This early creation's composition and palette vividly reflect the profound impact of Anishnaabe cultural motifs and stylistic preferences, a path strongly encouraged by Selwyn Dewdney, a key mentor and colleague of Morrisseau.

In the latter half of the 1950s, Dewdney embarked on an extensive endeavour to chart, record, and interpret the pictographs scattered throughout the Canadian Shield. His comprehensive research involved engaging with local communities to delve into the meanings behind the themes at the 290 sites he examined in Ontario. Among the individuals Dewdney engaged with was Norval Morrisseau, who possessed a deep knowledge of Anishinaabe oral traditions and shamanism. In 1960, a mutual appreciation for contemporary art brought the two together.  Acknowledging Morrisseau's exceptional talent, Dewdney dedicated himself to promoting Morrisseau's art in southern markets, urging him to adopt a palette of earth tones and a simplistic depiction of figures, mirroring the ancient rock art, as illustrated in the present lot.

While the turtle motif appears often, its horned appearance suggest that it is plausible to interpret the figure as Mikkinuk (or Makinak). Regarding another depiction of Mikkinuk, Morrisseau shared, "'During the Shaking Tent Ceremony performed by a shaman, a critical role is played by an individual capable of interpreting the myriad spirit voices. The Ojibway know this interpreter as the Mikkinuk. While appearing as a diminutive turtle, the Mikkinuk possesses immense strength and can be quite formidable'"[1].

1. Lister Sinclair and Jack Pollock, The Art of Norval Morrisseau, (Toronto: Methuen Publications, 1979), p. 62.