Download the Catalogue PDF

Canadian Fine Art AuctionMonday 25 May 2015at 7:00 pm

On ViewFriday 22 May 2015 from 12:00 Noon to 5:00 pmSaturday 23 May 2015 from 12:00 Noon to 5:00 pmSunday 24 May 2015 from 12:00 Noon to 5:00 pmMonday 25 May 2015 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 © 2015 Waddington McLean & Company Ltd.

All rights reserved. Photography by Waddington’s

Front CoverLot 67YVES GAUCHERGREEN, YELLOW/RED, 1ÈRE VERSION

Inside Front CoverLot 37JOHN WILLIAM BEATTY, O.S.A., R.C.A.BROOKS FALLS, MAGNETAWAN RIVER

Title PageLot 68JOHN MEREDITHVOYAGE

Inside Back Cover Lot 20ARTHUR LISMER, O.S.A., R.C.A.KILLICKS (STONE ANCHORS, N.S.)

Back CoverLot 39ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.PONT ROYAL, PARIS

SpecialistLinda Rodeck 416 847 [email protected]

Fine Art AdministratorErin Rutherford 416 504 [email protected]

Corporate ReceptionistKate Godin 416 504 9100 [email protected]

Accounts ManagerKaren Sander 416 847 6173 [email protected]

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

Online Biddingwww.invaluable.com

CommunicationsTess McLean416 504 [email protected]

I have worked in the auction business off and on for close to twenty-five years,and I have always viewed it as a great privilege. The job can seem routine: the callfor consignments is followed by client visits (with, it must be said, a degree oftravel often involving gravel roads and locations unmapped on my GPS);consignments come in and are catalogued, researched, shot, and published; thesale marketed, exhibited and finally conducted. Then we start all over again.

And we adhere to a rather strict schedule: auction season occurs each Spring andFall. Traditionally the sales take place in the third week of May and November,and the routine is quite firmly established. Nonetheless, the job can beunpredictable. It is impossible to know what surprises will pepper the day andthat has always been a huge part of the fun. In my work world, each day isinevitably a little better than the last as the sale builds to completion – lot by lot,consignment by consignment. That sense of potential and the unpredictability ofit all is what make the industry so exciting.

I’ve always liked the people I work with. I have been lucky in this way and keep intouch with colleagues from previous positions I have held. My luck here seems tohave held firm this year. The team I have worked with to assemble our majorSpring Sale of Canadian Art have dedicated themselves to myriad responsibilitiesthat go into producing the catalogue sale. Our staff have delivered, withoutcomplaint, despite the considerable demands that are placed on themparticularly at two crucial times in the auction process: press deadline and saleday. It is here that I must acknowledge by name, Erin Rutherford and EileenReilly. They have made each day here a little easier through their professionalconduct. Both women carried a heavy load this season but made it look as lightas air. They have grit and fortitude and they have been invaluable to me.

Additionally, I admire the collectors. They are often quirky and peculiar, but I likethat. They tell fascinating stories about their pictures, their path to collecting, andeven about themselves in what sometimes feels like a moment of confession. Inmy experience, they have been unfailingly generous with their hospitality, theirknowledge and their time. They have an unbridled passion for Canadian Art andI am indebted to them for sharing their personal experiences with me.

And so another sale is offered to you for your competition on May 25th. You willfind within the pages of this catalogue many of the sorts of works you have cometo expect from us: works by the Group of Seven, Painters 11 and other majorschools. But we have also tried to offer you works by artists who appear morerarely on the secondary market and whose work we hugely admire, such asHarold Klunder, Yves Gaucher, John Meredith, Lemoine FitzGerald, FrancesLoring and Joyce Wieland. We hope you enjoy reading through the catalogue,and viewing our sale live in a few weeks’ time, as much as we enjoyed putting ittogether for you.

We extend our thanks to Christine Boyanoski and David Silcox for theircontribution to the writing of this catalogue.

— Linda RodeckSenior Specialist, Canadian ArtVice President, Fine Art

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 over 35 years, as art specialist,appraiser, auctioneer and corporate leader. Hisknowledge base spans the diversity of Waddington’sofferings, with internationally-recognized expertisein Inuit Art.

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

Mr. Ranger brings over 25 years of diverseexperience as an auctioneer, appraiser andconsultant in the art and fine wine auction industrywith specific expertise 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” ArtPhilanthropy and Community

Waddington’s

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

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 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 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

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, silver,scientific instruments, travel andexploration maps.

Sean QuinnSpecialist, Decorative Arts

Bill KimeSenior Specialist, Decorative Arts

Decorative Arts

Our “Off The Wall” Art online auctions area unique opportunity to showcaseaccessible art. Drawing from ourInternational Art, Canadian Art and InuitArt divisions, “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 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

Waddington's is committed to workingwithin the community by contributing ourtime and expertise to charity fundraisingevents and appraisal clinics. We arehonoured to work with countlessmuseums, galleries, art organizations andfund raising events and contribute ourtime to over 20 events each year raisingover $2,000,000 annually for thecommunity.

In addition, the Concrete ContemporaryAcquisition Fund each year funds 50% ofthe purchase price for a work ofcontemporary Canadian art for a publicinstitution.

Organizations we support include:

Aids Committee of Toronto, SNAPBest BuddiesBirdlife InternationalCanadian Opera Company Canadian Film CentreCalgary ContemporaryCasey House, Art with HeartCasey House, SnowballCAMH UnmaskedCovenant HouseDesign HopeThe Furniture BankIntegra FoundationLake Ontario WaterkeepersOCAD UniversityMetro Toronto Zoo

Philanthropy and Community

Montreal Children’s HospitalMusic and Beyond, OttawaNyota School, KenyaPrincess Margaret HospitalRobert McLaughlin Gallery Second Harvest, Toronto TasteServe CanadaSt. Mary’s General Hospital, KitchenerSt. Michael’s Hospital, ARTGEMSThe STOP FoodbankToronto Symphony OrchestraThe Varley GalleryWindsor Art GalleryWarchild CanadaYork University Fisher Fund

CanadianFine ArtLots 1–184

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CanadianArt.Waddingtons.ca

1CHARLES FRASER COMFORT,O.S.A., P.R.C.A.THE PEEP-HOLE TREE,GEORGIAN BAY

oil on canvassigned

20 ins x 26 ins; 50.8 cms x 66 cms

$7,000–9,000

Provenance:Wallack Galleries, OttawaPrivate Collection, Montreal

Literature:Margaret Gray, Margaret Rand and Lois Steen, Charles Comfort, Agincourt,Ontario, 1976, page 69 and page 45 for a closely related sketch entitledPeep Hole Tree.

Note:“Naples yellow, yellow ochre, raw sienna, raw umber, burnt umber... bothAlizarin crimson and either vermilion or scarlet vermilion, two blues, cobaltand cerulean... then viridian. That would be how I’d set my palette...”

Comfort’s landscapes are characterized as much by their bold and balancedgraphic qualities, as they are by their underlying sensuousness. The artistpares down the work to the barest of forms: straight lines juxtapose warmcurves; rocks, trees and clouds ooze with rich colours. His landscapes shinebrightest when situated in Haliburton and the Maritimes, but especially inGeorgian Bay. As Gray, Rand and Steen write, “Time and again we aremade aware of Comfort’s superb sense of colour, harmony and tone - thereis unerring beauty, even a voluptuous quality to his best landscapes,especially in the flesh tones of the Georgian Bay rocks.”

2ALAN CASWELL COLLIER, O.S.A.,R.C.A.PATTERN OF A HARVEST LAND

oil on canvassigned

20 ins x 30 ins; 50.8 cms x 76.2 cms

Provenance:Roberts Gallery Limited, TorontoPrivate Collection, Toronto

$3,000–4,000

3HENRI LEOPOLD MASSONPETITE VALLÉE, GASPÉSIE, 1978

oil on canvassigned; dated on the reverse

22 ins x 28 ins; 66 cms x 56.5 cms

Provenance:Private Collection, Montreal

$3,000–5,000

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Canadian Fine Art Auction - Monday 25 May 2015 at 7 p.m.

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4ETHEL SEATHINTERIOR

watercoloursigned

14.5 ins x 13.5 ins; 36.8 cms x 34.3 cms

Provenance:Estate of the artistBy descent through the familyPrivate Collection, Ontario

Exhibited:Ethel Seath (1879-1963) Retrospective Exhibition,September 1987, Galerie Walter Klinkhoff, Montreal,no.42.

$4,000–5,000

5PELEG FRANKLIN BROWNELL, O.S.A.,R.C.A.BONAVENTURE ISLAND, OLD FISHINGCOMPANY HOUSES

oil on canvassigned

14 ins x 21 ins; 35.6 cms x 53.3 cms

Provenance:James Wilson & Co. Fine Art Dealers, OttawaPrivate Collection, Ontario

Note:Though Peleg Franklin Brownell found his favouritesketching grounds close to his home in Ottawa, healso explored and created works set in the areas of theLower St. Lawrence, the Little Saguenay River and theGaspé Peninsula. Brownell’s works exhibit greattechnical ability. His landscapes, which arise out ofvigourously applied brushstrokes, are thoughtfullycomposed. Southeast of the village of Percé, off ofthe southern coast of Québec, Bonaventure Island wasone of the early seasonal fishing ports of New France.What is truly picturesque about this work is not theland nor the old fishing company houses that give it itstitle, but rather the pensive and invigorating sea ofsapphire blue.

$3,500–4,000

6DORIS JEAN MCCARTHY, O.S.A.,R.C.A.GRAND MANAN REMEMBERED,2001

watercolour and oil pastelsigned

Sight 13.5 ins x 21 ins; 34.3 cms x 53.3cms

Provenance:Wynick/Tuck Gallery, TorontoPrivate Collection, Toronto

$2,500–3,000

7ROBERT FRANCIS MICHAELMCINNISBRIDGE SERIES, RED, 1985

oil on canvassigned and dated 1985; also signed, titledand dated “1-9-3-85” on the reverse


Provenance:Wallack Galleries, OttawaCharles Bronfman’s Claridge Collection,Montreal

Note:Sold to benefit Historica Canada.

$2,500–3,000

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8JOSEPH JEAN ALBERTPALARDYLA DÉCHARGE, JUILLET ‘37

oil on illustration boardtitled and dated on the reverse andinscribed “Jori Smith” and “Jean did this”

3.5 ins x 4.24 ins; 8.9 cms x 10.8 cms

Provenance:Private Collection, British Columbia

$700–900

9PETER CLAPHAM SHEPPARD,O.S.A., R.C.A.DRY DOCK

oil on masonitesigned

10.5 ins x 11.5 ins; 26.7 cms x 29.2 cms

Provenance:Private Collection, Ontario (a wedding giftfrom the artist)Private Collection

$2,000–3,000

10ERIC RIORDON, A.R.C.A.NEW YEAR’S EVE, MT. ST.SAUVEUR

oil on canvassigned


Provenance:Watson Art Galleries, MontrealPrivate Collection, Toronto

Note:According to the present owner, this workwas executed in 1939.

$3,000–5,000

11BERTHE DES CLAYESHAULING LOGS IN WINTER

oil on panelsigned

10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms


$2,500–3,000

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12CARL FELLMAN SCHAEFER,R.C.A.LATE AFTERNOON, AUTUMNCALEDON, 1935

watercolourtitled, dated “October 24, 1935” andinscribed “To Graham MacInnis from Carl,March 21, 1937” in pencil on the reverse

15.5 ins x 22 ins; 39.4 cms x 55.9 cms

Provenance:Collection of Graham MacInnis, s.l.The Framing Gallery, TorontoPrivate Collection, Toronto

$3,000–4,000

13DOROTHY KNOWLES, R.C.A.FLAX FIELD IN LATEAFTERNOON

oil on canvassigned, titled, dated ‘85 and also inscribed“July 16. 85” and “OC-28-85” on thereverse


Provenance:Waddington & Shiell Galleries Ltd.,TorontoPrivate Collection, Montreal

$3,000–5,000

14JACK HAMILTON BUSH, O.S.A.,A.R.C.A.STILL-LIFE, 1950

watercoloursigned; also signed, titled and dated onthe reverse

10.25 ins x 14.5 ins; 26 cms x 36.8 cms

Provenance:Acquired directly from the artistBy descent to the present ownerPrivate Collection, Lake of Bays

$3,000–5,000

15MARC-AURÈLE FORTIN, A.R.C.A.LA CUEILLETTE

watercolour, laid down on cardsigned

18.5 ins x 24 ins; 47 cms x 61 cms

Provenance:Charles Bronfman’s Claridge Collection,Montreal

Literature:Interview MAF-RB 1968/5, quoted inMichèle Grandbois (ed.), Marc-AurèleFortin: The Experience of Colour, LesÉditions de l’Homme, Musée national desbeaux-arts du Québec, 2011, page 102.

Note:Marc-Aurèle Fortin started to work withwatercolour in the early 1920s. By virtueof the immediacy of the medium, his workchanged drastically, setting the stage fordazzling landscapes that bordered thelimits of reality. Describing his use ofwatercolour, Fortin said: “when youmaster it, it’s like a morphine addiction.It’s a tremendous mania.” La Cueillette,vivid and luminous, is an exquisite displayof the painter’s whimsical palette.

Sold to benefit Historica Canada.

$8,000–12,000

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16CHRISTOPHER PRATT, R.C.A.THE GYPSY ON THE NARROWS

watercoloursigned and dated ‘56

18 ins x 22.25 ins; 45.7 cms x 56.5 cms

$8,000–12,000

Provenance:Acquired directly from the artistPrivate Collection, St. John’s, Newfoundland (by descent)

Literature:Christopher Pratt, Personal Reflections on a Life in Art, Key Porter Books,Toronto, 1995, page 14.

Note:“During the winter of 1956 I did several watercolours that were concernedwith the look and feel of St. John’s, romantic subjects that yielded easily totechniques I had learned from reproductions of paintings in Americanmagazines...”

Created before Pratt’s shift to hyper-realism, this painterly work is rooted ina regional geography. Unlike his later works, which aim for the sublime, it isthe personalization of this watercolour – the non-fictional infusion of timeand place – which makes the impact. That Pratt has called the east coasthome for all of his life makes him an authentic narrator of its vistas. TheNarrows is the only entrance to the St. John’s Harbour, a passage betweenthe Southside and Signal hills.

The story of the work’s acquisition from the artist by the original owner isplayful and intriguing. Upon leaving the artist’s studio, the gentlemancaught a glimpse of a work depicting The Narrows. He jested with theartist, stating that if Pratt would only paint his boat, The Gypsy, into thescene, he could consider it sold. The artist accepted the challenge, and thiswork is the result of that exchange.

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17WILLIAM HENRY CLAPP,A.R.C.A.THE ARTIST AND HIS MODEL

oil on panelwith an authentication from Laky Gallery,Carmel on the reverse

10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms

$7,000–9,000

Literature:A.K. Prakash, Impressionism in Canada: A Journey of Rediscovery,Arnoldsche Art Publishers, Stuttgart, Germany, 2014, page 527.

Note:“A Modernist, William Henry Clapp is one of the monarchs of CanadianImpressionism. Indifferent as an artist to the emotional elements implicit ineveryday experience, he extolled landscapes and the human figure –specifically the nude. In painting these works, he observed the phenomenaof light on the generative forces of the organic world. The body is only adetail, an iconography, subordinate to the pattern in which light and shadegovern vision. Immersed in golden quietude, Clapp’s art is all the morecredible because of its objective truth – an art of passive reverie that hasinspired all Impressionists since Renoir who are preoccupied with light andcolour to the exclusion of human issues.”

A signature of his works, Clapp’s setting is diaphanous and diffused.Mauves and violets blend with rosy white to form his model’s supple flesh.The eye is attracted by the sensuous application of colour, a hazy softnessthat tempts and beguiles us. The artist gazes back at the viewer, catchingus in our intrigue of this Andromeda, against a backdrop of deep yellow.

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18NORMAND HUDONRUE PRINCIPALE

oil on masonitesigned, titled and dated ‘89

10 ins x 12 ins; 25.4 cms x 30.5 cms

Provenance:Private Collection, Toronto

$3,000–5,000

19HORTENSE CROMPTON MATTICEGORDON, R.C.A.TIME, BOUND IN SPACE

oil on canvassigned and dated ‘57; also signed and titled on thereverse


Provenance:Private Collection, Ontario

Exhibited:88th Annual Exhibition, Ontario Society of Artists,March 1960.

Literature:Iris Nowell, Painters Eleven: The Wild Ones ofCanadian Art, Douglas & McIntyre, Toronto, 2010,page 263 for a similar work entitled Orange andYellows Bound in Space, 1952.

Ian Vorres, “Work of Gordons seen part of citytradition,” Hamilton Spectator, May 11, 1957.

Note:“...Hortense Gordon embraced the rule that art is anendless search and experiment. Her life work thus is agradual scintillating flight towards abstraction.”Drawing inspiration from the rawness and splendour ofCubism, Gordon creates a juxtaposition of shapes,colour and energy. Time, Bound in Space is animpulsive burst; the calibres, spindles and ruby jewelsof a watch sprung from its case. Gears and pivots,resemble planetary orbs, non-objective and boundlessdespite the work’s title.

$6,000–8,000

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20ARTHUR LISMER, O.S.A., R.C.A.KILLICKS (STONE ANCHORS,N.S.)

oil on panelsigned and dated ‘54; also signed (twice),titled and dated 1954 and ‘54 on thereverse

12 ins x 16 ins; 30.5 cms x 40.6 cms

Provenance:Laing Galleries, TorontoPrivate Collection, U.S.A.

Literature:Dennis Reid, Canadian Jungle: The LaterWork of Arthur Lismer, The Art Gallery ofOntario, Toronto, 1985.

$20,000–30,000

Note:In 1940, at the age of fifty-four, Arthur Lismer moved to Montreal to takeup the position of educational supervisor at the Art Association ofMontreal, which commenced in January 1941. He also began teaching finearts and aesthetics at McGill University on a sessional basis that Fall. Thischange of location was to have a noticeable effect on his art, for inMontreal, Lismer was able to observe how Modernism was developing inQuebec through the work of the Contemporary Arts Society and theAutomatistes around Paul-Émile Borduas. Also, beginning in 1945, Lismerbegan to make sketching trips to Cape Breton Island (in addition toGeorgian Bay and later, Vancouver Island) up until 1954. Killicks was one ofseveral small pictures that resulted from that final trip.

