Heffel

Founded in 1978 by Kenneth G. Heffel, Heffel is a canadian auction house specializing in national fine art. Combining hard work with a big interest for canadian art, Kenneth G. Heffel quickly developed a good reputation in the canadian art business. At the beginning, the company was named Kenneth G. Heffel Fine Art Inc. Soon, Heffel opened up a gallery in Vancouver, and begun to build relations with customers and art dealers, slowly working the Heffel name up to the top of the canadian art world. When Heffel Fine Art Auction House was established in 1995, they became the first western canadian auction house to achieve more than one million canadian dollars in sales. Today, Heffel is the leading canadian auction house for fine art.

For the past 15 years, customers have had the possibility to participate in well-appreciated online auctions at Heffel's website. At the online auctions, Heffel aim to combine the excitement that always can be found in an auction room with the efficiency of Internet. Online auctions are held monthly. Live auctions are held at the company premises twice per year.

Countries
  • Canada
Objects "Heffel"

Sans titre - Marcelle Maltais

Lot # 318 Canadian Abstraction Online auction Marcelle Maltais AANFM 1933 - Canadian Sans titre oil on canvas signed and dated 1962 and on verso inscribed variously 30 x 20 in 76.2 x 50.8cm Provenance: Private Collection, Toronto Estimate: $8,000 ~ $12,000 CAD Final Bid: $11,000 CAD Preview at: Heffel Toronto Condition report View Heffel's Top Results by this artist Currency converter Close Shipping calculator Bidding History Paddle # Date Amount $ 33477 02/06/2018 11:17:03 AM $11,000 17577 02/06/2018 11:14:35 AM $10,000 33477 02/06/2018 11:12:40 AM $9,500 17577 02/06/2018 11:05:25 AM $9,000 33477 02/06/2018 11:03:33 AM $8,500 17577 02/06/2018 11:01:24 AM $8,000 33477 02/06/2018 10:54:02 AM $7,500 17577 31/05/2018 2:29:35 PM $7,000 All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 318, Marcelle Maltais, Sans titre, Estimate:, $8,000 ~ $12,000 CAD, $8,000 ~ $12,000 CAD, Final Bid:, Final Bid:, $11,000 CAD, Preview at: Heffel Toronto, Preview at: Heffel Toronto Condition report View Heffel's Top Results by this artist Currency converter Close Shipping calculator, Condition report, View Heffel's Top Results by this artist, Currency converter, Close, Close, Shipping calculator, Bidding History Paddle # Date Amount $ 33477 02/06/2018 11:17:03 AM $11,000 17577 02/06/2018 11:14:35 AM $10,000 33477 02/06/2018 11:12:40 AM $9,500 17577 02/06/2018 11:05:25 AM $9,000 33477 02/06/2018 11:03:33 AM $8,500 17577 02/06/2018 11:01:24 AM $8,000 33477 02/06/2018 10:54:02 AM $7,500 17577 31/05/2018 2:29:35 PM $7,000 All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Bidding History, Paddle #, Date, Amount $, 33477, 02/06/2018 11:17:03 AM, $11,000, 17577, 02/06/2018 11:14:35 AM, $10,000, 02/06/2018 11:12:40 AM, $9,500, 02/06/2018 11:05:25 AM, $9,000, 02/06/2018 11:03:33 AM, $8,500, 02/06/2018 11:01:24 AM, $8,000, 02/06/2018 10:54:02 AM, $7,500, 31/05/2018 2:29:35 PM, $7,000, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

  • CANCanada
  • 6d 2h

Figures schématiques - Paul-Émile Borduas

Lot # 018 Post-War & Contemporary Art Live auction Paul-Émile Borduas AUTO CAS QMG RCA 1905 - 1960 Canadian Figures schématiques oil on canvas signed and dated 1956 and on verso titled on the Martha Jackson Gallery label with inventory #1911 and inscribed "MJG #1911" on the stretcher and "Dr. Mailhot" on a label 51 1/8 x 76 7/8 in 129.9 x 195.3cm Provenance: Acquired directly from the Artist by Martha Jackson Gallery, New York Gallery Moos Ltd., Toronto Dr. Paul Mailhot, Montreal Private Collection, Montreal For full cataloguing, essay and images in PDF format, please click here To view the virtual reality experience, please click here Estimate: $3,000,000 ~ $5,000,000 CAD Sold for: $3,601,250 CAD (including Buyer's Premium) Preview at: PacArt Toronto View Heffel's Top Results by this artist Currency converter Close All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 018, Paul-Émile Borduas, Figures schématiques, please click here, Estimate:, Estimate:, $3,000,000 ~ $5,000,000 CAD, $3,000,000 ~ $5,000,000 CAD, Sold for:, $3,601,250 CAD (including Buyer's Premium), $3,601,250 CAD, Preview at: PacArt Toronto, Preview at: PacArt Toronto View Heffel's Top Results by this artist Currency converter Close, View Heffel's Top Results by this artist, Currency converter, Close, Close, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

