women, Canadian Museum of History, Gatineau, QC • 1993 – 1994 Contemporary Inuit Drawings, Muscarelle Museum of Art, College of William and Mary, Williamsburg, VA • 1991 – 1992 In Cape Dorset We Do It This Way: Three Decades of Inuit Printmaking, McMichael Canadian Art Collection, Kleinburg, ON • 1989 – 1991 Kenojuak Ashevak, Lucy Qinnuayuak, Pitaloosie Saila – Flights of Fancy, Art Gallery of Ontario, Toronto • 1988 – 1989 In the Shadow of the Sun: Contemporary Indian and Inuit Art in Canada, Canadian Museum of History, Gatineau, QC Recognition: In 1977, in recognition of the contribution of Inuit art to the cultural heritage of Canada, Canada Post used her 1971 print, Fisherman's Dream, as one of a series of four illustrated postage stamps. Her 1980 print, Arctic Madonna, was selected for a UNICEF greeting card in 1983. Saila's works are included in some of the most important Inuit art collections, including those of the National Gallery of Canada, the Montreal Museum of Fine Arts (MMFA), the Winnipeg Art Gallery, and the Canadian Museum of History. In 2004, she was elected a member of the Royal Canadian Academy of Arts.[

Creator:

Pitaloosie Saila (1942 - 2021, Inuit, Canadian)

Creation Year:

1990

Dimensions:

Height: 51.75 in (131.45 cm)Width: 37.25 in (94.62 cm)Depth: 1.15 in (2.93 cm)

Medium:

Lithograph

Period:

Late 20th Century

Condition:

Gallery Location:

Materials

Lithograph

Hoi Lebadang
Horses #I, c.1974

$1,200

Feeding the Ravens

Located in San Francisco, CA

This artwork titled "Feeding the Ravens" 1997 is a color offset lithograph on paper by noted American artist Rie Mounier Munoz, 1921-2015. It is hand signed and numbered 29/950 in pencil by the artist. The image size is 9.65 x 8.35 inches, sheet size is 13.85 x 12.25 inches. It is in excellent condition, has never been framed. About the artist: Alaska painter Rie Mounier Munoz was the child of Dutch parents who immigrated to California, where she was born and raised. She is known for her colorful scenes of everyday life in Alaska. Rie (from Marie) Munoz (moo nyos), studied art at Washington and Lee University in Virginia. In 1950, she traveled up the Inside Passage by steamship, fell in love with Juneau, and gave herself until the boat left the next day to find a job and a place to live. Since then Juneau has been home to Munoz. She began painting small vignettes of Alaska soon after arriving in Juneau, and also studied art at the University of Alaska-Juneau. Munoz painted in oils in what she describes as a "painstakingly realistic" style, which she found stiff and "somewhat boring." Her breakthrough came a few years later when an artist friend introduced her to a versatile, water-soluble paint called casein. The immediacy of this inexpensive medium prompted an entirely new style. Rie's paintings became colorful and carefree, mirroring her own optimistic attitude toward life. With her newfound technique she set about recording everyday scenes of Alaskans at work and at play. Of the many jobs she has held journalist, teacher, museum curator, artist, mother, Munoz recalls one of her most memorable was as a teacher on King Island in 1951, where she taught 25 Eskimo children. The island was a 13-hour umiak (a walrus skin boat) voyage from Nome, an experience she remembers vividly. After teaching in the Inupiat Eskimo village on the island with her husband during one school year, she felt a special affinity for Alaska's Native peoples and deliberately set about recording their traditional lifestyles that she knew to be changing very fast. For the next twenty years, Rie practiced her art as a "Sunday painter," in and around prospecting with her husband, raising a son, and working as a freelance commercial artist, illustrator, cartoonist, and curator of exhibits for the Alaska State Museum. During her years in Alaska, Munoz has lived in a variety of small Alaskan communities, including prospecting and mining camps. Her paintings reflect an interest in the day-to-day activities of village life such as fishing, berry picking, children at play, as well as her love of folklore and legends. Munoz says that what has appealed to her most were "images you might not think an artist would want to paint," such as people butchering crab, skinning a seal, or doing their laundry in a hand-cranked washing machine. In 1972, with her hand-cut stencil and serigraph prints selling well in four locations in Alaska, she felt confident enough to leave her job at the Alaska State Museum and devote herself full time to her art. Freed from the constraints of an office job, she began to produce close to a hundred paintings a year, in addition to stone lithograph and serigraph prints. From her earliest days as an artist, Rie had firm beliefs about selling her work. First, she insisted the edition size should be kept modest. When she decided in 1973 to reproduce Eskimo Story Teller as an offset lithography print and found the minimum print run to be 500, she destroyed 200 of the prints. She did the same with King Island, her second reproduction. Reluctantly, to meet market demand, she increased the edition size of the reproductions to 500 and then 750. The editions stayed at that level for almost ten years before climbing to 950 and 1250. Her work has been exhibited many solo watercolor exhibits in Alaska, Oregon and Washington State, including the Charles and Emma Frye Art Museum, Alaska State Museum in Juneau, Anchorage Historical and Fine Arts Museum, Tongass Historical Museum in Ketchikan, and Yukon Regional Library in Whitehorse; Yukon Territory, and included in exhibits at the Smithsonian Institute and Russell Senate Office Building in Washington, D.C. Munozs paintings have graced the covers of countless publications, from cookbooks to mail order catalogs, and been published in magazines, newspapers, posters, calendars, and two previous collections of her work: Rie Munoz...

Category

Late 20th Century Folk Art Animal Prints

Materials

Lithograph

Risciò is an original colored lithograph on Fabriano Cotton watermarked paper realized by Sandro Trotti in the 1970s and published by EuroMuseum Editore, Ancona. Representing a bar...

Category