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.

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Objects "Heffel"

Tête de femme - Constantin Brancusi

Lot # 134 Canadian, Impressionist & Modern Art Live auction Constantin Brancusi 1876 - 1957 Romanian Tête de femme tempera and gouache on paper on paperboard circa 1918 signed and on verso inscribed "WCA 2370" and "CEU Canada" on an Arthur Lenars & Cie, Paris shipping label 25 1/8 x 21 in 63.8 x 53.3cm Provenance: M. Knoedler & Co., New York Galerie Europe, Paris Acquired from the above by the present Important Private Collection, Montreal, then California, 1968 Literature: Sidney Geist, Brancusi: A Study of the Sculpture, 1968, page 180 Sidney Geist, Constantin Brancusi, 1876 – 1957: A Retrospective Exhibition, Solomon R. Guggenheim Museum, 1969, pages 136 and 137, a work of the same subject entitled Portrait of a Woman, circa 1918, reproduced page 136 Pontus Hulten et al., Brancusi, 1987, page 8, the similar works Standing Woman in Blue, 1917, reproduced page 111 and Portrait of a Woman, 1917, reproduced page 114 Constantin Brancusi’s work is unequivocally connected to a new language of sculpture in the twentieth century, yet it draws from diverse historical, cultural and vernacular sources, including his native Romania. In 1904, to continue his studies, he moved from Bucharest to Paris, where he remained. Brancusi’s Paris milieu was the modernist vanguard, which included artists such as Marcel Duchamp, Fernand Léger, Henri Matisse, Henri Rousseau and Amedeo Modigliani, American photographer Edward Steichen (who lived in Paris intermittently between 1900 and 1924, and photographed Brancusi in his studio in 1925), writers Guillaume Apollinaire, Jean Cocteau, James Joyce, Ezra Pound and Tristan Tzara, as well as composer Erik Satie. Brancusi’s work attracted American collectors early on, among them John Quinn and Katherine Dreier, for her Société Anonyme collection (the bulk was donated to the Yale University Art Gallery), which established his reputation first in New York. He was included in the landmark 1913 Armory Show, and his first solo exhibition was at Alfred Steiglitz’s 291 gallery in 1914. Dreier included Brancusi in The International Exhibition of Modern Art in 1927 that was shown at the Brooklyn Museum, then the Albright Art Gallery and the Anderson Galleries in Buffalo, and then the Art Gallery of Toronto, from April 1 to 24, 1927, through the “orchestration” of Canadian artist Lawren Harris. Brancusi’s polished brass sculpture Mlle Pogany, 1920, was exhibited in Toronto. Brancusi had considerable impact and influence in his time. He brought Modigliani to carving (they shared an interest in Egyptian sculpture), and Isamu Noguchi apprenticed with him from 1927 to 1929. His influence continued for contemporary artists, such as the American minimalists Carl Andre, Dan Flavin, Richard Serra and Frank Stella, as well as Claes Oldenburg, and every artist since who has taken on the leitmotif of Brancusi’s “endless column.” Consequently, much has been written on his contribution to sculpture, but little attention paid to his work on paper (beyond his photography), in part because Brancusi did not produce a large body of such work. As Sidney Geist wrote for the 1968 Guggenheim retrospective, this work on paper was not Brancusi’s habit or studio practice, and with the exception of sketches for (and after) sculpture, the majority of his works on paper appear to be independent. In Geist’s words, “Rationality may inform the sculptures; an undisguised lyricism pervades his drawings.” Within this modest production of about 100 works, watercolour and gouache works are rare, and thus must be considered of consequence, given Brancusi’s methodical rigour and practice of returning to subjects and forms that were important to him. There are three other versions of Tête de femme, with comparable dimensions, all with the same three-quarter composition of a female sitter wearing a red dress. As well, there are two other gouaches of the same sitter. While Tête de femme is independent of any sculpture, there is a strong resonance with works of the period, such as Head of a Girl (stone, 1907, whereabouts unknown) and the versions of Mlle [Margit] Pogany—the first was done in 1912—with a focus on form rather than portrait-physiognomy, as Brancusi did for his variations of “resting” ovoid heads. Pontus Hulten wrote that Brancusi had a “visceral need for truth.” For Geist, Brancusi’s modernity “was a sense of the new, the hopeful…His optimism is frank, uncomplicated, and ultimately purposive [serving a useful purpose], and projects a rare message of joy in which there is no trace of Angst.” The sitter has been previously described as unidentified, but the four versions suggest a close association. Based on the biographical record and period photographs, one possibility is the Hungarian artist Margit Pogány (1879 - 1964), who was Brancusi’s muse for numerous works; the other is the Romanian sculptor Milita Petrascu (1892 - 1976), who studied with Brancusi in Paris from 1919 to 1923. We thank Ihor Holubizky, an art historian currently based in Canada, for contributing the above essay. This lot is accompanied by a photo-certificate of authenticity dated March 19, 1986 and signed by Paul Haim, an expert from the Douanes Françaises and Cour d'Appel in Paris and a member of the Compagnie Nationale des Experts. Also included with this lot is a letter from Dr. Jean-Phillipe Peides of Galerie Cult-Art Inc. in Montreal to Mrs. Françoise Rimsky-Korsakoff at Galerie de France in Paris, that purports that the sitter for this work is Dina Vierny. Vierny was Aristide Maillol’s muse for the last 10 years of his life. She also posed for Henri Matisse and Pierre Bonnard, and they attributed a renewed inspiration for their work to her. A major exhibition of the artist's work, Constantin Brancusi Sculpture, is currently on view at the Museum of Modern Art in New York, from July 22, 2018 un Estimate: $150,000 ~ $250,000 CAD Preview at: Heffel Montreal Currency converter Close Shipping calculator 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 # 134, Constantin Brancusi, Tête de femme, Estimate:, $150,000 ~ $250,000 CAD, $150,000 ~ $250,000 CAD, Preview at: Heffel Montreal, Preview at: Heffel Montreal Currency converter Close Shipping calculator, Currency converter, Close, Close, Shipping calculator, 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
  • 4d 23h

