LOT DETAILS
         
         
         
         

This session is closed for bidding.
Current bid: $2,500 CAD
Bidding History
Paddle # Date Amount

33773 25-Mar-2021 04:02:06 PM $2,500

31465 25-Mar-2021 03:59:55 PM $2,250 AutoBid

9875 25-Mar-2021 03:59:55 PM $2,000

31465 25-Mar-2021 03:59:34 PM $1,900 AutoBid

9875 25-Mar-2021 03:59:34 PM $1,800

31465 25-Mar-2021 03:52:37 PM $1,700 AutoBid

822830 25-Mar-2021 03:52:37 PM $1,600

31465 25-Mar-2021 03:52:23 PM $1,500 AutoBid

33773 25-Mar-2021 03:52:23 PM $1,400 AutoBid

31465 25-Mar-2021 03:52:23 PM $1,300 AutoBid

33773 25-Mar-2021 03:51:50 PM $1,200 AutoBid

31465 23-Mar-2021 04:31:04 PM $1,100 AutoBid

818539 06-Mar-2021 09:42:06 AM $1,000

The bidding history list updated on: Thursday, April 18, 2024 11:05:43

LOT 313

CPE OC
1923 - 2008
Canadian

Parcel 7
etching on paper
signed, titled, dated 6-1969 and inscribed "State 1, 2-6" and on verso inscribed "BG-E-1969-22" and "P.031" and stamped Studio Betty Goodwin
17 x 20 3/4 in, 43.2 x 52.7 cm

Estimate: $2,000 - $3,000 CAD

Sold for: $3,125

Preview at: Heffel Montreal

PROVENANCE
Estate of the Artist

LITERATURE
Rosemarie L. Tovell, The Prints of Betty Goodwin, National Gallery of Canada, 2002, pages 11, 34, listed page 123 and reproduced page 124


Please note: the full sheet size of this work is 19 3/4 x 25 3/8 inches.

Born in Montreal in 1923, Betty Goodwin worked for nearly 50 years in a variety of media – painting, drawing, collage, printmaking and sculpture. Often associated with themes of loss, absence and memory, her works are poignant and connect deeply with both the public and critics. In 1968, Goodwin attended Yves Gaucher’s etching class at Sir George Williams University (now Concordia University). This decision proved immensely significant for her career, as printmaking allowed her to reconnect to her artistic beginnings and brought her national and international recognition. In the words of art historian and curator Rosemarie L. Tovell, “over the last three decades, Goodwin has created one of the most significant and original bodies of prints produced by any Canadian artist.”

Similar to her earlier still life paintings, Goodwin focused on household objects for her printmaking practice, often running the actual object through the soft-ground plate to better capture its essence. Parcels were the first subject she worked on in 1969, and they held a personal significance for the artist. At the time, her son was living in Karachi, Pakistan, and parcels were the only physical link between them. In her entry dated October 8, 1970 in her notebook with a blue-taped spine, Goodwin wrote “I identify with the parcel – wrapped up and unknown.”

For Parcel 7, Goodwin created four colour schemes: state 1 is all black (as is this Lot), state 2 has black string, brown wrapping and a blue label, state 3 has a green tint and state 4 is brown with a green label.


All prices are in Canadian Dollars


Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Bidders must ensure they have satisfied themselves with the condition of the Lot prior to bidding. Condition reports are available upon request.