Heffel.com Live Auction

Transcription

1 Page 1 of 6 Live Auction > All Lots 212 lots. Showing lots 141 through 150 Current Auction by Page# << Previous Next >> Lot #139 DAVID LLOYD BLACKWOOD CPE CSPWC OSA RCA Isle à Bois-Bay, Despoir, Nfld. watercolour on paper signed, titled and dated x 24 inches 45.7 x 61 centimetres Kenneth G. Heffel Fine Art Inc., Vancouver Sold for: $1,840 CDN Estimate: $1,000 CDN ~ $1,500 CDN Lot #140 DAVID LLOYD BLACKWOOD CPE CSPWC OSA RCA Sick Captain Leaving etching signed, titled, editioned artist's proof and dated /2 x 20 inches 80 x 50.8 centimetres Private Collection, Vancouver Literature: William Gough, David Blackwood, 2001, reproduced page 129 Sold for: $2,875 CDN Estimate: $3,000 CDN ~ $4,000 CDN Lot #141

2 Page 2 of 6 E.J. (EDWARD JOHN) HUGHES BCSFA RCA Fishboats, Rivers Inlet oil on canvas signed and dated x 50 inches x 127 centimetres Dominion Gallery, Montreal Lever Brothers, New York (acquired for Mr. & Mrs. Keith Porter) By descent to the present Private Collection, Toronto Literature: Doris Shadbolt, "Ed Hughes - Painter of the West Coast", Canadian Art Magazine, Spring 1953, reproduced page 102 Doris Shadbolt, E.J. Hughes, Vancouver Art Gallery, 1967, reproduced plate 5 Ian M. Thom, E.J. Hughes, 2002, reproduced page 72 Exhibited: Vancouver Art Gallery, E.J. Hughes, October 5 29, 1967; traveling to York University, Toronto, November 13 December 8, 1967 Vancouver Art Gallery, E.J. Hughes, January 30 June 8, 2003, traveling to the McMichael Gallery, Kleinburg, Ontario, November 29, 2003 February 15, 2004 E. J. Hughes has long been regarded as one of British Columbia s most significant painters. His highly personal vision of the landscape of this part of the world has helped to form our perceptions of the province. His work, which occasionally has a somewhat naïve appearance, is the result of careful consideration of his subjects and a deliberate approach to image making. Central to Hughes s formation as a painter were two episodes in his life. The first, his training at the Vancouver School of Decorative and Applied Arts (now Emily Carr Institute of Art and Design), gave him a solid background in technique and allowed him the means to begin his professional career as a muralist and printmaker. This period, , was, however, a difficult one financially and it was the advent of the Second World War that allowed Hughes to complete his artistic development. While serving as a war artist, Hughes developed his technique of close observation of nature, followed by a highly worked preparatory drawing, which he called a cartoon, and finally a completed canvas. During his service as a war artist, he was able, for the first time, to devote himself completely to being an artist and was supplied with all the materials he needed. He was also able to travel to New York and London and see significant works of art that influenced his approach to painting. In New York he saw the work of both Mexican painters and the Douanier Rousseau, a self-taught French artist greatly admired by modernists such as Picasso and Matisse. Hughes s service as a war artist also saw his work shift in style, from a fine, smooth handling of paint to a deliberately rougher, more visceral handling of pigment. This gave his work a greater immediacy and force that the highly polished earlier paintings lack. The war work also allowed Hughes to paint canvases of a relatively large scale. Fishboats, Rivers Inlet was the first painting that Hughes did after returning home after the war. It is a pivotal painting in Hughes s career because it marks the first time that he is able to apply the style developed in his war work to the landscape of British Columbia and to employ the technical approach that allowed his most important war canvases to develop. At the end of the his service in 1946, Hughes was allowed to bring some unused canvas with him back to British Columbia, and this allowed him to paint larger-scale canvases such as Fishboats, Rivers Inlet. Eager to begin his career as a painter of the British Columbia landscape, Hughes turned his attention to a small group of highly realistic drawings that he had done while working with his colleague Paul Goranson as a commercial fisherman in the summer of The drawing, in the collection of the Vancouver Art Gallery, is a superb distillation of the landscape, but Hughes radically alters and simplifies this image to create the canvas. Curator Ian Thom writes of the painting: It is a startlingly original vision of the British Columbia coast, and, in marked contrast to the coastal landscapes of Frederick Varley and W.P. Weston. Hughes s view is almost sculptural, reminiscent of the Nova Scotia paintings of Marsden Hartley and, inevitably of the Mexican Muralists. The landscape is almost bursting with activity and yet is strangely still. The waves, the insistent pattern of the evergreens and the solid clouds, all have a clarity that does not exist in the difficult atmospheric conditions in which fisherman labour. The shifts of light and dark across the surface have the quality of a mosaic, and the stumps and logs in the foreground suggest that we as spectators have no place to stand. There is an artificiality and yet an absolute rightness to this work. We know that we cannot actually see the world

