Tom Thomsom, an artist known for his paintings of Ontario’s Algonquin Park and other landscapes, was an influential Canadian artist born in 1877. Before committing to painting as a full-time career in his 30s, he tried to enlist in the military, worked as an apprentice to a machinist, enrolled and then dropped out of business school, and then worked as a photo engraver.
Though Tom Thomsom was an artist who never achieved much recognition during his life, he is known for the influence he had on a band of famous Canadian landscape artists called The Group of Seven.
The West Wind, Northern Lights, Jack Pine, and Northern River are among the most famous Tom Thomsom paintings and prints. Buy collectible landscape paintings at Invaluable to bring a little bit of the outside into your home.
Tom Thomson, Canadian, 1877 to 1917, an oil painting on board depicting an Algonquin Park landscape view, 1917. Signed with monogram and dated, lower left. Additionally signed with monogram, dated, and inscribed, on the backside. Provenance: from the private collection of artists sister. Completed with a printed and hand signed letter from the artists sister, and paper labels, on the backside. Tom Thomson was an influential Canadian artist of the early 20th century. He worked in a painterly style that combined impressionism and abstract expressionism. He earned his living as a designer and illustrator, but his reputation continues for his boldly executed paintings, often forest scenes. About 1908, he began working for the Toronto graphics firms of Grip Ltd., and there he met James Hervey MacDonald who encouraged him to paint and to cultivate subject matter that was uniquely Canadian. In the summer of 1912, Thomson spent much time in Algonquin Park and the Mississauga Forest Reserve, and from that time he went each year to make sketches from which he painted the remainder of the year in his studio in Toronto. Although he was not an official part, he was closely aligned with the Group of Seven, artists led by Lawren Harris and James MacDonald, to promote Canadian art. One of a kind artwork. Modernist Paintings, Antique Fine Art And Wall Decor Collectibles.
19th/20th Cent. Canadian oil on canvas (on board) - attributed to Tom Thomson THOMSON TOM (1877 - 1917) (Canadese School) olieverfschilderij op doek (op board) : "Boslandschap" - 30,9 x 43,4 toegeschreven aan
A Canadian School oil painting on board depicting a landscape in the manner of Tom Thomas John Thomson, Canadian, 1877 to 1917. Unsigned. Framed. Thomas John Thomson was a Canadian artist active in the early 20th century. During his short career, he produced roughly 400 oil sketches on small wood panels and approximately 50 larger works on canvas. His works consist almost entirely of landscapes, depicting trees, skies, lakes, and rivers. He used broad brush strokes and a liberal application of paint to capture the beauty and colour of the Ontario landscape. Modern Canadian Fine Art, Landscape Oil Paintings, Wall Art, and Collectibles. One of a kind artwork.
Tom Thomson, Canadian, 1877 to 1917, an oil on board painting depicting a landscape with trees and a water pond. Housed in a gilt wood frame with a linen trim and a metal name plate below. Note: Tom Thomson was an influential Canadian artist of the early 20th century. He worked in a painterly style that combined impressionism and abstract expressionism. He earned his living as a designer and illustrator, but his reputation continues for his boldly executed paintings, often forest scenes. About 1908, he began working for the Toronto graphics firms of Grip Ltd., and there he met James Hervey MacDonald who encouraged him to paint and to cultivate subject matter that was uniquely Canadian. In the summer of 1912, Thomson spent much time in Algonquin Park and the Mississauga Forest Reserve, and from that time he went each year to make sketches from which he painted the remainder of the year in his studio in Toronto. Although he was not an official part, he was closely aligned with the Group of Seven, artists led by Lawren Harris and James MacDonald, to promote Canadian art. One of a kind artwork. Modernist Paintings, Antique Fine Art And Wall Decor Collectibles.
An antique Canadian oil on board landscape painting by Thomas John Thomson, 1913. Signed by artist lower left. Framed. Thomas John Thomson, 1877 to 1917, was a Canadian artist active in the early 20th century. During his short career, he produced roughly 400 oil sketches on small wood panels and approximately 50 larger works on canvas. His works consist almost entirely of landscapes, depicting trees, skies, lakes, and rivers. He used broad brush strokes and a liberal application of paint to capture the beauty and color of the Ontario landscape. Thomson's accidental death by drowning at 39 shortly before the founding of the Group of Seven is seen as a tragedy for Canadian art. One of a kind artwork.
