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Maurice Galbraith Cullen Sold at Auction Prices

Painter, Landscape painter, Wall painter, b. 1866 - d. 1934

(b Saint John’s, Newfoundland, 1866; d Chambly, Quebec, Canada, 1934) Canadian painter. Cullen left Montreal in 1888 for Paris, where he studied and became part of the artistic community there; both international and Canadian. He was exposed to Impressionism through his training in France at the École des beaux-arts and the Académie Julian, where he absorbed the freshness of the Impressionist palette and techniques. Cullen also traveled around Europe and spent his summers on France's Brittany Coast. In 1895, he was resident in Paris, and was elected an associate of the Societé nationale des beaux-arts (the first Canadian to be so honoured). In this same year he exhibited in their Salon and the French government bought one of his paintings from this exhibition. The influence of French Impressionism can clearly be seen in his work. Cullen adapts the Impressionists' adeptness with atmospheric effects of light and water to his landscapes. Upon his return to Canada at the end of 1895, he established himself as one of Canada's most important Impressionist painters. In 1905 Cullen divided his subjects between Montreal and Quebec City street scenes and landscapes along the upper St. Lawrence. He traveled through the Quebec countryside to such sites as Les Éboulements and Beaupré. In that year, he built a studio at St-Eustache, Quebec with fellow artist William Brymner. Cullen received much recognition that year: he was elected president of the Pen and Pencil Club of Montreal; exhibited in three Art Association of Montreal shows, the Paris Salon and the Royal Canadian Academy show in Toronto. In 1912, the Arts Club of Montreal was founded in Cullen's studio at Beaver Hall Square and he was elected vice-president. He kept a busy exhibition schedule that year and taught outdoor classes at the Art Association of Montreal's school at Beaupré in the summer. Cullen's influence on other artists was considerable. Group of Seven members Arthur Lismer and A.Y. Jackson praised his fresh approach to landscape; with Jackson declaring that he had influenced the Group more than renowned Impressionist James Wilson Morrice. (Credit: Heffel, Vancouver, Live Auction, November 23, 2007, lot 96 and lot 101; Heffel, Vancouver, Fall 2008 Live Auction, November 19, 2008, lot 162; Heffel, Vancouver, Fine Canadian Art, May 22, 2008, lot 47 and 57)

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        • Cullen, Maurice Galbraith - Hiver - Rivière cachée
          Jun. 20, 2023

          Cullen, Maurice Galbraith - Hiver - Rivière cachée

          Est: $15,000 - $20,000

          Cullen, Maurice Galbraith (1866-1934) Hiver - Rivière cachée Description: Oil on panel, signed on lower left M. Cullen, label of the Jean-Pierre Valentin gallery and the Walter Klinkhoff gallery. Dimension (PO): 14'' x 10 34'' Dimension (CM): 35 x 27 cm Condition report: Upon request, We will gladly answer all your inquiries in a detailed manner.

          Champagne Auctions
        • Maurice Galbraith Cullen, RCA (1866-1934) The Cache River, Last Gleams of a Winter Sun 18 1/8 x 24 in. (46 x 61 cm.) (Executed in 1923.)
          May. 25, 2023

          Maurice Galbraith Cullen, RCA (1866-1934) The Cache River, Last Gleams of a Winter Sun 18 1/8 x 24 in. (46 x 61 cm.) (Executed in 1923.)

          Est: $7,000 - $10,000

          Maurice Galbraith Cullen, RCA (1866-1934) The Cache River, Last Gleams of a Winter Sun signed 'M. Cullen' (lower left) pastel on paper laid down on board 18 1/8 x 24 in. (46 x 61 cm.) Executed in 1923.

          Bonhams
        • Cullen, Maurice Galbraith - Spring, Laurentians
          Mar. 28, 2023

          Cullen, Maurice Galbraith - Spring, Laurentians

          Est: $15,000 - $20,000

          Cullen, Maurice Galbraith (1866-1934) Spring, Laurentians Description: Oil on canvas, signed on lower left M. Cullen Provenance: Empire Auctions, Montreal, January 11th 2001, lot 505, Private collection, Toronto Dimension (PO): 18 1/4" x 24 1/4" Dimension (CM): 46.3 x 61 cm Condition report: Upon request, We will gladly answer all your inquiries in a detailed manner.

          Champagne Auctions
        • Maurice Galbraith Cullen (Canadian, 1866-1934) WINTER LANDSCAPE
          Mar. 22, 2021

          Maurice Galbraith Cullen (Canadian, 1866-1934) WINTER LANDSCAPE

          Est: €5,000 - €7,000

          signed lower left

          Whyte's
        • * Canadian School. Two Views of St. Lawrence River
          Mar. 05, 2020

          * Canadian School. Two Views of St. Lawrence River

          Est: £300 - £500

          * Canadian School. Views of St. Lawrence River from Beaumont, circa 1900, two oils on paper in the manner of Maurice Galbraith Cullen (1866-1934), unsigned, each laid on thin wood panel, 12.5 x 20.5 cm (5 x 8 ins), matching gilt frames (Qty: 2)

          Dominic Winter Auctions
        • Maurice Galbraith Cullen (1866 -1934).
          Sep. 08, 2019

          Maurice Galbraith Cullen (1866 -1934).

          Est: $4,000 - $6,000

          An oil on board plein air painting by Maurice Galbraith Cullen (1866 - 1934). Signature lower right.  Frame size: 20 inches high x 24.  Image size: 12 inches high x 16.  Condition: Good. Showing a 9 inch restoration from the bottom center to the center middle. Date: Late 19th / early 20th century.

          Turner Auctions + Appraisals
        • Cullen, Maurice Galbraith - Rivière -
          May. 28, 2019

          Cullen, Maurice Galbraith - Rivière -

          Est: $2,500 - $3,500

          Cullen, Maurice Galbraith 1866-1934 Rivière Fusain sur papier, signé en bas à droite M Cullen Charcoal on paper, signed on lower right M Cullen 34.29 x 26.67 cm 13 1/2" x 10 1/2"

          Champagne Auctions
        • Cullen, Maurice Galbraith - Rivière -
          Mar. 19, 2019

          Cullen, Maurice Galbraith - Rivière -

          Est: $2,500 - $3,500

          Cullen, Maurice Galbraith (1866-1934) Rivière - Fusain sur papier, signé en bas à droite M Cullen Charcoal on paper, signed on lower right M Cullen 13 1/2" x 10 1/2" - 34.29 x 26.67 cm Rapport de condition : Sur demande, nous nous ferons un plaisir de répondre à vos question de manière détaillée. Condition Report : Upon request, We will gladly answer all your inquiries in a detailed manner.

