Fine Art Sale
Saturday, April 20, 2024 at 10:00 AM (EST)
Live Online Only
Preview before the sale:
Friday, April 19th – 11 AM to 5 PM
Toll Free: 1-877-533-5877
Buyer’s premium 24%
Pridham’s Auctions & Appraisals Gallery 9-2615 Lancaster Road, OTTAWA
Lots may be added post production of this catalogue.
Sale live (webcast) online on:
LIVEAUCTIONEERS.COM
HIBID.COM
Toll free : 1-877-533-5877
Email : info@pridhams.ca
Web : www.pridhams.ca PRIDHAM’S
Fine Art Sale
Pridham’s is pleased to present our spring Fine Art Sale on April 20th. This well curated sale will have a focus on notable Canadian and European artists to include Jean Paul RIOPELLE, David BIERK, Fritz BRANDTNER, Léon BELLEFLEUR, Richard Borthwick GORMAN, Wanda KOOP, Doris Jean McCARTHY, Sarah M.A. ROBERTSON, Pegi Nicol MacLEOD, Albert Henry ROBINSON, Franz JOHNSTON, George Franklin ARBUCKLE, Alice DES CLAYES, Bruno BOBAK, Adrien HÉBERT, Albert ROUSSEAU, Fred FINLEY, Lorne Holland BOUCHARD, Naomi Jackson GROVES, Ralph Wallace BURTON, Thomas Hilton GARSIDE, Frank Charles HENNESSEY, Antoine BITTAR, Andris LEIMANIS, Joshua Joseph BIEHN, Berthe DES CLAYES, Thomas Mower MARTIN, Henri L. MASSON, John HAMMOND, Thomas BEAMENT. Other artists will include Georg JAHN, George BARBIER, Jean Édouard VUILLARD, Joan MIRÓ, Samuel BOUGH, Albert MULLER-LINGKE, Albert CUYP, Anatoliy ZVEREV, Willem DOOYEWAARD, Georges ROUAULT, Vladimir ARALOV, Basil Ivan RAKOCZI, Lodewijk F.H. (Louis) APOL, Jean SALABET, Albert PROCTER, Giulio ROSATI. Notable objects within the sale by of (In the style of) Jules LELEU, Louis VUITTON, Marc-Aurèle DE FOY SUZOR-COTÉ, CAZENAVE, Carl KAUBA, GIORGETTI, GINO VISTOSI, Gilbert RAINVILLE, Gilman JOSLIN and H.B. NIMMS, ZSOLNAY PECS and Henri PETITOT. This is a partial list and contributes to a wonderful spring fine art sale. Please take the time to view all the pictures and read the descriptions. We look forward to having you join us LIVE ONLINE on Live Auctioneers or Hibid, on Saturday, April 20th at 10am (EST).
Robin Andrew Pridham – President, Pridham’s Auctions & Appraisals; Auctioneer / Encanteur
Josée Bonneville – Chief of Operations / Chef d’administration
Ernest Cardillo Johnson – Cataloguer: Decorative Arts
Sergii Martseniuk – Cataloguer: Fine Art
Haonan Guo – Photographer / Photographe
Helen Rimmer – Design / Mise en page 35
George Franklin ARBUCKLE (1909 - 2001) R.C.A.
“Rain Forest”, 1979, oil on masonite, 12 x 16 inches, signed lower left, titled, dated and signed verso, Roberts Gallery label verso. George Franklin Arbuckle was born in Toronto. He studied at the Ontario College of Art, studying under: John William Beatty, J.E.H. MacDonald, F.S. Challener, Charles William Jefferys, and Fred Haines. He worked as an illustrator for MacLean’s magazine, and also taught at his Alma Mater, the Ontario College of Arts. Franklin Arbuckle’s paintings are held in numerous public, corporate and private collections, including the National Gallery of Canada and the Art Gallery of Ontario.
Estimation 1,000-1,500 $
2
Alice DES CLAYES (1890-1968) Scots/ Canadian
“Carting Sand”, watercolour on paper, 10 x 11 inches, signed lower right, Walter Klinkhoff Gallery label verso along with Continental Galleries label. Alice Des Clayes was born in Aberdeen. She immigrated to Canada in 1914. Her work is included in the collections of the Musée national des beaux-arts du Québec, and the National Gallery of Canada. She studied at the Bushey School of Art with Lucy Kemp who specialized in painting horses and with Dudley Hardy (ROI, RBA).
Estimation 800-1,000 $
Berthe DES CLAYES (1877 - 1968) A.R.C.A.
Untitled, sunny mountain landscape, pastel and gouache on paper, 13 x 15 5/8 inches, signed lower right. Berthe Des Clayes was born in Aberdeen. She lived in England from 19061912; and immigrated to Montreal in 1912. Des Clayes illustrated the books “Here and There in Montreal” and the “Island of Montreal” (1931) by Charles W. Stokes, and “Acadia” (Nova Scotia) by the Dominion Atlantic Railway. She showed with the Royal Canadian Academy of Arts (1912 to 1947). Her work is held in the collections of the Musée national des beaux-arts du Québec the National Gallery of Canada, the Art Gallery of Ontario, the University of Calgary, the University of British Columbia and Library and Archives Canada.
Estimation 900-1,200 $
Bruno J. BOBAK (1923-2012) CM RCA LL.D., D.Litt.
“Sugar Island”, oil on masonite, 6 1/2 x 10 1/2 inches, signed lower right. Provenance: Alan Sullivan, Ambassador. Bruno Bobak was a Polish born Canadian war artist and art teacher. His family immigrated to Saskatchewan, Canada, in 1925. After serving in the Second World War, Bobak returned to Canada and lived briefly in Ottawa before moving with his wife to Vancouver (1947) to teach art at the Vancouver School of Art. They moved one more time, to New Brunswick (1960); he became artist in residence at the University of New Brunswick, and was appointed Director of the University of New Brunswick’s Art Centre. In 1995, along with his wife, Molly Lamb Bobak, he became a Member of the Order of Canada. In this painting, one can tell that Bruno Bobak had a true appreciation for the landscape - and nature. Order of Canada dedication: “Both (Bruno and Molly) are talented and well-known artists in their own right, whose works are found in collections throughout Canada. Their energy and enthusiasm as teachers, fundraisers and arts advocates have helped create a climate for artistic and cultural growth in New Brunswick and earned them the respect of the academic world and the community beyond”.
Estimation 1,500-2,000 $
Adrien HÉBERT (1890 - 1967) R.C.A.
“Paysage d’été” (summer landscape), 1919, watercolour on paper, 10 1/2 x 19 inches, signed and dated lower right, Galerie d’Art Michel Bigué label verso. Adrien Hébert has been called the first interpreter of Québec modernity. Born in Paris, he is the son of Canadian sculptor Louis-Philippe Hébert. He regularly showed at the Academy and was a Member of the Beaver Hall Group, along with his brother, Henri.
Estimation 700-900 $
6
Albert ROUSSEAU (1908 - 1982) Canadian
Untitled, tree, oil on masonite, 10 x 8 inches, signed lower left. Albert Rousseau, a Quebec born artist-painter, is listed in the collections of the Musée national des beaux-arts du Québec. He is classified in the same phylum as Marc-Aurèle Fortin, René Richard, and Jean Paul Lemieux.
Estimation 600-800 $
Lorne Holland BOUCHARD (1913 - 1978)
R.C.A.
“Low Tide. (Eel Weir)” Baie St. Paul, 1955, oil on masonite, 12 x 16 inches, signed lower right, titled, dated and signed verso. Lorne Bouchard was born in Montreal. While he began drawing at the tender age of 7, he trained under the guidance of artist William Barnes. From 1928 to 1930, he studied at the École des Beaux-Arts de Montréal and from the very beginning, Clarence Gagnon encouraged him to paint Quebec landscapes.
Estimation 1,000-1,500 $
Berthe DES CLAYES (1877 - 1968) A.R.C.A.
Untitled, winter road, pastel on paper, 9 3/8 x 11 1/2 inches, signed lower right. Berthe Des Clayes was born in Aberdeen. She lived in England from 1906-1912; and immigrated to Montreal in 1912. Des Clayes illustrated the books “Here and There in Montreal” and the “Island of Montreal” (1931) by Charles W. Stokes, and “Acadia” (Nova Scotia) by the Dominion Atlantic Railway. She showed with the Royal Canadian Academy of Arts (1912 to 1947). Her work is held in the collections of the Musée national des beaux-arts du Québec the National Gallery of Canada, the Art Gallery of Ontario, the University of Calgary, the University of British Columbia and Library and Archives Canada.
Estimation 800-1,200 $
Ralph Wallace BURTON (1905 - 1983)
Canadian
“Old Farm - Spring 1971 near Ashton, Ont”, oil on canvas, 20 x 26 inches, signed lower left, titled, dated and signed verso. Ralph Wallace Burton was an Ottawa Valley artist who painted with A.Y. Jackson from the Group of Seven. His work is now housed at the City of Ottawa archives, and private collections. Burton’s style celebrates the rough beauty of Canadian landscapes and the tenacity of man-made structures set in rugged natural and urban environments, particularly in the Ottawa Valley region.
Estimation 1,200-1,800 $
10
Naomi Jackson GROVES (1910 - 2001)
Canadian
Untitled, view of a bay, oil on panel, 11 1/8 x 13 inches, signed lower right. Provenance: From Naomi Jackson to consignor’s family. Naomi Jackson Groves was A.Y. Jackson’s niece.
Estimation 600-800 $
11
Naomi Jackson GROVES (1910 - 2001)
Canadian
“Fox River” (in Nova Scotia), 1933, oil on panel, 8 1/2 x 10 1/2 inches, unsigned, titled and dated verso. Naomi Jackson Groves was 23 years old when she painted this work. Provenance: From Naomi Jackson to consignor’s family. Naomi Jackson Groves was A.Y. Jackson’s niece.
Estimation 500-700 $
12
Naomi Jackson GROVES (1910 - 2001) Canadian
Untitled, boats in the bay, oil on canvas, 20 x 24 inches, signed lower right. Provenance: From Naomi Jackson to consignor’s family. Naomi Jackson Groves was A.Y. Jackson’s niece.
Estimation 1,000-1,500 $
13
Henri L. MASSON (1907 - 1996) OSA CGP CSGA CSPWC
Untitled, men at work, charcoal and pastel on paper, 13 1/8 x 17 inches at sight, signed lower left. Henri Masson was born in Belgium, he studied art in Brussels. He came to Canada (Ottawa) with his mother in 1921, became a master engraver by the age of 25. He decided to paint when he saw paintings by the Group of Seven, at the National Gallery. Masson was a proficient artist and instructor; and is one of the founding members of Les Confrères du Caveau (vault colleages) which united other notable artists such as Wilfrid Flood, Tom Wood, and later JeanPhilippe Dallaire.
Estimation 500-700 $
Canadian
Untitled, village in the fall, oil on panel, 10 x 13 inches at sight, signed lower left. Ralph Wallace Burton was an Ottawa Valley artist who painted with A.Y. Jackson from the Group of Seven. His work is now housed at the City of Ottawa archives, and private collections. Burton’s style celebrates the rough beauty of Canadian landscapes and the tenacity of manmade structures set in rugged natural and urban environments, particularly in the Ottawa Valley region.
Estimation 900-1,200 $
15
Thomas
A.R.C.A.
