DOCSLIB.ORG

Post-War & Contemporary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Post-War & Contemporary heffel f ine Art Auction Auction ine Art h ouse post-war & contemporary art & contemporary post-war post-wAr & contemporAry Art Sale Wednesday, july 15, 2020 · 5 Pm · toronto i ii Post-wAr & contemPorAry Art Auction Wednesday, July 15, 2020 5 PM Post-War & Contemporary Art 7 PM Canadian, Impressionist & Modern Art Design Exchange The Historic Trading Floor (2nd floor) 234 Bay Street, Toronto Located within TD Centre Previews Heffel Gallery, Vancouver 2247 Granville Street Saturday, June 20 through Tuesday, June 23, 11 am to 6 pm Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Thursday, July 2 through Saturday, July 4, 11 am to 6 pm Design Exchange, Toronto The Exhibition Hall (3rd floor), 234 Bay Street Located within TD Centre Friday, July 10 through Tuesday, July 14, 10 am to 6 pm Wednesday, July 15, 10 am to 1 pm Heffel Gallery Limited Heffel.com Departments Additionally herein referred to as “Heffel” consignments or “Auction House” [email protected] APPrAisAls CONTACT [email protected] Toll Free 1-888-818-6505 [email protected], www.heffel.com Absentee And telePhone bidding [email protected] toronto 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 shiPPing Telephone 416-961-6505, Fax 416-961-4245 [email protected] ottAwA subscriPtions 451 Daly Avenue, Ottawa, Ontario K1N 6H6 [email protected] Telephone 613-230-6505, Fax 613-230-6505 montreAl CatAlogue subscriPtions 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Heffel Gallery Limited regularly publishes a variety of materials Telephone 514-939-6505, Fax 514-939-1100 beneficial to the art collector. An Annual Subscription entitles Vancouver you to receive our Auction Catalogues and Auction Result Sheets. 2247 Granville Street, Vancouver, British Columbia V6H 3G1 Our Annual Subscription Form can be found on page 117 of this Telephone 604-732-6505, Fax 604-732-4245 catalogue. CalgAry 888 4th Avenue SW, Unit 609, Calgary, Alberta T2P 0V2 CatAlogue Production Telephone 403-238-6505, Fax 403-265-4225 Essay Contributors—Robert Belton, Thibault Bennett, Alec Blair Marie-Hélène Busque, Mark Cheetham, Ray Cronin, Louise Déry, Gary Dufour, Daniel Gallay, Andrew Gibbs, Michèle Grandbois, corPorAte Bank Andrew Kear, Abigail McEwen, Amy Rahn, Andréanne Roy, Royal Bank of Canada, 2735 Granville Street Judith Scolnik, Sarah Stanners, Rosalin Te Omra and Karen Wilkin Vancouver, British Columbia V6H 3J1 Text Editing, Catalogue Production—Julia Balazs, Telephone 604-665-5700 Kate Galicz, David Heffel, Robert Heffel, Naomi Pauls, Incoming wires are required to be sent in Canadian funds and Tania Poggione and Rosalin Te Omra must include: Heffel Gallery Limited, 2247 Granville Street, Director of Imaging—Martie Giefert Vancouver, British Columbia V6H 3G1 as beneficiary. Digital Imaging—Ward Bastian, Jasmin Daigle and Jared Tiller Catalogue Layout and Production—Kirbi Pitt and Clara Wong Catalogue Design—Peter Cocking boArd of directors Chairman In Memoriam—Kenneth Grant Heffel President—David Kenneth John Heffel coPyright Auctioneer License T83-3364318 and #20-116477 No part of this publication may be reproduced, stored in Vice-President—Robert Campbell Scott Heffel retrieval systems or transmitted in any form or by any means, Auctioneer License T83-3365303 and #20-116476 digital, photocopy, electronic, mechanical, recorded or otherwise, without the prior written consent of Heffel Gallery Limited. Printed in Canada by Friesens ISBN: 978-1-927031-40-7 Follow us: L I X contents 4 Preview and Auction Location 5 Auction Details Selling at Auction Buying at Auction General Bidding Increments Framing, Conservation and Shipping Written Valuations and Appraisals 7 Post-War & Contemporary Art Catalogue 106 Heffel Specialists 108 Terms and Conditions of Business 114 Property Collection Notice 115 Catalogue Abbreviations and Symbols 116 Catalogue Terms 116 Heffel’s Code of Business Conduct, Ethics and Practices 117 Annual Subscription Form 117 Collector Profile Form 118 Absentee Bid Form 119 Shipping Authorization Form for Property 120 Terms and Conditions for Shipping 121 Index of Artists by Lot Preview And Auction locAtion Preview and Auction Location Heffel recommends submitting an Absentee Bid Form to partic- ipate. Heffel also accepts telephone bidding, prioritized by the design exchAnge first received Telephone Bid Form and limited to available Tele- Preview: The Exhibition Hall (3rd floor) phone Bid Operators per Lot. Alternatively, Heffel now offers Live Auction: The Historic Trading Floor (2nd floor) Auction Online Bidding, subject to advanced registration and approval. All forms of bidding participation and registration must 234 Bay Street, Toronto be received by Heffel at least 24 hours prior to the commence- Located within TD Centre ment of the sale. Information on absentee and telephone bidding Saleroom