April Hickox Paintings & Artwork for Sale | April Hickox Art Value Price Guide

Apr. 13, 2017
APRIL HICKOX (1955-), VINE, chromogenic print mounted on dibond, 29.5 ins x 39.5 ins; 74.9 cms x 100.3 cms
Est: -
APRIL HICKOX (1955-)VINEchromogenic print mounted on dibondtitled on label on the reverse; edition of 5 29.5 ins x 39.5 ins; 74.9 cms x 100.3 cms Provenance:Private Collection, TorontoApril Hickox’s practice spanning the last 35 years is multi-faceted; a teacher, curator and lens-based artist, her work includes photography, video art, film and installations. Hickox began her studies at the Twickenham College of Technology in London, England in 1973, studying photography and graphic design and later studied at the Ontario College of Art (now the Ontario College of Art and Design) in Toronto, Ontario from 1974 to 1978, graduating with an AOCA degree and 5th year graduate studies program in photography and printmaking. Hickox currently resides on Toronto Island, whose alternative community with a rich history and a deep connection with nature has formed an important part of her practice which documents the changes on the island, questioning what is considered “wild” or not through in depth explorations of how humans shape the environment in which they live.Estimate: $3,000–5,000
Waddington's
Apr. 13, 2017
APRIL HICKOX (1955-), PORTHOLES (BUILDING), 2012, chromogenic print, 24 ins x 20 ins; 61 cms x 50.8 cms
Est: -
APRIL HICKOX (1955-)PORTHOLES (BUILDING), 2012chromogenic printsigned, titled, dated and numbered 1/7 on artist label on the backing 24 ins x 20 ins; 61 cms x 50.8 cms Provenance:Private Collection, TorontoThese images were taken from a ship sailing the St. Lawrence River from Îles de la Madeleine to the Port of Montreal. In these works, the porthole acts as a viewing device mimicking a lens, isolating observation and the movement of the ship. The colourations and markings on the images are due to the thickness of the glass in the porthole, combined with the effects of salt water and weathering. The porthole replaces the framing mechanism of the camera, while the movement of the ship provides a constructed vantage point for viewing. Most of the images were taken at dawn before the city had gained consciousness. The shadow of the ship is often seen in the images, imposing itself and its movement on the buildings. The buildings are familiar historical icons that are being transformed to new uses in many Canadian port cities. This work suggests a nameless place, a place of transitions and passages.-Courtesy of the artistEstimate: $2,500–3,500
Waddington's
Apr. 13, 2017
APRIL HICKOX (1955-), PORTHOLES (BLACK BOAT), 2012, chromogenic print, 24 ins x 20 ins; 61 cms x 50.8 cms
Est: -
APRIL HICKOX (1955-)PORTHOLES (BLACK BOAT), 2012chromogenic printedition of 7 24 ins x 20 ins; 61 cms x 50.8 cms Provenance:Private Collection, TorontoThese images were taken from a ship sailing the St. Lawrence River from Îles de la Madeleine to the Port of Montreal. In these works, the porthole acts as a viewing device mimicking a lens, isolating observation and the movement of the ship. The colourations and markings on the images are due to the thickness of the glass in the porthole, combined with the effects of salt water and weathering. The porthole replaces the framing mechanism of the camera, while the movement of the ship provides a constructed vantage point for viewing. Most of the images were taken at dawn before the city had gained consciousness. The shadow of the ship is often seen in the images, imposing itself and its movement on the buildings. The buildings are familiar historical icons that are being transformed to new uses in many Canadian port cities. This work suggests a nameless place, a place of transitions and passages.- Courtesy of the artistEstimate: $2,500–3,500
Waddington's
Apr. 09, 2017
Hickox, April (1955- ) Figs (1983)
Est: $100 - $200
Gravure sur papier, 7/7, signe et date en bas droite April Hickox 83 Etching on paper, 7/7, signed and dated on lower right April Hickox 83 22? x 30?; 55.88 x 76.20 cm
Champagne Auctions
Apr. 09, 2017
Hickox, April (1955- ) Ann?s Grapes (1984)
Est: $100 - $200
Gravure sur papier, 5/13, signe et date en bas droite April Hickox 84 Etching on paper, 5/13, signed and dated on lower right April Hickox 84 22? x 30?; 55.88 x 76.20 cm
Champagne Auctions
Apr. 09, 2017
Hickox, April (1955- ) Bananas (1984)
Est: $100 - $200
Gravure sur papier, 11/13, signe et date en bas droite April Hickox 84 Etching on paper, 11/13, signed and dated on lower right April Hickox 84 22? x 30?; 55.88 x 76.20 cm
Champagne Auctions
Apr. 09, 2017
Hickox, April (1955- ) Japan Pear (1985)
Est: $100 - $200
Gravure sur papier, preuve d?artiste, signe et date en bas droite April Hickox 85 Etching on paper, artist's proof, signed and dated on lower right April Hickox 85 22? x 30?; 55.88 x 76.20 cm
Champagne Auctions
Apr. 09, 2017
Hickox, April (1955- ) Classic Cluster in pink (1985)
Est: $100 - $200
Gravure sur papier, 7/13, signe et date en bas droite April Hickox 85 Etching on paper, 7/13, signed and dated on lower right April Hickox 85 22? x 30?; 55.88 x 76.20 cm
Champagne Auctions
Apr. 09, 2017
Hickox, April (1955- ) Mangos (1985)
Est: $100 - $200
Gravure sur papier, 7/13, signe et date en bas droite April Hickox 85 Etching on paper, 7/13, signed and dated on lower right April Hickox 85 22? x 30?; 55.88 x 76.20 cm
Champagne Auctions
Nov. 03, 2016
April Hickox (1955- ), WHITE TEA CUPS #2 (FROM PORCELAIN, CRYSTAL, GLASS SERIES), 2002, Gelatin silver print; signed, titled, dated 2002 and numbered 4/7 in pencil verso, Image/Sheet 17" x 16.5" — 43.2 x 41.9 cm.; 23.75" x 20" — 60.3 x 50.8 cm.
