Charles Gagnon Paintings & Artwork for Sale | Charles Gagnon Art Value Price Guide

Mar. 26, 2024
Gagnon, Charles - Grey Field Finder - 1966
Est: $10,000 - $15,000
Gagnon, Charles (1934-2003) Abstraction verte et blanche (1966) Description (FR): Huile sur toile identifiée au dos sur étiquette de la galerie Marlborough-Godard. Charles Gagnon est une figure marquante de l'art contemporain, considéré comme l'un des premiers artistes multidisciplinaire de sa génération. C'est vers 1946 qu'il s'initie à la peinture, suite à une reconnaissance déjà importante de ses productions picturales et photographiques et ses nombreuses expérimentations en sculpture, cinéma, dessin, collage et gravure. Cette œuvre, réalisée en 1966, se fond dans la période d'effervescence culturelle inédite la plus marquante du XXe siècle au Canada, Québec et Montréal, avec la préparation de l'Expo 67. En effet, Charles Gagnon a travaillé de 1966 à 1967 presque exclusivement pour l'Exposition Universelle de 1967 avec l'installation du pavillon Christian et la réalisation de son film Le Huitième Jour (1966). Provenance : Succession de Fernande Saint-Martin, épouse de Guido Molinari. Description (EN): Oil on canvas identified on the reverse on a Marlborough-Godard gallery label. Charles Gagnon is a leading figure in contemporary art, considered one of the first multidisciplinary artists of his generation. He began painting around 1946, following an already high level of recognition for his pictorial and photographic productions and his many experiments in sculpture, film, drawing, collage and engraving. This work, created in 1966, blends in with the most significant period of unprecedented cultural effervescence of the 20th century in Canada, Quebec and Montreal, with the run-up to Expo 67. From 1966 to 1967, Charles Gagnon worked almost exclusively for the 1967 World's Fair, installing the Christian pavilion and directing his film The Eighth Day (1966). Provenance : Estate of Fernande Saint-Martin, wife of Guido Molinari. Dimension (PO): 12" x 12" Dimension (CM): 31 x 31 cm Rapport de condition: Sur demande, nous nous ferons un plaisir de rÃ©pondre Ã vos questions de maniÃ¨re dÃ©taillÃ©e. Condition report: Upon request, We will gladly answer all your inquiries in a detailed manner.
Champagne Auctions
Mar. 03, 2024
Charles Eugene Gagnon Raised Paper Sculture
Est: $50 - $75
Joy Of Life. 27" by 20 1/2" framed. 10 of 300
Davis Brothers Auction
Sep. 28, 2023
Gagnon, Charles Eugene (Minneapolis, Minnesota 1934-2012)
Est: €400 - €480
Sitzender Frauenakt mit Buch 1998 Bronze, braun patiniert. Auf einer rotbraunen Holzplinthe (25,5×23,3×2 cm). Ges.- H. 17,5 cm. Sign. "Charles Eugene Gagnon '98©". (60482)
Leo Spik
Dec. 04, 2020
MÖNCH BEIM TAUBENFÜTTERN
Est: €400 - €800
CHARLES EUGENE GAGNON 1934 Minneapolis, Minnesota - 2012 MÖNCH BEIM TAUBENFÜTTERN Bronze, mit dunkelbrauner Patina. H. 25 cm, 19 x 24,5 cm (Plinthe). Auf der Plinthe signiert und datiert 'Charles E. Gagnon; (19)67'. Part. mit min. Oxidationsspuren. Provenienz: Privatsammlung Nordrhein-Westfalen.
