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Lot 25: Peter Maxwell Ewart, Canadian (1918-2001), Vancouver from Little Mountain, oil on board, 12 x 16 in. (30.5 x 40.6 cm.) at Maynards, June 24, 2026
This looks like a much earlier version of his Expo86 triptych. More Ewart in this saleâŠ
Bid now on Invaluable: Peter Maxwell Ewart, Canadian (1918-2001), Vancouver from Little Mountain, oil on board, 12 x 16 in. (30.5 x 40.6 cm.
A pair of works 50 years apart, from the 4thmeridian May Fine Art & Collectibles Auction, closing 6:00PM on Sunday, May 31, 2026.
Marion Aird Morham Grigsby, Vancouver B.C. C.P.R. Depot Waiting Hall, 1936.
Graphite Drawing, signed M.A. Morham, dated 1936 and titled in pencil. Frame 14 Âœâ x 11 Âœâ, Image 9 ÂŒâ x 7 ÂŒâ.
Ronaldo Norden, Untitled, The Sails at Coal Harbour
Intaglio print. Numbered 83/100 signed, dated 86 and with artist's chop. Unframed in mat. Mat size 10" x 10 3/4".
4th Meridian Auctions is a platform for auctioning and buying artifacts.
Seabus crossing, an original watercolour painting, 21âx29â, by Michael OâToole.
From his website:
MICHAEL OâTOOLE, S.F.C.A. (1963 â 2018) was a born and bred British Columbia. He studied architectural design at British Columbia Institute of Technology, then worked with firms in that field. In 1991, he won a prize for âBest Home Design.â Later, painting became Michaelâs all-consuming passion. As an artist he painted mainly impressionistic acrylics with landscape, seascape and architecture as his chief subjects. Michael sadly passed away in December of 2018 after an overdose of opioids.
Back in 2018, I received from a friend this art print by Louis Crout, one of the early pioneers of Malaspina Printers. Itâs a large print on 22x30 watercolour paper, I think dated around the late 70s, possibly a bit faded, Iâm not sure. Itâs an edition of 50, this is # 17, and itâs called Beautiful City (1), three views of Vancouver. I wondered if he did a triptych, so I asked him be email. He wrote:
It was one of three screen prints in the series. The first I have no copy or image of; the second and third I have slides of only and will be happy to send you a copy of the slide, hopefully in the next days. (I believe the Burnaby Art Gallery has a copy but not sure)
These three views were quite popular at the time they were made in the late 70âs and sold quite well. At the time I was also working a lot with still life formats, and as you can see from this view, was quite inspired by Japanese art.
I moved to Toronto about 1980 and worked for a while at the Open Studio here. Although I can only consider myself a part-time artist Iâve continued with an interest in printmaking, mostly in the medium of Japanese Woodblock printing. After Open Studio, Iâve done no more screen printing and this technique, with the toxic materials and solvents of the time, is now almost gone as an artists medium in Canada I think.
Recently Iâve completed a woodblock series depicting hockey fights and currently, in the absence of those beautiful Vancouver views, Iâm working with images of boats and birds on water.
I still have a lot to learn in this woodblock technique.
We visited Vancouver a couple of years ago in March/April and had a beautiful walk through the blossoming Cherry trees on a street in East Vancouver - with Mount Baker visible in the distance.
He wrote a followup not long after:
Itâs interesting to see how the colours of your Vancouver print held up. It must have been well taken care of.
I used a clear ink base and powdered artists pigments to make the transparent colours for all of my prints so that might have helped as well.
For sure you must know Vancouver better than I remember it. Itâs a while but I lived a couple of blocks west of Commercial Drive in the 70âs. Canât remember the street.
At least the two views youâve seen were views from 2 of the windows in that location. I lived in three or four locations while in Vancouver. My family home was in South Vancouver (long gone).
Unfortunately I have no prints from my time in Vancouver, though I do have some of the original drawings. A brother in BC has some of the Vancouver prints.
I had a very good relationship with a Gallery on 4th or Broadway (name forgotten!). The owner of that gallery bought a large number of the edition of which you have a copy and made me feel quite successful at the time. I sold quite a few prints through the Equinox Gallery as well.
I met a fellow student at the then, Vancouver School of Art. She and two instructors from the school were the founding members of Malaspina. I might have been one of the first few members to join after them and the initial studio was at the Burnaby Arts Centre. We lost that space after a few years and moved to a location on Pender Street near Victory Square. After I left Vancouver, Malaspina moved again to itâs current location on Granville Island.
