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 peter@cowleyabbott.ca 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
“If you come from art, you’ll always be art” – David Bowie
Attracting attention from collectors around the globe, David Bowie’s DHead XLVI fetched $108,120 CAD during the Cowley Abbott Spring International Art Auction, which closed on Thursday, June 24th. The small portrait, which was purchased at a donation centre in Northern Ontario for $5, drew bids from clients located across Canada and well beyond our borders, finally selling for almost ten times the pre-sale auction estimate of $9,000-12,000, establishing a new global auction record for an artwork by David Bowie.
David Robert Jones, known more commonly as David Bowie, was an icon of the music industry and of twentieth century pop culture. Like many musicians, Bowie studied art and design as a young man, which would foster a love of fine art throughout his lifetime. He was also a passionate collector and painter, heavily influenced by the modernist art trends of the twentieth century; his paintings possess the stylistic influences of the German expressionists, Francis Bacon and the London School of painters. Bowie’s own work rarely appears at auction, so when Cowley Abbott was contacted about a painting entitled D Head XLVI, there was a cautious excitement.
D Head XLVI was found in the most unexpected place: a donation centre for household goods in South River, Ontario. The chance discovery of this treasure within a pile of discarded goods is quite remarkable. The consignor of the painting was astonished upon viewing a label which read “David Bowie” and realizing it was the signature of the artist inscribed on the reverse. After conducting thorough research, which included correspondence with a David Bowie specialist in the United Kingdom, we were able to confirm that the painting is indeed by the famous artist and part of a series that he completed in the 1990s.
Between 1995 and 1997 Bowie created a series of approximately forty-seven works on canvas which he entitled Dead Heads (or D Head). Each title included a non-sequential Roman numeral. The sitters ranged from band members, friends and acquaintances and there were also some self-portraits. It has been suggested that, for some of these important paintings, Bowie drew inspiration from the Ziggy Stardust era. With long hair and a pronounced profile, this energetic and enigmatic portrait is truly a rare representation from a celebrated artist (we can attempt to surmise who the sitter is, however, unfortunately the label does not confirm their identity.)
Cowley Abbott was pleased to be entrusted with such an exciting artwork and delighted to share the painting and its story with collectors in the weeks leading to the auction. The story was carried by media outlets around the world, our firm’s excitement matched by Bowie fans and art collectors globally.
Cowley Abbott’s Live Auction of Important Canadian and International Art, taking place on September 24th at the Royal Ontario Museum, includes numerous works by celebrated Canadian female artists. Women artists have had a monumental impact on Canadian art throughout the decades. These accomplished artists have enriched the practice of visual art with their unique voices and distinctive artistic styles, developing an important facet within the Canadian art world. The breadth and talent of these female artists, and their significance in the past, present and future, is essential to the captivating story of Canadian art-making and collecting.
Rita Letendre, Abstraction (1974)
The critically acclaimed Rita Letendre, a prominent abstract artist, born of Abenaki and Quebecois heritage, has had a significant artistic career of various stylistic periods, spanning decades and various geographic placements. Letendre’s career in painting was cemented in Montreal in the 1950s when she became associated with two prominent abstract groups in Quebec, Les Automatistes and Les Plasticiens. Letendre was often the sole female artist within the shows for these groups, and eventually developed away from their approach to painting, finding it too restrictive.
Letendre’s large canvases of the 1970s explore her fascination with depicting speed and vibration. The use of airbrushed paint creates a dimension of depth in “Abstraction” (lot 48), while the dramatic shift in palette occurs when the black ‘arrow’, framed by two vivid neon green and bright pink stripes, constrained by turquoise and azure bands, slices through the surface of the work. The sharp lines of bright colour all converge to a single point at the tip of the black ‘arrow’ in these works, magnifying and concentrating the energy. Like the birth of a supernova, light and energy burst forth from the image plane in “Abstraction”.
