Cowley Abbott enjoyed a successful preview in Calgary sharing highlights of Select Masterworks of Canadian & International Art with new and seasoned collectors. Thank you to our hosts at Norberg Hall, our guests for attending the various events over the preview and to Canadian Art Hop for including Cowley Abbott in both Calgary and Toronto on the tour.
The auction preview will begin in our Toronto gallery on Friday, May 16th and we are eager to share the artworks with you. We have many exciting upcoming events and our specialists look forward to welcoming you over the coming weeks.
The Spring Live Auction will take place in Toronto on Wednesday, May 28th, and will include artwork by celebrated historical, post-war and contemporary artists. The live auction catalogue is now available online to browse.
I was sad to hear of Robert Noakes’ passing last year, but while preparing his art collection to be offered for sale, vivid memories of Robert buzzing around the auction rooms during previews and phone bidding with him came back to me.
I first met Robert early in my career when I was working for a local Toronto auction house. During previews, he would stride into the galleries, making straight for the works he was interested in. Inevitably, these would be decorative arts, furniture and fine art. His residence, luxuriously decorated with artworks and sculptures in every room, was a testament to his expert eye as a collector.
Works by Graham Coughtry, Henri Matisse and Guido Molinari displayed at the Noakes residence
During the auction week, I would often be assigned to phone bid with Robert. Phone bidding with him was always exciting. I would call him three lots ahead, we would quickly catch up, and then it would come time to bid on the lot he wanted, and he would get very serious. Once the auctioneer had opened the lot, he would quickly jump in, usually telling me to keep the paddle up until he won the lot. Or he would wait until the auctioneer would hammer down a lot and tell me to bid, eventually winning the lot. His quick thinking and passion for collecting art made him a memorable figure in the Canadian auction world, unlike anyone else.
Cowley Abbott is delighted to present four online auctions showcasing the breadth and depth of his collection. There are exceptional works in each auction, with the following highlights in our February sales:
Lot 20. Françoise Sullivan, Rouges. Oil on canvas. 30 x 40 in (76.2 x 101.6 cm). Estimate: $7,000-9,000Lot 35. Robert Motherwell, Three Forms II (B. 416). Etching with carborundum on grey HMP paper. 17.5 x 22.5 in (44.5 x 57.2 cm). Estimate: $3,000-4,000Lot 2. Guido Molinari, Noir & Blanc. Ink on paper. 20.5 x 26 in (52.1 x 66 cm). Estimate: $10,000-15,000
Rare Artwork by Paul Kane and Andy Warhol’s portrait of Wayne Gretzkygo up for auction with Cowley Abbott during their May 30th Spring Live Auction
Windsor, ON (March 26, 2024) — Art Windsor-Essex (AWE) announced today details of a new endowment fund to support the care and diversification of AWE’s collection. To establish funds for this endowment, AWE will be deaccessioning select works of art that will go up for public sale by Canadian auction house, Cowley Abbott, as part of their annual Spring Live Auction of Important Canadian & International Art on Thursday, May 30, 2024.
Deaccessioning is the process of removing a work of art from a museum’s collection. Regular deaccessioning is standard and best practice in collections management and allows museums to refine their holdings to ensure the highest standards of care are maintained.
“Art Windsor-Essex has joined many other Canadian art galleries and museums in reviewing and evaluating its collection. We recognize the value that this collection holds and how important it is that AWE cares for it responsibly. We also know that art has the power to transform, empower, and heal, and that power is most effective when the art is relevant to the lives of the people viewing it. We look forward to stewarding the collection into a new era that celebrates the diversity of Windsor-Essex,” says Melinda Munro, AWE Board President.
Paul Kane, Party of Indians in Two Canoes on Mountain Lake (1846-48)
Select works undergoing deaccession include a rare Paul Kane oil on canvas, Party of Indians in Two Canoes on Mountain Lake (1846/1848) and an Andy Warhol portrait of Wayne Gretzky (1984.).
Previews of these works from the Art Windsor-Essex collection along with select highlights in the Spring Auction will be available for early viewing at the Cowley Abbott Gallery, 326 Dundas St W, Toronto, from April 13 to 17 before full previewing begins in May. A selection of the remaining deaccessioned works will also go on view at AWE between April 3 and May 26. The live auction takes place in-person at the Globe and Mail Centre in Toronto on Thursday, May 30 at 7pm ET, with live stream and online bidding at CowleyAbbott.ca. Cowley Abbott will donate their selling commission of the deaccessioned AWE works toward the fund.
