Tag: JEH MacDonald

  • Defining Nationhood: The Sampson-Matthews Silkscreen Project

    A.J. Casson, Algonquin Park (Sampson Matthews silkscreen)

    In conjunction with our popular February Online Auction of Works on Paper, Prints & Books, Cowley Abbott is delighted to present a special second session auction offering a selection of works from the Archives of Sampson-Matthews Ltd., which includes a variety of rare silkscreens from the Sampson-Matthews Silkscreen Project.

    A niche collecting market within Canadian art, Sampson-Matthews silkscreens are bold and iconic images of the Canadian landscape and regional ways of life. Produced with high quality oil pigments, the silkscreens have stood the test of time. The vibrant colour and drama of these artworks, created by leading historical Canadian artists, provides an excellent opportunity for collectors to build their collection with the commanding imagery of Sampson-Matthews.

    A lion in the printmaking industry, Sampson-Matthews was founded by Ernest Sampson, a pioneer of silkscreen printing in Canada, and Charles Matthews. The firm was a frequent stop for many artists working in the graphic arts and printmaking realms of art. Celebrated Canadian artists, such as A.Y. Jackson, A.J. Casson, and Franklin Carmichael all collaborated with the firm.

    Joseph Sidney Hallam, The Log Drive (Sampson Matthews silkscreen)

    One of the largest art projects in Canadian art history, the Sampson-Matthews Silkscreen Project was a defining moment in establishing the concept of ‘Canadian Art’ and a massive morale booster during the Second World War. As Joyce Zemans writes, this project was “largely responsible for shaping our notion of Canadian art and Canadian identity” (Zemans, 7). The pre-eminent printmaking firm in Canada, Sampson-Matthews Ltd., was the natural choice for a national art project.

    Spearheaded by A.Y. Jackson in 1942, the project was designed primarily for military use and evolved into an educational program with the goal to make Canadian art accessible. Moreover, the project was designed to promote a national identity, as Canada was still a young country. As a war-artist during the First World War, Jackson saw first-hand not only the horrors of war, but the way in which the military was inextricably linked to national and cultural identity.

    Jackson proposed that this project be targeted for military distribution to bases across Canada and throughout the world, eventually to expand into schools and social clubs. Over the course of the 30-year project, 118 images were produced by Sampson-Matthews, thirty-six of which were part of the wartime series. Thirty-six prints were produced after the Second World War in partnership with the National Gallery of Canada, and an additional fifteen images were produced with Sampson-Matthews after the National Gallery of Canada ceased their partnership in 1955. All of the prints were designed with between ten to twenty oil-based colours and to reflect Canadian life and the landscape, with geographic representation from across the country. 

    Joseph Ernest Sampson, Gaspe (Sampson Matthews silkscreen)

    Jackson, understanding the harsh realities for artists during periods of war and the limited opportunities for sustainable work, sought to involve both young and established artists in the project, as a way to promote their work and create jobs. In late 1943, the first series of twenty-five works were completed in a large format, measuring 30 x 40 inches. A smaller size was later produced for certain images to offer economical options for the public.

    On the production side of the project, Chuck (Charles) Matthews and A.J. Casson oversaw the printing of the works. Collectors will sometimes find Casson’s signature in ballpoint pen in the lower corner or at the edge of a work, signifying that the artist personally oversaw the print’s production. 

    Images from thirty-nine prominent Canadian artists were selected, including works by: Franklin Arbuckle, Harold Beament, Bertram Binning, Fritz Brandtner, Emily Carr, A.J. Casson, Paraskeva Clark, Albert Cloutier, Alan Collier, Charles Comfort, Rody Kenny Courtice, Berthe Des Clayes, Arthur Ensor, Frederick Stanley Haines, Joseph Sydney Hallam, Lawren Harris, Hilton Hassell, Yvonne McKague Housser, Jack Humphrey, A.Y. Jackson, Arthur Lismer, J.E.H. MacDonald, Thoreau MacDonald, Isabel McLaughlin, James Wilson Morrice, L.A.C. Panton, Ruth May Pawson, Walter J. Phillips, Arthur Donald Price, Tom Roberts, Sarah Robertson, Albert Henry Robinson, Joseph Ernest Sampson, Tom Thomson, Stanley Francis Turner, Sydney Hollinger Watson, Horace Watson Wickenden and Dorothy Williams.

