Frederick Alexander Fraser Canadian Watercolourist & Master Engraver November 18 2019
Frederick Alexander Fraser (1897-1975), the youngest of the twelve children of Scottish immigrant parents, was born and lived in Toronto. His early life was difficult as his father, Simon Fraser, lost his bakery and his sulky racing stallion, Abdulla, on a single horse race and then, abandoned his family following this loss. On his 14th birthday, June 17, Fred left school to go to work. He was in Grade 7.
Fraser’s first job was in the commercial printing industry at Photo Engravers where he polished stones used in the printing process. His creative talent and developing interest in art allowed him to move to typesetting and then into the art department.
Frederick Alexander Fraser in 1916, age 29.
At age 21, Fraser began attending night classes at the Ontario College of Art (OCA) and studied regularly from 1918 to 1929. At OCA, he studied under some of Canada’s best instructors and recognized landscape artists including George Reid, Charles MacDonald Manly, John William (J.W.) Beatty, Arthur Lismer and James Edward Hervey (J.E.H.) MacDonald. It didn’t take long for Fraser to find his niche and for others to recognize his artistic ability. Fraser won Honourable Mentions in the Evening Costume Class in 1920 and 1921, and was the recipient of the Brigden Scholarship in 1922, awarded to a student showing exceptional ability.
Certificate for Brigden Scholarship, Proficiency in Evening Costume Class,
Ontario College of Art, 1922.
Fraser earned a Temporary Vocational Teaching Certificate in 1932 from the Ontario College for Technical Teachers which had been established in Hamilton in 1925. By the time his Vocational Teaching Certificate became permanent in 1935, Fred had married Hazel, nee Finch (1903-1997), and had two children, Barbara and Donal.
Hired as an art instructor at Western Technical-Commercial School, Fraser taught still life, life drawing, watercolour and lettering from 1932 to 1963 alongside Lawrence Arthur Colley (L.A.C.) Panton. To be close to his teaching position, Fraser moved to Durie Street and then to Runnymede Road in Toronto's Bloor West Village. In 1937, Fraser purchased his first car, a new Plymouth. The family, now including two more children, Valerie and Roderick, spent summers in Muskoka. First, they camped on the shores of Gull Lake, Gravenhurst, then they built a cottage on Fox Lake, near Huntsville. Oils and watercolours of the Muskoka region make up some of Fraser’s body of work.
One of Fraser's most well-known students was Harold Barling Town, a founding member of the Canadian Painters Eleven group of abstract artists. Town enrolled in the art program at Western Technical in 1938 at age 14. From the time he started at Western Technical, Town referred to himself as an artist. Fraser was a known disciplinarian and Town was a known troublemaker. Fraser always said that he was very proud of Town’s accomplishments as an artist. As Fraser worked and taught in multiple mediums perhaps his influence on Town was to help him defy stylistic trademarks and to create in all mediums. Fraser and Town both excelled in painting and printmaking and both artists appreciated craftsmanship. Fraser was conventional for his time, yet Town was anything but. Town went on to create some of Canada’s most collected works, and Fraser’s are now being rediscovered.
Another of Fraser’s Western Technical students (1948-1952) was Vancouver Island-based woodblock artist Graham A. Scholes who remembered Fraser well. Scholes wrote in 2019 that Fraser had a positive influence on him as a student: “He was a task master and was most instrumental in developing my ability to paint in watercolours. I realize now, the influence he had on me in my move to printmaking.”
Fraser joined the various Canadian art associations for connections, recognition and exhibition opportunities. From 1926 to 1956, he exhibited with the Ontario Society of Artists, Royal Canadian Academy of Arts, Canadian Society of Painters in Water Colour, Canadian National Exhibition, Canadian Society of Graphic Art and the Art Association of Montreal. Like his colleagues including L.A.C. Panton and J. W. Beatty, he was not only a member but also became part of the Board of Directors. He was Treasurer for the Canadian Society of Graphic Art from 1945 to 1954.
Fraser was an artist who contributed to the distinctive tradition of Canadian painting. He knew the work of earlier Canadian painters and his peers including Group of Seven members along with Quebec-based watercolourists and wood engravers such as Edwin Holgate and Goodridge Roberts; his work was exhibited with theirs.
Fraser’s documenting of industrialization started early in the 1920s with the docks and street scenes of Montreal and Toronto. Prior to and during WWII, he captured the workers at the lumber mill, road building and, one of the family’s favourites, at Ollie Elm’s tire shop on Elm Street in Toronto.
In addition to watercolour painting and life drawing, Fraser taught lettering and printing. An understanding of printing techniques and a skilled command of a graver allowed him to capture light and mood with precise detail, particularly in his wood engravings, the benchmark in fine relief printing.
In the company of A.J. Casson, A.Y. Jackson and W.J. Phillips, Fraser produced relief print Christmas cards of his own graphics from elaborate woodcut or lino blocks using his own printing press.
Fred supported the local community by creating posters for Runnymede United Church and for William H. Temple, also known as “Temperance Bill”, who was a member of the Ontario parliament and a crusader for keeping West Toronto alcohol free.
After he retired from teaching in 1963, Fraser began creating designs for medallions and entered coin design competitions across the country. His work was noticed by the Wellings Manufacturing Co. Ltd. of Toronto where in 1964, he created the Stratford City Council’s memorial medallion to commemorate Shakespeare’s 400th birthday that was issued in bronze, silver, gold and platinum. He then created a series of the fathers of Confederation for Canada’s Centennial in 1967.
Fraser passed away on February 16, 1975 at home.
In 1991, his family donated some of his teaching books on illustration, composition and design to the Art Gallery of Ontario’s library.
Frederick Alexander Fraser’s artwork is held in both private and public collections.