Joyce Wieland, Conversation Piece (1960)
Joyce Wieland studied design at Central Technical School in Toronto, before working as a graphic designer in the early 1950s and developing her practice in visual art. Wieland lived and worked with other artists in Toronto, eventually meeting the noted Canadian artist, Michael Snow, who she went on to marry. Wieland’s artistic career began to develop in 1960 when she held her first solo show after being included in a number of group shows. We recognize Wieland’s contribution to Canadian art for her experimentation with film, and her numerous paintings, assemblages, and mixed media works depicting themes of erotism and feminism.
Between 1959 and 1960, Wieland set up a proper studio space, purchased canvases and supplies and started executing larger scale works. Representing the first suggestion of her artistic future, the provocative works often featured phalluses, vaginas and hearts rendered in a humorous cartoon-like representation. Exploring this new lexicon, Wieland called these works her “sex poetry”. During a time where the female subjugation from her male contemporaries was celebrated, Wieland turned the tables and gazed at the male with the same liberty and lust automatically afforded to these male artists. “’Conversation Piece’ with a Short on Sailing” (lot 51) exemplifies this cheeky and boundary pushing question of gender politics.
Molly Lamb Bobak, The Bike Race
A trailblazer for women in the arts in Canada, Molly Lamb Bobak was an official war artist, stationed in England during the Second World War. Bobak had initially enlisted as a draftswoman in the Canadian Women’s Army Corps (CWAC), documenting the day to day activities of her fellow corps members. Having exhibited at the Canadian Army Art exhibition in 1944, Bobak was awarded a prize for her work leading to her appointment as a war artist between 1945 and 1946.
Bobak often gravitated towards depictions of crowd scenes, as she was inspired by the celebratory victory parades of the Allied Forces at the end of the war. The communal gathering and subsequent energy created in a crowd fascinated the artist and this interest was further explored when Bobak returned to Canada to begin teaching at the University of New Brunswick. Frequenting pubs, sporting events, parades and student rallies, the campus environment offered Bobak ample inspiration and the opportunity to capture the essence of the crowd scene unfolding. “The Bike Race” (lot 2) is a charming work; the canvas captures the movement and frenzy of a bike race, as cyclists round a corner with exaggerated leaning bodies and dots of bright colour stipple the landscape.
Dorothy Knowles, Reeds (1979)
Dorothy Knowles grew up on a farm overlooking a Prairie valley in Saskatchewan and initially had no plans to become a painter, studying biology at the University of Saskatchewan. At the time of her graduation, a friend persuaded her to enroll in a six-week summer course given by the University of Saskatchewan at Emma Lake, where Knowles found a proclivity for art. Her participation in the Emma Lake Workshops in the late 1940s through to the 1960s greatly influenced and encouraged her interest in landscape painting.
In the 1960s Knowles discovered the importance of working directly from nature, while also employing the use of sketches and photographs to finish her work in the studio. Her paintings capture the richness of the Prairie landscape through exploration of colour and texture. In “Reeds” (lot 71), Knowles transmits the diverse natural environment of the landscape. Often associated with paintings of expansive flat fields of wheat, Knowles brings a fresh approach to capturing her native landscape, exploring an impressionistic view of a diverse marshy landscape.
Nora Collyer, Summer Landscape
In 1921 Nora Collyer joined fellow Art Association of Montreal graduates at their studio at 305 Beaver Hill Hall. This association of artists called themselves the Beaver Hall Group. The three-story house offered the artists inexpensive studio space and a large room on the ground floor, which served as their exhibition gallery. The Beaver Hall group of modernist painters had a distinctive style rooted in the life and culture of Montreal and Quebec.
Growing up in Montreal with English Protestant parents, Collyer was imbued with a strong sense of community and gravitated towards depicting village landscapes and tokens of rural communities. With a richly composed foreground and a distant village depicted by the shore, “Summer Landscape” (lot 68) is executed with bold colour and rhythmic form, expressing her love of the region.
Kathleen Morris, The Fruit Shop, Ottawa
Kathleen Moir Morris studied under William Brymner and Maurice Cullen at the school of the Art Association of Montreal, and became a prominent member of the Beaver Hall Group in 1920. Working in oil, her subjects include landscape, genre, street and market scenes, as well as cabstands throughout Montreal and its environs. Morris was born with a physical disability, but refused to let it prevent her from painting outdoors in all seasons. After her father passed away in 1914, Morris moved to Ottawa with her mother a few years later, residing in a house on O’Connor Street from 1922 to 1929. The painter maintained an active presence in the Montreal art scene while living in Ottawa, continuing to participate in Beaver Hall exhibitions as well as those of the Canadian Group of Painters.