Telephone 1-888-212-6505 appears on pages 5 and 118 of this publication. We recommend that you test your streaming video setup Auction Notice 30 minutes prior to our sale at: The Buyer and the Consignor are hereby advised to read fully the Terms and Conditions of Business and Catalogue Terms, www.heffel.tv which set out and establish the rights and obligations of the All Lots and additional images depicting the frame and verso Auction House, the Buyer and the Consignor, and the terms are available at: by which the Auction House shall conduct the sale and handle other related matters. This information appears on pages 108 www.heffel.com through 116 of this publication. Our Estimates are in Canadian funds. Exchange values are Please consult our online catalogue for information specifying subject to change and are provided for guidance only. Buying which works will be present in each of our preview locations at: 1.00 Canadian dollar will cost approximately 0.70 US dollar, 0.63 euro, 0.56 British pound, 0.66 Swiss franc, 74 Japanese yen www.heffel.com/auction/lotsbypreview_E.aspx or 5.4 Hong Kong dollars as of our publication date. Please note that we produce a live webcast of our sale com- mencing at 4:30 PM ET. If you are unable to attend our sale, 4 Auction detAils Selling at Auction Wire payments should be made to the Royal Bank of Canada as Heffel offers individuals, collectors, corporations and public per the account transit details provided on your invoice. All Cer- entities a full-service firm for the successful de-acquisition of tified Cheques, Bank Drafts and Personal or Corporate Cheques their artworks. Interested parties should contact us to arrange must be verified and cleared by the Auction House’s bank prior for a private and confidential appointment to discuss their pre- to all purchases being released. Credit Card payments are subject ferred method of disposition and to analyse preliminary auction to our acceptance and approval and to a maximum of $5,000 estimates, pre-sale reserves and consignment procedures. This if the Buyer is providing their Credit Card details by fax or to a service is offered free of charge. maximum of $25,000 per Lot purchased if paying online or if the If you are from out of town or are unable to visit us at our Credit Card is presented in person with valid identification. The premises, we would be pleased to assess the saleability of your Buyer is limited to two e-Transfers per Lot and up to a maximum artworks by mail, courier or e-mail. Please provide us with pho- of $10,000 per e-Transfer as per the instructions provided on tographic or digital reproductions of the artworks front and verso your invoice. In all circumstances, the Auction House prefers and information pertaining to title, artist, medium, size, date, payment by Bank Wire. provenance, etc. Representatives of our firm travel regularly to major Canadian cities to meet with Prospective Sellers. General Bidding Increments It is recommended that property for inclusion in our sale Bidding typically begins below the low estimate and arrive at Heffel at least 90 days prior to our auction. This allows generally advances in the following bid increments: time to photograph, research, catalogue and promote works and $50 – 300 $25 increments complete any required work such as re-framing, cleaning or con- $300 – 500 $50 servation. All property is stored free of charge until the auction; $500 – 2,000 $100 however, insurance is the Consignor’s expense. $2,000–5,000 $250 Consignors will receive, for completion, a Consignment Agree- $5,000–10,000 $500 ment and Consignment Receipt, which set forth the terms and fees $10,000–20,000 $1,000 for our services. The Seller’s Commission is the amount paid by the $20,000–50,000 $2,500 Consignor to the Auction House on the sale of a Lot, which is calcu- $50,000–100,000 $5,000 lated on the Hammer Price, at the rates specified in writing by the $100,000–300,000 $10,000 Consignor and the Auction House on the Consignment Agreement, $300,000–1,000,000 $25,000 plus applicable Sales Tax. Consignors are entitled to set a mutu- $1,000,000–2,000,000 $50,000 ally agreed Reserve or minimum selling price on their artworks. $2,000,000–3,000,000 $100,000 $3,000,000–5,000,000 $250,000 Buying at Auction $5,000,000–10,000,000 $500,000 All items that are offered and sold by Heffel are subject to our $10,000,000+ $1,000,000 published Terms and Conditions of Business, our Catalogue Terms and any oral announcements made during the course of our sale. Framing, Conservation and Shipping Heffel charges a Buyer’s Premium calculated on the Hammer Price as follows: a rate of twenty-five percent (25%) of the Hammer As a Consignor, it may be advantageous for you to have your art- Price of the Lot up to and including $25,000; plus twenty percent work re-framed and/or cleaned and conserved to enhance its (20%) on the part of the Hammer Price over $25,000 and up to saleability.
