MAY 11 — 16, 2024
Photographs in Partnership with CONTACT Photography Festival
MAY 11 — 16, 2024
bid and view all lots online at www.waddingtons.ca
on view
Sunday, May 11 from 12 pm to 4 pm
Monday, May 12 from 10 am to 5 pm
Tuesday, May 13 from 10 am to 5 pm
preview held at 275 King Street East, 2nd Floor Toronto, ON M5A 1K2
tel: 416-504-9100
toll free: 1-877-504-5700
director, international art
Goulven Le Morvan glm@waddingtons.ca 438-528-8489
consignment specialist, international art Alicia Bojkov amb@waddingtons.ca 416-847-6176
fine art administrator
Holly Yake hy@waddingtons.ca 416-504-9100 X6202
front cover Lot 43
IMOGEN CUNNINGHAM MAGNOLIA BLOSSOM, 1925
front inside cover Lot 26
CHUCK CLOSE SELF PORTRAIT PORTFOLIO, 2002
back inside cover Lot 20
RICHARD HARRINGTON
ESKIMO HOLDING BUNDLES OF ARCTIC FOX SKINS READY TO BE BAILED AT H.B.C. SPENCE BAY, N.W.T., HIS NAME IS ANIDAH, 1951
back cover Lot 3
EDWARD BURTYNSKY MORENCI MINE #2, CLIFTON, ARIZONA, USA, 2012
This catalogue and its contents © 2024 Waddington McLean & Company Ltd.
This auction is subject to the Conditions of Sale on our website.
Photography & design by Waddington’s All rights reserved.
STAN DOUGLAS (B. 1960)
UNTITLED (HOUSE), 1996
chromogenic print
signed, dated “’96”, and numbered 22/25
20 x 24 in — 50.8 x 61 cm
PROVENANCE:
Private Collection, Toronto, ON
$2,500 — 3,500
2
JOHAN HALLBERG-CAMPBELL (B. 1978), SCOTTISH
HARRINGTON HARBOUR, QUEBEC, 2013 FROM THE CONTACT PHOTOGRAPHY COLLECTION
chromogenic print; signed, titled, dated, and numbered 3/25 to label verso; printed in 2017
30 x 20 in — 76.2 x 50.8 cm
PROVENANCE:
CONTACT Photography Festival, Toronto, ON
$1,500 — 2,500
EDWARD BURTYNSKY, RCA (B. 1955)
MORENCI MINE #2, CLIFTON, ARIZONA, USA, 2012 FROM THE CONTACT PHOTOGRAPHY COLLECTION
inkjet pigment print signed, titled, dated, and editioned AP3 for artist’s proof to label verso; special edition released in support of the Red Cross Ukraine Humanitarian Crisis Appeal
PROVENANCE:
CONTACT Photography Festival, Toronto, ON
$10,000 — 15,000
Burtynsky writes about the subject of this photograph, “open-pit mines are wounds we’ve inflicted, and the wonderment they excite easily becomes tinged with pangs of remorse or dread.” Burtynsky calls this storm of feeling ‘‘a reversal of the sublime. In the beginning, ‘the sublime’ meant us in fear of nature,’’ he explains. “We would look up at a thundercloud or mountain, or across a heavy sea, and be ‘“awe-struck” or powerless. But fast forward to the Industrial Revolution, and 150 years after that, and now we are the awesome and fearsome force that’s reshaping the planet.’’(1)
(1) https://www.nytimes.com/interactive/2015/10/25/magazine/25mag-copper.html
How to explain the great beauty and seductiveness of Edward Burtynsky’s images of destruction? For centuries, humans have been trying to make sense of ruined places, these uneasy landscapes which tend to inspire the sort of deep feelings of impermanence and insignificance that most of us try to keep tucked away in the margins of our waking lives. How do we reconcile the great beauty of this photograph with the environmental price paid?
Burtynsky has said that early in his career, he “started thinking about ruins and the kinds of emotions they provoke. Throughout art history the ruin has been a subject of contemplation, of something melancholy and monumental. I think a lot of what I photograph are the ruins of our society, the ruins in the landscape, the things that are left behind.” (1)
In the Renaissance, artists and viewers were drawn to Greco-Roman ruins, seeking to form a connection with the monuments of a once-great culture. Instead, Burtynsky presents us with a more angst-filled vista: rather than romantic views of civilizations ravaged by time, Burtynsky asks us to look at the civilization doing the ravaging. Put another way, the scenes Burtynsky depicts are not the great achievements of our age, but rather that which facilitates our greatness. They are views of the overlooked, the willfully forgotten—instead of movie stars, Burtynsky takes us backstage to see the janitors, the popcorn-sweepers, and the minimum-wage cleaners.
Eighteenth century historian Edward Gibbon wrote: “if we are more affected by the ruin of a palace than by the conflagration of a cottage, our humanity must have formed a very erroneous estimate of the miseries of human life.” Through Burtynsky’s lens, places that were not supposed to be spaces of reflection or great humanity are allowed to serve as such. Burtynsky notes that his work “function[s] as reflecting pools of our times,”(2) allowing the viewer to arbitrate where these pictures sit on a scale between grandeur and entropy.
(1) Michael Torosian, “The Essential Element: An Interview with Edward Burtynsky” in Manufactured Landscapes, ed. Lori Pauli (Ottawa: National Gallery of Canada, 2003), 48
(2) Edward Burtynsky, “Statement,” accessed September 2023, https://www. edwardburtynsky.com/about/statement
EDWARD BURTYNSKY, RCA (B. 1955)
THREE GORGES DAM PROJECT, DAM #2, YANGTZE RIVER, CHINA, 2002
giclée photo-based print, composite from 5 6x7 cm colour negatives signed, titled, dated, and numbered 3/12 to label verso 23 x 86 in — 58.4 x 218.4 cm
PROVENANCE:
Mira Godard Gallery, Toronto, ON; Private Collection, Toronto, ON
$12,000 — 16,000
5
JOSHUA JENSEN-NAGLE (B. 1981)
UNTITLED FROM “INDUSTRIAL LANDSCAPES”, 2004
inkjet print on cotton rag paper signed, dated and numbered 3/5 to margin 44 x 44 in — 111.8 x 111.8 cm
PROVENANCE:
Private Collection, Toronto, ON
$800 — 1,200
6
PETER DOIG (B. 1959), SCOTTISH
UNTITLED (ACROSS THE LAKE), 2000
Fuji Crystal Archive chromogenic print on PE-paper; signed, dated, and numbered 8/12 verso
image 26.5 x 40 in — 67.3 x 101.6 cm
PROVENANCE:
Greenberg Van Doren Fine Art, New York, NY
Private Collection, Toronto, ON
$2,000 — 3,000
PETER DOIG (B. 1959), SCOTTISH
UNTITLED (THROUGH THE WOODS), 2000
Fuji Crystal Archive chromogenic print on PE-paper; signed, dated, and numbered 8/12 verso
image 26.5 x 40 in — 67.3 x 101.6 cm
PROVENANCE:
Greenberg Van Doren Fine Art, New York, NY Private Collection, Toronto, ON
$2,000 — 3,000
8
SUZY LAKE (B. 1947), AMERICAN/CANADIAN
EXTENDED BREATHING WITH MOVING GRASSES, 2009 FROM THE CONTACT PHOTOGRAPHY COLLECTION
lightjet print; signed, dated “09/11”, and numbered 20/25 to margin; also signed, titled, dated, and numbered to label; printed in 2011
18 x 24 in — 45.7 x 61 cm
PROVENANCE:
CONTACT Photography Festival, Toronto, ON
$1,500 — 2,000
With a program centred on photography, the Deja Vue Gallery was one of the first spaces in Toronto to champion the medium. The diversity of the Gallery’s collection includes Canadian artists Richard Harrington and Yousuf Karsh. Harrington, known for his work in the Canadian Arctic, recorded the vanishing nomadic lifestyle of the Inuit. In his later book, “The Face of the Arctic”, he wrote that “in the midst of this misery, I took photographs. These pictures would, I hope, show the outside world what real suffering was. They would also show the strength, endurance, courage and ingenuity of an almost exhausted people.” (1)
In contrast, Karsh believed that a portrait should be more than just a representation of the physical appearance of a person, and should also convey their inner spirit and character. Thanks to a variety of light techniques, each portrait included in this auction – “Georges Braque”, 1941, “Joan Baez”, 1970, “George Bernard Shaw”, 1943 – are distinctly represented, each existing within their own world.
