Our specialists present highlights from our current online auction, featuring prominent twentieth-century artists working across a range of mediums. From standout works by Abstract Expressionists and Color Field artists to a selection of watercolours and drawings by Otto Dix, our Day Auction charts the innovation of artists at the top of their craft.
Afterglow is a magnificent example of Friedel Dzubas’s return to the square format in the 1970s, which felt more normal and organic to him. With the square, he felt he could enter the picture more easily: “I also was comfortable standing into [the surface] and painting around it, which I did in the beginning, and by lying down. I built all kinds of construction to not let it touch the surface, but in the beginning I walked into my square and I painted in a certain logistical, with a certain strategy, painted whatever imagery I wanted to paint.”
This work truly exemplifies Dzubas’s commitment to exploiting pigment, image, and brushstroke to activate the surface of his paintings.
This unique lithograph pays tribute to Kenneth Noland’s mature works, which follow in the footsteps of Piet Mondrian, “in their classic purity, chromatic breakdown of space and the optical effects of forms which seem to advance and retreat while simultaneously occupying a single plane.”
Following his break in the 1950s with Abstract Expressionism, Noland began producing paintings with geometric shapes and bold colour combinations. Elements from his Flares series can be gleaned from this work, with the sinuous bands evoking the complex interplay of colour and form also present in the translucent plexiglass strips.
Otto Dix, Steckborn, Switzerland from Hemmenhofen, 1949. Estimate: $7,000 – 9,000
When Julian Dix, the artist’s grandson, sent images of his collection, I was struck by how different these works were, presenting idyllic pastoral scenes and a remarkable study for the 1920 painting Cats.
It was a joy working with him and learning about this other side of the German artist. As his grandson describes: “These works of my grandfather have been in our family since his passing in 1969, and there is an intimacy about them that reveals the artist’s hand, and offers a rare glimpse into Otto Dix the man. These are what I categorize as the quiet works of my grandfather—no provocation, and away from the spotlight of political scrutiny.”
Robert Mapplethorpe, Apples and Urn, 1987. Estimate: $15,000 – 20,000
I was instantly drawn to this photograph for its balance of elegance and restraint. Robert Mapplethorpe elevates everyday objects into something timeless and sculptural. The velvety blacks and perfectly controlled composition create a sense of stillness and quiet drama. It is a work that feels both classical and contemporary. I like how it is an unexpected subject matter for the artist. Mapplethorpe’s still lifes reveal his obsession with form, balance, chiaroscuro, and classical beauty, without the charged emotional or cultural context of his figurative work.
Francis Bacon, After Study for Bullfight #1, 1969 (Sabatier 10). Estimate: $20,000 – 30,000
This striking work was inspired by Francis Bacon’s triptych of bullfight paintings from 1969, which celebrates this ancient ritual that remains popular in Spain. This colour lithograph was initially issued as the main image on the poster advertising Bacon’s retrospective of paintings in October 1971 at the Grand Palais in Paris.
His series of bullfight scenes pay homage to Bacon’s enduring interest in exploring the intersection of human and animal, of the wild brutality that animates all of us. By capturing the beauty within the liminal state between life and death, the Irish-born artist offers a poignant meditation on the true nature of mankind.
Join Art Specialist Katherine Meredith as she speaks with Simone Ludlow and Erika Veh, designers of handmade one-of-a-kind cushions using vintage fabrics. Their company Ludlow & Veh also offers interior design and art advisory consultations. With backgrounds in art history, auctions, design and marketing, they share Katherine’s passion for collecting art with patience and intention.
How would you describe your design style?
Slow design. Not all the same style, not all the same era. Balance, texture, layers, not matching, eclectic. We love including vintage pieces and antiques, something with a patina and a story to it. If you do it intentionally and lovingly, it will work. Never feel like something is done. There is an expression that goes something like- “a room is only finished when you run out of money!”
Where do you find inspiration?
Art, nature, travel, film. Pedro Pascal’s apartment in the recent film Materialists, and movies like Home Alone, The Shining, I am Love, and The Birdcage. We are inspired by place and time. Matisse interior paintings. Unusual colour combinations we spot on the street or in nature.
Why do you think original fine art is an important part of interior design?
