Sheila Butler Sold at Auction Prices

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    • Sheila Butler, The Diver, Dyptich, lithographs 11/20 ca 1980s
      Jun. 23, 2024

      Sheila Butler, The Diver, Dyptich, lithographs 11/20 ca 1980s

      Est: $800 - $1,000

      The Diver diptych 11/20 lithographs ca 1980s Unframed. These large prints need to hang close together; and when they are together you see the man’s foot dipping into the pool below.

      4th Meridian Fine Art
    • Sheila Butler, The Diver, Diptych lithograph 11/20 ca 1980s
      May. 07, 2023

      Sheila Butler, The Diver, Diptych lithograph 11/20 ca 1980s

      Est: $3,000 - $4,000

      Sheila Butler, The Diver diptych, 11/20 lithograph ca 1980s These large prints need to hang close together; and when they are together you see the man’s foot dipping into the pool below. In the late 60s and early 70s, Sheila Butler, along with her husband Jack Butler, served as a special projects officer for the Northwest Territories where they engaged and supported Inuit artists. The Butlers initiated a printmaking project, sewing projects and a shop. The local clothing factory had recently closed and many of the established printmakers had left. The community had already seen a series of unsuccessful government programs and arts and crafts officers. In Richard Crandall's book, Inuit Art: A History, he noted that the Inuit community, prior to the Butler's arrival, "had spent thousands of hours on printmaking projects only to see them fail". Nonetheless, the Butlers’ printmaking project began in the craft centre and offered a wage of $1.25 to $2.00 per hour for those willing to study printmaking. By 1970, the Canadian Eskimo Arts Council approved the sale of a collection of 31 prints and requested a special exhibition for the spring and the program expanded adding two more positions. Eventually, the Butlers founded the Sanavik Co-operative who mission was to "foster and coordinate the art activities in the settlement, and to be able to contract for other community services." In late 1972, Sheila Butler left the Northwest Territories and assumed teaching positions the University of Manitoba and the University of Winnipeg between 1973 and 1989, before moving to the Visual Arts faculty at the University of Western Ontario. She retired from teaching in 2004 and now lives in Toronto, Ontario. As a visual artist, her work centres around the human condition. Some of her series have included human subjects swimming, in tents, sleeping, while other works focus on violent images from the news media. In particular, her work delves into the treatment of women. Examples of such work are Bedroom (1982) and The National and the Journal (1984). Gary Michael Dault from The Globe and Mail said, "drawing has always been a central fact of her [Butler] existence as an artist (her wispy, sprawling drawing installation, The Essential Tremor, a sort of enterable dream journal, is one of the strongest works in the show)." Further, Dault described Butler as a "veteran artist" and "a brilliant (and inexplicably undervalued) painter". Butler explored themes of violence and fear in her collection The National and the Journal along with other artists including Eleanor Bond, Wanda Koop, Eva Stubbs and Diana Thorneycroft. Butler along with Ruby Arngna'naaq, William Noah, Patrick Mahon, and Jack Butler formed the Art and Cold Cash Collective, a five-person artists' collective. In 1983, Plug-In-Art (now Plug-In ICA) created an exploratory committee of women to find ways in which to integrate and promote female artists in Winnipeg. Mentoring Artists for Women's Art was founded based upon the recommendations of the committee with Butler as a founding member.

      4th Meridian Fine Art
    • Sheila Butler, The Diver, Dyptich lithograph 11/20 ca 1980s
      Dec. 12, 2021

