Fire Down on the Labrador is a work so well known, so beloved, it is altogether likely that more people know of this work than know of its title, or even the name of its creator. David Blackwood, in his more than 60-year career, created a sprawling, towering monument to his childhood home, the coastal community of Wesleyville, Newfoundland. He rendered it in paint, watercolour, sculpture, and here in his most renowned medium, copperplate etching.

While his technical virtuosities with etching and aquatint are on unequivocal display, it is also important to understand that Blackwood not only produced the copper plates from which his works were printed, he also inked and printed each impression himself. He likened the process to music: if the plate as it was etched was the sheet music, the inking and printing were its interpretation and performance.

The whale depicted is the bowhead whale. Its scientific name is Balaena mysticetus, which loosely translates to “mystical whale.” Bowhead whales live in some of the ocean’s coldest waters and are amongst the longest-living mammals on earth, some with lifespans of over 200 years. The whale’s presence overwhelms the composition, dwarfing the human figures engulfed in catastrophe. Fire at sea is the worst of all fates that can befall a ship under sail, but when viewed in relation to this ancient being, it is rendered a seemingly minuscule theatre of human tragedy. When contextualized in this way, this work can be viewed as a memento mori or vanitas. This long and rich artistic genre is meant to instill an Ecclesiastical humility in the face of the fragility and brevity of human life, over which true control is always illusory.

When asked, Blackwood himself was somewhat unsure as to why so many people gravitated to this image over his many compositions featuring whales, sailors, midwives, ships, and homes hauled across the water. One possible explanation might be found in that rare occurrence that can bestow itself upon exceptional artists at the pinnacle of their practice. As a means of comparison, each of the prints in Katsushika Hokusai’s series Thirty-six Views of Mount Fuji are exceptional, but it is The Great Wave Off Kanagawa that has captured the imagination of the world. There are rare times—sometimes singular instances—in a great artist’s life when they are graced with the capacity to express a profound resonance and to create an artwork that exists beyond intention.

This pristine etching comes to Heffel from the Estate of Ronald D. Barbaro. From humble beginnings, Barbaro rose throughout his life to the highest echelons of business and philanthropy. He was an innovative, global leader in the field of insurance, his advice routinely sought by prominent politicians, captains of industry, and the foremost figures in the worlds of culture and sport. He stood out equally in the field of philanthropy, and his numerous international acknowledgments include his appointment to the Order of Ontario in 2006.

Among Barbaro’s many cultural engagements, he was a friend and devotee of David Blackwood, supporting some of the artist’s most important exhibitions, while encouraging fellow collectors of his work. The Barbaro Blackwood collection consists of some of the artist’s most recognized works, many acquired directly from the artist’s studio. It is noteworthy that this impression of Blackwood’s most iconic work was designated by the artist as an “Archive / Exhibition Proof.” This strongly suggests that Blackwood considered it to be a superior example, and his making it available to Barbaro speaks to the esteem in which Blackwood held his patron and friend.

The major exhibition David Blackwood: Myth and Legend opens October 8, 2025, at the Art Gallery of Ontario, proudly sponsored by the Heffel Foundation.