Edwin Headley Holgate Paintings & Artwork for Sale | Edwin Headley Holgate Art Value Price Guide

Oct. 10, 2024
Edwin Headley Holgate, RCA (1892-1977), NEAR MILLE ISLES, PQ, 1964
Est: $10,000 - $15,000
Edwin Headley Holgate, RCA (1892-1977), Canadian NEAR MILLE ISLES, PQ, 1964 signed; signed, titled, and dated "October 1964" verso Estimate: $10,000—15,000 CAD
Waddington's
Dec. 12, 2021
EDWIN HEADLEY HOLGATE - Untitled - Plowing the Field
Est: $400 - $600
EDWIN HEADLEY HOLGATE (Canadian, 1892-1977) - "Untitled - Plowing the Field" 1928 - Woodcut print on paper. Signed in plate lower right, unframed. 5 x 4 inches (image); 8 x 6 inches (paper).
Saskatchewan Network for Art Collecting
Dec. 12, 2021
EDWIN HEADLEY HOLGATE - The Old Loom
Est: $400 - $600
EDWIN HEADLEY HOLGATE (Canadian, 1892-1977) - "The Old Loom" 1928 - Woodcut print on paper - Signed in plate lower left, unframed. 4 x 4 inches (image); 8 x 6 inches (paper).
Saskatchewan Network for Art Collecting
Dec. 12, 2021
EDWIN HEADLEY HOLGATE - The Spinning Wheel
Est: $400 - $600
EDWIN HEADLEY HOLGATE (Canadian, 1892-1977) "The Spinning Wheel" 1928 - Woodcut print on paper. Signed in plate lower right, unframed. 4.75 x 4 inches (image); 8 x 6 inches (paper).
Saskatchewan Network for Art Collecting
Oct. 03, 2019
Edwin H. Holgate (Canadian 1892 - 1977), bookplate illustration "The Old Bake-Oven", from Other Days, Other Ways
Est: $150 - $200
From the book Other Days, Other Ways; Silouettes of the Past in French Canada. A nostalgic account of ways of life in French Canada in 1928. Holgate completed 20 charming woodcut illustrations of the trades and characters for the book. In 1895 the Holgate family moved to Jamaica where Edwin's father was an engineer. Around 1897 Edwin returned to Toronto to study and in 1901 the Holgates settled in Montréal. Edwin became a part-time student c 1905 at the Art Assn of Montreal under William Brymner and c 1910 took a summer course with Maurice Cullen. In 1912, during a trip to Paris, he enrolled in the Grande Chaumière. He also travelled in Ukraine and Japan. He came home in 1915 and his first exhibition was at the Arts Club of Montreal in 1922. He taught engraving at Montréal's École des beaux-arts 1928-34, and about 1930 was invited to join the Group of Seven. He was known primarily as a portraitist and painted an unusual series of female nudes in outdoor settings during the 1930s. In 1935 he was elected associate of the Royal Canadian Academy of Arts. The National Gallery of Canada held a retrospective of his work in 1975-76.
4th Meridian Fine Art
May. 28, 2018
EDWIN HEADLEY HOLGATE, R.C.A., WINTER, MORIN HEIGHTS, oil on panel, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms
Est: $25,000 - $30,000
EDWIN HEADLEY HOLGATE, R.C.A.WINTER, MORIN HEIGHTSoil on panelsigned with initials 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance:Private Collection, TorontoLiterature:Dennis Reid, Edwin Holgate, National Gallery of Canada, Ottawa, 1976, page 22.A central figure in the establishment of a Canadian tradition in painting after the First World War, Edwin Holgate (1892-1977) is remembered for his close association with the Group of Seven from 1929, and his earlier involvement with the foundation of the Beaver Hall Group.While Holgate is linked with figurative work, especially female nudes, which sets him apart from his contemporaries, Holgate did paint Quebec scenes throughout his career, particularly Morin Heights north-west of Montreal. In 1946 Holgate sold his house in Montreal and moved to Morin Heights in the Laurentians where he lived until 1973 when, for health reasons, he moved back to Montreal.As a group, Holgate’s Laurentian pictures capture his fascination with the ethnology of rural life in French Canada and his own personal relationship to the landscape of Morin Heights.Estimate: $25,000–30,000
Waddington's
Apr. 11, 2018
Holgate, Edwin Headley (1892-1977) Mountain
Est: $2,000 - $3,000
Sérigraphie sur papier, signée en bas à droite E Holgate Silkscreen on paper, signed on lower rigth E Holgate 15" x 20"; 38.10 x 50.80 cm
Champagne Auctions
Nov. 20, 2017
EDWIN HEADLEY HOLGATE, R.C.A., UNTITLED - BOATS WITH LANTERNS AT NIGHT, VENICE CA. 1913, oil on panel, 16.25 ins x 12.5 ins; 41.3 cms x 31.8 cms
Est: $5,000 - $7,000
EDWIN HEADLEY HOLGATE, R.C.A.UNTITLED - BOATS WITH LANTERNS AT NIGHT, VENICE CA. 1913oil on panelsigned with initials 16.25 ins x 12.5 ins; 41.3 cms x 31.8 cms Provenance:Private Collection, United KingdomPrivate Collection, TorontoLiterature:Brian Foss and Rosalind Pepall, Edwin Holgate, Montreal Museum of Fine Arts, Montreal, 2005, pages 14 and 166.Boats with Lanterns stands apart from the majority of portraits, nudes and landscapes so readily associated with Edwin Holgate (1892-1977). In fact, at first glance the painting can prompt a moment of doubt, assuaged only once the work is correctly contextualized. Boats with Lanterns was likely painted when Holgate was first embarking on his career as an artist. In 1912, at the age of twenty, Holgate travelled to France to further his education, encouraged by William Brymner under whom he had studied at the Art Association of Montreal. In 1913, he cycled through Europe with two friends, setting out from France and stopping in Switzerland and Italy, including Venice. As a young painter, Holgate was impressed by the American painter James McNeill Whistler. While visiting Venice, he remarked on Whistler’s interpretation of the city’s great basilica San Marco, noting that Whistler was a master because “He chose the time when (the basilica) showed to best advantage – at night”. Perhaps inspired by his idol, in this lot Holgate has also chosen a