Tom Thomson's Last Sunset

“The Last Sunset” is a previously unknown work, by Canadian artist, and honourary member of The Group of Seven, Tom Thomson.

Painted in March 1917, it is one of Thomson’s last completed works, before he died from accidental drowning, less than two weeks later, at Canoe Lake, in Algonquin Park. So, it is literally his last sunset.

It’s unusual for being painted with oils and ink on glass (prepared with sanding and primer). Unlike, Thomson’s usual mediums of oil paints on pine boards, canvas, or cardboard.

The only other known example of Thomson painting on glass is “River Scene”, c.1906.07,

(3 in x 3 in; 7.5 cm x 7.5 cm), which, by contrast, is one of his first known works. It was done while he was a student at the Central Ontario School of Art and Industrial Design in Toronto, presumably taking evening classes, while he worked during the day.

“River Scene” was originally appraised at $15k - $20k; but, sold for $42,480 CAD.

It’s provenance is well established, as a gift to Amy Barnard, and inherited by her granddaughter, Judi Barnard Koysam.

Amy Barnard was a fellow student, who accompanied Thomson on field trips.

It is well known that Thomson routinely gave his paintings and sketches as gifts.

Those who knew him said that Thomson was his own worst critic, even throwing matches at paintings with which he was unsatisfied.

However, members of The Group of Seven, with whom Thomson lived and worked, said that he would have been a member of The Group and was on the verge of success, as a major artist, if he had survived; and, if The Great War hadn’t intervened.

“The Last Sunset” (12. 3 in x 10.3 in, 31.3 cm x 26.2 cm), is one of Thomson’s largest sketches. It depicts a vibrant landscape, with birch trees and snow, in the foreground, contrasting with the tree covered hills, in the background; and the startling, winter sunset. [Some argue that it’s actually a sunrise.]

It's similar to Thomson’s “Early Spring”, spring 1917, oil on wood panel, 8 ½ x 10 9/16 in. (21.6 x 26.9 cm). But, with the vibrant red skies like “Petawawa Gorges, Night”, fall 1916, oil on wood, 8 5/16 x 10 ½ in., (21.1 cm x 26.7 cm), currently held in the National Gallery of Canada, in Ottawa.

As an unknown work, despite the initials “TT 17” recto, without an established provenance, it was put up for auction, at Waddington’s, one of Canada’s premier assessors and auction houses for Fine Art; but, was withdrawn and sold in a Confidential Sale.

It has been reported, but not confirmed, that there are plans to exhibit it at The National Gallery of Canada, along with “River Scene” and other works; and, that it will be included in future catalogue raisonné of Thomson’s work.

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Memo:

In Canada, it’s almost impossible to find anything of value. Practically everything belongs to someone; and, most things belong to The Crown; or, an unresolved Native Treaty. (But, that’s another kittle of fish.)

So, even if you find something, it’s unlikely that you’ll be able t claim it as your own; or, keep it. The best you might be able to hope for is to be rewarded a “Finder’s Fee”; however, in most Commonwealth countries, if you do attempt to hide whatever you’ve found, you could face penalties, including fines, and considerable jail time.

The case with art works is a little different; since it has become increasingly important to establish the provenance of a given work.

In this case, this was a previously unknown work, reputedly signed by an established artist, found at a location, where he is likely to have been at the time indicated; and, it was found, with personal letters, in an otherwise derelict building, which was sold “As Is, Where Is”; so, this is a unique case.

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So, here’s what happened:

After a nearly fatal reaction to our neighbours’ chemical pesticides, our doctors and lawyer, who got a court injunction to stop further spraying around our property temporarily, urged us to move as far away from the city was we could get; and, unlike Lot’s Wife, not look back.

The neighbours had mixed pesticides with varsol to make the solution “extra sticky”. Then, sprayed it over the property line, less than a meter from where I was; and, I’ve been on oxygen therapy since.

Unfortunately, after my Dad and his lawyers went through the Court Ordered support like Sherman going south, my Mum and I were left very much like the south after Sherman.

So, we tried to move as far north as we could get, which is when a friend found the listing for the building for us at Edendale.

The building at Edendale was originally designed and built for The Standard Chemical Company. It was intended as a Shipping Station and siding, between their facilities in South River and Huntsville.

The design was similar to the company’s larger building in Donald, known locally as “The Chemical”, made from reinforced concrete.

“The Chemical” building is currently being restored, as part of the buildingbetween.ca efforts to restore and repurpose the site as an “Eco-Innovation Centre”.

However, unlike the building in Donald, the one in Edendale had been partially renovated and repurposed multiple times over the decades, after the company sold it; so, while derelict, it wasn’t nearly as a dilapidated, when we came to it.

In the 70’s, the building had served as offices for a youth camp, for troubled youth, which had been partially financed with government funding. The province had even built an airport and other buildings to support the enterprise, before it folded, which is when it was discovered that the government funds had disappeared and were unaccounted for.

