Listed Canadian Artist: (1906-1987)
Serigraph: Silkscreen print with eight colours, hand signed in ink on the lower right and dated '54
Known title: View of "Looking Up St. Cecile Street" from St. James St. in Montreal
Image Size: w. 7" by h. 14 1/2"
Framed Size: 13" x 22" Archivally Matted with acid-free materials throughtout

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Kindly Take note of our research findings: Fred Taylor so admired the Montreal scene in this print, that over a fifteen year period, from 1939 to 1954, he created four versions of this St. Cecile St. setting.

After being involved in Fred Taylor's paintings and hand-pulled prints for over twenty-five years, our in-depth research has discovered that Fred's first venture in portraying this St. Cecile St. scene began when he created the 6" x 11.5" dry-point lithograph. This lithograph print was created in the style of a dry-point etching, of which Fred hand-pulled 80 signed and numbered copies, all dated 1939. Secondly he painted a full sized original 16" x 30" oil on canvas, that sold at art auction for nearly $15,000. in 2007. Fred then followed up by creating the 5" x 11" hand-pulled aquatint etching series of this St. Cecile St. scene, and then lastly he silkscreen printed this 7" x 14 1/2" serigraph of the same setting in 1954. Of which, even though it isn't numbered in the series, research tells us that he hand-pulled 150 copies of this serigraph, all hand signed and dated on the bottom right, as stated below in the Nov. 1980 Galerie Walter Klinkhoff letterhead statement by Fred.

Although it may sometimes be overlooked by art collectors, many of the hand-pulled prints that Fred created over a quarter of a century provides ample proof of his unique ability and rare talent as an artist-printmaker. And, it should be noted that, as one of Canada's best early-to-mid 20th century artist printmakers, his finest hand-pulled prints are now reaching new levels in both value and appreciation.

One should also consider... that through the passage of time and people not fully appreciating the importance and beauty of artist's original hand-pulled prints, the chances that all 150 original copies of this serigraph series still being in existence is quite low. That would make the remaining serigraphs that still exist even more rare and of sound investment value.

F. B. Taylor


Frederick Taylor


Frederick Bourchier Taylor


F. B. Taylor Signature


Frederick Bourchier Taylor


F. B. Taylor Letter


TAYLOR, Frederick Bourchier RCA, CPE, CSGA (1906-1987)


Frederick TaylorFred Bourchier Taylor was born in Ottawa in 1906. By the 1930's and 40's he became nationally known for his paintings and etchings of war industry workers, his inner-city Montreal street scenes, and for his urban architectural settings. Fred Taylor, was also the younger brother of Canadian millionaire business tycoon and philanthropist, E.P. Taylor. According to art historian Barry Lord, his parents disapproved of his artistic ambitions and insisted that he obtain a degree before he beginning art studies in earnest. In 1925, he enrolled at McGill University, Montreal, to study architecture, and at the same time maintained a high level of sporting activity, excelling both in skiing and boxing. Fred later created numerous works of art revolving around the sport of skiing. In 1927, he received the Anglin Norcross Historical Drawing Prize in Architecture and also the heavyweight boxing championship for McGill. In 1929, before completing his studies, he oversaw the construction of the Willingdon School at Notre-Dame-de-Grace for the Protestant School Board of Montreal, and in the same year, began drawing classes with Edmond Dyonnet.

Following his graduation from McGill in 1930, he was hired to oversee architectural projects for the Bank of Montreal and received the Governor General’s medal for Professional Practice and Building Law, as well as a grant to further his art studies in Europe. In 1931, he trained with Charles-Edouard Jeanneret, known as Le Corbusier, one of the pioneers of what is called "Modern Architecture" and he also studied art history at the Sorbonne. Returning to Canada, Fred moved to Ottawa where he studied drawing and etching with Ernest Fosbery, and in early 1932, made his first forays into etching and engraving. Deciding at this time to abandon architecture, he established a printmaking studio and produced images of the many aspects of skiing, and also views of the Parliament buildings and other noted architectural settings.

Returning to London in January 1934, Fred studied drawing, etching and lithography at the London Central School of Arts and Crafts with Bernard Meninsky and W.P. Robins, and drawing and etching at the Goldsmith College of Art with J. Baleman and Stanley Anderson. Later that year, he returned to Ottawa and secured a commission to etch portraits of Canada’s prime ministers.

In 1937, Fred Taylor settled in Montreal with his wife, Hilary Miriam Magee, and established himself as a portrait painter. Being politically active, and along with other Montreal artists, he became involved with the Committee to Aid Spanish Democracy prior to WWII. At this time he produced etchings of the Montreal harbour and other prominent city architectural sites such as the Church of Mary Queen of the World, and the Sun Life Building, plus numerous picturesque street scenes.

With the outbreak of war in 1939, Fred started a campaign to persuade the Canadian Government to support a war art project that would document the war industry workers at home. This, he argued, would increase patriotism amongst the workers and promote loyalty to the cause. In the same year, he approached writer Stephen Leacock to sit for a portrait; the famous writer finally acquiesced and the portrait was later acquired by McGill University where Leacock had once lectured.

In 1941, he attended the Kingston Conference where more than 150 Canadian artists discussed the role of the artist in society and called for a war art program and Government commissions. Following the conference, Taylor became a Charter Member of the Federation of Canadian Artists (FCA). In 1943, he was very active in this artists society and became the FCA Chairman of the Quebec Region, and from 1944 to 1945, the National Vice-President.

After the war, Fred continued to execute paintings and prints of social realist subjects as well images of Montreal street life, back alleys and courtyards, old neighbourhoods, and scenes of children playing. He also traveled around the province of Quebec to Quebec City and the Charlevoix region, executing city and countryscapes.

In 1951, Taylor produced his final etching, and had a solo exhibition at the Dominion Gallery, Montreal, where he exhibited 80 paintings depicting views of Montreal, Quebec, and Nova Scotia. From 1950 to 1953, he painted a series of artworks focusing on labourers, such as fishermen, loggers and shore workers.

Between 1954 and 1959, Taylor began a series of long sojourns to Mexico with his second wife, the painter Nova Hecht, and by 1960, settled permanently in San Miguel de Allende. Afflicted with arthritis, he began to explore silkscreen printing. In 1963, after traveling in Europe for a few months, Taylor had a solo exhibition of his paintings at The Artlenders gallery in Montreal where he showed Mexican street scenes, markets, and portraits. He also began to sculpt in bronze and stone at this time.

Between 1963 and 1973, he had regular exhibitions in Montreal and Toronto, at the Dominion Gallery and at the Walter Klinkhoff Gallery, among others. In 1971, he donated 75 etchings to the Montreal Museum of Fine Arts.

Throughout his long career, Taylor exhibited widely in Canada, the United States, England and Mexico, and between 1932 and 1963, his work was the subject of 14 solo exhibitions. Fred Taylor died by his own hand in San Miguel de Allende in 1987, leaving behind his third wife, Fen Taylor.

This is a partial extract from the Dictionary of Canadian Artists, volumes 1-8 by Colin S. MacDonald, and volume 9 (online only), by Anne Newlands and Judith Parker, National Gallery of Canada.

Print Ref No: 9ROX13EB-S/TAOEX

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