The paintings that Lismer made in Ingonish and Neil’s Harbour on the eastcoast of Cape Breton differ significantly from his earlier, better-known workat Georgian Bay. In this picture, the focus of the tightly knit composition isthe dock litter that he encountered —barrels, buoys, killicks (stone anchors),etc. The maritime landscape appears only in the upper left corner through awindow. Lismer was drawn to the well-worn, hand-made objects as subjectmatter because they had “the same feeling of weather as pine trees,” aswell as “a human quality.” They also symbolized the fishermen’sresourcefulness in crafting objects which they could use to make a livingfrom the ocean.

The influence of contemporary Montreal painters can be seen in Lismer’sselective use of thickly applied paint (here, confined to the netting, rope andpatch of sea) in which the artist has drawn with the end of his brush tocreate details descriptive of water, netting, fish scales, etc. The close-upfocus has an abstracting effect; it forces us to appreciate the abstractinterplay of shapes and colours—blues and greys, punctuated by touches ofbrown and amber, and a red rope for contrast. Lismer never abandoned thesubject in favour of pure abstraction, but a work such as Killicks clearlydemonstrates that he had an affinity for it.

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21MARC-AURÈLE FORTIN, A.R.C.A.PAYSAGE LAURENTIEN

watercolour on boardsigned; also signed and titled on the reverse

22 ins x 27.75 ins; 55.9 cms x 70.5 cms

Provenance:Galerie Lamoureux Ritzenhoff, Montreal

$7,000–9,000

22JOE NORRISFOUR SCHOONERS AT ANCHOR

oil on canvassigned


Provenance:Private Collection, Nova Scotia

Literature:Chris Huntington, “My Life with Joe Norris,”in Bernard Riordon, Joe Norris: PaintedVisions of Nova Scotia, Goose Lane Editions,The Art Gallery of Nova Scotia, 2000, page89.

Note:The charming paintings of Joe Norris aresynonymous with the Nova Scotianexperience. Norris records the daily life andseasonal changes of a small fishing village –its inhabitants and animals, schooners andhouses – all in the vivid technicolour of hissmall paint pots.

As Chris Huntington writes, “Joe Norris isfirstly an artist; secondly a folk artist. Hiswork is bold, almost shockingly vibrant; it ischeerful, and as with most self-taught artistswho are removed from the mainstream ofsociety and its influences, it defines its ownaesthetic. Above all, Norris’ work is GOODART! We are less interested here in thequaint folk artist than we are in the strongpainter who reveals a part of his specialworld.”

$3,000–4,000

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23LIONEL LEMOINE FITZGERALDGRAIN SILOS, SASKATCHEWAN

oil on canvas, laid down on boardsigned

12 ins x 11 ins; 30.5 cms x 27.9 cms

Provenance:Private Collection, New York

Literature:Ferdinand Eckhardt, L.L. FitzGerald (1890-1956) A Memorial Exhibition, TheNational Gallery of Canada, Ottawa,1958, n.p.

Robert Enright, “Docile nudes, orgasmictrees,” The Globe and Mail, Saturday,March 12, 2005.

$8,000–12,000

Note:Born in Winnipeg in 1890, FitzGerald was the only member of the Group ofSeven to call western Canada home. Despite numerous travels withinCanada, Mexico and the United States, the artist remained rooted inManitoba for all of his life. FitzGerald’s first one-man exhibition was held atthe Winnipeg Art Gallery in 1921, where he presented a series of prairielandscapes. “He was particularly attracted to the Prairie landscape. Itsminimal topography suited his pared-down aesthetic.”

In this painting, FitzGerald softly renders the warmth of a summer’s day.Through the hazy mood of the prairie light, the scene is dreamlike andethereal. The artist dollops the strong blue sky with a delicate meringue ofclouds. The hearty grain silos and trees that dot the Saskatchewanlandscape are transformed into soft layers of mint, pink and ochre tulle. AsFitzGerald once remarked, “the prairie has many aspects, but intense lightand the feeling of great space are dominating characteristics.”

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24FLORENCE CARLYLE, O.S.A., A.R.C.A.UNTITLED - PEELING POTATOES

oil on panel, laid down on masonitesigned

12.25 ins x 9.75 ins; 31.1 cms x 24.8 cms

Provenance:Private Collection, Kingston

Literature:Evelyn de Rostaing McMann, The Royal Canadian Academy ofArts: Exhibitions and Members, 1880-1979, University of TorontoPress, Toronto, 1981, page 62, cat.no.31 for Peeling Potatoeslisted.

Susan Butlin, The Practice of Her Profession, Florence Carlyle:Canadian Painter in the Age of Impressionism, McGill-Queen’sUniversity Press, Kingston & Montreal, 2009, page xviii.

Note:Like many women of her era, Carlyle painted what she knewbest, the so-called “spaces of femininity” where women engagedin quotidian household tasks or partook in social events.

However, unlike many women painters of her day, Carlyle wasnot a hobby painter but an accomplished professional artist andin 1897 was elected to the Royal Canadian Academy as anAssociate Member.

$7,000–9,000

25C.I. GIBBONSORIOLE, AILEEN AND ZELMA

coloured pencil drawingsigned and dated 1900

19.5 ins x 32.25 ins; 49.5 cms x 81.9 cms


Note:In 1861 the Prince of Wales was asked by members of the RoyalCanadian Yacht Club (R.C.Y.C.) if he would donate a cup tocommemorate his visit to Toronto the previous year. He agreedand so began the annual Prince of Wales Cup Race on LakeOntario.

During the 1880s the Aileen and Oriole - owned by theGooderham family - were both frequent winners of the Cup.

According to RCYC records, “During the season of 1893, theZelma started in every race for which she was eligible andfinished with an unbroken record of first places, nothwithstandingthat in many cases she had to compete with boats of double herown tonnage...”

$3,000–5,000

17


26NICHOLAS DE GRANDMAISONPAPOOSE IN PIGTAILS

pastelsigned

11 ins x 8.75 ins; 27.9 cms x 22.2 cms

$15,000–20,000


Literature:Hugh A. Dempsey, History in Their Blood, Douglas & McIntyre,Vancouver/Toronto, 1982, page 16.

Note:De Grandmaison did not often title his portraits of women and children,preferring to label them generically as “Squaw” or “Papoose.” Belatedly, herealized the historical significance of recording the names of all his subjects,as he did for the Indian Chiefs he drew. Nonetheless, his portraits ofchildren such as this lot were far from being stock types and were said to beso faithful to their subjects that, according to Dempsey, a relative mightexclaim: “Ki-ai-yowww” or “it’s just like him (or her).”

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27ROBERT REGINALD WHALE, O.S.A., A.R.C.A.PORTRAIT OF ELLEN WHALE (THE ARTIST’SDAUGHTER)

oil on canvas, laid down on board

27 ins x 21 ins; 68.6 cms x 53.3 cms

Provenance:Collection of the artist (by descent to the present owner)

Literature:J. Russell Harper, Painting in Canada: A History, University ofToronto Press, Toronto, 1969, page 334.

Anne Newlands, Canadian Art From Its Beginnings to 2000,Firefly Books Ltd., Toronto, 2000, page 334.

Note:A native of Cornwall, Robert Reginald Whale’s greatest influencewas Sir Joshua Reynolds whose pictures he studied on trips up toLondon prior to emigrating to Canada. Whale became one ofSouthern Ontario’s earliest professional artists. Together with hisbrother and sons, the Whale family of painters exhibited widely,winning enough prizes and awards to cause friction among otherprofessional painters of the day. While it was for his panoramicviews that Whale is best-remembered, this quiet portrait of ayoung girl - his daughter - clasping a posy, is equally unforgettable.

Whale married Ellen Heard Whale and together they had sixchildren including the subject of this painting, Ellen Whale(Catton) who was born in 1836.

$3,000–5,000

28FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A.INDIANS PADDLING AT SUNSET

watercolour on cardsigned and dated 1902

10 ins x 20 ins; 25.4 cms x 50.8 cms


Literature:Joan Murray, The Last of the Buffalo: The Story of FrederickArthur Verner, Painter of the Canadian West, Pagurian Press,Toronto, 1984, pages 68 and 115.

Note:Murray writes: “Verner first studied Indians from life inPeterborough, Ontario. Indians paddling in a canoe eventuallybecame a favourite subject.” Examples date from the late 1860sto first decade of the next century. Despite little variation frompicture to picture, the demand for such works continued. Murraycontinues: “The art-buying public loved Verner’s Indian subjectspartly because he painted an era which even by the 1890s nolonger existed.” Instead collectors, then as today, appreciated thepoetry of the subject and his romantic handling of it.

$6,000–8,000

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29CORNELIUS KRIEGHOFFTHE INDIAN BASKET SELLER


11 ins x 9 ins; 27.9 cms x 21.6 cms

$12,000–15,000


Literature:J. Russell Harper, Krieghoff, Key Porter Books, Toronto, 1999, page 126, Fig.116 for a very similar work entitled The Indian Woman Basket Seller,reproduced in colour.

Note:Harper writes: “During his years in Quebec City Krieghoff continued to paintIndians. Increasingly he viewed them romantically and at the same time heshrunk them into landscapes... Nevertheless, he continued (also) to paintsmall canvases of single Indian figures. Women in black hats wander up hillsladen with great festoons of baskets (fig.116) or carry cradle boards as theypick their way through craggy mounds of ice cakes crossing the St.Lawrence in front of the city. They are reminiscent of the women inMontreal streets, but are infinitely more appealing as a result of increaseddetails and unsurpassed craftsmanship.”

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30FRANCES NORMA LORINGCHARLES LAZENBY

Painted plaster, set on a stone base


Exhibited:A Loan Exhibition of Portraits, Art Gallery of Toronto, Toronto,October 1927, #361 for Portrait of Charles Lazenby.

Canadian Sculpture, Art Gallery of Toronto, Toronto, 1928, #105for Charles Lazenby.

Note:Charles Lazenby graduated from the University of Toronto with adegree in psychology and philosophy in 1907. He studied Jungianpsychoanalysis in Zurich and was an active and colourful member ofthe Canadian Theosophical Society, of which Lawren Harris wasalso a member.

By all accounts Lazenby was a very gifted orator, and a tirelesscrusader for freedom of thought and speech. Accordingly, he heldsomewhat controversial ideas about sex, gender identity andreincarnation.

$3,000–5,000

31HORACE CHAMPAGNESNOW PATCHES & SPRING FLOWERS, LAKE O’HARA,YOHO NAT. PK., B.C.

colour pastelsigned

40 ins x 30 ins; 101.6 cms x 76.2 cms


Note:This work was executed in October 1989.

$5,000–7,000

32LOUIS MUHLSTOCK, R.C.A.WINTER AFTERNOON

oil on canvas

33 ins x 30 ins; 83.8 cms x 76.2 cms

Provenance:Estate of the artist

Note:Muhlstock was foremost among a coterie of Jewishartists who gave Montreal a lively and informed artscene starting in the 1930s and continuing into the1960s. Along with Ernst Neumann, Rita Briansky,Sam Borenstein, and others, Muhlstock broughtfresh ideas and original expression to urbanMontreal. His work was acquired for the NationalGallery, the Art Gallery of Ontario, and theMontreal Museum of Fine Art. Muhlstock and hisfriends collected European and Quebec painters likeMiro and Dallaire. Muhlstock’s work made itsToronto debut at the Picture Loan Society, whereBorduas and Riopelle also first showed in Toronto.David Silcox asserts: “To my mind, these twocityscapes are where Muhlstock’s strength lies.”

$4,000–5,000

33LOUIS MUHLSTOCK, R.C.A.MONTREAL STREET SCENE

oil on canvas


Provenance:Estate of the artist

$3,000–5,000

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22


34MANLY EDWARD MACDONALD, R.C.A.A PAIR OF LANDSCAPES: NEARBELLEVILLE; COUNTRY ROAD, AUTUMN

oils on boardboth signed

Each 10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms


$3,500–4,500

35BERTHE DES CLAYESHORSE AND SLEIGH ON WINTER ROAD

oil on canvassigned

16 ins x 20.25 ins; 40.6 cms x 51.4 cms

Provenance:Watson Art Galleries, MontrealPrivate Collection, Toronto

$4,000–5,000

36JOHN WILLIAM BEATTY, O.S.A.,R.C.A.WOODLAND INTERIOR

oil on panelsigned

10.5 ins x 8.5 ins; 26.7 cms x 21.6 cms


$6,000–8,000

37JOHN WILLIAM BEATTY, O.S.A., R.C.A.BROOKS FALLS, MAGNETAWAN RIVER

oil on panelsigned; titled on the reverse

10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms

Provenance:John Egerton Lovering, Toronto (acquired directly fromthe artist)Private Collection, Toronto (by descent)

Note:The Magnetawan River flows from Algonquin Park toGeorgian Bay and was once used to transport logsdownstream to the sawmills. The river gets its name fromthe Ojibway word for “swiftly flowing water.”

Beatty excelled at painting water and Brooks Fallsprovides strong proof of this talent.

This sketch closely relates to a major canvas in thecollection of the Toronto District School Board andcurrently in the care of the Art Gallery of Ontario entitledBrooks Falls, Parry Sound, 1932.

The Falls are about 70 kilometres north of Bracebridge.

$6,000–8,000

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38ALBERT HENRY ROBINSON,R.C.A.SKATING AFTER SCHOOL

oil on panelsigned

11.25 ins x 13 ins; 26.7 cms x 33 cms

$20,000–30,000

Provenance:Dominion Gallery, MontrealPrivate Collection, Toronto

Literature:Jennifer C. Watson, Albert H. Robinson: The Mature Years, Kitchener-Waterloo Art Gallery, Kitchener-Waterloo, 1982, pages 14-18.

Note:Best known as a painter of winter, Robinson’s reputation lies in hisdistinction as a gifted colourist.

While often associated with the Group of Seven, Robinson never became amember. Nonetheless, writes Watson: “He surely contributed to thedevelopment of Canadian painting and the formation of a national style.”

Like the Group, Robinson sketched directly from nature and considered thisa critical source of inspiration. Using Winsor Newton oils on birch barkpanel, without priming or varnish, Robinson worked rapidly, by someestimates producing a finished sketch in under three hours.

Skating After School is not dated nor have we suggested a date. In her 1982catalogue, Watson alludes to the fact that first-hand documentation for theartist is scarce. However, most of Robinson’s best work was done prior to1933. It was then that he suffered a heart attack, “with ensuingcomplications and painted little thereafter.”

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39ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.PONT ROYAL, PARIS

oil on panelsigned; inscribed “Pont Royal” on thereverse

8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Provenance:Caleb Arnold Slade (purchased directlyfrom the artist in France)Estate of C.A. SladeBradford TrustPrivate Collection, U.S.A.

$25,000–30,000

Literature:A.Y. Jackson, A Painter’s Country: The Autobiography of A.Y. Jackson,Clarke, Irwin & Company Limited, Toronto/Vancouver, 1958, pages 18-24.

Note:In his lifetime, Jackson would travel to France many times, but in 1911 he didso in the company of fellow-painter Albert Henry Robinson and togetherthey spent spent approximately four months in and around St. Malo. WhenRobinson left to return home, Jackson stayed and in the spring of 1912 wentto Paris and produced a number of urban scenes such as this one.However, Jackson notes, “few people liked what I brought home fromEurope. The French Impressionist influence in it was regarded as extrememodernism.”

In fact at that time, it was the Dutch school that was viewed by Canadiancollectors, as a good investment. Jackson continues: “While we in Canadawere cautiously buying sound and sane art, so called, the Americans wereacquiring the work of the modern French school to such an extent thattoday there are probably as many great examples of it in the U.S. as thereare in France.”

It is interesting to note that this work has been consigned to us by anAmerican collector.

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40JAMES EDWARD HERVEYMACDONALD, O.S.A., R.C.A.THORNHILL

oil on boardsigned with initials; also signed, titled anddated /30 on the reverse

4.25 ins x 5.25 ins; 10.8 cms x 13.3 cms

Provenance:Private Collection, U.S.A.

$12,000–15,000

41JAMES EDWARD HERVEYMACDONALD, O.S.A., R.C.A.HUMBER RIVER

oil on boardsigned

5.75 ins x 7 ins; 14.6 cms x 17.8 cms


$12,000–15,000

27


42WILLIAM KURELEK, R.C.A.HIS OLD MAN’S PIPE

mixed media on masonitesigned with initials and dated ‘73; titledon the reverse

23 ins x 14 ins; 59.1 cms x 35.6 cms


$40,000–60,000

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...” Cloaked in theshadows of a plank-board building, a young boy sits in secrecy. He hasopted out of his daily chores and has stolen away with his father’s pipe.The embers of the pipe glow a hot red – a colour which is mirrored in thedistant barn. The building seems to stand watch – the constancy of farmoperations and the authority of his father ever present, waiting for the boy’sreturn. Forgetting for a brief moment the fear of reprimand, the boy defiesauthority and basks in the daring delight.

43ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.WEATHER CHANGE, 1967




$40,000–60,000

Note:A. J. Casson joined the Group of Seven in 1926 at the invitation of FranklinCarmichael with whom he had apprenticed as a commercial artist beginningin 1919. The youngest of the Group, he became an important resource fortheir history in the 1970s. Although Casson exhibited with the Group ofSeven and the Canadian Group of Painters, co-founded the CanadianSociety of Painters in Watercolour with Carmichael in 1926, and was anactive member of the major art societies of the day, he did not become afull-time artist until his retirement as Vice-President and Art Director of thecommercial art firm Sampson-Matthews in 1957.

The senior members of the Group had an important and lasting influence onCasson’s work. This is most evident in his paintings of the 1920s and 1930s.Carmichael had helped him with his painting on the sketching trips theytook together in northern Ontario, and Harris had advised him to flattenand simplify his forms. In an effort to find a distinct voice within the Group,Casson specialized in watercolours and turned to villages and houses in ruralOntario for his subject matter. He wanted his work to have a humandimension that was lacking in the unpopulated wilderness landscapes of hiscolleagues. Another tactic, in the later 1940s through the 1950s, was toaccentuate the design elements and heighten the patterning in his work.This body of work may be seen to represent Casson’s response toabstraction which was becoming an increasingly important form of artisticexpression in Toronto at that time.