American masters are also represented by the Deja Vue collection, with offerings by Edward Weston and his Western landscapes. “Rancho Sonoma,” 1937, “Point Lobos,” 1929, “Kelp”, 1930, and “Wing of Pelican”, 1931 all represent quintessential parts of the artist’s oeuvre. Part of the Group f/64 along with Ansel Adams, Willard Van Dyke and Imogen Cunningham, Weston focused on precise studies, and his work greatly influenced the aesthetics of American photography.
The final images made by the artist were taken in Point Lobos in 1948, before Parkinson’s disease made his work no longer possible. His legacy is carefully maintained by his sons Brett and Cole, who have produced prints using the original negatives per the instructions of their father for approximately 40 years.
(1) https://www.waddingtons.ca/richard-harrington-arctic-photographs-from-the-collection-oflorraine-monk/
9
EDWARD WESTON (1886-1958), AMERICAN
MR. FRY, BURNET, TEXAS, 1941
gelatin silver print flush mounted to card; Edward Weston credit stamp, printed and signed by Cole Weston to credit stamp verso; titled, dated, and inscribed “TX41-A-4” by Cole Weston in pencil to mount verso
image 7.3 x 9.3 in — 18.5 x 23.6 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$5,000 — 8,000
10
EDWARD WESTON (1886-1958), AMERICAN
RANCHO SONOMA, 1937
gelatin silver print flush mounted to card; Edward Weston credit stamp, printed and signed by Cole Weston to the credit stamp verso; titled, dated, and inscribed “CR-LL-19” by Cole Weston in pencil to mount verso
image 7.3 x 9.3 in — 18.5 x 23.6 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$2,500 — 4,500
11
EDWARD WESTON (1886-1958), AMERICAN
POINT LOBOS, 1929
gelatin silver print flush mounted to card; Edward Weston credit stamp, printed and signed by Cole Weston to the credit stamp verso; titled, dated, and inscribed “17R” by Cole Weston in pencil to mount verso
image 9.1 x 7.2 in — 23 x 18.2 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$3,000 — 5,000
12
EDWARD WESTON (1886-1958), AMERICAN KELP, 1930
gelatin silver print flush mounted to card; Edward Weston credit stamp, printed and signed by Cole Weston to the credit stamp verso; titled, dated, and inscribed “5K” by Cole Weston in pencil to mount verso
image 9.1 x 7.3 in — 23 x 18.5 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$3,000 — 5,000
EDWARD WESTON (1886-1958), AMERICAN
WING OF PELICAN, 1931
gelatin silver print; Edward Weston credit stamp, printed and signed by Cole Weston to the credit stamp verso; titled, dated, and inscribed “2Bi” by Cole Weston in pencil to mount verso image 7.1 x 9.3 in — 18 x 23.5 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$3,000 — 5,000
14
EDWARD WESTON (1886-1958), AMERICAN
OCEANO, 1936
gelatin silver print; Edward Weston credit stamp, printed and signed by Cole Weston to the credit stamp verso; titled, dated, and inscribed “4750” by Cole Weston in pencil on mount verso image 15 x 13 in — 38.1 x 33 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,600 — 1,800
EDWARD WESTON (1886-1958), AMERICAN ROCKS AND PEBBLES, 1948
gelatin silver print flush mounted to a card support; Edward Weston credit stamp, printed and signed by Cole Weston to the credit stamp verso; titled, dated, and inscribed “UL48-R-1” by Cole Weston in pencil to mount verso
image 7.3 x 9.3 in — 18.5 x 23.5 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$3,000 — 5,000
EDWARD WESTON (1886-1958), AMERICAN CYPRESS ROOT AND SUCCULENTS, POINT LOBOS, 1930
gelatin silver print flush mounted to a card support; Edward Weston credit stamp, printed and signed by Cole Weston to the credit stamp verso; titled, dated, and inscribed “43T” by Cole Weston in pencil to mount verso
image 9.3 x 7.3 in — 23.6 x 18.5 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$3,000 — 5,000
PETER BEARD (1938-2020), AMERICAN
A BEND IN THE RIVER AFTER THE DIE-OFF, 1976
gelatin silver print with ink and collages elements; signed, titled, dated, and annotated in ink; stamped and labeled verso
19 x 13 in — 48.3 x 33 cm
PROVENANCE:
Gift from the Artist to AMREF Health Africa - Canada, 1999 Private Collection, Toronto, ON
$25,000 — 30,000
Peter Beard grew up in an environment that venerated art and nature. His family, heirs to the Great Northern Railway Company, settled in Montauk, New York in the late 19th century and amassed a large collection of realist paintings. The desire to depict the reality of nature in all its glory and suffering inspired Beard in his own career in photography, where the artist would carefully document diminishing wildlife populations throughout the African continent.
Harbouring an interest in naturalism in his youth, Beard began collecting and scrapbooking elements of nature he found indelible – leaves, animal skins, bone, and blood. The artist’s draw to nature led Beard to travel across Africa at age 17, Voigtlander camera in hand, with the great-grandson of Charles Darwin, Quentin Keynes. (1) The awe-inspiring trip would be the first of many for the photographer as he would take up residence in Kenya and begin to note the brutal, rapid decline of the wildlife population.
Beard took particular interest in the Tsavo River region of Kenya, where he befriended the warden of Tsavo River East National Park, Bill Woodley, in 1961. Encountering the likes of hunters, poachers, and nature conservators, Beard quickly noted the unsustainable environment inhabited by the elephants and photographed his findings in his 1965 book “The End of the Game – Last Word From Paradise.” The book would bring the photographer international acclaim from fellow authors and artists including Kurt Vonnegut, The Rungstedlund Foundation, Salvador Dalí, and Francis Bacon.
A Bend in the River After the Die Off, 1976 by Peter Beard is one of the artist’s most iconic and well-known images – depicting the few surviving elephants of the Tsavo River National Park drought in the 1960s and ‘70s. In this particular work on offer, Beard draws on his childhood journaling by personalizing the print via annotations with collage elements and recollections from his time spent in the Tsavo River region. When preparing for the 2013 dedicated auction of his photographs at Christie’s New York, Beard reflected on his experience capturing A Bend in the River After the Die Off, 1976 stating: “Kurt Vonnegut told me once that when he witnessed 30,000 people die at Dresden, he felt as though he owned the whole horror, that the weight was on his shoulders. That was the way I felt about Tsavo.”(2) As the devastation continued in the Tsavo River region, Beard would go on to publish the second edition of The End of the Game which included the unaltered version of this photograph.