          Champagne Auctions
        • (AFTER) MAURICE GALBRAITH CULLEN (CANADIAN, 1866-1934), UNTITLED (SPLIT RAIL FENCE), OIL ON CANVAS; BEARS SIGNATURE M. Cullen LOWER LEFT, 9.3 x 11.5 in — 23.5 x 29.2 cm
          Jul. 12, 2018

          (AFTER) MAURICE GALBRAITH CULLEN (CANADIAN, 1866-1934), UNTITLED (SPLIT RAIL FENCE), OIL ON CANVAS; BEARS SIGNATURE M. Cullen LOWER LEFT, 9.3 x 11.5 in — 23.5 x 29.2 cm

          Est: $500 - $700

          (AFTER) MAURICE GALBRAITH CULLEN (CANADIAN, 1866-1934)UNTITLED (SPLIT RAIL FENCE)OIL ON CANVAS; BEARS SIGNATURE M. Cullen LOWER LEFT9.3 x 11.5 in — 23.5 x 29.2 cmProvenance:Private Collection, TorontoEstimate: $500—700

          Waddington's
        • MAURICE GALBRAITH CULLEN, R.C.A., VIEW OF THE ROCKIES FROM THE ECHO RIVER, gouache, 5.75 ins x 5 ins; 14.6 cms x 12.1 cms
          May. 28, 2018

          MAURICE GALBRAITH CULLEN, R.C.A., VIEW OF THE ROCKIES FROM THE ECHO RIVER, gouache, 5.75 ins x 5 ins; 14.6 cms x 12.1 cms

          Est: $2,500 - $4,000

          MAURICE GALBRAITH CULLEN, R.C.A.VIEW OF THE ROCKIES FROM THE ECHO RIVERgouachesigned with initials, Cullen Inventory No. 404; also signed on the reverse by a number of artists including Cullen, Pilot, Dyonnet and others. 5.75 ins x 5 ins; 14.6 cms x 12.1 cms Provenance:Private Collection, MontrealLiterature:Sylvia Antoniou, Maurice Cullen, Queen’s University, Kingston, 1982, page 42.Sylvia Antoniou writes: “Cullen and his wife travelled to Banff in the summer of 1930... Paintings of the Rockies were exhibited favourably at the Canadian National Exhibition in August in Toronto and the Annual Academy exhibition in November”.Estimate: $2,500–4,000

          Waddington's
        • Cullen, Maurice Galbraith (1866-1934) Maurice Cullen par Huges De Jouvancourt
          Nov. 21, 2017

          Cullen, Maurice Galbraith (1866-1934) Maurice Cullen par Huges De Jouvancourt

          Est: $300 - $500

          Livre comprennant une lithographie signée de Lorne Holland Bouchard (1913-1978) numérotée, 27/160, représentent Maurice Galbraith Cullen Book including a signed lithograph by Lorne Holland Bouchard (1913-1978) numbered, 27/160, representing Maurice Galbraith Cullen

          Champagne Auctions
        • MAURICE GALBRAITH CULLEN, R.C.A., QUEBEC FROM LÉVIS - TWILIGHT, pastel, 21.25 ins x 28.75 ins; 58.4 cms x 71.1 cms
          Nov. 20, 2017

          MAURICE GALBRAITH CULLEN, R.C.A., QUEBEC FROM LÉVIS - TWILIGHT, pastel, 21.25 ins x 28.75 ins; 58.4 cms x 71.1 cms

          Est: $25,000 - $35,000

          MAURICE GALBRAITH CULLEN, R.C.A.QUEBEC FROM LÉVIS - TWILIGHTpastelsigned and dated ‘04, Cullen inventory no. 854 21.25 ins x 28.75 ins; 58.4 cms x 71.1 cms Provenance:Private Collection, MontrealLiterature:Sylvia Antoniou, Maurice Cullen, Agnes Etherington Art Centre, Queen’s University, Kingston, 1982, cover illustration for a related subject, Lévis from Quebec, 1906, and page 16 and 18.Maurice Cullen (1866-1934), like so many other great Canadian artists from this period, went overseas to further his training at which time he would have been exposed to many of the leading proponents of French impressionism in Paris. Considered one of the fathers of Canadian impressionism, Cullen returned to Canada in 1902 and after 1903 regularly exhibited works executed in pastel, like this lot. He had learned the technique while at the École des Beaux Arts in Paris and made his own pastel sticks from pigments he ground himself. He was a perfectionist when it came to his materials and Sylvia Antoniou notes: “Cullen’s pastel drawings are quite unique in that they have stood up to time as well as the oils.” She comments further that “Until 1910, the Quebec area seems to have been his preferred painting ground.” Indeed, the subject of this lot, the stretch of seaway that separates Quebec City from Lévis, with a backdrop of the ramparts of the fortified city - was a favourite subject of Cullen, Pilot and colleagues, such as James Wilson Morrice, who also famously painted the ferry boats that transported goods and people from one shore to the other. Each of the artists produced works of art depicting picturesque views of Lévis from Quebec, or Quebec from Lévis. Estimate: $25,000–35,000

          Waddington's
        • Attr Maurice Galbraith Cullen (1866 - 1934) Quebec
          Jan. 14, 2017

          Attr Maurice Galbraith Cullen (1866 - 1934) Quebec

          Est: $4,000 - $8,000

          Attr. Maurice Galbraith Cullen (1866 - 1934) Oil on canvas painting of a view of Quebec. Signed lower right and inscribed verso. In a Whistler Style Frame. Image size: 17.5 x 20.5 inches. In 1895, he was the first Canadian elected associate of the Societe Nationale des Beaux-Arts, France. In 1899, he was elected an associate of the Royal Canadian Academy of Arts and in 1907 a full member. He was also a member of the Montreal Pen and Pencil Club (1896). In 1918, he was appointed an Official War Artist with the rank of captain, serving in France, Belgium and England. He exhibited at the Paris Salon (1894, 95, 01, 02 and 03), with the Toronto Art Club (1908 - 1915), with the RCA (1893 - 1934) and the Art Association of Montreal (1897 - 1932). Retrospectives of his work were done by l'Ecole des Beaux Arts in Montreal in 1913, the Arts Club of Montreal in 1922, and in 1934 by his dealer Watson Galleries in Montreal. Since his death his works have been continuously and widely exhibited in Canada, this includes major retrospectives by the National Gallery of Canada in 1956 and the Agnes Etherington Art Centre (Kingston, Ontario) in 1983. There were retrospectives by the Kitchner - Waterloo Art Gallery (Ontario) in 1965 and at Galerie Walter Klinkhoff (Montreal) in 1974 and 2000. His works were also included in the "Three Hundred Years of Canadian Art" exhibition at the National Gallery in 1967, in the "Canadian Landscape Painting 1630 - 1930" exhibition which toured the U.S.A. in 1973 and in the "Landscape Painting in Quebec 1800 - 1940" exhibition at the Museum of Quebec (Quebec City) in 1979. His work is avidly collected (3) and is in many private and public collections. Some of the public collections are the McMichael Canadian Collection (Kleinburg, Ontario), the Art Gallery of Ontario (Toronto), the Agnes Etherington Art Centre, the Royal Ontario Museum (Toronto), the Montreal Museum of Fine Arts, the Art Gallery of Greater Victoria (B.C.), the Museum of Civilization (Hull, Quebec), the Beaverbrook Art Gallery (Fredericton, New Brunswick), the Quebec Museum of Fine Arts (Quebec City) and the McCord Museum (Montreal). The National Gallery of Canada (Ottawa) has 22 of his works. His awards include the Jesse Dow Prize from the Art Association of Montreal in 1911 and 1913.

