Inuit Art Collection Appraisal
- elliotmelamed
- Aug 12
- 6 min read
We had the pleasure recently to work with a local client who has a large fine art collection, requiring updated valuations for their insurance coverage. Among the many other fine pieces involved, was an important Inuit Art collection appraisal requirement.
Inuit art represents one of the most enduring and unique art traditions in North America. Rooted in the ancient cultures of the Arctic, it spans thousands of years and reflects the deep relationship between the Inuit people and their environment. This art is not just aesthetic but also deeply functional, spiritual, and symbolic. Over time, Inuit art has evolved through pre-contact traditions, colonial encounters, and the pressures and opportunities of the modern art world. Despite many changes, Inuit artists continue to express the values, stories, and experiences of their communities through diverse forms of creative expression.
The earliest evidence of what can be considered Inuit art dates back to the Pre-Dorset culture, which existed from around 2000 BCE in the Arctic regions of present-day Canada, Alaska, and Greenland. These early Arctic peoples left behind carved tools, weapons, and small sculptures made from bone, ivory, and stone. Their art often depicted animals such as seals, caribou, and polar bears—creatures central to their survival and belief systems.
The Dorset culture (circa 500 BCE to 1500 CE), which followed the Pre-Dorset, produced more refined and expressive carvings. Dorset artists are particularly known for their small, often abstract human and animal figures. These carvings are believed to have had shamanic or spiritual significance. The figures were used in rituals and storytelling and reflected an animistic worldview in which animals and natural forces were imbued with spiritual power.
Following the Dorset, the Thule people—ancestors of modern Inuit—emerged around 1000 CE. Their art showed technological and aesthetic advancements. Unlike their predecessors, the Thule people created larger and more diverse objects, including intricately decorated tools, masks, and amulets. Many items served both practical and spiritual purposes. These early traditions laid the foundation for what we recognize today as Inuit art.
Dancing Goose, Handcarved Inuit soapstone sculpture,
by Toonoo Sharky, circa 1996, 13½" tall
Inuit art was traditionally embedded in daily life. It was not created for art’s sake but as an integral part of survival, spirituality, and cultural identity. Common materials included whalebone, caribou antler, walrus ivory, soapstone, driftwood, and animal hides. Tools and household items were often decorated with carvings and engravings that told stories or conveyed beliefs.
Among the most notable forms of traditional Inuit art are:
Carvings: Small sculptures and figurines depicting animals, humans, or mythological creatures. These were made from materials like soapstone, ivory, and bone.
Masks: Used in dances and spiritual rituals, especially among Inuit groups in Alaska and Siberia. Masks often depicted animals or spirits.
Tattoos and body art: Women often bore facial tattoos, which held cultural and spiritual significance, marking rites of passage or lineage.
Textile and clothing decoration: Clothing, especially made from seal or caribou skin, was meticulously sewn and decorated with intricate patterns, symbolizing status or tribal affiliation.
These forms of art were deeply intertwined with oral traditions. Stories, myths, and legends were passed down through generations, and the art served as a visual counterpart to this oral heritage.
Morris Nigiyuk (b.1934, Holman / Ulukhaktok)
Two Geese
Handcarved Inuit sculpture fashioned from muskox horn, on a whalebone base
With Government of Canada ‘Igloo’ certificate card numbered 9329-71,
dated October 1, 1993. 13¾” overall length
European exploration and colonization of the Arctic in the 18th and 19th centuries had profound effects on Inuit life and art. Missionaries, traders, and colonial administrators disrupted traditional lifestyles, often with devastating consequences. Christianity was imposed, and many traditional spiritual beliefs and practices—including the creation of sacred art—were suppressed.
However, contact with Europeans also led to new opportunities for Inuit art. As explorers and settlers began collecting Inuit carvings and tools as curiosities, a small trade began to emerge. Inuit artists began to produce more art specifically for sale to outsiders, often adapting traditional motifs to appeal to European tastes. This shift marked a turning point: Inuit art was no longer created solely for community use or spiritual purposes but also for external markets.
