Originally from the Nunavik region (Arctic Quebec), Ennutsiak lived most of his life on the land before settling in Iqaluit (then Frobisher Bay), Nunavut. Ennutsiak frequently sold or traded his works to servicemen working on the DEW Line in the 1950s. As such, his works tend to show up in the most unlikely places and are always a treat to view. Unlike many of his contemporaries on Baffin Island, Ennutsiak's work is unusually descriptive, usually involving a multitude of figures involved in various activities, arranged on a stone base in a charming tableau style. While Ennutsiak is probably most famous for his birthing scenes, he also created numerous compositions depicting the daily activities of traditional camp life. His favourite subjects included hunting and flensing scenes, travelling on the land, and even bible study.

This lovely composition is rather atypical. Rather than having all of the figures participating in the central theme (i.e. flensing a walrus, bible reading, etc.), here we see what appears to be a father and son lashing a qamutiq (sledge) surrounded by a younger sibling and the pack of sled dogs who seem altogether unconcerned with the action. This piece speaks to a different sense of time whilst living on the land. The subjects seem somewhat unhurried and, as dog lovers, we love the variety of tranquil poses of the sled dogs at rest. Ennutsiak was the patriarch of an important line of Iqaluit sculptors as his son Nooveeya Ipellie, grandson Seepee Ipellie, and great-grandson Jomie Aipeelee were all well respected carvers before their passing.

Literature: For similar works see Walker’s Auctions, Ottawa, May 2015, Lot 143; May 2017, Lot 124. For other works by the artist see Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970 (Gatineau: Canadian Museum of Civilization, 1999) pp. 131-133.