The Group of Seven and Tom Thomson von David P. Silcox

I recently stumbled across a remarkable artist named Tom Thomson (August 5, 1877 – July 8, 1917). He was a Canadian artist whose work influenced a group of landscape painters known as the Group of Seven. Thomson passed away before the Group was officially formed, however he is sometimes incorrectly included in the Group. Thomson started drawing and ... Read more

Exhibition dates: 19th October 2011 – 8th January 2012 Frederick Horsman Varley (Canadian born United Kingdom, 1881-1969) Stormy Weather, Georgian Bay 1921 Oil on canvas 132.6 x…

During the short painting career of Tom Thomson, he produced roughly 400 oil sketches and around 50 larger works on canvas. Learn more about him here.

Artist: Tom Thomson (1877 - 1917) Original oil on plywood, 1914 Collection of the Tom Thomson Art Gallery, Owen Sound, Ontario Gift of Louise (Thomson) Henry, sister of Tom Thomson, 1967 Puzzle Designer: Jasen RobillardDimensions: 28 cm x 41 cm Piece Count: 408Difficulty: 4 out of 5 While not formally part of the Group of Seven, most Canadians recognize Tom Thomson's oeuvre and correctly attribute his influence and association with this group of elite artists. Soft Maple in Autumn features the beautiful orange, yellow and red hues associated with the fall colours of Algonquin Park. Jigsaw puzzlers will appreciate the autumn in Algonquin Park themed whimsies, including the elusive hero known as Mr. Canoehead. Read more about this design at our Deep Dive Design Blog. Made in Canada.

During the short painting career of Tom Thomson, he produced roughly 400 oil sketches and around 50 larger works on canvas. Learn more about him here.

During the short painting career of Tom Thomson, he produced roughly 400 oil sketches and around 50 larger works on canvas. Learn more about him here.

Tom Thomson print - Summer Shore Georgian Bay - 1916 Canadian artwork - Group of Seven True North Mat and Frame not included Choose the PAPER Premium Matte Fine Art Paper: a smooth, neutral-white, matte paper. or a Bright White Textured Matte Fine Art Paper Watermark will be removed before printing.There will be a .25 inch border all around the print unless you ask us to print to the edge.

Giclee Canvas Printed with Genuine Archival Inks An Additional 1.5 inch black border printed around the image Giclee Canvas are available in a variety of sizes and variations Rolled Canvas - Means the canvas is printed and rolled in a tube, shipped to you. You will need to have this stretched and or framed at a framers near you. Stetched Canvas (Gallery Wrap) - Means the canvas is printed and stretched on a 1.5" stretcher bar, larger sizes are reinforced in the corners, with the black printed border wrapped around the stretcher bar, giving the illusion of a black frame. Float Frame (FF Black, FF Espresso) - Means the canvas is stretched on a .75" stretcher bar, placed into a float frame, giving the illusion it is floating inside a frame. This is available in two colours, Black or Espresso.

During the course of 2 days, the Oxtongue Lake Community came together with local artists to pay tribute to Tom Thomson, and the Group of 7.

Note: All Group of Seven images are available under Matte & Glass Framed and on a Giclée canvas For all descriptions and information, please look below For Matte and Glass - Framed Note there are 2 sizes listed here, the first is the 20x21 inches image is 6.5x8 inches glass size is 14x15 the second size is 32x36 inches image is 17x21 inches glass size is 27x30 inches Features: Prints are Limited Edition, numbered, titled and identified. Each print is framed with a 2 5/8" polystyrene moulding with a mahogany finish Prints framed with 3 inch white matte (white core) on grey Prints are also glassed Dust cover on the back Ready for hanging Giclée Canvas Printed with Genuine Archival Inks An Additional 1.5 inch black border printed around the image Giclée Canvas are available in a variety of sizes and variations Rolled Canvas - Means the canvas is printed and rolled in a tube, shipped to you. You will need to have this stretched and or framed at a framers near you. Stretched Canvas (Gallery Wrap) - Means the canvas is printed and stretched on a 1.5" stretcher bar, larger sizes are reinforced in the corners, with the black printed border wrapped around the stretcher bar, giving the illusion of a black frame. Float Frame (FF Black) - Means the canvas is stretched on a .75" stretcher bar, placed into a float frame, giving the illusion it is floating inside a frame.

