front cover/couverture avant:
67 After Swimming (detail)
serigraph on paper
25 × 15 in, 63.5 × 38.1 cm
5 Prospect (#162)
oil on board
12 × 16 in, 30.5 × 40.6 cm
ve R ni SSA ge
Samedi, 25 mars 2023
16 h – 18 h
Veuillez RSVP
expo S i T ion
25 mars au 25 avril 2023
Heffel Calgary
220 Manning Road NE , Unit 1080 sur rendez-vous
Tous les lots peuvent être vus en ligne au Heffel.com/gallery
Pour plus d’information et pour RSVP au vernissage, veuillez contacter :
calgary@heffel.com
403-238-6505
Veuillez noter que toutes les œuvres sont encadrées avec des passe-partout de qualité muséale.
La vente est effectuée conformément aux Modalités et conditions de vente aux enchères de la Maison Heffel, telles que publiées au Heffel.com.
opening R e C ep T ion
Saturday, March 25, 2023
4 – 6 PM
Please RSVP
e xhibi T ion
March 25 – April 25, 2023
Heffel Calgary
220 Manning Road NE , Unit 1080 by appointment
All works can be viewed online at Heffel.com/gallery
For more information and to RSVP for the Opening Reception please contact us:
calgary@heffel.com
403-238-6505
Please note: All works are framed with museum-quality archival framing.
The sale is conducted according to Heffel’s Terms and Conditions of Business as published on Heffel.com.
I N th E S umm ER of 1977, Vancouver’s Galerie Royale, located at 2247 Granville Street, the predecessor to Kenneth G. Heffel Fine Art Inc. (and Heffel Gallery Limited), hosted Alex Colville’s first major commercial gallery exhibition in Canada, in partnership with Colville’s international London, England dealer Fischer Fine Art Limited. This blockbuster exhibition included major paintings such as Dog on Bridge, 1978, In the Woods, 1976 and January, 1971.
In summer of 1978, Kenneth Heffel acquired Galerie Royale, and included with the gallery inventory were a number of the Colville pieces featured in the 1977 exhibition. These Colville works were the first that Heffel sold to admiring collectors, and they began Heffel’s love affair with Colville’s artistic genius.
A milestone in our Heffel career was our Colville selling exhibition in 1989, which featured: White Canoe, 1987, Woman on Diving Board, 1989 and Kiss with Honda, 1989. Alex and Rhoda Colville were present for the Saturday opening, and passionate collectors, Colville admirers and our Heffel team all felt like we were in the presence of royalty. Rhoda was one of Colville’s most important subjects, and it was heartwarming to see the depth of their love and respect for each other, and how essential they were to each other’s greatness.
In November 1995, Heffel expanded beyond our private art gallery business by launching into the fine art auction market. The star catalogue cover lot for our first ever Heffel auction, was Colville’s major self-portrait painting Dog and Groom.
An additional milestone in Heffel’s journey with Colville was the record-achieving auction sale of Dog on Bridge, 1976, through our digital saleroom on July 15, 2020. This work was the favorite highlight of admiring collectors and the media during this auction cycle, just as in 1977, when it was first exhibited in Galerie Royale.
In 2015, Heffel was a proud sponsor of the Art Gallery of Ontario’s Alex Colville retrospective exhibition, curated by Andrew Hunter. It was a spectacular opening exhibition event, highlighted by Heffel seeing so many of our “old friends” displayed on the museum walls.
For over 45 years, Heffel has been entrusted with offering important works by Colville to passionate collectors through both private and auction sales. Heffel takes pride in having found new homes for many Colville masterpieces over the years. The works in this sale provide great insight into the evolution of the artist and his meticulous practice during his celebrated career.
David Heffel—2023h EFFEL GALLERY LI m I t ED
Collector Bob Rennie with his daughter Stephanie, David Heffel and Alex Colville at Heffel’s Colville exhibition, Vancouver, 1989
Robert and David Heffel and Alex Colville with Colville’s 1988 acrylic French Cross, at Heffel’s fall 2008 live auction preview, Toronto
51 Heron (detail)
colour serigraph on board
13 × 34 in, 33 × 86.4 cm
t h IS E xt ENSIVE co LLE ct I o N of work by the much-acclaimed Alex Colville runs as deep as it does wide. The full sweep of his long and distinguished career can be seen here: his habitual themes, his favoured techniques, and perhaps most interestingly, we can also garner insight into his working methods, both conceptual and material. Revelations can be found in individual paintings, drawings and serigraphs. Taking the work as a whole, we can more fully appreciate the enduring appeal of this estimable artist.
