William Percy Weston Sold at Auction Prices

Landscape painter, b. 1879 - d. 1967

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    • P. WESTON? OIL ON CANVAS. LANDSCAPE.
      Nov. 10, 2022

      P. WESTON? OIL ON CANVAS. LANDSCAPE.

      Est: $50 - $1,000

      Landscape. Oil on canvas. Signed lower left. Possibly William P. Weston (Canadian, 1879-1969). From a Westchester County, NY estate.

      Clarke Auction Gallery
    • William P. Weston, Canadian (1879-1969), Moutainscape, coloured pencil, 10 1/4 x 16 1/2 in. (26 x 42 cm)
      May. 18, 2022

      William P. Weston, Canadian (1879-1969), Moutainscape, coloured pencil, 10 1/4 x 16 1/2 in. (26 x 42 cm)

      Est: $500 - $700

      William P. Weston Canadian (1879-1969) moutainscape coloured pencil signed 10 1/4 x 16 1/2 in. (26 x 42 cm)

      Maynards Fine Art & Antiques
    • Weston, William Percy - Fraser River, Hope B.C. - 1956
      Mar. 15, 2022

      Weston, William Percy - Fraser River, Hope B.C. - 1956

      Est: $2,000 - $3,000

      Weston, William Percy (1879-1967) Fraser River, Hope B.C. (1956) Description (FR): Huile sur panneau, signée en bas à gauche W.P. Weston, signée et datée au dos W.P. Weston A.R.C.A. 1956 Description (EN): Oil on panel, signed on lower left W.P. Weston, signed and dated on the back W.P. Weston A.R.C.A. 1956 Dimension (PO): 13" x 16" Dimension (CM): 33 x 50.8 cm Rapport de condition: Sur demande, nous nous ferons un plaisir de répondre à vos questions de manière détaillée. Condition report: Upon request, We will gladly answer all your inquiries in a detailed manner.

      Champagne Auctions
    • William Weston - Power Boat off Coast
      Nov. 24, 2019

      William Weston - Power Boat off Coast

      Est: $2,000 - $3,000

      Power Boat off Coast (oil on board, 16" x 22", framed)

      Westbridge Fine Art Auction House
    • William Weston - The New House
      Nov. 24, 2019

      William Weston - The New House

      Est: $1,500 - $2,000

      The New House (oil on canvas, laid on board, 14" x 12", framed)

      Westbridge Fine Art Auction House
    • William Percival Weston, Canadian (1879-1967), Cedar Grove, pencil drawing, 10 1/2 x 16 in. (26.7 x 40.6 cm)
      Apr. 24, 2019

      William Percival Weston, Canadian (1879-1967), Cedar Grove, pencil drawing, 10 1/2 x 16 in. (26.7 x 40.6 cm)

      Est: $800 - $1,000

      signed

      Maynards Fine Art & Antiques
    • William Percival Weston, Canadian (1879-1967), Untitled-Garden Pool, pencil drawing, 9 x 7 in. (22.9 x 17.8 cm)
      Apr. 24, 2019

      William Percival Weston, Canadian (1879-1967), Untitled-Garden Pool, pencil drawing, 9 x 7 in. (22.9 x 17.8 cm)

      Est: $700 - $900

      signed

      Maynards Fine Art & Antiques
    • William Percival Weston, Canadian (1879-1967), Skunk Cabbage, pencil drawing, 7 x 7 in. (17.8 x 17.8 cm)
      Apr. 24, 2019

      William Percival Weston, Canadian (1879-1967), Skunk Cabbage, pencil drawing, 7 x 7 in. (17.8 x 17.8 cm)

      Est: $600 - $800

      signed

      Maynards Fine Art & Antiques
    • William Percival Weston, Canadian (1879-1967), November Mists (From Mt-Douglas, Nov. 1941), oil on panel, 12 x 15 in. (30.5 x 38 cm)
      Apr. 24, 2019

      William Percival Weston, Canadian (1879-1967), November Mists (From Mt-Douglas, Nov. 1941), oil on panel, 12 x 15 in. (30.5 x 38 cm)

      Est: $2,500 - $3,500

      signed

      Maynards Fine Art & Antiques
    • William Percival Weston, Canadian (1879-1967), Rocky Mountain, block print, 8 1/4 x 9 1/2 in. (21 x 24.1 cm)
      Oct. 31, 2018

      William Percival Weston, Canadian (1879-1967), Rocky Mountain, block print, 8 1/4 x 9 1/2 in. (21 x 24.1 cm)

      Est: $800 - $1,000

      initialled and dated ''31 in plate

      Maynards Fine Art & Antiques
    • William Parcival Weston, Canadian (1879-1967), Cedar Grove, pencil drawing, 10 1/2 x 16 in. (26.7 x 40.6 cm)
      Oct. 31, 2018

      William Parcival Weston, Canadian (1879-1967), Cedar Grove, pencil drawing, 10 1/2 x 16 in. (26.7 x 40.6 cm)

      Est: $800 - $1,000

      signed

      Maynards Fine Art & Antiques
    • William Percival Weston, Canadian (1879-1967), Skunk Cabbage, pencil drawing, 7 x 7 in. (17.8 x 17.8 cm)
      Oct. 31, 2018