Preserving Summer - Black Currant Jam - Mary Frances Pratt

Lot # 023 Post-War & Contemporary Art Live auction Mary Frances Pratt CC OC RCA 1935 - 2018 Canadian Preserving Summer - Black Currant Jam oil on canvas signed and dated 1998 and on verso titled and dated on the Mira Godard Gallery label 24 x 30 in 61 x 76.2cm Provenance: Mira Godard Gallery, Toronto Private Collection, Colorado Literature: Kerry Clare, “Mary Pratt: On Blogging, and Preserving Light and Time,” Pickle Me This [Blog], August 25, 2013, http://picklemethis.com/2013/08/25/mary-pratt, accessed June 13, 2018 Mary Pratt is one of Canada’s most renowned realist painters, and Preserving Summer - Black Currant Jam is a fine example of an important part of her oeuvre – still lifes that incorporate domestic rituals around the production, display and consumption of enticing foods. Pratt produced jams and jellies as part of her family life in Newfoundland; she commented that she found jellies as beautiful as the stained glass windows in churches. Here Pratt takes us into her private, intimate world: the aftermath of the jam’s tasting, showing the remainder pooling in the bowl and staining the spoon and spatula, connoting the sensual enjoyment of its delicious flavour. Through the use of photographs, she examines her subject closely, capturing a moment in time. She called the camera “my instrument of liberation” – it allowed her to “concentrate on the light, and the content and the symbolism” of her subjects. Pratt’s handling of light is exquisite here. It washes across the bowl, reflects from the handle of the silver spoon, and casts both shadow and pools of light across the table below, intensifying the sensuality of her subject. Estimate: $30,000 ~ $40,000 CAD Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator 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 # 023, Mary Frances Pratt, Preserving Summer - Black Currant Jam, Estimate:, $30,000 ~ $40,000 CAD, $30,000 ~ $40,000 CAD, Preview at: Heffel Montreal, Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, Shipping calculator, 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
  • 4d 23h

Sans titre - Paul-Émile Borduas

Lot # 002 Post-War & Contemporary Art Live auction Paul-Émile Borduas AUTO CAS QMG RCA 1905 - 1960 Canadian Sans titre oil on canvas circa 1949 8 3/4 x 9 1/2 in 22.2 x 24.1cm Provenance: Private Collection, Montreal Literature: François-Marc Gagnon, Paul-Émile Borduas: A Critical Biography, 2013, page 256 The Automatist manifesto Refus global (Total Refusal), published by Paul-Émile Borduas and other artists in 1948, was very badly received by the nationalist and Catholic establishment. It provoked the dismissal of the painter from the École du meuble de Montréal, where he had been teaching since 1935. Borduas, who was the father of three children, then found himself without income, except from the sale of his own paintings and the lessons he gave to the children of Mont-Saint-Hilaire. In Projections libérantes, he wrote, “At last! free to paint!” But the truth was that he had no other main source of income other than his own paintings, and artist materials are costly, as are frames. And the more expansive paintings were harder to sell at that time. We see the effects of all these conditions on his production post-1948, especially on our Sans titre. The paintings get smaller, and watercolours become more abundant. Borduas exhibited at his friends’ places (such as the studio of Guy and Jacques Viau in April 1948 and in May 1949) or at his atelier in Mont-Saint-Hilaire (November 1950), to avoid the cost of galleries. He also took advantage of group shows – such as at the Art Gallery of Toronto (October – November 1948), the Montreal Museum of Fine Arts (the spring shows of 1949 and 1950), and the Musée de la province de Québec (November – December 1949). After 1949, Borduas abandoned the system he had been using to date his paintings (indicating by numbers the month and year of their production - for instance, 9.46 or L’éternelle Amérique to indicate that the painting was produced in September 1946). He neglected to sign or date some of them, as with our painting, or just signed them with the letter B. (as in Sombre spirale, 1950). For stylistic reasons, we believe the painting is from 1949 (compare it with 4.48 or La pâque nouvelle or Les voiles blancs du château-falaise, 1949). In our Sans titre, we see an excellent example of the evolution of Borduas’s Automatist paintings. In the “classical” period of his Automatist production, “objects” detached themselves clearly from a background that recedes to infinity – as for example in 19.47 or Parachutes végétaux, which is in the collection of the National Gallery in Ottawa, or Carquois fleuris (1947), in the collection of the Montreal Museum of Fine Arts. In Sous le vent de l’île (1947), the background is painted with a brush and the objects partly with the painting knife to enhance this distinction. Here we still have this division between a background and objects, but the objects executed in white with a painting knife seem fragmented into many elements. After Borduas’s contact with New York painting, his backgrounds tended to migrate to the surface and absorb the objects, which would then disappear. One good example of the process is Les signes s’envolent, 1953 (in the collection of the Montreal Museum of Fine Arts), whose title could be read as “the signs get absorbed in the background.” The transitional character of our Sans titre gives it great historical interest, not to mention that it is a little gem from Borduas’s oeuvre. We thank François-Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, Concordia University, for contributing the above essay. This work is included in François-Marc Gagnon’s online catalogue raisonné of the artist’s work at http://www.borduas.concordia.ca, #2018-1506. This lot is accompanied by a letter of authenticity signed by François-Marc Gagnon, dated May 21, 2018. Estimate: $30,000 ~ $50,000 CAD Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator 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 # 002, Paul-Émile Borduas, Sans titre, Estimate:, $30,000 ~ $50,000 CAD, $30,000 ~ $50,000 CAD, Preview at: Heffel Montreal, Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, Shipping calculator, 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
  • 4d 23h