Colville’s signature domestic and regional images are immediately recognizable because of their transparent, realist style and their familiar subject matter. He depicted what he knew best and cared about most: his wife Rhoda (seen in After Swimming here and in many studies for some of his best-known paintings, as with
Study for To Prince Edward Island), their pets and other animals (Study for Dog, Boy and St. John River, again in preparation for one of his best-known paintings), and his beloved adopted home environs around Wolfville, Nova Scotia, seen in two versions of Heron, for example, and in the many maritime images in this collection. Not only is his art approachable to a wide audience, but Colville also enjoyed an increasingly high public profile from the 1950s until his death in 2013. His work has been widely collected by public institutions. It was frequently seen in major exhibitions across Canada, including a complete survey initiated by the Art Gallery of Ontario in 1983 that travelled in Canada and to Germany, a celebratory exhibit at the National Gallery of Canada in 2000 to mark his 80th birthday, and in a posthumous retrospective at the Art Gallery of Ontario in 2014, which included over 100 works. While much of Colville’s work is known from his many exhibitions, books about him, and its frequent appearance on book covers and in other popular media, there is always something new to notice. As this collection attests, Colville was both consistent in his interests and quietly innovative. Put another way, while many in Canada know Colville’s work well, it can still surprise us.
Colville evolved a confident representational style by the 1950s; his consistency adds to the appeal of his work for many people. In this collection, however, the early works show
him experimenting, seeking his “voice.” The series of small oils painted in 1939 at Peggy’s Cove in Nova Scotia, for example, are boldly gestural and even reminiscent of the evolution of the Group of Seven’s style in the 1930s, as is Quarry, Sackville from circa 1941. Always pragmatic and always supporting himself and his large family through his art and teaching, we also see examples of Colville’s foray into the graphic arts of advertising. His early work is rarely seen, yet one important connection between the youthful and mature Colville also appears here through the studies he made for the 1967 Centennial coins. Much appreciated at the time and now collected, this set of exquisitely simple animal portraits showed Colville the entrepreneur at his best.
Colville’s work as a war artist in World War II was pivotal to his sense of the importance of the everyday realities he felt around him. We can view strong reminders of that experience in the drawing Aeroplane and the serigraph Wounded Soldier. Both thematically and in its pathos, Study for Soldier and Girl at Station suggests that his war experience remained with Colville, perhaps tilting his selection of themes and his controlled style towards the peaceful, domestic and quotidian for the rest of his life.
That Colville was a laudably thoughtful man and artist is evident here, both in the themes he chose—human intimacy in Study for Sleeper; the independent yet often domesticated working lives of animals in Blind Man, Dog and Bridge (a study for one of Colville’s finest paintings), or, again, the drudgery of war—and his careful working methods. One of several examples here allows us to see not so much a progression from a drawn study to a painting or serigraph, but more the integral relationships between what we might generally call the “states” of Colville’s thinking. Study for Church & Horse, 1963, displays Colville’s forceful use of strict geometries in his compositions. Here the formal, linear spatial relationships of the image are what we see first. The memorable relationship between animal and architecture in the final painting of the same title is only background in this study. That Colville was rigorous but not rigid in such planning, however, is evident in the free figure drawing in Study for Berlin Bus of 1971.
In his earlier career, Colville neither exhibited nor sold his drawings. Given their individual interest and foundational role in understanding his work, we are fortunate that he changed his mind. For example, take the studies for Racer presented here. Racer is an exemplary work from the mid-1950s, an instance of Colville’s Magic Realism. This approach focuses our attention on events or objects with such undivided intensity that they seem at once heightened in their reality and unreal. As we see in these studies of heads, Racer isolates the driver and the cockpit of his car. In the painting, as here, Colville eschews all background details and any distracting narrative. We see an individual man and a specific occupation with unwavering exactness. Always a thinker himself, Colville portrays a pensive race driver, caught in the double portrait (A c 02504) in a relatively relaxed yet anticipatory moment. He looks ahead, not at us as we observe him. He is not driving, but perhaps preparing to take the wheel. Hands on a towel—which, in its complex folds and textures, contrasts with the smooth surfaces of the car in the final painting—he is caught in a spontaneous yet carefully observed moment.
