An important work by EJ Hughes is up for auction…again, this time by Heffel Gallery. As John Mackie reported in the Vancouver Sun,

…A small watercolour painting Hughes executed in 1938 as a preparatory work for the mural has turned up at the Heffel Gallery, which is having a preview of its spring auction at 2247 Granville St. It’s also like a collage: a totem pole has been pasted onto the left side, and a church has been pasted between the woman and the passing ship. David and Robert Heffel like to kick their auctions off with a noteworthy artwork, and Indian Life is the first lot in the sale. It’s on display through April 17; the auction itself is May 22 in Toronto…

This painting was last purchased by Jacques Barbeau at Pappas Auctions (of Pappas Furs) in 1997, he wrote about it in his book dedicated to Hughes. While it is too bad the VAG was outbid on this purchase back then, one can hope it will one day make its way back into a public collection. Only Hughes’ preparatory drawings of the murals survived; Paul Goranson’s and Orville Fisher’s drawings never surfaced; the VAG did succeed in acquiring the other 3 Hughes drawings. This panel called Indian Life is one of the best panels of the 12 panel mural IMHO, expertly rendered here as well.

Earlier in the article John calls the mural ‘lost’, which is partly true. Yes, the mural is lost now, but it didn’t disappear forever. In 1954, it was repurposed as decoration around the Challenger Map in the BC Pavilion at the PNE, where it remained for many years, perhaps till the building was demolished. I wrote extensively about this here, but it seems not everyone has read the post. I still like to dream about the mural turning up again in storage at the RBCM…but so far this dream has not yet become a reality.

Check out the drawing at Heffel before April 17; it may be you best chance to see it for some time to come! The estimate is 30,000–40,000 CAD.

The results?! Just over estimate…$32,500! I admit it is maybe difficult to market preliminary artwork, but still it achieved a fair price for what it is. Now, if we had the preliminary renderings for all 12 panels, at this price we would be approaching $400,000!

Just imagine what the life size murals would be worth?! (I would suggest they should be valued at a minimum of $100,000 to $300,000 each, times 12, the entire mural would be worth a theoretical $1.2 to 3.6 million!) We must keep the search alive!

Lot 4 Ladysmith did better than anticipated at $210,000, and lot 11 achieved the top price for Hughes at $350,000. Absolute signature Hughes compositions!

A rare dozen of original works by E.J. Hughes is coming up for auction at Heffel, works by E.J. Hughes from the Barbeau Owen Foundation.

Anticipated closing time: Thursday, September 26, 2024 | 02:00 PM ET

Barbeau has probably assembled the single most important collection of Hughes’ work to date. Opportunities to acquire works by Hughes are rare to begin with, from a prestigious collection such as this, all the more-so.

From Heffel:

E.J. Hughes is renowned for his BC coastal and interior landscapes, rendered in oil, acrylic, and watercolour. His work in the medium of printmaking is less well known. Ian Thom wrote, “Although his print oeuvre is small—only twenty or so—he is one of the most significant printmakers to have worked in British Columbia.”

In 1937, E.J. Hughes was working in a partnership with Orville Fisher and Paul Goranson. The trio, fellow graduates of the Vancouver School of Decorative and Applied Arts, produced a number of prints and murals together. This work may have been intended as a study for a woodblock print, linocut or mural.

Totem Poles at Stanley Park was reproduced in Ian Thom’s 2002 monograph on the artist, and Thom described the work as follows: “A tonal study that uses only black and a series of yellows, it is a striking example of foreshortening and arbitrary cropping. The work recalls, albeit in different form, Emily Carr’s Totem and Forest (1931) in the abrupt conjunction of the poles and the forest behind.” He concluded, “This image is one of the most remarkable of Hughes’s early works.”

Revisiting past subject matter later in his career, in 1985, Hughes painted a similar, larger work in watercolour, also titled Totem Poles at Stanley Park.

Angling for commercial success in the Depression years, Hughes produced a small suite of linocuts depicting Stanley Park in the mid-1930s, including this pleasing view of Second Beach. Dating from 1936, this early work predates the building of Second Beach Pool in 1940. It brings to mind the fine block prints of Walter J. Phillips, whose work Hughes admired. Of special interest, Robert Amos relates that it was while sketching in Stanley Park that Hughes met his future wife, Fern Smith.

