Literature continued:

Deborah Everett, Encyclopedia of Native American Artists, 2008, same image reproduced page 3

Gerald McMaster, editor, Inuit Modern: Art from the Samuel and Esther Sarick Collection, Art Gallery of Toronto, 2011, same image reproduced page 37

Norman Vorano et al., Inuit Prints: Japanese Inspiration; Early Printmaking in the Canadian Arctic, Canadian Museum of Civilization, 2011, same image reproduced back cover and listed page 85

Anna Hudson et al., Tunirrusiangit: Kenojuak Ashevak and Tim Pitseiulak, Art Gallery of Toronto, 2018, same image reproduced page 33



Kenojuak Ashevak, a renowned Inuit artist, spent the first half of her life living a nomadic lifestyle in the Canadian Arctic, immersed in traditional Inuit values while traveling between Baffin Island and Northern Quebec (Nunavik). During this time, she honed her skills as a seamstress, creating intricate patterns from caribou and sealskin hides—a craft she learned from her maternal grandmother, with whom she lived as a young girl. These foundational skills later informed her artistic endeavours. By the time James Houston encouraged her to draw for the art program that was being established in Kinngait (Cape Dorset), Ashevak already displayed an intuitive grasp of composition and form, as seen in her iconic early work, The Enchanted Owl. Released in 1960, this work quickly became not only an icon of Inuit art but also a symbol of Canada.

The composition of The Enchanted Owl is striking in its simplicity and power. The owl, a creature associated with wisdom, is depicted with a sense of authority and mystery. Its inquisitive eyes and intelligent gaze, directed at the viewer, lend the piece an undeniable magnetic quality. Ashevak’s use of curved, flowing lines to define the owl’s feathers creates a sense of movement, as if the owl is poised to take flight. This dynamic quality is a hallmark of her work, reflecting a style she described as her hand leading her mind. As a left-handed artist, Ashevak would often begin her drawings on the left side of the paper, gradually building the composition with confidence and fluidity, rarely lifting her hand from the paper.

The Enchanted Owl soon became one of the most recognized pieces of Canadian art, particularly after it was featured on a Canadian postage stamp in 1970. This specific print was acquired by the Grand Rapids Art Museum, becoming part of its esteemed collection in 1961, one year after its release. Its inclusion in this collection underscores the work’s importance as a rare and classic image that helped shape the burgeoning Inuit art aesthetic.

Like many prints from this period, The Enchanted Owl was issued in two colour schemes: 25 in red and black, and 25 in green and black, colloquially known as the “red-tail” and “green-tail” versions. The immaculate quality of this particular print is truly remarkable. The red pigment, which is notoriously prone to fading when exposed to sunlight, here remains pristine. This piece has been meticulously cared for since its acquisition by the Grand Rapids Art Museum, with minimal light exposure. As a result, the colours have retained their brilliance, and the details are as crisp and clear as ever—this is the reddest red-tailed owl we have seen.

Throughout Ashevak’s prolific career, the style and themes first developed in The Enchanted Owl became her signature, influencing countless other artists who regarded her as the matriarch of contemporary Inuit art. Even after all these years, it is clear why The Enchanted Owl continues to captivate audiences. When asked about her favourite print, Ashevak always named The Enchanted Owl; it was the only work she proudly displayed in her home.