  • CANCanada
  • 6d 2h

Karen Kain (F. & S. IIB.236) - Andy Warhol

Lot # 043 Post-War & Contemporary Art Live auction Andy Warhol 1928 - 1987 American Karen Kain (F. & S. IIB.236) screenprint with diamond dust on Lennox Museum board 1980 signed and editioned TP 6/25 and on verso stamped Andy Warhol 1980 40 x 32 in 101.6 x 81.3cm Provenance: Private Collection, Toronto Literature: Frayda Feldman and Jörg Schellman, editors, Andy Warhol Prints: A Catalogue Raisonné, 1962 - 1987, 4th edition, 2003, page 181, trial proofs reproduced pages 114 and 181, catalogue #IIB.236 William Hechter, a Canadian art and film enthusiast among many other things, was the publisher, along with Andy Warhol, of this iconic portrait of prima ballerina Karen Kain. Hechter was keen to work with Warhol and was compelled to present the idea of a Canadian subject—a first for the artist. Crediting his wife with the proposal of Kain, he explained that convincing the artist was as simple as picking up the phone and dialing Warhol’s number at the Factory. “He said he’d love to do it,” explained Hechter, “and then I thought I’d better call Karen and ask her!” Warhol spoke of a recent party where he danced with Kain, and he thought the idea was terrific. The rest is history—Hechter and Kain flew to New York to meet Warhol in his studio, where he photographed her with very little lighting, using his legendary Polaroid camera. Once the final image was chosen, Warhol and Hechter together published a series of 200 screenprints. This work is a rare trial proof, with different colours, making it particularly important as each is a unique image. The catalogue raisonné states that there are 25 trial proofs signed and numbered in pencil at lower right. Each print is unique. Karen Kain was published in an edition of 200, 30 AP, 5 PP, and 25 TP by William Hechter, Toronto, and printed in New York by Rupert Jasen Smith. Estimate: $30,000 ~ $40,000 CAD Sold for: $46,250 CAD (including Buyer's Premium) Preview at: Heffel Toronto Currency converter Close All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 043, Andy Warhol, Karen Kain (F. & S. IIB.236), Estimate:, Estimate:, $30,000 ~ $40,000 CAD, $30,000 ~ $40,000 CAD, Sold for:, $46,250 CAD (including Buyer's Premium), $46,250 CAD, Preview at: Heffel Toronto, Preview at: Heffel Toronto Currency converter Close, Currency converter, Close, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

  • CANCanada
  • 6d 2h

Colors on Orange - Robert Arthur Goodnough

Lot # 114 International Art Online auction Robert Arthur Goodnough 1917 - American Colors on Orange acrylic and oil on canvas on verso signed, titled, dated 1976 and stamped with the André Emmerich Gallery stamp 42 x 42 in 106.7 x 106.7cm Provenance: Acquired in 1978 directly from the Artist's studio, 15 Barrow St., New York, by the present Private Collection, Ontario Estimate: $3,000 ~ $5,000 CAD Final Bid: $2,500 CAD Preview at: Heffel Toronto Condition report Currency converter Close Shipping calculator Bidding History Paddle # Date Amount $ 35381 18/04/2018 6:46:46 AM $2,500 All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 114, Robert Arthur Goodnough, Colors on Orange, Estimate:, $3,000 ~ $5,000 CAD, $3,000 ~ $5,000 CAD, Final Bid:, Final Bid:, $2,500 CAD, Preview at: Heffel Toronto, Preview at: Heffel Toronto Condition report Currency converter Close Shipping calculator, Condition report, Currency converter, Close, Close, Shipping calculator, Bidding History, Paddle #, Date, Amount $, 35381, 18/04/2018 6:46:46 AM, $2,500, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