Crossing Over - Jack Leonard Shadbolt

Lot # 045 Post-War & Contemporary Art Live auction Jack Leonard Shadbolt BCSFA CGP CSPWC OC RCA 1909 - 1998 Canadian Crossing Over acrylic on canvas signed and dated 1984 and on verso titled on the gallery label 48 3/4 x 68 in 123.8 x 172.7cm Provenance: Bau-Xi Gallery, Vancouver Collection of DuPont Canada, Ontario Literature: Scott Watson, Jack Shadbolt, 1990, page 204 “What I am thinking of is a form which would seem to indicate the very live organic process, not imposed from the outside by the artist through stylization but in which nature itself seems to be yearning to reveal itself as reaching from an inchoate state toward a declaration of abstract structure.” - Jack Shadbolt In the 1980s the influential West Coast modernist Jack Shadbolt was developing his butterfly paintings – a theme which became sought after by collectors. In this 1984 canvas, Shadbolt depicted chrysalises, a caterpillar or butterfly body, and a colourful wing floating separately in space, their abstracted forms representing the process of transformation from one state to another. This mysterious evolution both contains and releases energy as the butterfly moves through its life cycle to its final state, indicated by the vibration of the forms with their saturated colour against a backdrop of sky and hillside. Moving from dark cobalt blue and green to bright yellow and red, Shadbolt’s palette is rich and varied. Crossing Over superbly exemplifies both the artist’s fascination with the biological processes of flux, disintegration and transformation and his dynamic handling of abstract language. Estimate: $30,000 ~ $40,000 CAD Preview at: Heffel Vancouver View Heffel's Top Results by this artist Currency converter Close Shipping calculator 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 # 045, Jack Leonard Shadbolt, Crossing Over, Estimate:, $30,000 ~ $40,000 CAD, $30,000 ~ $40,000 CAD, Preview at: Heffel Vancouver, Preview at: Heffel Vancouver View Heffel's Top Results by this artist Currency converter Close Shipping calculator, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, Shipping calculator, 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
  • 4d 23h

