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Cornelius David Krieghoff

Canada (1815 -  1872 ) Wikipedia® : Cornelius David Krieghoff
KRIEGHOFF Cornelius David Landscape Painting Of Habitant Winter Scene

888auctions
Dec 7, 2017
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Artworks in Arcadja
218

Some works of Cornelius David Krieghoff

Extracted between 218 works in the catalog of Arcadja
Cornelius David Krieghoff - Landscape Painting Of Habitant Winter Scene

Cornelius David Krieghoff - Landscape Painting Of Habitant Winter Scene

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Lot number: 76
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Cornelius Krieghoff (1812 - 1872) Lot 76: Cornelius Krieghoff 1815-1872 Dutch Canadian Oil Description: Landscape painting of habitant winter scene; oil on canvas; framed; signed and attr. Cornelius David Krieghoff (1815-1872) on lower right corner, Dutch Canadian artist; most famous for his paintings of Canadian landscapes and the Canadian life outdoors; 14 x 11 in. (35.56 x 27.94 cm.) PROVENANCE: Private collection, Toronto, ON Catalogue Note Krieghoff early on established in his repertoire two major themes that he would revisit throughout his career and for which he is perhaps best known: rural francophones and aboriginals. His HABITANT scenes cover a range of situations: in some, for example, folk greet one another en route, play cards, race their sleds, fraternize at the local inn, or attempt to settle a tract of un-arable land - granted to them by the government - in the hinterlands of Québec. In another typical scene, a British solider flirts with a young francophone woman, the intimate moment interrupted by her husband or a parent. In Breaking Lent (The Thomson Collection), the local priest, stern and imposing, has arrived unannounced at a parishioner's humble abode only to catch the family in the forbidden act of eating meat during Lent. Whether viewed as benign narratives or subtle, satirical commentaries on French Québec society, such genre scenes often evidence Krieghoff's awareness of the relationship between ethnic groups and/or social classes. Krieghoff's depictions of First Nations peoples are idealized and reflect his belief in their profound attachment to the land. Despite the artist's often detailed renderings of exquisite basketry, beadwork and such other Native handiwork, the figures - always set within a landscape - are almost without exception generic. His "Indian Encampment" scenes, so categorized in an advertisement in a contemporary Montréal newspaper, are characteristic. In A Caughnawaga Indian Encampment (ROM), the figures, placed centre stage next to a wigwam beside a forest stream, represent the type "Canadian Native." Little within the image itself clearly identifies these people as those who presumably were Krieghoff's inspiration: MOHAWKs who in fact resided in their community of Caughnawaga (now Kahnawake), with its stone Catholic church and white frame homes on the south shore of the St. Lawrence opposite Lachine. In his later renditions the romantic element is heightened; the aboriginal figures camp, hunt and trek in the deep forests and waterways, but they have become mere extras, entirely subsumed by nature in all its sublime grandeur (On Lake Laurent, ROM). Landscape, portraiture and outdoor leisure scenes assumed additional significance in Krieghoff's repertoire upon his arrival in Québec City; they provided a means to take fullest advantage of the centre's significant military and business markets as well as the burgeoning tourism and leisure trade. The area's celebrated natural monuments are the focus of many of his paintings (St. Anne Falls, NGC), while others feature the forests and rivers that were at the core of the all-important timber industry but that also served as the playground for avid outdoorsmen (Death of the Moose at Sunset, Lake Famine South of Quebec, Glenbow Collection). With a palette of brilliant colours, heightened gestures and facial expressions, and a realistic style and remarkable attention to detail that suggest close observation of nature, Krieghoff succeeded in creating paintings that seduced and resonated with significant segments of Canada's urban population. They provided a seemingly coherent image of Canada and thus ensured a continuing demand for his versions of "Canadian life." It has been debated whether his romanticized images of First Nations peoples and "habitants" are variously sympathetic or condescending or satirical, a debate that challenges assumptions regarding Canada's identity as a modern nation, both past and present. Nonetheless, his work continues to be recognized for its documentary and artistic aspects. It provides a remarkable record of one citizen's attempts to capture his perception of a modern Canada in images, and with those images to make a name and a career as a fully professional artist in an emerging nation.
Cornelius David Krieghoff - Caughnawaga Indian

