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
William Kurelek, Threshing Outfit Being Brought Lunch (1972)
November Auction of Important Canadian Art Includes Record-Breaking Sales of Work by Bertram Brooker, Ken Lochhead and Robert Gray Murray
Toronto, ON (November 20, 2018) – A never before seen painting by renowned Ukrainian-Canadian artist William Kurelek,Threshing Outfit Being Brought Lunch(1972), sold for $82,600 (including buyer’s premium), tens of thousands of dollars of above its original purchase price of $250. The painting made its auction debut this evening at Consignor Canadian Fine Art’s live auction event at the Gardiner Museum in Toronto, ON.
The painting was purchased directly from the artist in 1972, and remained within the owner’s family until its offering on Tuesday evening. Kurelek met the original owner, a Ukrainian-Canadian student who had just moved to Toronto, at an exhibition of his work at Isaacs Gallery. She indicated to the painter that she couldn’t afford to purchase any of the pieces on exhibit, so Kurelek offered to create a painting that she could afford. At her request, Kurelek painted a panoramic farm scene as a reminder of her family’s farm on the prairies; a connection that he shared with the owner, having a similar upbringing in rural Manitoba.
The auction highlights also included record-breaking sales of works by Ken Lochhead, Bertram Richard Brooker and Robert Gray Murray.Lochhead’s Colour Rotation (1964), a rare and monumental canvas by the celebrated modernist painter, sold for $54,280, doubling the previous auction record for the artist. Bertram Brooker’s, Delta Ice House, sold for $82,600, three times above its auction estimate ($25,000 – $35,000) and nearly doubling the artist’s previous auction record. Robert Gray Murray’s Burwash, a striking painted aluminum sculpture, fetched $28,320, more than doubling the previous auction record for the artist’s work.
Solid auction results were also achieved for:
A.Y. Jackson, St. Irenée, Quebec, a classic and compelling Quebec winter village scene by the Group of Seven painter, sold for $94,000, more than double its opening bid
A.J. Casson, Storm in the Cloche Hills, an exemplary 1951 dramatic landscape which was featured on the cover of the fall auction catalogue, sold for $118,000, almost doubling its opening bid
Marc-Aurèle Fortin, Ste. Rose Paysage, the 1939 vivid Quebec landscape selling for $70,800
William Perehudoff, AC-85-81, fetching $33,040, exceeding pre-sale expectation
Jean Paul Riopelle, Sans titre, the 1965 work on paper by the Quebec abstract master fetching $23,600, exceeding the high-end of pre-sale expectation
Maud Lewis, Red Sleigh on a Country Road, the early work by the Nova Scotia folk artist selling for $20,060, exceeding the high-end of expectation (one of three works by Lewis to perform strongly during the evening)
Toronto, ON (May 29, 2018) – Consignor Canadian Fine Art’s Spring Live Auction of Important Canadian Art, held Tuesday evening at Toronto’s Gardiner Museum, concluded with stellar results for a wide range of rare and quality artworks which celebrate Canada’s diverse history and culture.
Among the exemplary works up for bid was the auction debut of William Kurelek’s Toronto series masterpiece, Hot Day in Kensington Market, which more than tripled its opening bid, selling for $472,000 – the second highest auction price on record for the artist (all prices include an 18 percent buyer’s premium, the lowest in the Canadian auction industry).
A second painting by Kurelek entitled Hauling Hay also easily surpassed its pre-auction estimate, fetching $94,400.
The most surprising result of the evening was a record set for renowned Canadian war artist, Charles Comfort, whose oil on board titled, Smokestacks, Copper Cliff, sold for $33,040; six-times its auction estimate of $3,000- $5,000. The painting is one of several preparatory sketches to the final canvas, Smelter Stacks, Copper Cliff, which is housed in the National Gallery of Canada’s permanent collection. The previous record for a Charles Comfort work of art was $20,700 (for Hope Island Light, Lake Huron, sold in 2005).
Solid auction results were also achieved for:
Emily Carr, Logged Land, a 1930s oil on paper on canvas support, sold for a strong price of $377,600
A.Y. Jackson, Ruisseau Jureux, 1931 oil on canvas painting sold for $88,500
Marcelle Ferron, Sans titre, an important canvas selling for $49,560, by the artist who was a major figure in the Quebec contemporary arts scene
Jean McEwen, Les Fiançailles No. 5, large-scale 75” X 75” oil on canvas by Montreal abstract master (auction estimate of $25,000 – $35,000) tripled its estimate at $88,500
A striking and rare 22-karat miniature gold sculpture by Haida artist and sculptor Bill Reid, Chief of the Undersea World sold for a strong $129,800
Daphne Odjig’s Family Ties, a 36” X 34” acrylic on canvas painted in 1981, which made its auction debut sold for $37,760
Since its inception in 2013, Consignor’s live and online auctions have included headline-grabbing works such as a rare 100-year-old Tom Thomson portrait (Daydreaming, sold for $172,500), an undiscovered William Kurelek (Ukrainian Proverb, sold for $41,400), and Jack Bush’s Summer Lake broke online auction records in May 2014 for the most expensive painting by a Canadian artist to be sold at an online auction ($310,500). Consignor’s inaugural live auction event in May 2016 set the record for the highest-selling Algomasketch by Lawren Harris, fetching $977,500, tripling the previous auction record.