Weather Change of 1967 is a slightly later painting, less extreme in itsgeometricizing of nature that characterized Casson’s work of the previousdecade. The subject of an impending storm in a northern landscape istypical of the Group of Seven. However, the accentuated patterning of therocks mirrored in the still waters close to the shoreline achieves a level ofabstraction that is Casson’s own. Also characteristic is his concern with theeffect of light on form; he has captured a moment in which a shaft of lightpasses across the face of the rocks, illuminating the left half, while the rightportion remains in shadow.

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29


30


44ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.GITSEGUKLA

oil on panelsigned; titled and inscribed “See Plate 72,A.Y.’s Canada” on the reverse

8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

$25,000–30,000


Literature:Naomi Jackson Groves, A.Y.’s Canada: Drawings by A.Y. Jackson, Clarke,Irwin & Company Limited, Toronto/Vancouver, 1969, page 153, plate 72 forMount Gitsegyukla on the Upper Skeena River, B.C., October 1926,reproduced.

Marcia Crosby, “T’emlax’a: An Ada’Ox” in The Group of Seven in WesternCanada, Key Porter Books, Toronto, 2002, page 99.

Note:Jackson was painting in Skeena Crossing, B.C. (Gitsegukla) in 1926 as partof a project developed by anthropologist Marius Barbeau who invited artiststo record symbols of native culture – villages and their totems poles –which were rapidly disappearing.

Jackson produced a number of oil sketches and paintings on this theme ofthe tragic decline of a once proud people. And while many such worksinclude totem poles, villages and their inhabitants in keeping with Barbeau’sagenda, this work does not. Instead, Jackson here elects to focus exclusivelyon a landscape devoid of any reference to human geography. Perhaps hischoice to do so was influenced by the fact that he did not view the totemsas authentic Indian art. Crosby quotes Jackson in his biography thus: “Thepoles were not ancient in origin, having been made possible only when thewhite man’s tools became available to the Indians.”

Referring to the closely related drawing, reproduced in her book andreferred to on the verso of this lot, Jackson Groves describes “the grandiosetheme of clear-cut peak behind wide-rolling middle ground with a hint ofthe village in the foreground left.” In this oil sketch, the hint referred to byJackson Groves, is noticeably absent, the artist choosing conspicuously toemphasize the untamed character of the terrain.

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45ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.ROCKS, 1914

oil on panelsigned; also signed, titled and dated“Sept. 1914” on the reverse

8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

$20,000–25,000

Provenance:Private Collection, Waterloo

Literature:A.Y. Jackson, A Painter’s Country: The Autobiography of A.Y. Jackson,Clarke, Irwin & Company Limited, Toronto/Vancouver, 1958, pages 37-38.

Note:In the fall of 1914, Jackson and Tom Thomson were painting together inAlgonquin Park.

Jackson writes: “That autumn was wonderful with sunny days and frostynights and after the mountains (Jackson had been painting in the RockyMountains prior to this) the intimate landscape appealed to me. We campedfirst below Tea Lake Dam... Then we moved on to Smoke and afterwardsRagged Lake... We worked on little 8 1/2 x 10 1/2- inch birch bark panels;travelling by canoe and living in a tent made it impossible to work on largersizes.”

As the weather turned colder and the autumn colours began to fade,Jackson returned to Toronto. The war, which everyone had optimisticallypredicted would be a short one, continued and soon after returning to thecity, Jackson travelled to Montreal to enlist.

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46ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.THE FARMHOUSE, 1978

oil on boardsigned; also signed, titled and dated“Sept. 1978” on the reverse

12 ins x 15 ins; 30.5 cms x 38.1 cms

$18,000–22,000

Provenance:Roberts Gallery Limited, TorontoPrivate Collection, Ontario

Note:In this later work, Casson returned to his favourite theme of the ruralOntario scene. He once said that his was an “Ontario quest.” As in Lot 64from 1946, the man-made structures in this painting are literally surroundedby nature. The white house is thrown into relief by a backdrop of dark treesand distant hills, and Casson has typically balanced the composition with thepatterned cloud formations in the upper half of the picture. In contrast tothe earlier work, however, the trees and ground cover have been renderedin a more painterly manner, rather than through the use of clearly outlinedforms.

The Farmhouse was painted in 1978, the year in which Casson became anOfficer of the Order of Canada and a retrospective of his work wasorganized by the Art Gallery of Windsor. Both occasions recognized hisoutstanding talent and contribution to Canadian culture.

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47FRANK HANS JOHNSTON, O.S.A.,A.R.C.A.THE BLUE EYES OF SPRING


22 ins x 28 ins; 55.9 cms x 71.1 cms


Literature:Christopher North, “Winter Rhapsody,” inBlackwood’s Edinburgh Magazine, No.CLXXIV, Volume XXVIII, December 1830,page 863.

“From the Neuer Fruhling,” Selectionsfrom the Poetical Works of HeinrichHeine, MacMillan and Co., London, 1878,page 88.

$18,000–22,000

Note:“To-day, (Youth) meets you unexpectedly on the hill-side; and was thereever a face in this world so celestialized by smile! All the features areframed of light. Black eyes are beads – blue eyes are diamonds. Gaze,then, into the blue eyes of Spring, and you feel that in the untroubled lustre,there is something more sublime than in the heights of the cloudlessheavens, or in the depths of the waveless seas. More sublime, becauseessentially spiritual.”

II.

Bluest eyes of spring peep outFrom the grasses tall:Ah sweet violets – I chooseThem the first of all.

Plucking them, I think of thingsMore than I can tell;But my every though, aloudSings the nightingale.

And her song, that tells my thoughts,Loudly echoing flows;So my tender secret nowAll the forest knows.

Franz Johnston was renowned for his ability to capture the effects of light,particularly those present on snowy, cloudless days. This lot is an ampleindication of his skill. Johnston’s scene is tranquil and soft, cloaked in itsdowny mantle of snow. A warm, mellow light trickles through the treebranches and dances upon the river’s water. The viewer is both welcomedto a moment of serenity - the intake of crisp air coupled with the rosy hazeof a late Winter’s morning - and left breathless by the splendour of the ‘blueeyes of Spring’, glistening gem-like in azure and turquoise.

48JAMES EDWARD HERVEYMACDONALD, O.S.A., R.C.A.ROCKY SHORE, STURGEON BAY(NEAR POINTE-AU-BARIL,GEORGIAN BAY), SEPT. 1931

oil on panelsigned, titled and dated on the reverse

8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Provenance:Walter Klinkhoff Gallery Inc., MontrealPrivate Collection

$75,000–100,000

Literature:E.R. Hunter, J.E.H. MacDonald: A Biography & Catalogue of his Work, TheRyerson Press, Toronto, 1940, page 37.

Bruce Whiteman, J.E.H. MacDonald, Quarry Press, Kingston, 1995, pages66 and 79.

Note:J.E.H. MacDonald was never a prolific painter and by the end of the 1920shis professional responsibilities at the Ontario College of Art (O.C.A.)restricted his output further. He remarked in a letter to the O.C.A. Councilof “teaching & its associated troubles” and there is no doubt that he wasfrustrated by the fact that his job left him little opportunity to paint.

While MacDonald continued to participate in major Group of Seven showsthroughout this busy time, according to E.R. Hunter, MacDonald wasexhibiting old canvases because the demands that had been placed on histime precluded him from producing new work – which makes a painting likethis lot, dating from this period, exceedingly rare.

Furthermore, MacDonald’s health, which was never robust, worsenedtoward the end of the 1920s. In 1931, on his doctor’s advice, he travelled toBarbados for rest. However, following his return to Canada, he still feltcompelled to travel once more to a place that had been almost sacred tohim – a place to which he had taken many trips with his son from the earlynineteen-teens to the end of his life: Georgian Bay.

Situated among the 30,000 Islands of Georgian Bay just south of hisbeloved Algoma, Sturgeon Bay offered to MacDonald an expressive settingof rocky shorelines and wind-swept pines.

The works considered to be among MacDonald’s greatest outside of hisAlgoma period were the mountain subjects, which the artist executed duringthe last few years of his life – including Snow Fall, Lake Oesa. MacDonald’searly biographer, E.R. Hunter calls it “an irony of fate” that in these lastpictures MacDonald “returned to the simple search for truth and enteredthe threshold of a other period of promise.” It is interesting to considerthat, in this work, MacDonald chose not to paint the low horizon linefeatured in some of his best Georgian Bay scenes. Perhaps significantly, hefocused on building up a mountain-like form in the left foreground, lendinga sense of majesty to the composition.

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J.E.H. MacDonald Sketching, Sturgeon Bay

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49ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.SNOWY LANDSCAPE

oil on boardsigned

9.5 ins x 11.5 ins; 24.1 cms x 29.2 cms

Provenance:Gift of C.A.G. Matthews Private Collection, Toronto (by descent)

$20,000–30,000

Note:Casson preferred to paint winter scenes because he was drawn to thestrong patterning of the stripped-down landscape. In summer, this sameview would likely have presented an undifferentiated field of green, whereaswinter permitted the artist to separate the gently rolling, snow-covered hillsinto fore, middle and backgrounds using sinuous bands of trees. Casson hasknitted together the different elements in the lower half of the picture byusing a restricted palette of brown, mauve and blue, then balanced thecomposition with the large expanse of almost empty sky above. Theunobtrusive barn and snake fence are the only evidence of a humanpresence.

The label affixed to the back of the panel indicates that it was a gift fromC.A.G. (“Chuck”) Matthews, (1890-1990) President of the commercial artfirm, Sampson-Matthews where Casson worked. Matthews often gaveartwork by his artist friends as gifts. The inscription, which offers the couplegood wishes for hopes as high “as the hills around,” complements thesubject of the painting.

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50ROBERT WAKEHAM PILOT,P.R.C.A.SNOWY LANDSCAPE

oil on canvassigned

21 ins x 28 ins; 55.9 cms x 71.1 cms


$20,000–30,000

Note:Pilot’s recurring palette of indigo, rose madder, mars brown and yellowochre transforms a snowy landscape into a foreshadowing of Spring. Thebillowing riverbanks and the frosted water appear golden. The cold recedes,the ice melts away, heralding that, on this day, in this scene, Pilot provides abrief repose from the cold.

51CORNELIUS KRIEGHOFFICE HARVEST

oil on canvassigned

11.5 ins x 15.75 ins; 29.2 cms x 40 cms

$60,000–80,000

Provenance:Watson Art Galleries, MontrealMrs. J.H. Magor, MontrealPrivate Collection

Literature:J. Russell Harper, Krieghoff, Key Porter Books, Toronto, 1999, page 38, andpage 39, plate 34 for a very closely related work entitled Ice Harvest in thecollection of the Musée du Québec, dating to ca. 1847-50.

Dennis Reid with essays by Ramsay Cook and François-Marc Gagnon,Krieghoff: Images of Canada, Douglas & McIntyre, Toronto/Vancouver,1999, page 157, page 37 for a related lithograph with watercolour of IceCutting, c. 1849 (Collection of Peter Winkworth, London), reproduced incolour and page 159, Figure 22 for the related oil Carting Ice, c. 1850 (TheThomson Collection), reproduced.

Note:In a 1939 letter to Mrs. J.H. Magor, art dealer William Watson writes of thislot: “This is a perfect example of the master’s art, and has one of his finestskies. The scene as you know is near home, as it was painted nearKrieghoff’s own house at Longueuil, and shows the St. Lawrence reaching toMontreal.”

While not always entirely successful in capturing in paint the nature of thebreed of horse used in the early days of Quebec habitant life, Krieghoff’sdepiction of these shaggy equines as rendered in paintings such as IceHarvest received a very warm critical reception. Harper writes: “Nopaintings give a better idea of the little canadien horse developed by thehabitants than do Krieghoff’s pictures of ice-cutting.”

Ramsay Cook continues: “Sleighs and horses together reveal Krieghoff’sperception of class and ethnic differences in mid-century Canada. The horsethat he obviously enjoyed painting was a distinctive breed known as thecanadien. A rather small horse with powerful legs and shoulders, broadhooves, and heavy mane and tail, this animal descended from the Normanand Breton horses introduced into New France in the Seventeenth Century.”

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52JEAN ALBERT MCEWEN, R.C.A.SUITE DES PAYS VASTES

oil on canvassigned, titled, and dated ‘72 on thereverse

20 ins x 20 ins; 50.8 cms x 50.8 cms

$25,000–35,000

40


Provenance:Galerie Simon Blais, MontrealPrivate Collection, Toronto

Literature:Simon Blais and Roald Nasgaard, Rétrospective Jean McEwen, ÉditionsSimon Blais, Montréal, 2004, page 26 for a closely related work entitledSuites des pays vastes, 1972.

Note:Born in Montreal in 1923, Jean McEwen is most recognized for his colour-field and heavily texturized works. Exploring both the sensory effects ofcolour and its relationship to structure, McEwen shaped his surfaces intorichly layered formations. He applied masses of paint to his surfacesdirectly by hand, teasing out and building up topographical impastos with apalette knife. Various pigments are worked directly into the varnish,creating a shimmer or translucence. The resulting effect is one of grandeurand luminosity. Suite des Pays Vastes (as with other, similarly titled works)appears before the viewer like a crystallized formation. Like a celestial bodyof silver and gold, McEwen’s canvas captures a moment of metallicexuberance.

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53STANLEY MOREL COSGROVE,R.C.A.STILL-LIFE WITH JOURNAL DESARTS

oil on boardsigned and dated ‘46

23 ins x 32 ins; 58.4 cms x 81.3 cms

$30,000–35,000

Provenance:Laing Galleries, TorontoDominion Gallery, MontrealPrivate Collection, Montreal

Note:In Still-Life with Journal des Arts, Cosgrove purposely deconstructs theunified image, intertwining his work with the still lifes of Paul Cézanne andGeorge Braque. A grouping of fruit emerges from a bundle of green clothand paper. Cosgrove’s is a world of simultaneous perspective: a geometriccollage in paint where the fruit is flat and yet lush, earthly delightscompliment the events of the art world, and folds and layers blossom into ariot of colour.

54MAURICE GALBRAITH CULLEN,R.C.A.MOONLIT LANDSCAPE

oil on canvas, laid down on boardmonogramme

�9.75 ins x 66.5 ins; 73.7 cms x 167.6 cms

$40,000–60,000

Provenance:Private Collection, Winnipeg

Exhibited:On long-term loan to the Winnipeg Art Gallery, Winnipeg, n.d.

Literature:Hugues de Jouvancourt, Maurice Cullen, Éditions la Frégate, Montréal,1978, pages 1�6-1�7.

Crystal S. Parsons, Maurice Cullen and His Circle, National Gallery ofCanada, Ottawa, �009, page 9.

Note:Under the light of the low-horizon moon, Cullen paints a scene of quietbrilliance. As Crystal S. Parsons writes, “Cullen’s Canadian landscapesdiffered from those of his artistic predecessors. They were not allegorical orhistorical records but, like the French Impressionists, Cullen strove to paintwhat he saw in front of him with truth to particular aspects of nature,especially the ephemeral effects of light.”

The subdued palette of this work softly captures the contours and bends ofthe birches and rocks, the cresting of the distant shoreline. In a subtle playof tone and a cast of delicate blue, the work becomes powdery andiridescent, as if a silk veil were draped across the canvas. The beauty of thiswork lies in its stillness and its delicate emotionality. Hugues deJouvancourt summarizes Cullen’s abilities perfectly in stating that, “Throughhis strong feeling for things, Cullen could perceive the invisible strength oflife hidden in woods, streams, mountains and valleys. His great search wasto try and express his emotion in relation to nature to the best of his ability,and this he magnificently succeeded in doing.”

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56ALEXANDER COLVILLE, R.C.A.FOREST AND BEACH

oil on masonitesigned and dated ‘46

15 ins x 20 ins; 38.1 cms x 50.8 cms

$15,000–25,000

Provenance:Acquired directly from the artistPrivate Collection, Nova Scotia (by descent to the present owner)

Exhibited:Annual Exhibition, Nova Scotia Society of Artists, n.d.

Note:Alex Colville was one of Canada’s best known realist painters. Aftergraduating from Mount Allison University with a Bachelor of Fine Artsdegree in 1942, he enlisted in the army and later served as an official warartist from 1944 to 1946. The experience of war and having witnessedhuman destruction on such a massive scale affected him profoundly.

The few paintings that Colville produced soon after his return to civilian lifeand his move to Sackville, New Brunswick to teach at Mount Allison,suggest that he was trying to make sense of his war experience as he setabout painting his immediate surroundings. Forest and Beach is an earlyexample of Colville’s imbuing his subject with questions about humanexistence. This is more than simply a landscape featuring an uprooted treeand rocks on one of New Brunswick’s many beaches. Painted the same yearas his canvases for the Canadian War Records, Forest and Beach appears tobe a metaphor for the frailty and brevity of human life.

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57ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.OPEONGO RIVER, 1950

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

12 ins x 15 ins; 30.5 cms x 38.1 cms


$20,000–30,000

Note:Casson painted this interesting work at a time when his larger canvaseswere demonstrating pronounced abstract qualities in the extreme reductionand superimposition of forms, and the breaking up of light into fracturedplanes. Opeongo River has not undergone this transforming process, but itnonetheless indicates a strong abstracting tendency. The wedge shape ofburnt land in the foreground is a flopped mirror image of the distant goldenland mass that cuts across the picture plane from the left, balancing thecomposition. The two halves of the picture are connected by the tall pieceof burnt timber on the right. Some of these charred remains are reflected inthe pool of still water in the foreground, while others resemble humanfigures. Regardless of whether Casson attached any symbolic meaning toOpeongo River, it is a fine example of the synthesis of theme and form, andof the haunting stillness that characterizes Casson’s work. This picture musthave been a family favourite, and was included in the 1988 exhibition,Casson’s Cassons.

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58JAMES EDWARD HERVEYMACDONALD, O.S.A., R.C.A.PETITE RIVIÈRE, NOVA SCOTIA,1922

oil on boardsigned “J. MacD”; also signed and titled inpencil on the reverse “Petite Rivière, N.S.“

8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Provenance:Collection of A.C. Kenny, TorontoCollection of Mr. and Mrs. Peter Green,s.l.Private Collection, Ontario

Exhibited:J.E.H. MacDonald in Nova Scotia withLewis and Edith Smith, Dalhousie ArtGallery, Halifax, 1990, cat.no.27.

$15,000–20,000

Literature:Nancy E. Robertson, “Introduction,” J.E.H. MacDonald, R.C.A. 1873-1932,Art Gallery of Toronto, Toronto, 1965, pages 11-12.