  • CANCanada
  • 6d 2h

Morning - Charles Gagnon

Lot # 035 Post-War & Contemporary Art Live auction Charles Gagnon ARCA 1934 - 2003 Canadian Morning oil on canvas signed and on verso signed, titled, dated 1962 twice, inscribed "#2814" and "MG" and stamped twice with the Moore Gallery stamp 50 x 44 in 127 x 111.8cm Provenance: Jerrold Morris Gallery, Toronto The Moore Gallery Ltd., Hamilton Private Collection, Toronto Exhibited: Jerrold Morris Gallery, Toronto, March 16 - April 3, 1963 Charles Gagnon’s paintings remain something of a surprise and a discovery for those more familiar with the pillars of Montreal abstraction in its efflorescence through Automatism and two generations of Les Plasticiens. Esteemed for his lyrical abstract paintings and also for his work in photography, assemblage and film, Gagnon is unique. Where his fellow Quebec abstractionists – Paul-Émile Borduas especially – typically looked to and spent much more time in Paris than in New York City, Gagnon worked in the United States for five years, from 1955 to 1960. He kept abreast of work there and in Montreal; to his great credit, his painting drew from both contexts, but remained individual. Morning was painted not long after Gagnon’s return to Montreal from New York. It is an expansive, airy and consummately subtle canvas. At first glance, the thinly applied paint reads almost as a monochrome, but the sense of sameness across the surface soon gives way to a realization of variations in tone, texture and colour moving together in a dynamic dance. Most of the surface is light in tone, making the green drips to the right and the yellow and black swatches in the middle left more outspoken. Because thin, smooth paint dominates, areas of relief – the drips again – are all the more noticeable. Much of the canvas exudes a flesh tone because of pink pigment subtending other, whiter shades. It is said that Gagnon’s abstraction stayed close to his observations of nature, to landscape in some cases. Unless one seeks the complete purity of non-referentiality that was promoted by some in the United States at this time, Gagnon’s translations of the world and its phenomena are a strength. Beginning with its title, Morning signals just this humanist entanglement with what we see and feel, whether it is dawn light or perhaps the hint of a horizon line and sun across the top middle of the canvas. If one is keyed to landscape as a genre as well as the external world of nature, there is even a recollection here of J.M.W. Turner’s late watercolour experiments using washes of pigment to evoke the fleeting effects of light. So radical were these paintings in the early nineteenth century that some were destroyed by Turner’s executor, John Ruskin. Today we are more able to enjoy their evocativeness. New York saw the intersection of Eastern as well as American and European culture in the later 1950s when Gagnon worked there. He has recorded his interest in Zen Buddhism at this time, specifically his fascination with the notion of the full, yet also empty, “void,” a concept that provides another key to this work. We may focus on the gestures here, on the movements of paint and colour. At the same time, though, we perceive the spaciousness of this painting, its lack of insistence that we see specifically this or that form. Since its inception in the early twentieth century and especially during the heyday of Abstract Expressionism that Gagnon learned from, abstraction has been promoted as a cipher of personal freedom. In Morning, that privilege seems to point to something beyond the individual. We thank Mark Cheetham, Professor of Art History at the University of Toronto and author of Landscape into Eco Art: Articulations of Nature Since the ’60s, for contributing the above essay. Preview at: Heffel Toronto View Heffel's Top Results by this artist Currency converter Close All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 035, Charles Gagnon, Morning, Preview at: Heffel Toronto, Preview at: Heffel Toronto View Heffel's Top Results by this artist Currency converter Close, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

  • CANCanada
  • 6d 2h

Winter View of Sillery, PQ, from the Plains of Abraham - Maurice Galbraith

Lot # 146 Canadian, Impressionist & Modern Art Live auction Maurice Galbraith Cullen AAM RCA 1866 - 1934 Canadian Winter View of Sillery, PQ, from the Plains of Abraham oil on canvas circa 1905 signed and on verso signed, titled, inscribed "Certified genuine by Robert Pilot, Montreal, P.Q., 1966" and certified by Cullen Inventory #1001 18 x 24 in 45.7 x 61cm Provenance: Galerie Walter Klinkhoff Inc., Montreal By descent to a Private Collection, Montreal Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, May 23, 2007, lot 46 Private Collection, Quebec City Literature: Hughes de Jouvancourt, Maurice Cullen, 1978, titled as Winter View of Sillery from the Plaines d’Abraham, reproduced page 12 Exhibited: Galerie Walter Klinkhoff Inc., Montreal, Maurice Cullen, 1866 - 1934: Retrospective Exhibition, September 17 - 30, 1974, catalogue #37 This atmospheric painting is a view of Sillery, a borough of Quebec City, from the historic Plains of Abraham where, in a decisive battle in 1759, the English under General James Wolfe defeated the French under General Louis Montcalm. However, this painting is a purely aesthetic view of this historic area, and a fine example of Maurice Cullen’s consummate abilities with an Impressionist style. As well as being exposed to French Impressionism during his studies in France, Cullen went on sketching trips with Canadian Impressionist James Wilson Morrice – they were known to have worked together at Beaupré, Quebec, in the winter of 1897. In this view of Sillery, Cullen’s use of Impressionist colour and light is exquisite. While mixing colour tones on his palette, Cullen was known to have kept his colours as separate as possible to retain the vibrancy of the pigments, and he built up his surfaces with the technique of impasto, mixing paint directly on the surface of the canvas. Estimate: $40,000 ~ $60,000 CAD Sold for: $37,250 CAD (including Buyer's Premium) Preview at: Heffel Toronto View Heffel's Top Results by this artist Currency converter Close All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 146, Maurice Galbraith Cullen, Winter View of Sillery, PQ, from the Plains of Abraham, Estimate:, Estimate:, $40,000 ~ $60,000 CAD, $40,000 ~ $60,000 CAD, Sold for:, $37,250 CAD (including Buyer's Premium), $37,250 CAD, Preview at: Heffel Toronto, Preview at: Heffel Toronto View Heffel's Top Results by this artist Currency converter Close, View Heffel's Top Results by this artist, Currency converter, Close, Close, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

