Abbott’s Spring Live Auction of Important Canadian Art presents an impressive
selection of historical, post-war and contemporary works by renowned Canadian
artists. The catalogue offers a variety of landscapes depicting the range of
Canadian terrain across the nation, from the Pacific to Atlantic and Arctic
Coasts. Many of Canada’s most iconic landmarks and destinations are represented
in works in the upcoming live sale.
By contrast,M.G.T. #4(lot 25) by Smith presents a reductive and semi-abstract interpretation of the British Columbian coast. His subdued palette captures the subtleties of light and gentle movement playing on the water’s surface.
Moving north to Canada’s territories, we find Ted Harrison’s vibrant painting Discovery Day, Dawson City (lot 34), where Harrison depicts a weekend-long festival that occurs annually in Dawson City in early August.
Dorothy McCarthy’s sublime Arctic landscapes, such aslot 42, Along the Inland Passage, are considered the artist’s most desirable pictures. The large oil painting depicts part of a 1,500km long stretch of protected coastline that runs from Skagway, Alaska to the north, through British Columbia and ends in the south in Puget Sound, Washington.
The wide vistas of the Prairies are beautifully illustrated in Dorothy Knowles’ Wheat Fields (lot 88), which captures the fresh air and grand landscape of her home province of Saskatchewan. Also depicting the Prairies is lot 49,West Yellow Rough by renowned contemporary artist Ivan Kenneth Eyre. He is known for creating scenes from his imagination that are inspired by his surroundings in Saskatchewan and Manitoba.
Many excellent examples of the rural landscape and wilderness of Ontario are included in the Spring Live Auction. The iconic Niagara Falls are delicately painted in watercolours by Charles Jones Way in lot 58. The artist exemplified the trend towards naturalism during the 1860s and 1870s; Niagara Falls was also a popular subject by many Canadian and American painters of this period, as it epitomizes man’s encounter with the sublime.
Lot 32, Mill Lake, Parry Sound, executed by A.J. Casson in 1934, was painted during an important period for the artist, soon after the end of his association with the Group of Seven. This sweeping vista filled with rich colour, lush foliage and shimmering light showcases the picturesque land of Ontario cottage country.
A more urban scene of Quebec is John Little’s Night, De La Roche Street, Montreal (lot 14). Little depicts the exterior spiral staircases that are quintessential to the Plateau Mont-Royal neighbourhood. The painting presents a charming and inviting scene of daily life in Montreal on a summer evening.
Venturing further up the St. Lawrence River, the picturesque hills of the Charlevoix region can be seen in lot 87 Crépuscule, Charlevoixby Clarence Gagnon, dating to 1923 while the painter was living in Baie-Saint-Paul.
And finally, representing the Maritimes in the Spring Live Auction are three charming works by Nova Scotia folk artist Maud Lewis. Lot 85,Car Ride Through Town is likely based on memories from her first year of marriage. When Maud met Everett Lewis in 1938, the couple would venture out in his Ford Model T to sell fish around Digby County.
We invite you to view the full catalogue listing or set a preview appointment for Cowley Abbott’s Spring Live Auction of Important Canadian Art, for more landscapes as well as many other important artworks of different subjects. For questions or further information about the sale, do not hesitate to contact us at 1-866-931-8415 or [email protected].
This is one of the works in our Spring Live Auction that just keeps drawing my attention back in for another close look. Carmichael’s mastery of the medium is on full display here. The surface buzzes with autumn colours and the paint handling is both sensitive and confident. The best of the Group sketches have an incredible immediacy to them, a quality this work has in spades.
Learn more about this Franklin Carmichael oil painting at https://cowleyabbott.ca/artwork/AW40521. Included in our Spring Live Auction of Important Canadian Art on June 15th at Toronto’s Globe & Mail Centre!
Patrick Staheli, Art Specialist & Manager – Online Auctions. Contact Patrick at [email protected]
This won’t come as a surprise to you, but I see a lot of art. The special works I experience stay with me and the very special works are revisited in my memory time and time again.
Pegi Nicol MacLeod’s A Descent of Lilies in the National Gallery of Canada collection is one of those unforgettable pieces. I saw it at the McMichael’s exhibition of Uninvited: CanadianWomen Artist in the Modern Moment. To me, this masterpiece, was such a powerfully creative and beautiful work it outshone all the other paintings in the exhibition. I was reminded of the experience recently when I saw another MacLeod painting which is included in our Live Auction of Important Canadian Art, June 15.
