Atlantic Canada's #1 seller of Maud Lewis Prints and Original Paintings
Hey! My name is Chad and I own the largest private collection of handmade Maud Lewis silk-screened prints by Bill Ferguson from 1962-1982. I am also the largest buyer and seller of original Maud Lewis works in Atlantic Canada. I decided to create a website to sell some of my prints and explain more about their history and direct connection to Maud Lewis. Bill Ferguson discovered Maud Lewis in 1962, and was the only person to make arrangements with Maud and Everett and obtained the legal Copyrights to use her images to produce silk-screened reproductions. His Copyrights lasted from 1962 until he died in 1997, and The Art Gallery of Nova Scotia took over after that. Each print is a 9 colour image, meaning 9 stencils were created and separated by colour. A highly skilled silk-screen artist would then apply each stencil one at a time, waiting for each colour to dry before applying the next. These are as close to an original Maud Lewis painting as you can get, and very rarely comes up at auction! This collection was purchased directly from the descendants of Bill Ferguson and each print was hand picked by myself from the Ferguson estate. A true piece of Canadian history! Please read more about the history in my website.
Can't decide? Decide in person! Located near Halifax, Nova Scotia,
Cell: 902-802-2626 Email: Chad3484@live.ca
* Tax included - Shipping is a flat rate of $30 per order anywhere in Canada and USA/International shipping available at checkout. Pick-up and free Halifax area delivery available at checkout. All payment options including paypal/credit cards/E-tranfser available at checkout. Orders shipped out next business day.
* Do you own a Maud Lewis painting or historical items such as newspaper articles/letters/photos/paintings/prints? Please reach out to me if you are interested in selling or getting authenticated.
A quick segment about a very special Maud Lewis painting I had for sale.
I was asked to do a live interview on Global Morning Halifax to discuss my collection of prints and paintings.
The Halifax Chronicle Herald and The Tri-County Vanguard (Yarmouth, Shelburne and Digby county) both published a paper print. A full page article on my collection of prints and my journey to original paintings.
CBC was excited to visit me at my home once they found out I had acquired this collection. This is a great video done by Emma Smith at CBC News Halifax
Growing up in the Maritimes and in Digby, I was surrounded by Maud Lewis and didn't even know it. Seeing the Maud Lewis calendars and books in stores, and driving by replica houses and memorial sites became normal. I remember my mom talking about Maud Lewis all the time, so I bought her a calendar for Christmas one year, and looking back I know this is where my love for Maud Lewis started. I made my first large purchase on Ebay, and it was for a beautiful print called "Two Deer in Winter", and I knew nothing about it. After doing some research and coming up empty on who made this print, I decided to dig even further to understand its history. I took it to Zwickers Gallery in Halifax and he told me it was a silk-screen, and Ian was so knowledgeable in explaining some of it's history and who Bill Ferguson was. After learning it was a silkscreen by Bill Ferguson, I was intrigued to learn more and if others existed. I loved the idea of owning a vintage image without the price tag of an original. I seen these silk-screens prints as second best, knowing the complex process to create each image with such quality, and being handmade. After months went by of not finding any further images to purchase, I took it upon myself to investigate distant family members of Bill who may have some prints to sell me. After weeks of digging, I was very fortunate to meet the grandson of Bill Ferguson by complete fluke, and I personally found and picked over 200 vintage silk-screen prints from the Ferguson estate that has been abandoned for the last decade. We spent hours going from room to room finding prints in each room, some still hanging on the walls with a thick layer of dust. This family estate was in the middle of nowhere with many barns/sheds on the large property. The estate had been completely vacant for over 10 years and it was thought that any remaining prints had already been removed. I made an offer to purchase the entire collection including Christmas cards, postcards, personal effects, letters, documents and even complete receipt books. The estate is now sold to new owners and no more prints will surface. When Bill Ferguson died, the collection stayed with his wife Helen. When Helen died, it got passed down to their daughter Marlene, and when she died it got passed down to her son, and now to me. I am keeping the majority of the collection, but I want to sell some privately so people can enjoy it as much as I do. These silk-screen prints are a beautiful part of Canadian history! Fast forward a year and I have been collecting anything Maud Lewis related. I love collecting things like newspaper articles/old Lance Woolaver books/VHS movies/posters and so much more. I used my sales from the prints to start purchasing original Maud Lewis paintings. I would take each painting to Ian at Zwickers to learn as much as I could, and now having purchased and sold over 50 original paintings, I have become quite the amateur expert on Maud Lewis. As my collection grows, so does my passion for Maud Lewis and I hope to one day open a small gallery to show the public this great collection I have built up.