    W.J. Phillips, Mount Eisenhower (Sampson Matthews silkscreen)

    Through an international promotional campaign, thousands of prints found their way to the U.K., Germany, American bases, and even Russia. In 1943, Colonel C.R. Hill, Director of Special Services, noted that: “From a morale standpoint, these pictures have tremendous value. Perhaps particularly in the case of men who have been away from Canada for two or three years, the display of Canadian scenes will make them conscious of the land and cause for which they are called upon to fight. To those men who are still in Canada but who have to live under camp conditions, the pictures will bring a touch of beauty badly needed to counter act the dullness of their environment” (Zemans, 13). The project was living proof of the power of art and its ability to help define nationhood and art history in a pivotal moment in Canadian history.

    Prints from the Sampson-Matthews project are wonderful tokens of Canadian art history and are regularly sought after by collectors. For new collectors entering the art market, the prints offer a perfect entry point to acquire an iconic image by a recognized Canadian historical artist. With unique ties to Canadian military and political history, the prints allow insight into the country’s early endeavours to define a national identity and build unification within a bourgeoning and diverse country.

    A.J. Casson, Ontario Village (Sampson Matthews silkscreen)

    Cowley Abbott is pleased to be entrusted with this collection from the Archives of Sampson-Matthews Ltd., comprised of a selection of unique prints from the Sampson-Matthews Silkscreen Project, as well as Canadian historical artworks and artifacts. For more information on this forthcoming auction and project, contact our specialists at 416-479-9703 or info@cowleyabbott.ca

    Sources

    Joyce Zemans, “Envisioning Nation: Nationhood, Identity and the Sampson-Matthews Silkscreen Project: The Wartime Prints,” Journal of Canadian Art History, Vol. 19, no. 1 (1998) pages 6-51

    The Sampson-Matthews Print Collection:http://www.sampsonmatthewsprints.com/

  • Records Smashed and Prosperity Achieved for Exceptional Artworks at Fall Auction of Important Canadian Art

    The December 3rd Auction Telecast
    An Image of the December 3rd Auction Telecast

    Cowley Abbott, A Leader in the Canadian Auction Industry, Continues to Realize Strong Results for Canadian Historical, Post-War and Contemporary Art at Auction

    The Cowley Abbott Fall Auction of Important Canadian Art on December 3rd was a resounding success, attaining excellent results and connecting collectors with superior artworks by renowned Canadian artists representing the country from coast to coast. In several instances, collectors participating over the telephone and online drove bidding to record levels, leading to the unprecedented values reached for select works by celebrated Canadian historical, post-war and contemporary artists.

    Jack Bush, Column on Browns (1965) Price Realized: $870,000 (Auction Record)
    Jack Bush, Column on Browns (1965)
    Price Realized: $870,000 (Auction Record)

    A monumental masterwork by Jack Bush, Column on Browns, made its auction debut, soaring to a new world auction record of $870,000, after spirited bidding took place over multiple platforms. This captivating canvas was featured in major international exhibitions, including “Colorists 1950-1965” at the San Francisco Museum of Art and the Sao Paulo IX Biennial in 1967. The commanding work from Bush’s golden period of the mid-1960s was met with much admiration and excitement from the moment of the publication of the catalogue and is a remarkable addition to any discerning art collection. 

    Jack Bush, Summer Gone (1976) Price Realized: $90,000
    Jack Bush, Summer Gone (1976)
    Price Realized: $90,000

    The auction house was delighted to be entrusted with another seminal work by Jack Bush, Summer Gone, the first triangle-shaped canvas executed by the artist as part of a series of shaped canvases in August 1976. The shape of Summer Gone is an irregular triangle with different lengths on all three sides, allowing Bush freedom from the restrictions of the traditional picture plane. Bush only created four triangle paintings, with this rare canvas selling for $90,000. 

    Emily Carr, Forest Glade (Dark Glade) Price Realized: $216,000
    Emily Carr, Forest Glade (Dark Glade)
    Price Realized: $216,000

    Cowley Abbott was again delighted to offer numerous works by accomplished Canadian female artists, many of which garnered energetic bidding during the Fall Auction, notably Emily Carr’s Forest Glade (Dark Glade), reaching $216,000. This painting radiates with compositional energy, eloquently capturing Carr’s deep connection to the wild, untamed beauty of the forest. Rita Letendre, an electric and dazzling painter, demanded attention with three works by the celebrated artist selling well overestimate. Untitled reached $28,000 and Manotik sold for $20,400 – airbrushed compositions of forceful chevrons and diagonal bands of exploding colours, both from the most celebrated period of Letendre’s artistic oeuvre.  Dorothy Knowles, a beloved Saskatchewan painter, saw reward with the enigmatic canvases, The Noon Sun ($7,000) and Bright Weeds ($26,400). 

