"In 1954, eager buyers lined up three abreast for over half a block to get into the Canadian Handicrafts Guild in Montreal where, once inside, they wrestled and argued to purchase stone sculptures carved by Inuit artists. In a short span, Inuit carvings had changed from a special interest to a worldwide phenomenon and a major source of income for the Inuit. Their sculptures, tapestries and prints later became the unofficial national art of Canada, gracing homes, corporate offices, postage stamps and international art ...
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"In 1954, eager buyers lined up three abreast for over half a block to get into the Canadian Handicrafts Guild in Montreal where, once inside, they wrestled and argued to purchase stone sculptures carved by Inuit artists. In a short span, Inuit carvings had changed from a special interest to a worldwide phenomenon and a major source of income for the Inuit. Their sculptures, tapestries and prints later became the unofficial national art of Canada, gracing homes, corporate offices, postage stamps and international art showcases. This is the story of how Inuit art came to be regarded as some of the best Indigenous art of the twentieth century. James Houston, an artist as well as a brilliant raconteur and lecturer, was unquestionably instrumental in its marketing. His enthralling Arctic stories were a gift to journalists, but his inconsistencies became a major hurdle for historians. This book portrays the unusual alliance between James Houston and early Inuit enthusiasts, the Canadian Handicrafts Guild and the Canadian Department of Northern Affairs. Through painstaking research, it presents their adventures, management, concerns and successes in the Inuit art market"--
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