Christopher Pratt Paintings & Artwork for Sale | Christopher Pratt Art Value Price Guide

Jun. 24, 2022
Christopher Pratt *1935
Est: CHF1,500 - CHF2,000
Christopher Pratt *1935 Frauenakt, 1981 Bleistift auf Papier unten rechts signiert und datiert Christopher Pratt june 1981 44,5 x 24,5 cm (Lichtmass)
Artcurial Beurret Bailly Widmer
Sep. 13, 2018
CHRISTOPHER PRATT, R.C.A., NUDE (GIRL KNEELING), pencil, 15 ins x 11 ins; 33 cms x 21.6 cms
Est: $2,500 - $3,000
CHRISTOPHER PRATT, R.C.A.NUDE (GIRL KNEELING)pencilsigned and dated “March 1980” 15 ins x 11 ins; 33 cms x 21.6 cms Provenance:The Gallery Fine Art, St. John’s, NFLDPrivate Collection, MontrealEstimate: $2,500–3,000
Waddington's
May. 28, 2018
CHRISTOPHER PRATT, R.C.A., SUMMER ON THE SOUTH EAST, 1987, colour serigraph, 15 ins x 33.75 ins; 38.1 cms x 85.7 cms
Est: $2,500 - $3,000
CHRISTOPHER PRATT, R.C.A.SUMMER ON THE SOUTH EAST, 1987colour serigraphsigned, titled, dated and numbered 54/70 in pencil in the lower margin 15 ins x 33.75 ins; 38.1 cms x 85.7 cms Provenance:Private Collection, MontrealEstimate: $2,500–3,000
Waddington's
Apr. 19, 2018
CHRISTOPHER PRATT, R.C.A., PORTRAIT OF DIANA, graphite on paper, 7.5 ins x 10.75 ins; 19.1 cms x 27.3 cms
Est: $1,000 - $1,500
CHRISTOPHER PRATT, R.C.A.PORTRAIT OF DIANAgraphite on papersigned and dated ‘84 7.5 ins x 10.75 ins; 19.1 cms x 27.3 cms Provenance:The Fine Art Gallery, St. John’s, Nfld.Private Collection, MontrealEstimate: $1,000–1,500
Waddington's
Jun. 11, 2017
Christopher Pratt - Lake Ontario
Est: $2,000 - $3,000
Lake Ontario, August 1976 (silkscreen, 20" diameter)
Westbridge Fine Art Auction House
May. 29, 2017
CHRISTOPHER PRATT, R.C.A., SOLDIER’S POND, mixed media on paper, sight 7.25 ins x 12 ins; 19.1 cms x 25.4 cms
Est: $7,000 - $9,000
CHRISTOPHER PRATT, R.C.A.SOLDIER’S PONDmixed media on papersigned and dated “2.94” sight 7.25 ins x 12 ins; 19.1 cms x 25.4 cms Provenance:Mira Godard Gallery, Toronto/VancouverPrivate Collection, TorontoLiterature:Christopher Pratt, Personal Reflections of a Life in Art, Key Porter Books, Toronto, 1995, page 9, and page 170 for a closely related work in graphite entitled Dark Reservoir from 1989, in the collection of Ned Pratt (the artist’s son), reproduced.Christopher Pratt’s (b.1935) works are composed quite classically, with two thirds or more of his composition often devoted to what lies above the horizon line. There are many examples throughout the decades leading up to Soldier’s Pond that evidence this: Bay, 1972, Lake Ontario, 1972, Labrador Current, 1973, Break Water, 1976, Railway, 1978, Above Montreal, 1979, Night Trestle, 1983, Stationary High, 1986 and others. In 1994, however, Pratt suffered a flood which did more damage to works in his studio than a fire two years prior. It is interesting, if perhaps coincidental, that the ratio of sky to water is flipped in Soldier’s Pond of that same year, and water is given the greater compositional weight.Estimate: $7,000–9,000
Waddington's
May. 18, 2017
CHRISTOPHER PRATT (CANADIAN, 1935-), SHOP ON AN ISLAND, PHOTO-LITHOGRAPH; SIGNED LOWER LEFT; NUMBERED 34/100 LOWER RIGHT (Image, 11” x 12.8”)
Est: -
CHRISTOPHER PRATT (CANADIAN, 1935-) SHOP ON AN ISLANDPHOTO-LITHOGRAPH; SIGNED LOWER LEFT; NUMBERED 34/100 LOWER RIGHT (Image, 11” x 12.8”)Estimate: $1,000—1,500
Waddington's
May. 18, 2017
CHRISTOPHER PRATT (CANADIAN, 1935-), NEW BOAT, PHOTO-LITHOGRAPH (1976); SIGNED LOWER LEFT; NUMBERED 43/100 LOWER RIGHT (Image, 8” x 16”)
Est: -
CHRISTOPHER PRATT (CANADIAN, 1935-) NEW BOATPHOTO-LITHOGRAPH (1976); SIGNED LOWER LEFT; NUMBERED 43/100 LOWER RIGHT (Image, 8” x 16”)Provenance:Mira Godard Gallery, TorontoEstimate: $1,000—1,500
Waddington's
Nov. 21, 2016
CHRISTOPHER PRATT, R.C.A., TWO WORKS: STUDY FOR “GIRL IN THE SPARE ROOM,” 1984 & FISHER’S MAID, 1978, the first graphite, the second lithograph, 14 ins x 10.5 ins; 35.6 cms x 26.7 cms; 11.75 ins x 14.75 ins; 29.8 cms x 37.5 cms
Est: $8,000 - $12,000
