Doris McCarthy, Three oil paintings just arrived

Doris McCarthy, Houses on the Neck, Salvage, Nfld, 1999, oil on canvas, 36" x 48"

Doris McCarthy, Houses on the Neck, Salvage, Nfld, 1999, oil on canvas, 36″ x 48″

One of McCarthy’s favourite places to visit over many years was Newfoundland.  In the early years McCarthy traveled to the outports by supply boat, which was often the only way to get to these isolated places.  McCarthy painted Newfoundland with the emphasis on the inlets and fiords where the simple structure, generous hills and mountains and water reflections provided her with the possibilities for experimenting with form, colour and abstraction as in this fine painting.

Doris McCarthy, Arctic Light, Pond Inlet, 1992, oil on canvas, 24" x 30"

Doris McCarthy, Arctic Light, Pond Inlet, 1992, oil on canvas, 24″ x 30″

On one of the few occasions where McCarthy ventured to the Canadian Arctic in the colder months, (in this case January, Igloolik and Pond Inlet), rather than the expected 24 hours of night light, she discovered, much to her surprise and delight, 24 hours of twilight of various degrees and colours.  The flows that were so changeable in the summer months here are locked into place making for a very still and calm, almost ethereal experience. With enormous sensitivity and ability she  has very successfully painted the immensity of the landscape and the subtleties of light in this impressive painting.

Doris McCarthy, Storm Clouds in the Foothills, 1999, oil on canvas, 24" x 30"

Doris McCarthy, Storm Clouds in the Foothills, 1999, oil on canvas, 24″ x 30″

McCarthy was born in Edmonton, Alberta, leaving with her parents for Ontario when she was 2 years old. The land seemed to be ingrained in her even at such an early age and she returned to the foothills and the mountains from her young adult years throughout her life.The big skies with changeable weather, expansive rolling hills and distant mountains gave her much fodder for her paired down abstraction and colour . She packed this painting with an amazingly moody sky which she balanced with the light filled, gently rolling hills in the foreground and a slice of storm filled mountains wedged between.

Posted September 8th, 2016, by admin.

WTG@S27 informal ideas, 04/16; from the stacks

Open House
Saturday, May 14 and Saturday, June 4, 11-5pm

Including work by Kim Adams, Sara Angelucci, Nicole Collins, Greg Curnoe, Kristan Horton, William Kurelek, Cal Lane, Doris McCarthy, Evan Penny, Ted Rettig, Jaan Poldaas, Michael Snow, Lawrence Weiner.

In our studio we often discover engaging relationships between the works in the collections -a surprising connection between a fine Michael Snow drawing and an Evan Penny bronze study, for instance, or the bold shapes in a McCarthy 1960’s hard edge abstract painting and the and a early conceptual work from the 1970’s Maintenance paintings of Gerald Ferguson.

From time to time we share these moments of visual pleasure and, often, thought-provoking associations through small curated installations as in this current grouping.

Kim Adams, Auto Office Haus

Kim Adams, Auto Office Haus, 1997 (Model for Skulptur Projekte ’97, Munster), 2003, HO scale model parts, 6.5″ x 17″ x 8″

As always, Kim Adams harnesses his and our imaginations, melding the everyday: the hardware store, the wrecking yard, the model maker’s shop, etc. to create substantial and thought provoking works.

The sculpture, Auto Office Haus, 1997, a seminal work, was exhibited in the prestigious international exhibition, Skulptur Projekte Münster, held every ten years in Münster, Germany. Adams was invited to make a large scale, semi-permanent sculpture to sit atop a local 1950’s era taxi stand, now Café Gasolin. He envisioned his work as a fictive office and house for the drivers below. The model for Auto Office Haus was made in conjunction with the Munster Project and exhibited originally at the Westfälisches Landesmuseum, Münster, (Westfalian State Museum of Art and Cultural History). It is encased in a car-shaped, vacuum formed clear plastic cover.

 

Michael Snow, Appearance

Michael Snow, Appearance, 1963, graphite on paper, 10 x 7.5

The iconic Walking Woman Works were the focus of Michael Snow’s studio practice from 1961-67 while in New York. Snow decided that the contour from the original Walking Woman cut-out would remain constant throughout. The change of materials and methods that he employed was at the core of a tremendously influential, multi-media practice still resonating to this day. The rare frottage drawing, Appearance, with the two juxtaposed stencil rubbings captures the energy of the period.

 

Kristan Horton, Dr Strangelove Dr Strangelove, dr0027-s012

Kristan Horton, Dr Strangelove Dr Strangelove, dr0027-s012, 2003, black and white ultra chrome archival print, 3.25″ x 15″

In 2005 as part of our Artists Presents series of exhibitions at WTG, Kelly Mark introduced the work of Kristan Horton, in a solo show, Dr. Strangelove Dr. Strangelove. It was very well received and Horton’s work has gone on to be collected and exhibited extensively in public and private collections.

In an article on the Contemporary Art Gallery’s Vancouver presentation of this series in 2007, Robin Laurence states:

Homage, obsession, appropriation–these postmodern impulses are folded into Kristan Horton’s solo show at the Contemporary Art Gallery. The Toronto artist’s series of black-and-white photographs (38 on view here, out of a total of 200) examines and restages scenes from Stanley Kubrick’s 1964 film, Dr. Strangelove. Subtitled How I Learned to Stop Worrying and Love the Bomb,—.

—The artist’s mimicry is inspired, obsessive, and sometimes ludicrous–a small-scale reiteration of the very qualities seen in the film. —

Each of Horton’s works consists of a still from the film paired with his hilarious mimicry of that scene. Produced in miniature in his studio, Horton’s sets employ the most banal of at-hand objects, such as clothespins, cutlery, screwdrivers, felt markers, plastic bags, twist ties, and bottles of soy and Tabasco sauce. —

 

Greg Curnoe, Zone, 1980, watercolour on paper, 9 x 7

Greg Curnoe, Zone, 1980, watercolour on paper, 9″ x 7″

Zone, the 1980 multi layered watercolour by Greg Curnoe on one hand references Appolinaire’s poem Zone, (a walk in Paris from one sunrise to another and from one time zone to another). Walks and Curnoe’s immediate and geographical surroundings are central in his work. On the other hand, the Zone overlaying the stenciled text, Tecumseh, might be a reference to the town of Tecumseh and its namesake and/or Zone Township, both places near to Curnoe’s home in London, Ontario. And the bright red circle or wheel encompasses all.

