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Canadian Fine ArtAuctionWednesday 27 November 2013

Waddingtons.ca

Canadian Fine Art AuctionWednesday 27 November 2013at 7:00 pm

On ViewSunday 24 November from 11:00 am - 5:00 pmMonday 25 November from 11:00 am - 7:00 pmTuesday 26 November from 11:00 am - 7:00 pmWednesday 27 November from 10:00 am - 12:00 noon

Preview and Auction to be held at Waddington’s275 King Street East, 2nd FloorToronto Ontario CanadaM5A 1K2

This auction is subject to the Conditions of Sale printed in the back of this catalogue.

All lots in the auction may be viewed online at Waddingtons.ca

Waddingtons.ca

All lots in the auction may be viewed online atCanadianArt.Waddingtons.ca

This catalogue and its contents © 2013 Waddington McLean & Company Ltd.

All rights reserved. Photography by Waddington’s

Front CoverLot 35 (detail)ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.LEAF-BURNING, AUTUMN IN ONTARIO

Back CoverLot 99KOSSO ELOUL, R.C.A.MEETING PLACE

Inside Front Cover Lot 140FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A.QUEEN VICTORIA’S JUBILEE, 1897

Inside Back Cover Lot 62ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.OCTOBER, LAKE KAMANISKEG, 1959

SpecialistLinda Rodeck 416 847 6176 [email protected]

Client Services Kristin Vance 416 504 [email protected]

Corporate ReceptionistKate Godin 416 504 9100 [email protected]

Accounts ManagerKaren Sander 416 847 6173 [email protected]

Absentee and Phone Bidding416 504 0033 (Fax) [email protected]

Online Biddingwww.artfact.com

It is a pleasure to present Waddington's Fall 2013 Auction of Cana-dian Fine Art.

Highlights of the auction include important works by B.C. Binning,Jean McEwen, Lise Gervais, Cornelius Krieghoff, Paterson Ewen,Kazuo Nakamura, Jean-Paul Lemieux and many others, in additionto strong representation from the Group of Seven and Canada's earlywatercolourists Washington Friend, Frederic Marlett Bell-Smith andFrederick Verner. We have complemented our classic offerings withrare finds such as a fascinating Florence Vale collage, a synestheticcityscape by John Clark and one of two existing AP maquettes forKosso Eloul's "Meeting Place", the monumental sculpture that domi-nates 160 Bloor Street East in Toronto.

In addition to our Canadian consignors, collectors and estates fromthe United States and abroad have entrusted us with their propertyand we have brought you works of art from Tel Aviv, Los Angeles,New England, South Carolina, Paris and the United Kingdom.

This auction also marks my return to Waddington’s. Over what isnow 25 years of diverse experience in the industry, I am delighted torejoin a cadre of professionals who share my passion and commit-ment to providing the best in art – and the auction experience – toour clients.

As part of Waddington’s leadership team I look forward to presentingextraordinary Fine Art and to building on our reputation of excel-lence to bring new and innovative initiatives to our clients.

— Linda RodeckSenior Specialist, Canadian Fine ArtVice President, Fine Art

Leadership Team

Waddington’s leadership team brings together threeof the industry’s best. The combination of their ex-perience, knowledge of market trends and clientnetworks builds on Waddington’s 160 year legacy ofgrowth and dominance.

Duncan McLean, President, is Waddington’s corpo-rate leader, responsible for strategic developmentand innovation realization. Under his directionWaddington’s strives to not only continuouslyevolve to meet the needs of our clients and addressthe demands of the market, but to push the bound-aries, with integrity, creativity and passion.

Mr. McLean has been involved in the auction indus-try for 35 years, as art specialist, appraiser, auction-eer and corporate leader. His knowledge base spansthe diversity of Waddington’s offerings, with inter-nationally-recognized expertise in Inuit Art.

As Vice President Business Development, StephenRanger is focused on identifying new markets, newclients and new ways to do business. For example,Mr. Ranger launched Waddington’s ContemporaryArt venture, Concrete Contemporary, to reach anexciting new sector of art enthusiasts and artists.Under Mr. Ranger’s guidance, new partnerships arealso being created resulting in edgy new offeringslike our Pop-Up Gallery series debuting in 2013.

Mr.Ranger brings over 25 years of diverse experi-ence as an auctioneer, appraiser and consultant inthe art auction industry with specific expertise inCanadian Fine Art.

Linda Rodeck, Vice President Fine Art, is one ofCanada’s most trusted and respected Canadian Artspecialists. Her impressive career of 25+ years in-cludes leadership roles in the country’s most distin-guished auction houses. Ms. Rodeck’s keenunderstanding of the market and her extensive net-work are invaluable in her role of sourcing the bestworks and providing the best service to our clients.

As Vice President of Waddington’s Fine Art, Ms. Rodeck will play a critical role in developingnew business by leveraging her success in the Cana-dian art market.

Waddington’s is Canada’s most diverse and signifi-cant provider of fine art auction and appraisal serv-ices. Based on a rich legacy in the industry,Waddington’s actively seeks to redefine our busi-ness to ensure we remain fresh and reactive towhat our clients are seeking. Through our appraisal,auction, private sale and downsizing expertise, weare pleased to provide a complete range of services.

Waddington’s is Canada’s original auction house,with a history of conducting auctions since 1850.We are also an international auction house, provid-ing access to world markets.

Waddington’s is an innovative leader. We enjoypushing the limits, exploring new territory and cre-ating new partnerships. From the marathon auctionof Maple Leaf Gardens, our partnership with theLCBO to auction fine wine, to the launch of Con-crete Contemporary and our new Pop-Up Galleryseries, we are driven to find what’s new, what’s ex-citing, and what you want to buy or sell.

Waddington’s by Department

Asian ArtCanadian Fine ArtContemporary Art Auctions and ProjectsDecorative ArtsInternational ArtInuit ArtJewellery, Watches & Numismatics“Off the Wall” ArtTransitionsPhilanthropy and Community

Waddington’s

Waddington’s has been a major force inthe Canadian art sector for over fivedecades, beginning with our first auctionof Canadian Fine Art held at the QueenElizabeth Building at the CNE in 1967.Since that historic event, Waddington’s hasoffered some of the most important Cana-dian works, set record prices, and has beenan integral part of driving the Canadian artmarket.

With the return of Linda Rodeck, one ofCanada’s most respected art specialists,Waddington’s is proud to rename ourCanadian Art division under the Wadding-ton’s brand umbrella.

Linda RodeckSenior Specialist, Canadian ArtVice President, Fine Art

Canadian Fine Art

Waddington’s Asian Art department isCanada’s leader in serving the demands ofthe rapidly growing Asian market sup-ported by our recognized and credible ex-pertise. Our ability to achieve exceptionalprices for works, including the Canadianrecord for the highest price for an Asianwork of art, is based on our internationalreputation and network with the commu-nity.

Specializing in jade, paintings, porcelain,religious works of art, textiles, woodblockand export wares, we present works fromChina, Japan, Korea, South East Asia,South Asia, Himalaya and others.

Anthony WuSpecialist, Asian Art

Asian Art

Concrete Contemporary Auc-tions and Projects

Waddington’s launched its newest division,Concrete Contemporary Auctions andProjects (CCAP) in March 2012 with a vi-sion and mandate to create a secondarymarket for contemporary Canadian art.

Concrete Contemporary Auctions mergesthe worlds of traditional auction and theretail gallery, where our relationships withartists, art dealers, curators and collectorsresult in exciting new sources of contem-porary works. The auctions are tightly fo-cused on Canadian contemporary art since1980 with an emphasis on mid- and late-career artists with exhibition history in theprivate and public sphere.

An exciting initiative of CCAP is the launchof our Pop-Up Gallery series in 2013.These short-duration, single artist showsoffer works by some of Canada’s most ac-complished working artists.

Led by one of Canada’s most plugged-inart experts, Stephen Ranger, CCAP iscommitted to exploring new ways to con-nect, expand and support the arts commu-nity.

Stephen RangerSenior Specialist, Contemporary Art

Decorative Arts at Waddington’s encom-passes a broad and diverse variety of ob-jects and the department's client databaseis one of our largest. From ancient tomodern, delicate to deadly, Waddington’sDecorative Arts department redefines theterm, bringing much more than traditionalsilverware and porcelain figurines to mar-ket, and with remarkable success.

Waddington’s reputation for developingnew markets is well represented by ourDecorative Arts department, as is our abil-ity to present large collections – notablerecent sales have included ContemporaryStudio Glass, Scientific Instruments andMilitaria.

The department regularly offers auctionswhich include bronzes, items of CanadianHistorical interest, ceramics, devotionalworks of art, glass, lighting, militaria, mir-rors, objets de vertu, porcelain, scientificinstruments, travel and exploration maps.

Bill KimeSenior Specialist, Decorative Arts

Sean QuinnSpecialist, Decorative Arts

Decorative Arts

Waddington’s is internationally recognizedas one of the leading authorities in mar-keting Inuit Art. No other auction househas been as intrinsically linked to the de-velopment of a market for this art form.Inuit Art is a proud part of our DNA. Fromour first landmark auction in 1978 of theWilliam Eccles Collection, Waddington’shas offered thousands of works, set recordprices, and expanded the market well be-yond Canada’s borders.

Our legacy of successful Inuit Art auctions,our ability to achieve continually increasingvalues and our creation of an internationalmarket have been key factors in validatingInuit art as a whole and establishing it asan integral part of the Canadian Art scene.

Duncan McLeanSenior Specialist, Inuit Art

Christa OuimetSpecialist, Inuit Art

Inuit Art

Waddington’s International Art depart-ment has expanded its scope to presentauctions of fine art from around the world,with a focus on works from the UnitedKingdom, across Europe, Russia and theUnited States. A major element ofWaddington’s legacy, our International Artauctions thrive on Canada’s cultural diver-sity. The combination of our expertise andthat of our substantive network ensuresthe highest standards of authenticationand research.

Original works, photographs, prints andsculpture are offered in our live auctionsand online auctions, attracting interna-tional clients.

Susan RobertsonSenior Specialist, International Art

International Art

Jewellery, Watches and Numi-nastics

Waddington’s has conducted auctions ofFine Jewellery and Numismatics for closeto three decades. Highly respected expert-ise and in-depth knowledge of both do-mestic and international markets is theanchor of our ongoing success and thepopularity of our auctions.

Our auctions include unmounted gem-stones, finely crafted pieces by many ofthe most desireable names in jewellery in-cluding Tiffany, Cartier, Gucci, Hermes,Van Cleef & Arpels, etc., fine watches, aswell as antique pieces, coins and ban-knotes.

Donald McLeanSenior Specialist, Jewellery, Watches andNumismatics

Our “Off The Wall” Art online auctions area unique opportunity to showcase accessi-ble art. Drawing from our International Artand Canadian Art divisions, “Off The Wall”Art auctions feature paintings, prints andsculpture.

These monthly, online auctions are alwaysan eclectic selection of affordable works –a great way to learn, enjoy art and startbuilding a collection. Working closely withour other divisions, this auction has devel-oped its own diverse and extensive net-work of clients.

Doug PayneSpecialist, Fine Art

“Off the Wall” Art

Waddington's is committed to workingwithin the community by contributing ourtime to charity fundraising events and ap-praisal clinics. We are honoured to workwith countless museums, galleries, art or-ganizations and fund raising events andcontribute our time to over 20 events eachyear raising over $2,000,000 annually forthe community.

In addition, the Concrete ContemporaryAcquisition Fund each year funds 50% ofthe purchase price for a work of contem-porary Canadian art for a public institu-tion.

In 2012/2013 we have supported the fol-lowing organizations:

Aids Committee of Toronto, SNAPBest BuddiesBirdlife InternationalCanadian Opera Company Casey House, Art with HeartCasey House, SnowballCAMH UnmaskedCovenant HouseThe Furniture BankIntegra FoundationLake Ontario WaterkeepersOCAD UniversityMetro Toronto ZooMontreal Children’s HospitalNyota School, KenyaPrincess Margaret HospitalRobert McLaughlin Gallery Second Harvest, Toronto TasteServe CanadaSt. Mary’s General Hospital, KitchenerSt. Michaels Hospital, ARTGEMSThe STOP FoodbankToronto Symphony OrchestraThe Varley GalleryWindsor Art GalleryWarchild CanadaYork University Fisher Fund

Philanthropy and Community

Transitions is Waddington’s downsizing andestate management service, createdspecifically for clients going through atransition who require knowledgeable,qualified and professional advice.

Successful downsizing and estate planningrequire an accurate appraisal of tangibleassets. Drawing on Waddington’s 160years of experience across our diverseareas of specialties, Transitions helpsclients make informed decisions to keep,gift, sell or donate.

Our clients include fiduciaries, executorsand beneficiaries responsible for settlingestates, as well as private clients lookingto downsize and turn their material en-cumbrances into a monetary resource.

Transitions is an end-to-end solution tohelp you sort, value, sell and move on tothe next stage.

Marcia KimManager

Ellie MuirCoordinator

Transitions

Canadian Fine ArtLots 1–193

2

CanadianArt.Waddingtons.ca

1GRAHAM NOBLE NORWELL,O.S.A.GATINEAU VILLAGE, WINTER

oil on canvassigned39.5 ins x 49 ins; 100.3 cms x 124.5 cms

Provenance:Continental Galleries of Fine Art,MontrealPrivate Collection, Connecticut

Exhibited: Canadian National Exhibition, Toronto,Fine Arts Department, 1924

$8,000—10,000

3

Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

2MARY HIESTER REID, O.S.A.,A.R.C.A.STILL LIFE WITH WHITE ROSES

oil on canvassigned and dated 189612.5 ins x 14.5 ins; 31.8 cms x 36.8 cms

Literature: Brian Foss and Janice Anderson, QuietHarmony: The Art of Mary Hiester Reid,Art Gallery of Ontario, 2000, cover for arelated still life, reproduced in colour.

