Atributed to : Maud Lewis .Mixed Media on board ,Measurements : 20" x 16",Signed: signed on the rightBiography : Maud Lewis biographical photoMaude Lewis was born in Ohio, Yarmouth Country, Nova Scotia. She started painting Christmas cards with her mother and then sold them on the streets of Yarmouth. When her parents died she went to live with an aunt in Digby, Nova Scotia.In 1938 she married Everett Lewis and moved to a small one-room cabin near No.2 Highway west of Digby, at a place called Marshalltown. Her husband sold fish from village to village and she sometimes sold some of her cards. He encouraged her to paint and bought her artist's supplies and cut small pieces of plywood that would allow her to paint with her polio-afflicted arms and arthritic condition. She passed her days painting in the doorway of her house and people began to know her and to buy her work.Her story soon became famous; in 1965 an article in the Moncton Times referenced her story. The same year CBC-TV's Telescope produced the programme "The Once-Upon-a-Time World of Maude Lewis" that featured her life and paintings and also included comments by Bill Ferguson and Claire Stenning, owners of the Ten Mile House Gallery, and Halifax artist John Cook [1918 - 1984].

good conditions only the passage of time .. and you can see a little bit of oxidation in some parts ........ Sold without an official certificate of authenticity (COA), explicit provenance, or formal documentation. In accordance with the conditions of sale, any attribution, authorship, or period description is offered solely as an opinion and does not constitute verified facts or guarantees of any kind. General condition: The work is offered "as is," with all faults and without express or implied warranties. It is in a stable and very good general condition consistent with a work of its era, displaying natural signs of aging characteristic of the medium and period. Surface and technique: The impasto and paint layers exhibit excellent texture and vibrant coloration. Slight surface dust accumulation and mild oxidation are visible, typical of an aged oil or enamel medium. There are no signs of active paint loss, flaking, or structural lifting. Canvas and reverse: The textile support retains good tension on the wooden stretcher. The reverse shows natural, uneven toning, oxidation marks, and age-related spotting (foxing) typical of a period canvas. No punctures, tears, or previous repairs or patches are detected on the canvas. Frame: The frame shows slight wear, surface scuffs, and some dust in the crevices, but remains structurally sound. Note to bidders: Bidders are strongly advised to carefully examine all high-resolution photographs, request additional information if necessary, and conduct their own independent research before bidding. By placing a bid, the buyer fully accepts the lot's current state, description, and "as-is" condition. All sales are final; no returns, refunds, or cancellations will be accepted.