Jump Rope (lot 33), is a painting we sold to a collector during my time at Masters Gallery in Calgary. After enjoying this great work for many years, the B.C owner has decided to sell. During my time at the gallery in Calgary we sold several terrific MacLeod paintings that came to us out of the artist’s estate. Jump Rope was one of them. Not only is it one of the largest New York canvases I’ve seen, it also is one of the best examples from this period. The painting’s visual impact, composition and condition are extraordinary, and it is a treat to see it again. Jump Rope is one of my favourite paintings in the auction. Check it out online at https://cowleyabbott.ca/artwork/AW40773
Peter Ohler, Private Sales & Western Canada Representative / Senior Canadian Art Specialist. Contact Peter at [email protected]
The auction market is certainly alive and well and Cowley
Abbott is delighted to be entrusted with exceptional Historical, Post-War, and
Contemporary artworks included in our current dedicated May online auctions.
The auctions complement our Live Auction of Important Canadian Art and offer
collectors the opportunity to build their collections with rare gems of
important artworks. This week we are rounding up a sampling of many of the
highlights in the auctions.
Historical Canadian Art
On the heels of the widely successful “Uninvited: Canadian
Women Artists in the Modern Moment” exhibition curated by Sarah Milroy and
hosted by the McMichael Canadian Art Collection before travelling to the
Glenbow in Calgary and the Winnipeg Art Gallery, women artists have been going
through a renaissance on the market. With important works and texts uncovering
some of the lesser-known areas of Canadian Art, the market has been enriched
with a deeper understanding of these integral women and their contributions to
the canon of Canadian art history.
Anne Savage “House in the Hills / Hills & Trees”
Anne Savage “Lower St. Lawrence, Métis”
Anne Savage often depicted rural Quebec landscapes,
favouring farm scenes and forest landscapes. Similar to her fellow Beaver Hall
members, Savage maintained a high level of rhythm of line and form within her
artworks. The artworks in our
May Online Auction of Historical Canadian Art have been executed with a keen
sense of form, compositional balance, and a nod to abstraction with the simply
rendered buildings. On the artist’s work, art critic Richard H. Haviland
explains: “She is completely the landscape artist. A modernist, she is an able
interpreter of the Canadian scene, and seeks to bring out the main
characteristics of her subject with a bold summarization of forms. Her work is
strongly coloured and shows a fine sense of design.” The keen use of vibrant
greens and teal juxtaposing with soft pastels are a hallmark of the artist’s
work and imbue a unique energy and palette differing from the Group of Seven
and many of her male counter parts.
Bertram Brooker “Oaks on Assiniboine”
visiting Winnipeg in the summer of 1929 and meeting with Lionel LeMoine
FitzGerald, Bertram Brooker abandoned pure abstraction for the exploration of
abstraction in figural and natural forms within the landscape. Rather than
progress to abstraction as many of his peers had, Brooker instead utilised this
bold initial experimentation with abstraction to incorporate into this later
body of work. Heavily influenced by FitzGerald, Brooker adopted a refined and
simplified stylistic handling of form, not dissimilar to the graphic arts of
his early professional experience as a graphic artist. Rather than embrace the
wild and ragged handling of paint to express the rugged terrain of the Canadian
landscape, Brooker instead saw how the landscape could be abstracted and
flattened while maintaining a refined dynamism. Utilizing compositional
balance, “Oaks on Assiniboine” explores the modern handling of the landscape in the thirties, with a
harnessing of simplified formalism, energetic movement with the diagonal lines
within the natural forms, rendered in graphic black ink. Especially for
emerging collectors, this work on paper is an excellent example of the artist’s
history as a graphic designer and his exploration of modernism in landscape
Frederic Bell-Smith “Westminster Bridge, London”
Born in London, England, his father, John Bell-Smith, was a portrait and miniature painter. He studied in London at the South Kensington Art Schools, and in Paris under Courtois, Dupain, and T.A. Harrison. F.M. Bell-Smith has captured this iconic London landmark with vigour, depicting London as a sea of colour and a hive of activity. The acute detail in this work is testament to the artist’s keen talent of controlling the watercolour medium. The work captures the misty grey atmosphere of the city while the figures go about their day selling flowers, carting grain, commuting on London’s famous double-decker buses, and strolling along the bridge protected by black umbrellas. Bell-Smith mastered the difficult task of conveying the wet conditions with reflective puddles and a hazed background barely visible through the thick fog. Of particular note is the bright pops of colour in the work set against the otherwise blue-grey tonal scene; the red cap of the small girl walking with her sister, a bright green advertisement cladding the red bus, and the yellow blooms laying on the flower seller’s tray. The work is an exceptional example of the artist’s skill as a watercolourist and gives a charming snapshot into the artist’s life in London documenting his surroundings.