          Sarasota Estate Auction
        • MAURICE GALBRAITH CULLEN, R.C.A., LIGHT EFFECTS, BEAUPRÉ, oil on canvas, 13 ins x 18 ins; 33 cms x 45.7 cms
          May. 30, 2016

          MAURICE GALBRAITH CULLEN, R.C.A., LIGHT EFFECTS, BEAUPRÉ, oil on canvas, 13 ins x 18 ins; 33 cms x 45.7 cms

          Est: $12,000 - $15,000

          MAURICE GALBRAITH CULLEN, R.C.A.LIGHT EFFECTS, BEAUPRÉoil on canvassigned, Cullen Inventory No. 182 13 ins x 18 ins; 33 cms x 45.7 cms Provenance:Canadian Fine Arts, TorontoPrivate Collection, Hudson, QuebecLiterature:Conrad Graham, Maurice Cullen Retrospective Exhibition, (catalogue), Walter Klinkhoff Gallery, Montreal, September 16-30, 2000, page 4. Crystal S. Parsons, Maurice Cullen and His Circle, National Gallery of Canada, Ottawa, 2009, page 11. Note:When Maurice Galbraith Cullen returned from France in 1896, he and his circle of friends, which included James Wilson Morrice, William Brymner and Edmund Morris continued the tradition they had established there of accompanying one another on sketching trips. Among the places they visited together repeatedly was Beaupré, the subject of this work.While Light Effects is not dated, it possesses many of the finest qualities of that earlier period with its contrasty bands of light and shadow. It is delightful to imagine Cullen painting works such as this one in the company of Morrice, Brymner or Morris, striving to translate the lessons learned in France to suit the Canadian landscape and atmosphere. A slash of gold mingling with pale salmon pink provides a striking contrast to the rich green tones of the bankside grasses. Cullen’s interpretation of the Beaupré twilight demonstrates his ability to render light convincingly. Cullen, the Painter of Light, would become celebrated for his luminous winter scenes in oil and pastel, but clearly could dazzle in all seasons.

          Waddington's
        • Cullen, Maurice Galbraith (1866-1934) Campaign road (1916)
          Apr. 17, 2016

          Cullen, Maurice Galbraith (1866-1934) Campaign road (1916)

          Est: $8,000 - $10,000

          Huile sur toile, signée et datée en bas à droite Maurice Cullen 30/4/16 Oil on canvas, signed and dated on lower right Maurice Cullen 30/4/16 13” x 16”; 33.02 x 40.64 cm Condition report : Paint slightly scratched on the bottom edge. Please contact us for more information.

          Lapointe & Champagne
        • MAURICE GALBRAITH CULLEN, R.C.A., RIVERSIDE FARM, oil on canvas, 12.75 ins x 16 ins; 32.4 cms x 40.6 cms
          Nov. 23, 2015

          MAURICE GALBRAITH CULLEN, R.C.A., RIVERSIDE FARM, oil on canvas, 12.75 ins x 16 ins; 32.4 cms x 40.6 cms

          Est: $12,000 - $15,000

          MAURICE GALBRAITH CULLEN, R.C.A.RIVERSIDE FARMoil on canvassigned and dated ‘96 12.75 ins x 16 ins; 32.4 cms x 40.6 cms Provenance:Private Collection, TorontoNote:Riverside Farm, executed in 1896, is typical of Cullen’s work from this period and is heavily influenced by Impressionism. While this painting does not have the same atmospheric quality of light or looseness of brushstroke that is characteristic of Monet, Riverside Farm exhibits an obvious fascination with the relationship between light, shadow and colour. The hints of red and orange in the trees suggest that autumn is approaching. Cullen captures the farm on the edge of change which, to a still largely agrarian society, would signal the start of the intense preparation necessary for the Canadian winter to come. Cullen Inventory No. 643

          Waddington's
        • MAURICE GALBRAITH CULLEN, R.C.A., RED FOREST TRIPTYCH, oil on canvas, laid down on board, 30 ins x 63 ins; 76.2 cms x 160 cms
          Nov. 23, 2015

          MAURICE GALBRAITH CULLEN, R.C.A., RED FOREST TRIPTYCH, oil on canvas, laid down on board, 30 ins x 63 ins; 76.2 cms x 160 cms

          Est: $30,000 - $40,000

          MAURICE GALBRAITH CULLEN, R.C.A.RED FOREST TRIPTYCHoil on canvas, laid down on boardsigned with monogramme 30 ins x 63 ins; 76.2 cms x 160 cms Provenance:Private Collection, New YorkLiterature:Barry Lord, The History of Painting in Canada: Toward a People’s Art, NC Press, Toronto, 1974, page 114. Colin S. MacDonald, A Dictionary of Canadian Artists, 3rd edition, Canadian Paperbacks, Ottawa, 1975, pages 158-159. Sylvia Antoniou, Maurice Cullen: 1866-1934 (catalogue), Agnes Etherington Art Centre, Queen’s University, Kingston, Ontario, 1982.Note:In his lifetime, Maurice Cullen had become one of Canada’s most popular painters, exhibiting regularly alongside esteemed contemporaries such as James Wilson Morrice and the Group of Seven. The fame of the latter group sparked greater interest in Cullen's Quebec landscapes, especially after 1922, but this relationship was symbiotic: as Barry Lord wrote, just a few years earlier, “Cullen’s patriotic decision to return to Canada was not lost on the Group of Seven; nor were his attempts to find the colour, light and texture of paint that suited this land.” While Cullen's Canadian landscape paintings are well known, less so are his private commissions, which rarely appear on the market. Red Forest Triptych's bold palette and smoky brushwork departs from the cool colours of Cullen's scenes of the Laurentians in winter. Highly decorative, Cullen's residential commissions ranged from small-scale paintings to large murals. Red Forest Triptych is a deeply romantic and atmospheric painting, most likely completed in the studio he established in Montreal on Beaver Hall Square in 1906.

          Waddington's
        • MAURICE GALBRAITH CULLEN, R.C.A., WINTER WOODS, LAC TREMBLANT, oil on panel, 10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms
          Nov. 23, 2015

          MAURICE GALBRAITH CULLEN, R.C.A., WINTER WOODS, LAC TREMBLANT, oil on panel, 10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms

          Est: $12,000 - $18,000

          MAURICE GALBRAITH CULLEN, R.C.A.WINTER WOODS, LAC TREMBLANToil on panelsigned 10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms Provenance:Joyner Fine Art Inc., Canadian Art Auction, November 1987Private Collection, U.S.A.Literature:William R. Watson, Maurice Cullen, R.C.A.: A Record of Struggle and Achievements, Ryerson Press, Toronto, 1931, pages 25-31. Barry Lord, The History of Painting in Canada: Toward a People’s Art, NC Press, Toronto, 1974, pages 110 and 114.Note:Maurice Cullen, known as the father of Canadian Impressionism, studied in Paris from 1887 to 1895. When he first arrived there, it was his intention to master the practice of sculpture. However, he soon realized that he preferred to express himself in paint. Cullen's impasto brushstrokes are not without traces of sculptural technique, however, as we see in Winter Woods, Lac Tremblant. Cullen achieved a degree of success while living in Europe, but upon returning to Montreal in 1895 found the Canadian market much more difficult to penetrate. It took a number of years for his work to attract any critical or popular attention. In 1920, Cullen realized his dream “to have a studio of my own, a shack in the mountains, an acre for a garden and every winter heavy with snow,” when he purchased a cabin at Lac Tremblant in the Laurentians. Gradually, Cullen's landscapes began to gain favour among Canadian collectors. Ultimately, he exhibited often, and with great success. Winter Woods, Lac Tremblant is a remarkable example of the mature work that emerged from this period. Cullen preferred to work with a limited palette; rarely using more than eight colours and blending his own hues on the canvas. He has been described as an outstanding craftsman who "believed strongly in keeping the colours as separate as possible to achieve the balance between vision and subject by means of a well-defined interplay of light and dark hues.” Cullen Inventory No. 1472