time of day that emphasizes deep contrast. The densely silhouetted black boats (possibly gondolas) and the beautiful skyline (possibly looking towards the Giudecca from the Bacino) are suggested but not quite fully described, provide the contrast between light and dark that Holgate appreciated. The green-blue tones are of course ones he favoured in his work and appear throughout his career.According to Rosalind Pepall “no sketchbooks survive from this period” and only a few oil sketches have been preserved. This work was acquired by the present owner many years ago at a house sale in the United Kingdom. While it is untitled and as far as we know has never been exhibited, Holgate was exhibiting regularly with the AAM the Spring of 1912 . In 1916 a work entitled The Lantern (no. 137) was exhibited by him at the Art Association of Montreal’s Annual Spring Exhibition. Estimate: $5,000–7,000
Waddington's
Nov. 20, 2017
EDWIN HEADLEY HOLGATE, R.C.A., SKETCH - NORTH SHORE, oil on panel, 8.5 ins x 10.75 ins; 21.6 cms x 27.3 cms
Est: $50,000 - $60,000
EDWIN HEADLEY HOLGATE, R.C.A.SKETCH - NORTH SHOREoil on panelsigned with initials; also signed and titled on the reverse 8.5 ins x 10.75 ins; 21.6 cms x 27.3 cms Provenance:Continental Galleries of Fine Art, MontrealPrivate Collection, New BrunswickExhibited:Manoir Richelieu Art Exhibition, Manoir Richelieu, Quebec, no. 22.Edwin Holgate (1892-1977) was a key figure in the development of modern art in Canada. Born near Barrie, Ontario, he studied at the Art Association of Montreal under William Brymner, then in Paris until the outbreak of war in 1914. After serving in the army, Holgate founded the Beaver Hall Group in 1920 with several other young Montreal artists, in response to the first exhibition of the Group of Seven held in Toronto that spring. In the early 1920s, Holgate studied with Russian émigré artist Adolf Milman in Paris; Milman’s emphasis on strong colour, drawing, and formal structure had a lasting impact on the young artist. Back in Canada, Holgate sketched with A.Y. Jackson along the St. Lawrence River and in 1926, on the Skeena River in British Columbia. Exhibiting in several Group of Seven exhibitions as an invited contributor, he became a member of the Group in 1929.In 1930, (and again in 1932) on his way to Labrador, Holgate stopped at the small fishing village of Natashquan on the north shore of the Gulf of St. Lawrence. Here he painted a number of sketches, one of which was exhibited in the 1930 Group of Seven show. -Many of these feature the small white shacks used by fisherman, known as magasins du galet, and now preserved as heritage sites. This particular sketch, entitled simply “North Shore,” focuses on the bridge that spans the Petite rivière de Natashquan. It is a bold composition, in which the viewer faces the river at a slight angle so that the bridge cuts across the picture from the lower right quadrant. The bridge is solidly drawn and its colours heightened for emphasis. A lively interplay of colours—pink, ochre and red, against the large patch of blue water—attracts the eye and carries it into the background, populated by fishermen’s houses. The painting was loaned to an exhibition at the Manoir Richelieu at Murray Bay (La Malbaie) probably in the 1930s.Estimate: $50,000–60,000
Waddington's
Nov. 20, 2017
EDWIN HEADLEY HOLGATE, R.C.A., HORSE SHOE LAKE, CA. 1929-30, woodcut, printed in colours, plate 6 ins x 7 ins; 15.2 cms x 17.8 cms
Est: $3,000 - $5,000
EDWIN HEADLEY HOLGATE, R.C.A.HORSE SHOE LAKE, CA. 1929-30woodcut, printed in colourssigned and inscribed No.7 in pencil in the lower margin plate 6 ins x 7 ins; 15.2 cms x 17.8 cms Provenance:Private Collection, Guelph, ONLiterature:Rosalind Pepall, Brian Foss et al., Edwin Holgate (catalogue), Montreal Museum of Fine Arts, Montreal, 2005, page 70, cat.no.161 for Horse Shoe Lake, (this version), reproduced. Evelyn Walters, The Beaver Hall Group and its Legacy, Dundurn Press, Toronto, 2017.After serving in the First World War, Edwin Holgate (1892-1977) returned to Montreal to teach at the École des Beaux-Arts. He would become one of the founding members of the Beaver Hall Group in 1920. Holgate and the Beaver Hall Group were instrumental in ushering in a new wave of pictorial modernism in Quebec and beyond. This new modernist approach is most evident in Holgate’s wood engravings, where he sought to emphasize the “medium’s inherent aesthetics”. There is a multicoloured engraving of Horse Shoe Lake in the collection of the National Gallery of Canada, however, in this lot, the use of colour is highly restricted. Despite this, through adept use and organization of light and dark, Holgate’s simplified version produces a highly successful result. The etched lines in the trees and sky stand in stark contrast to the pure white lake in the middle, adding volume and enlivening the composition with a highly pleasing rhythm.Estimate: $3,000–5,000
Waddington's
Jun. 02, 2015
EDWIN HOLGATE
Est: $300 - $500
Canadian, 1872-1977, Quebec Farm, Serigraph signed in the matrix, 3.75 x 4.75 in, 9.5 x 12 cm screen size, Unframed
Walker's
May. 25, 2015
EDWIN HEADLEY HOLGATE, R.C.A., TREESCAPE, oil on panel, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms
Est: $15,000 - $20,000
EDWIN HEADLEY HOLGATE, R.C.A. TREESCAPE oil on panelsigned with initials; also signed and dated "Oct. 1963" 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance:Walter Klinkhoff Gallery, MontrealNote:In Treescape the lines of trunks and ferns are simple and restrained - like those of his woodblocks. Holgate creates a cool, and serene forest scene through carefully applied colour and a focus on the geometry of his forms.