It was a pretty important time and was a great opportunity for me and Iâm still in touch with a couple of people from that era.
We all did a lot of work getting those workshops set-up and operating. My claim to fame was doing the outside signs for both of the first two locations!
Itâs fascinating to think that Paul Goranson lived until 2002. At first glance, I assumed the Coal Harbour print was a woodblock rather than a lino-cut. Very skilful and inspiring! EJ Hughes has long been a favourite as well.
For no good reason, this post remained as a draft...for YEARS! I think I was intending to save it for Cherry Blossom season, now that the cherry blossoms have once again come to full bloom, I really must post this before I am forced to wait another year to publish this post!
Heffel is hosting another auction with works from the Jacques Barbeau Foundation, this time featuring eight works by EJ Hughes. The online catalog is a nice appendix to the work of EJ Hughes, and makes for some worthwhile reading. I shall feature one of the eight paintings here, with an excerpt from the text.
Lot 30 Edward John (E.J.) Hughes
BCSFA CGP OC RCA 1913 - 2007
Hopkin's Landing, Howe Sound
watercolour on paper, signed and dated 2002 and on verso signed, titled, dated and inscribed Given by E.J. Hughes to Jacques Barbeau on October 5, 2002 after lan Thom had given his book E.J. Hughes to E.J.H.
20 Ă 24 in, 50.8 Ă 61 cm
PROVENANCE
Acquired directly from the Artist, 2002
Barbeau Owen Foundation Collection, Vancouver
The auction takes place May 21, 2026; the catalogue can be viewed online here or as a PDF and here
The text from the catalog was written by Robert Amos, Hughes biographer and scholar, here is an introduction to this painting:
JACQUES BARBEAU, THE first owner of the watercolour Hopkin's Landing, Howe Sound, called the view it depicts-that of Howe Sound as seen from a small community near Gibsons, BC-"a stunning combination of snow-capped mountains and sculpted islands." Barbeau further described Howe Sound as "Vancouver's magic corridor, which has justifiably seized the imagination of B.C. artists over the years. It is the near-perfect template of the West Coast." Hopkins Landing is on the Sunshine Coast just beyond Bowen Island and looks out to Howe Sound. E.J. Hughes first saw this view in 1935, just as his years at the Vancouver School of Art were drawing to a close. The mother of his painting partner Orville Fisher owned a guest house at nearby Granthams Landing, and Hughes visited there with the third member of the Western Brotherhood, Paul Goranson. At that time he made a pencil sketch, which, once back home, he translated into a drypoint etching. Years later this became the source of his 1952 oil painting Hopkin's Landing, Howe SoundâŠ
It's nice to know Robert Amos continues to write about the work of EJ Hughes, with a catalogue raisonné forthcoming. Oh and do you see that pillow in the photo just behind the painting in the photo...WE HAD THAT EXACT SAME PILLOW!
Barb Wood illustration of the historic Hudson's Bay Company flagship store located at Granville and Georgia Street in downtown Vancouver, 5th session from the HBC collection, up for auction this Thursday, March 19, 2026.
Speaking of Peter Ewart, I see I missed some key paintings in the last few years...
Sold in 2025: GEORGIA ST. WEST oil on hardboard, signed lower right, 8 x 10 in â 20.3 x 25.4 cm
Sold in 2025: BIRK'S CORNER oil on hardboard, signed lower right; titled to gallery label verso 10 x 12 in â 30.5 x 35.6 cm
Sold in 2023: Robson & Burrard Streets, 10" x 12" (25.4 x 30.48 cm.), Oil on board, Signed lower right; titled verso (framed)
Sold in 2022: Boats in False Creek, oil on board, 20 x 24 in. (50.8 x 61 cm) (unframed)
Sold in 2022: Untitled - Vancouver Harbour and Burrard Street Bridge, oil on board, 10 x 14 in (25.4 x 35.6 cm) (unframed)
Unsold in 2022: Georgia & Granville 10x12 (passed)
His muted colour palette is very endearing when applied to these urban scenes, they are practically timeless if we hadn't demolished the Birks Building decades ago. Based on the car in the first painting, I would say at least three of these paintings are circa 1960s. Not sure who J. Stevens was, whether they simply purchased the painting at Alex Fraser Galleries, or whether this painting was a commission, I can only imagine.