CHRISTOPHER PRATT, R.C.A.TWO WORKS: STUDY FOR “GIRL IN THE SPARE ROOM,” 1984 & FISHER’S MAID, 1978the first graphite, the second lithographthe first signed and dated ‘84, the second signed, titled, dated ‘78 and numbered 39/50 in pencil in the lower margin 14 ins x 10.5 ins; 35.6 cms x 26.7 cms; 11.75 ins x 14.75 ins; 29.8 cms x 37.5 cms Provenance:Mira Godard Gallery, TorontoPrivate Collection, U.S.A.Literature:The prints of Christopher Pratt, 1958-1991: Catalogue Raisonné with essays by Jay Scott and Christopher Pratt, Breakwater Books and Mira Godard Gallery, St. John’s and Toronto, 1991, page 69 for Fisher’s Maid reproduced.Josée Drouin-Brisebois, Christopher Pratt: All My Own Work, National Gallery of Canada, Ottawa, 2005, page 46-47 for the painting Girl in a Spare Room, 1984, reproduced in colour.Note:The painting Girl in a Spare Room for which the drawing in this lot is a study, is in the collection of the Montreal Museum of Fine Arts. Of Fisher’s Maid Pratt writes: “I had never done a lithograph before, but I knew the medium lent itself to night, to darkness, because of its capacity to do rich, inky blacks; and I had never done a figure in a print. Those things came together here.”Estimate: $8,000–12,000
Waddington's
Sep. 22, 2016
CHRISTOPHER PRATT, R.C.A., ICE, silkscreen, sheet 20.5 ins x 20.5 ins; 52.1 cms x 52.1 cms
Est: -
CHRISTOPHER PRATT, R.C.A.ICEsilkscreensigned, titled, dated “Nov. ‘72” and numbered 3/30 sheet 20.5 ins x 20.5 ins; 52.1 cms x 52.1 cms Provenance:Private Collection, TorontoLiterature:David P. Silcox, (intro), Christopher Pratt: Personal Reflections on a Life in Art, Key Porter Books, Toronto 1995, page 59 for Ice , reproduced in colour.Estimate: $2,000–3,000
Waddington's
Aug. 25, 2016
CHRISTOPHER PRATT (CANADIAN, 1935-), COTTAGE, PHOTO-LITHOGRAPH; SIGNED AND NUMBERED 42/100 IN PENCIL (Image, 8.8” x 16”)
Est: -
CHRISTOPHER PRATT (CANADIAN, 1935-)COTTAGEPHOTO-LITHOGRAPH; SIGNED AND NUMBERED 42/100 IN PENCIL (Image, 8.8” x 16”)Provenance:Mira Godard Gallery, TorontoPrivate Collection, TorontoPrivate Collection, CaliforniaEstimate: $1,000—1,500
Waddington's
Jun. 30, 2016
CHRISTOPHER PRATT (CANADIAN, 1935-), SHOP ON AN ISLAND, OFFSET LITHOGRAPH; SIGNED AND NUMBERED 58/100 IN PENCIL (Image, 11” x 12.8”)
Est: -
CHRISTOPHER PRATT (CANADIAN, 1935-)SHOP ON AN ISLANDOFFSET LITHOGRAPH; SIGNED AND NUMBERED 58/100 IN PENCIL (Image, 11” x 12.8”)Provenance:Private Collection, TorontoEstimate: $300—500
Waddington's
May. 25, 2015
CHRISTOPHER PRATT, R.C.A., FISH STAMP, serigraph, Sight 20.25 ins x 27 ins; 51.4 cms x 68.6 cms
Est: $2,000 - $3,000
CHRISTOPHER PRATT, R.C.A. FISH STAMP serigraphsigned, titled, dated "Nov. 1968" and inscribed "engraver's proof" Sight 20.25 ins x 27 ins; 51.4 cms x 68.6 cms Provenance:Private Collection, New BrunswickLiterature:Jay Scott and Christopher Pratt, The Prints of Christopher Pratt, 1958-1991, Catalogue Raisonné, Breakwater Books, St. John's, Nfld., 1991, page 46 for The Stamp (2 Cent Cod Fish), "engraver's proof," 1968, reproduced and pages 46-49 for the artist's more extended comments of the Stamp works. David P. Silcox and Merike Weiler, Christopher Pratt, Prentice-Hall Canada Inc., Scarborough, 1982, page 29.Note:Silcox writes: "Between 1968 and 1974, Pratt completed six silkscreen prints based on nineteenth century Newfoundland stamps...In his eyes these stamps were beautiful objects, well designed, and part of a proud pre-Confederation heritage which he wished to salute."Pratt writes: "I made the 'Stamp' prints as souvenirs of Newfoundland: not Newfoundland as an island, its fauna and geography, but as a social, political and economic entity that has passed out of time. These early postage stamps constitute evidence of that Newfoundland."
Waddington's
May. 25, 2015
CHRISTOPHER PRATT, R.C.A., LAKE ONTARIO, 1976, serigraph, printed in colours, 20 ins x 20 ins; 50.8 cms x 50.8 cms
Est: $2,500 - $3,000
CHRISTOPHER PRATT, R.C.A. LAKE ONTARIO, 1976 serigraph, printed in colourssigned, titled, dated "Aug.76" and numbered 26/35 in pencil in the lower margin 20 ins x 20 ins; 50.8 cms x 50.8 cms Provenance:Mira Godard Gallery, Toronto/MontrealPrivate Collection, OntarioLiterature:Jay Scott and Christopher Pratt, The Prints of Christopher Pratt, 1958-1991, Catalogue Raisonné, Breakwater Books, St. John's, Nfld., 1991, page 65 for Lake Ontario, reproduced in colour. David P. Silcox and Merike Weiler, Christopher Pratt, Prentice-Hall Canada Inc., Scarborough, 1982, page 137 for Lake Ontario, reproduced in colour.Note:Pratt writes: "On those passages down the Lake and through the St. Lawrence Seaway to the Gulf, we encountered 'Lakers' everywhere. Sometimes, where the channel narrowed or at the entrance to a lock, they were close encounters; there, big black ships loomed over us, and we felt very fragile... Usually they were much farther off, plodding east and west relentlessly; from Trois Rivières to Thunder Bay, they symbolize the river and the lakes."