 Iris Nowell in P11, Painters Eleven: The Wild Ones of Canadian Art, page 159, Douglas & McIntyre, 2011.
The Robert McLaughlin Gallery, Oshawa, ON (Gifts from Charles Goldhamer in 1985 and Joan Murray, 3 paintings, in 1989)
1956 Ontario Society of Artists
1945 Canadian Society of Graphic Art
1944 Canadian Society of Graphic Art
1943 Ontario Society of Artists, Canadian Society of Graphic Art
1942 Ontario Society of Artists, Canadian Society of Painters in Water Colour
1939 Canadian Society of Painters in Water Colour
1938 Canadian Society of Painters in Water Colour
1937 Canadian Society of Graphic Art, Canadian Society of Painters in Water Colour
1936 Canadian National Exhibition, Canadian Society of Painters in Water Colour
1935 Canadian National Exhibition, Canadian Society of Painters in Water Colour
1934 Ontario Society of Artists, Canadian Society of Painters in Water Colour, Canadian National Exhibition
1933 Canadian Society of Painters in Water Colour
1932 Ontario Society of Artists
1931 Canadian Society of Graphic Art, Canadian Society of Painters in Water Colour (CSPWC), Canadian National Exhibition
1930 Ontario Society of Artists, Royal Canadian Academy of Arts, Canadian National Exhibition, Art Association of Montreal
1929 Ontario Society of Artists, Canadian Society of Graphic Art, Canadian National Exhibition, Art Association of Montreal
1928 Ontario Society of Artists (OSA), Canadian Society of Graphic Art (CSGA), Art Association of Montreal, Canadian National Exhibition
1927 Art Association of Montreal
1926 Ontario Society of Artists (OSA), Canadian Society of Graphic Art (CSGA), Royal Canadian Academy of Arts (RCA), Canadian National Exhibition (CNE), Art Association of Montreal (now Montreal Museum of Fine Arts)
Fulford, Robert. (1969). Harold Town Drawings. McClelland and Stewart Ltd., Toronto.
Government of Canada, Artists in Canada retrieved online at https://app.pch.gc.ca/application/aac-aic/artiste_detailler_basartist_detail_bas.app?rID=5791&fID=2&lang=en&qlang=en&pID=1&an=frederick+fraser&ps=50&sort=AM_ASC
Ontario Library Review. (1949). Who’s Who in Ontario Art. The King’s Most Excellent Majesty Press.
McMann, Evelyn de R. (?) Biographical Index of Artists in Canada. Page 77. University of Toronto Press.
McMann, Evelyn de R. (?) Montreal Museum of Fine Arts, formerly Art Association of Montreal, Spring Exhibitions 1880-1970. Page 134. University of Toronto Press.
McMann, Evelyn de R. (?) Royal Canadian Academy of Arts/Academie royale des arts du Canada, Exhibitions and Members 1880-1979. Page 136-137. University of Toronto Press.
Nowell, Iris. (2011). P11, Painters Eleven: The Wild Ones of Canadian Art, page 159, Douglas & McIntyre.
Saur, K. G.. (2005). Allgemeines Kunstler-Lexikon Die Bildenden Kunstler aller Zeiten und Volker, Band 44 Francoini-Freyenmuth. Page 195. Munich, Leipzig.
The Robert McLaughlin Gallery, Permanent Collection retrieved online at https://rmg.minisisinc.com/m3online/scripts/mwimain.dll/149/1/0?SEARCH&SHOWSINGLE=Y&ERRMSG=[M3ONLINE]error.html
George Paginton: Painting a Nation October 21 2019
A new book about Canadian landscape artist, George Paginton, is now available on Amazon.ca: click now to buy.
Written by Canadian art curators, Sharona Adamowicz-Clements and Darrin J. Martens, this book explores the life and work of a relatively unknown Canadian landscape painter.
Assistance with not only the book but also the exhibition at Peel Art Gallery, Museum and Archives (PAMA) was supplied by the owner of Wall Fiction and Fine Art Appraisal and Services, Kelly Juhasz, who has been working with the artist's family, Tony Paginton and Roswita Busskamp, on the public rediscovery of this artist and the nation's love of Canadian landscape painting.
The book is described as follows:
A beautiful and long-overdue portrait of a great, but little known, painter of the vast Canadian natural and urban landscape.
George Paginton: Painting a Nation explores the journey of a relatively unknown Canadian landscape painter who was a peer of members of the Group of Seven. Paginton's private passion was to document the wonder of nature from coast to coast. A prolific artist, Paginton created over 1500 oil paintings, the majority of which never exhibited or sold commercially. This publication aims to present the artist to Canadians and include him in the art historical cannon of the nation.
Capturing the Essence of the Canadian Landscape October 02 2019
Brampton, ON (October 1, 2019) – Explore the vast beauty of Canada through the art of one of Ontario’s rediscovered painters, George Paginton – a contemporary of the Group of Seven.
This large-scale retrospective exhibition kicks-off its cross Canada tour at the Peel Art Gallery, Museum and Archives (PAMA) in historic downtown Brampton on October 10. The show runs to February 9, 2020 with interactive programming throughout and accompanied by a beautiful hard cover publication about the artist available for purchase in the PAMA store for $40.
Brampton, ON (October 1, 2019) – Explore the vast beauty of Canada through the art of one of Ontario’s rediscovered painters, George Paginton – a contemporary of the Group of Seven. This large-scale retrospective exhibition kicks-off its cross Canada tour at the Peel Art Gallery, Museum and Archives (PAMA) in historic downtown Brampton on October 10. The show runs to February 9, 2020 with interactive programming throughout and accompanied by a beautiful hard cover publication about the artist available for purchase in the PAMA store for $40.
Media Preview Opportunities:
- Book an appointment Wednesday, Oct. 9 (10 a.m. – 4 p.m.) to have an exclusive Curator walk-through.