Waddington's
May. 25, 2015
EDWIN HEADLEY HOLGATE, R.C.A., SUMMER NEAR MORIN HEIGHTS, oil on board, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms
Est: $12,000 - $15,000
EDWIN HEADLEY HOLGATE, R.C.A. SUMMER NEAR MORIN HEIGHTS oil on boardsigned 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance:Galerie Walter Klinkhoff, MontrealLiterature:Rosalind Pepall, "An Art of Vigour and Restraint," in Edwin Holgate, Brian Foss and Rosalind Pepall (curators), The Montreal Museum of Fine Arts, Montreal, 2005, page 24.Note:"In 1946, feeling a need to seek refuge from the city, Holgate and his wife left Montreal to settle in Morin Heights, sixty-five kilometres northwest. Holgate, who loved the outdoors, had been drawn to the Laurentians early in his career... (I)n Morin Heights, a small village amid lakes and hills, he and Frances found a welcoming community there. From his house, Holgate had a ready subject for the landscapes he continued to paint." Holgate's scene is cool and inviting, a composition of greens, browns and greys under a butter-whipped sky. The distant hills, hinted at by a daub of indigo, add depth to the earthy landscape and seem to allude to Holgate's familiarity and love of the terrain. Holgate lived in Morin Heights until 1973 when, for health reasons, he moved back to Montreal.This work was painted circa 1950 according to the gallery label on the reverse.
Waddington's
Mar. 10, 2015
EDWIN HEADLEY HOLGATE (1892-1977), LABRADOR KITCHEN, Woodcut on japon paper; signed and numbered 11/30 in pencil to margin., 11.25" x 8.5" - 28.6 x 21.6 cm.
Est: $3,000 - $4,000
EDWIN HEADLEY HOLGATE (1892-1977), CANADIANLABRADOR KITCHENWoodcut on japon paper; signed and numbered 11/30 in pencil to margin.11.25" x 8.5" - 28.6 x 21.6 cm.Literature:Rosalind Pepall and Brian Foss (eds.), Edwin Holgate, Montreal Museum of Fine Arts, Montreal, 2005, for François-Marc Gagnon's chapter entitled, "Edwin Holgate and Rural Life" and page 34, cat. no. 170 for Labrador Kitchen (Collection of the National Gallery of Canada), reproduced.Note:Holgate's treatment of interior rooms was not dissimilar to his treatment of a portrait or a landscape. The interior alone is the main subject. Gagnon in his chapter on Holgate's rural works states, "Holgate made several images - both prints and paintings - of French-Canadian interiors, not in order to show human figures in their habitual setting, but (since in most cases they are entirely devoid of figures) as ends in themselves. The only subject, in these unusual works, is the interior."Estimate: $3,000-4,000
Waddington's
Nov. 24, 2014
EDWIN HEADLEY HOLGATE, R.C.A., MAN WITH AXE, 1925, woodcut, 7.25 ins x 5.5 ins; 18.4 cms x 14 cms
Est: $4,000 - $5,000
EDWIN HEADLEY HOLGATE, R.C.A.MAN WITH AXE, 1925woodcutsigned with initials in the print, and signed and inscribed "No. 10" in pencil in the lower margin 7.25 ins x 5.5 ins; 18.4 cms x 14 cms Provenance:Private Collection, MontrealLiterature:Rosalind Pepall and Brian Foss (eds.), Edwin Holgate, Montreal Museum of Fine Arts, Montreal, 2005, page 81, cat. no. 149 for Man with Axe (Collection of the National Gallery of Canada), reproduced.
Waddington's
Nov. 24, 2014
EDWIN HEADLEY HOLGATE, R.C.A., LABRADOR KITCHEN, woodcut, 11.25 ins x 8.5 ins; 28.6 cms x 21.6 cms
Est: $4,000 - $5,000
EDWIN HEADLEY HOLGATE, R.C.A.LABRADOR KITCHENwoodcutsigned and numbered 11/30 in pencil in the lower margin 11.25 ins x 8.5 ins; 28.6 cms x 21.6 cms Literature:Rosalind Pepall and Brian Foss (eds.), Edwin Holgate, Montreal Museum of Fine Arts, Montreal, 2005, for François-Marc Gagnon's chapter entitled, "Edwin Holgate and Rural Life" and page 34, cat. no. 170 for Labrador Kitchen (Collection of the National Gallery of Canada), reproduced.Note:Holgate's treatment of interior rooms was not dissimilar to his treatment of a portrait or a landscape. The interior alone is the main subject. Gagnon in his chapter on Holgate's rural works states, "Holgate made several images - both prints and paintings - of French-Canadian interiors, not in order to show human figures in their habitual setting, but (since in most cases they are entirely devoid of figures) as ends in themselves. The only subject, in these unusual works, is the interior."
Waddington's
Nov. 24, 2014
EDWIN HEADLEY HOLGATE, R.C.A., THE ARTIST'S WIFE, 1928, pencil, 10.75 ins x 8 ins; 27.3 cms x 20.3 cms
Est: $6,000 - $8,000
EDWIN HEADLEY HOLGATE, R.C.A.THE ARTIST'S WIFE, 1928pencilsigned with initials and dated 1928 10.75 ins x 8 ins; 27.3 cms x 20.3 cms Provenance:The Morris Gallery, TorontoPrivate Collection, OntarioLiterature:Rosalind Pepall and Brian Foss (eds.), Edwin Holgate, Montreal Museum of Fine Arts, Montreal, 2005, page 90.Note:The artist often sketched or painted his wife Frances whom he married in 1920. In her chapter on Holgate's portraits Pepall writes, "Holgate was a master at creating a dramatic rendering through plastic elements - even of a flower pot. However, in his portraits of female subjects in particular, and especially his wife, a frequent sitter for his figure studies, the artist was able to express himself most freely and reach beyond form to a more subjective emotion."
Waddington's
May. 26, 2014
EDWIN HEADLEY HOLGATE, R.C.A., FALL, LAURENTIANS, oil on panel, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms
Est: $18,000 - $22,000
EDWIN HEADLEY HOLGATE, R.C.A.FALL, LAURENTIANSoil on panelsigned with initials; dated "OCTOBER '49" on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance:Galerie L'Art français, MontrealLiterature:Dennis Reid, Edwin Holgate, National Gallery of Canada, Ottawa, 1976, page 22.Note:A central figure in the establishment of a Canadian tradition in painting after the First World War, Edwin Holgate is remembered for his close association with the Group of Seven from 1929, and his earlier involvement with the foundation of the Beaver Hall Group. Fall, Laurentians is an oil study for the larger canvas entitled Three Tamaracks (now in private hands). Holgate frequently revisited the Quebec landscape throughout his mature years as an artist, particularly Morin Heights north-west of Montreal, where he lived from 1946 to 1973. The majority of pictures he produced at this time focus on the shoulders of the seasons, when conditional changes seem to occur over a short period of time. The warm colours of the season in Fall, Laurentians stand in contrast to the cool colours that feature in other pictures of the same year. As a group, Holgate's Laurentian pictures capture his fascination with the ethnology of rural life in French Canada and his own personal relationship to the landscape of Morin Heights.