Load more

Recommended publications
  • Finding Artwork
    Splash Page THE PLASTICIENS AND BEYOND MONTREAL 1955 - 1970 Varley Art Gallery of Markham CONTACT INFO Varley Art Gallery 216 Main St Unionville, ON L3R 2H1 905-477-9511 ext. 3263 http://www.visitthevarley.com/ ABOUT THE GALLERY The Varley Story The Group of Seven The Group of Seven is famously known to have established a distinct aesthetic to the Canadian landscape, its members are historically recognized for the impact they have made on the Canadian art movement. Frederick Varley, Tom Thomson, J.E.H MacDonald, Arthur Lismer, Frank Johnston, and Franklin Carmichael would first meet as employees at the design firm Grip Ltd in Toronto. These six men would come together during and after work discussing bold new directions for Canadian Art, they were joined by A.Y Jackson and Lawren Harris in 1913. With the support of Dr. James MacCallum, an artist and university professor, the group raised money to build the Studio Building for Canadian Art in Toronto. It was there that they would create masterpieces as they discovered the distinct light of the Canadian atmosphere and capture it in bold new ways. The production the group was interrupted as they suffered tragedy when Tom Thomson, one of the founding members died in mysterious circumstances; shortly after, some of the members left to serve in the First World War. It was not until 1920 that the Group of Seven officially formed with their first exhibition in Toronto. Once their popularity grew, the artists began to travel Canada capturing what inspired them. The group shared a like vision concerning art in Canada.
    [Show full text]
  • 1920S Modernism and Twenty-First-Century Modern Angst: AGH Winter Exhibitions Explore the Work of Visionary Artists
    1920s Modernism and Twenty-First-Century Modern Angst: AGH Winter exhibitions explore the work of visionary artists Hamilton, February 10, 2016 -- Two upcoming exhibitions at the Art Gallery of Hamilton highlight the works of artists who dared to offer a new vision. 1920s Modernism in Montreal: The Beaver Hall Group – on view from February 20 to May 8, 2016 -- explores the works of some of Canada’s most avant-garde artists of the time, and stresses its unique role in developing women artists. Fearful Symmetry: The Art of John Scott – on view from February 6 to May 15, 2016 – showcases three decades of powerful work by an artist who championed the plight of the worker as a human tool in the face of global industry. [From left: Adrien Hébert (1890-1967) Saint Catherine Street, 1926, oil on canvas, 81.5 x 102.2 cm, Archambault family, Photo MMFA, Christine Guest | Lilias Torrance Newton (1896-1980), Nude in the Studio, 1933, oil on canvas, 203.2 x 91.5 cm, Collection A. K. Prakash, Estate of Lilias Torrance Newton © NGC Photo Thomas Moore | Prudence Heward (Canadian 1896-1947) At the Theatre 1928, oil on canvas, 101.6 x 101.6 cm, Montreal Museum of Fine Arts, purchase, Horsley and Annie Townsend Bequest Photo: MMFA, Christine Guest “1920s Modernism in Montreal: The Beaver Hall Group is the first comprehensive exhibition to examine the impact and complexity of one of Canada and Quebec’s most significant group of artists,” says AGH President and CEO Shelley Falconer. “A counterpart to Ontario’s Group of Seven, the more than 130 works by many of Canada’s leading artists represent a multiplicity of perspectives on Montreal modernism including portraits and urban landscapes.