Waddington's
May. 25, 2015
CHRISTOPHER PRATT, R.C.A., THE GYPSY ON THE NARROWS, watercolour, 18 ins x 22.25 ins; 45.7 cms x 56.5 cms
Est: $8,000 - $12,000
CHRISTOPHER PRATT, R.C.A. THE GYPSY ON THE NARROWS watercoloursigned and dated '56 18 ins x 22.25 ins; 45.7 cms x 56.5 cms Provenance:Acquired directly from the artistPrivate Collection, St. John's, Newfoundland (by descent)Literature:Christopher Pratt, Personal Reflections on a Life in Art, Key Porter Books, Toronto, 1995, page 14.Note:"During the winter of 1956 I did several watercolours that were concerned with the look and feel of St. John's, romantic subjects that yielded easily to techniques I had learned from reproductions of paintings in American magazines..."Created before Pratt's shift to hyper-realism, this painterly work is rooted in a regional geography. Unlike his later works, which aim for the sublime, it is the personalization of this watercolour - the non-fictional infusion of time and place - which makes the impact. That Pratt has called the east coast home for all of his life makes him an authentic narrator of its vistas. The Narrows is the only entrance to the St. John's Harbour, a passage between the Southside and Signal hills.The story of the work's acquisition from the artist by the original owner is playful and intriguing. Upon leaving the artist's studio, the gentleman caught a glimpse of a work depicting The Narrows. He jested with the artist, stating that if Pratt would only paint his boat, The Gypsy, into the scene, he could consider it sold. The artist accepted the challenge, and this work is the result of that exchange.
Waddington's
Mar. 10, 2015
Christopher Pratt (1935-), WALL FACING WEST, 1980, Colour silkscreen; signed, titled, dated March 80, and numbered 23/50 in pencil to margin, Image 15" x 32" - 38.1 x 81.3 cm.
Est: $3,000 - $4,000
CHRISTOPHER PRATT (1935-), CANADIANWALL FACING WEST, 1980Colour silkscreen; signed, titled, dated March 80, and numbered 23/50 in pencil to marginImage 15" x 32" - 38.1 x 81.3 cm.Provenance:Mira Godard Gallery, Toronto; From whom purchased by the present, Private Collection, Toronto.Estimate: $3,000-4,000
Waddington's
Mar. 10, 2015
Christopher Pratt (1935- ), HOUSE AT PATH END, 1977 (IN FIVE STATES), Five colour silkscreens on paper in five states; each signed, titled, dated Jan 1977, and annotated with the final state being numbered 43/55 in pencil, the four progressive states
Est: $8,000 - $12,000
CHRISTOPHER PRATT (1935- ), CANADIANHOUSE AT PATH END, 1977 (IN FIVE STATES)Five colour silkscreens on paper in five states; each signed, titled, dated Jan 1977, and annotated with the final state being numbered 43/55 in pencil, the four progressive states (I/V - IV/V) further inscribed alongside the titles as follows: "Lines"; "Shadows" "Stencils 1 + 2"; and "Stencils 1 + 2 + 3" in pencil to marginEach image 15" x 30" - 38 x 76.1 cm.Provenance:Two with Mira Godard Gallery, Toronto labels verso; From whom purchased by the present, Private Collection, Toronto.Literature:Christopher Pratt, "Personal Reflections on a Life in Art", Introduction by David Silcox, Key Porter Books, 1995, pgs. 111 - 117, the final state illustrated in colour p. 117Note:In reference to "House at Path End", Pratt comments, "I thought this print would be an extension of 'March Night' (a 1976 Pratt oil on board cited in the above book). I was aiming for optimism, the house bright against the darkness, but it did not turn out that way. The windows, and the wire pole, complicate the image..."The house depicted is similar to many houses in the small community of St. Mary's Bay, Newfoundland where Pratt lives and works, called "Path End". Pratt says the circumstances in his life and to those around him forced him to alter the mood of the final "House at Path End".Estimate: $8,000-12,000
Waddington's
Mar. 05, 2015
CHRISTOPHER PRATT, R.C.A., STRAIT OF BELLE ISLE, silkscreen, printed in colours, 19.75 ins x 20 ins; 39.4 cms x 45.1 cms
Est: -
CHRISTOPHER PRATT, R.C.A.STRAIT OF BELLE ISLEsilkscreen, printed in colourssigned, titled, dated "Dec.1972" and numbered 19/30 19.75 ins x 20 ins; 39.4 cms x 45.1 cms Provenance:Marlborough Godard Gallery, Toronto/MontrealPrivate Collection, TorontoLiterature:David P. Silcox (intro.), Christopher Pratt: Personal Reflections on a Life in Art, Key Porter Books, Toronto, 1995, page 61 for Strait of Belle Isle reproduced in colour.Estimate: $2,000-3,000
Waddington's
Nov. 24, 2014
CHRISTOPHER PRATT, R.C.A., DONNA NOW, pencil, 11 ins x 13.25 ins; 27.9 cms x 33.7 cms
Est: $7,000 - $9,000
CHRISTOPHER PRATT, R.C.A.DONNA NOWpencilsigned and dated March 8/1980 11 ins x 13.25 ins; 27.9 cms x 33.7 cms Provenance:Marlborough-Godard Gallery, Toronto/MontrealPrivate Collection, TorontoLiterature:Joyce Zemans, Christopher Pratt: A Retrospective, Vancouver Art Gallery, Vancouver, 1986, page 55.Note:Donna is the subject of many works by both Christopher and Mary Pratt. In this sketch, Donna's gaze is relaxed but her crossed arms suggest a subtext - as if challenging the artist to the impossible task of truly capturing her image on a page. Joyce Zemans observes, "Pratt has puzzled over the years about the significance of the artist/model relationship and particularly about the power struggle it implies."