It’s a layer that finishes everything. Art adds a depth and a tone of your own personality to your home. There is something lively to a home filled with original art. It takes emotion. You don’t want your house to look like a staged showroom, or the same as the house down the block. A mass-produced print from a box store doesn’t elicit pleasure, it just fills a wall. Art adds personality, meaning, joy.
What advice would you give to someone who is new to art collecting?
Buy what you love, and then your house will be a reflection of your personality. It doesn’t matter if the artist is new, local, unknown or from the past. It doesn’t have to be expensive. It should be something that speaks to you. Don’t set out to buy art that matches your decor. If you love it, it will work and you will find a place for it. Have a bit of patience. People want things so quickly and so effortlessly, but it means so much more when you take your time and put effort into it, and it shows. You feel better about it because it’s a reflection of you.
How do you approach auctions specifically, in comparison to other ways of acquiring art? Do you find any advantages or challenges?
Advantages: you see such a broader scope of art, and artists you wouldn’t normally see or necessarily seek out. Better value. There’s no inflated art gallery commission – the price is what the market will stand.
Challenges: the high volume of artwork – you have to have the patience to look through the entire listing. Everything at auctions is framed “as-is” and it can be difficult to imagine a work in a new frame that is better suited to your space. But framing is everything and can really transform the art and the room!
If you could choose any artworks from Canadian art history to put in your own living room, what would you choose and why?
Erika: There are many Canadian artists I admire and support. If I have to select just one piece – I would have to say Horse and Train (1954) by Alex Colville. Its haunting simplicity captures the tension between nature and machine, which feels very relevant at this time in the world. It also evokes a sense of Romanticism in the solitary, noble horse confronting the unstoppable force of modernity. A reminder that life is constantly moving, changing, and that inevitably time escapes us all.
Simone: This is almost impossible to answer, so I’m simply going with immediate impulses. I love Alex Colville, and I especially love his works featuring dogs, so perhaps Stove. It’s such an intimate and tender piece, and it captures so well the simple (and magical) joy of sharing your life with a dog.
The original Stove painting resides in a private collection. A serigraph was sold by Cowley Abbott in 2018.
I also love Jessie Oonark, so almost anything by her. I love her use of colour, and the bold, graphic nature of her work.
Untitled by Jessie Oonark. Sold by Cowley Abbott in 2014.
Margaux Williamson’s more recent works of interiors are also favourites. As I mentioned before, I gravitate to pieces featuring interiors, and Margaux’s are so interesting and I find them entirely captivating.
And I mean, who wouldn’t want a Lawren Harris iceberg?
If you could choose any artworks from ALL of art history to put in your own living room, what would you choose and why?
Simone: This is truly an impossible question! Based entirely on immediate instincts – The Little Street by Vermeer at the Rijksmuseum. I also have always loved David Hockney; he’s so joyful and loves life, and that is so apparent through his work. I saw his recent retrospective in Paris, and I am particularly drawn to the paintings of his home in LA and his British landscapes. Paul Nash’s 1930’s painting Harbour and Room at Tate Modern has also been a constant fascination. I also absolutely love the art and design from the turn-of-the-century Vienna Secession movement led by Gustav Klimt.
Erika: If I could select a piece of art for my home, it would be Sonia Delaunay’s Electric Prisms (1914). I had the pleasure of viewing it in New York, Guggenheim’s exhibition “Harmony and Dissonance: Orphism in Paris 1910-1930”. Both the scale and bold rhythmic motions of colour have stayed with me ever since. I have also always carried the same admiration for the Nike of Samothrace at the Louvre, a timeless emblem of victory, hope and forward momentum.
Which artworks from our September online auction do you have your eye on? And how would you style them in a room?
Simone: What a wealth of beauty to choose from! One selection would be Lawren Harris’ Study of a Verandah. I love witnessing the traces of an artist’s process, and in this piece the sketches of the trees and the script on the paper’s reverse delight me. The verandah itself is also so inviting – the architecture draws the viewer in. I would love to sit there and have a glass of wine.
Lot 199. Lawren Harris, Study of a Verandah. Graphite. Estimate: $3,000 – $4,000
I also gravitate to Fortin’s Montréal. I love his use of colour and the somewhat chaotic, dense scene he has created. I went to school in Montréal, and this piece evokes the feeling of the city for me – layered, busy, a bit gritty, beautiful, full of life.