- Or be our guest for the VIP (invitation only) Opening Reception on Thursday, Oct. 10 from 7 – 9 p.m.
Contact Erin Fernandes or call 416-312-3425.
George Paginton, a lesser known Canadian landscape painter who was a peer of members of the Group of Seven, was determined to document the wonder of nature from coast to coast. A prolific yet very private artist, Paginton created over 1,500 oil paintings, the majority of which were never exhibited or sold commercially. George Paginton: Painting a Nation marks the introduction of his work which spanned over 70 years. “The opportunity to create new Canadian art history is thrilling,” notes PAMA Senior Curator of Art Darrin Martens. “Paginton pursued his private passion of capturing the essence of the Canadian landscape with a sense of purpose,” says co-curator Sharona Adamowicz-Clements.
The exhibition and publication are supported by the Government of Canada Museums Assistance Program with special thanks to our exhibit sponsors Wall Fiction and Stellar Art Services and our media partners, Brampton Guardian, Caledon Enterprise, Mississauga News and JazzFM.
“What a pleasure to represent Paginton’s work at WallFiction.com and to work with the artist’s family and such enthusiastic and knowledgeable curators at PAMA,” says Kelly Juhasz, owner of Wall Fiction. “Supporting this exhibition helps fill gaps in Canadian art history and highlights the beauty of a Canadian place and moment captured through plein air painting.”
- Curator Talk: Sunday, October 27, 2019 | 2 p.m.
- Seniors Studio: Monday, November 4 | 10 a.m. – 12 p.m.
- Family Sunday FUNday: Sunday, November 17 | 1 – 4 p.m.
- PAMA Paints, Landscape Workshop: Thursday, December 5, 2019 | 6:30 p.m.
- Panel Discussion: Thursday, February 6, 2020 | 7 p.m.
PAMA is a place to explore and learn about Peel Region’s culture and heritage, as well as use conversation, questions and stories to help make new and fascinating connections to the surrounding community. Throughout the year, PAMA offers a variety of workshops and programs for all ages, families and adults. With so many different programs to choose from, PAMA has something for everyone. Operated by the Region of Peel, PAMA is located at 9 Wellington Street, East in Brampton. Visit pama.peelregion.ca to learn more.
The Region of Peel works with residents and partners to create a healthy, safe and connected Community for Life for more than 1.5 million people and 175,000 businesses in the cities of Brampton and Mississauga and the Town of Caledon. Peel's services touch the lives of residents every day. Recognized as a leader in management and service delivery, the Region of Peel is the only government organization at any level to receive Excellence Canada's Platinum Award for Excellence, Innovation and Wellness®. For more information about the Region of Peel, explore peelregion.ca and follow us on Twitter at @regionofpeel.
Media ContactsErin Fernandes
D: 905-791-4055, ext. 7596
George Paginton Exhibition at PAMA September 01 2019
Mark your calendar!
George Paginton: Painting a Nation
Oct. 10, 2019 - Feb. 9, 2020
Connect with beautiful landscape paintings by George Paginton that capture scenes in the Region of Peel and from across Canada. Created in the tradition of the world-famous Group of Seven Painters, this exhibition reveals his passion for the Canadian landscape and use of expressive brush strokes
Curator Talk: Sunday October 27, 2019, 2:00 pm
PAMA Paints: Landscape Workshop: Thursday, December 5, 2019, 6:30 pm
Panel Discussion: Thursday, February 6, 2020, 7:00 pm
FREDERICK ALEXANDER FRASER February 07 2019
Wall Fiction is pleased to announce a new partnership with the estate of artist Frederick Alexander Fraser. Check back soon for available art works for sale.
Frederick Alexander Fraser (Canadian, 1897-1975) was known for his watercolours and exhibited with the Canadian Society of Painters in Water Colour. These Toronto-based factory pieces painted during World War II show Fraser’s technical ability.
Details of untitled watercolours by Frederick A. Fraser. Private Collection, Toronto.
Fraser’s oils are clearly influenced by the Group of Seven. His strong colour palette and sensitive brush capture the essence of the day.
“Autumn Wind” Oil on Canvas, 28 x 38 inches. Private Collection, Toronto.
Untitled Winter Landscape, Oil on Canvas, 24 x 30 inches. Private Collection, Toronto.
Fraser had his own printing press in his basement where he sometimes produced his own Christmas cards and prints using elaborate negative woodcut blocks or engraved linoleum.
Detail of “Wood engraving – Tobermory” by Frederick A. Fraser. Private Collection, Toronto.
Detail of untitled wood engraving by Frederick A. Fraser. Private Collection, Toronto.
Born and raised in downtown Toronto, Frederick Alexander Fraser (Canadian, 1897-1975) attended night classes at the Ontario College of Art from 1918 to 1929 and received a teaching certificate from the Ontario College for Technical Teachers established in 1925 in Hamilton.
One of his first jobs was in the commercial printing industry where he polished stones used in the printing process. He quickly moved on to typesetting and then into the art department.
Fraser moved to Toronto's Bloor West Village when he became an art instructor at Western Technical-Commercial School where he taught from 1931 to 1963. One of Fraser's most well know students was Harold Barling Town, a founding member of the Canadian Painters Eleven group of abstract artists. Fraser was known to say that he was always very proud of Town’s accomplishments as an artist.
Drawing by Harold Town in the 1942 Western Technical-Commercial School yearbook.
(Gerta Moray. Harold Town, Life & Work. Art Canada Institute, 2014. Image credit: Drawing by Town in the comic book style, which appeared in his 1942 Western Technical-Commercial School yearbook. Library and Archives Canada, MG 30 D 404, vol. 1, Westward Ho. Western Technical Commercial School Yearbook, 1942. Estate of Harold Town. Photograph by Gaeby Abrahams.)
