signed and dated 1954 lower centre; signed and titled on the reverse
16 × 20 in (40.6 × 50.8 cm)
Auction Estimate:$25,000 - $35,000
Sale date:May 28, 2025
Price Realized
$31,200
(including Buyer's Premium)
Provenance
Private Collection, Nova Scotia
Literature
Dennis Reid, "Canadian Jungle: The Later Work of Arthur Lismer", Toronto, 1985, page 43
Between 1940 and 1950, Cape Breton Island became a regular sketching destination for Arthur Lismer. In Lismer’s 1954 painting "Killicks, Cape Breton, Nova Scotia", the artist focuses on the tools of a working fishing vessel, arranging ropes, buoys and killicks into a chaotic yet harmonious still life. Killicks are heavy stones used by small boats in place of metal anchors, and their use has a long history in the Maritimes. For Lismer, killicks serve as both literal and symbolic anchors, grounding the composition in Nova Scotia’s seafaring heritage. According to Dennis Reid, “These objects crafted by the fishermen were to Lismer evidence of a fundamental creative response to the environment, reflecting attitudes fixed on simple but profound values.”
In "Killicks", Lismer moves beyond mere representation to create a work that captures the enduring spirit of the East Coast’s seafaring communities. The interplay of light and shadow, along with the juxtaposition of warm and cool tones, creates a sense of depth and movement within the confined space of the boat. The thick application of paint and bold, gestural lines imbue the scene with energy, reflecting both the rugged quality of the tools and the labour-intensive nature of seafaring life. By depicting these utilitarian items with such vibrancy, Lismer elevates them beyond mere functional tools, celebrating the hardworking Maritimers who rely on Canada’s coastal waters.