Cornelius David Krieghoff - Caughnawaga Indian

Original 2017
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Lot number: 422
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Lot # 422 Historical Canadian Art Online auction , Cornelius David Krieghoff , 1815 - 1872 Canadian Caughnawaga Indian oil on canvas signed and on verso titled on the gallery label 11 1/2 x 8 in 29.2 x 20.3cm Provenance: Laing Galleries, Toronto By descent to the present Private Collection, Toronto Please note: this work is on preview at the Design Exchange, Toronto from November 18 - 23, 2017. ,
Cornelius David Krieghoff -  Caribou Hunters In A Winter Snow Storm

Cornelius David Krieghoff - Caribou Hunters In A Winter Snow Storm

Original 1860
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Lot number: 152
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Cornelius David Krieghoff 1815 - 1872 Canadian Caribou Hunters in a Winter Snow Storm oil on canvas circa 1860 signed 12 x 20 in 30.5 x 50.8cm Provenance: Mrs. David Ross, whose first husband was James Gibb, friend and patron of the Artist By descent to John Theodore Ross, Quebec City By descent to a Private Collection, Vancouver Island Private Collection, Montreal Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 8, 2001, lot 18, back cover lot Private Collection, Montreal Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 24, 2005, lot 146 Private Collection, Quebec It is probably fair to say that for Cornelius Krieghoff, the most important season was winter. His images of the habitants of Quebec playing, working and living their lives in a world of white are among his most popular. The effects of snow and snowfall, so clearly seen in this canvas, suggest Krieghoff's deep understanding of his adopted home and a keen eye to what might prove to be popular subjects for his patrons, the merchants and military men of Montreal and Quebec City. Krieghoff paid attention to all the aspects of the landscape - the varieties of trees, the grey expanse of the sky and the open path. Similarly, he was careful to depict the costumes of the hunters and details of their guns and to suggest their hardship in the snowstorm. In common with his best work, the element of narrative - here, a caribou hunt - is an important aspect of the painting. Krieghoff was aware that many of his paintings would not remain in Canada, and such a scene would have an element of exoticism for a viewer in England. As it happened, a friend of the artist, James Gibb, originally purchased the work. For Gibb it probably had a more personal association - perhaps an experience shared with the artist or a fellow hunter. Over 150 years later the painting is, for us, a valuable record of our history and a glimpse of a lost way of life. Former owner John Theodore Ross owned several important Krieghoff paintings. Ross owned the masterpieces Merrymaking, 1860, now in the Beaverbrook Art Gallery, Fredericton, NB, and Crack in the Ice, which was part of the Kenneth Thomson Collection. On verso is a photocopy of a black and white photograph showing Caribou Hunters in a Winter Snow Storm hanging in the Ross family home along with their other masterpieces by the artist. On verso is a photocopy of a black and white photograph showing Caribou Hunters in a Winter Snow Storm hanging in the Ross family home along with their other masterpieces by Krieghoff.
Cornelius David Krieghoff - Bavaria

Cornelius David Krieghoff - Bavaria

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Lot number: 106
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Lot 106 CORNELIUS KRIEGHOFF BAVARIA oil on canvas signed 11.75 ins x 16.5 ins; 29.8 cms x 41.9 cms Provenance: Private Collection, Ontario While this work is not dated, we know Cornelius Krieghoff (1815-1872) - who had lived in Schweinfurt, Bavaria as a child - returned to Europe around 1854 to refresh his painting skills. He had visited Europe prior to this trip, to copy masterworks in major art galleries, but it is in 1854 that he is documented as visiting Bavaria, which is the subject of this lot.
Cornelius David Krieghoff -  Huron Hunters At Big Rock