      William Percival Weston, Canadian (1879-1967), Skunk Cabbage, pencil drawing, 7 x 7 in. (17.8 x 17.8 cm)

      Est: $600 - $800

      signed

      Maynards Fine Art & Antiques
    • William Percival Weston, Canadian (1879-1967), Untitled-Garden Pool, pencil drawing, 9 x 7 in. (22.9 x 17.8 cm)
      Oct. 31, 2018

      William Percival Weston, Canadian (1879-1967), Untitled-Garden Pool, pencil drawing, 9 x 7 in. (22.9 x 17.8 cm)

      Est: $700 - $900

      signed

      Maynards Fine Art & Antiques
    • William Percival Weston, Canadian (1879-1967), Driftwood-Garrow Bay, oil on board, 11.5 x 14.5 (29 x 37 cm)
      Oct. 31, 2018

      William Percival Weston, Canadian (1879-1967), Driftwood-Garrow Bay, oil on board, 11.5 x 14.5 (29 x 37 cm)

      Est: $3,000 - $5,000

      signed & dated 1935

      Maynards Fine Art & Antiques
    • William Percival Weston, Canadian (1879-1967), November Mists (From Mt-Douglas, Nov. 1941), oil on panel, 12 x 15 in. (30.5 x 38 cm)
      Oct. 31, 2018

      William Percival Weston, Canadian (1879-1967), November Mists (From Mt-Douglas, Nov. 1941), oil on panel, 12 x 15 in. (30.5 x 38 cm)

      Est: $3,000 - $5,000

      signed

      Maynards Fine Art & Antiques
    • William Percival Weston, Canadian (1879 - 1967), Pine Tree with Water and Mountain, woodblock, 4 3/4 x 5 in. (12 x 12.7 cm)
      Mar. 30, 2016

      William Percival Weston, Canadian (1879 - 1967), Pine Tree with Water and Mountain, woodblock, 4 3/4 x 5 in. (12 x 12.7 cm)

      Est: $150 - $250

      signed in block

      Maynards Fine Art & Antiques
    • William Percival Weston, Canadian (1879 - 1967), Shoreline, pencil, 11 1/2 x 17 in. (29.2 x 43.2 cm)
      Mar. 30, 2016

      William Percival Weston, Canadian (1879 - 1967), Shoreline, pencil, 11 1/2 x 17 in. (29.2 x 43.2 cm)

      Est: $750 - $1,000

      signed and dated 27-7-37

      Maynards Fine Art & Antiques
    • William Percival Weston, Canadian (1879 - 1967), Cotton Woods near Chilliwack, oil on panel, 12 x 15 in. (30.5 x 38.1 cm)
      Mar. 30, 2016

      William Percival Weston, Canadian (1879 - 1967), Cotton Woods near Chilliwack, oil on panel, 12 x 15 in. (30.5 x 38.1 cm)

      Est: $2,500 - $3,500

      signed

      Maynards Fine Art & Antiques
    • William Percival Weston, Canadian (1879 - 1967), Windswept Trees, Hope BC, oil on board, 15 1/2 x 12 1/2 in. (39.4 x 31.8 cm)
      Mar. 30, 2016

      William Percival Weston, Canadian (1879 - 1967), Windswept Trees, Hope BC, oil on board, 15 1/2 x 12 1/2 in. (39.4 x 31.8 cm)

      Est: $8,000 - $10,000

      signed lower left, circa 1956

      Maynards Fine Art & Antiques
    • William Percival (W.P.) Weston 1879 - 1967
      May. 15, 2013

      William Percival (W.P.) Weston 1879 - 1967

      Est: $15,000 - $20,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on canvas Atlin, BC 27 1/4 x 32 inches 69.2 x 81.3 centimeters signed and on verso signed, titled and dated 1956 Literature:Ian M. Thom, W.P. Weston, Heffel Gallery Limited, 1991, page 6 Provenance:Private Collection, Toronto Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, May 25, 2005, lot 51 Private Collection, USA Majestic mountains and indomitable trees were William Weston's two most powerful subjects. Rugged beauty was what he sought - and early in his career, he wrestled with depicting it, stating, "I painted some pretty wild things, but always I came a little closer to my own language of form and the expression of my own feeling for this coast region; its epic quality, its grandeur, its natural beauty." Atlin Lake is British Columbia's largest lake, drawing its aqua colour from the sediment in the melt water from the nearby Llewellyn Glacier. After he retired from teaching in 1946, Weston was able to make sketching trips outside of the Vancouver area, and traveled to the Okanagan Valley, the Kootenays and the Yukon, which provided material for his winter studio work. Atlin, BC contains the essence of Weston's reverential approach to British Columbia's awe-inspiring landscape, pared down to its essential elements of the misty lake with its foreshore of sculpted logs and rocky shelves and, rising above all, the stunning mountain range with glacial rivulets.