“We are thrilled to represent Art Windsor Essex and contribute to the care, diversity and representation of their collection through the artwork sale and donation of our selling commission to support the establishment of this important endowment fund. Cowley Abbott has demonstrated strong results with the sale of Paul Kane and Andy Warhol artworks, and we are eager to share these pieces with art lovers across Canada and globally,” says Rob Cowley, President, Cowley Abbott.
Deaccessioned works were selected by AWE’s curatorial and executive team, in collaboration with AWE’s External Affairs Committee and Board of Directors, following extensive external and internal reviews of AWE’s holdings. Funds raised for the endowment will be solely used for the care and diversification of AWE’s collection, with particular focus on the work of Indigenous and equity-deserving artists with ties to the Windsor-Essex region.
“As a pilar of our 2021-2025 Strategic Plan, transformation is a key part of the next stage of AWE’s development. We recognize that the gallery has been supported by this community for nearly 80 years, and the 4,000+ works in the collection should be more reflective of the community that supports it. The proceeds of this sale will be used to acquire works by artists whose perspectives resonate with the people of Windsor-Essex. We’re excited to commit to this step forward in AWE’s collecting priorities so we can continue to create change through the power of art.”
– Jennifer Matotek, Executive Director
AWE will also hold a community conversation open to the public on the subject of deaccessioning, with panelists Rob Cowley, President of Cowley Abbott and Canadian Art Specialist; Trishtina Godoy-Comtois, Athabasca University; and Emily McKibbon, Head, Exhibitions and Collection, Art Windsor-Essex. Free to attend, the conversation will take place on the evening of April 18th at 6:30pm at Art Windsor-Essex (401 Riverside W. Windsor, ON).
About Art Windsor-Essex (AWE)
Established in 1943, AWE is the largest public art gallery in Southwestern Ontario and has grown with incredible support from the Windsor-Essex community. For over 75 years, AWE has experienced great change – in leadership, our collection, and our address. With every adaptation, we keep getting better at what we do: inspiring growth through the power of art. At AWE, we share historical Canadian, Indigenous, and contemporary art with the Windsor-Essex community in inventive and creative ways. Through our activities, we spark creativity and conversations, and educate and engage. With 15,000 square feet of exhibition space, new takes on our collection of nearly 4,000 artworks, and through unexpected partnerships, AWE is the creative heart of Windsor-Essex. At Art-Windsor Essex, change happens here.
About Cowley Abbott Since its inception in 2013, Cowley Abbott’s live and online auctions have included headline-grabbing works that regularly smash auction records. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, with a dual gallery in downtown Toronto and representatives across Canada. Cowley Abbott’s effective set of services marry the traditional methods of promoting artwork with technology and innovative means to connect collectors with artwork of rarity and quality. Recently Cowley Abbott hosted three monumental auctions of artwork from an Important Private Collection, setting a record for the highest grossing private collection of artwork ever sold at auction in Canada.
Land Acknowledgment
Art Windsor-Essex respectfully acknowledges that we are located on Anishinaabe Territory – the traditional territory of the Three Fires Confederacy of First Nations, comprised of the Ojibway, the Odawa, and the Potawatomi. Today the Anishinaabe of the Three Fires Confederacy are represented by Bkejwanong. We want to state our respect for the ancestral and ongoing authority of Walpole Island First Nation over its Territory.
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We are excited to be offering three prints by master printmaker Stanley William Hayter (1901–1988) in our September Prints & Multiples online auction. Hayter studied chemistry and geology in England and worked for several years as a research scientist in the Middle East. He painted during his free time and, in 1926, moved to Paris to become a full-time artist. The following year he established Atelier 17, a printmaking workshop where artists such as Max Ernst, Joan Miró and Pablo Picasso could experiment with different techniques and media. In 1940, Hayter moved his studio to New York, where he would operate for nearly a decade before returning to France.
There, he attracted not only European painters and printmakers taking refuge from the war, particularly those affiliated with Surrealism, but also young American artists interested in the ideas these exiles brought with them. The exposure to the European artists and Hayter’s teaching had an enormous impact on American artists, many of whom were affiliated with the New York School, and greatly affected the future of printmaking in the United States. Jackson Pollock was influenced by Hayter in New York, particularly by his emphasis on automatism and reliance on the unconscious. The Atelier helped shape the early years of Abstract Expressionism and became one of the most influential graphic arts workshops of the twentieth century.