11 3/8 × 14 3/8 in, 28.9 × 36.5 cm
We know more than usual about this painting’s inception and evolution through a letter Colville wrote in 1978 to one of its owners, Bob Dengler. Always candid, Colville writes that the work arose from his reading about car racing, an interest he maintained. He tells Dengler that he recently saw the film Bobby Deerfield (1977), a film about an American race car driver based on 1961 novel Heaven Has No Favorites by Erich Maria Remarque. We also learn that the driver’s face is in part based on a photograph of Colville’s father-in-law as a young man. Typically, Colville has combined a general interest—car racing—with a personal element. This amalgamation of perspectives allows him to be particularly observant, an artist who thinks, makes, and ultimately invites us to reflect on what he presents.
We thank Mark A. Cheetham, author of Alex Colville: The Observer Observed and Professor of Art History at the University of Toronto, for contributing the above essay.
44 Blind Man, Dog and Bridge (AC 00577) pencil, ink and wash on paperPC CC 1920 – 2013
Seascape (#179)
oil on board, on verso titled and inscribed #179
12 × 15 3/4 in, 30.5 × 40 cm
1 Alexander Colville
PC CC 1920 – 2013
Seascape (#149)
oil on board, on verso titled and inscribed #149 and 2 12 × 15 7/8 in, 30.5 × 40.3 cm
2 Alexander Colville
PC CC 1920 – 2013
Peggy’s Cove (#185)
oil on board, on verso titled and inscribed #185
12 × 15 7/8 in, 30.5 × 40.3 cm
3 Alexander Colville
4 Alexander Colville
PC CC 1920 – 2013
Peggy’s Cove (#123)
oil on board, on verso titled and inscribed #123 12 × 16 in, 30.5 × 40.6 cm
PC CC 1920 – 2013
Prospect (#162)
oil on board, signed and dated 1939 and on verso titled and inscribed #162 12 × 16 in, 30.5 × 40.6 cm
5 Alexander Colville
Peggy’s Cove (#173)
oil on board, on verso titled and inscribed #173 12 × 16 in, 30.5 × 40.6 cm
7 Alexander Colville
PC CC 1920 – 2013
Seascape (#170)
oil on board, on verso titled and inscribed #170 12 × 16 in, 30.5 × 40.6 cm
Seascape (#156)
oil on board, on verso titled and inscribed #156 11 3/4 × 15 7/8 in, 29.8 × 40.3 cm
9 Alexander Colville
PC CC 1920 – 2013
Peggy’s Cove (#164)
oil on board, on verso titled and inscribed #164
11 7/8 × 15 7/8 in, 30.2 × 40.3 cm
11 Alexander Colville
PC CC 1920 – 2013
Quarry, Sackville (#56)
oil on board, on verso titled and inscribed #56 , circa 1941 20 × 23 7/8 in, 50.8 × 60.6 cm
Fields (#148)
oil on board, on verso titled and inscribed #148
12 × 16 in, 30.5 × 40.6 cm
13 Alexander Colville
PC CC 1920 – 2013
Study for Professor of Romance
Languages (AC 00640)
ink on paper, dated 5 Sep. 1973 and on verso inscribed AC 00640 9 × 12 in, 22.9 × 30.5 cm
14 Alexander Colville
PC CC 1920 – 2013
Sackville (AC 00680)
graphite on paper, dated 27 Jan. 1967 and on verso inscribed AC 00680
8 7/8 × 11 7/8 in, 22.5 × 30.2 cm
15 Alexander Colville
PC CC 1920 – 2013
Rooftops (AC 02208)
graphite on paper, signed and inscribed 16 and on verso inscribed AC 02208 9 × 11 7/8 in, 22.9 × 30.2 cm
16 Alexander Colville
PC CC 1920 – 2013
Study for Racer (AC 02440)
graphite on paper, dated 6 Jan. 1954 and on verso inscribed AC 02440 and COL-1131
7 × 9 7/8 in, 17.8 × 25.1 cm
17
PC CC 1920 – 2013
Study for Racer (AC 02504)