Waddington's
Jul. 10, 2014
CHRISTOPHER PRATT (CANADIAN, 1935-), TWO HOUSES IN THE SPRING, COLOUR SERIGRAPH; TITLED AND NUMBERED 21/25 LOWER LEFT; SIGNED AND DATED MAY 1968 LOWER RIGHT (Image, 10.8" x 28.8") Note: Mat was glued down - see photo.
Est: -
CHRISTOPHER PRATT (CANADIAN, 1935-) TWO HOUSES IN THE SPRINGCOLOUR SERIGRAPH; TITLED AND NUMBERED 21/25 LOWER LEFT; SIGNED AND DATED MAY 1968 LOWER RIGHT (Image, 10.8" x 28.8") Note: Mat was glued down - see photo.Estimate: $1,200-1,500
Waddington's
May. 26, 2014
CHRISTOPHER PRATT, R.C.A., NEW BOAT, screenprint, image 14.5 ins x 30 ins; 36.8 cms x 76.2 cms
Est: $3,500 - $4,000
CHRISTOPHER PRATT, R.C.A.NEW BOATscreenprintsigned, titled, dated 1975 and numbered 29/55 in pencil in the lower margin image 14.5 ins x 30 ins; 36.8 cms x 76.2 cms Provenance:Marlborough/Godard, Montreal/TorontoPrivate Collection, MontrealLiterature:David P. Silcox (intro.) and Christopher Pratt, Christopher Pratt: Personal Reflections on a Life in Art, Key Porter Books, Toronto, page 109, for New Boat, reproduced in colour.Note:Referencing this image, Pratt writes: "This print has less to do with sailing than with the boat itself, a shark-like sculpture being lowered into the water, suspended between the abstracts of conception, the mathematics of construction and reality at sea. It has to do with newness, the instant of possession when something you have waited for becomes a part of you, and the process of inevitable weaning starts."
Waddington's
May. 15, 2013
Christopher Pratt 1935 - Canadian mixed media on
Est: $12,000 - $16,000
Christopher Pratt 1935 - Canadian mixed media on paper The Drilling Site on the Port au Port Peninsula 22 1/2 x 34 3/4 inches 57.1 x 88.3 centimeters signed and dated November 2005 and on verso titled on the gallery label Literature:Josée Drouin-Brisebois, Christopher Pratt: All My Own Work, National Gallery of Canada, 2005, page 91 Provenance:Douglas Udell Gallery, Vancouver Estate of James M. Brickley, Vancouver Christopher Pratt was born in St. John's, Newfoundland, and has his studio in St. Mary's Bay. Pratt is a keen observer of all the aspects of Newfoundland life. As Josée Drouin-Brisebois wrote, his images "are informed by the grand narratives of the place and reflect concern for the kinds of political, social, cultural, and ecological changes that are occurring across the continent." This drilling site on the Gulf of St. Lawrence recalls the struggle over revenue from Newfoundland's offshore oil and gas resources, which were supposed to primarily benefit Newfoundland as agreed to in the 1985 Atlantic Accord, thus ending its dependence on federal transfer payments. However, this did not happen, and there was a national uproar in 2004 when the Newfoundland premier ordered that Canadian flags be removed from provincial government buildings. In 2005 the Offshore Arrangement was signed, ending the dispute. Built environments are one of Pratt's significant themes, and this industrial scene with its volumetric round towers and attached grid-like structures has a quality of still life. Typical of Pratt's work, they are without human presence - sentinels standing silently in their monochromatic winter environs; silent, full of portent.
Heffel
May. 15, 2013
Christopher Pratt 1935 - Canadian mixed media on
Est: $12,000 - $16,000
Christopher Pratt 1935 - Canadian mixed media on paper Crab Plant on the Bay of the Islands: New Colours of Newfoundland 19 3/4 x 37 3/4 inches 50.2 x 95.9 centimeters signed, titled, dated 2009 and inscribed ""CC Plant April 2009"" and on verso signed, titled and dated Literature:Josée Drouin-Brisebois, Christopher Pratt: All My Own Work, National Gallery of Canada, 2005, page 100 Provenance:Douglas Udell Gallery, Vancouver Estate of James M. Brickley, Vancouver Christopher Pratt's subjects of working structures have included freight and salt sheds, towers, trains, abandoned whaling stations and, in this evocative work, a crab plant. In Pratt's reductive realist images, each element is carefully considered, particularly light. He stated, "The most important thing in my work is light. Composition and design are important elements in any two-dimensional art, but in mine they are the bones, and light is the flesh and blood. It is an essential metaphor for life." In this image, a pale glow on the horizon, either dawn or dusk, lights the scene, as does a single streetlamp beside the plant - an interesting contrast between natural and artificial light. Typical of Pratt's work, the structures of the crab plant show Pratt's awareness of line and perspective. The light revealing these features is very subtle, a product of successive stages of refinement. Pratt explained, "I may spend weeks just glazing in lights and darks, building up contrasts...tuning them so that the light 'does it'. When I decide I've gotten there, then I have that thirty-second rush."