Post-War and Contemporary Art
William Hodd McElcheran “A Man & Muse”
A young artist trained in painting, McElcheran only dabbled
in sculpture before committing to the medium. Inspired by European masters such
as Giacomo Manzù, Alberto Giacometti, Donatello, and Michelangelo, McElcheran
was interested in the heroic larger than life presence of figurative works.
First working as a designer and producing religious figures, McElcheran began
to develop the ‘Everyman’ form which became the forerunner to his iconic
‘Businessman’ image. This work incorporates the ‘Everyman’ while still referencing
the artist’s religious motifs with an ethereal angel-like muse gracefully
looking down on the man. There is a rhythmic quality to the sculpture with the
gentle curve of the forms in harmony with each other. It is as though the muse
is in a position of ‘saviour’ for the man who reaches up from his toes, with a
longing gaze requesting to be taken away. From a taped interview with Dorothy
Cameron for the Toronto City Hall exhibition catalogue, McElcheran explained,
“For thousands of years artists have painted, modelled and carved the human
form. I am thankful for this spadework, but I am not going to stop now and say
that nothing more can be down with this infinite theme. The Greeks lived before
Freud; the Renaissance came before Darwin. Today we have something else to say
about man! The artist is one of the few people who still have the freedom to
choose. In the face of fifteen thousand years of human thought, out of the
confrontation of this vast environment of human creativity, he has the power to
choose what he loves and infuse it with his own spirit.”
Mary Pratt “Grapes in a Colander”
A mature work by the artist, this mixed media piece
exemplifies the artist’s strength in finding beauty in the everyday. While her
husband Christopher Pratt, painted full-time, Mary Pratt did so only when she
had a spare moment in her homemaking duties. She found her subjects in her
daily routine, with a focus on food – jars of jelly, bowls of fruit, raw meat
and fish. Pratt elevated these images of everyday household objects from the
banal to something beautiful and significant. With regards to her choice of
subject matter, the artist declared: “My strength has always been to find
something where others found nothing. There’s a depth to everything, and
everything is worth looking at, like those roses that are now past their prime.
Everything is worth consideration. I really believe that.”. The luminous yellow
of the grapes acts as a beacon of light emanating from the work and is complemented
by the bright warm red of the colander reflected in the surface below. The work
stands as a delightful representation of Pratt’s interest in capturing the effects
of light to add a dramatic or theatrical aspect to her artwork.
Jean-Philippe Dallaire “Le chute d’Icare”
The artist lived in Paris throughout different periods of
his life, exposed to the works of Pablo Picasso, Joan Miró and Salvador Dali.
The reduction of form, simplification of line, and oblong shapes of colour
within the composition are indicative of the artist’s practice of incorporating
multiple tokens of abstract techniques into his works. Jean-Philippe Dallaire
is best known for his imaginative and animated paintings composed of
unconventional and macabre figures. He was inspired by Italian theatre,
mythological figures, surrealism, synthetic cubism, and art brut. In his
original and bold artwork, such as “Le chute d’Icare”, the real and the
imaginary are intertwined in a world of form and colour. Here, the artist
represents the Greek story of the Fall of Icarus, the cautionary tale advising
that youthful carelessness will lead to one’s downfall. Dallaire always
remained a representational painter, despite a continued interest in
abstraction. The artist played a role as a precursor in the return to figure
painting in Canada during the late 1960s.
Many more fantastic works pepper our May online auctions with full artwork details included in our online catalogue listing. Contact our specialists for more information and we would be delighted to assist!
A warm welcome to Eryn Brobyn as she joins the Cowley Abbott team!
Eryn holds a Masters degree in Art Gallery and Museum studies from the University of Leeds and a Bachelor of Arts degree in Art History with a minor in Studio Art from the University of Guelph. Upon graduating from the University of Guelph she was the recipient of the Samuel and Saidye Bronfman Family Foundation Printmaking Award. While completing her Masters degree she worked at Harewood House in Yorkshire where she utilized her art historical knowledge and gained experience of museum procedures, public relations and client service and art handling skills in her role as Senior House Guide.