Jacques Barbeau wrote about this print, “The mood is tranquil and serene. Yet it illustrates Hughes’ subtle ability to suggest less to achieve more.” With very few colours and sure, sinuous lines, Hughes generates interest in the foreshore rocks, the ocean waves and the dark evergreens beyond. Near Second Beach telegraphs Hughes’s graphic design skills and is one of his rare print works. This same image, with a slightly different tonal range, is in the National Gallery of Canada’s Prints and Drawings collection (acc. no. 29253).

Collector Jacques Barbeau said his interest in the art of Hughes was first sparked when he saw one of the artist’s paintings reproduced on the front cover of a 1958 Vancouver telephone directory. More than a decade later, in 1969, Barbeau acquired his first work by Hughes after paying a visit to the Dominion Gallery in Montreal, which had represented Hughes since 1951. Barbeau purchased several “cartoons,” the detailed graphite drawings that the artist, a meticulous draughtsman, would prepare leading up to an oil painting. Over the years, as Hughes transitioned from oils to acrylics and watercolours, the collection of Barbeau and his wife Margaret Ann (née Owen) grew to 80 works, encompassing sketches, prints and paintings from all phases of the artist’s lengthy career. Fifteen masterpieces from this prominent collection have been on loan to the Audain Art Museum in Whistler since 2016, on public display in the Barbeau–Owen Gallery.

A pair of Capilano brand souvenir plates signed by Ross Tylor, via eBay. These plates are circa 1986; when the Expo line opened, they used that promotional image of the skytrain extensively. This entire collage is like a greatest hits of all the best postcard views of the city.

Michael Kluckner has published his latest illustrated book, appropriately named Surviving Vancouver. As usual, it is a must read!

https://vancouversun.com/opinion/columnists/douglas-todd-surviving-vancouver-in-more-ways-than-one

https://vancouversun.com/opinion/columnists/douglas-todd-surviving-vancouver-in-more-ways-than-one

An important exhibition of Mildred Valley Thornton from the Nuytten Collection is taking place at Uno Langmann gallery this month until April 27. From their website:

“We have enjoyed rehanging the gallery space to include the vibrant works of. We have held the remaining Nuytten Collection open for display and sale for the duration of this exhibition.

Collected by entrepreneur and author Phil Nuytten (1941-2023) over many years, often as gifts to his wife, these works by Mildred Valley Thornton represent a rare cross-section of her life. Hung alongside the Nuytten Northwest Coast Collection, the exhibition includes both watercolours and oils, with subjects ranging from indigenous portraits to landscapes and historical works documenting both indigenous communities and the Canadian landscape. Phil Nuytten, author of The Totem Carvers describing the life of Ellen Neel and her family, had an interest in Thornton’s work due to the connection between the two artists who had much in common, both passionate about advocating for women artists and preserving the traditional arts of the aboriginal people. Many works in the exhibition are illustrated in The Life and Art of Mildred Valley Thornton, the comprehensive biography published in 2011 by Sheryl Salloum as part of The Unheralded Artists of BC series.

After her death, Thornton’s physician Dr. Laurie Patrick and his business partner, my father Uno Langmann, were the first to handle the estate and purchased several of the portraits illustrated in Indian Lives and Legends. A strong admirer of her work, our gallery has collected and sold many works since. To read more about the life of Mildred Valley Thornton and quotes and excerpts from both Phil Nuytten and my father on her work, visit our exhibition page.

We hope that you can view the exhibition either online or in person in the gallery, on now through April 27.”

FYI from smashmodernart.com:

SMASH archives sale starts this weekend in Vancouver. We are opening up the archives with 40 Years of Vancouver art history! Prints, poster, neon, paintings and more.

Saturday March 16th 1-6pm and Sunday March 17th 1-6pm

3030 Commercial Drive

Be smart, buy art.

xox SMASH

Further background to the theme of Vancouver Imagined…here’s an article from 1975, the Urban Reader.

Alas, I didn’t buy it myself, and I’ve only seen it once…sorry! Keep on the lookout tho, there should be more.

Current weather forecasts this is the perfect time to take in some David Wilson artwork. Via DavidWilson.ca:

David Wilson: The Ground Beneath My Feet

October 12 - 28, 2023

Artist Q&A: Saturday, Oct. 21 2pm. Bring your questions for the artist.