“St. Elizabeth, Montcalm”, pastel on paper, 16 x 20 inches, signed lower right, Kastel Gallery label verso. Thomas Hilton Garside was born in England. His family immigrated to Canada in 1914. He first studied art under Adam Sheriff Scott, at night, at the Monument National. Garside was mainly a landscape artist who was elected an associate of the Royal Canadian Academy in 1945.
Estimation 1,000-1,200 $
15A
Thomas Harold BEAMENT (1898 - 1984)
R.C.A.
Untitled, autumn landscape, oil on canvas, 20 x 26 inches, signed lower right. Provenance: Ancestral home of the Arthur James Nesbitt Family, cofounder of Nesbitt Thomson & Co. (brokers) and the Power Corp Canada. Arthur J. Nesbitt bought Ogilvy Department Store (Montreal) in 1927. Beament was born in Ottawa. He was an Official Second World War artist with the Royal Canadian Navy, and held the highest service rank of any Canadian artist in the Second World War – of Commander. Beament held his first important solo exhibit at the Watson Art Gallery in Montreal until 1939. He also exhibited regularly in the Montreal Museum of Fine Art Spring Shows and the Royal Canadian Academy of Arts (RCA) Annual Shows. Beament is represented in the following notable public collections: National Gallery of Canada; Canadian War Museum; McMichael Canadian Art Collection; Art Gallery of Hamilton; Museum London, Ontario to name a few.
Estimation 1,000-1,200 $
16
Henri L. MASSON (1907 - 1996) OSA CGP
CSGA CSPWC
“Deux Bouquets A Pointe Au Pic, Que.”, 1982, watercolour on paper, 15 1/2 x 19 1/2 inches, signed and dated lower left, titled, dated and signed verso. (Joyner auction label verso). Henri Masson was born in Belgium, he studied art in Brussels. He came to Canada (Ottawa) with his mother in 1921, became a master engraver by the age of 25. He decided to paint when he saw paintings by the Group of Seven, at the National Gallery. Masson was a proficient artist and instructor; and is one of the founding members of Les Confrères du Caveau (vault colleages) which united other notable artists such as Wilfrid Flood, Tom Wood, and later Jean-Philippe Dallaire.
Estimation 800-1,200 $
17
Frank Charles HENNESSEY (1893-1941)
FRSA, OSA, RCA
“Spring Break-Up”, pastel on paper, 13 1/4 x 17 3/8 inches, signed lower right. Hennessey preferred sketching plein-air in and around the region of Ottawa, the Gatineaus, Algonquin Park and the Laurentians (Qc). He was a Member of the Ottawa Group with David Milne, Paul Alfred, Harold Beament, Florence McGillivray, Graham Norwell and Yoshida Sekido. Apparently, spring thaw and the break-up of river ice, as shown with this work, was appealing to Hennessey. Not an easy interpretation (under snow), demonstrating great artistic confidence.
Estimation 700-900 $
18
Henri L. MASSON (1907 - 1996) OSA CGP
CSGA CSPWC
Untitled, young woman playing the flute, ink and watercolour on paper, 17 5/8 x 14 1/2 inches, signed lower right. Masson was born in Belgium, he studied art in Brussels. He came to Canada (Ottawa) with his mother in 1921, became a master engraver by the age of 25. He decided to paint when he saw paintings by the Group of Seven, at the National Gallery. Masson was a proficient artist and instructor; and is one of the founding members of Les Confrères du Caveau (vault colleages) which united other notable artists such as Wilfrid Flood, Tom Wood, and later JeanPhilippe Dallaire.
Estimation 400-600 $
Patrick Roy HALDORSEN (1919 - 2001) R.C.A.
“Clay Lake”, 1971, oil on canvas, 12 x 16 inches, signed and dated lower right, titled, dated and signed verso.
Estimation 800-1,200 $
20
Berthe DES CLAYES (1877 - 1968) A.R.C.A.
Untitled, two moored boats, pastel on paper, 11 5/8 x 13 3/8 inches, signed lower right. Berthe Des Clayes was born in Aberdeen. She lived in England from 1906-1912; and immigrated to Montreal in 1912. Des Clayes illustrated the books “Here and There in Montreal” and the “Island of Montreal” (1931) by Charles W. Stokes, and “Acadia” (Nova Scotia) by the Dominion Atlantic Railway. She showed with the Royal Canadian Academy of Arts (1912 to 1947). Her work is held in the collections of the Musée national des beaux-arts du Québec the National Gallery of Canada, the Art Gallery of Ontario, the University of Calgary, the University of British Columbia and Library and Archives Canada.
Estimation 700-900 $
21
Graham Noble NORWELL (1901 - 1967)
O.S.A.
Untitled, standstill, watercolour on paper, 21 3/8 x 28 inches at sight, signed lower right. Norwell, who was born in Scotland, is well known for his rural landscapes around the Laurentians (Quebec). His work is in the collections of the Art Gallery of Ontario, and the National Gallery of Canada.
Estimation 700-900 $
22
Ralph Wallace BURTON (1905 - 1983)
Canadian
“Rideau River. Near Carleton Lodge”, 1976, oil on canvas, 24 x 30 inches, signed lower left, titled, dated and signed verso. Ralph Wallace Burton was an Ottawa Valley artist who painted with A.Y. Jackson from the Group of Seven. His work is now housed at the City of Ottawa archives, and private collections. Burton’s style celebrates the rough beauty of Canadian landscapes and the tenacity of man-made structures set in rugged natural and urban environments, particularly in the Ottawa Valley region.
Estimation 2,000-3,000 $
23
Antoine BITTAR (b. 1957 - ) Canadian
“Façades et gondoles, Venise”, 1991, oil on panel, 6 x 8 inches, signed lower right, titled, dated and signed verso, Galerie d’Art Vincent label verso. This painting radiates Venetian tranquility; the palette and texture are capturing a perfect moment and place.
Estimation 500-700 $
24
Henri L. MASSON (1907 - 1996) OSA CGP CSGA CSPWC
“Paysage d’automne” (Autumn landscape), oil on canvas, 18 x 24 inches, signed lower right, Kastel Gallery Inc. label verso. Masson was born in Belgium, he studied art in Brussels. He came to Canada (Ottawa) with his mother in 1921, became a master engraver by the age of 25. He decided to paint when he saw paintings by the Group of Seven, at the National Gallery. Masson was a proficient artist and instructor; and is one of the founding members of Les Confrères du Caveau (vault colleages) which united other notable artists such as Wilfrid Flood, Tom Wood, and later JeanPhilippe Dallaire.
Estimation 800-1,200 $
25
Andris
“Late afternoon” (corner Clarke Ave & Hudson Ave, near Boulevard, Westmount, Qc), 1982, oil on canvas, 16 x 20 inches, signed lower right, signed, titled and dated verso, Galerie Bernard Desroches label verso. Leimanis has a Master’s degree in Fine Arts from Syracuse University, in New York. In this painting, you can feel the Westmount vertical rolling you down the hill to downtown Montreal; with the blue St. Lawrence River and a faint South shore on the horizon.
Estimation 800-1,200 $
26
Canadian
Untitled, street food merchant, 1898, watercolour on paper, 19 3/4 x 16 inches at sight, signed and dated in pencil lower left. Provenance: Alan Sullivan, Ambassador. Biehn worked in Toronto, doing both oil and watercolour depicting everyday life and people on the street.
Estimation 600-800 $
27
Gertrude DES CLAYES (1879 - 1949) R.C.A.
Untitled, under the blossom tree, pastel on paper, 15 1/2 x 13 1/2 inches, signed lower right. Born in Aberdeen, Des Clayes studied in Paris and received the French Salon Medal (1909). She moved to Montreal in 1912, and was elected an Associate of the Royal Canadian Academy of Arts in 1914. Gertrude Des Clayes moved back to London, England in 1936, and passed away in 1949. Her artwork is in the Musée des beaux-Arts de Québec, National Gallery of Canada and the Montreal Museum of Fine Arts.
Estimation 1,200-1,600 $
28
Jean Paul RIOPELLE (1923 - 2002) CC GOQ RCA
“Au pays des carcajous” (In the land of wolverines), 1976, Edition 23 / 75, lithograph in colour, 21 1/2 x 26 1/4 inches, numbered lower left, signed lower right. Riopelle had one of the longest and most important international careers of the sixteen signatories of the Refus Global; or the 1948 letter denouncing the oppressive role of the church in Quebec society, breaking free from clericalism.
Estimation 2,000-3,000 $
Fritz BRANDTNER (1896-1969) CSPWC, CGP, CSGA,
FCA“Abstraction”, coloured inks on paper, 13 1/2 x 11 1/2 inches, signed lower left, Kaspar Gallery, Toronto label verso. Friedrich Wilhelm Brandtner was born in Danzig, Germany. He immigrated to (Montreal) Canada in 1928. Brandtner introduced notions of the German Expressionists to Canadians, especially the works of Bauhaus. He later introduced abstraction into his practice, as shown in this work. In 1936, together with Norman Bethune, George Holt, Elizabeth Frost, André Charles Biéler and Hazen Sise, he founded the Children’s Art Centre in Montreal which offered art classes to local children at no charge. Brandtner received the Canada Council Visual Arts Award in 1968.
Estimation 1,200-1,500 $
30
Léon BELLEFLEUR (1910 - 2007) R.C.A., D.F.A.
“Discours” (Speech), 1978, mixed media, 13 1/2 x 9 3/4 inches, signed and dated lower right, titled lower left. Léon Bellefleur was born in Montreal. By the tender age of 10, he was drawing and painting. From 1929 to 1936, he took evening classes at the École des Beaux-Arts de Montréal. In 1938, he met Alfred Pellan...and the Montreal art world. Although he had been influenced by his friend Pellan, he began to record the unconscious, creating coded atmospheres, states of mind and crystalline structures, as seen here in this work. He once said: “The fundamental discoveries for me were poetry, surrealism and esoterism - and, in art, a certain automatism translating the life of dreams and the unconscious, the world of chance and mystery”. In 1945, he travelled to Paris to study engraving...and continued to go there regularly. In 1960, along with Paul-Émile Borduas, Jean Paul Riopelle, Harold Town, and Edmund Alleyn, he represented Canada at the Guggenheim International. Through his career, Bellefleur won numerous awards and grants, and he was made a member of the Royal Academy of Arts in 1989.
Estimation 2,000-3,000 $
31
Untitled, abstraction, 1958, oil on canvas, 50 x 31 1/2 inches, signed and dated upper left. Richard Gorman was recognized early as a painter of promise. Approximately around the time this work was created, Gorman moved to Toronto to attend the Ontario College of Art & Design. His teacher noted that “he had the greatest promise among all the young artists he knew”. As a member of the Isaacs Group of artists from 1959 on (composed of artists who showed their work at the Isaacs Gallery), he was a maverick whose main interest seems to have been a search for spiritual meaning. In 1964, he travelled to Spain (Ibiza), then London, then back to Toronto to work and create commissioned work. Gorman was elected Member of the Royal Canadian Academy of Arts in 1976.
Estimation 4,000- 6,000 $
32
Wanda KOOP (b. 1951 - ) CM OM DFA DLitt RCA
Untitled, Notre-Dame-de-Paris behind trees, Indian ink on paper, 21 1/2 x 31 1/4 inches. Condition noted to paper at each corner. Wanda Koop is a Canadian interdisciplinary artist who lives and works in Winnipeg, Manitoba.
Estimation 1,200 -1,800 $
33
David Charles BIERK (1944 - 2002) R.C.A.