Preceding Zone by 18 years and also available is the rare Curnoe 1962 hand made book The Walk. It was included recently in the important exhibition Traffic: Conceptual Art in Canada 1965-1980, at the Justina M. Barnicke Gallery, University of Toronto and the subsequent tour across Canada. In this book Curnoe documented with stamp pad ink on paper one of his walks through London, ON.

 

Jaan Poldaas,Twelve Colour Pair Study 2, 1996, collage, 9 x 15

Jaan Poldaas, Twelve Colour Pair Study 2, 1996, collage, 9 x 15

Jaan Poldaas creates a program of self-imposed rules for each body of work. In his book Abstract Art in Canada, Roald Nasgaard includes a section on Poldaas, in which he states,

Colour for Poldaas was ‘a separate attribute’ to focus on, much in the same way that Richard Long was concerned with length, Carl Andre with area, Richard Serra with weight… [The subject matter of the Twelve Colour Pair series, 1997, is] a kind of game of reward and punishment. It begins with the artist deciding on three shades each of four colours: red, green, blue and grey. The project is to make painting pairs in which each panel will be made up of four parallel bands of colour selected from the twelve options…In selecting and arranging the four colours of his first panel, he allowed himself to indulge his own tastes. [but] the strictest of rules are set in place to determine how the second panel would be composed to ensure that it was a kind of opposite… A constant struggle of will and law

We are located in Studio S27, which is in the SW corner corner of the lower level (if you enter by the west/front doors) or ground floor (if you enter from the east side or parking lot doors).

Posted May 13th, 2016, by admin.

Travels with five artists; Angelucci, Bierk, Curnoe, Kurelek and McCarthy

Doris McCarthy, Coming Storm in Ireland, 1999, watercolour on paper, 15 X 22 in

Doris McCarthy, Coming Storm in Ireland, 1999, watercolour on paper, 15″ X 22″

One of McCarthy’s favourite places to sketch was in Ireland in the Spring. The frequent storms and rain not only gave nourishment to the land it provided Doris with vibrant colours and stormy skies. The immediacy of plein air painting is very apparent in this fine watercolour. One can almost hear the wind and the swaying branches, feel the breeze and smell the fresh earth and vegetation.

Doris McCarthy Page

 

David Bierk, Giverney Trees to Monet, 1989, painted photomontage, 6.5" x 15.5"

David Bierk, Giverney Trees to Monet, 1989, painted photomontage, 6.5″ x 15.5″

During David Bierk’s many travels he sketched and photographed the landscape, combining his painting facility with a fine photographic eye. In this finely balanced photo montage he captures the transitional nature of light in the French countryside while alluding to the work of Claude Monet.

Bierk’s photo based works were included in The Painted Photograph, a three-person exhibition organized and circulated nationally by The Canadian Museum of Contemporary Photography in 2005- 2006.

David Bierk Page

 

Sara Angelucci, Timescape #4 (detail) - Train to Windsor, 2003, Chromogenic print, 16" x 37" with black border

Sara Angelucci, Timescape #4  - Train to Windsor (detail), 2003, Chromogenic print, 16″ x 37″ with black border

In Angelucci’s own words; “The Timescape series is made of film-strip-like narratives marking a particular measure of time and space. Shot on the fly, during a walk or train ride, or from a car window, each strip maps a small journey: some a daily routine, others more unusual and of greater significance. Each Timescape seeks in its own way to fix a passage of time and place, while at the same time carrying a continuous sense of dislocation and transition.

Sara Angelucci Page

 

Doris McCarthy, Paul's House at Twillingate, 1987, watercolour, 15" x 22"

Doris McCarthy, Paul’s House at Twillingate, 1987, watercolour, 15″ x 22″

The rough and ready hills and sturdy houses of the Newfoundland ports intrigued McCarthy with their patterns of shapes and colours. She painted them often during her many visits there capturing, as here, the spirit of the place and its inhabitants.

 

Greg Curnoe, Pangnirtung Looking North, 1971, watercolour, stamp pad ink & pencil

Greg Curnoe, Pangnirtung Looking North, 1971, watercolour, stamp pad ink & pencil

Greg Curnoe traveled to Pangnirtung and Frobisher Bay, Nunavut, in 1971, recording and painting as he went, capturing in this exuberant watercolour sketch the summer light and brilliant bursts of colour.

Greg Curnoe Page

 

William Kurelek, Niagara Falls, 1973, original stone lithograph, ed. 21/200, 9" x 15"

William Kurelek, Niagara Falls, 1973, original stone lithograph, ed. 21/200, 9″ x 15″

For the much visited Niagara Falls, Wiliam Kurelek focuses his gaze on the fragility of the boat, here almost overtaken by power of the falls. The finely rendered, hand drawn stone lithograph heightens the immediacy.

William Kurelek Page

Posted April 16th, 2016, by admin.

Small Work: Curnoe, Kurelek, Poldaas, Pratt, Rettig, Snow, Weiner

A new collection of small work:
Curnoe, Kurelek, Poldaas, Pratt, Rettig, Snow, Weiner

We are pleased to present a collection of works on paper, multiples and editions, including fine original prints by William Kurelek, Lawrence Weiner, Ted Rettig and Mary Pratt. Jaan Poldaas’ early studies and Greg Curnoe’s watercolour remain as vibrant as ever. A rare drawing from Michael Snow’s Walking Woman project along with his limited edition sculpture, Wood calling Bronze, complete this new grouping.