(1) Margalit Fox, “Peter Beard, Wildlife Photographer on the Wild Side, Dies at 82,” The New York Times, April 19, 2020
(2) Into Africa: Photographs by Peter Beard, October 3, 2013
JERRY UELSMANN (1934-2022), AMERICAN UNTITLED (FOREST CARPET), 1976 gelatin silver print ; initialed and dated; signed and dated to mat verso 13.75 x 10 in — 34.9 x 25.4 cm
PROVENANCE: Deja Vue Gallery, Toronto, ON $1,500 — 2,000
RICHARD HARRINGTON (1911-2005)
SMALL IGLOO AT NIGHT (WITH STAR MARKS DUE TO TIME EXPOSURE) NEAR PERRY RIVER, N.W.T., 1949
gelatin silver print; signed, titled, dated, numbered 1/5, and stamped verso; printed 1979
15.8 x 20 in — 40.2 x 50.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,000 — 1,500
RICHARD HARRINGTON (1911-2005)
ESKIMO HOLDING BUNDLES OF ARCTIC FOX SKINS
READY TO BE BAILED AT H.B.C. SPENCE BAY, N.W.T., HIS NAME IS ANIDAH, 1951
gelatin silver print; signed, titled, dated, numbered 1/6, and stamped verso; printed 1979
20 x 16 in — 50.8 x 40.6 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$2,000 — 3,000
21
RICHARD HARRINGTON (1911-2005)
‘ARCTIC FUR SHOW’ AT H.B.C. SPENCE
BAY N.W.T., 1951
gelatin silver print; signed, titled, dated, numbered 4/5, and stamped verso; printed 1979
20 x 16 in — 50.8 x 40.6 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$2,000 — 3,000
22
RICHARD HARRINGTON (1911-2005)
EEGIE WITH HER SISTER IN FULL WINTER DRESS, NEAR PADLEI, N.W.T., 1950
gelatin silver print; signed, titled, dated, numbered 1/5, and stamped verso; printed 1979
20 x 14 in — 50.8 x 35.6 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON $1,000 — 1,500
23
RICHARD HARRINGTON (1911-2005)
GIRL TAKING CARE OF BABY BROTHER AT POVUNGNITUK, QUE, 1952
gelatin silver print; signed, titled, dated, numbered 1/6, and stamped verso; printed 1979
16 x 20 in — 40.6 x 50.8 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,000 — 1,500
24
RICHARD HARRINGTON (1911-2005)
INUIT GIRL WITH HER DOLL, SOUTH OF COPPERMINE, 1949
gelatin silver print; signed, titled, dated, numbered 3/10, and stamped verso; printed 1979
14 x 10 in — 35.6 x 25.4 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,000 — 1,500
ANTANAS SUTKUS (B. 1939), LITHUANIA
JEAN PAUL SARTRE IN LITHUANIA, 1965
gelatin silver print; signed, titled, and dated verso; artist’s studio label verso 11.75 x 15.5 in — 29.8 x 39.4 cm
PROVENANCE:
Private Collection, Montreal, QC
EXHIBITED:
Jean Paul Sartre and Simone de Beauvoir in the Eyes of Antanas Sutkus, Centre Culturel Français de Vilnius, 1999, illustrated on cover and p. 26-27.
‘’J.P. Sartre and S. de Beauvoir in Lithuania 1965’’ for the 100th anniversary of Sartre, Centre Culturel Français, Stockholm; House of Literature, Munich, 2005.
Antanas Sutkus, White Space Gallery, London, 2006.
The Lithuanian School - Western Photography in the USSR, Lumiere Brothers Center for Photography, Moscow, 2011.
Antanas Sutkus: Um Olhar Livre, Museum Oscar Niemeyer, Curibita, Brazil, 2012.
Antanas Sutkus, Pushkin House, London, 2012.
$4,000 — 5,000
CHUCK CLOSE (1940-2021), AMERICAN SELF PORTRAIT PORTFOLIO, 2002
archival Iris prints with screened varnish over image area on Crane Museo 300Gram paper, with full margins; signed, dated, and editioned “P.P.V”, for printer’s proof 5, aside from the edition of 30; printed by David Adamson, Washington, D.C.; published by ACS Editions, Milan and New York
each image 25 x 19 in — 63.5 x 48.3 cm
PROVENANCE:
Private Collection, Toronto, ON $6,000 — 8,000
Chuck Close is well known for his portraits and self-portraits. He has made more than a hundred works of his own face during his career. Close has been face-blind since his youth, and it is this incapacity to remember a face that has motivated this part of his practice. Following an accident in 1988 which left him quadriplegic, Close returned to the easel to explore the limits of disabilities, old and new. In retrospect, Close said: “Everything in my work is directly related to my learning disabilities. […] People’s faces have urgency for me. I don’t care about anything as much as knowing who people are.” (1)
Close’s photographic practice was initially intended to support his realist paintings. His first large and impactful self-portrait, Big Self-Portrait, 1967–1968, purchased by the Walker Art Center in Minneapolis, is an oil on canvas made after a photograph taken by the artist. Fascinated by the photographic process, Close investigated the daguerreotype, the Polaroid and even the Woodburytype. His portraits of celebrities include Kate Moss, Brad Pitt, Alex Katz and other defining personalities of our time.
This Self-Portrait Portfolio, 2002, a suite composed of five self-portraits shows the artist at the age of 62, attempting to capture different angles of his face from one side to the other, forming a sort of topography of his head as if to keep track of his face and features.
(1) https://www.brainandlife.org/articles/ dyslexia-paralysis-face-blindness-nothingcomes-between-legendary-artist-chuck
27
YOUSUF KARSH (1908-2002)
GEORGES BRAQUE, 1949
rotogravure
signed lower left 8 x 9 in — 20.3 x 22.9 cm
PROVENANCE:
Private Collection, Toronto, ON
$800 — 1,200
28
YOUSUF KARSH (1908-2002), CANADIAN
JOAN BAEZ, 1970
gelatin silver print; signed to mat 16.9 x 13.5 in — 42.8 x 34.3 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON $2,500 — 3,500
YOUSUF KARSH (1908-2002)
HELEN KELLER AND POLLY THOMSON, 1948 rotogravure
signed lower right image 8 x 9 in — 20.3 x 22.9 cm
PROVENANCE:
Private Collection, Toronto, ON $800 — 1,200 30
YOUSUF KARSH (1908-2002)
GEORGE BERNARD SHAW, 1943 rotogravure
initialed lower left image 11 x 9.25 in — 27.9 x 23.5 cm
PROVENANCE:
Private Collection, Toronto, ON
$800 — 1,200
31
FRANZ J. ROSENBAUM (1929-2012), GERMAN
ELLA FITZGERALD, MASSEY HALL, TORONTO, 1965
vintage gelatin silver print; signed, titled and dated; inscribed “File #16A” verso 8 x 10 in — 20.3 x 25.4 cm
PROVENANCE:
Private Collection, Toronto, ON
$1,000 — 1,500
32
FRANZ J. ROSENBAUM (1929-2012), GERMAN
MILES DAVIS, NEWPORT, 1966
vintage gelatin silver print; signed, titled, dated; inscribed “File #34” in pencil verso image 6.5 x 10 in — 16.5 x 25.4 cm
PROVENANCE:
Private Collection, Toronto, ON
$1,500 — 2,000
SHAHROKH HATAMI (1930-2017), BRITISH
FAB FOUR, LIVERPOOL, 1962
gelatin silver print; signed lower right; signed, titled, dated, and inscribed “pour Martin Burdock” verso image 19.8 x 14.8 in — 50.2 x 37.7 cm
PROVENANCE:
Corporate Collection, Toronto, ON $600 — 800
GENERAL IDEA (1968-1994)
“AVOID FREUD” ALBUM SHOOTCROSSED ARMS, 1980
gelatin silver print, unique Canadian art collective General Idea created the artwork for Rough Trade’s album “Avoid Freud,” released in 1980. This image was taken by Jorge Zontal during one of the photo shoots for the album
7 x 5 in — 17.8 x 12.7 cm
PROVENANCE:
The Personal Collection of Carole Pope, courtesy of United Contemporary
$7,000 — 10,000
Bursting onto the music scene in the late 1960s, Canadian rock icon Carole Pope unapologetically surpassed boundaries and advocated for LGBTQI+ visibility decades before the acronym existed and before sexual orientation was included in the Canadian Charter of Rights and Freedoms. Throughout her career, as half of the musical duo Rough Trade, and as a solo new-wave vocalist, Pope’s lyrics have always been provocative and sex-positive – making her “a fixture in Canada’s queer community.”(1)
Waddington’s is honoured to offer two never-before-seen photographs from the Rough Trade Avoid Freud album cover shoot photographed by Jorge Zontal, a member of the famed Canadian art collective General Idea. Having recently acquired the Avoid Freud contact sheet for the Art Gallery of Ontario’s permanent collection, Curator of Photography Sophie Hackett emphasizes the importance of this particular album shoot stating: “Made for Rough Trade’s 1980 album Avoid Freud — featuring their most wellknown track ‘High School Confidential’ — the contact sheet of lead singer Carole Pope is a study in icon-making. Posing in a Thierry Mugler jacket, with a martini glass, Pope is the epitome of Queer cool. General Idea once again deploys the photographic image for its symbolic power and skewers it at the same time.”(2)
This photograph comes to Waddington’s from the personal collection of Carole Pope, courtesy of United Contemporary.