During the short painting career of Tom Thomson, he produced roughly 400 oil sketches and around 50 larger works on canvas. Learn more about him here.

Tom Thomson's is one of the most mythologized Canadian painters of his time — and ours. Now, 102 years after his mysterious death, IDEAS contributor Sean Foley asks one central question: does the mortal and material fascination with Tom Thomson leave us with something enduring — something to carry us through the next century, and beyond?

Two of Canada’s most iconic paintings are centerpieces in a major exhibit at London’s Dulwich Picture Gallery aimed at introducing the revered Group of Seven to England. The show is d…

Giclee Canvas Printed with Genuine Archival Inks An Additional 1.5 inch black border printed around the image Giclee Canvas are available in a variety of sizes and variations Rolled Canvas - Means the canvas is printed and rolled in a tube, shipped to you. You will need to have this stretched and or framed at a framers near you. Stetched Canvas (Gallery Wrap) - Means the canvas is printed and stretched on a 1.5" stretcher bar, larger sizes are reinforced in the corners, with the black printed border wrapped around the stretcher bar, giving the illusion of a black frame. Float Frame (FF Black, FF Espresso) - Means the canvas is stretched on a .75" stretcher bar, placed into a float frame, giving the illusion it is floating inside a frame. This is available in two colours, Black or Espresso.

I never imagined that I’d write a book for kids about Tom Thomson. TOM THOMSON’S PAINTBRUSH. For those of my friends who aren’t Canadian, Tom is an iconic Canadian artist who was bor…

This Intricately Designed Layered Anklet Features Afghani Heishi Beads In Four Different Palettes Inspired By Canadian Group Of Seven Artist Tom Thomson. The Centerpiece Of Beads Lies Beautifully On The Gold Plated One Millimetre Interacting Snake Chain. The Total Length Of This Style Is Nine Inches Plus A One Inch Extension Chain For Adjustability.

Giclee Canvas Printed with Genuine Archival Inks An Additional 1.5 inch black border printed around the image Giclee Canvas are available in a variety of sizes and variations Rolled Canvas - Means the canvas is printed and rolled in a tube, shipped to you. You will need to have this stretched and or framed at a framers near you. Stetched Canvas (Gallery Wrap) - Means the canvas is printed and stretched on a 1.5" stretcher bar, larger sizes are reinforced in the corners, with the black printed border wrapped around the stretcher bar, giving the illusion of a black frame. Float Frame (FF Black, FF Espresso) - Means the canvas is stretched on a .75" stretcher bar, placed into a float frame, giving the illusion it is floating inside a frame. This is available in two colours, Black or Espresso.

During the short painting career of Tom Thomson, he produced roughly 400 oil sketches and around 50 larger works on canvas. Learn more about him here.