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Keremeos, BC
      Jan. 31, 2013

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Keremeos, BC

      Est: $3,000 - $5,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Keremeos, BC 13 x 16 inches 33 x 40.6 centimeters signed and dated 1959 and on verso signed, titled and dated Provenance: Private Collection, Alberta

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Entrance to Pitt Lake
      Jan. 31, 2013

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Entrance to Pitt Lake

      Est: $3,000 - $5,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Entrance to Pitt Lake 13 x 16 inches 33 x 40.6 centimeters signed and dated 1958 and on verso signed, titled and dated Provenance: Private Collection, Alberta

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Capilano Reservation
      Jan. 31, 2013

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Capilano Reservation

      Est: $3,000 - $5,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Capilano Reservation 13 x 16 inches 33 x 40.6 centimeters signed and dated 1957 and on verso signed, titled and dated 1958 Provenance: Private Collection, Vancouver

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      Nov. 29, 2012

      William Percival (W.P.) Weston 1879 - 1967

      Est: $5,000 - $7,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board The Lizard Range, Fernie, BC 12 3/4 x 16 inches 32.4 x 40.6 centimeters signed and dated 1958 and on verso signed, titled and dated September 1958 Provenance:Private Collection, Vancouver Private Collection, Calgary

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      Nov. 22, 2012

      William Percival (W.P.) Weston 1879 - 1967

      Est: $15,000 - $20,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on canvas Near Hope, BC 22 x 26 inches 55.9 x 66 centimeters signed and on verso signed and titled Literature:Letia Richardson, Silence and Solitude: The Art of W.P. Weston, 1993, page 9 Provenance:Acquired directly from the Artist by a Private Collection, Vancouver Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 9, 2000, lot 253 Private Collection, USA W.P. Weston received his art training in England, but when he emigrated to Canada, taking a teaching job in Vancouver in 1909, he soon realized he had to jettison his previous aesthetic in order to capture the grandeur of the West Coast. As he explained, "I didn't want to paint any of the old civilized landscape; I'd been brought up on it. [I wanted to] see the wild of things, the mountains, the trees." A keen outdoorsman, Weston hiked into the mountains and sailed his star-class boat around the coast, absorbing the primeval landscape. He sought to embody British Columbia's rugged beauty in his paintings. In this stunning painting, Weston captured a great vitality, from the surging creek to the evergreens bending in the wind, and in the foreground, leaning snags and fallen trees give evidence to the passage of powerful wind through the valley. Finally, rising above it all is a majestic snow-capped mountain, massive yet ethereal, a towering presence in this fresh and exhilarating scene.

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      Nov. 22, 2012

      William Percival (W.P.) Weston 1879 - 1967

      Est: $100,000 - $150,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on canvas Mt. Klitsa 44 x 36 inches 111.7 x 91.4 centimeters signed and on verso signed, titled, dated 1939 on the Heffel Gallery Limited label and inscribed ""$400"" on the Art Gallery of Toronto label and also inscribed ""1419 Dogwood Ave, Vancouver"" Literature:Ian M. Thom, W.P. Weston, Art Gallery of Greater Victoria, 1980, page 12 Ian Thom, W.P. Weston, Heffel Gallery Limited, 1991, page 7, reproduced page 21, listed page 37 Letia Richardson, Silence and Solitude: The Art of W.P. Weston, Richmond Art Gallery, 1993, listed page 29 Provenance:Mrs. D. Hauschka, Vancouver Heffel Gallery Limited, Vancouver, 1991 Jacques Barbeau, Vancouver Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 9, 2000, lot 227 Private Collection, USA Exhibited:Vancouver Art Gallery, British Columbia Society of Fine Arts, 1939, catalogue #34 Vancouver Art Gallery, 8th British Columbia Artists' Exhibition, 1939, catalogue #52 The Art Gallery of Toronto, Canadian Group of Painters, 1940 Vancouver Art Gallery, W.P. Weston, 1946, catalogue #23 Art Gallery of Greater Victoria, W.P. Weston, 1980, catalogue #31 Heffel Gallery Limited, Vancouver, W.P. Weston, 1991, catalogue #11 Richmond Art Gallery, Silence and Solitude: The Art of W.P. Weston, April 3 - May 17, 1993 W.P. Weston graduated from the Putney School of Art in London in 1904. After working as a teacher and illustrator in England, he looked overseas to expand his horizons. He accepted a posting as an art teacher in Vancouver in 1909, and in 1914 was appointed Art Master at the new Provincial Normal School, where he worked until 1946. Weston was a well-known educator who was a force for change, seeking greater freedom of expression for his students. He was the co-author of The Teachers' Manual of Drawing and Design along with Charles H. Scott and S.P. Judge, and author of A Teacher's Manual of Drawing, both adopted as textbooks in British Columbia. Weston was among a small early group of exceptional artists that tackled the daunting task of depicting the West Coast, with its overwhelming scale and rugged beauty. Like Emily Carr, Weston immersed himself in the landscape, searching for his own voice as an artist. He stated, "I painted some pretty wild things, but always I came a little closer to my own language of form and the expression of my own feeling for this coast region; its epic quality, its grandeur, its natural beauty." People were not a part of his vision, since he felt, "The mountains and forest are so gigantic that man seems puny and his slight inroads are comparatively insignificant. If, as I believe, the function of the artist is to express his reactions to the environment, he cannot but record the overwhelming preponderance of nature and omit the human element." The reality of being an artist on the West Coast in those early days was often one of isolation. Carr, well aware of this, was both a friend and advisor to Weston, and he was known to have regularly visited her in the 1930s, and on occasion asked for her advice. From 1909 to 1929 Weston primarily exhibited with the British Columbia Society of Fine Arts. Weston insisted that he had initially developed independently of the Group of Seven and had not seen their work until 1930 when he met Frederick Varley. Beginning in 1930, Weston began to exhibit regularly in the east, at the Art Association of Montreal, the National Gallery of Canada, The Art Gallery of Toronto, the Royal Canadian Academy and the Canadian Group of Painters. For Weston, this was the beginning of national recognition. Weston's most powerful subjects were towering mountains and heroic trees, and Mt. Klitsa contains both. This mountain is the second-highest summit in the Alberni Valley on central Vancouver Island, and its snow- and ice-capped peak creates a dramatic backdrop. One of Weston's great themes was the life cycle present in nature, and this tree, at the end of its cycle - but still upright - is a powerful symbol of endurance. The patterning of its bare sun-whitened branches, drooping gracefully, shows Weston's affinity with Art Nouveau. Ian Thom affirms this in the Art Gallery of Greater Victoria exhibition catalogue, stating that his "mature style.....owes more to the design motifs of Art Nouveau / Deco, Japanese pattern books and Weston himself than to artists in the east." A unifying force in this work is Weston's sense of rhythm and pattern in all of its parts - waves of ripples in the water, the graceful flowing lines of the bare tree branches, curves in the mountain flanks and the undulating layers of clouds. Weston further emphasizes the tree with a bright patch of reflected light under its base. There is a palpable sense of mass and volume in this magnificent painting, as well as a strong sensation of atmosphere. Mt. Klitsa has long been considered one of his finest paintings. Weston, with his great regard for the wilderness and the power, clarity and precision of his images, was a trailblazer for landscape artists on the West Coast.

