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Nude male figure with left hand resting on left knee (the right hand is missing) seated on top of the half-domed lid (b) of a cylindrical funerary urn (a). The figure is wearing ear ornaments. Cylindrical burial urns with rounded bases and an effigy figurethe bones of a secondary burial were found in a mound-covered stone tomb in an ancient cemetery near Ocuña, in the Magdalena Valley of Colombia.
This stone tool has an indentation in one end and a point at the other.
Long, stone turtle with head and front flippers showing outside carapace. Has hole in one end for use probably as an amulet.
Shaped, yellow pottery stamp with a leaf-like pattern in dark brown etched into the flat side.
A rounded corner, rectangular shaped pendant. Two holes have been drilled on each end.
Kenojuak Ashevak's drawings, prints and sculpture express her understanding of the world through unique imagery. Her early work is filled with images of camp life, people, animals, and for what Kenojuak is renowned: fantastical birds that reveal her ability to capture the essence of her subjects in simple forms. Kenojuak is among the first Kinngait women to have her drawings included in the Cape Dorset Print Collection. This captivating image of an arctic bird quickly became a Canadian icon, and in 1970 the print was chosen for their commemorative stamp. This is seemingly her most popular print, exemplifying her graphic style of simplifying her subject to maximize its unique form in a strong composition and use of vivid color. Kenojuak was first encouraged to draw by James Houston, the Federal Government administrator for the Baffin Island area. Houston is credited with raising public awareness of Inuit art and encouraging the Inuit to control their own production of prints. Kenojuak's owl drawing was among the first prints produced by the West Baffin Eskimo Co-operative in 1960. Over the years Kenojuak Ashevak has received many honors, among these the Order of Canada and a Lifetime Aboriginal Achievement Award. She lives in Kinngait (Cape Dorset) and continues creating her drawings and prints, fantastic explorations of form, design and color.
Signed "Ana Trillo" on botton of vessel
Signed lower left in graphite
Signed lower right margin in ink: "Paredes 1941"