Consignor Canadian Fine Art is currently accepting consignments for its upcoming auctions, including the June Online Auction of Canadian and International Artwork, with bidding open at consignor.ca from June 6-13, 2018.
Lake Superior Fetches $161,100, Almost Tripling Previous Auction Record for a Work on Paper by the Group of Seven Artist
(Toronto – November 23, 2017) – The preparatory work for of one of Lawren Harris’ most renowned canvases, Lake Superior (I.D. 463) sold for nearly five times its auction value setting a new record for a pencil sketch by the Group of Seven artist, fetching $161,000 (significantly above its pre-estimate of $20,000 – $30,000; all prices include a 15 per cent buyer’s premium, the lowest in the industry). The sketch made its auction debut last night at Consignor Canadian Fine Art’s live auction event in Toronto, smashing the previous record for a Harris sketch of $64,900. The exceptional quality of the sketchpad drawing, once owned by the painter’s wife, Bess Harris, along with its rarity and historical significance, helped to propel the bidding to achieve a new auction standard for a Harris work on paper.
“Although we anticipated this exceptional work would garner significant interest, we’re thrilled to have achieved a new record result for this important piece of narrative in Harris’s creative process, particularly a sketch that is connected to one of his masterpieces,” said Rob Cowley, President of Consignor Canadian Fine Art. “Today’s results continue to illustrate Harris as one of our country’s most celebrated and iconic artists.”
Another highlight of Consignor’s fall auction was a watercolour painted in 1911 by Emily Carr during her artistic training in France. European Street Scene nearly doubled its opening bid to sell for $276,000 (including premium). The painting was one of many notable works acquired this past summer during Consignor’s Art Roadshow that travelled to 10 cities from coast-to-coast, inviting the public to bring in works of art for valuation. European Street Scene emerged out of the firm’s visit to Calgary during the tour.
Solid auction results were also achieved for the following works collected from across Canada:
A.J. Casson, Bridge Over Humber River, one of the first outdoor sketches by the artist, sold for $32,200, exceeding its pre-sale high estimate. Consigned from a collector in British Columbia.
Alex Colville, Recording Line Zero, Near Nijmegen, a rare war-period watercolour fetched $34,500, one of the highest prices ever achieved for a work on paper by the artist. Secured from a collection in New Brunswick.
Three Black Cats by Maud Lewis, the most popular subject by the East Coast artist, fetched $20,700 (doubling its opening bid, $10,000 – $15,000). This was another work discovered during Consignor’s Art Roadshow in Ottawa. The painting, inherited from the owner’s mother, was tucked away in the family’s basement for decades. It was secured during Consignor’s summer travels when a friend had alerted the owner to the possibility she owned a popular and valuable Maud Lewis work, after seeing a similar painting in the news that was sold by Consignor in the spring for $36,800 (an auction record for the artist). It was a tremendous evening for the work of Maud Lewis, with all seven works on offer achieving prices in excess of the high-end of pre-sale expectation and one rare, large-scale painting, Team of Oxen Ploughing, selling for $32,200, within reach of Consignor’s existing auction record for the painter.
Post-War and Contemporary selections attracted fierce bidding throughout the evening auction, with many works achieving prices at or above pre-auction estimates.
Featured on the front cover of the Fall Auction catalogue, Michael Snow‘s 1958 canvas Off Minor attracted strong bidding on Thursday evening, the rare painting selling for $57,500, at the high end of expectation. The painting had been held in a single Toronto collection for decades following its creation, the Consignor auction its first opportunity for acquisition since the late 1950s.
Consignor Vice President and Senior Specialist Lydia Abbott shared, “We are thrilled with the performance of our catalogue cover lot by Michael Snow, a result which underscores collector’s interest in the period of the artist’s career as well as the significance of the period in Canadian art history.”
Two works by Prairies painter William Kurelek captivated collectors during Consignor’s month-long previews, leading to feverish competition within the auction gallery, Arrived Too Early achieving $29,900 (just short of doubling its estimate) and I Hate Water (A Cat’s Loss of Dignity), portraying a feline’s unexpected dip in a pond, selling for $25,300 (exceeding the high-end of expectation).
Saskatchewan painter William Perehudoff‘s canvases proved to be in demand during the evening, AC-78-20 nearly doubled its opening bid to sell for $27,600, while Arcturus #32 was hammered down at $14,950, to more than double its opening bid after a battle in the auction gallery.
Consignor Canadian Fine Art closes their fall sale with a November/December Online Auction (with bidding open between November 29th and December 6th). The firm has already begun collecting for their 2018 auctions, including the Spring Live Auction of Important Canadian Art, scheduled to take place in late May (date to be announced).