  • CANCanada
  • 6d 2h

Le halage du bois - Marc-Aurèle de Foy Suzor-Coté

Lot # 221 Modern & Historical Canadian Art Online auction Marc-Aurèle de Foy Suzor-Coté CAC RCA 1869 - 1937 Canadian Le halage du bois bronze sculpture signed, dated 1924 and inscribed "Gorham Co. Founders QBFA" 14 1/2 x 61 x 5 5/8 in 36.8 x 154.9 x 14.3cm Provenance: Acquired from the Artist's Estate, early 1960s By descent to the present Private Collection, Montreal Literature: Albert Laberge, La Presse, April 3, 1925 Laurier Lacroix, Suzor-Coté: Light and Matter, National Gallery of Canada and Musée du Québec, 2002, page 266, reproduced pages 267 and 349 and shown in an installation photograph from the 1929 exhibition page 312, and the plaster and wood maquette reproduced page 266 Exhibited: Art Association of Montreal, Forty-second Spring Exhibition, April 2 - 26, 1925, same cast, catalogue #401 École des beaux-arts de Montréal, Rétrospective Suzor-Coté, December 3 - 20, 1929, listed as Haleur de bois, catalogue #144 The majority of Suzor-Coté’s sculptures draw on one aspect or another of the land and one of his most ambitious works was Hauling Logs, a subject he first treated around 1909, then took up again in 1920 and exhibited in 1924. The theme, with its explicit sense of movement, consists of a farmer drawing a load of wood. The sculpture is conceived as a bas-relief frieze. - Laurier Lacroix In 1910, Marc-Aurèle Suzor-Coté exhibited the maquette for this work at the Ontario Society of Artists. In the maquette, only known through a photograph published in The Year Book of Canadian Art in 1913, the farmer and horse were made of sculpted plaster, and the artist used small branches and natural wood for the logs and sled. This detailed maquette was also used as a subject for a painting, which was exhibited in that same year at the Art Association of Montreal. Suzor-Coté returned to the theme again in 1924 when he made a painting and a bronze of the log hauler. Hauling Logs, the 1924 oil on canvas in the collection of the National Gallery of Canada, is a masterwork, true to the form of the original maquette and full of energy and movement. In our sculpture Le halage du bois, the details vary only slightly from those of the original maquette and the National Gallery of Canada’s painting, to allow for the different medium of bronze. The reins in the painting and maquette have become a whip, which the farmer holds in one hand and flicks lightly above the haunches of the horse as it pulls against the load of wood. The farmer’s other hand has been thrust into his pocket, and through this action, Suzor-Coté communicates the biting cold of winter. This unique and vigorous bronze is the only work the artist is known to have executed in the style of a frieze. Suzor-Coté used the flatter landscape background to emphasize the three-dimensionality of the man, horse and sled, and his use of irregular edges gives an organic feeling to the work. The bronze is textured and very finely detailed, and in the different castings, patina colours vary – our casting is predominantly dark brown, as it is a posthumous cast, done between 1937 and 1950. When the bronze was shown in 1925 at the Art Association of Montreal, it elicited this response from Albert Laberge in La Presse: “Mr. Suzor-Côté…is establishing himself as a powerful sculptor…This composition is full of movement and action, reflecting a thorough knowledge of nature and a highly developed faculty of observation.” When the work was shown in the Suzor-Coté retrospective exhibition at the École des beaux-arts de Montréal in 1929, it was placed just off the floor, under the paintings. During the artist’s lifetime, it was often noted that his work in bronze equaled and, in some cases, surpassed his work in paint. Lacroix notes, “The sensitivity with which Suzor-Coté approached the technique of sculpting in the round, his ability to synthesise and suggest movement, and his skill in animating matter all derived from the French school of sculpture as it was practised in the late 19th century. Nonetheless, he was able to transcend this influence in his Canadian subjects, infusing them with a presence and a permanence that no other artist has ever matched." Estimate: $40,000 ~ $60,000 CAD Starting Bid: $35,000 CAD Preview at: Heffel Montreal Condition report View Heffel's Top Results by this artist Currency converter Close Shipping calculator Bidding History Paddle # Date Amount $ There are currently no bids for this lot All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 221, Marc-Aurèle de Foy Suzor-Coté, Le halage du bois, Estimate:, $40,000 ~ $60,000 CAD, $40,000 ~ $60,000 CAD, Starting Bid:, Starting Bid:, Starting Bid: $35,000 CAD, $35,000 CAD, Preview at: Heffel Montreal, Preview at: Heffel Montreal Condition report View Heffel's Top Results by this artist Currency converter Close Shipping calculator, Condition report, View Heffel's Top Results by this artist, Currency converter, Close, Shipping calculator, Bidding History Paddle # Date Amount $ There are currently no bids for this lot All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Bidding History, Paddle #, Date, Amount $, There are currently no bids for this lot, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