          Waddington's
        • MAURICE GALBRAITH CULLEN, R.C.A., HARBOUR SCENE, oil on panel, 8.25 ins x 10.5 ins; 21 cms x 26.7 cms
          Nov. 23, 2015

          MAURICE GALBRAITH CULLEN, R.C.A., HARBOUR SCENE, oil on panel, 8.25 ins x 10.5 ins; 21 cms x 26.7 cms

          Est: $9,000 - $12,000

          MAURICE GALBRAITH CULLEN, R.C.A.HARBOUR SCENEoil on panelsigned 8.25 ins x 10.5 ins; 21 cms x 26.7 cms Provenance:Private Collection, Nova ScotiaLiterature:Crystal S. Parsons, Maurice Cullen and His Circle, National Gallery of Canada, Ottawa, 2009.Note:Maurice Cullen arrived in Paris to study at the École des Beaux-Arts in 1888, when the Impressionists were at their height. When he returned to Canada seven years later, he brought their emphasis on light and atmospheric conditions with him. Cullen’s landscapes and urban scenes capture the light in all seasons, weather systems, and times of day. However, unlike the Impressionists, Cullen was uninterested in capturing fashion or leisure pursuits, instead focusing on the modernization and industrialization of urban centres. Though harbour scenes were an infrequent subject for Cullen, he painted their bustling views in Montreal, where he lived and worked, and in St. John’s, Newfoundland, where he painted in 1907 and annually from 1910-1912.

          Waddington's
        • MAURICE CULLEN
          Jun. 02, 2015

          MAURICE CULLEN

          Est: $20,000 - $30,000

          Canadian, 1866–1934, Waterfall on a Crisp Winter's Day, Oil on canvas, signed, 22 x 18 in, 56 x 45.5 cm, This work is included in the Walter Klinkhoff Gallery, Cullen Inventory as No.1459

          Walker's
        • MAURICE CULLEN
          Jun. 02, 2015

          MAURICE CULLEN

          Est: $80,000 - $120,000

          Canadian, 1866-1934, North Cache River, Lake Tremblant, Oil on canvas, signed, Painted c.1929

          Walker's
        • MAURICE GALBRAITH CULLEN, R.C.A., MOONLIT LANDSCAPE, oil on canvas, laid down on board, 29.75 ins x 66.5 ins; 73.7 cms x 167.6 cms
          May. 25, 2015

          MAURICE GALBRAITH CULLEN, R.C.A., MOONLIT LANDSCAPE, oil on canvas, laid down on board, 29.75 ins x 66.5 ins; 73.7 cms x 167.6 cms

          Est: $40,000 - $60,000

          MAURICE GALBRAITH CULLEN, R.C.A. MOONLIT LANDSCAPE oil on canvas, laid down on boardmonogramme 29.75 ins x 66.5 ins; 73.7 cms x 167.6 cms Provenance:Private Collection, WinnipegExhibited:On long-term loan to the Winnipeg Art Gallery, Winnipeg, n.d.Literature:Hugues de Jouvancourt, Maurice Cullen, Éditions la Frégate, Montréal, 1978, pages 126-127.Crystal S. Parsons, Maurice Cullen and His Circle, National Gallery of Canada, Ottawa, 2009, page 9.Note:Under the light of the low-horizon moon, Cullen paints a scene of quiet brilliance.  As Crystal S. Parsons writes, "Cullen's Canadian landscapes differed from those of his artistic predecessors.  They were not allegorical or historical records but, like the French Impressionists, Cullen strove to paint what he saw in front of him with truth to particular aspects of nature, especially the ephemeral effects of light." The subdued palette of this work softly captures the contours and bends of the birches and rocks, the cresting of the distant shoreline.  In a subtle play of tone and a cast of delicate blue, the work becomes powdery and iridescent, as if a silk veil were draped across the canvas.  The beauty of this work lies in its stillness and its delicate emotionality.  Hugues de Jouvancourt summarizes Cullen's abilities perfectly in stating that, "Through his strong feeling for things, Cullen could perceive the invisible strength of life hidden in woods, streams, mountains and valleys.  His great search was to try and express his emotion in relation to nature to the best of his ability, and this he magnificently succeeded in doing."

          Waddington's
        • CULLEN, Maurice Galbraith (1866-1934)
          Jun. 17, 2014

          CULLEN, Maurice Galbraith (1866-1934)

          Est: $10,000 - $12,000

          CULLEN, Maurice Galbraith (1866-1934)"The North River"PastelSigned and dated on the lower right: M. Cullen 21Titled on a Masters Gallery label on the reverseInventory number on a label from the Klinkhoff Gallery on the reverse: 136161x91.5cm - 24x32"

          Iegor
        • MAURICE GALBRAITH CULLEN, R.C.A., THE NORTH RIVER, 1921, pastel, 23.5 ins x 31.5 ins; 59.7 cms x 80 cms
          May. 26, 2014

          MAURICE GALBRAITH CULLEN, R.C.A., THE NORTH RIVER, 1921, pastel, 23.5 ins x 31.5 ins; 59.7 cms x 80 cms

          Est: $15,000 - $20,000

          MAURICE GALBRAITH CULLEN, R.C.A.THE NORTH RIVER, 1921pastelsigned and dated -21, Cullen inventory no.1361 23.5 ins x 31.5 ins; 59.7 cms x 80 cms Provenance:Masters Gallery Ltd., CalgaryPrivate Collection, VancouverLiterature:Sylvia Antoniou, Maurice Cullen, Agnes Etherington Art Centre, Queen's University, Kingston, Ontario, 1982, pages 18, 22 and 24.Note:Cullen is among a very small number of artists in Canada whose pastels are as appreciated as his oils and often command significant prices. Working in this medium brought Cullen great pleasure and many of his Laurentian scenes were executed in pastel. Antoniou writes that Cullen would have learned the technique while in France and made his own pastel crayons "in as wide a range of individual tones as possible, to avoid mixing the colours on the paper. This way the results were not 'dragged' or 'chalky'."Cullen exhibited pastels regularly and continued to use this medium until the end of his life. His dealer, William Watson, was fond of them and remarked appreciatively: "Many of his most beautiful Laurentian scenes are executed in this medium. Often handled with extreme strength of outline, these pastels are yet subtle enough to suggest some profound mystery, just hinted at, or half-revealed."

          Waddington's
        • MAURICE GALBRAITH CULLEN, R.C.A., WINTER, oil on canvas, 24 ins x 32 ins; 61 cms x 81.3 cms
          May. 26, 2014

          MAURICE GALBRAITH CULLEN, R.C.A., WINTER, oil on canvas, 24 ins x 32 ins; 61 cms x 81.3 cms

          Est: $90,000 - $120,000

          MAURICE GALBRAITH CULLEN, R.C.A.WINTERsigned, Cullen Inventory no.1224, 24 ins x 32 ins; 61 cms x 81.3 cmsProvenance:Private Collection, QuebecLiterature:Paul Duval, Canadian Impressionism, McClelland & Stewart Inc., Toronto, 1990, page 42.Note:Duval writes that Cullen's attachment to Lac Tremblant and the Cache and North Rivers was as passionate as that of Monet's to Giverny. Indeed, it is not uncommon for an artist to be indelibly linked with the geography that served to inspired his or her greatest achievements: Harris and Superior; MacDonald and Algoma; Jackson and the villages of the lower St. Lawrence. Like Monet's waterlilies, Cullen repeatedly visited Laurentian scenes such as the one depicted in Winter from which he drew continual inspiration. While he made himself vulnerable to criticism from those who could not understand his process of incremental variation (Milne also drew criticism for this), he was, says Duval, somehow able to shrug it off and "listened only to the challenge of the forest in winter with its difficult and subtle tonalities, reflections and changing hues."