Morris would have frequented the Byward Market, still a bustling and popular destination to this day. In “The Fruit Shop, Ottawa” (lot 17), she depicts the sun shining on a fruit stand, busy with market goers in stylish 1920s attire. The crates of produce are colourful and warmly lit, as is the teal awning framing the upper border of the composition. Morris chose a bright and modern palette, synonymous with her body of work and that of the Beaver Hall Group. She painted from sketches, in which she simplified the forms and applied colour in bold, thick patches, visible in the faceless figures and abstracted fruit and vegetables.
Laura Muntz, The Handmaiden (1900)
Laura Muntz, born in Warwickshire, England, and came to Canada as a child with her family to settle on a farm in the backwoods of the Muskoka District. She became a school teacher in Hamilton, Ontario, and in her spare hours took art classes. With money saved from her teaching job she studied for a short time at the South Kensington School of Art, England about 1887. She returned to Canada and spent the next seven years earning money for study in Paris at the Academie Colorossi. Muntz also travelled in Holland and Italy and at the end of seven years returned to Toronto and opened a studio.
Muntz was first exposed to the tenets of Impressionism while undertaking artistic training in Paris from 1891-1898. She then adopted the use of light and open, fluid brushwork in her own compositions. The rich tones of Muntz’s swift brushwork in “Girl with Blue Bowl” (lot 58) creates a sensation of gentleness and warmth, reflecting Muntz’s genuine interest in the aesthetic representation of children. Although sadly childless herself, Muntz lived a life surrounded by children. She was a schoolteacher upon moving to Canada, and later became the caregiver of her deceased sister’s eleven children. Muntz’s depiction of domestic scenes not only reveal a consistent study of her most treasured subjects, women and children, but illustrate the female experience of Canada in the late nineteenth and early twentieth centuries.
Maud Lewis, Sandy Cove
Maud was born in South Ohio, a community near Yarmouth, Nova Scotia. Born disfigured with sloped shoulders and her chin resting on her chest, Maud led a confined but happy home life after she quit school at 14. Physical deformity may have been her lot, but even more tragic was the loss of both her parents within two years. Thankfully, an aunt who lived in Digby took her in. There she would later answer a newspaper ad that would determine the course of her life. A man named Everett Lewis wanted a housekeeper for his cottage in Marshalltown. She married him in 1938 at the age of thirty-four and would never travel more than an hour’s drive from her birthplace. Maud gathered images from her happy childhood and limited excursions in a Model T with Everett to paint cheerful images on dust pans, scallop shells and even on her house. They would settle into a routine where Everett enjoyed peddling and haggling over the paintings Maud would love to paint. The happiness she painted first attracted neighbours, then tourists and eventually even international attention. It started with a Star Weekly newspaper article and then a 1965 CBC Telescope program featuring her unique works. Her notoriety began to bloom and orders came in so fast that the paint hardly had time to dry.
Maud Lewis, Three Black Cats
The simplicity of Maud Lewis’ paintings, brushed initially with scrounged paint from local fishermen onto ubiquitous green boards and postcards, continue to evoke feelings of innocence, of child-like exuberance as enduring as the spring times she loved to paint. Her works, such as “Three Black Cats” (lot 61) and “Sandy Cove” (lot 62) continue to capture audiences intrigued by everyday scenes as diverse as three black cats, hard-working oxen, whimsical butterflies and harbour scenes.
Henrietta Mabel May, Farmstead, Eastern Townships
Following studies at the Art Association of Montreal, Mabel May and fellow graduate, Emily Coonan, travelled to France to study. She and Coonan travelled widely in Europe, visiting galleries, museums and sketching, becoming a devote of the Impressionists. Upon her return to Montreal, and with her fellow AAM graduates, May helped establish the Beaver Hall Group in 1920, and in 1933 she became a founding member of the Canadian Group of Painters.