  • CANCanada
  • 6d 2h

Painting - Ronald Langley Bloore

Lot # 306 Canadian Abstraction Online auction Ronald Langley Bloore OC R5 RSC 1925 - 2009 Canadian Painting oil on board diptych on verso titled on the exhibition labels and inscribed "JM/68/IXB" and on the other panel "JM / 68 / XIA / Loft" 96 x 76 in 243.8 x 193cm Provenance: Jerrold Morris Gallery, Toronto Acquired from the above by the present Private Collection, Ontario, 1968 Exhibited: Art Gallery of Windsor, R.L. Bloore - Sixteen Years: 1958 - 1974, traveling to the London Art Gallery; the Agnes Etherington Art Centre, Kingston; Musée d'art contemporain, Montreal; the Winnipeg Art Gallery; the Vancouver Art Gallery; and the Norman Mackenzie Art Gallery, Regina, February - November 1975, catalogue #35 Ronald Bloore’s signature white-on-white paintings began in 1963, after his travels to Greece, Turkey, Egypt and Spain. By that time, Bloore had attained considerable success as a founding member of the Regina Five, as director of the Norman Mackenzie Art Gallery at Regina College and as an exhibiting artist at the Bienal de São Paulo in Brazil. The National Gallery of Canada had purchased one of his works, and in 1962 Dorothy Cameron’s Here and Now Gallery in Toronto hosted his first solo exhibition. Though Bloore’s distinctive paintings were carefully thought out prior to execution and he attempted to complete the works as he envisioned them without changing anything, the preparatory drawings and sketches were created in a quick and automatic fashion. To complete a painting, Bloore transferred his sketches via grid to his board support, and he repeatedly built up and sanded down layers of paint applied in varying lines, geometric shapes or motifs. This large-scale diptych, showcasing shallow reliefs of square and triangular shapes, is a fine example from Bloore’s impressive career. Each panel of this diptych measures 96 x 38 inches. Estimate: $30,000 ~ $40,000 CAD Final Bid: $18,000 CAD Preview at: Heffel Toronto Condition report View Heffel's Top Results by this artist Currency converter Close Shipping calculator Bidding History Paddle # Date Amount $ 24436 02/06/2018 11:19:34 AM $18,000 All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 306, Ronald Langley Bloore, Painting, Estimate:, $30,000 ~ $40,000 CAD, $30,000 ~ $40,000 CAD, Final Bid:, Final Bid:, $18,000 CAD, Preview at: Heffel Toronto, Preview at: Heffel Toronto Condition report View Heffel's Top Results by this artist Currency converter Close Shipping calculator, Condition report, View Heffel's Top Results by this artist, Currency converter, Close, Close, Shipping calculator, Bidding History Paddle # Date Amount $ 24436 02/06/2018 11:19:34 AM $18,000 All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Bidding History, Paddle #, Date, Amount $, 24436, 02/06/2018 11:19:34 AM, $18,000, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

  • CANCanada
  • 6d 2h

Prize Cow - Alexander Colville

Lot # 707 Prints & Editions Online auction Alexander Colville PC CC 1920 - 2013 Canadian Prize Cow colour serigraph signed, editioned 41/90 and dated 1977 16 1/2 x 16 1/2 in 41.9 x 41.9cm Provenance: Private Collection, Vancouver Estimate: $4,000 ~ $6,000 CAD Final Bid: $5,000 CAD Preview at: Heffel Vancouver Condition report View Heffel's Top Results by this artist Currency converter Close Shipping calculator Bidding History Paddle # Date Amount $ 35420 02/06/2018 3:03:42 PM $5,000 488 02/06/2018 2:59:27 PM $4,750 35420 02/06/2018 2:58:01 PM $4,500 488 02/06/2018 1:35:18 PM $4,250 35420 02/06/2018 12:42:44 PM $4,000 22457 02/06/2018 12:40:20 PM $3,750 24990 02/06/2018 9:03:25 AM $3,500 488 01/06/2018 6:26:40 PM $3,250 35420 23/05/2018 5:44:59 PM $3,000 All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 707, Alexander Colville, Prize Cow, Estimate:, $4,000 ~ $6,000 CAD, $4,000 ~ $6,000 CAD, Final Bid:, Final Bid:, $5,000 CAD, Preview at: Heffel Vancouver, Preview at: Heffel Vancouver Condition report View Heffel's Top Results by this artist Currency converter Close Shipping calculator, Condition report, View Heffel's Top Results by this artist, Currency converter, Close, Close, Shipping calculator, Bidding History Paddle # Date Amount $ 35420 02/06/2018 3:03:42 PM $5,000 488 02/06/2018 2:59:27 PM $4,750 35420 02/06/2018 2:58:01 PM $4,500 488 02/06/2018 1:35:18 PM $4,250 35420 02/06/2018 12:42:44 PM $4,000 22457 02/06/2018 12:40:20 PM $3,750 24990 02/06/2018 9:03:25 AM $3,500 488 01/06/2018 6:26:40 PM $3,250 35420 23/05/2018 5:44:59 PM $3,000 All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Bidding History, Paddle #, Date, Amount $, 35420, 02/06/2018 3:03:42 PM, $5,000, 488, 02/06/2018 2:59:27 PM, $4,750, 02/06/2018 2:58:01 PM, $4,500, 02/06/2018 1:35:18 PM, $4,250, 02/06/2018 12:42:44 PM, $4,000, 22457, 02/06/2018 12:40:20 PM, $3,750, 24990, 02/06/2018 9:03:25 AM, $3,500, 01/06/2018 6:26:40 PM, $3,250, 23/05/2018 5:44:59 PM, $3,000, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