Lot 125. Marc-Aurèle Fortin, Montréal. Watercolour. Estimate: $10,000-15,000
I also must include some more graphic pieces – I always love them for balance. The colours in Fly me to the Moon by Frank Sinatra (who knew?) are beautiful, and I appreciate the feeling of motion that it suggests. Philomène by Jacques Hurtubise echoes the Sinatra piece in an interesting way, and I would love them displayed together. The blue and red are arresting, and I love their juxtaposition with the off-white ground.
Lot 17. Frank Sinatra, Fly Me To The Moon. Colour lithograph. Estimate: $900-1,200
Erika: I am in love with Jim Ritchie’s female figure sculpture from the Quebec lot! It inspires me because it reminds me of the beauty, resilience and softness I recognize in the women I cherish in my life.
I also have a black and white striped marble plinth where this sculpture would look so stunning!
Lot 152. Jim Ritchie, Female Figure; Cubist Nude. Bronze sculpture; pastel on paper. Estimate: $900-1,200
What I love about Winter Sleighing Scene by A.Y. Jackson is that, while the artist captures a distinctly Canadian winter scene, he departs from the expected palette of icy blues and greys, choosing instead a feminine blush for the sleigh and lively touches of pink in the trees. A choice that brings unexpected warmth and a smile to the winter scene.
I was also drawn to Fly Me To The Moon by Sinatra for its bold shapes and vibrant interplay of colour, which is a style reminiscent of one of my favourite short lived art movements; Orphism – with its rhythmic energy and sense of movement. And perhaps also because the artist was also the infamous crooner!
For more information on Ludlow & Veh, check out their website and Instagram. And for further conversation on collecting art with intention, join Simone, Erika and the Cowley Abbott team for our 5 à 7 on Thursday, September 11th. RSVP at collect@cowleyabbott.ca.
For new collectors, prints can offer an accessible entry point to begin growing your art collection, offering works at more affordable prices.
Andy Warhol, Mick Jagger (F&S II.141). Colour screenprint on Arches aquarelle (rough) paper. Signed by the artist, numbered 13/250 and signed by Mick Jagger in the lower margin. Printed by Alexander Heinrici, New York. Published by Seabird Editions, London, England. Sold for $276,000
1. What is a print?
Prints are original artworks produced in limited numbers. They are often created under the artist’s supervision and in an edition. Prints and printmaking are broad terms used to describe:
Aquatint: An intaglio printmaking technique that creates tonal areas.
Drypoint: An intaglio printmaking technique that creates sharp lines with fuzzy edges.
Engraving: Incisions are made into a metal plate which retain the ink and form the printed image.
Etching: A printmaking technique using chemical action to produce incised lines in a metal printing plate, which holds the applied ink and forms the image.
Lithography: On a flat stone or metal plate, an image is created using a greasy substance that allows the ink to stick, while the non-image areas are treated to repel ink.
Mezzotint: An intaglio printmaking technique that creates soft gradations of tone.
Monoprint: A form of printmaking where the image can only be made once, making the technique closer to a drawing or painting. The term monoprint and monotype are used interchangeably.
Screenprint: A variety of stencil printing, using a screen made from fabric (silk or synthetic) stretched tightly over a frame. Also known as silkscreen and serigraphy.
Woodcut: A method of relief printing using a block of wood cut along the grain. The raised areas of the image are inked and printed, while the areas that have been cut away remain blank.
Pablo Picasso, Sculpteur et deux têtes sculptées from the Vollard Suite (Bloch 157; Geiser 310 Bd). Etching signed lower margin. Sold for $9,600
2. What are edition sizes and proofs?
A print is a unique work produced in a limited edition, meaning only a specific number of impressions are made, and are usually signed by the artist. Each print is assigned an edition number, typically written as a fraction in the lower margin (for example: 25/50). The number on the left represents the individual print’s number, while the number on the right indicates the total size of the edition.
The number of prints in an edition is key and limited edition prints are generally considered to be more valuable. The following abbreviations usually appear on works outside the numbered edition, such as:
A.P.: Artist’s Proof (or E.A. for épreuve d’artiste). Identical to the numbered edition and usually kept by the artist as a record of the print’s evolution.
