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26727 Consignor Auction Catalogue Template
Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation. -
Fine Canadian Art
HEFFEL FINE ART AUCTION HOUSE HEFFEL FINE ART FINE CANADIAN ART FINE CANADIAN ART FINE CANADIAN ART NOVEMBER 27, 2014 HEFFEL FINE ART AUCTION HOUSE VANCOUVER • CALGARY • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSE ISBN 978~1~927031~14~8 SALE THURSDAY, NOVEMBER 27, 2014, TORONTO FINE CANADIAN ART AUCTION THURSDAY, NOVEMBER 27, 2014 4 PM, CANADIAN POST~WAR & CONTEMPORARY ART 7 PM, FINE CANADIAN ART PARK HYATT HOTEL, QUEEN’S PARK BALLROOM 4 AVENUE ROAD, TORONTO PREVIEW AT HEFFEL GALLERY, VANCOUVER 2247 GRANVILLE STREET SATURDAY, NOVEMBER 1 THROUGH TUESDAY, NOVEMBER 4, 11 AM TO 6 PM PREVIEW AT GALERIE HEFFEL, MONTREAL 1840 RUE SHERBROOKE OUEST THURSDAY, NOVEMBER 13 THROUGH SATURDAY, NOVEMBER 15, 11 AM TO 6 PM PREVIEW AT UNIVERSITY OF TORONTO ART CENTRE 15 KING’S COLLEGE CIRCLE ENTRANCE OFF HART HOUSE CIRCLE SATURDAY, NOVEMBER 22 THROUGH WEDNESDAY, NOVEMBER 26, 10 AM TO 6 PM THURSDAY, NOVEMBER 27, 10 AM TO 12 PM HEFFEL GALLERY, TORONTO 13 HAZELTON AVENUE, TORONTO ONTARIO, CANADA M5R 2E1 TELEPHONE 416 961~6505, FAX 416 961~4245 TOLL FREE 1 800 528-9608 WWW.HEFFEL.COM HEFFEL FINE ART AUCTION HOUSE VANCOUVER • CALGARY • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSE CATALOGUE SUBSCRIPTIONS A Division of Heffel Gallery Inc. Heffel Fine Art Auction House and Heffel Gallery Inc. regularly publish a variety of materials beneficial to the art collector. An TORONTO Annual Subscription entitles you to receive our Auction Catalogues 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 and Auction Result Sheets. Our Annual Subscription Form can be Telephone 416 961~6505, Fax 416 961~4245 found on page 116 of this catalogue. -
DAVEANDJENN Whenever It Hurts
DAVEANDJENN Whenever It Hurts January 19 - February 23, 2019 Opening: Saturday January 19, 3 - 6 pm artists in attendance detail: “Play Bow” In association with TrépanierBaer Gallery, photos by: M.N. Hutchinson GENERAL HARDWARE CONTEMPORARY 1520 Queen Street West, Toronto, M6R 1A4 www.generalhardware.ca Hours: Wed. - Sat., 12 - 6 pm email: [email protected] 416-821-3060 DaveandJenn (David Foy and Jennifer Saleik) have collaborated since 2004. Foy was born in Edmonton, Alberta in 1982; Saleik in Velbert, Germany, in 1983. They graduated with distinction from the Alberta College of Art + Design in 2006, making their first appearance as DaveandJenn in the graduating exhibition. Experimenting with form and materials is an important aspect of their work, which includes painting, sculpture, installation, animation and digital video. Over the years they have developed a method of painting dense, rich worlds in between multiple layers of resin, slowly building up their final image in a manner that is reminiscent of celluloid animation, collage and Victorian shadow boxes. DaveandJenn are two times RBC Canadian Painting Competition finalists (2006, 2009), awarded the Lieutenant Governor of Alberta’s Biennial Emerging Artist Award (2010) and longlisted for the Sobey Art Award (2011). DaveandJenn’s work was included in the acclaimed “Oh Canada” exhibition curated by Denise Markonish at MASS MoCA – the largest survey of contemporary Canadian art ever produced outside of Canada. Their work can be found in both private and public collections throughout North America, including the Royal Bank of Canada, the Alberta Foundation for the Arts, the Calgary Municipal Collection and the Art Gallery of Hamilton. -
Painting and Sculpture in Canada
PAINTING AND SCULPTURE IN CANADA M. 0. HAMMOND HEN Louis Jobin, the wood carver of Ste. Anne de Beaupre, W passed away in 1928, at the age of 86, he severed a link which united primitive and modern art in Canada. Through his long life he had created figures in wood, the last of a noted line of artists in their own field. Ancient calvaires beside Quebec highways, fading wooden Indians in front of cigar stores, surviving figure heads on sailing ships, religious figures on the fa~ades of French Canadian churches, as at Ste Famille on Isle d 'Orleans, dating from 1749---these are relics of the wood-carving age in Canadian art, that may be found by diligent search. Jobin's own life spanned the developing years of the newer art in Canada, the art of painting. We may pass over the efforts of the Indians, visible in the decorative totem poles, carvings in bone, shell and ivory, and the painted ceremonial faces of the red men, and ignore the efforts of educated Frenchmen in the days of New France. If art in Canada lacked adequate support almost down to the relatively fat times of to-day, how much less could it thrive in the era of the explorer and the coureur-de-bois? There has been virtually a century of painting in Canada, from the days of Paul Kane, Cornelius Krieghoff and George T. Berthon, to the present, and half way down that century occurred in 1880 the organization of the Royal Canadian Academy, the jubilee of whose launching is being observed in this year 1930. -