    Tom Hodgson Non Objective, Bluish Price Realized: $60,000 (Auction Record)
    Tom Hodgson
    Non Objective, Bluish
    Price Realized: $60,000
    (Auction Record)

    Further records were smashed in the December 3rd evening auction, with appreciation shown for Painter’s Eleven’s artist, Tom Hodgson. An energized, abstract masterpiece, Non Objective (Bluish), found a new home selling for $60,000, an auction record for the multitalented painter and athlete. Fellow member of the Painter’s Eleven abstract artist’s collective, Ray Mead, was much sought after in the lead-up to the auction, with Untitled, a 1959 painting fetching $15,600. 

    Attention for historical Canadian art was strong, as Surf, Barbados, B.W.I by J.E.H. MacDonald commanded a final value of $21,600 and a dynamic, yet diminutive oil on board by J.W. Morrice, Coast, Brittany, sold for $45,600. Rain on the River (Morning on the River) by David Milne, a favourite artist amongst collectors, achieved $40,800. Ungava Bay by A.Y. Jackson, a sketch for a canvas in the collection of Hart House, hammered down at $48,000, representing the artist’s vision and connection to the Arctic landscape. Another success in the historical realm was Martello Tower, Montreal by Ethel Seath, selling for $24,000. 

    Cowley Abbott was entrusted with a painting by the esteemed artist and physician, Sir Frederick Grant Banting. 2021 marks the centenary of the discovery of insulin by Banting, a momentous discovery that changed the lives of millions of people and for which he was awarded the Nobel Prize for Medicine in 1923. Island, French River, Ontario, suffused with colour, light and shadow, sold for $31,200, a brilliant result for this historical Canadian figure.

    Alex Janvier, Shoreline Existence Price Realized: $31,200 (Auction Record)
    Alex Janvier, Shoreline Existence
    Price Realized: $31,200 (Auction Record)

    A founding member of the Professional Native Indian Artists, established in 1973, Dene and Anishinaabe (Salteaux) artist Alex Janvier of Cold Lake, Alberta, was an integral component of the auction. Shoreline Existence, a striking acrylic on canvas, set a new auction record at $31,200 after competitive bidding. 

    Three automatic works by Jock Macdonald executed in 1947 well exceeded their pre-sale estimates with vigorous telephone bidding the night of the auction. Untitled (Two Creatures) sold for $6,600, Prehistoric World for $10,200 and New Fruit for $7,800. 

    Jean Paul Riopelle, Dieppes (1965) Price Realized: $130,500
    Jean Paul Riopelle, Dieppes (1965)
    Price Realized: $130,500

    A prominent member of the Automatistes, Jean Paul Riopelle’s Dieppes (1966) sold for $130,500, while his small but mighty painting, Sans titre, 1970, had collectors clambering, achieving a final selling price of $52,800. The works of Ted Harrison were again met with avid interest – Yukon Priest selling for $19,200 and The Walk finding a buyer at $10,200.

    The impressive results of the Fall Auction of Important Canadian Art are due to the active participation of both new and old bidders alike, as well as the unwavering support of the Canadian art community. We extend our sincere gratitude to the clients, bidders and buyers who helped to ensure that our Fall Live Auction was a triumph. 

    A.Y. Jackson, Ungava Bay Price Realized: $48,000
    A.Y. Jackson, Ungava Bay
    Price Realized: $48,000

    The new year begins with an exciting season of online auctions, offering a wide range of artwork for all levels of collectors. The team at Cowley Abbott is already hard at work preparing the tremendous offerings to be presented in the Spring Live Auction of Important Canadian Art and we greatly look forward to sharing the catalogue in the coming months. Cowley Abbott is currently accepting consignments for its upcoming auctions and if you feel our firm can be of service, we would be pleased to provide a complimentary and confidential consultation. Please contact our specialists at 1-866-931-8415 or mail@cowleyabbott.ca

  • Lydia Visits Breakfast Television Ahead of Consignor’s Montreal Valuation Day Event

  • Rob Chats with CTV’s Your Morning About Fall Live Auction

  • Important Sketch by J.E.H. MacDonald Marks Early Example of Budding Friendship with Lawren Harris

    Tom Thomson, Jean Paul Riopelle, and a well-known work by Jock MacDonald Featured at Consignor’s Fall Live Auction on November 22nd

    (Toronto – November 7, 2016) – Following Consignor Canadian Fine Art’s highly successful live auction debut in May 2016 (that included a record-breaking sale of Lawren Harris’s Algoma Sketch 48), the auction house launches its second live auction event featuring an exciting catalogue of important Canadian works, to be held at the historic Berkeley Church in downtown Toronto on November 22, 2016. A 1912 sketch by founding Group of Seven member and one of Canada’s most celebrated painters, J.E.H. MacDonald, Tracks and Traffic (auction estimate: $200,000 to $250,000), will anchor the auction.