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      Nov. 22, 2012

      William Percival (W.P.) Weston 1879 - 1967

      Est: $12,000 - $16,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Old Fir, Victoria, BC 16 x 18 inches 40.6 x 46 centimeters signed and on verso signed, titled, dated 1955 and inscribed ""J.R.A. McAllister"" Literature:Letia Richardson, Silence and Solitude: The Art of W.P. Weston, Richmond Art Gallery, 1993, page 11 Provenance:Private Collection, Vancouver Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, May 9, 2001, lot 274 Private Collection, USA In Canadian landscape painting, venerable trees shaped by wind, clinging to cliffs, standing up against the challenge of the elements are a symbol of survival in the wilderness. W.P. Weston greatly admired them, stating in an interview with Margery Dallas, "I like the trees that have had a struggle, and that's why I like to paint the trees along the sea shore and up on the mountains. They're like people who have had to fight to live; they've developed character."

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      Jul. 26, 2012

      William Percival (W.P.) Weston 1879 - 1967

      Est: $3,500 - $4,500

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Springtime, Copper Cove 13 x 16 inches 33 x 40.6 centimeters signed and on verso signed, titled and dated 1951 Provenance:Private Collection, Victoria

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      Jul. 26, 2012

      William Percival (W.P.) Weston 1879 - 1967

      Est: $3,000 - $5,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Anvil Island - Howe Sound, BC 11 x 15 inches 27.9 x 38.1 centimeters signed and on verso signed and titled Provenance:By descent to the present Private Collection, British Columbia

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Keremeos, BC
      May. 31, 2012

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Keremeos, BC

      Est: $4,000 - $6,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Keremeos, BC 13 x 16 inches 33 x 40.6 centimeters signed and dated 1959 and on verso signed, titled and dated Provenance:Private Collection, Alberta

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Entrance to Pitt Lake
      May. 31, 2012

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Entrance to Pitt Lake

      Est: $4,000 - $6,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Entrance to Pitt Lake 13 x 16 inches 33 x 40.6 centimeters signed and dated 1958 and on verso signed, titled and dated Provenance:Private Collection, Alberta

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      May. 17, 2012

      William Percival (W.P.) Weston 1879 - 1967

      Est: $30,000 - $40,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on canvas Windswept Fir - Albert Head, Vancouver Island 23 x 27 inches 58.4 x 68.6 centimeters signed and on verso signed, titled and dated 1953 Literature:Letia Richardson, The Silence and Solitude, The Art of W.P. Weston, Richmond Art Gallery, 1993, page 11 Provenance:Collection of the Artist, Vancouver Private Collection, Vancouver Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 18, 1999, lot 31 Private Collection, USA One of W.P. Weston's great themes was that of trees, and this transcendent panorama of an ancient fir clinging to a rocky cliff overlooking the sea is a superb example. Weston stated, "I like the trees that have had a struggle, and that's why I like to paint the trees along the seashore and up on the mountains. They're like people who have had to fight to live; they've developed character." Reminiscent of Japanese bonsai, here nature itself has shaped and trimmed this tree into a striking work of art. Weston sought out these beautiful and desolate scenes; he did not put people in his paintings, feeling that nature was enough. His strong sense of design is imbued in every element. The swirling rings of the sea's tidal movement, the distant mountains on the horizon, the arching movement of the sky to the focal point of the wind-sculpted tree create a stunning scene. In 1937, Weston produced a larger canvas of this scene entitled Windswept (Old Fir, Albert Head). He must have found it compelling to paint it once more.

