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Canadian Fine Art Auction Monday 24 November 2014 Waddingtons.ca

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Page 1: Canadian Fine Art Auction

Canadian Fine ArtAuctionMonday 24 November 2014

Waddingtons.ca

Page 2: Canadian Fine Art Auction
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Canadian Art AuctionMonday 24 November 2014at 7:00 pm

On ViewSaturday 22 November 2014 from 11:00 am to 5:00 pmSunday 23 November 2014 from 11:00 am to 5:00 pmMonday 24 November 2014 from 10:00 am to 12 Noon

Select lots may be viewed otherwise by appointment.

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 CanadianArt.Waddingtons.ca

Waddingtons.ca

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All lots in the auction may be viewedonline at CanadianArt.Waddingtons.ca

This catalogue and its contents © 2014 Waddington McLean & Company Ltd.

All rights reserved. Photography by Waddington’s

Front CoverLot 59 LAWREN STEWART HARRIS BATCHAWANA

Inside Cover Lot 10 MARCELLE FERRON, R.C.A. SANS TITRE

Title PageLot 55 SYBIL ANDREWS SPEEDWAY, 1934

Inside Back CoverLot 53 JOHN GRAHAM COUGHTRY TWO FIGURE SERIES XIX, 1964

Back CoverLot 46 SOREL ETROG, R.C.A. HARBOUR AT NIGHT, 1953-4

SpecialistLinda Rodeck [email protected]

Condition ReportsEileen Reilly [email protected]

Fine Art AdministratorErin Rutherford [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

CommunicationsTess McLean416 504 [email protected]

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It always feels like a steep, steep climb when we embark upon the consignmentgathering process at the start of each auction season. While the AccountsDepartment busies itself sending out invoices and tallying up the revenue fromthe last sale (this spring the total was in excess of $6 million), the SpecialistDepartment can spend more than a few sleepless nights fretting about where thenext sale will come from.

This summer our climb was made easier by the delivery of our very firstconsignment to the Fall 2014 Canadian Art auction: the exquisite sketch forJ.E.H. MacDonald’s Tracks and Traffic, 1912 (lot 58) which arrived while ourSpring sale preview was still in progress. Entrusted to us by an old friend of thefirm, the painting hung above my desk and provided The Team with enormousencouragement – particularly on those (albeit rare) days when great picturesseemed to elude us. Slowly at first and then at break-neck speed in the finalweeks leading up to deadline, works started arriving – from Halifax, fromMontreal, from Ottawa, from Calgary and Winnipeg and points in between –from the U.K. and the U.S. and the sale began to take shape.

Over the years, we’ve come to understand that each sale seems to develop its ownpersonality. Some are docile, some unruly, some sprightly, some even ungainly(many of you will remember the 450+ lot sales of old!). This sale, we all agree,has been a joy, and we will be sorry to part with works that have been ourprivilege to research and discuss these past few months. For Erin Rutherford itwill be hard to part with the captivating rhythm of Ray Mead's Image No. 10 andthe fervent passion of Marcelle Ferron's Sans Titre; Eileen Reilly was drawn toJoseph Plaskett's Dans le parc, Paris and Lawren Harris' Batchawana; I, too, havemy favorites but curiously they change as the sale evolves and the result has beenthat, for this sale, there are too many for me to feel as though I can single out justone or two: the Verner Indian encampment? The Etrog Painted Construction?Coughtry’s Two Figures XIX from 1964? The Shadbolt Vancouver street scene? Ifind it impossible to decide. And hopefully you, too, will find something in the170 lots we have been entrusted with that will whisper your name, draw you inand compel you to commit.

This sale has been assembled without strict adherence to dollar value, althoughthe catalogue sales we produce admittedly represent the high end of the market,with more modestly priced works appearing in our regular online auctions.However, we have been quite resolved to offer high-quality works in a selection ofperiods, media, subjects and artists, regardless of price, which should make thesale accessible to all levels of collector.

As always for those of you who will visit us in person, we look forward towelcoming you to Waddington’s. For those of you who cannot travel to Toronto,we hope we can help you in other ways that will bring the joy of collecting greatCanadian art closer to you, if not right into your home. We look forward to beingof service.

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

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Leadership Team

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

Duncan McLean, President, is Waddington’scorporate leader, responsible for strategicdevelopment and innovation realization. Under hisdirection Waddington’s strives to not onlycontinuously evolve to meet the needs of ourclients and address the demands of the market, butto push the boundaries, with integrity, creativityand passion.

Mr. McLean has been involved in the auctionindustry for 35 years, as art specialist, appraiser,auctioneer and corporate leader. His knowledgebase spans the diversity of Waddington’s offerings,with internationally-recognized expertise in InuitArt.

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 diverseexperience as an auctioneer, appraiser andconsultant in the art auction industry with specificexpertise in Canadian Fine Art.

Linda Rodeck, Vice President Fine Art, is one ofCanada’s most trusted and respected Canadian Artspecialists. Her impressive career of 25+ yearsincludes leadership roles in the country’s mostdistinguished auction houses. Ms. Rodeck’s keenunderstanding of the market and her extensivenetwork are invaluable in her role of sourcing thebest works and providing the best service to ourclients.

As Vice President of Waddington’s Fine Art, Ms. Rodeck plays a critical role in developing newbusiness leveraging her success in the Canadian artmarket.

Waddington’s is Canada’s most diverse andsignificant provider of fine art auction and appraisalservices. Based on a rich legacy in the industry,Waddington’s actively seeks to redefine ourbusiness 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,providing access to world markets.

Waddington’s is an innovative leader. We enjoypushing the limits, exploring new territory andcreating new partnerships. From the marathonauction of Maple Leaf Gardens, our partnershipwith the LCBO to auction fine wine, to the launchof Concrete Contemporary and our new Pop-UpGallery series, we are driven to find what’s new,what’s exciting, 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

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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 importantCanadian works, set record prices, and hasbeen an integral part of driving theCanadian art market.

Linda RodeckSenior Specialist, Canadian ArtVice President, Fine Art

Canadian Fine Art

Waddington’s is internationally recognizedas one of the leading authorities inmarketing Inuit Art. No other auctionhouse has been as intrinsically linked tothe development of a market for this artform. Inuit Art is a proud part of ourDNA. From our first landmark auction in1978 of the William Eccles Collection,Waddington’s has offered thousands ofworks, set record prices, and expanded themarket well beyond 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

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Jewellery, Watches andNumismatics

Waddington's has conducted auctions ofFine Jewellery and Numismatics for closeto three decades. Highly respectedexpertise and in-depth knowledge of bothdomestic and international markets are theanchors of the ongoing success andpopularity of our auctions.

Our auctions are composed of a widespectrum of contemporary and periodjewellery featuring examples by some ofthe most desired names in jewelleryincluding Tiffany, Cartier, Fabergé, Jensen,Yurman and Van Cleef & Arpels. Alsofeatured in our auctions are fine wrist andpocket watches, designer fashion jewelleryand all forms of numismatics includingcoins, tokens, banknotes and ancients.

Donald McLeanSenior Specialist, Jewellery, Watches andNumismatics

Waddington’s International Artdepartment presents auctions of fine artfrom around the world, offering originalworks from art centres across NorthAmerica and Europe while continuing toexpand our scope to bring our collectorsworks from Asia, South Asia, Russia andSouth America. A major element ofWaddington’s legacy, our International artauctions draw on Canada’s culturaldiversity. The combination of our expertiseand our expansive global network ensuresthe highest standards of authenticationand research.

Rare and important paintings, sculptures,prints and photographs are offered in ourlive and online auctions, attracting buyersworldwide.

Susan RobertsonSenior Specialist, International Art

International Art

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Decorative Arts at Waddington’sencompasses a broad and diverse varietyof objects and the department's clientdatabase is one of our largest.  Fromancient to modern, delicate to deadly,Waddington’s Decorative Arts departmentredefines the term, bringing much morethan traditional silverware and porcelainfigurines to market, and with remarkablesuccess.

Waddington’s reputation for developingnew markets is well represented by ourDecorative Arts department, as is ourability to present large collections –notable recent sales have includedContemporary Studio Glass, ScientificInstruments and Militaria.

The department regularly offers auctionswhich include bronzes, items of Canadianhistorical interest, ceramics, devotionalworks of art, glass, lighting, militaria,mirrors, objets de vertu, porcelain,scientific instruments, travel andexploration maps.

Bill KimeSpecialist, Decorative Arts

Sean QuinnSpecialist, Decorative Arts

Decorative Arts Concrete ContemporaryAuctions and Projects

Waddington’s launched its newest division,Concrete Contemporary Auctions andProjects in March 2012 with a vision andmandate to create a secondary market forcontemporary 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 ofcontemporary works. The auctions aretightly focused on Canadian contemporaryart since 1980 with an emphasis on mid-and late-career artists with exhibitionhistory in the private and public sphere.

An exciting initiative is the introduction ofour Pop-Up Gallery series. These short-duration single artist exhibitions offerworks by some of Canada’s mostaccomplished and influential workingartists. As well, the groundbreakingConcrete Contemporary Acquisition Fundassists museums and public galleries in theacquisition of works by artists included inthe auction. 

Led by one of Canada’s most plugged-inarts experts, Stephen Ranger, we arecommitted to exploring new ways toconnect, expand and support thecontemporary art community.

Stephen RangerSenior Specialist, Contemporary Art

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Our “Off The Wall” Art online auctions area unique opportunity to showcaseaccessible art. Drawing from ourInternational Art and Canadian Artdivisions, “Off The Wall” Art auctionsfeature paintings, prints and sculpture.

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 hasdeveloped its own diverse and extensivenetwork of clients.

Doug PayneSpecialist, Fine Art

“Off the Wall” Art

Waddington’s Asian Art department isCanada’s leader in serving the demands ofthe rapidly growing Asian marketsupported by our recognized and credibleexpertise. Our ability to achieveexceptional prices for works is based onour international reputation and networkwith the community.

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

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Waddington's is committed to workingwithin the community by contributing ourtime to charity fundraising events andappraisal clinics. We are honoured to workwith countless museums, galleries, artorganizations 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 ofcontemporary Canadian art for a publicinstitution.

We have supported:

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

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Canadian Fine ArtLots 1–170

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1HENRI LEOPOLD MASSONOFF TO SCHOOL

oil on canvassigned and dated ‘42

19 ins x 23 ins; 48.3 cms x 58.4 cms

$4,000–5,000

Provenance:Private Collection, Toronto

Literature:Marius Barbeau, Painters of Quebec (Canadian Art Series), The RyersonPress, Toronto, 1995, page 33.

Note:After a period of apprenticeship as an engraver, Henri Masson discoveredan aptitude for painting, and his best work begins to emerge around1939/40.

The rolling hills of Gatineau were Masson’s favourite subject as were, saysBarbeau, the human toil, prayers, play, past-times, and occupations of thetownsfolk. Barbeau describes Masson’s development at this time as“astonishing.”

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2MASHEL TEITELBAUMRED SKY

oil on canvassigned, titled and dated ‘80 on thereverse

14 ins x 18 ins; 35.6 cms x 45.7 cms

Provenance:Private Collection, Toronto

$1,000–1,500

3SAMUEL BORENSTEINMONTREAL - WINTER STREETSCENE, 1963

oil on boardsigned and dated ‘63; also titled anddated on the reverse

12 ins x 16 ins; 30.5 cms x 40.6 cms

Provenance:Private Collection, Ontario

Literature:Esther Trépanier, Jewish Painters ofMontreal: Witnesses of Their Time 1943-1948, Éditions de l’Homme, Montreal,2008, page 236.

Note:Borenstein studied under Sherriff Scottand John Y. Johnstone in Montreal in themid 1920s and early 1930s and associatedwith artists such as Goodridge Robertsand Fritz Brandtner, exhibiting at the ArtAssociation of Montreal with them.By the late 1940s, Borenstein had begunto develop the distinct style for which heis most known, “interpreting Montrealcityscapes and Laurentian villages withbrilliant colours, exuberant brushwork andbold composition” as exemplified by thispainting.

$8,000–10,000

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4BERTHE DES CLAYESPORTRAIT OF A YOUNG LADYSKETCHING ON A BOAT

oil on canvas, laid down on boardsigned

10 ins x 10 ins; 25.4 cms x 25.4 cms

Note:Berthe des Clayes was known for herImpressionistic portraits and landscapes. Inthis scene, a woman sits in a skiff, sketchingunderneath the blue skies of a springafternoon. Delicately rendered, the figure isintently focused – her enjoyment andconcentration visible beneath the brim of hercloche hat.

The eldest of three children, Berthe des Clayeswas sister to Alice (lot 144) and Gertrude (lot132) des Clayes.

This lot is sold together with a preparatorydrawing which was attached to the back of thispainting, signed, inscribed “V.H. Como PQ”(twice) and indistinctly dated 193?.

$4,000–5,000

5MANLY EDWARD MACDONALD,R.C.A.BRUCE’S MILL, 10 MILES NORTH OFUNIONVILLE

oil on canvassigned; titled in pencil on the overflap

24 ins x 30 ins; 61 cms x 76.2 cms

Provenance:Private Collection, Ontario

Literature:Charles Beale, Manly Edward MacDonald(1889-1971), Plumley Press, Napanee, Ontario,2010, plate no. 3, frontispiece, for a closelyrelated composition, reproduced in colour.

Note:Best-known for his depictions of the limestonemills and villages of Prince Edward County,MacDonald lived much of his life in Torontoresiding at 4 Rosedale Road and often paintedsmaller towns more proximous to Torontoincluding Unionville.

$5,000–7,000

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6WALTER JOSEPH PHILLIPS, R.C.A.SHARP’S DOCK - PENDER HARBOUR

woodcut, printed in colourssigned, titled and numbered 19/100 in pencil inthe lower margin

sight 10 ins x 14.5 ins; 25.4 cms x 36.8 cms

Literature:Roger Boulet, Walter J. Phillips, The CompleteGraphic Works, M.B. Loates Co., Markham,Ontario, 1981, page 568, for Sharp’s Dock -Pender Harbour, reproduced.

$5,000–7,000

7JACK HAMILTON BUSH, O.S.A.,A.R.C.A.CÔTE ST. ROSE

oil on canvassigned and dated ‘34

20 ins x 24 ins; 50.8 cms x 61 cms

Provenance:Private Collection, Nova Scotia (by descentthrough the family of the artist)

Literature:Dennis Reid, “Jack Bush: The Development of aCanadian Painter,” Jack Bush, McClelland andStewart, Toronto, 1984, page 12.

Note:Raised in Montreal and trained in thecommercial printing and design business there,Jack Bush moved to Toronto in 1929 andenrolled in evening classes held at the OntarioCollege of Art. The Toronto art world washeavily under the influence of the Group ofSeven and the Group would have impactedBush as it did almost all Canadian painters atthat time. Reid writes that years later Bushrecalled: “The Group of Seven, of course, werethe top boys. I still can’t get over the habit wegot into, which was to go out into the fields tomake sketches...with little pads, just like A.Y.Jackson...”

Côte St. Rose is dated to 1934, the year JackBush married his childhood friend, MontrealerMabel Teakle. The wedding took place inSeptember.

$10,000–12,000

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8HENRI LEOPOLD MASSONSPRING MOOD, RIDEAU RIVER

oil on canvassigned

27 ins x 22 ins; 68.6 cms x 55.9 cms

Provenance:Roberts Gallery Limited, Toronto

Note:Through loose and vigorous brushwork, Henri Massonconveys his affinity for the Canadian landscape. Hiscanvas is a burst of vitality and colour, exuberantlysignaling the coming of Spring.

$3,000–4,000

9JACK HAMILTON BUSH, O.S.A., A.R.C.A.ROCKY SHORELINE

oil on boardsigned and dated ‘33

8.75 ins x 10.25 ins; 22.2 cms x 26 cms

Provenance:Private Collection, Nova Scotia (by descent through thefamily of the artist)

Literature:Dennis Reid, “Jack Bush: The Development of aCanadian Painter,” Jack Bush, McClelland and Stewart,Toronto, 1984.

Note:In his chapter on Jack Bush’s development Dennis Reidwrites, “As the 30s progressed, there is some evidencein his oil sketches and small canvases that Bush wasworking to extract more force from his colour while atthe same time defining form with greater clarity.” Thislot suggests the start of a progression that would flowinto Bush’s abstract work of the 1950s and beyond.

$6,000–8,000

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10MARCELLE FERRON, R.C.A.SANS TITRE

oil on canvassigned and dated ‘61

10.5 ins x 8.5 ins; 26.7 cms x 21.6 cms

$20,000–30,000

Literature:A.K. Prakash, Independent Spirit: Early Canadian Women Artists, FireflyBooks, Richmond Hill, Ontario, 2008, page 190.

Note:Known for her trademark richly painted and vibrant compositions, Prakashdescribes Ferron’s art as a “ritual of sweeping brush strokes on canvas, atechnique emphasizing emotional response rather than rationality.” In thisparticular composition, an abundance of golden ochre sets the stage fortwists and garnishes of brilliant, pure colour. Winsor green, rose, violet anda trace of ultramarine, exemplify the passionate emotions of urgency andeuphoria.

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11ALEXANDER COLVILLE, R.C.A.A BOOK OF HOURS, LABOURS OF THE MONTH

one serigraph and twelve facsmiles contained in a handmadepresentation albumthe serigraph Hotel Maid, signed, titled, dated 1978 andnumbered 29/75 in pencil in the lower margin; twelve facsimilesof the paintings from “A Book of Hours, Labours of the Month,”each individually matted, published by the Mira Godard Gallery,Toronto and Fischer Fine Art Limited, London, 1979

overall 16 ins x 15 ins x 2.75 ins; 40.6 cms x 38.1 cms x 7 cms

Provenance:Private Collection, Toronto

Literature:David Burnett, Colville – Prints/Estampes, Department ofExternal Affairs, Arts Promotion Division, Ottawa, 1985, page18-19, for select Labour of the Month images and Hotel Maid,reproduced.

Note:In a foreword contained within this album, Colville writes aboutthe genesis of the Book of Hours project: “In 1971, someonesuggested that I do a series of paintings for reproduction in adesk diary. I decided that I would like to do twelve littlepaintings - one for each month. I wanted to continue themedieval tradition of Books of Hours and Labours of theMonths... At the beginning of the project I decided upon ageometric system which would govern the forms of each of thetwelve works and so give them a kind of unity... The originalserigraph, Hotel Maid, was also designed (using the samesystem and) was executed in the hand-cut film technique andprinted on acid free rag board. As usual I did all of this myself inmy studio.”

$9,000–12,000

12FREDERICK HORSMAN VARLEY, A.R.C.A.SLEEPING FIGURE

pencil and coloured chalkssigned; Varley Inventory no. 930

7.75 ins x 13.75 ins; 19.7 cms x 34.9 cms

Provenance:Roberts Gallery Limited, TorontoPrivate Collection, Toronto

Literature:F.H. Varley : A Centennial Exhibition, The Edmonton ArtGallery, 1981, page 165, no.189, for a related drawing entitledSleeping Figure, reproduced.