$4,000—6,000

3ISABEL MCLAUGHLIN, O.S.AHAPPY DAYS

mixed media drawing27 ins x 36 ins; 68.6 cms x 91.4 cms

Literature: Joan Murray, Isabel McLaughlin:Recollections, Oshawa, 1983, pages 11and 20 and page 93 for a work entitledFish Having Fun, reproduced.

Note: Joan Murray describes McLaughlin as“one of the most important modernists inthis country.” Mentored by Arthur Lismerand Lawren Harris, McLaughlin eventuallydeveloped an approach to creating thatwas independent of the influence of thesetwo giants of Canadian art. “I got going inmy way”, she said. Happy Days, probablyexecuted in the late 1940s / early 1950s,affirms this shift toward something moreuniquely her own - something happier,simpler, freer and more rhythmic.

$1,500—2,000

4


4JOHN RICHARD (JACK) REPPENBLUE KING

mixed media on canvassigned and dated ‘6443 ins x 30 ins; 109.2 cms x 76.2 cms

Provenance: The Estate of a Private Collector, Los Angeles

$5,000—7,000

5ANDRE CHARLES BIELER, O.S.A., R.C.A.ON THE RIDEAU

collage on canvas boardtitled on the artist’s label on the reverse20.75 ins x 18.75 ins; 50.8 cms x 57.7 cms

Provenance: Private Collection, Kingston

$1,500—2,000

6DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.MAN WARNING TWO BOYS

etching and aquatint printed in colourssigned, titled, dated 1982 and numbered 39/50 in pencil in the lowermargin19.75 ins x 31.5 ins; 50.2 cms x 80 cms

Literature: William Gough, The Art of David Blackwood, Toronto/Montreal,1988, chapter entitled “Home in Wesleyville”, plate 37 for ManWarning Two Boys, reproduced in colour.

$3,000—4,000

5


7JACK BEDERMIETTE RANGE, CANADIANROCKIES, J.N.P., 1969

oil on canvas boardsigned16 ins x 20 ins; 40.6 cms x 50.8 cms

$1,500—2,000

8JOHN RICHARD (JACK) REPPENUNTITLED

mixed media on boardsigned and dated ‘6348 ins x 36 ins; 121.9 cms x 91.4 cms

Provenance: The Estate of Oscar Peterson, Ontario

$6,000—8,000

9PIERRE PAUL BERTINVILLAGE

oil on canvassigned and indistinctly dated49 ins x 49 ins; 124.5 cms x 124.5 cms

Provenance: John Arena, Toronto

$3,000—4,000

6


10DAVID ALEXANDERFROM THE VAULT TOP

acrylic on canvassigned47 ins x 60.5 ins; 119.4 cms x 153.7 cms

Provenance: Galerie Elca London, Montreal

$3,000—5,000

11PETER ROTTERBIRCH GROVE

oil on canvassigned66 ins x 50 ins; 167.6 cms x 127 cms

$5,000—7,000

12THOMAS HAROLD BEAMENT,P.R.C.A.UTAKIJUT - THE WAITING ONES

oil on canvassigned; signed, titled and inscribed“Exhibited in the Tate Gallery, London” onthe overflap24 ins x 31 ins; 61 cms x 78.7 cms

$4,000—6,000

7


13BARKER FAIRLEY, R.C.A.CUT IN ROAD

oil on boardsigned; signed, titled and dated 1962 on the reverse11.25 ins x 14 ins; 28.6 cms x 35.6 cms

Provenance: Private Collection, Toronto

Literature: Gary Michael Dault, “Barker Fairley”, review,Canadian Art magazine, Spring 1987, pages 99-100.

Note: Gary Michael Dault has described Fairley’s paintingsas “assured and economical.”

“The landscape,” he quotes Fairley as saying, “is thegreat Canadian fact.” Dault writes: “That’s the way[Fairley] painted it: boldly and simply and eloquentlyand with a vision unmediated by self-consciousdecorativeness.”

$3,000—4,000

14JOHN RICHARD (JACK) REPPENTHE SECRETS OF THE NIGHT

oil and mixed media on masonitesigned and dated ‘62; signed, titled and dated onthe stretcher24 ins x 36 ins; 61 cms x 91.4 cms

$5,000—7,000

15GRAHAM FOWLERWATER LILIES

oil on canvas36.25 ins x 49.25 ins; 92.1 cms x 125.1 cms

$3,000—5,000

8


16KOSSO ELOUL, R.C.A.UNTITLED

aluminum9.75 ins x 5 ins x 5 ins; 24.8 cms x 12.7 cms x 12.7 cms

Provenance: Private Collection, Tel Aviv (by descent)

$2,000—3,000

17CATHY DALEYUNTITLED - POLKA DOTS AND STILETTOS

pastel on vellumsigned and dated 200042 ins x 67.5 ins; 106.7 cms x 171.5 cms

$3,000—5,000

18CHARLES DAUDELINCOMPOSITION

collagesigned and dated ‘4712 ins x 9 ins; 30.5 cms x 22.9 cms

Provenance: Gerard Gorce Beaux-Arts Inc., MontrealGallery ModernArts, London

$1,500—1,800

9


19LISE GERVAISEMAUX VOLATILES

oil on canvassigned and dated /6471.5 ins x 24.5 ins; 177.5 cms x 61.3 cms


$18,000—22,000

10


20FLORENCE GERTRUDE VALESEATED GIRL

oil on canvas boardsigned20 ins x 15.25 ins; 50.8 cms x 38.7 cms


$3,000—5,000

21JACK BEDERSYMMETRICAL FIGURE

limestonesigned and dated ‘67height (excluding base) 9 ins; 22.9 cms

$700—900

22WILLIAM RONALD, R.C.A.UNTITLED COMPOSITION

watercolour and inksigned14.5 ins x 19 ins; 36.8 cms x 48.3 cms

Provenance: Gift of the artistPrivate Collection, Toronto

$4,000—5,000

11


23HAROLD BARLING TOWN, R.C.A.TOY HORSE

mixed media drawing on boardsigned and dated “Nov 29-76”; signedtitled and dated on the reverse, unframed15 ins x 15.5 ins; 38.1 cms x 39.4 cms

$2,500—3,000

24CLAUDE TOUSIGNANT, R.C.A.MONOCHROME BLEU 9

acrylic on cardsigned, titled, dated 1999 and numbered“8/9” on the reverse5.75 ins x 9.75 ins; 14.6 cms x 24.8 cms

$1,200—1,500

25WILLIAM PEREHUDOFF, R.C.A.AC.99.18

acrylic on canvassigned, titled and dated 1999 on thereverse52.5 ins x 56.25 ins; 133.4 cms x 142.9cms

$7,000—9,000

12


26JEAN-PAUL RIOPELLE, R.C.A.NOUVELLE IMPRESSION

oil on canvassigned with initial; signed on the stretcher5.75 ins x 8.75 ins; 14.6 cms x 22.2 cms

Provenance: Galerie d’Art Vincent, OttawaPrivate Collection, Ottawa

$15,000—18,000

27ANTHONY (TONY) MORSEURQUHARTTHRESHOLD

oil on masonitesigned and dated 1980; titled on thegallery label on the reverse84 ins x 54 ins; 213.4 cms x 137.2 cms

Provenance: Bau-Xi Gallery, Toronto/Vancouver

$9,000—12,000

13


28WILLIAM PATERSON EWEN,R.C.A.COASTLINE WITHPRECIPITATION, 1975

acrylic on handmade papersigned on the reverse; titled and dated onthe gallery label13.5 ins x 62.5 ins; 34.3 cms x 158.8 cms

$30,000—50,000

Provenance: Collection of Carmen Lamanna, TorontoBy descent to the present owner, Ontario

Literature: Heather A. Fraser, Paterson Ewen, Critical Works, Works on Paper 1949-92,Art Gallery of Hamilton, 1992, unpaginated.

Note: According to Fraser, in 1971 Ewen developed an interest in paper making asan offshoot of his exploration of 18th century Japanese prints. She writes:“In 1973, Ewen began in earnest to paint on handmade paper and in 1975had an exhibition of his works on paper (that same year)...which sold art.”Fraser quotes reporter Lenore Crawford of the London Free Press: “He’sdoing watercolours in a concentrated way as he hasn’t done for years, usingbeautiful paper he makes himself - proudly - on the paper-making machinein Western’s Fine Art Department.”

Fraser continues: “The chance imperfections of recycled materials andbumps which occur during the paper’s drying, suggested a new role forpaper as a medium rather than as a support.”

It was in the year this work was created that Ewen was elected a member ofthe Royal Canadian Academy.


29ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.ECHO BAY, GREAT BEAR LAKE, NEAR PORT RADIUM,N.W.T.

oil on canvassigned22 ins x 28 ins; 55.9 cms x 71.1 cms

$90,000—120,000

Literature: A.Y. Jackson, A Painter’s Country: the autobiographyof A.Y. Jackson, Clarke Irwin & Company Limited,Toronto, 1958, page 151.

Naomi Jackson Groves, A.Y.’s Canada, Clarke, Irwin& Company, Toronto/Vancouver, 1968, pages 212-213.

Note: With the support of Eldorado Mining and Refiningowners of the Port Radium Mine, Jackson firsttravelled to the Great Bear Lake area in 1938. Hevisited again in 1949 (at the invitation of theDepartment of Resources and Development) and thispainting is a result of his second trip. While morerecent commentators have been more critical ofwhat they would term “devices of coloniallegitimization”, Jackson viewed his interpretation ofthese sites as a kind of celebration of the gifts of theland during Canada’s industrial development.

Jackson Groves captures this well when she writes:“And so living history began to move in this remotespot where the pitchblende had lain waiting for onebillion four hundred million years while heat formedrocks and ice gouged them off again up above it. [Inthe years 1930-1960], [t]he great cycle began: fromthe silver came the profit to defray the enormouscost of mining the other precious finds; from thepitchblende came radium, a white powder glowingblue in the dark, present in the ratio of one part inthree million. (Until La Bine’s discovery, one gram ofradium from the Belgian Congo cost seventythousand dollars.) One by-product of the extractionprocess was uranium oxide, present in the highestconcentration ever mined.”

While the mine had been shut down at the beginningof the war, it was re-opened later under the controlof the Canadian government as a uranium minewhen the atom bomb programme priorized thatmaterial. However, in 1960, the mine was closedonce again. Jackson wryly observed, “the premisesare now used as a luxury camp for millionaires whopay (handsomely) to fish for Great Bear trout.”

Echo Bay gets its name from the phenomenoncaused by the steep rock cliffs that surround the baywhich reflect the sound of human voices off thewater.

16


30WALTER YARWOODCHALIS

welded steelheight 18 ins; 45.7 cms

Note: In 1960, Walter Yarwood quit painting and turned his artistic talents tosculpture.

$4,000—5,000

31KAZUO NAKAMURAINNER EXPANSION

oil on canvassigned and indistinctlydated; dated 1960 on alabel on the reverse

Exhibited: Toronto Collects, The ArtGallery of Toronto, 1961.Kazuo Nakamura: TheMethod of Nature, TheRobert McLaughlin Gallery,Oshawa (November 2001-March 2003), cat no.23.

Literature: Kazuo Nakamura: AHuman Measure, ArtGallery of Ontario, 2004,cover illustration for aclosely related work,reproduced in colour.

$20,000—30,000

17


32WALTER YARWOODUNTITLED, 1958

oil on canvas, laid down on boardsigned30 ins x 48 ins; 76.2 cms x 121.9 cms

$30,000—50,000

Provenance: Collection of the Rynsburger-Rathwell FamilyPrivate Collection

Literature: Joan Murray, Painters Eleven in Retrospect, exhibition catalogue, the RobertMcLaughlin Gallery, Oshawa, 1979, page 11.Iris Nowell, Painters Eleven, The Wild Ones of Canadian Art, Douglas &McIntyre, Vancouver/Toronto, 2010, page 276, cover for a detail of thiswork and page 288, reproduced in colour.

Note: Major paintings by Walter Yarwood comparable in quality to this lot are rare.Yarwood was a self-taught painter working in advertising during the weekand painting on weekends. His demanding job in advertising, theresponsibility of supporting a family with five children and his concentrationon sculpture in the sixties resulted in a relatively small painting output. JoanMurray, in the Robert McLaughlin Gallery catalogue, Painters Eleven inRetrospect, states, “regarding the matter of colour, all the group wereinvolved with analyzing and using colour, though perhaps Cahen and laterYarwood were most successful as colourists.” Yarwood’s talent as a colouristcomplemented his philosophy on art. Norwell wrote, “In Yarwood’s words,he ‘liked to produce works of beauty out of things I’ve seen and felt in mylifetime,’ rather than having his art convey social comment.”

18


33FRANK HANS JOHNSTON, O.S.A.,A.R.C.A.BRILLIANT OCTOBER

oil on boardsigned “Frank H. Johnston”; signed, titledand inscribed “Thornhill Ont.” on thereverse10.25 ins x 9.25 ins; 26 cms x 23.5 cms

$15,000—20,000

34ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.ALGONQUIN PARK, JULY 1932

oil on panelsigned; signed and titled on the reverse10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms

$15,000—20,000

19


35ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.LEAF-BURNING, AUTUMN INONTARIO

oil on boardsigned (twice)21 ins x 17.5 ins; 53.3 cms x 44.5 cms

$70,000—90,000


Note: This classic Canadian scene was used by McLean’s magazine in 1947 fortheir September 15th cover.

This painting is signed twice, probably first to the right and then to the leftin order that the signature be more easily noticed by the magazine buyingpublic, for by 1947 Casson’s reputation as one of Canada’s top artists waswell-established. The painting may also have had the second signatureadded by Casson as a kind of insurance policy against over aggressivecropping during catalogue production; note that the second signature (atthe left) is slightly higher than the one to the right.


36ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.INDIAN HOME, 1926

oil on panelsigned, with a finished oil sketch of LakeSuperior on the reverse, also signed8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

$70,000—90,000

Provenance: Laing Galleries, TorontoPrivate Collection, British Columbia

Literature: A.Y. Jackson, A Painter’s Country: the autobiography of A.Y. Jackson, Clarke Irwin &Company Limited, Toronto, 1958, pages 89-90.Naomi Jackson Groves, A.Y.’s Canada, Clarke, Irwin & Company, Toronto/Vancouver,1968, pages 152-165 for an extensive discussion of Jackson’s Skeena visit and relateddrawings.Wayne Larsen, A.Y. Jackson: The Life of a Landscape Painter, Dundurn Press, Toronto,2009, pages 130-132.

Note: Larsen writes: “The Skeena River had long been the home of several Aboriginalcommunities including the Gitksan people...The arrival of the Grand Trunk PacificRailway...and discovery of gold in the Yukon [saw a] rapid encroachment of the whiteworld [which] was believed to pose a serious threat to the local Gitksan culture, and itwas felt by many...that the old ways had to be preserved before they disappearedcompletely. [Anthropologist Marius] Barbeau had made several trips out to the WestCoast and was well acquainted with the people of the Skeena. In the summer of 1926,he returned to the region...to provide a visual record of the area...inviting Jackson andEdwin Holgate to accompany him. Barbeau was also working on a novel set in theregion, The Downfall of Temlaham, and it was hoped that some of the imagesproduced by the two artists might be used to illustrate the book...Jackson...wasimmediately struck by the creative possibilities in the lush scenery...[and said], ‘TheIndian villages are almost as fine as the Quebec villages and the backgrounds moreexciting.’” Larsen continues, “Together Jackson and Holgate sketched the small villages,the sacred grave houses, and other aspects of the Gitksan settlements...In October,after several weeks working nearly 320 kilometres upriver, Jackson and Holgatetravelled all the way down to the mouth of the Skeena at Port Essington...and thereJackson found the subject that inspired what would become one of his favourite works- Indian Home. Judging from the original pencil sketch, the house appears abandoned,almost lost in the overgrowth of tall grass...placing three figures - a mother and hertwo children - in front of the tiny house...His figures were rarely more than a few dabsof paint, barely noticeable within the composition. The implication was that they werepart of the landscape - an indigenous people rooted to their environment.”

Jackson Groves describes the artist’s work from this period as “delectable” andreferences “several studies of one peaked-roofed house that eventually became thecanvas Indian Home...that A.Y. still considers one of his best.”

In his autobiography, A.Y recalls: “Holgate and I made many drawings of the totempoles around Kitwanga, where Campbell [a CN Railway engineer hired by Barbeau] wasstraightening them up and setting them in good concrete foundations. For ourpurposes, we preferred the poles leaning forward or backward, and suggested toCampbell he set them that way. Campbell’s comment on this was brief. ‘I would doanything I could...to please you artists, but as an engineer I cannot put up leaningtotem poles. You can make them lean any way you like in your drawings.’”

Detail


Recto

Verso

22


37CORNELIUS KRIEGHOFFINDIAN TRAPPER ONSNOWSHOES

oil on canvassigned10.75 ins x 9 ins; 27.3 cms x 22.9 cms

Provenance: Private Collection, California

$20,000—30,000

38GEORGE AGNEW REID, O.S.A.,P.R.C.A.THE HUMBER RIVER

oil on canvassigned and dated 189022 ins x 36 ins; 55.9 cms x 91.4 cms

Literature: Muriel Miller Miner, G.A. Reid CanadianArtist, The Ryerson Press, Toronto, 1946,pages 57-58.

Note: It was 1890, the year this painting wasexecuted, that George Reid was elected afull academician of the Royal CanadianAcademy. That summer Reid and his wiferented an old mill as a studio in LambtonMills. According to Miner, in front of theold Mill ran the Humber, which may havebeen the inspiration for this painting.

$8,000—12,000

23


39CORNELIUS KRIEGHOFFABOVE THE ST ANNE FALLS,QUEBEC

oil on boardsigned18.5 ins x 25 ins; 47 cms x 63.5 cms

Provenance: Private Collection, Ontario

$80,000—100,000

Literature: Dennis Reid, Krieghoff: Images of Canada, Art Gallery of Ontario, Toronto,1999, page 73 and pages 110-111, colour plates 50 and 51, for the NationalGallery of Canada’s versions of this subject, reproduced in colour.

Note: Dennis Reid records that Krieghoff painted versions of virtually everywaterfall within visiting distance of Quebec City. Two, depicting the St AnneFalls, are in the collection of the National Gallery of Canada; one of which isa view from above the falls similar to this lot with a figure or figuresdwarfed by the majestic landscape. Later Krieghoff would paint the falls ofNiagara, Chaudiere and Shawinigan.

24


40JAMES EDWARD HERVEYMACDONALD, O.S.A., R.C.A.JEH MACDONALD HOUSE ONCENTRE STREET, THORNHILL

oil on board7 ins x 10 ins; 17.8 cms x 25.4 cms

Provenance: Private Collection, Alliston, Ontario

Note: An inscription on the reverse of thispainting reads, “This is our home onCentre St. Thornhill painted by an Artistfor mother Mottershall. We went to theirhome after our house burnt to theground. I was 5 yrs old (1923). Maude.”

$12,000—15,000

Photo 1: An inscription on this family photograph belonging to theconsignor reads, “Maude and Dad Mottershall at Center (sic) St., Thornhill,Ont. I’m about 6 yrs?”

Photo 2: This photo is inscribed: “Same view of JEH MacDonald home onCentre St., Thornhill from which his painting was made. He rented thishouse to Mr. and Mrs. W.H. Mottershall and family from 1923 to 1925 aftertheir home in Thornhill was destroyed by fire. The painting was given toMrs. Mottershall during the 1923-1925 period. Mrs. Mottershall is inforeground of this photo with her family, taken in 1923 (signed MaudeMottershall).”

Please note the photographs shown here are not being sold as part of thislot and are the property of the consignor.

25


41KATHLEEN MOIR MORRIS,A.R.C.A.DAIRY COWS AT PASTURE,ELLIOTT FAMILY FARM NEARMARSHALL’S BAY, ONTARIO

oil on panelsigned12 ins x 14 ins; 30.5 cms x 35.6 cms

$15,000—20,000

Exhibited:Kathleen Moir Morris, RCA, Loan Exhibition, Walter Klinkhoff Gallery,Montreal, June 1976, no.4

Literature: Frances K. Smith, Kathleen Moir Morris, exhibition catalogue, AgnesEtherington Art Centre, Queen’s University, Kingston, 1983, page 22.

From the 1920s to the 1970s the artist spent two months each summer atMarshall’s Bay near Arnprior at the family cottage. Smith quotes the artist’snephew thus: “...Kay painted the Elliott cows so often she got to know theirdaily routine...at the same time every day, say noon, they would wanderdown to the creek for a drink. Then...they would all amble over to one oftheir favourite spots for an afternoon rest...Kay was always ready to paintthe cows during this lazy period.” Smith adds, “She herself recollected theseyears in 1976: ‘I love to paint animals. I think cows are just beautiful butthey’re awfully hard to paint. They’ve got bumps and lumps. And the flies!They love the smell of paint. They don’t go all over the cows, they go allover you!’”

This lot is accompanied by a letter from the artist’s niece describing thesubject and dating the painting to circa 1930.

26


42FRANK HANS JOHNSTON, O.S.A.,A.R.C.A.NORTHERN PATTERN

oil on boardsigned; signed and titled on the reverse9 ins x 11.75 ins; 22.9 cms x 29.8 cms

$7,000—9,000

43ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.SAWMILL - BARRY BAY, 1959

oil on boardsigned; signed, titled and dated on theartist’s label on the reverse12 ins x 15 ins; 30.5 cms x 38.1 cms

Provenance: Roberts Gallery Limited, Toronto

$20,000—30,000

27


44MARC-AURELE DE FOY SUZOR-COTE, R.C.A.VUE DE PASAJES, ESPAGNE

oil on panelsigned; titled on the reverse6.25 ins x 8.75 ins; 15.9 cms x 22.2 cms

Note: Suzor-Cote visited the fishing village ofPasejes (Pasaia) in Basque, Spain in 1906-1907.

$6,000—8,000

45MARC-AURELE FORTIN, A.R.C.A.VILLAGE LANDSCAPE WITHHAYCART, STE-ROSE

oil on cardboardsigned9 ins x 12.25 ins; 22.9 cms x 31.1 cms

$12,000—18,000

28


46JEAN-PAUL LEMIEUX, R.C.A.JEUNE FILLE DANS LA FORET

oil on canvassigned and dated ‘6326.5 ins x 22.5 ins; 67.3 cms x 57.2 cms

$40,000—60,000

Note: The year this work was painted was a busy and fulfilling one for the artist.He participated in exhibitions of Canadian painters at MoMA in New York,at the Tate Gallery in London, at the Musee Galliera in Paris and in one-manshows at Galerie Agnes Lefort and Roberts Gallery in Toronto.

29


47JEAN ALBERT MCEWEN, R.C.A.LE PREMIER MOULIN DEMYKONOS

oil on canvassigned, titled and dated “November ‘63”on the reverse50 ins x 50 ins; 127 cms x 127 cms


$40,000—50,000

Note:Colour in Depth, the a propos title of the Montreal Museum of Fine Arts’1987-88 retrospective of Jean McEwen’s work was the artist’s sole focus for30 years: the question was how a flat surface could, without the traditionaldevices of perspective and shading (chiaroscuro), create depth. As early as1955, McEwen identified an approach that would determine the course ofhis efforts for years to come. Naubert-Riser explains: “[h]is painting wouldbe closely identified with the two-dimensionality of its support, and thelogic intrinsic to the canvas would now determine the organization of itsplanes.” She continues: “[1963] was a year of significant transition… whatcan be discerned is a gradual movement away from the dominant verticalcomposition towards a cruciform structure. The introduction of the cruci-form shape onto the pictorial plane allowed the artist to bring into surfaceevidence an element of support: the cross-shaped struts across which thecanvas is stretched. The far corners and their relationship with the centralshape became, for a time, the focal point of McEwen’s investigation.”

Literature:Constance Naubert-Riser, Jean McEwen Colour in Depth, The Paintings andWorks on Paper 1951-1987, Montreal Museum of Fine Arts, 1987, pages 39and 44.

30


48TONY SCHERMANTHE JUNKIES: DR NICK

encausticsigned, titled and dated 06/07 on thereverse, unframed60 ins x 72 ins; 152.4 cms x 182.9 cms

$20,000—30,000

31


49DAVID ALEXANDER COLVILLE,R.C.A.FOX AND HEDGEHOG

openwork 18 carat gold pendant on achainsigned, dated 1972, numbered “2/12”,inscribed “The fox knows many things,but the hedgehog know one big thing”and stamped with the maker’s initials“A.P” (for A. Paton) who worked for S.J.James at this time, on the reversediameter 1.75 ins; 4.4 cms

$20,000—25,000

Literature: Helen J. Dow, The Art of Alex Colville, McGraw Hill Ryerson Limited,Toronto, 1972, page 150, plate 56, reproduced.

Note: Dow notes that the inscription on the pendant is taken from the translationof an ancient Greek proverb used by British philosopher Isaiah Berlin in hisbook on Tolstoy’s view of history. Dow writes: “Berlin saw Tolstoy as anexample of the many-sided and even paradoxical personality which heidentified as fox-like, in contrast to the single-mindedness of the hedgehog-type. Perhaps in such a definition of a man who believed one thing butachieved another, Colville recognized himself. Yet, in a much wider sense,his gold medallion demonstrates, like all his other art works, his ownconsistent awareness of the perpetual human conflict between what there isand what there ought to be.”

32


50HAROLD BARLING TOWN, R.C.A.SUMMER AS WISHED

collage on masonitesigned and dated 19599.25 ins x 14.25 ins; 23.5 cms x 36.2 cms

Note:Town’s early interest in cubism led him to collage. From themid-50s on, Town produced as Leclerc notes: “...an impressivebody if work in this medium,” and in her view, “ranks amongthe first Canadians to have turned collage into a seriouspursuit.” She continues: “Since most major public galleriesacquired his collages, it was primarily this medium that assuredhis national standing.”

Literature: Denise Leclerc, The Crisis of Abstraction in Canada: The1950s, National Gallery of Canada, 1992, page, 60-61.

$4,000—6,000

51HAROLD BARLING TOWN, R.C.A.SELF PORTRAIT

charcoal and knife incisesigned and indistinctly dated “Dec 17 6(?)”22 ins x 14.75 ins; 55.9 cms x 37.5 cms

Literature: Robert Fulford, Harold Town Drawings, McLelland and Stewart Limited,Toronto/Montreal, 1969, page 105, reproduced.

Note: According to Fulford, this work was executed on “December 17, 1965.”

$2,000—3,000

52THE BIG BITEHAROLD BARLING TOWN, R.C.A.

single autographic printsigned, dated ‘57 and numbered “1-1” in pencil in the lower margin, soldtogether with Town by David Burnett19.75 ins x 16 ins; 50.2 cms x 40.6 cms

Exhibited: Harold Town, Art Gallery of Ontario, Toronto, May 16 - July 6, 1986.

Literature:David Burnett, Town, exhibition catalogue, Art Gallery of Ontario,Toronto, 1986, page 69, for this lot reproduced in colour.

$3,000—4,000

33


53WILLIAM RONALD, R.C.A.UNTITLED

watercolour on paper boardsigned and dated ‘5317.25 ins x 23.25 ins; 43.8 cms x 59.1 cms

$10,000—15,000

Provenance: Brian Dedora, TorontoPrivate Collection

Exhibited: Abstracts at Home(s), Robert McLaughlin Gallery, Oshawa, September2007 - September 2008.

Literature: Iris Nowell, Painters Eleven: The Wild Ones of Canadian Art, Douglas &McIntyre, Vancouver/Toronto, 2010, pages 67-68 and page 77, reproducedin colour.