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      May. 17, 2012

      William Percival (W.P.) Weston 1879 - 1967

      Est: $40,000 - $60,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on canvas Arbutus 30 x 37 inches 76.2 x 94 centimeters signed and on verso signed and titled Literature:Ian M. Thom, W.P. Weston, Art Gallery of Greater Victoria, 1980, pages 9 and 13 Provenance:Estate of the Artist, Vancouver Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, May 25, 2005, lot 124 Private Collection, USA Exhibited:British Columbia Society of Fine Arts, Vancouver, 33rd Annual Exhibition, 1943, catalogue #65 Vancouver Art Gallery, W.P. Weston, 1946, catalogue #55 W.P. Weston often painted trees, admiring their resilience and character. He stated that "all these forms have been affected by and moulded by the elements - wind, rain, frost and snow in one way or another, e.g.,.....changes in structure in living forms. The study of this is most interesting and has been the main force behind all my drawings and paintings." The arbutus tree, a distinctive West Coast evergreen that often grows on sea bluffs, has the resilience to survive harsh climatic conditions. Clinging to rough terrain and searching for sunlight causes its unique gnarled growth patterns. The tree may even allow part of itself to die during drought. It does, however, store water in burls, which Weston has shown at the base of the trees. This work is typical of Weston's mature style which, as Ian Thom writes, "owes more to the design motifs of art nouveau/deco, Japanese pattern books and Weston himself than to artists in the east.....[and shows] the use of heavy opaque brush-strokes, a 'cool, palpitating and luminous' use of colour, a strong sense of mass and a linear, decorative design." In this vigorous painting, Weston used the shadows of the branches on the carpet of moss like reflections in water, delighting in the sculptural shapes. The distinctive orange-red of the smooth trunks stands in dramatic contrast to the green around it. Weston has clearly shown us the powerful life force of this arbutus grove, a beautiful symbol of the West Coast.

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      May. 17, 2012

      William Percival (W.P.) Weston 1879 - 1967

      Est: $70,000 - $90,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on canvas Forest Spires 36 x 28 inches 91.4 x 71.1 centimeters signed Literature:Margery Dallas, W.P. Weston, ARCA, CGP, BCSA, 1962, unpublished manuscript Kit Lort, "Weston's art is even better in context", Monday Magazine, March 14 - 20, 1980 W.P. Weston, Heffel Gallery Limited, 1991, a similar 1933 canvas entitled Unvanquished, in the collection of the Vancouver Art Gallery, reproduced page 16 Provenance:Acquired directly from the Artist By descent to the present Private Collection, Vancouver Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, May 2, 2002, lot 9 Private Collection, USA Exhibited:The Art Association of Montreal, 49th Spring Exhibition, March 17 - April 17, 1932, catalogue #323 W.P. Weston arrived in Canada from London at the age of 30. Already an experienced artist, and with a steady job established as an art teacher in Vancouver, he was soon exhibiting and involved with the developing art scene. An important educator who taught many school children and generations of their teachers, Weston wrote The Teacher's Manual of Drawing and Design and A Teacher's Manual of Drawing, both of which were adopted as textbooks. A strong supporter of the British Columbia Society of Fine Arts, he served on its executive for seven years and exhibited with the Society from 1909 to 1967. However, his greatest legacy was his personal vision of the powerful raw landscape of British Columbia. As Weston explored the natural landscape around Vancouver - he was a keen hiker and sailor - he very soon realized, as his contemporary Emily Carr had, that the landscape of British Columbia demanded a stronger, more vigorous approach. As he succinctly stated, "You couldn't paint Vancouver harbour to look like the mouth of the Thames." The vaporous misty effects and the pale palette of his British past were thrown over in favour of robust form, brilliant light and colour and panoramic views. From 1917 to 1926, Weston did field sketches, painted and experimented, and in the process, he stated, "I came a little closer to my own language of form and the expression of my own feeling for this coast region; its epic quality, its grandeur, its natural beauty." This epic quality was soon being expressed in paintings with a strong design sense and formality. One of Weston's important subjects was that of singular, powerful trees - at whatever point of their life cycle, whether dead shells, old and gnarled or at the height of vigour - such as the towering tree in Forest Spires. Similar to the 1933 canvas in the collection of the Vancouver Art Gallery entitled Unvanquished, it is a heroic figure, seen from below as it stretches up into the sky. The strong rhythm of motion created by the patterning of the branches, the carved lines of the bark and the rings of clouds in the sky, together with the unusual upward vantage create a sensation of being overwhelmed by the grandeur of the tree and sky. Such feeling for and devotion to the wilderness leads to comparisons with the work of the Group of Seven. Weston made it clear that he considered that he developed independently of the Group and claimed he had not seen their work until 1930. However, Frederick Varley had been in the Vancouver area since 1926, and it is hard to imagine that Weston was not aware of him. But a more direct influence came from Carr, who was both friend and advisor to Weston. He regularly visited her in the 1930s and was known to have asked her advice on occasion. Her presence can be noted in some of Weston's small panels of deep forest subjects, and in the dappled and high, arching skies in works such as this. But whatever influences may have been present, Weston pursued his commitment to his personal vision of the landscape. Weston created a body of work that had clarity, precision and power. He succeeded in his quest to depict the sometimes overwhelming grandeur of the West Coast. In Forest Spires, he embodied it in a single tree spiraling up into the heavens, capturing the wonder that we feel looking up into a mighty Douglas fir that may have already lived longer than our own life span, tossed and torn by the wind, but always enduring and growing.