      Sheila Butler, The Diver, Dyptich lithograph 11/20 ca 1980s

      Est: $3,000 - $4,000

      The Diver diptych 11/20 lithograph ca 1980s framed, diptych 44” x 30” These large prints need to hang close together; and when they are together you see the man’s foot dipping into the pool below. In the late 60s and early 70s, Sheila Butler, along with her husband Jack Butler, served as a special projects officer for the Northwest Territories where they engaged and supported Inuit artists. The Butlers initiated a printmaking project, sewing projects and a shop. The local clothing factory had recently closed and many of the established printmakers had left. The community had already seen a series of unsuccessful government programs and arts and crafts officers. In Richard Crandall's book, Inuit Art: A History, he noted that the Inuit community, prior to the Butler's arrival, "had spent thousands of hours on printmaking projects only to see them fail". Nonetheless, the Butlers’ printmaking project began in the craft centre and offered a wage of $1.25 to $2.00 per hour for those willing to study printmaking. By 1970, the Canadian Eskimo Arts Council approved the sale of a collection of 31 prints and requested a special exhibition for the spring and the program expanded adding two more positions. Eventually, the Butlers founded the Sanavik Co-operative who mission was to "foster and coordinate the art activities in the settlement, and to be able to contract for other community services." In late 1972, Sheila Butler left the Northwest Territories and assumed teaching positions the University of Manitoba and the University of Winnipeg between 1973 and 1989, before moving to the Visual Arts faculty at the University of Western Ontario. She retired from teaching in 2004 and now lives in Toronto, Ontario. As a visual artist, her work centres around the human condition. Some of her series have included human subjects swimming, in tents, sleeping, while other works focus on violent images from the news media. In particular, her work delves into the treatment of women. Examples of such work are Bedroom (1982) and The National and the Journal (1984). Gary Michael Dault from The Globe and Mail said, "drawing has always been a central fact of her [Butler] existence as an artist (her wispy, sprawling drawing installation, The Essential Tremor, a sort of enterable dream journal, is one of the strongest works in the show)." Further, Dault described Butler as a "veteran artist" and "a brilliant (and inexplicably undervalued) painter". Butler explored themes of violence and fear in her collection The National and the Journal along with other artists including Eleanor Bond, Wanda Koop, Eva Stubbs and Diana Thorneycroft. Butler along with Ruby Arngna'naaq, William Noah, Patrick Mahon, and Jack Butler formed the Art and Cold Cash Collective, a five-person artists' collective. In 1983, Plug-In-Art (now Plug-In ICA) created an exploratory committee of women to find ways in which to integrate and promote female artists in Winnipeg. Mentoring Artists for Women's Art was founded based upon the recommendations of the committee with Butler as a founding member.

      4th Meridian Fine Art
    • Sheila Butler, Poolside (in the back of the Real)
      Oct. 17, 2021

      Sheila Butler, Poolside (in the back of the Real)

      Est: $700 - $900

      Intaglio print, 1988, from an edition of 16. Sheila Butler (1938- ) is an American-Canadian visual artist and retired professor. Her collections are featured at the National Gallery of Canada, the Art Gallery of Hamilton, the University of Toronto, the Winnipeg Art Gallery and University of Manitoba in Winnipeg. She is a founding member of Mentoring Artists for Women's Art in Winnipeg, Manitoba and the Sanavik Inuit Cooperative in Baker Lake, Nunavut. She is a fellow of the Royal Canadian Academy of Arts. From Galleries West (Sarah Swan, September 2014) “It’s not a far reach to say Butler’s work from the 1970s has much in common with Canadian literary criticism of the same period. Like Margaret Atwood, she embraces the associations of archetypal myth. Water and wilderness refuse to act as singular symbols, instead becoming spacious metaphors.… and as in Atwood’s poetry, something feels vaguely threatening. The boundaries between the conscious and subconscious mind seem dangerously thin.” Gary Michael Dault, The Globe and Mail, described Butler as “a brilliant (and inexplicably undervalued) painter.”

      4th Meridian Fine Art
    • Sheila Bulter, Poolside (In Back of the Real)
      May. 31, 2020

      Sheila Bulter, Poolside (In Back of the Real)

