PxPixel
Selkirk Auctioneers & Appraisers

Description: PAUL-EMILE BORDUAS (FRENCH-CANADIAN, 1905-1960)
Cry of the Little Frogs
Oil on canvas, signed and dated 1953. Heavy impasto abstract palette knife composition. Extant Passedoit Gallery label to verso with handwritten notation. Stamp to canvas reading "Artist Materials C.R. Crowley 1387 St. Catherine St. W. Montreal 25, Que."

Provenance: The Artist
Passedoit Gallery 1954
N. McCullough Winters, Quincy, IL
John M. Winters, Quincy, IL by descent (his father) 1975
Susan W. Caine, St. Louis, MO by descent (her uncle) 2011
Private Collection, by descent 2020

Bibliography: 3 Canadian Painters, Including Roloff Beny Of Lethbridge, Have One-Man Shows in NY ", The Herald (Lethbridge, Alberta), January 6, 1954. GAGNON, Guy," New-York welcomes Borduas, the painter from St-Hilaire ", Le Clairon (St-Hyacinthe), January 8, 1954, p.8. GAGNON, François-Marc, Paul-Émile Borduas (1905 - 1960). Critical biography and analysis of the work, Fides, Montreal, 1978, p. 323, 490, 530. GAGNON, François-Marc, Paul-Émile Borduas A Critical Biography, McGill-Queen's University, Montreal & Kingston, 2013, p. 304.
Observation: "List of paintings from Provincetown, 1953", No. 24, T. 239.

Exhibitions: Passedoit Gallery, New York 1954, solo exhibition "Paul-Émile Borduas", January 5-23, no. 18 on the list.

Literature: "Borduas won his case against the Federal Bureau of Investigation and was finally able to move to the United States, initially to Provincetown, Mass., where he spent the summer of 1953 painting at the seaside. He may have met Hans Hofmann at this time, since the German painter gave summer courses in this Cape Cod town, where there was an artists’ colony. In the fall Borduas settled in New York, and he remained there until September 1955. With the support of several Quebec collectors (notably Gérard Lortie) and two New York galleries (the Passedoit Gallery and the Martha Jackson Gallery), he was able to rent a large studio in Greenwich Village. This period was extremely important for the development of his art and career. The title he gave to a canvas painted in 1953, Les signes s’envolent, seems to convey what was going on in his painting, as objects disintegrate (thus “signs” disappear) and the background moves closer to the surface of the painting. From then on, Borduas used only a palette-knife to apply the paint, a technique that gave greater materiality to his work. His first New York exhibition was held at the Passedoit Gallery from 5 to 23 Jan. 1954, and attracted favourable notices. On 6 February Rodolphe de Repentigny, a critic who had come to New York for the occasion, reported in the Montreal paper L’Autorité du peuple that the American painter Robert Motherwell, who was present at the vernissage, had exclaimed: “He’s the Courbet of the 20th century!” However, the Passedoit, which, prior to Borduas, had never exhibited non-figurative painting, was not a very prestigious gallery. Fortunately, his work would be taken up by the Martha Jackson Gallery in exhibitions organized after he had left North America (18 March–6 April 1957 and 24 March–18 April 1959). While in New York, Borduas had realized that, although he could claim to have been inspired by Surrealism, especially its concept of an art originating in the unconscious, the abstract expressionism practiced by Jackson Pollock, Franz Kline, or Mark Rothko – artists whom he could meet at the Cedar Bar – was going much further in this direction than the automatism of the Montreal group in the period when he was their leader."
Credit: François-Marc Gagnon, “BORDUAS, PAUL-ÉMILE (baptized Paul-Émile-Charles),” in Dictionary of Canadian Biography, vol. 18, University of Toronto/Université Laval, 2003–, accessed April 15, 2021, http://www.biographi.ca/en/bio/borduas_paul_emile_18E.html. 16" height, 19.5" width; frame: 23" height, 26.5" width

Accepted Forms of Payment

American Express, Discover, MasterCard, Money Order / Cashiers Check, Personal Check, Visa, Wire Transfer

Shipping

Shipment is the full responsibility of the buyer. Selkirk will not be responsible for any loss, damage, theft, or otherwise responsible for any items left in Selkirk's possession fifteen (15) days after the sale. If arrangements for shipping have not been made and communicated within thirty (30) days, Selkirk reserves the right, at this time, to charge a storage fee of $10 per lot per day for furniture and large format items and $5 per lot per day for all other items, and within sixty (60) days, at its own discretion, sell any items left on the premises. Accumulated fees resulting from storage and insurance cost will be taken out of any proceeds.

Objects that contain materials of endangered or protected species may be subject to regulations disallowing export and import into other states or countries. It is the buyer's responsibility to be aware of all applicable laws and regulations and to obtain any required export or import licenses or certificates and any other required documentation.

May 15, 2021 10:00 AM CDT

St. Louis, MO, US

You agree to pay a buyer's premium of up to 25.0% and any applicable taxes and shipping.

View full terms and conditions

Bid Increments
From: To: Increments:
$0 $29 $5
$30 $99 $10
$100 $499 $25
$500 $999 $50
$1,000 $2,999 $100
$3,000 $4,999 $250
$5,000 $9,999 $500
$10,000 $29,999 $1,000
$30,000 $49,999 $2,500
$50,000 $99,999 $5,000
$100,000 $299,999 $10,000
$300,000 $499,999 $25,000
$500,000 + $50,000