Cowley Abbott est ravi de présenter, pour la saison des enchères d’automne 2025, une sélection distinguée d’œuvres d’art québécois couvrant plus d’un siècle d’innovation artistique et d’expression culturelle. Des premiers portraits à l’abstraction d’après-guerre, ces œuvres retracent l’évolution de la vision artistique dans la province.
Les scènes intimes d’enfants et les croquis de la France réalisés par J.W. Morrice illustrent comment l’artiste a fait le pont entre les traditions académiques du XIXᵉ siècle et l’émergence d’une vision moderne dans la peinture canadienne.
Une remarquable huile de 1950 par Jean Paul Riopelle marque le début de sa série de mosaïques la plus célébrée. L’artiste venait alors de s’établir à Paris, où il se sentit libéré du poids oppressant du contrôle de l’Église catholique sur la société québécoise. Riopelle chercha à inventer son propre langage visuel et à créer librement, loin de tout dogme et de toute contrainte.
Alfred Pellan fut l’un des premiers artistes québécois à introduire le modernisme européen au Canada. Après avoir étudié et travaillé à Paris dans les années 1920 et 1930, il retourna à Montréal avec un style audacieux et imaginatif influencé par le surréalisme, le cubisme et le fauvisme. L’œuvre de Pellan est rare sur le marché des enchères, et nous sommes ravis de présenter cette saison deux œuvres dynamiques, Chasse sous-marine et Au soleil noir, toutes deux datées de 1958.
Cowley Abbott a également l’honneur d’offrir deux œuvres rares de Paul-Émile Borduas, figure centrale de l’art abstrait canadien et chef de file des Automatistes. Défenseur de la liberté artistique, Borduas contribua à ouvrir une nouvelle ère de modernité au Canada et inspira les transformations sociales et culturelles qui ont suivi lors de la Révolution tranquille. Les Trois baigneuses, une huile sur toile de 1941, témoigne de son intérêt pour l’approche formelle de Paul Cézanne, cette œuvre s’inspirant particulièrement des Grandes baigneuses du Philadelphia Museum of Art.
La gouache Abstractionno. 10 ou Figure athénienne fait partie d’un ensemble de quarante-cinq œuvres exposées au printemps 1942 à Montréal lors de l’exposition Œuvres surréalistes de Borduas. Cette présentation est largement reconnue comme le point de départ du mouvement automatiste montréalais.
Peinte en 1964, au cœur de sa « période classique » la plus connue, Jeune fille en jaune illustre l’exploration par Jean Paul Lemieux de la figure humaine placée dans un vaste paysage ambigu, évoquant immobilité, introspection et humanisme.
Ces œuvres célèbrent la contribution exceptionnelle de la province à l’histoire de l’art canadien, dans sa recherche de beauté, son esprit d’expérimentation et la force durable de son identité. Le Québec a constamment été une force motrice, particulièrement dans les moments de changement et d’innovation artistique. Cowley Abbott est honoré de présenter cette sélection d’œuvres et a hâte d’accueillir les collectionneurs pour découvrir et enchérir sur ces chefs-d’œuvre lors de la vente aux enchères de maîtres canadiens du 26 novembre. Cliquez ici pour consulter le catalogue de la vente.
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 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.
For more information or to arrange interviews, please contact:
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