Note: This lot was painted the year Painters Eleven was formed. In her bookPainters Eleven: The Wild Ones of Canadian Art, Iris Nowell credits thiswork as being one of the paintings wherein Ronald “...had clearly discoveredthe painterly vigour he had been searching for.” Nowell considers thispainting a turning point for Ronald. She writes that in this composition, “hehas adapted calligraphic forms - emphatic black curved shapes to achievebold visual rhythm. This work features black elements playfully movingagainst translucent soft orange shapes.” Ronald’s early works wereimaginative and technically perfect. His talent was instantly recognized bythe New York art community and both the Metropolitan Museum of Artand the Rockefeller family among other prominent collectors purchasedpaintings by the artist. This lot is an excellent example of Ronald’s earlywork that was pivotal in establishing his reputation and helped launch hiscareer.

34


54ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.LIEVIN, MARCH 15TH, 1918

oil on panelsigned; signed and inscribed “3rd BRGART. HQS” (3rd Brigade ArtilleryHeadquarters), and “Lievin, Mar 15-18”on the reverse8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

$12,000—15,000

Provenance: Dominion Gallery, MontrealPrivate Collection, Montreal

Literature: Susan Butlin, “Landscape as Memorial: A.Y. Jackson and the Landscape ofthe Western Front, 1917-1918”, Canadian Military History, Vol.5, no.2(Autumn 1996) pages 62-70, and figure 2 for the related canvas in thecollection of the Canadian War Museum entitled Jeanne d’Arc, Hill 70 in theDistance (1918), reproduced.

Note: Butlin notes that “Jackson was chosen as the first Canadian to be assignedto duty as an official war artist for the Canadian War Memorials Fund,”which ultimately would employ 116 artists recording Canada’s war effort athome and abroad. She continues, “While [Jackson] rejected the earliercannon of war painting which tended to romanticize battle in ‘death andglory’ epic paintings, Jackson’s first depictions of the front line werenonetheless picturesque landscapes or sensitive studies,” such as this lot.

Butlin adds that during the late winter and early spring of 1918, “Jacksonwas attached to the 3rd Canadian Artillery Brigade at Lievin.”

35


55ARTHUR LISMER, O.S.A., R.C.A.OFF VANCOUVER IS. 1963

oil on panelsigned; signed and titled on the reverse12 ins x 16 ins; 30.5 cms x 40.6 cms

$10,000—15,000

56ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.OCTOBER STORM CLOUDS -GRENVILLE, QUE., 1969

oil on boardsigned; signed, titled and inscribed “forMargaret” and “The property of my wife /A.J. Casson” on the reverse12 ins x 15 ins; 30.5 cms x 38.1 cms

$20,000—30,000

36


57WASHINGTON F. FRIENDMOONLIT ENCAMPMENT

watercolour and pastel, heightened withgouachesigned10.25 ins x 14.5 ins; 26 cms x 36.8 cms

Provenance: Private Collection, Montreal

$1,000—1,500

58CANADIAN SCHOOL, 19TH CENTURYHERRING COVE, NOVA SCOTIA

oil on canvasheight 22.5 ins x 34 ins; 57.2 cms x 86.4 cms

$5,000—7,000

59HOMER RANSFORD WATSON,O.S.A., P.R.C.A.CHILDREN SEATED ON THEBANK OF A MILL STREAM


$4,000—6,000

37


60CORNELIUS KRIEGHOFF“STROLLING ACTORS” AFTERFRANCOIS-AUGUSTE BIARD(1799-1882)

oil on canvassigned, titled and dated28.5 ins x 36 ins; 72.4 cms x 91.4 cms

$30,000—40,000

Note: Research has identified this work as being listed in a draft of RussellHarper’s unpublished catalogue raisonne of the artist. Harper lists it under“Copies of European Paintings Executed in Paris.” Harper believes it wasexecuted during the artist’s first trip (1844-45) when Krieghoff registered tomake copies at the Louvre and Luxembourg. The painting by Biard, onwhich this work is based, is said to be in the Luxembourg collection (but notconfirmed) and is described as a group clustered around a small platformwith an actress looking in a mirror held by a man, various actors in costumeand an open doorway with soldiers and a building in mid-distance.

38


61FRANKLIN CARMICHAEL, O.S.A.,R.C.A.SUMMER LANDSCAPE

oil on boardinscribed “An original sketch by FranklinCarmichael” and signed by the artist’swife on the reverse10 ins x 12 ins; 25.4 cms x 30.5 cms

$70,000—90,000


Literature: Megan Bice, “Light and Shadow: The Work of Franklin Carmichael”,McMichael Canadian Art Collection, Kleinburg, 1990, page 64, cat. no.74,for a graphite sketch entitled “La Cloche Mountain Tops”, circa 1934.

Note: The period during which this work was painted was a significant one forCarmichael. A year earlier he was elected to the Royal Canadian Academy.He also designed and built his La Cloche cottage on Cranberry Lake thatsame year. In 1937, he became President of the Ontario Society of Artists.

This lot could have been based on Carmichael’s studies such as his graphitesketch of “La Cloche Mountain Tops” (circa 1934), which bears a closeresemblance to “Summer Landscape”.

39


62ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.OCTOBER, LAKE KAMANISKEG,1959

oil on canvassigned; titled on the gallery label on thebacking30 ins x 38.25 ins; 76.2 cms x 97.2 cms

Provenance: Roberts Gallery Ltd., TorontoPrivate Collection, Ontario

$90,000—120,000

40


63PIERRE GENDRONILE ROUGE

oil on canvassigned, dated ‘58 and inscribed “Paris”;titled on a label attached to the stretcher35 ins x 45.5 ins; 88.9 cms x 115.6 cms

Provenance: The Estate of a Private Collector, LosAngeles

$5,000—7,000

64FRITZ BRANDTNERABSTRACT NO.9

oil on boardsigned; signed, titled, dated 1966 andinscribed with the artist’s Montrealaddress on the reverse22 ins x 26 ins; 55.9 cms x 66 cms

Provenance: Private Collection, New York

$10,000—15,000

41


65BERTRAM CHARLES BINNINGFAIR WEATHER SIGNALS

oil on burlap, laid down on boardsigned; signed, titled and dated 1954 onthe artist’s label on the reverse13.5 ins x 30 ins; 34.3 cms x 76.2 cms


$70,000—90,000


66JACK HAMILTON BUSH, O.S.A.,A.R.C.A.JUNE MULBERRY

acrylic on canvassigned, titled and dated “June 1972” onthe reverse66 ins x 113 ins; 167.6 cms x 287 cms

$225,000—275,000

Provenance: David Mirvish Gallery, TorontoGallery One, TorontoGallery Neubacher, TorontoPrivate Collection, Ontario

Exhibited: Jack Bush: New Works, David Mirvish Gallery, Toronto, December 2, 1972 -January 2, 1973.

Literature: Kay Kritzwiser, “Sex Is Subtle in Etrog Sculptures”, the Globe and Mail,December 2, 1971.W. Neill Marshall, “Toronto Letter,” Art International, Summer 1973, pages40-42.

Note: This work will be included in Dr. Sarah Stanners’ forthcoming catalogueraisonne of the artist. We thank Dr. Stanners for her assistance with this lot.Further information about the catalogue raisonne may be found atwww.jackbush.org.

42


43

44


67SOREL ETROG, R.C.A.LABRISE

bronzeheight 32 ins; 81.3 cms

Provenance: Charles Bronfman’s Claridge Collection,Montreal

Note: Executed circa 1964.Sold to benefit Historica Canada.

$25,000—30,000

45


68JEAN ALBERT MCEWEN, R.C.A.THE UNKNOWN FLAG, THIRD THEME,#5, 1964

oil on canvassigned, dated ‘64 on the reverse and inscribed“troisieme theme no.5” on the stretcher72 ins x 54 ins; 182.9 cms x 137.2 cms

Provenance: Gallery Moos, TorontoThe Estate of a Private Collector, Los Angeles

$80,000—120,000

Literature:Constance Naubert-Riser, Jean McEwen Colour inDepth, The Paintings and Works on Paper 1951-1987, Montreal Museum of Fine Arts, 1987, page44-46.

Denise Leclerc and Pierre Dessureault, The 60s inCanada, National Gallery of Canada, 2005, page93.

Note:Naubert-Riser writes that in early 1964 using the cruciform as his departurepoint (see lot 47) “McEwen created a key series that was the culmination ofall his previous investigations. She continues: “This whole series (The Un-known Flag or Drapeau Inconnu) is notable for its high degree of rigour…McEwen varies and in-creases the tension between the central form and the four corners. Ex-tremely rich reds dominate the series and are combined, in numerousstratified layers, with mauves, blues and oranges. The intensity of thecolour, in conjunction with the rigour of the composition gives rise to a con-trolled exuberance that is reinforced by the ‘painterly’ treatment of the im-pasto involving the ‘kneading’ with a trowel of layers of pigments appliedover a layer of varnish.”

McEwen often applied paint with his hands, forgoing the paintbrush, andworked the surface of the painting until, in the words of one observer, “itseemed to vibrate like a drum”. McEwen himself spoke of “rubbing thecolour into the varnish” in order to obtain unique effects of transparency.

Only 23 paintings comprise this series.

46


69ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.ST TITE DES CAPS

oil on panelsigned; signed, titled and inscribed“Studio Bldg, Severn St. Toronto” on thereverse8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Provenance: Walter Klinkhoff Gallery Inc., MontrealPrivate Collection, Ottawa

$20,000—30,000

70ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.HALFWAY LAKE, 1968

oil on boardsigned; titled on the reverse9.5 ins x 11.25 ins; 24.1 cms x 28.6 cms

$20,000—30,000

47


71ROBERT WAKEHAM PILOT,P.R.C.A.THE WHARF, ST. ANDREWS, N.B.,1955

oil on panelsigned; signed and titled on the reverse12.5 ins x 17 ins; 31.8 cms x 43.2 cms

Provenance: Private Collection, London, UK

$9,000—12,000

72FRANK HANS JOHNSTON, O.S.A.,A.R.C.A.MCALPINE CHANNEL, JULYMORNING, GREAT BEAR LAKE,1939

oil on boardsigned20 ins x 24 ins; 50.8 cms x 61 cms

Exhibited: Franz Johnston in Retrospect, 1888-1949,Rothman’s Art Gallery of Stratford,Stratford, Ontario, n.d.

Literature: Paul Rodrik (foreword) Franz Johnston inRetrospect, 1888-1949 (catalogue),cat.no.77, illustrated, also illustrated onthe cover.

$20,000—30,000

48


73WILLIAM KURELEK, R.C.A.NOW HOW CAN I GET AT THELITTLE BEGGARS?

mixed media on masonite9.75 ins x 4 ins; 24.8 cms x 10.2 cms

Provenance: Private Collection, Guelph, Ontario

$10,000—12,000

74WILLIAM KURELEK, R.C.A.ANTHILL

mixed media on masonite10 ins x 6.75 ins; 25.4 cms x 17.1 cms

Provenance: Private Collection, Guelph, Ontario

$15,000—20,000

49


75WILL GORLITZAXIS MUNDI “COVER”

oil on canvassigned, titled and dated 1986-88 on thereverse, unframed79 ins x 116 ins; 200.7 cms x 294.6 cms

$35,000—40,000

Literature: Jim Guest, “Perspective 86: Will Gorlitz and Nancy Johnson”, Canadian Artmagazine, Fall 1986, page 29.

Note: Canadian Art magazine (Fall 1986) described Gorlitz as ranking among themost significant new Canadian artists. In the review of “forest pictures”, inwhich the viewer is situated as if standing on the forest floor lookingstraight up into the sky, the reviewer described works like this lot as“beautifully painted and calculated to produce an uneasy whirling sense ofvertigo.”

50


76KATHLEEN MOIR MORRIS,A.R.C.A.HORSES GRAZING IN A FIELD

oil on panelsigned; an unfinished sketch of farmanimals on the reverse12 ins x 14 ins; 30.5 cms x 35.6 cms

Provenance: Walter Klinkhoff Gallery, MontrealPeter Ohler Fine Arts Ltd., Vancouver

$20,000—25,000

77ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.AUTUMN, COMBERMERE, OCT.1960

oil on panelsigned; signed and titled on the reverse10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms

$15,000—18,000

51


78MARC-AURELE DE FOY SUZOR-COTE, R.C.A.LES EPOUX CHAPDELAINE

bronzesigned, titled, dated 1922 and inscribed“Copyright Canada & U. States 1922” and“Roman Bronze Works N.Y.” on the base9 ins x 14 ins x 7 ins; 22.9 cms x 35.6 cmsx 17.9 cms


$8,000—10,000

79ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.FIELDS IN WINTER, PORT AUPERSIL, QUE.

oil on panelsigned; signed, titled and dated “March1947” on the reverse8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Provenance:Private Collection, Austrailia

$18,000—22,000

52


80GEORGE LORNE HOLLANDBOUCHARD, R.C.A.OLD HOME, BAIE ST. PAUL

oil on panelsigned; signed and titled on the reverse8 ins x 9.75 ins; 20.3 cms x 24.8 cms

$3,000—4,000

81HENRY GEORGE GLYDE, R.C.A.BOW RIVER, BANFF SPRINGS,LOOKING EAST

oil on canvas boardsigned and dated ‘71; signed, titled andinscribed “Banff, 1971” on the reverse16 ins x 20 ins; 40.6 cms x 50.8 cms

$6,000—8,000

82FRANK HANS JOHNSTON, O.S.A.,A.R.C.A.TWILIGHT

oil on boardsigned; signed and titled on the reverse12 ins x 16 ins; 30.5 cms x 40.6 cms

$5,000—7,000

53


83ANNE DOUGLAS SAVAGEVILLAGE IN SUMMER

oil on panelsigned with initials, an unfinished sketchof a woman seated beside a spinningwheel on the reverse8.75 ins x 12 ins; 22.2 cms x 30.5 cms

Provenance: Roberts Gallery Ltd., Toronto

$10,000—15,000

84ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.SHORELINE

oil on boardsigned9.25 ins x 11.25 ins; 23.5 cms x 28.6 cms

$20,000—30,000

54


85DAVID BROWN MILNESUMACH AND MAPLE LEAVES II

watercolour, laid down on cardboard14.75 ins x 22 ins; 37.5 cms x 55.9 cms

Provenance: Private Collection, Vancouver

Literature: David P. Silcox and David Milne, Jr., DavidB. Milne, Catalogue Raisonne of thePaintings, Volume 2: (1929-1953),University of Toronto Press, Toronto,1998, page 982, cat.no. 503.67,reproduced.