William Kurelek, Ukrainian Christmas Eve Feast,   1973, original stone lithograph, edition of 50, 12" x 8"

William Kurelek, Ukrainian Christmas Eve Feast, 1973, original stone lithograph, edition of 50, 12″ x 8″

View other William Kurelek works

William Kurelek, Building a Cord Cradle, 1973, original stone lithograph, ed. 6/50, 16.75" x 13"

William Kurelek, Building a Cord Cradle, 1973, original stone lithograph, ed. 6/50, 16.75″ x 13″

Michael Snow,  Appearance, 1963, graphite on paper, 10" x 7.5"

Michael Snow, Appearance, 1963, graphite on paper, 10″ x 7.5″

View other Michael Snow works

Michael Snow, Wood Calling Bronze, 1989, bronze and wood base, 16" x 9" x 6"

Michael Snow, Wood Calling Bronze, 1989, bronze and wood base, 16″ x 9″ x 6″

Mary Pratt, Tied Boat, 1980, Serigraph, 15" diam.

Mary Pratt, Tied Boat, 1980, Serigraph, 15″ diam.

View other Mary Pratt works

Greg Curnoe,  Zone,  1980, watercolour on paper, 9" x 7"

Greg Curnoe, Zone, 1980, watercolour on paper, 9″ x 7″

View other Greg Curnoe works

Ted Rettig, kindness and graciousness,  2008, letterpress ink on paper, 10" x 14"

Ted Rettig, kindness and graciousness, 2008, letterpress ink on paper, 10″ x 14″

View other Ted Rettig works

Lawrence Weiner, With a Warm Embrace,  1995, silkscreen on sandpaper, 13" x 19"

Lawrence Weiner, With a Warm Embrace, 1995, silkscreen on sandpaper, 13″ x 19″

View other Lawrence Weiner works

Jaan Poldaas,  Twelve Colour Pair Study 2,  1996, enamel on paper on board, 9" x 15"

Jaan Poldaas, Twelve Colour Pair Study 2, 1996, enamel on paper on board, 9″ x 15″

View other Jaan Poldaas works

Posted December 10th, 2015, by admin.

At Home with Doris McCarthy

Doris McCarthy travelled far, throughout Canada and abroad, from her early years as an art student to her later years as a senior artist. She always returned to her homes, studios and favourite locations to paint in Ontario.

We are pleased to present two recent arrivals, the very rare watercolour of her home, Fool’s Paradise, and an oil panel of the Georgian Bay view from her studio window looking out towards Juke’s Island. Together with the Dagmar Hills and Haliburton, they represent four very special places and times in McCarthy’s life.

Doris McCarthy, 1953, watercolour, 20" x 24"

Asters in the Fields at Fool’s Paradise, Doris McCarthy, 1953, watercolour, 20″ x 24″

McCarthy built her home and studio in the mid 1940s on land she had purchased from a farmer on the Scarborough Bluffs overlooking Lake Ontario. Noting the somewhat isolated location, lack of city water, steeply inclined and often muddy dirt road, her mother referred to it as “that fool’s paradise of yours” , and the name stuck. Towards the end of her life, realizing the unique qualities of FP, as she often called it, she gifted it to the Ontario Heritage Trust for an artist-in-residence program, now successfully underway.

In this iconic and rare watercolour McCarthy painted her beloved home and studio, capturing the majesty of the land and the simple welcoming structure of the building.

http://www.heritagetrust.on.ca/Programs/Doris-McCarthy-Artist-in-Residence-program.aspx

Rock Path to the Point, 1996, oil on panel, 12" x 16"

Rock Path to the Point, 1996, oil on panel, 12″ x 16″

In the late 50’s McCarthy and two other artists bought a point of land jutting out into Georgian Bay. Each summer, in the studio that they built, she scaled up her sketching trip studies into large paintings. But no summer would go by without McCarthy spending some time exploring her Georgian Bay home for its sculpted rock and rain filled crevices, its light and its views.

Holy Point looking out towards Juke’s Island was perhaps Doris’s favourite spot on the property and never failed to provide her with ever changing possibilities, as in this work with its sweeping view and expressively painted foreground of golden grasses and iron-rich rocks of the shield.

Edge of the Lake, Haliburton, Doris McCarthy, oil on canvas, 11½" x 13"

Edge of the Lake, Haliburton, Doris McCarthy, oil on canvas, 11½” x 13″

In the fall, McCarthy, along with her peers and friends, made frequent sketching trips around Ontario. The opportunity for changing light and variable weather conditions in the Haliburton Highlands never failed to capture McCarthy’s imagination. In this beautiful oil painting McCarthy employs one of her hallmark strategies creating a richly animated foreground. Evoking the water’s rhythms, she took full advantage of the shoreline with its washed up driftwood, fallen leaves and masses of colour.

Hills at Dagmar (aka Farm in Dagmar Hills), Doris McCarthy, 1948, oil on canvas, 24" x 27"

Hills at Dagmar (aka Farm in Dagmar Hills), Doris McCarthy, 1948, oil on canvas, 24″ x 27″

Another favourite location in the fall, closer to home, was the Dagmar Hills north of Whitby, where she took advantage of the bright crimson Sumac trees, rolling hills and snaking country roads as subject for this stunning painting.

She exhibited the work from this period of experimentation with a more vivid, Fauvist palette at the Art Gallery of Hamilton in the winter of 1949.

Posted July 2nd, 2015, by admin.

WTG@S27, Informal Ideas: Time and Space

Open House, Saturday, May 23, 12- 4 pm

WTG@S27, Informal Ideas: time and space
Kim Adams, Greg Curnoe, Gerald Ferguson, John Hall, William Kurelek, Doris McCarthy, Evan Penny and Michael Snow.

Michael Snow,  X30,  1979, colour photograph, 44" x 26"

Michael Snow, X30, 1979, colour photograph, 44″ x 26″

View more works by Michael Snow

It is always a pleasure to discover the relationships among the artists’ work in the current collections in our studio at Studio S27, 401 Richmond Street West.

The current installation pairs the Michael Snow work on paper Drawing Woman, from the Walking Woman series, and the Evan Penny Study no.4 for Mask, an early figurative sculpture. Another intriguing pairing combines work of Greg Curnoe and Kim Adams. Curnoe, in the watercolour Zone, referred to Zone township which was near his home in London, Ontario. Kim Adams’ Study for Mini Ride is a recent model referencing one of his first large outdoor installations from his early years in Vancouver.

