Market Data
The Art of Maud Lewis and the Surprising Legacy of Everett Lewis
The art world is no stranger to intrigue, and a recent auction in New Hamburg, Ontario, has brought to light a fascinating chapter in the story of Maud Lewis, one of Canada’s most beloved folk artists. A painting titled Two Oxen in Winter, falsely signed with Maud Lewis’s name by her husband, Everett Lewis, sold for $5,500—$1,250 more than a nearly identical piece bearing Everett’s own signature. This unexpected twist has shed light on the complex and often overlooked role Everett played in Maud’s career, as well as the enduring allure of her art. Maud Lewis, who passed away in 1970, left behind a legacy of vibrant, bucolic paintings that capture the charm of rural Nova Scotia. Her work, deeply personal and infused with joy, has become iconic, with her paintings regularly fetching tens of thousands of dollars at auctions. Yet, the story of her husband, Everett, and his creative contributions, remains a lesser-known but equally compelling narrative.
Maud Lewis: A Legacy of Joy and Resilience
Maud Lewis’s art is a testament to her indomitable spirit and her ability to find beauty in the everyday. Born with physical disabilities and battling rheumatoid arthritis throughout her life, Maud transformed her challenges into art that resonated with people across Canada and beyond. Her paintings—depicting horse-drawn sleighs, quaint farmhouses, and snowy landscapes—invoke a sense of simplicity and joy that continues to captivate art lovers. Despite her struggles, Maud’s work is infused with optimism, a reflection of her resilience and creativity. Her husband, Everett Lewis, played a pivotal role in her career, not only as her primary salesman but also as her caregiver and artistic collaborator. While Maud’s talent was undeniable, it was Everett who ensured her art reached the world, often selling her paintings door-to-door in their community.
Everett Lewis: The Man Behind the Brushstrokes
While Maud Lewis’s legacy is well-documented, Everett’s contributions to her art—and his own—have long been overshadowed. Toward the end of Maud’s life, Everett began assisting her with her paintings, completing backgrounds and filling in colors for some of her works. After her passing in 1970, Everett continued to create art, drawing inspiration from Maud’s style and techniques. He often used the same stencils and imagery that Maud had perfected, creating paintings that were strikingly similar to her own. However, Everett’s approach to selling his work was not without controversy. According to Ethan Miller, CEO of Miller and Miller Auctions, Everett would sometimes sign his own paintings with Maud’s name, a practice that has sparked both curiosity and debate among art enthusiasts.
The Power of Provenance: Everett’s Art and the Auction
The recent auction at Miller and Miller Auctions highlighted the unique appeal of Everett’s work, particularly when tied to Maud’s legacy. Two Oxen in Winter, the painting signed with Maud’s name, sold for $5,500, while a similar piece bearing Everett’s signature fetched $4,250. Ethan Miller explained that the story behind the painting—including Everett’s reputation for being “underhanded” in his dealings with art buyers—likely contributed to the higher price. For collectors of folk art, the narrative surrounding a piece is often as important as the artwork itself. In this case, the intrigue of Everett’s signature and his connection to Maud Lewis added an extra layer of value to the painting.
Folk Art and the Allure of a Good Story
The auction also underscored the broader appeal of folk art, which often thrives on its connection to the human experience. Maud Lewis’s paintings, with their charming depictions of rural life, have become iconic because they tell a story of resilience, joy, and simplicity. Everett’s work, while less celebrated, offers a glimpse into the life of a man who was both a supporter and a creator. His paintings, like Maud’s, are imbued with a sense of authenticity that resonates with collectors. As Ethan Miller noted, “folk art sells because of its story… as much as the beauty of the work itself.” The auction included other pieces by Everett Lewis, such as Springtime Oxen and Oxen in Springtime, which sold for $3,500 and $4,250, respectively. These works, while not commanding the same prices as Maud’s, demonstrate how her influence extended beyond her own career.
A Celebration of Canadian Folk Art
The auction was part of a larger celebration of postwar Canadian folk art, featuring works by Maud Lewis, Everett Lewis, and other Nova Scotian artists. One of Maud’s paintings, Three Black Cats, sold for $38,000, a testament to her enduring popularity. The event not only highlighted the significance of Maud’s work but also brought attention to the contributions of those who supported her, like Everett. While Everett’s actions as a salesman and artist may have been unconventional, they reveal the complexities of life as an artist and the lengths people will go to ensure their work is seen. As the art world continues to evolve, stories like Maud and Everett Lewis’s remind us that the value of art lies not only in its beauty but in the human experiences that shape it.
In the end, the auction serves as a poignant reminder of the enduring legacy of Maud Lewis and the unexpected ways in which her story continues to unfold.