Gemey Kelly and Scott Robson, J.E.H. MacDonald. Lewis Smith, EdithSmith, Nova Scotia, Dalhousie Art Gallery, Halifax, 1990, page 37, cat.no.27reproduced.

Note:Petite Rivière, Nova Scotia evidences a discipline initiated by MacDonald atthis time and developed further with visits to Lake O’Hara in the mid-1920s.Both locales presented MacDonald with new artistic challenges whichrequired a simplification of his brushwork relative to the Algoma sketcheswhich had come before. Nancy Robertson notes the artist’s more subduedapproach and writes: “In keeping with the simplicity of his subject and thesubdued grey-blue of the sky and sea, he (MacDonald) restrained hishandling.” She continues: “The simplicity of nature’s design without thedistractions of brilliant colour and lively brush-work was revealed.”

MacDonald was in Petite Rivière in July 1922.

59ARTHUR LISMER, O.S.A., R.C.A.THREE PINES, GEORGIAN BAY,1929

oil on boardsigned and dated ‘29; also signed, titledand inscribed “from A. Lismer To SydneyKey” on the reverse


Provenance:Collection of Sydney Key (Curator, ArtGallery of Toronto)Private Collection, Toronto (by descent)

$30,000–40,000

Note:Of the many artists who painted at Georgian Bay in the nineteen-teens andtwenties, including Tom Thomson and the Group of Seven, it was ArthurLismer who would continue to paint there long after the others had shiftedtheir focus elsewhere. The early impressionistic oil sketches that he firstmade at Go Home Bay in 1913 evolved into the bold image of a solitarypine tree withstanding the elements which we know as A September Gale,Georgian Bay of 1921 (National Gallery of Canada). It has become one ofthe iconic works of the Group of Seven. Former National Gallery curatorCharles Hill has commented that it was surely a tribute to Tom Thomson’sThe West Wind and The Jack Pine of 1916-7, the first canvases to featurethe motif of the single tree.

Lismer’s The Three Pines is a continuation of this, his favourite theme, butwith some variations that hint at a new direction in his work. It was paintedat McGregor Bay, located north of Manitoulin Island in Georgian Bay, whichhe visited with his family during the summer of 1929. In this sketch, Lismerhas shifted his focus downward from the group of trees to the lichen-covered rocks in the foreground which now occupy the lower half of thepicture. As a result, the trees are pushed up, reducing the amount of opensky, and the water is merely suggested by a small patch of turquoise locatedmidway up the right-hand side of the panel. This new interest in foregrounddetail would be developed in later works such as Pine Wrack of 1933(National Gallery of Canada) until they became the very subject of thepainting. Canadian Jungle, 1947 (The McMichael Canadian Art Collection),for example, is a close-up examination of the rich ground covering that hehad sketched at Georgian Bay the previous summer.

The inscription on the back of the panel indicates that it was a personal giftfrom the artist to Sydney J. Key (1918-1956), the young curator at the ArtGallery of Toronto who organized the Lismer Retrospective in 1950.

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60EDWIN HEADLEY HOLGATE, R.C.A.SUMMER NEAR MORIN HEIGHTS

oil on boardsigned

8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Provenance:Galerie Walter Klinkhoff, Montreal

Literature:Rosalind Pepall, “An Art of Vigour and Restraint,” in EdwinHolgate, Brian Foss and Rosalind Pepall (curators), TheMontreal Museum of Fine Arts, Montreal, 2005, page 24.

Note:“In 1946, feeling a need to seek refuge from the city, Holgateand his wife left Montreal to settle in Morin Heights, sixty-five kilometres northwest. Holgate, who loved the outdoors,had been drawn to the Laurentians early in his career... (I)nMorin Heights, a small village amid lakes and hills, he andFrances found a welcoming community there. From hishouse, Holgate had a ready subject for the landscapes hecontinued to paint.”

Holgate’s scene is cool and inviting, a composition of greens,browns and greys under a butter-whipped sky. The distanthills, hinted at by a daub of indigo, add depth to the earthylandscape and seem to allude to Holgate’s familiarity and loveof the terrain. Holgate lived in Morin Heights until 1973when, for health reasons, he moved back to Montreal.

This work was painted circa 1950 according to the gallerylabel on the reverse.

$12,000–15,000

61EDWIN HEADLEY HOLGATE, R.C.A.TREESCAPE

oil on panelsigned with initials; also signed and dated “Oct. 1963”

8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Provenance:Walter Klinkhoff Gallery, Montreal

Note:In Treescape the lines of trunks and ferns are simple andrestrained – like those of his woodblocks. Holgate creates acool, and serene forest scene through carefully applied colourand a focus on the geometry of his forms.

$15,000–20,000

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62ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.ALGOMA LAKE, AUGUST 1955

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

10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms


$20,000–30,000

Literature:Dennis Reid, Alberta Rhythm: The Later Work of A.Y. Jackson, Art Gallery ofOntario, Toronto, 1982, page 96.

Note:In 1955, after many years its resident, Jackson vacated the Studio Buildingin Toronto and settled in a new live-in studio in Manotick near Ottawa.However, he continued to revisit his favourite stomping grounds and in Julyof that year sketched in Georgian Bay. August would find him on the eastshore of Lake Superior and in September near Sault Ste. Marie.

63PAUL PEEL, R.C.A.THE RETURN OF THE FLOCK

oil on canvassigned and dated 1883

36 ins x 46.75 ins; 91.4 cms x 118.7 cms

Provenance:Collection of R.Y. EllisThe T. Eaton Co. Limited, TorontoCollection of Geo. Booth, Toronto(acquired 1923)Collection of Evelyn L. Hay, Toronto (bydescent)Private Collection, Ontario (by descent)

$80,000–120,000

Exhibited:Fourth Annual Exhibition, Royal Canadian Academy of Arts, Toronto, 1883,no. 31 for Return of the Flock.

Royal Canadian Academy: Exhibit of Canadian Art, Festival of the Empire,Crystal Palace, London, 1910.

Paintings of Deceased Canadian Artists Fourth Annual Exhibition, The ArtMuseum of Toronto, Toronto, January 1911, No. 191.

Literature:Evelyn de Rostaing McMann, The Royal Canadian Academy of Arts:Exhibitions and Members, 1880-1979, University of Toronto Press, Toronto,1981, page 321.

Note:Though still in his early twenties, by 1883 Peel had studied with Eakins inPhiladelphia, with Gérôme in France, had been elected to the R.C.A. as anAssociate Member (1882), and had exhibited in the Paris Salon, a majoraccomplishment for such a young man. April and May of that year wasspent in Pont-Aven, as he had the previous summer, although the artistreturned to Canada in July and remained there for the rest of that year.

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64ALFRED JOSEPH CASSON, O.S.A.,P.R.C.A.MARCH - VANDORF, 1946

oil on canvas, laid down on boardsigned; also signed, titled and dated onreverse

9.5 ins x 11.25 ins; 24.1 cms x 28.6 cms


$20,000–30,000

Note:Casson chose Ontario villages as the subject for his paintings in the 1930s,as a way of distinguishing himself from other members of the Group ofSeven. In a conversation with curator Joan Murray in 1977, he voiced theopinion that his particular contribution to Canadian art was in the ruralvillages and houses that he had depicted before they disappeared. Vandorfis a hamlet in the present-day Town of Whitchurch-Stouffville. Casson haschosen to paint the countryside in early Spring; he preferred to paint theautumn and winter seasons, perhaps because the patterns of nature weredisplayed in Autumn and the basic forms of the landscape were exposed inWinter, both of which appealed to his design sensibility. Here, the forms areorganized in a balanced composition and the palette has been restricted toblue, mauve, grey and golden brown. The sketches that Casson executedduring the 1940s and 1950s, while carefully composed, are free from theabstracting tendencies of his larger paintings of the same period.

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65ALEXANDER YOUNG JACKSON,O.S.A., R.C.A.GEORGIAN BAY

oil on divided panelsigned

10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms

Provenance:Mrs. Arthur Matthewman, Picton,OntarioPrivate Collection, Quebec City, Quebec

$15,000–20,000

Literature:A.Y. Jackson, A Painter’s Country: The Autobiography of A.Y. Jackson,Clarke, Irwin & Company Limited, Toronto/Vancouver, 1958, page 74 andthe colour plate opposite page 161 for a closely related work entitledIslands, Georgian Bay 1954, reproduced in colour.

Note:Jackson travelled to Georgian Bay to paint its many islands for decades andhe never tired of it as a subject. Part of the appeal later in life when hetravelled there were the sharp memories such visits would conjure ofcamping trips taken with painting friends long gone and greatly missedincluding J.E.H. MacDonald and Tom Thomson.

Looking back, Jackson recounts: “Go Home Bay and the outer islands arefilled for me with happy memories of good friends and of efforts, more orless successful, that I made to portray its varying moods.”

Canoeing was among his favorite pastimes and he had, over the years,become very adept at it. Jackson remarked: “Half the fun of camping is tofind a good campsite, and the smooth rocks of Georgian Bay were ideal.”One cannot help but imagine Jackson seated on his camp stool, sketch boxat his side and brush in hand trying to capture yet again those elusive and“varying moods” of Georgian Bay.

66KAZUO NAKAMURASUSPENDED LANDSCAPE

oil on canvassigned and dated ‘69; also signed, dated1969 and inscribed “Toronto” on thestretcher

43 ins x 45 ins; 109.2 cms x 114.3 cms


$30,000–40,000

Literature:Kazuo Nakamura, quoted in Dorothy Cameron, Sculpture ’67, unpaginated.

Note:“The contribution of the artist is to extend visual knowledge as a way ofunderstanding our universe. I, as an artist, am never wholly isolated fromanyone else, from the labourer or the scientist. We are all, each in his ownway, making a new society, or a part of that society. On the other hand,since some perception and foresight beyond the norm is a necessaryattribute of the functioning artist, I must admit to a certain sense ofunavoidable ‘apartness.’”

Viewing mathematics as a key to form and design, Nakamura formulatedartwork that was both alluring and precisely ordered. Atop a backdrop ofindigo, the artist places bands of white, mimicking foolscap. His lines areclean, intersecting only with a circular porthole, a window to a landscape.Mirroring the small, diagonal brushstrokes of Cézanne, Nakamura creates aterrain of greens and blues. His restricted palette excites both the eye andthe mind, like Euclidean geometry played out in a bloom of algae.

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67YVES GAUCHERGREEN, YELLOW/RED, 1ÈREVERSION

acrylic on canvas, unframedsigned, titled and dated ‘76 on the reverse

48 ins x 60 ins; 121.9 cms x 152.4 cms

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

$20,000–30,000

Literature:Diana Nemiroff, “Geometric Abstraction after 1950,” in Anne Whitelaw, Brian Foss,and Sandra Paikowsky (eds.), The Visual Arts in Canada: The Twentieth Century,Oxford University Press, Don Mills, Ontario, page 217.

Roald Nasgaard, Yves Gaucher, A Fifteen Year Perspective/1968-1973/Une Perspectivede Quinze Ans, Art Gallery of Ontario, Toronto, 1979, pages 109-111, and page 115,Fig. 17 for Vert-Jaune-Rouge, 1970, 9 feet 6 ins x 16 feet (Collection of the artist),reproduced.

Note:Gaucher and Molinari are often considered together as their paintings appear to havemuch in common at first glance. However, unlike Molinari, Gaucher’s paintings must beviewed as one single object as opposed to a sequence of visual experiences.

Molinari’s stripe paintings are meant to be considered sequentially, to be read fromone side to another, each field of colour in relation to the one adjacent. Accordingly,the orientation of stripes arranged horizontally in this work, as opposed to vertically asin so many of Molinari’s paintings, is not whimsy, but compels the viewer to considerthe work holistically.

Prior to 1970, Gaucher worked from drawings which allowed him to scale up his ideasmore easily. However, after 1970, Nasgaard writes: “When structure and colourbecame inextricably linked, drawings were at best an initial step in exploring ideas.There was no predicting how a particular balance of yellow, red and grey at drawingsize would work blown up to 9 x 15 feet.” With respect to his practice, Gaucher will doa number of works using similar colours and even similar ratios, but of different sizes.

Nasgaard continues: “Gaucher may start at the largest size but his common workingprocedure is to work up to the final size. Often several sizes in the same series will beworked on simultaneously.” At least one other version of this lot exists: a largerversion measuring just over 9 x 15 feet.

Nasgaard quotes Gaucher explaining his painting process: “The physicality of workingon a big painting, and the scale, is very different from a smaller one. I like to bouncebetween the big and small, on the same premise basically, just to reassess where theproblem is. Sometimes you get carried away with a very large painting and you try toconvince yourself that it is working. But as soon as you bring the problem back to thesmall one you sense that there is something wrong which you have to settle in thesmall one before going back to the big one, or vice-versa. To work on more than onepainting refreshes my head and forces me to keep it open in more than one direction.”

In Green, Yellow and Red, Gaucher provides the viewer with what Diana Nemiroffdescribes as a “contemplative perceptual experience.”

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68JOHN MEREDITHVOYAGE

oil on canvassigned, titled and dated “70-71” on thereverse, and signed, titled and dated“Jan/71” and “/71” on the stretcher

72 ins x 48 ins; 127 cms x 182.9 cms


$20,000–30,000

Literature:Art Gallery of Ontario: Selected Works, Art Gallery of Ontario, Toronto, 1990, page338.

Roald Nasgaard, Abstract Painting in Canada, Douglas & McIntyre Ltd., Vancouver,2007, page 243.

Note:A superb colourist, it is easy to overlook what is perhaps considered Meredith’s great,even greatest, talent: his expressive rendering of line. Using a technique that wouldstimulate his compositions and become a kind of signature of his best work, Meredithsmudged the wet ink of his drawings, and later the wet painted lines of his canvases,electrifying the lines and dramatically energizing his composition. The result was thesuccessful transfer of energy from the drawing onto the canvas. Meredith, thereby,creating a kind of painted drawing.

By the mid-1960s, Meredith was using his ink drawings to produce finished work. Weare indebted to a private collector in Toronto who generously has lent us, for exhibitionpurposes only, Meredith’s drawing for Voyage.

Nasgaard writes that by the 1970s Meredith’s drawing “is nervous, agitated, andoverlaid on free-floating bursts of brilliant colour. The edges are more extravagantlyfeathered and appear more spontaneous than ever, entirely belying Meredith’s actualworking technique. He first worked out painting as a coloured drawing, and thentransferred the drawing to canvas, the enlargement accomplished by covering thedrawing with transparent graph paper and then proceeding to paint in the matchingsquared off canvas. He enlarged the sketches without making changes, replicatingcarefully the dragged and smudged lines and the nuanced modulations of his colouredinks.”

Drawing for Voyage,not included as part of this lot.

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69HORTENSE CROMPTONMATTICE GORDON, R.C.A.ABANDONED

oil on canvassigned

30 ins x 40 ins; 76.2 cms x 101.6 cms


$14,000–18,000

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

Note:Gordon’s swaths of darkened colours rest atop a dusty, golden landscape.These forms – with their hints of turquoise and red – form blossoming cactiand oil rigs, the bones of oxen, an oasis in the imagination, and under theheat of the sun. Here, Gordon captures the sentiment that Iris Nowellexpresses: Abstract art is “infinitely more than mere shapes and colours...(It) is an amalgam of energy, power and rhythm, the components that firethis art’s ineffable energy.” Abandoned in an uninhabited landscape, theartist conveys a distinct sense of fortitude and freedom.

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70RITA LETENDRE, R.C.A.TALISMAN

oil on canvassigned and dated /61

40 ins x 30 ins; 101.6 cms x 76.2 cms

Provenance:The Women’s Committee of the ArtGallery of Toronto, Sale of Canadian ArtPrivate Collection, Toronto

$25,000–30,000

Literature:Roald Nasgaard, Abstract Painting in Canada, Douglas & McIntyre Ltd.,Vancouver, 2007, page 180.

Note:Evoking magic and mysticism, Letendre’s canvas is an amulet of red, green,and gold. Images crafted of wide strokes of jagged paint, such as this lot,developed into one of her signature styles. As Nasgaard explains: “A moredistinct look emerged in the early 1960s, when scale grew and theconcatenation of the gestural marks expanded into great thick flame-likebursts of explosive colour. A sense of turbulent drama was intensified bybrighter colours pushing, as if seeking liberation, against masses of black...”Often created by the person for whose use it is intended, the talisman hasan intimate connection to its bearer. It contains magical properties, whichprotect she who wields it from harm, bringing about good fortune. Infierceness and in passion, Talisman is imprinted with Letendre.

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71PAUL-ÉMILE BORDUAS, R.C.A.GROUPEMENT TRIANGULAIRE(1954)

watercoloursigned and dated ‘54; titled on thereverse

17.75 ins x 23.5 ins; 45.1 cms x 59.7 cms

Provenance:Galerie Dresdnere, MontrealPrivate Collection, Toronto

$12,000–18,000

Literature:François-Marc Gagnon, Paul-Émile Borduas: biographie critique et analysede l’oeuvre, Fides, Montreal, 1978, pages 355, 356 and 406.

Note:Realized a year after the beginning of his exile in the United States,Groupement Triangulaire is a prime example of the impact of Americanpainting on Borduas’ work. While in New York, feeling the need toexperiment, Borduas decided to focus on watercolour. For Borduas specialistFrançois-Marc Gagnon, “Groupement triangulaire évoque une sorte depaysage abstrait. Les plans s’y succèdent dans l’espace et le «groupementtriangulaire» que le peintre a voulu y voir s’impose beaucoup moins à l’oeilque cette impression de récession en profondeur. Aussi bien c’est uneaquarelle qui se rattache aux compositions à l’huile de la période. Le registreocre pâle et brun de celles-ci a été remplacé par un vert transparent et desnoirs, signifiant le passage de l’hiver au printemps.”

In the summer of 1955, Max Stern visited Borduas’ studio in Paris andacquired thirteen works, including this lot.

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74JACQUES GODEFROY DETONNANCOUR, A.R.C.A.PAYSAGE, 1959




$10,000–15,000

Literature:Jacques de Tonnancour in Elizabeth Kilbourn, Great Canadian Painting: ACentury of Art, McClelland and Stewart Limited, 1966, page 45.