ink and graphite on paper, dated 5 Jan. 1954 and on verso inscribed AC 02504 and COL-1130
7 × 10 in, 17.8 × 25.4 cm
18
PC CC 1920 – 2013
Car (AC 00971)
ink on paper. dated 11 Feb. 1965 and on verso inscribed AC 00971
8 × 10 in, 20.3 × 25.4 cm
Alexander Colville Alexander Colville19 Alexander Colville
PC CC 1920 – 2013
Design for Rolex 1 (AC 01082)
ink on paper, on verso inscribed AC 01082 , circa 1941
13 5/8 × 10 5/8 in, 34.6 × 27 cm
PC CC 1920 – 2013
Design for Champion Spark Plugs (AC 01085) ink and gouache on paper, on verso inscribed AC 01085 , circa 1941
13 5/8 × 10 1/2 in, 34.6 × 26.7 cm
20 Alexander Colville
21 Alexander Colville
PC CC 1920 – 2013
Car (AC 02222)
ink on paper, signed and on verso
inscribed AC 02222
8 1/8 × 14 in, 20.6 × 35.6 cm
Locomotive (AC 00208)
linocut on paper, signed in the plate and on verso inscribed AC 00208 , circa 1940
8 1/4 × 10 3/8 in, 21 × 26.4 cm
PC CC 1920 – 2013
Study for Governor General’s Medal (AC 00616)
ink and graphite on paper, dated 29 Nov. 1974 and on verso
inscribed AC 00616
11 7/8 × 8 7/8 in, 30.2 × 22.5 cm
PC CC 1920 – 2013
Study for Governor General’s Medal—Profile (AC 00617)
ink and graphite on tracing paper, dated 31 Jan. 1975 and on verso
inscribed AC 00617
14 × 11 in, 35.6 × 27.9 cm
PC CC 1920 – 2013
Study for Governor General’s Medal (AC 00623)
graphite on paper, dated 23 Nov. 1974 and on verso inscribed AC 00623
12 × 8 7/8 in, 30.5 × 22.5 cm
24 Alexander Colville
23 Alexander Colville
25 Alexander Colville
PC CC 1920 – 2013
Study for Governor General’s Medal (AC 00624)
ink and graphite on paper, dated 23 Nov. 1974 and on verso inscribed AC 00624
12 × 8 7/8 in, 30.5 × 22.5 cm
PC CC 1920 – 2013
Study for Governor General’s Medal (AC 00627)
ink and graphite on paper, dated 23 Nov. 1974 and on verso inscribed AC 00627
12 × 8 7/8 in, 30.5 × 22.5 cm
PC CC 1920 – 2013
Study for Governor General’s Medal (AC 00614)
graphite on paper, dated 25 Jan. 1975 and on verso inscribed AC 00614
12 × 8 7/8 in, 30.5 × 22.5 cm
26 Alexander Colville
27 Alexander Colville
28 Alexander Colville
29
Alexander Colville
PC CC 1920 – 2013
Snowplow
colour serigraph on board, signed, dated 1967 and inscribed SPOIL PRINT
24 × 32 in, 61 × 81.3 cm
30
Alexander Colville
PC CC 1920 – 2013
Snowplow
colour serigraph on board, signed, inscribed spoil 1st colour, 2nd colour, 5th colour too dark and SPOIL PRINT and on verso inscribed this is a SPOIL print, 1967 24 × 32 in, 61 × 81.3 cm
PC CC 1920 – 2013
Boat (AC 01055)
graphite and watercolour on paper, signed and dated August 9, 1940 and on verso inscribed AC 01055
14 7/8 × 11 in, 37.8 × 27.9 cm
32
Alexander Colville
PC CC 1920 – 2013
Boats from Stern (AC 01059)
graphite on paper, signed and dated July 8, 1940 and on verso inscribed AC 01059
14 7/8 × 11 in, 37.8 × 27.9 cm
PC CC 1920 – 2013
Boat (AC 01058)
graphite on paper, signed and dated 1940 and on verso inscribed AC 01058
11 × 14 7/8 in, 27.9 × 37.8 cm
PC CC 1920 – 2013
Study for To Prince Edward Island (AC 00598) graphite on paper, dated 24 Jun. 1965 and on verso inscribed AC 00598 8 × 10 in, 20.3 × 25.4 cm
PC CC 1920 – 2013
Study for To Prince Edward Island (AC 00913)
ink and graphite on paper, dated 24 Jun. 1965 and on verso
inscribed AC 00913 on the label
10 5/8 × 13 1/2 in, 27 × 34.3 cm
PC CC 1920 – 2013