Other related work in the collection includes John Hall, Doris McCarthy, Gerald Ferguson and William Kurelek.

The 401 Richmond Street West building will be open during Doors Open week-end, participating as Doors Ajar on Saturday, May 23.

Our door will be ajar, 12-4 pm as we welcome you to an informal gathering and to view the current collection.

We are open at other times by chance or by appointment.
We are located at the southwest corner, lower level of 401 Richmond Street West.

Michael Snow,  Drawing Walking,  1962, graphite on paper, 13" x 17

Michael Snow, Drawing Walking, 1962, graphite on paper, 13″ x 17

Evan Penny,  Study no.4 for Mask,  1989, bronze, 10" x 7" x 5"

Evan Penny, Study no.4 for Mask, 1989, bronze, 10″ x 7″ x 5″

Greg Curnoe,  Zone,  1980, watercolour on paper, 9" x 7"

Greg Curnoe, Zone, 1980, watercolour on paper, 9″ x 7″

Kim Adams, Maquette for Mini Ride, 2006, plastic model parts and brass, 8" x 6" x 3"

Kim Adams, Maquette for Mini Ride, 2006, plastic model parts and brass, 8″ x 6″ x 3″

Posted May 20th, 2015, by admin.

Doris McCarthy ; a new collection of paintings

Over many years our annual exhibitions during March and April of work by Doris McCarthy were much anticipated. It is with pleasure now that we present some of those major works from private collections, recently made available for sale.

Mountain Image #3, Doris McCarthy, 1979, oil on canvas, 40" x 54"

Mountain Image #3, Doris McCarthy, 1979, oil on canvas, 40″ x 54″

Mountain Image #3 is a highlight of McCarthy’s painting in the 1970′s. In conjoining the hard edge abstraction, which she had developed in the 1960′s, with the more literal landscape painting she created a dynamic body of work, lifting her career into a new realm.

It was included in the major survey exhibition of McCarthy’s work, and book, Feast of Incarnation, 1991, at the Gallery Stratford and featured in the book, Celebration of Life, that accompanied her major 1999 retrospective exhibition at the McMichael Canadian Art Collection, among others.

Pond Inlet looking towards Bylot, Doris McCarthy, 1983, oil on canvas, 36" x 48

Pond Inlet looking towards Bylot, Doris McCarthy, 1983, oil on canvas, 36″ x 48

McCarthy made annual trips to the Canadian Arctic, from 1971 through to the 2000′s. In this prime painting from a seminal trip to Pond Inlet, McCarthy captured the immense expanse of the land and extraordinary light.

Daniel's Harbour, Doris McCarthy, 1980, watercolour, 22" x 30"

Daniel’s Harbour, Doris McCarthy, 1980, watercolour, 22″ x 30″

McCarthy visited Newfoundland at a time when reaching some of the small out ports and villages was not possible by road. She travelled around the coast on supply boats staying for a time at sites that interested her. Daniel’s Harbour was a favourite. The structure of the buildings and the potential for composition and light never failed to capture her imagination. With her skill in both composition and the handling of the watercolour process she could reveal the essence of the place, as in this fine work.

Sanctuary Lake, Doris McCarthy, 1957, watercolour, 15" x 22"

Sanctuary Lake, Doris McCarthy, 1957, watercolour, 15″ x 22″

It was McCarthy’s custom to make at least one sketching trip in the fall. In the 1950′s that was often to Haliburton, Ontario, where for a few years she returned to the same spot on Sanctuary Lake, which held a special resonance for her. Each time she captured the changing colours and light, never the same but always memorable, as in this watercolour.

Haliburton, New Years Eve Day, Doris McCarthy, 1940, oil on panel, 12" x 13.5"

Haliburton, New Years Eve Day, Doris McCarthy, 1940, oil on panel, 12″ x 13.5″

McCarthy made her first trips to Haliburton as a youth and never lost her passion for the place, travelling there whenever possible at any time of the year. For her, winter provided opportunities for studies in light and composition, taking full advantage here in Haliburton, New Years Eve Day, masterfully capturing the warmth of the huddled houses in contrast to the wintry December air.

Untitled (Gaspé Village), Doris McCarthy, two sided painting - verso, ca.1933, oil on panel, 11" x 13"

Untitled (Gaspé Village), Doris McCarthy, two sided painting – verso, ca.1933, oil on panel, 11″ x 13″

It was the custom, on occasion, for artists travelling with their kits, painting en plein air, to to use both sides of the panels, saving costs and bulk. This is the reverse of the Haliburton, New Year’s Eve Day painting, probably done the previous summer on her annual Gaspé, Quebec, sketching and painting trip. The juxtaposition of the very different villages at opposite times of the year make for an intriguing pairing. The frame allows for viewing both paintings.

Posted May 11th, 2015, by admin.

Spring Ready and Summer Dreaming

With Spring now officially upon us, out come the saws, bikes and bathing suits and dreaming of watery summer landscapes and summer travels.

A collection of works to celebrate the change of seasons!

William Kurelek, 1975, mixed media on board, 16" x 28"

Hand Saw, William Kurelek, 1975, mixed media on board, 16″ x 28″

View other William Kurelek works

Kim Adams, 1998, Aluminum, rubber, steel, 36'" x 72"

Every Which Way, Kim Adams, 1998, Aluminum, rubber, steel, 36′” x 72″

View other Kim Adams works

John Hall, Tourist II, 1980, acrylic on canvas, 24" x 24"

John Hall, Tourist II, 1980, acrylic on canvas, 24″ x 24″

View other John Hall works

Michael Snow, 1962, ink on paper, 7.75" x 6.25"

U.S Air Corps (WW), Michael Snow, 1962, ink on paper, 7.75″ x 6.25″

View other Michael Snow works

Greg Curnoe, 1971, watercolour, stamp pad ink & pencil

Pangnirtung Looking North, Greg Curnoe, 1971, watercolour, stamp pad ink & pencil

View other Greg Curnoe works

Doris McCarthy, 1991, oil on canvas, 24" x 30"

Antarctica from the Heights, Doris McCarthy, 1991, oil on canvas, 24″ x 30″

Doris McCarthy, 1987, watercolour on paper, 15" x 22"

Point Au Persil, PQ, Summer Home, Doris McCarthy, 1987, watercolour on paper, 15″ x 22″

View other Doris McCarthy works

Posted April 3rd, 2015, by admin.

