Vendu pour : 23 750 $

PROVENANCE
Collection of William and Elizabeth Kilbourn, Toronto

BIBLIOGRAPHIE
Claude Jasmin, Canadian Art, April/May 1962, review, pages 101 – 102

This delightful example of Marcelle Ferron’s early abstract work was, like the Rita Letendre, lot 33, acquired by the Kilbourns in the early 1960s. Like Letendre, Ferron was deservedly praised in the same 1962 issue of Canadian Art magazine, where critic Claude Jasmin reviewed her solo exhibition at the Galerie Agnès Lefort, in Montreal. The list of gallery events in that issue reveals that Ferron was opening a solo show in Toronto at Gallery Moos on April 5. Clearly it was a period in which two very talented female artists were both making their mark, despite the preponderant attention received by their male peers in the post-war period. Regardless of its relatively modest dimensions, this untitled Ferron canvas is typically eye-catching in its strong palette and bold execution. As a signatory of the Refus global in 1948 and recognized as a significant member of the Automatist group, Ferron proudly carried that cachet throughout her career, but set her own course in producing purely abstract paintings in her own distinctive style.

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