FRANCIS HANS 'FRANZ' JOHNSTON, RCA, OSA, CSPWC, Sculpted "Beaver on His Log" ca. 1920

* Listed Canadian Artist: (1888-1949) Original member of the Group of Seven
* Original Varnished Finish Surface - great condition is in the best of condition with no wear.
* "FHJ" carved Franz Johnston Monogram incised into the lower right corner of the base. This        monogram was also used by Franz on some of his earlier paintings and watercolours
* Refence tag on the base "32-P, Beaver", "P" referring to Paul Rodrik Johnston, was a catalog note        for inclusion in the then upcoming Johnston-Rodrik foundation gallery.
* Carved in heartwood walnut, take note of the plugged hole in the base. Knowledgeable        carvers always drilled a hole in the base to relieve tension in the wood when 'dry curing' and        for to avoid any future cracking in the wood itself.
* Overall this carved beaver is in excellent condition with no signs of ever being mishandled
* Size: Full length 3.5", Full Width 2.25", Full Height 3.25 (top of beaver's back to the base)
* Authentication: Accompanied by a signed letter of authenticity from the estate auctioneer

Please enquire regarding price (ON HOLD)

Beaver profiles

Beaver views 1

Beaver views 2

Beaver views 3


Gaston RebryFrancis Hans Johnston, known as Franz or Frank, apprenticed as a jewelry designer with Ryrie Bros. of Toronto in 1904. He studied during the evenings at the Central Technical School and the Ontario College of Art under William Cruikshank, Gustav Hahn, and G. A. Reid, while working as a commercial artist with Brigdens. In 1911 he worked at the commercial art design firm Grip Ltd in Toronto, where he met future Group of Seven members J.E.H. MacDonald, Arthur Lismer, and Franklin Carmichael. A quick note concerning the importance of Grip Ltd. is found at, The following year, he went to Philadelphia to study at the Pennsylvania Academy of Fine Art and then worked with the design firm, Carleton Studios in New York, returning to Toronto in 1915.

Franz Johnston was commissioned to paint the home front during the First World War for the Canadian War Memorials Fund in 1918. During evenings and weekends he sketched Ontario's Royal Canadian Air Force training camps including aircraft in various manoeuvres, some of which he developed into paintings. In the late summer of 1918, he travelled to the wilderness of the Algoma region near Sault Ste. Marie with artists Lawren Harris, MacDonald and art patron Dr. James MacCallum. Johnston's work from these trips caught the interplay of light, colour and pattern in the woods in a decorative style, with an emphasis on flat planes of colour. In Fire-Swept, Algoma (1920) patches of blues and greens delineate the hills in the background, while the remains of a burnt forest are detailed in the foreground.

In May of 1920, a group of painters including Johnston exhibited as the Group of Seven for the first time at the Grange in Toronto and were hailed as developing a truly Canadian movement. In December 1920, Johnson mounted the first of many independent exhibitions at the Eaton's of Canada Gallery where the press praised his handling of light. In 1921 he moved to Winnipeg to become the Principal at the College of Art and Director of the Gallery until 1924 when he returned to Toronto to teach at the Ontario College of Art, the same year that his formal associations with the Group of Seven ended.

Franz was invited to Eldorado on Great Bear Lake, NWT, where he spent six months in 1939 sketching both the landscape and activities of northern aboriginal peoples. Upon his return, he settled in Wyebridge, Ontario, converting the village hall into a home and studio. He travelled regularly to northern Ontario to paint, and made his last trip into the Nipigon territory in 1946. During his last summers he painted pastoral subjects in Quebec, Baie St. Paul, villages in the Laurentians and the Ottawa Valley.

Franz Johnston passed away in July 1949.

* The provenance behind this unique sculpture. This superb artwork by Franz Johnston, with his ‘FHJ’ monogram incised into the bottom, comes from the estate of late Mary Bishop Rodrik and Paul Rodrik Johnston. It was created by Franz in the early 20th century and upon his death in 1949, it was passed down to Paul, one of his two sons.

There it remained in his personal collection until he passed away in 1983. Today, this item can be considered rare and ‘one-of-a-kind’ and not ‘just another work’ by Franz Johnston RCA. This terrific sculpture was intended to be part of the Franz Johnston - Paul Rodrik Foundation gallery that was being planned in the late 1970's and early 1980's.

Unfortunately, the gallery never came to be and this little gem of an object was retained by the family until after Paul’s wife and Billy Bishop’s neice, Mary Bishop Rodrik passed away in 1999. Please note that this is the very first time that this fine sculpture has been offered for sale to the fine art collecting public since it has left the personal family collection of Paul and Mary Rodrik over 20 years ago.

Please note: This unique carving is accompanied by a signed letter of authenticity from the auctioneer that sold this sculpted artifact, which states, in no uncertain terms, that it was acquired from the estate of the late Mary Bishop Rodrik, wife of Paul Rodrik, in 1999.

Rare Artifacts Ref No: 8TUOA99 SYD-S/OUX

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