Canadian [1903-1970]
Born Maud Kathleen Dowley, in Yarmouth County, Nova Scotia, Maud Lewis moved to Marshalltown, near Digby, in 1938 after marrying Everett Lewis. Together, they lived in their small one-room house until her death. While primitive in amenities, and measuring only about 12 x 12 feet (with a sleeping loft) the house was cheerful and colourful, as Maud had painted every surface, including many household objects. A sign outside read “Paintings, For Sale”. The Lewis “painted house” is now restored and preserved within the Art Gallery of Nova Scotia, which also exhibits a number of her works.
Other than one trip to Halifax, Maud Lewis spent her entire life within a one-hour drive of her birthplace, content to sit by her corner window painting, a remarkable accomplishment given congenital physical challenges that were compounded by rheumatoid arthritis. Maud once said when asked about her life, which to outsiders might have seemed to be a frugal, isolated and restricted existence: “I’m contented here…I ain’t much for travelling anyway. As long as I’ve got a bit of brush in front of me, I’m all right.” (p. 29 “The Illuminated Live of Maud Lewis; Lance Woolaver; Nimbus Publishing/Art Gallery of Nova Scotia, 1996).
Maud Lewis began painting under the instruction and encouragement of her mother, making Christmas cards which they sold door-to-door for 5 cents apiece; this was a tradition that Maud continued in the forties with Everett. From these modest beginnings, Maud Lewis has become Nova Scotia’s (and likely Canada’s) most recognized folk artist. Her renown began to grow after a CBC “Telescope” broadcast in 1965. What followed were numerous important commissions (including for the Nixon White House), a number of books, plays, several National Film Board of Canada documentaries, and a Hollywood film.
Maud Lewis is known for her bright, joyful, often playful scenes depicting oxen, flowers, birds, cats, horse-drawn sleighs and maritime landscapes. These iconic scenes were often repeated by Maud with changes in detail or season.
Artist: Maud Lewis
Title: BLACKSMITH SHOP
Medium: mixed media on board
Dimensions: 12.5 x 17 in. (31.8 x 43.2 cm)
Notes:
signed lower right
Provenance: Private collection, Calgary AB; Cowley Abbott (October 2019); Acquired directly from Maud Lewis and by descent through family to a private collection (Ontario).
Maud Kathleen Dowley (Lewis) was born in South Ohio, Yarmouth County, Nova Scotia. Her father, Jack, was a craftsman and blacksmith. Her mother, Agnes, enjoyed artistic pursuits and encouraged Maud to paint from a young age. The young artist initially sold Christmas cards door-to-door for 5 cents apiece, then small paintings which were created using modest and found materials, mediums she favoured during most of her career. After losing both her parents within a short time, Maud moved to Digby to stay with an aunt, eventually marrying Everett Lewis (in 1938) and settling into their small, one-room house in Marshalltown. Other than one trip to Halifax, Maud Lewis spent her entire life within a one-hour drive of her birthplace, content to sit by her corner window painting.
Maud Lewis faced physical challenges from birth and from early on lived what appeared to be a sheltered and confined life. As the years progressed, arthritis stiffened her hands making painting and daily tasks even more difficult. Yet she expressed contentedness with her life: “As long as I’ve got a bit of brush in front of me, I’m all right.” (p. 29 “The Illuminated Live of Maud Lewis; Lance Woolaver; Nimbus Publishing/Art Gallery of Nova Scotia, 1996).
From humble beginnings, selling her paintings to neighbours and tourists, Maud Lewis’s recognition grew following a CBC “Telescope” broadcast in 1965. She began to gain national recognition and even international commissions. Today, she has become Canada’s most recognized folk artist and her works are prized by collectors – as much for their bright, charming and nostalgic depictions of Nova Scotia life, as for their reflection of a beloved artist’s inner vision.
LOT: 57
Auction: 2024 June - Prices Realized
Artist: Maud Lewis
Title: FARMER PLOUGHING WITH A SINGLE HORSE
Date: late 1960s
Medium: mixed media on board
Dimensions: 11.75 x 14 in. (29.8 x 35.6 cm)
Notes:
signed to the right
LOT: 51
Auction: 2023 December | Hodgins Art Auctions
Artist: Maud Lewis
Title: COVERED BRIDGE AND SLEIGHS IN WINTER
Date: ca 1963
Medium: mixed media on beaverboard
Dimensions: 11.75 x 13.75 in. (29.8 x 34.9 cm)
Notes:
signed lower right
Provenance: This work was purchased directly from the artist by Lt. Col. Hugh Ross Kettyls DMD (deceased) and has passed, by descent, to the current owner.
Alan Deacon, recognized authority on the works of Maud Lewis, notes that the Covered Bridge in Winter serial images were painted primarily in the 1960s and suggests that this painting dates to early in this time frame:
“This work is fairly early I would suggest 1963 and is signed “Lewis”. Early versions show blue shadowing on the large conifers. On rare occasions Maud uses pink shadowing. [This] painting has pink shadowing making it very rare indeed.”
LOT: 77
Auction: 2023 June | Hodgins Art Auctions
Artist: Maud Lewis
Title: LIGHTHOUSE AND LOBSTER TRAP
Medium: mixed media on beaverboard
Dimensions: 11.75 x 13.75 in. (29.8 x 34.9 cm)
Notes:
signed
LOT: 21
Auction: 2018 May | Hodgins Art Auctions
Artist: Maud Lewis
Title: HAY WAGON WITH OXEN TEAM
Medium: mixed media on board
Dimensions: 11.5 x 13.5 in. (29.2 x 34.3 cm)
Notes:
signed
LOT: 31
Auction: 2017 May | Hodgins Art Auctions
Artist: Maud Lewis
Title: SKIERS, SANDY COVE
Date: ca 1966/67
Medium: mixed media on board
Dimensions: 12 x 14 in. (30.5 x 35.6 cm)
Notes:
signed
Note: This is one of a series of similar images painted by Maud Lewis late in her life at this locale, along Digby Neck, just west of the Lewis House in Marshalltown, N.S.
LOT: 296
Auction: 2008 November | Hodgins Art Auctions
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