Note:For Jacques de Tonnancour, 1955 signaled a genre shift from the abstract tothe landscape. His primary focus was on the terrain of northern Quebec,which held a certain power in his eyes. “The magnetic and engulfing charmand power of the north can in no time dissolve a man and lose him in a seaof silence and desolation. In many parts of Canada that is what we are upagainst, that enormous silence. This is the shape of Quebec.” Throughloose gestures, swift strokes of paint and thin washes, de Tonnancourconveys the pensanteur or weight of the land. Under an effortless sky,tangles of branches and currents of energy twist about in greens andsienna. In de Tonnancour’s painting, one relinquishes the notion ofcontrolled landscape and surrenders oneself to the dangers of thewilderness.

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75JOHN MEREDITHBLACK NIGHT, 1959

oil on canvas

36 ins x 48 ins; 91.4 cms x 121.9 cms

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

$10,000–15,000

Note:John Meredith (Smith) was the younger brother of WilliamRonald (Smith) of Painters Eleven fame, but in contrast toRonald, he was an introvert who stayed on the margins of theToronto art community, and his work evolved at a slow andsteady pace. Despite this tendency towards reclusiveness,Meredith shared an interest in Abstract Expressionism with theother young abstract painters of his generation (he began toshow at the Isaacs Gallery in 1961), along with a quality thatcritic Barry Hale has termed “expressionist lyricism”—evidenceof the artist’s hand over the surface of the painting, and totalengagement with the artwork. Meredith developed his owndistinctive style within the so-called “Toronto Look.”

Meredith studied at the Ontario College of Art from 1950-1953and had his first one-man show at the Gallery of ContemporaryArt in 1958. A second show followed in March 1959 whichconsisted of paintings with vertical stripes that varied in colour,width and paint texture. Marie Fleming characterized these earlyworks as alluding to human or vegetal forms and as having “astrong sense of a standing, growing force” in the catalogue of her1974 Meredith exhibition at the Art Gallery of Ontario.

Dark Night is characteristic of Meredith’s work between 1958 and1962. The work is structured by a series of vertical lines, all ofwhich deviate slightly from the perpendicular and extend acrossthe entire width of the canvas. Its horizontal orientation compelsus to read the work from left to right, towards the whitish stripetwo-thirds of the way across which catches the eye. Otherwise,the palette is sombre—blue, black, red and ochre, mixed directlyon the canvas. The vertical lines have been drawn with the brush,the field punctuated by more spontanous applications of ochre,which gives the canvas an overall texture. The work has beeninformed by Borduas and the Automatistes in spirit and byAmerican Abstract Expressionist Barnett Newman in itsexploration of the vertical.

As the title suggests, Black Night is full of mystery. What do thevertical lines represent? Trees, a line of figures in profile, orfigures lurking in a forest? It demonstrates the creative approachthat Meredith explained in the catalogue of his 1974 exhibition:to give material form to his conscious and unconscious reactionsto the world, to colour and form and to develop new ideasthrough experimentation.

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76HAROLD KLUNDERTHE GEOMETRY OF PAIN (SELFPORTRAIT I), 1989

oil on canvas, unframedsigned and dated ‘89; also signed, titledand dated 1987-89 on the reverse, andinscribed on the left overflap “G. of P.,S.P. 87-89”

78 ins x 78 ins; 198.1 cms x 198.1 cms

Provenance:The Sable-Castelli Gallery Limited,TorontoPrivate Collection, Toronto

$12,000–18,000

Note:Born in The Netherlands in 1943, Harold Klunder immigrated to Canadawith his parents in 1952. He studied art at Central Technical School inToronto under Doris McCarthy, Charles Goldhammer and Virginia Luz.Klunder developed a diverse practice, working across a range of mediaincluding painting, photography, printmaking and performance.

When assessing the pervading influences on Klunder’s artwork, scholarsoften allude to other artists of Dutch heritage such as Willem de Kooningand Karel Appel. Yet Klunder himself defies rigid comparisons. He paintsaccording to feeling: creating charged surfaces intuitively and freely –removing himself from the formal aspects of painting.

Through Klunder’s process, texture amasses in abundance. The sculpturalforms created by his thick impastos carry as much life as the subject matterof the works themselves. Heavy paint pulsates with a buoyancy of colour.These are not works resulting from a quick slather; these are works thataccumulate momentously, like geological formations.

Klunder’s paintings give a taste of the surreal despite being rooted firmly inreal life. They are bohemian, musical and abstract, chunky.

In recent years, Klunder has increasingly explored self-portraiture of whichthis lot, The Geometry of Pain (Self Portrait I), 1989, is an example.Paralleling the process of personal development – which happens slowly,cumulatively, and over many years – Klunder works on a single painting foryears at a time. The canvases gestate, forming over a duration as vivid andliving, weighty with the human experience.

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77LÉON BELLEFLEURÉMERGENCE

oil on canvassigned and dated ‘77; also signed, titledand dated on the reverse

46 ins x 35 ins; 116.8 cms x 88.9 cms

Provenance:Thielsen Gallery, LondonGalerie Walter Klinkhoff, MontrealPrivate Collection, Toronto

$12,000–15,000

Literature:Guy Robert, Bellefleur, Iconia, Montreal, 1988, page 9.

Note:“Yes, the most important thing is not what we see, but what we imagine.” -Léon Bellefleur

In the 1970s, Bellefleur’s work started to be more lyrical than that of theprevious decade. Conveyed in a dance of pigments, texture, and movement,paintings like Émergence render the painter’s desire to capture an impulse ofinspiration and protect it from the inevitable transience of time.

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78WILLIAM KURELEK, R.C.A.MYSTIC PRAIRIE THEME, 1976

mixed media on masonitesigned with initials and dated ’76; titledon the reverse


Provenance:Isaacs Gallery Ltd., TorontoPrivate Collection, Burlington, Ontario

$25,000–30,000

Exhibited:Regina Collects, Norman Mackenzie Art Gallery, Regina, cat.no.56.

Literature:Ramsay Cook and Avrom Issacs, Kurelek Country: The Art of WilliamKurelek, Key Porter Books Limited, Toronto, page 22.

Note:Kurelek had a number of mythical experiences throughout his life, directlylinked to his conversion to Catholicism in 1957. Kurelek attempted tocontextualize the gospel, through which, he believed he had come to aconvincing understanding of the meaning of life, in contemporary termswithin his artwork. “(T)hat which crucifies Christ over and over can just aseasily happen on a summer day on a Manitoba farm as anywhere else.”

A farmer sits humbled before an icon which is powerful to him. The sceneis still and beautiful, linking the mundane with the sacred.

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79LOUIS-PHILIPPE HÉBERT, R.C.A.COEUR QUI CHANTE

bronzesigned, titled, dated 1912 and stampedwith the foundry mark “R.Hohwiller/Fondeur/Paris” on the base

height 19 ins; 48.3 cms

Provenance:Patrick Martin Wickham, Quebec(purchased directly from the artist)Private Collection, Ontario (by descent)

$10,000–15,000

Exhibited:Louis-Philippe Hébert, 1850-1917, Sculpteur National, Musée du Québec, 7juin – 3 septembre, 2001 and the Montreal Museum of Fine Arts, 12octobre, 2001 - 6 janvier, 2002, 2001, cat.no.110.

Literature:Daniel Drouin, et alia, Louis-Philippe Hébert, Musée du Québec et Muséedes Beaux-Arts de Montréal, 2001, pages 242-257 for “IconographieIndienne de Hébert,” page 254, and page 307, fig. 110 for this lot,reproduced in colour.

Note:Hébert was interested both in the depiction of Indian life pre-contact withEuropeans as well as of those who interacted with European culturethrough, for example, trade. It is also interesting to note the contrast in hisdepiction of male and female subjects. Drouin notes: “Si l’homme estsouvent representé en chasseur ou en guerrier à l’affut, la femme emprunteles traits d’une séductrice ou d’une abandonnée, comme...Coeur quiChante.”

Insurance Executive Patrick Martin Wickham was an early patron of Louis-Philippe Hébert. He also served as Mayor of St. Lambert, Quebec forseveral terms at the turn of the century.

A cordial relationship arose between Louis-Philippe Hébert and Wickhamover the years, and the details of their business transactions weremeticulously recorded by the artist and by the Wickham family.

Wickham approached the artist with a special request that Hébert makesmall replicas of a number of works which graced the National AssemblyBuildings in Quebec City, a request embraced by the artist.

At least seven small statues were created, including Coeur qui Chante, withthree to six copies of each, all cast at the renowned R. Hohwiller Foundry inParis.

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80JOYCE WIELAND, R.C.A.L’ASSASSINAT DE MARAT PARCHARLOTTE CORDAY, 1987

oil on canvas

53 ins x 39 ins; 134.6 cms x 99.1 cms


Literature:Jane Lind, Joyce Wieland: Artist on Fire,James Lorimer & Company, Ltd., Toronto,2001, page 17.

$15,000–18,000

Note:It was on the eve of the fourth anniversary of the sacking of the Bastille, 13July 1793, that the noblewoman Charlotte Corday, knocked on Jean-PaulMarat’s door. Claiming knowledge of an escaped group of Girondins,Corday was permitted entry and recited her list of 18 offenders. In truth,Corday was a Girondin sympathizer, a member of an impoverishedaristocratic family seeking to avenge the ‘wrongdoings’ of the Revolution.After Marat had finished writing down the names, he assured the lady thatthe ‘heads’ of the guilty would ‘fall within a fortnight.’ With her trueallegiance called to task, Corday produced a kitchen knife from her corset,and slayed the politician. She would later testify during her four-day trialthat she had ‘killed one man to save 100,000.’

The works of Joyce Wieland are frequently lauded as emblems of patriotismand feminism. “From the beginning of her career, Joyce did not try to paintlike a man, even at a time when mainly men’s work was consideredauthentic art. Working from the wellspring of who she was, a woman and afeminist...meant accepting an inescapable identity that modified her positionin art; as a woman she was marginal even though she was the country’sleading (woman) artist by the late sixties.”

In this work, Wieland re-infuses the scene, immortalized previously in a workby Jacques-Louis David, with the female voice. The viewer is compelled bythe artist to reinvestigate the narrative, the moment captured, and the truehero. As Wieland inscribed: MODERÉE: To “moderate” the story, to makeless extreme, the average, the commonplace.

This work was executed in 1987, the year in which Wieland became the firstliving Canadian-woman artist to be given a career-long retrospective at theArt Gallery of Ontario (16 April–28 June 1987).

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81WILLIAM RONALD, R.C.A.NANTUCKET

oil on canvassigned and dated ‘71; also signed, titled,dated ‘70 and inscribed “11/25/70” and“Toronto” on the reverse

78 ins x 60 ins; 198.1 cms x 152.4 cms

$15,000–20,000


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82JACK LEONARD SHADBOLT,R.C.A.UNTITLED - ABSTRACTCOMPOSITION

oil on canvassigned

43 ins x 36 ins; 109.2 cms x 91.4 cms


$15,000–20,000

Literature:Roald Nasgaard, Abstract Painting in Canada, Douglas & McIntyre,Vancouver/Toronto, 2007, page 134.

Note:In 1956, Shadbolt travelled to the south of France. Nasgaard writes: “thepainting that resulted was unanticipatedly hedonistic, townscapes andharbour scenes, built up into block-like mosaic patterns of energetic touchesof luminous sensuous leaf colours, (with) painterly patches aligned on thelattice of a Cubist grid, often articulated with a horizon line.”

Describing paintings from this period, Nasgaard references “the thick paint,smeared and splattered“ and “the wonderfully felt passages in which factureand representation interlock.”

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83GREGORY RICHARDCURNOECONFESSORS,DECEMBER 1963

painted construction, oiland stamped ink onplywoodtitled on the reverse

overall 18.25 ins x 13.75 ins;46.4 cms x 34.9 cms

Provenance:The Members’ Gallery,Albright-Knox Art Gallery,BuffaloPrivate Collection, Toronto

$7,000–9,000

84JACQUES GODEFROYDE TONNANCOUR,A.R.C.A.LE MILLE PATTES,1964

mixed media on canvas, laiddown on boardsigned, titled and dated onthe reverse

12 ins x 12 ins; 30.5 cms x30.5 cms

Provenance:Galerie Agnès Lefort,MontrealPrivate Collection, Toronto

Literature:Gilles Hénault,“Tonnancour,” in AndréParadis, 16 Peintres DuQuébec Dans Leur Milieu,La Vie Des Arts, Québec,1978, page 147.

$3,000–5,000

Note:In Confessors, December 1963 Curnoe issuessubtle proclamations through a bold Pop Artconduit. The work is, in essence, a timecapsule. Text stamped out on a horizon ofcanary yellow integrates into and structuresthe piece. The words personalize icons ofcurrent events and re-enact snippets ofprivate conversations and introspections:BILL SAYS “STOP NOW”JACK SAYS “RESPECT DISTANCE”CHARLIE SAYS “IT’S A MISTAKE”OLGA THINKS IT’S NICEGREG SAYS “TOO MUCH”MOM SAYS “AGAIN”?BOBBY HULL LOSES A TOOTH – The GoldenJet’s goal total hitting 43 in the 1963-64season. OSWALD DIES – Jack Ruby avenges aPresident.JACKIE SAYS WEDNESDAYLOUISE SAID YESKAREN LEFTDAD SAID “YOU HAVE NO FUTURE”Legible only upon closer inspection, the linesare choppy and potent, both powerful andriveting in their intimacy.

Note:«Alors, un danger s’instaure. Il faut montrerde nouveau que l’art n’est pas la nature; quel’espirit de géométrie est bien propre del’homme. (Pourtant, cette formulation estambiguë, car partout la nature sème àprofusion ses théorèmes de coquillages, sessymétries d’insectes, son cubisme decristaux.) Tonnancour en tiendra compte, carsa pente naturelle l’entraîne à privilégier laforme; il composera donc ses tableaux en yinscrivant sur un fond grumeleux, sa tracepersonelle, je veux dire ses propresgéométries, ses écritures.»

Le Mille Pattes is an arid landscape:granulated textures, sandy pixels, a plane ofearthen blocks of colour. De Tonnancourmodernizes nature’s forms – his paint actingas a new kind of primordial mud. Suspendedin this figurative clay are allusions to shellsand lichen, and the abstracted form of acentipede frozen in a dance across thesurface.

85JACK HAMILTON BUSH, O.S.A.,A.R.C.A.ON AN ORANGE GROUND

oil on canvassigned and dated ‘58

15 ins x 20 ins; 38.1 cms x 50.8 cms

Provenance:The Park Gallery, TorontoBy descent to the present ownerPrivate Collection, Lake of Bays, Ontario

Literature:Marc Mayer and Sarah Stanners, JackBush, National Gallery of Canada,Ottawa, 2014, page 20.

Note:In the mid-fifties, Bush struggled to find amore authentic voice for himself andexperimented with various approaches topainting, none of which proved uniformlysatisfactory until 1957 when he was visitedby Clement Greenberg, the New Yorkcritic. To Marc Mayer, Greenberg wasperhaps the most useful friend that anambitious artist like Bush could wish for.Shortly after this seminal meeting, Bushembarked on a path that would lead him to produce some of his best works to date.This lot, which dates to 1958, represents apivotal moment in Bush's creative arc.

$7,000–9,000

86DENNIS EUGENE NORMANBURTONGLIMPSE

oil on masonitesigned and dated ‘58; also signed, titled,and dated “May 1958” and ‘58 on thereverse



$5,000–7,000

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87DANIEL PRICE ERICHSENBROWNYOUNG DANCERS

coloured pencil drawingsigned and dated 1981

sight 22.5 ins x 21.5 ins; 57.2 cms x 54.6 cms


$10,000–15,000

Note:

In one of Daniel Price Erichsen Brown’s best-known works, two youngdancers step into their slippers in preparation for class. Brown’s highlyrealistic rendering is beautiful both in its symmetry and in the technicalability it conveys. Through their shadows on the wall behind, Brown seemsto suggest the latent talent within each of the girls.

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88WALTER JOSEPH PHILLIPS,R.C.A.DEER ON THE HILLSIDE

watercoloursigned and dated ’52; an unfinished pencilsketch of a dock scene on the reverse

16.5 ins x 17.75 ins; 41.9 cms x 45.1 cms

Provenance:Private Collection, St. Catharines, Ontario

$10,000–15,000

Literature:Roger Boulet, The Tranquility and the Turbulence: The Life and Work ofWalter J. Phillips, M.B. Loates Publishing, Markham, Ontario, 1981, pages195 and 207 for the related watercolours Mount Rundle with Deer, 1953and Rainbow Falls, circa 1938, reproduced in colour.

Nancy E. Green, Kate Rutherford and Toni Tomlinson, Walter J. Phillips,Pomegranate, Portland, Oregon, 2103 for an earlier colour woodcut of thissubject entitled Deer on Hillside, 1948, page 95, reproduced in colour.

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89CHRISTOPHER PRATT, R.C.A.LAKE ONTARIO, 1976

serigraph, printed in colourssigned, titled, dated “Aug.76” and numbered 26/35 in pencil in the lower margin

20 ins x 20 ins; 50.8 cms x 50.8 cms

Provenance:Mira Godard Gallery, Toronto/MontrealPrivate Collection, Ontario

Literature:Jay Scott and Christopher Pratt, The Prints of Christopher Pratt, 1958-1991, CatalogueRaisonné, Breakwater Books, St. John’s, Nfld., 1991, page 65 for Lake Ontario,reproduced in colour.

David P. Silcox and Merike Weiler, Christopher Pratt, Prentice-Hall Canada Inc.,Scarborough, 1982, page 137 for Lake Ontario, reproduced in colour.

Note:Pratt writes: “On those passages down the Lake and through the St. Lawrence Seawayto the Gulf, we encountered ‘Lakers’ everywhere. Sometimes, where the channelnarrowed or at the entrance to a lock, they were close encounters; there, big blackships loomed over us, and we felt very fragile... Usually they were much farther off,plodding east and west relentlessly; from Trois Rivières to Thunder Bay, they symbolizethe river and the lakes.”

$2,500–3,000

90CHRISTOPHER PRATT, R.C.A.FISH STAMP

serigraphsigned, titled, dated “Nov. 1968” and inscribed “engraver’s proof”

Sight 20.25 ins x 27 ins; 51.4 cms x 68.6 cms

Provenance:Private Collection, New Brunswick

Literature:Jay Scott and Christopher Pratt, The Prints of Christopher Pratt, 1958-1991, CatalogueRaisonné, Breakwater Books, St. John’s, Nfld., 1991, page 46 for The Stamp (2 CentCod Fish), “engraver’s proof,” 1968, reproduced and pages 46-49 for the artist’s moreextended comments of the Stamp works.