  • CANCanada
  • 6d 2h

AC-64-3-A - William (Bill) Perehudoff

Lot # 007 Post-War & Contemporary Art Live auction William (Bill) Perehudoff RCA 1918 - 2013 Canadian AC-64-3-A acrylic on canvas 1964 on verso signed, titled and inscribed "Blue Verticals" 49 x 47 in 124.5 x 119.4cm Provenance: Newzones Gallery of Contemporary Art, Calgary Private Collection, Toronto The bold colour-field paintings of Saskatchewan artist William Perehudoff remain exemplary of this type of abstract art, whether regionally, nationally or in international circles. While he chose to live and work in Saskatchewan throughout his long career, he was well informed about American currents in abstraction in the 1950s and 1960s via the famous Emma Lake Artists’ Workshops, at which prominent international artists and critics worked alongside Canadian artists. He participated in classes by Will Barnet, Herman Cherry, Clement Greenberg, Kenneth Noland and Donald Judd. At this time Perehudoff developed the distinctive style we see in this painting, one characterized by dramatic saturated colour and the subtle deployment of washes in acrylic paint, and in 1988, he led the Emma Lake workshop. The title of his major retrospective in 2011, The Optimism of Colour, is an apt description of his work. Influential American critic Greenberg approvingly noticed Perehudoff’s work and compared it favourably with the better-known Jack Bush. Both artists – and their American interlocutors, such as Noland and Jules Olitski – sought to have their vibrant paintings establish their own terms of reference, their own worlds within the frame. It is in appreciating the subtle expressions developed in paint that the considerable visual pleasures of AC-64-3-A arise as much for a viewer today as when it was painted in 1964. One way in to the coordinates of colour and design in this painting is through Perehudoff’s inscription of the phrase “Blue Verticals” on the back of the canvas, just above its more neutral official title. Though only slightly off square, the effect of verticality is assured by the placement of all forms, whether blue (in two hues, lighter and darker), green, yellow-green, yellow or red. Blue dominates, forming the ground for these forms because the off-centre colour bands do not stretch to the bottom of the canvas. Perehudoff thus allows blue to flow freely over much of the surface. Edges are crucial to the artist’s design. Pigment streams to a perfectly delineated border around the perimeter of the painting. The sense of precision and control stands in happy contrast to the artist’s playful (but equally skilful) variation of edges and borders inside the frame. Prolonged viewing reveals a remarkable variety in these manipulations. Where the four colour bands meet at the top of the work, for example, he has left open, white ground showing through, creating highlights. In this same, almost climactic zone and along the extent of the blue/green border that runs down from it vertically for much of the surface, Perehudoff’s characteristic staining techniques allow colour and form to meld and to blur any hard distinctions. One effect of this procedure is to create darkly stained passages that stand in contrast to the predominantly thin and opaque nature of the surface as a whole. While Perehudoff consciously creates symmetries of colour and form across this surface, he avoids the rigidity of geometries and grids. If one is tempted to perceive a pattern – blue abuts green in several places, for example – no strict repetition can be found. We cannot predict what is going to happen in the painting, even after prolonged attention, except perhaps that it will continue to change before our eyes. We thank Mark Cheetham, Professor of Art History at the University of Toronto and author of Landscape into Eco Art: Articulations of Nature Since the ’60s, for contributing the above essay. Estimate: $25,000 ~ $35,000 CAD Sold for: $85,250 CAD (including Buyer's Premium) Preview at: Heffel Toronto View Heffel's Top Results by this artist Currency converter Close All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 007, William (Bill) Perehudoff, AC-64-3-A, Estimate:, Estimate:, $25,000 ~ $35,000 CAD, $25,000 ~ $35,000 CAD, Sold for:, $85,250 CAD (including Buyer's Premium), $85,250 CAD, Preview at: Heffel Toronto, Preview at: Heffel Toronto View Heffel's Top Results by this artist Currency converter Close, View Heffel's Top Results by this artist, Currency converter, Close, Close, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