(1)Oliver Skinner et al., “Carole Pope: The Crotch Grab Heard around the World | Super Queeroes,” CBCnews, accessed April 17, 2024
(2)Burke Paterson and Melanie Trojkovic, “AGO ACQUISITION CAROLE POPE PORTRAIT BY GENERAL IDEA,” United Contemporary, November 5, 2022
GENERAL IDEA (1968-1994)
“AVOID FREUD” ALBUM SHOOT - SALUT, 1980 gelatin silver print, unique Canadian art collective General Idea created the artwork for Rough Trade’s album “Avoid Freud,” released in 1980. This image was taken by Jorge Zontal during one of the photo shoots for the album
7 x 5 in — 17.8 x 12.7 cm
PROVENANCE:
The Personal Collection of Carole Pope, courtesy of United Contemporary
$7,000 — 10,000
DANA CLAXTON (B. 1959)
STUDY FOR A PROTEST, 2018 FROM THE CONTACT PHOTOGRAPHY COLLECTION
chromogenic print
signed, titled, dated, and numbered 11/25 to label
20 x 16 in — 50.8 x 40.6 cm
PROVENANCE:
CONTACT Photography Festival, Toronto, ON $1,200 — 1,800
37
KEN LUM (B. 1956), CANADIAN
I DON’T KNOW WHETHER TO LAUGH OR CRY, 2003 FROM THE CONTACT PHOTOGRAPHY COLLECTION
giclee print on Arches paper; signed and numbered 58/75 to margin image 20 x 7.75 in — 50.8 x 19.7 cm
PROVENANCE:
CONTACT Photography Festival, Toronto, ON $1,000 — 2,000
38
ANGELA GRAUERHOLZ (B. 1952) JUDITH SCHWARZ, 1984
gelatin silver print signed, titled, dated and numbered 3/3 verso
40 x 52 in — 91.4 x 90.2 cm
PROVENANCE:
Olga Korper Gallery, Toronto, ON Private Collection, Toronto, ON
$2,000 — 3,000
39
PASCAL GRANDMAISON (B. 1975)
VERRE #7, 2004
chromogenic print mounted on plexiglass titled and numbered 3/3 verso
71 x 71 in — 180.3 x 180.3 cm
PROVENANCE: Jessica Bradley Art + Projects, Toronto, ON Private Corporate Collection, Ontario
$5,000 — 7,000
CHARLIE ENGMAN (B. 1987), AMERICAN MOM IN THE BADLANDS, 2014 FROM THE CONTACT PHOTOGRAPHY COLLECTION
chromogenic print; signed on label verso; from an edition of 25 16 x 24 in — 40.6 x 61 cm
PROVENANCE: CONTACT Photography Festival, Toronto, ON
$1,200 — 1,800
41
SUZY LAKE, RCA (B. 1947)
STUDY: IMITATIONS OF THE SELF #3, 1973/2012 archival pigment print
signed, titled, dated and numbered 5/23 to certificate of authenticity verso sheet 12.5 x 18 in — 55.9 x 43.2 cm; image 18 x 12.5 in — 45.7 x 31.8 cm
PROVENANCE: Private Collection, Toronto, ON $1,200 — 1,500
With varied subjects including portraits, nudes, florals, and street photography, Imogen Cunningham was a prolific artist. Though born in 1883, Cunningham was a pioneer of the 20th century as well as a feminist icon. Cunningham disregarded the opposition between men and women. Alex Greenberger writes that “Early on, in 1913, she wrote a manifesto called “Photography as a Profession for Women.” She insisted that women were just as physically able to undertake the then-laborious process of shooting and developing photographs and that the two genders had different but equally worthy forms of expression.” (1)
Cunningham wanted to be a photographer from a young age. At the time, photography was not offered as a course, so she enrolled at the University of Washington as a chemistry student to better understand film and the chemical processes of photography. After a two-year stay in Dresden, Germany, under the tutelage of Dr. Robert Luther at the Technische Hochschule, Cunningham became proficient in platinum printing. Returning to the United States in 1910, the artist started her own studio in Seattle, producing images in line with the Pictorialist movement.
After a brief stay in San Francisco, Cunningham settled in Oakland, where her initial interest in floral photography began in the late 1910s. Occupied with raising her children, Cunningham was tethered to her home, which sparked an interest in gardening. Far from impeding her artistic practice, this newfound passion led her towards a new vein – her floral works. Magnolia Blossom, 1925, is the result of her many experiments, and is a detailed and modernist picture which echoes Georgia O’Keeffe’s celebrated paintings. (2) With a botanist’s clinical approach, her work from the 1920s is clear and detailed, and the roots of Modernism can be observed. (3)
Cunningham became one of the founding members of the Group f/64 in 1932, along with Ansel Adams, John Paul Edwards, Preston Holder, Consuelo Kanaga, Alma Lavenson, Sonya Noskowiak, Henry Swift, Willard Van Dyke, Brett Weston, and Edward Weston. Their aim was to break free from the Pictorialist movement, and instead replace it with sharply focused and well-framed images. A lack of artifice combined with an emerging “American” aesthetic was their drive, influenced by Modernism. (4)
In The Unmade Bed, 1957, Cunningham pursued her experiments. Moving past her nude works from the 1920-1930s, the artist considered an unmade bed. A certain mood is made clear. Of her work, Cunningham said that her “taste lay somewhere between reality and dreamland,” a combination of a precise image and an abstract perspective from a brilliant photographer.
(1) https://www.artnews.com/feature/imogen-cunningham-why-is-she-important-1234571453/
(2) https://iphf.org/inductees/imogen-cunningham/
(3) Her passion for plants resulted in the creation of the California Horticultural Society in 1933 in response to a terrible freeze.
(4) “The name referred to the smallest aperture available in large-format view cameras at the time and it signalled the group’s conviction that photographs should celebrate rather than disguise the medium’s unrivalled capacity to present the world “as it is.” As Edward Weston phrased it, “The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh.” ” Lisa Hostetler, Department of Photographs, The Metropolitan Museum of Art.
IMOGEN CUNNINGHAM (1883-1976), AMERICAN
THE UNMADE BED, 1957
gelatin silver print; signed and dated to mat
10.5 x 13.5 in — 26.7 x 34.3 cm
PROVENANCE:
Art Mûr, Montreal, QC
Private Collection, Montreal, QC
$15,000 — 20,000
IMOGEN CUNNINGHAM (1883-1976), AMERICAN MAGNOLIA BLOSSOM, 1925
gelatin silver print; signed and dated to mat 10 x 13.75 in — 25.4 x 34.9 cm
PROVENANCE:
Art Mûr, Montreal, QC
Private Collection, Montreal, QC
LITERATURE:
Paul Martineau, Imogen Cunningham: A Retrospective. Getty Publications, 2020. Magnolia Blossom is used as the cover.
