Mother and Papoose Portrait of A. Janes

Transcription

HEFFEL FINE ART AUCTION HOUSE
79
158
158 NICHOLAS DE GRANDMAISON
ARCA OC
1892 ~ 1978
159
159 JOHN WILLIAM BEATTY
OSA RCA
1869 ~ 1941
Mother and Papoose
Portrait of A. Janes
pastel on paper, signed and on verso
stamped indistinctly
19 1/2 x 16 in, 49.5 x 40.6 cm
oil on canvas, signed and dated 1931
19 x 15 in, 48.3 x 38.1 cm
P ROVENANCE :
Wm. Tyrrell & Co., Toronto
Private Collection, BC
Private Collection, Ontario
L ITERATURE :
Hugh A. Dempsey, History in Their Blood, 1982,
Introduction by Russell Harper, page 10
Nicolas de Grandmaison is best known as a visual historian of Canada’s
indigenous cultures, particularly the Blood, Peigan, Stoney and Blackfoot
nations of southern Alberta. Russell Harper asserts that de Grandmaison,
“found in them traits of superior beings who belonged among the world’s
aristocratic peoples and held their heads in haughty pride.” He traveled
onto the reservations, hearing their stories and recording all their nuances
of character in his pastels.
E STIMATE: $12,000 ~ 15,000
P ROVENANCE :
John Beatty was an important early pioneer in plein air painting in
Northern Ontario. He sketched with Tom Thomson in Algonquin Park
in 1914 and was one of the first painters to occupy the Group of Seven’s
famous Studio Building in Toronto. His early painting reflected
traditional Dutch and French schools, but through his association with
the Group, his colour palette brightened. This fine portrait showcases
Beatty’s consummate painterly abilities. He has carefully defined the
young woman’s chiselled features and coiffure, and has given exquisite
attention to delicate skin tones. By leaving the background a softly
glowing colour field and the lower part of her dress less detailed, the
focus is on her face and emotional expression. This sensitive and refined
portrait is a classic portrayal of feminine beauty.
E STIMATE: $6,000 ~ 8,000
A2011s_FCA_catalogue_revised.pmd
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4/2/2011, 5:50 PM
80
160
160 DAVID BROWN MILNE
CGP CSGA CSPWC
1882 ~ 1953
Wild Apples
oil on canvas, signed and on verso inscribed
by Douglas Duncan on the stretcher David Milne:
Wild Apples, Sept. 1944, October 6 ~ 7, 1947
12 x 16 in, 30.5 x 40.6 cm
P ROVENANCE :
Galerie Godard Lefort, Montreal
Estate of W.J. Bennett, Montreal
Private Collection, Victoria
L ITERATURE :
David Milne (1882 ~ 1953): A Survey Exhibition, Galerie Godard Lefort,
1971
David Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonné
Volume 2, 1998, reproduced page 927, catalogue #501.7
E XHIBITED :
Picture Loan Society, Toronto, Small Oils by David Milne, 1922 ~ 1945,
March 8 ~ 21, 1952, catalogue #13
Galerie Godard Lefort, Montreal, David Milne (1882 ~ 1953):
A Survey Exhibition, April 22 ~ May 15, 1971, catalogue #30
Galerie Walter Klinkhoff Inc., Montreal, David Milne (1882 ~ 1953),
Retrospective Exhibition, September 2001, catalogue #60
While based at Uxbridge in the fall of 1947, David Milne explored Baptiste
Lake south of Algonquin Park. Subjects from his Baptiste Lake sketchbooks
from that trip were completed at Uxbridge (the catalogue raisonné noting
that this is likely a Baptiste Lake subject). This enchanting still life,
including both natural and man~made objects, incorporates crabapples
that Milne found on a walk. The catalogue raisonné, in light of Milne
mentioning painting a small oil still life around October 7 of 1947, states:
“We believe the small oil was Wild Apples. If so, it is the only Baptiste Lake
oil and probably the last canvas Milne painted.” After this, watercolours
were Milne’s focus, making this a rare canvas from this period.