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      Nov. 26, 2011

      William Percival (W.P.) Weston 1879 - 1967

      Est: $5,000 - $7,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board The New Squamish Highway 12 x 16 inches 30.5 x 40.6 centimeters signed and on verso signed, titled, dated 1949 and inscribed ""Mt. Roderick at back"" Provenance:Acquired directly from the Artist By descent to the present Private Collection, British Columbia

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      Nov. 26, 2011

      William Percival (W.P.) Weston 1879 - 1967

      Est: $10,000 - $12,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on canvas Springtime, Okanagan Lake 22 x 28 inches 55.9 x 71.1 centimeters signed and on verso signed, titled and dated 1956 Provenance:Private Collection, Vancouver Private Collection, Toronto

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      Aug. 25, 2011

      William Percival (W.P.) Weston 1879 - 1967

      Est: $4,000 - $6,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Springtime, Copper Cove 13 x 16 inches 33 x 40.6 centimeters signed and on verso signed, titled and dated 1951

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Springtime, Copper Cove
      May. 26, 2011

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Springtime, Copper Cove

      Est: $4,000 - $6,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on board Springtime, Copper Cove 13 x 16 inches 33 x 40.6 centimeters signed and on verso signed, titled and dated 1951

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      May. 17, 2011

      William Percival (W.P.) Weston 1879 - 1967

      Est: $20,000 - $25,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on canvas Old Fir, Victoria, BC 22 x 25 1/4 inches 55.9 x 64.1 centimeters signed and on verso signed and titled Literature:British Columbia Society of Artists, 47th Annual Exhibition, Vancouver Art Gallery, 1958, listed Letia Richardson, Silence and Solitude, The Art of W.P. Weston, Richmond Art Gallery, 1993, page 11, a similar 1936 canvas entitled Battle Scarred, in the collection of the University of Victoria, reproduced page 14 Provenance:Private Collection, Vancouver Exhibited:Vancouver Art Gallery, British Columbia Society of Artists, 47th Annual Exhibition, March 5 - 24, 1958, catalogue #107 W.P. Weston is one of the unique and independent artists, including Emily Carr and E.J. Hughes, who have shaped our perception of British Columbia's wilderness. Weston emigrated from England and settled in Vancouver in 1909, painting and teaching art. Exploring his surroundings, Weston soon realized he would have to put aside his early training at the Putney School of Art to create his own visual language of form appropriate to the epic grandeur of mountains, forest and coast that he saw. Trees were an important subject for Weston; whether venerable with age or radiant in full maturity, Weston portrayed them as powerful and individual. As he stated, "I like the trees that have had a struggle.....They're like people who have had to fight to live; they've developed character." In this vigorous painting, the fir, its trunk gnarled by time, stands stalwartly in the inner forest; at its roots lie branches dropped during storms, and ringed around it are the slender trunks of younger trees. It is a triumphant survivor, part of the perpetual evolution of life in the forest.

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      Nov. 27, 2010

      William Percival (W.P.) Weston 1879 - 1967

      Est: $600 - $800

      William Percival (W.P.) Weston 1879 - 1967 Canadian charcoal and pastel on paper Cheam 12 x 17 1/2 inches 30.5 x 44.4 centimeters signed, titled and dated April 30, 1932 Provenance:Heffel Gallery Limited, Vancouver Private Collection, Vancouver

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      Nov. 27, 2010

      William Percival (W.P.) Weston 1879 - 1967

      Est: $6,000 - $8,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on panel Big Chief Rock - Squamish, BC 13 x 15 7/8 inches 33 x 40.3 centimeters signed and dated 1954 and on verso signed, titled and dated Provenance:Private Collection, Vancouver

      Heffel
    • WILLIAM PERCIVAL WESTON (CANADIAN 1879-1967). PAIR OF COASTAL SCENES WITH FISHING FLEETS.
      Aug. 22, 2010

      WILLIAM PERCIVAL WESTON (CANADIAN 1879-1967). PAIR OF COASTAL SCENES WITH FISHING FLEETS.

      Est: -

      WILLIAM PERCIVAL WESTON (CANADIAN 1879-1967). PAIR OF COASTAL SCENES WITH FISHING FLEETS. Each oil on panel, 6 x 8 1/4 inches. Signed "W. Weston" l.r. the reverse with label for Heritage Gallery, Los Angeles, California.