“Green Sky Study, to Heady”, 1989, mixed media on board, 6 7/8 x 23 3/4 inches, signed lower right, titled, dated and signed verso. Joyner Canadian Fine Art label verso (2011, Lot #186). Born in Minnesota, Bierk moved to California with his mother (divorced). Once his exploring days ran out, Bierk came back to California to earn his Bachelor of Arts in 1969, and a Master’s of Fine Arts in 1970. He moved to Peterborough (Ontario) in 1971 where he took teaching jobs, and most importantly founded and directed Artspace between 1974 and 1987, which was one of Canada’s earliest artist operated art centers. David Charles Bierk is listed in several collections including the National Gallery of Canada.
Estimation 2,500-3,500 $
Stanley Morel COSGROVE (1911 - 2002) R.C.A.
“A Path in the Forest”, 1964, oil on board, 16 x 20 inches, signed lower left, Dominion Gallery, Montreal label and stamp verso. Provenance: Alan Sullivan, Ambassador. Stanley Cosgrove, who was born in Montreal, was a Canadian artist whose landscapes are praised for their serenity. In 1962, around the period of this work, Cosgrove moved to La Tuque in north-central Quebec for five years, followed by Coaticook for three years, before returning to Montreal in 1970. Cosgrove is represented in the collections of the National Gallery of Canada, the Art Gallery of Ontario, the Art Gallery of Greater Victoria, the Ottawa Art Gallery, the Art Museum at the University of Toronto, Justina M. Barnicke Gallery, the Musée national des beaux-arts du Québec, the Vancouver Art Gallery, and the Museum of Modern Art, New York, among others.
Estimation 1,400 - 1,800 $
34A
John A. HAMMOND (1843 - 1939) R.C.A.
“Knocke, Belgium”, oil on board, 17 1/4 x 29 1/4 inches, signed lower right, titled and signed verso. Provenance: the ancestral home of Arthur James Nesbitt Family, co-founder of Nesbitt Thomson & Co. (brokers) and the Power Corp Canada. Arthur J. Nesbitt bought Ogilvy Department Store (Montreal) in 1927. John Hammond was born in Montreal. Sometime after 1863, he trained as a photographer for William Notman and joined the Geological Survey of Canada that laid out the route west for the Canadian Pacific Railway. His interest in painting was enhanced by his travels. Hammond traveled to Dordrecht (Holland) where he painted briefly with James McNeill Whistler, and in France where he visited the forests of Fontainebleau and painted with Jean-François Millet (fils) and others associated with the Barbizon school. In 1885, he exhibited at the Paris Salon. His works were also shown at a number of other important venues including the Royal Academy in London and the National Academy of Design in New York City. In 1929, Montreal department store magnate and avid art collector J. Aird Nesbitt (1907-1985, son of Arthur J. Nesbitt) published “John Hammond : A Short Biography of Canada’s Oldest Artist.”
Estimation 2,500-3,500 $
35
Marc-Aurèle DE FOY SUZOR-COTÉ (1869 - 1937) RCA
“Femmes de Caughnawaga”, originally cast in 1924, this model showing three native women draped in shawls, bent forward, fighting the elements and carrying baskets containing their crafts to market. Exhibiting a medium brown patina overall, signed and titled in the mould, together with foundry marks for ‘Roman Bronze Works Inc. NY’, along with the mark for L’Atelier du Bronze ((Inverness, QC, circa 2000)), who now owns the mould for this bronze. This was the last casting by the Inverness Foundry for this sculpture as has been confirmed by the Foundry. Provenance: Private Collection, Gatineau, Quebec. Measuring 16 7/8” high x 21 1/2” wide x 12” deep (not including the 2” wooden plinth). The painter-sculptor Suzor-Coté was influenced by Impressionism; he studied in Paris at the École des BeauxArts and readily met the imposed artistic requirements of the famous School. At the time, he was an acquaintance of Auguste Rodin. While he was the most important Quebec painter of the early 20th century, approximately seventeen of his bronzes are listed in museums, including “Les Femmes de Caughnawaga” (now Kahnawake), in the Musée national des beaux-arts du Québec, Québec city: “this bronze is an emotional testimony of a rich tradition that represents this theme which brings us back to Cornelius Krieghoff a century earlier”, “one of the most iconic Canadian sculptures”. His (birthplace) home in Victoriaville was declared a national monument in 1975.
Estimation 8,000 - 12,000 $
36
Untitled, springing stream, oil on panel, 11 1/2 x 13 1/2 inches, signed lower right. Born in Calgary (Alberta), McCarthy attended the Ontario College of Art from 1926 to 1930; she was awarded several scholarships and prizes. She taught at Central Technical School in downtown Toronto from 1933 until she retired in 1972. Well known for her depiction of landscapes and Arctic icebergs, McCarthy’s work has been exhibited and collected extensively in Canada and abroad, in public and private art galleries including: the National Gallery of Canada and the Art Gallery of Ontario. In 1983, she was proclaimed Canadian Woman Artist of the Year, and was awarded the Order of Canada (1986).
Estimation 3,000 - 4,000 $
36B
Untitled, path in the wood, 1926, oil on board, 40 x 30 inches (large), signed and dated lower right. Provenance: the ancestral home of Arthur James Nesbitt Family, co-founder of Nesbitt Thomson & Co. (brokers) and the Power Corp Canada. Arthur J. Nesbitt bought Ogilvy Department Store (Montreal) in 1927. John Hammond was born in Montreal. Sometime after 1863, he trained as a photographer for William Notman and joined the Geological Survey of Canada that laid out the route west for the Canadian Pacific Railway. His interest in painting was enhanced by his travels. Hammond traveled to Dordrecht (Holland) where he painted briefly with James McNeill Whistler, and in France where he visited the forests of Fontainebleau and painted with artist associated with the Barbizon School. In 1885, he exhibited at the Paris Salon. His works were also shown at a number of other important venues including the Royal Academy in London and the National Academy of Design in New York City. In 1929, Montreal department store magnate and avid art collector J. Aird Nesbitt (1907-1985, son of Arthur J. Nesbitt) published “John Hammond : A Short Biography of Canada’s Oldest Artist.”
Estimation 3,000 - 5,000 $
37
Bruno CÔTÉ (1940 - 2010) Canadian
“St. Irénée” (near La Malbaie, Qc), 1987, oil on masonite, 20 x 24 inches, signed and dated lower right, titled and signed verso. Bruno Côté was born in Québec city. He was a self-taught landscape artist who painted and sketched plein-air allowing him to create a vibrant style such as this work; Côté is capturing the majestic Fleuve St-Laurent bordered by an appealingly toned flora, and a snow covered village.
Estimation 4,000 - 6,000 $
38
Sarah M.A. ROBERTSON (1891 - 1948) Canadian
Untitled, tropical landscape, large oil on canvas, 55 x 40 inches, signed lower left. Sarah Robertson was a member of the Beaver Hall Group, a Montreal based group of painters who met in the late 1910’s. Sarah Robertson, Mabel May, Anne Savage and seven others studied under William Brymner who encouraged participants to explore new modernistic approaches to painting.
Estimation 5,000 - 7,000 $
39
Untitled, landscape, oil on wooden panel, 11 x 12 1/4 inches, signed lower left. Born in Listowel (Ontario), MacLeod studied at the Art Association of Ottawa School after World War I with Franklin Brownell, subsequently at the École des Beaux Arts de Montréal at the same time as Paul-Émile Borduas, Lillian Freiman Goodridge Roberts, Anne Savage and Marian Scott - with Edwin Holgate. In 1936, she became a member of the Canadian Society of Painters in Water Colour and one year later she joined the Canadian Group of Painters. MacLeod was invited to exhibit her collection of artwork entitled “Portraits, Landscapes and Studies” with the Group of Seven in Toronto, in 1938.
Estimation 4,000 - 6,000 $
41
“One Bright Day”, oil on masonite, 12 x 15 1/2 inches, signed lower left, author studio’s label with title verso. Frank Johnston was born in Toronto. He went on to study art in Philadelphia for 5 years, in 1910. In 1920, he was invited to join the Group of Seven, but his membership was brief, and he left Toronto to become Principal at the Winnipeg School of Art. He held a solo exhibition of 200 paintings at the T. Eaton Company Galleries in December 1920, and received positive accolades for his vivid colours, as shown here, and his interpretation of nature. In 1925, he changed his first name to Franz, and by 1927, Johnston went back to Toronto, working as the principal at the Ontario College of Art. His intimate interpretation of this river valley; the bright blue of the water contrasting with snow-laden banks reveals his great fascination for light, especially on snow. He was made an associate member of the Royal Canadian Academy of Arts. He was also a member of the Ontario Society of Artists. His work is in several public collections, such as the National Gallery of Canada. Johnston was buried with his fellow members of the Group of Seven at the McMichael Canadian Art Collection museum grounds in Kleinburg, Ontario.
Estimation 6,000-8,000 $
42
Michel LEROUX (b. 1950 - ) Canadian
“Des grandes solitaires” (Tall Solitaires), 1997, oil on canvas, 48 x 60 inches, signed lower right, titled, dated and signed verso.
Estimation 1,500-2,000 $
43
Michel LEROUX (b. 1950 - ) Canadian
“Itinéraire d’un midi”, 1995, oil on canvas, 24 x 30 inches, signed lower right, titled, dated and signed verso.
Estimation 800-1,000 $
44
Thomas Mower MARTIN (1838 - 1934) R.C.A.
Untitled, large Elm, oil on canvas, 35 x 22 inches, signed lower right. Thomas Martin was born in England. He was orphaned at 15; he lived with a supportive aunt. In 1862, a married Martin immigrated to British North America and built a small house in Muskoka, Ontario. Farming proved impossible because of the poor quality of the land and so the family moved and settled in Toronto, where Mower Martin soon became an established professional painter. He was highly proficient; Martin produced landscapes, animals, still lifes and portraits in oils, watercolours and etchings. He was a founding member of the Ontario Society of Artists in 1872, founding director of the Ontario School of Art (which today is OCAD University), and charter member of the Royal Canadian Academy of Arts (1880). He was also a member of the Royal British Colonial Society of Artists (1909). Mower Martin exhibited widely as an artist during his lifetime and his works can be found in many public and private collections, including Windsor Castle in England.
Estimation 1,000-1,500 $
45
Attr. Naomi Jackson GROVES (1910-2001)
Canadian
Untitled, peaceful backyard, oil on board, 20 1/2 x 24 1/2, unsigned, unframed. Provenance: From Naomi Jackson to consignor’s family. Naomi Jackson Groves was A.Y. Jackson’s niece.
Estimation 800-1,200 $
46
Ralph Wallace BURTON (1905 - 1983) Canadian
Untitled, a fall landscape, oil on panel, 10 x 13 inches at sight, signed lower right. Ralph Wallace Burton was an Ottawa Valley artist who painted with A.Y. Jackson from the Group of Seven. His work is now housed at the City of Ottawa archives, and private collections. Burton’s style celebrates the rough beauty of Canadian landscapes and the tenacity of manmade structures set in rugged natural and urban environments, particularly in the Ottawa Valley region.