TOM THOMSON [Canada] 1877-1917 [attributed] Untitled Landscape, oil on board, a signature lower right, 38x48cms, condition fine, period frame with some damages. Please read the Terms & Conditions of Auction before placing a bid. These T&C's are applicable to each lot in this Auction. Any available provenance or documentation will be included with the description, if not included, assume it to be unknown or missing. Most lots are either ex estate or storage, have not been submitted for authentication, vefifivation or expertising and for this reason, are offered UNRESERVED. It is the responsibility of intending buyers to do their own research and due diligence before submitting an offer. We do not offer returns or refunds - ALL SALES ARE FINAL.
Hardcover book with dust jacket, 1st edition, McCelland and Stewart.1977. 240 pages, 177 paintings Illustrated in colour and many more in b/w. When possible the colour prints in the book have been reproduced to the exact dimensions of the original paintings.
Thomas (Tom) John Thomson (1877-1917), Canadian DECORATIVE DESIGN: QUOTATION FROM "THE LIGHT THAT FAILED" BY RUDYARD KIPLING, SPRING 1916 [MURRAY 1916.01] gouache and ink on paper inscribed "This design was done for me by Tom Thomson in the Spring of 1916. Marion Long" verso 10.5 x 7.25 in — 26.7 x 18.4 cm Estimate: $8,000—12,000
ATT. TOM THOMSON (CANADIAN 1877-1917) OIL ON PLYWOOD PANEL depicting an autumn tree-lined mountainous river landscape - signed bottom right. (26.5cm wide 21.5cm high) To acquire a shipping quote, view the condition report or see extra images (where possible) Please view this lot on our website here: www.hutchinsonscott.co.uk/auction/lot/lot-777---att-tom-thomson-canadian-1877-1917-oil-on-plywood-panel/?lot=34450
Tom Thomson's "Winter In The Woods" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Russian Artist Canadian Artist
Tom Thomson's "Split Rock" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $2,000 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Russian Artist Canadian Artist
Tom Thomson's "Little Cauchon Lake" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,700 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Russian Artist Canadian Artist
Tom Thomson's "Forest Interior" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,800 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans? skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Russian Artist Canadian Artist
Tom Thomson's "Birches" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,700 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans? skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Russian Artist Canadian Artist
ATT. TOM THOMSON (CANADIAN 1877-1917) A LARGE EARLY 20TH CENTURY GOUACHE AND WATERCOLOUR the impressionist painting depicting a view of a waterfall through a woodland landscape above a gilt board with arts and crafts style text reading 'THE SECRET ENTRANCE TO THE ELDORADO OF THE GREAT NORTH WEST' - mounted in a quality oak leaf and acorn moulded gilt frame; Tom Thomson was a member of The Group of Seven who worked for the design company Grip Ltd. In Toronto, Canada during the first half of the 20th century (Painting measures 106cm high 63cm wide)
Tom Thomson's "The Tent - 1915" limited edition print, numbered 677/777. This piece is done in Thomson's (and the Group of Seven) signature style, of a tent in the middle of woods, at the edge of a body of water. This piece is in mint condition.
Thomson, Tom (Claremont (Ontario) 1877 - 1917 Canoe Lake, kanadischer Landschaftsmaler) Umkreis, "Kanadische Landschaft", Öl auf Leinwand, auf Karton, 36.5 x 51 cm. Provenienz: seit den 1950er Jahren in Familienbesitz
Tom Thomson's "Birches" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,700 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans? skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Winter In The Woods" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Split Rock" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $2,000 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Little Cauchon Lake" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,700 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Forest Interior" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,800 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans? skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Birches" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,700 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans? skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Winter In The Woods" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Split Rock" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $2,000 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Little Cauchon Lake" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,700 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Forest Interior" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,800 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans? skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Birches" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,700 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans? skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Winter In The Woods" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Split Rock" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $2,000 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Little Cauchon Lake" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,700 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Forest Interior" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,800 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans? skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Birches" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,700 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans? skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Algonquin" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $2,000 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans? skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