      Bourgeault-Horan Antiquarians
    • William Percival (W.P.) Weston 1879 - 1967
      May. 29, 2010

      William Percival (W.P.) Weston 1879 - 1967

      Est: $2,000 - $3,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on canvas laid down on board Evening, Howe Sound 17 x 12 inches 43.2 x 30.5 centimeters signed and dated 1922 and on verso titled and inscribed ""'Mag' from the artist"" Provenance:Acquired directly from the Artist By descent to the present Private Collection, England

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      May. 26, 2010

      William Percival (W.P.) Weston 1879 - 1967

      Est: $15,000 - $20,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on canvas Keremeos, BC 27 x 32 inches 68.6 x 81.3 centimeters signed and on verso signed, titled and dated 1957 Provenance:Acquired directly from the Artist By descent to the present Private Collection, England

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      May. 26, 2010

      William Percival (W.P.) Weston 1879 - 1967

      Est: $60,000 - $80,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on canvas The Cliff Road 36 x 30 inches 91.4 x 76.2 centimeters signed and on verso signed and titled Literature:Ian M. Thom, W.P. Weston, Art Gallery of Greater Victoria, 1980, page 12, similar 1934 canvas entitled Whytecliffe reproduced, unpaginated, catalogue #20 Provenance:A gift from the Artist to Donald Cromie, Vancouver Private Collection, Vancouver By descent to the present Private Collection, Vancouver This transcendent view over rocky cliffs is a perspective from Whytecliffe in West Vancouver, overlooking Howe Sound. W.P. Weston traces wind and wave patterns in the turquoise ocean, contrasting their fluid rhythms against the stalwart rock formations. This composition is reminiscent of compositions such as Tom Thomson's The West Wind, where a wind-swept pine tree stands as a witness to the action of the elements. There is something heroic about the tree standing alone, having withstood the onslaught of nature, where others have not. Characteristic of Weston's best works, The Cliff Road has a clarity of atmosphere, a contemplative mood, brilliant colour and a dramatic composition. Weston's vision has contributed to our perception of the West Coast's wild landscape. Artists were often overwhelmed by its scale, but Weston was undaunted, revealing, "I painted some pretty wild things, but always I came a little closer to my own language of form and expression of my own feeling for this coast region; its epic quality, its grandeur, its natural beauty." Consequently, Weston painted some of our most iconic images of the West Coast.

      Heffel
    • William Percival Weston, ARCA, BCSA, CGP, RBA
      Apr. 13, 2010

      William Percival Weston, ARCA, BCSA, CGP, RBA

      Est: $8,000 - $10,000

      William Percival Weston, ARCA, BCSA, CGP, RBA Canadian (1879-1967) TIDE LINE oil on board signed and dated 1946 12 x 16 in. Warwick Gallery Ltd., Vancouver; From the Estate of Clarence Saba

      Maynards Fine Art & Antiques
    • "William Percival (W.P.) Weston 1879 - 1967
      Nov. 26, 2009

      "William Percival (W.P.) Weston 1879 - 1967

      Est: $20,000 - $30,000

      "William Percival (W.P.) Weston 1879 - 1967 Canadian oil on canvas Yale, BC" "36 1/4 x 40 1/2 inches 92.1 x 102.9 centimeters signed and on verso signed, titled and inscribed """"1419 Dogwood Ave., Vancouver, BC"""" Literature:Thirty-Second Annual Exhibition, British Columbia Society of Artists, Vancouver Art Gallery, 1942, listed, unpaginated Provenance:R. Arkell, for Kelly Douglas Co. Private Collection, Vancouver Exhibited:Vancouver Art Gallery, British Columbia Society of Artists, Thirty-Second Annual Exhibition, May 15 - 31, 1942, catalogue #55 Royal Canadian Academy, Toronto, 1942 Allied Officers Club, Vancouver, 1943 Vancouver Art Gallery, Exhibition by W.P. Weston, ARCA, November 12 - December 1, 1946, catalogue #28 W.P. Weston's career as an art educator in Vancouver afforded him the freedom to paint, and most importantly, the freedom to paint what he wanted. Weston was fascinated by British Columbia's mountains and rugged coastline, and his unique vision of this landscape is expressed n this powerful canvas in which primeval, towering mountains wreathed by cloud plunge into the water at the bottom of the Fraser Canyon. Weston gives the mountains a visceral muscularity in the sculpted shapes of their rocky flanks, and the inclusion of the farmhouse at the base gives a further sense of their grand scale. As opposed to Lawren Harris, who expressed geometric form and spiritual symbolism in his mountains, Weston sought to capture the specific, individual nature of his mountains rather than the abstract. He studied how the elements molded them, and was enthralled by the ephemeral changes in light sweeping across them. Until his retirement from teaching in 1946, Weston made weekly sketching trips to the environs of Vancouver and Victoria for the vital raw material for large canvases such as this dramatic work. Weston's reverent, heroic mountain paintings capture the unique nature of the Canadian landscape. "

