Acquired directly from the artist by a Nova Scotia Private Collection
By descent through the family of the Private Collection
Private Collection, Nova Scotia
Collection of Nancy Silcox, Ontario
Literature
Lance Woolaver, “The Illuminated Life of Maud Lewis”, The Art Gallery of Nova Scotia, Halifax, 1995
Bernard Riordon, Curator, Director, Art Gallery of Nova Scotia, “The Illuminated Life of Maud Lewis”, exhibition brochure, Art Gallery of Nova Scotia, unpaginated
Sarah Milroy, “Maud Lewis: Paintings for Sale”, Goose Lane Editions/McMichael Canadian Art Collection, Kleinburg, 2019, pages 150-153, 156-157 for additional works on card by the artist
Maud Lewis’ paintings on card represent some of the earliest work by the Nova Scotia folk artist, before eventually switching to larger boards to create her joyous compositions. Lewis biographer Lance Woolaver noted (partially quoting Art Gallery of Nova Scotia director Bernard Riordon), “the artwork of Maud Lewis epitomises the best of [the folk art] tradition by illustrating an art form that has emerged from the heart and soul of Canada, free from the trappings of ‘high art’. It is a spontaneous and tangible extension of the life and experiences of its creator. This is the art of the ordinary person and it reflects a revisiting of values, a reexamination of the essence of life and purity of purpose and vision that provides one of the most exciting avenues of visual expression in the world today.”
Alan Deacon, scholar and authority in the work of Maud Lewis, believes that this artwork was created by Maud Lewis during the 1950s, given the quality, fluidity and confidence in creation by the artist.
Deacon notes that these works on card are rare because most of these ‘greeting cards’ would often have been thrown away after use by the original owners. The earliest works on card by Maud Lewis from the 1940s were often completed in pen and ink with a light wash, however by the 1950s Lewis was able to get blank cards from Edith Wallis, assistant editor and later editor of the Digby Courier and Wallis Print. These cards have a recessed area for drawing and painting. Maud Lewis would have likely sold these cards door to door for five cents each whilst accompanying her husband, Everett Lewis, as he was completing his rounds selling fish.
The ongoing and comprehensive exhibition of Maud Lewis’ work at the McMichael Canadian Art Collection in Kleinburg has just had a collection of these works on card added to the show, on display until the exhibition closes January 26th, 2020. The popular exhibition will then travel following the seven-month installation at McMichael.
We extend our thanks to Alan Deacon and Nancy Silcox for their contributions in the cataloguing and presentation of this artwork.
Canadian author and art collector Nancy Silcox is selling this artwork in order to benefit the ongoing environmental catastrophic in Australia, with disasterous fires, the worst drought in the country’s history and record high temperatures taking a tragic toll on wildlife. Nancy wished to do something to support the crisis and is therefore donating the proceeds of sale from this rare work by Maud Lewis to WIRES Australian Wildlife Rescue Organization, the country’s largest such organization, whose mission is to “actively rehabilitate and preserve Australian wildlife and inspire others to do the same.” Cowley Abbott is donating the selling commission collected on the sale to WIRES and interested individuals can donate directly to the organization by visiting www.wires.org.au/donate/online.
A lover of animals and wildlife, which are often central subjects within her vividly-coloured landscapes, the charitable sale of this artwork compliments the interests of Maud Lewis and her supporters.