$5,000–7,000

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13PETER CLAPHAM SHEPPARD &BERNICE FENWICK MARTINA COLLECTION OF EIGHTSKETCHBOOKS

watercolour and pencilSeven small sketchbooks containing worksby P.C. Sheppard comprising over 80pages of watercolours and 65 pages ofpencil drawings; one sketchbookcontaining 4 watercolours by B.F. Martindepicting Muskoka scenes (3 titled on thereverse) and one unfinished drawing offlowers

Provenance:Private Collection, Toronto

$4,000–6,000

14WILLIAM ARMSTRONG, A.R.C.A.HUDSON BAY POST - LAKENEPICON

watercolour, laid down on card

12.25 ins x 18.5 ins; 31.1 cms x 47 cms

Provenance:Collection of Horace F. Gooderham,TorontoPrivate Collection, U.S.A.

Literature:Henry C. Campbell, Early Days on theGreat Lakes: The Art of WilliamArmstrong, McClelland and Stewart,Toronto/Montreal, 1971, page 92 for analmost identical view of the Hudson’s BayCompany post on the northwest shore ofLake Nipigon, from The CanadianIllustrated News, reproduced.

Note:Campbell writes: “Lake Nipigon was a richand profitable trading area for theHudson’s Bay Company... By Armstrong’stime (First Nations and settlers) were atpeace, but in earlier years the H.B.C. hadfortified posts (which can be seen in thiswatercolour) around the lakeshore.”

$3,500–5,000

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15GEORGE THEODORE BERTHONPORTRAIT OF JAMESLANCASTER

oil on canvassigned and dated 1844

24 ins x 18 ins; 61 cms x 45.7 cms

Provenance:Private Collection, United Kingdom

$15,000–20,000

Note:George Theodore Berthon was one of the first and most accomplished portraitpainters in mid 19th century Canada. His father, Rene Theodore Berthon was a courtpainter to Napoleon Bonaparte and his artistic skills were honed in the studio of theforemost French Neoclassical master, Jacques Louis David. These painterly practisesthe elder Berthon passed on to his son.

George Theodore furthered his study of portraiture when he emigrated from Paris toEngland in 1827. The majority of his fourteen year stay in London was devoted todeveloping a less elevated style of portrait, one that was steeped in the tradition of SirAnthony van Dyck and culminated in the elegant 18th century portraits of Sir JoshuaReynolds, Thomas Gainsborough and Sir Thomas Lawrence. He began exhibitingportraits with the prestigious Royal Academy in 1835.

The date of 1844 ascribed by the artist confirms that indeed it was executed duringhis stay in England. Berthon painted this full-length elegant portrait of a gentleman inriding livery with top hat in hand. While the identity of Berthon’s subject is limited inthis case to a name, James Lancaster, we can deduce that his status is one of a“country gentleman”. Berthon depicts him standing comfortably in what presumablyis his country estate and property.

Berthon applied his European aesthetic training and his admiration of Britishportraiture to creating imposing portraits of the more prominent members ofCanadian society. He quickly established himself as the celebrated “court painter” ofUpper Canada – Ontario – where he lived and worked in Toronto for some fifty years,1845-1891. His portraits of the city’s more prominent citizens allow us to have avisual history of the ruling Family Compact, including judges, chief justices, lieutenantgovernors, physicians, religious leaders and high-ranking military and naval officers.Berthon’s most important commissions were the portraits he created for the LawSociety of Upper Canada – still on view at Osgoode Hall.

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16WILLIAM RAPHAEL, R.C.A.HABITANT, HORSE AND SLEIGH

oil on canvas, laid down on boardsigned, framed as an oval

18.25 ins x 30.25 ins; 46.4 cms x 76.8 cms

Provenance:Private Collection, Toronto

Exhibited:Hommage à William Raphael, R.C.A.,Galerie Walter Klinkhoff, MontrealSeptember 1996, no. 22.

Literature:J. Russell Harper, Early Painters &Engravers in Canada, University of TorontoPress, Toronto, 1970, page 259.

J. Russell Harper, Painting in Canada: AHistory, University of Toronto Press,Toronto, 1977 pages 145-146.

Dennis Reid, A Concise History ofCanadian Painting, Oxford UniversityPress, Toronto, 1973, page 79.

$25,000–30,000

Note:Both Raphael and Krieghoff are renowned for their Canadian sleigh scenesand character portraits of habitants. While similar at first glance, they aresignificantly different in their handling of these subjects. Here, for example,Raphael demonstrates a freer execution of his subject than could beexpected from his younger compatriot who expressed a virtual obsessionwith detail.

Describing him as the “Pioneer Jewish Painter in Canada”, Russell Harpercredits Prussian-born Raphael together with his contemporaries AdolpheVogt and Otto Jacobi as contributing significantly to advancing landscapepainting in Canada. Together, these three artists, writes Dennis Reid “set anew direction”.

English landscape painting had exerted its influence over early Canadianlandscape artists, particularly those in Ontario. French painting at this timeheld little sway; this would come later. Unlike their American contemporariesprior to the turn of the century, few Canadians had studied art in Germanydespite the fact that, according to Harper, “the Berlin approach symbolizedall that was most effective in contemporary painting.” It was the result ofthe immigration to Canada of artists like Vogt, Jacobi and Raphael - whowas trained at the Berlin Academy- that German influences were introducedto Canadian painting.

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17NICHOLAS DE GRANDMAISONPAPOOSE IN PIGTAILS

pastelsigned

11 ins x 8.75 ins; 27.9 cms x 22.2 cms

Provenance:Private Collection, Oakville

Note:De Grandmaison’s early career began withchildrens’ portrait commissions inWinnipeg. While he would become best-known for his majestic renditions ofNative Canadian elders, he continued todo portraits of children, particularly nativechildren.

$10,000–15,000

18NICHOLAS DE GRANDMAISONPAPOOSE WITH TARTANBLANKET

pastelsigned

11.25 ins x 9.5 ins; 28.6 cms x 24.1 cms

Provenance:Private Collection, Oakville

$10,000–15,000

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19FREDERICK ARTHUR VERNER,O.S.A., A.R.C.A.SIOUX ENCAMPMENT

watercolour on paper, laid down on cardsigned and indistinctly dated 18—; titledon a label on the backing

12.5 ins x 24.25 ins; 30.5 cms x 59.7 cms

$12,000–15,000

Provenance:Private Collection, Ontario

Literature:Joan Murray, The Last Buffalo: The Story of Frederick Arthur Verner, Painterof the Canadian West, Pagurian Press, Toronto, 1984, page 152, page 43for the 1867 sketches of teepees and page 64 for Sioux Encampment, RedRiver, 1873, a watercolour based on sketches of Sioux teepees Verner haddrawn in 1867, now in the Collection of the Glenbow Museum, Calgary,reproduced.

Note:Verner began his professional life as a photographer and undoubtedly reliedon photographs to inform both the composition and detail incorporated intohis paintings. Still, he did not undervalue the importance of studying hissubjects from life and as early as 1867 was making sketches of teepees ondisplay at the 1867 Provincial Exhibition in Toronto, now in the collection ofthe National Gallery of Canada.

The Red River carts shown in this lot were one of two important modes oftransportation in common use throughout Manitoba until the end of the1800s. (The other is the York boat so famously depicted in woodcut byCanadian artist W.J. Phillips).

Verner, like many artists, revisited popular themes and we find examples ofSioux subjects from the early 1870s through to circa 1920. However, Vernerwas perhaps less interested in the documentary value of his compositionsand was more intent on creating a thing of beauty. Joan Murray writes: “Inchoosing to paint Indian subjects (Verner) was following a well establishedconvention of his time, but in contrast to the tragic, violent vision of Indiansrecorded in the work of many American painters, Verner painted tranquilscenes in harmony with nature.”

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20ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.INDIAN VILLAGE - HAZELTON, B.C.

charcoal and graphite drawingsigned

9.25 ins x 7.5 ins; 23.5 cms x 19.1 cms

Literature:A.Y. Jackson, A Painter’s Country, Clarke, Irwin & Company,Toronto, 1958, pages 89-90 for a discussion of Jackson’s visitto Hazelton, B.C. in the company of Edwin Holgate, 1926.Naomi Jackson Groves, A.Y.’s Canada, Clarke, Irwin &Company, Toronto, 1968, pages 152-170, for a discussion ofJackson’s impressions of the villages along the Skeena River,B.C.

Note:Groves refers to the work Jackson produced during his 1926trip to Skeena as “a rich crop” of drawings. Furthermore,Jackson astutely identified the importance of Skeena countryto the Canadian narrative and pleaded for its preservation as aunique opportunity to build and tell our own legends at a timewhen Canada was still searching for its sense of nationhood.

According to a label on the reverse this work is titled on theback of the work and was given to Margaret Hayes in August1926.

$5,000–7,000

21CHRISTOPHER PRATT, R.C.A.DONNA NOW

pencilsigned and dated March 8/1980

11 ins x 13.25 ins; 27.9 cms x 33.7 cms

Provenance:Marlborough-Godard Gallery, Toronto/MontrealPrivate Collection, Toronto

Literature:Joyce Zemans, Christopher Pratt: A Retrospective, VancouverArt Gallery, Vancouver, 1986, page 55.

Note:Donna is the subject of many works by both Christopher andMary Pratt. In this sketch, Donna’s gaze is relaxed but hercrossed arms suggest a subtext – as if challenging the artist tothe impossible task of truly capturing her image on a page. Joyce Zemans observes, “Pratt has puzzled over the yearsabout the significance of the artist/model relationship andparticularly about the power struggle it implies.”

$7,000–9,000

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22THOMAS DE VANY FORRESTALL, A.R.C.A.THE CHASER

egg tempera on shaped masonitesigned and titled on the reverse

33 ins x 23.25 ins; 83.8 cms x 59.1 cms

Provenance:Roberts Gallery Limited, Toronto

Literature:Ian G. Lumsden, Douglas Scott Richardson, Tom and Natalie Forrestall, Shapes of the paintings interest me as an integral part of the work, Beaverbrook Art Gallery, Fredericton, 1971, page 3.

Tom Smart, Tom Forrestall: Paintings, Drawings, Writings, Key Porter Books,Toronto, 2008, page 61 for a closely related work entitled Preparation for thePig, 1969, reproduced in colour.

Note:In a style sometimes classified as Magic Realism, Tom Forrestall documentsspace, light & shade, and subjects like a historian. The content and contours ofForrestall’s shaped panels heighten the viewer’s response through their intrinsicblending of composition and emotion. As Ian Lumsden states, “Shape is all-important and unimportant to Tom Forrestall. The shapes of things inside thepanels are what matter: these are the forms that embody meaning. But theshaping of the panel relates to the shape of things. Sometimes the subjectprecedes the shape, and the panel is fashioned to suit the painting; sometimesthe subject of the painting is found to suit the shape of the panel already onhand.”

$4,000–5,000

23EDWIN HEADLEY HOLGATE, R.C.A.THE ARTIST’S WIFE, 1928

pencilsigned with initials and dated 1928

10.75 ins x 8 ins; 27.3 cms x 20.3 cms

Provenance:The Morris Gallery, TorontoPrivate Collection, Ontario

Literature:Rosalind Pepall and Brian Foss (eds.), Edwin Holgate, Montreal Museum of FineArts, Montreal, 2005, page 90.

Note:The artist often sketched or painted his wife Frances whom he married in 1920.In her chapter on Holgate’s portraits Pepall writes, “Holgate was a master atcreating a dramatic rendering through plastic elements – even of a flower pot.However, in his portraits of female subjects in particular, and especially his wife, afrequent sitter for his figure studies, the artist was able to express himself mostfreely and reach beyond form to a more subjective emotion.“

$6,000–8,000

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24WILLIAM KURELEK, R.C.A.COULD THAT BE OUR PRIMEMINISTER?

acrylic on masonitesigned with initials; titled on the reverse

23.5 ins x 18 ins; 59.7 cms x 45.7 cms

$60,000–80,000

Provenance:Atelier Lukacs, MontealPrivate Collection, Toronto

Literature:Joan Murray and William Kurelek, Kurelek’s Vision of Canada, HertigPublishers, Edmonton, 1983, page 77.

Note:“I am proud of being Canadian... And I truly love this country.”

In the early 1970s Canada was abuzz with Trudeaumania. When the PrimeMinister and his newlywed bride set out to Whistler on their honeymoon inMarch 1971, the media was in tow. William Kurelek seems to provide atongue-in-cheek commentary on the frenzy over Trudeau: His painting is awitty tabloid photo – a figure at a distance, clipping down the ski-hill atrecord speed, and bundled indistinguishably in a red snowsuit.

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25JEAN PAUL LEMIEUX, R.C.A.UNTITLED - THE VISITOR

mixed media on papersigned

39.25 ins x 31.25 ins; 99.7 cms x 79.4 cms

$60,000–80,000

Provenance:Private Collection, Canada

Literature:Guy Robert, Lemieux, Gage Publishing, Toronto, 1978, pages 198 and 208.

Note:Lemieux is admired for his ability to capture the innermost thoughts of hissubjects who are frequently portrayed frozen in deep yet suddencontemplation, as though abruptly distracted from whatever action theywere about to engage in. The resulting paintings are often quite mysteriousand while Lemieux ably manifests the internal emotions of his cast, thecause of those emotions is often left tauntingly ambiguous. The result is acomposition of great intensity - that critical moment immediately before theplot turns.

In this family portrait, a woman who appears to be in mourning, looks outat the viewer. From the snowy landscape beyond, a second figure peersthrough the window - perhaps arriving with news that will restore or consolethe main figure as foreshadowed by the angelic woman profiled to the rightwho stands gracefully poised to enter the narrative.

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26HAROLD BARLING TOWN, R.C.A.STILL LIFE WITH HORSECHESTNUTS

oil on masonitesigned and dated ‘52; also signed, titled anddated ‘52 on the reverse and on two labelson the reverse

15.25 ins x 21.5 ins; 38.7 cms x 54.6 cms

Exhibited:Annual Young Contemporaries Exhibition,Public Library and Art Museum, London,n.d.

$7,000–9,000

27JOHN MEREDITHUNTITLED

watercolour and ink on papersigned and dated ‘65

Sight 19.5 ins x 20.5 ins; 49.5 cms x 52.1 cms

Provenance:Isaacs Gallery, TorontoPrivate Collection, Toronto

Literature:John Meredith: A Retrospective 1955-1990,Kaspar Gallery, Toronto, April 27-May 16,1991, plate no. 5, for a closely related workentitled Study for Left Panel of Seeker, 1966,reproduced.

Note:Paul Duval writes “John Meredith is one ofthe most lyrical of Canadian painters. Itwould be difficult to find an artist with amore immediate impulse of expression, shortof recklessness. On Meredith’s part, anyimpending recklessness is reined in by hisobsession for drawing – drawing in thepurest sense, not as a descriptive tool, butexisting in its own gestural right, with a linethat follows its own unchartered path ofdiscovery. Meredith’s line is sometimesmadcap, sometimes slow, often wayward,but always vital, and much of his presence asa lyric painter depends upon it.”

$7,000–9,000

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28FRITZ BRANDTNERJACQUES CARTIER PIER,MONTREAL

mixed media on paper, laid down on cardsigned and inscribed “Montreal ‘34”

6.75 ins x 9 ins; 17.8 cms x 22.9 cms

Provenance:Private Collection, Montreal

$1,200–1,500

29MARC-AURÈLE FORTIN, A.R.C.A.PAYSAGE LAURENTIENS, 1941

watercolour and charcoalsigned; also signed, titled and dated onthe reverse

18 ins x 24 ins; 45.7 cms x 61 cms

$7,000–9,000

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30WILLIAM KURELEK, R.C.A.HARVEST FIELD WITHAPPROACHING RAIN

mixed media on masonitesigned with initials and dated ‘74; titledon the reverse

8.75 ins x 8 ins; 22.2 cms x 20.3 cms

$18,000–22,000

Provenance:Private Collection, Toronto

Literature:William Kurelek, The Messenger, http://kurelek.ca/wp-content/themes/kurelek/audio/mp3/6_nature_love.mp3, Winnipeg ArtGallery, Art Gallery of Hamilton, Art Gallery of Greater Victoria, 2014.

Note:“I really fell in love with nature - although my father was very ambitious andworked so hard... both himself and us that often... we weren’t able toappreciate nature as much as our neighbour’s children because they weremore leisurely. But still... some of that got through so that I was really takenby nature.”

Between the hardened path in the foreground – well-worn from travels toand from the field – and the approaching rain – there lies a refuge, a secretfort. At the edge of everyday travails, Kurelek offers up the haystack as aplace to secret away from the labours of the harvest.

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31TAKAO TANABETHE FOOTHILLS

acrylic on canvassigned; also signed, titled and dated10/78 on the reverse and on the stretcher

55 ins x 72 ins; 139.7 cms x 182.9 cms

$15,000–20,000

Provenance:Private Collection, Toronto

Literature:Roald Nasgaard, “Adventures in Abstraction,” Takao Tanabe, Douglas &McIntyre, Vancouver/Toronto, 2005, page 89.

Note:The landscapes of Takao Tanabe focus on defined colour planes,amalgamating Canadian subject matter and the techniques of Asian Art. Inthe Prairie Paintings, Tanabe reduced the prairies to their essential featuresand, in turn, emphasized their expansiveness. Describing a similar workfrom the series, Nasgaard writes: “A dust storm, which can give anunearthly yellow tinge of refracted light to a prairie sky, might be clearing orapproaching... (T)he foreground is modulated with dense velvety darks andcrossed... by the gash of a cart road or dry riverbed... The atmosphere ispalpable and raw and filled with subtly scintillating light.”

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32LAWREN STEWART HARRISLAKE SUPERIOR

oil on panel10.5 ins x 13 ins; 26.7 cms x 33 cms

Provenance:Acquired from the artist’s familyBy descent to the present owner, Toronto

$50,000—70,000

Note:In 1921, after a return visit to Algoma to sketch with his painter friends,Lawren Harris pushed on to Lake Superior for the first time. He wasaccompanied by A.Y. Jackson and found the trip to be a revelation. Harriswould revisit the area numerous times between 1921-1928 and many believeLake Superior and its shores to have provided him with his greatestinspiration. While this sketch is not dated, it would be fair to assume that itwas painted on one of the earlier visits to Superior. A transition betweenthe rich Algoma landscape paintings and the starker, stripped down maturerSuperior works, this lot combines elements of both periods. Its lushevergreens, heavy with impasto, are set beside the bleached leafless treesthat bear witness to forest fires that ravaged Superior in the years beforeHarris’s visit. Unlike the later Superior works, this lot retains the richness ofdetail that would later be relinquished in order to idealize the landscape.Representing one last push to celebrate the lush textures associated withthe Algoma pictures - as though Harris might be reluctant to recalibrate -here we still enjoy a classic composition. The variety of colour andvariegated textures would soon evolve out of his work to be replaced by astylized, lonely landscape which, in its own turn, would be superseded byHarris’s later abstract forms.

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33JAMES EDWARD HERVEYMACDONALD, O.S.A., R.C.A.HOUSEBOAT AT SPLIT ROCKISLAND, GEORGIAN BAY

oil on boardtitled on the reverse

6 ins x 8 ins; 15.2 cms x 20.3 cms

$45,000–60,000

Literature:Jeremy Adamson, Lawren S. Harris: Urban Scenes and WildernessLandscapes, 1906-1930, exhibition catalogue, Art Gallery of Ontario,Toronto, 1978, page 44.

Paul Duval, The Tangled Garden: The Art of J.E.H. MacDonald,Cerebrus/Prentice-Hall, Scarborough, Ontario, 1978, page 45.