Gallery Hours: Tuesday to Saturday, 12pm - 5pm

Venue: VisualSpace Gallery, 3352 Dunbar Street, Vancouver, BC

Possibly from January 1, 1975, or perhaps published a day early on December 31, 1974 (The Citizen was usually released on Wednesday I believe), this cover image features a painting of a Seaspan Tug by marine artist John M. Horton. I believe the illustrated map of Vancouver was also from the same issue, though I’m not certain; I only saw a reprinted copy of this paper, from the estate of Michael Brown. Michael Brown was a longtime resident of Vancouver, a longshoreman, and a passionate collector of all things transportation related, focusing on commercial aviation, as well as the golden age of Hollywood. From his obit:

His heart had no bounds. He spent many years on the waterfront and his love and knowledge of his city and the Port of Vancouver was vast and palpable through his vivid descriptions and amazing photographs. His interests went far beyond the port to historical depictions of the evolution of transportation - from “Trains, Planes, and Automobiles” to the elegant ships of days gone by. Mike was a great storyteller and could entertain friends and family for hours. He loved animals, devoting his time to comforting rescued kittens and cats at his favourite shelter in North Vancouver. He will be sorely missed by all who knew and loved him. God speed your passing, Mike.

More photos in this photoset on flickr.

Art in the City 2023 takes place at the West End Community Centre this weekend. “Starting TONIGHT and continuing on Saturday and Sunday, Art in the City takes over the WECC Arena for an exhibition of fine arts. Up to 50 booths will be full of paintings, drawings, limited edition prints, sculpture, and photography.” Gary Sim and Ken Pattern will be in attendance, among others.

Friday 5:30-7:30

Saturday 11-5

Sunday 11-4

West End Community Centre

870 Denman St, Vancouver BC V6G 2L8

Last night the Vancouver Historical Society guest speaker was Tom Carter, local artist and historian with a focus on the city’s entertainment history. We’ve featured his work here before, and if you missed this ‘full house’ presentation, you are in luck! You can replay the livestream here! Intro at 11:32, the talk begins at 17:10. https://www.youtube.com/live/E_PaPO1jFoc

Canada Pavilion - Pavillon du Canada 1986, a watercolour poster print for Expo86 by Thomas J. Huntley. I hadn’t noticed this print before, but I recently encountered it in a local thrift shop. If you’re looking to round out your 80s decor, this poster print might be it!

Alas, I didn’t buy it myself, and I’ve only seen it once…

Gastown of the 1990s, a realist painting of Water Street and the Gastown Steam Clock by Paul Rupert. Paul Rupert (1946-2013) was a Canadian realist painter who trained under Arthur Lismer of the Group of Seven. From his obituary in the National Post:

Paul obtained his formal training at the school of art and design of the Montreal Museum of Fine Arts, where he studied under the late Arthur Lismer (Group of Seven) and at Concordia University. His unique use of the palette knife and oil paints earned him worldwide recognition in such noted collections as: Royal Bank of Canada, Corby’s Distilleries, International Bankers Club in Hong Kong, Molson Breweries, Montreal Stock Exchange, Canadian Embassy in Washington, Governments of Alberta and Ontario, Canada House and Ontario House in London, England, The National Gallery, The Claridge Collection, Lower Canada College and many others.
Paul was commissioned to paint many of North America’s renowned golf courses including The Royal Montreal Golf Club, The Shaughnessy Golf Club in Vancouver, Nicklaus North, Chateau Whistler, and The Augusta National Golf Club.

You can date the painting to around 1994 or beyond, not from the cars which are mostly from the 1980s, but from the Starbucks located at Water and Cambie Streets. This location operated there from 1994-2022, when it was announced in January it had closed permanently after 28 years at this location.

I don’t see many other paintings around Vancouver by Paul, and I can’t find a record of any major shows he had here, though it is quite likely he did exhibit work here at some point, especially with this poster as evidence, and his work with the Shaughnessy Golf Club. If you spot more of Rupert’s local work, let me know!

Posted to Facebook recently is the above illustration from the Georgia Straight’s Spring Arts Preview. Illustrated by Mark ‘Atomos’ Pilon, it is a homage to the former Straight cartoonist Rand Holmes, whom I have featured here before. You can click the FB link above to see the animated version of the above cover.