Showing 257 results

The over 200 patterns of traditional Inuit clothing were made by artisans throughout the Canadian Arctic and Greenland, including older patterns of garments not made today. Many have syllabic notations and instructions written on them. The traditional layout of each pattern piece on caribou, seal, rabbit, or bird and assorted other types of skins is included for most patterns. All patterns include the artisan's name [some appear to be male] and community. Many of these patterns were included in Jill's dissertation and publications. The patterns in this collection do not represent the traditional method of cutting out material for clothing. Traditionally, seamstresses, through years of training and practice, rely on hand and eye measurements to determine how to cut their sewing material. These patterns were created specifically for the researcher in order to document their distinct styles and construction techniques. The patterns come in various styles. Most are specific to gender (men's boots, woman's amautik). There are also some age specific items, including children's clothing, as well as doll clothing patterns. The patterns are made of a variety of materials including waxed paper, lined paper, packing paper, maps, newspapers, school paper, stiff paper board, and fabric. There is a pair of seal-skin fur mittens, one of which has had the stitching removed. One of the pattern artists created the amautik donated by Drs. Oakes and Riewe: Ulayok Lucy Kaviok. It is possible that the patterns from Grise Fiord are those of the other seamstress whose garment is included in the donation, Tataga Akpaleeapik. It is not known if any of the patterns were used to create any of the three items donated.

The materials described here primarily consist of audio recordings of interviews made by George Swinton while on his 1957 trip to the Eastern Arctic. The content primarily consists of George Swinton questioning Hudson’s Bay Company post employees, missionaries, and artists about Inuit carvings and motivations of the makers. Not all the recordings were dated. Ina addition, four items date from 1964 and 1965 and consist of copies of interviews of George Swinton. A recording of George Swinton reading from his manuscript Sculpture of the Eskimo dates from 1972. Interviews by George Swinton of the Cape Dorset artists Kiawak and Pauta Saila date from 1984.

The images described here date from [ca.1955] to [ca.1980] and include photographs taken by George Swinton during his first trips to the Arctic during the 1950s. The images consist primarily of black and white photographic negatives and prints with a much smaller number of colour images. The subjects are Inuit sculpture and prints or drawings, with a small number of fur and fabric hangings also depicted. There are also some images of artists, workshop interiors and community landscapes. The images are literally a snapshot of Inuit art during the 1960s and 1970s with a large number of those images consisting of items then held in private collections. Information pertaining to the provenance of works of art is often found with the images. The images described here were arranged under the following headings:
Negatives - Beothuk Negatives, Cape Dorset, Arctic Bay, Pond Inlet, Baker Lake, Belcher Islands, Lake Harbour, Coppermine, Eskimo Point (ICI), Igllolik, Ivujiuik, Pangnirtung, Pelly Bay, Port Harrison, Sugluk, Wakeham Bay, Repulse Bay, Rankin Inlet, Canadian Handicrafts Guild, Povungnituk, Great Whale River, Tiktak Exhibition, Alma Houston Collection, Eskimo Museum (Churchill)
Prints – Cape Dorset, Pangnirtung, Payne Bay, Pond Inlet, Port Burwell, Port Harrison, Wakeham Bay, Whale Cove, Canadian Guild of Handicrafts, Chesterfield Inlet, Clyde River, Fort Chimo, Frobisher Bay, George River, Great Whale River, Greenland, Hall Beach, Historical, Igloolik, Repulse Bay, Various Lifestyle, Carving Technique, Dorset Culture, Thule Culture, Rankin Inlet, Tiktak, Repulse Bay, Pelly Bay, Baker Lake, [Private Collections], Community Views, Rankin Inlet Potters, Tiktak Gallery 1.1.1., Artists-Baker Lake, Artists-Cape Dorset, [“Eskimo Sculpture” at the Winnipeg Art Gallery in 1967].

Materials described here consist of newspaper clippings, magazine articles, photocopies of journal articles, catalogues and exhibition flyers, newsletters, periodicals and other reference material pertaining to Canada’s north and collected by George Swinton in the course of conducting research for his books and for his collecting activities. A large amount of materials consist of clippings from newspapers and magazines which deal with topics covering all aspects of Inuit life and culture. Many items have been acquired from a clipping service and most are attributed. Occasionally items of correspondence, notes, and other records pertaining to George Swinton’s curating and collecting activities may also be found here. Items primarily date from the 1960s and 1970s but some items described here are photocopies of significantly older materials.

The items described here were designated as ‘Personal’ by a previous arranger or possibly by George Swinton himself. Materials primarily consist of correspondence, reports and funding applications. Items pertaining to projects for which records are described elsewhere are also found here.

Materials described here consist of records pertaining to the development of a CSEA constitution as well as records pertaining to national conferences between 1955 and 1957.

Materials described here consist of files pertaining to special projects pertaining to Inuit traditions and culture, including the “Inuit Traditions” oral history project as well as other projects dealing with music, games and ceramics.

Materials described here consist of correspondence and other records pertaining to the planning and execution of an exhibition of works by Tiktak at Gallery 1.1.1. including copies of press releases and reviews.