Note:In the summer of 1912 (some sources say 1911), MacDonald was invited tothe cottage of Dr. James MacCallum, a Toronto eye doctor, whom he hadmet at the Arts & Letters Club in Toronto when MacCallum introducedhimself to the artist having admired MacDonald’s works in an exhibition atthe Club. The cottage - now known as the MacCallum-Jackman cottage-was located on Split Rock Island in Go Home Bay, Georgian Bay.MacDonald had been offered the use of a houseboat moored at Split Rock.

According to an inscription on the reverse of this painting and certified byThoreau MacDonald, the artist’s son, this work depicts the houseboatowned by Dr. MacCallum. The inscription further indicates that Thoreau,who was born in 1901, is the figure depicted on the shore.

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34FRANK HANS JOHNSTON, O.S.A., A.R.C.A.SNOW SCENE

tempera on illustration boardsigned and dated ‘29

30 ins x 40 ins; 76.2 cms x 101.6 cms

$60,000–80,000

Literature:Roger Burford Mason, A Grand Eye for Glory, A Life of Franz Johnston,Dundurn Press, Toronto, 1998, pages 12 and 78.

Note:Departing from the Group of Seven in 1924, Franz Johnston “professed hisdesire to paint the Canadian landscape the way that he saw it, and notthrough the filter of any particular ideology.” A true individualist, he wieldeda blatant, creative power in his manipulation of colour and style. Johnstonaffords Snow Scene with serenity and spaciousness. The landscape is crisp -a multitude of frosted blues and an astute rendering of the daylight onsnow. Johnston contains the lonely grandeur of the winterized Canadianlandscape into a striking yet delicate fantasy. In speaking of the North,Johnston once explained, “It slows up your thinking, and it’s a land whereyou have plenty of time to think... I felt as if I were in a another world.”

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35KATHLEEN FRANCES DALYPEPPER, O.S.A., R.C.A.SNOWDRIFTS ON THERIVERBANK

oil on panelsigned

10.25 ins x 12.5 ins; 26 cms x 31.8 cms

$10,000–12,000

Literature:A.K. Prakash, Independent Spirit: Early Canadian Women Artists, FireflyBooks, Richmond Hill, Ontario, 2008, page 172.

Note:Using the Group of Seven’s Studio Building in Toronto as their base,Kathleen Daly Pepper and her husband George Pepper, embarked onpainting trips across Canada. In speaking of Daly Pepper’s paintings, A.K.Prakash stresses that, “It is not...her subject matter that compelsadmiration, but the emotion aroused by the meditation of the subject. Inits own sphere, her art is without sentimentality and fanciful artifice and hasthe force of a living representation.”

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Literature:“Superb travail des artistes canadiens” (unsigned). La Presse, Montreal, 22November 1918.

Note:On the fury of both A.Y. Jackson’s and J.E.H. MacDonald’s paintings, AlbertLaberge writes, “It’s as if, vibrating before untamed nature, savage and wild,they can scarcely find colours strong enough, gestures vigorous enough, toexpress the emotions they feel.”

Vibrant Woods demonstrates A.Y. Jackson’s strong sense of both colour andcomposition. A trace of placid sky gives way to, ignites into, brushstrokesof saturated and rich hues: crowned by a foreground of the artist’s signaturescarlet red.

36ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.VIBRANT WOODS

oil on panelsigned

8.25 ins x 10.5 ins; 21 cms x 26.7 cms

$30,000–40,000

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37CORNELIUS KRIEGHOFFHURON INDIANS AT CAMP,AUTUMN

oil on canvassigned

12 ins x 16.25 ins; 30.5 cms x 41.3 cms

$60,000–80,000

Literature:Dennis Reid, Krieghoff, Images of Canada, Art Gallery of Ontario, Toronto,1999, pages 60-61.

Note:Dennis Reid writes: “Krieghoff’s approach to the depiction of Natives wasnot as focused on either the portrayal of prominent leaders or thesystematic cataloguing of different nations... His most ambitious scenes ofthe Montreal period depict family groupings around a fire in summer, theNative equivalent, in a manner, of the Canadian Interior scenes.” Againstthe rich backdrop of an autumnal forest, Krieghoff depicts a family in amoment of quiet repose.

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38JAMES EDWARD HERVEYMACDONALD, O.S.A., R.C.A.NEAR MT ODARAY, ROCKY MTS

oil on boardsigned with initials and dated Sept 4, ‘28;also signed and titled on the reverse

8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Provenance:Private Collection, Ottawa

Literature:Catharine M. Mastin (general editor), TheGroup of Seven in Western Canada, KeyPorter in association with The GlenbowMuseum, Calgary, 2002, pages 46, 53, 57and page 52 for Rain in the Mountains,reproduced in colour.

$40,000—50,000

Note:Mt Odaray, which soars over 3,100 metres upward into the BritishColumbian sky, is located in Yoho National Park, a few kilometres from LakeO’Hara, J.E.H. MacDonald’s favorite western painting place. In fact, asCatharine Mastin writes: “Of all the Group of Seven members who visitedthe Rockies, J.E.H. MacDonald was the most entranced of all by LakeO’Hara. The beauty of the area triggered in him a response that went farbeyond that of other Group artists who sketched there.” MacDonald visitedthe west annually from 1924 to 1930. Dr. Mastin writes that his passion forthis area was such that MacDonald “made more trips to O’Hara than to anyother place, including Algoma, Georgian Bay and Algonquin Park.”

Mt Odaray, the subject of this lot, is also the subject of one of MacDonald’searliest, and among his best-known, mountain canvases, Rain in theMountains 1924-25. So pleased was he with the result of this canvas thatMacDonald submitted it for inclusion in the 1925 British Empire Exhibitionat Wembley. While his effort was arguably a far more stylized interpretationof the mountainscapes he sketched with such vivacity, MacDonald wouldsoon learn to tighten the composition of his work to better communicatethe scale of the mountains enveloping him on his hiking trips.

In this lot, we see evidence of the refinement of an innovative techniqueMacDonald employed that addressed this compositional challenge and leftfellow artist A.Y. Jackson rather envious. Mastin quotes Jackson’sobservation: “The usual problem is that the viewer’s eye goes to the top ofthe composition. By stressing the decorative quality of the foreground,moss on rocks, mountain flowers, little trees such as tamarack, MacDonaldovercame this difficulty.” A truncated peak, and an increasingly interestingforeground provided scale, rendering a better sense of the majesty of themountains and improved the overall composition of these subjects.

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39ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.WHITNEY, 1946

oil on boardsigned; titled and dated on the reverse

9.25 ins x 11.25 ins; 24.8 cms x 29.8 cms

Provenance:Gift of C.A.G. Matthews to the present ownerPrivate Collection, Toronto

Literature:A.J. Casson, My Favourite Watercolours, 1919to 1957, Cerebrus/Prentice Hall, Toronto,1982, page 114.

Paul Duval, A.J. Casson, The Ryerson Press,Toronto, 1951, page 49, illustrated, for adepiction of the same location.

$30,000–40,000

Note:Casson had a self-proclaimed “...interest in rural architecture and (a)fondness for scenes which were so typical of the life of the outskirts ofToronto...” This community in South Algonquin Township, named after themanager of its first sawmill (Edwin Canfield Whitney of the St. AnthonyLumber Company), was one such place for Casson to derive inspiration.The pronounced geometry in this depiction of Whitney is at once soft andstrong, the colour palette both brooding and jubilant.

A.J. Casson was employed as Art Director at Sampson-Matthews Limiteduntil 1946, the year this work was painted, when he was made VicePresident. Chuck Matthews was known to purchase works from his artistemployees to give as gifts to clients, employees and friends. This work wasgifted to the present owner directly by Mr. Matthews.

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40HENRIETTA MABEL MAY,A.R.C.A.HOUSES IN A HILLYLANDSCAPE

oil on panelsigned; with another oil sketch on thereverse

8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Provenance:Private Collection, Ontario

Literature:Anne Savage, Henrietta Mabel May,Anne Savage Archives, File 6, #2.21,Concordia University, Montreal.

$15,000–20,000

Note:A founding member of both the Beaver Hall Hill Group and the CanadianGroup of Painters, Henrietta Mabel May enriches the landscapes of theEastern Townships with the brushstrokes and radiance of the FrenchImpressionists. Houses in a Hilly Landscape is a skillful coming together ofboth form and rolling contours. Distinctive shapes and masses of‘scintillating’ colour create a bright scene –“painted with such vigour andstrength.”

(verso)

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41ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.AUTUMN - GRENVILLE, QUE.,1967

oil on artist boardsigned; also signed, titled and dated onthe reverse

12 ins x 14.75 ins; 30.5 cms x 37.5 cms

Literature:Margaret Gray, Margaret Rand and LoisSteen, A.J. Casson, Gage Publishing,Agincourt, Ontario, 1976, page 50.

$20,000–30,000

Note:“I never liked using every colour of the rainbow. Before I start... I have adefinite colour scheme in mind.”

Painted in the year of the country’s centennial, Grenville, Que., 1967 is anenergetic and vibrant homage to the Canadian landscape. Leaves of ochreand yellow cling to the branches of trees, and a golden glow overtakes thehills. An autumn gust greys the sky, blows the clouds and chills the air. Thesummit which features prominently in the scene – rendered in charcoal andblues – seems an ominous reminder from Casson that the splendor is but aprecursor to winter.

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42ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.GREAT BEAR LAKE, 1938

oil on panelsigned; also signed, titled and dated1938 on the reverse

10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms

Provenance:Peter Ohler Fine Arts Ltd., VancouverPrivate Collection, Edmonton

Literature:A.Y. Jackson, A Painter’s Country, Clarke,Irwin & Company, Toronto, 1958, pages123, 124 and 126.

Anna Hudson, “The Legend of JohnnyChinook: A.Y. Jackson in the CanadianWest and Northwest” in Catharine M.Mastin (general editor), The Group ofSeven in Western Canada, Key Porter inassociation with The Glenbow Museum,Calgary, 2002, page 124.

$25,000–30,000

Note:While A.Y. Jackson had travelled west prior to 1938 - he had visited theNorthwest Territories in the 1920s in the company of Dr. Frederick Banting -Jackson admitted that he had never made any serious effort to paint theregion. This changed after 1937. He found the landscape intriguing buthighly challenging after the more crowded subject matter of his northernOntario sketching grounds.

Anna Hudson reminds us that in Jackson’s day much of the northeast regionof today’s Northwest Territories was still unmapped. Not being the kind ofman to shy away from adventure, Jackson accepted an invitation fromGilbert La Bine to visit La Bine’s Eldorado Mines at Port Radium on GreatBear Lake, Northwest Territories. He sketched there from August 26th untilthe end of September 1938. Dr. Hudson writes: “‘Canada’s finest virginterritory’ sparked Jackson’s sense of adventure for painterly conquest.”

In his autobiography, Jackson reminisces about his rambles around GreatBear Lake in the company of a little Scotch terrier belonging to the minemanager: “I spent six weeks at Eldorado, from August into October. Theweather was lovely. I wandered over the rocky hills, which were easy totraverse. There were patches of spruce and small birch, and muskeg lakes,but mostly open rock.”

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Note:Marius Barbeau was an ethnographer who was interested in Canadianaboriginal and Quebec culture and tradition. Hill writes: “In August 1925,with passes from the C.P.R., Jackson and Lismer and his wife and daughterjoined Barbeau and his family on the Île d’Orléans where he was studying...After a short stay on the island, the group... travelled to Baie-Saint-Paul, Îleaux Coudres and Saint-Hilarion (the subject of this painting).”

Hill continues: “Barbeau’s invitation to Jackson and Lismer to join him thatsummer was always linked to the idea of a possible exhibition.” Indeed,Lismer and Jackson canvases worked up from sketches made on thissummer trip were included in the Group’s exhibition at the Art Gallery ofOntario in May of 1926.

Jackson likened Saint-Hilarion to the Italian hill towns he had seen whileserving oversees. He recounts: “The country around is cleared of trees, andthe town stands on the top of a hill.” The ever-gregarious Jacksonbefriended the villagers of Saint-Hilarion and stayed with the Tremblayfamily in the Mayor’s house across from the church pictured in this lot.

While Jackson is most often considered a snow painter - and irrefutably hemade regular treks to the lower St. Lawrence region of Quebec in latespring specially motivated by the fact that snow remained on the groundthere longer than in other regions - he is also a painter who as ably capturesboth the striking colours of Fall and the soft, pastel colours of Summer,particularly those of the small villages of Quebec - his favourite sketchinggrounds.

43ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.SUMMER, ST. HILARION

oil on panelsigned; titled on a gallery label on thereverse

8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Literature:A.Y. Jackson, A Painter’s Country, Clarke,Irwin & Company, Toronto, 1958, page62.

Charles C. Hill, The Group of Seven, Artfor a Nation, National Gallery of Canada,Ottawa, 1995, pages 178-179 and page172, fig.133, cat. no. 99 for the closelyrelated canvas by Lismer entitled QuebecVillage, reproduced in colour.

$25,000–30,000

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44WILLIAM KURELEK, R.C.A.PRAIRIE TRANSPORT IN THEDIRTY 30’S - THE BENNETTBUGGY

mixed media on masonitesigned with initials and dated ‘71

8.75 ins x 21 ins; 22.2 cms x 53.3 cms

$30,000–50,000

Provenance:The Isaacs Gallery Ltd., TorontoPrivate Collection, Toronto

Literature:Ramsay Cook and Avrom Issacs, Kurelek Country: The Art of WilliamKurelek, Key Porter Books Limited, Toronto, page 11.

Note:“Kurelek’s vision of childhood is powerful and alive, whether in the joy ofgames, the hard work of the farm or the struggle against the elements.Perhaps its success comes from the nostalgia it creates.”

Pulled by a horse, engine and windows removed, a “Bennett buggy”trundles towards the warm glow of a prairie farm. William Kurelektransforms the effects of the Great Depression into a whimsical sight. Hecaptures the delight a child would feel, under the moonlight, watching thebuggy approach the farm.

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45JAMES WILLIAMSONGALLOWAY MACDONALD, O.S.A.,A.R.C.A.PROPHETIC

oil and Lucite 44 on canvassigned and dated ‘57

30 ins x 40 ins; 76.2 cms x 101.6 cms

$40,000–50,000

Provenance:Private Collection, Canada

Literature:Iris Nowell, Painters Eleven: The Wild Ones of Canadian Art, Douglas &McIntyre, Toronto, 2010, page 224, reproduced in colour, page 212.

Note:In 1956, Harold Town introduced Jock Macdonald to a new medium - afluid, quick-drying solution called Lucite 44. Writing to Maxwell Bates onAugust 7, 1957, Macdonald likened the introduction to an epiphany of sorts:“I have twenty-two new things done since the college closed in the middleof May... They are altogether different from anything I have ever done andin our opinion far superior... Using Lucite with oil has enabled me to paintwith a flow and quickly – but not slapdash.”

The mid-point of the Painters Eleven period marked the maturation of JockMacdonald’s style. His canvases became larger and more dramatic –affirmed as “absolute tops” by art critic, Clement Greenberg. Powerfulcolours and veils of soft paint infuse Prophetic with an astute expression offeeling and highly-charged emotion.

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46SOREL ETROG, R.C.A.HARBOUR AT NIGHT, 1953-4

painted constructionsigned and titled on the reverse

24.75 ins x 35.25 ins; 62.9 cms x 89.5 cms

Provenance:Private Collection, Toronto

$40,000–60,000

Literature:William J. Withrow, Sorel Etrog: Sculpture, Wilfeld Publishing Co. Limited,Toronto, 1967, pages 11 and 23.

Pierre Restany, Sorel Etrog, Prestel Verlag, Munich, London, New York,2001, page 49, pages 48-69 for the chapter entitled “1952-60 PaintedConstructions” and page 51 for Harbour 1, 1953, reproduced and page 53for Harbour III, 1953, reproduced in colour.

Ihor Holubizky (ed.), Sorel Etrog: Five Decades, Art Gallery of Ontario, 2013,pages 16-18 for three examples of painted constructions from the mid-1950s, reproduced in colour.

Note:In his 1967 publication on the sculpture of Sorel Etrog, William Withrowasserts that “all Etrog’s sculptures have strong developmental connectionsto his wood constructions.” While Etrog’s painted constructions are seldomseen on the market, it is not for lack of critical acclaim or, for that matter,popular appeal. Rather these works, produced quite early in his artisticdevelopment - and considered to be his most experimental work - are alsoamong the rarest. Their impact on what was to follow must not beunderestimated. Withrow writes: “Both the shapes and moods of thoseearly plywood wall sculptures though constructionist in form, but alwaysmore expressionistic in effect, still haunt his present work.”

When Sorel Etrog moved with his family to Israel in 1950, he was exposedas never before to both modern art and music. He soon felt the need todevelop his own style and so began working on shaped canvases,remarking: “I became dissatisfied working with the canvas and I started toconstruct my paintings directly in wood. This way I could extend evenfurther the irregular frame and the raised contours outlining shape andcolour. Inner and outer space interacted.”

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47OSCAR CAHÉNUNTITLED, 1952-1954

ink and watercolour

40 ins x 26 ins; 101.6 cms x 66 cms

Provenance:Private Collection, Toronto

$30,000–40,000

Note:Oscar Cahén is acknowledged as one of the principal contributors to the evolution ofabstract art in Canada in the 1950s. A prominent, influential member of PaintersEleven, his achievements have been in the public light on near perpetual exhibition inimportant public art institutions for the past 60 years. Thus, we may have come toimagine that we know what a characteristic picture is by Oscar Cahén. Many continueto celebrate the artist as an unparalleled colourist. Thereby, an exemplary Cahénpainting, it seems, displays his remarkable mix of chromatic pyrotechnics, astonishingclashes of magenta, reds, oranges with striking complementary colour accents ofvibrant blues and green. While these commendable signature attributes define certainoutstanding Cahén paintings they are also surprisingly atypical of the characteristics ofthe vast majority of Cahén works.

His mature career as an aspiring, progressive artist was all too brief, ten yearsbracketed between 1947 and his death in an auto accident in 1956. Throughout thisperiod Cahén was a restless spirit, experimenting and exploring a wide range ofaesthetic options, themes, approaches, media and timbres. A good number of hisworks are black and white or near monochrome. Why should this surprise? Cahén wasone of Canada’s most respected illustrators, designing countless magazine covers forleading publications such as Maclean’s, creating drawings to accompany literary textsand more. He was a key member and annual exhibitor with the Canadian Society ofPainters in Water Colour and The Canadian Society of Graphic Arts. Thereby, Cahénexercised his craft daily. He was fluid and at total ease creating and composing uponpaper, perhaps even more so than upon canvas. His graphic acumen may haveexceeded his considerable colouristic flair.

This lot is a considerable achievement, a balance of expressive abandon and restraint,blunt gestural barrage and withheld, tempered delicacy. Cahén it seems was vexed bythe idea of creating a composition that juggled polar opposites. In this work the lefthalf of the picture is fully engaged, forceful black lines atop scumbled background. Theright hand side of the page is poignantly blank, pristine, untouched. It is a challengethat he will battle the rest of his career, however, perhaps never so elementarily as inthis picture on paper in strident black and white.

The powerful mark-making of Franz Kline may seem the evident place to start whenunravelling the evolution of Cahén’s black and white pictures such as this one.However, this is just not satisfactory. Cahén’s central image seems bidden by somereferent, we do not know precisely what: a head, a trunk, outreaching appendages?Nevertheless it is a figure against a ground. His work embraced vegetative themes,flowers, pods; it quoted clawed roosters and chess pieces. Is the dominant void circle acelestial orb or a thought bubble? Many of his illustration and art works of the periodwere absorbed by technology, the appearance of traffic and railroad crossing lights.How is it that it is simultaneously all of these and none of these?