Bay, Lake Superior (Lake Superior Sketch LXXX) - Lawren Stewart Harris

Lot # 145 Canadian, Impressionist & Modern Art Live auction Lawren Stewart Harris ALC BCSFA CGP FCA G7 OSA RPS TPG 1885 - 1970 Canadian Bay, Lake Superior (Lake Superior Sketch LXXX) oil on board circa 1922 signed and on verso signed, titled and inscribed with the Doris Mills inventory #4/80, the Artist's symbol and "5" 10 1/2 x 13 3/4 in 26.7 x 34.9cm Provenance: The Art Emporium, Vancouver, 1974 Private Collection, Toronto Sold sale of Canadian Art, Joyner Fine Art, May 14, 2002, lot 50D Property from an Important Private Collection to Benefit a Charitable Foundation Literature: Doris Mills, L.S. Harris Inventory, 1936, Lake Superior Sketches, Group 4, catalogue #80, location noted as the Studio Building Paul Duval, Lawren Harris: Where the Universe Sings, 2011, page 164 Ian A.C. Dejardin, Painting Canada: Tom Thomson and the Group of Seven, Dulwich Picture Gallery, 2011, page 25 Lawren Harris first saw the north shore of Lake Superior at the end of his fall trip to Algoma in 1921, while traveling on a Canadian Pacific Railway freight train with fellow Group of Seven artist A.Y. Jackson, and he was struck by the panoramic views. The two artists disembarked at Schreiber and walked to Rossport. Although they were only there for a short period on that trip, Harris was greatly impressed by this stunning landscape, and he returned in October of 1922, camping for a week at Coldwell with Jackson. He went back again on sketching trips in the fall of 1923 and 1925. Of all the Group members, Harris undertook the most powerful transformational evolution, and the Lake Superior landscape brought his metaphysical inclinations to the forefront - his interest in theosophy intensified, and he was in tune with its belief that the wilderness is a repository of mystical experience. Bay, Lake Superior (Lake Superior Sketch LXXX) retains some links to Harris’s previous work in Algoma – it has the lush autumn colouration seen in his works from that area, as well as the small, rounded and volumetric tree forms. However, it had been pointed out by Jackson that Harris had found Algoma too opulent for his taste, and the greater sense of space Harris found at Lake Superior elicited a strong response in him. He stated, “I felt most at home sketching in Superior. It seemed like an empty canvas in front of me waiting to be filled…Superior offered a challenge by its very simplicity and an opportunity to abstract landscape. The motifs there were uncomplicated and the spaces so wide.” In Lake Superior works such as Bay, Lake Superior, Harris responded to the rugged, muscular structure of the hills around locations such as the bays near Coldwell. Here Harris chose to look inward towards the land, rather than focusing on the long, open vistas across the vast lake. He depicted large masses of bright foliage on the hills interspersed with rock cliffs, which wrap around the bay. Looking from his high vantage point on the bare stone shelves, Harris pulls our eye to the rounded hills on the other side of the lake and up to more distant hills and a wedge of sky. Harris’s handling of light is superb – blocks of shade across the cliffs contrast with the glowing fall colours, higher hills in the background are bathed in mist, and the wash of light striking the far end of the lake makes the water glow pale blue. This is the kind of view that stimulates the viewer’s sense of the sublime – it is a landscape that expands the soul. In his Lake Superior works, Harris found, in his words, “wondrous moments…when the outward aspect of nature becomes for a while full luminous to her reforming spirit – and man, nature and spirit are one.” Estimate: $150,000 ~ $250,000 CAD Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator 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 # 145, Lawren Stewart Harris, Bay, Lake Superior (Lake Superior Sketch LXXX), Estimate:, $150,000 ~ $250,000 CAD, $150,000 ~ $250,000 CAD, Preview at: Heffel Montreal, Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, Shipping calculator, 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
  • 4d 23h

Market Day, Ottawa - Kathleen Moir Morris

Lot # 121 Canadian, Impressionist & Modern Art Live auction Kathleen Moir Morris AAM ARCA BHG 1893 - 1986 Canadian Market Day, Ottawa oil on board signed and on verso titled, dated 1935 on the gallery label and inscribed "183" 10 1/4 x 13 3/4 in 26 x 35.6cm Provenance: Galerie Walter Klinkhoff Inc., Montreal Private Collection, Montreal Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, May 25, 2005, lot 5 Property from an Important Private Collection to Benefit a Charitable Foundation Literature: Barbara Meadowcroft, Painting Friends, 1999, page 86 Dorota Kozinska, Kathleen Morris: Retrospective Exhibition, Galerie Walter Klinkhoff Inc., 2003, page 5 Exhibited: Galerie Walter Klinkhoff Inc., Montreal, Kathleen Morris, RCA, Loan Exhibition, June 13 - 27, 1976, catalogue #38 Kathleen Morris lived in Ottawa from 1923 to 1929 with her mother, Eliza. Morris had a nervous ailment that impaired her speech, but she was nevertheless very confident due to, as Barbara Meadowcroft writes, “the intelligent support and boundless love given her by her mother and brothers. Mrs. Morris devoted her life to her.” Eric Brown, director of the National Gallery in Ottawa during that time, was a supporter, and the National Gallery of Canada acquired one of her works. Brown was instrumental in including many Canadian artists in the important Wembley exhibition in England in 1924 to 1925, and Morris was one of them. An aspect of beauty in this painting is its luscious colour. Dorota Kozinska writes of Morris, “Her art can be compared to the work of the Nabis, a group of mainly French painters active in the 1890s, whose works were influenced by Gauguin’s expressive use of colour and rhythmic pattern. Like them, Morris translated her surroundings in an intuitive manner, guided by colour more than form.” Scenes like this capture a world no longer with us – the picturesque outdoor market with horse-drawn carriages - and Morris paints it with great feeling. Estimate: $40,000 ~ $60,000 CAD Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator 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 # 121, Kathleen Moir Morris, Market Day, Ottawa, Estimate:, $40,000 ~ $60,000 CAD, $40,000 ~ $60,000 CAD, Preview at: Heffel Montreal, Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, Shipping calculator, 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
  • 4d 23h