    [Show full text]
  • Borderline Research
    Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world.
    [Show full text]
  • Franklin Carmichael's Representation of The
    TRANSCENDENTAL NATURE AND CANADIAN NATIONAL IDENTITY: FRANKLIN CARMICHAEL’S REPRESENTATION OF THE CANADIAN LANDSCAPE by NICOLE MARIE MCKOWEN Submitted to the Faculty Graduate Division College of Fine Arts Texas Christian University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2019 TRANSCENDENTAL NATURE AND CANADIAN NATIONAL IDENTITY: FRANKLIN CARMICHAEL’S REPRESENTATION OF THE CANADIAN LANDSCAPE Thesis Approved: ______________________________________________________________________________ Major Professor, Dr. Mark Thistlethwaite, Kay and Velma Kimbell Chair of Art History ______________________________________________________________________________ Dr. Frances Colpitt, Deedie Rose Chair of Art History ______________________________________________________________________________ Dr. Meredith Munson, Lecturer, Art History at University of Texas, Arlington ______________________________________________________________________________ Dr. Joseph Butler, Associate Dean for the College of Fine Arts Date ii iii Acknowledgements I would like to express my gratitude to my committee chair Dr. Mark Thistlethwaite and my committee members Dr. Frances Colpitt and Dr. Meredith Munson for their time and guidance throughout the writing of this thesis. I am also grateful to all of the faculty of the Art History Division of the School of Art at Texas Christian University, Dr. Babette Bohn, Dr. Lori Diel, and Dr. Jessica Fripp, for their support of my academic pursuits. I extend my warmest thanks to Catharine Mastin for her support of my research endeavors and gratefully recognize archivist Philip Dombowsky at the National Gallery of Canada, archivist Linda Morita and registrar Janine Butler at the McMichael Canadian Art Collection, and the archivists at the Library and Archives Canada for their enthusiastic aid throughout my research process. Finally, I am indebted to my husband and family, my champions, for their unwavering love and encouragement.
    [Show full text]
  • Newsletter Template 2015
    nouvelles news January-February 2016 janvier-fevrier Events this Month All Sunday services start at 10:30 am unless otherwise specified. We have an active children's program during our Sunday service, at which all children are warmly welcome January 8, 5:30 p.m. Friday, January 22, 7:00 p.m. “Welcome Families! Potluck supper and Saturday, January 23, 7:00 pm discussion” “Coffee House & Play Reading: The Cruellest Month” Potluck supper and discussion for young families (and Coffee House & theatrical reading of a radio play those who enjoy being with them), with child care based on The Cruellest Month,a novel by mystery offered for children. Coffee, tea and juice are offered. writer Louise Penny and adapted by Eric Alexandre. Bring a dish to share. RSVP to Amanda.hillenburg @ Directed by Phyllis Baxter, with a cast of 14 characters gmail.com, [email protected], or and sound effects, in a coffee house ambiance. Repeat wildflowergrowing @ hotmail.com . *Downstairs in performances Friday and Saturday. Doors open at 6:30 Stoddard Hall. p.m.; refreshments available at reasonable cost. January 10 Tickets: $15/performance. Benefit for UUEstrie and Rev. Carole Martignacco Syrian refugees. To buy tickets: 819-842-4146 or [email protected]. “Beyond Protest ~ A New Era of Activism” From the decades of anti-this and anti-that, a deeper January 24 wisdom is welling up. It is not enough to protest Prof. Bruce Gilbert injustice, as our resistance too often is dominated by “Excess Is the Pathway to Wisdom” the very shape of what we protest. Instead, we are British romantic poet William Blake (1757-1827) called to be innovators, shape-changers in a world that believed that the if the doorways of perception could longs to be reinvented.