Had a delightful visit this morning with Virgina Eichhorn, Director and Chief Curator of The Tom Thomson Art Gallery in Owen Sound, Ontario, Canada. The museums shortened name is The Tom. Virginia was in Wausau for a few days to be a juror for the 2015 Birds in Art Exhibition at the Woodson Art Museum. 2015 is the 40th Anniversary of this important show. The requirements to even be considered as a participating artist are extremely arduous and well-vetted. Virginia shared that only ten percent of the artists that apply are ultimately included. Artists and visitors from all over the world want to be in, and view this show. More importantly and enjoyable for me was our discussion about Tom Thomson (1877-1917) an Owen Sound native, artist and sportsman. He was intimately involved with the Canadian group of painters called The Seven and is an artist I have followed and been a fan of for many years. My comment that, "one of the reasons I love Tom, and most of the Canadian, early 20th century painters is that their work has a certain Arts and Crafts esthetic that really moves me" was well-received by Virginia. She explained further that most of the backgrounds the painters had were in design and they were in fact influenced by the Arts and Crafts Movement. Unfortunately our time was limited but the visit was great. If you are planning a trip to the Toronto area please visit The Tom Thomson Art Gallery in nearby Owen Sound. Besides being a repository for all things Tom Thomson it is also a delightful and energized community art center.The fishing is incredible out of Owen Sound as well. This first example is from the Winnipeg Art Gallery. Further, the biography of Tom was written by David Huff a member of Virginia's staff. Lastly, all of the photos of Tom and his paintings are courtesy of Wiki Art. Early Snow, 1916 oil on canvas 45.5 x 45.5 cm Collection of the Winnipeg Art Gallery; Acquired with the assistance of a grant from the Canadian Government, approved by the Minister of Canadian Heritage under the terms of the Cultural Property Export and Import Act, and with contributions by The Winnipeg Foundation, The Thomas Sill Foundation Inc., The Winnipeg Art Gallery Foundation Inc., Mr. and Mrs. G.B. Wiswell Fund, DeFehr Foundation Inc., Loch and Mayberry Fine Art Inc, and several anonymous donors. Tom Thomson, the brilliant, pioneering Canadian artist for whom the City of Owen Sound’s Art Gallery is named, was born near Claremont, Ontario, northeast of Toronto on August 5, 1877, the sixth of ten children born to John Thomson and Margaret Matheson. Two months later, the family moved to their new home, Rose Hill, near Leith, eleven kilometres northeast of Owen Sound. It was in this quiet rolling country side, overlooking the shores of Georgian Bay that Thomson grew up. Thomson was raised on the farm and received his education locally, though ill health kept him out of school for a period of time. He was said to have been enthusiastic about sports, swimming, hunting and fishing. He shared his family’s sense of humour and love of music. Indeed, Tom’s Victorian upbringing, gave him an immense appreciation for the arts. Drawing, music, and design were valuable and honoured pursuits. Within this Scottish family structure, however, there were also pressures to succeed, to find an occupation, to marry, and to have a family. Tom had a restless start to his adulthood. Unsuccessful at enlisting for the Boer War in 1899 due to health reasons, Tom apprenticed as a machinist at Kennedy’s Foundry in Owen Sound for 8 months. Still undecided on a career, he briefly attended business school in Chatham. In 1901, he moved to Seattle, Washington to join his brother George at his business college. Here he became proficient in lettering and design, working as a commercial artist during the next few years. By 1905, he had returned Canada to work as a senior artist at Legg Brothers, a photo-engraving firm in Toronto. Tom continued to return home to visit his family his entire life, though his parents had, by this time, sold the farm in Leith, and moved to a house in Owen Sound. In 1909 Thomson joined the staff of Grip Ltd., a prominent Toronto photo-engraving house, and this proved to be a turning point in his life. The firm’s head designer, artist-poet J.E.H. MacDonald, contributed much to Thomson’s artistic development, sharpening his sense of design. Fellow employees included Arthur Lismer, Fred Varley, Franklin Carmichael and Franz Johnson – all adventurous young painters who often organized weekend painting trips to the countryside around Toronto. After Tom’s death, these men, together with Lawren Harris and A.Y. Jackson, would go on to form Canada’s first national school of painting, the Group of Seven. Curator Charles Hill comments that “Thomson’s surviving artwork prior to 1911 consists of drawings in ink, watercolour and coloured chalk, of women’s heads very much in the vein of the American illustrator Charles Dana Gibson, who had established the “Gibson girl” look, as well as ink and watercolour landscapes done around Leith, Owen Sound and Toronto and illuminated text presented as gifts to members of his family or friends.” He also states “The arrangements of some texts and designs has a similarity to the patterning of stained glass and are most likely characteristic of the Arts and Crafts-influenced commercial work he might have done.” In 1912, inspired by tales of Ontario’s “far north”, Thomson traveled to the Mississagi Forest Reserve near Sudbury, and to Algonquin Park, a site that was to inspire much of his future artwork. It was during this same year that Thomson began to work for the commercial art firm Rous and Mann. He was joined there by Varley, Carmichael and Lismer. Later the same year, at J.E.H. MacDonald’s studio, Thomson met art enthusiast Dr. James MacCallum, a prominent Toronto Ophthalmologist. When out painting on location, Thomson would use a small wooden sketch box, not much bigger then a piece of letter-sized paper, to carry his oil paints, palette, and brushes; his small painting boards were safely tucked away from each other in slots fitted in the top. Sitting down in the canoe, on a log or rock, with the sketch box in front of him, he would quickly capture the landscape around him. In 1913 Thomson exhibited his first major canvas, A Northern Lake, at the Ontario’s Society of Artists exhibition. The Government of Ontario purchased the canvas for $250 a considerable sum in 1913, considering Thomson’s commercial artist’s weekly salary was $35 in 1912. That same year, Dr. James MacCallum guaranteed Thomson’s expenses for a year, enabling him to devote all his time to painting. Taking leave from his work as a commercial artist, Thomson returned north. Thomson’s home base when he visited Algonquin was Mowat Lodge, a small hotel in the tiny community of Mowat at the north end of Canoe Lake. Thomson would stay at the Lodge in the early spring, as he waited for the lakes and rivers to break up before he would go camping, and again in the late fall. Painting and fishing competed for his attentions in the park. He was not only an active guide for his colleagues from Toronto, but also for other summer park