Estimation 900-1,200 $
47
Henri L. MASSON (1907 - 1996) OSA CGP CSGA CSPWC
“Hiver dans la Gatineau” (Winter in Gatineau), 1989, pastel on paper, 18 x 24 inches, signed lower left, Galerie d’art Vincent label verso. Masson was born in Belgium, he studied art in Brussels. He came to Canada (Ottawa) with his mother in 1921, became a master engraver by the age of 25. He decided to paint when he saw paintings by the Group of Seven, at the National Gallery. Masson was a proficient artist and instructor; and is one of the founding members of Les Confrères du Caveau (vault colleages) which united other notable artists such as Wilfrid Flood, Tom Wood, and later Jean-Philippe Dallaire.
Estimation 600-800 $
48
Berthe DES CLAYES (1877 - 1968) A.R.C.A
“On a country road”, pastel and gouache on paper, 11 1/2 x 13 1/2 inches, signed lower left, Watson Art Galleries label verso. Berthe Des Clayes was born in Aberdeen. She lived in England from 1906-1912; and immigrated to Montreal in 1912. Des Clayes illustrated the books “Here and There in Montreal” and the “Island of Montreal” (1931) by Charles W. Stokes, and “Acadia” (Nova Scotia) by the Dominion Atlantic Railway. She showed with the Royal Canadian Academy of Arts (1912 to 1947). Her work is held in the collections of the Musée national des beaux-arts du Québec the National Gallery of Canada, the Art Gallery of Ontario, the University of Calgary, the University of British Columbia and Library and Archives Canada.
Estimation 800-1,000 $
49
Berthe DES CLAYES (1877 - 1968) A.R.C.A.
Untitled, autumn at the lake, pastel and gouache on paper, 9 5/8 x 7 1/2 inches, signed lower left. Berthe Des Clayes was born in Aberdeen. She lived in England from 1906-1912; and immigrated to Montreal in 1912. Des Clayes illustrated the books “Here and There in Montreal” and the “Island of Montreal” (1931) by Charles W. Stokes, and “Acadia” (Nova Scotia) by the Dominion Atlantic Railway. She showed with the Royal Canadian Academy of Arts (1912 to 1947). Her work is held in the collections of the Musée national des beaux-arts du Québec the National Gallery of Canada, the Art Gallery of Ontario, the University of Calgary, the University of British Columbia and Library and Archives Canada.
Estimation 500-700 $
51
Jérémie GILES (b. 1927 - ) American/ Canadian
“Aurore Boréale, Résultat de l’Explosion, Solaire du 5 mars 2012” (Northern lights, March 5, 2012) acrylic on canvas, 48 x 72 inches, signed lower right, titled on frame verso. Jérémie Giles was born in Massachusetts. At the age of 18, he created two large murals in California...and then far away from the Golden Coast, Giles moves to Baie Comeau (Québec). With prominent friends, he created a magnificent art centre: art workshops, speaker series, music, exhibitions, etc., are part of the generous curriculum. Giles has had more than fifty solo exhibitions...5,500 paintings, 1,300 portraits, his sculptures are mostly bronzes representing 45 personalities in Québec, Ontario and New-Brunswick (including one of Gilles Vignault and Brian Mulroney). He also established two centres for Earth Sciences studies... “his heart juggling between the arts and nature”...today, Giles is still active at the age of 94.
Estimation 1,500-2,500 $
52
CANADIAN SCHOOL PORTRAIT
“Study of Old Man”, circa 1900, oil on canvas, 12 x 18 1/2 inches, label verso reads “Study of an Old Man, Charles Co...dy, 44 Victoria Street Montreal”.
Estimation 300-500 $
53
Ralph Wallace BURTON (1905 - 1983)
Canadian
“Gracefield. Spring of 1951”, oil on panel, 9 7/8 x 13 7/8 inches, signed lower left, titled and dated verso. Ralph Wallace Burton was an Ottawa Valley artist who painted with A.Y. Jackson from the Group of Seven. His work is now housed at the City of Ottawa archives, and private collections. Burton’s style celebrates the rough beauty of Canadian landscapes and the tenacity of man-made structures set in rugged natural and urban environments, particularly in the Ottawa Valley region.
Estimation 900-1,200 $
54
Graham Noble NORWELL (1901 - 1967)
Untitled, Laurentian farm, watercolour on paper, 19 x 23 inches at sight, signed lower right, Morency Gallery Montreal label verso. Norwell, who was born in Scotland, is well known for his rural landscapes around the Laurentians (Quebec). His work is in the collections of the Art Gallery of Ontario, and the National Gallery of Canada.
Estimation 400-600 $
55
Berthe DES CLAYES (1877 - 1968) A.R.C.A.
Untitled, autumn day, pastel on paper, 9 5/8 x 7 5/8 inches at sight, signed lower right. Berthe Des Clayes was born in Aberdeen. She lived in England from 1906-1912; and immigrated to Montreal in 1912. Des Clayes illustrated the books “Here and There in Montreal” and the “Island of Montreal” (1931) by Charles W. Stokes, and “Acadia” (Nova Scotia) by the Dominion Atlantic Railway. She showed with the Royal Canadian Academy of Arts (1912 to 1947). Her work is held in the collections of the Musée national des beaux-arts du Québec the National Gallery of Canada, the Art Gallery of Ontario, the University of Calgary, the University of British Columbia and Library and Archives Canada.
Estimation 800-1,000 $
56
Leslie TAIT ( b. 1950 - ) Canadian
Untitled, Hillcrest Snack Bar, Toronto, watercolour on paper, 18 1/4 x 26 1/8 inches, signed lower right.
Estimation 800-1,200 $
57
Jean Paul RIOPELLE (1923 - 2002) CC GOQ RCA
Two lithographs for “Derrière le Miroir” (DLM) magazine: 1) Untitled, lithograph in colour for DLM #218, 1976, 13 1/4 x 10 1/4 inches, unsigned. 2) “Hiboux” (owls), lithograph in colour executed for the back cover of DLM #185, 1970, 12 1/2 x 8 1/2 inches, unsigned. Jean Paul Riopelle had one of the longest and most important international careers of the sixteen signatories of the Refus Global; or the 1948 letter denouncing the oppressive role of the church in Quebec society, breaking free from clericalism.
Estimation 300-500 $
58
Graham Noble NORWELL (1901 - 1967) O.S.A.
Untitled, Laurentian moonlight, watercolour on paper, 18 1/4 x 13 inches at sight, signed lower right. Norwell, who was born in Scotland, is well known for his rural landscapes around the Laurentians (Quebec). His work is in the collections of the Art Gallery of Ontario, and the National Gallery of Canada.
Estimation 400-500 $
58A
“Flaming Twins”, a unique bronze sculpture created as homage to the attack on the Twin Towers of New York City, on September 11th, 2001. The plaque reads “Flaming Twins 1/1, G. Rainville 2001, Remember 911”, attached to a black marble plinth, measuring 25 1/2 x 5 x 5 inches. When Gilbert Rainville returned to Quebec, after living in British Columbia for several years, he joined up with Roger-André Bourgault, renown sculptor from St-Jean-Port-Joli, and they proceeded to the creation of bronze, and combined bronze and granite sculptures, for which Gilbert did all the foundry operations, right down to the finishing and multi-colored patinas. They did this for over ten years, until the untimely death of Roger-André Bourgault. Those sculptures are in many collections in Quebec and across Canada, in addition to the United States and abroad. During this time, in 2001, Rainville, on one of his hikes into the woods to find rocks for these sculptures, discovered two large mushrooms, joined together as twins, and decided to bronze them to be mounted on some type of base. While he was finishing this process, the horrible events of 9/11 happened, and, Gilbert thought that his ‘’Twins’’ should be incorporated into a sculpture dedicated to the memory of these terrible and historic events.
Estimation 1,500-2,000 $
59
EXCEPTIONAL PAIR OF ART DECO CLUB CHAIRS
French, circa 1920, in the manner of Jules Leleu, both showing highly figured walnut frames upholstered in a very good mint green velvet, raised on squared supports with nickel plated feet, measuring 35” high x 29” wide (seat height 16”), together with a matching plouffe (foot rest), measuring 17” high x 22” square.
Estimation 2,500-3,500 $
60
EARLY 20TH C. LOUIS VUITTON STEAMER TRUNK
French, circa 1920, the flat-topped rectangular trunk showing a studded LV stenciled canvas covering, retaining original wooden strapping, iron carrying handles and lock mechanism, the interior bearing two Louis Vuitton paper labels numbered 108999, together with a full width lift out compartment. Both the exterior and interior surfaces showing overall wear, minor losses and overall wear, remnants of a shipping label attached to the outer surface for Chamberlain Hotel. Measuring 23” high x 44” wide x 22 1/2” deep.
Estimation 5,000-7,000 $
61
SWISS PHILIPPE HAAS BLACK FOREST WALL CLOCK
Swiss, circa 1850, the ebonized wooden case surmounted by a cuckoo mechanism, over a glazed door fronting a hand-painted panel of a dog with moving eyes synched with the pendulum. The (crazed) white oil painted zinc enamel dial with Roman numerals, fronting a thirty-hour movement. This is a very early Haas clock, with a thirty-hour, wooden plates, count wheel strike. Measuring 17 1/2” high x 9” wide x 5 3/4” deep. In working order at the time of cataloguing.
Estimation 1,000-2,000 $
62
Mykola GLUSHCHENKO (1901 - 1977) Ukrainian
Untitled, steel founders, 1967, monotype on paper, 12 1/2 x 19 inches, signed and dated lower right. Mykola Glushchenko is a graduate of the Academy of Art in Berlin (1924). In 1925, he worked in Paris where he immediately attracted the attention of French critics. From the New Objectivity style of his Berlin period he changed to post-Impressionism. In the 1960s, having come into close contact with new artistic trends on his trips abroad, he revitalized his paintings with expressive colours, as shown here, and assumed a leading position among Ukrainian colorist painters. Glushchenko’s work was exhibited in Berlin (1924), Paris (five exhibits 1925–34), Milan (1927), Budapest (1930, 1932), Stockholm (1931), Rome (1933), Lviv (1934, 1935), Moscow (1943, 1959), Belgrade (1966, 1968), London (1966), Toronto (1967–9), and Kyiv (over 10 exhibits).
Estimation 1,500-2,500 $
63
Basil Ivan RAKOCZI (1908-1979) English/ Irish
“In the Beginning”, 1961, folio of hand-printed etchings on paper, Edition 14 / 50. Loose sheets as issued in folder and slip-case. Thirtythree etched plates, seventeen text on a grey background, sixteen full-page plates, each one numbered and signed by the artist. Hand-printed on Vélin d’Arches, signed by the artist, printer and Alexandre Sarrès who did the lay-out. Printed on the presses of the Circle of the White Stag, the largest measuring 11 1/4 x 14 1/2 inches (slipcase 17 x 13 1/4 x 1 1/8 inches), minor foxing to some folders, slip-case rubbed. Born in Chelsea, Rákoczi who studied in Paris, founded the Society for Creative Psychology (1935) with his friend Kenneth Hall (1913-1946), and exhibited paintings as the White Stag Group, in London (then Dublin in 1939).
Estimation 1,500-2,000 $
64
Basil Ivan RAKOCZI (1908 - 1979) English/ Irish
Untitled, still life with thistle, gouache on paper, 25 x 9 inches, signed lower left. Born in Chelsea, Rákoczi who studied in Paris, founded the Society for Creative Psychology (1935) with his friend Kenneth Hall (1913-1946), and exhibited paintings as the White Stag Group, in London (then Dublin in 1939).
Estimation 800-1,200 $
65
Anatoly ZVEREV (1931 - 1986) Russian
Untitled, portrait of a youth (perhaps himself), 1958, watercolour and ink on paper, 23 1/4 x 16 1/2 inches, signed and dated in pencil lower left.
