Despite living into her 80s, Anirnik's artistic career was rather brief, having produced only 20 graphics executed mainly in the 1960s. While printed in 1963, this lovely stencil was not released to the public until 2002. The reasons behind these “retained” images were varied; some were rejected by the Canadian Eskimo Arts Council either for aesthetic reasons or for more practical ones. For example, this print run was limited to 40 copies while the norm was 50, thus making it included with the annual collection. Often this shortfall was due to breakage or deterioration of the stone (or stencil) matrix making a larger print run impossible. The happy and unintended benefit of the 40-year repose in storage is that these prints avoided the ravages of 1960s picture framing and are in far superior condition to many of their contemporary images.