Lot 17 Stanley William Hayter Le chas de l’aiguille, 1946 Estimate: $800 – 1,000
This beautiful etching Chas de l’aiguille has a controlled and sinuous arrangement of thin lines. The free-flowing lines appear to be spontaneously drawn, recalling the automatism that inspired Surrealism. The etching is nearly abstract, with female anatomical features emerging from the tangled lines. Chas de l’aiguille, which translates to “Eye of the needle,” is particularly remarkable and rare because it dates to 1946—making it one of Hayter’s earliest prints executed post-war while living in New York.
Lot 18 Stanley William Hayter Day & Night, 1952 Estimate: $1,500 – 2,500
Day and Night is a beautiful colour aquatint with etching by Hayter dating to 1952. At this time, Hayter would have been back in France while keeping ties with his American students and contemporaries in New York as Abstract Expressionism was exploding on the art scene. This print, with very loose references to human features, shows the artist’s transition from Surrealism to Abstract Expressionism and from figuration to abstraction.
Lot 16 Stanley William Hayter Sealed Web, 1968 Estimate: $1,500 – 2,500
The third print by Hayter in this month’s auction is another colour aquatint with etching entitled Sealed Web. Entirely abstract with no reference to figuration and executed in a bright yet simplified colour palette of orange and blue, the work is a product of its time, dating to 1968. By this point, Abstract Expressionism had peaked and branched out into other abstract movements, including Color-Field painting, characterized by large areas of bright colours. The vibrations created by the layered web of lines also bear similarities to Op Art—a movement that emerged in the mid-1960s and focused on creating optical illusions for the viewer.
The celebrated Pop artist David Hockney took the art world by storm in the 1960s and 1970s with his sun-drenched series of poolside modernist homes, capturing his newfound Californian lifestyle. He continues to stay relevant today by adapting to new technological advancements, from Polaroid cameras to iPads.
His works regularly break auction records, most recently with poolside drawings selling for over 2 million USD at Sotheby’s and Christie’s, respectively. During our Spring Live Auction of Important Canadian and International Art, his ink drawing Nehemiah Checking the Walls of Jerusalem not only drew an intense bidding war, but it sold for $102,000, well above its pre-sale estimate of $12,000 to $16,000.
In our upcoming online auction of Prints & Multiples, opening on August 29th, we will be offering two prints by the British artist. Initially published in 1970, Six Fairy Tales from the Brothers Grimm with Illustrations by David Hockney revisits the Grimm tales through whimsical black-and-white etchings, including The Little Hare, Rapunzel and Rumpelstiltskin.
“They’re fascinating, the little stories, told in a very very simple, direct, straightforward language and style; it was this simplicity that attracted me. They cover quite a strange range of experience, from the magical to the moral,” described Hockney in his 1976 autobiography.
His suite of thirty-nine etchings took nearly a year to complete, using a cross-hatching method to create variations in tone and texture. Hockney wanted to create a spontaneous effect by drawing the forms quickly to work out the style and the references to the period.
The Enchantress with the Baby Rapunzel
For Rapunzel, Hockney draws on art historical sources, with the face made deliberately ugly and the pose based on Hieronymus Bosch’s The Adoration of the Magi (ca. 1475), while the copse of trees in the background is reminiscent of Leonardo da Vinci’s The Annunciation (ca. 1472). He also drew inspiration from Vittore Carpaccio and Paolo Uccello for the costumes.
Hockney took liberties with the source material, however, referring to the old lady not as a witch but as an enchantress since “an enchantress is less wicked, really, and after all this woman in the story doesn’t keep the child; she’s quite kind about it.”
Corpses on Fire
This second print comes from The Boy Who Left Home to Learn Fear, which Hockney believed to be “such a strange Gothic story; I’d no idea how to illustrate it. I only knew I wanted to do it.” Here he depicted two corpses on fire with moon-like faces. The figures stare blankly forward as their hazy bodies become engulfed by flames.
According to the German folktale, a young, naive boy slept beneath the gallows one night, where there were still seven hanged men, because he wanted to learn how to shudder. He built a fire to stay warm, and upon seeing the bodies sway in the wind, he realized they must be cold. He decided to cut the bodies down and placed them by the flames, but they did not stir when their clothing caught on fire. Annoyed at their reckless behaviour, the young, careless boy re-hung them on the gallows before travelling on.
Hockney’s series of etchings were ultimately proofed by Maurice Payne, printed by Piet Clement on Hodgkinson handmade paper and published by Petersburg Press in London and New York. A miniature book was published by Oxford University Press, selling over 150,000 copies.
With the fall 2023 auction season fast approaching, Cowley Abbott is seeking consignments of international art for our upcoming online and live sales.
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