DOCSLIB.ORG

The Best of Canada's Most Celebrated Landscape Artists

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Best of Canada's Most Celebrated Landscape Artists The Best of Canada’s most celebrated landscape artists The Textured Collection Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com Available in 2 different styles and 4 sizes UdUnder g lass, i ncl ldudes HdHand‐tttextured . colour‐coordinated double mats. No glass, available in two sizes Available in two sizes Finished size: 24” X 28” To order this style please add “T” following the image code Finished size: 34” X 38” PRICE CODE “E” To order this style please add “G” following the image code PRICE CODE “AK” Finished size: 12” X 14” To order this style please add “T” following the image code PRICE CODE “AP” Finished size: 20” X 21” To order this style please add “G” TO ORDER following the image code PRICE CODE “C” EXAMPLE: Autumn Orillia by Franklin Carmichael FC‐02‐G Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com ARTIST PAGE # A. J. CASSON 1 C FRANKLIN CARMICHAEL 9 EMILY CARR 12 O CLARENCE GAGNON 14 N LAWREN HARRIS 17 A. Y. JACKSON 23 T FRANZ JOHNSTON 25 E ARTHUR LISMER 25 N JEHMACDONALDJ. E. H. MACDONALD 26 TOM THOMSON 28 T FREDERICK VARLEY 37 S Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com A. J. CASSON A. J. Casson’s friendship with Franklin Carmichael, an original member of the Group of Seven, proved to be the catalyst of C'Casson's career. AkdtAsked to become a member of the Group in 1926 to replace Frank Johnston who had resigned, Casson went on to become known as a painter of Ontario, as was Carmichael. He was able to document many of our rural settings and buildings, as well as his great study of the Ontario landscape with all of the riches that are found in his interpretive paintings of sharply defined colour and shape and contrast. Alfred Joseph Casson, born in Toronto, began to study art with J.S. Gordon at Hamilton Technical School and was apprenticed to a lithographer. Returned to WHITE PINE Toronto in 1916 and studied with Harry #AJC-29 Britton at the Ontario College of Art; also at the Central Technical School. His paintings hang in every important private, corporate and public collection across our land, including the National Gallery of Canada. He died in Toronto at the age of 94. LITTLE ISLAND #AJC-12 SUMMER SKY AUTUMN GEORGIAN BAY #AJC-56 #AJC-04 AUTUMN ON THE YORK RAGGED SKY, MOOSE LAKE BLUE HERON SILVER MORNING #AJC-03 #AJC-19 #AJC-05 #AJC-22 Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com PG. 1 A. J. CASSON 1898-1992 COUNTRY ROAD #AJC-08 MIST RAIN SUN #AJC-13 HAZY OCTOBER MORNING #AJC-10 SUN AFTER THUNDER ROCK POOL CLOCHE HILLS COUNTRY CRISIS #AJC-26 #AJC-21 #AJC-07 Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com PG. 2 A. J. CASSON 1898-1992 WINTER SUN #AJC-32 WHITE VILLAGE #AJC-30 COOL WEATHER ALGONQUIN PARK 1943 SNOW FLURRIES #AJC-06 #AJC-48 #AJC-23 SUN AFTER RAIN ON THE DON WINTER ON THE DON #AJC-25 #AJC-16 #AJC-31 Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com PG. 3 A. J. CASSON 1898-1992 THUNDERHEADS FOG CLEARING RAPIDS ON THE MAGNETEWAN #AJC-28 #AJC-09 #AJC-20 NORTH YORK SCHOOLHOUSE HILLS IN AUTUMN TEA LAKE ALGONQUIN PARK #AJC-15 #AJC-11 #AJC-27 OXTONGUE RIVER PIKE LAKE ANGLICAN CHURCH AT MAGNETEWAN #AJC-17 #AJC-18 #AJC-02 Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com PG. 4 A. J. CASSON 1898-1992 MORNING ON THE KEY FARMHOUSE FRESH SNOW #AJC-49 #AJC-50 #AJC-51 PRELUDE UNIONVILLE MORNING MIST ROUGE RIVER #AJC-52 #AJC-53 #AJC-14 AFTERMATH OLD STORE AT SALEM #AJC-54 #AJC-55 Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com PG. 5 A. J. CASSON 1898-1992 PICNIC ISLAND EARLY SUMMER NORVAL #AJC-57 #AJC-58 FARMHOUSE NEAR BANCROFT VILLAGE HOUSE WINTER #AJC-59 #AJC-60 ROOFTOPS #AJC-61 OCTOBER LAKE SUPERIOR MARKHAM BON ECHO NORTH SHORE, LAKE SUPERIOR #AJC-62 #AJC-63 #AJC-64 #AJC-65 BELOW RAGGED FALLS SUMMER SUN MILL AT WASHAGO #AJC-67 #AJC-68 #AJC-69 Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com PG. 6 A. J. CASSON 1898-1992 GLEN WILLIAMS LATE FLURRY WINTER