Embracing the francophone tradition of depicting inhabited landscapes, “Farmstead, Eastern Townships” (lot 65) showcases May’s ability to arrange colour to accentuate the weighty mass of the farm structures, while maintaining a sense of lightness in the warm colour palette. Bold strokes of red, ochre and chartreuse imbue the work with warmth, light and vibrancy, highlighting the beauty of the rural scene.
Doris McCarthy, Iceberg & Floes (1998)
Doris McCarthy – lot 8 and lot 87 images and cataloguing
Born in Calgary and raised in Toronto, Doris McCarthy is recognized as one of Canada’s foremost landscape painters. A teacher at both the Ontario College of Art and Central Technical School, McCarthy spent most of her life living and working in Scarborough, Ontario though she enjoyed many painting adventures across Canada and abroad. In some instances, McCarthy painted on site, and other times she took photographs to refer to later in her studio.
Doris McCarthy, Two Boats at Barachois (1934)
Painting mainly in oils and watercolours, McCarthy developed a personal style that was consistently praised for its vitality, boldness and skillful explorations of hard-edged angles, form and colour. “Two Boats at Barachois” (lot 87) demonstrates this confidence and the aptitude of McCarthy’s brush. McCarthy is probably best-known for her Canadian landscapes and her depictions of Arctic icebergs. In 1972, the year of her retirement from teaching, Doris made her first of many trips to the Canadian Arctic. McCarthy was fascinated with the topography of this territory and the new painting opportunities it provided her. Her paintings of icebergs and the Arctic landscape, including “Iceberg & Floes” (lot 8), are considered to be among the artist’s best known and most celebrated works.
Navigating the art market can be both an exciting and a
daunting task for new buyers, experienced collectors and art market
professionals. With a plethora of commercial galleries, online purchase
platforms and auctions seemingly running 24/7, the buying options are
limitless. At Cowley Abbott, we prioritize exceptional customer service and
take pride in assisting our clients find the perfect artwork to either add to
or begin their collection. In this article we will look at some key factors to
consider when looking to start, build or mature your art collection, as well as
the benefits of buying at auction.
Christopher Pratt, Girl on my Couch (1984)
Where to Start?
Of course, one’s aesthetic taste is an obvious starting
point. When a client inquires about what artist, time period or style of art they
should collect, we encourage first to scan galleries, auctions and online
resources to pinpoint what naturally appeals. Once there is a clear idea of an
overall genre, style or even a particular artist that a collector wants to
focus on, this establishes a solid foundation to build upon. Investment and
future value are the next factors to consider. Although collecting art is an
emotional and subjective process for collectors, the financial aspect of
collecting is a natural and valid query. Invariably, the next question asked
is, which artist or artwork will hold value over time. There is no crystal ball to consult to ensure
that an artist or artwork will maintain its economic value, just as there is no
guarantee that one’s financial investments will hold steady without change.
However, auction, by virtue of its transparency, establishes a sense of
confidence. Estimates and hammer prices reflect the realistic expectations of
the secondary market for an artwork and artist, no matter a collector’s budget.
Jean Paul Riopelle, Feuilles VI (1967)
New collectors often seek an understanding of the art market before committing to their first purchase. This strategy takes into account a collector’s taste and shifting art market trends. Bearing this in mind, works on paper by major artists who trade at auction are an excellent buying option for new collectors. Typically, works on paper, such as drawings, watercolours and prints, offer a lower financial entry point and are an excellent example of the artist’s production, while allowing the collector to inform their aesthetic taste. Canadian artists, such as Jack Bush and Christopher Pratt, produced works on paper in tandem with their painting, developing fascinating and sometimes unique, experimental testimonials to their overall practice. “Sash”, “Totem” and “Thrust”, prints by Jack Bush, offer bright renderings closely linked to both his works in gouache and his large canvases. Similarly, Pratt’s graphite drawings of nude models and interiors are often the basis for both his coveted print works and paintings, functioning as intentional works of their own. Works on paper offer an incredible opportunity to understand the technical process of an artist. Notes on colour, shading, location and even the time of day can be conveyed, providing a unique insight into completed works by the artist.