      Est: $800 - $1,000

      In the late 60s and early 70s, she along with her husband Jack Butler, served as a special projects officer for the Northwest Territories where they engaged and supported Inuit artists. The Butlers initiated a printmaking project, sewing projects and a shop. When the Butlers first arrived, they faced staunch skepticism about their programs. The local clothing factory had recently closed and many of the established printmakers had left. The community had already seen a series of unsuccessful government programs and arts and crafts officers. In Richard Crandall's book, Inuit Art: A History, he noted that the Inuit community, prior to the Butler's arrival, "had spent thousands of hours on printmaking projects only to see them fail". Nonetheless, the Butler's printmaking project began in the craft centre and offered a wage of $1.25 to $2.00 per hour for those willing to study printmaking. By 1970, the Canadian Eskimo Arts Council approved the sale of a collection of 31 prints and requested a special exhibition for the spring and the program expanded adding two more positions. Eventually, the Butlers founded the Sanavik Co-operative whose mission was to "foster and coordinate the art activities in the settlement, and to be able to contract for other community services." In late 1972, Sheila Butler left the Northwest Territories and assumed teaching positions the University of Manitoba and the University of Winnipeg between 1973 and 1989, before moving to the Visual Arts faculty at the University of Western Ontario. She retired from teaching in 2004 and now lives in Toronto, Ontario. As a visual artist, her work centres around the human condition. Some of her series have included human subjects swimming, in tents, sleeping, while other works focus on violent images from the news media. In particular, her work delves into the treatment of women. Examples of such work are Bedroom (1982) and The National and the Journal (1984). Gary Michael Dault from The Globe and Mail said, "drawing has always been a central fact of her [Butler] existence as an artist (her wispy, sprawling drawing installation, The Essential Tremor, a sort of enterable dream journal, is one of the strongest works in the show)." Further, Dault described Butler as a "veteran artist" and "a brilliant (and inexplicably undervalued) painter". Butler explored themes of violence and fear in her collection The National and the Journal along with other artists including Eleanor Bond, Wanda Koop, Eva Stubbs and Diana Thorneycroft. Butler along with Ruby Arngna'naaq, William Noah, Patrick Mahon, and Jack Butler formed the Art and Cold Cash Collective, a five-person artists' collective. In 1983, Plug-In-Art (now Plug-In ICA) created an exploratory committee of women to find ways in which to integrate and promote female artists in Winnipeg.[20] Mentoring Artists for Women's Art was founded based upon the recommendations of the committee with Butler as a founding member.

      4th Meridian Fine Art
    • Sheila Bulter, Poolside (In Back of the Real)
      Nov. 27, 2019

      Sheila Bulter, Poolside (In Back of the Real)

      Est: $800 - $1,000

      In the late 60s and early 70s, she along with her husband Jack Butler, served as a special projects officer for the Northwest Territories where they engaged and supported Inuit artists. The Butlers initiated a printmaking project, sewing projects and a shop. When the Butlers first arrived, they faced staunch skepticism about their programs. The local clothing factory had recently closed and many of the established printmakers had left. The community had already seen a series of unsuccessful government programs and arts and crafts officers. In Richard Crandall's book, Inuit Art: A History, he noted that the Inuit community, prior to the Butler's arrival, "had spent thousands of hours on printmaking projects only to see them fail". Nonetheless, the Butler's printmaking project began in the craft centre and offered a wage of $1.25 to $2.00 per hour for those willing to study printmaking. By 1970, the Canadian Eskimo Arts Council approved the sale of a collection of 31 prints and requested a special exhibition for the spring and the program expanded adding two more positions. Eventually, the Butlers founded the Sanavik Co-operative whose mission was to "foster and coordinate the art activities in the settlement, and to be able to contract for other community services." In late 1972, Sheila Butler left the Northwest Territories and assumed teaching positions the University of Manitoba and the University of Winnipeg between 1973 and 1989, before moving to the Visual Arts faculty at the University of Western Ontario. She retired from teaching in 2004 and now lives in Toronto, Ontario. As a visual artist, her work centres around the human condition. Some of her series have included human subjects swimming, in tents, sleeping, while other works focus on violent images from the news media. In particular, her work delves into the treatment of women. Examples of such work are Bedroom (1982) and The National and the Journal (1984). Gary Michael Dault from The Globe and Mail said, "drawing has always been a central fact of her [Butler] existence as an artist (her wispy, sprawling drawing installation, The Essential Tremor, a sort of enterable dream journal, is one of the strongest works in the show)." Further, Dault described Butler as a "veteran artist" and "a brilliant (and inexplicably undervalued) painter". Butler explored themes of violence and fear in her collection The National and the Journal along with other artists including Eleanor Bond, Wanda Koop, Eva Stubbs and Diana Thorneycroft. Butler along with Ruby Arngna'naaq, William Noah, Patrick Mahon, and Jack Butler formed the Art and Cold Cash Collective, a five-person artists' collective. In 1983, Plug-In-Art (now Plug-In ICA) created an exploratory committee of women to find ways in which to integrate and promote female artists in Winnipeg.[20] Mentoring Artists for Women's Art was founded based upon the recommendations of the committee with Butler as a founding member.

      4th Meridian Fine Art
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