Heffel
May. 15, 2013
Christopher Pratt 1935 - Canadian graphite and ink
Est: $4,000 - $6,000
Christopher Pratt 1935 - Canadian graphite and ink on paper St. John's Centre 15 x 11 inches 38.1 x 27.9 centimeters signed and dated March 1969 Literature:Joyce Zemans, Christopher Pratt: A Retrospective, Vancouver Art Gallery, 1986, reproduced page 31 Provenance:A Prominent Montreal Family Estate Exhibited:Vancouver Art Gallery, Christopher Pratt: A Retrospective, November 23, 1985 - January 26, 1986, traveling to the Art Gallery of Ontario, Memorial University Gallery, Newfoundland and Dalhousie Art Gallery, February - August 1986
Heffel
Mar. 14, 2013
CHRISTOPHER PRATT, R.C.A.
Est: $2,500 - $3,500
CHRISTOPHER PRATT, R.C.A. EVENING ON THE SALMONIER RIVER - FALL AT MY PLACE, colour serigraph; signed, titled and dated 2009, numbered 24/36 in the margin 12.5 ins x 28.25 ins; 31.3 cms x 70.6 cms
Waddington's
Feb. 28, 2013
CHRISTOPHER JOHN PRATT (CANADIAN, 1935-)
Est: $500 - $700
CHRISTOPHER JOHN PRATT (CANADIAN, 1935-) CHRISTOPHER PRATT; LIMITED EDITION BOOK WITH SLEEVE (OUT OF 279 - PRESENTED IN THREE VOLUMES OF 93 COPIES EACH, THIS BEING NUMBERED 65/93; INCLUDES AN ORIGINAL SILKSCREEN TITLED "LABRADOR SEA" SIGNED, TITLED, NUMBERED 65/93 AND DATED 1980 IN PENCIL - Image 8" x 10" (Published by QUINTUS PRESS, 1981); CERTIFICATE SIGNED BY ARTIST, DAVID P. SILCOX AND MERIKE WEILER Book 12.8" x 14.." x 2.8" - 32.5 x 35.6 x 7.1 cm.
Waddington's
Jan. 31, 2013
Christopher Pratt 1935 - Canadian screenprint Gaspé Passage
Est: $4,000 - $6,000
Christopher Pratt 1935 - Canadian screenprint Gaspé Passage 16 x 30 inches 40.6 x 76.2 centimeters signed, titled, editioned 35/45 and dated 1981 and on verso titled, editioned on the gallery label and dated Literature:Jay Scott and Christopher Pratte, The Prints of Christopher Pratt 1958 - 1991, Mira Godard Gallery, page 76, reproduced page 76 and listed page 114 Provenance:Acquired from Mira Godard Gallery, Calgary by the present Private Collection, Vancouver Christopher Pratt notes, "We were in 'Dry Fly', sheltered behind a sea wall on the Gaspé Peninsula, waiting for a gale to pass through before heading east across the Gulf of St. Lawrence to Newfoundland. On the horizon to the north, ships plied the Gaspé Passage to and from ports on the river and Great Lakes, under a leaden sky. I noticed the contrast between the massive, immobile bollard, its shape echoing an anvil or an altar, and the distant vessels roaming the seas."
Heffel
Nov. 29, 2012
Christopher Pratt 1935 - Canadian colour serigraph
Est: $4,000 - $6,000
Christopher Pratt 1935 - Canadian colour serigraph on card Fox Marsh Siding 16 x 36 inches 40.6 x 91.4 centimeters signed, titled, editioned 60/60 and dated 1991 and on verso titled, editioned and dated on a gallery label Provenance:Mira Godard Gallery, Toronto Private Collection, Vancouver An impression of this print is in the collection of the National Gallery of Canada, Ottawa.
Heffel
Nov. 22, 2012
Christopher Pratt 1935 - Canadian mixed media on
Est: $15,000 - $20,000
Christopher Pratt 1935 - Canadian mixed media on paper June 1949: The Way We Were 22 1/4 x 43 inches 56.5 x 109.2 centimeters signed and dated June 2009 and on verso signed, titled and inscribed ""June 2009 - sixty years on"" Provenance:Douglas Udell Gallery, Vancouver Estate of James M. Brickley, Vancouver The history of Newfoundland is deeply embedded in the work of Christopher Pratt. The inscription on verso of this work reads: "For my parents - Emily Christina Dawe, a Newfoundlander of (at least) five generations and John Kerr Pratt who, through his Grandmother, Fanny Pitts Knight, was a Newfoundlander of (at least) six generations. They voted against Confederation." A former colony of the United Kingdom, Newfoundland became the tenth province to enter the Canadian confederation on March 31, 1949. This followed a lengthy and intense debate, which obviously resulted in an adverse conclusion for the Pratts. June 1949: The Way We Were therefore acts as a historical yet incredibly personal painting. Given the inscription, we can assume that the two boats symbolize Pratt's parents and their defiantly independent political views on the future of Newfoundland. The Canadian Red Ensign flag is at half-mast, casting a reflective and sombre shadow on the work. Characteristic of Pratt's work, the forms are refined and, above all, poignant. Distilled works such as this demonstrate Pratt's firm standing as one of Canada's most important contemporary artists.