David P. Silcox and Merike Weiler, Christopher Pratt, Prentice-Hall Canada Inc.,Scarborough, 1982, page 29.

Note:Silcox writes: “Between 1968 and 1974, Pratt completed six silkscreen prints based onnineteenth century Newfoundland stamps...In his eyes these stamps were beautifulobjects, well designed, and part of a proud pre-Confederation heritage which hewished to salute.”

Pratt writes: “I made the ‘Stamp’ prints as souvenirs of Newfoundland: notNewfoundland as an island, its fauna and geography, but as a social, political andeconomic entity that has passed out of time. These early postage stamps constituteevidence of that Newfoundland.”

$2,000–3,000

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91ALEXANDER COLVILLE, R.C.A.SUNRISE, 1970

serigraph, printed in colourssigned, dated 1970 and numbered 62/70

13.75 ins x 25.75 ins; 30.5 cms x 61 cms

Provenance:Marlborough Godard Gallery,Toronto/Montreal

$8,000–12,000

Literature:Michael Bell, Colville, Being Seen: the serigraphs, Carleton University ArtGallery, Ottawa, 1994, page 40, cat.no.12 for Sunrise, (Collection ofGraham Colville), reproduced.

David Burnett, Colville – Prints/Estampes, Department of External Affairs,Arts Promotion Division, Ottawa, 1985, page 10, for Sunrise/Lever dusoleil, 1970, reproduced.

Helen J. Dow, The Art of Alex Colville, McGraw-Hill Ryerson Limited,Toronto, 1972, page 87, and page 195, plate 99 for Sunrise, reproduced incolour.

Note:Dow writes that for Colville “the highest art, like marriage, requiredconcentrated effort.” She continues: “At least one of his works appear todeal with this analogy, though indirectly, by again examining the nature oflove. This is his picture, Sunrise, a serigraph which he executed in 1970...The print portrays a woman silhouetted in purplish tones against theglowing rays of a coral sun as she glides mysteriously past a darkembankment in the graceful embrace of a canoe. In a consideration of thenature of art, however, it is the dramatic juxtaposition of the woman withthe rising sun which is especially significant. For just as the sun risesuninvited in the sense that it appears without human control, so love, as thereverse of art, happens suddenly and without conscious effort. To Colville,the mystery of love is a sheer gift while, conversely, marriage in itself is anart, that is to say something premeditated and intentionally planned. Forhim, all art must be the product of a similarly rational activity.”

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92LAWREN STEWART HARRISJACK RESTING BY A TREE

oil on canvas

13.25 ins x 11.25 ins; 33.7 cms x 28.6 cms

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

Literature:“The Coupler Presents-Jack T. Hulme,” The Coupler (The Official Magazine forthe employees and pensioners of the Toronto Transit Commission), No. 7, Vol.11, November 1936.

Note:John Thompson Hulme, or Jack, as everyonecalled him, was born in Toronto in October1898. Leaving the city behind for the farminglife, Jack moved with his family to Aurora(Oak Ridges) while still a boy. “The districtsurrounding his parent’s farm was a favouritehaunt for artists and (Jack) was able to pickup considerable pocket money by merelyposing for them in the shade of some tree orwith a fishing rod at the edge of a stream.”One such artist, a young friend of the family,was Lawren Stewart Harris. Painted on thefamily property, Harris is believed to havepaid Jack 25 cents to sit for this portrait.

See our website for additional informationabout this lot.

$5,000–7,000

93MARCELLA MALTAISFENÊTRES DE QUÉBEC

oil on boardsigned and dated ‘54

21 ins x 17.75 ins; 54 cms x 45.1 cms

Provenance:Lavalin Collection, QuebecPrivate Collection, Toronto

$3,000–4,000

Jack Hulme as a youngman (left) with friend.

94ROBERT WAKEHAM PILOT,P.R.C.A.ST. MARGARETS, P.Q.

oil on panelsigned, titled and dated 1945 on thereverse

8 ins x 10.5 ins; 20.3 cms x 26.7 cms

Provenance:Dominion Gallery, MontrealPrivate Collection, Toronto

Note:Robert Wakeham Pilot set up studio in thespace that had once belonged to his step-father, Maurice Cullen. It was from thisStudio Building on Ste. Famille Street inMontreal (which was, anecdotally, ownedby Alfred Laliberté) that Pilot made hisfirst sketching trips into the Laurentians,Baie St. Paul country, Quebec and theMaritimes. This painting was executed in1945, most likely on one of the sketchingtrips, which resumed following Pilot’sreturn to Canada from his service in WorldWar II. Pilot’s depiction of St. Margaretsis pleasant and delicate: A snowy scene inwhich we can almost hear the gurglingwater and feel the warmth of the cabin’shearth.

$6,000–8,000

95ANGUS TRUDEAUHARRISON, OWEN SOUND,ONTARIO, 1982

mixed media on illustration boardsigned with initials and titled

30 ins x 40 ins; 76.2 cms x 101.6 cms

Provenance:The Isaacs Gallery Ltd., TorontoCharles Bronfman’s Claridge Collection,Montreal

Note:Steamboats are a recurring theme in thework of Anishinaabe artist AngusTrudeau. Working as a sailor and a cookon the Great Lakes commercial ships,paintings such as this lot can be seen as arecollection of the artist’s journey aboardthese great steamers.

Sold to benefit Historica Canada.

$3,500–5,000

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96HAROLD BARLING TOWN, R.C.A.TOY HORSE (A PAIR)

acrylic on papersigned and dated “Oct. -12 - 77” and“Dec. -5 -77” respectively

Each 22.5 ins x 28.25 ins; 57.2 cms x 71.8cms


$5,000–6,000

Literature:Iris Nowell, Harold Town, Figure 1 Publishing Inc., Vancouver, 2014, pages139-143 for a discussion about the Toy Horse series.

Note:The Toy Horse series began in 1976 and was inspired by a small tin toyhorse which Town had received as a gift. According to Nowell, this object“figured beyond all others in his output of drawings.”

While Town is reputed to have produced many hundreds of variations onthis theme – with sculptural horses, mechanical horses, static horses,prancing horses, black and white horses and colourful ones – the resultseems to have had an enormous impact on the buying public who were inawe of the variations that Town produced on this theme. Nowell notes thatfor the 1984 Toy Horse exhibition at Laing Galleries, 127 pictures wereinstalled, the praise non-stop and sales robust. She writes: “Collectors whohad difficulty deciding between two works bought both.”

98JACK LEONARD SHADBOLT, R.C.A.UNTITLED - ABSTRACTION

mixed media on papersigned and dated ‘49

22.5 ins x 29 ins; 57.2 cms x 73.7 cms

Provenance:Private Collection, Alberta

Literature:Patricia Ainslie, Jack Shadbolt: Correspondences,Glenbow Museum, Calgary, 1991, page 14, page 18,cat.no.44 and page 31 cat.no.46 for related works fromthis period, reproduced.

Note:Ainslie asserts that in the late 1940s Picasso “remainedthe single most influential force on American painters.” In September 1948, Shadbolt arrived in New York andenrolled at the Art Students League. Shadbolt was inNew York until August 1949 when he returned to BritishColumbia.

This work dates from 1949, a time during whichShadbolt, according to Ainslie, “worked increasinglyintuitively, remembering forms in a strange disjunctiveway” in keeping with surrealist ideas.

$4,000–6,000

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97WALTER HAWLEY YARWOODUNTITLED

welded metal, mounted to a wooden base



Note:Yarwood’s sculpture resembles lava rock having cooledand hardened after a volcanic eruption. Forming aspontaneous totem, the metal spikes, twists, andripples. Yarwood makes effective use of juxtapositionby anchoring the frontispiece to a wooden support.This lot is exemplary of the innovation brought towelded structures by the artist.

$4,000–5,000

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100MARIAN MILDRED DALE SCOTTUNTITLED

acrylic on canvas

23.5 ins x 35.5 ins; 59.7 cms x 90.2 cms


Literature:Esther Trépanier, Mildred Dale Scott:Pioneer of Modern Art, Musée duQuébec, Québec, 2000, pages 228-230.

Note:Dating from the mid- to late- 1960s, thislot exemplifies Scott’s continuous effort torefresh her practice. According toTrépanier, during this period one ofScott’s main goals was “to exploreauthentically modernist composition andstructure.” Trépanier writes: “this newphase was undoubtedly a reflection of thegrowing attention being paid toplasticiens issues within the Montreal artmilieu.”

Using an irregular grid to structure hercompositions, Scott employed brightcolours “to embrace a new form ofgeometric abstraction, neither rigidlyhard-edge nor dependent on the visualeffects of op art.”

These fluid grid compositions weresubdivided into triangular shapes andoccasionally “a broader white area at thecentre of the network of lines create(d) analmost floral effect,” as can be seen in thislot.

$2,000–2,500

99WILLIAM PEREHUDOFF, R.C.A.AC-86-8, 1986

acrylic on canvassigned and titled on the reverse

13 ins x 24 ins; 33 cms x 61 cms

Provenance:Waddington & Shiell Ltd., TorontoPrivate Collection, Toronto

$3,000–4,000

102LÉON BELLEFLEURSANS TITRE

oil on boardsigned and dated 1951

4.75 ins x 6.5 ins; 12.1 cms x 16.5 cms


$3,000–5,000

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101RONALD LANGLEY BLOOREUNTITLED, 1979

oil on masonitesigned on the reverse, and titled anddated on the stretcher

36 ins x 48 ins; 91.4 cms x 121.9 cms

Provenance:Moore Gallery Ltd., HamiltonPrivate Collection, Toronto

Literature:Terrence Heath, Ronald L. Bloore: NotWithout Design, Mackenzie Art Gallery,Regina, 1983, page 42.

Denise Leclerc, The Crisis of Abstractionin Canada: The 1950s, National Galleryof Canada, Ottawa, 1992, page 89.

Note:Though he first explored the style in1958, Ronald Bloore began paintingexclusively in white monochrome in 1960.Scraping paint onto his masonite supportslike mortar on brick, Bloore createscompositions of lines and layers. Theimpact of his works lay in the richness oftonality created by his impasto. Cited asthe “white on white painter,” the artistfirst gained national recognition when heparticipated in an exhibition of “TheRegina Five” organized by the NationalGallery in 1961.

$9,000–12,000

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103GORDON RAYNERFLYING OUT

acrylic on canvassigned on the reverse, also signed, titledand dated 1980 on the overflap, andsigned, titled and dated “Nov. 1980” onthe stretcher

59.5 ins x 71.75 ins; 151.1 cms x 182.2 cms

Provenance:Isaacs Gallery Ltd., TorontoThe Collection of Rothmans, Benson &Hedges Inc.Private Collection

$7,000–9,000

Literature:David Burnett and Marilyn Schiff, Contemporary Canadian Art, HurtigPublishers Ltd., Edmonton, 1983, pages 91-92, and page 91, Fig. 79,reproduced in colour.

Note:Since childhood, Rayner had summered on Georgian Bay, nearMagnetawan. Burnett writes: “His response to this northern landscape,touched by his interest and experience in the East (Rayner had travelled toTurkey, Iran and India on a Canada Council grant), had led to his finestpictures, from River Window (1965) (Art Gallery of Windsor) to Flying Out(1980), characterized by brilliance of colour and breadth of gesture.”

104WILLIAM GOODRIDGE ROBERTS, R.C.ASEATED NUDE

oil on canvassigned

43.25 ins x 27.75 ins; 70.5 cms x 109.9 cms

Provenance:Collection of Joan C. Roberts, the artist’s wifePrivate Collection, New York

Literature:James Borcoman, Goodridge Roberts, A Retrospective, The National Galleryof Canada, Ottawa, 1969, page 19.

Note:“Humans are reserved for the figure paintings and, like Cézanne, Robertsexpects his models to sit as still as apples on a plate. All he asks of them isthat they be beautiful human beings – he would never paint anyone heconsiders physically unattractive – and that they hold the pose.” Usingrapid and loose brushstrokes, Roberts builds his female subject out of ochreand raw umbers, as if breathing life into clay. The earth tones of her bodyand the onyx of her hair are punctuated by the verdant green and sharpwhite cloth on which she sits.

This lot was a birthday present to the artist’s wife, Joan C. Roberts, in1953.

$5,000–7,000

105TOM HOPKINSTHE WATER (...IN ADVANCE OF...)

oil on canvassigned; also signed, titled and dated 2002 on the reverse

43.75 ins x 46 ins; 111.1 cms x 116.8 cms


Literature:Tom Hopkins: New Paintings, Galerie de Bellefeuille, Montreal, 1997, page 4, the artist in conversation with Guido Molinari.

Note:“For me, tension is the basis for all life. Certainly tension between two orthree colours in a painting is what makes the painting vibrant, all contrasts– warm/cool, broad areas against detail, organic against mechanical. Andof course, in many of my paintings I am interested in the wild versus thetame, water in nature against water imprisoned ‘civilized’ in a bowl orcontainer.”

In The Water (...In Advance of...), Hopkins creates a narrative of contrastand tension. The backdrop for the scene is a reflective waterscape,limitless in its blues, greens and light. The artist challenges the viewer toshift their perception of the work by placing a red bowl of water in theforeground. Confronted by this contained space, we now experience thepainting through a different lens: Half-full or half-empty, lush or illusory.

$5,000–7,000

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106HAROLD BARLING TOWN, R.C.A.UNTITLED

collagesigned and dated 1959



Exhibited:Harold Town: 1944-1975, December 16, 1975 -January 15, 1976, organized by the Art Gallery ofWindsor and exhibited in Toronto.

$3,000–5,000

107RONALD YORK WILSON, O.S.A., R.C.A.OUT OF YOUR MIND

mixed media on cardsigned and dated ‘80; inscribed “Especiallypainted for the Arts & Letters skit in 1980 ‘Out ofYour Mind’” on the reverse

44 ins x 63.5 ins; 111.8 cms x 161.3 cms


Literature:Lela WiIson, York Wilson: His Life and Work, 1907-1984, Carleton University Press, Ottawa, 1997,page 244 for a reference to the review “Out ofYour Mind”.

Note:Members of the Arts and Letters Club, like YorkWilson, wrote and performed annual theatricalreviews from the 1930s onward, almost withoutinterruption. This work was created as part of anannual review performed at the Club in 1980.This graffiti inspired composition, possibly used aspart of the set for a skit, incorporates fantasticalfigures and puns which play on names of Torontostreets, public figures, club members and currentevents.

$5,000–7,000

108MARCELLE FERRON, R.C.A.SANS TITRE

oil on canvassigned on the reverse


Provenance:Galerie Lamoureux Ritzenhoff, Montreal

Note:Sans titre is a powerful dialogue betweencolour, shade, and light. Ferron’s boldbrushstrokes unfold into a vigorouscomposition, as though a sun-soakedhorizon meets the stormy, dark waters ofdusk. The sky splits in swaths of taupeand gold, as darkened waves crest incopper red and deep violet.

$7,000–9,000

109DAVID BOLDUCSIGHT READING, 1979

acrylic on canvassigned, titled and dated on the reverse

64 ins x 64 ins; 162.6 cms x 162.6 cms

Provenance:Circle Arts International, TorontoPrivate Collection, Toronto

$4,000–5,000

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110RITA LETENDRE, R.C.A.SANS TITRE

casein on papersigned and dated ‘62

9.25 ins x 12 ins; 23.5 cms x 30.5 cms

Provenance:Collection Camille Hébert, QuébecGalerie Simon Blais, MontrealPrivate Collection, Montreal

Literature:Hedwidge Asselin and Simon Blais, Rita Letendre: Leséléments/The Elements, Montréal, Éditions Simon Blais,2001, page 12.

Note:In this untitled work, Letendre churns out a waterfall ofvibrant blue and molten gold. All is engulfed in movement, atempest contained by the page, as the paint dashes andsurges across the surface. The painting is lyrical and free;“...the work of art appears not as a depiction of the world,but rather an energetic machine built by the painter tointeract in a renewed, freer relationship with the world.”

$6,000–8,000

111DONALD JARVISBLUE FIGURE II, 1962

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



Note:Blue Figure II is one in a series of “core” pictures that Jarvisexecuted in the early 1960s. Here, he aimed to integrate thefigure and background in an overall painterly style that owesmuch to Abstract Expressionism. Jarvis was one of severalabstract painters working on the west coast of Canada atmid-century (Jack Shadbolt, Gordon Smith, Takao Tanabe).A student of B.C. Binning and Jack Shadbolt at theVancouver School of Art (now the Emily Carr University ofArt and Design) between 1941 and 1948, Jarvis continuedhis studies under the Abstract Expressionist painter HansHofmann in New York from 1948 to 1950. Hofmann’s theoryof “push and pull”—the dynamic interplay between colour,shape and placement on a flat surface that creates competingforces to produce depth—may well have been behind thiswork. A dark central form appears to hover before thepicture plane, cut loose from the space behind it.

$4,000–5,000

93


112JOSEPH FRANCIS PLASKETT,R.C.A.THE MANTELPIECE WITHFIGURES


15.75 ins x 49.5 ins; 40 cms x 125.7 cms


$4,000–6,000

Literature:Joseph Plaskett, 1998, from Joseph Plaskett: Still Life in Interior Space, Bau-Xi Gallery, Toronto, 1999, unpaginated.

Note:“The painter must choose subjects that are not flat, that offer endlesscomplexities of depth and dynamic movement...”

When Plaskett arrived for a second time in Paris in 1957, he found theinspiration that he had been seeking in its grandeur and its charm. Hedecided to settle in the city permanently, first renting a room and theneventually purchasing a house in one of the oldest quarters of Paris, theMarais. The painter filled his home with a profusion of flowers, fruits andbooks gathered from flea markets and the nearby market stands at LesHalles. Objects from this magical array became his subjects, captured oncanvas or paper in a poetic use of colour like intimate windows into thedomestic. In this work, we even catch a glimpse of the artist within themirror, a fixture at home in rich pigment. Plaskett’s still lifes delight in theirsetting: sensuous and tactile they are filled with enchantment and light.

113TOM HOPKINSMANGO

oil on canvassigned and dated ‘89

16.75 ins x 54.5 ins; 41.9 cms x 137.2 cms

Provenance:The Drabinsky Gallery, TorontoPrivate Collection, Toronto

$4,000–6,000

Literature:Tom Hopkins: New Paintings, Galerie de Bellefeuille, Montreal, 1997, page 6, the artist in conversation with Guido Molinari.

