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Jack Leonard Shadbolt

Canada (1909 -  1998 ) Wikipedia® : Jack Leonard Shadbolt
SHADBOLT Jack Leonard Home Of The Steps, Menton

Heffel /Sep 28, 2017
10,252.90 - 17,088.16
Not Sold

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Along with Jack Leonard Shadbolt, our clients also searched for the following authors:
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Artworks in Arcadja
368

Some works of Jack Leonard Shadbolt

Extracted between 368 works in the catalog of Arcadja
Jack Leonard Shadbolt - Comp. Study For Spirit Catcher

Jack Leonard Shadbolt - Comp. Study For Spirit Catcher

Original 1988
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Lot number: 238
Other WORKS AT AUCTION
Description:
Lot # 238 Canadian Post-War & Contemporary Art Online auction , Jack Leonard Shadbolt , BCSFA CGP CSPWC OC RCA 1909 - 1998 Canadian Comp. Study for Spirit Catcher hand-coloured lithograph signed, initialed, titled and dated 1988 11 1/2 x 6 3/4 in 29.2 x 17.1cm Provenance: Private Collection, Vancouver Included with this lot is the Collector's Edition book on Jack Shadbolt by Scott Watson, with slipcase, signed and editioned 140/146 and with a hand-coloured frontispiece. The framed work is a trial proof for the frontispiece included in the book. ,
Jack Leonard Shadbolt -  Garden In Green And Gold

Jack Leonard Shadbolt - Garden In Green And Gold

Original 1957
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Lot number: 55
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Description:
Jack Leonard Shadbolt BCSFA CGP CSPWC OC RCA 1909 - 1998 Canadian Garden in Green and Gold oil on canvas signed and dated 1957 and on verso titled, dated and inscribed "31 E" 28 3/4 x 36 1/2 in 73 x 92.7cm Provenance: The Isaacs Gallery Ltd., Toronto Private Collection, Ontario Literature: Scott Watson, Jack Shadbolt, 1990, page 57 This gorgeous painting is from a pivotal time in Jack Shadbolt’s career, one in which he reveled in the sensual pleasures of colour. In 1956, Shadbolt took a year’s leave of absence to go to France, and after stopping in Paris, traveled to the south to the exotic Côte d’Azur. In the town of Menton he settled into a hedonistic way of life—the sea, the sun and the beautiful gardens entered his consciousness and his work, as he enjoyed his pure sensory self. He revealed his desire to transform in a letter: “I want to stay in this Mediterranean meaning. I have too much conscience – too much Gothic – too much Western social-minded sense of responsibility.” In this radiant painting, fragments of the garden drift and glow across a colour field of golden orange and green, and the closer you look, the more hues are revealed – from pink to emerald. Shadbolt’s paint is textural, thick and rich, with built-up mosaic-like squares scattered through the background. In France, this West Coast modernist liberated a part of himself, and the results, as seen in Garden in Green and Gold, are spectacular.
Jack Leonard Shadbolt - Of Birds And Bush #2

Jack Leonard Shadbolt - Of Birds And Bush #2

Original 1980
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Lot number: 84
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Description:
Lot 84 JACK LEONARD SHADBOLT, R.C.A. OF BIRDS AND BUSH #2 acrylic on canvas signed and dated \‘80 48.75 ins x 66 ins; 167.6 cms x 121.9 cms Provenance: Bau-Xi Gallery Ltd., Toronto Private Collection, Dundas Literature: Sarah Milroy, \“Shadbolt\’s often dark vision balanced by ravishing colours,\” The Globe and Mail, 25 November 1998. Scott Watson, Jack Shadbolt, Douglas & Mc Intyre, Toronto, 1990, page 172. In 1927, Jack Shadbolt (1909-1998) enrolled at the Victoria College where he was introduced to the art of Emily Carr. Indigenous art and culture and the creation of a true Canadian modernist aesthetic, ideas which so inspired Carr, would come to engross Shadbolt as well. Shadbolt experimented extensively with his style, slowly metamorphosing from social realist murals to watercolour surrealism to oil painted abstraction, but it was his dramatic decision in 1969 to confront head on the \“spell\” Emily Carr had on him that a real artistic transformation occurred. In order to achieve this end, he exiled himself, embraced her work in its entirety, and produced a set of drawings in homage to the artist who had once so consumed his practice. It was, effectively, a kind of exorcism. In 1978, Shadbolt returned to his summer home on Hornby Island and painted the series Wild Grass Suite, which marked his return to highly abstracted, energetic and physically demanding painting. Of Birds and Bush #2, painted only two years later, exemplifies Shadbolt\’s abandoned and expressive approach at this time. An explosive splatter of colour, paint and carnal energy, this piece demonstrates Shadbolt\’s lifelong preoccupation with form. While likely created in automatistic fervor, repetition and rhythm are paramount while the addition of birds and blue sky in the upper portion suggest a narrative structure. In these Grass pieces, Shadbolt articulates, in painted form and rhythm, his experiences of running through the fields of Victoria. Rather than portray a sensation, Shadbolt wanted to create an immersive experience, and through scale, colour and vibrancy, Of Birds and Bush #2 does just that. Explaining the work of Jack Shadbolt, Scott Watson notes: \“The themes are of transformation. Forms are giving birth, being torn apart, bursting. His work is so emblematic of the way we experience landscape here. There is a lot of terror and anxiety.\”
Jack Leonard Shadbolt - Home Of The Steps, Menton

Jack Leonard Shadbolt - Home Of The Steps, Menton

Original
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Lot number: 520
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Description:
Jack Leonard Shadbolt BCSFA CGP CSPWC OC RCA 1909 - 1998 Canadian Home of the Steps, Menton oil on canvas signed and dated 1956 and on verso signed on the side of the stretcher and titled 29 x 36 in 73.7 x 91.4cm Provenance: By descent to the present Private Collection, Vancouver Island Literature: Scott Watson, Jack Shadbolt, 1990, page 77 In September of 1956, Jack Shadbolt went to France on a year’s leave of absence, funded by the Canada Council. After a sojourn in Paris, Shadbolt traveled south, staying at Menton in the French Riviera and at Collioure, a small fishing village near the Spanish border. Shadbolt’s time in France was liberating, both in terms of his psyche and the effect of the light and colour of the south of France on his work. As Scott Watson writes, “It was as if something that had been long pent up was suddenly freed, as his senses opened up to new tastes, textures and sensations, especially colours. The cumulative effect was a narcotic intimation of paradise.” He immersed himself in the sensory, experiencing the joy of living a slow, leisurely life of freedom under the Mediterranean sun – and let his hedonistic side bloom.
Jack Leonard Shadbolt -  Burnt Grasses

Jack Leonard Shadbolt - Burnt Grasses

Original 1962
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Lot number: 328
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Description:
Jack Leonard Shadbolt BCSFA CGP CSPWC OC RCA 1909 - 1998 Canadian Burnt Grasses watercolour on paper on board signed and dated 1962 and on verso titled and dated on the gallery label 19 3/8 x 24 in 49.2 x 61cm Provenance: Kyle's Gallery, Victoria By descent the present Private Collection, Victoria
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