Study for To Prince Edward Island (AC 00914)
ink and crayon on paper, dated 22 Jun. 1965 and on verso
inscribed AC 00914 on the label
10 5/8 × 13 5/8 in, 27 × 34.6 cm
PC CC 1920 – 2013
Study for To Prince Edward Island (AC 00602)
ink on paper, dated 23 Jun. 1965 and inscribed eye level 48" and on verso inscribed AC 00602
5 × 7 in, 12.7 × 17.8 cm
37 Alexander Colville
35 Alexander Colville
36 Alexander Colville
38
PC CC 1920 – 2013
Lighthouse (AC 00203)
graphite on paper, on verso inscribed AC 00203 , 1947
12 × 9 in, 30.5 × 22.9 cm
39
PC CC 1920 – 2013
Study for River Thames XI (AC 00259)
ink on paper, signed and dated 31 Oct. 1974 and on verso inscribed
AC 00259
12 × 9 in, 30.5 × 22.9 cm
PC CC 1920 – 2013
Study for River Thames VIII (AC 00256)
ink on paper, signed and dated 6 Mar. 1974 and on verso inscribed AC 00256 8 1/4 × 5 1/4 in, 21 × 13.3 cm
Alexander Colville
Alexander Colville
40 Alexander Colville
PC CC 1920 – 2013
Sleeping Cat (AC 00968)
ink and wash on paper, on verso
inscribed AC 00968 , circa 1950
11 × 14 7/8 in, 27.9 × 37.8 cm
42 Alexander Colville
PC CC 1920 – 2013
Study for Two Pacers (AC 00418) ink on paper, dated 1 13 to 20, 1951 and inscribed sized with rabbit skin glue and on verso inscribed AC 00418 10 1/2 × 14 3/8 in, 26.7 × 36.5 cm
PC CC 1920 – 2013
Study for Morning (AC 00945)
ink and watercolour on paper, signed and dated 24 Aug. 1970 and on verso inscribed AC 00945 on the label 8 7/8 × 11 3/4 in, 22.5 × 29.8 cm
Blind Man, Dog and Bridge (AC 00577) pencil, ink and wash on paper, dated 19 Jan. 1968 / 2 Feb. 1968 /
PC CC 1920 – 2013
Sleeping Cat (AC 00970)
ink, graphite and watercolour on paper, on verso inscribed AC 00970 , circa 1950 11 × 14 7/8 in, 27.9 × 37.8 cm
PC CC 1920 – 2013
Study for Two Pacers (AC 00537) ink and graphite on paper, dated 1 Mar. 1951 and inscribed from photo and on verso inscribed AC 00537 8 3/8 × 10 7/8 in, 21.3 × 27.6 cm
PC CC 1920 – 2013
Study for Two Pacers (AC 00006) graphite on paper, signed and dated 1951 and on verso inscribed AC 00006 12 × 16 in, 30.5 × 40.6 cm
45 Alexander Colville
46 Alexander Colville
47 Alexander Colville
48 Alexander Colville
PC CC 1920 – 2013
Study for Two Pacers (AC 00534) ink on paper, dated 19 Feb. 1951 and on verso inscribed AC 00534
8 3/8 × 10 7/8 in, 21.3 × 27.6 cm
49 Alexander Colville
PC CC 1920 – 2013
Study for Horse and Train (AC 00472)
graphite and ink on paper, on verso inscribed AC 00472 , 1954
11 × 14 7/8 in, 27.9 × 37.8 cm
50 Alexander Colville
PC CC 1920 – 2013
Study for Horse and Train (AC 00465)
graphite on paper, on verso inscribed AC 00465 , 1954
7 × 6 1/4 in, 17.8 × 15.9 cm
PC CC 1920 – 2013
Heron
colour serigraph on board, signed, dated 1977 and inscribed blurring on 2nd colour—r + l borders and slightly imperfect artist’s proof—blurring on right and left borders and on verso inscribed P 1
13 × 34 in, 33 × 86.4 cm
52
Alexander Colville
PC CC 1920 – 2013
Ravens at the Dump colour serigraph on paper, on verso inscribed P 1 , 1965 12 × 27 in, 30.5 × 68.6 cm
PC CC 1920 – 2013
Skippy (AC 02341)
graphite on paper, signed and inscribed 16 and on verso inscribed AC 02341
5 × 8 in, 12.7 × 20.3 cm
PC CC 1920 – 2013
Border Collie
serigraph on paper, inscribed back printed and on verso inscribed P 5, 1972
