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Jack Leonard Shadbolt

Canada (1909 -  1998 ) Wikipedia® : Jack Leonard Shadbolt
SHADBOLT Jack Leonard Still Life

Heffel /May 30, 2015
1,379.12 - 2,068.68
1,637.80

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Artworks in Arcadja
298

Some works of Jack Leonard Shadbolt

Extracted between 298 works in the catalog of Arcadja
Jack Leonard Shadbolt - Tapestry

Jack Leonard Shadbolt - Tapestry

Original 1976
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Lot number: 417
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Jack Leonard Shadbolt BCSFA CGP CSPWC OC RCA 1909 - 1998 Canadian Tapestry acrylic fibre signed, editioned 21/25 and dated 1976 and on verso signed and editioned on a label 77 x 98 in 195.6 x 248.9cm Provenance: Private Collection, Vancouver Literature: Canadian Tapestries 1977, Art Gallery of Ontario, 1977, same image reproduced page 45 Exhibited: Art Gallery of Ontario, Toronto, Canadian Tapestries 1977, June 4 - July 24 1977, traveling to the Confederation Centre Art Gallery and Museum, Charlottetown, June 9 - July 31; the Glenbow-Alberta Institute, Calgary, June 8-July 24; the Vancouver Art Gallery, July 8 - July 31; The Winnipeg Art Gallery, May 19 - June 26, 1977, same image
Jack Leonard Shadbolt - Collioure

Jack Leonard Shadbolt - Collioure

Original 1957
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Lot number: 620
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Jack Leonard Shadbolt BCSFA CGP CSPWC OC RCA 1909 - 1998 Canadian Collioure graphite on paper signed, titled and dated 1957 and on verso titled Collioure C-80 on the gallery labels and inscribed "C-80" 14 1/2 x 18 in 36.8 x 45.7cm Provenance: Equinox Gallery, Vancouver Petley Jones Gallery, Vancouver
Jack Leonard Shadbolt - Seashore Nocturne

Jack Leonard Shadbolt - Seashore Nocturne

Original 1977
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Lot number: 69
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Jack Leonard Shadbolt BCSFA CGP CSPWC OC RCA 1909 - 1998 Canadian Seashore Nocturne acrylic and latex on board triptych signed and dated 1977 and on verso titled, dated and inscribed with the artist's name on each panel 60 x 120 in 152.4 x 304.8cm Provenance: Bau-Xi Gallery, Vancouver Private Collection, Vancouver Literature: Scott Watson, Jack Shadbolt, 1990, page 149 Jack Shadbolt was an influential second-generation West Coast modernist. During the 1930s and 1940s, he had been keenly interested in emerging art movements in Europe and the United States, and had assimilated influences from Paul C�zanne, Pablo Picasso, Surrealism and early Abstract Expressionism. After World War II, he emerged as a leader in Vancouver�s modernist community of artists, architects and planners. Shadbolt�s profound connection with nature in British Columbia, expressed through the use of biomorphic form, created a body of work that, considered as a whole, was an explosion of creative ideas that continued to evolve decade after decade. He was an artist intimately linked with images of the West Coast who was also informed by the wider world view of emerging art movements and theories. His work was universal in its merging of the conscious and unconscious, its infusion of psychological yearnings and potentialities and primitive potency. One of Shadbolt�s most extraordinary and sought-after motifs is that of the butterfly or moth, which first appeared in the early 1970s, when he worked on his Butterfly Transformations series. Associated with freedom and celebration, this proved to be such a potent theme that Shadbolt continued to work with it through the 1980s. The abstract design of butterfly wings was a rich source of patterning for Shadbolt�s complex images of organic form. His imagery ranged from works with large forms on abstract backgrounds or, as we see here, an abstracted natural environment, to complex planes of layered and entangled biomorphic forms through which the butterfly flitted. Shadbolt explained the genesis of his fascination: while in the Swiss Alps in 1969, he was standing in a meadow when there appeared �up from the gentians, in front of our eyeballs, two zig-zagging fritillaries flip-flopping out over the space. Nothing much, but their event seemed momentous � demented, dangerous, memorable.� Another source of interest to Shadbolt was the work of Vladimir Nabokov, well-known for his novel Lolita, who as well as being a writer was a lepidopterist, who at one time was in charge of Lepidoptera at Harvard's Museum of Comparative Zoology. For Nabokov, there were associations to sexual pursuit and conquest in the practice of butterfly collecting. This intrigued Shadbolt, who discussed with a psychiatrist friend the concept of the butterfly as a symbol of sexual release. Seashore Nocturne is a stunning work in which a butterfly, or possibly a moth - as this is a nocturne and moths are active at night - floats over an abstracted seascape containing drifting, fragmented shapes and biomorphic sea forms. The sea is not the natural environment of the butterfly or moth, thus this could symbolize the notion of escape to an imaginary realm, or a dream of an environment outside of one's usual experience, inhabited by strange creatures such as the pale forms in the central panel, which are reminiscent of shells or amorphous sea creatures. Subtle reflections on time and mortality could also be read into this work through the juxtaposition of the timeless sea and the ephemeral butterfly, whose short lifespan makes it all the more precious. In Seashore Nocturne Shadbolt shows his mastery of the formal properties of painting. The work possesses a vital colour palette full of contrasts between the cool blues and greens of the ocean and the bright, warm notes of purple, pink, red and orange. It is full of movement in its shifting spatial planes, its floating forms, and the ocean, which ripples and foams in the dark. Resonant with hidden meaning, this interactive realm of air, water and form captures our imagination with its life-affirming energy.
Jack Leonard Shadbolt - Still Life

