Latcholassie began carving in the early 1950s, influenced by his father Tudlik (1890-1966) who was a renowned carver of small birds (see Lot 2). He was also the brother of the Clyde River sculptor Solomonie Tigullaraq (see Lot 4). Latcholassie’s aesthetic leaned towards the abstract rather than the naturalistic, putting him somewhat outside the Cape Dorset mainstream. He is now admired as one of the community’s greatest sculptors, partly for his distinctive style but also because he created owls and other birds and bird-people with distinct personalities. Many Latcholassie sculptures are comically anthropomorphic and endearing, while others – such as this impressive example – are more solemn.

Seated Owl Spirit has a wonderfully contemplative air, as if pondering some thorny philosophical or spiritual question. Its posture is human-like, while its feet and ears appear almost ursine. Its personality reminds us of one of our favourite works by Latcholassie, his Owl-Bear Transformation from c. 1970 (see Walker’s Auctions, 16 May 2018, Lot 66). To our eyes, Latcholassie made better use of marble than any of his Cape Dorset peers except perhaps Pauta Saila.

References: For other fine marble owl sculptures by the artist see First Arts, 1 December 2020, Lot 99; First Arts, 14 June 2022, Lot 35; Gerald McMaster, ed., Inuit Modern: The Samuel and Esther Sarick Collection, (Toronto: Art Gallery of Ontario, 2010), pp. 136-137; and Jean Blodgett, Selections from The John and Mary Robertson Collection of Inuit Sculpture, (Kingston: Agnes Etherington Art Centre, 1986), cat. 14, p. 35. See also Robert Kardosh, Vision and Form: The Norman Zepp - Judith Varga Collection of Inuit Art, exh. cat., (Vancouver: Marion Scott Gallery, 2003), cat. 12, p. 30. See also Walker’s Auctions, 4 November 2012, Lot 164; Walker’s 3 November 2013, Lot 23.; and Walker’s 15 November 2014, Lot 73.