Heffel
Nov. 22, 2012
Christopher Pratt 1935 - Canadian mixed media and
Est: $8,000 - $12,000
Christopher Pratt 1935 - Canadian mixed media and collage on primed plywood Rosemary in 1971 7 7/8 x 11 3/8 inches 20 x 28.9 centimeters signed and dated 2010 and on verso signed, titled and dated Literature:David P. Silcox and Meriké Weiler, Christopher Pratt, 1982, page 130, the 1971 graphite drawing entitled Woman in Black reproduced page 131 Joyce Zemans, Christopher Pratt: A Retrospective, Vancouver Art Gallery, 1985, the 1971 graphite drawing entitled Woman in Black reproduced page 52 and listed page 93 Josée Drouin-Brisebois, Christopher Pratt: All My Own Work, National Gallery of Canada, 2005, the 1972 / 1989 canvas entitled Woman Wearing Black reproduced page 45, listed page 129 Provenance:Douglas Udell Gallery, Vancouver Estate of James M. Brickley, Vancouver Exhibited:Vancouver Art Gallery, Christopher Pratt: A Retrospective, November 23, 1985 - January 26, 1986, traveling to the Art Gallery of Ontario, Toronto, February 21 - April 20, 1986, the related drawing entitled Woman in Black was exhibited National Gallery of Canada, Ottawa, Christopher Pratt: All My Own Work, September 30, 2005 - January 8, 2006, the related 1972 / 1989 canvas entitled Woman Wearing Black was exhibited Christopher Pratt began portraying the female figure around 1964. These were often idealized figures absorbed in natural everyday activities, frequently shown with their backs to the viewer. Pratt found his models in the small neighbouring communities of Mount Carmel and St. Catherines in Newfoundland. From 1971 to 1973, he did not have a regular model, and revealed about this one, "This is a true-to-life drawing of a friend of ours. I only drew her once. She was much bigger physically and infinitely more confident and matter of fact than most of my models. She came from my own world." This intriguing image engaged him over decades, from the 1971 drawing to two canvases, one from 1989, the other 1972 / 1989, to this polished 2010 mixed media work. Distilled to its most essential details, this image has a refined and elegant sensuality, and contains a subtle surreal edge, in that the woman on the mattress seems suspended in the pale blue ground, an abstract space like that of the realm of a dreamer.
Heffel
Nov. 22, 2012
Christopher Pratt 1935 - Canadian oil on board
Est: $40,000 - $60,000
Christopher Pratt 1935 - Canadian oil on board Atlantic: North North-East 19 1/2 x 26 1/2 inches 49.5 x 67.3 centimeters signed and dated 2007 and on verso signed, titled and dated November 2007 Provenance:Private Collection, Nova Scotia Christopher Pratt draws inspiration from his environment in Newfoundland - landscapes, architecture, interiors, figures and, as seen in Atlantic: North North-East, the coast. He infuses his geographical surroundings with his own personal accounts. Pratt is both a painter and an editor, selecting, adding and removing elements to craft a striking and personal reflection of reality. The infinite horizon is a familiar subject for Pratt, and has appeared throughout his work, such as in his serigraphs from the 1970s and 1980s of coastal horizons. Here, however, illustrative details such as waves or boats found in previous works are removed, resulting in a flattened and more abstracted composition. Only the barest essential elements - water, sky and light - are included, which makes the viewer question what other details were removed and, more importantly, why. The title clearly indicates the direction, but this infinite horizon could be anywhere. This is a universal scene that all viewers can identify with and thus is an excellent example from Pratt's fruitful career, notably created two years after his significant exhibition at the National Gallery of Canada.
Heffel
Sep. 27, 2012
Christopher Pratt 1935 - Canadian serigraph printed in colours Summer on the South East
Est: $2,500 - $3,500
Christopher Pratt 1935 - Canadian serigraph printed in colours Summer on the South East 15 x 34 inches 38.1 x 86.3 centimeters signed, titled, editioned 4/70 and dated February 1987 and on verso titled on the gallery label Provenance:Mira Godard Gallery, Toronto Private Collection, Ontario
Heffel
May. 25, 2012
CHRISTOPHER PRATT, R.C.A. STUDY FOR GIRL IN TERRY CLOTH SHORTS (19.5 INS X 10.5 INS; 48.8 CMS X 26.3 CMS); TREED LANDSCAPE (6 INS X 13.5 INS; 15 CMS X 33.8 CMS), two pencil drawings; the first signed, titled and dated 1969 Literature: David P. Silcox
Est: $4,000 - $6,000
CHRISTOPHER PRATT, R.C.A. STUDY FOR GIRL IN TERRY CLOTH SHORTS (19.5 INS X 10.5 INS; 48.8 CMS X 26.3 CMS); TREED LANDSCAPE (6 INS X 13.5 INS; 15 CMS X 33.8 CMS), two pencil drawings; the first signed, titled and dated 1969 Literature: David P. Silcox and Merike Weiler, Christopher Pratt, Toronto, 1982, page 126. Note: Describing his figural drawings in the book "Christopher Pratt" the artist is quoted: "You can't ignore the individuality of people or overlook the details that identify their separateness as arrogantly as you can ignore irregularities that make a wall or room particular. Almost the only time I draw actual things, the way they are, is when I do preliminary figure work."