Note: Executed at Baptiste Lake, Ontario,September-October, 1952.

$15,000—18,000

86MARC-AURELE FORTIN, A.R.C.A.BAIE DES CHALEURS

watercolour, laid down on boardsigned22 ins x 28 ins; 55.9 cms x 71.1 cms

Provenance: Private Collection, Ottawa

$20,000—30,000

55


87WALTER JOSEPH PHILLIPS,R.C.A.MCINTYRE BLUFFS, OKANAGAN

watercoloursigned and dated ‘47; titled in pencil onthe reverse16.5 ins x 18 ins; 41.9 cms x 45.7 cms

$12,000—15,000

88MANLY EDWARD MACDONALD,R.C.A.OLD MILL, SALMON RIVER, ONT.


$5,000—7,000

56


89HORTENSE MATTICE GORDON,R.C.A.PANORAMA

oil on panelsigned and dated 19599 ins x 30 ins; 22.9 cms x 76.2 cms

$4,000—5,000

90RANDOLPH STANLEY HEWTON,R.C.A.SUNFLOWERS

oil on canvas14 ins x 12 ins; 35.6 cms x 30.5 cms

Provenance: Estate of the artist

$5,000—7,000

91GERSHON ISKOWITZ, R.C.A.PARRY SOUND VARIATIONXXVII

watercoloursigned and dated ‘6518.25 ins x 23.75 ins; 46.4 cms x 60.3cms

Provenance: Gallery Moos Ltd., Toronto

$4,000—6,000

57


92MOLLY LAMB BOBAK, R.C.A.UNTITLED - SKATERS

oil on canvassigned “Molly Lamb B”16 ins x 24 ins; 40.6 cms x 61 cms

Provenance: Private Collection, Vancouver

$5,000—7,000

Molly Bobak is known primarily for her crowd, parade or publicgathering scenes. Burnett and Schiff astutely note: “The contrastin her work between the fragility and anonymity of the individualand the strength and vitality of the group, in a curious wayvalidates the individual even in its loss of separate identity.”

Literature:David Burnett and Marilyn Schiff, Contemporary Canadian Art,Art Gallery of Ontario, Toronto, 1983, page 114.

93WILLIAM RONALD, R.C.A.UNTITLED

watercoloursigned and dated ‘6317.75 ins x 23.25 ins; 45.1 cms x 59.1 cms

$4,000—6,000

94MARJORIE (JORI) ELIZABETHTHURSTON SMITHSTILL LIFE WITH SIAMESE CAT

oil on canvassigned and dated ‘5128 ins x 34 ins; 71.1 cms x 86.4 cms

Provenance: Galerie Jean-Pierre Valentin, Montreal

$8,000—10,000

58


95MAXWELL BENNETT BATES,R.C.A.WOMAN OF NICE

oil on canvassigned and dated 1973; titled on thestretcher36 ins x 30 ins; 91.4 cms x 76.2 cms


Note: The year this work was painted, Bateswas the subject of a major retrospectiveat the Vancouver Art Gallery, which wasboth a critical and popular success.

Sold to benefit Historica Canada.

$15,000—20,000

96NORMAND HUDONLES VAINQUERS FINDE PARTIE

oil on boardsigned and dated /9324 ins x 30 ins; 61 cms x 76.2cms

$10,000—15,000

59


97FLORENCE GERTRUDE VALESEATED GIRL

collage on masonitesigned and dated ‘6120 ins x 16 ins; 50.8 cms x 40.6 cms


$3,000—5,000

98TED HARRISONSLUMBERING VILLAGE

acrylic on canvassigned; signed, titled and dated 1987 onthe reverse48 ins x 36 ins; 121.9 cms x 91.4 cms


Note: Sold to benefit Historica Canada.

$15,000—20,000

60


99KOSSO ELOUL, R.C.A.MEETING PLACE

aluminum maquette in two parts10.5 ins x 22 ins x 9 ins; 26.7 cms x 55.9 cmsx 22.9 cms


Literature: Paul Duval, Eloul 1964-1984, 20 years ofsculpture, exhibition catalogue, 1984, page 9for a photograph of the sculptor holding amodel of Meeting Place, pages 1, 34 and 47for an installation shot of Meeting Place insitu outside of Crown Life headquarters,Toronto (now Unilever, 160 Bloor St. East atChurch Street, Toronto) and page 54 for aphotograph of the entrance of 160 BloorStreet East with a life-size mock-up.

Note: Russian born Eloul studied at the Art Instituteof Chicago (1939-1943) and with Maholy-Nagy in that city, arriving in Canada in 1964.Quickly establishing his reputation, Eloulproduced monumental sculptures in majorcities, towns and on university campuses inNorth America and abroad. In 1984 he wascommissioned to produce a sculpture forCrown Life’s new head office in Toronto. Elouldetermined that the sculpture should bereminiscent of a gate to a ceremonial path, amonumental entrance not unlike the famousLion Gate at Mycenae. Paul Duval, who wascritical in helping Eloul with the commission,describes Meeting Place - the original Indianname for Toronto - thus: “The poised powerof its two counterbalancing elements suggestsat once the harmony and diversity that makeup the city’s cultural complexion.”

$6,000—8,000

100KOSSO ELOUL, R.C.A.SHAMAN

aluminumsigned, titled, dated ‘89 and inscribed “sketchstudy”, further inscribed “to (four namedindividuals) / the four of you with much love /Kosso”6.75 ins x 6.5 ins x 1.25 ins; 17.1 cms x 16.5cms x 3.2 cms


$2,000—3,000

Installation shot of Meeting Place, Toronto

61


101JOHN CLARKTHE CITY AT NIGHT, 1984

oil and acrylic on canvastitled on the gallery label on the reverse82 ins x 66 ins; 208.3 cms x 167.6 cms

Provenance: Wynick-Tuck Gallery, TorontoPrivate Collection, Toronto

$20,000—30,000

“…I hope to prevent a conventional narrative reading. Rather I would like the objectsarrangement to resemble the result of some directional force such as a landslide or anexplosion.” - John Clark

Literature:David Burnett and Marilyn Schiff, Contemporary Canadian Art, Art Gallery of Ontario,Toronto, 1983, page 283.

62


102RITA MOUNT, A.R.C.A.EFFET D’OMBRE A MIDI

oil on canvassigned; titled on a label on the stretcher30.25 ins x 34.25 ins; 76.8 cms x 87 cms

$10,000—15,000

103FRANK HANS JOHNSTON, O.S.A.,A.R.C.A.WINTER’S TOUCH OF BEAUTY

oil on boardsigned; inscribed on the reverse: “Theoldest house in Wyebridge, Ont. Originallythe local hotel during the lumbering dayssome years ago.”12 ins x 16 ins; 30.5 cms x 40.6 cms

$7,000—9,000

63


104WILLIAM GOODRIDGEROBERTS, R.C.A.NATURE MORTE AU BOUQUET

oil on masonitesigned; titled on both gallery labels on thereverse20 ins x 24 ins; 50.8 cms x 61 cms

Provenance: Galerie Martin, MontrealGalerie Clarence Gagnon,Montreal/Quebec City

$15,000—18,000

105CLARENCE ALPHONSEGAGNON, R.C.A.LAC A ANGE, MONTAGNES DESLAURENTIDES, CANADA

oil on panelsigned6 ins x 9.25 ins; 15.2 cms x 23.5 cms

$18,000—22,000

64


106FRANK HANS JOHNSTON, O.S.A.,A.R.C.A.WINTER BOWS TO SPRING

oil on boardsigned; titled on a label on the reverse12 ins x 16 ins; 30.5 cms x 40.6 cms

$7,000—9,000

107ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.A BEAVER LAKE, ALGOMA, 1919

oil on panelsigned; signed, titled and inscribed“Studio Bldg, Severn Street, Toronto” onthe reverse8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Provenance: Collection of S. Walter Stewart, TorontoJohn R.S. Dowsett, Toronto (by descent)James Edwin Guillet, TorontoBy descent to the present owner

$18,000—22,000

65


108JOHN KASYN, O.S.A.RED HOUSE IN PARKDALE

oil on masonitesigned; signed and titled on the reverse30 ins x 24 ins; 76.2 cms x 61 cms

$15,000—20,000

109PHILIP HENRY HOWARDSURREY, R.C.A.BY THE RICHELIEU


Provenance: Galerie Martin, Montreal

$5,000—7,000

66


110MAUD LEWISSLEIGH AND VILLAGE

oil on boardsigned, sold together with a copy ofLance Woolaver’s The Illuminated Life ofMaud Lewis12 ins x 14 ins; 30.5 cms x 35.6 cms

Literature: Lance Woolaver, The Illuminated Life ofMaud Lewis, Art Gallery of Nova Scotia,1996, page 67 for a closely related work,reproduced in colour.

$4,000—6,000

111MAUD LEWISCOW AND CAR

oil on boardsigned; dated 1967 on the reverse12.25 ins x 14.25 ins; 31.1 cms x 36.2 cms

Literature: Lance Woolaver, The Illuminated Life ofMaud Lewis, Art Gallery of Nova Scotia,1996, page 39 for a closely related work,reproduced in colour.

Note: According to Woolaver, Cow and Cardepicts Paul Lewis, the son of Maud’spatron Dr. Doug Lewis of Digby, N.S.

$4,000—6,000

67


112WILLIAM RONALD, R.C.A.JERUSALEM AT NIGHT (THE OLD CITY)

acrylic on canvassigned and dated ‘85; signed, titled and dated “March 12/85” on the reverse48 ins x 36 ins; 121.9 cms x 91.4 cms

Provenance: Gift of the artist (1985)Private Collection, France

$4,000—6,000

68


113JEAN-PAUL RIOPELLE, R.C.A.LE ROI DE THULE

mixed media on papersigned and dated ‘7323 ins x 29.25 ins; 58.4 cms x 74.3 cms

Provenance: Pierre Matisse Gallery, New YorkPrivate Collection, Toronto

$12,000—15,000

114DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.UNCLE CLUNY’S KITE OVER WESLEYVILLE

etching and aquatint printed in colourssigned, titled, dated 1989 and numbered 56/75 in pencil inthe lower margin15 ins x 35.5 ins; 38.1 cms x 90.2 cms

Literature: William Gough, The Art of David Blackwood,Toronto/Montreal, chapter entitled “The Place We Stand toFly a Kite”, page 1 and pages 52-53 for a detail of, and forUncle Cluny’s Kite over Wesleyville, respectively, reproducedin colour.

$3,000—4,000

115DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.THE GREAT PEACE OF BRIAN AND MARTINWINSOR

etching and aquatint printed in colourssigned, titled, dated 1985 and numbered 47/50 in pencil in thelower marginplate 31.75 ins x 19.75 ins; 80.6 cms x 50.2 cms

Literature: Katherine Lochnan, Black Ice, David Blackwood, Prints ofNewfoundland, catalogue, Art Gallery of Ontario, Toronto,2011, plate 44 for Great Peace, reproduced in colour.

$9,000—12,000

69


116MASHEL ALEXANDERTEITELBAUMGRAND VERTICAL

oil on canvas; signed, titled and dated ‘64on the reverse36 ins x 28 ins; 91.4 cms x 71.1 cms


$1,500—2,500

117KAZUO NAKAMURAMORNING DUSK

watercoloursigned9 ins x 12 ins; 22.9 cms x 30.5 cms

$1,000—1,500

118MASHEL ALEXANDERTEITELBAUMCONSTANCY OF THEINCONSTANT CORRELATIVE /BLACK AND WHITE

oil on canvastitled on the stretcher50.75 ins x 38 ins; 128.9 cms x 96.5 cms


$4,000—6,000

70


119CLAUDE TOUSIGNANTPOEME AEROSCOLAIRE, CARRE #6

enamel on papersigned, titled and dated “Ete 2000”19.75 ins x 25.5 ins; 50.2 cms x 64.8 cms

Provenance: Paul Kuhn Gallery, Calgary

$1,800—2,200

120CLAUDE TOUSIGNANTPOEME AEROSCOLAIRE, GRAND RECTANGLE#3

enamel on papersigned, titled and dated “Ete 2000”19.75 ins x 25.5 ins; 50.2 cms x 64.8 cms

Provenance: Paul Kuhn Gallery, Calgary

$1,800—2,200

121DAVID THAUBERGERCLOUD FALLS

acrylic and glitter on canvassigned, titled and dated “May 1983” on the reverse68 ins x 44.25 ins; 172.7 cms x 112.4 cms

Provenance: Mira Godard Gallery, Toronto

$4,000—6,000

71


122JOSEPH FRANCIS PLASKETT,R.C.A.FIRESIDE

oil on canvassigned and dated ‘6939.25 ins x 28.25 ins; 99.7 cms x 71.8cms

$7,000—9,000

123GORD SMITH, R.C.A.DIVIDED FIGURE, 1958

welded steelheight 25 ins; 63.5 cms

Provenance: The Waddington Galleries Inc., MontrealGalerie John A. Schweitzer, Montreal

$3,000—5,000

124CLARK HOLMES MCDOUGALLPORT STANLEY HARBOUR,WINTER (1954)

oil on masonitesigned; titled on a label on the reverse24 ins x 29 ins; 61 cms x 73.7 cms

Exhibited: Clark McDougall Paintings Since 1953,Vancouver Art Gallery, n.d., cat.no.2

$1,000—1,500

72


125ALEX JANVIERKINDRED SOUL

gouachesigned, dated ‘75 and inscribed “287” 14.75 ins x 23 ins; 37.5 cms x 58.4 cms

Provenance: Dominion Gallery, MontrealPrivate Collection, Quebec

$2,500—3,000

126MARCELLE FERRON, R.C.A.SANS TITRE

mixed media on papersigned and dated ‘7426 ins x 20 ins; 66 cms x 50.8 cms

$8,000—12,000

127JACQUES HURTUBISE, R.C.A.OEIL DE CHIMERE II

oil on paper, laid down on canvassigned and dated ‘8620 ins x 26 ins; 50.8 cms x 66 cms

$4,000—6,000

73


128HORTENSE MATTICE GORDON, R.C.A.UNTITLED

oil on canvas boardsigned and dated ‘5224 ins x 20 ins; 61 cms x 50.8 cms

$5,000—8,000

129JACK WELDON HUMPHREYPICTORIAL STRUCTURE - BALCONY SUBJECT, 1953

oil on canvassigned; signed, titled on the stretcher and inscribed “Paris 1953” onthe artist’s label on the stretcher15 ins x 18 ins; 38.1 cms x 45.7 cms

Literature: Ian Lumsden, Drawings by Jack Weldon Humphrey, exhibitioncatalogue, Beaverbrook Art Gallery, Fredericton, 1977, pages 20-21.