PICASSO FOR WALL FICTION FRIENDS November 09 2018
Because Wall Fiction friends are loving these prints .
Known as the Picasso Estate Collection, these prints were issued by the artist’s granddaughter, Marina Picasso. The unframed lithographs are beautifully printed in an edition of 500 on quality Arches paper measuring 22 x 30 inches. To ensure authenticity, each print is signed and numbered in pencil by Marina Picasso as "Collection Marina Picasso" and embossed with the estate and chromist's seals, along with a stamp on the reverse "Approved by the heirs of Pablo Picasso".
3 prints for $750 + tax
5 prints for $1000 + tax
A framed Picasso is even better!
Latitude 44 Gallery and Framing is pleased to offer all Wall Fiction friends a 20% discount on framing.
All sales are final.
Email us if you're interested as there are still prints available.
George Paginton (Canadian, 1901-1988) was a plein air painter who carried his paintings and supplies in a wooden painter’s box. Most of his paintings have raw edges around the canvas board, exposed bits of canvas and sometimes specs of dirt and natural debris from being painted outdoors in a single sitting. In the same manner of the Group of Seven painters, these are often referred to as sketches, however, only a few were ever reworked into larger canvases.
Often George’s work was placed wet into his wooden painter’s box and paintings were stacked together causing slight abrasions and where thicker areas of paint pressed against the box or another painting may have caused minor flattening of the peaks. Because of painting outdoors, the backs of many paintings show watermarks, stains and/or paint splotches.
For this artist, none of these would be considered condition issues but all part of the artist’s rugged and truthful style and part of his technique of single-sitting plein air painting.
Often the back of the paintings have old sticker marks or brown paper pieces glued on. His son, Tony Paginton, affixed brown paper labels with handwritten notes about when the painting was first photographed; this occurred in the mid-1960s. After the artist’s death, Tony numbered each painting and catalogued them. These numbers on the verso are the inventory numbers and are seen on almost all the works.
On occasion the artist recorded the location and date of the painting on the verso, and sometimes the artist’s son, at a later date, wrote the region on the backs. On early works, the artist also recorded a price, although few were ever exhibited for sale.
"Typical Northern Ontario" circa 1930, oil on canvas board, 8.5 x 10.5 inches
Because most of the paintings were never exhibited, framed or viewed in any way, on some of the works there may be some areas of paint loss and abrasions, cracking in the paint and splitting in wood panel boards from being stored stacked together, some for over 65 years. However, most are in excellent to very good condition.
As the artist was an illustrator for the Toronto Star, there are drawings and other works on paper that may have been created as part of his work at the newspaper but also as part of his personal oeuvre; some are included in the catalogue and others not.
The artist signed some of his work but largely not at all. After his death and when his work began to be represented by Odon Wagner Gallery in 1999, a stamp with the artist’s initials “GP” in a circular outline, both in red ink, was created and placed on some of the works in the lower left or right corner. Before George passed away, he signed some of the works on the verso.
"The East Shore" circa 1948, oil on canvas, 20 x 25 inches
Each painting and drawing listed in the catalogue has been given an inventory number and issued a Certificate of Authenticity signed by the artist’s son, Tony Paginton. There are some works that were sold during the artist’s life or shortly after the artist’s death that are not included in the catalogue and they may or may not be signed or stamped, nor will they have a Certificate of Authenticity (the number of paintings is unknown).
Wall Fiction is pleased to work with Tony Paginton and Roswita Busskamp to feature George's paintings for sale.
Inspired by the Canadian landscape like the Group of Seven, George Paginton's direct, truthful and rugged depiction of Canada served him as a personal escape. His intensity of colour and freedom of technique brought out a sense of beauty rarely seen because he preferred to paint for his own enjoyment.
Paginton, born in 1901, spent his early years as an orphan in England and arrived in Lindsay, Ontario at age 10 as farm labour. At age 18, he began his adult life in Toronto but never forgot his early childhood struggles and fears. Shortly after, he spent a term at the Ontario College of Art Summer School at Port Hope and studied under the direction of noted Canadian artists, J.W. Beatty, Frederick Haines, and Frederick Challener.
"Northern Ontario" circa 1952, oil on canvas board
Like many recognized Canadian artists, Paginton became a commercial artist. His skills quickly developed and were rapidly noticed as he landed his first job at Photo Engravers and Electrotypers Ltd., of Toronto. Then, starting in 1927, he began a forty-three year-long and rewarding career at the Toronto Star. As an editorial illustrator, he covered events such as the construction of the Toronto subway and Toronto's City Hall, and the building of the St. Lawrence seaway. He began painting his own work in his free time.
Although roughly twenty years younger, Paginton was closely associated with the Group of Seven and even shared space in the Studio Building where many of the Group of Seven members worked. He became friends with A.Y. Jackson and was a pallbearer along with A.J. Casson at Jackson's funeral.
His newspaper work, where he learned to grasp situations quickly, and his enjoyment of painting outside, where he learned to capture light in a moment, enabled him to create small panels and canvases in a single sitting. And it is in these small format works where his love of Canadian landscape is revealed. As a plein air painter, his subject matter crossed the entire country from Newfoundland and New Brunswick, through Quebec and Ontario, to Alberta and British Columbia. Rarely did he rework his sketches into larger studio canvases but there are a few.
"Ice on the Shore" circa 1951, oil on canvas
In 1941, Paginton took over the studio of J.W. Beatty until he built his own home and studio on the shores of Lake Ontario where he continued to paint until his death in 1988. His studio is still set up as he liked it and where it remains a creative space now used by his artist son, Tony Paginton.