    [Show full text]
  • University of Toronto Artists
    2010 2010 www.art.utoronto.ca UNIVERSITY OF ARTISTS ESSAYS TORONTO Kathleen Boetto Michelle Jacques MVS Programme Rebecca Diederichs Vladimir Spicanovic Graduating Exhibition Bogdan Luca Alison Syme MEDIA (RE)VISION: HOW TO GET THERE FROM HERE The 2010 Graduating Exhibition of: Rebecca Diederichs Kathleen Boetto Bogdan Luca MEDIA (RE)VISION: UNIVERSITY OF TORONTO MVS (Masters of Visual Studies) Programme in Studio Art HOW TO GET THERE FROM HERE relevant to contemporary artists and curators Associate Curator Contemporary Art at the Art in discussing his recent work in the production Gallery of Ontario, who considers the work of of “Knossos as a memory object”. Independent Rebecca Diederichs; Vladimir Spicanovic, Dean, curator Nancy Campbell revealed her long- Faculty of Art, Ontario College of Art & Design, LISA STEELE standing involvement with artists working in who elucidates the form and the content Canada’s far North. Jean Baptiste Joly, Director of Bogdan Luca’s painting practice; and our of the Akademie Schloss Solitude in Stuttgart own Art History colleague Alison Syme who spoke about the origins of contemporary art decodes the mediaized imagery of Kathleen “So, with his word “researches” Herodotus mobilizing desire and response as easily as cool as it has developed amongst young visual Boetto’s work in video and photography. announced one of the great shifts in human appraisal and analysis. Kathleen Boetto strikes artists working at the Akademie since the mid And thanks also to Linseed Projects for their consciousness not often
    [Show full text]
  • Difficulty in the Origins of the Canadian Avant-Garde Film
    CODES OF THE NORTH: DIFFICULTY IN THE ORIGINS OF THE CANADIAN AVANT-GARDE FILM by Stephen Broomer Master of Arts, York University, Toronto, Canada, 2008 Bachelor of Fine Arts, York University, Toronto, Canada, 2006 A dissertation presented to Ryerson University and York University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Joint Program in Communication and Culture Toronto, Ontario, Canada, 2015 © Stephen Broomer, 2015 Author’s Declaration I hereby declare that I am the sole author of this dissertation. This is a true copy of the dissertation, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my dissertation may be made electronically available to the public. ii Codes of the North: Difficulty in the Origins of the Canadian Avant-Garde Film Stephen Broomer Doctor of Philosophy in Communication and Culture, 2015 Ryerson University and York University Abstract This dissertation chronicles the formation of a Canadian avant-garde cinema and its relation to the tradition of art of purposeful difficulty. It is informed by the writings of George Steiner, who advanced a typology of difficult forms in poetry. The major works of Jack Chambers (The Hart of London), Michael Snow (La Region Centrale), and Joyce Wieland (Reason Over Passion) illustrate the ways in which a poetic vanguard in cinema is anchored in an aesthetic of difficulty.
    [Show full text]
  • Annual Report
    Annual Report OF THE AMERICAN HISTORICAL AssocIATION FOR THE YEAR 1966 + VOLUME 1 + Proceedings SMITHSONIAN INSTITUTION PRESS City of Washington For sale by the Superintendent of Documents, U.S. Government Prii;iting Office Washington, D.C. 20402 - Price $2.00 Letter of Submittal THE SMITHSONIAN INSTITUTION, Washington, D.C., June 15, 1967 To the Congress of the United States: In accordance with the act of incorporation of the American Historical Association, approved January 4, 1889, I have the honor of submitting to Congress the Annual Report of the Association for the year 1966. Respectfully, S. DILLON RIPLEY, Secretary m Letter of Transmittal THE AMERICAN HISTORICAL ASSOCIATION Washington, D.C., June 15, 1967 To the Secretary of the Smithsonian Institution: As provided by law, I submit to you herewith the report of the American Historical Association for the year 1966. This by custom consists of two volumes. Volume I comprises the proceedings of the Association for 1966, the report of its Pacific Coast Branch for 1966, and the list of the members of the Association, as of this July, which customarily appears in our report every three years. Volume II will contain the Writings on American History for 1964. The two volumes constitute the Association's report onthe con­ dition of historical study in this country. PAULL. WARD, Executive Secretary v INTRODUCTION The American Historical Association is a non-profit, member­ ship corporation created in 1889 by special act of Congress for the promotion of historical studies, the collection and preservation of historical manuscripts, and the dis'Semination of the fruits of his­ torical research.
    [Show full text]
  • 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.