Russell Harper, Jack Humphrey: a painter in the Maritimes, exhibitioncatalogue, National Gallery of Canada, Ottawa, n.d, pages 12-13.

Note: Humphrey is known primarily as a figure and landscape painter. Workslike this lot are both rare and important to understanding Humphrey’scareer arc. Lumsden writes: “Recognizing his need for stimulationoffered by major art centres especially in the area of contemporaryforms of plastic expression, he applied for a Royal Society OverseasFellowship offered by the Canadian Government and was successful.In November 1952, he and his wife left for France where they were toremain for the next thirteen months...In his compositions he began tobreak up the surface by outlining each shape in black therebyflattening it and thus abstracting it. This facilitated the structuring of awork based exclusively on the vocabulary of painting, the employmentof the elements of form and colour in a non-associative manner.”

Russell Harper writes: “Discontent with a routine pattern of landscapepainting, still life and occasional portraiture become evident after theconclusion of the war. Regionalism, with the paintings of street scenesand the waterfront had had valid meaning, but it was now a tired formof expression...Contemporary avant-garde Parisian exhibitions gaveHumphrey new confidence in free experimentation...[and since] then,non-objective tendencies have dominated much of his painting.”

$2,000—3,000

74


130MARCELLE MALTAISSANS TITRE

watercoloursigned and dated 19567.75 ins x 5.75 ins; 19.7 cms x 14.6 cms

Provenance: Canadian Fine Arts, Toronto

$1,500—1,800

131ALFRED PELLAN, R.C.A.DISCOTHEQUE

serigraphsigned, titled, dated ‘75 and numbered “E.A. 5/15” in pencilin the lower marginimage size 22 ins x 26 ins; 55.9 cms x 66 cms


Literature: Germain Lefebvre, Pellan, McClelland and Stewart Limited,Toronto, 1973, page 72 for the related oil paintingDiscotheque, 1970, reproduced in colour.

$1,500—2,500

132NORMAN LALIBERTEABRAHAM

mixed media on boardsigned, dated 1963 and inscribed “II XVII” and “MALUM”

Provenance: The Waddington Galleries Inc., Montreal

23 ins x 29 ins; 58.4 cms x 73.7 cms

$1,500—2,000

75


133FRITZ BRANDTNERABSTRACT DESIGN

mixed media on paper9 ins x 11.5 ins; 22.9 cms x 29.2 cms

Provenance: Kastel Gallery Inc., MontrealGalerie Valentin, Montreal

$2,000—2,500

134LEON BELLEFLEURLA LUNE SUR SOCLE

gouachesigned, titled and dated ‘7616.5 ins x 12.5 ins; 41.9 cms x 31.8 cms

Provenance: Walter Klinkhoff Gallery Inc., MontrealGalerie d’art Yves Laroche, Montreal

$3,000—4,000

135JACK LEONARD SHADBOLT,R.C.A.UNTITLED

oil on boardsigned and dated ‘6011.25 ins x 15.5 ins; 28.6 cms x 39.4 cms

Provenance: Gerard Gorce Beaux-Arts Inc., Montreal

$2,500—3,000

76


136FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A.OJIBWA INDIAN, RAINY RIVER

watercoloursigned and dated 1886; titled on the reverse15 ins x 12 ins; 38.1 cms x 30.5 cms

$5,000—7,000

137FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A.INDIANS IN A CANOE WITH A SECOND CANOEDISAPPEARING INTO THE MIST

watercoloursigned and dated 1896, unframed12.25 ins x 25 ins; 31.1 cms x 63.5 cms

Provenance: Private Collection, U.S.A.

$5,000—7,000

138FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A.SIOUX INDIAN ON HORSEBACK

watercolour, laid down on boardsigned; titled, dated 1867 and inscribed “Cayuse” on the backing18.25 ins x 24.25 ins; 46.4 cms x 61.6 cms

Note: The Cayuse are a Native American tribe originally located inpresent-day northeast Oregon and southeast Washington. TheCayuse were skilled horsemen and were known for their ponieswhich were bred for speed and endurance.

$10,000—15,000

77


139FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A.INCLEMENT WEATHER, WESTMINSTER ABBEY,LONDON

watercolour, laid down on cardsigned11.25 ins x 15.25 ins; 28.6 cms x 38.7 cms

$2,000—3,000

140FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A.QUEEN VICTORIA’S JUBILEE, 1897

watercoloursigned16.5 ins x 24.5 ins; 41.9 cms x 62.2 cms

Literature: Roger Boulet, Frederic Marlett Bell-Smith (1846-1923), ArtGallery of Greater Victoria, 1977, page 81, plate 51 for a closelyrelated oil of this subject, reproduced.

Note: On September 23, 1896, Queen Victoria surpassed her fatherGeorge III as the longest reigning monarch in British history. Herdiamond jubilee, which occurred the following year, wastherefore cause for enormous celebration and pageantry. Bell-Smith went to Britain for the occasion in order to capture inpaint this historic moment. A watercolour of this subject wasexhibited by him at the Royal Canadian Academy annualexhibition in Toronto in 1898.

$6,000—8,000

141WASHINGTON F. FRIENDA PANORAMIC VIEW OF THE CITY OFMONTREAL

watercoloursigned, with arched upper corners14.5 ins x 48 ins; 36.8 cms x 121.9 cms

Provenance: Charles Bronfman’s Claridge Collection, Montreal


$8,000—12,000

78


142STANLEY MOREL COSGROVE, R.C.A.PORTRAIT OF TWO WOMEN

oil on boardsigned and dated ‘4917 ins x 13.75 ins; 43.2 cms x 34.9 cms

$7,000—9,000

143JOHN WILLIAM BEATTY, O.S.A., R.C.A.LANDSCAPE

oil on canvassigned and dated ‘01 10.25 ins x 12 ins; 26 cms x 30.5 cms

$6,000—8,000

144ALBERT JACQUES FRANCK, A.R.C.A.TORONTO STREET SCENE

oil on canvas board, mounted to plywoodsigned and dated ‘5220 ins x 16 ins; 50.8 cms x 40.6 cms

$4,000—5,000

79


145JOSEPH FRANCIS PLASKETT,R.C.A.THE YELLOW FRUIT

oil on canvassigned and dated ‘5929 ins x 23.75 ins; 73.7 cms x 60.3 cms

$5,000—7,000

146LOUIS MUHLSTOCK, R.C.A.OPEN DOOR TO OUR GARDEN

oil on canvassigned; signed on the reverse and titledon the stretcher30 ins x 26 ins; 76.2 cms x 66 cms

Note: This scene depicts the garden at Isola, theartist’s family farm in Val David, Quebecand was executed circa 1950.

$3,000—4,000

147ALAN CASWELL COLLIER, O.S.A.,R.C.A.HARVEST HAPPY

oil on canvassigned; titled on the artist’s label on theframe (verso)16 ins x 36.25 ins; 40.6 cms x 92.1 cms

$3,000—5,000

80


148JACK NICHOLS, O.S.A., R.C.A.CELEBRATION

oil on canvas 40.25 ins x 50.25 ins; 102.2 cms x 127.6cms

$3,000—5,000

149BERTHE DES CLAYESSAWMILL - OTTAWA RIVER

oil on canvassigned 18 ins x 24 ins; 45.7 cms x 61 cms

Provenance: Antoine’s Art Gallery Inc., MontrealGalerie Walter Klinkhoff Inc., MontrealPrivate Collection, Ontario

$4,000—6,000

150CHARLES-ERNEST DE BELLE,A.R.C.A.GATHERING DAISIES

pastelsigned with monogramme20 ins x 24.5 ins; 50.8 cms x 62.2 cms

Exhibited: 43rd Spring Exhibition, Art Association ofMontreal, 1926, no.36, as The Daisy.

Literature: Evelyn de R. McMann, Montreal Museumof Fine Arts, formerly Art Association ofMontreal, Spring Exhibitions 1880-1970,page 28.

$3,000—4,000

81


151ALAN CASWELL COLLIER, O.S.A.,R.C.A.RHYTHM OF FLYING CLOUDS,FLETCHER LAKE, BC, ON THECHILCOTIN PLATEAU

oil on canvassigned24 ins x 36 ins; 61 cms x 91.4 cms


$6,000—8,000

152ROBERT WAKEHAM PILOT,P.R.C.A.STREET IN PERCE, QC

oil on boardsigned12 ins x 17 ins; 30.5 cms x 43.2 cms

$6,000—8,000

153JOHN DOUGLAS LAWLEYSABLE ISLAND

oil on canvas boardsigned20 ins x 24 ins; 50.8 cms x 61 cms

$3,000—5,000

82


154MARC-AURELE FORTIN, A.R.C.A.STE-ROSE

watercolour13.5 ins x 17 ins; 34.3 cms x 43.2 cms

Provenance: Galerie Port-Royal, MontrealPrivate Collection, Montreal

$2,000—3,000

155TED GODWINWILD RICE, LILY PADS ANDSUMMER BREEZES

oil on canvassigned and titled on the stretcher57 ins x 45 ins; 144.8 cms x 114.3 cms



$7,000—9,000

156FREDERICK STANLEY HAINES,O.S.A., P.R.C.A.PINE TREES ON THESHORELINE

oil on masonitesigned20 ins x 26 ins; 50.8 cms x 66 cms

$4,000—5,000

83


157JOHN WILLIAM BEATTY, O.S.A.,R.C.A.SUMMER LANDSCAPE

oil on panelsigned8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

$3,000—4,000

158ALFRED LALIBERTELE TONNELLIER

bronzesigned and titled on the baseheight 15.5 ins; 39.4 cms

$4,000—6,000

159JULIAN RUGGLES SEAVEY, O.S.A.COUNTRY LIVING, ONTARIO

oil on canvassigned12.25 ins x 18.25 ins; 31.1 cms x 46.4 cms

Note: Seavey emigrated to Canada from Bostonhaving studied art in New York, Paris andRome. He was Head of Art Department ofthe Hamilton Normal School and exertedconsiderable influence over the culturalgrowth of the city during the first quarterof the 20th century.

$2,000—3,000

84


160ARMAND TATOSSIAN, R.C.A.VUE DE MONT ROYAL

oil on canvassigned; signed and titled on the reverse36 ins x 48 ins; 91.4 cms x 121.9 cms

$5,000—7,000

161JOHN KASYN, O.S.A.BACK OF DENNISON AVE, 1979

oil on masonitesigned; signed, titled and dated on thereverse15 ins x 11 ins; 38.1 cms x 27.9 cms

$4,000—5,000

162CLARK HOLMES MCDOUGALLREILLEY’S HOUSE, DRAYTON,OCTOBER ‘56

oil on masonitesigned; titled on a label on the reverse24 ins x 32 ins; 61 cms x 81.3 cms

Exhibited: Clark McDougall Paintings Since 1953,Vancouver Art Gallery, n.d., cat.no.5.

$800—1,200

85


163LUC DESCHAMPSLA PAUSE AU POLE

oil on boardsigned; signed and titled on the reverse16 ins x 24 ins; 40.6 cms x 61 cms

$1,000—1,500

164MANLY EDWARD MACDONALD,R.C.A.AUTUMN IN BELLEVILLE

oil on canvassigned24 ins x 30 ins; 61 cms x 76.2 cms

$4,000—6,000

165DONALD MACKAY HOUSTOUN,R.C.A.SUDDEN CLEARING, GRANDVALLEY

oil on canvassigned; signed and titled “SuddenClearing, G.V.” on the reverse of theframe24 ins x 28 ins; 61 cms x 71.1 cms


$1,200—1,500

86


166FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A.TWO MINIATURE LANDSCAPES:TAKAKA FALLS, YOHO VALLEYAND MOUNT FITZWILLIAM,YELLOWHEAD PASS, B.C.

both oils on boardboth signed with initials, contained in asingle frameeach 3 ins x 2.25 ins; 7.6 cms x 5.7 cms

$1,500—2,500

167ARMAND TATOSSIAN, R.C.A.VITRINE

oil on canvassigned; titled on the reverse12 ins x 16 ins; 30.5 cms x 40.6 cms

$1,500—1,800

168RENE RICHARDPARC DES LAURENTIDES

oil on masonitesigned13 ins x 15 ins; 33 cms x 38.1 cms

$2,000—3,000

87


169HORTENSE MATTICE GORDON,R.C.A.UNTITLED


$5,000—7,000

170DAVID BIERKQUIET STREAM / VERMONTSUMMER, 1990

oil on photographs on canvas15.75 ins x 24.75 ins; 40 cms x 62.9 cms

Provenance: Bess Cutler Gallery, New York, N.Y.Private Collection, New York, N.Y.