$15,000 — 20,000
44
ANDRÉ KERTÉSZ (1894-1985), HUNGARIAN
MELANCHOLIC TULIP, 1939
gelatin silver print; printed circa 1970 sheet 10 x 8 in — 25.4 x 20.3 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$2,000 — 2,500
HOWARD BOND (B. 1931), AMERICAN PALACE COURTYARD, FREISTADT; CHURCH, FREISACH; CHAIRS, VIENNA; CHURCH WINDOW, MARIA SAAL; VAULTED CEILING, SALZBURG FROM “PORTFOLIO II, AUSTRIA,” 1979
gelatin silver prints; each signed on mount; titled, dated, and stamped to mount verso each image 10.5 x 13.5 in — 26.7 x 34.3 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON $1,000 — 1,500
46
LYNNE COHEN, RCA (1944-2014)
INDOOR SWIMMING POOL DISPLAY, SWIMMING POOL STORE, OTTAWA, 1977
silver gelatin print
titled and signed by artist to mount verso; titled and dated to gallery label
image 7.5 x 9.5 in — 19.1 x 24.1 cm
PROVENANCE:
Yarlow/Salzman Gallery, Toronto, ON Private Collection, Toronto, ON
$1,400 — 2,000
47
HOWARD BOND (B. 1931), AMERICAN
ICE DETAIL NO. 6, FROM “PORTFOLIO IV: HURON RIVER,” 1976
gelatin silver print; signed to mat; titled, dated, and stamped to mat verso
image 13.5 x 10.25 in — 34.3 x 26 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$500 — 700
48
EDWARD BURTYNSKY, RCA (B. 1955)
CHINA QUARRIES #2, XIAMEN, FUJIAN PROVINCE, 2004
digital chromogenic colour print signed, titled, dated, and numbered 2/5 to label verso image 40 x 50 in — 101.6 x 127 cm
PROVENANCE:
Nicholas Metivier Gallery, Toronto, ON Corporate Collection, Ontario
$10,000 — 15,000
49
PAUL STRAND (1890-1976), AMERICAN FROM THE VIADUCT, NEW YORK, 1916 photogravure on period paper; titled and dated, with artist identification in pencil verso; published in Camera Work and printed circa 1916
image 9.5 x 6.75 in — 24.1 x 17.1 cm
PROVENANCE: Private Collection, Toronto, ON $4,500 — 6,500
50
RICHARD HARRINGTON (1911-2005)
CLEANING THE ICE WINDOW OF AN IGLOO AT POVUNGNITUK, QUEBEC, 1952 gelatin silver print; signed, titled, dated, numbered 1/6 and stamped verso; printed 1979
15.8 x 18.7 in — 40.2 x 47.5 cm
PROVENANCE: Deja Vue Gallery, Toronto, ON $1,000 — 1,500
RICHARD HARRINGTON (1911-2005)
ESKIMO DRUM DANCER AT AN INLAND CAMP NEAR BATHURST INLET, N.W.T., 1949
gelatin silver print; signed, titled, dated, numbered 2/5 and stamped verso; printed 1979
19.4 x 15.9 in — 49.4 x 40.3 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,000 — 1,500
52
RICHARD HARRINGTON (1911-2005)
A GAUNT PADLEI INUIT WOMAN NEAR DEATH DUE TO HUNGER - AT STARVATION CAMP, DRESSED IN AN OLD HAIRLESS ‘ARTIGGI’ INNER CARIBOU SKIN PARKA, 1950
gelatin silver print; signed, titled, dated, numbered 1/25 and stamped verso; printed 1980
14 x 11 in — 35.6 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,000 — 1,500
53
RICHARD HARRINGTON (1911-2005)
AN INUIT WOMAN IN HER IGLOO AT ESKIMO POINT, 1950
gelatin silver print ; signed, titled, dated and stamped verso; printed 1980
13.9 x 10.8 in — 35.2 x 27.4 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,000 — 1,500
54
RICHARD HARRINGTON (1911-2005)
PADLEI INUIT WOMAN IN LABOUR PAINS IN HER IGLOO AT ‘STARVATION CAMP’, 1950
gelatin silver print; signed, titled, dated and stamped verso; printed 1980
10.9 x 14 in — 27.8 x 35.6 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$800 — 1,200
55
RICHARD HARRINGTON (1911-2005)
PADLEI INUIT WOMAN IN LABOUR PAINS WITH HER CHILD IN THEIR IGLOO AT ‘STARVATION CAMP’, 1950
gelatin silver print; signed, titled, dated and stamped verso; printed 1980
14 x 10.2 in — 35.6 x 26 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,000 — 1,500
56
RICHARD HARRINGTON (1911-2005)
PADLEI INUIT MOTHER CARESSES HER CHILD AT ‘STARVATION CAMP’ INSIDE THEIR IGLOO, 1950
gelatin silver print; signed, titled, dated, numbered 7/7 and stamped verso; printed 1979
20 x 16 in — 50.8 x 40.6 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$2,500 — 3,500
57
RICHARD HARRINGTON (1911-2005)
CHARLOTTE VOISEY (PART INUIT) WEARS THE TYPICAL BEAD COVERED ‘ARTIGGI’ OF THE PADLEI INUIT TRIBE, 1950
gelatin silver print; signed, titled, dated and stamped verso, from an edition of 25; printed 1980
14 x 11 in — 35.6 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,000 — 1,500
58
KATHERINE TAKPANNIE (B. 1989), CANADIAN
OUR WOMEN AND GIRLS ARE SACRED #2, 2016 FROM THE CONTACT PHOTOGRAPHY COLLECTION
archival pigment print; titled, dated, and editioned “1/15 AP1” to gallery label verso
16 x 24 in — 40.6 x 61 cm
PROVENANCE:
Olga Korper Gallery, Toronto, ON CONTACT Photography Festival, Toronto, ON
$2,000 — 3,000
59
DOMINIQUE REY (B. 1952), CANADIAN WINTER GREEN, 2011 FROM THE CONTACT PHOTOGRAPHY COLLECTION
chromogenic print; signed, titled, dated and numbered 1/25 to label verso; printed 2012
16 x 24 in — 40.6 x 61 cm
PROVENANCE:
CONTACT Photography Festival, Toronto, ON $1,200 — 1,800
60
ARNAUD MAGGS (1962-2012)
LEDOYEN SERIES, 48 PROFILE VIEWS, 1979
silver gelatin print
signed, titled, and dated verso sheet 16 x 20 in — 40.6 x 50.8 cm
PROVENANCE:
Private Collection, Toronto, ON $1,000 — 2,000
ADAD HANNAH (B. 1971), AMERICAN AN ARRANGEMENT (STRIPES CASE STUDIES 1, 3 & 9), 2018
archival pigment prints; from the edition of 3 each 24 x 36 in — 61 x 91.4 cm
PROVENANCE:
Private Collection, Montreal, QC
$6,000 — 8,000
STEVEN BECKLY (B. 1981), CHINESE/CANADIAN
UNTITLED, 2015 FROM THE CONTACT PHOTOGRAPHY COLLECTION
chromogenic print; signed, titled, dated and numbered 7/25 to label verso; printed 2017
30 x 24 in — 76.2 x 61 cm
PROVENANCE:
CONTACT Photography Festival, Toronto, ON
$1,500 — 2,500
MOCA 20TH ANNIVERSARY PHOTOGRAPHY PORTFOLIO
(THE MUSEUM OF CONTEMPORARY ART LOS ANGELES), 1999
chromogenic prints, in original plexiglass box; each signed and numbered 8/250; printed 1999
1. Cindy Bernard, “Location Proposal #2: Shot 11, Silverlake, June 1998,” 1998
2. Keith Boadwee, “Untitled (Barfing Clown),” 1990
3. Donigan Cumming, “May 27, 1992,” 1992
4. Renee Green, From “Partially Buried in Three Parts (Kent, Ohio),” 1996
5. Lyle Ashton Harris, “Untitled (Freesia),” 1998
6. Susan Jennings, “Strangeness II (Leaf Veins/Blood),” 1998
7. Martin Kersels, “Pestering (Patty),” 1999
8. Gail LeBoff, “Bird and Bone Triptych,” 1999
9. Shirin Neshat, “I am Its Secret,” 1993
10. Bruce & Norman Yonemoto, “Waiting (After Reinhardt),” 1999
various sizes up to 19.5 x 15.75 in — 49.5 x 40 cm; largest 15.5 x 19.25 in — 39.4 x 48.9 cm
PROVENANCE: Courtesy of Border Crossings, Winnipeg, MB
$15,000 — 25,000
Of her practice, Lynne Cohen explained: “I prefer to allude to things and leave it to the viewer to fill in the details. Like Brecht and Godard, I want the audience to do some work.” Cohen has long focused on photographing “found environments”: empty spaces bereft of human presence, yet purpose-built for human needs.