The abstracted surrealism of Picasso, Gonzales, David Smith, Max Ernst and the Latintradition including Tamayo all beg for discussion within the company of this picture.Perhaps, the evident touchstone is British artist, Graham Sutherland. His worksdepicting abstracted processional “personages” were in exhibition, publication andmajor museum collections at this period, including Toronto and the Art Gallery ofToronto.

Cahén has been lauded historically for his exemplary chromatic inventiveness, Untitled,demonstrates why his Painters Eleven compatriots so revered his talent. It is a tersework, that stands beside the achievements of Borduas and Les Automatistes, Soulagesand the finest of second generation abstract expressionism.

This work was executed circa 1952-1954.

We thank Jeffrey Spalding C.M., R.C.A. for this essay.

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48RAYMOND JOHN MEADIMAGE NO. 10

oil on canvassigned and dated ‘54; titled on the reverse

30 ins x 36 ins; 76.2 cms x 91.4 cms

$40,000–50,000

Provenance:Private Collection, Canada

Literature:Iris Nowell, Painters Eleven: The Wild Ones of Canadian Art, Douglas &McIntyre, Toronto, 2010, page 234.

Note:Ray Mead treated the canvas as a single plane - eliminating any distinctionbetween the background and the subject. Though he resisted the brand ofColour-Field painter, Mead skillfully emphasized the flatness of his paintings.“The shapes and forms on his canvases – zigzagging blocks, small blots andsquiggles, assertive arrows, crescents and arches – are rendered in livelyhues.” Through angles and jagged blocks, pure colour – yellow, terracotta,blue – and deep black, Ray Mead created rhythm in Image No. 10.

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49GREGORY RICHARD CURNOERETURN FROM MONTREAL

collagedated “January 23, 1964”

16 ins x 9.75 ins; 40.6 cms x 24.8 cms

Provenance:Wynick/Tuck Gallery, Toronto

Literature:Pierre Théberge, Greg Curnoe Retrospective, exhibition catalogue, Montreal Museumof Fine Arts/National Gallery of Canada, Montreal/Ottawa, 1982, page 6.

Note:Writing on the method of Greg Curnoe’s collages, Pierre Théberge explains: “Theelements were placed on the page and glued in an order that seems appropriate to thekind of disorder in which they were originally found. Their contours are veryimportant; they impose a definite limit on this disorder. The pieces of paper take theform of a circle, a square, a rectangle, even a profile (of the artist’s father, for instance)or the outline of ears, lips and eyes.”

As with his early assemblages, Greg Curnoe’s Return from Montreal is a scene ofdisorder roped in. Two blue painted circles feature prominently atop a collage oforderly scraps and fragments: Late Forms for school children stating “Punctuality isessential to success,” an evangelical pamphlet, the artist’s 1963 Chauffeur’s License,and a centre streak of repetitious spoonfuls of mandarin oranges. Within the blue,Curnoe’s signature block lettering stamps out both the title of the work, “Return fromMontreal Number Five Losing It –,“ and lyrics from the 1963 Beatles song, Not aSecond Time: “You know you made me cry / I see no use in wonderin.”

$3,000–5,000

50BERTRAM BROOKER, R.C.A.ABSTRACT (FLORAL: PURPLE, GREEN & BLACK)

oil on illustration boardtitled and dated “circa 1949” on the reverse.

15 ins x 12 ins; 38.1 cms x 30.5 cms

Provenance:Estate of the artistPrivate Collection, Toronto

Literature:Lawren Harris, ”Revelation of Art in Canada,” The Canadian Theosophist, vol. VII, no.5 (15 July 1926), page 86.

Note:Dennis Reid suggests that Lawren Harris’ underlying principles for the Group of Sevencould be viewed as a description of Brooker’s abstractions: “creating living works intheir own right by using forms, colour, rhythms and moods, to make a harmonioushome for the imaginative and spiritual meanings...evoked...”

A typewritten label on the reverse of the painting reads “22. Sketch for GoodMorning, ca. 1949”

$5,000–7,000

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51WILLIAM RONALD, R.C.A.KUROSAWA

oil on canvassigned, titled, dated 1990 and inscribed“Montreal” (twice) on the reverse

60 ins x 84 ins; 152.4 cms x 213.4 cms

$30,000–50,000

Provenance:Collection of Peter Appleyard, OntarioBy descent to the present owner

Note:Peter Appleyard was a friend of William Ronald and often played atopenings for Ronald’s art shows. On the occasion of one such opening, theartist presented Mr. Appleyard with a gift of this painting.

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52ALEXANDRA LUKETRANSMUTATION, 1952

oil on canvassigned

40 ins x 32 ins; 101.6 cms x 81.3 cms

Provenance:Collection of Mr. E.R.S. McLaughlin,OshawaPrivate Collection

Exhibited:Toronto Painting: 1953-1965, NationalGallery of Canada 15 September - 15October, 1972 and 10 November - 10December, 1972, the Art Gallery ofOntario, cat. no. 2.

$50,000–70,000

Literature:Toronto Painting 1953-1965, exhibition catalogue, National Gallery ofCanada, Ottawa, 1972. no. 2, reproduced.Joan Murray, Alexandra Luke: Continued Searching, Robert McLaughlinGallery, Oshawa, 1987.

Note:Luke was first drawn to abstraction by J.W.G. (Jock) Macdonald. She wrote,“‘In his interesting talks [he] relates today’s architecture, science, physics andart expressions to the problems of spacetime.’ He encouraged her to create‘from within with no relation to natural forms.’” Her notes from her time atBanff School of Fine Art include references to Kandinsky, Surrealism, E.E.Cummings and Gertrude Stein, as well as advice about colour and coloursymbolism. Macdonald gave her the answer to Why Abstract? “‘He makesone see clearly what a very deep and searching problem it is.’” Sheorganized the first Canadian all-abstract show - The Canadian AbstractExhibition from which The Painters Eleven grew.

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53JOHN GRAHAM COUGHTRYTWO FIGURE SERIES XIX, 1964

oil on canvassigned and dated ‘64

72 ins x 60 ins; 182.9 cms x 152.4 cms

Provenance:Isaacs Gallery, TorontoCollection of Mr. and Mrs. Avrom Isaacs,TorontoPrivate Collection, Toronto

Exhibited:Toronto Painting: 1953-1965, NationalGallery of Canada 15 September - 15October, 1972 and 10 November - 10December, 1972, the Art Gallery ofOntario, cat. no. 63.Modern Painting in Canada, EdmontonArt Gallery, 1978, cat. no. 24.

$30,000–50,000

Literature:Toronto Painting 1953-1965, exhibition catalogue, National Gallery ofCanada, Ottawa, 1972, page 21, no. 63, reproduced in colour andunpaginated, cat. no. 63, reproduced. Terry Fenton and Karen Wilkin, Modern Painting in Canada, HurtigPublishers, Edmonton, 1978, page 71, reproduced in colour.Barrie Hale, Graham Coughtry Retrospective, Robert McLaughlin Gallery,Oshawa, 1976, page 29, figure 22, reproduced.Graham Coughtry Two Figure Series 1962-64, exhibition catalogue, TheIsaacs Gallery, October 9-26, 1983, reproduced.

Note:Coughtry began working on the Two Series after his return to Toronto fromIbiza in 1961 – a series that would bring him much acclaim later in thedecade. The series is inspired by Ovid’s Metamorphoses whose heroine,Salmacis, consummated her love for Hermaphroditus by uniting with him soclosely that the two became one. With Two Figures Series XIX, “the essenceof the myth of Hermaphroditus recurs, and which of the figures is male andwhich female, which Hermaphroditus and which Salmacis, becomes anincreasingly ambiguous matter.” A critic at the time said “Coughtry is caughtup in the peculiar passion of being human in the twentienth century... histwo figures come to terms with each other in an isolated, frightening ...terrible kind of love.” Henry Malcolmson said “The sustained energy andconcentration of this tour de force is unprecedented in Canadian art and,with the exception of certain of Picasso’s efforts, I can recall no similarexamples of such virtuosity in modern art.”

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54JEAN PAUL LEMIEUX, R.C.A.CHRIST EN CROIX

oil on canvassigned

48 ins x 25.5 ins; 121.9 cms x 64.8 cms

Provenance:Galerie Valentin, MontrealPrivate Collection, Montreal

Literature:Guy Robert, Lemieux, Gage Publishing,Toronto, 1978, page 220.

$50,000–70,000

Note:Lemieux painted a number of religious subjects during his lifetime. Whilemany of these were produced during the 1940s and 1950s, Christ En Croix,executed circa 1986, was painted in the artist’s twilight years. This shouldnot be surprising; myriad artists, Rembrandt among them, turn or return toreligious and contemplative subjects as they approach old age.

While this lot is obviously overtly Christian, in fact, many of Lemieux’s non-religious canvases have a strong non-denominational spiritual quality tothem focussed as they are on quiet contemplation and solitude which theartist emphasizes by the use of cooler colours, flattening of space andeconomic composition. Beyond painting an emblem of Christianity, hereLemieux compels us to question our attachment to Life and Living, the costof heroic sacrifice, and the inevitability of death. And for those who areinclined or persuaded to believe it, here is also the promise of salvation andreward.

According to a gallery label on the stretcher this work was executed circa1986.

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55SYBIL ANDREWSSPEEDWAY, 1934

linocutsigned, titled and numbered 13/60

14.25 ins x 10 ins; 36.2 cms x 25.4 cms

Provenance:Purchased directly from the artist circa 1951By descent to the present ownerPrivate Collection, Toronto

$45,000–60,000

Literature:Peter White, Sybil Andrews: colour linocuts, exhibition catalogue, GlenbowMuseum, Calgary, 1982, page 37, reproduced in colour and page 57, cat.no.29, reproduced.

Note:Speedway was created while Sybil Andrews was working in London, prior toher immigration to Canada in 1947. Andrews studied the art of linocuttingat the Grosvenor School of Modern Art during the late 1920s and into the1930s. Famous for her depictions of labourers and sporting people,Andrews captures the dynamism of the machine age.

The Glenbow exhibition catalogue entry for Speedway notes: “This imageinitially was conceived as an idea for a London Transport Board poster.However, it was never executed as a poster.”

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56JACK LEONARD SHADBOLT,R.C.A.GRANVILLE STREET AT NIGHT(EVENING, GRANVILLE STREET;GRANVILLE STREET, WARTIME),1946

watercoloursigned and dated ‘46

31 ins x 23 ins; 78.7 cms x 58.4 cms

$100,000–150,000

Provenance:Maria Tachesi, VancouverMrs. Milus Douglas Roberts, VancouverPrivate Collection

Literature:Jack Shadbolt, National Gallery of Canada, Ottawa, 1969, page 29, cat. no.3, reproduced.Ian Thom, Jack Shadbolt: Early Watercolours, Art Gallery of GreaterVictoria, B.C., 1980, introduction.Scott Watson, Shadbolt, Douglas & McIntyre, Vancouver/Toronto, 1990,page 36, and page 31, reproduced in colour.

Note:Watson quotes Shadbolt reflecting on his work of this period: “I find myselffull of satisfaction as an artist in the streets about me: in the strange facadeof a modern city block built up of all the historic hangovers of oldarchitectural styles.” Watson continues: “The street scenes of downtownVancouver showed (Shadbolt’s) fascination with telephone poles, neonsigns, scaffolds, guy wires, chimneys - objects he called the “appendages ofthe modern street.” But his interest was no longer, he pointed out, inarchitectural incident for its own sake, but as “a complete reflection ofsociety.” While the subjects are similar to the ones he worked on beforejoining the army, the treatment is different. The watercolour medium is usedin a more fluid manner, which enhances the feeling of damp and inclementweather and heightens the reflection of neon light in pavement pools, animage that seemed of particular interest to him.”

Granville Street at Night is an exceptional example of Shadbolt’s Vancouverstreet scenes.

In the introduction to the catalogue for his watercolour exhibition ofShadbolt’s works, curator Ian Thom refers to this lot as a “documentarywork of the highest order”.

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57LAWREN STEWART HARRISLUMBER CAMP

oil on board, mounted to board

8 ins x 8.75 ins; 20.3 cms x 22.2 cms

Provenance:Thoreau MacDonald (son of J.E.H.MacDonald), TorontoCollection of Mrs. A.C. KennyPrivate Collection, Oakville

Literature:Jeremy Adamson, Lawren S. Harris: UrbanScenes and Wilderness Landscapes, 1906-1930, exhibition catalogue, Art Gallery ofOntario, Toronto, 1978, page 14, 23 and43 and page 43, cat. no. 24 for The Drive(Collection of the National Gallery ofCanada), reproduced.

$30,000–50,000

Note:According to an inscription by Thoreau MacDonald on the backing, thiswork was probably executed circa 1912. MacDonald suggests: “The lumbercamp may have been within Algonquin Park or northern U.S.”

In 1909, Harris spent weeks on assignment for Harper’s Magazine in aMinnesota lumber camp. Adamson writes: “It was here that the artist firstcame in direct contact with the austere majesty of the north.” TheMinnesota trip did not only yield commercial material for Harper’s, but fromsketches made there, Harris selected two Minnesota subjects to exhibit inthe Ontario Society of Artists exhibit of that year. For the 1912 springO.S.A. exhibition, Harris exhibited six canvases including a logging scene,The Drive, that was one of only two full scale canvases Harris had done todate and according to Adamson his first distinctly Northern Ontario subject.Clearly, Harris had identified a trope in the lumber camps and log drives thatwas the ideal vehicle for his expression of the “North” the interpretation ofwhich he would pursue in paint and poetry for decades to come.

While Harris had also visited Algonquin Park by 1914, it seems more likelythat this lot pre-dates this, and was executed ca. 1912 as suggested byThoreau MacDonald.

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58JAMES EDWARD HERVEYMACDONALD, O.S.A., R.C.A.SKETCH FOR TRACKS ANDTRAFFIC

oil on boardsigned with initials and dated ‘12

7.5 ins x 10.5 ins; 19.1 cms x 26.7 cms

Provenance:Private Collection, Nova Scotia

Literature:Donald W. Buchanan (ed.), CanadianPainters, Phaidon Press Ltd, U.K., 1945,no. 30, for the canvas, reproduced. J.E.H. MacDonald, R.C.A. 1873-1932, ArtGallery of Toronto, 1966, page 19, no. 9for the canvas, reproduced and page 45,no. 50 for the Laidlaw sketch, reproduced. Jeremy Adamson, Lawren S. Harris, UrbanScenes and Wilderness Landscapes 1906-1930, Art Gallery of Ontario, 1978, page35. Paul Duval, The Tangled Garden: The Artof J.E.H. MacDonald, Scarborough, 1978,pages 43-44, and page 31 for the canvas,reproduced in colour. Bruce Whiteman, J.E.H. MacDonald,Quarry Press, Kingston, 1995, page 27,page 28, for the canvas reproduced incolour.

Note:Tracks and Traffic has been called a “signal work”, “MacDonald’s first truly notablecreation” and his earliest “masterpiece”. The canvas for this work was exhibited in the1912 Ontario Society of Artists exhibition and was executed at a pivotal moment inthe artist’s career. MacDonald had decided to leave his full-time employment in thecommercial art business to devote himself to painting full-time. Released from theday-to-day demands of a regular job, MacDonald was to embark on producing hisfirst great pictures.

Tracks and Traffic (the canvas) is a studio painting that would have been worked upfrom plein-air sketches. We know of at least two such sketches produced by theartist: one in the collection of the Art Gallery of Ontario, where the canvas alsohangs, and this lot.

By 1912, the year this work was executed, MacDonald had met Lawren Harris, whoin 1911 had seen a private show of MacDonald’s sketches at the Arts & Letters Clubin Toronto and sought him out. Adamson writes that during the winter of 1911-1912both artists “are sketching together in the vicinity of the gas works at the foot ofBathurst Street from which J.E.H. did Tracks and Traffic his most ambitious work upto that time.”

Harris and MacDonald both were looking for a new language to describe theCanadian landscape experience and while this work is, as Adamson points out,reminiscent of Whistler, The Hague School, Barbizon painters, and the Impressionistswith its use of atmospheric effects, it was a reflection of The Canadian Art Club(1908-1915) whose members “were Canada’s most modern” and so “was an attemptto bring a more progressive, painterly European manner into Canadian Art.”Furthermore, Paul Duval writes: “Unlike Monet who tackled his similar Gare St.Lazare theme ten times, MacDonald got industrial out of his system with this onebrilliant effort” in which industry is “transformed into visual poetry.”

$40,000–50,000

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59LAWREN STEWART HARRISBATCHAWANA

oil on panelsigned and titled on the reverse

10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms

$75,000–100,000

Provenance:Acquired from the artist’s familyBy descent to the present owner, Toronto

Literature:Jeremy Adamson, Lawren S. Harris, Urban Scenes and WildernessLandscapes 1906-1930, exhibition catalogue, Art Gallery of Ontario,Toronto, 1978, page 83.Paul Duval, Lawren Harris: Where the Universe Sings, Cerebus Publishing,Canada, 2011, page 194 and page 184 for a closely related work entitledAutumn, Batchawana Lake XXIX, 1918, reproduced in colour.

Note:The boxcar trips, arranged by Lawren Harris, in which he and his paintingfriends travelled north to Algoma are well-documented and we know that in1919 (the second boxcar trip) the party stopped at Batchawana, the lastpoint on the trip, where they remained for about a week. By mid-Octoberthey were back in Toronto.

Harris found himself challenged by “the superabundance of colour, theinfinity of detail and the continuous change in the appearance of thecountryside as winter approached”. In these works he and his fellow artistsrecognized the need to simplify their compositions down to the mostessential shapes and colours. And yet this lot retains, with success, many ofthe complexities of the Batchawana experience. It is often said that Algomaconfounded Harris, however, this lot most emphatically refutes this. RatherHarris had developed many positive associations with the Algoma visits;they helped restore his health which had become fragile during the waryears. Duval quotes Harris as remarking that he found Algoma “a veritableparadise for the creative adventurer to paint in the Canadian north”. Duvalcontinues: “The small panels with their brilliant, almost liquid, brushworkconvey a virtuoso performance.”

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60RITA LETENDRE, R.C.A.ASANNKI

acrylic on canvassigned and titled on the reverse

36 ins x 108 ins; 91.4 cms x 274.3 cms

$10,000–15,000

Literature:Anne-Marie Ninacs “The Teaching of Life” in Rita Letendre: Aux couleurs dujour, Musée national des beaux-arts du Québec, Québec, 2004, page 137.

Note:“Rita Letendre’s painting is first a celebration of life. Through its infiniteability to marvel at colour, light and movement as so many manifestationsof energy, it reminds us essentially that life is not a right but, on thecontrary, at every moment a feat.”

While her early works - spontaneous and thickly impastoed - made clearreference to her teacher Paul-Émile Borduas, the 1970s saw an entirelyunique development for Rita Letendre. Restricting herself to schematic raysof intense colour, Letendre developed futuristic, linear abstractions thatcould be easily transformed into a multitude of variations. The piercinghorizon lines and colour bands of these works are comprised of chevronsthat seem to radiate without measure beyond the confines of the canvas.Until 1975, all works produced by the artist would reflect the hard-edgedstyle seen in Asannki – a style that would become synonymous with thedecade and emblematic of Letendre’s name.