Waddington's
Dec. 08, 2013
Edwin Holgate Gulls
Est: $400 - $600
Gulls
Westbridge Fine Art Auction House
Jun. 06, 2013
EDWIN HEADLEY HOLGATE, R.C.A. SNOW CLOUDS,
Est: $2,500 - $3,000
EDWIN HEADLEY HOLGATE, R.C.A. SNOW CLOUDS, silkscreen; signed 16 ins x 20.75 ins; 40.6 cms x 52.7 cms Literature: Robert Ayre, Canadian Art, Spring 1958, Volume 15: 98-103, page 102, reproduced.
Waddington's
Nov. 29, 2012
Edwin Headley Holgate 1892 - 1977 Canadian
Est: $2,000 - $3,000
Edwin Headley Holgate 1892 - 1977 Canadian graphite on paper Pine Stump in Snow 9 x 11 inches 22.9 x 27.9 centimeters initialed and on verso titled and dated 1939 on a gallery label Provenance:Galerie Walter Klinkhoff Inc., Montreal Warwick Gallery, Vancouver Private Collection, Vancouver Private Collection, Toronto
Heffel
Nov. 22, 2012
Edwin Headley Holgate 1892 - 1977 Canadian oil on
Est: $50,000 - $70,000
Edwin Headley Holgate 1892 - 1977 Canadian oil on panel Drying Fish, Mutton Bay 8 1/2 x 10 1/2 inches 21.6 x 26.7 centimeters on verso titled and dated 1932 on the gallery label and inscribed ""Edwin Holgate did this sketch when he was in Mutton Bay, Quebec in the Summer of 1932"" by Frances Holgate on a label Provenance:Galerie Walter Klinkhoff Inc., Montreal Private Collection In 1932, Edwin Holgate was based in Montreal with a studio on Saint Catherine Street West. As with all the Group of Seven members (although Holgate was a late joiner in 1929), he had a love of landscape and sketching directly on site. His visit to Mutton Bay was tied to a 1932 trip to Labrador in which he also visited Natashquan in Quebec. Mutton Bay was an inaccessible fishing village located farther east along the north shore of the St. Lawrence. In such a remote place, simple and traditional ways such as drying fish in the sun would have caught Holgate's attention. His interest in rural themes included wor ing people such as lumberjacks, fishermen, fire rangers and farm workers, who were portrayed with empathy in his prints and paintings. The only other Group member who painted figuratively to any extent was Frederick Varley. Drying Fish, Mutton Bay is a fascinating time capsule of traditional rural life in Quebec; everyday activities carried out peacefully on a radiant summer day rich in atmosphere.
Heffel
Jul. 26, 2012
Edwin Headley Holgate 1892 - 1977 Canadian oil on
Est: $6,000 - $8,000
Edwin Headley Holgate 1892 - 1977 Canadian oil on canvas on board Mother and Child 14 x 12 inches 35.6 x 30.5 centimeters Provenance:Estate of Edwin Holgate, Montreal By descent to Mary Frances Holgate's nephew, Quebec Private Collection, Toronto This painting hung in Edwin and Frances Holgate's Westmount and Morin Heights homes, their Westmount apartment and then in Frances's seniors residence. The proceeds for this work will go to benefit the Jewish Family & Child Service of Greater Toronto.
Heffel
May. 17, 2012
Edwin Headley Holgate 1892 - 1977 Canadian oil on
Est: $300,000 - $400,000
Edwin Headley Holgate 1892 - 1977 Canadian oil on canvas Lake Reflections, Mt. Tremblant 24 x 24 inches 61 x 61 centimeters signed Literature:Charles C. Hill, The Group of Seven: Art for a Nation, National Gallery of Canada, 1995, page 332, quoting Henri Girard's article "Suzor Coté, l'exemple" in La Revue Moderne, Volume XI, No. 3, January 1930, pages 5 and 55 Rosalind Pepall and Brian Foss, Edwin Holgate, The Montreal Museum of Fine Arts, 2005, reproduced page 160 and listed page 174 Provenance:Acquired directly from the Artist Sold sale of Canadian Art, Joyner Fine Art Inc., December 7, 1999, lot 38, reproduced cover lot Private Collection Exhibited:The Montreal Museum of Fine Arts, Edwin Holgate, 2005, catalogue #127 Edwin Holgate had been exposed to Cubism and other avant-garde styles of European painting when he was in France on two extended trips from 1912 to 1914 and 1916 to 1918. He had also lived under the exotic light and vividly coloured surroundings of Jamaica as a child and on trips there in 1920 and 1929. These international influences would show in his work throughout his life, and his figures and landscapes, especially this masterful, riotous view of the tangled forest on the shores of Lac Tremblant, often seem exotic when compared to other Canadian art created at the same time. Holgate was very keenly interested in Modernism, and as a master woodblock printmaker, had the ability to look at his subjects in terms of their various divisible parts. His planes of space are often flattened, divided, shaped and defined in a print-like manner that further heightens the feeling of modernism. Lake Reflections, Mt. Tremblant fully exemplifies this. In this large, square format work, Holgate's bold colours are applied directly and are often unblended. In the lake, the trees and their foliage, his pigments are vivid and clear. There are lyrical lines throughout the work; in the starkly white branches of the bush that lead into its slimmer, red-brown new growth, the brilliant green branches of the sapling and the distant white trunks of more mature trees across the lake - all seem to dance in the sunlight. The two shadows that we see on the near-ground rocks are more subtle, and remain still as the dance goes on around them, as do the pale shadows in the crooks of the white shrub's branches. The softly-hued colours of the autumn foliage in the distance provide a fine foil to all these dancing lines. Holgate had built himself a painting cabin in a remote location on the shore of Lac Tremblant in 1925, and through his repeated scrutiny of the area he had clearly come to know the landscape there in the intimate manner of a resident. Here, his use of unblended colour serves to reinforce the effect of bright sunlight that saturates the work. The twining, vine-like movement of the tree trunks and branches is almost electric. The dappled patterns and reflections in the shimmering waters of the lake convey the palpable feeling of a day when the heat of autumn creates visual mirages and waves that one can almost touch. Looking at this arresting work, we might feel we can hear the insects buzzing. Holgate was in the advantageous position of teaching at both the École des beaux-arts and the Art Association of Montreal. This placed him in contact with a younger generation of artists, writers and critics. He is well-known for his bold and sculptural portraits, and his association with the Beaver Hall Group afforded him the company of some of the most interesting portrait painters working in Canada at the time, connecting him to the forefront of the arts in Quebec. His work has, in many instances, and certainly in the latter part of his career, more in common with the new modernists than his associates from the Group. Holgate had enlisted and served in both World Wars and was an official war artist with the Royal Canadian Air Force in Canada and England in 1943 and 1944. When he returned to Canada at the end of World War II, he craved a rural setting, and the appealing sketching potential that open landscapes and rural people provided. In 1946 he moved to Morin Heights in the Laurentians north of Montreal, and sketched and painted the surrounding country, using many of its inhabitants as subjects for his portraits. Early in Holgate's career, his bold modernism was noted by his art critics. Henri Girard stated, "An Edwin Holgate canvas presents the artist directly; this is a man who ignores half-tones and paraphrases. He states his case straightforwardly and too bad for you if your sensibility differs from his.....This is a beautiful, and so rare quality among our painters." As a groundbreaking modernist, master printer, muralist and gifted and admired teacher, Holgate's legacy to modernism in Canadian art is unique and distinct.