TOM THOMSON LATE SPRING, 1912 oil on canvas board 6.8 ins x 9.8 ins; 17.2 cms x 24.8 cms Provenance: Galerie Claude Lafitte, Montreal Roberts Gallery, Toronto Sotheby's Toronto, 31 May 1990, lot 26 Joyner Fine Art, Toronto, 23 November 1993, lot 85 Sotheby's Toronto, 15 November 1995, lot 79 Private Collection, Toronto Exhibited: 1987 Nancy Poole's Studio, Toronto, [unknown title], November, 1987. Literature: Joan Murray, Tom Thomson Catalogue Raisonné (tomthomsoncatalogue.org) (1912.10) Tom Thomson’s early paintings around 1912 and 1913 are often marked by a dark tonality and sensitive handling. He had not yet heard the clarion call of Impressionism. A Quiet Summer Evening and Late Spring reveal the direction of his course. He was invigorated and inspired by the northern landscape, a subject he discovered, it seems, by chance. In 1912, after a visit Thomson had made to Algonquin Park, he and a colleague, William Broadhead, went on a two- or three-month expedition up the Spanish River and into Mississagi Forest Reserve (today Mississagi Provincial Park). It was on this trip, as A.Y. Jackson wrote later, that Thomson started to paint. The course of the trip was recorded by Thomson himself. In a letter to a friend, M.J. McRuer, Thomson wrote: “We started in at Bisco and took a long trip on the lakes around there going up the Spanish River and over into the Mississauga [Mississagi] water we got a great many good snapshots of game—mostly moose and some sketches, but we had a dump in the forty-mile rapids which is near the end of our trip and lost most of our stuff—we only saved 2 rolls of film out of about 14 dozen. Outside of that we had a peach of a time as the Mississauga is considered the finest canoe trip in the world.” 1 Thomson’s local newspaper, The Owen Sound Sun, added to this enthusiastic account that it rained most of the time and the two men capsized twice. However, the adventure they were on added to the thrill of discovering the grand scenery of the Park as well as other places on their route. When they made it home to Toronto, Thomson joined the commercial art firm of Rous & Mann, and met future members of the Group of Seven such as F. H. Varley, and Dr. J.M. MacCallum, co-founder of the Studio Building with Lawren Harris, who became his friend and patron. Thomson showed these friends the sketches he had made on the trip and was showered with praise. Everyone agreed that he had caught the real northern character. Late Spring has the sombre, dark tonality of sketches related to this trip. In this work, he does not get bogged down in minute details but delicately and sensitively handled the bare branches of the trees and sets the land masses and trees securely in their spaces. He indicated the structure of the land by small flecks of paint and the sky above and its layer of cloud by uneven horizontal bands of blue-grey and off-white. As in another work of 1912, Thomson used the trees on either side as a framing device, here, for a distant bridge or culvert and a stretch of blue water. In these lyrical early conceptions, Thomson discovered the kind of thinking about art that he often would use later. Late Spring is in embryo one of the sources for paintings such as Thomson’s majestic Woodland Waterfall (McMichael Canadian Art Collection, Kleinburg). One more word about Late Spring: it is not likely to have been painted in 1913 when Thomson went north again since Jackson wrote of the sketches done that year that there were no “wood interiors” in the group that he saw that autumn. 2 Yet Late Spring provides striking evidence of Thomson’s increased skill in composition when compared with a sketch such as Mississagi (1912.29) which he painted on his trip. Perhaps Thomson essayed some sketches when he came home from memory or when visiting his family in Leith. The path Thomson took in art involved digesting painting lessons learned from teachers such as J.E.H. MacDonald, his ‘boss’ in the commercial art firm of Grip Ltd., and Harris whom he had met at MacDonald`s show at the Arts & Letters Club in Toronto in 1911 and of course, from his training in design. These sources offered something of a guide too. With remarkable speed, Thomson’s handling of paint strengthened, his composition grew more powerful and he gained more confidence. A Quiet Summer Evening, created in the summer of 1913, is a night-time scene but even so, Thomson used a lighter palette in it than in Late Spring. The handling of the sky and water is more modulated, the branches of trees and foliage crisper. As in Late Spring, Thomson introduced a lyrical element, here the moon which glamorously lights the sky, water and trees. Though of approximately the same size as Late Spring, this sketch is so well designed that it seems larger, at least in reproduction. Thomson was in his own way a determined modern artist. He did not want his work to be viewed as part of a tradition unless that tradition was of something new, and he was working intelligently and ambitiously towards that new form of expression. These works are proof that he found much that was exciting and challenging in the northern landscape that he wanted to convey and applied it to his work. Perhaps that is why his art still proves so compelling to viewers today. Joan Murray, art historian and author of the Tom Thomson Catalogue Raisonné and many books on Tom Thomson. 1Letter to Dr. M. J. (John) McRuer, 17 October 1912, Joan Murray, “Thomson`s Letters”, in Dennis Reid (ed.), Tom Thomson, Toronto/Ottawa: Art Gallery of Ontario/National Gallery of Canada, p. 297 2See Charles Hill, (2002). "Tom Thomson, Painter". In Reid, Dennis Reid (ed.). Tom Thomson, p.21. Estimate: $200,000–300,000