E STIMATE: $60,000 ~ 80,000
80
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161
161 DAVID BROWN MILNE
CGP CSGA CSPWC
1882 ~ 1953
Green and Mauve, Boston Corners, NY
Selected Works from the Milne Estate, Mira Godard Gallery, 2003,
reproduced page 19
E XHIBITED :
watercolour on paper, dated May 31, 1916
and on verso titled on the gallery label and
inscribed by the Duncan Estate 423
15 1/4 x 20 1/2 in, 38.7 x 52.1 cm
Mira Godard Gallery, Toronto, David Milne, Boston Corners: 1916 ~ 1918,
March 17 ~ April 7, 1988, catalogue #5
Mira Godard Gallery, Toronto, David Milne, Selected Works from the
David Milne Estate, September 27 ~ October 11, 2003, catalogue #7
P ROVENANCE :
In 1916, David Milne moved to Boston Corners, a tiny hamlet at the
junction of New York, Massachusetts and Connecticut. Behind his
residence at Under Mountain House, on the western flank of the Berkshire
range, Milne built a little painting shelter, from which he looked west over
the town toward Fox Hill and the distant Catskills. In this beautiful
watercolour, Milne effortlessly defines the vista with simple lines, creating
mass and atmosphere through the use of transparent washes, dense black
areas and the dazzling white of bare paper. Jewel~like tones of amethyst and
peridot green are strongly contrasted by black and white. Milne’s idyllic stay
was broken by the war, and in February of 1918 he left to join the army.
Estate of David B. Milne
Mira Godard Gallery, Toronto, 2003
L ITERATURE :
David Milne, Boston Corners: 1916 ~ 1918, Mira Godard Gallery, 1988
David P. Silcox, Painting Place: The Life and Work of David B. Milne,
1996, reproduced page 78
David Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonné
Volume 1, 1998, reproduced page 163, catalogue #107.14
81
E STIMATE: $50,000 ~ 70,000
4/2/2011, 5:50 PM
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162
162 LAWREN STEWART HARRIS
ALC BCSFA CGP FCA G7 OSA RPS TPG
1885 ~ 1970
Study of Women in the Ward
oil on board, on verso signed, titled on a label,
dated 1913 and inscribed with the Doris Mills
Inventory #5/13 and Bess Harris Collection 1950
8 5/8 x 14 in, 21.9 x 35.6 cm
P ROVENANCE :
Collection of the Artist
Bess Harris Collection, 1950
The Family of the Artist
L ITERATURE :
Doris Mills, L.S. Harris Inventory, 1936, listed as Group 5 (5 /13)
Miscellaneous Sketches, location noted as the Studio Building
Artists’ sketches are a window into their work. Lawren Harris’s Study
of Women in the Ward is a lovely vignette of female figures in various
postures, brightly dressed and preoccupied with the tasks of daily life in
the historic working class district of Toronto known as the Ward. Harris’s
masterful brushwork is a marvel of paint application; he gives great detail
in a few simple strokes. In studies such as this, which were used in larger
works, Harris was interested in what each figure represented: class, an
occupation, a particular industry or ethnicity. Such figures in Harris’s
urban works are incredibly important to the final paintings. As with the
male figure in In the Ward, lot 150 in this sale, posture, gaze and placement
became social comment for Harris. These women of the Ward provide a
rare peek into Harris’s methods. The female figure in In the Ward is very
similar to the women sketched in profile here, but instead of the mauve,
pink, red and green of their clothing in this study, Harris has chosen for
her dress in the canvas deep blue and turquoise from the colours of the
house that she passes.
E STIMATE: $4,000 ~ 6,000
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163
163 UNIDENTIFIED HAIDA ARTIST
20TH CENTURY
Haida Gwaii Beaver Bracelet
sterling silver bracelet, circa 1900 ~ 1920
1 1/2 x 7 x 1/16 in, 3.8 x 17.8 x 0.2 cm
P ROVENANCE :
Acquired by the present owner’s parents circa 1960, Haida Gwaii
By descent to the present Private Collection, Vancouver
L ITERATURE :
Daina Augaitis et al, Raven Travelling, Two Centuries of Haida Art,
Vancouver Art Gallery, 2006, page 63
Regarding Haida culture, elder Diane Brown observed, “There was no
word for ‘art’ because it was in every part of our lives…We had the time to
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make things beautiful because the sea and land provided for us all year.”