          Waddington's
        • MAURICE GALBRAITH CULLEN, R.C.A., THE DEEP POOL, 1926, oil on canvas, laid down on board, 24.25 ins x 18.25 ins; 61.6 cms x 46.4 cms
          May. 26, 2014

          MAURICE GALBRAITH CULLEN, R.C.A., THE DEEP POOL, 1926, oil on canvas, laid down on board, 24.25 ins x 18.25 ins; 61.6 cms x 46.4 cms

          Est: $50,000 - $70,000

          MAURICE GALBRAITH CULLEN, R.C.A.THE DEEP POOL, 1926signed, Cullen inventory no.108124.25 ins x 18.25 ins; 61.6 cms x 46.4 cmsProvenance:W.R. Watson, Westmount, QuebecThe Estate of Claire Watson Fisher, Victoria, British ColumbiaExhibited:300 Years of Canadian Art, The National Gallery of Canada, Ottawa, 1967, no. 226.Literature:Sylvia Antoniou, Maurice Cullen, 1866-1934, Agnes Etherington Art Centre, Queen's University, Kingston, Ontario, 1982, page 41.Note:Legendary art dealer, William Watson, to whom this painting belonged, and whose gallery was situated on St. Catherine Street in Montreal from 1921 until his retirement in 1958, gave Cullen his first show in 1923 and did so annually until the 1934 Cullen Retrospective held just months before the artist's death. Antoniou writes: "Watson's support and promotion of the artist's Laurentian landscapes played an important role in Cullen's production." A demand rose for the Laurentian paintings and as Watson said: "He (Cullen) painted very slowly and I would have to put paintings aside collecting them for a year, to have enough to make an exhibition." According to a typed label on the stretcher, this work was painted in St. Marguerite.

          Waddington's
        • Maurice Galbraith Cullen (Canadian 1866 - 1934)
          Nov. 26, 2013

          Maurice Galbraith Cullen (Canadian 1866 - 1934)

          Est: $1,500 - $2,500

          LAURENTIAN WINTER SCENE c. 1925 Monogram lower right Oil on canvas, backed on board 5 1/4" x 3 1/2"

          A. H. Wilkens Auctions & Appraisals
        • MAURICE CULLEN (CANADIAN, 1866-1934)
          Nov. 14, 2013

          MAURICE CULLEN (CANADIAN, 1866-1934)

          Est: $150 - $200

          MAURICE CULLEN (CANADIAN, 1866-1934) THE ICE HARVEST; HAND PULLED SILKSCREEN (Limited edition of 100, printed by Markgraf Brothers, Montreal and published by the National Gallery of Canada, Ottawa) WITH BREMNER FINE ART Certificate of Authenticity and Appraisal verso 24" x 28" - 61 x 71.1 cm.

          Waddington's
        • Maurice Galbraith Cullen Canadian, 1866-1934 Winter Shoreline
          Nov. 05, 2013

          Maurice Galbraith Cullen Canadian, 1866-1934 Winter Shoreline

          Est: $10,000 - $15,000

          Maurice Galbraith Cullen Canadian, 1866-1934 Winter Shoreline Signed M Cullen (lr) Pastel on prepared board 23 1/2 x 31 3/4 inches Provenance: Walter Klenkhoff Gallery, Inc., Montreal, no. 1218 C 

          Doyle New York
        • MAURICE GALBRAITH CULLEN, R.C.A., MONT TREMBLANT FROM LAC OUIMET, oil on board, 11.75 ins x 16.25 ins; 29.4 cms x 40.6 cms
          Jun. 03, 2013

          MAURICE GALBRAITH CULLEN, R.C.A., MONT TREMBLANT FROM LAC OUIMET, oil on board, 11.75 ins x 16.25 ins; 29.4 cms x 40.6 cms

          Est: $12,000 - $15,000

          MAURICE GALBRAITH CULLEN, R.C.A.MONT TREMBLANT FROM LAC OUIMET, oil on board; signed with monogram, Cullen Inventory No.1298 11.75 ins x 16.25 ins; 29.4 cms x 40.6 cms Provenance: Watson Art Galleries, Montreal.Private Collection, Toronto.

          Waddington's
        • MAURICE GALBRAITH CULLEN, R.C.A., WINTER RIVER, pastel, 15 ins x 18 ins; 37.5 cms x 45 cms
          Jun. 03, 2013

          MAURICE GALBRAITH CULLEN, R.C.A., WINTER RIVER, pastel, 15 ins x 18 ins; 37.5 cms x 45 cms

          Est: $7,000 - $9,000

          MAURICE GALBRAITH CULLEN, R.C.A.WINTER RIVER, pastel; signed, Cullen Inventory No.1038 15 ins x 18 ins; 37.5 cms x 45 cms

          Waddington's
        • MAURICE GALBRAITH CULLEN, R.C.A., L'EFFET D'EAU, ST-EUSTACHE, oil on canvas, 21.75 ins x 17 ins; 54.4 cms x 42.5 cms
          Jun. 03, 2013

          MAURICE GALBRAITH CULLEN, R.C.A., L'EFFET D'EAU, ST-EUSTACHE, oil on canvas, 21.75 ins x 17 ins; 54.4 cms x 42.5 cms

          Est: $20,000 - $30,000

          MAURICE GALBRAITH CULLEN, R.C.A. L'EFFET D'EAU, ST-EUSTACHE, oil on canvas; signed, Cullen Inventory No.905 21.75 ins x 17 ins; 54.4 cms x 42.5 cms

          Waddington's
        • Maurice Galbraith Cullen 1866 - 1934 Canadian oil
          May. 15, 2013

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil

          Est: $150,000 - $200,000

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil on canvas Evening Glow, Near Lac Tremblant 24 1/4 x 32 1/4 inches 61.6 x 81.9 centimeters signed and on verso titled on the Watson Art Galleries label and certified by Cullen Inventory #1032 Literature:Paul Duval, Canadian Impressionism, 1990, page 42 Provenance:Watson Art Galleries, Montreal, 1926 Acquired from the above exhibition by George McDougall, Montreal Private Estate, Ontario Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, May 25, 2006, lot 68 Private Collection, Vancouver Exhibited:Watson Art Galleries, Montreal, Fourth Annual Exhibition of Oil Paintings and Pastels by Maurice Cullen, RCA and Robert Pilot, ARCA, January 18 - 30, 1926, priced at $750, catalogue #6 By 1926, Maurice Cullen's great series of Laurentian landscapes had reached its apogee. Evening Glow, Near Lac Tremblant is a salient example of the winter scenes produced by the artist in the 1920s, landscapes that eloquently captured both the essence and ephemeral characteristics of the area around Lac Tremblant. Cullen's connection to the Laurentians was profound and prevailing, born of many solitary sketching excursions taken along the shores of Lac Tremblant and the Cache River, and the artist's deeply felt experiences of this wild and sentient nature. In the early 1920s Cullen built a painting cabin on the shores of Lac Tremblant, making concrete an attachment described as being "as passionate as that of Monet's to Giverny". Significantly, Evening Glow, Near Lac Tremblant was exhibited at William Watson's art gallery, then located on St. Catherine Street, the same year it was produced. This exquisite painting may be said to encapsulate the very essence of Cullen's unique oeuvre. In its fluency of form and gentle, glimmering luminosity, the work evokes the grand, sensorial dimension of the natural world in flux. At once sparse and sumptuous, Evening Glow, Near Lac Tremblant quietly conveys the fullness of the moment as day turns to dusk. The stillness of the lake, almost abstracted in its articulation, the enveloping low light, and the tranquil drama of the sunset unfolding on the horizon, combine to evoke a scene of charged and timeless serenity.