Then, in the 80’s and 90’s, it was going to be the central hub of a research and eco-friendly refuge centre for people with acute allergies and sensitivities (which is how we’d heard of it.)

However, the renovations of the site were never completed; and, the doctors in Huntsville, who had formed their own cooperative, alternative clinic, who were supporting the project, went their separate ways. Then, as often happens, the property was seized and sold by the bank.

The final chapter in the building’s history, before our arrival was a “Plastic Shaman” and her partner, who told people they intended to make the place into a luxury spa, with herbal treatments, headed by herself; since, she claimed to be a witch.

In the late 90’s and early part of the millennium, they did considerable work on the building: insulating the walls, patching the roof. But, after either ripping off or ticking off their neighbours; they were unable to secure a right-of-way to connect to the electrical grid.

After they failed to get Hydro power, they abandoned their plans; and, put the building up for sale. They left the old windows and used a Frankenstein hodge-podge of salvaged parts from local demolitions, to jerry-rig the plumbing and solar power; which is where we came in.

Fortunately, beginning in the early stages, they had made a detailed journal, in a black notebook; and, left it, along with manuals for the salvaged solar panels, inverter, etc., cookstove, when they sold the building, “As Is, Where Is”.

According to the notebook, they found the paintings, letters, journal, and notes from Tom Thomson, just as he had left them; but, didn’t appreciate their artistic or historical value. It was only by sheer luck that they didn’t get around to throwing out the burlap sack with its contents, before they gave up on renovating the property and sold it.

With a previously unknown work, by such a famous artist, the art experts and lawyers started to circle like vultures. Unfortunately, we couldn’t weather out the legal storm; but, we were compensated enough to energize the building to the Hydro electric grid; and, patch enough of the holes; so, that we didn’t freeze to death; since, after sinking everything we had into the place, we had no where else to go. So, that was worth something.

Tom Thomson’s “Last Sunset”:

According to the notes and letters, Thomson had had an argument with Winnifred Trainor, who lived at her parents’ house, in Huntsville. They had met at Winnie’s parents’ cottage on Canoe Lake, when Thomson was painting and working there as a guide.

In his last letter to her, March 1917, Thomson apologized and explained that he left several paintings in a burlap sack, on the porch of her parents’ house. He wrote that Sharon Frasier, at Mowat Lodge, was complaining about the things he had stowed there; and, was threatening to charge rent for the space they took up, which he could ill afford.

It has long been rumoured that Thomson was engaged to Winnie to be married that fall and that she was pregnant, with his child. However, Thomson was already arranging to go west to The Rockies for the next spring, to paint there. No doubt, this led to the friction between the couple.

Thomson must have wondered how he was going to support a wife and child, when he hadn’t even been able to support himself, working as an artist; and, had been rejected by Alice Lambert, because of his lack of prospects. Although, she wrote she later regretted her choice.

Thomson wrote that he just wanted to get out of town, rather than arguing. Then, found himself waking up in a “Crummie” heading north, to South River, instead of northeast to Algonquin Park, as he usually did.

A “Crummie” was the name crews gave to the cabooses on logging trains, because of the lack of amenities; but, this was still an improvement over riding on top, as they would otherwise.

Apparently, when hopping the freight train, which was “the first train out of town”, Thomson sprained his ankle. This might explain why Park Ranger Mark Robinson said Thomson’s ankles were bound with twine, or fishing line, as a makeshift brace, when his remains were found, less than a fortnight later, after his accidental drowning.

Instead of taking the train all the way to South River, Thomson got off at Edendale, a siding north of the Emsdale GTR station.

There, Thomson found the partly finished company building and set up camp inside. It’s uncertain how long he stayed there. But, he had the provisions and supplies, which he intended to take to Algonquin Park; and, a woodstove.

At some point, Thomson found windowpanes, which hadn’t yet been fit and puttied into frames; so, he sanded them to paint on.

Fortunately, the heat from the wood stove was sufficient to dry them. Since the glass was too heavy to carry; and, he didn’t want to pay rent for storage; he bundled them in a burlap sack, and tucked them into a wall cavity, just as he had with the things he had left on Winnie’s porch, to pick up on his way back to Toronto.

Tragically, Thomson never made it back. The sack, with the paintings, was left in the wall, when it was plastered over; where it remained, until almost a century later.

There have been many theories speculating that Tom Thomson was murdered; but, it seems that simplest explanation is most likely the correct one: that he had a lot on his mind; and, distracted; and, possibly, with a sprained ankle; he stumbled, hit his head against the gunwale; and, accidentally drowned.

After all, it wouldn’t be the only time Thomson had over turned a canoe. On one other occasion, at least, he’s known to have lost valuable paintings, photographs, and gear, when he capsized.

There are rumours that people still see Thomson’s ghost with his dog paddling or portaging and hiking the trails that he loved, especially in the mists of the early spring and fall.

And, who knows, maybe it’s not a restless spirit; maybe, he’s just enjoying what he loved in life; and, in his art.

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