$4,000—6,000

171DORIS JEAN MCCARTHY, O.S.A.,R.C.A.KILLARNEY, ONT. CAMP, BAIEFINN, 1939

oil on boardsigned, titled and dated on the reverse11.5 ins x 13.5 ins; 29.2 cms x 34.3 cms

$2,500—3,500

88


172FRANK HANS JOHNSTON, O.S.A.,A.R.C.A.POOLS OF SILENCE

oil on boardsignedsigned and titled on the reverse9.75 ins x 7.75 ins; 24.8 cms x 19.7 cms


$3,000—4,000

173HENRI LEOPOLD MASSONPAYSAGE D’UNE FORET


$2,000—3,000

174WILLIAM GOODRIDGEROBERTS, R.C.A.BEFORE RAIN, 1949

oil on canvassigned, titled and dated on the gallerylabel21.25 ins x 26.25 ins; 54 cms x 66.7 cms

Provenance: Dominion Gallery, Montreal

$4,000—5,000

89


175GEORGE FRANKLIN ARBUCKLE,O.S.A., P.R.C.A.ILE D’ORLEANS

oil on masonitesigned; signed, titled and dated ‘80 onthe reverse12 ins x 16 ins; 30.5 cms x 40.6 cms

$900—1,200

176RALPH WALLACE BURTONOTTAWA STREET SCENE WITHZELIKOVITZ BROTHERSWHOLESALE FRUITS,FEBRUARY 1964

oil on panelsigned; signed and dated on the reverse10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms

Note: On the reverse of this painting isinscribed: “Sketched near the corner ofDalhousie and Boteler Sts looking west onBoteler St toward Hull, Que. FlorencePaper Co Ltd. is in high brick building toleft of sketch.”

$600—800

177HILTON MACDONALD HASSELL,O.S.A., R.C.A.BREATH OF SPRING (NEAROAKVILLE)

oil on boardsigned; titled on the artist’s label on thereverse 20 ins x 26 ins; 50.8 cms x 66 cms

$2,000—2,500

90


178PETER CLAPHAM SHEPPARD,O.S.A., R.C.A.SUMMER, PROSPECT LAKE,MUSKOKA


Provenance: Estate of the artist

Painted circa 1928.

$4,000—6,000

179WILLIAM GOODRIDGEROBERTS, R.C.A.NEAR ST AGATHA

oil on masonitesigned; titled and inscribed “To Joan,Christmas ‘65” and “c. 1949” on thereverse18 ins x 24 ins; 45.7 cms x 61 cms

Provenance: Gallery One, Toronto

$4,000—5,000

180PELEG FRANKLIN BROWNELL,O.S.A., R.C.A.AUTUMN, MEACHE LAKE


$3,000—4,000

91


181STANLEY MOREL COSGROVE,R.C.A.SOUS BOIS


Provenance: Dominion Gallery, Montreal

$4,000—5,000

182ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.VERRE HARBOUR, HOLLAND

oil on boardmounted on board7.25 ins x 9.25 ins; 18.4 cms x 23.5 cms

$5,000—7,000

183RONALD WILLIAM BOLT, P.R.C.A.COASTAL VIOLENCE SERIES #3

acrylic on canvassigned, titled and dated 1981 on thereverse44 ins x 66 ins; 111.8 cms x 167.6 cms

Provenance: Beckett Gallery, TorontoGallery Moos, Toronto

$5,000—7,000

92


184KENNETH CAMPBELLLOCHHEADLOGGING

oil on canvassigned and dated ‘4520 ins x 26 ins; 50.8 cms x 66 cms

$7,000—10,000

185RENE RICHARDHAUTEUR DE BAIE-ST. PAUL

oil on panelsigned; titled on the reverse18 ins x 24 ins; 45.7 cms x 61 cms


$5,000—7,000

186CHARLES FRASER COMFORT,O.S.A., P.R.C.A.BACK ROAD TO CORMAC

oil on canvassigned; titled on two labels on the reverse20 ins x 26 ins; 50.8 cms x 66 cms

Provenance: Wallack Galleries, OttawaPrivate Collection, Ottawa

$5,000—7,000

93


187LAURA ADELINE MUNTZ, O.S.A., A.R.C.A.STILL LIFE WITH FLOWERS


$6,000—8,000

188LAURA ADELINE MUNTZ, O.S.A., A.R.C.A.WHITE BONNET AND STRAW HAT - ADOUBLE PORTRAIT OF TWO YOUNGGIRLS

oil on canvassigned21 ins x 18.5 ins; 53.3 cms x 47 cms


$12,000—18,000

94


189JOSEPH JULIUS HUMMEA GROUP OF THREE OILPAINTINGS DEPICTINGHUNTING AND FISHING SCENES

oils on canvaseach signed with the artist’s monogrammeeach approximately 11.5 ins x 17.75 ins;29.2 cms x 45.1 cms

$3,000—5,000

190FREDERICK SIMPSON COBURN,R.C.A.A COLLECTION OF FOURQUEBEC SCENES

coloured pencilseach signed, the first titled “HamMountain”; the third dated “Sept 41”; thefourth inscribed “signed for Philip Feb 1st,1959 - Upper Melbourne Quebec by Mr.Coburn” on the reverse8 ins x 11.5 ins; 20.3 cms x 29.2 cms; 7ins x 8.5 ins; 17.8 cms x 21.6 cms; 6.5 insx 8.5 ins; 16.5 cms x 21.6 cms; 6.5 ins x8.5 ins; 16.5 cms x 21.6 cms

$1,200—1,500

95


191FREDERIC MARLETT BELL-SMITH, O.S.A.,R.C.A.THE CRICKET MATCH

watercoloursigned and dated ‘79, sold together with a copy of RogerBoulet’s exhibition catalogue to the 1978 travellingretrospective of the artist, Frederic Marlett Bell-Smith (1846-1923)9 ins x 12.75 ins; 22.9 cms x 32.4 cms

$3,000—5,000

192DAVID BROWN MILNEHILLTOP (PAINTING PLACE)

drypoint etching printed in two colourssigned with initials in the plate, also signed in pencil in thelower margin, unframedsheet 10.5 ins x 8.5 ins; 26.7 cms x 21.6 cms

Provenance: Private Collection, California

Note: In the mid 1920s, Milne had become unhappy with hiswatercolours and ceased using this medium for a period. Hewrote to his close friend James Clarke suggesting etching beused “as a running mate for oil and successor ofwatercolour.”

In March of 1931, Milne began work on an etching based onhis oil paintings known as Painting Place (various versions)for a book collection quarterly The Colophon founded in1929. Each issue of the quarterly would include an originalwork of art and Milne was engaged to produce over 2000etchings for inclusion in a forthcoming issue. The work waslaborious and daunting; Milne could only produce about 40prints per session. Deadlines came and passed. For his effort,he was paid $400.

$1,000—1,500

193JEREMY SMITHPINE TREE

pencilsigned with initials8.5 ins x 8.5 ins; 21.5 cms x 21.5 cms

Note: Executed in 1994.

$300—500

96


A

Alexander, David (B. 1947)…10

Arbuckle, George Franklin (1909-2001)…175

B

Bates, Maxwell Bennett (1906-1980)...95

Beament, Thomas Harold (1898-1984)...12

Beatty, John William (1869-1941)...143, 157

Beder, Jack (1909-1987)…7, 21

Bell-Smith, Frederic Marlett (1846-

1923)...139, 140, 166, 191

Bellefleur, Leon (1910-2007)…134

Bertin, Pierre Paul (1962-2006)…9

Bieler, Andre Charles (1896-1989)…5

Bierk, David (1944-2002)...170

Binning, Bertram Charles (1909-1976)…65

Blackwood, David Lloyd (b. 1941)...6, 114, 115

Bobak, Molly Lamb (b. 1922)…92

Bolt, Ronald William (b. 1938)…183

Bouchard, George Lorne Holland (1913-

1978)…80

Brandtner, Fritz (1896-1969)…64, 133

Brownell, Peleg Franklin (1857-1946)…180

Burton, Ralph Wallace (1905-1983)...176

Bush, Jack Hamilton (1909-1977)…66

C

Canadian School, 19th Century…58

Carmichael, Franklin (1890-1945)...61

Casson, Alfred Joseph (1898-1992)...35, 43,

56, 62, 70, 84

Clark, John (1943-1989)…101

Coburn, Frederick Simpson (1871-1960)...190

Collier, Alan Caswell (1911-1990)…147, 151

Colville, David Alexander (1920-2013)…49

Comfort, Charles Fraser (1900-1994)...186

Cosgrove, Stanley Morel (1911-2002)...142,

181

D

Daley, Cathy (b. 1955)…17

Daudelin, Charles (1920-2001)…18

de Belle, Charles-Ernest (1873-1939)...150

Des Clayes, Berthe (1877-1968)...149

Deschamps, Luc (b. 1961)…163

E

Eloul, Kosso (1920-1995)…16, 99, 100

Etrog, Sorel (b. 1933)...67

Ewen, William Paterson (1925-2002)…28

F

Fairley, Barker (1887-1986)...13

Ferron, Marcelle (1924-2001)…126

Fortin, Marc-Aurele (1888-1970)...45, 86,

154

Fowler, Graham (b. 1952)…15

Franck, Albert Jacques (1899-1973)…144

Friend, Washington F. (c.1820-1886)…57, 141

G

Gagnon, Clarence Alphonse (1881-1942)…

105

Gendron, Pierre (b. 1934)…63

Gervais, Lise (1933-1998)…19

Glyde, Henry George (1906-1998)…81

Godwin, Ted (1933-2013)…155

Gordon, Hortense Mattice (1889-1961)...89,

128, 169

Gorlitz, Will (b. 1952)…75

H

Haines, Frederick Stanley (1879-1960)...156

Harrison, Ted (b. 1926)…98

Hassell, Hilton MacDonald (1910-1980)…177

Hewton, Randolph Stanley (1888-1960)…90

Houstoun, Donald Mackay (1916-2004)…

165

Hudon, Normand (1929-1997)...96

Humme, Joseph Julius (1825-1889)…189

Humphrey, Jack Weldon (1901-1967)...129

Hurtubise, Jacques (b. 1939)…127

I

Iskowitz, Gershon (1921-1988)...91

J

Jackson, Alexander Young (1882-1974)...29,

34, 36, 54, 69, 77, 79, 107, 182

Janvier, Alex (b. 1935)…125

Johnston, Frank Hans (1888-1949)...33, 42,

72, 82, 103, 106, 172

K

Kasyn, John (1926-2008)...108, 161

Krieghoff, Cornelius (1815-1872)...37, 39, 60

Kurelek, William (1927-1977)...73, 74

L

Laliberte, Alfred (1878-1953)…158

Laliberte, Norman (b. 1925)…132

Lawley, John Douglas (1906-1970)…153

Lemieux, Jean-Paul (1904-1990)…46

Lewis, Maud (1903-1970)...110, 111

Lismer, Arthur (1885-1969)…55

Index

97


Lochhead, Kenneth Campbell (1926-

2006)...184

M

MacDonald, James Edward Hervey (1873-

1932)...40

MacDonald, Manly Edward (1889-1971)...88,

164

Maltais, Marcelle (b. 1933)…130

Masson, Henri Leopold (1907-1996)…173

McCarthy, Doris Jean (1910-2010)...171

McDougall, Clark Holmes (1921-1980)…124,

162

McEwen, Jean Albert (1923-1999)…47, 68

McLaughlin, Isabel (1903-2002)…3

Milne, David Brown (1882-1953)…85, 192

Mount, Rita (1888-1967)…102

Morris, Kathleen Moir (1893-1986)...41, 76

Muhlstock, Louis (1904-2001)...146

Muntz, Laura Adeline (1860-1930)...187, 188

N

Nakamura, Kazuo (1926-2002)…31, 117

Nichols, Jack (1921-2009)…148

Norwell, Graham Noble (1901-1967)…1

P

Pellan, Alfred (1906-1988)...131

Perehudoff, William (b. 1918)...25

Phillips, Walter Joseph (1884-1963)...87

Pilot, Robert Wakeham (1898-1967)...71, 152

Plaskett, Joseph Francis (b. 1918)…122, 145

R

Reid, George Agnew (1860-1947)...38

Reid, Mary Hiester (1854-1921)…2

Reppen, Jack (1933-1964)...4, 8, 14

Richard, Rene (1895-1982)...168, 185

Riopelle, Jean-Paul (1923-2002)…26, 113

Roberts, William Goodridge (1904-

1974)...104, 174, 179

Ronald, William (1926-1998)...22, 53, 93, 112

Rotter, Peter…11

S

Savage, Anne Douglas (1896-1971)...83

Scherman, Tony (b. 1950)...48

Seavey, Juilian Ruggles (1857-1940)…159

Shadbolt, Jack Leonard (1909-1998)...135

Sheppard, Peter Clapham (1882-1965)…178

Smith, Gord (b. 1937)…123

Smith, Jeremy (b. 1946)…193

Smith, Marjorie (Jori) Elizabeth Thurston

(1907-2005)…94

Surrey, Philip Henry Howard (1910-1990)…

109

Suzor-Cote, Marc-Aurele de Foy (1869-

1937)...44, 78

T

Tatossian, Armand (b. 1948)…160, 167

Teitelbaum, Mashel Alexander (1921-1985)…

116, 118

Thauberger, David (b. 1948)…121

Tousignant, Claude (b.1932)...24, 119, 120

Town, Harold Barling (1924-1990)...23, 50,

51, 52

U

Urquhart, Anthony (Tony) Morse (b. 1934)…

27

V

Vale, Florence Gertrude (1909-2003)…20,

97

Verner, Frederick Arthur (1836-1928)...136,

137, 138

W

Watson, Homer Ransford (1855-1936)…59

Y

Yarwood, Walter (1917-1996)…30, 32

98


All lots will be offered andsold subject to theConditions of Sale whichappear in this catalogue aswell as any Glossary andposted or oralannouncement. By bidding atauction, bidders are boundby those Conditions andGlossary, as amended by anyoral announcement or postednotices, which together formthe contract of sale betweenthe successful bidder (buyer),Waddington’s™ and theconsignor (seller) of the lot.Descriptions or photographsof lots are not warranties andeach lot is sold “as is” inaccordance with theConditions of Sale.