Waddington's
May. 17, 2012
Christopher Pratt 1935 - Canadian oil on board
Est: $60,000 - $80,000
Christopher Pratt 1935 - Canadian oil on board Landing 30 x 38 inches 76.2 x 96.5 centimeters signed and dated Oct. 1973 and on verso signed, titled and dated September 1973 Literature:David P. Silcox and Meriké Weiler, Christopher Pratt, 1982, reproduced page 113 Joyce Zemans, Christopher Pratt: A Retrospective, Vancouver Art Gallery, 1985, reproduced page 27 and listed page 92 David P. Silcox, Christopher Pratt: Personal Reflections on a Life, 1995, reproduced page 89 National Gallery of Canada, www.gallery.ca/en/see/collections/artist.php?iartistid=4433, accessed February 2011 Provenance:Mira Godard Gallery, Toronto Private Collection, Toronto Exhibited:Vancouver Art Gallery, Christopher Pratt: A Retrospective, November 23, 1985 - January 26, 1986, traveling to the Art Gallery of Ontario, Toronto, February 21 - April 20, 1986 Christopher Pratt is one of Canada's most recognized and acclaimed artists. The abiding success of his paintings and prints over a long, productive career stems in large measure from their directness and unpretentiousness. Yet the merits of accessibility are not sufficient to explain Pratt's appeal. The simplicity of his work is never simplistic; there is always much more in his images than what so readily meets the eye. Pratt's work is stamped indelibly with both familiarity and mystery. A published poet, his images are also poetic in the sense of being highly personal and acutely observed. Pratt's habitual subjects are drawn from his native Newfoundland and can be readily categorized: landscapes, figures, boats and architecture. Landing is a classic example of his accomplishments in the last group. Pratt's buildings are important personally, not architecturally or historically. He reports in an interview conducted by the National Gallery of Canada that "buildings have personalities that resonate with me." He goes on to say, "I tend to remember incidents in my life in terms of where they happened." Interiors are in a sense his interior, yet their neutrality sks viewers to enter imaginatively into the scene. As observant of himself as he is about his environment, Pratt subdivides his indoor architectural works into two main categories: those that allow the spectator a view beyond the interior and those that remain enclosed, with no visual escape. Pratt comments wryly in the interview that only a psychiatrist could explain why he works this way. Landing shows us an enclosed domestic space, certainly, but it is not a place that betokens the frustration of being trapped, as some of his images do. Our eyes can travel straight ahead, from the landing of the title into the room with the unusual mauve-brown chaise longue, or they can move up the stairs. Tellingly, the door into the room ahead is fully open, the fine shadow-line of its jamb working with Pratt's other carefully rendered vertical and horizontal lines to frame the room securely for our vision. There is nothing vertiginous about this space. Yet, typical of Pratt's images, it asks us to look harder and longer. As we dwell visually in the space, we might acknowledge how unphotographic it is. Pratt works from memories and studies of architectural spaces, not from photographs. Why? Because he seeks to render what he remembers, not what a camera would record, which would be much more. The realism of this image comes, then, not from how much detail it reveals but instead from how radically it has been edited. Nor does this realism stem from a human narrative; there are no people and no stories for us to latch onto. The sense of truth we find in Landing is the result of distillation, of the selection of visual data by the artist. What Pratt chooses to show us in his precise way is the subtle and potentially profound play of light, colour and line that for us constructs the interior we see. We might surmise that the green of the nearer walls is the same shade as that in the next room, and that these surfaces appear different because more light falls on the wall further away. The floor coverings in the two spaces, however, are different. One is wood; it is darker, and it has a pattern because of its boards. The other is carpet and lighter, also because of its greater illumination. Its blue bordering line runs the other way from the pattern of the floorboards. The prominent screws in the door hinge are turned on three different angles, quietly disrupting the work's regularity. But what of the prominent chaise longue which announces its reality by casting shadows on the floor and wall? Curvilinear, an unusual colour and the centre of attention, it is as uncanny as it is identifiable. It provides the mystery of the everyday. We thank Mark Cheetham, Professor of Art History at the University of Toronto and author of the recent Artwriting, Nation, and Cosmopolitanism in Britain: The "Englishness" of English Art Theory since the 18th Century, for contributing the above essay.
Heffel
Nov. 28, 2011
CHRISTOPHER PRATTB. 1935
Est: $6,000 - $8,000
SUNDAY AFTERNOON signed, titled, dated June 1972 and numbered 3/30 in the lower margin colour serigraph 42 by 71 cm. 16½ by 28 in.
Sotheby's
Sep. 22, 2011
CHRISTOPHER PRATT, R.C.A. PALE HOUSE, STENCIL
Est: $1,500 - $2,000
CHRISTOPHER PRATT, R.C.A. PALE HOUSE, STENCIL PRINT FOR FRONT ROOM, print; signed and titled in the margin 22 3/4 ins x 19 3/4 ins; 56.9 cms x 49.4 cms
Waddington's
Aug. 25, 2011
Christopher Pratt 1935 - Canadian lithograph on
Est: $2,000 - $3,000
Christopher Pratt 1935 - Canadian lithograph on paper Big Following Sea 10 3/4 x 16 1/2 inches 27.3 x 41.9 centimeters signed, titled, editioned 13/85 and dated 1996 Provenance:Private Collection, Vancouver This lithograph was printed from two separate plates. The plates were etched and printed by George Maslov at the Grenfell College Campus of Memorial University at Corner Brook, under the supervision of the artist, on lana prime paper.
Heffel
Jun. 02, 2011
CHRISTOPHER PRATT, R.C.A. NIGHT TRESTLE,
Est: $3,000 - $5,000
CHRISTOPHER PRATT, R.C.A. NIGHT TRESTLE, serigraph, printed in colours; signed, titled, dated Aug. 83 and numbered 8/48 19 3/4 ins x 19 1/2 ins; 49.4 cms x 48.8 cms
Waddington's
May. 27, 2011
CHRISTOPHER PRATT, R.C.A., SUMMER ON THE SOUTH EAST, serigraph, printed in colours, 15 ins x 34 ins; 37.5 cms x 85 cms
Est: $3,000 - $4,000
CHRISTOPHER PRATT, R.C.A., SUMMER ON THE SOUTH EAST, serigraph, printed in colours; signed, titled, dated "Feb 1987" and numbered 18/70. 15 ins x 34 ins; 37.5 cms x 85 cms. Provenance: Mira Godard Gallery, Toronto. Private Collection, Ontario.