As a new collector, the benefit to both monitoring and
participating in auctions is accessibility to the wide variety of works
included in these auctions, either online or live. A collector can study the
online auction catalogues, view multiple images of the works included, request
condition reports on specific artworks and compare artworks to navigate their
own interests and taste. At Cowley Abbott, we offer dedicated sales of
Works on Paper, taking place in February and July, offering an exceptional
opportunity to begin collecting or build upon an established collection.
I know what I like, how do I navigate value?
Jack Bush, Purple Thrust
Researching and learning more about major art movements,
artist collectives, groups and periods all contribute to a more well-rounded
understanding of the cultural value of artworks. This aids in further
distilling a collector’s taste; perhaps gravitating to one artist of a major
group over another and establishing a more finite point to begin collecting.
Navigating the estimates applied to artworks is an integral component to collecting. When auction houses ascribe estimates to artworks, the value is based upon past results for an artist at auction. Our specialists research comparable works by the artist, taking into account various attributes, such as medium, dimensions, style, overall quality and period for the artist. Hammer prices and auction estimates for these comparable pieces are taken into consideration in order to provide realistic expectations for artworks offered at auction. This recognized practice of valuation establishes greater transparency for new collectors navigating the auction market.
The Basics of Understanding Value
ArtTactic professionals have broken down the stages of an artist’s trajectory in order to measure the relationship between the cultural and economic value of their work within the art market. The following factors are considered when offering an artwork at auction, allowing further insight into how and why specific artwork by an artist may achieve a higher value.
Formation Phase
Art School
Grad Show
Local collector interest / exhibiting with smaller or younger galleries
Art Fair showing
Curator interest
International interest (though less so with Canadian art given the regional market)
Reputable Artist Prizes
Expansion Phase
Move to representation with established gallery / solo exhibition
Acquisitions by major collectors
International solo exhibition
AUCTION DEBUT—works selling above expectation
Consolidation Phase
Strong and Consistent auction market activity
Consistent commercial and museum exhibition activity
Further factors to consider include condition, quality, characteristics of the artwork, the provenance and, to an extent, rarity. Though rarity can aid in increasing the value of an artwork — for instance if the work is a sketch or panel for an important work by the artist — it can also have an adverse effect (ex. an artwork depicting a floral still life by an artist who is celebrated for their work in abstraction). For new collectors, it is an important component to be mindful of, as rarity can equate to a smaller pool of collector interest should one seek to sell in the future to mature a collection or should aesthetic tastes change.
These factors are guidelines to understanding established
value, how specialists arrive at estimates, and driving forces for market
trends. If there is a strong emotional draw to an artwork, collectors should
trust their instincts and collect works that they will enjoy and that will
enrich their collections.
How can Cowley Abbott assist?
Our monthly online auctions are an opportunity for a collector to ‘check’ the pulse of the market and dabble in their own collection journey. Interested collectors are invited to monitor the progress of our auctions and the performance of a specific artwork with no obligation to bid or participate. Our easy to navigate website offers a comfortable and convenient environment to participate should a collector wish, while our team of specialists are available to assist with any questions or concerns regarding artworks, or the auction process. The artworks included in the online auctions are available to preview at our gallery, and we invite you to visit us to view the works in person (should you be in the Toronto area or find yourself here visiting during our previews).
Guido Molinari, Untitled (Vertical blanc)
Our live auction of Important Canadian Art, which takes
place in the spring and fall each calendar year, offers fresh insight into the
auction world. We invite clients and collectors to experience the excitement of
a live auction, as the event is open to the public and there is no obligation
to participate. We provide extended gallery preview times to view the artworks
included in these auctions to accommodate travel and scheduling realities,
while flexible bidding options are available (in-person, absentee and
telephone). The opportunity to view and engage with rare, museum-quality works
is a privilege we love to share with our clients.