Cornelius David Krieghoff - Huron Hunters At Big Rock

Original 1860
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Lot number: 13
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Cornelius David Krieghoff 1815 - 1872 Canadian Huron Hunters at Big Rock oil on canvas on board circa 1860 signed 11 7/8 x 20 in 30.2 x 50.8cm Provenance: Acquired Theodore Doucet in Montreal, circa late 1800s By descent to the present Private Collection, USA Literature: Hughes de Jouvancourt, Cornelius Krieghoff, 1971, a similar oil entitled Indian Hunters Around a Fire, in the collection of The Public Archives of Canada, reproduced page 36 J. Russell Harper, Krieghoff, 1999, page 137 Cornelius Krieghoff’s great skill at creating complex genre scenes is clearly seen in this superb canvas. The native hunters are depicted taking their ease around the fire, under a striking large boulder known as Big Rock. Art historian Russell Harper notes, “One of Krieghoff’s greatest series of paintings, large in format, brilliantly coloured, and highly romantic, pictures Indians beside a huge boulder popularly known as the ‘Big Rock.’” Such scenes included the realistic and meticulous depiction of native dress and activities, and here he paints the distinctive moccasins, clothing, pipes and rifles of the hunters. Although their poses are natural, and their activity part of their lifestyle, these complex tableau scenes were carefully and artfully composed in the studio. Krieghoff created a natural stage for the group on the bank of the river backed by Big Rock - an enclosed and protected space. He also placed them in the greater landscape context by including a backdrop of an expansive view out to faraway misty mountains. In this scene is encoded a viewpoint of First Nations people as noble and free, unaffected by the artificialities of civilization, and living at one with the natural world. The bounty of nature is all around them, providing for their needs of food, shelter and clothing, easily taken by using their expert hunting skills. However, the challenges and discomfort of contending with the harsher side of nature were excluded from these romanticized scenes. Krieghoff was quite familiar with First Nations people, and from 1853 to 1863, when he was residing in Quebec City, met the Hurons at Lorette. Unlike the Mohawks of Caughnawaga, the men of Lorette continued their traditional hunting and trapping, and worked as guides for hunting and fishing parties. Krieghoff snowshoed with Huron guides to Lake St. Charles and was known to be a good hunter and marksman who could always pick up trails in the woods. One of his best friends was a Huron chief who spoke the traditional language of his people. Not only are paintings such as this fascinating for their depiction of First Nations people in early Canada, they are also virtuoso landscape paintings. Huron Hunters at Big Rock is painted with precise draughtmanship – from the minutiae of leaves and blades of grass to the moss-capped boulder, we perceive Krieghoff’s keen observational eye. His colour palette is rich, with glowing autumn hues in the trees, a turquoise sky and blue highlights in the rock. The natural splendour of this wild Quebec landscape is alluring. One can easily see how such images would have appealed to Krieghoff’s primary clients, the anglophone merchants and military men of Montreal and Quebec. While in Quebec City, Krieghoff mixed with well-off English residents; he fished, hunted and caroused with them. He was gregarious in nature and shrewdly practical. The cultivation of his clients allowed him to continue his life as an artist at a time when few others could. Military officers, some from well-known British families, acquired his work as reminders of their life in Canada. This work is an outstanding example of Krieghoff’s tableau paintings of First Nations peoples. Among the impressive collection of Krieghoff works in the Royal Ontario Museum is a similar oil entitled Indian Scouts at Big Rock. Huron Hunters at Big Rock possesses an excellent provenance that can be traced back generations to its original acquisition in Montreal by Theodore Doucet, a contemporary of Krieghoff. This rediscovered painting has been returned to Canada, and as it has remained in the same family, this is the first time it has been offered for sale since its original acquisition by Doucet.
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