Cohen leaves most of the interpretation of these spaces to the viewer, asking them to project their own experiences and anxieties of place. While early in her career Cohen would label images with more specific titles, these were soon pared down in favour of more vague and concise titles. This evolution of her titles is reflected in the two works on offer in this auction, one from 1977, Indoor Swimming Pool Display, Swimming Pool Store, Ottawa, and her very large work Untitled, (Windows) from 2011. Both spaces are both novel and familiar, a peculiar mix of banality and strangeness where function often triumphs over aesthetics.
Canadian writer James D. Campbell noted that “Cohen has always focused on these uncanny interiors, building up a remarkable inventory of images that were initially mostly executed in black and white. She seems to choose her locations for their sheer strangeness and radically indeterminate character and is reluctant to share their site-specificity. Now colour has been brought into the mix in a way that accentuates their implicit surreality and adds dimensionality. Images of meticulously built places for purposes that are heretofore unknown to us and that would remain unknowable but for their laconic titles, they nevertheless appear to have arrived from an extravagant elsewhere. If the medium of photography itself has been built upon a dark heart of deception, then Cohen is a beautiful liar. […] Cohen’s places hew to another order of significance altogether and while they share some of the same parentheses, they get under our skin, and yield a frisson – as though they were surgical theatres for a photographer’s wayward trepanning operations.” (1)
(1) https://www.frieze.com/article/lynne-cohen
LYNNE COHEN RCA (1944-2014), AMERICAN/CANADIAN
UNTITLED (PLANTERS), 2007 FROM THE CONTACT PHOTOGRAPHY COLLECTION
chromogenic print; signed, titled, dated and numbered 23/25 to label verso; printed 2012 16 x 20 in — 40.6 x 50.8 cm
PROVENANCE:
CONTACT Photography Festival, Toronto, ON
$1,500 — 2,500
LYNNE COHEN RCA (1944-2014), AMERICAN-CANADIAN
UNTITLED (WINDOWS), 2011 chromogenic print; signed and numbered 2/5 to label verso
52 x 61.75 in — 132.1 x 156.8 cm
PROVENANCE:
Private Collection, Montreal, QC
$10,000 — 15,000
PHILIPPE CHANCEL (B. 1959), FRENCH
ARIRANG, 2006 FROM THE CONTACT PHOTOGRAPHY COLLECTION
chromogenic print; signed, titled, dated and numbered 11/25 to label; printed 2012 14 x 20 in — 35.6 x 50.8 cm
PROVENANCE:
CONTACT Photography Festival, Toronto, ON
$1,000 — 1,500
GREGORY CREWDSON (B. 1962), AMERICAN UNTITLED, FROM “UNRELEASED #4,” 2003 archival pigment print; signed to margin 11 x 14 in — 27.9 x 35.6 cm
PROVENANCE:
Aperture Foundation, New York, NY Private Collection, Quebec
$2,000 — 3,000
EDWARD BURTYNSKY, RCA (B. 1955)
SHIPYARD #13, QILI PORT, ZHEJIANG
PROVINCE, CHINA, 2005
digital chromogenic colourprint signed, titled, dated and numbered 8/9 to label verso image 49 x 39 in — 124.5 x 99.1 cm
PROVENANCE:
Nicholas Metivier Gallery, Toronto, ON Corporate Collection, Ontario
$15,000 — 25,000
GREG GIRARD (B. 1955), CANADIAN MIGRANT WORKERS IN CREEK, DONGGUAN, FROM “PHANTOM SHANGHAI SERIES”, 1996
chromogenic print
signed, titled, dated, and numbered 1/3 to label verso
48 x 60 in — 121.9 x 152.4 cm
PROVENANCE:
Monte Clark Gallery, Vancouver, BC Private Collection, Ontario
$2,500 — 3,500
70
OSVALDO SALAS (1914-1992), CUBAN/AMERICAN
CON HEMINGWAY, 1960
gelatin silver print; signed, titled, dated, and numbered 16/2 in pencil with Salas Cuba blindstamp; copyright label verso; printed in collaboration with Roberto Salas ca. 1980
sheet 15.9 x 19.5 in — 40.3 x 49.5 cm
PROVENANCE:
Collection of Roberto Salas, Havana, Cuba
Gifted to present Private Collection, Toronto, ON
$1,000 — 1,500
71
OSVALDO SALAS (1914-1992), CUBAN/AMERICAN
ABUELO Y NIETA, 1964
gelatin silver print; signed, titled, dated, and situated “Havana, Cuba” with Salas Cuba blindstamp; copyright label verso; printed in collaboration with Roberto Salas ca. 1980 sheet 18.7 x 15.6 in — 47.5 x 39.5 cm
PROVENANCE:
Collection of Roberto Salas, Havana, Cuba
Gifted to present Private Collection, Toronto, ON
$500 — 700
72
OSVALDO SALAS (1914-1992), CUBAN/AMERICAN
CHE, 1963
gelatin silver print; signed, titled, and dated with Salas Cuba blindstamp; copyright label verso; printed in collaboration with Roberto Salas ca. 1980 sheet 15.7 x 19.5 in — 40 x 49.5 cm
PROVENANCE:
Collection of Roberto Salas, Havana, Cuba
Gifted to present Private Collection, Toronto, ON
$500 — 700
OSVALDO SALAS (1914-1992), CUBAN/AMERICAN
REBEL CON MOTO, 1961
gelatin silver print; signed, titled, dated, and situated “Havana, Cuba” with Salas Cuba blindstamp; copyright label verso; printed in collaboration with Roberto Salas ca. 1980 sheet 15.7 x 18.9 in — 40 x 48 cm
PROVENANCE:
Collection of Roberto Salas, Havana, Cuba
Gifted to present Private Collection, Toronto, ON
$800 — 1,200
74
OSVALDO SALAS (1914-1992), CUBAN/AMERICAN SOMBREROS, 1962
gelatin silver print; signed, titled, dated, and situated “Havana, Cuba” with Salas Cuba blindstamp; copyright label verso; printed in collaboration with Roberto Salas ca. 1980 sheet 18.5 x 15.4 in — 47 x 39 cm
PROVENANCE:
Collection of Roberto Salas, Havana, Cuba
Gifted to present Private Collection, Toronto, ON
$600 — 800
75
BRUCE METCALFE (1890-1962)
PARADE OF THE WOODEN SOLDIERS, 1928
bromoil gelatin silver print estate stamp verso
5.5 x 4.4 in — 14 x 11.2 cm
PROVENANCE:
Christie’s, New York, 23 Apr 1996, lot 271 Private Collection, Massachusetts, USA
LITERATURE:
Photo Era, July, 1928. American Annual of Photography, 1930, pl. 86. Koltun, Private Realms of Light, p. 242.