Anatoly Zverev is the founder of Russian Expressionism in the 1960s (or Tachisme). Throughout his career he was harassed and persecuted by the Soviet authorities especially as his international success grew. An art-lover called Rumnev noticed his work and introduced him to the famous art collector George Costakis (Greek-Russian art collector who amassed one of the largest private collections of Russian avant-garde art in the world) who thought that Anatoly was “one of the most talented artists in Soviet Russia... a unique phenomenon”. But Zverev was from an extremely poor family and suffered from mental instability; he was fired from his recreation park job when the director saw him using a mop for his paintings “against the regulations”. It appears that Zverev participated in over eighty group exhibitions in museums and galleries around the world between 1957 and his death. He is listed in many prominent collections in Russia, Europe and United States.
Estimation 2,000-3,000 $
66
Anatoly ZVEREV (1931 - 1986) Russian
Untitled, portrait, 1958, watercolour and ink on paper, 23 x 16 1/4 inches at sight, signed and dated in pencil lower left. Anatoly Zverev is the founder of Russian Expressionism in the 1960s (or Tachisme). Throughout his career he was harassed and persecuted by the Soviet authorities especially as his international success grew. An art-lover called Rumnev noticed his work and introduced him to the famous art collector George Costakis (Greek-Russian art collector who amassed one of the largest private collections of Russian avantgarde art in the world) who thought that Anatoly was “one of the most talented artists in Soviet Russia... a unique phenomenon”. But Zverev was from an extremely poor family and suffered from mental instability; he was fired from his recreation park job when the director saw him using a mop for his paintings “against the regulations”. It appears that Zverev participated in over eighty group exhibitions in museums and galleries around the world between 1957 and his death. He is listed in many prominent collections in Russia, Europe and United States.
Estimation 2,000-3,000 $
67
Vladimir ARALOV (1893 - 1972) Russian
Untitled, the Cathedral of Vasily the Blessed in winter, oil on cardboard, 15 x 19 inches, signed and dated lower right. Condition noted, two minor tears to upper left and centre. The Russian painter Vladimir Nicolaevich Aralov studied at the Moscow School of Painting, Sculpture and Architecture, from 1908 to 1913.
Estimation 1,400-2,000 $
68
Attr. Anatoliy ZVEREV (1931 - 1986) Russian
Untitled, abstract portrait, oil on paper, 27 3/4 x 19 inches at sight, unsigned. Provenance: Private Ottawa Collection. Anatoly Zverev is the founder of Russian Expressionism in the 1960s (or Tachisme). Throughout his career he was harassed and persecuted by the Soviet authorities especially as his international success grew. An art-lover called Rumnev noticed his work and introduced him to the famous art collector George Costakis (Greek-Russian art collector who amassed one of the largest private collections of Russian avantgarde art in the world) who thought that Anatoly was “one of the most talented artists in Soviet Russia... a unique phenomenon”. But Zverev was from an extremely poor family and suffered from mental instability; he was fired from his recreation park job when the director saw him using a mop for his paintings “against the regulations”. It appears that Zverev participated in over eighty group exhibitions in museums and galleries around the world between 1957 and his death. He is listed in many prominent collections in Russia, Europe and United States.
Estimation 2,000-3,000 $
68A
Albert PROCTER (1864 - 1909) A.R.C.A.
“At Low Tide”, watercolour on paper, 20 x 30 inches, signed lower left, Colonial House, Montreal, Art Department label verso. Provenance: Ancestral home of the Arthur James Nesbitt Family, co-founder of Nesbitt Thomson & Co. (brokers) and the Power Corp Canada. Arthur J. Nesbitt bought Ogilvy Department Store (Montreal) in 1927. Albert Procter was born in England.
Estimation 300-400 $
69
Robert NOBLE (1857 - 1917) RSA, PSSA
“East Linton Mill” (on the River Tyne), oil on panel, 13 5/8 x 21 1/2 inches, signed and dated lower left. Robert Noble was born in Edinburgh. To study further, Robert went to Paris to train under Carolus-Duran. His genre changed from figurative to mainly landscapes. In 1890, he was co-founder of the Society of Scottish Artists and served as their first President. In 1892, he became an Associate of the Royal Scottish Academy, and in 1903 became a full member. Robert Noble may have passed too soon, but he had the time to create a legacy for future generations of Scottish artist.
Estimation 1,000-1,400 $
70
John Simpson FRASER (ca. 1840 – ca. 1900) British
Untitled, shoreline view, 1879, watercolour on paper, 11 5/8 x 17 5/8 inches, signed and dated lower right.
Estimation 400-500 $
71
Jean SALABET (1913 - 1995) Spanish
Untitled, Place de la Concorde, oil on canvas, 10.25 x 13.5 inches, signed lower left. Juan Bayón Salado (Jean Salabet) was born in Spain. Each one of his works holds a diverse color palette with vibrant details, and he captures in a superb way the architecture of Paris; you can feel the activity of the day. In 1969 he returned to Spain, with a career filled with honors and popular success.
Estimation 800-1,000 $
72
Albert MULLER-LINGKE (1844 - 1930) German
Untitled, boy with red umbrella, oil on canvas, relined, 30 x 23 3/4 inches, signed lower left, unframed.
Estimation 1,200-1,800 $
73
Lodewijk F.H. (Louis) APOL (1850 - 1936) Dutch
Untitled, sheep on a winter road, watercolour on paper, 13 x 19 1/2 inches, signed lower right. Lodewijk Apol was a prominent representative of the Hague School which was heavily influenced by the realist painters of the French Barbizon school. He received a scholarship from the Dutch King Willem III in 1868. In 1880, Apol took part in an expedition on the SS Willem Barents to Spitsbergen in the Arctic Ocean. The impressions of this journey were a source of inspiration during his whole life. The Rijksmuseum Amsterdam and the Gemeentemuseum Den Haag have work of Louis Apol in their collection. A street is named after him where streets have been named after 19th and 20th century Dutch painters in Overtoomse Veld-Noord, Amsterdam.
Estimation 3,000-5,000 $
74
Samuel BOUGH (1822 - 1878) R.S.A., R.S.W.
“Cadzow Forest”, oil on canvas, 24 x 29 1/8 inches, signed lower right (black light photo shown). Samuel Bough was an English-born landscape painter who spent much of his career working in Scotland. He was self-taught but mixed with local artists such as Richard Harrington and George Sheffield, and was strongly influenced by the work of J. M. W. Turner. Encouraged by Daniel Macnee to take up landscape painting, he moved to Hamilton from 1851-1854 and worked with Alexander Fraser. Cadzow Forest, influenced by Horatio McCulloch, is a portrait of two ancient trees, as shown here. Bough’s work is on view at the National Gallery of Scotland.
Estimation 2,000-3,000 $
75
Jean Édouard VUILLARD (1868 - 1940) French
“Paysage Avec Arbres” (Countryside with Trees), pastel on paper, 10 x 12 1/2 inches at sight. Signed with initials (E.V.) lower right. Vuillard’s label verso. This pastel is included in the Catalogue Raisonné of the artist, under the number VIII-207. It represents the field behind «Château Rouge », the villegiature residence that the Hessels rented during summers 1905 to 1907. Vuillard made a series of these rapid sketches of the surrounding of the house (from VIII-182 to VIII-224). It has been recorded that he spent “a lot of time” with Mrs. Hessel. They allow us to revise our judgment about Vuillard and the feeling of nature, as they all show how the painter can be instilled by landscapes, and outdoors in general. This pastel is exactly in this vein, a delicate foray in Vuillard’s peregrinations across fields and woods. Monsieur Mathias Chivot kindly confirmed that this artwork is registered in the Archives Vuillard.
Estimation 12,000-14,000 $
76
Aelbert CUYP (1620 - 1691) Dutch
Untitled, graceful barnyard, large oil on canvas, relined, 35 x 50 1/2 inches, signed lower right. Provenance: Prominent Westmount family. Aelbert Cuyp’s graceful barnyard work is likely one of the last grand paintings of his life. Once he married Cornelia Bosman in 1658, his artistic career gradually came to a halt. In the early 1650s, Cuyp transitioned away from landscape painting and created many large-scale works that focused on foreground figures. Here, Cuyp depicts various large scale barnyard animals; a male mallard with its female and a duckling, another fowl sitting on higher grounds, who all appear to be chasing away a rooster, which Cuyp highlighted by his masterful use of the full chromatic scale of twilight colours. The application of light brown and straw yellow tones, which he learned early on in his career from the prolific Dutch painter Jan van Goyen, give the subjects an added depth and luminosity that sets Cuyp’s work apart from his contemporaries. Cuyp was one of the Dutch leading Golden Age painters.
Estimation 5,000-7,000 $
77
Willem DOOYEWAARD (1892 - 1980) Dutch
Untitled, a Balinese man with his fighting rooster, oil on canvas, 29 1/2 x 24 inches, signed lower right. Condition note, minor flaking about 2-2 1/2” long. Provenance: Van Leeuwen Estate, Ottawa. Willem Dooyewaard’s work was part of the painting event in the art competition at the 1936 Summer Olympics. Dooyewaard appears to have had a great passion for Asia, a passion he shared with a man who would become his soul brother, the Austrian painter Roland Strasser (1895-1974). Dooyewaard was greatly influenced by Strasser. In 1931, shortly after marrying Jacoba Reinders in Japan, he enjoys a third stay in Bali. During this period, his work developed into the impressionist style that Dooyewaard is best known for; we can view his determined style in this work - recorded as one of his favouritesthe Balinese cock fighters.
Estimation 16,000-22,000 $
IMPORTANT LARGE INDIAN EMBOSSED COPPER PANEL
19th century, showing the partially gilded embossed figure of Mughal Emperor Akbar the Great (1542-1605) listening to the famous poetsinger at the time Tansen. Titled upper left corner.
Measuring 45 1/2” high x 35” wide (sight), set within a modern gilt frame. Provenance: Reputedly the Palace of Nawab Mansur Ali Khan (Bengal, 1838-1881) to the Firasat Ali Khan Family, now of Ottawa.
Estimation 3,000-4,000 $
79
PAIR OF GIORGETTI “PROGETTI” ARMCHAIRS
A pair of vintage Italian Giorgetti “Progetti” lounging wooden frame fauteuils, each measuring approximately 35 1/2” high x 24 1/2 wide x 20 1/2” deep (seat height 18 1/2”), labeled underside. They appear to be in excellent condition, may require upholstery cleaning (water stain to one seat), and a scuff (5mm) to right armrest. Note: They are very comfortable, may induced meditation.
Estimation 1,500-2,000 $
For Singleton, Italian, circa 1969, the textured opaque white semi spherical celluloid body retaining its original retailer decal, North American plug, measuring 10” x 14” x 12”.
Estimation 500-700 $
81
Max ERNST (1891 - 1976) German/American/ French
“L’Homme à la lisière de la forêt “, 1954, Edition 16 / 95, lithograph in colour on paper, 22 1/2 x 16 inches, hand-signed lower right, numbered lower left. Ernst was a primary pioneer of the Dada movement and Surrealism. He visited asylums, and was fascinated by the art of the mentally ill patients (he studied psychiatry, Freud). Ernst’s approach to art was deeply influenced by Pablo Picasso, Van Gogh and Gauguin.