Jack Leonard Shadbolt - Still Life

Original 1941
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Lot number: 628
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Jack Leonard Shadbolt BCSFA CGP CSPWC OC RCA 1909 - 1998 Canadian Still Life cont� on paper signed and dated 1941 and on verso inscribed "for Leon Katz from my exhibition at the Gerrold Morris Gallery, Dec 7th, 1968, Jack Shadbolt" on a label 21 x 26 in 53.3 x 66cm Provenance: Jerrold Morris Gallery, Toronto Leon Katz, Toronto By descent to the present Private Estate, Toronto Exhibited: Vancouver Art Gallery, Jack Shadbolt Retrospective 1939 - 1969, 1969 travelling to the National Gallery of Canada, Memorial University of St. John's Newfoundland, Confederation Gallery Charlottetown, Edmonton Art Gallery, Mendel Art Gallery Saskatoon, Winnipeg Art Gallery, Art Gallery of Greater Victoria, catalogue #1 Glenbow Museum, Jack Shadbolt Correspondences, November 2, 1991 - January 5, 1992, catalogue #20 This work is from the collection of Leon Katz along with Lots 219, 312, 314, 406, 417, 534 and 634. Leon Katz (b. Lvov 1906, d. Toronto, 2000), having fled from France to Spain in 1942, emigrated to Canada in 1944. Armed with an engineering degree from the University of Toulouse, he was soon employed in that field and eventually established Canada X-Ray Ltd. In the 1960�s, Mr. Katz began to collect stamps and then became an ardent collector of Canadian art and art books. An enthusiastic member of the Arts & Letters Club, Katz developed an ongoing correspondence with many notable Canadian artists and other art collectors. His journals and collection of correspondence, photos and memorabilia are now housed at the Thomas Fisher Rare Books Libarary at the University of Toronto.
Jack Leonard Shadbolt - Untitled - Abstract Composition

Jack Leonard Shadbolt - Untitled - Abstract Composition

Original
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Lot number: 82
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JACK LEONARD SHADBOLT, R.C.A. UNTITLED - ABSTRACT COMPOSITION oil on canvas signed 43 ins x 36 ins; 109.2 cms x 91.4 cms Provenance: Private Collection, Toronto Literature: Roald Nasgaard, Abstract Painting in Canada , Douglas & McIntyre, Vancouver/Toronto, 2007, page 134. Note: In 1956, Shadbolt travelled to the south of France. Nasgaard writes: “the painting that resulted was unanticipatedly hedonistic, townscapes and harbour scenes, built up into block-like mosaic patterns of energetic touches of luminous sensuous leaf colours, (with) painterly patches aligned on the lattice of a Cubist grid, often articulated with a horizon line.” Describing paintings from this period, Nasgaard references “the thick paint, smeared and splattered“ and “the wonderfully felt passages in which facture and representation interlock.”
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