During this period, many Inuit artists continued to produce carvings, but the subject matter sometimes shifted. Scenes of daily life—hunting, fishing, dog sledding—became popular themes. These works appealed to the romanticized Western notion of the Arctic and its peoples.
Kingmeata Nungusuitok (b.1948, Cape Dorset)
Dressing his child in parka
Handcarved Inuit soapstone sculpture of dark green colour
Signed in syllabics beneath. Circa March 1991
With Government of Canada ‘Igloo’ certificate card,919-209, and 19½” tall
The most significant transformation in Inuit art came in the mid-20th century, particularly in Canada. In the 1950s, Canadian government policies sought to modernize and settle Inuit communities, many of whom had traditionally been nomadic. The resulting social upheaval brought economic challenges. In response, the Canadian government and various organizations encouraged the development of Inuit art as a source of income.
A key figure in this movement was James Houston, a Canadian artist and administrator who traveled to the Arctic in the late 1940s. Houston recognized the artistic potential of Inuit carvings and helped establish a market for them in southern Canada and abroad. He encouraged artists in Cape Dorset (now Kinngait) to explore new media, particularly printmaking. With his support, the West Baffin Eskimo Co-operative was established in 1959. This co-op produced the first annual Cape Dorset print collection, which received critical acclaim and launched a new era in Inuit art.
Printmaking allowed Inuit artists to reach wider audiences and experiment with new techniques while still drawing on traditional themes. Artists such as Kenojuak Ashevak, Pitseolak Ashoona, and Kananginak Pootoogook became internationally known for their bold, graphic imagery—often featuring birds, sea creatures, and scenes from Inuit mythology.
Simultaneously, stone carving flourished in communities like Rankin Inlet, Baker Lake, and Povungnituk. Artists continued to produce powerful sculptures that reflected both contemporary realities and ancestral beliefs. These works gained international recognition and were exhibited in galleries and museums around the world.
Since the 1970s, Inuit art has continued to evolve. While traditional themes remain central, contemporary artists have increasingly engaged with modern materials, styles, and global issues. The boundaries between “traditional” and “modern” Inuit art have become more fluid.
Many contemporary Inuit artists use photography, video, installation, and mixed media to explore complex issues such as identity, colonialism, language loss, and climate change. They challenge stereotypes and assert the dynamism of Inuit culture.
Pudluq Jaw (Cape Dorset)
Standing Bear
Handcarved Inuit soapstone sculpture of medium mottled green colour
With Government of Canada certificate. 7¾” tall
Efforts to preserve and promote Inuit art continue through galleries, museums, co-operatives, and cultural organizations. Institutions such as the Canadian Museum of History, Winnipeg Art Gallery (home to Qaumajuq), and the Avataq Cultural Institute play critical roles in collecting, curating, and educating the public about Inuit art.
However, challenges remain. Issues such as exploitation, cultural appropriation, and economic inequality persist in the art market. Many Inuit artists live in remote communities with limited access to materials, resources, or commercial networks. The climate crisis, which is disproportionately affecting the Arctic, adds further pressure to Inuit ways of life and artistic expression.
Additionally, debates continue around representation and authorship. While non-Inuit curators and collectors have often shaped the public understanding of Inuit art, there is a growing movement toward Inuit-led curation, scholarship, and storytelling.
Paulosie Sivuak (1930-1986, Puvirnituq)
SNOW OWL. stonecut.
1965, #22/30. 26½” x 21”
The history of Inuit art is a story of creativity, survival, and transformation. From ancient carvings used in spiritual rituals to contemporary installations that confront the legacies of colonialism, Inuit artists have continually adapted their practice to reflect changing realities. Despite centuries of upheaval, Inuit art remains a powerful expression of identity, memory, and connection to the land.
Inuit art is not merely an artifact of the past; it is a vibrant, living tradition that continues to inspire and challenge. As Inuit artists assert greater control over their narratives and platforms, the future of Inuit art promises to be as innovative and resilient as its past.
Comments