Heffel
May. 17, 2012
Edwin Headley Holgate 1892 - 1977 Canadian oil on
Est: $250,000 - $350,000
Edwin Headley Holgate 1892 - 1977 Canadian oil on canvas board Canadian Minesweeper, East Coast 18 x 19 inches 45.7 x 48.3 centimeters initialed and dated 1941 and on verso signed, titled, dated and inscribed with the Dominion Gallery inventory #A2390 Literature:Rosalind Pepall and Brian Foss, Edwin Holgate, The Montreal Museum of Fine Arts, 2005, reproduced page 156 and listed page 173 Pierre Théberge, "Come Discover the Eighth Member of the Group of Seven, Edwin Holgate", National Gallery of Canada Press Release, 2006 Provenance:Dominion Gallery, Montreal Galerie Walter Klinkhoff Inc., Montreal Masters Gallery, Calgary Private Collection Exhibited:The Elsie Perrin Williams Memorial Art Museum, label on verso The Montreal Museum of Fine Arts, Edwin Holgate, 2005, catalogue #101 Pierre Théberge stated, "Edwin Holgate was a Montreal artist and a great Canadian painter, attached to Québec's rural culture yet open to the world. Portraits, landscapes and scenes of daily life are depicted with mastery but, above all, Holgate's sensibility and expressiveness went beyond mere representation and questioned the human relationship to nature.....Holgate's work shows us an artist of talent, captivated by everything around him, but especially by the human dimension of things." During World War I, Holgate enlisted and served in France and Canada with the Canadian Expeditionary Forces from 1916 to 1919. His work Over the Top from 1918, now in the Beaverbrook Collection of War Art at the Canadian War Museum, is a masterpiece that showed Holgate's sensitivity to the difficult nature of his subject. In it, we see three soldiers exiting a trench at night in silhouette, guided by the faint light of a starry sky. It is a tense and rather frightening scene, extremely evocative of the danger the men faced. In the years between the wars, Holgate established himself in Montreal. He traveled back to Europe to study, then on return to Canada taught at the Art Association of Montreal and became a member of the Group of Seven. He established himself as a fine figurative painter, exploring modernism in his nudes and portraits of 'Canadian types', and sketched the landscape of Canada, in particular that of Quebec. He painted at Skeena with A.Y. Jackson, and executed murals for the Jasper Room at the Château Laurier in Ottawa as well as for the Canadian Pavilion at the New York World's Fair in 1939. When World War II broke out, Holgate enlisted again, this time as an official war artist. He did not see action, serving instead with the Canadian Air Force at the shipyards in Sorel, Quebec (now Sorel-Tracy). There, Holgate painted the activities of this busy shipbuilding dock, which also served as a major wartime armament port. Among the men he would have met were the sailors who served aboard the minesweepers. He has captured all the tension and danger of their duty in this dramatic scene from 1941. Canadian Minesweeper, East Coast is a dynamic and energy-filled work. Holgate has painted the scene from a vantage point that creates a strong feeling of tension. We are looking down onto the deck of the ship, watching four men who are intent on their duties. The boat is clearly caught in high seas, and the expanse of water beyond the safety of the deck churns and boils. The angle of the deck, the frothing water and our lofty vantage point all contribute to a feeling of charged tension - Holgate has caught the action at a high point indeed. An interesting similarity of brushwork can be seen between the brush-strokes on the hull of the ship and the way Holgate has handled the water with repeating circular stokes. Despite the tension of the scene, its treatment is quite decorative. The ship's rigging, running in thin lines across and through the foaming spray, is dynamic and precise. Holgate was a master of sculpting his forms, and the shapes and planes of the minesweeper would have presented an opportunity for him to exploit his colour-modeling skills. The grey of the ship is uniform, but Holgate has given it interest in his subtle shading, and treated this unyielding, bulky feature with delicate and careful brushwork. The visual contrast of the ship's brute form against the energy of the wildly churning sea is masterful. However, it is in the angle at which Holgate has depicted the deck of the ship where he fully arrests our attention. The strong lean to the left makes us feel a part of the scene, as if we are on the ship with Holgate, trying to keep our balance as the men comb the water for mines.
Heffel
May. 17, 2012
Edwin Headley Holgate 1892 - 1977 Canadian oil on
Est: $80,000 - $100,000
Edwin Headley Holgate 1892 - 1977 Canadian oil on panel Natashquan 8 1/2 x 10 1/2 inches 21.6 x 26.7 centimeters initialed and on verso signed, titled, dated 1930, inscribed with the Dominion Gallery inventory #2394 and stamped Dominion Gallery Provenance:Dominion Gallery, Montreal Private Collection Edwin Holgate's depiction of the Canadian landscape extended from British Columbia's Skeena River area to the remote fishing villages of Labrador and Quebec. He twice visited the township of Natashquan, on the north shore of the Jacques Cartier Strait on the Gulf of Saint Lawrence. A traditional Acadian fishing village settled in 1855, its quaint red-roofed, white-sided shacks - called Magasins du Galet and also known as The Rollers - were built specifically to prepare the abundant fish that were caught in the Gulf. Holgate was on his way to Labrador when he first stopped at Natashquan in 1930. He painted several sketches of these picturesque shacks and the nearby village, showing white buildings that sit in jaunty contrast to the exposed sandy bluffs and the deep blue of the waters of the Saint Lawrence, choppy in the distance, perhaps dotted with ice. He would visit again in 1932. These Magasins du Galet are now a historic site and look much the same as they did when Holgate painted there.