Note:“My thinking is that a single feature is more of an icon. In other words, itcan’t exist on its own; it needs a dialogue with the viewer to interact, to beprojected upon. It’s not like a picture of people talking. We are invisible tothe people in the painting. With the icon, it’s always interactive.”

Tom Hopkin’s unconventional still-life, with its solitary and tropical subject,beckons the viewer to interpret and explore. The experience of thepainting, Hopkins stresses, depends on one’s experiences in life. The mangois wholly personal: soft or unripened, vibrant or two-toned, illuminated or inshadow, the subject or an intruder, stale or sweet and succulent.

94


114RONALD ALBERT MARTINUNTITLED NO. 15

oil on canvassigned and inscribed “Paris ‘66” on the reverse

39.5 ins x 31.75 ins; 100.3 cms x 80.6 cms


$4,000–5,000

115ROBERT HEDRICKUNTITLED ABSTRACT, 1961

oil on canvassigned and dated ‘61; also signed and dated on the reverse


Provenance:Canadian Fine Art Gallery, Toronto

Note:Robert Hedrick belonged to the second generation of Torontoabstract artists who showed at the Isaacs Gallery in the 1960s. Ina 1961 article on Hedrick for Canadian Art magazine, criticRobert Fulford described the artist’s practice as “discipline inaction” because he typically tackled one artistic problem at a timethrough a number of works until he had solved it.

Untitled Abstract is one of several canvases from this period inwhich the artist was concerned with making forms move in space.Masses of earthy colours and black float across the surfaceforming patterns suggested by a primary wash, creating an overalleffect characteristic of Abstract Expressionism. The paintingprocess is visible in that the thinned-down paint has been allowedto drip into adjacent areas, (note the orange mass in the upperright corner) which gives the work a look of spontaneity and“chance.” Hedrick has nonetheless given careful consideration tothe interplay of space, colour and rhythm so that the element ofchance has been held in check by his adherence to a set of formalstandards, as Fulford observed. Hedrick believed that hissculpture, first exhibited in 1961, shared an underlying naturalismwith his painting of the period.

$5,000–7,000

116JOHN GRAHAM COUGHTRYUNTITLED

oil on canvassigned and dated ‘58 on the reverse

46 ins x 36 ins; 116.8 cms x 91.4 cms


Literature:Interview with Brydon Smith in 1966, quoted in Bale Hale, GrahamCoughtry Retrospective, The Robert McLaughlin Gallery, Oshawa, 1976,page 11.

Note:Nineteen fifty-eight was a momentous year for Graham Coughtry.With a preference for the abstract stirring the air, he showed at boththe Carnegie International and at the Guggenheim International (atwhich the Canadian group of paintings won an honourable mention).It was also in this year, with the creation of a work entitled Dark Room,that Barry Hale noted a distinct shift in the manner of Coughtry’spainting, which he attributed to the influence of Willem de Kooning.Coughtry explains: “I broke into a more dashing kind of paint handling,all of a sudden, where I found I could put down one great big strokeand actually let it stay there.” The space of this untitled work isgeneralized and entirely abstract. While Coughtry’s vibrant palette andlarge swaths and trickles of paint are present, his signature ‘figure’ isnot yet articulated.

$8,000–10,000

117PAUL FOURNIER, R.C.A.KARNAC

oil on canvassigned and dated “Spring ‘78” on the reverse and titled on thestretcher

70 ins x 47 ins; 177.8 cms x 119.4 cms


$3,000–4,000

95


96


118REG HOLMESONE FOLDED SPACE, 1966

acrylic on shaped canvas, unframedsigned, dated and inscribed “no. 8” on theoverflap

overall 30.5 ins x 54.75 ins; 77.5 cms x 139.1cms

Provenance:The Isaacs Gallery, TorontoPrivate Collection, Montreal

$2,500–3,000

119HAROLD BARLING TOWN, R.C.A.SPACE BITS

Single Autographic Printsigned, dated 57 and numbered 1-1 in pencil in the margin; alsosigned, titled and dated 57 on the reverse

23.25 ins x 18.75 ins; 59.1 cms x 47.6 cms

Provenance:Mazelow Gallery, TorontoPrivate Collection, Toronto

$1,500–2,000

120CLAUDE TOUSIGNANT, R.C.A.DIPTYCH - MONOCHROME JAUNE ANDMONOCHROME FONCÉ, 1995

acrylic on cardsigned, titled and dated on the reverse

Sight 15.5 ins x 19.5 ins; 39.4 cms x 49.5 cms

Provenance:Projex-MTL Galerie, Montreal

Literature:Briony Fer, On Abstract Art, Yale University Press, NewHaven, 1997, page 154.

Note:Tousignant urges his viewer to make direct contact withthe sensation of colour – its taste, texture andtemperament. Squares of uniform colour sing withintensity, confirming Briony Fer’s oberservation that themonochrome has “remained one of abstract painting’smost resilient and repeated strategies.” The diptych ispure sensation.

$2,000–2,500

121DENNIS EUGENE NORMAN BURTONUNTITLED - HORIZON

watercolour and inksigned and dated “11.8.’59”

22 ins x 16.75 ins; 55.9 cms x 42.5 cms


$1,000–1,500

97


98


122TED BIELERSIX COLUMNS

bronze, set on a wooden basesigned, titled, dated 1964 and numbered 1/1 on thebase

height including base 15 ins; 38.1 cms


$1,200–1,500

123JOAN WILLSHER-MARTELTREES XIV

oil on canvassigned with initials and dated ‘08; also signed, titledand dated 1977 on the reverse

66 ins x 64 ins; 167.6 cms x 162.6 cms


Literature:Joan Murray, Cosmic Consciousness: the Paintings ofJoan Willsher-Martel, 1950-2000, Gallery Gevik,2000, page 5.

Note:“Willsher-Martel’s work is not so much the result ofreasoning as an instinctual feeling for the place inwhich she grew up... What we see is mysticalintuition: she is an heir to the Romantic tradition, andher work is part of a larger quest for the spirit.”

Born in Victoria in 1925, Joan Willsher-Martel movedto Toronto in 1952 with a view to become anabstract artist. Willsher-Martel developed her ownartistic style inspired by the Painters Eleven andEmily Carr, infused with Pointillism andImpressionism. Her works are romantic andmeticulous, resembling four-colour process inks in aGaussian blur. Often depicting the trees andlandscapes of British Columbia, Willsher-Martel’smature works are an otherworldly homage to herbirthplace.

It is not uncommon for artists to re-consider aspectsof their work, as is the case with this painting, whichwas originally executed in 1977 and re-visited by theartist in 2008.

$4,000–5,000

text note

ing

124JOHN IVOR SMITHHEAD

cast stone, set on black laminate base

height including base 59 ins; 149.9 cmsheight excluding base 11.5 ins; 29.2 cms


Literature:Colin S. MacDonald, A Dictionary ofCanadian Artists, Volume Eight, PartOne, Canadian Paperbacks PublishingLtd., Ottawa, 2006, page 651.

Note:John Ivor Smith studied under Jacques deTonnancour and Arthur Lismer.

According to Colin MacDonald, theinfluence of Italian sculptors MarinoMarini and Manzu, to which Smith wouldhave been exposed during travels to Italy,are evident in his work with its simplifiedfigures and flowing lines.

$2,500–3,000

125JACK BEDERSHELL FORM (SCULPTURE 14),1964

limestone, set on a stone base

height including base 16 ins; 40.6 cms

Provenance:Estate of the artistBy descent to the present ownerPrivate Collection, St. Catharines, Ontario

$1,200–1,500

99


(detail)

100


126THOMAS SHERLOCK HODGSONUNTITLED - PURPLE & GOLD

oil on canvassigned

22 ins x 21.25 ins; 55.9 cms x 54 cms

Provenance:Roberts Gallery Limited, TorontoCanadian Fine Arts, Toronto

$1,500–2,000

127FRITZ BRANDTNERGEORGIAN BAY, 1946

ink and crayon on papersigned and titled

17 ins x 22 ins; 43.2 cms x 55.9 cms

Provenance:Kastel Gallery, MontrealPrivate Collection, Toronto

$1,500–2,000

130DON JARVISUNTITLED - ABSTRACTCOMPOSITION

watercolour and inksigned and dated ‘79

28.75 ins x 22.5 ins; 73 cms x 57.2 cms

$800–1,200

101


128JACK HARMANYOUNG MAN

bronze, set on a wooden basesigned

height excluding base 42 ins; 119.4 cms


Note:According to the present owner, this workwas executed circa 1961.

$900–1,200

129JOHN GRAHAM COUGHTRYRECLINING NUDE

lithograph, printed in colourssigned, dated ‘79 and numbered 28/40

38 ins x 29 ins; 96.5 cms x 73.7 cms


$1,200–1,500

102


131JACK REPPEN, O.S.A.UNTITLED




$1,500–2,000

132PIERRE GENDRONPAYLANDE À CARMEN AMAYA NO.2

acrylic on canvassigned and dated ‘92; also signed (twice), titled, dated 1992on the reverse and signed on the stretcher

40 ins x 30 ins; 101.6 cms x 76.2 cms

Provenance:Art Dialogue Gallery, TorontoArt Rental and Sales Gallery, Museum London, London,OntarioPrivate Collection, Toronto

$2,500–3,000

133DENIS JUNEAUBLACK, BLUE, REDRECTANGLES

gouachesigned and dated “83”

Sight 14.25 ins x 26 ins; 66 cms x 36.2cms

$800–1,200

134WILLIAM RONALD, R.C.A.UNTITLED

acrylic on papersigned

24.5 ins x 36 ins; 62.2 cms x 91.4 cms

Provenance:Canadian Fine Arts, TorontoPrivate Collection, Toronto

$1,500–2,000

103


104


135JOYCE WIELAND, R.C.A.SHE SPEAKS IN BLUE, RED &YELLOW, 1980

coloured pencilssigned, dated ‘80 and inscribed “Blue,Red, Yellow” in pencil

10.75 ins x 13 ins; 27.3 cms x 33 cms


$1,000–1,500

136JACK BEDERTALL GREY FORM (SCULPTURE122), 1975

stone, set on a stone base

height including base 18.25 ins; 46.4 cms

Provenance:Estate of the artistBy descent to the present ownerPrivate Collection, St. Catharines, Ontario

$1,200–1,500

xt te

137JOHN RICHARD FOXVIEW FROM THE STUDIOWINDOW

oil on canvassigned

33 ins x 39 ins; 83.8 cms x 99.1 cms


$2,000–3,000

138MICHAEL SNOWPIANO

lithographsigned, dated ‘73 and numbered 37/100



$1,200–1,500

105


106


139FRANK HANS JOHNSTON, O.S.A., A.R.C.A.THE GATE

oil on masonitesigned; also signed and titled on the reverse

20 ins x 16 ins; 50.8 cms x 40.6 cms


Note:According to the owner, this work was purchasedfrom an exhibition at the Arts and Letters Club,Toronto.

$7,000–9,000

140JOHN GEOFFREY CARUTHERS LITTLE,R.C.A.RUE CHAMPS DE MARS, MONTREAL, ‘65

oil on canvas boardsigned; also signed, titled and dated on the reverse



Note:This lot expresses Little’s affection for Montreal’ssnowy winters. With thick and brisk brushstrokes, thepainter perfectly renders the busy, slushy, andslippery streets of the city. His subdued colourpalette creates an atmosphere where the air is soheavy and the sky so low, that foreground andbackground appear as if leaning on one another.

$5,000–7,000

141DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.JANUARY VISIT HOME

etching, printed in colourssigned, titled, dated 1975 and numbered 25/50 in pencil inthe lower margin

19.75 ins x 31.5 ins; 50.2 cms x 80 cms


Literature:William Gough, The Art of David Blackwood, McGraw-HillRyerson Limited, Toronto/Montreal, 1988, Plate 1 forJanuary Visit Home, reproduced in colour.

Wiliam Gough, David Blackwood, Master Printmaker,Douglas & McIntyre, Vancouver/Montreal, 2011, pages 28-29 for January Visit Home, reproduced in colour.

$4,000–5,000

142DANIEL PRICE ERICHSEN BROWNON THE FENCE, 1963

egg tempera on boardsigned and dated /63


Provenance:Canadian Industries Limited (CIL), North York

Exhibited:D.P. Brown: Twenty Years, Art Gallery of Hamilton, Ontario,1985.

Note:Brown enrolled at Mount Allison University in Sackville,New Brunswick in 1958. It was there that he wasintroduced to the process of egg tempera painting –following in the footsteps of the likes of Tom Forrestall, whoattended the school from 1954 to 1958. Working on aboard prepared with gesso, Brown skillfully crafts scenes inHigh-Realism. The theme of this lot is one which the artistreturns to frequently: that of the inhabited landscape. Ayoung boy perches atop a split-rail fence, surveying thevista ahead. There is an intensity of feeling that leaves theviewer curious to know what has piqued his interest.

In a letter from Pearl Vaughan, Administrator of the CIL ArtProgram, to the artist dated November 24th, 1987,Vaughan describes this work as, “a valued part of the CILtraveling collection for over 24 years. It has been displayedin over 200 exhibitions across Canada and in some U.S.centres.”

$6,000–8,000

107


143CLARENCE ALPHONSE GAGNON, R.C.A.MONT ST. MICHEL

etchingsigned and titled in pencil in the lower margin


Provenance:Private Collection, Alberta

Literature:Rosemarie L. Tovell, A New Class of Art: the Artist’sPrint in Canadian Art 1877-1920, National Gallery ofCanada, Ottawa, 1996, page 81, and page 21, Plate V,cat.no.43 for Mont St. Michel, reproduced.

Hélène Sicotte and Michel Grandbois with RosemarieL. Tovell, Clarence Gagnon, 1881-1942: Dreaming theLandscape, Musée du Québec, 2006, page 286 andcat.no.34, page 383 for Mont St. Michel, reproduced.

$2,500–3,000

108


144CLARENCE ALPHONSE GAGNON, R.C.A.CANAL SAN PIETRO, VENICE

etchingsigned and titled in pencil in the lower margin


Literature:Rosemarie L. Tovell, A New Class of Art: the Artist’sPrint in Canadian Art 1877-1920, National Gallery ofCanada, Ottawa, 1996, page 80, and page 79, Fig.68 for Canal San Pietro, Venice, reproduced.

$1,800–2,200

Note:Tovell writes: “In 1907 a transformation occurred in Gagnon’s etching that can be attributed to a rare privileged experience withRembrandt’s etching.” Between 1906 and 1907, Gagnon had the opportunity to assist with pulling a set of restrikes from the greatDutch master’s own plates. As a result, Tovell asserts that works such as Mont St. Michel show “a new sensitivity to the expressivequalities of a densely drawn etched line, a rich painterly method of inking, and a moodiness or emotional quality now truly felt andnot just observed.”

Executed circa 1907, Gagnon described Mont St. Michel as his best print. Only twenty-one signed impressions of this title have beenidentified to date. Copies may be found in major public collections including the Montreal Museum of Fine Arts, the National Galleryof Canada and the Art Gallery of Ontario.

Gagnon also made a similar painting of this subject.

Note:Gagnon’s Venetian etchings date to 1905.

Tovell writes: “Gagnon’s Venetian prints evince a stylistic transition from cleanly drawn renderings of fully sunlit views to tonallynuanced subjects, showing a growing interest in capturing the transitory light and shadows peculiar to that city’s topography,” achange Tovell asserts is clearly evident in Canal San Pietro, Venice among others.

109


145JAMES EDWARD HERVEYMACDONALD, O.S.A., R.C.A.A WORD TO US ALL, SOLDTOGETHER WITH A COPY OF AWORD TO US ALL BY J.E.H.MACDONALD, A LIMITEDEDITION KEEPSAKE PRINTEDON THE OCCASION OF THEPUBLICATION OF J.E.H.MACDONALD: DESIGNER BYTHE ARCHIVES OF CANADAAND TO MARK THE 100THANNIVERSARY OF THE DEATHOF WILLIAM MORRIS IN 1896,SIGNED BY THE AUTHOR ANDNUMBERED 299/500

ink and gouachethree works (one double-sided), eachinscribed by Thoreau MacDonald

Each 10.75 ins x 8 ins; 27.3 cms x 20.3cms


$3,000–4,000

Literature:Robert Stacey, J.E.H. MacDonald, A Word to Us All, Carleton UniversityPress, Ottawa, 1996, page 5.

Robert Stacey, J.E.H. MacDonald: Designer, An Anthology of GraphicDesign, Illustration and Lettering, Carleton University Press, Ottawa, 1996,front and back fly leaf for this lot, reproduced.

Note:According to Thoreau MacDonald (the artist’s son), J.E.H. MacDonaldproduced this work as a sample when he thought of working at the RoycroftShops in East Aurora, New York, circa 1900.

Stacey remarks that A Word to Us All reveals a little known fact about oneof Canada’s most renowned landscape painters: “His deep attachment tothe written word and to the world of organic ornament.” Stacey continuesby noting that this work is “the first important statement by (the artist), notonly as a graphic designer, lettering artist and illuminator, but as buddingpoet.”

110


146RENÉ RICHARDSEA SHORE, BAIE ST. PAUL

oil on panelsigned; titled on the reverse

12 ins x 16 ins; 30.5 cms x 40.6 cms


$2,000–3,000

147MANLY EDWARD MACDONALD,R.C.A.BACK OF SUGAR BUSH


12 ins x 16.25 ins; 30.5 cms x 41.3 cms


$1,800–2,200

148MARCEL FECTEAUCOUNTRY ROAD

oil on masonitesigned; with an unfinished drawing on thereverse

10 ins x 14 ins; 25.4 cms x 35.6 cms


$800–1,200

149MANLY EDWARD MACDONALD,R.C.A.ROAD TO THE GLENORA FERRY

oil on canvas boardsigned; with unfinished pencil sketches oflandscapes on the reverse

12 ins x 16 ins; 30.5 cms x 40.6 cms

Provenance:Private Collection, Picton

Note:Title provided by the owner.

$1,500–2,000

111


(verso)

(verso)

112


150HERBERT SIDNEY PALMER,O.S.A., R.C.A.A PAIR OF LANDSCAPES: MAPLEAND PINE; LINGERING LEAVES

oils on panelboth signed; both also signed and titledon reverse

Each 8.5 ins x 10.5 ins; 21.6 cms x 26.7cms


$2,000–2,500

113


151LAWRENCE ARTHUR COLLEYPANTON, O.S.A., R.C.A.OLD PARRY SOUND

oil on panelsigned; also signed, titled and inscribed“n.f.s” on the reverse

9 ins x 11.5 ins; 22.9 cms x 29.2 cms


Exhibited:Department of Graphic Art, CanadianNational Exhibition, Toronto, 1933.