Condition of LotsAll of the items are to beconsidered, unless otherwisenoted in the description, ingood condition. Thedefinition of “good” whenused in reference tocondition, describes an objectas having had no majordamage or repair but as withthe nature of the material,may show minorsurface wear, discolourationetc., which indicates theacceptable wear that thepiece may acquire with age.If you are particular aboutminor flaws, you shouldexamine the pieces in personor have our staff answer anyquestions before bidding.Sizes are approximate. It isthe soleresponsibility of the bidder to

inquire as to the condition ofa lot before bidding.Condition reports areavailable upon request byphone, fax, email or inperson. You are advised tomake any requests well inadvance of the sale.

Frames on artwork are notincluded as part of purchaseor condition.

Buyers PremiumA premium of 18% of thesuccessful bid price of eachlot up to and including$50,000 and 15% on anyamount in excess of $50,000is paid by the buyer as partof the total purchase price.

Artfact Live! clients will becharged a buyer's premium of23% of the successful bidprice of each lot up to andincluding $50,000 and 18%on any amount in excess of$50,000 as part of the totalpurchase price.

A charge of 13% HST(Harmonized Sales Tax) isapplicable on the hammerprice and buyer's premium,except for purchasesexported from Canada. Inthe case where purchases areshipped out of the provinceof Ontario, the HST or GST ischarged based on the taxstatus of that province.

BiddingTo bid in person at theauction, you must register fora bidding number by showingidentification acceptable tothe Auctioneer upon enteringthe salesroom. Your numberwill identify you if you arethe successful bidder. You willbe responsible for all lotspurchased on your biddingnumber. Banking informationmay be requested byWaddington’s™. You maysubmit an Absentee Bid Formif you are unable to attendthe sale. Bidding bytelephone, in limitedcircumstances, can bearranged prior to the sale.While we are pleased to offerabsentee and telephonebidding as a service to ourclients, and take great care intheir commission, theAuctioneer will not beresponsible for technicaldifficulties, errors or failure toexecute bids. The Auctioneermay also execute bids onbehalf of the consignor toprotect the reserve. Thereserve is the confidentialminimum price the seller iswilling to accept for his orher property, below which itwill not be sold.

Absentee BiddersAll absentee and phonebidders are required tocontact our offices at 416-504-9100 to confirmwhether they have beensuccessful.

PaymentPayment for purchases mustbe by cash, INTERAC directdebit (Cdn clients in persononly), certified cheque (U.S.& Overseas not applicable),travelers cheque, bank draft,electronic transfer (feeapplies), VISA or Mastercard(up to $25,000). AsWaddington's requireswritten authorization for allcredit card purchases, creditcards must be presented inperson by the cardholder andtherefore cannot be acceptedover the telephone. However,fax authorizationarrangements can be made.

ALL PRICES IN CANADIAN FUNDS

Buying atWaddington’s

99


Shipping:The Auctioneers will notundertake packing orshipping. The purchaser mustdesignate and arrange for theservices of an independentshipper and be responsiblefor all shipping, insuranceexpenses and any necessaryexport permits that mayapply. The Auctioneers will,upon request, provide namesof professional packers andshippers but will not be heldresponsible for the service orhave any liability forproviding thisinformation. Reliable pre-auction estimates of shippingcosts of lots offered in thissale may be obtained from:

Pak Mail905.470.6874905.470.6875 [email protected]

Removal of PurchasesPurchases must be paid forwithin 48 hours of the dateof the sale, and removedfrom premises within 10 daysof the date of sale (seeConditions of Sale, conditions8 to 15). Clients are advisedthat packing and/or handlingof purchased lots by ouremployees or agents isundertaken solely as acourtesy for the convenienceof clients.

Paintings, drawings, prints,furniture, jewellery and allforms of decorative arts andcollectibles may be broughtto our Toronto office wherewe can provide you withpreliminary auction estimatesand consignment procedures.Please visit our website atwww.waddingtons.ca fordetails on our variousdepartments and how tocontact the specialists. Wealso accept mailed andemailed requests for adviceon the marketability ofobjects. A photograph andphone number mustaccompany a full descriptionof each item.

Our specialists regularlytravel to major Canadiancities to meet withprospective consignors. Forfurther information, or toarrange an appointment,please contact our Torontooffice.

Property normally arrives atWaddington’s™ at least threemonths before the sale inorder to allow our specialiststime to research, catalogue,photographand promote the items.Consignors will receive acontract to sign, setting forthterms andfees for our services.

Commission RatesItems selling for $7,501 or more 10%

Items selling for $2,501 to $7,500 15%

Items selling for $251 to $2,500 20%

Items selling for $250 or less 25%

*There is a minimum handlingcharge of $20 per item

InsuranceA 1% insurance charge,based on the hammer priceof the property, will beapplied to allaccounts.

Restrictions exist regardingthe export of speciesprotected under CITES(Convention on InternationalTrade in EndangeredSpecies).

The export and importationof items made of orcontaining whalebone, ivory,tortoise shell, seal skin,rhinoceros horn and otheranimal parts is strictlycontrolled or forbidden bymost countries. Please reviewyour country’s laws beforeshipping or purchasing piecesmade of or containing theserestricted items. Obtainingthe appropriate permits is theresponsibility of the client.

All Narwhal Tusks must havea Marine Harvest Number ora Marine and MammalTransport number to be soldat Waddington's.

For more information pleasevisit: www.cites.org

Notice for ourInternationalClients

Selling at Waddington’s

100


1. All lots are sold “AS IS”. Anydescription issued by theauctioneer of an article to besold is subject to variation to beposted or announced verbally inthe auction room prior to thetime of sale. While the auctioneerhas endeavoured not to misleadin the description issued, and theutmost care is taken to ensurethe correct cataloguing of eachitem, such descriptions are purelystatements of opinion and arenot intended to constitute arepresentation to the prospectivepurchasers and no warranty ofthe correctness of suchdescription is made. Anopportunity for inspection ofeach article is offered prior to thetime of sale. No sale will be setaside on account of lack ofcorrespondence of the articlewith its description or itsreproduction, if any, whethercolour or black & white. Somelots are of an age and/or naturewhich preclude their being inpristine condition and somecatalogue descriptions makereference to damage and/orrestoration. The lack of sucha reference does not imply that alot is free from defects nor doesany reference to certain defectsimply the absence of others.Frames on artwork are notincluded as part of purchase orcondition. It is the responsibilityof prospective purchasers toinspect or have inspected eachlot upon which they wish to bid,relying upon their own advisers,and to bid accordingly.

2. Each lot sold is subject to apremium of 18% of thesuccessful bid price.

3. Unless exempted by law, thebuyer is required to payHarmonized Sales Tax on thetotal purchase price including thebuyer’s premium. Forinternational buyers, taxes arenot applicable whenpurchases are shipped out ofcountry. Items shipped out ofOntario, the buyer is required topay taxes as per the tax status ofthat province, whether it HST orGST (Goods and Services Tax).

4. The auctioneer reserves theright to withdraw any lot from

sale at any time, to divide any lotor to combine any two or morelots at his sole discretion, allwithout notice.

5. The auctioneer has the right torefuse any bid and to advancethe bidding at his absolutediscretion. The auctioneerreserves the right not to acceptand not to reject any bid.Without limitation, any bid whichis not commensurate with thevalue of the article offered, orwhich is merely a nominal orfractional advance over theprevious bid may not berecognized.

6. Each lot may be subject to anunpublished reserve which maybe changed at any time byagreement between theauctioneer and the consignor.The auctioneer may bid, or directan employee to bid, on behalf ofthe consignor as agreed betweenthem. In addition, the auctioneermay accept and submit absenteeand telephone bids, to beexecuted by an employee of theauctioneer, pursuant to theinstructions of prospectivepurchasers not in attendance atthe sale.

7. The highest bidder accepted bythe auctioneer for any lot shall bethe buyer and such buyer shallforthwith assume full risk andresponsibility for the lot and mustcomply with such otherConditions of Sale as may beapplicable. If any dispute shouldarise between bidders theauctioneer shall have theabsolute discretion to designatethe buyer or, at his option, towithdraw any disputed lot fromthe sale, or to re-offer it at thesame or a subsequent sale. Theauctioneer’s decision in all casesshall be final.

8. Immediately after thepurchase of a lot, the buyer shallpay or undertake to thesatisfaction of theauctioneer with respect topayment of the whole or anypart of the purchase pricerequested by the auctioneer,failing which the auctioneer in hissole discretion may cancel thesale, with or without

re-offering the item for sale.

9. The buyer shall pay for all lotswithin 48 hours from the date ofthe sale, after which a latecharge of 2% per month on thetotal invoice may be incurred orthe auctioneer, in his solediscretion, may cancel the sale.The buyer shall not become theowner of the lot until paidfor in full. Items must beremoved within 10 days from thedate of sale , after which storagecharges may be incurred.

10. Each lot purchased, unlessthe sale is cancelled as above,shall be held by the auctioneer athis premises or at a publicwarehouse at the sole risk of thebuyer until fully paid for andtaken away.

11. Notwithstanding condition no. 1, if the buyer, prior toremoval of a lot, makesarrangements satisfactory to theauctioneer for the inspection ofsuch lot by a fully qualifiedperson acceptable to theauctioneer to determine thegenuineness or authenticity ofthe lot, to be carried outpromptly following the sale ofthe lot, and if, but only if, withina period of 14 days following thesale a written opinion of suchperson is presented to theauctioneer to the effect that thelot is not genuine orauthentic, accompanied by awritten request by the buyer forrescission of the sale,then the sale of the lot will berescinded and the sale pricerefunded to the buyer.

12. Payment for purchases mustbe by cash, INTERAC direct debit(Cdn clients in persononly), certified cheque (U.S. &Overseas not applicable),travelers cheque, bankdraft, electronic transfer (feeapplies), and VISA or Mastercard(up to $25,000). AsWaddington's requires writtenauthorization for all credit cardpurchases, credit cards must bepresented in person by thecardholder and therefore cannotbe accepted over the telephone.However, fax authorizationarrangements can be made.

13. In the event of failure to payfor or remove articles within theaforementioned time limit, theauctioneer, without limitation ofthe rights of the consignor andthe auctioneer against the buyer,may resell any of the articlesaffected, and in such casethe original buyer shall beresponsible to the auctioneer andthe consignor for:

(a) any deficiency in pricebetween the re-sale amount andthe amount to have been paid bythe original buyer;

(b) any reasonable charge by theauctioneer for the storage ofsuch articles until payment andremoval by the subsequentbuyer; and

(c) the amount of commissionwhich the auctioneer would haveearned had payment been madein full by the original buyer.

14. It is the responsibility of thebuyer to make all arrangementsfor insuring, packing andremoving the property purchasedand any assistance by theauctioneer or his servants, agentsor contractors, in packing orremoval shall be rendered as acourtesy and without any liabilityto them.

15. The auctioneer acts solely asagent for the consignor andmakes no representation as toany attribute of, title to, orrestriction affecting the articlesconsigned for sale. Withoutlimitation, the buyer understandsthat any item bought may beaffected by the provisions of theCultural Property Export Act(Canada).

16. The auctioneer reserves theright to refuse admission to thesale or to refuse to recognize anyor all bids from any particularperson or persons at any auction.

Conditions Of Sale

101


Asian Art

Anthony Wu416 847 [email protected]

Yvonne Li416 847 [email protected]

Canadian Fine Art

Linda Rodeck416 847 [email protected]

Kristin Vance416 504 [email protected]

Kathleen [email protected]

Contemporary Art

Stephen Ranger416 847 [email protected]

International Art

Susan Robertson416 847 [email protected]

Emma [email protected]

Inuit Art

Christa Ouimet416 847 [email protected]

Jewellery, Watches &Numismatics

Don P. McLean416 847 [email protected]

Monthly Fine Art

Doug Payne416 847 [email protected]

Silver, Glass & Ceramics

Bill Kime416 847 [email protected]

Shasha [email protected]

Sculpture, Decorations, Clocks & Lighting

Sean Quinn416 847 [email protected]

PresidentDuncan McLean416 847 [email protected]

Vice President Business DevelopmentStephen Ranger416 847 [email protected]

Vice President Fine ArtLinda Rodeck416 847 [email protected]

General ManagerDuane Smith416 847 [email protected]

Creative & Technical ManagerJamie Long416 847 [email protected]

Queeny [email protected]

Accounts ManagerKaren Sander416 847 [email protected]

Ellda Pappada416 504 9100 [email protected]

Corporate ReceptionistKate Godin416 504 [email protected]

Appraisal Co-ordinatorEllie Muir416 847 [email protected]

Building ManagerSteve Sheppard416 847 [email protected]

Client ServicesAndrew Brandt416 504 9100 ext [email protected]

Waddingtons.ca/Cobourg

9 Elgin Street East, Cobourg ON K9A 0A1

General ManagerPaul Needham 905 373 [email protected]

Absentee and Phone Bidding905 373 1467 (Fax)

Waddingtons.ca/Collingwood

P. O. Box 554, Collingwood ON L9Y 4B2

Valerie Brown705 445 [email protected]

Transitions.Waddingtons.ca

Marcia Kim416 847 [email protected]

SpecialistDepartments

Operational Staff

Canadian Fine Art

Waddingtons.ca

275 King Street East, Second FloorToronto Ontario Canada M5A 1K2

Telephone: 416.504.5100 Fax: 416.504.6971 Toll Free: 1.877.504.5700

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