Winter with Kurelek, Pratt, Curnoe, Adams, Weiner

Having welcomed in the new year and now settling into the winter months we have put together a selection of works that celebrate moments of insight, pleasure and warmth.

Greg Curnoe. Untitled (horn), 1978, watercolour on paper, 6.5" x 5"

Greg Curnoe. Untitled (horn), 1978, watercolour on paper, 6.5″ x 5″

Greg Curnoe’s passion for cycling, racing and collecting/building bikes was often represented in his paintings. In this joyful work the horn marks the beginning of a friendly race.

View other Greg Curnoe works

Lawrence Weiner, With a Warm Embrace,  1995, silkscreen on sandpaper, 13" x 19"

Lawrence Weiner, With a Warm Embrace, 1995, silkscreen on sandpaper, 13″ x 19″

Lawrence Weiner is well known for his fine multiples in various media. In this work he juxtaposes the positive text with the rough sandpaper support.

View other Lawrence Weiner works

William Kurelek, Pink Trowel,  1975, mixed media on masonite, 8" x 14"

William Kurelek, Pink Trowel, 1975, mixed media on masonite, 8″ x 14″

William Kurelek prized his tools: framing, painting, building, and in this case a plasterers pink trowel -his pleasure in the essence of the tool.

View other William Kurelek works

Mary Pratt, Cabbage, Carton and Cat,  1977, lithograph, 6 of 25, 19" x 23.5"

Mary Pratt, Cabbage, Carton and Cat, 1977, lithograph, 6 of 25, 19″ x 23.5″

A box of greens, a cat on patrol, a moment in the day, caught by Mary Pratt in this fine early, original stone lithograph.

View other Mary Pratt works

Kim Adams, Fish Hut,  2004, ink on paper, 10" x 11"

Kim Adams, Fish Hut, 2004, ink on paper, 10″ x 11″

Kim Adams was asked to create a fishing hut as part of the art installation project, Ice Follies, for the White Water gallery, North Bay, Ontario, in 2004. This is one of the spirited preparatory sketches for the sculpture, Minnow Lure, now in the collection of the National Gallery of Canada.

View other Kim Adams works

Posted February 3rd, 2015, by admin.

Rettig Open House, McCarthy and Kurelek New Arrivals

Rettig And New Arrivals

WTG and Ted Rettig_40 Years
New assemblages, works on paper and early work
Open House this Saturday, November 22,
11am – 2pm Artist present.
Ted Rettig’s artist page.

Ted Rettig, Model of a Model #3, 2014, assemblage (detail), 61" x 17" x 17"

Ted Rettig, Model of a Model #3, 2014, assemblage (detail), 61″ x 17″ x 17″

 

New Arrivals

Doris McCarthy and William Kurelek

Doris McCarthy, Belle Anse, Gaspe, ca.1934, oil on panel,  11.5x13.5in_1024

Doris McCarthy, Belle Anse, Gaspe, ca.1934, oil on panel, 11.5×13.5in_1024

We have just received two rare early paintings by Doris McCarthy
They were painted in the early 30’s during one of McCarthy’s summer painting trips to the Gaspé.
Visit her artist page.

William Kurelek, Ukrainian Christmas Eve Feast, 1973, original stone lithograph, ed. 44/50, 12" x 8"

William Kurelek, Ukrainian Christmas Eve Feast, 1973, original stone lithograph, ed. 44/50, 12″ x 8″

In 1973, William Kurelek worked with Open Studio in Toronto to make several original, limited edition stone lithographs. We now have four new arrivals available at the gallery and on our site, Ukrainian Christmas Eve Feast, Building a Cord Cradle, Niagara Falls and Dream of Ochterka at Niagara Falls. The 1976 Kurelek lithograph, I am Beautiful, is also available. Visit his artist page.

Posted November 22nd, 2014, by admin.

WTG And Ted Rettig_40 years

Open House:
Saturday, November 15, 2 – 5pm
Saturday, November 22, 11am – 2pm. Artist present

Scan of Arts Canada review, 1974

Scan of Arts Canada review, 1974

Forty years ago we exhibited the work of Ted Rettig in a three person exhibition of students in the Fine Arts program at York University. Vera Frenkel, professor and mentor, introduced us to the artists. The above image is a scan of the review of the exhibition in the major national art magazine of the time, ArtsCanada.

Our relationship with Rettig continues to this day and during the past 40 years he has produced numerous bodies of very fine work that we have presented in many solo and group exhibitions.

To celebrate this 40 year milestone we have installed a small grouping of Rettig’s new assemblages, a new limited edition multiple and a small survey of earlier work. We would like to share this occasion/installation during an open house this coming Saturday, November 15, 2-5pm and Saturday, November 22, 11am – 2pm. Ted will be at the gallery on the Saturday, November 22.

In Rettig’s new work he has assembled a number of readymades, manufactured glass bowls and clay saucers with the occasional addition of found rocks, attaching them in vertical pilings. They are dramatic and unexpected while keeping the fine balance of subtlety and spiritual rightness found in all of his work.

Ted Rettig, Model of a Model #5, 2014, glass, clay, ceramic and  painted metal, 17" x 38" x 17"

Ted Rettig, Model of a Model #5, 2014, glass, clay, ceramic and painted metal,
17″ x 38″ x 17″

To compliment the new work we have included a mini survey of some of the work that we have exhibited over the years. Included is the stone in the top image (centre stone on metal plinth) in the image from the first exhibition. It is fascinating to see the connections between the work and how the assemblages relate to Rettig’s drawings and carved sculpture. The installation will remain until November 29.

The 1974 exhibition was during our tenure at 83 Front Street East, our third location as Aggregation Gallery (our previous name before changing it to Wynick/Tuck Gallery in 1982 when we moved to 80 Spadina Avenue.).