Farmhouse and Snow Shadows - Henrietta Mabel May

Lot # 129 Canadian, Impressionist & Modern Art Live auction Henrietta Mabel May ARCA BCSA BHG CGP 1877 - 1971 Canadian Farmhouse and Snow Shadows oil on canvas on board 18 x 22 in 45.7 x 55.9cm Provenance: Private Collection, Quebec Sold sale of Important Canadian Art, Sotheby's Canada in association with Ritchie's, November 21, 2005, lot 71 Property from an Important Private Collection to Benefit a Charitable Foundation Mabel May was a founding member of Montreal’s Beaver Hall Group, which had a core group of women artists whose importance has been increasingly recognized in recent years. May’s early travels in Europe brought exposure to French Impressionism, and that influence can be seen here in her use of pastel highlights. May kept a studio in Montreal, and she painted in the summers at the family cottage in nearby Hudson. After the cottage was sold, she taught art and painted in Quebec’s Eastern Townships. Farmhouse and Snow Shadows shows the influence of the Group of Seven - May was a friend of A.Y. Jackson and Edwin Holgate, and she participated in Group shows in 1928, 1930 and 1931. The motif of a screen of bare trees in front of the houses recalls compositions by A.J. Casson and the urban scenes of Lawren Harris. It is a superb canvas – May’s brushwork is bold, and her forms are solid and well defined. Her refined sense of rhythm in the smooth contours of the snow and the graceful arching of the bare branches and their shadows makes this a particularly fine composition by this important early modernist. Estimate: $30,000 ~ $40,000 CAD Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator 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 # 129, Henrietta Mabel May, Farmhouse and Snow Shadows, Estimate:, $30,000 ~ $40,000 CAD, $30,000 ~ $40,000 CAD, Preview at: Heffel Montreal, Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, Shipping calculator, 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
  • 4d 23h

Businessman - William Hodd (Bill) McElcheran

Lot # 030 Post-War & Contemporary Art Live auction William Hodd (Bill) McElcheran RCA 1927 - 1999 Canadian Businessman bronze sculpture signed, editioned 2/6 and dated 1988 49 1/2 x 20 x 26 in 125.7 x 50.8 x 66cm Provenance: Collection of DuPont Canada, Ontario Literature: Inge Lindemann, editor, William Mac (William McElcheran): The Businessman, 1991, pages 26 - 28 and 31 William McElcheran studied painting before sculpture, but gravitated to painters who dealt with sculptural forms. When he crossed into the realm of sculpture, European artists such as Giacomo Manzù, Jacques Lipchitz, Wilhelm Lehmbruck, Ernst Barlach and Gerhard Marcks attracted him. McElcheran was also interested in old master artists such as Donatello, Michelangelo and Gian Lorenzo Bernini, and he loved classicism, which dealt with the heroic, the larger-than-life figure. Early in his career, McElcheran was involved with Catholicism and made religious sculptures, which often depicted an archetype of the Everyman, through which he related the Passion of Christ to contemporary life. As McElcheran moved away from his religious themes, the Everyman evolved into the businessman image, and he declared, “My businessman replaces the classical hero.” Instead of depicting a classical hero who was larger than life, McElcheran was now searching to “find my image for the anti-ideal, the anti-hero. So the whole idea of my businessman is that he is exactly that sort of Everyman, the ubiquitous non-hero.” This is a classic large-scale McElcheran businessman, an iconic figure that McElcheran both empathizes with and gently satirizes. The bronze base measures 20 1/2 x 23 1/4 x 5 1/2 inches. Estimate: $25,000 ~ $35,000 CAD Preview at: Heffel – 135 Yorkville Ave Toronto View Heffel's Top Results by this artist Currency converter Close Shipping calculator 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 # 030, William Hodd (Bill) McElcheran, Businessman, Estimate:, $25,000 ~ $35,000 CAD, $25,000 ~ $35,000 CAD, Preview at: Heffel – 135 Yorkville Ave Toronto, Preview at: Heffel – 135 Yorkville Ave Toronto View Heffel's Top Results by this artist Currency converter Close Shipping calculator, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, Shipping calculator, 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
  • 4d 23h

Boats at Dock - Sybil Andrews

Lot # 107 Canadian, Impressionist & Modern Art Live auction Sybil Andrews CPE 1898 - 1992 Canadian Boats at Dock oil on canvas circa 1942 ~ 1945 signed and on verso stamped Winsor & Newton's, London, England 22 x 27 in 55.9 x 68.6cm Provenance: Private Collection, Victoria Born in Bury St. Edmunds in Suffolk, England, Sybil Andrews became part of the Grosvenor School of artists working in linocut, and she built a fine body of work in this medium. One of Andrews’s important themes was that of labour, and she depicted the strength and dignity of working people in extraordinary prints such as Bringing in the Boat (1933) and Mowers (1937), to name a few. During World War II, starting in 1942, Andrews worked as a welder constructing warships in the shipyards of the British Power Boat Company at Hythe, near Southampton, and this work is from that time period. It was there that she met her husband, Walter Morgan; the couple immigrated to Canada in 1947. This rare canvas by Andrews is a rich and striking image - her treatment of form is strong, and her palette bold. The dense detailing in Boats at Dock, with boats of various sizes and their fastenings to wooden supports on the shore, is made all the more interesting by the repetition of these shapes in the dappled water, reflecting Andrews’s fascination with rhythm and pattern. Estimate: $20,000 ~ $30,000 CAD Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator 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 # 107, Sybil Andrews, Boats at Dock, Estimate:, $20,000 ~ $30,000 CAD, $20,000 ~ $30,000 CAD, Preview at: Heffel Montreal, Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, Shipping calculator, 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
  • 4d 23h

