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Open a larger version of the following image in a popup: KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET), Owl and Ravens, 2010
Open a larger version of the following image in a popup: KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET), Owl and Ravens, 2010
Open a larger version of the following image in a popup: KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET), Owl and Ravens, 2010

KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET)

Owl and Ravens, 2010
serigraph on antique etched glass, 16.5 x 24.75 in (41.9 x 62.9 cm), sight, irregular
with etched artist's chop and etched stamp of Sattler’s Stained Glass Studio.
1/24
LOT 97
ESTIMATE: $2,000 — $3,000
PRICE REALIZED: $3,904.00
1 June 2026

Further images

  • (View a larger image of thumbnail 1 ) KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET), Owl and Ravens, 2010
  • (View a larger image of thumbnail 2 ) KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET), Owl and Ravens, 2010
  • (View a larger image of thumbnail 3 ) KENOJUAK ASHEVAK, C.C., R.C.A. (1927-2013) KINNGAIT (CAPE DORSET), Owl and Ravens, 2010
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In the late 1990s, Kinngait Studios began a collaboration with Sattler’s Studio in Nova Scotia, a noted workshop specializing in stained glass windows. The celebrated Appleby Chapel window designed by...
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In the late 1990s, Kinngait Studios began a collaboration with Sattler’s Studio in Nova Scotia, a noted workshop specializing in stained glass windows. The celebrated Appleby Chapel window designed by Kenojuak Ashevak is among its best-known results. In addition to windows, Sattler’s also worked with artists to produce small stained-glass editions after their images. The process recalls the Kinngait print tradition, in which original drawings are translated into another medium by master printers.


The present work preserves with remarkable sensitivity the fine detail and lyric grace of Kenojuak’s draughtsmanship. Her linework is still felt throughout, delicate yet firm, but it is warmed and deepened by the stained glass itself, where colour and surface seem to hold in a jewel-like glow. The image changes with illumination. As light passes through it, the work brightens, softens, and comes alive in the eye.


The glass remains in its original wooden frame, used both for protection and suspension before a light source.


References: For a details of the Appleby College stained glass, see Brenda Still, “College chapel window is a first in Inuit art world,” Anglican Journal, n.d.; For a brief discussion on Kenojuak's experiments with glass, see Maija M. Lutz, Hunters, Carvers, and Collectors: The Chauncey C. Nash Collection of Inuit Art, (Cambridge, MA, USA: Peabody Museum Press, Harvard University, 2020), p. 47.

ND
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Provenance

An American Private Collection.
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