Rettig’s Work is included in many public institutions including the Art Gallery of Ontario; Art Gallery of Hamilton, Hamilton, Ontario; E.P. Taylor Library, Artists’ Bookworks Collection; Canada Council Art Bank, Ottawa; Government of Ontario Art Collection, Toronto; and the National Gallery of Canada Library. His work is also well represented in the Donovan Collection, University of St. Michael’s College, University of Toronto.

We hope you will be able to drop by for a visit. We are open by appointment at other times. wtg@wynicktuckgallery.ca; 416-504-8716

Our new quarters our located on the lower level at 401 Richmond Street West, Studio S27, at the south west corner of the building. Parking is available on Saturdays behind the 401 Richmond building.

Posted November 17th, 2014, by admin.

WTG@S27; Snow, Curnoe, Rettig

Michael Snow, One in Two, 1966, charcoal on paper, 11" x 18"

Michael Snow, One in Two, 1966, charcoal on paper, 11″ x 18″

The full collection of Walking Woman drawings by Michael Snow and watercolours by Greg Curnoe are now available for viewing on our website.

Greg Curnoe, Untitled, Canadian Flag, 1980, stamp pad ink, guache on paper, 4" x 7"

Greg Curnoe, Untitled, Canadian Flag, 1980, stamp pad ink, guache on paper, 4″ x 7″

We are also open by appointment at WTG@S27, 401 Richmond Street West , Studio S27, wtg@wynicktuckgallery.ca

Ted Rettig, Model of a Model #4, 2013, Clay and glass, 20" x 10" diam.

Ted Rettig, Model of a Model #4, 2013, Clay and glass, 20″ x 10″ diam.

This recent work, Model of a Model #4, by Ted Rettig will be in the exhibition, Instigator(s), curated by Patrick Macaulay, at the Harbourfront Centre, opening this Friday, June 20, 6-10pm.

Posted June 20th, 2014, by admin.

WTG@S27: invitation to open house

Michael Snow, 1963, graphite on paper, 11" x 8"

Rotary Walking Rubbing, Michael Snow, 1963, graphite on paper, 11″ x 8″

We invite you to visit our new downsized studio/office/viewing space. We will be open coinciding with the building’s Doors Open weekend, Saturday and Sunday, May 24 and 25, 12 am to 5 pm at 401 Richmond Street West, Studio S27. At other times we will continue to be open by appointment or by chance.

For this occasion we will have on view recent arrivals including a collection of Michael Snow’s Walking Woman drawings – a rare grouping – and Greg Curnoe watercolours, along with a selection of other fine works from our racks, Doris McCarthy, Ted Rettig, Kim Adams among others.

Greg Curnoe, 1978, watercolour, 9" x 6"

Nadir Again, Kitchen Window, Port Stanley, Greg Curnoe, 1978, watercolour, 9″ x 6″

Drop by and catch up with us in our new format as private dealers and art appraisers.

You will find us on the basement level at the south-west corner. Just head down the elevator and follow the signs by turning left to the end of the hall and then left again. Or if you are using the front lobby main staircase, just keep heading in the same direction until you reach our red door, Studio S27.

Looking forward to seeing you,
Lynne and David

Posted May 20th, 2014, by admin.

WTG informal ideas: Couplings, GG’s Awards

In our new studio/office/viewing space we often discover engaging relationships between the works in the collection. From time to time we will share these moments of visual pleasure and, often, thought-provoking associations through small curated groupings. In the grouping below the focus is on the reflected, coupled, duplicated and doubled image.

We are also very pleased to congratulate Kim Adams and Carol Wainio, among this year’s recipients of the Governor General’s Award for Visual and Media Arts. An exhibition of the GG’s Award Winners opens at the National Gallery of Canada, March 27. For more information about the awards visit: ggavma.canadacouncil.ca

informal ideas_WTG@S27; Couplings

Carol Wainio, Bunnies, 1998, acrylic on paper, 17.5" x 29.5"

Carol Wainio, Bunnies, 1998, acrylic on paper, 17.5″ x 29.5″

Carol Wainio, Bunnies (detail), 1998, acrylic on paper, 17.5" x 29.5"

Carol Wainio, Bunnies (detail), 1998, acrylic on paper, 17.5″ x 29.5″

From Wainio’s early years she has embraced figuration and layering of fairy tale illustrations, children’s drawings and images from mass culture, -creating new and relevant stories within her masterful and beautiful paintings. Wainio often worked with paint on paper for her smaller works.

Kim Adams, Squid Head, 2000, watercolour & ink on paper, 22" x 30"

Kim Adams, Squid Head, 2000, watercolour & ink on paper, 22″ x 30″

Adams has long been fascinated with the double headed concept – double headed bikes and trucks and models that have been “kit bashed”. The models and related drawings are thoughtful, current and highly imaginative constructions.  This drawing relates to one of four large works commissioned by the Vancouver Art Gallery as part of its program On Location Public Art.

Michael Snow, Ink Blot #2, 1962, ink on paper, 5" x 7"

Michael Snow, Ink Blot #2, 1962, ink on paper, 5″ x 7″

We are very pleased to have a rare early work on paper from Michael Snow’s the Walking Woman series.  This small and very powerful work is a quintessential Snow from this period. At that time the walking woman silhouette was one of the major focuses in Snow’s explorations in painting, sculpture, photography and multi-media works.

Kristan Horton, Dr Strangelove Dr Strangelove, dr0027-s012, 2003, black and white ultra chrome archival print, 3.25" x 15"

Kristan Horton, Dr Strangelove Dr Strangelove, dr0027-s012, 2003, black and white ultra chrome archival print, 3.25″ x 15″

Kristan Horton spent many hours obsessively studying the classic Stanley Kubrick film Dr. Strangelove.  Using found materials from around his studio he created his major photographic series, Dr. Strangelove Dr. Strangelove (2003–6).

Ted Rettig, Model of a Model #4, 2013, Clay and glass, 20" x 10" diam.

Ted Rettig, Model of a Model #4, 2013, Clay and glass, 20″ x 10″ diam.