During his lifetime, Paginton rarely exhibited his works. But one of his only international exhibitions was held in New York just before he died where his work was featured beside some of Canada's most renowned artists: J.W. Beatty, Jack Bush, Lawren Harris, Illingworth Kerr and David Milne.
After his death in 1988, his family wanted others to see his love of Canada and they secured representation with Toronto gallerist Odon Wagner where three sold out gallery shows took place from 1999 to 2002, and his work sold for many year.
George Paginton's work is held by many esteemed private collectors and as well as public and museum collections across Canada including the Art Gallery of Hamilton, Peel Art Gallery, Canada's Official Residences as part of the Crown Collection and the City of Toronto,
Wall Fiction is pleased to work with the artist's family in offering a collection of his Canadian landscapes.
Wall Fiction has helped clients, through private sales and representation at auction, sell significant works by traditional, post-war and contemporary Canadian and international artists including works from Painters Eleven and The Group of Seven.
Some of the traditional artists we look for include: Sir Frederick Banting, J.W. Beatty, Franklin H. Carmichael, Emily Carr, Alfred Joseph Casson, Charles Comfort, Maurice Galbraith Cullen, Nicholas De Grandmaison, Berthe Des Clayes, Marc-Aurele Fortin, Clarence Gagnon, Lawren Stewart Harris, Prudence Heward, Edwin Headley Holgate, Yvonne McKauge Housser, Alexander Young Jackson, Francis (Franz, Frank) Hans Johnston, Paul Kane, Illingworth Kerr, Dorothy Knowles, Cornelius Krieghoff, Alfred Laliberté, Ozias Leduc, Maud Lewis, Arthur Lismer, John Lyman, J.E.H MacDonald, Manly Edward MacDonald, Henri Leopold Masson, Henrietta Mabel May, Helen Galloway McNicoll, David Brown Milne, James Wilson Morrice, Rita Mount, Laura Munz, Lucius O’Brien, George Alfred Paginton, W.J. Phillips, Robert Wakeham Pilot, Albert Henry Robinson, Tom Thomson, Frederick H. Varley, Frederick Arthur Verner, and more.
Some of the post-war and contemporary artists we look for are: Barbara Astman, David Bierk, Bertram Charles Binning, David Blackwood, Ronald Bloore, Molly Joan Lamb Bobak, Paul-Emile Borduas, Samuel Borenstein, Jack Bush, Oscar Cahen, Alex Colville, Ulysse Comtois, Greg Curnoe, Ken Danby, Louis De Niverville, Kim Dorland, Sorel Etrog, William Patterson Ewen, Joe Fafard, Gathie Falk, Marcelle Ferron, Clarence Gagnon, Roland Gissing, Betty Goodwin, John Hartman, Edward John Hughes, Gershon Iskowitz, John Kasyn, Dorothy Knowles, William Kurelek, Jean-Paul Lemieux, Rita Letendre, John Little, Attila Richard Lukascs, Jock MacDonald, Doris McCarthy, William (Bill) McElcheran, Jean Albert McEwen, John Meredith, David Milne, Guido Molinari, Norval Morrisseau, Kazuo Nakamura, Daphne Odjig, Luke Painter, Joseph Francis Plaskett, Christopher Pratt, Mary Pratt, Jean-Paul Riopelle, Goodridge Roberts, William Ronald, Jack Shadbolt, Arthur Shilling, Gordon Smith, Michael Snow, Takao Tanabe, Harold Barling Town, Joyce Wieland, Walter Yarwood and more.
International artists include: Gerrit Dou, Georgio Morandi, Laszlo Neogrady, Rembrandt, Joseph Henry Sharp, and many more.
What Wall Fiction Customers Say About Us November 18 2016
Below are comments we're received from our buyers about the artwork and the service.
"Thank you. I am very pleased with it. I appreciated your coming over to repair the frame, then hanging the painting for me. That's great customer service!!!" (January 2017, Toronto)
"Thanks again and we both appreciated your professionalism and care from the outset." (January 2017, Toronto)
"Just opened the tube. The print is spectacular and delighted to have Firenze in the stable. And the care and TLC related to its safe delivery was over the top." (November 2016, Washington, DC)
"I just received the painting and I love it! Thank you." (August, 2016, California)
Summer Gift Guide 2016 by Rebatezone Features Wall Fiction August 01 2016
Summer brings a huge number of reasons to celebrate whether it is warm sunshine or the blue skies.
Summer is the season where we love to go to the beach and jump in the cool water after a tiring week at work. It reminds us of the little pleasures in our life which we usually take for granted and it stresses upon the importance of taking a break once in a while to avoid burnout. Summer brings a large number of holidays with it. The entire season is usually filled with summer parties and celebrations. This onslaught of summer parties, birthdays and weddings raises the demand to find the perfect gift for all the special people in our lives.
We have prepared a list of some amazing gifts from a broad range to suit the needs of every price range, age and occasion. There is bound to be something for everyone here.
Art is what adds meaning to our life and makes it a joyful experience. A home filled with colors is a place which invites us and spending time in it is a blissful experience. This is an acrylic on canvas painting created by Colin Bowers – a graduate of the Ontario College of Art and Design (OCAD). This is a painting you would definitely like in your house whether it is to enjoy the bright colors or to ponder over the meaning behind the image.
Why is shipping art so expensive? July 24 2016
Wall Fiction would hate for the shipping fees to deter potential buyers from quality art at an affordable price. And despite what it may seem, we have tried and continually try to find the lowest shipping rates that guarantee safe delivery of artwork. We are not profiting from the shipping fees, in fact, many times the shipping costs seep into Wall Fiction’s profits which, of course, we need to operate the company and pay our team.
Additionally, unlike some online galleries that automatically add shipping costs to the price of the artwork, we do not. We strive to be 100% transparent about our costs and the true value of the artwork.