Heffel
May. 17, 2012
Edwin Headley Holgate 1892 - 1977 Canadian oil on
Est: $80,000 - $100,000
Edwin Headley Holgate 1892 - 1977 Canadian oil on panel Natashquan Village, North Shore, Labrador 8 1/2 x 10 1/2 inches 21.6 x 26.7 centimeters initialed and on verso titled Provenance:Galerie Walter Klinkhoff Inc., Montreal Private Collection Edwin Holgate's interest in the charming fishing village of Natashquan, now a historic site, adds an additional layer of history to this protected area. This fine vignette depicts the daily chores of the fishermen and furthers our understanding of this way of life that is now largely lost. A fisherman in a red slicker tends to the fillets drying on racks in the sun while a woman prepares to enter a shack. Boats are pulled up on the sandy beach behind them as they go about their chores, and the cold blue waters of the Saint Lawrence, the source of the abundant catch, show in the distance. The two figures in this work remind us of Holgate's portraits and echo the dignity that he gave to each of his subjects. Holgate had great respect for the hard-working Canadians who toiled or pursued recreational interests outdoors. A listing of his portraits, which includes titles such as The Ski Patroller, The Naturalist and The Lumberjack, could have just as easily included a fisherman.
Heffel
May. 17, 2012
Edwin Headley Holgate 1892 - 1977 Canadian oil on
Est: $600,000 - $800,000
Edwin Headley Holgate 1892 - 1977 Canadian oil on canvas Great Bug Pond, Cache River 26 x 30 inches 66 x 76.2 centimeters signed and on verso signed, titled, dated 1939, inscribed with the Dominion Gallery inventory #G2388 and stamped Kastel Gallery Literature:""Variety Features Show of Paintings by Edwin Holgate"", The Standard, Montreal, October 19, 1946 (review of the Dominion Gallery exhibition) François the work. From our vantage point beneath the decorative tree on a hilltop, we look out onto a masterfully painted scene, one of Holgate's absolute best. Marc Gagnon, ""Simplicité, Complexité, ou Holgate et Lismer"", La Presse, Montreal, October 19, 1946 (review of the Dominion Gallery exhibition) Dennis Reid, The Group of Seven, 1970, pages 12, 191 and 192 Rosalind Pepall and Brian Foss, Edwin Holgate, The Montreal Museum of Fine Arts, 2005, reproduced page 148 and listed page 173 Fine Canadian Art, Heffel Fine Art Auction House, May 26, 2010, the circa 1938 - 1939 oil sketch entitled Frog Pond (Great Bug Pond, Cachée River) reproduced page 39 Provenance:Dominion Gallery, Montreal The Estate of Susan M. Tenzer, Montreal Kastel Gallery, Montreal Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 9, 1995, lot 79 Private Collection, Bermuda Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 18, 1999, lot 100 Private Collection Exhibited:Dominion Gallery, Montreal, Edwin Holgate, Twenty-five Years of Painting, October 18 - November 2, 1946 Governor General Suite, APEC, Vancouver, 1997, label on verso The Montreal Museum of Fine Arts, Edwin Holgate, 2005, catalogue #97 In 1929, Edwin Holgate became the eighth member of the Group of Seven. Frank Johnston had already been replaced by A.J. Casson, thus Holgate was in fact the Group's ninth painter. He had exhibited with the Group before the formal invitation to join had been issued, already being an artist of note. With the addition of Holgate, the Group made a clear statement about their intention for growth and development. Casson, with his interest and skill in watercolour, had taken the Group in a new direction. Holgate, at the time a respected teacher at the École des beaux-arts and a master wood engraver, was well known for his sensitive portraits and sculptural nudes, and had strong connections in Montreal. He later taught at the Art Association of Montreal, where Paul-Émile Borduas and John Paul Lemieux took his classes. He was superbly trained himself under the Art Association's William Brymner, and well traveled. He added yet another dimension to the Group's focus on landscape. Holgate had the added distinction of having accompanied A.Y. Jackson and Marius Barbeau to the Skeena River area of British Columbia in 1926, where Jackson and Holgate's famous paintings of the vanishing totem poles were done. Holgate had also been included in the British Empire Exhibitions at Wembley and was a member of the modernist Beaver Hall Group. Having studied in Paris twice, he came to know and greatly admired the work of Paul Cézanne. It was Cézanne's attention to mass and solidity that interested Holgate in particular, and he would employ similar techniques in his own increasingly dramatic works, placing his nudes in what were quite obviously Canadian settings where the solid rocks of Ontario's lake country formed rolling, sculptural backgrounds for his carefully modeled figures. Holgate was so keenly interested in landscape that he built a cabin on Lac Tremblant in the Laurentians in 1925 from which he was able to access varied sketching grounds nearby and enjoy the sport of skiing, at which he excelled. In 1939, the same year that Great Bug Pond, Cache River was painted, Holgate showed his masterpiece The Bathers at the New York City World's Fair, and the National Gallery of Canada acquired his important canvas Totem Poles of the Gitsegiuklas, done on the Skeena trip. Great Bug Pond, Cache River is a large, magnificent canvas painted during this important year, thus is a rare masterpiece from a peak time in Holgate's life. It is an excellent example of Holgate's ability to infuse his landscapes with the same sense of unique character that he gave each of his figures. Through clarity of form, balance of colour and carefully controlled lighting, Holgate frames the scene in a dramatic manner that grabs our attention and takes hold of it for substantially more than a few moments. "Look at me," this landscape cries, "notice the shape of my trees, the way the light turns everything golden." The glassy, slick surface of the water and the conical, repeating forms of trees are indeed beautifully rendered and visually arresting. Fluid lines demarcate the edges of the reedy sections of the pond from the inky water, and a distant, lighter band of fire-swept or wind-blown trunks echoes the colour and form of the two living trunks that we can just see, shining in the sun as it highlights their lines in the lower half of