Hargesheimer Kunstauktionen Düsseldorf
Oct. 25, 2020
CHARLES GAGNON (CANADA 1934-2003) SERIGRAPH
Est: $100 - $200
"LE SOLITAIRE", PENCIL SIGNED, 32/45. 26"X27"
Freedom Auction Company
Oct. 13, 2019
Painting, Manner of Charles Gagnon
Est: $400 - $600
Manner of Charles Gagnon (American/Canadian, 1934-2003), Abstraction, 1960, oil and fabric on canvas, signed "C.G." lower right, canvas: 43.25"h x 31"w, overall (with frame): 45"h x 32.5"w
Clars Auctions
Nov. 06, 2013
CHARLES GAGNONTHE COLOUR OF TIME AND THE SOUND OF SPACE, silk screen; signed, numbered, inscribed 17/35; set of 8 each 28.5 ins x 22.5 ins; 72.4 cms x 57.2 cms Note: Born in Montreal, Quebec, in 1934, Charles Gagnon studied graphic art and interior
Est: $3,000 - $5,000
CHARLES GAGNONTHE COLOUR OF TIME AND THE SOUND OF SPACE, silk screen; signed, numbered, inscribed 17/35; set of 8 each 28.5 ins x 22.5 ins; 72.4 cms x 57.2 cms Note: Born in Montreal, Quebec, in 1934, Charles Gagnon studied graphic art and interior design at the Parsons School of Design, New York, and painting at the Art Students' League under Paul Brach. His period in New York, from 1955 to 1960, helped shape his career. At a time when other young Montreal artists were looking to Paris, he was drawn by the artistic effervescent that characterized New York at the time. Gagnon returned to Montreal in 1960 where he held his first one-man show. Gagnon was the recipient of many honors over the course of his life, including an honorary doctorate from the University of Montréal in 1991; induction to the Chevalier de l'Ordre National du Québec, in the same year; the prestigious Prix Borduas in 1996; and the Governor General's Award for the Visual Arts in 2002. In January, 2003 he was awarded the first Jean Paul Riopelle Lifetime Award, given by The Council for Arts and Letters of Québec. Gagnon's work has been shown extensively throughout Canada, the United States and in Europe and his work is part of major Canadian collections, including the National Gallery of Canada. Several major retrospectives of his work have been mounted in and outside Québec: The Montréal Museum of Fine Arts in 1978 and The Musée Art Contemporain's retrospective in 2001
Waddington's
May. 15, 2013
Charles Gagnon 1934 - 2003 Canadian oil on canvas
Est: $30,000 - $50,000
Charles Gagnon 1934 - 2003 Canadian oil on canvas Southern 30 x 34 inches 76.2 x 86.3 centimeters signed and on verso signed, titled and dated 1963 Provenance:Galerie Camille Hébert, Montreal A Prominent Montreal Family Estate Exhibited:Concordia University, Montreal, Alumni Collects, May 20 - June 17, 1981 During the 1950s when most young Montreal artists looked to Paris, Charles Gagnon lived in New York, studying graphic art and interior design at the Parsons School of Design, as well as painting at the Art Students League. His first one-man show was mounted shortly after his return to Montreal in 1960, and was followed by many others over the course of his prolific career. While painting and photography had been at the heart of his art-making practice, he had experimented with and produced work in many other media. His interest in sculpture coincided with his work in paint on canvas, and simultaneously he began to work with the box as both a three-dimensional construction and as a subject for painting. He started using a particular shade of viridian green in 1962, and explored further the form of a square - the box as a figure - using variations on this green plus a few other signature colours. The results are spatially ambiguous, as the works use both splashed-on and painted-on colours that each seem to sit at different depths, causing us to consider space and form, and their relationship to the painterly plane.
Heffel
May. 17, 2011
Charles Gagnon 1934 - 2003 Canadian oil on
Est: $40,000 - $60,000
Charles Gagnon 1934 - 2003 Canadian oil on aluminum on board The Sound 32 x 32 inches 81.3 x 81.3 centimeters on verso signed, titled on the gallery label, dated 1966 and inscribed ""Montreal"" Literature:Gilles Godmer, Charles Gagnon, Musée d'art contemporain de Montréal, 2001, reproduced page 83 Tiffany Bell et al, Light in Architecture and Art: The Work of Dan Flavin, The Chinati Foundation, 2002, essay by Dave Hickey, "The Luminous Body: Sourceless Illumination as a Metaphor for Grace", pages 147 - 148 and 153 - 154 Provenance:Galerie Agnès Lefort, Montreal Estate of Andrée Lavigne-Trudeau, Montreal Exhibited:Musée d'art contemporain de Montréal, Charles Gagnon, February 8 - April 29, 2001, catalogue #58 Charles Gagnon was one of the most highly respected and influential Canadian artists of that remarkable generation born in Quebec in the 1930s. Revered for his expressive abstract paintings and also for his expertise in photography, assemblage and film, Gagnon and his work remain unique. In 2002, his achievements were recognized by a Governor General's Award in Visual and Media Arts. Gagnon lived in New York City for a full five years, from 1955 to 1960. There he took in the range of experimental work - dance, film, photography and, of course, Abstract Expressionism in painting - and returned to Montreal to disseminate this legacy. The Sound boldly yet lyrically exemplifies not only his knowledge of the art centre's most advanced practices in the 1950s but also his up-to-the-minute awareness of ongoing experimentation in and around painting. This work's unusual medium - oil on aluminum - is tellingly of its mid-1960s moment yet remains