$2,000 — 3,000
76
DON WHITMAN (1917-1998), AMERICAN TWO PHOTOGRAPHS: JIM DEMETRIOS DARDANIS POSED IN THE GRASS; SHERMAN ALSOP IN A COLORADO ROCKY LANDSCAPE
gelatin silver prints; each titled, numbered respectively 14-6 and 40-1 and stamped verso each sheet 14 x 11 in — 35.6 x 27.9 cm
PROVENANCE:
Private Collection, Toronto, ON
$400 — 600
JOEL-PETER WITKIN (B. 1939), AMERICAN
WOMAN ONCE A BIRD, 1990
platinum palladium print; signed and numbered 60/100 in pencil to margin sheet 16 x 13.1 in — 40.6 x 33.2 cm
PROVENANCE: Private Collection, Ontario
$800 — 1,200
78
CAROLEE SCHNEEMANN (1939-2019), AMERICAN
COLOUR VARIATION FROM “EYE BODY:
36 TRANSFORMATIVE ACTIONS FOR CAMERA,” 1963
chromogenic print; signed verso 12 x 16.5 in — 30.5 x 41.9 cm
PROVENANCE: Private Collection, Montreal, QC
$1,000 — 2,000
79
LUIS BUÑUEL (1900-1983) & SALVADOR DALÍ (1904-1989)
STILL FRAME FROM “UN CHIEN ANDALOU,” 1929
gelatin silver print
Le Minotaure, Paris stamp verso 7 x 9.25 in — 17.8 x 23.5 cm
PROVENANCE:
Le Minotaure, Paris, France Private Collection, Montreal, QC
$200 — 300
80
PHILIPPE HALSMAN (1906-1979), LATVIAN/AMERICAN
DALI LIGHT SCULPTURE, 1950
gelatin silver print; signed, titled, dated and stamped verso sheet 14 x 11 in — 35.6 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$800 — 1,000
PHILIPPE HALSMAN (1906-1979), LATVIAN/AMERICAN
COCTEAU’S DREAM, 1949
gelatin silver print; signed, titled, dated and stamped verso image 13.75 x 10.75 in — 34.9 x 27.3 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$3,000 — 5,000
82
PHILIPPE HALSMAN (1906-1979), LATVIAN/AMERICAN
DALÍ’S UNDERWATER ATOMIC EXPLOSION, 1954
gelatin silver print; signed, titled, dated and stamped verso sheet 13.5 x 11 in — 34.3 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$2,000 — 4,000
83
PHILIPPE HALSMAN (1906-1979), LATVIAN/AMERICAN SALVADOR DALÍ (CHEESE), 1950
gelatin silver print; stamped verso sheet 14 x 11 in — 35.6 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$800 — 1,200
84
PHILIPPE HALSMAN (1906-1979), LATVIAN/AMERICAN DALI EXPLODING, 1953
gelatin silver print; titled, dated and stamped verso
sheet 13.75 x 11 in — 34.9 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$300 — 500
PHILIPPE HALSMAN (1906-1979), LATVIAN/AMERICAN
MATISSE, 1952
gelatin silver print; signed, titled, dated and stamped verso sheet 14 x 11 in — 35.6 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$800 — 1,000
86
PHILIPPE HALSMAN (1906-1979), LATVIAN/AMERICAN
ANSEL ADAMS, 1958
gelatin silver print; signed, titled, dated and stamped verso sheet 14 x 11 in — 35.6 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$400 — 600
87
PHILIPPE HALSMAN (1906-1979), LATVIAN/AMERICAN
ALFRED EISENSTAEDT, 1962
gelatin silver print; signed, titled, dated and stamped verso sheet 13.75 x 11 in — 34.9 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$600 — 800
88
PHILIPPE HALSMAN (1906-1979), LATVIAN/AMERICAN
JUDGE LEONARD HAND, 1957
gelatin silver print; signed, titled, dated and stamped verso sheet 14 x 11 in — 35.6 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$500 — 800
PHILIPPE HALSMAN (1906-1979), LATVIAN/AMERICAN
EDWARD ALBEE, 1973
gelatin silver print; signed, titled, dated and stamped verso sheet 14 x 11 in — 35.6 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,000 — 1,200
90
PHILIPPE HALSMAN (1906-1979), LATVIAN/AMERICAN
MARTHA GRAHAM DANCE GROUP, 1946
gelatin silver print; signed, titled, dated and stamped verso sheet 13.75 x 11 in — 34.9 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$400 — 600
PHILIPPE HALSMAN (1906-1979), LATVIAN/AMERICAN
MARTHA GRAHAM DANCE GROUPE, 1946
gelatin silver print; signed, titled, dated and stamped verso image 11.4 x 10.6 in — 29 x 27 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$500 — 700
92
GEORGE PLATT LYNES (1907-1955), AMERICAN
ERRANTE, 1935
vintage gelatin silver print; titled, dated and stamped verso 9.1 x 7.1 in — 23 x 18 cm
PROVENANCE:
Jane Corkin Gallery, Toronto, ON Private Collection, Ontario
$800 — 1,200
WEEGEE (USHER ARTHUR FELLIG) (1899-1968), AUSTRIAN/AMERICAN
NATIVE SON, HOLLYWOOD, CA. 1950
gelatin silver print; titled to typed label verso
20.9 x 16.9 in — 53 x 43 cm
PROVENANCE:
Keith de Lellis Gallery, New York, NY Private Collection, Montreal, QC
$1,000 — 1,500
94
ROBIN SCHWARTZ (B. 1957), AMERICAN
E-ME LOU & ZEB, 1990
gelatin silver print; signed, titled and dated in pencil verso
16 x 20 in — 40.6 x 50.8 cm
PROVENANCE:
Keith de Lellis Gallery, New York, NY Private Collection, Montreal, QC
$800 — 1,000
95
ROBIN SCHWARTZ (B. 1957), AMERICAN IRVING AND BABE, 1996
gelatin silver print; signed, titled and dated in pencil verso
16 x 20 in — 40.6 x 50.8 cm
PROVENANCE:
Keith de Lellis Gallery, New York, NY
Private Collection, Montreal, QC
$800 — 1,000
96
ROBIN SCHWARTZ (B. 1957), AMERICAN JAKE AND MUGS, 1990
gelatin silver print; signed, titled and dated in pencil verso
16 x 20 in — 40.6 x 50.8 cm
PROVENANCE:
Keith de Lellis Gallery, New York, NY
Private Collection, Montreal, QC
$800 — 1,000
ALISON ROSSITER (B. 1953), AMERICAN LIGHT ANIMAL NO. 1, 2000
photogram on gelatin silver paper; signed, titled and dated in pencil verso
16 x 20 in — 40.6 x 50.8 cm
PROVENANCE: Private Collection, Montreal, QC
$2,000 — 3,000
98
SCARLETT HOOFT GRAAFLAND (B. 1973), DUTCH
POLAR BEAR, FROM “IGLOOLIK,” 2007- 2008 FROM THE CONTACT PHOTOGRAPHY COLLECTION
chromogenic print; signed and numbered 8/25 verso; printed 2011
20 x 24 in — 50.8 x 61 cm
PROVENANCE:
CONTACT Photography Festival, Toronto, ON
$2,000 — 3,000
99
RICHARD HARRINGTON (1911-2005)
GEORGE LUSH, LAST OF THE WHITE TRAPPERS WITH HIS LEAD DOG ‘NANOOK’ SOUTH OF ESKIMO POINT, N.W.T., 1950