visitors. From a letter Tom sent to Dr. MacCallum from Camp Mowat, on October 6, 1914, Tom wrote: “Jackson and myself have been making quite a few sketches lately and I will send a bunch down with Lismer when he goes back. He & Varley are greatly taken with the look of things here, just now the maples are about all stripped of leaves but the birches are very rich in colour. We are all working away but the best I can do does not do the place much justice in the way of beauty.” Charles Hill notes that it appears that painting was not something Thomson learned easily, and the process was accompanied by much self-doubt. Jackson recounted that in the fall of 1914 in Algonquin Park Thomson threw his sketch box into the woods in frustration. Jackson claimed that Thomson “was so shy he could hardly be induced to show his sketches.” War had broken out in Europe in summer of 1914. Thomson was not able to enlist due to health reasons, but many of his artist friends and colleges did, or went overseas to work as war artists. From 1914 to 1917 Thomson spent the spring and fall sketching, and acted as a guide and fire Ranger during the summer in Algonquin Park. He became an expert canoeist and woodsman. He spent the winter in “Thomson’s Shack”, a construction shed outside the Studio Building in Toronto. It was here where he painted his now famous canvases, The Jack Pine, The West Wind, and Northern River, among others. This was a time of great change in the world with the First World War raging in Europe. As Thomson continued to paint in the North, he become interested in the subtle changes all around him. Thomson documented changes in the season, shifts in the weather and changes in the light over the day; for him these were exciting changes. Many of Thomson’s paintings from Georgian Bay and Algonquin Park strike an interesting balance; his imagery is at once innovative, but rooted in careful observation. His artwork changed dramatically: from painting every detail in an almost photographic manner in his earlier work, to capturing the true spirit of the landscape around him. Within a six-year period, he had developed a strong personal style of bold colour combinations, expressive brush strokes and unique images of the Northern landscape. Art historians have noted that Thomson paintings from this period show the artist’s appreciation of the rugged beauty of Algonquin Park. The bold immediacy of Thomson’s sketches was to define a new style of painting that would be attributed as uniquely Canadian and would shape how generations of people think about the Canadian landscape. Thomson was able to convey the dynamism and volatility of nature, breaking away from the traditional detail style of painting in his earlier works, to bold splashes of colour and non traditional compositions. His paintings came to suggest the drama of the woodland, and the forces of nature on the forests and lakes. Thomson found beauty in the most uncommon scenes – Jackson wrote: “To most people Thomson’s country was a monotonous dreary waste, yet out of one little stretch he found riches undreamed of. Not knowing all the conventional definitions of beauty, he found it all beautiful: muskeg, burnt and drowned land, log chutes, beaver dams, creeks, wild rivers and placid lakes, wild flowers, northern lights, the flight of wild geese and the changing seasons from spring to summer to autumn.” These were important times spent in Algonquin, bringing together Thomson and his fellow artists to exchange ideas, techniques, stories and philosophies, and inevitably building strong collegial bonds. Thomson’s confidence as a painter really developed during these years, encouraged and coaxed along by his peers. Thomson, the man, also found peace. He was seeking freedom from the repressive confines of Victorian family life, and escape from the hustle and bustle of Toronto’s art world where he never quite fit in. It was in the solitude of Algonquin’s lakes and woods that he became himself. Tom Thomson died sometime between July 8, when he was last seen, and July 16, 1917, when his body was found floating in Canoe Lake. The cause of death was recorded as accidental drowning. On Monday, July 16, Dr. G.W. Howland, a Toronto physician and professor of neurology at the University of Toronto, saw an unidentifiable object lying in the water some yards from the shore. Dr. Howland asked two local guides, George Rowe and Lourie Dickson, who were on the water at the time, to investigate. They found Tom’s body. Tom would have celebrated his fortieth birthday on August 5. His watch had stopped at 12:14. Dr. Howland was asked to examine the body before burial. He reported a bruise about 10 cm across the right temple, air issuing from the lungs, and some bleeding from the right ear. And though his death was officially recorded as accidental due to drowning, his demise has become one of Canada’s greatest mysteries. Thomson was initially buried in a small cemetery up the hill from Mowat Lodge, overlooking Canoe Lake in Algonquin Park. But at the request of his family, the body was reinterred in the family plot beside Leith United Church. In September of 1917, J.E.H. MacDonald, Dr. MacCullum and J.W. Beatty built a stone cairn on Hayhurst Point, overlooking Canoe Lake in Algonquin Park, close to one of Tom Thomson’s favourite camp sites across from the bay from Mowat. The cairn is a memorial to Thomson, marking the date and the place where he had died. Thomson’s death was a tragedy for his fellow artists – they lost an inspiring colleague, a great friend and their guide to the north woods. This untimely loss prompted a clarification of his artist friends’ vision for Canadian art; it strengthened their resolve and gave rise to the formation of The Group of Seven. The cairn’s inscription was composed by Thomson’s friend, painter J. E. H. MacDonald, and reads: TO THE MEMORY OF TOM THOMSON ARTIST, WOODSMAN AND GUIDE WHO WAS DROWNED IN CANOE LAKE JULY 8TH, 1917 HE LIVED HUMBLY BUT PASSIONATELY WITH THE WILD IT MADE HIM BROTHER TO ALL UNTAMED THINGS OF NATURE IT DREW HIM APART AND REVEALED ITSELF WONDERFULLY TO HIM IT SENT HIM OUT FROM THE WOODS ONLY TO SHOW THESE REVELATIONS THROUGH HIS ART AND IT TOOK HIM TO ITSELF AT LAST. The interest in Tom Thomson, the man, his art and the myth has increased dramatically over the years since his death. The people of Owen Sound named their new civic art gallery to honour Thomson in 1967. With strong support from the Thomson family, the Gallery’s collection of Tom Thomson’s artwork has grown over the years to become of national significance. Visitors from around the world travel every year to visit the Tom Thomson Art Gallery in Owen Sound to see the exquisite collection of works and memorabilia of one of Canada’s greatest mythic figures. The following brief Biography has been developed by David Huff, Manager of Public Programs at the Tom Thomson Art Gallery in Owen Sound. The material has been compiled from various sources, including the Gallery archives, Charles Hill, Joan Murray and Stuart Reid. (Photos and text courtesy of The Tom) (All photos of Tom Thomson paintings are courtesy of Wiki Art) Click below for a look at the incredible work of Tom Thomson