Last but not the least, the materials required to package artwork so that it arrives safely are expensive. Artwork requires a sturdy box to protect it against being crushed or punctured, bubble wrap to create a buffer between it and potential harm, plastic wrap to safeguard it against any potential water damage and often extra filling to keep the artwork from moving around within the box. These materials are more costly than you may realize. And large pieces or pieces made from unique materials may even require custom-built crates. Finally, some artwork sizes exceed regular post office service and must be sent using specialist carriers.
The number of separate materials is then added to the actual transportation costs; thus shipping artwork comes at a higher price that what many may think.
By writing about the shipping costs and not building them into our stated Wall Fiction prices for the actual items, we are exposing these packaging and shipping costs, and the responsibilities in owning original art.
As new collectors, protecting your art will only enhance your appreciation and enjoyment.
Meet Wall Fiction's Fine Art Photographer Jackie Brown November 09 2015
Wall Fiction’s primary photographer, Jackie Brown, is a professional commercial photographer who specializes in artwork reproduction, event photography and set stills for film and TV.
Brown decided to go into professional photography because she believed that it was the only artistic platform that spoke to her technical side. “Photography really excited me creatively and technically. Since I’m a very detail-oriented person, I loved learning the calculations required to achieve my desired effect,” states Brown.
Working with Wall Fiction allows Brown to exploit her training in studio lighting techniques. She ensures that the artwork is faithfully reproduced and highlights unique markings on each piece such as the artist’s signature and inscriptions, and condition issues.
Brown says: “Photographing artwork requires very special attention to detail and specific considerations surrounding distortion, colour accuracy and reflective surface control, for example, works on paper framed under glass or the reflection of various paint mediums.”
“The best part of working with Wall Fiction is the opportunity to see what goes into judging the value of fine art. It’s complex," adds Brown. "The owner of Wall Fiction is a qualified fine art appraiser and to gain insight into the process is fascinating. I also get to see great artwork that is affordable to buy.”
Jackie Brown lives in Toronto, ON with her husband and cat. Portfolio is viewable at www.videocake.tv
Integrating Large Artwork into Your Living Space September 21 2015
Designing your décor to include large artwork will make an impact that affects everything in a room including how people interact and feel in the space.
To help with integrating large artwork into a living space, Wall Fiction asked artist Lori Dell whose show Gates and Portals is currently showing on WallFiction.com, and interior designer Janine Anderton of Urban Oasis Interiors for advice.
“You can approach integrating large artwork into a living space in a few different ways but I think the important point to make before we get into it is not to be afraid of large artwork. Many people are, but experienced artists, interior designers and art collectors are not. For their living spaces, they seek out large pieces,” says Janine.
From the artist’s perspective, Lori says that there is a difference between creating large artworks and smaller ones:
“Larger works involve an engaged physical and energetic component. It’s similar to a dance of mind/body/spirit. Whereas in smaller work, a specific and intimate focus comes into play. Large artworks add dynamic vitality to a space.”
Here are three ways to add large artwork to a room.
- Draw attention and make the artwork a focal point.
If you’re just starting to decorate and collect art, plan your room around a single large artwork. First, find a large artwork. Second, source décor items that echo the colours, textures, shapes and lines of the artwork.
“Fine art is timeless,” states Janine, ”so shop for art carefully and don’t be afraid to spend some money on it. You will be intuitively drawn to artwork and the lines and colours within. Take your time.”
When a large work is a focal point, “unexpected contrasts can heighten interest and attention. A singular prominent painting, in and of itself, can breath life into a room,” states Lori. Highlight colours found in the artwork and place them throughout the room to increase the power of the artwork.
For Lori’s large painting Petra as a focal point, Janine suggests:
- Mid-century modern or 1960’s furniture – think Mad Men
- Reclaimed wood and teak
- Clean sleek lines and shiny surfaces to balance with the complex lines of the art
- White low pile or shag carpets
- Accents with blacks, greys, ivory and bronzes
- Finishes with non-flowering plants
Here are four rooms recently featured in Architectural Digest that would easily host Petra (shown above):
- Generate emotion in your living space.
Use large artwork to create a feeling of comfort, inspiration or intrigue. Add more than one piece from the same artist’s series and surround yourself with the affection and sentiment the works provide. Artwork from the same series will share colour, line, tone and subject, and hanging together can fill a room with emotion. Lori reminds us:
“All colour has a distinct energy. White can set a serene, pure tone; hot colour, vitality; organized shades, an earthy comfort.”
Related to Gates and Portals, two key colours in Lori’s work are blue and brown. Blue is known to slow metabolism and have a calming effect. Blue is also associated with cleanliness – think water, sky, air – and intellect. This is seen in Lori’s large painting Babylonia (shown below).
Brown reflects the earth and signifies stability and a sense of belonging. It’s a refined colour that relates to quality. It’s warmth mixed with other tones and colours such as white, ivory and grey can reduce stress and add a sense of security to a room. See Petra pictured above.
Lori’s paintings have these emotions. They are sophisticated, intellectual, comforting, calming – and large. Lori feels that her large artworks in this series “evoke a curiosity, an intrigue and a whispering connection to our common histories.” They tell stories and comfort us in our living spaces.
- Create balance between architectural features and furnishings.
A large piece of art can create the illusion of a perfectly proportioned room. It can lengthen a room or heighten ceilings. Janine provides this example:
“A large piece of art can act as a headboard in a bedroom, but if the ceiling is low, chances are it will draw attention to the low ceiling. Use large artwork where it won’t overpower the room. Use proportion to create balance.”
Have your décor follow the lines and shapes within the art to create your desired sense of longer, shorter, higher, lower, bigger or smaller proportions than what they actually are.
Highly stylized with architectural features, rooms with large art can be transformed into creative and reflective living spaces. Just like what Lori has achieved in these large artworks featured in Gates and Portals, you can achieve in your rooms. If your room is void of architectural features, use Lori’s work to add them.
