
ROSS Penhall
NEAR ALGONQUIN, NOTES FROM A TIN BOAT

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OP en I n G R e C e PTIO n
Saturday, March 14, 2026
1 – 3 PM
Please RSVP
S ell I n G eX h IBITIO n
March 10 – 24, 2026
Heffel Toronto
135 Yorkville Ave, 4th floor
Purchased works will be available for pickup or shipping at the conclusion of the exhibition.
For more information and to RSVP for the Opening Reception, please contact:
daniel@heffel.com 416-915-4076
The sale is conducted according to Heffel’s Private Sale Terms and Conditions of Business as published on Heffel.com.

July 2025 , I shoved off from the dock in a borrowed 16-foot aluminum cartopper, powered by a 9.9 hp Yamaha, on a freshwater lake tucked up against Algonquin Park, Ontario. It was a quintessential Canadian summer day: the shoreline was drenched in a monochromatic green, the sky ideal blue, filled with cumulus clouds and an overpopulation of buzzing, blood-sucking mosquitoes determined to feast.
I would do this journey again—three months later—in the same boat, on the same lake, but surrounded this time by a symphony of colour. The same dense green forest I had witnessed 14 weeks earlier was now a fiery display of yellow, orange, red, burgundy, bronze and purple with evergreen accents. The mosquitoes enveloping me on the first visit were relieved from duty and replaced by a warm, woolly hand-knit sweater.
I was armed with a camera, plein air painting supplies, pencils and sketchbook. This inspirational hunting/gathering quest was a unique invitation to visit and paint

a landscape. I intended to immerse myself in—and connect with—this unfamiliar terrain, trusting that the experience of engaging with the region would enhance my confidence in craft. There was one nagging thought at the back of my mind: the legendary expertise of the giants in Canadian art, the Group of Seven, specifically Lawren Harris, A.Y. Jackson, Frank Johnston, Frederick Varley, A.J. Casson, and their guiding light, Tom Thomson, who had captured the area’s rugged landscape with enviable skill.
Determined to remain focused and not affected by the greats before me, I became still through breath and a conduit for this challenge. Ultimately, I was bombarded with an inexhaustible cache of Algonquin subject matter, which led to an abundance of images and ideas, and this show.
R OSS PENHA ll , 2026






101 Crown Island oil on canvas
24 x 72 in, 61 x 182.9 cm
P rice: $ 19,000
102 Beaver Pond
oil on panel
8 x 10 in, 20.3 x 25.4 cm
P rice: $ 2,500
103 Small Islet
oil on panel
8 x 10 in, 20.3 x 25.4 cm
P rice: $ 2,500
104 Lake, Near Algonquin
oil on panel
8 x 10 in, 20.3 x 25.4 cm
P rice: $ 2,500
105 Near Algonquin, October
oil on panel
6 x 12 in, 15.2 x 30.5 cm
P rice: $ 2,500
106 Beaver Dam
oil on canvas
30 x 36 in, 76.2 x 91.4 cm
P rice: $ 14,000






107 The Pull Out
oil on canvas
20 x 40 in, 50.8 x 101.6 cm
P rice: $ 11,500
108 Quiet Spot oil on canvas
24 x 48 in, 61 x 121.9 cm
P rice: $ 14,300
109 The Big Island, October
oil on canvas
24 x 72 in, 61 x 182.9 cm
P rice: $ 19,000
110 Near Algonquin
oil on panel
6 x 12 in, 15.2 x 30.5 cm
P rice: $ 2,500
111 Isthmus
oil on canvas
30 x 36 in, 76.2 x 91.4 cm
P rice: $ 14,000
112 Shoreline
oil on panel
8 x 10 in, 20.3 x 25.4 cm
P rice: $ 2,500






113 Summer, Near Algonquin oil on canvas
24 x 72 in, 61 x 182.9 cm
P rice: $ 19,000
114 Toward the Bay oil on canvas
25 x 40 in, 63.5 x 101.6 cm
P rice: $ 13,700
115 Swampy Bits oil on canvas
24 x 30 in, 61 x 76.2 cm
P rice: $ 11,000
116 Morning Cruise
oil on panel
9 x 9 in, 22.9 x 22.9 cm
P rice: $ 2,500
117 From the Tin Boat oil on panel
8 x 10 in, 20.3 x 25.4 cm
P rice: $ 2,500
118 Small Cove oil on canvas
24 x 48 in, 61 x 121.9 cm
P rice: $ 14,300





119 Fast and Slow
oil on canvas
24 x 30 in, 61 x 76.2 cm
P rice: $ 11,000
120 The Put In oil on panel
6 x 12 in, 15.2 x 30.5 cm
P rice: $ 2,500
121 Peek Through oil on canvas
16 x 20 in, 40.6 x 50.8 cm
P rice: $ 6,500
122 Layer Upon Layer
oil on canvas
16 x 20 in, 40.6 x 50.8 cm
P rice: $ 6,500
123 Two Trees Talking
oil on canvas
20 x 60 in, 50.8 x 152.4 cm
P rice: $ 15,200


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