Eryn joins Cowley Abbott with eight years of commercial art world experience having spent the majority of her career working for a global auction house in London, UK. She has a comprehensive knowledge of the auction world having advanced through a number of roles to her current position as an Art Specialist. Initially specializing in prints and topographical pictures, these days she considers herself a generalist with specialist knowledge ranging from historical and contemporary Canadian to international works.
We are pleased to welcome Catherine Lacroix to the Cowley Abbott team!
After completing her undergraduate studies at Concordia University, Catherine received her Master’s in Art History from the University of St Andrews in Scotland, where she specialized in Renaissance art. She then interned at the Museum of Fine Arts, Boston, researching European works within the permanent collection while providing administrative assistance.
Eager to further explore the commercial art world, Catherine undertook a short course at Christie’s in New York before moving to Vancouver to work at YKLM Auctions as part of the Canadian contemporary and Asian art departments. She contributed to establishing the reputation and increasing the visibility of this new auction house among local collectors and artists.
30 years in Calgary, 6 years in Vancouver and now, later this spring, here on the second floor at Cowley Abbott on Dundas St. in Toronto, Peter Ohler will have a new home to meet with clients and show a selection of Top Quality Canadian Art available for Private Sale. Please feel free to contact Peter at [email protected] for more details or drop in to view his recent acquisitions.
One of the recent
acquisitions that will be on display, a wonderful 1927 David Milne oil.
David Milne Under the Porch, Big Moose Lake, Adirondacks, N.Y. 13 September 1927 Oil on canvas 12×16 in.
Milne inventory #207.98
Provenance Mira Godard Gallery, Toronto c.1980 Private Collection Grace Borgenicht Gallery, New York, 1990 Private Collection
Exhibited Mira Godard Gallery, Toronto, Centenary Exhibition, 1982, no. 7
The verandah of the staff house at the Glenmore Hotel on Big
Moose Lake provided David Milne with a sheltered painting place on several
occasions. Under the Porch as well as The Glenmore, Big Moose, and
Hotel Across the Way were all painted from this location.
During the five years between the spring of 1924 and 1929,
Milne’s life was split between Big Moose Lake in the summers (where his time
was largely absorbed by building a teahouse) and Lake Placid in the winters
(where he and Patsy ran the teahouse at Ski-T, at the foot of the Intervale
ski-jump). The construction schedule at Big Moose Lake and the responsibilities
at the Lake Placid Club cut heavily into Milne’s painting time and, although he
produced some outstanding paintings, his overall production fell sharply.
David Milne Jr and David P. Silcox, David B. Milne,Catalogue
Raisonné of the Paintings, Toronto, 1998, cat. no. 207.98
Looking through the Prints, Photography and Multiples auction, we see excellent works by the masters of the 20th Century, including Picasso, Motherwell, Dali, Albers and Chagall. But there are two exceptionally rare prints that are wonderful examples of the difference between an etching and an engraving.
The first is entitled Rivers Drifters (Drivers) by Frank Weston Benson, who was already an accomplished painter when he took up printmaking. Benson was a member of a group, who became known as The Ten American Painters. They were an exhibition group that included Impressionists, Tonalists and Figure painters, such as Childe Hassam and John Henry Twatchman. William Merritt Chase would join the group later upon the death of Twachtman. Benson was exhibiting with the group when he took up etching recreationally in the early part of the 20th Century. He would have great success exhibiting and selling his work in this medium. His usual subject matter of choice was wildlife or sporting subjects.
However, in River Drifters (Drivers) from 1914, no wildlife is present, instead he has focused attention on two loggers working along the Grand Lake Stream in Washington County. Especially wonderful is the small detail of the pipe in the standing figure’s mouth. This is a fantastic example of the etching technique, where the lines have been burned (etched) onto the plate using a chemical process, having been coated in a substance that is acid resistant called the etching ground. The image is then drawn through the ground to reveal the plate below, which is then bathed in acid etching the plate. When compared to etching, engraving is a much more physical process, where lines are carved into the plate using sharp tools producing a cleaner more pronounced line.
Reginald Marsh studied under John Sloan at the Art Students League in New York. His subject matter were the people of New York, whether at play on Coney Island, dancing at a night club, riding the subway or just walking the street. Here is another American artist who took printmaking to a new level. Not only was he concerned with the finished product, but he was also obsessed with how he arrived there. Part of his process was making sure the temperature in his studio was just right for printmaking. Marsh was also aware of the age of the bath that his plates were soaked in, recording how long the paper soaked, observing the heating of the plate and the nature of the ink used in printing. Three Girls on a Chicken is from 1941, from an edition of approximately only twenty and is an extremely scarce engraving presenting Marsh at his finest.