MUSICAL COMPOSITION Through the Art of BERTRAM BROOKER Click the Right Corner to MUSICAL COMPOSITION BERTRAM BROOKER Through the Art of Return to Table of Contents
TEACHER RESOURCE GUIDE FOR GRADES 2–12 LEARN ABOUT MUSICAL COMPOSITION through the art of BERTRAM BROOKER Click the right corner to MUSICAL COMPOSITION BERTRAM BROOKER through the art of return to table of contents TABLE OF CONTENTS PAGE 1 PAGE 2 PAGE 3 RESOURCE WHO WAS TIMELINE OF OVERVIEW BERTRAM BROOKER? HISTORICAL EVENTS AND ARTIST’S LIFE PAGE 4 PAGE 8 PAGE 10 LEARNING CULMINATING HOW BERTRAM ACTIVITIES TASK BROOKER MADE ART: STYLE & TECHNIQUE PAGE 11 READ ONLINE DOWNLOAD ADDITIONAL BERTRAM BROOKER: BERTRAM BROOKER RESOURCES LIFE & WORK BY IMAGE FILE JAMES KING EDUCATIONAL RESOURCE MUSICAL COMPOSITION through the art of BERTRAM BROOKER RESOURCE OVERVIEW This teacher resource guide has been designed to complement the Art Canada Institute online art book Bertram Brooker: Life & Work by James King. The artworks within this guide and the images required for the learning activities and culminating task can be found in the Bertram Brooker Image File provided. Throughout his career Bertram Brooker (1888–1955) looked to capture the ephemeral and magical qualities of music in his paintings. Several of his works explore specific pieces of music or attempt to convey an experience of sound on the canvas. In this guide the art of Brooker is used to explore musical forms, terminology, and structure, and it guides students in activities that allow them to find connections between visual art and music and to build an understanding and appreciation of both disciplines. Curriculum Connections Grades 2–12 Music Grades 2–12 Visual Arts Grades 11–12 Composition and Production Themes Composition The elements of music Sound paintings Soundscapes Visual interpretations Teaching Exercises The exercises in this guide invite students to explore connections between visual art and music. -
New Connections
N EW CONNECTIONS A Resource Guide to the Arts in Toronto for Newcomer Artists Ballet Folklorico Mexico by Brendan Albert TABLE OF CONTENTS About Us Neighbourhood Arts Network, Toronto Arts Foundation………………..………….3 About This Document: What to Expect………………..………………………....…..3 Local Art Service Organizations (LASO’s)……………………………………………...….5 Additional Arts Organizations………………………………………………………….....…6 Festivals………………………………………………………………………....………….….11 Dance……………………………………………………………………..…..…………….….13 Film……………………………………………………………………...……..……….………15 Literary……………………………………………………..………….…...…..…………..….16 Music…….…………………………………………………..………….…...…..……….……17 Theatre…….……………………….………………………..………….…...…..………….....19 Visual Arts…….……………………….………………………..…….…...……………….… 20 Ontario Arts Organizations…………….………….…………..…….…...…..………..…...23 Funding for Artists…………….………….…………..…….…...……………..……..……..25 Community Spaces…………….………….…………..…….…...…………....………...… 28 Art Supplies…………….………….…………..…….…...…………....………..…………...29 Event Listings…………….…….….…………..…….…...…………....…………….……... 31 Mentorship Opportunities….….…………..…….…...…………....………………...….... 32 Legal Resources….….…………..…….…...…………....…………………………….…... 33 New Connections 2 About Us Neighbourhood Arts Network is a free membership network that connects people with arts opportunities and events happening across Toronto. We support and celebrate artists that contribute to making our neighbourhoods more creative and exciting. Our membership consists of different types of artists, arts organizations -
National Historic Sites of Canada System Plan Will Provide Even Greater Opportunities for Canadians to Understand and Celebrate Our National Heritage