$1,500–1,800

152ARMAND TATOSSIAN, R.C.A.ST. AGATHE

oil on canvassigned; also signed and titled on thereverse



$2,500–3,000

114


153FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A.NEAR WATERLOO BRIDGE

watercolour, laid down on cardsigned; titled on the backing

9.75 ins x 6.75 ins; 24.8 cms x 17.1 cms


$1,500–2,500

154FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A.LONDON STREET SCENE WITH OMNIBUS

watercolour, laid down on cardsigned and indistinctly dated

9.25 ins x 5.75 ins; 23.5 cms x 14.6 cms


$1,200–1,800

115


155JOHN A. HAMMOND, R.C.A.VENICE, ST. MARIA DELLASALUTE

oil on panelsigned and dated 1887; also signed withinitials, titled and dated on the reverse

5.5 ins x 8.25 ins; 14 cms x 21 cms

$1,000–1,500

156GEORGE LORNE HOLLANDBOUCHARD, R.C.A.MEURLING REFUGE -MONTREAL

oil on canvas boardsigned

12 ins x 16 ins; 30.5 cms x 40.6 cms

Provenance:Private Collection, St. Catharines, Ontario

Exhibited:The 69th Annual Exhibition of the RoyalCanadian Academy of Arts, Art Gallery ofOntario, Toronto, 19 November–12December 1948, no. 17.

$1,000–1,500

116


157JOHN WILLIAM BEATTY, O.S.A.,R.C.A.UNTITLED - HARVEST TIME

oil on panelsigned

10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms

Provenance:Mayberry Fine Art, Winnipeg/TorontoPrivate Collection, Toronto

$3,000–4,000

158ANDRÉ CHARLES BIÉLER, O.S.A.,R.C.A.CAP ROUGE AU PRINTEMPS

oil on panelsigned

9.75 ins x 13 ins; 24.8 cms x 33 cms

Provenance:Galerie Martin, MontrealPrivate Collection, Toronto

Exhibited:Manoir Richelieu Art Exhibition, LaMalbaie, Québec, n.d.

$3,500–4,000

117


159MANLY EDWARD MACDONALD,R.C.A.HOUSE ON THE NAPANEERIVER

oil on canvassigned


Provenance:Private Collection, Picton

$5,000–7,000

160FRANK HANS JOHNSTON, O.S.A.,A.R.C.A.INDIAN SUMMER


12 ins x 16 ins; 30.5 cms x 40.6 cms


$5,000–7,000

118


161BERTHE DES CLAYESFARM, EASTERN TOWNSHIPS


7.25 ins x 8.5 ins; 20.3 cms x 22.9 cms

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

Note:This work is titled House at Knowlton,Quebec on a nameplate attached to theframe.

$1,200–1,500

162DANIEL FOWLER, O.S.A., R.C.A.RURAL LANDSCAPE WITHWAYFARERS AND HORSE

watercolour, laid down on illustrationboardsigned and dated 1880 on a one inch stripattached to the lower edge

22 ins x 28 ins; 50.8 cms x 68.6 cms


$2,500–3,500

119


163THOMAS HILTON GARSIDE,A.R.C.A.RIVIÈRE EN HIVER

pastelsigned


Provenance:Galerie Valentin, MontrealPrivate Collection, Toronto

Note:Executed circa 1945.

$1,800–2,200

164ROBERT WAKEHAM PILOT,P.R.C.A.AT THE WHARF

pastelsigned and indistinctly dated ‘4(?)

9.5 ins x 13 ins; 24.1 cms x 33 cms

Provenance:Canadian Fine Arts, TorontoPrivate Collection, Toronto

$2,000–3,000

120


165JOHN WILLIAM BEATTY, O.S.A., R.C.A.AUTUMN HILLSIDE

oil on canvas boardsigned and dated ‘12

9.5 ins x 6.25 ins; 24.1 cms x 15.9 cms


$2,000–3,000

166HERBERT SIDNEY PALMER, O.S.A., R.C.A.ON THE HUMBER RIVER

oil on panelsigned; also signed, titled and dated ”Sept. 1916” on thereverse

10.25 ins x 13 ins; 26 cms x 33 cms

Provenance:Canadian Fine Arts, TorontoPrivate Collection, Ontario

$1,800–2,200

121


167ALLEN SAPP, R.C.A.PLAYING HOCKEY

acrylic on canvas, unframedsigned



$2,000–3,000

168THOMAS KEITH ROBERTS,O.S.A., R.C.ADELTA

oil on masonitesigned; also signed and titled on thereverse

19.75 ins x 26 ins; 50.8 cms x 66 cms

Provenance:Wallack Galleries, OttawaPrivate Collection, Ontario

$1,500–2,000

122


169ROBERT STEWART HYNDMANLIGHTHOUSE

oil on panelsigned

12 ins x 16 ins; 30.5 cms x 40.6 cms


$400–500

170ERIC RIORDON, A.R.C.A.MARCH AFTERNOON:LAURENTIANS

oil on canvassigned

12 ins x 16 ins; 30.5 cms x 40.6 cms

Provenance:Watson Art Galleries, TorontoGalerie Walter Klinkhoff Inc., MontrealPrivate Collection, Ontario

$1,500–2,000

123


171ERIC RIORDON, A.R.C.A.ON THE BEACH


8.25 ins x 10.5 ins; 21 cms x 26.7 cms


$1,000–1,500

172HENRI LEOPOLD MASSONFISHING VILLAGE

watercolour and inksigned and dated ‘62

16.75 ins x 23 ins; 42.5 cms x 58.4 cms


$1,000–1,500

124


173WILLIAM EDWARD DE GARTHEMORNING LIGHT AT PEGGY’S COVE,NOVA SCOTIA

oil on canvas boardsigned; also signed, titled and dated “July 21/57” onthe reverse

20 ins x 16 ins; 50.8 cms x 40.6 cms


$1,000–1,500

174MARJORIE (JORI) ELIZABETHTHURSTON SMITHFOUR NUDES IN A LANDSCAPE

watercolour and gouachesigned and dated ‘45

11.75 ins x 18 ins; 29.8 cms x 45.7 cms


$800–1,200

125


175GASTON REBRYPARC DE LA MAURICIE, QUÉBEC

oil on canvassigned; also signed, titled and dated 1991 on the reverse

16 ins x 10 ins; 25.4 cms x 40.6 cms

Provenance:Kaspar Gallery, TorontoPrivate Collection, Toronto

$1,200–1,500

176RONALD WILLIAM BOLT, P.R.C.A.THREE SEA PICTURES: NIGHT

acrylic on canvassigned and dated /74; also signed, titledand dated on the reverse



$1,500–2,000

126


177DAVID BROWN MILNEPAINTING PLACE; BLUE SKY,PALGRAVE (CANCELLED)

drypoint etching, printed in two colourssigned in the print (recto); with anincomplete, cancelled print on the reverse

8.75 ins x 6.75 ins; 22.2 cms x 17.1 cms

Provenance:Harold Stacey, Ontario (acquired directlyfrom the artist)Private Collection, Ontario

Note:This lot is sold together with a framedhandwritten inscription dating to 1941from Milne to Stacey, which referencesthis lot, describing it as “slightly imperfectcopy.”

$1,000–1,500

178WILLIAM GOODRIDGEROBERTS, R.C.APOINTE AU PERSIL, 1952

watercoloursigned

15 ins x 22 ins; 38.1 cms x 55.9 cms


$1,200–1,500

(verso)

127


179PAUL VANIER BEAULIEU, R.C.A.NATURE MORTE AUX FRUITS

watercolour on illustration boardsigned and dated ‘58

19.5 ins x 25 ins; 49.5 cms x 63.5 cms


$1,000–1,500

180ARTO YUZBASIYANWEST END IN WINTER, 1997

oil on panelsigned


Provenance:Roberts Gallery Limited, TorontoPrivate Collection, Toronto

$800–1,200

128


181DANIEL PRICE ERICHSENBROWNSTANDING MALE NUDE

pencil and temperasigned

Sight 24.75 ins x 13 ins; 62.9 cms x 33cms


$2,000–3,000

182MARC-AURÈLE DE FOY SUZOR-COTÉ, O.S.A., R.C.A.CAVALIER, 1923

charcoal and coloured chalksigned and dated 1923

17 ins x 10 ins; 43.2 cms x 25.4 cms


$2,000–3,000

129


183BRUCE LE DAIN, R.C.A.BURSTALL LAKE, KANANASKIS,ALBERTA

oil on canvas boardsigned; also signed, titled and dated“Sept. 1988.”

12 ins x 16 ins; 30.5 cms x 40.6 cms

Provenance:Galerie Walter Klinkhoff Inc., MontrealPrivate Collection, Ontario

$700–900

184WILLIAM KURELEK, R.C.A.THE HOUND OF HEAVEN

lithographsigned, titled and numbered 81/100 inpencil in the margin

25.75 ins x 19.75 ins; 65.4 cms x 50.2 cms

$700–900

130


B

Beatty, John William (1869-1941)…36, 37,

157, 165

Beaulieu, Paul Vanier (1910-1996)…179

Beder, Jack (1909-1987)…125, 136

Bellefleur, Léon (1910-2007)…72, 77, 102

Bell-Smith, Frederic Marlett (1846-1923)…

153, 154

Bieler, Ted (b. 1938)…122

Biéler, André Charles (1896-1989)…158

Blackwood, David Lloyd (b. 1941)…141

Bloore, Ronald Langley (1925-2009)…101

Bolduc, David (1945-2010)…109

Bolt, Ronald William (b. 1938)…176

Borduas, Paul-Émile (1905-1960)…71

Bouchard, George Lorne Holland (1913-

1978)…156

Brandtner, Fritz (1896-1969)…127

Brown, Daniel Price Erichsen (b. 1939)…

87, 142, 181

Brownell, Peleg Franklin (1857-1946)…5

Burton, Dennis Eugene Norman (1933-

2013)…86, 121

Bush, Jack Hamilton (1909-1977)…14, 85

C

Carlyle, Florence (1864-1923)…24

Casson, Alfred Joseph (1898-1992)…43,

46, 49, 57, 64

Champagne, Horace (b. 1937)…31

Clapp, William Henry (1879-1954)…17

Collier, Alan Caswell (1911-1990)…2

Colville, Alexander (1920-2013)…56, 91

Comfort, Charles Fraser (1900-1994)…1

Cosgrove, Stanley Morel (1911-2002)…53

Coughtry, John Graham (1931-1999)…116,

129

Cullen, Maurice Galbraith (1866-1934)…

54

Curnoe, Gregory Richard (1936-1992)…83

D

De Garthe, William Edward (1907-1983)…

173

De Grandmaison, Nicholas (1892-1978)…

26

De Tonnancour, Jacques Godefroy (1917-

2005)…74, 84

Des Clayes, Berthe (1877-1968)…11, 35,

161

F

Fecteau, Marcel (b. 1927)…148

Ferron, Marcelle (1924-2001)…108

FitzGerald, Lionel Lemoine (1890-1956)…

23

Fortin, Marc-Aurèle (1888-1970)…15, 21

Fournier, Paul (b. 1939)…117

Fowler, Daniel (1810-1894)…162

Fox, John Richard (1927-2008)…137

G

Gagnon, Clarence Alphonse (1881-1942)…

143, 144

Garside, Thomas Hilton (1906-1980)…163

Gaucher, Yves (1934-2000)…67

Gendron, Pierre (b. 1934)…132

Gibbons, C.I. (act. 1885-1905)…25

Gordon, Hortense Mattice (1889-1961)…

19, 69

H

Hammond, John A. (1843-1939)…155

Harman, Jack (1927-2001)…128

Harris, Lawren Stewart (1885-1970)…92

Hébert, Louis-Philippe (1850-1917)…79

Hedrick, Robert Burns (b. 1930)…115

Hodgson, Thomas Sherlock (1924-2006)…

126

Holgate, Edwin Headley (1892-1977)…60,

61

Holmes, Reg (b. 1934)…118

Hopkins, Tom (1944-2011)…105, 113

Hudon, Normand (1929-1997)…18

Hyndman, Robert Stewart (1915-2009)…

169

J

Jackson, Alexander Young (1882-1974)…

39, 44, 45, 62, 65

Jarvis, Donald (1923-2001)…111, 130

Johnston, Frank Hans (1888-1949)…47,

139, 160

Juneau, Denis (1925-2014)…133

K

Klunder, Harold (b. 1943)…76

Knowles, Dorothy (b. 1927)…13

Krieghoff, Cornelius (1815-1872)…29, 51

Kurelek, William (1927-1977)…42, 73, 78,

184

L

Le Dain, Bruce (1928-2000)…183

Letendre, Rita (b. 1928)…70, 110

Little, John Geoffrey Caruthers (b. 1928)…

140

Lismer, Arthur (1885-1969)…20, 59

Loring, Frances Norma (1887-1968)…30

Index

131


M

MacDonald, James Edward Hervey (1873-

1932)…40, 41, 48, 58, 145

MacDonald, Manly Edward (1889-1971)…

34, 147, 149, 159

Maltais, Marcella (b. 1933)…93

Martin, Ronald Albert (b. 1943)…114

Masson, Henri Leopold (1907-1996)…3,

172

McCarthy, Doris Jean (1910-2010)…6

McEwen, Jean Albert (1923-1999)…52

McInnis, Robert Francis Michael (b.

1942)…7

Meredith, John (1933-2000)…68, 75

Milne, David Brown (1882-1953)…177

Muhlstock, Louis (1904-2001)…32, 33

N

Nakamura, Kazuo (1926-2002)…66

Norris, Joe (1924-1996)…22

P

Palardy, Joseph Jean Albert (1905-1991)…

8

Palmer, Herbert Sidney (1881-1970)…150,

166

Panton, Lawrence Arthur Colley (1894-

1954)…151

Peel, Paul (1860-1892)…63

Perehudoff, William (1918-2013)…99

Phillips, Walter Joseph (1884-1963)…88

Pilot, Robert Wakeham (1898-1967)…50,

94, 164

Plaskett, Joseph Francis (1918-2014)…112

Pratt, Christopher (b. 1935)…16, 89, 90

R

Rayner, Gordon (1935-2010)…103

Rebry, Gaston (b. 1933)…175

Reppen, Jack (1933-1964)…131

Richard, René (1895-1982)…146

Riordon, Eric (1906-1948)…10, 170, 171

Roberts, Thomas Keith (1909-1998)…168

Roberts, William Goodridge (1904-1974)…

104, 178

Robinson, Albert Henry (1881-1956)…38

Ronald William (1926-1998)…81, 134

S

Sapp, Allen (b. 1929)...167

Schaefer, Carl Fellman (1903-1995)…12

Scott, Marion Mildred Dale (1906-1993)…

100

Seath, Ethel (1879-1963)…4

Shadbolt, Jack Leonard (1909-1998)…82,

98

Sheppard, Peter Clapham (1882-1965)…9,

55

Smith, John Ivor (b. 1927)…124

Smith, Marjorie (Jori) Elizabeth Thurston

(1907-2005)…174

Snow, Michael (b. 1929)…138

Suzor-Coté, Marc-Aurèle de Foy (1869-

1937)…182

T

Tatossian, Armand (1951-2012)…152

Tousignant, Claude (b. 1932)…120

Town, Harold Barling (1924-1990)…96,

106, 119

Trudeau, Angus (1907-1984)…95

V

Verner, Frederick Arthur (1836-1928)…28

W

Whale, Robert Reginald (1805-1887)…27

Wieland, Joyce (1931-1998)…80, 135

Willsher-Martel, Joan (b. 1925)…123

Wilson, Ronald York (1907-1984)…107

Y

Yarwood, Walter Hawley (1917-1966)…97

Yuzbasiyan, Arto (b. 1948)…180

134


1. All lots are sold “AS IS”. Anydescription issued by theauctioneer of an article to be soldis 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 of each lot aspart of the purchase 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 fromsale 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 any partof the purchase price requestedby the auctioneer, failing which

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

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

11. Notwithstanding condition no. 1, if the buyer, prior toremoval of a lot, makesarrangements satisfactory to theauctioneer for the inspection ofsuch lot by a fully qualifiedperson acceptable to theauctioneer to determine thegenuineness or authenticity ofthe lot, to be carried outpromptly following the sale of thelot, and if, but only if, within aperiod 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 the

cardholder and therefore cannotbe accepted over the telephone.However, fax authorizationarrangements can be made.

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

(a) any deficiency in pricebetween the re-sale amount andthe amount to have been paid bythe original buyer;(b) any reasonable charge by theauctioneer for the storage ofsuch articles until payment andremoval by the subsequentbuyer; and

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

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

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

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

Conditions Of Sale

136


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

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

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

Frames on artwork are notincluded as part of purchaseor condition.

Buyers PremiumA premium of 18% of thesuccessful bid price of eachlot is paid by the buyer aspart of the total purchaseprice.

Invaluable Live! clients will becharged a buyer's premium of21% of the successful bidprice as part of the totalpurchase price.

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

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

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

ALL PRICES IN CANADIAN FUNDS

Buying atWaddington’s

137


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 this information.Reliable pre-auctionestimates of shipping costs oflots offered in this sale maybe obtained from:

Pak Mail905.470.6874905.470.6875 [email protected]

[email protected]

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

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

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

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

Commission RatesItems selling for $7,500 or more 10%

Items selling for $2,501 to $7,499 15%

Items selling for $2,000 or less 20%

*There is a minimum handlingcharge of $20 per item

For items photographed andillustrated in printedcatalogues fees are asfollows:

¼ page - $150½ page - $400Full page - $800

For items offered in onlineauctions photography feesare $20 per item.

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

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

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

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

For more information pleasevisit: www.cites.org

Notice for ourInternationalClients

Selling at Waddington’s

138


Asian Art

Anthony Wu416 847 [email protected]

Yvonne Li416 847 [email protected]

Canadian Fine Art

Linda Rodeck416 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]

Nadine Di MonteAssistant416 847 [email protected]

Inuit Art

Christa Ouimet416 847 [email protected]

Nadine Di MonteAssistant416 847 [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/Collingwood

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

Valerie Brown705 445 [email protected]

SpecialistDepartments

Operational Staff

Documents

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