Ennutsiak grew up in the Nunavik region (Arctic Quebec) and migrated by umiaq to southern Baffin Island. He lived most of his life on the land before settling in Iqaluit (then Frobisher Bay). Ennutsiak carved steadily already in the 1950s, selling many of his works to servicemen working on the DEW Line. Ennutsiak’s work is charmingly descriptive, typically depicting several figures arranged on a stone base in a tableau style and engaged in a variety of communal activities such as travelling on the land, hunting, flensing catch, and even bible reading. He is probably most famous for his birthing scenes, and only occasionally carved single figures (see Lot 44).

Gathering for a Meal is a classic example of the artist’s style, beautifully illustrating Ennutsiak’s strong attachment to family and community. Gathered in a circle around a traditional stone cooking pot, this family or group of friends shares a meal of meat and tea (or possibly broth). As is usually the case in Ennutsiak’s art, the base and figures are carved from a single piece of stone. This captivating sculpture also has a feature that we have never seen before: the artist poured a thin layer of glue or shellac into each cup to represent the liquid contents. It’s a brilliant folk art-type touch that reminds us of Joe Talirunili’s work.

References: For important works by the artist see Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), p. 83; Bernadette Driscoll, Baffin Island, (Winnipeg: Winnipeg Art Gallery, 1983), cats. 30-33; Bernadette Driscoll, The Inuit Amautik: I Like my Hood to be Full, (Winnipeg: Winnipeg Art Gallery, 1980), cat. 20, p. 62; Winnipeg Art Gallery, The Mulders’ Collection, (Winnipeg: Winnipeg Art Gallery, 1976), cat. 85; Maria von Finckenstein ed., Celebrating Inuit Art 1948-1970, (Gatineau: Canadian Museum of Civilization, 1999), p. 131-133; George Swinton, Sculpture of the Inuit, (Toronto: McClelland & Stewart, 1972/92), fig. 45, p. 26.