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61RITA LETENDRE, R.C.A.L’INNOMABLE

oil on canvassigned and indistinctly dated ‘62 (?)

24 ins x 30 ins; 61 cms x 76.2 cms

$22,000–28,000

Provenance:Ladies Committee, Montreal Museum of Fine Arts, Exhibition and SalePrivate Collection, Toronto

Literature:Anne-Marie Ninacs “The Teaching of Life” in Rita Letendre: Aux couleurs dujour, Musée national des beaux-arts du Québec, Québec, 2004, page 134.

Note:In 1962, Rita Letendre made her first trip to Europe – spending periods inItaly, Paris and Israel until the autumn of the following year. During thistime, she experienced a period of intense creativity and a radicaladvancement in her style. Employing thick masses of paint in limitedpalettes, Letendre began to provoke the viewer: stirring within them a quietfervour, an emotional skirmish. In describing canvases created on thissojourn, Anne-Marie Ninacs states that, “thick black masses (are) brought tolife by the spatula – engag(ing) in a struggle with the colour-light thatattempts to surge out from it, a struggle one surmises will not soon be over.The main weapon in this duel, if that is what it is, is surely the paintingknife, which Letendre uses to make the thick layers of coloured paintinterpenetrate in a ‘high-risk’ work method that enables her to keep all theenergy of spontaneity in the finished work.” L’Innomable, The Unnamable,splits scarlet space with black, white and green, titled by the artist despiteits resistance to be named.

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62ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.QUEBEC FARM, ST. TITE DESCAPS, EARLY SPRING

oil on panelsigned; with a pencil sketch of mountains,trees and a winding river inscribed“Banting” in Jackson’s hand and “NJG1134” in pen on the reverse

8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Literature:A.Y. Jackson, A Painter’s Country, Clarke,Irwin & Company, Toronto, 1958, page 78for a discussion of Jackson’s sketchingtrips to St. Tite des Caps in the companyof Dr. Frederick Banting.

$20,000–30,000

Note:The municipality of Saint-Tite-des-Caps provided an ideal sketching groundfor A.Y. Jackson with its late Spring thaw which allowed Jackson to capturethe last vestiges of snow.

In this lot, the blue of the river, surging with spring run-off, contrastsdramatically with the pale lavender shadows of the remaining patches ofcrisp white snow.

The title is derived from information on the backing of the painting anddates the painting to “March 1946”.

(verso)

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63LAWREN STEWART HARRISROCKY LANDSCAPE

oil on panel

10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms

$75,000–100,000

Provenance:Acquired from the artist’s familyBy descent to the present owner, Toronto

Literature:Paul Duval, Lawren Harris: Where the Universe Sings, Cerebus Publishing,Canada, 2011, page 196 for a comparable Algoma work circa 1920 andpage 215 for a comparable Superior work, circa 1923, both reproduced incolour.

Note:This lot is neither titled nor dated leaving some room for speculation aboutits subject and location of execution. Compositionally and stylistically itbears much in common with the later Algoma works or early Superiorsketches dating it likely to circa 1920-1923.

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64NICHOLAS DE GRANDMAISONCHIEF WITH PIPE

pastelsigned

17.5 ins x 11.75 ins; 44.5 cms x 29.8 cms

Provenance:Private Collection, Oakville

Literature:Hugh Dempsey, History in Their Blood: The Indian Portraits ofNicholas de Grandmaison, Douglas & McIntyre, Vancouver/Toronto,1982.

Note:Nicholas de Grandmaison is part of the second generation of greatdocumenters of Canada’s native peoples following closely in thefootsteps of artists like Paul Kane who excelled at this genre ofportraiture. As Dempsey writes, while de Grandmaison worked nearly100 years later than the earlier documenters, “in these portraits thereis no diminution of vitality and freshness... Rather they are portraitsthat grip the imagination.”

$10,000–15,000

65THOMAS MOWER MARTIN, O.S.A., R.C.A.INDIAN ENCAMPMENT, L. SUPERIOR, ONT.

oil on canvassigned; titled on a label attached to the stretcher

35 ins x 26 ins; 88.9 cms x 66 cms

Provenance:The Collector’s Gallery, CalgaryPrivate Collection, Calgary

$9,000–12,000

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66CORNELIUS KRIEGHOFFNIGHT ENCAMPMENT

oil on canvassigned

12 ins x 16 ins; 30.5 cms x 40.6 cms

$40,000–50,000

Literature:Dennis Reid, Krieghoff, Images of Canada, Art Gallery of Ontario, Toronto,1999, page 233.

Note:Cornelius Krieghoff’s “image of the Indian conveyed a harmonious vitality,communicated with verve in the purposeful activity of the people...” Theartist’s nighttime encampment conveys a warmth and an animation. Despitethe darkness, there is a liveliness to the scene: the day’s work ends as acanoe is pulled ashore, the embers of the fire grant a fitting stage for storiesto be shared, and the glow of the moon illuminates the sky.

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67CHARLES EDOUARD MASSON HUOTHABITANT WITH PIPE

oil on canvassigned

11.25 ins x 8.25 ins; 28.6 cms x 21 cms

Note:Perhaps most well-known for his murals in the QuebecProvincial Parliament, Charles Huot drew inspiration from theworks of Cornelius Krieghoff and Joseph Légaré. Depictingthe inhabitants of the Île d’Orléans, Huot crafted genrescenes that celebrated a traditional way of life in Quebec.

$6,000–8,000

68HENRI BEAUTHE READER

oil on panelsigned

12.5 ins x 8.75 ins; 31.8 cms x 22.2 cms

Provenance:Private Collection, Montreal

Note:Born in Montreal, Beau spent a number of years studyingand painting in Paris prior to his career as an assistantarchivist at the Public Archives of Canada.

Primarily known as a genre painter in the Impressionist style,Beau began focusing exclusively on historical portraitscommissioned by the Canadian government.

$3,000–5,000

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69CORNELIUS KRIEGHOFFSHOOTING THE RAPIDS

oil on canvas, framed as an ovalsigned

12.5 ins x 17.5 ins; 31.8 cms x 44.5 cms

$50,000–70,000

Provenance:Walter Klinkhoff Gallery Inc., MontrealGalerie d’art Michel Bigué, Saint-Sauveur-des-Monts, QuebecPrivate Collection, Toronto

Literature:Dennis Reid, Krieghoff, Images of Canada, Art Gallery of Ontario, Toronto,1999, page 233.

Note:In this scene, a guide and a voyageur travel swiftly through the river water –the canoe light without the burden of furs or cargo. As Dennis Reidpostulates, “Krieghoff felt an affinity” towards the First Nations people “whohad often acted as his guides on hunting expeditions.” The artist’sfascination with the people who lived and labourered in harsh surroundingsenabled him to capture the excitement and subtle nuances present in theireveryday life.

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70FREDERICK SIMPSON COBURN, R.C.A.PORTRAIT OF A YOUNG BOY

watercolour laid down on boardsigned and dated 1903

18 ins x 14 ins; 45.7 cms x 35.6 cms

Provenance:Collection of John Swain, Toronto (gift from the artist)By descent to the present owner, Ontario

Literature:Evelyn Lloyd Coburn, F.S. Coburn: Beyond the Landscape, The Boston MillsPress, Erin, Ontario, 1996.

Note:Coburn studied across Europe but it was in Germany where he honed hisskills in portraiture and anatomy. “There he would be taught the strictdiscipline of drawing in acute detail. He would study every aspect of thehuman anatomy and would soon be able to produce an almost photographicimage.”

John Swain, to whom this painting once belonged, was a friend of the artistand sold frames and mouldings for Matthews Brothers Ltd. on DavenportRoad, Toronto.

$5,000–7,000

71FREDERICK SIMPSON COBURN, R.C.A.INTERIOR SCENE

oil on canvas, laid down on boardsigned and dated 1903

17.5 ins x 14 ins; 44.5 cms x 35.6 cms

Provenance:Collection of John Swain, Toronto (gift from the artist)By descent to the present owner, Ontario

Literature:Evelyn Lloyd Coburn, F.S. Coburn: Beyond the Landscape, The Boston MillsPress, Erin, Ontario, 1996, page 52 for a closely related work entitled WasherWoman, c. 1903, reproduced in colour.

Note:In 1903 Coburn took a break from more commercial work to study and paintin the Netherlands and Belgium. He was “impressed and inspired by thepainters of the Hague School, and anxious to put some of his newly acquiredtechniques into practice [and] moved around the Dutch countryside paintingfarms and cattle, cottages with their thatched roofs, canal scenes withwindmills against stormy, billowing clouds, fishing boats beached on shore,and Dutch and Flemish interiors.”

John Swain, to whom this painting once belonged, was a friend of the artistand sold frames and mouldings for Matthews Brothers Ltd. on DavenportRoad, Toronto.

$10,000–15,000

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72MARJORIE (JORI) ELIZABETH THURSTON SMITHSEATED NUDE, C. 1931

oil on canvassigned

22.25 ins x 16.25 ins; 56.5 cms x 41.3 cms

Provenance:Private Collection, Ontario

Literature:A.K. Prakash, Independent Spirit: Early Canadian Women Artists, FireflyBooks, Richmond Hill, Ontario, 2008, pages 186 & 187, reproduced incolour.

Note:A.K. Prakash describes Seated Nude as “an ambitious self-portrait paintedwith vigorous colour to stress important detail.” It has, he asserts, “thedistortions of Cézanne, the wedge-like contours of African sculpture, and animitation of cubism”. In her self-portrait, Jori Smith confronts the viewerwith a self-confident gaze. A woman unbound and assertive, she declaresher objection to the nude as sinful, through the resoluteness of her pose.As with the majority of her portraiture, the work lacks sentimentality andopts instead to capture the artist’s character. The impact is as forceful andspontaneous as Smith’s expressionist brushstrokes.

$4,000–6,000

73LAURA ADELINE MUNTZ LYALL, O.S.A., A.R.C.A.UNTITLED - LULLABY

oil on canvassigned

16 ins x 10.25 ins; 40.6 cms x 26 cms

Provenance:Matthews Art Gallery, Toronto

Literature:Joan Murray, “Laura Muntz Lyall: Impressions of Women and Childhood”,McGill-Queen’s University Press, Montreal & Kingston, 2012, page 32,colour plate 64 for a similar portrait entitled The Lullaby, 1915, and colourplate 69 for a similar portrait entitled Lullaby, 1924.

Note:Of Laura Muntz’s portraiture Joan Murray wrote: “She always presented thesubject in a flattering yet honest way and with an effect of refined vivacity,most often highlighting the face and body against a dark, broadly paintedneutral background and adding a few notes of colour, usually to the sitter’seyes and lips, and sometimes to the costume.”

In Untitled - Lullaby, a cool indigo costume frames the warm embraceshared by a mother and her little girl. Their tenderness is palpable. They sittogether out-of-doors, barefoot, as if characters in a whimsical fairytale.The mother’s expression is wistful, as she drapes her arms lovingly aroundthe slumbering girl.

$7,000–9,000

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74LOUIS MUHLSTOCK, R.C.A.ROOFTOPS

oil on masonite

20 ins x 24 ins; 50.8 cms x 61 cms

Provenance:Estate of the artist

Literature:Charles Hill, “Introduction,” LouisMuhlstock: A Survey of Forty-Five Years,Art Gallery of Windsor, Windsor, 1976,unpaginated.

Note:Hill writes that from the late 1930sonwards Muhlstock strayed away from hissombre palette to a brighter one, painting“joyous landscapes of Mount Royal inrich, surging colours” and returning to thesubject of “the back lanes of the poorerareas of Montreal. But his palette wasbrighter, the walls painted in warm, drytones and the bright sun shone throughthe trees...”

$3,000–5,000

75FRITZ BRANDTNERBEACH, NOVA SCOTIA

gouache on boardsigned

30 ins x 40 ins; 76.2 cms x 101.6 cms

Provenance:Kastel Gallery Inc., MontrealPrivate Collection, Toronto

$6,000–8,000

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76KAZUO NAKAMURASUMMER MORNING

oil on canvassigned and dated ‘61

25 ins x 31 ins; 63.5 cms x 78.7 cms

$20,000–25,000

Provenance:Acquired directly from the artistPrivate Collection, Toronto

Literature:Ihor Holubizky “Nakamura: The Method of Nature” in Kazuo Nakamura:the Method of Nature, The Robert McLaughlin Gallery, Oshawa, 2001,pages 10 and 14.

Note:The artist in a 1993 interview said, “’it takes energy to do abstract work.Every once in a while, I do landscapes, to do what’s on top.’” Manyreviewers and art critics have said that Nakamura is “one artist doing thework of three or four.”

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77ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.COUNTRY HOUSE, CA. 1945

mixed media on papersigned

11 ins x 13.5 ins; 27.9 cms x 34.3 cms

Provenance:Edgar Stone (Former Director, Hart House, University of Toronto)Peter Ohler Fine Arts Ltd., VancouverPrivate Collection, Edmonton

Literature:Paul Duval, “Hillside Village,” in A.J. Casson, The Ryerson Press,Toronto, 1951, pages 27-29, for a discussion on the Ontario village asa theme.

Note:In the mid-1940s, Casson’s depictions of rural village structuresexperienced a stylistic shift. As exemplified in this lot, Casson beganto reduce forms to their essentials. The awnings, windows, plantsand porch of Country House are rendered as simple, geometricshapes. The blocks of colour that Casson intersperses across theotherwise monochromatic scene, are not only components of thehouse, but are emblematic of the warmth radiating from within thehome.

$12,000–15,000

78FRANK HANS JOHNSTON, O.S.A., A.R.C.A.IN DEEP - BREAKING A NEW TRAIL AT JACKPINE,ONTARIO

oil on masonitesigned; also signed and titled on the reverse

25 ins x 30 ins; 63.5 cms x 76.2 cms

Provenance:Walter Klinkhoff Gallery, MontrealPrivate Collection, Montreal

Literature:Roger Burford Mason, A Grand Eye for Glory: A Life of FranzJohnston, Dundurn Press, Toronto, 1998, page 69.

Note:During the late 1920s and 1930s Johnston would make regular tripsto Northern Ontario, many of them to the Thunder Bay area andbeyond. Masson notes that at this time Johnston secured acommission “from a wealthy patron to paint a rare, all-white team ofhuskies.” The locals he encountered on these northern excursionswere struck by “his philosophical acceptance of frost-bitten fingersand ears, the concomitant of painting out-of-doors in those sub-zerotemperatures” finding it “more than a little strange, not to sayeccentric.”

$12,000–15,000

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79ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.GEORGIAN BAY, GIANTS TOMBIN DISTANCE

oil on panelsigned; also signed, titled and dated“August 1960” on the reverse

10.75 ins x 13.5 ins; 27.3 cms x 34.3 cms

$12,000–15,000

80ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.BATCHEWANA POINT

oil on panelsigned

10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms

Provenance:Private Collection, Ottawa

$12,000–18,000

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81JOHN GEOFFREY CARUTHERSLITTLE, R.C.A.AUTUMN, MCGILL CAMPUS,MONTREAL, ‘62

oil on canvas boardsigned; also signed, titled and dated on thereverse

12 ins x 16 ins; 30.5 cms x 40.6 cms

Provenance:Private Collection, Hudson, Quebec

$6,000–8,000

82DANIEL PRICE ERICHSEN BROWNTHE READER

egg temperasigned

13.75 ins x 23.5 ins; 34.9 cms x 59.7 cms

Provenance:Dunkelman Gallery, TorontoPrivate Collection, Toronto

Exhibited:D.P. Brown, Twenty Years, Art Gallery ofHamilton, Hamilton, n.d.

$6,000–8,000

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83ALEXANDER COLVILLE, R.C.A.CHIEN D’OR

serigraphsigned, dated 1987 and numbered 22/70

11 ins x 30 ins; 27.9 cms x 76.2 cms

Provenance:Beckett Gallery, Hamilton

Literature:David Burnett, Colville – Prints/Estampes,Department of External Affairs, ArtsPromotion Division, Ottawa, 1985, page15.Michael Bell, Colville, Being Seen: TheSerigraphs, Carleton University ArtGallery, Ottawa, 1994, page 60, fig. 28,for Chien D’Or, reproduced.

Note:Many of Colville’s works feature animalsas part of the whole scene or as thesubject themselves. Burnett writes, “Hislove of animals is deep, and his respectfor their existence absolute. ‘I think,’ hehas said, ‘of animals as being incapable ofevil.’” Here Colville’s dog, Min, is the mainsubject.

$4,000–5,000

84ALEXANDER COLVILLE, R.C.A.NEW MOON

serigraphsigned, dated 1980 and numbered 24/70

15.75 ins x 19.75 ins; 40 cms x 50.2 cms

Provenance:Mira Godard Gallery, Toronto

Literature:David Burnett, Colville – Prints/Estampes,Department of External Affairs, ArtsPromotion Division, Ottawa, 1985, page14 and page 15, fig. 24, for New Moon,reproduced.Michael Bell, Colville, Being Seen: TheSerigraphs, Carleton University ArtGallery, Ottawa, 1994, page 49, fig. 20,for New Moon, reproduced.

Note:Burnett describes New Moon as acomposition “where physical activity and amoment of revelation are set aside incontemplation of the night sky.”

$5,000–7,000

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85NORMAND HUDONLE GRAND L’ARRANGEMENT

oil on masonitesigned, titled and dated ‘86

23.75 ins x 29.75 ins; 60.3 cms x 75.6 cms

$9,000–12,000

86NORMAND HUDONÎLE D’ORLÉANS

oil on masonitesigned, titled and dated ‘83

20 ins x 16 ins; 50.8 cms x 40.6 cms

Provenance:Private Collection, Toronto

$5,000–7,000

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87JOHN KASYN, O.S.A.BEHIND THE PAWN SHOP (QUEEN ST W.)

oil on masonitesigned

30 ins x 24 ins; 76.2 cms x 61 cms

$18,000–22,000

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88NORA FRANCES ELISABETHCOLLYERRED FLOWERS

oil on panelsigned with initials

18 ins x 16 ins; 45.7 cms x 40.6 cms

Provenance:Private Collection, Ontario

$15,000–25,000

Literature:Evelyn Walters, The Women of Beaver Hall: Canadian Modernist Painters,Dundurn Press, Toronto, 2005, page 23.

Note:Nora Collyer brings the rhythm of a landscape to the richly coloured still-lifeof Red Flowers. The delicate nature of her approach is reminiscent of thatof her teacher, Maurice Cullen. Evelyn Walters notes that Collyer’stechnique “is never harsh and is remarkable for its shapes, rich colour, andsoft rhythms.” Just past bloom, these tulips cascade over their vase, acavalcade of colour against the pale horizon.

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89CHARLES PACHTERRED BARN

acrylic on canvassigned and dated ‘88 and ‘97 on thereverse

36 ins x 60 ins; 91.4 cms x 175.3 cms

$20,000–30,000

Literature:Bogomila Welsh-Ovcharov, Charles Pachter, McClelland & Stewart, Inc.,Toronto, 1992, page 105, page 110, fig. 118 for a closely related workentitled Green Barn Reflected, 1988, reproduced in colour.

Note:“In 1987 Pachter began working with an Amiga computer graphics programthat enabled him to create and store variations of a visual idea.” His “barnworks,” (Green Barn Reflected, Oro Barns Seen from My Window etc.)including Red Barn Reflected, were conceived in this way. The block imagesand bold colours of computer graphics were transferred and transformed inpaint. Like his iconic images of Queen Elizabeth, flags, and moose, the redbarn is a quintessential symbol of Charles Pachter’s Canadiana.