  • CANCanada
  • 6d 2h

Agawa River - Alexander Young (A.Y.) Jackson

Lot # 216 Canadian Landscapes: Works by the Group of Seven and their Contemporaries Online auction Alexander Young (A.Y.) Jackson ALC CGP G7 OSA RCA RSA 1882 - 1974 Canadian Agawa River oil on board signed and on verso signed, titled and dated Oct. 31, 1955 10 1/2 x 13 1/2 in 26.7 x 34.3cm Provenance: The Art Emporium, Vancouver, 1976 Corporate Collection, Vancouver Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 28, 2013, lot 160 Private Collection, Toronto A.Y. Jackson’s landscape paintings have often been described as tapestries of colour. Here the tapestry depicts the vivid autumn landscape of the Agawa River region in all its glory. The black branches of trees and shrubs and the defining forms of hills form the warp threads, and the rich purples, reds, varying golds and yellows become the weft threads that Jackson artfully wove together into a rolling rich pastoral in this charming panel. There is a sense of quavering movement in the work, as if wind is stirring the foliage, and this sense of movement is repeated in the way Jackson has depicted the river, which is dotted with whitewater in some places and reflects the foliage colours in others. The grey, silent sky makes a fine foil for the brilliant fall colours. Jackson never wavered in his love for on-the-spot painting. He was a restless wanderer, returning to his favourite spots often, as he did here to the Algoma District, ever in search of new vistas and fresh scenery. Estimate: $15,000 ~ $20,000 CAD Final Bid: $25,000 CAD Preview at: Heffel Toronto Condition report View Heffel's Top Results by this artist Currency converter Close Shipping calculator Bidding History Paddle # Date Amount $ 21048 26/04/2018 11:33:53 AM $25,000 31061 26/04/2018 10:13:06 AM $22,500 33925 26/04/2018 10:04:51 AM $20,000 31061 26/04/2018 9:49:34 AM $19,000 33925 26/04/2018 8:32:57 AM $18,000 31061 26/04/2018 8:27:49 AM $17,000 33925 26/04/2018 8:11:25 AM $16,000 34907 25/04/2018 2:09:03 PM $15,000 24121 14/04/2018 1:12:16 PM $14,000 34907 07/04/2018 5:27:39 AM $13,000 All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 216, Alexander Young (A.Y.) Jackson, Agawa River, Estimate:, $15,000 ~ $20,000 CAD, $15,000 ~ $20,000 CAD, Final Bid:, Final Bid:, $25,000 CAD, Preview at: Heffel Toronto, Preview at: Heffel Toronto Condition report View Heffel's Top Results by this artist Currency converter Close Shipping calculator, Condition report, View Heffel's Top Results by this artist, Currency converter, Close, Close, Shipping calculator, Bidding History Paddle # Date Amount $ 21048 26/04/2018 11:33:53 AM $25,000 31061 26/04/2018 10:13:06 AM $22,500 33925 26/04/2018 10:04:51 AM $20,000 31061 26/04/2018 9:49:34 AM $19,000 33925 26/04/2018 8:32:57 AM $18,000 31061 26/04/2018 8:27:49 AM $17,000 33925 26/04/2018 8:11:25 AM $16,000 34907 25/04/2018 2:09:03 PM $15,000 24121 14/04/2018 1:12:16 PM $14,000 34907 07/04/2018 5:27:39 AM $13,000 All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Bidding History, Paddle #, Date, Amount $, 21048, 26/04/2018 11:33:53 AM, $25,000, 31061, 26/04/2018 10:13:06 AM, $22,500, 33925, 26/04/2018 10:04:51 AM, $20,000, 26/04/2018 9:49:34 AM, $19,000, 26/04/2018 8:32:57 AM, $18,000, 26/04/2018 8:27:49 AM, $17,000, 26/04/2018 8:11:25 AM, $16,000, 34907, 25/04/2018 2:09:03 PM, $15,000, 24121, 14/04/2018 1:12:16 PM, $14,000, 07/04/2018 5:27:39 AM, $13,000, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

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  • 6d 2h

Sophie Frank - Emily Carr

Lot # 101 Canadian, Impressionist & Modern Art Live auction Emily Carr BCSFA CGP 1871 - 1945 Canadian Sophie Frank watercolour on paper signed M. Emily Carr and dated 1914 and on verso inscribed "Sophie Frank (Emily's Indian Friend)" and with a dedication from Carr on the original backing 9 1/2 x 7 1/2 in 24.1 x 19.1cm Provenance: Collection of the Artist Estate of the Artist By descent to Ira Dilworth By descent to Jack and Edna Parnall (née Dilworth, niece of Ira Dilworth) By descent from the above to their goddaughter, Vancouver Island Literature: Emily Carr, Klee Wyck, 1941, pages 33 – 46, reproduced frontispiece, book is dedicated "To Sophie” Maria Tippett, Emily Carr: A Biography, 1979, pages 80 – 81 and 204, a photograph of Sophie Frank reproduced page 80 Emily Carr, The Complete Writings of Emily Carr, Klee Wyck, 1993, page 35 Susan Crean, Opposite Contraries: The Unknown Journals of Emily Carr and Other Writings, 2003, an earlier version of Carr’s story “Emily,” pages 162 - 166 Gerta Moray, Unsettling Encounters: First Nations Imagery in the Art of Emily Carr, 2006, pages 82 - 83 and 331, reproduced page 83 Linda Morra, editor, Corresponding Influence: Selected Letters of Emily Carr and Ira Dilworth, 2006, page 40 Emily Carr, Klee Wyck, 1941, reproduced frontispiece, book is dedicated “to Sophie” Charles C. Hill et al., Emily Carr: New Perspectives on a Canadian Icon, National Gallery of Canada, 2006, reproduced pages 62 and 65 Exhibited: Royal British Columbia Museum, Emily Carr: Eccentric Artist, Author, Genius, 2001 - 2002 Art Gallery of Greater Victoria, extended loan National Gallery of Canada, Ottawa, Emily Carr: New Perspectives on a Canadian Icon, June 2 - September 4, 2006, traveling in 2006 - 2008 to the Vancouver Art Gallery, the Art Gallery of Ontario, Toronto, the Montreal Museum of Fine Arts and the Glenbow Museum, Calgary, catalogue #199 Vancouver Art Gallery, extended loan, 2008 - 2018 For full cataloguing, essay and images in PDF format please click here Estimate: $50,000 ~ $70,000 CAD Sold for: $277,250 CAD (including Buyer's Premium) Preview at: Heffel Toronto View Heffel's Top Results by this artist Currency converter Close All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 101, Emily Carr, Sophie Frank, please click here, Estimate:, Estimate:, $50,000 ~ $70,000 CAD, $50,000 ~ $70,000 CAD, Sold for:, $277,250 CAD (including Buyer's Premium), $277,250 CAD, Preview at: Heffel Toronto, Preview at: Heffel Toronto View Heffel's Top Results by this artist Currency converter Close, View Heffel's Top Results by this artist, Currency converter, Close, Close, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

