By the 1920s, one of Fen’s descendants, Edward Glyn Osler, K.C., a fifth-generation member of the family and an esteemed Toronto lawyer, had developed an interest in Impressionist painting. He was an avid sportsman, and as such part of his growing collection was inspired by his appreciation of the uniquely Canadian landscape. He was said to have purchased Boudin’s Trouville, marée basse (lot 130) for its hint of social realism and its appealing sense of place and time. To this day, succeeding generations of Oslers continue to summer in Métis-sur-Mer on the Lower St. Lawrence River in Quebec—a windswept, spectacularly beautiful part of Canada from which Glyn Osler’s salmon fishing trips were once regularly dispatched.
By descent, Glyn’s daughter, Barbara S. Osler, received the Fantin-Latour and the Boudin, while the Laurencin was left to her brother, Toronto lawyer, B.B. Osler, Q.C.. Educated in Paris before the war, Barbara was captivated by the emergence of the Expressionist “new Modernism,” and though called back to Canada during World War II, she lived the rest of her life in Paris, at the Hotel Meurice on the Rue de Rivoli. Her niece, Pamela Osler Delworth, wife of the eminent former Canadian Ambassador, W. Thomas Delworth, and an art historian herself, formerly with the National Gallery of Canada, inherited this portion of the collection in the early 1990s.
Now in its tenth Canadian generation, the Oslers continue to reflect the characteristics so emblematic of their predecessors: a passion for the arts and humanities, and a deeply rooted connection to Canada.
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