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This watercolour, likely depicts the landscape around Camp N in Sherbooke, Quebec. “Untitled,” c. 1941, collection of Beatrice Fischer.

This watercolour, likely depicts the landscape around Camp N in Sherbooke, Quebec. “Untitled,” c. 1941, collection of Beatrice Fischer.

Cahén mailed two watercolours to Beatrice Fischer while he was interned in Camp N. “Untitled,” c. 1941, collection of Beatrice Fischer.

Cahén mailed two watercolours to Beatrice Fischer while he was interned in Camp N. “Untitled,” c. 1941, collection of Beatrice Fischer.

An illustration done by Cahén shortly before he and his mother escaped to England, narrowly avoiding the Nazi occupation of Prague twelve days later. “Untitled” (084), 1939, The Cahén Archives.

An illustration done by Cahén shortly before he and his mother escaped to England, narrowly avoiding the Nazi occupation of Prague twelve days later. “Untitled” (084), 1939, The Cahén Archives.

This canvas, likely unfinished, was on Cahén’s easel at his time of death in November 1956. Oscar Cahén, “Untitled” (616), 1956, Art Gallery of Ontario.

This canvas, likely unfinished, was on Cahén’s easel at his time of death in November 1956. Oscar Cahén, “Untitled” (616), 1956, Art Gallery of Ontario.

This illustration won Cahén the 1952 medal for Editorial Illustration from the Art Directors Club of Toronto. It was then exhibited by the Art Directors Club of New York. Illustration for “The Most Beautiful Girl I’ve Ever Known,” 1951, by Douglas Carmichael, Maclean’s.

This illustration won Cahén the 1952 medal for Editorial Illustration from the Art Directors Club of Toronto. It was then exhibited by the Art Directors Club of New York. Illustration for “The Most Beautiful Girl I’ve Ever Known,” 1951, by Douglas Carmichael, Maclean’s.

The telltale jacket with the scarlet target on the back identifies this as an illustration of inmates at Camp N. Cahén’s illustration for short story, “Mail,” by John Norman Harris, Maclean’s, 1950.

The telltale jacket with the scarlet target on the back identifies this as an illustration of inmates at Camp N. Cahén’s illustration for short story, “Mail,” by John Norman Harris, Maclean’s, 1950.

Success came rapidly for Cahén between 1953 and 1956, and he was frequently invited to exhibit. This painting was included in the 2nd Bienal de São Paulo, Brazil, 1953–54. “Requiem”, c. 1953, current location unknown.

Success came rapidly for Cahén between 1953 and 1956, and he was frequently invited to exhibit. This painting was included in the 2nd Bienal de São Paulo, Brazil, 1953–54. “Requiem”, c. 1953, current location unknown.

Kazuo Nakamura, Forest; 1953; oil on masonite; Gift of Charles E. McFaddin, 1974

Painters Eleven at Sixty

Kazuo Nakamura, Forest; 1953; oil on masonite; Gift of Charles E. McFaddin, 1974

."Untitled", watercolour, 13 1/2 x 12 in. William Ronald (1926-1998)  was an important Canadian painter, best known as the founder of the influential Canadian abstract art group Painters Eleven in 1954.  Working for the Robert Simpson Co. department store, he persuaded management to pair abstract paintings with furniture displays, thereby discovering a way to get the public to accept non-representational art.

."Untitled", watercolour, 13 1/2 x 12 in. William Ronald (1926-1998) was an important Canadian painter, best known as the founder of the influential Canadian abstract art group Painters Eleven in 1954. Working for the Robert Simpson Co. department store, he persuaded management to pair abstract paintings with furniture displays, thereby discovering a way to get the public to accept non-representational art.

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