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90ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.RAIN - GREAT LA CLOCHEISLAND

oil on boardsigned; also signed and titled on thereverse

9.5 ins x 11.25 ins; 24.1 cms x 28.6 cms

$20,000–30,000

Literature:A.J. Casson, My Favourite Watercolours, 1919 to 1957, Cerebrus/PrenticeHall, Toronto, 1982, page 122.

Margaret Gray, Margaret Rand and Lois Steen, A.J Casson, Gage Publishing,Agincourt, Ontario, 1976, page 39, for a similar work.

Note:A.J. Casson found the Cloche Hills to be an “excellent place to sketch.” Thelandscape’s jack pines and lichen-covered white rocks had a strong affect onCasson. Utilizing a cool colour palette, the artist chisels out a raw andmoody drama. The ragged lines of clouds, the downpour in the distance,and the dark silhouettes of trees, evoke the powerful sweep of the brewingstorm.

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91ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.BOW LAKE

oil on boardsigned; also signed and titled on thereverse

10.25 ins x 13.5 ins; 26 cms x 34.3 cms

$15,000–20,000

Provenance:Private Collection, Ontario

Literature:Anna Hudson, “The Legend of Johnny Chinook: A.Y. Jackson in theCanadian West and Northwest” in Catharine M. Mastin (general editor), TheGroup of Seven in Western Canada, Key Porter in association with TheGlenbow Museum, Calgary, 2002, pages 114 and 118.

Note:Dennis Reid has suggested that the romance of adventure was what luredJackson west and Jackson could not believe how much of the country hadyet to be painted. While he had visited western Canada prior to 1937 hebegan to paint what he saw only from this year onward until 1951.

Interestingly, while Jackson is most closely associated with charmingrenditions of life in rural Quebec, particularly the lower St. Lawrence regionof that province in winter, Dr. Hudson insists that “a remarkable group ofcollectors looked forward to the results of Jackson’s Western trips. The artistkept up a lively correspondence with his supporters describing his travelsand negotiating sales.”

Bow Lake is one of the largest glacial lakes in Banff National Park. Jacksontaught at the Banff Summer School in the 1940s.

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92PETER CLAPHAM SHEPPARD,O.S.A., R.C.A.SHIP AT DOCK

oil on canvassigned

20.25 ins x 25.25 ins; 51.4 cms x 64.1 cms

Provenance:Private Collection, Ontario

Literature:Graham Campbell Mclnnes, “World OfArt”, Saturday Night, Toronto, Apr. 271935.A.H. Robson, Canadian LandscapePainters, Ryerson Press, Toronto, 1932,page 164.

Note:Robson writes that Peter Sheppard “beganexhibiting pictures with the breadth ofbrush handling and a brilliancy of colourwhich attracted favourable attention.”Critic Graham Mclnnes points out that“Peter Sheppard is at his best among theskyscrapers and the docks.”

$7,000–9,000

93WILLIAM GOODRIDGEROBERTS, R.C.A.LAURENTIAN LAKE, CANADA

oil on masonitesigned

32 ins x 48 ins; 81.3 cms x 121.9 cms

Provenance:Dominion Gallery, Montreal

$10,000–12,000

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94LOUIS MUHLSTOCK, R.C.A.VIEW FROM THE STUDIO WINDOW

oil on canvas

26.5 ins x 29.75 ins; 67.3 cms x 75.6 cms

Provenance:Estate of the artist

Literature:Monique Nadeau-Saumier, Louis Muhlstock: New Themes and Variations1980-1985, Concordia Art Gallery, Montreal, 1986, page 6.

Note:Louis Muhlstock moved to Sainte-Famille Street in the late 1930s. A vibrant artists’ community, Alfred Laliberté, too, had a largestudio there and welcomed visits from Suzor-Côté, Maurice Cullen, G. Horne Russell, Robert Pilot, Jori Smith and Jean Palardy.Many years passed but, “Le vieux peintre de la rue Sainte-Famille” as he called himself, never felt the need to leave theneighbourhood... and views from the window of Muhlstock’s studio remain a favourite subject of the artist and collectors alike.

$4,000–5,000

95LAWREN STEWART HARRISTREES IN SUMMER

oil on canvassigned with initials

22.25 ins x 18 ins; 56.5 cms x 45.7 cms

Provenance:Private Collection, Niagara-on-the-Lake

Literature:Jeremy Adamson, Lawren S. Harris, Urban Scenes and Wilderness Landscapes1906-1930, exhibition catalogue, Art Gallery of Ontario, Toronto, 1978, page13-14, page 40, no. 11 and page 65, no. 53 reproduced.

Paul Duval, Lawren Harris: Where the Universe Sings, Cerebus Publishing,Canada, 2011, page 50.

Note:This lot represents one of the earliest Lawren Harris canvases to appear atauction. It was executed sometime between 1905 and 1910 when a youngHarris travelled to Aurora to spend time with the family of the grandparents of the present owner. While imprecise, this dating isbased both on the recollection of the owners, the manner of signature, (Harris used initials to sign his work until 1910) as well as asecond work in the collection whose subject’s age is known to the family allowing us to date this work - which was executed on thesame visit - with increased accuracy.

In 1904 Harris left Canada to study art in Berlin. In 1905, he returned to Canada for the summer, and went back to Europe onceagain until the end of the summer of 1907.

While clearly far removed from the works Harris would eventually produce - and oh-so much tamer, even refined - in this lot wehave a notion of Harris’ early approach to composition: the contoured outline of the rising hill, the screen of trees and grasses andthe clouds and sky in deep space beyond, which would later form the basis of so many of Harris’ wilderness sketches.

Very few works from this early formative period have been located; Jeremy Adamson illustrates two comparable works one undatedand one dating from 1908 though both much smaller than this canvas.

$10,000–15,000

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96WILLIAM RONALD, R.C.A.UNTITLED

acrylic on board laid down on canvassigned

20 ins x 29.75 ins; 50.8 cms x 75.6 cms

$12,000–18,000

Literature:William Ronald interview by Joan Murray, 31 May 1977, quoted in RoaldNasgaard, Abstract Painting in Canada, Douglas & McIntyre,Vancouver/Toronto, 2007, page 109.

Note:In this untitled work, William Ronald transforms the canvas into an abstractaltarpiece. Three distinct sections, each with a background of alternatingwhite and blue stripes, appear like opened panels. Ronald’s centraldominant shape is a circle of jubilant orange – facets of which appear toradiate across the canvas, seeking out its blue counterparts. Evokingreverence for the polemic and the exuberant, Untitled is an ample reflectionof Ronald himself. As the artist once conveyed, “If I’m going to make animpact..., I’ve got to be unique.”

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97HAROLD BARLING TOWN, R.C.A.EDGE #1

oil on canvassigned and dated ‘89; also signed, titledand dated “Jan 89” multiple times on thereverse, and titled (twice) on the stretcher

80 ins x 80 ins; 203.2 cms x 203.2 cms

$12,000–18,000

Provenance:Private Collection, Toronto

Literature:David Burnett, Town, Art Gallery of Ontario, Toronto, 1986, page 162.

Note:Working across a range of media, Harold Town was known for his bold, risk-taking artworks. In Edge #1, Town delights with the canvas’ large scale andvibrancy. A central row of stacked, horizontal lines appear like the outwardfacing edges of books. Shapes, lines and colourful symbols create verticalborders. As David Burnett writes of Town’s works, “Eccentricity in painting,means standing against the mainstream, outside the normal bounds ofseriousness.”

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98KOSSO ELOUL, R.C.A.SOLSTICE

aluminum maquettesigned and titled

height 21 ins; 53.3 cms

Provenance:Private Collection, Ontario

Literature:William Withrow, Kosso Eloul 1964-1984, 20 Years of Sculpture,exhibition catalogue, McClelland & Stewart, Toronto, 1984,page 80 for a proposed installation for Solstice and a model,reproduced.

Note:With nearly 50 works on display throughout Toronto, KossoEloul’s sculptures are mainstays of the City’s outdoor public artofferings. A larger, painted version of this sculpture, also titledSolstice, is located on the grounds of the Guild Inn at 201Guildwood Parkway in the area known as the Greek Theatre.

$3,000–5,000

99SOREL ETROG, R.C.A.UNTITLED

tapestrysigned, dated ‘76 and numbered 13/25 in the tapestry

95 ins x 47 ins; 241.3 cms x 119.4 cms

Exhibited:Canadian Tapestries 1977, Art Gallery of Ontario, Toronto, 04June - 24 July 1977, Confederation Centre Art Gallery andMuseum, Charlottetown, 09 June - 31 July 1977, Glenbow -Alberta Institute, Calgary, 08 June - 24 July 1977, TheVancouver Art Gallery, 08 July - 31 July 1977, The WinnipegArt Gallery, 19 May - 26 June 1977.

Literature:Canadian Tapestries 1977, exhibition catalogue, Art Gallery ofOntario, Toronto, 1977, page 21 for Untitled tapestry.

Pierre Restany, Sorel Etrog, Prestel Verlag, Munich, London &New York, 2001, page 117.

Note:Referencing his ‘hinge works’ of the 1970s, this tapestry bySorel Etrog is a juncture of coloured and shaded blocks. Etrogrecalls, “On a vacation in Israel, visiting my family, I picked up achild’s drawing pad and began to draw doodles of flat andorganic surfaces connected by hinges... The hinge started toobsess me and so I adopted it.” The plushness of the tapestryprovides a curious contrast to the work’s articulated forms.

$5,000–7,000

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100LÉON BELLEFLEURLES ORCHIDÉES

oil on canvassigned and dated ‘69; also signed, titledand dated on the reverse

35 ins x 46 ins; 88.9 cms x 116.8 cms

$12,000–15,000

Provenance:Roberts Galllery, TorontoPrivate Collection, Toronto

Literature:Guy Robert, Bellefleur, The Fervour of the Quest, Montreal, 1988, page 107.

Note:By titling his works only after completion, Léon Bellefleur allowed his art toname itself. The title, Les Orchidées, encapsulates the emotional setting ofthis dewy canvas. Intense, lush pigments blossom into enlivened massesand forms of paint. As emphasized by Guy Robert, Bellefleur’s “romanticsensibility blooms in a surrealist atmosphere that transforms the relationshipwith reality into an alchemy dominated by the immediate, spontaneous andimpromptu expression of the most deep-seated impulses of his being.”

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101FRITZ BRANDTNERLACHINE: THE OLD SHIPYARD

mixed media on papersigned

12.75 ins x 14.5 ins; 32.4 cms x 36.8 cms

Provenance:Willistead Art Gallery, Windsor, The Women’sArt Committee Annual Exhibition-Sale, n.d.

Note:There is a cancelled drawing on the back of thebackboard.

$2,500–3,000

102ALEXANDER COLVILLE, R.C.A.RAVEN

serigraphsigned, dated 1990 and numbered 42/70

Image 29.5 ins x 18.75 ins; 76.8 cms x 50.2 cms

Literature:Michael Bell, Colville, Being Seen: TheSerigraphs, Carleton University Art Gallery,Ottawa, 1994, page 64, fig. 30, for Raven,reproduced.

$4,500–6,000

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103RICHARD GORMANTHE SECRET OF PANCHO VILLA

oil on canvassigned and dated ‘60; titled on thereverse

59.5 ins x 54 ins; 151.1 cms x 137.2 cms

$6,000–8,000

Provenance:Private Collection

Literature:Joan Murray, Naked Eye: Richard Gorman, Lake Galleries in associationwith Robert McLaughlin Gallery, 1990, unpaginated.

Note:José Doroteo Arango, alias Francisco ‘Pancho’ Villa, emerged during theMexican Revolution as head of the Division of the North. His commandingpresence – paired with his tale of bandit turned general – granted him amythic presence in the Mexican consciousness. Like a secret held in themind of this prominent figure, this painting exhibits an alluring passion: acombination of functional shades and tiny prisms of sensuous colour, built-up in sweeping masses of thick impasto. At once dark and luminous, itbeckons the eye with its inescapable presence and raw energy. Himself aRevolutionary of sorts, “Gorman use(d) the canvas as an arena for personalcombat: with him every painting (was) an upheaval, an act of physicalinvolvement.”

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104THOMAS SHERLOCK HODGSONWHEELBARROW

watercolour on illustration boardsigned and dated /52

25 ins x 32 ins; 63.5 cms x 81.3 cms

Provenance:Private Collection, Toronto

Exhibited:Canadian Abstract Painters, Oshawa Art Society, 1952 (organized by AlexandraLuke).

Literature:Iris Nowell, Painters Eleven: The Wild Ones of Canadian Art, Douglas &McIntyre, Toronto, 2010, page 1.

David G. Taylor, Tom Hodgson, catalogue, Lynnwood Arts Centre, Simcoe,Ontario, 1988, illustrated, fig. 5, page 13 alongside a black and whitephotograph from the artist’s collection, Wheelbarrow, 1952.

Note:In 1952, the year in which this work was painted, Hodgson earned a berth onthe Canadian Olympic Canoe Team for the games in Helsinki. It was also theyear in which the artist sold his first painting – a gouache exhibited in theeighteenth O.S.A. exhibition at the Art Gallery of Toronto. Alluding to theworks of Willem de Kooning, Hodgson’s compositions meld abstract,architectural forms with his distinctive use of colour.

The forms within this watercolour modulate and move. David Taylor writes, “In1951-1952, Hodgson’s painting changed in style. Instead of painting pureabstracts, he turned his attention to depicting natural subjects... He would firsttake a photograph and then make a painting (based on the snap-shot),distorting the original object. An example of this technique is Hodgson’swatercolour Wheelbarrow... Within those familiar shapes he has distortedalmost everything... The composition becomes more complex, thus providingmore interest for the eye.”

$5,000–7,000

105DENNIS EUGENE NORMAN BURTONRELEVANCE

oil on canvassigned and dated “12.16.62”; also signed, titled and dated again “12.16.62” onthe reverse

40 ins x 36 ins; 101.6 cms x 91.4 cms

Literature:Roald Nasgaard, Abstract Painting in Canada, Douglas & McIntyre,Vancouver/Toronto, 2007, page 231.

Note:Coined by Roald Nasgaard as one of the “Second Generation” of Torontoabstract painters, Dennis Burton was stylistically encouraged by his teacher atthe Ontario College of Art, Jock MacDonald. Painted in 1962, Relevance hintsat the Pop-inspired turn that Burton’s painting would take in the years to follow.

$5,000–7,000

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106DAVID BOLDUCZOO PICTURE, 1975

oil on canvassigned, titled and dated 1975 on thereverse, also signed on the overflap

66 ins x 81 ins; 167.6 cms x 205.7 cms

Provenance:Marlborough-Godard Gallery,Toronto/MontrealPrivate Collection, Toronto

$8,000–10,000

Literature:Karen Wilkin, Introduction to Recent Paintings by David Bolduc, PaulFournier, K M Graham, Canada House Cultural Centre Gallery, London,1982, unpaginated.

Note:Karen Wilkin describes the canvases of David Bolduc as “meditations of thehistory of art itself.” She goes on to describe the way the works arecomposed: “Bolduc usually alternates between two modes of picturemaking: severe formal inquiries and more elaborate, more spontaneous-looking images. Both types share a characteristic format: a continuous,inflected ground with a (usually centralized) drawn element, andcharacteristic motifs... Since about 1974, he has been concerned with formal(and conceptual) paradox, exploring polarities of austerity and sensuality,reticence and aggression, individuality and reference.”

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107FRITZ BRANDTNERABSTRACT

mixed media on boardsigned

7.75 ins x 7.75 ins; 19.7 cms x 19.7 cms

Provenance:Kastel Gallery Inc., WestmountPrivate Collection, Toronto

$1,000–1,500

108LÉON BELLEFLEURAVANT L’ORAGE

oil on canvassigned and dated ‘89; also signed, titledand dated on the reverse

24 ins x 18.75 ins; 61 cms x 47.6 cms

Literature:Guy Robert, Bellefleur, The Fervour of theQuest, Iconia, Montreal, 1988, page 15.

Note:“’It’s like dreaming – in technicolour, ofcourse! Painting is like making music,poetry, films; they all go so far beyondsounds, words and images, and it’s whatgoes beyond that counts the most!’”

Across a background of grey and green,Léon Bellefleur cuts an array of colourinto an improvised form. Sharply definedand irregular fans of paint togethercompose the remnant of a storm’s fury.Like in the facets of so many waterdroplets, a rainbow intensity is left behindafter the passing of the rain. Bellefleur’ssignature finish – an inspired sprinkling ofpaint – heightens the effect.

$9,000–12,000

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109DENNIS EUGENE NORMANBURTONEDGE

oil on masonitesigned and dated ‘58; also signed, datedFeb ‘58, titled and inscribed “nevershown” on the reverse

36 ins x 48 ins; 91.4 cms x 121.9 cms

$9,000–12,000

Provenance:Private Collection, Toronto

Literature:Denise Leclerc, The Crisis of Abstraction in Canada: The 1950s, NationalGallery of Canada, Ottawa, 1992, page 97.

Note:Following a series of visits to the Albright-Knox Gallery, Buffalo, in the late1950s, Dennis Burton embraced a shift towards Abstract Expressionism. AsDenise Leclerc observed, “The large, square paintings on hardboard from1958...have the same complex composition of interweaving forms as seen inde Kooning’s works of this period.” In Edge, coloured forms amass –generating a perspective that makes the viewer feel as though they arestanding on a breathtaking precipice.

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110EDWIN HEADLEY HOLGATE, R.C.A.LABRADOR KITCHEN

woodcutsigned and numbered 11/30 in pencil in the lowermargin

11.25 ins x 8.5 ins; 28.6 cms x 21.6 cms

Literature:Rosalind Pepall and Brian Foss (eds.), Edwin Holgate,Montreal Museum of Fine Arts, Montreal, 2005, forFrançois-Marc Gagnon’s chapter entitled, “EdwinHolgate and Rural Life” and page 34, cat. no. 170 forLabrador Kitchen (Collection of the National Galleryof Canada), reproduced.

Note:Holgate’s treatment of interior rooms was notdissimilar to his treatment of a portrait or a landscape.The interior alone is the main subject. Gagnon in hischapter on Holgate’s rural works states, “Holgatemade several images – both prints and paintings – ofFrench-Canadian interiors, not in order to showhuman figures in their habitual setting, but (since inmost cases they are entirely devoid of figures) as endsin themselves. The only subject, in these unusualworks, is the interior.”

$4,000–5,000

111HAROLD BARLING TOWN, R.C.A.ENIGMA #8 (JOCKEY AND DART BOARD)

ink and wash on light blue papersigned and dated “2/17-18/64”

19 ins x 26 ins; 48.3 cms x 66 cms

Provenance:Walter and Else Landauer, TorontoPrivate Collection, Toronto

Literature:David Burnett, Town, Art Gallery of Ontario, Toronto,1986, page 143, reproduced.

$4,000–6,000

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112EDWIN HEADLEY HOLGATE,R.C.A.MAN WITH AXE, 1925

woodcutsigned with initials in the print, and signedand inscribed “No. 10” in pencil in thelower margin

7.25 ins x 5.5 ins; 18.4 cms x 14 cms

Provenance:Private Collection, Montreal

Literature:Rosalind Pepall and Brian Foss (eds.),Edwin Holgate, Montreal Museum of FineArts, Montreal, 2005, page 81, cat. no.149 for Man with Axe (Collection of theNational Gallery of Canada), reproduced.