Extraordinary artists, extraordinary book First, a brief lesson for the uninitiated: The Group of Seven, along with fellow painter and inspirational leader Tom Thomson, were a group of Canadian painters active from around 1910 to the mid-1930s. Known predominantly for their landscapes, these eleven artists (yes, eleven; not seven; it’s a long story) revolutionized the art of their nation by rejecting the traditions of European painting in favor of Canadian subject matter and a uniquely Canadian aesthetic. By combining elements of impressionism, fauvism, and art nouveau they created their own style of painting which has had an unparalleled influence on the history of Canadian art. David Silcox has put together the ultimate tribute to these amazing artists. The 70-odd pages of text in this book are very well-written, covering the formation of the group, their travels across Canada, and the cultural ramifications of their work. Though the essays offer enlightening reading, the main attraction here is the collection of 400 images. This is one coffee-table book that truly needs a coffee table. The mammoth size of this tome is a challenge to its own binding. It proves, however, that as far as content is concerned, size truly does matter. If you were going to put together a book on the Group of Seven, how would you do it? Would you show the most famous and memorable images, or search for hidden, unpublished gems? In a book this size you can do both! And Silcox does. Would you organize the images by artist, by subject matter (still lifes, portraits, World War I, etc.), or by geographic location (Algonquin Park, Rocky Mountains, the Arctic, etc.)? With a book this big, why choose? Do all three! Different portions of the book are arranged accordingly. Most books on the Group of Seven make the mistake of devoting too much space to the “big five”: Tom Thomson, Lawren Harris, J. E. H. MacDonald, A. Y. Jackson, and Arthur Lismer. Silcox finally gives the “minor” members their due respect. Franklin Carmichael, F. H. Varley, Frank Johnston, Edwin Holgate, A. J. Casson, and Lionel LeMoine FitzGerald are all well-represented, and they hold their own against the big guns of the Group. About two dozen black and white drawings are included; the rest of the works are all paintings. The book doesn’t include any printmaking, which is unfortunate, since a few of the members—notably Carmichael, Casson, and Holgate—really excelled in that medium. Browsing through these pages is the next best thing to strolling the hallowed halls of the McMichael Collection or the Art Gallery of Ontario. The Group of Seven have never looked so good in book form. This volume is elegantly designed, and the paintings are beautifully reproduced. Here and there one could quibble over the selection of images, but overall it’s hard to imagine another book improving upon this one. After setting the bar this high, perhaps the next step will be a digital catalog raisonné on DVD. Until that day comes, Silcox’s compendium will remain the ultimate visual reference on these artists. Franklin Carmichael, October Gold. Tom Thomson, Northern River Frank Johnston, Fire Swept, Algoma A. J. Casson, Mill Houses If you liked this review, please follow the link below to Amazon.com and give me a “helpful” vote. Thank you. http://www.amazon.com/review/R1PT675VBLG1NT/ref=cm_cr_rdp_perm

