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Raymond John Mead

Canada (1921 -  1988 )
mead raymond john Image No. 10

Waddington's /Nov 24, 2014
27,582.40 - 34,478.01
24,411.84

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Artworks in Arcadja
20

Some works of Raymond John Mead

Extracted between 20 works in the catalog of Arcadja
Raymond John Mead - Untitled

Raymond John Mead - Untitled

Original 1995
Estimate:

Price:

Lot number: 105
Other WORKS AT AUCTION
Description:
Raymond John Mead CGP CSGA P11 1921 - 1998 Canadian Untitled acrylic on canvas signed and dated 1995 and on verso dated on the gallery labels and inscribed "35 5/16" 52 1/8 x 40 in 132.4 x 101.6cm Provenance: Christopher Cutts Gallery, Toronto Collection of Carloynn Lund-Mead Granville Fine Art, Vancouver Private Collection, Vancouver
Raymond John Mead - Untitled

Raymond John Mead - Untitled

Original 1952
Estimate:

Price:

Gross Price
Lot number: 102
Other WORKS AT AUCTION
Description:
RAYMOND JOHN MEAD UNTITLED

watercolour

signed and dated \‘52

22 ins x 29.75 ins; 54.6 cms x 72.4 cms

Provenance:

Private Collection, Ontario Private Collection, British Columbia (by descent)

Literature:

Joan Murray,

Ray Mead: The Papers
Raymond John Mead - Yellow Abbey Ii

Raymond John Mead - Yellow Abbey Ii

Original 1988
Estimate:

Price:

Gross Price
Lot number: 26
Other WORKS AT AUCTION
Description:
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Raymond John Mead
CGP CSGA P11 1921 - 1998 Canadian
Yellow Abbey II
acrylic on canvas
signed and on verso signed, titled, dated 1988 and inscribed "#2" and "RM-89004"
56 x 67 in 142.2 x 170.2cm
Provenance:
Waddington and Shiell Galleries, Toronto
Granville Fine Art, Vancouver
Private Collection, Toronto
Ray Mead’s early training at the Slade School of Fine Art in London prepared him for a long and successful career in advertising design after he settled in Canada in 1946. Soon after immigrating he connected with the young painters who were to form Painters Eleven and consequently established himself as an exhibiting artist. Whether in his earliest post-war paintings, his more mellow-hued works from the late 1950s or his images in all media from later periods, Mead’s palette is consistently strong and lively, as with the dominant hot yellow in this fine canvas from the late 1980s. While his earlier abstract works were more controlled and often included a suggestion of a horizon line for visual grounding, his mature paintings feature broad, open spaces populated by somewhat familiar shapes and a kind of personal graffiti that gracefully and playfully leads us through the image. Mead was skilled and confident enough to trust that we would find our way.
Raymond John Mead - Image No. 10

Raymond John Mead - Image No. 10

Original
Estimate:

Price:

Gross Price
Lot number: 48
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Description:
RAYMOND JOHN MEAD
IMAGE NO. 10
oil on canvas
signed and dated \‘54; titled on the reverse
30 ins x 36 ins; 76.2 cms x 91.4 cms
Provenance:
Private Collection, Canada
Literature:
Iris Nowell,
Painters Eleven: The Wild Ones of Canadian Art,
Douglas & McIntyre, Toronto, 2010, page 234.
Note:
Ray Mead treated the canvas as a single plane - eliminating any distinction between the background and the subject. Though he resisted the brand of Colour-Field painter, Mead skillfully emphasized the flatness of his paintings. \“The shapes and forms on his canvases – zigzagging blocks, small blots and squiggles, assertive arrows, crescents and arches – are rendered in lively hues.\” Through angles and jagged blocks, pure colour – yellow, terracotta, blue – and deep black, Ray Mead created rhythm in
Image No. 10
.
Raymond John Mead - Objects

Raymond John Mead - Objects

Original 1952
Estimate:

Price:

Gross Price
Lot number: 6
Other WORKS AT AUCTION
Description:
Lot # 006
Raymond John Mead
CGP CSGA P11 1921 - 1998 Canadian
Objects
oil on canvas
signed and dated 1952 and on verso signed, titled and inscribed "9Hill Heights Court, Toronto / $100"
28 x 36 in 71.1 x 91.4cm
Provenance:
Private Collection, Ontario
Objects was acquired directly from the artist - perhaps as anexchange or as a gift - by a gentleman who credited Mead withhelping him get his first job in the advertising industry. It hasremained in the possession of that man's family ever since. Atfirst glance, one may associate this 1952 painting with a Cubistaesthetic, but Mead was clearly still in the thrall of his SladeSchool instructor, Patrick Heron, and the other young moderns whoformed the nexus of Cornwall's St. Ives School. Here we do not havemultiple views but one pared-down view of still life objects:perhaps a ripe melon, a shiny apple and a yellow jug on a darktable, standing on a green carpet. The rich yet controlled colourrange, the flattened format and strong curved shapes are morereminiscent of British artists Ben Nicholson and Barbara Hepworththan of Pablo Picasso or Georges Braque.
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