PROUDLY BRINGING YOU CANADA AT ITS BEST National Historic Sites of Canada S YSTEM P LAN Parks Parcs Canada Canada 2 6 5 Identification of images on the front cover photo montage: 1 1. Lower Fort Garry 4 2. Inuksuk 3. Portia White 3 4. John McCrae 5. Jeanne Mance 6. Old Town Lunenburg © Her Majesty the Queen in Right of Canada, (2000) ISBN: 0-662-29189-1 Cat: R64-234/2000E Cette publication est aussi disponible en français www.parkscanada.pch.gc.ca National Historic Sites of Canada S YSTEM P LAN Foreword Canadians take great pride in the people, places and events that shape our history and identify our country. We are inspired by the bravery of our soldiers at Normandy and moved by the words of John McCrae’s "In Flanders Fields." We are amazed at the vision of Louis-Joseph Papineau and Sir Wilfrid Laurier. We are enchanted by the paintings of Emily Carr and the writings of Lucy Maud Montgomery. We look back in awe at the wisdom of Sir John A. Macdonald and Sir George-Étienne Cartier. We are moved to tears of joy by the humour of Stephen Leacock and tears of gratitude for the courage of Tecumseh. We hold in high regard the determination of Emily Murphy and Rev. Josiah Henson to overcome obstacles which stood in the way of their dreams. We give thanks for the work of the Victorian Order of Nurses and those who organ- ized the Underground Railroad. We think of those who suffered and died at Grosse Île in the dream of reaching a new home. -
The Great Canadian Art Exportation: Oh, Canada and the Myth of the White North Natasha Chaykowski
Document généré le 30 sept. 2021 06:04 esse arts + opinions The Great Canadian Art Exportation: Oh, Canada and the Myth of the White North Natasha Chaykowski Reconstitution Re-enactment Numéro 79, automne 2013 URI : https://id.erudit.org/iderudit/69765ac Aller au sommaire du numéro Éditeur(s) Les éditions esse ISSN 0831-859X (imprimé) 1929-3577 (numérique) Découvrir la revue Citer cet article Chaykowski, N. (2013). The Great Canadian Art Exportation: Oh, Canada and the Myth of the White North. esse arts + opinions, (79), 70–71. Droits d'auteur © Natasha Chaykowski, 2013 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ CONCOURS JEUNES CRITIQUES YOUNG CRITICS COMPETITION 70 70 NATASHA CHAYKOWSKI THE GREAT CANADIAN ART EXPORTATION: OH, CANADA AND THE MYTH OF THE WHITE NORTH OF THE WHITE NORTH ART EXPORTATION: OH, CANADA AND THE MYTH THE GREAT CANADIAN NATASHA CHAYKOWSKI Maple syrup, hockey, poutine, caribou, and Timbits: this is the stuff of known artists, including Michael Snow, Shary Boyle, Marcel Dzama, Michel Denise Markonish’s Canada.1 Markonish, a curator at the Massachusetts de Broin, and Douglas Coupland were exhibited alongside artists akin to Museum of Contemporary Art (MASS MoCA), recently organized a Amelie Atkins, Eryn Foster, Craig Leonard, and Clint Neufeld, whose prac- monumental survey exhibition of Canadian art, aptly titled Oh, Canada: tices, while locally acclaimed, have yet to gain exposure internationally. -
European Ways of Talking About the Art of Northwest Coast First Nations
EUROPEAN WAYS OF TALKING ABOUT THE ART OF THE NORTHWEST COAST FIRST NATIONS F. Graeme Chalmers Department of Curriculum Studies Faculty of Education University of British Columbia Vancouver, British Columbia Canada, V6T 1Z4 Abstract / Resume The ways in which we, Aboriginal and non-Aboriginal people alike, view the Aboriginal art of the Northwest Coast, have been profoundly affected by European accounts of the art. For a long time Northwest Coast art was compared to European art and treated as a quaint variant of “real” art. In recent decades we have begun to view this work as art by itself, that is art which is inherently valuable. Les façons dont nous, les autochtones et les allogènes aussi, voyons l'art autochtone de la côte nord-ouest ont été profondément influencées par les exposés européens sur l'art. On compare, depuis longtemps, l'art de la côte nord-ouest avec l'art européen et considère le premier comme une variante bizarre du “vrai” art. Au cours des dernières décennies, on a commencé à considérer ce travail comme un art en soi, c'est-à-dire comme un art qui est de grande valeur profonde. 114 Graeme Chalmers In his book, Textual Spaces: Aboriginality and Cultural Studies, the Australian Stephen Muecke argued that European ways of talking about Aboriginal people limit ways of knowing what Aborigines might be (1992:20). Canadian and international views, as well as the understandings of Aboriginal peoples themselves, of First Nations art on the Northwest Pacific Coast have been profoundly and similarly colored by value-laden European accounts and definitions. -
Township of Wilmot Council Agenda Monday, April 7, 2014