The largest painting of this lot showing boats on False Creek is a scene so familiar it could have been painted yesterday. But of course Peter passed away in 2001, so it's already from another era. We don't see the reverse of that last painting, but the first painting which did have a dealer sticker on the back reveals the address 5669 Granville. This means it had to have been sold from 1948 until around 1967. But the sticker also had an old style phone number, AM 6-6010 which suggests we can probably narrow down the time between 1959 and 1966. The AMherst (AM) telephone exchange prefix was used in the Vancouver Westside area, specifically Kerrisdale, before the transition to 7-digit dialing in the late 1950s and into the 1960s. This was a progressive change so not everyone's phone number changed at once.
Searching for Peter's name in the local papers, it becomes apparent that Peter was exhibited and featured at Alex Fraser Galleries CONSTANTLY during this period, typically being advertised multiple times per year, often right before Christmas. This likely stems from his popularity gained from the BC Tel phone book cover I most recently posted about. And low and behold, I found not one but THREE articles featuring the very cover I was missing, the 1959 telephone directory. That cover featured a cattle drive at Gang Ranch near Dog Creek in the Cariboo. I shall now update that last post with those three articles, and I still await an actual image of the phonebook. By 1967, Alex Fraser had moved his gallery to 2027 W 41 St, and by the early 1970s, Peter Ewart no longer seems to be exclusively bound to the Alex Fraser Gallery, appearing in a number of gallery advertisements.
These days, Peter's work most commonly appears in one of these three main art auction sites: Westbridge, Maynards, or Waddington's, but all listings should appear via invaluable.com if you'd like to follow along.
I've been meaning to post a little retrospective of the old BC Tel telephone directories, so here it is. This takes you right back when yearbooks and phone books came out every year, and everyone waited for them with anticipation! I've tried to assemble all the years which feature a work of art on the cover. There don't seem to be that many, but I am missing at least one.
The 1959 cover was painted by Peter Ewart, at first I could only find that example in the newspapers, but eventually someone posted it online! Thanks for that! Peter's phone book cover certainly helped to make him a household name in the province, if his graphic design work had not already made a considerable influence.
If anyone finds a better example of any of these covers, feel free to send me a message and I can update these images. These covers are pretty dog eared after decades of use. I also like seeing the illustration caption if it exists, I'm missing that for the second E.J. Hughes cover, and the Bob Banks cover.
Here then is a brief overview of the works of art that graced the phone books over the years:
1958, for the British Columbia Centennial Year - E.J. Hughes appropriately depicted a stern-wheeler on the Fraser River at Yale, 1858.
1959, "Cattle drive at Gang Ranch near Dog Creek in the Cariboo" by Peter Ewart
1960, "Loading Grain" Vancouver, BC, by Jack Hambleton.
1961, "The Cowichan River in July" again by E.J. Hughes.
1962, "Mount Robson and Emperor Falls" by Jack Lee MacLean.
1963? Not sure if the artwork continued...
1966, for the anniversary of the colony of BC uniting with Vancouver Island, Robert John 'Bob' Banks illustrated the proclamation on the steps of a BC courthouse, either Victoria or New Westminster, I'm not sure. I don't have the caption for this year.
1993, André Perreault depicts "Dale Lake", said to be BC Tel's centennial gift to the province, but whose centennial, and when exactly? The British Columbia Telephone Company (BC Tel) was founded in 1904. BCER was founded in 1897. The predecessor to BCER, the Vancouver Electric Street Railway and Lighting Company (which began in 1890) went into liquidation following financial struggles in February 1893. The Nature Trust of British Columbia was founded in 1971, BC's centennial year, but I don't quite understand the connection to 1993.
Are there any other years I am missing? Let me know!
EJ Hughes is coming to VIFF! Limited tickets available, although eventually, you should be able to check it out on Knowledge Network!
From the VIFF description:
Since his death in 2007, the renown of Canadian painter E.J. Hughes has only continued to grow. For decades, his extraordinary works highlighting the landscapes of British Columbia have captivated the public, but his personal life is less well known. A solitary man dedicated to his art, Hughes led a fascinating life, struggling to make ends meet until a discovery of his work led to its acclaim. Having attempted to work as a fisherman during the Depression, he became a war artist during the Second World War and never gave up his passion for painting, even when devotedly caring for his ailing wife.
