I Found An Art: Kenojuak Ashevak Silkscreen Talking Birds
Part four of the big game hunting story.
Kenojuak Ashevak is one of my favourite artists. She is also one of the most celebrated of Canadian artists, which is why I thought that framed image of “Sun and Owl Foliage” from an Ashevak calendar was the closest thing I’ll ever come to having an original.
But last Sunday at the St. Lawrence Market, I found this unusual silkscreen. Called “Talking Birds,” it was commissioned by Alcan Aluminum in 1963to commemorate the opening of their plant in Kingston, Ontario. It is unusual in that it was screened onto an aluminum sheet. It’s also an early work of Ashevak’s — there’s an article about the commission taped to the back of the aluminum plate. At the time, she was just in her 30s and the West Baffin Eskimo Cooperative senlavik (workshop) had only been in existence for four years. According to the article, Ashevak was already one of the best known of the Inuit artists.
The commission also marked one of the earliest corporate sponsorships of an Inuit artist. And the process of transferring Ashevak original drawing onto metal (by photographically reproducing the original onto a silkscreen and then “etching” the metal by removing a a layer of alloy) was also revolutionary at the time. “As far as we know,” says the article, “this is the first time [the process] as been used to reproduce a work of art.”
Here is a picture of young Ashevak that illustrates the article.


we also have that silkscreen on aluminum. may I ask how much you paid for it? we are looking at selling ours. thanks, Cheryl
I got a deal on this print…it was originally priced at $55. I searched the internets for this print and found an auction catalogue from 2008 that gave an estimate of $400 to $600. The highest price ever realized for a print was $58,000 (but that was for her most iconic work, Enchanted Owl, which was an edition of 50).
I don’t know if being printed on aluminum hurts the value. It was also from edition of 500. And I bought it from an antiques dealer who must be able to Google as well as me, yet still felt compelled to unload the piece for a ridiculously low price.
I don’t know if any of this helps you settle on a valuation or not. A local auction house might be the best way to get an appraisal.
Hi there,
I found your blog while searching for Kenojuak and Alcan. I am trying to find one of the aluminum plates and wonder if yours is available. I can be contacted at inuitart@gmail.com
Thanks in advance,
Mark
I’m hanging onto this one as I doubt that I’ll ever come this close again. Good luck in your hunt!
Thanks anyhow. Any idea how to contact Cheryl about hers? I am interested in getting one of these for a friend and would be willing to trade for a limited edition Kenojuak graphic. Best regards,
Mark
Hi again,
Sorry to be a pest (I promise this will be my last attempt to contact you). Do you want to see images of the 2 Kenojuak engravings that I would be willing to trade for the Alcan commission? I promise that you would be getting the better end of the deal! If you are interested send me an email at inuitart@gmail.com
Many thanks and happy holidays,
Mark
While I’m always curious to see other people’s pieces, I’m not ready to part with this print. Good luck in your search.
II have number 149 of 500 that was presented to my father in law at the commissioning of the Alcan south plant and would love to know what it’s value is. it is in excellent condition.
I wish I could offer valuations, but I am just an amateur myself. You could check with Waddingtons auction house as they offer such services.
I was just bought the same metal plate at a garage sale it was actually stuck in a frame that I wanted. Now I have both. Do you still have yours? The one I have is #162/500.
Thinking about selling it as its a hard piece to hang.
I still have mine. Will never let it go.
I have one of those copies. It was gifted to me. It is the metal plate. Can I make prints?
The print is silkscreened onto aluminum. It is not a plate for making prints.
I have #29/500
The higher the number, the better. I hope you treasure yours like I do mine!
Actually, the number itself is irrelevant as one would not know whether #1/500 was the first one printed or simply the 1st one signed and numbered. The quality of the impression is far more important than the number.
However, if you are talking about a woodcut or etching where the matrix tends to wear down after a large number of impressions, then a lower number is more desirable as the quality of line would be more crisp than on later impressions.