CPE OC
1923 - 2008
Canadian
Vest Eight (Front)
etching on paper
signed, titled, editioned Trial Proof and dated 1972 and on verso numbered "BG-E-1972-14" and "V.047" and stamped Studio Betty Goodwin
27 3/4 x 21 1/2 in, 70.5 x 54.6 cm
Estimate: $3,000 - $5,000 CAD
Sold for: $5,625
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 178
Please note: the full sheet size of this work is 29 3/4 x 22 1/4 inches.
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 Eight (Front) was an exploration of the front and back of an object with the corresponding print Vest Eight. Here, Goodwin experimented with the blackness of the vest to give it more definition and manipulate more actively the appearance of the object. She also burnished out half the vest on the copper plate for this print.
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