          Heffel
        • Maurice Galbraith Cullen 1866 - 1934 Canadian oil
          May. 15, 2013

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil

          Est: $10,000 - $15,000

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil on board North River Near St. Margaret's, PQ 11 3/4 x 16 1/4 inches 29.8 x 41.3 centimeters signed and on verso titled and certified by Cullen Inventory #1395 Provenance:The PSBGM Cultural Heritage Foundation The North River in the Laurentians in winter was one of Maurice Cullen's favoured subjects. The cabin on Lac Tremblant that he built in the early 1920s was his base from which he explored this river's banks and the surrounding snow-encrusted forests. His treatment of the delicate borders between snow and water are particularly exquisite, as are the contrasts between brilliant white snow and deep blue water in this sunlit painting.

          Heffel
        • Maurice Galbraith Cullen 1866 - 1934 Canadian oil
          May. 15, 2013

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil

          Est: $10,000 - $15,000

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil on board Palisades Through the Trees 11 3/4 x 16 1/4 inches 29.8 x 41.3 centimeters signed and on verso titled on the gallery labels, inscribed ""No. 17, January 1925"" on the Watson Galleries label and ""Chairman's lounge"" and certified by Cullen Inventory #1394 Provenance:Watson Art Galleries, Montreal Galerie Walter Klinkhoff Inc., Montreal The PSBGM Cultural Heritage Foundation Maurice Cullen, an important Canadian Impressionist, had absorbed the tenets of this movement while studying in Paris. Painting out-of-doors and capturing the moment in the landscape with its ephemeral effects of light were a vital part of his work. Mountains such as the Palisades, often seen from Lac Tremblant or the Cache River, are a recurring element of Cullen's Laurentian compositions, captured here with mysterious, deep-shadowed cobalt hues.

          Heffel
        • MAURICE GALBRAITH CULLEN, R.C.A.SUNGLOW, CACHE RIVER, pastel; Cullen Inventory No.1582, an authentication by Robert Pilot on the reverse 7.5 ins x 9 ins; 18.8 cms x 22.5 cms Provenance: Robert Pilot, Montreal.Canadian Fine Arts, Toronto.Private
          Nov. 26, 2012

          MAURICE GALBRAITH CULLEN, R.C.A.SUNGLOW, CACHE RIVER, pastel; Cullen Inventory No.1582, an authentication by Robert Pilot on the reverse 7.5 ins x 9 ins; 18.8 cms x 22.5 cms Provenance: Robert Pilot, Montreal.Canadian Fine Arts, Toronto.Private

          Est: $8,000 - $10,000

          MAURICE GALBRAITH CULLEN, R.C.A.SUNGLOW, CACHE RIVER, pastel; Cullen Inventory No.1582, an authentication by Robert Pilot on the reverse 7.5 ins x 9 ins; 18.8 cms x 22.5 cms $8,000-10,000Provenance: Robert Pilot, Montreal.Canadian Fine Arts, Toronto.Private Collection, Toronto.Note: Painted circa 1928.

          Waddington's
        • MAURICE GALBRAITH CULLEN, R.C.A.EARLY MARCH ON THE CACHE RIVER, pastel; signed, Cullen Inventory No.1584 30 ins x 40 ins; 75 cms x 100 cms Provenance: Watson Art Galleries, Montreal.Exhibited: 11th Annual Exhibition of Oil Paintings and Pastels by
          Nov. 26, 2012

          MAURICE GALBRAITH CULLEN, R.C.A.EARLY MARCH ON THE CACHE RIVER, pastel; signed, Cullen Inventory No.1584 30 ins x 40 ins; 75 cms x 100 cms Provenance: Watson Art Galleries, Montreal.Exhibited: 11th Annual Exhibition of Oil Paintings and Pastels by

          Est: $25,000 - $30,000

          MAURICE GALBRAITH CULLEN, R.C.A.EARLY MARCH ON THE CACHE RIVER, pastel; signed, Cullen Inventory No.1584 30 ins x 40 ins; 75 cms x 100 cms $25,000-30,000Provenance: Watson Art Galleries, Montreal.Exhibited: 11th Annual Exhibition of Oil Paintings and Pastels by Maurice Cullen, RCA, Watson Art Galleries, Montreal, 14-24 January, 1933 (as "The Cache River in Early March").Literature: William R. Watson, "Retrospective: Recollections of a Montreal Art Dealer", Toronto, 1974, chapter 4 (Maurice Cullen), pages 30-39. Sylvia Antoniou, "Maurice Cullen", Kingston, 1982.Note: Cullen and William Watson, the art dealer, developed a rather special relationship combining friendship and business. Watson's support and promotion of the artist's Laurentian landscapes played an important role in Cullen's career. Cullen often confessed his pleasure in the flexibility of pastels and, as Watson writes, he explored the wide subtleties of tone attainable only in this medium.It is probably in his depictions of the Laurentians that Cullen achieved his greatest success. Watson points out that the artist made a long and special study of ice formation and ice colour: "There is the steel-blue of mid-winter ice...Cullen loved the joyous flashes of sunlight, the glow of snow, the gleam of ice, the tumult of the freed river in the springtime...He taught us to see beauty where we had only thought of cold."

          Waddington's
        • MAURICE GALBRAITH CULLEN, R.C.A.WINTER EVENING IN THE LAURENTIANS, oil on canvas; signed and dated /20, Cullen Inventory No.1003 14 ins x 20 ins; 35 cms x 50 cms
          Nov. 26, 2012

          MAURICE GALBRAITH CULLEN, R.C.A.WINTER EVENING IN THE LAURENTIANS, oil on canvas; signed and dated /20, Cullen Inventory No.1003 14 ins x 20 ins; 35 cms x 50 cms

          Est: $20,000 - $30,000

          MAURICE GALBRAITH CULLEN, R.C.A.WINTER EVENING IN THE LAURENTIANS, oil on canvas; signed and dated /20, Cullen Inventory No.1003 14 ins x 20 ins; 35 cms x 50 cms $20,000-30,000

          Waddington's
        • Maurice Galbraith Cullen 1866 - 1934 Canadian oil
          May. 17, 2012