Estimation 1,500-2,500 $
82
Georg JAHN (1869 - 1941) German
“Mädchen am Waldsee” (Girl at the forest lake), circa 1900, etching, mezzotint on paper, 9 x 22 inches, inscription “selbstgedruckt” (self-printed) lower left, signed in pencil lower right. Georg Jahn was born in Meissen, Germanyeducated at the Dresden Academy of Fine Arts. Jahn followed into the footsteps of his family, working at the Dresden Porcelain Factory, and his artistic talents were rewarded while he developed an interest in etching, and took lessons from his friend, Max Pietschmann. He was awarded the 1914 “Saxon State Medal”. In 1929, on the occasion of his 60th birthday, the Kunstverein held a major showing of his works.
Estimation 700-900 $
83
Georg JAHN (1869 - 1941) German
“Rückenakt” (back nude), circa 1900, etching, aquatint on paper, 17 x 9 1/2 inches, inscription “selbstgedruckt” (self-printed) lower left, signed in pencil lower right. Georg Jahn was born in Meissen, Germany - educated at the Dresden Academy of Fine Arts. Jahn followed into the footsteps of his family, working at the Dresden Porcelain Factory, and his artistic talents were rewarded while he developed an interest in etching, and took lessons from his friend, Max Pietschmann. He was awarded the 1914 “Saxon State Medal”. In 1929, on the occasion of his 60th birthday, the Kunstverein held a major showing of his works.
Estimation 500-700 $
84
Georg JAHN (1869 - 1941) German
Untitled, reclining nude, early 20th, etching, mezzotint on paper, 10 1/8 x 19 1/4 inches, inscription “selbstgedruckt” (self-printed) lower left, signed in pencil lower right. Georg Jahn was born in Meissen, Germany - educated at the Dresden Academy of Fine Arts. Jahn followed into the footsteps of his family, working at the Dresden Porcelain Factory, and his artistic talents were rewarded while he developed an interest in etching, and took lessons from his friend, Max Pietschmann. He was awarded the 1914 “Saxon State Medal”. In 1929, on the occasion of his 60th birthday, the Kunstverein held a major showing of his works.
Estimation 600-800 $
85
Georg JAHN (1869 - 1941) German
Untitled, bathing nude, early 20th, etching, aquatint on paper, 13 3/8 x 8 3/4 inches, inscription “selbstgedruckt” (self-printed) lower left, signed in pencil lower right. Georg Jahn was born in Meissen, Germany - educated at the Dresden Academy of Fine Arts. Jahn followed into the footsteps of his family, working at the Dresden Porcelain Factory, and his artistic talents were rewarded while he developed an interest in etching, and took lessons from his friend, Max Pietschmann. He was awarded the 1914 “Saxon State Medal”. In 1929, on the occasion of his 60th birthday, the Kunstverein held a major showing of his works.
Estimation 500-700 $
86
Georg JAHN (1869 - 1941) German
Untitled, nude on shore, early 20th, etching, aquatint on paper, 14 1/2 x 8 inches, inscription “Selbstgedruckt” (self-printed) lower left, signed in pencil lower right. Georg Jahn was born in Meissen, Germany - educated at the Dresden Academy of Fine Arts. Jahn followed into the footsteps of his family, working at the Dresden Porcelain Factory, and his artistic talents were rewarded while he developed an interest in etching, and took lessons from his friend, Max Pietschmann. He was awarded the 1914 “Saxon State Medal”. In 1929, on the occasion of his 60th birthday, the Kunstverein held a major showing of his works.
Estimation 500-700 $
87
Georges Dominique ROUAULT (1904 - 2002) French
Untitled, Street in Paris, watercolour on paper, 12 1/2 x 18 inches, signed lower left.
Estimation 600-800 $
FINE ART DECO MAHOGANY BUFFET
French, circa 1930, the buffet in the manner of Jules Leleu showing a central cupboard fronting a shelved interior, flanked on either side by twin banks of short drawers over open shelves, raised overall upon a plinth base, measuring 46” high x 58 1/2” wide x 18 1/2” deep. Original lock mechanism and key intact. Purchased in Paris.
Estimation 3,500-4,500 $
89
FINE ART DECO DINING TABLE
French, circa 1920, in the manner of Jules Leleu, the rectangular top with a stepped edge opening to receive two matching leaves, raised overall on twin flattened supports. Measuring 30 1/4” high x 43” deep x 62” wide (extending to 93” with both leaves). Purchased in Paris.
Estimation 2,000-3,000 $
90
SIX FINE ART DECO MAHOGANY FRAMED DINING
French, circa 1920, in the manner of Jules Leleu, all six frames showing leather upholstered backs and seats in fine cream coloured leather, purportedly the same leather as used at the Rolls Royce automobile factory. Measuring 33” high, (seat height 19”). Purchased in Paris.
Estimation 1,200-1,800 $
91
George BARBIER (1882 - 1932) French
“Roses dans la nuit”, 1914, Plate VIII from “Modes et Manières d’Aujourd’hui”, original hand-painted pochoir (stencil) print, 9 1/4 x 6 1/2 inches, signed in black ink in plate, lower right. George Barbier was born in Nantes, France. He was 29 years old when he created his first exhibition in 1911, and subsequently became famous - commissions to design theatre and ballet costumes, to illustrate books, and to produce haute couture fashion illustrations poured down. In the mid-1920s he worked with Erté (Roman Petrovich Tyrtov) to design sets and costumes for the Folies Bergères.
Estimation 300-400 $
92
Georges LEPAPE (1887 - 1971) French
“Au Clair de la Lune”, 1913, Plate VII from “La Gazette du Bon Ton”, an original hand-painted pochoir (stencil) print, 7 1/8 x 5 1/2 inches, signed and dated in blue ink in plate, lower right. Georges Lepape was born in Paris. Trained at the Humbert workshop alongside Braque, Picabia and Laurencin, Lepape started working for Paul Poiret in 1910. In 1912, he was invited to participate in the Gazette du Bon Ton and became the appointed illustrator of the achievements of Poiret who was the first to make fashion front page news.
Estimation 300-400 $
93
VINTAGE GINO VISTOSI MURANO GLASS GHOST LAMP
Italian, circa 1960, by Gino Vistosi for Vetreria Vistosi in opaline hand blown glass, measuring 23 x 10 x 12 1/2 inches.
Estimation 1,200-1,500 $
94
Henri PETITOT (1914 - 1938) French
Circa 1930, an Art Deco period hanging light fixture from the workshop of Henri Petitot, copper plated metal, fitted with four French light sockets, measuring 15 1/2 x 19 3/4 x 10 1/4 inches. Rewiring recommended.
Estimation 800-1,200 $
95
EZAN ART DECO PERIOD CHANDELIER
French, the chromed metal chandelier with frosted glass shades decorated with clear glass icicles, marked “Ezan, France, 50-80”. The fixture has original French sockets, rewiring recommended.
Estimation 500-700 $
96
ART DECO PATINATED BRONZE DANCER
BY CARL KAUBAA finely modelled and patinated bronze figure of a young female dancer decorated with gilt, silver and red patination, shown standing atop a domed base signed ‘Kauba’ for noted Viennese sculptor Carl Kauba. Raised overall upon a striated green onyx socle base, rubbing to patinated surface noted. Overall height, 11 1/4”. Carl Kauba (18651922) studied at the Academy of Fine Arts in Vienna, and often used more than one type of patina on his sculptures.
Estimation 500-700 $
97
Joan MIRÓ (1893 - 1983) Spanish
“Tracé sur l’eau” (Traced on the water), 1963, Edition 30 / 100, partial folio, thirteen coloured watercolours by Joan Miró, reproduced on Marias Onion Skin paper by Maeght, each measuring 8 1/2 x 10 7/8 inches. Signed by Miró in red pencil on the cover. Condition: six watercolours have a tear on the right lower corner. Joan Miró i Ferrà was a Spanish painter, sculptor and ceramist born in Barcelona. Throughout the 1960s, Miró was a featured artist in many salon shows assembled by the Maeght Foundation that also included works by Marc Chagall, Giacometti, Brach, Cesar, Ubac, and Tal-Coat.
Estimation 1,500-2,500 $
98
GROUP OF FOUR DERRIÈRE LE MIROIR MAGAZINES
French, the original magazines by Maeght (Printer) dedicated to Alexander CALDER (18981976, American) with coloured lithographs. 1) #212 January 1975, 2) #221 December 1976, 3) #156, February 1966, 4) #141 November 1963. All measuring 15 x 11 inches, and in very good condition.
Estimation 800-1,200 $
Louis GILBERT (XIX Century) French
“Place De La République”, oil on canvas, 24 x 30 inches, signed lower right, Watson Art Galleries Montreal label verso.
Estimation 500-800 $
100
EUROPEAN SCHOOL, OIL ON CANVAS, PORTRAIT
Late 17th / early 18th century, portrait, old master portrait fragment, probably Spanish, oil on canvas, 9 1/2 x 8 1/4 inches, apparently unsigned, minor loss to lower section.
Estimation 800-1,200 $
101
IMPRESSIVE BLACK FOREST DOUBLE-DOOR CUCKOO CLOCK
German, early 20th century, the outstanding hand-carved clock decorated with a carved stag atop two hanging guns, oak leaves and game (rabbit & grouse). Double-door function, one shows a hand-carved Cuckoo, the other a Black Forest wonderer. This clock has a built-in cylinder music box all driven by a three-weight system, measuring 41 x 27 x 18 inches.
Estimation 5,000-6,000 $
102
FINE BELLE ÉPOQUE GILTWOOD PIER MIRROR
French, circa 1870, the finely gilded frame showing a pediment with a rocaille cartouche of leafy scrolls, over an old mirrored plate, minor losses and rubbing to gilding, measuring 56” high x 30 1/2” wide.
Estimation 800-1,200 $
103
VERY GOOD WILLIAM IV PERIOD MAHOGANY CELLARETTE
Circa 1835 (purportedly Canadian), the canted lid decorated with a lobe carved panel, opening to a removable zinc liner housing two later galvanized inserts together with a later galvanized open compartment, raised overall on carved front supports and later turned rear supports on brass castors. Measuring, 22” high x 33” wide x 20 1/2” deep.
Estimation 900-1,200 $
104
BELLE ÉPOQUE PARCEL GILT BRONZE
CANDELABRA
French, circa 1880, the pair both showing reeded columns rising up to three foliate cast branches with gilded nozzles, centred by gilded finials in the form of herons (one repaired), mounted atop gilded roundels over cloven hoof supports. No apparent maker or foundry marks, but likely cast by Barbedienne of Paris. Measuring 24” high.
Estimation 1,500-2,000 $
105
TWO TABLE-TOP CELESTIAL & TERRESTRIAL 12” GLOBES
American (Boston), circa 1890, both table top twelve-inch (12”) associated globes within a calibrated brass meridian and a paper covered horizon band printed with the zodiac symbols and calendar. Rotating within a trio of iron supports, and raised overall upon a tripod iron base terminating to dolphin grotesque feet. The terrestrial globe by Gilman Joslin (1804-1886), the celestial globe by H. B. Nimms of Troy, New York. Measuring, 18” high x 16 3/4” wide in their bases. Condition noted, surface distress (rubbing, fading) on the paper surfaces of both globes and on their horizon bands, and structural (physical) distress to the Celestial globe i.e. cracks and losses.