Drawing from recorded tape interviews and painstaking work from biographer Robert Amos, director Jenn Strom focuses her documentary on Hughesâs personal story while integrating critical receptions to his artwork. Through absorbing explorations into Canadian history and a look at Hughesâs legacy not only as an artist but as a person, a beautiful portrait emerges of a gentle soul who helped to reshape the artistic landscape of British Columbia.
Executive Producer: Kevin Eastwood, Patrice Ramsay
Producer: Kevin Eastwood, Jenn Strom
Screenwriter: Jenn Strom
Cinematography: Vince Arvidson, Chad Galloway, Emily Robertson, Milena Salazar, Naim Sutherland, Laurel K. Brown
Editor: Jenn Strom
Original Music: Mark Lazeski
A beautiful portrait of E.J. Hughes, who quietly helped reshape the artistic landscape of British Columbia in the 20th century. This extraor
âThe Painted Life of E.J. Hughesâ is premiering in Vancouver as interest in Hughesâs life and work grows among Canadian collectors and insti
A retrospective of paintings by Robert Michener. About his work, he wrote on his website: "My paintings are my dream of a possible future. Although they frequently derive from specific locations or combinations of several sites, the structures of the paintings are imaginative. Because my motifs are small family farms--current or remembered--they may evoke feelings of nostalgia. If my paintings hearken back, it is only to discover values we must embrace if there is to be a future. We must learn to live gently with the land." From his website, we also learn that..."Michener taught art at the University of Minnesota, Western Washington University and the University of Cincinnati before immigrating to Canada in 1973 to accept a position at the Vancouver School of Art (subsequently The Emily Carr Institute of Art and Design) where he retired from teaching in 1999." Robert passed away in 2021 after enjoying a long career in fine art. Many of his finer paintings can still be seen featured on his website, alongside some auction results from Heffel over the years. Unfortunately, the colour balancing and tonality of his paintings are often unfairly misrepresented, as his works are quite large and can be tricky to photograph, receiving uneven lighting, picking up too much ambient reflection, and muting his colour palette. This is exacerbated with low resolution, low quality images online. Even the paintings featured on his own website suffer from these copywork challenges. When viewing these paintings at a smaller scale, is necessary to view them with deeper tonality to get a closer impression of the original. I've taken a few of my favourites, and tried to adjust them to a more suitable screen luminosity, for your viewing pleasure. When Robert had a show at the Surrey Art Gallery in 1998, Paula Gustafson wrote these most appropriate words about his work: "His dwarfed distances, relaxed realism, and his superb use of line, color, and composition work in harmony to create the 'spiritual places' of elemental majesty."
It's back to school, and this month Heffel is celebrating 100 years of the Vancouver School of Art (later ECUAD). The auction is open for bids online from September 04 - September 25, 2025, and includes 28 works by some of the best known alumni from the school's history. Here's a quick rundown of the artworks included: LOT 001 Design Class Exercise by Maud Sherman, LOT 002 Looking from Savary Island by Edward John (E.J.) Hughes, LOT 003 Howe Sound from Hopkins Landing by Edward John (E.J.) Hughes, LOT 004 The Salvaged Liner by Paul Alexander Goranson, LOT 005 Geese by Kate Smith Hoole, LOT 006 Spring Awakens by Grace Wilson Melvin, LOT 007 Ambleside, West Vancouver by Donald Jarvis, LOT 008 Sketch for "The Dogs" #3 by Jack Leonard Shadbolt, LOT 009 Shore Image, Thormanby Island by Jack Leonard Shadbolt, LOT 010 My Neighbour's House by Charles Hepburn Scott, LOT 011 Untitled by Gordon Appelbe Smith, LOT 012 Mountain View from New Westminster by Joseph Francis (Joe) Plaskett, LOT 013 Carnival by Joan Balzar, LOT 014 Outside by Joan Balzar, LOT 015 Genesis II (A) by Roy Kenzie Kiyooka, LOT 016 The Land 30/74 by Takao Tanabe, LOT 017 Howe Sound #1 by Gordon Appelbe Smith, LOT 018 Sand Heads by Gordon Appelbe Smith, LOT 019 Birds in a Thicket by Jack Leonard Shadbolt, LOT 020 Moresby A V by Gordon Appelbe Smith, LOT 021 The Garden of Eden (21) by John M.A. Koerner (Korner), LOT 022 Hikari (24) by John M.A. Koerner (Korner), LOT 023 Red Forest Figure by Donald Jarvis, LOT 024 Crows in a Tree by Vicky Marshall, LOT 025 Confetti by Angela Grossmann, LOT 026 Angeli co by Attila Richard Lukacs, LOT 027 Space Invaders by Douglas Coupland, LOT 028 Tree with Lichen by Lawrence Paul Yuxweluptun.