5 × 5 in, 12.7 × 12.7 cm
PC CC 1920 – 2013
Cat on Pole (AC 00404)
ink and conte crayon on card, dated 22 Apr. 1976 and on verso inscribed AC 00404
15 3/4 × 8 1/8 in, 40 × 20.6 cm
55 Alexander Colville
53 Alexander Colville
54 Alexander Colville
PC CC 1920 – 2013
Study for 25 Cent Coin (AC 01104)
graphite on mylar, dated 19 Nov. 1965 and on verso inscribed AC 01104
6 1/2 × 7 1/2 in, 16.5 × 19.1 cm
PC CC 1920 – 2013
Border Collie
serigraph on paper, inscribed back printed and on verso inscribed P 9, 1972
5 × 5 in, 12.7 × 12.7 cm
PC CC 1920 – 2013
Cat on Pole (AC 02522)
watercolour and conte on paper, dated 22 Apr. 1976 and on verso inscribed AC 02522 and COL-591
12 × 8 1/4 in, 30.5 × 21 cm
58 Alexander Colville
56 Alexander Colville
57 Alexander Colville
PC CC 1920 – 2013
Study for Border Collie (AC 00291)
ink on paper, dated 27 Sep. 1972 and on verso inscribed AC 00291
5 × 9 7/8 in, 12.7 × 25.1 cm
PC CC 1920 – 2013
Dinah’s Head (AC 00230)
graphite on paper, signed and dated 5 May 1978 and on verso
inscribed AC 00230
7 × 9 in, 17.8 × 22.9 cm
PC CC 1920 – 2013
Study for Heron (AC 00585)
ink and graphite on paper, dated 24 Oct. 1975 and on verso
inscribed AC 00585
12 × 9 in, 30.5 × 22.9 cm
PC CC 1920 – 2013
Study for Running Dog (AC 02533)
graphite and acrylic on paper, dated 5 Nov. 1968 and on verso
inscribed AC 02533 and COL-793
12 1/8 × 18 1/8 in, 30.8 × 46 cm
PC CC 1920 – 2013
Study for Church and Horse (AC 02529)
ink on paper, dated 2 Jan. 1964 and on verso inscribed AC 02529 and COL-680 10 3/4 × 13 1/2 in, 27.3 × 34.3 cm
PC CC 1920 – 2013
Study for Church and Horse (AC 02148)
ink on paper, dated 30 Dec. 1963 and on verso inscribed AC 02148
13 1/2 × 10 3/4 in, 34.3 × 27.3 cm
62 Alexander Colville 64 Alexander Colville 63 Alexander ColvillePC CC 1920 – 2013
Dog with Bone
colour serigraph on board, signed, dated 1961 and inscribed spoil print and on verso inscribed P 1 30 × 21 1/8 in, 76.2 × 53.7 cm
66 Alexander Colville
PC CC 1920 – 2013
Border Collie serigraph on paper, inscribed black to light and on verso inscribed P 1 , 1972 5 × 5 in, 12.7 × 12.7 cm
67 Alexander Colville
PC CC 1920 – 2013
After Swimming
serigraph on paper, inscribed 2nd printing dark grey O R and on verso inscribed P 1 , 1955 25 × 15 in, 63.5 × 38.1 cm
68 Alexander Colville
PC CC 1920 – 2013
Boat and Marker
colour serigraph on board, on verso inscribed P 1 , 1964 20 × 19 5/8 in, 50.8 × 49.8 cm
PC CC 1920 – 2013
Study for Ballad of the Foxhunter (AC 00377)
pencil, ink and casein tempera on card, dated 29 Jan. 1959 and on verso
inscribed AC 00377
15 × 20 in, 38.1 × 50.8 cm
PC CC 1920 – 2013
Study for Ballad of the Foxhunter (AC 00379)
crayon, ink and wash on paper, dated 31 Jan. 1959 and on verso
inscribed AC 00379
15 × 10 7/8 in, 38.1 × 27.6 cm
PC CC 1920 – 2013
Study for Ballad of the Foxhunter I (AC 00373)
ink, graphite and watercolour on paper, dated 5 Feb. / 10 Feb . / 12 Feb. 1959 / 5 Feb. 1959 and on verso inscribed AC 00373
15 × 9 3/4 in, 38.1 × 24.8 cm
69 Alexander Colville
70 Alexander Colville
71 Alexander Colville
PC CC 1920 – 2013
Study for Berlin Bus (AC 00106) ink, watercolour and conte crayon on paper, dated 10-12-1971 twice and initialed and on verso inscribed AC 00106 9 × 12 in, 22.9 × 30.5 cm
PC CC 1920 – 2013
Aeroplane (AC 00198)