Ted Rettig has since the early years of his career made constructions of everyday objects; dishes, lamps, lights, bricks, etc.. He invests the work with a serene spiritual quality while producing beautiful assemblages. In the new work, Model #4, Rettig has folded the material into a totemic structure.

Posted March 24th, 2014, by admin.

WTG News and Glam North at DMG

It is always a pleasure when we discover a relationship between works in our collection at WTG. The two paintings below, Loon Lake, 1966 and Antarctica from the Heights, 1991, shown together offer us a fine view of McCarthy’s ouvre. They are not only a visual treat but also a reminder of how the experimentation with abstraction taken by McCarthy in the ’60′s influenced her work for years to come.

Loon Lake, 1966, oil on canvas, 24" x 30"

Loon Lake, 1966, oil on canvas, 24″ x 30″

Antarctica from the Heights, 1991, oil on canvas, 24" x 30"

Antarctica from the Heights, 1991, oil on canvas, 24″ x 30″

McCarthy’s work continues to be an inspiration to many as can be seen in an upcoming public gallery exhibition.

Curator Jennifer Rudder and artist Alexander Irving have curated the exhibition Glam North: Doris McCarthy and Her New Contemporaries, celebrating McCarthy’s abstract paintings alongside works by contemporary artists for the Doris McCarthy Gallery at the University of Toronto, Scarborough.
The opening is February 26, 5-9 pm. The exhibition continues through April 12, 2014

http://www.utsc.utoronto.ca/~dmg/html/exhibitions/upcoming.html

Glam North: Doris McCarthy and Her New Contemporaries
February 26 – April 12, 2014

Work by David Clarkson, Sarah Anne Johnson, Colette Laliberté, Angela Leach, Doris McCarthy, Alex McLeod, Laura Millard, Samonie Toonoo and Robert Wiens
Guest curated by Alexander Irving and Jennifer Rudder

In honour of the tenth anniversary of the Doris McCarthy Gallery, curator Jennifer Rudder and artist Alexander Irving have selected a number of works by Doris McCarthy from the gallery’s permanent collection – many of which were recently acquired as part of a substantial gift from the McCarthy Estate – to be exhibited alongside works by contemporary artists that have an affinity or resonance with McCarthy’s oeuvre.

Considering the artists’ approach to the landscape, to capturing a sense of place, to our relationship with nature, and to the act of painting, the exhibition celebrates Doris McCarthy’s work through a contemporary lens.

Posted February 26th, 2014, by admin.

WTG_ Artist Spotlight: Shorelines with McCarthy

Doris McCarthy sought out the waters edge and the many possibilities for subjects for her painting throughout her career. In the early years she and other artists travelled often to the Gaspé region of Quebec . It was relatively untouched by the industrial world in the early 30’s and McCarthy took full advantage of the fisherman’s villages, the life and tools of the trade as in Fisherman’s Shack.

Whenever McCarthy could she travelled to foreign destinations. One of her favourite places to paint was Ireland , particularly in the spring. Though the frequent rain storms were a challenge she embraced the resulting changes in the landscape, the colour, pattern and light. In White Sands at Morar she was able to capture shoreline details as well as the immenseness of the landscape.

Pattern and abstraction had become a preoccupation for McCarthy in the mid 60’s. In 1959 she and several other artists pooled their resources to buy a property on Georgian Bay where she built a summer studio and focused her attentions on the rugged beauty of the Georgian Bay shoreline and expansive water views. Wave Movement #8 came towards the end of her hard edge period and signaled the work of the 70’s and particularly the icefloes and icebergs.

McCarthy continued to travel extensively following her retirement from teaching. As always drawn to the water, in 1991 at the age of 81, she chose to take a trip to one of the few places in the world she had not yet been, the Antarctic. The more mountainous terrain than the Canadian Arctic was a revelation to McCarthy. In the painting, Antarctica from the Heights, she took full advantage of the high, long vistas to capture the craggy and everchanging landscape. And, of course, indulge in the abstraction of the ice floes.

Doris McCarthy, 1933, oil on canvas, 20.5" x 26.5"

Fisherman’s Shack, Doris McCarthy, 1933, oil on canvas, 20.5″ x 26.5″

 White Sands at Morar, Doris McCarthy, 1950, watercolour, 22" x 15"

White Sands at Morar, Doris McCarthy, 1950, watercolour, 22″ x 15″

1969,  oil on canvas, 24" x 30"

Wave Movement #8, Doris McCarthy, 1969, oil on canvas, 24″ x 30″

Antarctica from the Heights, Doris McCarthy, 1991, oil on canvas, 24" x 30"

Antarctica from the Heights, Doris McCarthy, 1991, oil on canvas, 24″ x 30″

Posted December 3rd, 2013, by admin.

WTG _informal ideas: portraiture

In our new studio/office/viewing space we often discover engaging relationships between the works in the collections. From time to time we will share these moments of visual pleasure and, often, thought-provoking associations through small curated groupings. In the grouping below the emphasis is on the portraiture.

In the last body of work Greg Curnoe produced he focused on his self portraits, pictorial watercolours and stamped lettered work. In these lettered work on paper he referred to the text “I am” in four languages; English, Cornish, French and Objiwe (as in MI ).

Sara Angelucci often refers to her own family history as she investigates her own place. In this work she juxtaposed an old family snapshot with her own photograph of oranges found in the village home of one of her relatives in Italy.
Sara Angelucci is currently Artist in Residence at the Art Gallery of Ontario, November 20, 2013 – January 20, 2014.

John Hall produced a series of paintings in 1980 referring, as was his practice, to photographs of his still-life assemblages. His objects were collected from around house and studio and especially on travels, including a small ceramic button placed in all the groupings that represented him.

1992, stamp pad ink on paper, 9" x 12"

Greg Curnow, Mi, 1992, stamp pad ink on paper, 9″ x 12″

2003, chromogenic print, 16" x 32"

Sara Angelucci, Stillness no. 6 (oranges), 2003, chromogenic print, 16″ x 32″

John Hall, Tourist II, 1980, acrylic on canvas, 24" x 24"

John Hall, Tourist II, 1980, acrylic on canvas, 24″ x 24″

Posted November 22nd, 2013, by admin.