Our boutique firm specializes in Canadian Fine Art and our
team of experienced and trained professionals is available to answer your
collecting queries. We emphasize transparency in our business and market
discussions with clients. We publish the price realized for all artworks sold
at auction, partnering with global art market indexes, and provide full
cataloguing information for all artworks we are entrusted with for sale. We
strive to provide clients and collectors with the highest level of service, and
we would be delighted to assist you in your collecting journey!
David Milne, Soft Hills (Misty Hill) (Boston Corners, N.Y.)
Related work to Harris’ Record-Breaking Algoma sketch hits the Block with Masterworks by David Milne & Claude Tousignant debuting at Consignor Canadian Fine Art’s Spring Live Auction on May 28
May 1, 2019 (Toronto, ON) – Lawren Harris rarely repeated subject matter, but the familiar depiction of Algoma, an island of tall trees, was a pivotal scene for the renowned Canadian artist, serving as the focus of several large-scale canvases. In 2016, Consignor Canadian Fine Art’s inaugural live auction event set the record for the highest-selling sketch of the Algoma region by Lawren Harris, fetching $977,500, tripling the previous auction record. Now, two new Harris sketches of the area will go on the auction block at Consignor’s Spring Live Auction of Important Canadian Art, taking place May 28 (7pm) at Toronto’s Gardiner Museum.
Algoma Sketch XCII (Algoma Autumn), painted in 1920, marks an important place in Canadian art history, portraying the region where the Group of Seven embarked on their first sketching trips as an official association. The colourful oil sketch depicting a densely populated forest scene is being offered with an auction estimate of $150,000 to $250,000.
Another of Harris’ works, Algoma, is a graphite drawing depicting the familiar island scene and serves as a related work for major canvases by the artist, including paintings at the Vancouver Art Gallery and the Boston Museum of Fine Arts. The graphite sketch has an estimated value of $15,000 to $20,000 but could exceed expectations based on the strong past performance at Consignor’s auctions of Harris’ graphite studies including the sale of Lake Superior in 2017 for $161,000, a record for a Harris work in this medium.
“Lawren Harris’ work continues to captivate collectors and art enthusiasts across Canada and beyond our borders, and we are already witnessing a great deal of interest and excitement for the two Harris artworks included in our upcoming auction,” said Rob Cowley, President of Consignor Canadian Fine Art. “No matter the medium, Harris’ Algoma compositions are a fascinating display of the region and his development as one of our Canada’s most renowned artists. We are proud to have achieved record-breaking results for Harris’ work in oil and graphite over the past few years and are pleased to offer two works connected to such a pivotal area and period for Harris and the Group.”
David Milne’s Soft Hills (Misty Hills) (Boston Corners, N.Y.), a masterful watercolour painted by the artist in 1917 also appears for the first time at auction at the May 28th evening sale. Composed shortly after Milne and his family moved to the small village of Boston Corners, watercolours from the region are considered to be some of Milne’s most iconic, this stunning work a perfect example, on offer with an auction estimate of $40,000 to 60,000.
Other
notable artworks featured in Consignor’s Spring Live Auction include:
Claude Tousignant,Absurdo (1964), 72” x 72”, a mesmerizing canvas by the celebrated Quebec abstractionist, recently on view at Calgary’s Mount Royal University (auction estimate $60,000 to 80,000)
William Perehudoff, AC-69-29 (1969), 63.5″ x 87.75″, a quintessential Colour-Field canvas, showcasing the unique voice of the Prairies abstract master.
William Kurelek, Tale of a Dog, 13.25” x 1.25”, mixed media on board, was gift from Kurelek to its current owner, a fellow framer and friend, is offered up for sale for the first time (auction estimate $7,000 to $9,000)
Tom Thomson, Road Near Leith, 8.25″ x 13.5″, a rare and early canvas by the famed Canadian landscape painter, depicting the area near his childhood home.
Live previews are currently taking place at the Consignor Canadian Fine Art Gallery located at 326 Dundas Street West and viewable at consignor.ca. Consignor’s Spring Live Auction of Important Canadian Art will take place on Tuesday, May 28, 2019 at 7pm at the Gardiner Museum located at 111 Queen’s Park, Toronto, ON. The auction’s second session will be held online, with more than 150 works of art available for bidding between May 22 to June 5, 2019.