ink, graphite and crayon on paper, signed and dated 28 Sep. 1948 and on verso inscribed AC 00198
12 × 17 3/8 in, 30.5 × 44.1 cm
PC CC 1920 – 2013
Study for August (AC 00703)
ink and conte crayon on paper, dated 8 Jul. 1974 and 9 Jul. and on verso inscribed AC 00703
11 7/8 × 8 7/8 in, 30.2 × 22.5 cm
72 Alexander Colville
73 Alexander Colville
74 Alexander Colville
PC CC 1920 – 2013
Wounded Soldier
colour serigraph on paper, inscribed 3 and on verso inscribed P 1 , circa 1950
19 × 25 in, 48.3 × 63.5 cm
75 Alexander Colville
76 Alexander Colville
PC CC 1920 – 2013
Wounded Soldier
colour serigraph on paper, inscribed 9 and on verso inscribed P 5, circa 1950
19 × 25 in, 48.3 × 63.5 cm
77
PC CC 1920 – 2013
Study for Dog, Boy and St. John River (AC 02455) ink on paper, dated 6 Dec. 1958 and on verso inscribed AC 02455 and COL-945
8 1/2 × 6 in, 21.6 × 15.2 cm
78
PC CC 1920 – 2013
Study for Soldier and Girl at Station (AC 00530)
graphite on paper, dated 29 May 1953 and on verso inscribed AC 00530
10 × 7 3/4 in, 25.4 × 19.7 cm
79
PC CC 1920 – 2013
Study for Soldier and Girl at Station (AC 02505)
graphite on paper, dated 18 Jun. 1953 and on verso inscribed AC 02505 and COL-1147
10 × 7 in, 25.4 × 17.8 cm
Alexander Colville Alexander Colville Alexander ColvillePC CC 1920 – 2013
Study for Soldier and Girl at Station (AC 02517)
ink on paper, on verso inscribed AC 02517 and COL-1148 , 1953
7 × 10 in, 17.8 × 25.4 cm
PC CC 1920 – 2013
Study for Soldier and Girl at Station (AC 02518)
graphite on paper, dated 11 Jun. 1953 and on verso inscribed AC 02518 and COL-1149
10 × 7 in, 25.4 × 17.8 cm
PC CC 1920 – 2013
Study for Soldier and Girl at Station (AC 02515)
graphite on paper, dated 22 Jun. 1953 and on verso inscribed AC 02515 and COL-1155
9 7/8 × 7 in, 25.1 × 17.8 cm
80 Alexander Colville
81 Alexander Colville
82 Alexander Colville
PC CC 1920 – 2013
Three Nudes on Beach (AC 00426) ink, graphite, chalk and tempera on paper, on verso inscribed AC 00426 , circa 1950 12 7/8 × 16 in, 32.7 × 40.6 cm
Study for June Noon (AC 01014)
ink and graphite on paper, dated 29 May 1963 and on verso inscribed AC 01014 10 3/4 ×
PC CC 1920 – 2013
Study for June Noon (AC 00167)
ink, graphite and watercolour on paper, signed and dated 3 Jun. 1963 twice and on verso inscribed AC 00167
9 × 12 in, 22.9 × 30.5 cm
PC CC 1920 – 2013
Study for Three Girls on Wharf (AC 00391)
graphite on paper, signed and dated 15 Aug. 1953 and on verso
inscribed AC 00391
9 7/8 × 7 in, 25.1 × 17.8 cm
PC CC 1920 – 2013
Study for June Noon, Figure (AC 00171)
ink on tracing paper, signed and dated 6 Jun. 1963 and on verso
inscribed AC 00171
11 3/4 × 5 1/4 in, 29.8 × 13.3 cm
87 Alexander Colville 85 Alexander Colville 86 Alexander Colville88 Alexander Colville
PC CC 1920 – 2013
Study for Woman in Bathtub (AC 00997)
ink, graphite and crayon on paper, dated 28 Feb. 1973 and on verso
inscribed AC 00997
12 3/8 × 17 3/8 in, 31.4 × 44.1 cm
89 Alexander Colville
PC CC 1920 – 2013
Study for Nudes on Shore (AC 00482)
graphite on paper, on verso
inscribed AC 00482 , 1950
14 7/8 × 10 7/8 in, 37.8 × 27.6 cm
90 Alexander Colville
PC CC 1920 – 2013
Four Nudes (AC 00967)
pencil, ink and watercolour on paper, dated 16 Jan. 1950 and on verso
inscribed AC 00967
14 7/8 × 11 in, 37.8 × 27.9 cm
