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LOT DETAILS
         
         
         
         

This session is closed for bidding.
Current bid: $3,000 CAD
Bidding History
Paddle # Date Amount

36348 25-Mar-2021 04:13:54 PM $3,000

25491 25-Mar-2021 04:02:58 PM $2,750

36348 25-Mar-2021 04:02:14 PM $2,500 AutoBid

822830 25-Mar-2021 04:02:14 PM $2,250

36348 25-Mar-2021 04:00:14 PM $2,000 AutoBid

822830 25-Mar-2021 04:00:14 PM $1,900

36348 25-Mar-2021 03:58:51 PM $1,800 AutoBid

822830 25-Mar-2021 03:58:51 PM $1,700

36348 25-Mar-2021 03:57:23 PM $1,600 AutoBid

822830 25-Mar-2021 03:56:10 PM $1,500

29784 25-Mar-2021 03:52:56 PM $1,400

822830 25-Mar-2021 03:52:00 PM $1,300

33773 24-Mar-2021 06:09:46 PM $1,200

325284 24-Mar-2021 12:21:07 PM $1,100 AutoBid

22432 15-Mar-2021 10:57:02 PM $1,000

The bidding history list updated on: Friday, March 29, 2024 01:47:12

LOT 308

CPE OC
1923 - 2008
Canadian

Parcel Black Label
etching and collage on paper
titled, editioned Proof and dated II - 1970 and on verso inscribed "BG-E-1970-29"and "P.002" and stamped Studio Betty Goodwin
24 1/2 x 19 1/4 in, 62.2 x 48.9 cm

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

Sold for: $3,750

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 and 34


Please note: the full sheet size of this work is 24 7/8 x 20 1/2 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.”


All prices are in Canadian Dollars


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