TOM THOMSON A QUIET SUMMER EVENING, C.1913 oil on board 6.9 ins x 9.9 ins; 17.5 cms x 25.1 cms Provenance: The artist, by gift, to his sister Margaret Thomson Tweedale Private Collection, Vancouver Kenneth G. Heffel Fine Art Ltd., Vancouver Hazel Hett, Vancouver Galerie Claude Lafitte, Montreal Private Collection, Toronto Literature: Joan Murray, Tom Thomson Catalogue Raisonné (tomthomsoncatalogue.org) (1913.21) Tom Thomson’s early paintings around 1912 and 1913 are often marked by a dark tonality and sensitive handling. He had not yet heard the clarion call of Impressionism. A Quiet Summer Evening and Late Spring reveal the direction of his course. He was invigorated and inspired by the northern landscape, a subject he discovered, it seems, by chance. In 1912, after a visit Thomson had made to Algonquin Park, he and a colleague, William Broadhead, went on a two- or three-month expedition up the Spanish River and into Mississagi Forest Reserve (today Mississagi Provincial Park). It was on this trip, as A.Y. Jackson wrote later, that Thomson started to paint. The course of the trip was recorded by Thomson himself. In a letter to a friend, M.J. McRuer, Thomson wrote: “We started in at Bisco and took a long trip on the lakes around there going up the Spanish River and over into the Mississauga [Mississagi] water we got a great many good snapshots of game—mostly moose and some sketches, but we had a dump in the forty-mile rapids which is near the end of our trip and lost most of our stuff—we only saved 2 rolls of film out of about 14 dozen. Outside of that we had a peach of a time as the Mississauga is considered the finest canoe trip in the world.” 1 Thomson’s local newspaper, The Owen Sound Sun, added to this enthusiastic account that it rained most of the time and the two men capsized twice. However, the adventure they were on added to the thrill of discovering the grand scenery of the Park as well as other places on their route. When they made it home to Toronto, Thomson joined the commercial art firm of Rous & Mann, and met future members of the Group of Seven such as F. H. Varley, and Dr. J.M. MacCallum, co-founder of the Studio Building with Lawren Harris, who became his friend and patron. Thomson showed these friends the sketches he had made on the trip and was showered with praise. Everyone agreed that he had caught the real northern character. Late Spring has the sombre, dark tonality of sketches related to this trip. In this work, he does not get bogged down in minute details but delicately and sensitively handled the bare branches of the trees and sets the land masses and trees securely in their spaces. He indicated the structure of the land by small flecks of paint and the sky above and its layer of cloud by uneven horizontal bands of blue-grey and off-white. As in another work of 1912, Thomson used the trees on either side as a framing device, here, for a distant bridge or culvert and a stretch of blue water. In these lyrical early conceptions, Thomson discovered the kind of thinking about art that he often would use later. Late Spring is in embryo one of the sources for paintings such as Thomson’s majestic Woodland Waterfall (McMichael Canadian Art Collection, Kleinburg). One more word about Late Spring: it is not likely to have been painted in 1913 when Thomson went north again since Jackson wrote of the sketches done that year that there were no “wood interiors” in the group that he saw that autumn. 2 Yet Late Spring provides striking evidence of Thomson’s increased skill in composition when compared with a sketch such as Mississagi (1912.29) which he painted on his trip. Perhaps Thomson essayed some sketches when he came home from memory or when visiting his family in Leith. The path Thomson took in art involved digesting painting lessons learned from teachers such as J.E.H. MacDonald, his ‘boss’ in the commercial art firm of Grip Ltd., and Harris whom he had met at MacDonald`s show at the Arts & Letters Club in Toronto in 1911 and of course, from his training in design. These sources offered something of a guide too. With remarkable speed, Thomson’s handling of paint strengthened, his composition grew more powerful and he gained more confidence. A Quiet Summer Evening, created in the summer of 1913, is a night-time scene but even so, Thomson used a lighter palette in it than in Late Spring. The handling of the sky and water is more modulated, the branches of trees and foliage crisper. As in Late Spring, Thomson introduced a lyrical element, here the moon which glamorously lights the sky, water and trees. Though of approximately the same size as Late Spring, this sketch is so well designed that it seems larger, at least in reproduction. Thomson was in his own way a determined modern artist. He did not want his work to be viewed as part of a tradition unless that tradition was of something new, and he was working intelligently and ambitiously towards that new form of expression. These works are proof that he found much that was exciting and challenging in the northern landscape that he wanted to convey and applied it to his work. Perhaps that is why his art still proves so compelling to viewers today. We thank Joan Murray, art historian, author of the Tom Thomson Catalogue Raisonné and many books on Tom Thomson, for contributing this essay. 1Letter to Dr. M. J. (John) McRuer, 17 October 1912, Joan Murray, “Thomson`s Letters”, in Dennis Reid (ed.), Tom Thomson, Toronto/Ottawa: Art Gallery of Ontario/National Gallery of Canada, p. 297 2See Charles Hill, (2002). "Tom Thomson, Painter". In Reid, Dennis Reid (ed.). Tom Thomson, p.21. Estimate: $250,000–350,000
InteriorDesignerTopPicks Tom Thomson's "Winter In The Woods" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Split Rock" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $2,000 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Little Cauchon Lake" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,700 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Forest Interior" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,800 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans? skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
Tom Thomson's "Birches" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $1,700 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people.