91 Alexander Colville
PC CC 1920 – 2013
Woman with Brassiere
serigraph on paper, on verso inscribed P 1 , 1958 16 7/8 × 14 7/8 in, 42.9 × 37.8 cm
92 Alexander Colville
PC CC 1920 – 2013
Woman with Brassiere
serigraph on paper, on verso inscribed P 5, 1958 16 7/8 × 14 7/8 in, 42.9 × 37.8 cm
93 Alexander Colville
PC CC 1920 – 2013
Two Nudes (AC 00414)
ink and graphite on paper, on verso inscribed AC 00414 , circa 1950
9 × 17 3/4 in, 22.9 × 45.1 cm
94 Alexander Colville
PC CC 1920 – 2013
Study for Sleeper (AC 00636) ink on paper, dated 9 Apr. 1975 and on verso inscribed AC 00636 12 × 9 in, 30.5 × 22.9 cm
95 Alexander Colville
PC CC 1920 – 2013
His Mother Sleeping (AC 02225)
graphite on paper, signed and dated 1938 and on verso inscribed AC 02225 17 1/8 × 11 1/4 in, 43.5 × 28.6 cm
PC CC 1920 – 2013
Sleeper colour serigraph on board, inscribed misprint on first colour—fill in and on verso inscribed P 1 , 1975 17 × 21 in, 43.2 × 53.3 cm
96 Alexander Colville
97
PC CC 1920 – 2013
Self Portrait (AC 00988)
charcoal and chalk on paper, signed and dated Oct. 1940 and on verso inscribed AC 00988
19 × 12 3/4 in, 48.3 × 32.4 cm
98
PC CC 1920 – 2013
Self Portrait (AC 00984)
ink, graphite and gouache on paper, signed, dated 1941 and inscribed indistinctly and on verso inscribed AC 00984
18 × 12 in, 45.7 × 30.5 cm
PC CC 1920 – 2013
Self Portrait Painting (AC 01069)
graphite on paper, signed and dated 23 Jan. 1939 and on verso inscribed AC 01069
19 1/4 × 12 in, 48.9 × 30.5 cm
Alexander Colville
Alexander Colville
99 Alexander Colville
100 Alexander Colville
PC CC 1920 – 2013
Study for Woman, Man and Boat (AC 00518)
ink on paper, dated 17 Oct. 1952 and on verso inscribed AC 00518 7 × 10 in, 17.8 × 25.4 cm
101 Alexander Colville
PC CC 1920 – 2013
Study for Family in Rainstorm (AC 00420)
graphite on paper, on verso inscribed AC 00420, 1955 12 1/2 × 16 in, 31.8 × 40.6 cm
102 Alexander Colville
PC CC 1920 – 2013
Study for Family in Rainstorm (AC 00516)
ink on paper, dated 10 Aug. 1955 and on verso inscribed AC 00516 10 × 7 in, 25.4 × 17.8 cm
Alex Colville (from the Portrait Project)
gelatin silver print, on verso signed, titled, editioned 3/13 and inscribed Wolfville, N.S. - Sept. 1990
16 × 20 in, 40.6 × 50.8 cm
20 Design for Champion
Spark Plugs (AC 01085)
ink and gouache on paper
13 5/8 × 10 1/2 in, 34.6 × 26.7 cm
Alexander Colville
PC CC 1920 – 2013
June Noon
acrylic polymer emulsion, 1963
30 × 30 in, 76.2 × 76.2 cm
e xhibi T ed
La Biennale di Venezia, XXXIII Esposizione Biennale Internazionale d’Art, 1966, catalogue #473
Art Gallery of Ontario, Toronto, Alex Colville: A Retrospective, July 22 –September 28, 1983, traveling in 1983 – 1984 to Museum Ludwig, Cologne; Dalhousie Art Gallery, Halifax; Staatliche Kunsthalle, Berlin; Montreal Museum of Fine Arts; and Vancouver Art Gallery, catalogue #27 (June Noon was exhibited in Toronto, Berlin and Cologne per the exhibition label on verso)
e ST i MAT e : $ 1,500,000 – 2,500,000
To be offered in Heffel’s upcoming Spring 2023 live auction
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ISbN: 978-1-927031-59-9
Printed in Canada
Please note: All works are framed with museum-quality archival framing. Date of publication: February 7, 2023. Prices are subject to change.