South Moresby 3/86: Skincuttle Bay - Takao Tanabe

Lot # 043 Post-War & Contemporary Art Live auction Takao Tanabe OC 1926 - Canadian South Moresby 3/86: Skincuttle Bay acrylic on canvas on verso signed, titled and dated 1986 40 x 72 in 101.6 x 182.9cm Provenance: Mira Godard Gallery, Toronto By descent to the present Private Collection, Ontario Literature: George F. MacDonald, Haida Monumental Art: Villages of the Queen Charlotte Islands, 1983, page 11 Ian M. Thom et al., Takao Tanabe, Vancouver Art Gallery, 2005, page 135 After moving to Vancouver Island in 1980, Takao Tanabe began a series of exquisitely atmospheric coastal landscapes. While traveling by boat between the mainland and the Island, he was inspired by long views over the ocean of distant islands and mountains enshrouded by rain, sea mists and low clouds—constantly changing and transforming. He began painting with a reductive realism that captured the essence of British Columbia’s coastal landscape, using a distinctive cool-toned palette. In this South Moresby view, verdant islands and snow-capped mountains are seen at a distance—enticing and mysterious—and the ocean is tinted a delicate grey-mauve. Tanabe captures the moody weather of BC’s rugged coastline with such visual poetry that Ian Thom called him “the Turner of the Queen Charlottes.” Tanabe titled this painting with its specific geography - South Moresby Island at Skincuttle Bay in Haida Gwaii. In Skincuttle Bay at Lake Inlet is a reef called Xa’gi, a place connected to the Haida Raven cycle of myths. George MacDonald notes that from this place, known as “an alternating or intermediate state, between light and dark colours…the Raven lineage came out of the womb of Foam-Woman.” Estimate: $60,000 ~ $80,000 CAD Preview at: Heffel Vancouver View Heffel's Top Results by this artist Currency converter Close Shipping calculator 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, Takao Tanabe, South Moresby 3/86: Skincuttle Bay, Estimate:, $60,000 ~ $80,000 CAD, $60,000 ~ $80,000 CAD, Preview at: Heffel Vancouver, Preview at: Heffel Vancouver View Heffel's Top Results by this artist Currency converter Close Shipping calculator, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, Shipping calculator, 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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  • 4d 23h

Street Scene, Moonlight, Dinan - Clarence Alphonse Gagnon

Lot # 127 Canadian, Impressionist & Modern Art Live auction Clarence Alphonse Gagnon CAC RCA 1881 - 1942 Canadian Street Scene, Moonlight, Dinan oil on canvas signed and dated 1910 and on verso titled 21 x 26 in 53.3 x 66cm Provenance: Private Collection, Ontario A wedding gift to Andrew and Isabelle Glenny, circa 1923 By descent to the present Private Collection, Ontario Clarence Gagnon went to France in 1904 to study, and in the spring of 1907 left Paris to travel through Île-de-France, Brittany, the coast of Picardy and Normandy. He spent the summer in Brittany at Saint-Malo, Dinard and Dinan, a picturesque medieval citadel with thirteenth-century ramparts and fifteenth-century half-timbered houses. Gagnon produced a fine group of etchings of Dinan in 1907 and 1908 of Dinan street scenes. Gagnon’s time in France transformed his work beyond its earlier traditional influences from the Barbizon and Hague schools into a brighter palette and the use of fresh, en plein air effects. This striking studio painting of Dinan in the moonlight shows Gagnon’s absorption of Impressionism in its beautiful atmospheric effects. His use of blues, darkest in the starry sky, then a tone lighter in the shadows, and the overall bright bluish-white cast to the scene is exquisite. The brilliant full moon can be imagined behind the artist, its light so strong that it reveals the colours of the houses. Gagnon further shows his mastery of ambience by including lights glowing in the windows to indicate the warmth of human presence in this traditional village. We thank Michèle Grandbois, co-author of Clarence Gagnon, 1881 - 1942: Dreaming the Landscape, for her assistance in cataloguing this work. Estimate: $70,000 ~ $90,000 CAD Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator 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 # 127, Clarence Alphonse Gagnon, Street Scene, Moonlight, Dinan, Estimate:, $70,000 ~ $90,000 CAD, $70,000 ~ $90,000 CAD, Preview at: Heffel Montreal, Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, Shipping calculator, 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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  • 4d 23h

