Skiers, circa 1920

Alan Klinkhoff Gallery, Montreal/Toronto Private Collection, Toronto

“The Beaver Hall Group & The Klinkhoff Family”, Alan Klinkhoff Gallery, Montreal/Toronto, 2015

“The Beaver Hall Group & The Klinkhoff Family”, Alan Klinkhoff Gallery, Toronto, 2015, reproduced page 32 Esther Trépannier and Véronique Borboën, “Mode et Apparence dans l’Art Québécois, 1880-1945”, Musée national des beaux-arts du Québec, Quebec, 2012, page 140 for a similar work entitled “Skieuses” Barbara Meadowcroft, ‘How Many Artists Art There in the Family? The Career of Montreal Painter Regina Seiden (1897-1991)’, “RACAR”, XXV, 1-2, 1998, page 73

Regina Seiden was primarily interested in the human figure, with women occupying an important place in her oeuvre. Seiden depicted women of various ethnic and social backgrounds, and like many Canadian female artists of her generation, she specialized in portraiture. Seiden was well regarded throughout her career. In 1924 the National Gallery of Canada purchased her painting, “Dora”, and later acquired “Nudes” in 1926. Despite a short career of only fifteen years, Seiden was admired by critics and connoisseurs alike, including Albert Laberge of “La Presse”. He “dubbed Seiden ‘l’une des mieux douées parmi les artistes de la métropole’” - “one of the most gifted artists in the metropolis”. Although Seiden exhibited with the Beaver Hall Group in 1921 and was an early member, she has not always been included in discussions about the women of the group. However, Seiden certainly shared their regard for themes of modernity, exploring social issues and the image of women in art. “Skiers” provides a unique depiction of sport, as well as a rare depiction of women in sport. The diminutive panel expertly represents this important female artist, who will undoubtedly continue to receive recognition.