    Tracks and Traffic is a sketch of the well-known canvas that is currently part of the Art Gallery of Ontario’s (AGO) collection, and was recently included in the Toronto showing of the Steve Martin-curated exhibition, The Idea of North: The Paintings of Lawren Harris. The work provides a glimpse of what the city of Toronto looked like over a century ago, and depicts a scene of the harbourfront neighbourhood at the intersection of Bathurst Street and Front Street during the industrial period.

    It is well known that MacDonald was one of Lawren Harris’s closest friends and the pair often painted together in Toronto. Tracks and Traffic was created just months after the two artists met in late 1911, and eight years before the formation of the Group of Seven. Harris also sketched this scene from another angle, suggesting that the friends could have been together during the painting expedition. If so, the sketch would mark one of the very first examples of members of the Group of Seven painting together.

    “We’re thrilled to follow up on the success of our inaugural live auction, with a strong offering of exemplary artworks by many of Canada’s most beloved artists,” said Rob Cowley, President of Consignor Canadian Fine Art. “The fall catalogue features many artworks hitting the auction block for the first time and we anticipate there will be a great appetite for these works among collectors.”

    Auction Debuts and Highlights:

    • DEBUT – An important canvas by Painters Eleven founding member Jock MacDonald, Daybreak from his Modality series (auction estimate: $70,000 to $90,000)
    • 1962 canvas by internationally celebrated Quebec painter, Jean Paul Riopelle, Forteresse (auction estimate: $140,000 to $180,000)
    • 1912 painting by Tom Thomson, Country Landscape with Stream (Huntsville) (auction estimate: $90,000 to $120,000)
    • DEBUT – Two works by Group of Seven member Franklin Carmichael, owned by a descendent of the artist. Bracken, Lansing oil on panel (auction estimate: $60,000 to $80,000); and a Carmichael watercolour, Forest Landscape (auction estimate: $40,000 to $60,000)
    • A large-scale painting by artist Ted Harrison, who passed away in 2015, The Grecian House (auction estimate: $45,000 to $60,000)
    • Several notable works by William Kurelek including the mixed media painting, Russian Thistles Migrating (auction estimate: $60,000 to $80,000); and Candy Floss Clouds, painted the year of his death (auction estimate: $30,000 to $40,000)
    • DEBUT – A charming 1907 painting of a mother and child by J.E.H. MacDonald titled A Hill Path, High Park (auction estimate: $20,000 to $30,000). The painting is believed to have been a gift from MacDonald to Albert H. Robson, a Canadian art author, historian and former VP of the Art Gallery of Toronto (now the AGO) more than a century ago. The painting, owned by the family of Albert H. Robson, is offered for sale for the first time. 
    • Four paintings by Group of Seven member A.J. Casson including Lumber Mill, 1935 (auction estimate: $35,000 to $45,000)
    • A large-scale work from Harold Town’s highly acclaimed Tyranny of the Corner series, the Hypothesis Set (auction estimate: $20,000 to $30,000)

    To preview the full catalogue online, go to www.consignor.ca. Live previews will take place until November 21 at the Consignor Canadian Fine Art Gallery located at 326 Dundas Street West. Consignor’s Fall Auction of Important Canadian Art will be held on Tuesday, November 22, 7:00 pm at the Berkeley Church, located at 315 Queen St. E. in Toronto, ON.

    Since its inception in 2013, Consignor’s auctions have included headline-grabbing and record-breaking works including Algoma Sketch 48, a rare Lawren Harris preparatory oil sketch that debuted on the auction block at Consignor’s inaugural live auction event in May 2016 and set the record for the highest-selling Algoma sketch ($977,500) by the artist at auction. Other highlights include a 100-year-old Tom Thomson portrait (Daydreaming, sold for $172,500) and an undiscovered William Kurelek (Ukrainian Proverb, sold for $41,400, well above its estimated value). Consignor’s offering of 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), and its June 2014 auction saw eight artists’ records broken.

    Consignor is also holding an online December Auction of Artwork, from December 7-14, 2016. Consignor offers all-inclusive selling commissions and the lowest Buyer’s Premium in the industry. Those interested in consignment can arrange a complimentary and confidential consultation by contacting Consignor’s specialists at 1-866-931-8415 or info@cowleyabbott.ca. Consignor is currently accepting artwork for inclusion in its Spring 2017 auctions.

    Consignor Canadian Fine Art is a partnership between art auction veterans Rob Cowley, Lydia Abbott and Ryan Mayberry (Partner at Mayberry Fine Art and Founder of Consignor.ca). Cowley and Abbott became principals in the venture with Ryan Mayberry, taking Consignor.ca from its original form, as a branch of Mayberry Fine Art, to a separate company focusing on auctions of Canadian art.