contemporary in its sensibilities. The American art critic Dave Hickey - writing on Dan Flavin and Donald Judd particularly - describes the typically American fascination and play with ".....technologies of incarnation: epoxies, plastics.....all this glowing, hard stuff, the translucency of colour film, the embodiment of images" of that time. Aluminum, both as a support and a pigment, was one of these luminous experimental mediums, used in the United States most memorably by Andy Warhol and in Canada by Les Levine and Jack Chambers. Gagnon's The Sound was first shown at the Galerie Agnès Lefort in Montreal, which promoted progressive and often abstract work. In the following year, Chambers exhibited his "silver" paintings there. The feathered, shiny surface of The Sound stands in luminescent contrast to the central form, a perfectly but not mechanically incised black square. This assertive geometrical form sits precisely within the larger square of the painting as a whole and seems to pose questions to us. On the formal level, it asks how this hard-edged element relates to the fleeting, almost cloud-like swirl of pigment in which it sits. Is it flat - a barrier - or is it a darkened portal? Because Gagnon uses an aluminum support that changes with the light as we move by it, the black square or void seems stationary, a fixed point in a contrasting universe. Yet these realms are linked, not least by the black pigment distributed across the silvery surface. Do these strands fly out from or return to the black void, aided by what appears to be the impression of a hand in the upper right of the painting? With a highly informed artist such as Gagnon, it is fruitful to reflect historically as well as optically. The central black square is reminiscent of the Suprematist compositions of Kazimir Malevich from the early twentieth century, paintings that drew on mystical sources to assert new social relationships. More proximate is the allusion to - we might better say the harmonization with - American Abstract Expressionist Barnett Newman. The connection follows not only from Newman's use of geometrical form but from the sound in works such as The Voice, 1950, in the collection of the Museum of Modern Art, New York. Gagnon's The Sound likewise builds its effects through synesthesia, the combination of sight, touch and sound. We thank Mark Cheetham, Professor of Art History at the University of Toronto, for contributing the above essay. Andrée Lavigne-Trudeau was married to Charles Elliott Trudeau, brother of former Prime Minister Pierre Elliott Trudeau. Charles was a Harvard-trained architect, and was one of the partners responsible for designing Ottawa City Hall in 1958. Gagnon's family was friends with the couple, and they attended cultural events together.
Heffel
Jun. 10, 2010
CHARLES GAGNON ABSTRACT, mixed media; signed and
Est: $3,000 - $4,000
CHARLES GAGNON ABSTRACT, mixed media; signed and dated '56 8 ins x 11 1/2 ins; 20 cms x 28.8 cms
Waddington's
Nov. 26, 2009
Charles Gagnon 1934 - 2003 Canadian oil on canvas
Est: $20,000 - $30,000
Charles Gagnon 1934 - 2003 Canadian oil on canvas Intersection "30 x 26 inches 76.2 x 66 centimeters signed and on verso signed, titled and dated 1963 Literature:Harold Rosenberg, "The American Action Painting", Art News, volume 51, #8, December 1953, page 23 Provenance:Galerie Camille Hébert, Montreal Private Collection, California Exhibited:Galerie Camille Hébert, Montreal, 1964 Of all our artists, the one who had the clearest grasp of American painting of the 1950s and the 1960s was Charles Gagnon. He lived in New York from 1955 to 1960, and was witness to the "great turn", when one American gallery after another began to exhibit American art instead of post-war European masters. In the early 1960s, this turn was also about to take place in Montreal. One of the most touching details of the present painting is the faded sticker of the Galerie Camille Hébert on verso. Camille Hébert, along with Fernande Saint-Martin, Yves Lasnier and Otto Bengle, was one of the courageous gallery own rs in Montreal who were open to the new trends. Intersection was shown at his gallery in 1964, one year after completion, and was bought there by a private collector in 1966. This painting is part of the series of the so-called Gap paintings by Gagnon. In these paintings, one habitually gets a strong sense of pictorial space, open like a window on an event. When one sees Intersection, one is reminded of the reaction of Ruth Kligman - Willem de Kooning's girlfriend at the time - when she saw a large blue and yellow painting on de Kooning's studio wall. She immediately exclaimed, "Zowie!" - street slang for a masterpiece, a term which was relished by New York painters at the end of the 1950s. Later de Kooning called the painting Ruth's Zowie, 1957. Zowie! then, for Gagnon's Intersection! At first sight, the two paintings may seem to have similarities. Are we not witnessing the same speed of improvisation, the same large brush-strokes - indifferent to the splashing of a few droplets here and there? Bu there are considerable differences. De Kooning seemed not to have been overly concerned with the limits of the surface on which he worked, and things came and went in and out of the frame. However, these limits were crucial for Gagnon - the painting was structured by them. For de Kooning, the painting was, as the American critic Harold Rosenberg said, "an arena where to act" rather than the