For new collectors, selecting a large artwork can be more affordable than you might think. Using smaller works to create an impact in your space could be more costly than purchasing one large quality piece. As well, small works normally need framing whereas large work may not.
“Fine art doesn’t go out of style, but frames can,” Janine cautions. “Large art can be hung unframed thus making the wall become the frame. So if framing large work, keep it simple not to detract from the impact of the art.”
Some may think that wallpaper is a decorating path to consider in creating an interesting space. But specialty wallpaper can cost a lot of money too and you can’t move it into another room or take it with you if you change homes or cities, or your furnishings. When you buy artwork you love, you will never get tired of it and it will always match your décor.
Purchasing one large quality artwork can take your décor and new art collection farther than buying multiple small works or adding wallpaper to your living space. Large artwork can add depth, emotion and impact. Think long-term and spend your money on something you can keep and cherish.
Whether your rooms are gathering places like the living room or kitchen, or sacred and mystical like the bedroom, let large artwork create unique living spaces for you to continuously enjoy.
- Ask for help.
- Have a budget and a plan.
- Always buy what you like and can afford.
- Don’t worry if it matches the couch – if you love it, it will match everything.
- When hanging large artwork, aim to have the middle of the artwork at eye level
- Large artwork can be hung lower in rooms where people are almost always sitting; let it be enjoyed when sitting on the sofa without straining your neck.
- Don’t be afraid of large artwork.
- Bigger can be better for new collectors.
Visit www.wallfiction.com today to view Gates and Portals, work by Lori Dell.
Wall Fiction interviews visual artist Lori Dell September 13 2015
Lori Dell, a Toronto, Canada based artist, explores and reinterprets traditional imagery of architecture and landscape. A graduate of the Ontario College of Art and Design (OCAD) and recipient of numerous awards, Dell concept works are large, bold, meditative and emotionally charged. Detailed and mysterious, her mixing of history and mindfulness leaves viewers transported through place and time.
Wall Fiction presents her show Gates and Portals and talks with the artist.
WF: Lori, we are so pleased to share our official launch and inaugural online show with you and your work in Gates and Portals.
LD: I would like to thank Wall Fiction for putting up my show. I’m happy to be the first artist to show for a gallery that I have no doubt will become a major creative force in the art marketplace.
WF: Thank you for that. We believe that Wall Fiction has a unique place in the art market by promoting original art, sharing provenance of older desirable works and educating new collectors. But we’re here about you. You’ve shown your work extensively and you have been a professional artist for more than 25 years. When did you know that you would become a full-time professional artist?
LD: I was always very visual and musical but decided to focus on visual arts when I was 14. If I wasn’t an artist, I’ve imagined myself on the trapeze in the circus, or more recently, involved in archaeology or running a horse sanctuary.
WF: A trapeze artist and traveling in the circus and archaeology! That must be where all the mystery and discovery of exotic places and architecture I see in Gates and Portals comes from – a true adventure in other places with other cultures.
LD: You can live many lives as a painter through the creative process and to a large extent, satisfy that sense of adventure. There are no barriers of time and space with imagination and expression.
WF: In this show you take us on a journey back through history and into another time. Yet many of the architectural sites still exist. From where did your vision to create this body of work evolve?
LD: My ideas and inspirations come from a multitude of sources but all originally stem from a spark – a whisper of a feeling that keeps recurring and gaining momentum and energy over time. Be it from dreams or visions, a profound experience, a potent thought or the simple joy of color, light and nature, ideas can spring from anywhere.
For Gates and Portals, these architectural-based works have stemmed from various sources – an interest in ancient pilgrimage sites, mastery of craftsmanship, spiritual practices and sacred spaces, and contemporary technology.
WF: How do you transform your ideas into real, tangible works?
LD: When an idea continues to present itself, I begin to specifically gather information until I’m ready to prepare a series of canvasses and/or paper works. For Gates and Portals, I poured over books and references following intrigues and visual cues. A simple fascination sometimes led to a deepening mystery or universal theme.
When I am readying to paint, there is first a “feeling into” what I am engaging with – an energetic rapport – followed by a quick gathering of the materials and a loose technical mapping of my direction. If the preparations are too rigid, the creative flow becomes forced or closed to the potential for discovery but little or no framework can lack the necessary support.
Once painting starts, the creative process goes into another stage of evolution. No matter what I may have anticipated, there are always surprising developments. The aim is to keep the process alive, not stagnant or contrived.
Lori Dell’s Studio, Works in Progress
WF: What were the surprising developments in the creation of these works?
LD: From a technical standpoint, developments in composition and specific details were often a surprise encounter, presenting themselves from the initial abstracted background. Out of potentially hundreds or thousands of options in imagery, only a few would take shape.
WF: The paintings in Gates and Portals are complex. They have layers of architecture, text, colour, pattern and perspective. Tell us about these works and the materials you’ve used to create them.
LD: Alongside my staple of techniques, I always intentionally introduce new elements to keep the process fresh and challenging. The architectural works are mixed media; combinations and layers of inks and graphite, acrylic and oil, texturing and glazes.
Lori Dell, Gates of Babylon, 2014, Mixed Media on Canvas, 60”h x 40”w
WF: The show also features some limited edition prints of paintings that you produced a few years ago that you sold immediately upon completion directly from your studio. These are more urban than the paintings.
LD: Yes, the limited edition prints available in the show while more contemporary in subject than the larger paintings still reflect stories of the land, its people and their evolutions. The prints and paperworks offer an intimate compliment to the scope of the larger canvasses, and for the new collector, provide a more affordable alternative.
Lori Dell, Watertowers, 2008, Limited Edition Print, 30”h x 20”w
WF: Lori thank you so much for you insight into your creative process and for talking about your work featured in this incredible show – Gates and Portals.