Joseph Beuys (F. & S. II.244) - Andy Warhol

Lot # 007 Post-War & Contemporary Art Live auction Andy Warhol 1928 - 1987 American Joseph Beuys (F. & S. II.244) screenprint on Lenox Museum Board 1980 ~ 1983 signed and editioned PP 3/9 and on verso certified by the copyright stamp "© Andy Warhol 1980" and stamped with a blindstamp 40 x 32 in 101.6 x 81.3cm Provenance: Private Collection, Montreal Literature: Frayda Feldman and Jörg Schellman, editors, Andy Warhol Prints: A Catalogue Raisonné, 1962 - 1987, 4th edition, 2003, reproduced page 116, State III and listed page 217, catalogue #II.244 Phaidon, “What Andy Warhol Saw in Joseph Beuys,” para. 3, http://www.phaidon.com/agenda/art/articles/2016/february/08/what-andy-warhol-saw-in-joseph-beuys, accessed August 29, 2018 This iconic screenprint was based on a photograph taken by Andy Warhol of leading contemporary German artist Joseph Beuys. The two artists met a number of times in New York, Naples and Düsseldorf. Warhol also made paintings of Beuys, and he created a campaign poster for Beuys’s Green Party, stating that he liked Beuys’s politics. An article on the publisher Phaidon’s website states, “The pair recognised each other’s genius, myth-like reputation and prominence, despite operating at opposing poles of a post-war art world. As the American art critic David Bourdon put it, their 1979 meeting in New York, around the time of a Beuys Guggenheim retrospective, ‘had all the ceremonial aura of two rival popes meeting in Avignon.’ ” The catalogue raisonné states that there are three states; states II and III have rayon flock. There are 150 prints in the edition, 36 AP, 9 PP and 45 TP not in portfolios. The publisher was Editions Schellmann & Klüser, Munich, Germany / New York, and the printer was Rupert Jasen Smith, New York. The exhibition Andy Warhol - From A to B and Back Again will take place at the Whitney Museum of American Art in New York from November 12, 2018 to March 31, 2019. Estimate: $30,000 ~ $40,000 CAD Preview at: Heffel Montreal Currency converter Close Shipping calculator 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, Andy Warhol, Joseph Beuys (F. & S. II.244), Estimate:, $30,000 ~ $40,000 CAD, $30,000 ~ $40,000 CAD, Preview at: Heffel Montreal, Preview at: Heffel Montreal Currency converter Close Shipping calculator, Currency converter, Close, Close, Shipping calculator, 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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  • 4d 23h

Head of a Young Boy - Jean-Philippe Dallaire

Lot # 059 Post-War & Contemporary Art Live auction Jean-Philippe Dallaire QMG 1916 - 1965 Canadian Head of a Young Boy oil on board signed and dated 1953 and on verso signed, titled and titled on the gallery label, dated February 15, 1953 and stamped with the Dominion Gallery stamp 13 3/8 x 11 5/8 in 34 x 29.5cm Provenance: Dominion Gallery, Montreal Private Collection, United Kingdom Quebec artist Jean-Philippe Dallaire was known for his modernist paintings that combined figuration and abstraction and showed influences from Symbolism, Cubism and Surrealism. His artistic career was diverse – he worked as a mural painter, draughtsman, illustrator at the National Film Board, teacher at the École des beaux-arts in Quebec City and tapestry designer. In the early part of his career, Dallaire produced realistic portraits, but his work evolved beyond that as he absorbed European influences. Head of a Young Boy exhibits overtones of Surrealism and a Cubist-influenced use of form, as Dallaire splits the face into separate planes and uses the shadow on the right side to create a profile form. His work exhibits a delightfully playful aspect, which shows here in his starburst treatment around the eyes and the electrified strands of hair, which stick up like the tentacles of an anemone. Head of a Young Boy is an intriguing work by this great Quebec modernist. Estimate: $20,000 ~ $30,000 CAD Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator 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 # 059, Jean-Philippe Dallaire, Head of a Young Boy, Estimate:, $20,000 ~ $30,000 CAD, $20,000 ~ $30,000 CAD, Preview at: Heffel Montreal, Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, Shipping calculator, 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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  • 4d 23h

Amsterdam - William Paterson Ewen

Lot # 055 Post-War & Contemporary Art Live auction William Paterson Ewen AANFM RCA 1925 - 2002 Canadian Amsterdam oil on canvas signed and on verso titled, dated 1961 and inscribed "Coll. D. + M. Beaulieu" 36 x 46 in 91.4 x 116.8cm Provenance: Gallerie Gilles Gheerbrant, Montreal Private Collection, Montreal Literature: Matthew Teitelbaum, Paterson Ewen: The Montreal Years, Mendel Art Gallery, 1987, page 27 Near the end of 1954, Paterson Ewen painted his first abstract work. He was involved with the Automatists, then gravitated towards the Plasticiens in Montreal, although he never entirely embraced either movement. In 1961, Ewen was experimenting a lot with abstraction, and generated his Lifestream, Alert and Blackout series. This richly hued work is strongly textured – it is streaked and scraped, creating a strong pattern of lines across the surface. Ewen used irregular geometric squares in his colour fields, some of which submerge into the upper gold section, while one, caught on the edge between the two fields, transforms into black in the green section, suggesting space and creating tension. Matthew Teitelbaum wrote of these works, “Playfulness was inherent. Deep eruptive textures were created by dragging sawblades across the surface; paint was pulled into ridges, and smudged into crevices.” Intimations can be seen here of Ewen’s work to come, the Phenomena series, in both the way in which the surface is textured and the line that originates above the top of the picture plane and drags through both fields, like a fork of lightning. Estimate: $40,000 ~ $60,000 CAD Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator 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 # 055, William Paterson Ewen, Amsterdam, Estimate:, $40,000 ~ $60,000 CAD, $40,000 ~ $60,000 CAD, Preview at: Heffel Montreal, Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, Shipping calculator, 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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  • 4d 23h