representation of an object. For Gagnon, the painting was a window, but a window opening on nothing but itself - we are far from Leon Battisti Alberti, and from the Surrealists. This is why the green angle on the right hand upper corner of Intersection is so important. It establishes a limit, a boundary. From then on, the trajectories of paint can only curve in on themselves and return to a point zero, to a quiet centre. In de Kooning's work, the brush-strokes often suggested signs, letters or shapes (here a V, there an A, here a door or there a hat), with landscapes and female bodies indistinguishable from each o her. In Gagnon's paintings, most of which were untitled during this period, there are no signs, no hidden subject matter, no landscape, no highways - just a gap, an interval. On a later painting he wrote this intriguing maxim: "Seuls les éternuements sont éternels." (Only sneezes are eternal.) That is what he meant in Intersection - a moment of outburst, of change of direction - when it is impossible to distinguish an instant from eternity, when the mind escapes from linear time for a second. In the centre of the picture, a dull pink area seems to indicate that it is there that we touch the other side of the mirror, the silvery lining that is opaque and gives nothing more to the eye to look at. In other words, we are entering the zone of perfect quietness, the satori of Zen Buddhism, which is also a flash of sudden awareness. We thank François-Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay. "
Heffel
Nov. 19, 2008
Charles Gagnon 1934 - 2003 Canadian acrylic on
Est: $15,000 - $20,000
Charles Gagnon 1934 - 2003 Canadian acrylic on canvas Sonde vert étape 2 - Feeler Green Stage 2 40 x 36 inches 101.6 x 91.4 centimeters on verso signed twice, titled in French and English, dated 1966 and inscribed ""Montreal"" Literature:Philip Fry, Charles Gagnon, Montreal Museum of Fine Arts, 1978, page 109 Provenance:Galerie Agnès Lefort, Montreal Private Collection, Toronto Charles Gagnon stated, "The real content of a painting has nothing to do with what appears to be the painting.....It's whatever comes out of the process (of painting) which is important..... The quality that transcends what we think life is, you know - what is left when nothing is left." Sonde vert étape 2 - Feeler Green Stage 2 seems to be an exact translation of this thought. Three squares, open on the left side, are seemingly boxed one within the other: a green one, a pale grey one and finally a white one. The white one is painted flat and neutral as if to make the transition between the painting and the wall. The main event seems to be the pale grey square which represents "what is left when nothing is left". Paradoxically, this large expanse is rather soothing to look at, not at all cold or detached, but warm and open. In Gagnon's painting, a void is never empty. It is always the place of enhanced consciousness, of meditation, if you want. Sometimes he felt the need to write something on it, such as "seuls les éternuements sont eternal - only the sneezes are eternal." But most of the time, as in this work, they are without text. Then there is the green square that brings us back to reality. It is the color of a lawn in front of a house; a reminder that Gagnon has always been a keen photographer of suburbia. It is important that one does not lose contact with reality at the very moment when one is tempted by transcendence. So in the middle of contemplation, a "feeler" is sent out to check if you are still with us. This green square has one more significance. It reminds us of de Kooning's green, so a "feeler" is also sent into the world of painting, which is, after all, the first reality of the painter, and in the case of Gagnon, a clear indication of his exclusively American training. Gagnon used to say that along with Jacques Hurtubise, Peter Daglish and Henry Saxe, he was a member of the New York School of Montreal. No such school ever existed, of course, as the very diversity of these painters demonstrates. But it is true that they were all in New York for a reasonable amount of time when young artists Robert Rauschenberg and Jasper Johns were detaching themselves from Abstract Expressionism. It is not an exaggeration to say that, within this group, Gagnon was the one most in tune with the New York scene at the time. The hard-edge quality, the flatness, the frontality of Sonde vert étape 2 - Feeler Green Stage 2 refers to New York painting of the sixties, or to what Clement Greenberg used to call American Type Painting. However, then one thinks of Elsworth Kelly who created abstract images from figuration, and one quickly dismisses this easy reference. Geometry in Gagnon's paintings does not come from simplified nature. What is at work in his painting is rather a reflection of his photography practice and a certain taste for Zen Buddhism; as Gagnon stated, "To me, the most interesting thing about Zen was the idea of the void", a unique kind of sensibility. From Montreal, it was indeed possible for Gagnon to look at New York with a certain ironic stance. We thank François-Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay.
Heffel
May. 18, 2008
***GAGNON, CHARLES EUGENE| (1934- American) Abst
Est: $800 - $1,200
***GAGNON, CHARLES EUGENE| (1934- American) Abstract figure of woman, bronze sculpture signed and dated 1963, approximate height 17". CONDITION: Good.
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