A. J. Casson, Rooftops ~ As the chill of wintry winds, snow and ice continues, a compilation of Canadian winterscapes by the Group of Seven artists seems in order. As always, the scenery by these …

Back in June, I had the pleasure of exploring the beautiful Musée des Beaux-Arts de Montréal (Montréal Museum of Fine Arts). To my delight, their collection of Quebec and Canadian art had a large n…

Exhibition dates: 19th October 2011 – 8th January 2012 Frederick Horsman Varley (Canadian born United Kingdom, 1881-1969) Stormy Weather, Georgian Bay 1921 Oil on canvas 132.6 x…

Back in June, I had the pleasure of exploring the beautiful Musée des Beaux-Arts de Montréal (Montréal Museum of Fine Arts). To my delight, their collection of Quebec and Canadian art had a large n…

Giclee Canvas Printed with Genuine Archival Inks An Additional 1.5 inch black border printed around the image Giclee Canvas are available in a variety of sizes and variations Rolled Canvas - Means the canvas is printed and rolled in a tube, shipped to you. You will need to have this stretched and or framed at a framers near you. Stetched Canvas (Gallery Wrap) - Means the canvas is printed and stretched on a 1.5" stretcher bar, larger sizes are reinforced in the corners, with the black printed border wrapped around the stretcher bar, giving the illusion of a black frame. Float Frame (FF Black, FF Espresso) - Means the canvas is stretched on a .75" stretcher bar, placed into a float frame, giving the illusion it is floating inside a frame. This is available in two colours, Black or Espresso.

This Intricately Designed Layered Anklet Features Afghani Heishi Beads In Four Different Palettes Inspired By Canadian Group Of Seven Artist Tom Thomson. The Centerpiece Of Beads Lies Beautifully On The Gold Plated One Millimetre Interacting Snake Chain. The Total Length Of This Style Is Nine Inches Plus A One Inch Extension Chain For Adjustability.

In a very prolific year, he made a view finished paintings on canvas, but the great majority were plein air oil sketches, of which some of the best are shown here.

Want to see and appreciate Tom Thomson’s paintings in person? Find out which of Thomson’s works may be at an art gallery or museum near you.

It's not hard to see why a lone jack pine like this one inspired Tom Thomson. Algonquin Park has been inspiring artists and photographers since 1893.

