Possibly c. 1950: Based on the age of the supposed subject, who was a friend of Edith. This is part of a group of canvases that were pasted to masonite, all with matching red numbers on the back and slightly odd signatures. The best theory is these were pieces prepared for a show that was supposed to be held around 1950.
c. 1950: This piece is of Clara Wignes who boarded with Bertha in the 1950s. This is part of a group of canvases that were pasted to masonite, all with matching red numbers on the back and slightly odd signatures. The best theory is these were pieces prepared for a show that was supposed to be held around 1950.
Possibly c.1940: Stylistically it feels later, though the bow might place it earlier. The canvas has been pasted to masonite, a material not available until the 1930s. This is part of a group of canvases that were pasted to masonite, all with matching red numbers on the back and slightly odd signatures. The best theory is these were pieces prepared for a show that was supposed to be held around 1950.
Possibly c. 1935: Based on the girl's hairstyle, though it is difficult to say for sure. The canvas has been pasted to masonite, a material not available until the 1930s. This is part of a group of canvases that were pasted to masonite, all with matching red numbers on the back and slightly odd signatures. The best theory is these were pieces prepared for a show that was supposed to be held around 1950.
c.1950: Based on the fashions of the time and the stylistic approach, this piece can be placed accurately in the 40s to 50s. It is also painted directly on masonite, a material not widely available until well into the 1930s.
c.1945: this piece is painted directly on masonite, a material not widely available until well into the 1930s, this and the style used give a relatively accurate date range.
c.1950: This piece is painted directly on masonite, a material not widely available until well into the 1930s. Stylistically it feels later putting it in the 40s or 50s.
Possibly c.1930: Based on the stylistic approach matching her 20s and 30s illustrations. The canvas has been pasted to masonite, a material not available until the 1930s. This is part of a group of canvases that were pasted to masonite, all with matching red numbers on the back and slightly odd signatures. The best theory is these were pieces prepared for a show that was supposed to be held around 1950.
Possibly c. 1920: Based on clothing and hairstyle, it could also be later because of the stylistic approach. This is another piece where the canvas has been pasted on masonite, a material not available until the 1930s. These pieces all have matching red numbers on the back and slightly odd signatures. The best theory is they were prepared for a show that was supposed to be held around 1950.
Possibly c. 1920: Based on the stylistic approach, but it is hard to say definitively. This is another piece where the canvas has been pasted on masonite, a material not available until the 1930s. These pieces all have matching red numbers on the back and slightly odd signatures. The best theory is they were prepared for a show that was supposed to be held around 1950.
Possibly c.1910: There is not much to back up this date. This is another piece where the canvas has been pasted on masonite, a material not available until the 1930s. These pieces all have matching red numbers on the back and slightly odd signatures. The best theory is they were prepared for a show that was supposed to be held around 1950.
Possibly c. 1910: The hairstyle feels early, otherwise there is very little to base the conclusion on. This is another piece where the canvas has been pasted on masonite, a material not available until the 1930s. These pieces all have matching red numbers on the back and slightly odd signatures. The best theory is they were prepared for a show that was supposed to be held around 1950.
Possibly c. 1910: Based on the hairstyle, clothing, and brushwork.
The canvas has been pasted to masonite, a material not available until the 1930s. This is part of a group of canvases that were pasted to masonite, all with matching red numbers on the back and slightly odd signatures. The best theory is these were pieces prepared for a show that was supposed to be held around 1950.
Possibly c. 1900: Based on the clothing, hairstyle, and brushwork.
The canvas has been pasted to masonite, a material not available until the 1930s. Though there is a group of canvases that were pasted to masonite, all with matching red numbers on the back and slightly odd signatures. The best theory is these were pieces prepared for a show that was supposed to be held around 1950.
Possibly c.1920: This is a recurring scene in Ingle's work, the trees are believed to be located on a relatives farm in Churchville. The scene is very similar to a piece that she did for the Perkins Bull collection in the 1920s that's where the date estimation comes from.
Possibly 1908: During Ingle's first stint as a teacher at the OLC, this would match with the approximate age of the subject. It is also possible this was a study for the larger portrait which was done after the subject passed in 1922 and currently hangs at the Trafalgar Castle School, this would mean it was painted during Ingle's second stint at the OLC.
Possibly c. 1900: This is an estimate based on the girls dress, and the fact that it might be Churchville and shows possible Mcgillivray Knowles influence.
c. 1890: Possible connections to Roxy theatre and a Owen Sound theatre group. There are also potential stylistic connections to Harry Woodhouse of Owen Sound.
Possibly 1950: Based on stylistic approach, though it is also possible that it was painted from the train on one of her many excursions out West. The development of the sky over the quickly painted landscape indicates that this is a possibility.