TOWNSHIP OF WILMOT COUNCIL AGENDA MONDAY, APRIL 7, 2014 TELEVISED REGULAR COUNCIL MEETING COUNCIL CHAMBERS 7:00 P.M. 1. MOTION TO CONVENE INTO CLOSED SESSION (IF NECESSARY) 2. MOTION TO RECONVENE IN OPEN SESSION 3. MOMENT OF SILENCE 4. ADDITIONS TO THE AGENDA 5. DISCLOSURE OF PECUNIARY INTEREST UNDER THE MUNICIPAL CONFLICT OF INTEREST ACT 6. MINUTES OF PREVIOUS MEETINGS 6.1 Council Meeting Minutes March 24, 2014 Recommendation THAT the minutes of the following meetings be adopted as presented: Regular Council Meeting March 24, 2014. 7. PUBLIC MEETINGS 8. PRESENTATIONS/DELEGATIONS 8.1 Willow Creek Kennel Application 8.1.1 REPORT NO. CL 2014-07 Willow Creek Bernedoodles Kennel Application 3532 Erb’s Rd. Baden Township of Wilmot Recommendation THAT Report No Cl2-14-07 be received for information. Council Agenda Monday, April 7, 2014 2 8.2 Paul Mackie, Treasurer Anthony Richardson, President Gregg Murtagh, Director New Hamburg Lion’s Club Cheque Presentation Wilmot Recreation Complex Donation 8.3 Nick Bogaert, Chairman Heritage Wilmot Advisory Committee Council Update 8.4 Cassidy Egerdeen, Relay for Life Event Chair Christine Strong, Relay for Life Entertainment Chair Waterloo Oxford Youth Activity Council Relay For Life 8.3.1 REPORT NO. CL 2014-10 Noise By-law Exemption Request Waterloo-Oxford District Secondary School, Baden Relay for Life Event Recommendation THAT an exemption to the Noise By-law as requested by Waterloo – Oxford District Secondary School, Baden for the purpose of the ‘Relay for Life’ Event commencing Friday, May 9, 2014 at approximately 7:00 p.m. to 7:00 a.m. -
The Group of Seven, AJM Smith and FR Scott Alexandra M. Roza
Towards a Modern Canadian Art 1910-1936: The Group of Seven, A.J.M. Smith and F.R. Scott Alexandra M. Roza Department of English McGill University. Montreal August 1997 A Thesis subrnitted to the Facdty of Graduate Studies and Researçh in partial fiilfiliment of the requirements of the degree of Master of Arts. O Alexandra Roza, 1997 National Library BiMiotheque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellingtocl Ottawa ON KIA ON4 OttawaON K1AW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aliowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seii reproduire, prêter, distnibuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nim, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othewise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. iii During the 19 los, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would afhn Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be- For the majority of Canadian painters, wrïters, critics and readers, the fbture of the Canadian arts, especially poetry and painting, lay in Canada's past. -
Nothing “Improper” Happened: Sex, Marriage, and Colonial Identity in Upper Canada, 1783-1850
NOTHING “IMPROPER” HAPPENED: SEX, MARRIAGE, AND COLONIAL IDENTITY IN UPPER CANADA, 1783-1850 by Robin Christine Grazley A thesis submitted to the Department of History in conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada June, 2010 Copyright © Robin Christine Grazley, 2010 Abstract This study explores the importance of heterosexual relationships, in theory and practice, to the making of Upper Canada as a British colonial society. Between 1783, when settlers began to enter the territory in the wake of the American Revolutionary War, and 1850, when the transition toward a more powerful colonial state was underway, contests surrounding marriage, gender, and sexuality were of great significance. The colony was intended by its first and many of its subsequent Lieutenant-Governors to serve as a model of loyalty to the British Empire and a bulwark against American democratic “disorder.” Fundamental to this colonial project was the presence of an orderly body of white settlers; however, this aim was often complicated and undermined by a diverse settler population which refused to conform to middle-class mores and social norms. Marriage and sexual “morality,” significant aspects of assessing “race” and “civilization” in this period, were primary sites for these tensions. This study reenvisions appropriate and inappropriate heterosexual behaviour in the colony and explores the importance of debates over marriage and sexuality to articulations of settler identity. Using private writings, travel literature, and judicial records, including the benchbooks of the colony’s judges, I examine the ways the formation and dissolution of intimate relationships were contested between individual colonists, in local politics, and in international discourse about the British empire and the value of its colonies of settlement.