    [Show full text]
  • Post-War & Contemporary
    post-wAr & contemporAry Art Sale Wednesday, november 21, 2018 · 4 Pm · toronto i ii Post-wAr & contemPorAry Art Auction Wednesday, November 21, 2018 4 PM Post-War & Contemporary Art 7 PM Canadian, Impressionist & Modern Art Design Exchange The Historic Trading Floor (2nd floor) 234 Bay Street, Toronto Located within TD Centre Previews Heffel Gallery, Calgary 888 4th Avenue SW, Unit 609 Friday, October 19 through Saturday, October 20, 11 am to 6 pm Heffel Gallery, Vancouver 2247 Granville Street Saturday, October 27 through Tuesday, October 30, 11 am to 6 pm Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Thursday, November 8 through Saturday, November 10, 11 am to 6 pm Design Exchange, Toronto The Exhibition Hall (3rd floor), 234 Bay Street Located within TD Centre Saturday, November 17 through Tuesday, November 20, 10 am to 6 pm Wednesday, November 21, 10 am to noon Heffel Gallery Limited Heffel.com Departments Additionally herein referred to as “Heffel” consignments or “Auction House” [email protected] APPrAisAls CONTACT [email protected] Toll Free 1-888-818-6505 [email protected], www.heffel.com Absentee And telePhone bidding [email protected] toronto 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 shiPPing Telephone 416-961-6505, Fax 416-961-4245 [email protected] ottAwA subscriPtions 451 Daly Avenue, Ottawa, Ontario K1N 6H6 [email protected] Telephone 613-230-6505, Fax 613-230-8884 montreAl CatAlogue subscriPtions 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Heffel Gallery Limited regularly publishes a variety of materials Telephone 514-939-6505, Fax 514-939-1100 beneficial to the art collector.
    [Show full text]
  • Ayapaahipiihk Naahkouhk
    ILAJ YEARS/ANS parkscanada.gc.ca / parcscanada.gc.ca AYAPAAHIPIIHK NAAHKOUHK RESILIENCE RESISTANCE LU PORTRAY DU MICHIF MÉTIS ART l880 - 2011 Parks Parcs Canada Canada Canada RESILIENCE / RESISTANCE MÉTIS ART, 1880 - 2011 kc adams • jason baerg • maria beacham and eleanor beacham folster • christi belcourt bob boyer • marie grant breland • scott duffee - rosalie favell -Julie flett - Stephen foster david garneau • danis goulet • david hannan • rosalie laplante laroque - jim logan Caroline monnet • tannis nielsen • adeline pelletier dit racette • edward poitras • rick rivet BATOCHE NATIONAL HISTORIC SITE PARKS CANADA June 21 - September 15, 2011 Curated by: Sherry Farrell Racette BOB BOYER Dance of Life, Dance of Death, 1992 oil and acrylic on blanket, rawhide permanent collection of the Saskatchewan Arts Board RESILIENCE / RESISTANCE: METIS ART, 1880-2011 TABLE OF CONTENTS Foreword 4 Aypaashpiihk, Naashkouhk: Lii Portray dii Michif 1880 - 2011 5 Curator's Statement 7 kcadams 8 jason baerg 9 maria beacham and eleanor beacham folster 10 christi belcourt 11 bob boyer 12 marie grant breland 13 scott duffee 14 rosaliefavell 15 Julie flett 16 Stephen foster 17 david garneau 18 danis goulet 19 david hannan 20 rosalie laplante laroque 21 jim logan 22 Caroline monnet 23 tannis nielsen 24 adeline pelletier dit racette 25 edward poitras 26 rick rivet 27 Notes 28 Works in the Exhibition 30 Credits 32 3 Resilience/Resistance gallery installation shot FOREWORD Batoche National Historic Site of Canada is proud to host RESILIENCE / RESISTANCE: MÉTIS ART, 1880-2011, the first Metis- specific exhibition since 1985. Funded by the Government of Canada, this is one of eighteen projects designed to help Métis com­ munities preserve and celebrate their history and culture as well as present their rich heritage to all Canadians.
    [Show full text]
  • A Finding Aid to the Clement Greenberg Papers, 1937-1983, in the Archives of American Art
    A Finding Aid to the Clement Greenberg Papers, 1937-1983, in the Archives of American Art Jayna Hanson Funding for the processing of this collection was provided by the Terra Foundation for American Art March 2009 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Information, circa 1950s-1983.............................................. 5 Series 2: Business and Financial Records, 1948-1983........................................... 6 Series 3: Correspondence, 1937-1983...................................................................
    [Show full text]