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil

          Est: $70,000 - $90,000

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil on canvas Mount Norquay 28 x 22 1/2 inches 71.1 x 57.1 centimeters signed and titled Mount Girouard on a plaque and on verso certified by Cullen Inventory #406 Literature:William R. Watson, Retrospective: Recollections of a Montreal Art Dealer, 1974, pages 30 and 37 Provenance:Galerie Walter Klinkhoff Inc., Montreal Private Collection, Ontario Maurice Cullen is beloved as one of Canada's early Impressionist painters. Fortunate to train in Paris in 1888 and 1889, he knew many of the leading artists of the day. In Canada, however, his fortunes were never secure and he often (as was the case with most artists at the time) had trouble supporting himself. Upon his election to the Royal Canadian Academy in 1899 his finances generally improved, and he found a steady dealer and close friend in William Watson. In his memoirs, Watson tells us a great deal about Cullen as a painter, and also describes the artist's philosophy: "I found it very much akin to that of Emerson or Thoreau, especially in his love of nature. I think I would describe him as a transcendental-pantheist; he would often admit to me how profound and all-embracing this love of nature was. 'One justification for living,' he would say, 'is the understanding and love of beauty.'" Cullen was considered quite a radical in his day, a groundbreaker in terms of his loose, 'gut-feeling' approach. He was an avid outdoorsman and would hike or snowshoe as required to reach remote scenery, often camping in the woods to work. In the 1920s he built a cabin on the shores of Lac Tremblant in the Laurentians, at which he spent months painting in relative solitude. While he employed many impressionistic techniques, using lighter colours and paying attention to qualities of atmosphere and feeling, he was also careful to observe what he saw as the 'Canadian-ness' of the landscape - painting strong lines where the mountains were rugged, swirling snow when he observed blizzards, and the deeper tones of endless dark forests of pine and spruce. In addition to Watson, Cullen also caught the eye of Sir William Van Horne, president of the Canadian Pacific Railway and an early collector of European Impressionism, as well as works by many of Canada's early artists. Cullen made one trip to the Banff area of Alberta in the summer of 1930, accompanied by Mrs. Cullen and Watson, and executed a number of vibrant works depicting the region including this painting of Mount Norquay, a mountain just outside of the town of Banff and adjacent to the newly laid rail lines. There is likely a connection between the location depicted in this work and Cullen's friendship with Van Horne. Banff was a railway town, settled after the lines were completed, and Van Horne reproduced paintings by some of Canada's earliest landscape painters in the promotional materials made to attract visitors to the region. Cullen's approach, and his love of plein air painting, would have suited this kind of partnership well. Cullen was a master when depicting the various whites of snow and subtleties that could convey the idea of cold weather. He believed unfailingly in the importance of painting out of doors. His brighter blues are true to the blue of glacially fed mountain rivers and darker where the rivers have their sources in eastern lakes. Watson further remarks: "His compositional lines have a classic restraint, yet his loaded, well-nourished brush-stroke has, at times, the energy and fury of Van [sic] Gogh. In his running streams and tumbling waters of the spring breakup, where a smooth apron of water flows over the rapids, the technical handling echoes the excitement of the scene. Cullen loved the joyous flashes of sunlight, the glow of snow, the gleam of ice, the tumult of the freed river in springtime, and he set down his impressions with an infectious gusto. He taught us to see beauty where we had only thought of cold."

          Heffel
        • Maurice Galbraith Cullen 1866 - 1934 Canadian
          May. 17, 2012

          Maurice Galbraith Cullen 1866 - 1934 Canadian

          Est: $25,000 - $35,000

          Maurice Galbraith Cullen 1866 - 1934 Canadian pastel on paper on board The North River 18 x 23 1/2 inches 45.7 x 59.7 centimeters signed and on verso certified by Cullen Inventory #1206 Provenance:Les ateliers RC, Paris Dominion Gallery, Montreal Galerie d'Art Vincent, Ottawa Private Collection, Toronto Maurice Cullen's began to use pastel during his time in Paris around 1892, when he learned the technique from Philippe Roll. He used it to the end of his life and had a great regard for this medium, of which he was a master. Cullen often visited the Laurentians to sketch, considering winter to be the season that held the most beauty, and in the early 1920s built a cabin at Lac Tremblant to immerse himself in the landscape that meant so much to him. One of the great themes of his oeuvre was that of rivers such as the Cache and the North, their dark and mysterious waters flowing through the snow, their edges tinged with ice, their shores ringed with dark evergreens. Cullen did not follow the fractured brush-stroke and fragmentation of colour of the French Impressionists, but instead used pure colours. Cullen's snow is never just white but, as here, tinged with delicate tones of pink, mauve and blue. Particularly exquisite are the strokes of turquoise under the trees, radiantly cool, in this superb Laurentian pastel.

          Heffel
        • Maurice Galbraith Cullen 1866 - 1934 Canadian oil
          May. 17, 2012

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil

          Est: $15,000 - $20,000

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil on canvas Dordrecht at Twilight 34 x 44 1/4 inches 86.3 x 112.4 centimeters on verso titled on a label and certified by Cullen Inventory #185 Provenance:Collection of Michel Moreault, former Director of the Dominion Gallery, Montreal, and family Dordrecht at Twilight is evidence of Canadian Impressionist Maurice Cullen's important early connection to Europe. In 1888 when he traveled to Paris to study, Cullen embraced the new breakthrough movement of Impressionism. While based there, he traveled to the French countryside, Italy, North Africa and, before his return to Canada in 1895, to Rotterdam, Holland. In 1901 he was back in Paris, he visited Holland again before his return to Montreal in 1902. Dordrecht, on the Thure River, the location of this fine atmospheric painting, is the oldest city in Holland. Cullen deftly communicates the ambience of twilight in this scene in elements such as the shadowy church spire and the building at the river's edge, with its glowing lights shimmering in the dark water. Cullen had achieved recognition in Europe, but it would be some years before his success took hold in Canada. Soon after his return, artist Clarence Gagnon discovered that Cullen was painting over some of his European paintings due to lack of funds for new materials, making large canvases such as this a rare occurrence in the market.

          Heffel
        • Maurice Galbraith Cullen 1866 - 1934 Canadian
          May. 17, 2012

          Maurice Galbraith Cullen 1866 - 1934 Canadian

          Est: $30,000 - $35,000

          Maurice Galbraith Cullen 1866 - 1934 Canadian pastel on paper on board Sunglow, Near St. Marguerite's North River 24 x 32 inches 61 x 81.3 centimeters signed and on verso titled, inscribed ""Ex.12.1934"" on the Watson Art Galleries label and certified by Cullen Inventory #1111 Literature:A.Y. Jackson, A Painter's Country, The Autobiography of A.Y. Jackson, 1958, page 16 Provenance:Watson Art Galleries, Montreal By descent to the present Private Collection, Ontario Maurice Cullen is considered a father of Impressionism in Canada. Group of Seven painter A.Y. Jackson credits Cullen with making younger generations in Montreal aware of the invigorating new movements in France, and stated, "To us he was a hero. His paintings of Quebec City, from Lévis and along the river, are among the most distinguished works produced in Canada." A master of the medium of pastel, Cullen made his own colours from earths and pigments (artist Charles Henry Fromuth had given him his secret recipe for their preparation). He avoided mixing the pastels on the paper, instead applying each one directly from a wide range of individual hues. This ensured a vibrancy of colour and the ability to depict delicate impressions of light, as seen here in the warm creamy tones of glowing light on snowbanks and darker reflections in the river. The work is enlivened by warm and cool colour contrasts throughout, with the emerald green intermingled with orange, rose and flesh tones in the river being particularly exquisite. This is a stunning example of Cullen's enduring theme of Laurentian rivers in winter.