P.P.: Printer’s Proof. Identical to the numbered edition and is an example for the printer or publisher the artist was collaborating with.
T.P.: Trial Proof. Used by artists and printers to see how the work is progressing before the official print run.
E.P.: Experimental Proof. An experimental proof used by an artist as part of the creation process to be made into an edition.
C.P.: Color Proof. Used to test which colours best represent the artist’s intention.
H.C.: Hors Commerce, which translates to “not for sale”. These proofs were often intended for promotional use for galleries and dealers and are identical to the final edition.
B.A.T.: Bon à tirer, a French phrase meaning “good to pull”. It is the final proof reviewed by the artist before the edition is printed. There is generally only one B.A.T. and the printer relies on it so that the final edition is as the artist intended.
Marc Chagall, L’Opéra (M. 715). Colour lithograph. Signed and inscribed “Épreuve d’artiste” in the lower margin. Sold for $31,200
3. What are the different types of paper used in prints?
In our catalogue description, specialists will indicate what type of paper a print is on and will mention if any watermarks are visible. Here are some examples:
Arches
BFK Rives
Hahnemühle
Japan nacre
Wove
Roy Lichtenstein, This Must Be the Place (Corlett III.20), 1965. Colour offset lithograph on wove paper printed signature, dated 1965 (as issued) and signed in the lower margin; titled and dated on a gallery label on the backing on the reverse. From an unknown edition size. Published by Leo Castelli Gallery, New York. Sold for $22,800
The selection of paper is an important part of the printmaking process, which can influence the appearance of the printed image. For example, Roy Lichtenstein was known for using readily available paper, such as thin poster paper, and Andy Warhol similarly liked using inexpensive paper for his Soup Cans during the 1960s to emphasize that they were meant for everyone.
4. Why are catalogue raisonnés important?
A catalogue raisonné is a published collection of an artist’s complete works, listing each work with its title, date, and a description of its physical properties, such as medium, size and signature. The various editions are listed, along with the names of the printer and publisher.
Consulting the catalogue raisonné of an artist is, therefore, a necessary step for any serious collector to confirm if a print is a genuine work or not.
Andy Warhol, Turtle (F&S II.360A), 1985 colour screenprint on Lenox Museum Board. Signed and numbered 248/250 lower right; titled and numbered on a label on the reverse. Printed by Rupert Jasen Smith, New York; published by CBS, Inc., Los Angeles, California. Sold for $114,000
5. What are common condition issues to look out for?
Beyond the authenticity of a print, a collector should always consider its condition before making a purchase as it will impact its value. The most common imperfections can include the following:
Creasing: An unintentional and permanent ridge or fold in the sheet of paper.
Fading: Loss of brightness or brilliance of colour in the image.
Foxing: Reddish-brown spots that appear on the paper due to water exposure or high levels of humidity.
Tearing: Damage to the paper where it has pulled apart, leaving ragged or irregular edges.
Trimming: An alteration of the size of a sheet, whether that be due to a condition issue or for framing.
Yellowing: Alteration of a print that takes on a yellowish tint.
Cowley Abbott’s June Online Auction features a plethora of captivating works, from the bold geometry of Roy Lichtenstein’s Pop Art to the meditative landscapes of Alexander Young Jackson and John William Beatty. These works celebrate the diversity of modern painting and the enduring legacy of artists who continue to shape our visual and cultural heritage.
Old Birch Trees by A.Y. Jackson
A.Y. Jackson Old Birch Trees, Calabogie
Alexander Young Jackson, a founding member of the Group of Seven, was born in Montreal in 1882. His early training in Paris exposed him to European Impressionism, which he later adapted to depict the Canadian landscape. Old Birch Trees is a poignant example of Jackson’s ability to capture the essence of the Canadian wilderness with sensitivity and precision. In this painting, Jackson portrays a cluster of birch trees, their white bark contracting against the surrounding foliage. The composition’s simplicity furthers the emotional depth of the painting, evoking a sense of solitude and reverence for nature.