Featured above, the etching by Paul Goranson, the pencil sketch by EJ Hughes, and three oil paintings by Donald Jarvis, Joe Plaskett, and former VSA director Charles Hepburn Scott. A great looking sale, and a nice commemoration of the art institution that now lives on as Emily Carr University. Regretfully, no Emily Carr works were made available for the sale...you'll have to keep hunting for some of her early pottery from her homemade backyard kiln instead!
The second painting Iâve featured here by Robert Coventry, this one is a watercolour painting, which appears to be showcasing Finn Slough along the Fraser River, probably circa the late 1940s. Approximately 16 x 20â in size. Unmatted the painting, reveals a fair bit more around the edges. A very nice piece though, proud to be able to repatriate this one.
Once again I need to step out to the site and take a then and now look at the scenery, this particular site will certainly show some changes.
An important work by EJ Hughes is up for auctionâŠagain, this time by Heffel Gallery. As John Mackie reported in the Vancouver Sun,
âŠA small watercolour painting Hughes executed in 1938 as a preparatory work for the mural has turned up at the Heffel Gallery, which is having a preview of its spring auction at 2247 Granville St. Itâs also like a collage: a totem pole has been pasted onto the left side, and a church has been pasted between the woman and the passing ship. David and Robert Heffel like to kick their auctions off with a noteworthy artwork, and Indian Life is the first lot in the sale. Itâs on display through April 17; the auction itself is May 22 in TorontoâŠ
This painting was last purchased by Jacques Barbeau at Pappas Auctions (of Pappas Furs) in 1997, he wrote about it in his book dedicated to Hughes. While it is too bad the VAG was outbid on this purchase back then, one can hope it will one day make its way back into a public collection. Only Hughesâ preparatory drawings of the murals survived; Paul Goransonâs and Orville Fisherâs drawings never surfaced; the VAG did succeed in acquiring the other 3 Hughes drawings. This panel called Indian Life is one of the best panels of the 12 panel mural IMHO, expertly rendered here as well.
Earlier in the article John calls the mural âlostâ, which is partly true. Yes, the mural is lost now, but it didnât disappear forever. In 1954, it was repurposed as decoration around the Challenger Map in the BC Pavilion at the PNE, where it remained for many years, perhaps till the building was demolished. I wrote extensively about this here, but it seems not everyone has read the post. I still like to dream about the mural turning up again in storage at the RBCMâŠbut so far this dream has not yet become a reality.
Check out the drawing at Heffel before April 17; it may be you best chance to see it for some time to come! The estimate is 30,000â40,000 CAD.
The results?! Just over estimateâŠ$32,500! I admit it is maybe difficult to market preliminary artwork, but still it achieved a fair price for what it is. Now, if we had the preliminary renderings for all 12 panels, at this price we would be approaching $400,000!
Just imagine what the life size murals would be worth?! (I would suggest they should be valued at a minimum of $100,000 to $300,000 each, times 12, the entire mural would be worth a theoretical $1.2 to 3.6 million!) We must keep the search alive!
Lot 4 Ladysmith did better than anticipated at $210,000, and lot 11 achieved the top price for Hughes at $350,000. Absolute signature Hughes compositions!
A rare dozen of original works by E.J. Hughes is coming up for auction at Heffel, works by E.J. Hughes from the Barbeau Owen Foundation.
Anticipated closing time: Thursday, September 26, 2024 | 02:00 PM ET
Barbeau has probably assembled the single most important collection of Hughes' work to date. Opportunities to acquire works by Hughes are rare to begin with, from a prestigious collection such as this, all the more-so.