Cowley Abbott is delighted to offer these rare works in our
Prints, Photography and Multiples Auction currently open for bidding until
Anna is a Senior Specialist of Canadian Art at Cowley
Abbott, having more than ten years of experience in the Canadian art world.
While continually remaining highly engaged with all aspects of art and culture,
Anna is passionate about absorbing as much as she can through exhibitions,
shows, talks, publications and more.
The Toronto arts scene is robust, having expanded and grown immensely over recent years. As one of the members of Cowley Abbott who was born and bred in Toronto, Anna, what have you noticed in terms of the arts and culture community in the city?
I grew up going to exhibitions and shows at the AGO, ROM,
TSO, National Ballet, etc. with my parents. I am thankful for those nostalgic
memories, as it fostered a steadfast interest and love for art and culture from
a young age. It is a wonderful sign of growth for the arts community of Toronto
to see new art galleries popping up and art institutions being founded. Private
galleries and auction houses, for example, are no longer primarily located in the
Yorkville area, but are now scattered throughout the city, signalling positive
expansion. The pandemic certainly changed how we interact with and appreciate
art exhibitions, creating exciting virtual opportunities (which Cowley Abbott
embraced), but it really is exhilarating to be back at our Canadian art and
cultural institutions in-person again. Attend an exhibition or show as soon as
Cowley Abbott now holds a twice-yearly Inuit and First Nations Auction, amongst the many other exciting auctions. This is an exciting venture and one that all of the team feel strongly about in terms of learning and respecting the artwork. You have a profound interest in historical Canadian art, but we hear you also enjoy studying Indigenous art?
I do indeed have a profound interest in historical Canadian
art – anything that I can sink my teeth into that affords me the chance for a
deep dive into research, but this also applies for Inuit and First Nations art.
I had the rare opportunity many years ago to work with and learn from a friend
with vast experience in Inuit art. (Actually, my entrance essay for the
Christie’s Master’s program explored the sculptural creations of the Inuit
artist, Manasie Akpaliapik.) As a result, I enjoy discovering new artists and
having the opportunity to handle Inuit artworks entrusted to CA for sale – the
tactile element is wonderful. With fantastic organizations like The Inuit Art
Foundation, which seeks to support Inuit artists through the beautiful Inuit
Art Quarterly (subscribe today!), as well the recent publications on Indigenous
and Inuit artists from the Art Canada Institute, we can learn more about this
beautiful and unique art form and the many talented artists. Make sure to visit
the AGO’s current exhibition, “Robert Houle: Red is Beautiful”, and read all
Holmes can be reached directly by e-mail at [email protected] Stay
tuned for the next installment of “Introducing the Cowley Abbott Team” in
Patrick graduated from OCADU in 2005 and has 15 years of experience working in fine art galleries and auction houses. Joining the Cowley Abbott team in 2019, Patrick has enthusiastically continued developing his knowledge of historical, modern and contemporary Canadian art.
Patrick, you are immersed in art in all
aspects of your life, as you are an artist yourself! This is of great benefit
to Cowley Abbott and wonderful to have an artist on staff. Can you tell us a
bit about your art practice and inspiration?
It has definitely been useful to draw on a
familiarity with painting materials and processes. I often find myself looking
very closely at paintings and thinking about the process the artist went
through. It is such an immense privilege to be surrounded by incredible works
by so many different artists each day. My own paintings are a mix of different
influences, sort of a dialogue between geometric structures and more painterly
forms. It’s abstract, but I see it as a “content-based abstraction”.
As an alumnus of the Ontario College of
Art and Design, you walked the halls that many celebrated Canadian artists also
frequented. Can you share what your studies at OCAD were focused on and how
that experience informed your decision to work in the art world?
The history associated with OCAD is pretty
fascinating. It’s so rewarding to look at art and also learn about the lives of
artists, local histories and the wider social and cultural contexts. While I
was at OCAD, the focus was very much on studio practice, and it was a great
time to experiment with different mediums and connect with peers and teachers.
Any long-term creative pursuit is going to have ups and downs, but painting
seems to have a way of constantly pulling me back. So I feel very fortunate to
be working in a field where I’m very much engaged with art of the past and
Patrick Staheli can be
reached directly by e-mail at [email protected] Stay tuned for
the next installment of “Introducing the Cowley Abbott Team” in a week!
All information and images presented on this website are the property and copyright of Cowley Abbott. Details and images included cannot be reproduced in any form without the expressed written consent of Cowley Abbott.