Tom Thomson's "Algonquin" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Original list price was $2,000 USD. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans? skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people.
Tom Thomson's "Winter In The Woods" oil on panel limited edition recreation numbered of an edition of 460. This is a high quality texturized recreation, in a high quality frame which was custom designed, and has been professionally assembled. Born in Claremont, Ontario, Tom grew up in Leith and moved to Seattle, Washington, where he worked at commercial art from 1901 to 1905. Back in Toronto from 1910 to 1914, he was a commercial designer at Grip Ltd. and Rous and Mann. In 1914, he painted full time under the patronage of Dr. J.M. MacCallum, mainly in Algonquin Park with the future members of the Group of Seven, A. Lismer, A.Y. Jackson and Fred Varley and was influenced strongly by J.E.H. MacDonald. His major canvases were executed in a shack behind the fames Studio Building in the Rosedale ravine, Toronto. Working part time as an Algonquin Park guide, he drowned in Canoe Lake in 1917. This work of art is an exclusive Master Editions lithograph, printed on neutral pH Phoenix Imperial fine art paper, employing the unique Phoenix Process. This process is a revolutionary method printing that is likely to transform the technique of art replication well into the 21st century. Through this process , every detail of brushwork and texture in the original oil can be duplicated, producing a genuinely recreated painting on a wood panel or canvas. These recreations require as many as forty hand-mixed colours, which are laid down one at a time. This labour-intensive procedure is further enhanced through the use of special lightfast inks. Following the principle of applying light tonal values first, then gradually building up the darker tones, our craftsmen are able to capture, on a single-colour rotary press, the subtle chromatic nuances of the original, in much the same manner as did the artist himself. Clearly, this is a time-consuming practice, which demands much of our artisans' skills. It is in fact, our hand-work of the very finest kind, which is dedicated to the preservation of the important icons of Canadian art, long treasured by the Canadian people. Art.
![TOM THOMSON [CANADA] 1877-1917 [ATTRIBUTED] UNTITLED LANDSCAPE, OIL ON BOARD, A SIGNATURE LOWER RIGHT, 38X48CMS, CONDITION FINE, PERIOD FRAME WITH SOME DAMAGES.](https://stageimg.invaluable.com/housePhotos/WAArtAuctions/73/771473/H4675-L372450001.jpg)
![Thomas (Tom) John Thomson (1877-1917), DECORATIVE DESIGN: QUOTATION FROM "THE LIGHT THAT FAILED" BY RUDYARD KIPLING, SPRING 1916 [MURRAY 1916.01]](https://stageimg.invaluable.com/housePhotos/Waddingtons/51/771051/H1012-L371857871.jpg)
![*TOM THOMSON [CANADA] 1877-1917 [ATTRIBUTED] UNTITLED SKETCH, OIL ON BOARD, A SIGNATURE LOWER RIGHT, 44X59CMS, FRAMED. CONDITION FINE.](https://stageimg.invaluable.com/housePhotos/WAArtAuctions/92/764892/H4675-L362771440.jpg)
![*TOM THOMSON [CANADA] 1877-1917 [ATTRIBUTED] UNTITLED SKETCH, OIL ON BOARD, A SIGNATURE LOWER RIGHT, 33X46CMS, FRAMED. CONDITION FINE.](https://stageimg.invaluable.com/housePhotos/WAArtAuctions/92/764892/H4675-L362771423.jpg)