Recent Arrivals, November 5, 2013

We are pleased to announce new consignments in the gallery including the following;

Greg Curnoe, 1980, 56 of 65, serigraph on Plexiglas, 27.5" x 27.5"

Doc Mortons Front Wheel, March 24 -July 4, Greg Curnoe, 1980, 56 of 65, serigraph on Plexiglas, 27.5″ x 27.5″

Model of a Model #4, Ted Rettig, 2013, Clay and glass, 20" x 10"diam.

Model of a Model #4, Ted Rettig, 2013, Clay and glass, 20″ x 10″diam.

Gerald Ferguson, 1979, latex paint on canvas, 10" x 12"

Maintenance Painting No. 60, Gerald Ferguson, 1979, latex paint on canvas, 10″ x 12″

Icebergs among the Islands, Doris McCarthy, 1995, watercolour on paper, 15" x 22"

Icebergs among the Islands, Doris McCarthy, 1995, watercolour on paper, 15″ x 22″

 

For further information on our appraisal, resale and other services; http://wynicktuckgallery.ca/services/

Phone: 416-504-8716
Email: wtg@wynickgallery.ca

Posted November 7th, 2013, by admin.

Recent Arrivals, September 6, 2013

We are pleased to announce new consignments in the gallery including the following;

Doris McCarthy, Antarctic from the Heights, 1991, oil on canvas, 24″ x 30″

Doris McCarthy, Antarctic from the Heights, 1991, oil on canvas, 24″ x 30″

Kim Adams, Squid Head, 2000 waterclour & ink on paper, 22" x 30"

Kim Adams, Squid Head, 2000 waterclour & ink on paper, 22″ x 30″

Evan Penny, Study no.4 for Mask, 1989, bronze, 10" x 7" x 5"

Evan Penny, Study no.4 for Mask, 1989, bronze, 10″ x 7″ x 5″

Michael Snow, Fast Figure #1, 1962, graphite on paper, 11″ x 8″

Michael Snow, Fast Figure #1, 1962, graphite on paper, 11″ x 8″

Summer Exhibition News Review

Kim Adams is this year’s winner of The Iskowitz Prize. His winning exhibition at the AGO ended August 11, 2013,
For more information: http://www.ago.net/kim-adams-recent-works

Other artists recently exhibited at the AGO

Michael Snow; http://www.ago.net/michael-snow-objects-of-vision/
Nicole Collins; http://www.ago.net/toronto-now-nicole-collins
Paul Butler; http://www.ago.net/paul-butler-the-greg-curnoe-bicycle-project
Evan Penny; http://www.ago.net/evan-penny-re-figured
Ted Rettig; his carved stone work, Althea is part of the semi-permanent installation, Paradise, at the Art Gallery of Ontario, one of several important works acquired by the institution.

Sara Angelucci at the Art Gallery of York University, Toronto

Sara Angelucci’s solo exhibition, Provenance Unknown, curated by Emelie Chhangur for the Art Gallery of York University, ended a successful run, June 1

Review of the Angelucci exhibition by Sarah Milroy in the Globe and Mail;
http://www.theglobeandmail.com/arts/art-and-architecture/toronto-artist-sara-angelucci-morphes-birds-and-humans-in-just-opened-exhibition/article11135890/

For more information on other Angelucci exhibitions please see;

http://www.sara-angelucci.ca/news.htm

For further information on our appraisal, resale and other services;
http://wynicktuckgallery.ca/services/
email: wtg@wynickgallery.ca
phone: 416-504-8716

Posted September 9th, 2013, by admin.

New Location and Services WTG@S27

Ted Rettig, breathe, voice and graciousness, 2007,ceramic, 9" x 9" x 4"

Ted Rettig, breathe, voice and graciousness, 2007,ceramic, 9″ x 9″ x 4″

We are pleased to bring to your attention our new location and services. We are now open by appointment at 401 Richmond Street West, Studio S27. With the exception of our Studio number, our contact information remains the same:

Wynick/Tuck Gallery
401 Richmond Street West, Studio S27
Toronto, Ontario
M5V 3A8
416-504-8716

For further information or to make an appointment to view work, please contact:
wtg@wynicktuckgallery.ca

Doris McCarthy, Icebergs and Floes, 1998, oil on canvas,30" x 36"

Doris McCarthy, Icebergs and Floes, 1998, oil on canvas,30″ x 36″

As well as our appraisal and related services, we are continuing to promote the work of major Canadian artists and will present on-line collections and the occasional pop-up gallery exhibition.

Guido Molinari, Carres Blues, 1969 pastel on paper, 39" x 92"

Guido Molinari, Carres Blues, 1969 pastel on paper, 39″ x 92″

We also are continuing the represent the estates of Greg Curnoe and William Kurelek, and the work of Ted Rettig. Rettig has been with the gallery since 1974. 2014 marks his 40th anniversary with the gallery. We will be presenting an exhibition of his work to mark this occasion. More on that later.

Other News:

We are pleased to also announce that several of our former gallery artists are now represented at the following galleries;
Gerald Ferguson at Olga Korper Gallery (exhibition opens March 2, 2013)
Janice Gurney at Birch Libralato Gallery
Colette Laliberté at Katzman Kamen Gallery, (exhibition opens March 8, 2013)
Monica Tap at MKG127
Carol Wainio at Paul Petro Gallery, (exhibition opens February 22, 2013)
Also Carol Wainio’s exhibition Old Masters opens at the Kitchener Waterloo Art Gallery, March 8 – April 28, 2013, Artist Talk and Opening Reception: Friday, March 8 at 7 PM with opening remarks at 8 PM.

Greg Curnoe, Goodyear Collage, March 24, 1962stamp pad ink, collage, 4 ½" x 7 ¾"

Greg Curnoe, Goodyear Collage, March 24, 1962stamp pad ink, collage, 4 ½” x 7 ¾”

Later this Spring we will introduce an expanded website that will present more fully our new direction and will also link to our existing archive of documentation and past exhibitions.

Posted March 5th, 2013, by admin.