  • CANCanada
  • 6d 2h

Baie St. Paul - Alexander Young (A.Y.) Jackson

Lot # 217 Canadian Landscapes: Works by the Group of Seven and their Contemporaries Online auction Alexander Young (A.Y.) Jackson ALC CGP G7 OSA RCA RSA 1882 - 1974 Canadian Baie St. Paul double-sided oil on board signed and on verso titled and dated circa 1921 on a gallery label 8 1/2 x 10 1/2 in 21.6 x 26.7cm Provenance: Masters Gallery Ltd., Calgary, 1979 Private Estate, British Columbia On verso is an unfinished oil sketch of a hillside, crossed out. Estimate: $18,000 ~ $22,000 CAD Final Bid: $17,000 CAD Preview at: Heffel Toronto Condition report View Heffel's Top Results by this artist Currency converter Close Shipping calculator Bidding History Paddle # Date Amount $ 8668 25/04/2018 7:42:32 PM $17,000 All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 217, Alexander Young (A.Y.) Jackson, Baie St. Paul, Estimate:, $18,000 ~ $22,000 CAD, $18,000 ~ $22,000 CAD, Final Bid:, Final Bid:, $17,000 CAD, Preview at: Heffel Toronto, Preview at: Heffel Toronto Condition report View Heffel's Top Results by this artist Currency converter Close Shipping calculator, Condition report, View Heffel's Top Results by this artist, Currency converter, Close, Close, Shipping calculator, Bidding History Paddle # Date Amount $ 8668 25/04/2018 7:42:32 PM $17,000 All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Bidding History, Paddle #, Date, Amount $, 8668, 25/04/2018 7:42:32 PM, $17,000, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

  • CANCanada
  • 6d 2h

Late Afternoon, Venice - Clarence Alphonse Gagnon

Lot # 102 Canadian, Impressionist & Modern Art Live auction Clarence Alphonse Gagnon CAC RCA 1881 - 1942 Canadian Late Afternoon, Venice oil on panel signed and dated 1908 and on verso titled, dated 1907, inscribed "No. 12" and stamped indistinctly 6 x 9 1/4 in 15.2 x 23.5cm Provenance: Private Collection, Montreal, circa 1910 - 1915 By descent to the present Private Collection, USA Literature: Hélène Sicotte and Michèle Grandbois, Clarence Gagnon, 1881 - 1942: Dreaming the Landscape, Musée national des beaux-arts du Québec, 2006, page 78 During Clarence Gagnon’s first sojourn in France, from 1904 to 1908, he initially went to Venice in spring 1905 and was captivated by it. Venice, renowned for its stunning buildings, palazzos and canals, had also been visited by his fellow Canadian Impressionists Maurice Cullen and mentor James Wilson Morrice. This exquisite pochade (painted on a compact wood panel) depicts the Venetian island of San Giorgio Maggiore and its sixteenth-century Benedictine church of the same name, with a foreground of people promenading on the near shore. In praise of Gagnon’s pochades, Hélène Sicotte wrote, “These small works are meticulously crafted, highly finished and exquisitely executed…In many cases Gagnon’s pochades seem to be the result of lengthy observation and painstaking execution, rather than a quick, intuitive handling of the brush.” Around this time, Gagnon was implementing a brighter palette, seen here in the glowing pastels of the luminous sky, the women’s clothing and the turquoise water. Gagnon’s sense of scale is masterful here – the work is replete with detail, yet also has a sense of spaciousness, allowing the viewer to enjoy each element in this leisurely and peaceful scene. Estimate: $40,000 ~ $60,000 CAD Sold for: $205,250 CAD (including Buyer's Premium) Preview at: Heffel Toronto View Heffel's Top Results by this artist Currency converter Close All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 102, Clarence Alphonse Gagnon, Late Afternoon, Venice, Estimate:, Estimate:, $40,000 ~ $60,000 CAD, $40,000 ~ $60,000 CAD, Sold for:, $205,250 CAD (including Buyer's Premium), $205,250 CAD, Preview at: Heffel Toronto, Preview at: Heffel Toronto View Heffel's Top Results by this artist Currency converter Close, View Heffel's Top Results by this artist, Currency converter, Close, Close, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of BusinessRead more

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  • 6d 2h

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