Estimation 3,000-5,000 $
106
EXCEPTIONAL ORIENTAL INSPIRED CLOCK
French, circa 1870, the domed gilt bronze and black slate case accented with mottled red and green marble panels, the front of the case showing a mihrab-shaped pediment flanked by pierced brass columns. The ebonized clock face with gilded Arabic numerals and sweep hands, fronting a Japy Frères eight-day movement striking on a coil on the half and full hour, retaining its original pendulum and key. The case is sided by gilt patinated elephant heads and raised overall on a stepped slate base on stylized elephant shaped feet. Measuring 25” high x 14” wide x 8” deep. Recently serviced and in working order at time of cataloguing. Note: very heavy.
Estimation 2,000-3,000 $
107
FINE GEORGIAN MAHOGANY CELLARETTE ON STAND
English, circa 1820, the brass bound and cross banded hexagonal case fitted with brass carrying handles and functioning lock mechanism and key, the hinged lid opening to a zinc lined interior, mounted on its conforming base with squared supports terminating to brass castors. Minor distress noted as shown. Measuring 29” high x 15” wide x 17” deep.
Estimation 1,000-1,500 $
108
VERY RARE ‘OLD SHEFFIELD PLATE’ BOTTLE STABILIZERS
English, circa 1800, the pair of foliate embossed frames fitted within their associated coasters / slides were designed to allow for a wine bottle to ‘slide’ or ‘coast’ on the dining table in a stable manner, exhibiting areas of rubbing. One frame measuring 4 1/4” high, the other 3 3/4” high. Together with an associated pair of coasters measuring 2 1/4” high x 7” diameter, areas of rubbing. These stabilizers were most likely commissioned and therefore quite rare.
Estimation 600-800 $
109
GEORGIAN STERLING SILVER CHAMBER STICK
English, the chamber stick with removable drip pan and snuffer, hallmarked 1810, London, 3 3/4 inches high, weight 270 grams.
Estimation 200-250 $
110
LARGE BIRKS STERLING HANDLED SERVING TRAY
Canadian, engraved leaf scroll floral ornament, monogrammed and with dedication, marked BIRKS Canada, 1942, measuring 27 x 16 1/4 inches, weight 2,755 grams.
Estimation 2,000-2,400 $
111
TWO STERLING SILVER CREAMERS
English, one Georgian sterling silver creamer, hallmarked 1794, London, 3 3/4 inches high, weight 165 grams, along with a late 19th century creamer, hallmarked for London, maker’s and date marks rubbed, 4 1/2 inches high, weight 120 grams. Total weight 285 grams.
Estimation 200-250 $
112
FINELY FIGURED 19TH C. MAHOGANY SLEIGH BED
Circa 1850, the head board and foot board panelled in richly figured flamed mahogany veneers, fitted with original side rails, measuring 75” high x 58” wide x 81” long.
Estimation 400-600 $
113
ANTIQUE ZSOLNAY PECS EOSIN GLAZED CERAMIC EWER
Hungarian, circa 1900, in the Arts & Crafts taste, the teardrop shaped body having a double spout and loop handle, decorated with foliate and bird designs within Persian style cartouches beneath a glossy tin glaze, the underside stamped with factory marks and numerals #962. Height, 7 inches.
Estimation 600-900 $
114
DIMINUTIVE CHARLES II OAK COFFER
English, circa 1690, the peg constructed case showing a hinged top with a chip carved edge opening to a plain interior, over a carved front panel fitted with a false lock, sided by reeded stile supports fronting ‘boot jack’ panelled sides, separations and surface wear noted. Measuring 19 1/2” high x 36 1/2” wide x 13” deep.
Estimation 400-500 $
115
DIMINUTIVE VICTORIAN HANGING CORNER CABINET
English, circa 1850, the burl wood banded and chevron strung mahogany case having a ‘broken cornice’ over a single glazed door with a functioning lock and key, fronting a shelved interior, minor veneer losses, measuring 28 1/4” high x 16” wide.
Estimation 200-300 $
116
VERY FINE GEORGE III MAHOGANY PEMBROKE TABLE
English, circa 1800, the highly figured solid mahogany top and sides decorated with fine crossbanding, the leaves braced by twin gateleg supports. The frieze inlaid with alternating zig-zag motifs and fitted with a single drawer retaining its original lock mechanism and brasses, the opposing end showing a false drawer. Raised overall upon four squared and tapering supports inlaid with bell-flower motifs. Measuring 28 3/4” high x 40 1/4” deep x 19” wide (46 1/2” with leaves raised).
Estimation 600-800 $
117
LARGE STERLING SILVER HANDLED SERVING TRAY
English, engraved with the MacLaren (MacLaurin) clan crest with motto “Dalriada Ab origine fidus” and dedication, hallmarked for London, 1912, maker’s marks for Goldsmiths & Silversmiths Co. Ltd, measuring 26 1/8 x 17 3/8 inches, weight 3,720 grams.
Estimation 2,500-3,000 $
Kay BOJESEN (1886 - 1958) Danish
A rare Danish Royal Guard Drummer, circa 1940, carved painted wood, measuring 40” high x 15 1/2” wide x 10” deep. Condition: overall good condition, light wear to back of helmet, some paint peeling to frame of the drum, minor scuffs, likely touched-up and later bases. Kay Bojesen is regarded as one of Denmark’s biggest designer names and his designs are among the most popular in Danish design. He was also a silversmith (in 1906, he began working with Georg Jensen). His famous monkey design was exhibited in the Victoria and Albert Museum in London in the 1950s, and is considered a classic. Bojesen was an honorary member of the National Association of Danish Arts & Crafts, and was recognized for his toys by the Danish National Committee of the OEMP (World Organization for Early Childhood Education. Provenance: This very piece was displayed in the windown of Geraldine Joy van Leeuwen Boomkamp’s (1935-2023) MCM store window for decades. Would look awesome in a boy’s room, or guarding gifts under the Christmas Tree.
Estimation 800-1,200 $
FINE INLAID OAK DUTCH STAARTKLOK
Dutch, circa 1850, translated ‘Tail clock’, the oak case showing a domed hood with a glazed front and sides, the top decorated with carved giltwood finials of trumpeting angels centred by Atlas shouldering the world. The hand-painted face with Roman numerals and pierced brass hands, the four corners decorated with embossed spandrels representing the four seasons, surmounted by an arched panel with a charming hand-painted rural scene. The thirty-hour chain driven mechanism with a bell strike sounding on the half and full hour, the trunk of the case sided by its weights, the ‘tail’ (base) showing a glazed and pierced brass pendulum aperture. The case decorated overall with inlaid motifs of flowering vines, songbirds and scrolls. Minor veneer losses and splits, mechanism untested at time of cataloguing, measuring 51” high (56 1/2” with central finial) x 16” wide.
Estimation 1,500-2,500 $
DUTCH FRISIAN STOELKLOK WALL CLOCK
Dutch, circa 1800, translated ‘Seat Clock’, the ebonized case showing an arched canopy with a pierced ormolu pediment sided by hand-painted mermaid figures, the grey and black painted face showing a chapter ring with Roman numerals and pierced brass hands, surrounded by pierced ormolu mounts and painted songbird appliqués and masks. The chain driven movement with a verge escapement striking the hour on a central mounted bell, housed within a tole case with hinged panels, raised on four turned supports resting on the ‘seat’. The mechanism was untested at the time of cataloguing.
Estimation 800-1,200 $
121
ANTIQUE AGATE CAMEO RING
The oval agate measuring approximately 11 x 16 mm weighing 8.65ct (calculated) surrounded by 1.28kt of seed pearls, all set within a 14kt yellow gold setting (stamped), total weight 10.45 grams, size 5 1/2.
Estimation 800-1,200 $
122
PAIR OF VINTAGE KNEELING CHAIRS BY PETER
OPSVIK(TWO) original kneeling chairs designed by Peter Opsvik in 1979, a Norwegian industrial designer; he developed the concept of the sitting approach to free the human body. Both frames are natural (birch like), and the upholstery is black. Measuring 19 1/2 x 19 x 28 inches. Original packing, never been opened (except for checking colour for this auction), used.
Estimation 600-800 $
123
TILGMANS POTTERY FLOOR VASE
Swedish, mid 20th century, the large tapering ovoid earthenware body decorated with glazed figures set against a tropical background, the underside of the base with studio marks ‘Tilgmans Keramic’, dated 1959, and signed Marian for Swedish studio artist Marian Zawadzki (19121978). Height, 22 inches.
Estimation 300-500 $
124
ISTRIA SERIES MURANO ART GLASS VASE
Italian, created by Lino Tagliapietra (b. 1934 - ) & Marina Angelina for Effetre International, Murano, showing a large hand-blown ovoid shaped body with a cobalt upper section separated by a band of brilliant red, over a black-flecked white base. The underside having a flattened base and ground pontil. Retaining the original Effetre International label on one side, etched on the underside ‘Tagliapietra / Angelin Effetre International, Murano 1988’. Height, 12 3/4” high.
Estimation 700-900 $
EMPIRE STYLE MAHOGANY CENTRE TABLE
American, the top showing crotch mahogany veneered panels radiating out to a scalloped edge over a conforming frieze, raised overall atop a trio of scrolled supports. Measuring 27” high x 36” diameter.
Estimation 300-400 $
126
AMERICAN CLASSICAL PERIOD PIER MIRROR
North Eastern Seaboard, likely Boston, circa 1835, the old mirrored plate within a mahogany frame with an architectural cornice over a figured mahogany panel, sided by applied lyre shaped elements over flattened pilasters. Measuring 49 1/2” high x 25 1/2” wide x 4” deep.
Estimation 400-600 $
127
PERSIAN MEMEH CARPET
Late 20th century, showing diagonally arranged diamond-shaped motifs of flower heads and fruiting trees in shades of white, yellow and navy, against a reddish field centred by a navy diamond shaped medallion, all within a large border of similar motifs, measuring 146 x 89 inches.
Estimation 700-800 $
BILINGUAL PRIDHAM’S TERMS & CONDITIONS OF SALE
Please take the time to read, thank you.
RÈGLEMENTS & CONDITIONS DE VENTE PRIDHAM’S BILINGUES
S.V.P. veuillez prendre le temps de lire, merci.
1. The term “Auctioneer” means Pridham’s Auction House Inc. (“ Pridham’s “). | Le terme “Encanteur” signifie Pridham’s Auction House Inc. (“ Pridham’s “).
2. Each lot is sold “AS IS” and “WHERE IS”. Sales are final. | Chaque item est vendu “TEL QUEL” et “OÙ IL EST”. Les ventes sont finales.
3. The descriptions are provided to help move along the process on auction day. No warranty regarding the descriptions, age or condition is made or implied. Additionally, under the Conditions of Sale applicable to the sale of any lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including and without limitation, its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an ‘as is’ basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to a lot is merely an expression of opinion of the seller or Pridham’s and should not be relied upon as an inducement to bid on the lot. Please contact us for a condition report. 1-877-533-5877 or info@pridhams.ca NO LATER than: April 19th at 5:00pm. After that time, we can not guarantee phone calls & emails will be answered due to the live webcast demands.