          Heffel
        • Maurice Galbraith Cullen 1866 - 1934 Canadian oil
          Jan. 26, 2012

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil

          Est: $14,000 - $16,000

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil on canvas board The Mill Pond 15 1/2 x 18 inches 39.4 x 45.7 centimeters signed and on verso titled on the gallery label Provenance:Watson Art Galleries, Montreal Private Collection, Toronto

          Heffel
        • Attributed to MAURICE GAILBRAITH CULLEN RCA
          Nov. 30, 2011

          Attributed to MAURICE GAILBRAITH CULLEN RCA

          Est: $1,500 - $2,000

          Canadian 1866-1934; Quebec City; Watercolour on artists board; Signed & titled "Quebec" on reverse; 3.5 x 4.75 IN

          Walker's
        • Maurice Galbraith Cullen 1866 - 1934 Canadian oil
          Nov. 26, 2011

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil

          Est: $14,000 - $16,000

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil on canvas board The Mill Pond 15 1/2 x 18 inches 39.4 x 45.7 centimeters signed and on verso titled on the gallery label Provenance:Watson Art Galleries, Montreal Private Collection, Toronto

          Heffel
        • Maurice Galbraith Cullen 1866 - 1934 Canadian oil
          Nov. 26, 2011

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil

          Est: $8,000 - $10,000

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil on panel Cache River 5 7/8 x 6 7/8 inches 14.9 x 17.5 centimeters signed and on verso titled and certified by Cullen Inventory #886 Provenance:Private Collection, Toronto

          Heffel
        • Maurice Galbraith Cullen 1866 - 1934 Canadian oil on canvas First Snow, Cache River
          Nov. 24, 2011

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil on canvas First Snow, Cache River

          Est: $20,000 - $30,000

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil on canvas First Snow, Cache River 18 1/4 x 24 1/8 inches 46.3 x 61.3 centimeters signed Provenance: Private Collection, Montreal Maurice Cullen is one of Canada's finest Impressionist painters. His profound connection with Quebec's Laurentian Mountains led him to build a studio cabin on the shore of Lac Tremblant in the early 1920s. Laurentian rivers in winter, and particularly the Cache, were one of Cullen's important and enduring themes. His mastery of colour and atmosphere is in full flower in this beautiful painting. Winter sun bathes the scene with warm light, contrasted with dark reflections in the river. Although cloaked in snow, the scene is brightened with vivacious warm hues - parting clouds are tinted with pink and yellow, while pink, red and coral glow in the low bushes on the far bank. Cool highlights of emerald and bright blue glimmer in the trees, and the river's icy edges are exquisitely rendered with soft teal. First Snow, Cache River is a winter feast of colour, one of Cullen's outstanding portrayals of the majesty of winter in the Laurentians. This work is a larger version of a 1925 oil entitled The Cache River, November, sold in Heffel's spring 2011 sale of Fine Canadian Art.

          Heffel
        • Maurice Galbraith Cullen 1866 - 1934 Canadian oil on canvas Lévis from Quebec
          Nov. 24, 2011

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil on canvas Lévis from Quebec

          Est: $60,000 - $80,000

          Maurice Galbraith Cullen 1866 - 1934 Canadian oil on canvas Lévis from Quebec 18 1/8 x 22 1/8 inches 46 x 56.2 centimeters inscribed "À mon ami Brymner" and monogrammed and on verso titled on the Watson Art Galleries label and certified by Cullen Inventory #1011 and by William R. Watson, record #2243 Literature:Oscar Wilde, Intentions, 1891, essay titled "The Decay of Lying", unpaginated Hughes de Jouvancourt, Maurice Cullen, 1978, a similar 1904 oil entitled Quebec from Lévis, Harmony in Blue reproduced page 9 and a similar 1906 work entitled Lévis from Quebec, in the collection of the Art Gallery of Ontario, reproduced page 17 Crystal S. Parsons, Maurice Cullen and His Circle, National Gallery of Canada, 2009, a similar circa 1905 oil entitled Winter Evening, Quebec in the collection of the National Gallery of Canada reproduced page 8 Provenance:A gift from the Artist to William Brymner, Montreal Watson Art Galleries, Montreal, sold to François Dupré, Paris, France c/o Greenshields & Co., September 6, 1946 Collection of Mr. François Dupré Quebec City, as seen from Lévis, has been a popular subject since 1760 and even before. One can recall the famous view of it by James Wilson Morrice entitled The Ferry, 1907, in the collection of the National Gallery of Canada, where we see in the foreground the train station at Lévis, and in the background Cap-Diamant. The profile of Quebec City has always been perceived as more picturesque than the opposite point of view adopted here by Cullen. Instead of the Citadel, the Seminary, Notre-Dame Church, etc., we are shown here only the silhouette of the imposing Collège de Lévis, built in 1853 and perhaps, on the right, the Côte Fréchette climbing the cliff towards the Vieux Lévis. In fact it was a very deliberate choice by Cullen - the Art Gallery of Ontario also has a Lévis from Quebec, 1906 in their collection - a choice that allowed him to concentrate on atmospheric effects rather than on buildings and history. Very revealing also is the fact that the full title of another view, this time the view more often seen of Quebec from Lévis, 1904, was Harmony in Blue. Here also, in this painting dedicated to his friend William Brymner (1855 - 1925), we could speak of a harmony in grey or blue. Ever since James Abbott McNeil Whistler (1834 - 1903) had titled a portrait of his mother, Arrangement in Grey and Black (1871, in the collection of the Musée d'Orsay in Paris), it was common among painters to make explicit references to music in their titles. We are left with the almost abstract composition of air and water, of atmosphere and frozen river, until we notice the little ferry off-centre in the foreground, which would also catch the attention of Morrice three years later. It is in fact the smoke coming from that ferry that locks the composition in the pictorial plane, since this smoke loses itself in the clouds. We are reminded of a similar effect in Gare Saint-Lazare, painted by Claude Monet in 1877. The smoke coming from the locomotive tends to dissolve the structures of the station and of the neighboring buildings into vapour and clouds, to also create a single "harmony". In our Cullen painting, a similar arrangement has dissolved the cliff and the buildings of old Lévis and given them the same impermanence of the movement of the clouds in the sky. Cullen makes us discover beauty, even the sublime, in a view to which we have not given our attention before. We are reminded of this extraordinary passage from The Decay of Lying by Oscar Wilde, in his book of essays Intentions, from 1891. In this dialogue, Cyril challenges Vivian, but it is Vivian who defends his own point of view: "You don't mean to say that you seriously believe that Life imitates Art," asks Cyril, "that Life in fact is the mirror, and Art the reality?" "Certainly I do, " answers Vivian. "Paradox though it may seem - and paradoxes are always dangerous things - it is none the less true that Life imitates Art far more than Art imitates Life." In fact, Wilde was ready to go even further: CYRIL. The theory is certainly a very curious one, but to make it complete you must show that Nature, no less than Life, is an imitation of Art. Are you prepared to prove that? VIVIAN. My dear fellow, I am prepared to prove anything. CYRIL. Nature follows the landscape painter, then, and takes her effect from him? VIVIAN. Certainly. Where, if not from the Impressionists, do we get those wonderful brown fogs that come creeping down our streets, blurring the gas-lamps and changing the houses into monstrous shadows? To whom, if not to them and their master, do we owe the lovely silver mists that brood over our river, and turn to faint forms of fading grace curved bridge and swaying barge? Could we not apply this marvelous theory to our Cullen? We thank François-Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay.

          Heffel
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