IN THE VILLAGE SNOW COVERED SPRUCE #AJC-70 #AJC-71 #AJC-72 #AJC-73 FORKS OF THE CREDIT MILL AT ELORA AUTUMN AFTERNOON NEAR NOBEL #AJC-74 #AJC-75 #AJC-76 #AJC-77 PASSING STORM VILLAGE MILL THUNDERSTORM MARCH MORNING #AJC-78 #AJC-79 #AJC-80 #AJC-81 OLD HOUSE PARRY SOUND CRESCENDO YORK MILLS 1947 VILLAGE OF MT. ALBERT #AJC-82 #AJC-83 #AJC-84 #AJC-85 OCTOBER LAKE SUPERIOR II COUNTRY STORE II SUMMER MORNING SUMMER HILLSIDE #AJC-86 #AJC-87 #AJC-88 #AJC-89 Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com PG. 7 A. J. CASSON 1898-1992 CASSON LAKE WHITE FOREST #AJC-90 #AJC-91 ICE HUMMOCKS PARRY SOUND APPROACHING STORM BOBCAYGEON #AJC-92 #AJC-93 #AJC-94 #AJC-95 MILL LAKE EARLY SNOW BACKWATER #AJC-96 #AJC-97 #AJC-98 LAKE KASHAGAWIGAMOG OCTOBER STORM CLOUDS #AJC-99 #AJC-100 Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com PG. 8 FRANKLIN CARMICHAEL Franklin Carmichael apprenticed at the commercial art firm Grip Limited in Toronto in 1911, while studying evenings at the Ontario College of Art and Toronto Technical School. From 1913 to 1914 he studied in Antwerp, Belgium at the Academie Royale des Beaux-Arts. On his return, he began painting on weekends with colleagues Tom Thomson, J.EJ.E.H.H MacDonald and Arthur Lismer. Although he also used oil paints, he is notable among the Group of Seven members for his use of watercolour in depicting the Canadian landscape. SUMACHS #FC-10 LIGHT & SHADOW MIRROR LAKE #FC-08 #FC-09 AUTUMN ORILLIA #FC-02 Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com PG. 9 FRANKLIN CARMICHAEL 1890-1945 AUTUMN TAPESTRY #FC-14 AUTUMN IN THE NORTHLAND #FC-01 THE HILLTOP FALLING LEAVES AUTUMN #FC-17 #FC-18 ISLAND, GEORGIAN BAY LA CLOCHE MOUNTAINS GRACE LAKE #FC-08 #FC-07 #FC-04 Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com PG. 10 FRANKLIN CARMICHAEL 1890-1945 BAY OF ISLANDS #FC-12 CRANBERRY LAKE #FC-16 AUTUMN HILLSIDE #FC-132 SCRUB OAKS & MAPLES #FC-11 RED MAPLES 1922 #FC-15 JACKFISH VILLAGE #FC-06 EVENING NORTH SHORE #FC-03 Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com PG. 11 EMILY CARR Emily Carr, painter, writer (born at Victoria 13 Dec 1871; died at Victoria 2 Mar 1945). Along with Tom Thomson, the Group of Seven, and David Milne, Emily Carr was one of the pre-eminent, and perhaps most origg,inal, Canadian p ainters of the first half of the twentieth century; she was also one of the only major female artists in either North America or Europe of that period. In Carr’s mature paintings, nature is a furious vortex of organic growth depicted with curving shapes that create the impression of constant movement and transformation. By comparison, the human element – churches, houses, totem poles – seem small and fragile. ODDS AND ENDS #EC-04 AUTUMN WOODS #EC-01 Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com PG. 12 EMILY CARR 1871-1945 LONE CEDAR PINE TREES AND BLUE SKY DEEP WOODS FOREST LANDSCAPE 1931 #EC-05 #EC-06 #EC-07 #EC-08 FOREST BREEZE VILL AGE TOTEM FOREST CLEARING #EC-09 #EC-10 #EC-11 STRAIGHT OF JUAN DE FUCA CLEARED LAND CORDOVA BAY #EC-12 #EC-13 #EC-14 METCHOSIN CLEAR SKY #EC-15 #EC-16 Tel. 416-665-8215 90 Martin Ross Avenue, Toronto, ON M3J 2L4 ImagesByFrameMakers.com PG. 13 CLARENCE GAGNON Clarence Gagnon (8 November 1881 - 5 January 1942) was a Québécois painter. A native of Montreal, he studied at the Art Association of Montreal in 1897. Early in life, his mother had encouraged him to learn drawing and painting, but his father wanted him to become a businessman. Desiringgp to improve his knowledge about art, he went to the Académie Julian, Paris, and studied under Jean- Paul Laurens from 1904 to 1905. He then lived in Baie-Saint-Paul, where he produced many paintings depicting nature and the Canadian people. He VILLAGE IN THE LAURENTIAN MOUNTAINS invented a new kind of winter landscape #CG-02 that consisted of mountains, valleys, sharp contrasts, vivid colours, and sinuous lines. He became a member of the Royal Academy of the Arts in 1910. Gagnon took a trip to Venice, Rouen, Saint-Malo and the Laurentians to paint landscapes. He illustrated the pages of the novel Maria Chapdelaine by Louis Hemon. As well, he was the illustrator for Louis-Frédéric Rouquette in 1929 in the white silence. He lived in France from 1924 to 1936. Gagnon opened modernity painting within Canada. He died in 1942. There are three 'Galerie Clarence Gagnon', one in Baie-Saint-Paul, Quebec, in 1974, another one in Outremont, Quebec, and the last in Montreal in 1981. Galerie Clarence Gagnon has a bust in his memory located in the city of Quebec. LAURENTIAN HOMESTEAD #CG-06 Tel.