At Go Home Bay - Alexander Young (A.Y.) Jackson

Lot # 143 Canadian, Impressionist & Modern Art Live auction Alexander Young (A.Y.) Jackson ALC CGP G7 OSA RCA RSA 1882 - 1974 Canadian At Go Home Bay oil on panel circa 1920 signed and on verso signed, titled and inscribed "2245" 8 1/2 x 10 1/2 in 21.6 x 26.7cm Provenance: Private Collection, Quebec Literature: Wayne Larsen, A.Y. Jackson: The Life of a Landscape Painter, 2009, page 55 Go Home Bay played a pivotal role in A.Y. Jackson’s development as an artist. In the summer of 1913, Jackson was painting in a shack at Portage Island in Georgian Bay. He decided to stay through the autumn, to paint the bay’s “sterner moods” - but the primitive cottage was freezing. A few kilometres away, Dr. James MacCallum was about to close up his cottage on Go Home Bay, when a letter from Group of Seven artist Lawren Harris alerted him to Jackson’s plight. Harris knew Jackson’s resources were meagre and that Jackson was thinking of going to New York. Harris wanted Jackson to come to Toronto and stay in the newly built Studio Building (a Harris-MacCallum venture). MacCallum searched for Jackson in his motorboat, and after finding him and viewing his work, not only invited Jackson to stay at his comfortable cottage on Go Home Bay until October, but offered him a year’s financial support if he moved into the Studio Building. This richly hued oil sketch captures the unique rock formations and fresh and breezy atmosphere of Georgian Bay, which would remain a lifelong painting place for Jackson. Estimate: $15,000 ~ $25,000 CAD Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator 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 # 143, Alexander Young (A.Y.) Jackson, At Go Home Bay, Estimate:, $15,000 ~ $25,000 CAD, $15,000 ~ $25,000 CAD, Preview at: Heffel Montreal, Preview at: Heffel Montreal View Heffel's Top Results by this artist Currency converter Close Shipping calculator, View Heffel's Top Results by this artist, Currency converter, Close, Close, Close, Shipping calculator, 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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  • 4d 23h

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Bertram Richard Brooker 1888 - 1955 Canadian oil
Bertram Richard Brooker 1888 - 1955 Canadian oil on canvas Portrait of a Lady 24 1/8 x 18 1/8 inches 61.3 x 46 centimeters Provenance:Acquired directly from the Artist by the present Private Collection, Vancouver Please note: this work is unframed. Heffel
Montague J. Dawson 1895 - 1973 British oil on canvas Golden Dawn AOL0405-E02648-
Montague J. Dawson 1895 - 1973 British oil on canvas Golden Dawn AOL0405-E02648-003 18 x 36 inches 45.7 x 91.4 centimeters signed and on verso inscribed indistinctly Provenance:Acquired at Bonham's Knightsbridge: Thursday, August 10th, 1995, Lot 264 Private Collection, Vancouver Montague Dawson is perhaps one of the best-known marine painters of the early 20th century.ÿ His paintings are indicative of his youth on Southampton Water on England's south coast, and his lineage from a family of maritime painters - both his father and grandfather. Dawson's time in the Royal Navy at the outbreak of the First World War, deeply affected his work, which focused on sailing ships and historical vessels, typically under full sail on turbulent ocean crests and currents.ÿ Dawson reached the height of his artistic success in the 1920s, exhibiting at the Royal Academy from 1916 to 1936 and at the Royal Society of Marine Artists. Heffel
Gordon Appelbe Smith 1919 - Canadian oil on board Untitled
Gordon Appelbe Smith 1919 - Canadian oil on board Untitled 18 x 24 inches 45.7 x 61 centimeters signed and on verso dated 1964 on the gallery label Provenance:Bau-Xi Gallery, Vancouver Private Collection, Vancouver Heffel
FREDERIC MARLETT BELL-SMITH OSA RCA 1846 - 1923 Daybreak, St. Pauls
FREDERIC MARLETT BELL-SMITH OSA RCA 1846 - 1923 Daybreak, St. Pauls watercolour on paper signed 14 x 20 in 35.6 x 50.8 cm Bell-Smith was born in England, and emigrated to Canada with his family in 1866. Although based in Canada, he often traveled back to London, painting street scenes and commissions for the royal family. This misty, poetic watercolour is a view of St. Paul's Cathedral across the Thames River in London. Heffel
Marc-Aurèle Fortin 1888 - 1970 Canadian oil on
Marc-Aurèle Fortin 1888 - 1970 Canadian oil on board Moss on Oak Tree 22 x 28 inches 55.9 x 71.1 centimeters signed twice and on verso titled on the gallery labels Provenance:Galerie Claude Lafitte, Montreal Galerie d'art Michel Bigué, Quebec Private Collection, Montreal Exhibited:Musée Marc-Aurèle Fortin, May 1986, catalogue #P-274 Marc-Aurèle Fortin was born in 1888 in Ste-Rose, a small village that was often the subject of his work. During the 1930s, Fortin made a conscious effort to be independent, and he found his own unique style that incorporated the influences of the Group of Seven and Fauvism. Painter and creator above all, Fortin was not restricted by the scenery's picturesque appearance. He transposed processes and created a metamorphosis of perceptions from his eye through his paintbrush onto the canvas. Fortin's experimental and varied techniques resulted in a pictorial language that translated expressive emotions and feelings, such as in Moss on Oak Tree. This fine work is bursting with luminosity through rich colour and strong brushwork, showing Fortin at his strongest - a personal perception from one of Canada's most innovative artists. Heffel
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Heffel Gallery Limited
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