3 Page 3 of 6 with this degree of visual certainty look, for example, at the serried rows of boats and the perfect silhouette of the fisherman in his pilothouse in the centre of the painting but we are nevertheless convinced. Fishboats, Rivers Inlet marked Hughes s debut as a major figure in British Columbia s art world and established him as a landscape painter of the first rank in Canadian art. Sold for: $920,000 CDN Estimate: $300,000 CDN ~ $400,000 CDN Lot #142 W.P. (WILLIAM PERCIVAL) WESTON ARCA BCSFA CGP Trolling oil on canvas signed and dated x 22 inches 45.7 x 55.9 centimetres Private Collection, Vancouver Private Collection, California This rare Weston marine scene is from a pivotal point in his early work. Prior to 1925, Weston destroyed many paintings due to personal and critical dissatisfaction. By 1926 he had become a mature and self-accepting artist with a special love of the ocean. Two years later, a hiking accident left him bedridden for months and he quit painting at sea. This is one of only a few works remaining from the brief interlude between the destruction of his paintings and his accident. Sold for: $6,325 CDN Estimate: $3,500 CDN ~ $4,500 CDN Lot #143 FREDERICK BOURCHIER TAYLOR CPE CSGA RCA Lobster Packing Plant, Indian Harbour, N.S. oil on canvas signed and on verso signed, titled and dated x 24 inches 35.6 x 61 centimetres Galerie Walter Klinkhoff Inc., Montreal Private Collection, Toronto Sold for: $2,588 CDN Estimate: $1,500 CDN ~ $2,500 CDN

4 Page 4 of 6 Lot #144 CLARENCE ALPHONSE GAGNON RCA Le Grand Silence Blanc - Sailing Ship monotype stamped Atelier Gagnon and on verso titled and dated /4 x 4 1/2 inches 9.5 x 11.4 centimetres Galerie Walter Klinkhoff Inc., Montreal Available for post auction sale. Price: $690 CDN Preview at: Heffel Fine Art Inc., Toronto Lot #145 WILLIAM ARTHUR WINTER OSA RCA Fantastic Landscape oil on board signed and on verso signed, titled and inscribed For Katharine Taylor 8 x 12 inches 20.3 x 30.5 centimetres Sold for: $2,588 CDN Estimate: $800 CDN ~ $1,000 CDN Lot #146 DORIS JEAN MCCARTHY OSA RCA Tor`s Cove, Newfoundland watercolour on paper signed, x 22 inches 38.1 x 55.9 centimetres Wynick/Tuck Gallery, Toronto Private Collection, Toronto Sold for: $9,775 CDN Estimate: $2,500 CDN ~ $3,500 CDN Lot #147

5 Page 5 of 6 HELEN GALLOWAY MCNICOLL ARCA RBA Boats in France oil on board on verso stamped with the Helen McNicoll studio stamp catalogue #102, circa /2 x 10 5/8 inches 21.6 x 27 centimetres Estate of Helen G. McNicoll By descent to Helen McNicoll's niece, Dianne B. McNicoll, Oregon Literature: Helen G. McNicoll, The Art Association of Montreal, 1925, catalogue #102 Exhibited: The Art Association of Montreal, Memorial Exhibition of Paintings by the Late Helen G. McNicoll, 1925 Sold for: $8,625 CDN Estimate: $8,000 CDN ~ $12,000 CDN Lot #148 MARC-AURÈLE FORTIN ARCA Barques à Gaspé watercolour & charcoal on paper signed and on verso signed and titled, /8 x 10 1/8 inches 18.7 x 25.7 centimetres Galerie L'Art Français, Montreal Estimate: $3,500 CDN ~ $4,500 CDN Current Auction by Page# << Previous Next >> Click on each thumbnail to view a full version of each item. All estimates are in Canadian Dollars. A link to the Royal Bank Foreign Exchange Cheque Rate Converter has been added for your convenience. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All acquisitions are subject to our Terms and Conditions of Business. Back to Top CONTACT / HELP SITE MAP SERVICES HISTORY PUBLICATIONS NEWS SEARCH CALENDAR PRIVACY STATEMENT STREAMING VIDEO AUCTION LOCATION SHIPPING

6 Page 6 of 6