Heffel
May. 17, 2012
EDWIN HEADLEY HOLGATE (CANADIAN, 1892-1977) THE
Est: $500 - $700
EDWIN HEADLEY HOLGATE (CANADIAN, 1892-1977) THE SPINNER; AT THE LOOM; THE BLACKSMITH; THE TOWN CRIER; THE HARVEST; FOUR WOOD ENGRAVINGS; COLOUR BLOCKPRINT; (Size - 5" x 4" and smaller)
Waddington's
Nov. 26, 2011
Edwin Headley Holgate 1892 - 1977 Canadian
Est: $3,500 - $4,500
Edwin Headley Holgate 1892 - 1977 Canadian charcoal on paper A Portrait Study 13 3/4 x 11 inches 34.9 x 27.9 centimeters initialed and on verso titled on the gallery label Provenance:Galerie Walter Klinkhoff Inc., Montreal The Art Emporium, Vancouver Private Collection, Calgary Exhibited:Galerie Walter Klinkhoff Inc., Montreal, E. Holgate Drawings, 1970
Heffel
Nov. 24, 2011
Edwin Headley Holgate 1892 - 1977 Canadian oil on board Winter
Est: $20,000 - $30,000
Edwin Headley Holgate 1892 - 1977 Canadian oil on board Winter 8 1/2 x 10 1/2 inches 21.6 x 26.7 centimeters initialed and on verso signed, titled and dated 1953 Provenance:The Art Emporium, Vancouver Private Collection, Toronto By descent to the present Private Collection, Ontario Edwin Holgate was a founding member of Montreal's Beaver Hall Group, the Canadian Society of Graphic Art and the Canadian Group of Painters. In 1929 he became the eighth member of the Group of Seven, sharing their allegiance to landscape, but distinguishing his individuality with his fine figurative work, particularly his sensual outdoor nudes. The scenery of the Laurentians was very magnetic for Holgate, and by the mid-1920s he had built a sketching shack at Lake Tremblant in the mountains. Returning to Montreal in 1943 after his time as an official war artist, Holgate did not feel in tune with the explosion of abstraction taking place there at that time, and in 1946 he moved to Morin Heights in the Laurentians. There, surrounded by nature, he continued his commitment to landscape painting for 27 years. Embodying the freshness and immediacy of its execution outdoors, Winter is a superb example of Holgate's communion with the beauty of winter, with its contrasts of blue-shadowed and sunlit snow. One feels the moment of Holgate pausing, compelled to paint by the peaceful beauty of this scene.
Heffel
Oct. 12, 2011
EDWIN HOLGATE RCA, CGP
Est: $800 - $1,000
Canadian ~ 1892-1977 Quebec Farm Serigraph, signed with initials in the matrix 3.5 x 4.25 IN Provenance: Galerie D'Art Michel Bigue, Saint-Sauveur
Walker's
Oct. 12, 2011
EDWIN HOLGATE RCA, CGP
Est: $300 - $500
Canadian ~ 1892-1977 The Old Loom Woodcut, signed with initials in the matrix Printed in 1928, a plate from "Other Days, Other Ways" 4 x 4 IN Illustrated: Edwin Holgate, Brian Foss & Rosalind Pepall, The Montreal Museum of Fine Arts, 2005, fig. 5, p.32.
Walker's
Oct. 12, 2011
EDWIN HOLGATE RCA, CGP
Est: $300 - $400
Canadian ~ 1892-1977 The Spinning Wheel Woodcut & linocut signed with initials in the matrix Printed in 1928, a plate from "Other Days, Other Ways" 4.8 x 3.75 IN Illustrated: Images of the Land, Canadian Block prints 1919-1945, Patricia Ainslie, Glenbow Museum, 1985, fig.177, p.158
Walker's
Aug. 25, 2011
Edwin Headley Holgate 1892 - 1977 Canadian wood
Est: $1,000 - $1,500
Edwin Headley Holgate 1892 - 1977 Canadian wood engraving The Crier 5 1/4 x 3 3/4 inches 13.3 x 9.5 centimeters initialed in the plate Literature:Ian M. Thom, The Prints of Edwin Holgate, McMichael Canadian Art Collection, 1989, reproduced catalogue #31, unpaginated Provenance:Private Collection, Vancouver
Heffel
May. 26, 2011
Edwin Headley Holgate 1892 - 1977 Canadian watercolour on paper Autumn Glow Near Morin Heights
Est: $2,500 - $3,500
Edwin Headley Holgate 1892 - 1977 Canadian watercolour on paper Autumn Glow Near Morin Heights 8 1/4 x 9 1/4 inches 21 x 23.5 centimeters initialed and dated 1952 and on verso titled and dated on two gallery labels Provenance:Wallack Galleries, Ottawa Warwick Gallery Ltd., Vancouver Brock Galleries, Penticton, BC Dr. H.B. McGregor, Penticton, BC By descent to the present Private Collection, Vancouver
Heffel
May. 26, 2011
EDWIN HEADLEY HOLGATE 1892 - 1977
Est: $6,000 - $8,000
EDWIN HEADLEY HOLGATE 1892 - 1977 MAN WITH AXE signed with initials in the print upper left EH, also signed in pencil in the lower right margin E. Holgate and numbered in pencil in the lower left margin no-10- woodcut 12.1 by 9.2 cm. 4 ¾ by 3 5/8 in.
Sotheby's
May. 17, 2011
Edwin Headley Holgate 1892 - 1977 Canadian oil on
Est: $20,000 - $30,000
Edwin Headley Holgate 1892 - 1977 Canadian oil on board The Ski Patroller 16 x 12 3/8 inches 40.6 x 31.4 centimeters signed and dated 1949 Literature:Rosalind Pepall et al, Edwin Holgate, The Montreal Museum of Fine Arts, 2005, The Lumberjack reproduced page 113, Ludivine reproduced page 128 and The Skier reproduced page 136 Provenance:A gift from the Artist to the present Private Collector, Montreal This depiction of a brown-eyed ski patroller is a fine example of Edwin Holgate's ability to express character through a few choice details. The young woman is confident, bold and strong. Her lips match the colour of her coat and her eyes the colour of the mountains, thus she is linked to the setting in this concise, focused work that speaks of the outdoors, of the cold and of physical activity. The sitter was the first female ski patroller to work at Morin Heights ski hill in the Laurentian Mountains of Quebec. She was 21 years old at the time and is wearing her bright orange ski patroller's uniform. Holgate was also a good skier, and the Holgates and the family of the sitter were friends, as they all lived in Morin Heights. The sitter had copied a pattern for a bomber jacket that Holgate liked and sewed it for him, and this portrait was painted in return. She had sat for her portrait before, being the subject of lot 180 in this sale. Holgate's portraits are iconic - The Lumberjack, in the collection of the Sarnia Public Library and Art Gallery, Ludivine, in the collection of the National Gallery of Canada, The Naturalist, in the collection of the Musée du Québec and The Skier, in the collection of the Montreal Museum of Fine Arts, are definitive Canadian images and, in The Ski Patroller, we now have another.