Lawren Harris " The Pines " Special Edition Canvas 20" x 24" in size MINT CONDITION Lawren Stewart Harris, painter (born 23 October 1885 in Brantford, ON; died 29 January 1970 in Vancouver, BC). Lawren Harris was the catalyst and leader in the creation of the Group of Seven, founding member and first president of the Canadian Group of Painters, and the painter who influenced Jock Macdonald — and through him, other Toronto painters — to paint abstractly. Harris had a profound influence on three generations of artists in Canada. This is a special edition Canvas by Lawren Harris in perfect , mint condition. Phone us toll free at 1-877-265-4555 anywhere in N. America - anytime ! We are authorized dealers with almost every publisher in N. America and know we can list world class artists at remarkable prices !! We offer FREE pick up of winning items at our Canmore Art gallery located in Canada's beautiful Rocky Mountains. Shipping is done in some of the best built, strong boxes ever seen - always completely insured . Any problems and we ship a new piece immediately - no cost to you!! Think we have superior service, come check out our ART COUNTRY CANADA Gallery on your next visit to BANFF NATIONAL PARK . Check our website for the gallery map and address! Please contact for shipping quotes outside of North America. Thank you ! We accept pay pal and anyone can call into the gallery with visa or mastercard. We try to ship the same day, but some items may ship the following week. Shipping Information All items are completely insured to arrive in MINT condition! We ship in some of the strongest boxes in the industry! We combine shipping daily, on most every item. 1-877-265-4555 Art Country Canada Gallery Rocky Mountain Art Gallery 729 Main Street Canmore , Alberta T1W 2B2 TERMS OF SERVICE ETSY is one side of our business, having a fine art gallery we are able to custom frame most items in our gallery. We work hard to do business the old fashioned way, we treat all customers as if they are family. We answer emails courteously and are fair in all our dealings. We have a toll free number for easy service. Please feel free to contact us at anytime, with any question or comment. We make every effort to answer all emails as quickly as possible. WORLDWIDE SHIPPING We sell and ship worldwide, so please email us for a quote to any location, we drop ship to any address if it is a gift. We charge shipping based on courier and all items are sent fully insured. We offer Free Shipping in North America. Outside of North America, please email for a quote. METHODS OF PAYMENT We accept Paypal which accepts the major credit cards, or we also take Credit Cards Directly over the phone, (MC, VISA,). We accept whatever method is most convenient for you. We ask all auctions to be paid for in the fastest possible time frame. LOCAL PICK UP We encourage customers to pick up items at our gallery. Authorized Greenwich Workshop Dealer / Mill Pond Press Dealer / Somerset Publishing Dealer / Wild Wings Dealer and many more

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Tom Thomson print - Autumn Algonquin Park - 1914 Canadian artwork - Group of Seven True North Mat and Frame not included Choose the PAPER Premium Matte Fine Art Paper: a smooth, neutral-white, matte paper. or a Bright White Textured Fine Art Paper Watermark will be removed before printing.There will be a .25 inch border all around the print unless you ask us to print to the edge.

Enhance any room with the scenes from nature with this beautiful piece of Canadian art history. Born and raised in Canada, Tom Thomson is often credited with his influence on a group of artists who would become known as the Group of Seven. From 1914 to 1917, Tom spent most of the year in Algonquin Park, returning in the winters to Toronto to paint the few canvases which he completed. Mysteriously in 1917, Tom Thomson drowned in Algonquin Park leaving behind a legend that has burgeoned with time.

Note: All Group of Seven images are available under Matte & Glass Framed and on a Giclée canvas For all descriptions and information, please look below For Matte and Glass - Framed Note there are 2 sizes listed here, the first is the 20x21 inches image is 6.5x8 inches glass size is 14x15 the second size is 32x36 inches image is 17x21 inches glass size is 27x30 inches Features: Prints are Limited Edition, numbered, titled and identified. Each print is framed with a 2 5/8" polystyrene moulding with a mahogany finish Prints framed with 3 inch white matte (white core) on grey Prints are also glassed Dust cover on the back Ready for hanging Giclée Canvas Printed with Genuine Archival Inks An Additional 1.5 inch black border printed around the image Giclée Canvas are available in a variety of sizes and variations Rolled Canvas - Means the canvas is printed and rolled in a tube, shipped to you. You will need to have this stretched and or framed at a framers near you. Stretched Canvas (Gallery Wrap) - Means the canvas is printed and stretched on a 1.5" stretcher bar, larger sizes are reinforced in the corners, with the black printed border wrapped around the stretcher bar, giving the illusion of a black frame. Float Frame (FF Black) - Means the canvas is stretched on a .75" stretcher bar, placed into a float frame, giving the illusion it is floating inside a frame.