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]
  • Lawren S. Harris MG30-D208 Finding Aid 631
    ii Lawren S. Harris MG30-D208 Finding Aid 631 TABLE OF CONTENTS BIOGRAPHICAL NOTE AND GENERAL DESCRIPTION OF THE PAPERS ........... iii CORRESPONDENCE ..........................................................1 BUSINESS PAPERS...........................................................1 SUBJECT FILES..............................................................1 NOTEBOOKS .............................................................2, 10 MANUSCRIPTS ..............................................................3 TRANSCRIPTS............................................................7, 10 PRINTED MATERIAL.........................................................8 Catalogues .............................................................8 Programmes............................................................8 Periodicals.............................................................9 Pamphlets, Press Releases, Reprints .........................................9 Clippings and Scrapbooks ................................................10 MEMORABILIA.............................................................10 APPENDIX A ...............................................................11 iii BIOGRAPHICAL NOTE Lawren Harris was born in Brantford, Ontario. After travelling in Europe and the Middle East, 1904-[1909] , Harris settled in Toronto where, with Dr. James MacCallum, he built the Studio Building on Severn Street and was instrumental in the formation of the Group of Seven. For the next twenty years, Harris painted throughout Canada with other
    [Show full text]
  • 2018-2019 Annual Report
    2018-2019 annuAl report THE MONTREAL MUSEUM OF FINE ARTS CITED AS MODEL EXAMPLE IN THE OECD AND ICOM’S INTERNATIONAL GUIDE “The Organisation for Economic Co-operation and Development (OECD) and the International Council of Museums (ICOM) recognized the Montreal Museum of Fine Arts’ pioneering role in their guide launched in December 2018, Culture and Local Development: Maximising the Impact. Guide for Local Governments, Communities and Museums. This remarkable validation from two major international economic and cultural institutions will enable us to disseminate our message ever farther, so as to strengthen the role of culture and expand the definition of trailblazing museums, like the MMFA, that are fostering greater inclusion and wellness.” – Nathalie Bondil The Museum is cited in 5 of the 16 international case studies in the guide: a remarkable nod to our institution’s actions that stem from a humanist, innovative and inclusive vision. Below are a few excerpts from the publication that is available online at www.oedc.org: 1. Partnering for urban regeneration 3. Partnership for education: EducArt 5. Promoting inclusiveness, health and Regarding the MMFA’s involvement in creating the digital platform, Quebec, Canada well-being: A Manifesto for a Humanist Zone Éducation-Culture in 2016, in collaboration Launched in 2017 by the MMFA, EducArt gives Fine Arts Museum with Concordia University and the Ville de Montreal: secondary school teachers across the province access “As part of the Manifesto for a Humanist Fine “The project … has its roots in a common vision [of to an interdisciplinary approach to teaching the Arts Museum written by Nathalie Bondil,1 the the three institutions] to improve Montreal’s role as educational curriculum, based on the Museum’s MMFA has put forth a strong vision of the social a city of knowledge and culture.
