After its 1960 release, Kenojuak’s The Enchanted Owl, with its wise and piercing gaze, garnered critical acclaim and became, arguably, the symbol of Inuit art. Both the “red-tail” and “green-tail” version of this iconic image have been reproduced extensively, appearing in numerous publications, posters, mugs, scarves, postcards, and more, cementing its status as a cultural icon. How extraordinary it is, then, to behold this rare artifact that captures both the early essence of Kenojuak’s legendary artistic journey as well as the birth of an icon.

This work is one of only a handful of surviving trial proofs from the creative process that preceded the landmark release of the 1960 Cape Dorset Print Collection. This rare proof offers an unparalleled glimpse into the experimentation and refinement in Kinngait at this time, capturing the evolution of a masterpiece before it was unveiled to the world.

Differing from the two-tone schemes of red-black and green-black of the editioned prints of The Enchanted Owl, the present work is distinguished by its bold use of a single, monolithic colour. Likely inked and printed by Eegyvudluk Pootoogook, this work features the classic blue hue that defined the early prints of Kinngait. This crisp, cool blue ink was applied with such vigor that it retains an astonishing freshness, as if still wet even after more than sixty years. The porous, slightly mottled effect, with textured circular spots scattered throughout the ink, suggests that a sponge — rather than a roller, which was used for the editioned prints — was employed to create this striking finish.

The off-register marks, evident only on the tips of the owl’s now iconic tail and the plumes around its head, vividly capture the essence of the experimental period in which this extraordinary work was created. These marks radiate a raw, unbridled energy that embodies the bold creativity of a time when Kinngait’s pioneering artists were fearlessly exploring, pushing boundaries, and foraging their artistic legacies.

This unique work not only retains the allure of its editioned counterparts but also serves as a rare, tangible connection to the emergence of a cultural masterpiece. It holds a significant place in Inuit art history, preserving on paper the formative period of experimentation that led to one of the most celebrated works in all of Canadian art.

†That this is inscribed "Artist's Proof II suggests that there are other numbered proofs, the whereabouts of which are not known to us. In 2007, an uninscribed green "colour trial proof" was sold by Dorset Fine Arts.

††John and Joyce Price have confirmed Kenojuak signed this work during one of her visits to their home.

References: See First Arts, 5 Dec 2022, Lot 30 for “Green-Tailed” and First Arts, 4 Dec 2023, Lot 11 for “Red-Tailed. See Jean Blodgett, Kenojuak, (Toronto: Firefly Books / Mintmark Press Ltd., 1985), fig. xvi, p. 57, for the original graphite drawing. It would be nearly impossible to list every publication that features The Enchanted Owl. Pick up any seminal text on Inuit art, and chances are you’ll find its commanding gaze staring back at you. Article and Magazines that reproduced The Enchanted Owl contemporaneously to its purchase availability include but are not limited to: “Poetess of the Arctic,” The Kingston Whig-Standard, 24 July 1961, p. 7; Lloyd Stewart, “Carlin Galleries Open Eskimo Art Exhibition,” Fort Worth Star-Telegram, Texas, USA, 22 July 1961, p. 14; Pearl McCarthy, ”Cape Dorset Eskimo Community Is First to Employ White Adviser,” Globe and Mail, 7 Aug 1961, p. 13; “Kenojuak-Poet of the Arctic,” Toronto Daily Star, 8 August 1961, p. 28; “Poet of the Arctic,” Calgary Herald, 23 September 1961, p. 5; Kenneth Saltmarche, “Eskimo Art Coming to Gallery,” Windsor Star, 25 February 1961; Carl Weiselberger, “Stone-Cut and Seal Skin Art,” Ottawa Citizen, 1 March 1961, p. 15.