CPE OC
1923 - 2008
Canadian
Vest No. 2
etching on paper
signed, titled, editioned Proof III and dated 1-1970 and on verso inscribed "BG-E-(1970)-18" and "V.057" and stamped Studio Betty Goodwin
27 1/2 x 21 1/2 in, 69.8 x 54.6 cm
Estimate: $3,000 - $5,000 CAD
Sold for: $5,938
Preview at: Heffel Montreal
PROVENANCE
Estate of the Artist
LITERATURE
Rosemarie L. Tovell, The Prints of Betty Goodwin, National Gallery of Canada, 2002, page 11, listed and reproduced page 170
Born in Montreal in 1923, Betty Goodwin worked for nearly 50 years in a variety of media – painting, drawing, collage, printmaking and sculpture. Often associated with themes of loss, absence and memory, her works are poignant and connect deeply with both the public and critics. In 1968, Goodwin attended Yves Gaucher’s etching class at Sir George Williams University (now Concordia University). This decision proved immensely significant for her career, as printmaking allowed her to reconnect to her artistic beginnings and brought her national and international recognition. In the words of art historian and curator Rosemarie L. Tovell, “over the last three decades, Goodwin has created one of the most significant and original bodies of prints produced by any Canadian artist.”
Similar to her earlier still life paintings, Goodwin focused on household objects for her printmaking practice, often running the actual object through the soft-ground plate to better capture its essence. Many of her series focused on different articles of clothing, as she was interested in their anthropomorphic qualities. Among these works, her Vest series is especially significant, and is very personal to the artist. Spanning four years, the series was directly inspired by her two “fathers” - her biological father, who trained as a tailor in Romania and worked as a factory owner and vest-maker, and her artistic mentor Joseph Beuys, who often wore vests.
Vest Two was printed in two separate “states,” one in 1970 and the second in 1971. Goodwin used this term to designate different variations of the same print. This particular example is part of State 1, which particularly impressed Yves Gaucher with its velvety black finish, as recorded in Goodwin’s technical notes.
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