Waddington's
May. 27, 2011
CHRISTOPHER PRATT, R.C.A., GOOD FRIDAY, serigraph, printed in colours, 20 ins x 22 3/4 ins; 50 cms x 56.9 cms
Est: $3,000 - $4,000
CHRISTOPHER PRATT, R.C.A., GOOD FRIDAY, serigraph, printed in colours; signed, titled, dated "April '73" and numbered 25/25. 20 ins x 22 3/4 ins; 50 cms x 56.9 cms. Provenance: Marlborough Godard, Toronto/Montreal. Private Collection, Ontario. Literature: David P. Silcox and Merike Weiler, Christopher Pratt, Toronto, 1982, pages 34, 110 and 111, colour plate. Note: Pratt, describing this print, writes: I spent many Easter Holidays at my aunt's house in Bay Roberts. I associate Good Friday with the way the fields and houses looked at that time of year: pale, spent, everything exposed and vulnerable. I started with the title, so this print grew out of those associations. Winter was more comforting than spring: we had trees to cut for Christmas, but Easter lilies were from another part of the world."
Waddington's
May. 27, 2011
CHRISTOPHER PRATT, R.C.A., ABOVE MONTREAL, serigraph, printed in colours, 20 ins x 22 3/4 ins; 50 cms x 56.9 cms
Est: $4,000 - $6,000
CHRISTOPHER PRATT, R.C.A., ABOVE MONTREAL, serigraph, printed in colours; signed, titled, dated "Feb 1979" and numbered 37/40. 20 ins x 22 3/4 ins; 50 cms x 56.9 cms. Provenance: Mira Godard Gallery, Toronto/Calgary. Private Collection, Ontario. Literature: Christopher Pratt and Jay Scott, The Prints of Christopher Pratt, 1958-1991, Toronto, 1991, page 73, illustrated in colour. Note: Pratt describes the view: "On our way down the seaway, in the Beauharnois Lock above Montreal, we could see nothing ahead of us but sky: a humid, smog-red glow of the sun rising over the city and the St. Lawrence River to the east. It was easy to believe that there was a void beyond the gates; that past them we would...sail off the edge of the earth."
Waddington's
May. 26, 2011
Christopher Pratt 1935 - Canadian serigraph printed in colours Lake Ontario
Est: $3,500 - $4,500
Christopher Pratt 1935 - Canadian serigraph printed in colours Lake Ontario 20 x 20 inches 50.8 x 50.8 centimeters signed, titled and editioned 10/35 Literature:Jay Scott and Christopher Pratt, The Prints of Christopher Pratt 1958 - 1991, 1991, Mira Godard Gallery, reproduced page 65 Provenance:Private Collection, Edmonton Please note: this work is unframed.
Heffel
May. 26, 2011
CHRISTOPHER PRATT B. 1935
Est: $5,000 - $7,000
CHRISTOPHER PRATT B. 1935 EVENING ON THE SALMONIER RIVER - FALL AT MY PLACE signed and dated lower right Christopher Pratt 2009 and titled and numbered 24/36 lower left and lower centre lithograph 54.6 by 72.4 cm. 21 ½ by 28 ½ in.
Sotheby's
May. 26, 2011
CHRISTOPHER PRATT B. 1935
Est: $60,000 - $80,000
CHRISTOPHER PRATT B. 1935 FRENCH DOOR 1973 signed and dated lower right Christopher Pratt Nov. 73; signed, titled and dated on the reverse oil on board 81.3 by 81.9 cm. 32 by 32 ¼ in.
Sotheby's
May. 17, 2011
Christopher Pratt 1935 - Canadian graphite and
Est: $5,000 - $7,000
Christopher Pratt 1935 - Canadian graphite and coloured pencil on paper Portrait of a Young Woman 13 1/4 x 15 inches 33.7 x 38.1 centimeters signed and dated September 1979 Provenance:Collection of the Artist Mira Godard Gallery, Toronto Collection of John Morris, Toronto Masters Gallery Ltd., Calgary Private Collection, Vancouver This work portrays Christopher Pratt's well-known model Donna. She posed for Pratt in the late 1960s and early 1970s, and he continued to be inspired by her for more than a decade after her departure. Pratt experimented with a more fluid drawing style in the early 1970s, which resulted in a series of refined and powerful drawings of his favourite muse.
Heffel
May. 17, 2011
Christopher Pratt 1935 - Canadian graphite on
Est: $7,000 - $9,000
Christopher Pratt 1935 - Canadian graphite on paper Girl on My Couch 11 x 20 inches 27.9 x 50.8 centimeters signed and dated January 1984 and on verso titled and dated on the gallery label Literature:Joyce Zemans, Christopher Pratt: A Retrospective, 1985, listed page 93 Provenance:Mira Godard Gallery, Toronto Private Collection, Toronto Exhibited:The Vancouver Art Gallery, Christopher Pratt: A Retrospective, November 23, 1985 - January 26, 1986, traveling in 1986 to the Art Gallery of Ontario, Toronto, the Memorial University Gallery, St. John's and the Dalhousie Art Gallery, Halifax, catalogue #73
Heffel
Nov. 27, 2010
Christopher Pratt 1935 - Canadian silkscreen
Est: $3,000 - $4,000
Christopher Pratt 1935 - Canadian silkscreen Christmas Eve at 12 O'Clock 8 x 9 1/8 inches 20.3 x 23.2 centimeters signed, titled and editioned 90/100 Provenance:Private Collection, Edmonton This work includes the book Personal Reflections on a Life in Art by Christopher Pratt, which is signed and editioned 90/100. Please note: this work is unframed.
Heffel
Aug. 26, 2010
Christopher Pratt 1935 - Canadian silkscreen
Est: $3,000 - $4,000
Christopher Pratt 1935 - Canadian silkscreen Christmas Eve at 12 O'Clock 8 x 9 1/8 inches 20.3 x 23.2 centimeters signed, titled and editioned 90/100 Provenance:Private Collection, Edmonton This work includes ""Personal Reflections on a Life in Art"" by Christopher Pratt, which is signed and editioned 90/100. Please note the print is unframed.
Heffel