Est: -
APRIL HICKOX (1955- ), CANADIANWHITE TEA CUPS #2 (FROM PORCELAIN, CRYSTAL, GLASS SERIES), 2002Gelatin silver print; signed, titled, dated 2002 and numbered 4/7 in pencil versoImage/Sheet 17" x 16.5" — 43.2 x 41.9 cm.; 23.75" x 20" — 60.3 x 50.8 cm.Provenance:Private Collection, TorontoEstimate: $1,200—1,600
Waddington's
Oct. 06, 2016
April Hickox (1955- ), COMPOST - RED PETAL, 2010, Colour chromogenic print; titled, dated 2010 and numbered 2/7 to gallery label verso, Sheet 33" x 33" — 83.8 x 83.8 cm.
Est: -
APRIL HICKOX (1955- ), CANADIANCOMPOST - RED PETAL, 2010Colour chromogenic print; titled, dated 2010 and numbered 2/7 to gallery label versoSheet 33" x 33" — 83.8 x 83.8 cm.Provenance:Leo Kaman Gallery, Toronto;Private Collection, TorontoNote:See another photograph by the artist in Waddington’s auction Shades of Grey, Sale 772, lot 30.Canadian contemporary artist April Hickox’s photography adds to the long dialogue throughout the art historical canon - exploring the complex relationship between humans and the natural environment through the photographic lens. Compost – Red Petal is an interesting insight into this complex duality - part of a larger series, Island Parks and Property – Compost 2009 – 2012 captures the remnants of the ritualistic pruning of the fall season. Flora removed from city gardens, deemed for an afterlife as compose. A version of a Contemporary still life, Compost – Red Petal is equally beautifully poetic in capturing both life and death – a sense of renewal, yet placed in this category not naturally but by the human hand. Hickox’s photography and film works have been screened/exhibited throughout Canada and the United States, including the Ann Arbor Film Festival (MI) and the Art Gallery of Ontario (Toronto) to name a few. The artist is represented by Toronto-based gallery Katzman Contemporary. Estimate: $2,000—4,000
Waddington's
Sep. 23, 2014
APRIL HICKOX, CRYSTAL, PORCELAIN, GLASS, gelatin silver print, sight 17 ins x 16.5 ins; 43.2 cms x 41.9 cms
Est: $1,500 - $2,000
APRIL HICKOXCRYSTAL, PORCELAIN, GLASSgelatin silver printsigned, titled and dated 2002 on the reverse sight 17 ins x 16.5 ins; 43.2 cms x 41.9 cms Provenance:Private Collection, TorontoNote:April Hickox is a Canadian contemporary artist known for her work in film, video, photography and installation. As a teacher and independent curator, she remains a highly active member of the fine arts community in Toronto. In her own work, Hickox concerns herself with narrative, specifically the passage from one experience to another. Crystal, Porcelain, Glass (2002) alludes to life's ephemeral qualities and the fragility of material objects. From the artist's Stacking Tea Cup series, where broken teacups are reassembled and then piled in what appears to be a fragile tower, Crystal, Porcelain, Glass is a fine example of her ability to capture narrative. If you look closely, you can see the fine lines that adorn the delicate teacups, evidence of trauma and a reminder of the past. Through these black and white photographs, the artist exposes the delicate nature of our surroundings and our built environment.Hickox is the founding director of Gallery 44, the Center for Contemporary photography, and a founding member of Tenth Muse Studio and Artscape. She currently teaches at OCAD University in Toronto.
Waddington's
Mar. 04, 2014
APRIL HICKOX, PORTHOLES (LAMP AND STACKS), chromogenic prints, 24 ins x 20 ins; 61 cms x 50.8 cms
Est: $5,000 - $7,000
APRIL HICKOXPORTHOLES (LAMP AND STACKS), chromogenic prints; both signed, titled and numbered 1/7 on the backing; the second dated 2012 on the backing 24 ins x 20 ins; 61 cms x 50.8 cms Provenance: Katzman Kamen Gallery, TorontoNote: These images were taken from a ship sailing the St. Lawrence River from Îles de la Madeleine to the Port of Montreal. In these works the porthole acts as a viewing device mimicking a lens, isolating observation and the movement of the ship. The colourations and markings on the images are due to the thickness of the glass in the porthole, combined with the effects of salt water and weathering. The porthole replaces the framing mechanism of the camera, while the movement of the ship provides a constructed vantage point for viewing. Most of the images were taken at dawn before the city had gained consciousness. The shadow of the ship is often seen in the images, imposing itself and its movement on the buildings. The buildings are familiar historical icons that are being transformed to new uses in many Canadian port cities. This work suggests a nameless place, a place of transitions and passages.-Courtesy of the artist
Waddington's