Maud Lewis exemplified the simple life. But simple doesn’t mean dull. The simplicity of her paintings, brushed initially with scrounged paint from local fishermen onto ubiquitous green boards and post cards, continue to evoke feelings of innocence, of child-like exuberance as enduring as the spring times she loved to paint. And today she still captures audiences intrigued by everyday scenes as diverse as hard-working oxen and whimsical butterflies.
Maud Dowley Lewis was born March 7, 1903 in South Ohio, a community near Yarmouth. Her father Jack would provide a moderately prosperous living as a respected craftsman, making harnesses and serving as a blacksmith. Agnes, her mother, favored artistic pursuits including painting, folk carving and music. Born disfigured with sloped shoulders and her chin resting on her chest, Maud led a confined but happy home life after she quit school at 14, perhaps in part to escape the mocking of her peers. “What is life without love or friendship?” she once confided to a friend. Her mother lovingly taught her to play the piano before arthritis crippled her hands. Physical deformity may have been her lot, but even more tragic was the loss of both her parents within two years. Who would care for Maud? Thankfully, an aunt who lived in Digby took her in. There she would later answer a newspaper ad that would determine the course of her life. A man named Everett Lewis wanted a housekeeper for his cottage in Marshalltown. She married him in 1938 at the age of thirty-four and would never travel more than an hour’s drive from her birthplace. “I ain’t much for traveling anyway,” she said later, “as long as I have a brush in front of me, I’m all right.” Cameo cigarettes added their share of comfort as well.
Although short in stature with hands gnarled by arthritis as the years passed, she stood tall when she plied her brush over green-backed particle board. Everett Lewis, a stingy, parsimonious but certainly hard-working man, kept house and made meals allowing Maud to spend most of her time delving into her world of wonder and creating fanciful works of art. Maud gathered images from her happy childhood and limited excursions in a Model T with Everett to paint cheerful images on dust pans, scallop shells and even on her house. They would settle into a routine where Everett enjoyed peddling and haggling over the paintings Maud would love to paint. The happiness she painted first attracted neighbours, then tourists and eventually even international attention. It started with a Star Weekly newspaper article and then a 1965 CBC Telescope program featuring her unique works. Her notoriety began to bloom like the cherry trees that garnished several of her paintings. Orders came in so fast that the paint hardly had time to dry–one reason you may notice fingerprints on some edges of her paintings.
Her style became as fanciful as her subjects. She painted a world often without shadows, autumn leaves on winter landscapes, and even 3-legged oxen. Was she adding humour in her subtle, shy way? Her gentle nature and magnetic smile might give that away. Awkwardly bent over a painting, she may have been squinting and intense, but her inner joy escaped onto her panels with unrivaled determination and vitality. Small wonder her work garnered the attention of even the Nixon White House. Ever pragmatic, Maud wrote to ask that funds be forwarded before she sent the requested two panels to the President! Today her work unequivocally demands status as “important art” in numerous fine-art collections around the world.
Much like her American counterpart, Anna Marie Robertson (Grandma Moses), Maud was uniquely creative, self-taught, specialized in painting everyday rural life, loved animals and appreciated the beauty of nature. Both initially sold their paintings for just a few dollars, but saw their work increase dramatically over the years. The works of Grandma Moses command prices in the $30,000 to $600,000 range. Of comparable quality, Maud’s paintings currently fetch $15000-$48000, holding much promise for the future.
Not formally trained, Maud adopted a style that emerged from inside the heart of a true artist. As such, she could produce images of enduring quality and appeal, images that transformed her maritime surroundings into painted visions. The irresistible charm of her art had triumphed over the arrows of adversity.
– Reproduced with permission from Wayne & Jocelyn Cameron