Les descriptions sont inclues pour faciliter le processus le jour de la vente. Aucune garantie en ce qui concerne les descriptions, l’âge et condition est offerte ou implicite. En outre, conformément aux conditions de vente applicables à la vente de tout lot, les acheteurs doivent s’assurer de chaque aspect de la qualité du lot, y compris et sans limitation, son auteur, son attribution, sa condition, sa provenance, son authenticité et origine. Les lots sont vendus “tel quel”, mais la condition réelle du lot peut ne pas être aussi bonne que celle indiquée par son apparence extérieure. En particulier, des pièces peuvent avoir été remplacées ou restaurées, et les lots peuvent ne pas être authentiques ou de qualité satisfaisante. Toute déclaration relative à un lot est simplement une expression d’opinion du vendeur ou de Pridham’s et ne devrait pas être invoquée comme une incitation à soumissionner sur le lot. S.V.P. contactez-nous pour un rapport de condition. 1-877533-5877 ou info@pridhams.ca, au plus tard le 19 avril à 17h. Nous ne pouvons pas garantir un retour d’appel ou courriel après cette date vu les besoins technologiques du webcast.
4. The Auctioneer does its very best to point out condition issues. You have to examine each piece carefully; sales will not be set aside on grounds of condition, or of real or imagined misdescription. The condition reports are not prepared by a professional conservator or engineer. | Pridham’s fait de son mieux pour vous informer de la condition d’un objet. Vous devez examiner chaque item soigneusement; les ventes ne seront pas mises de côté pour des raisons de condition, ou de descriptions erronées réelles ou imaginaires. Nos rapports de condition ne sont pas préparés par un conservateur professionnel ou un ingénieur.
5. The Auctioneer may accept and submit absentee, telephone and online bids, to be executed by an employee of the Auctioneer, pursuant to the instructions of prospective purchasers not in attendance at the sale. | Pridham’s peut accepter et soumettre des offres par absence, par téléphone ou en ligne, devant être exécutées par un employé de Pridham’s, conformément aux instructions des acheteurs éventuels qui ne peuvent pas être présents.
6. Registration: all bidders are required to submit full name, address and a telephone number. Information is used pursuant to the “Canadian Personal Information Protection and Electronic Documents Act”. A credit card on file is required for telephone/absentee bidding. | Enregistrement: tous les clients sont tenus de donner leur nom, adresse et un numéro de téléphone. L’information est utilisée selon la “Loi canadienne sur la protection des renseignements personnels et les documents électroniques”. Une carte de crédit au dossier est nécessaire pour l’enregistrement d’une mise téléphonique ou par absence.
7. There are applicable taxes except for out-of-country buyers who require shipping their purchases. | Il y a des taxes applicables sauf pour les acheteurs hors Canada qui doivent faire livrer leur marchandise.
8. Unless exempted by law, the buyer must pay applicable taxes on the total purchase price. The buyer’s premium is added before the applicable taxes. Pridham’s does not divide a buyer’s invoice between two or more people on auction day. | À moins d’être exemptés, les acheteurs doivent payer les taxes appropriées sur le montant total. La prime de l’acheteur est ajoutée avant les taxes applicables. Pridham’s ne divise pas une facture entre deux ou plusieurs personnes le jour de la vente.
9. Unless exempted by law, the buyer is required to pay HST on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of Canada. For items shipped out of the province, the buyer is required to PAY TAXES as per their provincial tax status, whether it is HST, GST and PST. Includes Quebec buyers, there is GST AND QST. À moins d’être exempté par la loi, l’acheteur est tenu de payer la TVH sur le prix d’achat total, y compris la prime de l’acheteur. Pour les acheteurs internationaux, les taxes ne sont pas applicables lorsque les achats sont expédiés hors du Canada. Pour les articles expédiés hors province, l’acheteur est tenu de payer les taxes selon le statut fiscal de sa province, que ce soit la TVH, TPS ou TVP. Incluant les acheteurs du Québec, il y a une TPS et TVQ.
10. The Auctioneer has the right to withdraw or add to the items as listed in any printed catalogue or listing or promoted on the internet. | Pridham’s a le droit de retirer ou d’ajouter des items sur une liste ou dans un catalogue imprimé, ou annoncé sur l’internet.
11. The Auctioneer reserves the right to withdraw any lot from the sale at any time, to divide any lot or to combine any two or more lots at his sole discretion, all without notice. | L’Encanteur se réserve le droit de retirer tout lot de la vente, à n’importe quel moment, de diviser un ou plusieurs lots, et ce sans avis.
12. The Auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion. The auctioneer reserves the right not to accept and to reject any bid. Without limitation, any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance over the previous bid may not be recognized. | Pridham’s a le droit de refuser toute offre et d’avancer l’appel d’offres à son entière discrétion. Il se réserve le droit de ne pas accepter et de refuser toute offre. Sans limitation, toute offre qui n’est pas proportionnelle à la valeur de l’article offert ou qui est simplement une avance nominale ou fractionnaire par rapport à l’offre précédente ne peut être reconnue.
13. When the Auctioneer says “sold” it is a contractual agreement between the Auctioneer and the buyer. All auctions are also audiorecorded. | Lorsque l’Encanteur dit “vendu” cela est tout comme un contrat entre l’acheteur et l’Encanteur. Les encans sont aussi enregistrés par audio.
14. The highest bidder accepted by the Auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders, the Auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from the sale, or to re-offer it at the same or a subsequent sale. The Auctioneer’s decision in all cases is final. | Le soumissionnaire le plus offrant accepté par Pridham’s pour tout lot sera l’acheteur et cet acheteur assumera sans délai tous les risques et responsabilités du lot et devra se conformer aux autres Conditions de vente applicables. En cas de litige entre deux soumissionnaires, Pridham’s aura la discrétion absolue de désigner l’acheteur ou, à son gré, de retirer tout lot contesté de la vente ou de la proposer à la même vente ou à une autre vente ultérieure. La décision de l’Encanteur dans tous les cas est définitive.
15. The buyer shall pay an item in full and to the satisfaction of the Auctioneer; failing to do so may result in the cancellation of the sale, with or without re-offering the item for sale. | L’acheteur doit payer un item au complet et à la satisfaction de Pridham’s, à défaut de quoi, Pridham’s peut annuler la vente, avec ou sans offrir de nouveau l’article à vendre.
16. Payments have to be made in full by Visa, MasterCard (over the telephone, or online with our MONERIS PAGE), or e-transfer within 5 days after receiving their final invoice from Pridham’s (or Live Auctioneers). American Express and cheques are not accepted. | Paiements doivent être faits par VISA, MasterCard (par téléphone ou avec notre lien en ligne MONERIS), ou Interac 5 jours après avoir reçu une facture finale Pridham’s (ou Live Auctioneers). American Express et chèques ne sont pas acceptés.
17. Pridham’s is not responsible for any damages or injuries under any circumstances. | Pridham’s n’est pas responsable pour aucun dommage ou blessure et ce, en aucun cas.
18. If you are not able to pick-up your purchase at 2615 Lancaster Road Ottawa, Pridham’s can deliver (smalls only, and art, for free) your unpacked paid purchases, at the buyer’s risk to UPS #112 (St Laurent Blvd, Ottawa, store112@theupsstore.ca). Pridham’s will share your information, not your credit card number, with UPS. Once your purchase is with UPS, you will liaise directly with them for packing, insuring, shipping, and payment. Please take note that UPS charges are with the amount of packing required, size, weight, destination, etc and NOT with the hammer price. Please ask for a shipping QUOTE before the auction (until FRIDAY NOON BEFORE THE SALE), if you are concerned. Sales will not be cancelled due to shipping costs.
EMAIL ADIL FOR A SHIPPING QUOTE: store112@theupsstore.ca
If you prefer to use another carrier (not UPS), please take note that Pridham’s does not pack and insure - but we would be pleased to liaise with the shipper of your choice.
For larger items (ex. furniture), please call us (1-877-533-5877) to discuss a pick-up schedule (within 5 business days) or carrier shipping. A list of suggested shippers is available. We can not store furniture for weeks, please have a plan of action before buying large pieces, or a storage fee may apply.
***UPS shipping must be paid by you no more than 5 business days after receiving the UPS SHIPPING AUTHORIZATION. UPS can not store your purchase, fees may apply. Thank you very much. We appreciate your cooperation.
Si vous n’êtes pas en mesure de ramasser vos achats, Pridham’s peut les livrer les petits objets (seulement, gratuitement) non-emballés au risque de l’acheteur chez UPS #112, lorsque convenable pour Pridham’s. Pridham’s fournira à UPS les infos de l’acheteur, pas le numéro de carte de crédit. L’acheteur communiquera directement avec UPS pour l’assurance, l’emballage, l’expédition, et paiement. Veuillez prendre note que les frais UPS sont proportionnels à la quantité d’emballage requis, la taille, le poids, etc. Veuillez demander une estimation pour un envoi avec la vente (AU PLUS TARD, VENDREDI MIDI AVANT LA VENTE), et non pas après la vente. Les achats ne seront pas cancellés si vous trouvez votre envoi trop dispendieux.
COURRIEL- ESTIMATION: store112@theupsstore.ca
Si vous désirez utiliser une autre compagnie (que UPS), s.v.p. laissez-nous savoir. Il nous fera plaisir de coordonner le tout pour vous. Veuillez prendre note que Pridham’s ne fait pas l’emballage et n’assume pas les assurances.
Pour les plus grands objets (comme meubles), s.v.p. veuillez nous contacter pour discuter du ramassage (en 5 jours ouvrables) ou d’une livraison contractuelle. Nous pouvons vous suggérer un déménageur. Nous ne pouvons pas garder des meubles durant des semaines, un frais d’entreposage peut s’appliquer.
**Vous n’avez pas plus que 5 jours pour payer UPS après avoir reçu votre formulaire. Le magasin ne peut pas entreproser vos achats plus longtemps, ou des frais peuvent s’appliquer. Merci beaucoup pour votre collaboration.
19. The Auctioneer acts solely as agent for the seller and makes no representation as to any attribute of, title to, or restriction affecting the articles in the sale. Without limitation, the buyer understands that any item bought may be affected by the provisions of the Cultural Property Export Act. | L’Encanteur est un agent seulement pour le client et ne fait aucunes représentations en ce qui concerne l’attribution, le titre ou restriction affectant les articles dans une vente. Sans limitations, l’acheteur comprend que les items achetés peuvent être affectés par des provisions culturelles et d’exportation.
20. DISCLAIMER: Ivory, tortoise shell and other “animal” items, including Rosewood, are restricted from export out of Canada due to protection under CITES (Convention on International Trade in Endangered Species). Pridham’s will not provide shipping or CITES application service. The successful buyer has to pick-up the item in person. Shall the buyer decide to take the item across a border after picking it up, the buyer takes full responsibility for obtaining proper exporting and importing documents from both countries: EXPORT IS AT THE BUYER’S RISK. Pridham’s supports the protection of all wildlife. | AVERTISSEMENT: L’ivoire, la coquille de tortue et d’autres objets de source animale (et même le Bois de rose) ont un interdit d’exportation à l’extérieur du Canada en raison de la protection prévue par la CITES (Convention sur le commerce international des espèces de faune et de flore sauvages menacées d’extinction). Pridham’s n’offrira pas de service d’expédition ni de service d’application pour CITES. L’acheteur doit ramasser l’article en personne. Si l’acheteur décide de croiser une frontière après avoir ramassé l’article, l’acheteur assume pleine responsabilité d’obtenir les documents appropriés d’exportation et d’importation des deux pays. L’EXPORTATION EST AU RISQUE DE L’ACHETEUR. Pridham’s supporte la protection de tous les animaux sauvages.
Please do not hesitate to contact Pridham’s if you have questions, thank you. S.V.P. n’hésitez pas à contacter Pridham’s si vous avez des questions, merci. Toll Free / Sans Frais: 1-877-533-5877 info@pridhams.ca