Auction Showcases Important Non-Figurative Works in Canadian Art History
Consignor’s Fall Live Auction of Canadian Art presents an impressive selection of abstract painting from artists across the country and through the decades. Early ventures into abstraction in Canada occurred in the 1920s and 1930s, although they were sporadic and inconsistent. These artists, notably Kathleen Munn, Bertram Brooker, Lawren Harris and Jock MacDonald, were heavily influenced by European artistic movements, namely Cubism, Surrealism and Symbolism. An examination of the abstract works in Consignor’s November sale can help illustrate the story of how abstraction emerged and developed throughout Canada in the following decades.
In the 1940s, Montreal gave rise to the highly-influential Automatistes, Canada’s first avant-garde art movement. Under the leadership of Paul-Émile Borduas, a group of young artists rebelled against their artistically conservative and politically and religiously repressive province. They strove for creative spontaneity, free from academic rules.
After reading André Breton’s “Le Surréalisme et la peinture” in 1945, Jean-Paul Riopelle was inspired to break away from tradition to pursue non-representational painting. The young artist created several small watercolours in the next two years, consisting of web-like black lines, inspired by Surrealism and Breton’s automatic writing techniques, such as Sans titre of 1946, lot 6 in Consignor’s November sale.
Another member of the Automatistes, Marcelle Ferron was encouraged by Borduas to abandon landscape painting in favour of a more radical abstraction. From 1946 to 1953, Ferron preferred a ‘sgraffito’ technique, applying multiple layers of pigment and scraping away between applications with a palette knife. This signature approach of Ferron is exemplified in the colourful layers of paint in Sans titre (1949), lot 101 in the Live Auction.
In the following decade abstraction spread across Canada. Toronto exploded as an art centre in the 1950s, largely influenced by the Abstract Expressionists in New York. Harold Town was a founder and member of the Painters Eleven, a group of Toronto abstract artists that exhibited together during the 1950s. Rich colour and thick paint application, as exemplified in Clandeboy Reprise(1959), lot 71, are characteristic of Town’s approach to abstraction, inspired by the New York School.
Contemporary artist Michael Snow exhibited in Toronto in the mid-to-late 1950s at the Greenwich Gallery. Though today he is known as a pioneer of conceptualist and multimedia art throughout the world, Snow’s work of these years were also heavily influenced by American abstract artists such as De Kooning, Kline, and Rothko. Off Minor(1958), lot 25 in Consignor’s November auction, exemplifies Snow’s affiliation with avant-garde abstract movements at the time, shortly prior to creating his famous Walking Woman Works.
A notable and influential group of Canadian abstract artists formed in Regina in the 1960s, known as the Regina Five. Founding member Ron Bloore was instrumental in starting the Emma Lake workshops as a way for practising artists to break from the artistic isolation they felt in the prairies. As a professor of art history and archaeology, the influence of archeological excavation and ancient civilizations worked their way into Bloore’s painting.The monochromatic palette of Untitled, lot 86, references the white marble buildings and sculptures of ancient Greece and the Classical period.
During the Emma Lake Artists’ Workshops held in 1962-63, Saskatchewan artist William Perehudoff was introduced to Post-Painterly Abstraction by art critic Clement Greenberg and American artist Kenneth Noland. Many of the artist’s wide horizontal canvases of the mid-to-late 1970s are composed of vibrant parallel bands of colour, such as AC-78-20, lot 11 in the live auction. The effect of the flat plains and open skies that are so dramatically present throughout Saskatchewan is often detectable in Perehudoff’s work – AC-78-20 may be evocative of a prairie sunset.
Jack Shadbolt was an innovative and dominant figure in the Vancouver art scene beginning in the 1940s. Shadbolt drew from many sources of inspiration, including Cubism, Surrealism, American Regionalism and Northwest Coast art. The artist met Emily Carr in 1930 while attending Victoria College. Carr left a strong impression on Shadbolt’s life and work; they were both inspired by the spiritual unity with nature that is apparent in Northwest Coast art. Sea Edge 5 (1978), lot 9, is exemplary of Jack Shadbolt’s bold and colourful work of the late seventies. Sea Edge 5 serves as part of a series on the theme of abstracted seascapes, and Contexts: Variations on Primavera Theme, lot 10, is one of 15 hand-painted posters of the ‘primavera’ theme, which together form a mosaic-like mural.
Abstract painting in Canada has continued to evolve through a multitude of approaches in the 1970s, 80s and through to today. Lot 8,Rituel, by Léon Bellefleur, Lot 31, Spring Yellows – B by Gershon Iskowitz, and Lot 103, Les feuilles d’un astre by Jean-Paul Jérôme, among many other non-figurative artworks in Consignor’s Fall Live Auction, demonstrate the enduring development of unique abstract styles throughout the country, from the ‘gestural’ to the ‘hard-edge’. Visit our gallery and view the full catalogue on the Consignor website for more artworks and details regarding the Fall Live Auction of Important Canadian Art on November 23rd at the Gardiner Museum.
