Vendu pour : 4 688 $

PROVENANCE
Collection de la Fondation Barbeau Owen, Vancouver

BIBLIOGRAPHIE
Ian M. Thom, E.J. Hughes, Vancouver Art Gallery, 2002, reproduit la page 34, le croquis au crayon de 1952 reproduit la page 116 et la toile de 1953 reproduite à la page 117
Jacques Barbeau, A Journey with E.J. Hughes : One Collector’s Odyssey, 2005, reproduit à la page 21 et répertorié à la page 164, et l’aquarelle connexe de 2004 reproduite à la page 85 et répertoriée à la page 168
Jacques Barbeau, E.J. Hughes Through the Decade, Volume 2, The Paper Works, 1931 – 1986, 2014, reproduit aux pages 15 et 78 et répertorié à la page 84
Robert Amos, E.J. Hughes Paints British Columbia, 2019, la toile de 1953 reproduite à la page 17 et une photo de Hughes avec l’aquarelle de 2004 reproduite à la page 16

EXPOSITION
Vancouver Art Gallery, Exposition de Paul Goranson, Ed Hughes et Orville Fisher, 6-15 décembre 1935, catalogue #21
Vancouver Art Gallery, Exposition de Drypoints de Paul Goranson, Ed Hughes et Orville Fisher, 11-23 août 1936, catalogue #16

E.J. Hughes began to make drypoint etchings in 1935, after graduating from art school, and in that year produced 11 such prints, most of them landscapes. These works ably demonstrate Hughes’s skill as a draughtsman. Because the medium relies on direct drawing on a copper plate, the etchings also have a charming sense of immediacy.

Robert Amos, the official biographer of Hughes, notes that from 1933 to 1939, students from the Vancouver School of Decorative and Applied Arts would spend 10 days each summer on Savary Island, staying at the Royal Savary Hotel. Trees on Savary Island and another etching, of a fellow student, capture what was no doubt an enjoyable and memorable excursion for the young art student.

Relying on this early etching, Hughes later reinterpreted this image as a pencil sketch (1952) and then as an oil on canvas (1953, in the collection of the Montreal Museum of Fine Arts), both titled Trees, Savary Island. Decades later, he would also paint the same scene in watercolour (2004).

Collector Jacques Barbeau said his interest in the art of Hughes was first sparked when he saw one of the artist’s 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 “cartoons,” 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 (née Owen) grew to 80 works, encompassing sketches, prints and paintings from all phases of the artist’s 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 Barbeau–Owen Gallery.

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