      Heffel
    • William Percival (W.P.) Weston 1879 - 1967
      Nov. 26, 2009

      William Percival (W.P.) Weston 1879 - 1967

      Est: $50,000 - $70,000

      William Percival (W.P.) Weston 1879 - 1967 Canadian oil on canvas Desolation "44 x 36 inches 111.7 x 91.4 centimeters signed and dated 1933 and on verso signed in graphite on the canvas, titled and inscribed """"1045 West 16th, Vancouver, BC"""" Literature:Exhibition by W.P. Weston, Vancouver Art Gallery, 1946, listed page 1 Margery Dallas, W.P. Weston, 1952, an unpublished manuscript in the possession of the Weston family Ian M. Thom, W.P. Weston, The Art Gallery of Greater Victoria, 1980, listed pages 38, 39, 42 and 43 Ian M. Thom, W.P. Weston, Heffel Gallery Limited, 1991, page 8, reproduced page 20 Letia Richardson, Silence and Solitude: The Art of W.P. Weston, Richmond Art Gallery, 1993, reproduced page 20 Provenance:Private Collection, Vancouver Heffel Gallery Limited, Vancouver, 1990 Acquired from the above in 1991 by the present Private Collection, Vancouver Exhibited:Art Association of Montreal, Royal Canadian Academy, 54th Exhibition, November 16 - December 17, 1933, catalogue #236 ancouver Art Gallery, William P. Weston, One-man Show, September 21 - 30, 1934 British Columbia Society of Fine Arts, 24th Exhibition, 1934 Art Gallery of Toronto, Ontario Society of Artists, 63rd Exhibition, March 1935, catalogue #203 Victoria Summer School, 1938 Vancouver Art Gallery, Exhibition by W.P. Weston, November 12 - December 1, 1946, catalogue #6 Heffel Gallery Limited, W.P. Weston, 1991, catalogue #6 Richmond Art Gallery, Silence and Solitude: The Art of W.P. Weston, April 3 - May 17, 1993 W.P. Weston is one of the artists whose vision has defined our perception of British Columbia's wild landscape. After emigrating from England in 1909 and taking a position as an art teacher in Vancouver, Weston, an avid hiker and sailor, set out to explore his natural surroundings. He soon perceived that he had to discard his previous training at the Putney School of Art in London, in order to capture in his work the raw power that he saw there. He immersed himself in painting and drawing, revealing that "I p inted some pretty wild things, but always I came a little closer to my own language of form and the expression of my own feeling for this coast region; its epic quality, its grandeur, its natural beauty." Having found his vision, Weston proceeded to paint some of our most iconic images of West Coast mountains and forests. Painting in relative isolation in BC, Weston claimed not to have actually seen the work of the Group of Seven until 1930, although it is unlikely he would have been unaware of what they were doing. Certainly in this work one can see the influence of Lawren Harris's works such as The Old Stump, Lake Superior, 1926 and the National Gallery of Canada canvas North Shore, Lake Superior, 1926, acquired by the gallery in 1930, the same year that Weston said he first saw works by the Group. Harris was aware of Weston, having recommended the acquisition of Weston's painting Cheam by Hart House at the University of Toronto in 1933. A more direct influence, although it is not immediately obvious i his work, came from Emily Carr, who he regularly visited in the 1930s, as he spent 22 summers in Victoria, teaching at the Summer School for Teachers. Although Weston's style was more graphic, Ian Thom points out that, "her influence can be clearly seen in his canvases with dappled, high arching skies which act as unifying 'brackets' over the compositions." Weston's mature vision was characterized by clarity and precision, a kind of realism which brought out the uniqueness of the sites that he depicted and eliminated extraneous details to focus on the dominant elements, such as a magnificent mountain peak, a coastal view of ocean and mountains or a single, powerful tree. Trees were important subjects for Weston, and he captured their essence at various stages of their life cycles. He portrayed trees gnarled with age, towering Douglas firs in full maturity, sculpted driftwood or dead trees scorched by fire or lightning - all powerful in their various states. Desolation focuses on a group of trees swept over by fire, stripped down to the bones of their trunks and roots, on a forest floor of exposed earth. The central tree, still upright, and surrounded by the remains of other trees, stands like a sentinel against a background of mountains covered by the living forest. Weston focuses on the sculptural qualities of its form, with the molded creases of the trunk and strong roots still gripping the earth. The silver wood strongly contrasts to the black of the charred hollow core and the orange-brown of the exposed earth of the forest floor. What is communicated is not only an aesthetically stirring image, but the primeval force of nature and its will to survive, and that, no matter what happens, the forest will go on, evolving through the stages of birth, growth and death. Contributing to the power of the work is the pale green backlight of the sky and the molded clouds. Desolation is a magnificent work, not only visually striking, but full of the power of nature present in the British Columbia wilderness. uring his lifetime, Weston was recognized through his involvement with art societies and their exhibitions such as the British Columbia Society of Fine Arts, of which he was elected president in 1931, the Royal Canadian Academy and the Canadian Group of Painters. He was given retrospectives at the Vancouver Art Gallery in 1946 and 1959. In contemporary times, his work has become ever more sought after, as recognition of his extraordinary iconic vision of the West Coast has spread, and masterworks such as this become ever more rare. "

      Heffel
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