LD: Thank you again to Wall Fiction for curating the show and I look forward to another show in the future.
Wall Fiction presents: Gates and Portals, work by Lori Dell September 02 2015
Lori Dell, Gates of Babylon, 2014, mixed media on canvas, 60” x 36”
Lori Dell, Babylonia, 2014, mixed media on canvas, 60” x 40”
View online until December 31, 2015 at www.wallfiction.com/collections/emerging-talent
Wall Fiction is online. Visit us and discover affordable art 24/7. In-person viewing of any work featured on our site is by appointment only. Our offices are located in Toronto, Ontario.
Wall Fiction is pleased to share its official launch and inaugural online show with celebrated visual artist Lori Dell.
Lori Dell’s work engages with and reinterprets traditional imagery of architecture and landscape.
Gates and Portals explores Dell’s portrayal of history through architecture and sense of place in a series of paintings. “From tribal community’s sacred spaces to the lofty reaches of cathedrals, places of ceremony have historically been built with artfulness born of a region’s resources or traditions,” says Dell. “Each culture’s creative space for living and spiritual reflection often has its own unique stamp of style that through design and mindfulness, transcends time. I’ve tried to capture the uniqueness and mysticism of some sacred historic sites and both recreate and add my sense of place and artfulness to these gathering places.”
Gates and Portals also features a series of limited edition fine art prints where Dell continues her exploration with local architecture and urban landscape. She says, “the print scenes show layers of time and how we interact between the present and yesterday. I continue to weave fine detail into large settings to show the creativity and intricacy of our living spaces. Like my paintings in this show, I’ve added my sense of place and made these urban spaces reflective and mystical.”
Dell’s work is described as bold, meditative and emotionally charged. She produces large concept works with skillful execution. You’ll find her work exhibited in galleries throughout North America and part of many private and public collections. She’s won numerous awards and, in addition to her painting, she has garnered recognition for set and costume design. Dell lives and works in Toronto, Canada.
Lori Dell, Petra, 2009, mixed media on canvas, 60” x 60”
Wall Fiction mixes fine art consignment with unique finds at affordable prices and quality work by emerging artists. We provide an online art experience for both new and seasoned collectors.
Our Fine Art section is primarily a second market alternative to auctions. Here, Wall Fiction features only original art brought in from our many consignors and reviewed by art specialists and qualified appraisers.
Our featured Emerging Talent showcases artists whose work has been reviewed by a panel of art experts and is work we believe is evocative and collectable.
Our Fiction Finds section offers affordable and interesting works that our staff discovers here, there and everywhere.
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The word fiction was created late in the 14th century as “something invented.” It was derived from the Latin words fictio – a fashioning – and fingere – something to form out of clay. To us, art is fiction – something created by an artist’s hand and imagination, and of the lives of the people who acquired it. Hence our name: Wall Fiction.
We make every attempt to investigate provenance as well as the interesting stories each piece come to us with – be it a story about the artist, the subject matter or how Wall Fiction came to it. But the fiction is just the fun. We take art seriously and the information and market value we gather on each piece is as accurate as we can find. We are art professionals who bring you the experience and training expected in dealing with fine art.
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Rent Art in Toronto August 18 2015
Wall Fiction offers weekly and monthly rentals on most of the artwork featured on the site at fees calculated based on a percentage of the listed selling price ranging from 15% to 40% depending on the artwork.
Targeted to film and television production and real estate professionals working in Toronto, Wall Fiction invites set designers, decorators and real estate agents looking for original artwork to view our selection marked "Available for rent."
Whether artwork is needed for a television, film or commercial set or to stage a home or enhance an office, Wall Fiction provides an accurate online description of each piece including size and condition.
Wall Fiction features many works produced in the 1960 to 1990’s or earlier suitable for period sets. Vintage, retro or period, Wall Fiction may have what you need to provide an authentic look.
Unknown, Untitled, 1948, Oil on Canvas
Samuel Alken, A Promising Field, 1852, Photogravure
Individuals looking to try an artwork before buying are also able to rent on a weekly or monthly basis. Renting allows you to find out what the artwork will look like in your home and how it will make you feel in the room.
Learn more, click here: http://wallfiction.com/pages/rent-art
Wall Fiction - What's in a name? August 17 2015
The word fiction was created late in the 14th century as something invented and was derived from the Latin word fictiō – a fashioning – and the word fingere – something to form out of clay.
To us, art is fiction – something created by an artist’s hand and imagination, and the lives of the people who acquired it, hence our name: Wall Fiction.
Wall Fiction Launches Online March 31 2015
Announcing the launch of Wall Fiction.com - an online art gallery selling fine art on consignment and by developing artists
Wall Fiction mixes fine art consignment with unique finds and emerging artists, and provides an online art experience for both new and seasoned collectors.
We look for fine art by reputable artists known for creating quality work and emerging artists that we believe are worth watching. We resell original art from estates, owners wishing to downsize and collectors wanting a change.
Every piece of art comes with a story. We make every attempt to investigate provenance – the history of ownership of the work – as well as the interesting stories they tell – be it a story about the artist, the subject matter or how Wall Fiction came to it.
If you’ve acquired original art through an estate or need to downsize, we provide you with the avenue to generate some revenue but more importantly, find an owner who will love that artwork as much as the people who created it and first acquired it.
For the new collector, we offer an unpretentious and affordable entrance into art collection. By learning and browsing curated art online without the pressure of feeling like you need to say the right things, you can start building a collection at your leisure. We’ve done the preliminary work for you.
Visit WallFiction.com today.
Wall Fiction is accepting fine art consignments. November 04 2014
If your original artwork has turned into wallpaper, it's time to get excited about a new piece.
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