From Heffel: E.J. Hughes is renowned for his BC coastal and interior landscapes, rendered in oil, acrylic, and watercolour. His work in the medium of printmaking is less well known. Ian Thom wrote, âAlthough his print oeuvre is smallâonly twenty or soâhe is one of the most significant printmakers to have worked in British Columbia.â In 1937, E.J. Hughes was working in a partnership with Orville Fisher and Paul Goranson. The trio, fellow graduates of the Vancouver School of Decorative and Applied Arts, produced a number of prints and murals together. This work may have been intended as a study for a woodblock print, linocut or mural. Totem Poles at Stanley Park was reproduced in Ian Thomâs 2002 monograph on the artist, and Thom described the work as follows: âA tonal study that uses only black and a series of yellows, it is a striking example of foreshortening and arbitrary cropping. The work recalls, albeit in different form, Emily Carrâs Totem and Forest (1931) in the abrupt conjunction of the poles and the forest behind.â He concluded, âThis image is one of the most remarkable of Hughesâs early works.â Revisiting past subject matter later in his career, in 1985, Hughes painted a similar, larger work in watercolour, also titled Totem Poles at Stanley Park. Angling for commercial success in the Depression years, Hughes produced a small suite of linocuts depicting Stanley Park in the mid-1930s, including this pleasing view of Second Beach. Dating from 1936, this early work predates the building of Second Beach Pool in 1940. It brings to mind the fine block prints of Walter J. Phillips, whose work Hughes admired. Of special interest, Robert Amos relates that it was while sketching in Stanley Park that Hughes met his future wife, Fern Smith. Jacques Barbeau wrote about this print, âThe mood is tranquil and serene. Yet it illustrates Hughesâ subtle ability to suggest less to achieve more.â With very few colours and sure, sinuous lines, Hughes generates interest in the foreshore rocks, the ocean waves and the dark evergreens beyond. Near Second Beach telegraphs Hughesâs graphic design skills and is one of his rare print works. This same image, with a slightly different tonal range, is in the National Gallery of Canadaâs Prints and Drawings collection (acc. no. 29253). Collector Jacques Barbeau said his interest in the art of Hughes was first sparked when he saw one of the artistâs paintings reproduced on the front cover of a 1958 Vancouver telephone directory. More than a decade later, in 1969, Barbeau acquired his first work by Hughes after paying a visit to the Dominion Gallery in Montreal, which had represented Hughes since 1951. Barbeau purchased several âcartoons,â the detailed graphite drawings that the artist, a meticulous draughtsman, would prepare leading up to an oil painting. Over the years, as Hughes transitioned from oils to acrylics and watercolours, the collection of Barbeau and his wife Margaret Ann (nĂ©e Owen) grew to 80 works, encompassing sketches, prints and paintings from all phases of the artistâs lengthy career. Fifteen masterpieces from this prominent collection have been on loan to the Audain Art Museum in Whistler since 2016, on public display in the BarbeauâOwen Gallery.
A pair of Capilano brand souvenir plates signed by Ross Tylor, via eBay. These plates are circa 1986; when the Expo line opened, they used that promotional image of the skytrain extensively. This entire collage is like a greatest hits of all the best postcard views of the city.
Michael Kluckner has published his latest illustrated book, appropriately named Surviving Vancouver. As usual, it is a must read!
https://vancouversun.com/opinion/columnists/douglas-todd-surviving-vancouver-in-more-ways-than-one
https://vancouversun.com/opinion/columnists/douglas-todd-surviving-vancouver-in-more-ways-than-one
An important exhibition of Mildred Valley Thornton from the Nuytten Collection is taking place at Uno Langmann gallery this month until April 27. From their website:
âWe have enjoyed rehanging the gallery space to include the vibrant works of. We have held the remaining Nuytten Collection open for display and sale for the duration of this exhibition.
Collected by entrepreneur and author Phil Nuytten (1941-2023) over many years, often as gifts to his wife, these works by Mildred Valley Thornton represent a rare cross-section of her life. Hung alongside the Nuytten Northwest Coast Collection, the exhibition includes both watercolours and oils, with subjects ranging from indigenous portraits to landscapes and historical works documenting both indigenous communities and the Canadian landscape. Phil Nuytten, author of The Totem Carvers describing the life of Ellen Neel and her family, had an interest in Thorntonâs work due to the connection between the two artists who had much in common, both passionate about advocating for women artists and preserving the traditional arts of the aboriginal people. Many works in the exhibition are illustrated in The Life and Art of Mildred Valley Thornton, the comprehensive biography published in 2011 by Sheryl Salloum as part of The Unheralded Artists of BC series.
After her death, Thorntonâs physician Dr. Laurie Patrick and his business partner, my father Uno Langmann, were the first to handle the estate and purchased several of the portraits illustrated in Indian Lives and Legends. A strong admirer of her work, our gallery has collected and sold many works since. To read more about the life of Mildred Valley Thornton and quotes and excerpts from both Phil Nuytten and my father on her work, visit our exhibition page.
We hope that you can view the exhibition either online or in person in the gallery, on now through April 27.â