From totems to argillite and wood carvings to silver jewellery, the Haida
were known for fineness of execution and a sophisticated awareness of
aesthetics. One of the pantheon of Haida mythical animal figures, Beaver,
the central motif of this bracelet, was one of Raven’s uncles who, in the
early days of the world, lived on the sea floor hoarding all the fresh water
and fish. Early bracelets such as this were made from silver dollars,
sometimes sourced from the United States or Mexico, melted and
hammered flat into thin surfaces which were then molded and incised
using a round piece of wood. In the early 1900s, jewellery was made both
for personal ornamentation and for trade. This bracelet, with its hatching
and deep incising, is a fine example of early Haida jewellery.
E STIMATE: $12,000 ~ 16,000
4/2/2011, 5:50 PM
84
164
164 ALFRED JOSEPH (A.J.) CASSON
CGP CSPWC G7 POSA PRCA 1898 ~ 1992
Still Morning
oil on board, signed and on verso
signed and titled on the artist’s label
24 x 30 in, 61 x 76.2 cm
P ROVENANCE :
Roberts Gallery, Toronto; J.D. Young, Toronto
L ITERATURE :
Paul Duval, A.J. Casson, Roberts Gallery, 1975, reproduced page 162
Christopher E. Jackson, A.J. Casson: An Artist’s Life, McMichael Canadian
Art Collection, 1998, page 46
E XHIBITED :
McMaster University, Hamilton, A.J. Casson Retrospective,
November 10 ~ December 11, 1971, label on verso
84
A.J. Casson took a very strong, structural approach to this landscape.
Still Morning exemplifies the radically different direction that his work
underwent in 1945, when he took on a cubist style, breaking forms into
sharp geometric shapes. In the 1950s and 1960s, this style change was
accompanied by an interest in the dramatic lighting effects of storms and
rain showers. Christopher Jackson wrote, “Casson never commented
on why these changes occurred in his works, but they created a mystical
feeling that is unlike any other in his career.” Still Morning is a superb
example of this; fractured planes of light bathe the scene, and stylized
triangles and rectangles form the rocks that border the lake. There is,
however, a softer, more organic feel to the forms in this work than the
work of the mid~1940s with its hard edges. The intense light over the
center of the painting draws the eye down into the reflections in the water,
generating an abstract and dreamy atmosphere. It is these transparent
curtains of light that give a subtle feeling of the spiritual suffusing the
landscape.
E STIMATE: $125,000 ~ 150,000
4/2/2011, 5:50 PM
85
165
165 ALFRED JOSEPH (A.J.) CASSON
CGP CSPWC G7 POSA PRCA
1898 ~ 1992
Grey and Gold
oil on board, signed and on verso
titled on a label, circa 1953 ~ 1955
20 x 24 in, 50.8 x 61 cm
P ROVENANCE :
Roberts Gallery, Toronto
Canadian Heritage Art Company, Kleinburg
Private Collection, Toronto
L ITERATURE :
Paul Duval, A.J. Casson, Roberts Gallery, 1975, page 128,
a similar 1958 oil entitled Mist, Rain and Sun, in the collection
of Museum London (formerly the London Regional Art Gallery),
Ontario, reproduced page 149
85
In 1926, A.J. Casson was invited to join the Group of Seven after the
departure of Frank Johnston. Casson forged his identity in the Group
with his images of southern Ontario villages and rural countryside, as
well as the Ontario northland. This work was painted at Redmond Bay, a
cove in Lake Baptiste. During the 1950s, Casson’s favourite painting place
was Lake Baptiste, about 20 miles from the Ontario town of Bancroft, and
he painted there almost exclusively from 1953 to 1955. In late September
or early October, he would spend a few weeks there at a rented cabin on
the lake, sometimes making a second trip in the summer. Paul Duval
comments, “Some of Casson’s finest canvases were based on sketches
done at Lake Baptiste.” Grey and Gold exhibits Casson’s 1950s style of
geometric design, prominent here in the clouds and the shafts of light
illuminating the lake. It is a work of tranquil beauty, taking the viewer’s
eye in a natural flow over the darkened foreground to the still lake
mirroring the shore and up to the lofty clouds in an aesthetic gestalt.