$4,000–5,000

113FRITZ BRANDTNERA COLLECTION OF 14CHRISTMAS CARDSILLUSTRATED WITH ORIGINALPRINTS

various print media

Literature:Helen Duffy and Frances K. Smith, TheBrave New World of Fritz Brandtner,Agnes Etherington Art Centre, Queen’sUniversity, Kingston, 1982, page 86, cat.no. 93 for a listing of four Christmas cardsfrom the 1960s, shown in the 1982Brandtner exhibition at the gallery.

$4,000–6,000

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114LEO MOL, R.C.A.KNEELING NUDE

bronzesigned and dated ‘84

height 15.25 ins; 38.7 cms

Provenance:Private Collection, Ontario

Note:Working in the historical academictradition, Leo Mol’s strength lay in hisability to sculpt the hardness of bronzeinto supple forms. Kneeling Nude appearsfrozen in a private moment of felicity.Unlike many of Mol’s nudes, she is not aquiet beauty. She is not a passive ordelicate recipient of our attention – herrevelry and her air of elation command it.

$2,000–3,000

115ALFRED LALIBERTÉ, R.C.A.LE PÊCHEUR DE PERLES

bronzesigned, titled and inscribed “AndroFondeur Paris”

height 14 ins; 35.6 cms

Provenance:Private Collection, Montreal

Literature:Odette Legendre, Laliberté, Fides,Quebec, 2001, page 113, cat. no. 74 forLe Pêcheur de perles, reproduced incolour.

$7,000–9,000

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116DANIEL PRICE ERICHSENBROWNSTUDY- GIRL IN A FUR COAT

pencilsigned and dated /85

12 ins x 9.75 ins; 30.5 cms x 24.8 cms

Provenance:Private Collection, Toronto

$2,500–3,500

117DANIEL PRICE ERICHSENBROWNGIRL IN A FUR COAT

egg tempera on boardsigned

12 ins x 9.75 ins; 30.5 cms x 24.8 cms

Provenance:Private Collection, Toronto

$4,000–6,000

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118MOLLY LAMB BOBAK, R.C.A.MEMORY OF ALGIERS

oil on canvassigned “Molly Bobak”; also signed andtitled on the stretcher

28 ins x 30 ins; 71.1 cms x 76.2 cms

$8,000–12,000

Provenance:Roberts Gallery Limited, TorontoPrivate Collection, Toronto

Note:Molly Lamb Bobak lends the invigoration of her animated crowd scenes tothe dazzling, jewel-like white of the buildings of Algiers. Built on the slopesof the Sahel Hills, the city waterfalls into the bay below. The harbour,nestled like a natural amphitheatre in the landscape, is framed by the scarlettint of the ship’s deck.

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119BERTRAM BROOKER, R.C.A.PORTRAIT OF MISS. ROSAHERMANNSSON

oil on canvassigned; inscribed “Rosa” on the overflapand with the artist’s stamp on the reverse

30 ins x 24 ins; 76.2 cms x 61 cms

Provenance:Collection of Rosa HermannssonPrivate Collection, Ontario (by descent tothe present owner)

Exhibited:51st Annual Exhibition, Royal CanadianAcademy, The Art Gallery of Toronto,Toronto, November 1930, no. 21.

Literature:Bertram Brooker, The Seven Arts, TheCitizen and Associated Newspapers of theSoutham Publishing Co., November 1929.

$4,000–6,000

Note:Rosa Hermannsson was the sixth of seven children born in Manitoba toparents of Icelandic origin. At the age of 17, Hermannsson moved toWinnipeg and began to study singing as a contralto. Pushing her passionstill further, the singer moved east to Toronto in 1929 to hone her skills as amezzo soprano under the guidance of Carl Hunter. She performed concerttours and also had her own program on a local radio station.

Bertram Brooker’s involvement in the arts extended far beyond his ownpursuits as a painter. From 1928 to 1930, Brooker wrote a syndicatednewspaper column on artistic activity in Canada. The Seven Arts, as it wascalled, reviewed and analyzed visual arts, poetry, theatre and music – linkinghim to artistic communities across the country. His November 1929 articleincluded a feature on the people of Iceland. Brooker notes that it wasthrough Professor Pilcher, a faculty member at Wycliffe College and atranslator of hymns by the poet Halligrimur Pjetursson, that he metIcelanders, “including Rosa Hermansson, a singer well known in Winnipeg,now studying music in Toronto...” Like Hermannsson, Brooker had movedfrom Manitoba to Toronto in pursuit of expanding his career. Hermannsson’s look is à la mode – come-hither without coquettishness, thekind eyes of a formidable talent cast away from the viewer in a sidewaysglance. Speaking of Miss Hermannsson, a reviewer in the Toronto DailyStar wrote: “A refreshing exhibition of lovely tone quality, excellentatmosphere and... indescribable beauty...” It is as much a description ofHermannsson’s voice as it is of Brooker’s depiction of the woman whopossessed it.

Miss Rosa Hermannsson inSeptember 1930.

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120JACK REPPEN, O.S.A.ABSTRACT COMPOSITION

mixed media collagesigned and dated ‘63

22.5 ins x 17.5 ins; 57.2 cms x 44.5 cms

Provenance:Private Collection, Montreal

Note:In the late 1950s and early 1960s Jack Reppen was celebrated asa muralist, a cartoonist and, foremost, as an abstract painter. Acombination of incised gesso and thickly-painted textures, JackReppen’s collages are entrancing – taking on the look ofenamelled and oxidized, metallic surfaces.

$2,000–3,000

121GREGORY RICHARD CURNOESHAKESPEREAN ACTOR

oil on masoniteindistinctly inscribed on the reverse

36 ins x 24 ins; 91.4 cms x 61 cms

Literature:Dennis Reid and Matthew Teitelbaum (eds.), “Some Things ILearned from Greg Curnoe,” in Greg Curnoe: Life and Stuff, ArtGallery of Ontario, Toronto, 2001, page 119.

Note:“And since you know you cannot see yourself,so well as by reflection, I, your glass,will modestly discover to yourself,that of yourself which you yet know not of.” – Act I, Scene II,Julius Caesar

Curnoe spent the majority of his life in London, Ontario buttravelled to England on occasion. Using a warm, vibrant palette,Curnoe captures a Shakespearean actor in a style reminiscent ofMatisse’s Fauvist portraits. “Curnoe’s art was about momentaryexperience, about pausing to look at something or someone,”and he tended to spontaneously create forms rather than employa methodic rigour to his work. Alongside his collages and letteredworks, Curnoe’s portraits were always autobiographical andmarked important relationships that the artist made throughouthis life.

$5,000–7,000

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122GREGORY RICHARD CURNOEUNTITLED NUDE

oil on masonitesigned and dated 1958 on the reverse

36 ins x 24 ins; 91.4 cms x 61 cms

Note:Influenced by Kees van Dongen, Curnoe painted many nudesthroughout his career, including portraits of his wife Sheila and ofunnamed sitters such as the female subject of this lot.

$5,000–7,000

123RITA LETENDRE, R.C.A.SOUVENIR MOROSE

gouache on papersigned and dated ‘62

9.5 ins x 12.125 ins; 24.1 cms x 30.8 cms

Provenance:Private Collection, MontrealPrivate Collection, Winnipeg

Literature:Rita Letendre, Rita Letendre: A Continuing Tradition, Moore Gallery,Toronto, 1994, quoted by Linda Jansma in Rita Letendre:Beginnings in Abstraction, Robert McLaughlin Gallery, Oshawa,2005, page 6.

Note:Though lacking the lavish impasto of canvases executed during thistime, the surface of Souvenir Morose, vibrates with the sametension. Rita Letendre manipulates the watery medium into arestless scene that wields magnetic command over the viewer’s eye.Atop a backdrop of black and Venetian red, Letendre compels ustowards a cascade of vitesse in blue: a semblance of a figure caughtbetween two worlds, one of the “prisoners struggling to freethemselves.”

$6,000–8,000

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124ARTHUR SHILLINGPORTRAIT OF A YOUNG MAN

oil on masonitesigned and dated ‘76

22 ins x 20 ins; 55.9 cms x 50.8 cms

Note:Striking colour and vigorous brushtrokesseem at odds with Shilling’s contemplativeportrait, yet it is these elements whichserve to animate what might otherwiseread as a human still-life. While hisportraits often remain unnamed, Shilling’stender treatment of his subject leaves nodoubt about his real-ness. With eachgesture, Young Man is animated andShilling clearly conveys his character if nothis actual identity.

$4,000–6,000

125WILLIAM GOODRIDGEROBERTS, R.C.A.LANDSCAPE

oil on masonitesigned

19.75 ins x 23.75 ins; 50.2 cms x 60.3 cms

Provenance:Gerard Gorce Beaux-Arts Inc., MontrealPrivate Collection, Montreal

$3,000–4,000

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126HAL ROSS PERRIGARD, A.R.C.A.HARBOUR SCENE

oil on panelsigned and dated ‘22; also signed on thereverse

6 ins x 8.5 ins; 15.2 cms x 21.6 cms

Provenance:Private Collection, Montreal

Note:Although largely self-taught, Perrigard didstudy under Maurice Cullen and WilliamBrymner. Perrigard excelled at landscapeand his subjects were frequently inspiredby the summers he spent on the coast inRockport, Massachusetts where he had astudio from 1923 until his death.

$1,500–2,000

127RICHARD MONTPETITAPRÈS L’AVERSE, RUE ST-DENIS

oil on canvassigned; also signed, titled and dated ‘94on the reverse

18 ins x 24 ins; 45.7 cms x 61 cms

Provenance:Roberts Gallery Limited, Toronto

Note:Montreal, the city Montpetit calls home,has provided rich inspiration for hispaintings. Here, a wet sidewalk along St-Denis - after a rain shower - is an openinvitation to Montpetit to demonstrate hismasterful rendering of reflected light - asignature skill of his.

$1,200–1,500

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128THOMAS HAROLD BEAMENT,P.R.C.A.RIVER IN WINTER

oil on canvassigned

24 ins x 27.25 ins; 61 cms x 69.2 cms

Provenance:Private Collection, Toronto

$3,000–4,000

129FRANK HANS JOHNSTON, O.S.A.,A.R.C.A.HOMEWARD BOUND

oil on masonitesigned

16 ins x 20 ins; 40.6 cms x 50.8 cms

Provenance:Private Collection, British Columbia

$6,000–8,000

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130ADAM SHERRIFF SCOTT, R.C.A.OUTSKIRTS OF EAST ANGUS,P.Q.

oil on canvas boardsigned

20 ins x 25.25 ins; 50.8 cms x 64.1 cms

Provenance:Private Collection, Montreal

$3,000–5,000

131RENÉ RICHARDUNTITLED - THE CURVE IN THEROAD

oil on masonitesigned

16 ins x 20 ins; 40.6 cms x 50.8 cms

Provenance:Private Collection, Montreal

Note:Richard’s fascination with the Canadianlandscape emerged from his animaltrapping expeditions across the country inthe 1930s. He documented thecountryside in and around Baie-Saint-Paul, Quebec using his expressionist stylewithin various different media includingoil, watercoulour, pencil and charcoal.

$6,000–8,000

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132GERTRUDE DES CLAYES,A.R.C.A.PORTRAIT OF A YOUNG LADY

oil on panelsigned

18 ins x 10.5 ins; 45.7 cms x 26.7 cms

Note:Gertrude des Clayes was a member of theNational Portrait Society (1911) inEngland. In soft, loose brushstrokes, desClayes captures a young woman comingof age – Her beauty rests in heruncertainty and her delicacy.

The middle child of three, Gertrude desClayes was sister to Alice (lot 144) andBerthe (lot 4) des Clayes.

$2,500–3,000

133LOUIS-PHILIPPE HÉBERT, R.C.A.SIR WILFRED LAURIER

signed, dated 1892 and inscribed“Thiebaut Frères Fondeurs, Paris”

bronzeheight 24.75 ins; 62.9 cms

Provenance:Private Collection, Montreal

$8,000—12,000

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134JOSEPH FRANCIS PLASKETT, R.C.A.INTERIOR, STILL LIFE WITH FRUIT AND CHAIR

oil on canvassigned and dated 1967

30 ins x 22 ins; 76.2 cms x 55.9 cms

Provenance:Private Collection, Montreal

Literature:Joseph Plaskett, A Speaking Likeness, Ronsdale Press,Vancouver, 1999, page 160.

Note:Plaskett took great pleasure in collecting furniture andrenovating his homes especially as they were a favouredsubject for his paintings. The surrounding dark room in thisparticular work feels like the chair and fruit have a spotlight onthem. Plaskett said, “I was forced inward and had to find newways to exploit the insufficiency of natural light. I could lookdown at an intimate theatre of life [in this case, Paris] in anarrow street, or I could bring the outside world in ... Thehouse was rarely without models, which could include theprofusion of flowers, fruits and vegetables from the old LesHalles markets a few streets away.”

$5,000–7,000

135STANLEY MOREL COSGROVE, R.C.A.LAURENTIAN LANDSCAPE

oil on canvassigned; inscribed “March 76 T” in pencil on the stretcher

24 ins x 20 ins; 61 cms x 50.8 cms

Provenance:Kastel Gallery Inc., MontrealPrivate Collection, Montreal

$4,000–6,000

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136ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.DOUBLE-SIDED DRAWING: ST. PAUL, QUEBEC, 1923;TWO SLEIGHS

pencil

4.5 ins x 8 ins; 11.4 cms x 20.3 cms

Provenance:Georges Loranger XX Century Art, TorontoPrivate Collection, Ontario

$3,000–5,000

137LEO MOL, R.C.A.A.Y. JACKSON

bronzesigned, dated ‘65, and numbered 11/15

height 15.25 ins; 38.7 cms

Literature:John W. Fisher, Speaker, Homage to A.Y. Jackson, Speech at theEmpire Club of Canada, 05 October 1972 given at the FairmontRoyal York Hotel, Toronto.

Note:“He was a builder. He was an interpreter who wasn’t scared to gointo the toughest places. He had no time for the soft life. Had hebeen born a hundred years earlier, assuming that he had the sameassortment of genes in his system, I think he would have been anexplorer and probably a great one; because where he went healways wanted to go further, always that curiosity...”

Leo Mol’s rendering of Jackson captures the artist as he was laterin life: a rugged and wizened figure with a substantial presence.Despite the toughness of the bronze’s texture and of the pose,Jackson’s furrowed brow and crossed arms cannot conceal thetwinkle, the curiosity in his eye. This sculpture is a smaller castingof a work installed in the Leo Mol Sculpture Garden in AssiniboinePark in Winnipeg.

$2,500–4,000

(verso)

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138LOUIS-PHILIPPE HÉBERT, R.C.A.CHANDELIER “LA LISEUSE”

bronzesigned

height 4.5 ins; 11.4 cms

$3,500–5,000

139ALFRED LALIBERTÉ, R.C.A.LE VIEUX / LA VIEILLE

bronzesigned and titled

16 ins x 16.5 ins x 9.5 ins; 40.6 cms x41.9 cms x 24.1 cms

Literature:Les Bronzes d’Alfred Laliberté, Collectiondu Musée du Québec, 1978, page 119,cat. no. 99 for Le Vieux / La Vieille.

$5,000–7,000

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140ANDREAS CHRISTIAN GOTTFRIED LAPINE,A.R.C.A.WINTER’S WORK

oil on canvas boardsigned; an unfinished brush and ink sketch of a horse on thereverse

20 ins x 16 ins; 50.8 cms x 40.6 cms

Provenance:J. Merritt Malloney’s Gallery, TorontoPrivate Collection, Ontario

$3,000–5,000

141MARC-AURÈLE FORTIN,A.R.C.A.MAISON DE CAMPAGNE

watercolor, laid down on cardsigned

8.5 ins x 14.25 ins; 21.6 cms x 36.2 cms

Provenance:Private Collection, Montreal

$6,000–8,000

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142GORDON MCKINLEY WEBBERMEXICAN WOMAN SEATED

oil on boardsigned on the reverse and inscribed “Toronto”

28 ins x 24 ins; 71.1 cms x 61 cms

Provenance:Private Collection, Toronto

$4,000–6,000

143JEAN-PHILIPPE DALLAIRELA CHASSE À L’OURS

gouache on paperdated 1951 on a gallery label on the reverse

8.5 ins x 12.5 ins; 21.6 cms x 31.8 cms

Provenance:Galerie Valentin, Montreal

Literature:Guy Robert, Dallaire ou l’oeil panique, ÉditionsFrance-Amerique, Montreal, 1980, page 93.

Note:As Guy Robert indicates, “En 1951, le pinceau deDallaire se montre de nouveau très actif.” Duringthis year, Jean-Philippe Dallaire executed severalmajor works including the mural Québec sous leRégime français at the Industrial Alliance HeadOffice in Québec City. This playful work of astartlingly successful bear hunt, contrasts the seriousnature of his political works and alludes to the skillshe would hone as a draughtsman at the NationalFilm Board of Canada in Ottawa (1952-1956).

$6,000–7,000

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144ALICE DES CLAYES, A.R.C.A.POSTBRIDGE, DARTMOOR

oil on canvassigned

19 ins x 25 ins; 26 cms x 63.5 cms

Provenance:Private Collection, Toronto

Note:The Clapper Bridge rests in the hamlet ofPostbridge, in the moorland of Dartmoor.The ancient structure is believed to havebeen built during the 13th Century toenable packhorses to cross the river enroute to Tavistock. Alice des Clayespaints three unbridled horses and a foalleisurely watering at the river – not yetcalled upon to labour.

The youngest child of three, Alice desClayes was sister to the painters Berthe(lot 4) and Gertrude (lot 132) des Clayes.

$3,000–5,000

145ARMAND TATOSSIAN, R.C.A.GLOIRE DE ROUGE

oil on canvassigned; also signed and titled on thereverse

24 ins x 30 ins; 61 cms x 76.2 cms

Provenance:Private Collection, Montreal

$2,500–3,000

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146JOSEPH FRANCIS PLASKETT, R.C.A.DANS LE PARC, PARIS

pastelsigned and dated 1960

19 ins x 24.5 ins; 48.3 cms x 62.2 cms

Provenance:Private Collection, Montreal

Literature:Joseph Plaskett, A Speaking Likeness, Ronsdale Press, Vancouver,1999, page 250.

Note:In Plaskett’s autobiography he writes extensively about his choiceof subject matter. He notes, “Landscape occupies an anomalousspace in my work. Land, sea and city have been my subjects: inCanada the wilderness from Labrador to the Queen CharlotteIslands; in Europe landscapes rarely without architectural andhuman traces. The rapidity in my use of pastel, the medium Ichose for this huge production, allowed little time forcontemplation or revision.” The artist captures a moment in thispainting, just as the Impressionists strove for in their work.

$1,000–1,500

147JACK HAMILTON BUSH, O.S.A., A.R.C.A.ROADWAY IN WINTER

oil on board

8.75 ins x 10.75 ins; 22.2 cms x 27.3 cms

Provenance:Private Collection, Nova Scotia (by descent through the family ofthe artist)

Literature:Dennis Reid, “Jack Bush: The Development of a CanadianPainter,” in Jack Bush, McClelland and Stewart, Toronto, 1984.