    [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]
  • Art in 2017: a View from Turtle Island – Canadian Art
    1/18/2018 Art in 2017: A View from Turtle Island – Canadian Art FEATURES / / Art in 2017: A View from Turtle Island Strong exhibitions in Winnipeg, Kitchener-Waterloo and Toronto highlight an Indigenous critic’s year-end bests DECEMBER 28, 2017 BY LINDSAY NIXON Mike MacDonald, Seven Sisters, 1989. Video installation, running time: 7 videos, 55 minutes each. Courtesy of Vtape, Toronto © Mike MacDonald. Installed at “Carry Forward” at the Kitchener-Waterloo Art Gallery. Image courtesy of KWAG. Photo: Robert McNair. The year was an exciting one for Indigenous art in so-called Canada—likely somewhat propelled by the Canada Council’s newly created funding stream for Indigenous art. I can’t think of another period—outside of 1992, the 350th anniversary of the birth of Montreal and 500 years since Columbus did not discover America—when Indigenous art was this dynamic. This year was host to a diverse group of new voices for Indigenous art, an array of artists and curators who established themselves as strong leaders and key gures in this new wave of contemporary Indigenous art. Joi https://canadianart.ca/features/art-in-2017-carrying-forward/ 1/13 1/18/2018 Art in 2017: A View from Turtle Island – Canadian Art T. Arcand, Dayna Danger, Asinnajaq, Jade Nasogaluak Carpenter, Becca Taylor, Tsēma Igharas, Jeneen Frei Njootli and Lacie Buring come to mind, to name only a few. Is what Tanya Harnett told me true—are we witnessing the emergence of a seventh wave in Indigenous art within so-called Canada? Whatever this moment is, it’s adamantly feminist; run by women, gender variant and sexually diverse peoples; and entrenched in values of care and reciprocity.
    [Show full text]
  • Lawren Harris' Painting
    Lawren Harris’ painting ‘Little House’ casts a golden light on the city of Toronto Toronto Star By: Deborah Dundas January 9, 2021 Original URL: https://www.thestar.com/entertainment/visualarts/2021/01/09/lawren-harris-painting- little-house-casts-a-golden-light-on-the-city-of-toronto.html Sometimes the things that seem most familiar deserve a new eye. A house in the city, for example. A winter’s day. When we think of Group of Seven artist Lawren Harris, the first images that spring to mind are his stark landscapes. However, as Sarah Milroy, chief curator of the McMichael Canadian Collection notes, after he returned to Canada from studying in Germany in 1908, he painted Toronto houses, particularly homes in The Ward, a neighbourhood that housed working-class immigrants. (Parts of The Ward were demolished from the early 1900s through to the 1960s to make way for municipal buildings including City Hall and the hospital district.) “He was interested in the gritty texture of urban life,” says Milroy, adding that it wasn’t until many years later that he painted the landscapes that would make his work some of the most recognizable in the country, helping to define how Canadians see ourselves. Interestingly, those landscapes would cause the Group of Seven to be accused of creating the myth of an unpopulated land by leaving out the Indigenous peoples who lived here before settlers came, by leaving out the immigrants who were the engine of the country’s astonishing growth at that time — some of which Harris captured in his Toronto paintings and drawings.