Beech Woods by John William Beatty
John W. Beatty Beech Woods, 1927
John William Beatty, an English-born Canadian artist, was known for his detailed landscape paintings that often depicted the Ontario countryside. Born in 1869, Beaty’s work often features his meticulous attention to detail and a deep appreciation for the natural environment. Painted in 1927, Beech Woods showcases his ability to capture the tranquility of the Canadian landscape. In this piece, Beatty depicts a serene woodland scene with beech trees standing tall amidst a carpet of fallen leaves. The soft interplay of light filtering through the canopy creates a peaceful ambiance, inviting viewers to pause and reflect and Beatty’s precise brushwork and subtle colour palette enhance the painting’s sense of realism.
White Breaking by Jack Leonard Shadbolt
Jack Shadbolt White Breaking, 1965
Jack Leonard Shadbolt, a Canadian painter and printmaker, was born in 1909 in England and immigrated to Canada in 1911. His early exposure to European modernism influenced his development as an artist. White Breaking, painted in 1965, is a powerful example of Shadbolt’s abstract expressionist style. The painting features a stark contrast between white and dark tones, creating a sense of tension within the work. Shadbolt’s use of bold brushstrokes and layered textures conveys energy which is reflected in his interest in the emotional human experience. The title, White Breaking, suggests a moment of rupture of transformation and invites the viewer to stop and think about the Shadbolt’s intended meaning.
Waiting by Max Weber
Max Weber Waiting
Max Weber, a pivotal figure in early 20th-century American modernism, was born in Russia to Jewish parents and immigrated to the United States as a child. Trained at the National Academy of Design and influenced by modernism, Weber’s expressive abstraction bridged European influences and American sensibilities. In Waiting (1957), Weber uses both watercolour and gouache to convey a poignant moment of anticipation. The composition’s angular lines and overlapping shapes suggest a fusion of the figure with its environment, playing with the relationship between subject and environment. The work reflects Weber’s interest in the psychology of the human experience and capturing a moment of stillness before action.
Foot Medication Poster (Corlett App. 3) by Roy Lichtenstein
Roy Lichtenstein Foot Medication Poster (Corlett App. 3)
A leading figure in the Pop Art movement, Roy Lichtenstein, was born in New York City in 1923. Initially trained as a commercial artist, Lichtenstein’s work often drew from the visual language of advertising, comic strips, and mass media. His 1963 lithograph, Foot Medication Poster(Corlett App. 3), exemplifies his signature style – bold lines, flat colours, and a satirical take on consumer culture. This piece was created as a promotional poster for an exhibition at Leo Castelli Gallery, featuring works by other prominent artists of the time. The image depicts a hand applying medication to a foot, rendered in Lichtenstein’s Ben-Day dots and graphic precision. The subject matter of a mundane and everyday action elevates the ordinary to the level of high art, challenging traditional notions of what constitutes worthy subject matter.
Perforated Space Divider Screen Maquette by Herbert Bayer
Herbert Bayer, an Austrian-American artist and designer, was a prominent member of the Bauhaus school, known for its integration of art, design, and architecture. Born in 1900 in Austria, Bayer’s work spanned various media, including graphic design, typography, and industrial design. His Perforated Space Divider Screen Maquette is a testament to his innovative approach to spatial design. This maquette represents Bayer’s exploration of modular design principles, aiming to create flexible and functional spaces within architectural environments. The perforated screen design allows for light and air to pass through, showing the dynamic between solid forms and the void-like background. It reflects Bayer’s belief in the functional integration of art and design, where aesthetics serve both form and purpose.
Cowley Abbott’s international art department has continued to grow steadily over the past five years, attracting artwork of note by artists globally to a collecting audience across Canada and beyond. Importantly, these offerings are providing an opportunity for Canadian collectors to acquire international artworks within our borders, while also serving our clients around the globe. This season provided a focused grouping of paintings, works on paper and sculpture from artists around the world, with representation from the United States, France, Spain and Mexico. The quality and rarity of these works attracted determined strategy from bidders, leading to another season of strong results.
Gene Davis Hell’s Calendar #3Andy Warhol Turtle (F&S II.360A), 1985
Jessie Willcox Smith Study for a PortraitAndy Warhol Wayne Gretzky #99 (F&S II.306)Eugenio Fernández Granell Characters Coming Out of the Clouds, 1974
