Artwork by Edwin Headley Holgate,  Labrador Kitchen No. 2

Edwin Holgate
Labrador Kitchen No. 2

wood engraving
signed in the lower margin
6.75 x 4.5 ins ( 17.1 x 11.4 cms )

Auction Estimate: $6,000.00$4,000.00 - $6,000.00

Price Realized $3,680.00
Sale date: May 25th 2017

Provenance:
Private Collection, Toronto
Literature:
Rosemarie Tovel, “Crisp Whites and Rich Blacks: The Wood Engravings”, Edwin Holgate, Montreal Museum of Fine Arts, Montreal, 2005, pages 68-71
Holgate was inspired by the revival of wood block and wood engraving prints after the First World War as it was an appropriate medium to convey the clean modernist aesthetic through the strong classic contrast between black and white. With a focus on sharp sinuous lines within the composition – the swirling curves of the decorative details in the stove and kettle, complemented by the strong vertical lines of the door – Holgate developed his print making practice throughout the 1930s producing his strongest print works in this early phase of his career. This piece gives an intimate view of a fisherman's humble home life in the small kitchen space. On “Labrador Kitchen No.”, noted scholar and expert in print-making in Canada, Rosemarie Tovel, states that “its rendering of elaborate and diverse textures, lights, and forms within a complex composition is unparalleled among Holgate's prints.”

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Edwin Headley Holgate
(1892 - 1977) Group of Seven, Canadian Group of Painters, RCA

Edwin Holgate was born in Allandale, Ontario. Holgate began his art education at the Art Association of Montreal studying under William Brymner who was also A.Y. Jackson's teacher. In 1912 he went to Paris where he studied at the Académie de la Grande Chaumière under Claudio Castelucho and later under Lucien Simon and René Ménard. He was in Russia at the outbreak of the First World War. He returned to Canada where he enlisted and served with the 5th Canadian Division Artillery in France (1916-19). He married Mary Frances Rittenhouse in 1920 and returned to Paris where he continued his studies. There he attended the Colarossi under Adolph Milman, a Russian refugee.

He returned with his wife to Canada in 1922 and opened a studio. He taught wood engraving at the Ecole des Beaux Arts for six years. In Montreal he enjoyed the friendship of A.Y. Jackson, Clarence Gagnon, Mabel May, Lilas Newton, Randolph Hewton, and many of the younger artists who became known as the Beaver Hall Hill Group. Holgate was a good skier and he would take trips to various parts of Quebec to sketch during the winters, sometimes at Baie St. Paul where A.Y. Jackson, Clarence Gagnon, Mabel May and others would congregate.

In 1926 he accompanied A.Y. Jackson and Marius Barbeau to the Skeena River area in British Columbia. Barbeau had been investigating the condition of the Indian totem poles, many of which were restored by the C.N.R. engineer Mr. T.B. Campbell. Holgate and Jackson made a number of sketches of the poles and the Indian villages in the area. From his sketches, Holgate made several large canvases. One is in the collection of the National Gallery and entitled is “Totem Poles, Gitsegiuklas”.

Holgate became the eighth member of the Group of Seven in 1931 and remained a member of the Group until it disbanded in 1933. From it arose the Canadian Group of Painters of which he was a founding member. Paul Duval noted that Holgate and Varley were the only members of the Group who drew and painted nudes. Holgate was well known also for his portraits and did many striking character studies of inhabitants of Canadian bush country. The Art Gallery of Ontario and the National Gallery of Canada have his nude studies in their collections.

During the Second World War, Holgate served overseas as an official Canadian war artist with the R.C.A.F. and painted mainly portraits of flying officers. Holgate’s wood-engravings are exceptionally well done and interesting. He was a member of the Royal Canadian Academy (A.R.C.A. 1934 - R.C.A. 1935). His work has been exhibited in many group shows over the years. He is represented in many collections including the National Gallery of Canada, the Art Gallery of Ontario, the Art Gallery of Hamilton and the McMichael Collection.

Source: "A Dictionary of Canadian Artists, Volume II”, compiled by Colin S. MacDonald, Canadian Paperbacks Publishing Ltd, Ottawa, 1979