    [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]
  • [Carr – Bibliography]
    Bibliography Steven C. McNeil, with contributions by Lynn Brockington Abell, Walter, “Some Canadian Moderns,” Magazine of Art 30, no. 7 (July 1937): 422–27. Abell, Walter, “New Books on Art Reviewed by the Editors, Klee Wyck by Emily Carr,” Maritime Art 2, no. 4 (Apr.–May 1942): 137. Abell, Walter, “Canadian Aspirations in Painting,” Culture 33, no. 2 (June 1942): 172–82. Abell, Walter, “East Is West – Thoughts on the Unity and Meaning of Contemporary Art,” Canadian Art 11, no. 2 (Winter 1954): 44–51, 73. Ackerman, Marianne, “Unexpurgated Emily,” Globe and Mail (Toronto), 16 Aug. 2003. Adams, James, “Emily Carr Painting Is Sold for $240,000,” Globe and Mail (Toronto), 28 Nov. 2003. Adams, John, “…but Near Carr’s House Is Easy Street,” Islander, supplement to the Times- Colonist (Victoria), 7 June 1992. Adams, John, “Emily Walked Familiar Routes,” Islander, supplement to the Times-Colonist (Victoria), 26 Oct. 1993. Adams, John, “Visions of Sugar Plums,” Times-Colonist (Victoria), 10 Dec. 1995. Adams, Sharon, “Memories of Emily, an Embittered Artist,” Edmonton Journal, 27 July 1973. Adams, Timothy Dow, “‘Painting Above Paint’: Telling Li(v)es in Emily Carr’s Literary Self- Portraits,” Journal of Canadian Studies 27, no. 2 (Summer 1992): 37–48. Adeney, Jeanne, “The Galleries in January,” Canadian Bookman 10, no. 1 (Jan. 1928): 5–7. Art Gallery of Greater Victoria, Oil Paintings from the Emily Carr Trust Collection (ex. cat.). Victoria: Art Gallery of Greater Victoria, 1958. Art Gallery of Ontario, Emily Carr: Selected Works from the Collection of the Vancouver Art Gallery (ex. cat.). Toronto: Art Gallery of Ontario, 1974.
    [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]
  • FOR RELEASE: Sunday Morning Papers, October 29, 1950 WASHINGTON, October 28: David E
    NE'.VS RELEASE NATIONAL GALLERY OF ART WASHINGTON, D. C. FOR RELEASE: Sunday morning papers, October 29, 1950 WASHINGTON, October 28: David E. Plnloy, Director of the National Gallery of Art, announced today that an exhibition of Canadian paintin.tr would be on view at the National Gallery from Sundayj October 29 to December 10, 1950. In expressing his appreciation, on behalf of the Trustees and Officers of the Gallery, to the Director and Trustees of the Notional Gallery of Canada for the loan of the exhibition, Mr. Finley commented on the large number of able and original Canadian painters "who have interpreted their own country, and especially its landscape, with the deep feeling that comes only with a love of one's native land." "The work of many of these artists is widely appreciated in the United States," Mr. Finley continued, "but, with the exception of the exhibitions held recently in Boston and Richmond, there have been few opportunities for the .imorican people to become acquaint­ ed with the great body of Canadian painting." National Gallery of Art -2- The eighty-seven paintings included in the exhibition have been assembled, from public and private collections, by the National Gallery of Canada. As stated by the Chairman of the Board of Trustees, The Rt. Hon. Vincent I/lassey, the purpose of the exhibition is "to show the main trends in Canadian art during the last fifty years," while it includes "a small group of works from the eighteenth and nineteenth centuries to serve as an his­ torical background." Eight of the paintings are in this earlier group.
    [Show full text]
  • A Review Essay
    The enigma of emily carr A Review Essay LESLIE DAWN Unsettling Encounters: First Nations Imagery in the Art of Emily Carr Gerta Moray Vancouver: UBC Press, 2006. 400 pp. Illus. $75.00 cloth. Emily Carr: New Perspectives on a Canadian Icon Charles C. Hill, Johanne Lamoureux, and Ian M. Thom (Vancouver: Douglas & MacIntyre, with the National Gallery of Canada and the Vancouver Art Gallery, 2006). 336 pp. Illus. $75.00 cloth. o Canadian artist has gen- struction of personal and na tional Nerated, or produced, more textual identities and the place of Aboriginal material than Emily Carr. That this peoples and cultures within them. is still true is evident from the two The exhibition catalogue contains books on the artist that appeared in eight essays by ten contributors from the summer of 2006. The National various disciplines, arranged more Gallery of Canada and the Vancouver or less chronologically. Ethnologists Art Gallery produced Emily Carr: Peter Macnair and Jay Stewart open New Perspectives on a Canadian by reinvestigating Carr’s 1907 tourist Icon, the catalogue for the latest excursion to Alaska, during which Carr retro spective. Concurrently, she formed the project for painting a UBC Press pub lished Gerta Moray’s documentary record of the poles of the long awaited monograph Unsettling Aboriginal villages of the Canadian Encounters: First Nations Imagery Northwest Coast. Contributing to the in the Art of Emily Carr. The two discussion on the veracity of Carr’s complementary studies combine the later autobiographical writings, they formats of lavishly illustrated coffee compare her published recollections table books with scholarly writings with archival records and the remaining that attempt defini tive statements on fragments of Carr’s missing Alaska this protean artist.
    [Show full text]
  • 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.
    [Show full text]