E STIMATE: $60,000 ~ 80,000
4/2/2011, 6:21 PM
86
166
166 JAMES EDWARD HERVEY (J.E.H.)
MACDONALD
ALC CGP G7 OSA RCA
1873 ~ 1932
Jack Knife Island, Georgian Bay
oil on board, on verso signed,
titled and dated 1912
7 x 9 in, 17.8 x 22.9 cm
P ROVENANCE :
Roberts Gallery, Toronto
J.E.H. MacDonald’s early works, those prior to his association with the
Group of Seven, were governed by ideas of Art Nouveau and design.
They also reflected the influence of Impressionism and thus gave
86
attention to light, atmosphere and mood. MacDonald was a skilled
designer, able to compose a scene with remarkable simplicity. This
beautiful small oil shows us all of these things. The ornamental~looking
trees, growing persistently on the edge of a rocky bluff, their forms just off
of centre in the work, are reflected in the moving water of evening, their
shadows cast over ripples of even brushwork. The blue of the sky, the blue
of the water and the blue cast to everything on the land creates a mood of
cool evening tranquility. The work also has a subtle energy which comes
largely from the active brushwork and the patterns that the brush~strokes
form on the surface of the work, moving so as to return our eye over and
over again into the heart of the scene, where we are mesmerized by its
coolness.
E STIMATE: $80,000 ~ 100,000
4/2/2011, 5:50 PM
87
167
167 JAMES EDWARD HERVEY (J.E.H.)
MACDONALD
ALC CGP G7 OSA RCA
1873 ~ 1932
Cloudy Sky, Thornhill Church
oil on board, signed and dated August 12, 1931
and on verso signed, titled, dated, certified by
Thoreau MacDonald and inscribed a top quality sketch
8 1/2 x 10 1/2 in, 21.6 x 26.7 cm
P ROVENANCE :
Roberts Gallery, Toronto, 1965
In this fine sketch of J.E.H. MacDonald’s beloved Thornhill area, we see
a tranquil view of a church set in a meadow amongst billowing trees
87
under a cloud~filled sky. It is a lovely scene, noted on the verso as being
“a top quality sketch” by MacDonald’s son, Thoreau. J.E.H. MacDonald
had purchased a property in Thornhill in 1912. He was very fond of it and
named it Four Elms as homage to the stately trees that grew there. He
sketched and painted his property as well as the areas nearby regularly,
as well as opening his home to fellow artists and hosting parties there.
At one point, when his finances were low, he was pressed into renting the
property for income; the only stipulation was that it would be let to these
same fellow painters. As a result, Thornhill is a place name attached to
many sketches and tranquil vistas painted by members of the Group of
Seven. By 1931, the year this work was executed, MacDonald had been
living back at Thornhill steadily since 1925.