Note:Dennis Reid writing about another early work of Bush’semphasizes the role that the Group of Seven had on the youngerartist. He could be describing this work when he writes that ithas “roughly blocked-in colour areas, with the broad brushworkdescribing only major forms. It is tied to the work of Jackson,Lawren Harris, and MacDonald, in particular, in that it displaysthe saturated colour often used by those painters during the 20sand avoid anecdotal detail, pursuing the dominant mood of theplace that is its subject.“

$4,000–6,000

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148THOMAS HAROLD BEAMENT,P.R.C.A.LAURENTIAN STREAM

oil on boardsigned and titled on the reverse

9 ins x 12 ins; 22.9 cms x 30.5 cms

Provenance:Private Collection, Montreal

$800–1,200

149LEO AYOTTECOWS BY RIVER

oil on masonitesigned and dated ‘67

36 ins x 48 ins; 91.4 cms x 121.9 cms

$4,000–6,000

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150JOHN YOUNG JOHNSTONE,A.R.C.A.FARMING SCENE

oil on canvassigned

14 ins x 19.75 ins; 35.6 cms x 50.2 cms

Provenance:Private Collection, Montreal

$6,000–8,000

151GEORGE AGNEW REID, O.S.A.,P.R.C.A.THE HUMBER RIVER

oil on canvassigned and dated 1890

22 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 River, which mayhave been the inspiration for this painting.

$5,000–7,000

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152LIONEL LEMOINE FITZGERALDTREES

coloured pencil drawing

15.5 ins x 16 ins; 39.4 cms x 40.6 cms

Provenance:Private Collection, Montreal

Literature:Essay by Linda Jansma in A Vital Force: TheCanadian Group of Painters, Agnes Etherington ArtCentre, The Robert McLaughlin Gallery, Kingstonand Oshawa, 2013, page 41.

Note:FitzGerald delicately renders aged and unyieldingtrees into delicate threads of subdued colour. AsLinda Jansma wrote, “FitzGerald requires the viewerto reflect on the quiet harmonies and rhythms foundwithin nature in order to discover its beauty.”

$1,200–1,500

153WALTER JOSEPH PHILLIPS, R.C.A.GIMLI

woodcut printed in coloursinitialled in plate and signed, titled and numbered14/100 in pencil in the margin

9.5 ins x 13.5 ins; 24.1 cms x 34.3 cms

Literature:Nancy E. Green, Kate Rutherford and ToniTomlinson, Walter J. Phillips, Pomegranate,Portland, Oregon, 2013, page 72 for a related Gimlisubject.

$2,500–3,000

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154LIONEL LEMOINE FITZGERALDABSTRACTION

coloured pencil drawingsigned and dated “17.7.53” in pencil in the lowermargin

18 ins x 17.75 ins; 45.7 cms x 45.1 cms

Provenance:Private Collection, Montreal

Note:The so-called “last” member of the Group of Seven,LeMoine FitzGerald first painted subject matter fromeveryday life in western Canada. Later into hiscareer, his style became more abstract: mutedcolours, swirling across the page in dynamic, Pointillistformations. FitzGerald’s abstract art had a profoundinfluence on Bertram Brooker (lots 50 & 119), whomhe first met in 1929.

$1,500–2,000

155WILLIAM RONALD, R.C.A.UNTITLED

watercoloursigned and dated ‘58

15 ins x 20 ins; 38.1 cms x 50.8 cms

Provenance:Private Collection, Toronto (gift of the artist)

Literature:William Ronald, interviewed by Richard Brown Baker,New York, Archives of American Art, April 18 andJune 2, 1963.

Note:Despite his reputation as the founding member of thePainters Eleven in 1954, Ronald did not considerhimself an abstract expressionist. In a 1963 interviewwith Richard Brown Baker, he explained: “I alwaysthink of abstract expressionism more or less as deKooning. He’s the man that sort of made it popular, Ithink. It’s a fragmentated (sic) manner of painting andbreaking up of space usually using the whole canvas;that is, working out to the four sides like Pollockworked out to the four sides, you see. But I never did.I always had a focal point and a solid, or more or lesssolid, almost flat image to began with, and then therewas some movement in the paint.”

$1,800–2,200

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156JOHN RICHARD FOXON THE BANKS OF THE SEINE

oil on panelsigned

5.5 ins x 7 ins; 14 cms x 17.8 cms

Provenance:Private Collection, Montreal

Literature:The Montreal Star, February 9, 1957.

Note:Fox’s influence of the Fauvists that he soadmired can be seen in this work. Whilethis group were intense with their colourand line, they were more conservativewith their choice of subject matter oftendepicting charming landscapes. Here wehave the center of Paris with a bucolicatmosphere. One reviewer discussingFox’s work wrote that he, “paints thinly,something like a water colour painter,taking pleasure not in juicy pigment or inthe third dimension, but in the patternthat fills the square, in space andproportion and the judicious use of colour.In colour he is individual and ingratiating,rich and glowing without beingsumptuous and reticent, wearing it like amellow bloom...”

$600–800

157CHARLES FRASER COMFORT,O.S.A., P.R.C.A.RAIN, GEORGIAN BAY

oil on masonitesigned

12 ins x 16 ins; 30.5 cms x 40.6 cms

Provenance:Private Collection, Oakville

$4,000–6,000

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158MARJORIE (JORI) ELIZABETHTHURSTON SMITHRANG DE LA DECHARGE, STURBAIN, 1933

oil on boardsigned; also signed, titled and dated onthe reverse

3.75 ins x 4.75 ins; 9.5 cms x 12.1 cms

Provenance:Private Collection, Montreal

Literature:Jori Smith, Charlevoix County, 1930,Penumbra Press, 1998, for Smith’smemoirs of her time in Charelvoix duringthe period in which this lot was executed.

$1,000–1,500

159HENRI LEOPOLD MASSONLE FÔRET

oil on canvassigned and dated ‘34, unframed

10.5 ins x 12.5 ins; 26.7 cms x 31.8 cms

Provenance:Private Collection, Montreal

$1,200–1,500

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160ARTHUR LISMER, O.S.A., R.C.A.BEACH SCENE

oil on masonitesigned

12.25 ins x 16.25 ins; 31.1 cms x 41.3 cms

Provenance:Private Collection, Ontario

Literature:Augustus Bridle, “Pictures of the Group ofSeven Art Show, ‘Art Must Take theRoad,’” Toronto Daily Star, 20 May 1922.

$10,000—15,000

Note:A charter member of the Group of Seven, Arthur Lismer was motivated toexpress the spirit of Canada through landscape painting. Joining his fellowartists on painting trips to the north shore of Lake Superior and the Algomaregion, Lismer’s contributions to the Group’s body of work depicted theCanadian terrain as more angular and rough than his counterparts. In 1922,Augustus Bridle wrote: “Of the group (Lismer) is the most restless, and isonly now toning down to a point where he can begin to size up to a reallybig thing on its merits... I think Lismer understands his art better as yet thanhe has been able to illustrate it. But he is becoming more clarified andsimple and it is gaining strength.”

It was in Lismer’s later work that his style reached maturation – lending agentleness to the wilds; softened and literal. His concentration shifted fromexpansive scenes toward tightly framed and close-up formations of land andvegetation.

In 1951, Arthur Lismer made his first trip to Long Beach on the west coastof Vancouver Island. For 16 subsequent summers, he returned to the areato paint scenes of the seashore and of the nearby forest. Like the bulk ofhis paintings from his time on Long Beach, Beach Scene demonstratesLismer’s intimate familiarity with natural forms. A tangle of shells,driftwood, and flotsam, are to Lismer a potpourri of cadmium orange andgreen, mauve and greys.

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161JOE NORRISGETTING READY FOR AFISHING TRIP

oil on panelsigned and dated 1986

24 ins x 30 ins; 61 cms x 76.2 cms

Provenance:Private Collection, Kingston

$3,000–4,000

162STANLEY MOREL COSGROVE,R.C.A.STILL LIFE WITH LEMONS

oil on canvassigned

16.25 ins x 20 ins; 41.3 cms x 50.8 cms

Provenance:Dominion Gallery, Montreal

$2,500–3,500

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163JOSEPH FRANCIS PLASKETT, R.C.A.PARIS STREET SCENE

pastelsigned and dated ‘61

25.5 ins x 19.5 ins; 64.8 cms x 49.5 cms

Provenance:Private Collection, Montreal

$1,000–1,500

164BRUNO CÔTÉMISTY

oil on masonitesigned; also signed and titled on the reverse

30 ins x 36 ins; 76.2 cms x 91.4 cms

Provenance:Private Collection, Montreal

Literature:Roxane Babinska, Bruno Côté: Beyond theLand, Vincent Fortier Publishing, Ottawa &Toronto, 2003, page 138.

Note:“It is necessary to go beyond the structure inorder to uncover the significance of eachpainting. Bruno Côté offers a useful tip: Hesuggests that I hold my hand to my eye like atelescope, and that I observe the paintingsthrough it.” Transitioning from work in hisfamily’s publicity business to that of a full-time artist, Côté was inspired by the richnessof the Canadian landscape. Using a simplepalette, Côté paints scenery that is savageyet beautiful.

$4,000–5,000

Page 131: Canadian Fine Art Auction

165MICHELINE BEAUCHEMINLA MARIÉE D’ANGOULEME

oil on canvas board, laid down on boardsigned and dated ‘56

18 ins x 13 ins; 45.7 cms x 33 cms

Provenance:Private Collection, Montreal

Note:Beauchemin, known primarily for her production oflarge tapestries, studied under Alfred Pellan.

$800–1,200

166RODY KENNY HAMMOND COURTICE,O.S.A., R.C.A.NIGHT, OLD CITY

tempera on boardsigned

20 ins x 16 ins; 50.8 cms x 40.6 cms

Exhibited:Canadian Group of Painters, 1959

$1,200–1,500

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168TAKAO TANABEUNTITLED

gouache, laid down on cardsigned and indistinctly dated ‘55;inscribed “study for a painting”, signedand dated in pencil on the mount

10.75 ins x 13.75 ins; 27.3 cms x 34.9cms

Provenance:Private Collection, Montreal

$800–1,200

167MILLER GORE BRITTAINSEATED NUDE

coloured chalks, heightened with whitesigned with initials and dated ‘48

21.5 ins x 15 ins; 54.6 cms x 38.1 cms

Provenance:Private Collection, Toronto

$1,800–2,200

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169NORMAND HUDONLES GENS DU VOYAGE

mixed media on illustration boardsigned and dated ‘58

16 ins x 20 ins; 39.4 cms x 49.5 cms

Provenance:The Waddington’s Galleries Inc., MontrealPrivate Collection, Montreal

$1,000–1,500

170PAUL FOURNIER, R.C.A.BY EMERALD WATERS

acrylic on canvassigned, titled and dated ‘90 on the reverse

40 ins x 80 ins; 101.6 cms x 203.2 cms

Provenance:Private Collection, Toronto

Literature:Karen Wilkin, Introduction to Recent Paintings by DavidBolduc, Paul Fournier, K M Graham, Canada House CulturalCentre Gallery, London, 1982, unpaginated.

Note:The rich play of colour and application of media recalls whatKaren Wilkin notes about Fournier’s paintings: “They arepictures about the act of painting itself: about gesture andcolour, about the pleasure of applying paint, about ways ofmaking paint thick or thin, transparent or opaque. Thelushness and subtlety of their surfaces are reason enough forthese paintings to exist, in purely formal terms.”

$3,000–4,000

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CanadianArt.Waddingtons.ca

Index

124

A

Andrews, Sybil (1898-1992)… 55

Armstrong, William (1822-1914)… 14

Ayotte, Leo (1909-1976)… 149

B

Beament, Thomas Harold (1898-1984)…

128, 148

Beau, Henri (1863-1949)… 68

Beauchemin, Micheline (1930-2009)… 165

Bellefleur, Léon (1910-2007)… 100, 108

Berthon, George Theodore (1806-1892)…

15

Bolduc, David (1945-2010)… 106

Bobak, Molly Lamb (1922-2014)… 118

Borenstein, Samuel (1908-1969)… 3

Brandtner, Fritz (1896-1969)… 28, 75, 101,

107, 113

Brittain, Miller Gore (1912-1968)... 167

Brooker, Bertram (1888-1955)… 50, 119

Brown, Daniel Price Erichsen (1939-)… 82,

116, 117

Burton, Dennis Eugene Norman (1933-

2013)… 105, 109

Bush, Jack Hamilton (1909-1977)… 7, 9,

147

C

Cahén, Oscar (1916-1956)… 47

Casson, Alfred Joseph (1898-1992)… 39,

41, 77, 90

Coburn, Frederick Simpson (1871-1960)…

70, 71

Colville, Alexander (1920-2013)... 11, 83,

84, 102

Collyer, Nora Frances Elisabeth (1898-

1979)… 88

Comfort, Charles Fraser (1900-1994)… 157

Cosgrove, Stanley Morel (1911-2002)…

135, 162

Côté, Bruno (1940-2010)… 164

Coughtry, John Graham (1931-1999)… 53

Courtice, Rody Kenny Hammond (1895-

1973)… 166

Curnoe, Gregory Richard (1936-1992)…

49, 121, 122

D

Dallaire, Jean-Philippe (1916-1965)… 143

Daly Pepper, Kathleen (1898-1994)… 35

de Grandmaison, Nicholas (1892-1978)…

17, 18, 64

Des Clayes, Alice (1890-1968)… 144

Des Clayes, Berthe (1877-1968)… 4

Des Clayes, Gertrude (1879-1949)… 132

E

Eloul, Kosso (1920-1995)… 98

Etrog, Sorel (1933-2014)… 46, 99

F

Ferron, Marcelle (1924-2001)… 10

FitzGerald, Lionel Lemoine (1890-1956)…

152, 154

Forrestall, Thomas de Vany (1936-)… 22

Fortin, Marc-Aurèle (1888-1970)… 29, 141

Fournier, Paul (1939-)… 170

Fox, John Richard (1927-2008)… 156

G

Gorman, Richard (1935-2010)… 103

H

Harris, Lawren Stewart (1885-1970)… 32,

57, 59, 63, 95

Hébert, Louis-Philippe (1850-1917)… 133,

138

Hodgson, Thomas Sherlock (1924-2006)…

104

Holgate, Edwin Headley (1892-1977)… 23,

110, 112

Hudon, Normad (1929-1997)… 85, 86,

169

Huot, Charles (1855-1930)… 67

J

Jackson, Alexander Young (1882-1974)…

20, 36, 42, 43, 62, 79, 80, 91, 136

Johnston, Frank Hans (1888-1949)… 34,

78, 129

Johnstone, John Young (1887-1930)… 150

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K

Kasyn, John (1926-2008)… 87

Krieghoff, Cornelius (1815-1872)… 37, 66,

69

Kurelek, William (1927-1977)… 24, 30, 44

L

Laliberté, Alfred (1878-1953)… 115, 139

Lapine, Andreas Christian Gottfried (1866-

1952)… 140

Lemieux, Jean-Paul (1904-1990)… 25, 54

Letendre, Rita (1928-)… 60, 61, 123

Little, John Geoffrey Caruthers (1928-)…

81

Lismer, Arthur (1885-1969)… 160

Luke, Alexandra (1901-1967)… 52

Lyall, Laura Adeline Muntz (1860-1930)…

73

M

Macdonald, James Williamson Galloway

(1897-1960)… 45

MacDonald, James Edward Hervey (1873-

1932)… 33, 38, 58

MacDonald, Manly Edward (1889-1971)…

5

Martin, Thomas Mower (1838-1934)… 65

Masson, Henri Leopold (1907-1996)… 1, 8,

159

Mead, Raymond John (1921-1998)… 48

May, Henrietta Mabel (1877-1971)… 40

Meredith, John (1933-2000)… 27

Mol, Leo (1915-2009)… 114, 137

Montpetit, Raphael (1980-)… 127

Muhlstock, Louis (1904-2001)… 74, 94

N

Nakamura, Kazuo (1926-2002)… 76

Norris, Joe (1924-1996)… 161

P

Pachter, Charles (1942-)… 89

Perrigard, Hal Ross (1891-1960)… 126

Phillips, Walter Joseph (1884-1963)… 6,

153

Plaskett, Joseph Francis (1918-2014)… 134,

146, 163

Pratt, Christopher (1935-)… 21

R

Raphael, William (1833-1914)… 16

Reid, George Agnew (1860-1947)… 151

Reppen, Jack (1933-1964)… 120

Richard, René (1895-1982)… 131

Roberts, William Goodridge (1904-1974)…

93, 125

Ronald, William (1926-1998)… 51, 96, 155

S

Shadbolt, Jack Leonard (1909-1998)… 56

Sheppard, Peter Clapham (1882-1965)…

13, 92

Sherriff Scott, Adam (1887-1980)… 130

Shilling, Arthur (1941-1986)… 124

Smith, Marjorie (Jori) Elizabeth Thurston

(1907-2005)… 72, 158

T

Tanabe, Takao (1926-)… 31, 168

Tatossian, Armand (1948-2012)… 145

Teitelbaum, Mashel (1921-1985)… 2

Town, Harold Barling (1924-1990)… 26,

97, 111

V

Varley, Frederick Horsman (1881-1969)…

12

Verner, Frederick Arthur (1936-1928)… 19

W

Webber, Gordon McKinley (1909-1965)…

142

125

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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

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Frames on artwork are notincluded as part of purchaseor condition.

Buyers PremiumA premium of 18% of thesuccessful bid price of eachlot sold is paid by the buyeras part of the total purchaseprice.

Artfact Live! clients will becharged a buyer's premium of21% of the successful bidprice of each lot up to andincluding $50,000 as part ofthe total purchase price.

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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:

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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.

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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.

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Selling at Waddington’s

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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 withoutre-offering the item for sale.

9. The buyer shall pay for all lotswithin 48 hours from the date ofthe sale, after which a late chargeof 2% per month on the totalinvoice may be incurred or theauctioneer, in his sole discretion,may cancel the sale. The buyershall not become the owner ofthe 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 to removalof a lot, makes arrangementssatisfactory to the auctioneer forthe inspection of such lot by afully qualified person acceptableto the auctioneer to determinethe genuineness or authenticityof the 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 the

aforementioned 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

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Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

Asian Art

Anthony Wu416 847 [email protected]

Yvonne Li416 847 [email protected]

Canadian Fine Art

Linda Rodeck416 847 [email protected]

Eileen ReilleyCondition Reports416 847 [email protected]

Erin RutherfordFine Art Administrator416 504 [email protected]

Contemporary Art

Stephen Ranger416 847 [email protected]

Kristin VanceFine Art Administrator416 504 9100 ext [email protected]

International Art

Susan Robertson416 847 [email protected]

Emma [email protected]

Inuit Art

Christa Ouimet416 847 [email protected]

Nadine Di [email protected]

Jewellery, Watches &Numismatics

Don P. McLean416 847 [email protected]

Lynda MacphersonJewellery Administrator416 847 [email protected]

Monthly Fine Art

Doug Payne416 847 [email protected]

Decorative Arts

Bill KimeSilver, Glass & Ceramics416 847 [email protected]

Sean QuinnSculpture, Decorations, Clocks & Lighting416 847 [email protected]

Ellie MuirDecorative Arts Assistant416 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]

Elda Pappada416 504 9100 [email protected]

Corporate ReceptionistKate Godin416 504 [email protected]

Ali Nasir416 847 [email protected]

Appraisal Co-ordinatorEllie Muir416 847 [email protected]

CommunicationsTess McLean416 504 [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]

SpecialistDepartments

Operational Staff

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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