Heffel
Mar. 24, 2011
EDWIN HEADLEY HOLGATE, R.C.A. HORSE AND SLEIGH,
Est: $500 - $700
EDWIN HEADLEY HOLGATE, R.C.A. HORSE AND SLEIGH, colour silkscreen; signed with initials 3 3/4 ins x 4 3/4 ins; 9.4 cms x 11.9 cms
Waddington's
Jan. 27, 2011
Edwin Headley Holgate 1892 - 1977 Canadian
Est: $2,000 - $3,000
Edwin Headley Holgate 1892 - 1977 Canadian charcoal on paper Portrait AOL0111-E08312-004 14 1/8 x 10 3/8 inches 35.9 x 26.3 centimeters initialed Provenance:Private Collection, Ontario
Heffel
Jan. 27, 2011
Edwin Headley Holgate 1892 - 1977 Canadian ink and
Est: $14,000 - $16,000
Edwin Headley Holgate 1892 - 1977 Canadian ink and watercolour on paper Baie St. Paul AOL0111-E08351-002 4 3/4 x 7 3/4 inches 12.1 x 19.7 centimeters initialed, titled and dated 1924 Provenance:Private Collection, Toronto
Heffel
Dec. 08, 2010
Edwin Headley Holgate, RCA, CGP Canadian
Est: $1,000 - $2,000
Edwin Headley Holgate, RCA, CGP Canadian (1892-1977) NU ASSIS watercolour on paper initialled EH/ '44 to middle left 14 x 9 1/4 in. (35.5 x 23.5 cm.) Masters Gallery Ltd., Calgary; Galerie Valentin, Montreal
Maynards Fine Art & Antiques
Dec. 01, 2010
Edwin Headley Holgate
Est: $50,000 - $70,000
Canadian 1892-1977 RCA CGP G7 Morin Heights, Quebec Oil on panel, Signed; titled & dated March 1947 on reverse 8.5 x 10.5 IN, 21.5 x 26.5 CM
Walker's
Nov. 22, 2010
EDWIN HEADLEY HOLGATE, R.C.A.LABRADOR KITCHEN NO.2
Est: $6,000 - $8,000
EDWIN HEADLEY HOLGATE, R.C.A.LABRADOR KITCHEN NO.2, wood engraving, signed in themargin6 3/4 ins x 4 1/4 ins; 16.9 cms x 10.6 cms
Waddington's
Jun. 01, 2010
EDWIN HEADLEY HOLGATE, R.C.A., BIDOW'S BARN, oil on panel, 8 1/2 ins x 10 1/2 ins; 21.2 cms x 26.3 cms
Est: $20,000 - $25,000
EDWIN HEADLEY HOLGATE, R.C.A.BIDOW'S BARN, oil on panel; signed; signed, titled and dated "October 1964" on the reverse 8 1/2 ins x 10 1/2 ins; 21.2 cms x 26.3 cms Provenance: Private Collection Calgary.Private Collection, Ontario.
Waddington's
May. 26, 2010
Edwin Headley Holgate 1892 - 1977 Canadian oil on
Est: $80,000 - $120,000
Edwin Headley Holgate 1892 - 1977 Canadian oil on panel Frog Pond (Great Bug Pond, Cachée River) 8 1/2 x 10 1/2 inches 21.6 x 26.7 centimeters initialed and on verso signed, titled Frog Pond, inscribed with the Dominion Gallery inventory #1358d and stamped Dominion Gallery Literature:Rosalind Pepall and Brian Foss, Edwin Holgate, Montreal Museum of Fine Arts, 2005, the 1939 canvas entitled Great Bug Pond, Cachée River reproduced page 148 Theodosia Dawes Bond Thornton, Personal Art Collection Catalogue, reproduced, unpaginated, catalogue #R9 Provenance:Dominion Gallery, Montreal, inventory #1358d, acquired April 12, 1947 for $60 Estate of Theodosia Dawes Bond Thornton, Montreal Edwin Holgate was an important figure in Montreal's artistic community, and by the 1930s had achieved considerable recognition. He was a founding member of the Canadian Group of Painters and the Canadian Society of Graphic Artists, a prime mover in the formation of the Beaver Hall Group and was a respected figure and landscape painter, printmaker and teacher at the École des beaux-arts. He went on sketching trips with Group of Seven member A.Y. Jackson, was included in early Group exhibitions, and in 1929 joined them as an eighth member. He took part in important international exhibitions such as the 1924 and 1925 British Empire Exhibitions at Wembley and the 1927 Exposition d'art Canadien at the Musée du Jeu de Paume in Paris. In 1925, Holgate built a painting cabin at Lac Tremblant in the Laurentians to immerse himself in painting the landscape. Frog Pond is an outstanding example of his landscape work at its finest - a strong composition with a lofty perspective over sun-drenched land, saturated with brilliant blue, green and gold. From this superb oil sketch, Holgate produced the stunning 1939 canvas Great Bug Pond, Cachée River, sold at Heffel's on November 18, 1999.
Heffel
Apr. 13, 2010
Edwin Headley Holgate, RCA, CGP, CSGA Canadian
Est: $40,000 - $60,000
Edwin Headley Holgate, RCA, CGP, CSGA Canadian (1892-1977) LAURENTIAN LAKE-AUTUMN oil on panel signed with monogram 8 1/2 x 10 1/2 in. (1927) Dominion Gallery, Montreal
Maynards Fine Art & Antiques
Dec. 03, 2009
EDWIN HEADLEY HOLGATE 1892 - 1977
Est: $20,000 - $30,000
MUTTON BAY initialed l.l.: EH; signed on the reverse: Holgate Estate Stamp; also authenticated, titled and dated by the artist's wife on a label: Mutton Bay, 1932
Sotheby's