E STIMATE: $25,000 ~ 35,000
4/2/2011, 5:50 PM
88
168
168 MAURICE GALBRAITH CULLEN
AAM RCA
1866 ~ 1934
The Cache River, November
oil on board, signed and on verso titled, dated 1925
on the gallery labels, inscribed Mary Hough on the frame
and certified by Cullen Inventory #1522
11 3/4 x 16 3/8 in, 29.8 x 41.6 cm
P ROVENANCE :
Watson Art Galleries, Montreal
Dominion Gallery, Montreal
Private Collection, Vancouver
L ITERATURE :
Hughes de Jouvancourt, Maurice Cullen, 1978, page xvii
The Cache River in the Laurentians was one of Maurice Cullen’s great
enduring themes, painted in daylight, sunset and moonlight. Most were
winter scenes, with banks shrouded in snow and the river’s edges shaped
88
by ice. Hughes de Jouvancourt writes, “What makes the works of his
Laurentian period so moving is the feeling of hidden mystery conveyed
by the woods, mountains, lakes and streams. A great goodness seems
to inhabit nature as if God, satisfied with the beauty of his work, had
suddenly halted his creation.” In his depictions of winter, Cullen
displayed his extraordinary abilities as an Impressionist in his refined
handling of light effects and delicate colour tones, captured while
painting out~of~doors. He did not use the French Impressionists’
fractured brush~stroke and fragmentation of colour, instead preferring
to use a more solid application of paint. After drawing his outline with a
neutral colour, Cullen gradually worked up all the masses of the painting,
a process that kept the whole painting in movement until finished. The
final effect in The Cache River, November is sparkling and fresh, the
quintessence of a winter’s day on the river.
E STIMATE: $12,000 ~ 16,000
4/2/2011, 5:50 PM
89
169
169 FREDERICK SIMPSON COBURN
AAM RCA
1871 ~ 1960
Cutting Logs
oil on canvas, signed and dated 1942
22 x 28 in, 55.9 x 71.1 cm
P ROVENANCE :
Continental Galleries, Montreal
Private Collection, Vancouver
After traditional training in Germany and Belgium, Frederick Coburn
was exposed to the innovative approach of the Impressionists in Paris.
Back in Canada, Maurice Cullen, a well~known Impressionist pioneer
in the Canadian scene, encouraged him to expand his colour palette to
reflect the vibrant atmosphere and light of Quebec’s landscape. Coburn
discovered the central theme in his work while painting during winter in
his Melbourne studio. Through his window he saw a team of horses
hauling logs on a sledge, and the sight was a moment of gestalt. It was a
89
scene that came to represent what was unique about habitant life in
rural Quebec: self~sufficient, hard~working, yet full of joie de vivre.
Early in Coburn’s career, the prejudice of Canadian collectors for dark,
European work had to be overcome. The work of artists such as Coburn,
Cullen and James Wilson Morrice was ground~breaking and, like the
Group of Seven, they created art that was formative to our Canadian
identity. Cutting Logs is a superb example of Coburn’s work ~ a classic
subject of lumbermen at work on a bright winter’s day, with interesting
effects of light through the trees, splashes of pastel highlights and
luscious, painterly brush~strokes.
E STIMATE: $20,000 ~ 30,000
4/2/2011, 5:50 PM
90
170
170 ALEXANDER YOUNG (A.Y.) JACKSON
ALC CGP G7 OSA RCA RSA
1882 ~ 1974
Early Spring, Saint~Fabien
oil on panel, on verso signed, titled, dated April 1935
and inscribed in graphite Reserved ~ A.G.T.
8 1/2 x 10 1/2 in, 21.6 x 26.7 cm
P ROVENANCE :
Private Estate, Vancouver
The early 1930s were a time of change for A.Y. Jackson; the Group of
Seven disbanded, he severed his ties with the Royal Canadian Academy,
and he became one of the driving forces behind the formation of the
Canadian Group of Painters, which included a wider circle of artists from
coast to coast. But the pattern of his migration to his favourite painting
places continued, and spring found him in his usual haunts up and down
the St. Lawrence River. March and April of 1935 saw Jackson painting
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on the South Shore at Rimouski, Cacouna, Les Éboulements and
Saint~Fabien. No one could paint these rustic Quebec villages with more
understanding and tenderness for their unique nature and connection
with the cycles of nature. Here, under a bright blue sky, the cluster of
buildings at the foot of the hill is surrounded by melting snow, revealing
interesting patterns of the emerging earth. Fluid brush~strokes loaded
with pale pastels of pink, yellow and green brightened with dashes of
blue define snow melting to water, as winter releases the land in this
classic 1930s spring village sketch.
E STIMATE: $20,000 ~ 30,000
4/2/2011, 5:50 PM

Mother and Papoose Portrait of A. Janes

Transcription

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