Both this image and Feathered Owl (previous lot) capture exactly the exquisite detail and lyricism of Kenojuak’s drawing style; her pen and ink markings are evident but enhanced by the glowing rich colour and shadings of the stained glass; a perfect pairing of artist and collaborative studio. Both works remain in the original wooden frames that Sattler’s used both to protect the works and provide an inherent means to suspend them in front of 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.