gelatin silver print; signed, titled, dated, numbered 2/6 and stamped verso; printed 1979
20 x 16 in — 50.8 x 40.6 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,000 — 1,500
100
RICHARD HARRINGTON (1911-2005)
APPRENTICE CLERK AT H.B.C. POST AT BAKER LAKE, N.W.T. BROUGHT HIS BAGPIPE WITH HIM FROM SCOTLAND, 1950
gelatin silver print; signed, titled, dated, numbered 1/5 and stamped verso; printed 1979
19.9 x 16 in — 50.6 x 40.6 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,000 — 1,500
101
RICHARD HARRINGTON (1911-2005)
PADLEI INUIT WOMAN NEAR DEATH DUE TO FAMINE NEAR PADLEI, 1950
gelatin silver print; signed, titled, dated, and stamped verso, from an edition of 25; printed 1980
14 x 11 in — 35.6 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON; Private Collection, Toronto, ON
$1,000 — 1,500
102
RICHARD HARRINGTON (1911-2005)
ESKIMO MOTHER WITH HER FIRST CHILD NEAR PERRY RIVER, N.W.T., 1949
gelatin silver print; signed, titled, dated, numbered 2/8 and stamped verso; printed 1979
20 x 16 in — 50.8 x 40.6 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON Private Collection, Toronto, ON
$1,000 — 1,500
103
JOSHUA JENSEN-NAGLE (B. 1981), AMERICAN/CANADIAN
THE GORILLA
mixed media on panel with resin signed lower right
35.5 x 35.5 in — 90.2 x 90.2 cm
PROVENANCE:
Dianna Witte Gallery, Toronto, ON Private Collection, Toronto, ON
$1,500 — 2,000
104
ATTRIBUTED TO AUGUSTE GIRAUDON (ACTIVE 1870S), FRENCH
ARTIST’S STUDY (FIELD WORKER WITH SICKLE), CA. 1870
albumen print mounted on card; titled and dated to label verso
image 6.5 x 3 in — 17 x 8.5 cm
PROVENANCE:
Steven Evans Vintage Photography, Toronto, ON Private Collection, Toronto, ON
$300 — 400
105
BARBARA ASTMAN, RCA (B. 1950), CANADIAN/AMERICAN
DOUBLE FACED, FROM “DREAMING IMPRESSIONISM”, 1998
Ektacolour mural; signed and dated verso; titled, dated, and numbered to label verso 27.25 x 63.25 in — 69.2 x 160.7 cm
PROVENANCE:
Jane Corkin Gallery, Toronto, ON Private Collection, Toronto, ON
$4,000 — 6,000
106
ROMAN VISHNIAC (1897-1990), RUSSIAN/AMERICAN
UNTITLED (OLD WOMAN SEARCHING FOR WORK, WARSAW OR LUBLIN), CA. 1935-38
gelatin silver print; signed to margin 14 x 11 in — 35.6 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON $1,200 — 1,800
107
SHELBY LEE ADAMS (B. 1950), AMERICAN
LEDDIE WITH CHILDREN, 1990
gelatin silver print; signed, titled, dated and numbered 6/25 verso; printed ca. 1995 image 9.75 x 12.75 in — 24.8 x 32.4 cm
PROVENANCE:
Private Collection, Toronto, ON
$2,500 — 3,500
108
RICHARD HARRINGTON (1911-2005)
STURDY YOUNG INUIT WOMAN OF THE DORSET TRIBE, SPENCE BAY, 1951
gelatin silver print; signed, titled, dated, numbered 1/25, and stamped verso; printed 1980
13.9 x 11 in — 35.2 x 27.9 cm
PROVENANCE: Deja Vue Gallery, Toronto, ON
$1,000 — 1,500
109
RICHARD HARRINGTON (1911-2005)
PADLEI INUIT MAN WITH TWO WIVES, ALL STARVING DUE TO LACK OF CARIBOU, 1950
gelatin silver print; signed, titled, dated, numbered 2/5 and stamped verso; printed 1979
13 x 20 in — 33 x 50.8 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$2,000 — 3,000
110
RICHARD HARRINGTON (1911-2005)
YOUNG INUIT WITH SNOWKNIFE SOUTH OF COPPERMINE, 1949
gelatin silver print; signed, titled, dated and stamped verso; printed 1980 14 x 11 in — 35.6 x 27.9 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,000 — 1,500
111
RICHARD HARRINGTON (1911-2005)
ESKIMO WOMAN TENDING HER KUDELE (SEAL OIL LAMP) INSIDE IGLOO NEAR COPPERMINE N.W.T., 1949
gelatin silver print; signed, titled, dated, numbered 2/6 and stamped verso; printed 1979
16 x 20 in — 40.6 x 50.8 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$1,000 — 1,500
112
RICHARD HARRINGTON (1911-2005)
ANAGAIK OF BATHURST INLET, N.W.T. EATING BITS FROM CARIBOU LEG WITH ULU IN HER IGLOO, 1949
gelatin silver print; signed, titled, dated, numbered 2/6 and stamped verso; printed 1980
19.8 x 15.9 in — 50.3 x 40.3 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$2,000 — 3,000
113
IMOGEN CUNNINGHAM (1883-1976), AMERICAN
THE UNMADE BED, 1957
gelatin silver print on archival board; Modern “Trust” print, 415.848.7285 WG#5; signature embossed on mount recto; artist card adhered to mount verso image 10.25 x 13 in — 26 x 33 cm
PROVENANCE:
Private Collection, Toronto, ON
$1,500 — 2,500
114
KIPTON KUMLER (B. 1940), AMERICAN ELEPHANT EAR, 1970
platinum palladium print; signed, titled, dated and editioned “print #3” to margin; printed 1978 10.9 x 14 in — 27.7 x 35.5 cm
PROVENANCE: Deja Vue Gallery, Toronto, ON
$200 — 300
115
HOWARD BOND (B. 1931), AMERICAN MOUNTAIN STREAM, 1976; EVENING SKY, ESTES PARK, COLORADO, 1976; THUNDERSTORM AND TREE, WYOMING, 1981
gelatin silver prints; each signed to mat; titled, dated and stamped to mat verso each image 13 x 10.2 in — 33 x 26 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON
$800 — 1,000
116
HOWARD BOND (B. 1931), AMERICAN BASSWOOD TREE, DELHI RAPID, FROM “PORTFOLIO IV: HURON RIVER,” 1982 gelatin silver print; signed to mat; titled, dated and stamped to mat verso image 3.8 x 4.9 in — 9.75 x 12.5 cm
PROVENANCE: Deja Vue Gallery, Toronto, ON $400 — 600
117
SHELLEY NIRO (B. 1954)
TUTELA HEIGHTS, 1990 FROM THE CONTACT PHOTOGRAPHY COLLECTION
chromogenic print
signed, titled, dated and numbered 4/25 to label; printed 2017
18.5 x 24 in — 47 x 61 cm
PROVENANCE:
CONTACT Photography Festival, Toronto, ON $1,500 — 2,500
118
PHIL BERGERSON (B. 1947)
UNTITLED (SHOES), 1980
chromogenic print
signed and dated “’80” to mat 19.9 x 15.7 in — 50.5 x 40 cm
PROVENANCE:
Deja Vue Gallery, Toronto, ON $600 — 800
119
BARBARA ASTMAN (B. 1950)
SE - HIGHSTYLE, 2009
archival pigment print signed, titled, dated and numbered 6/23 to margin sheet 17 x 22 in — 43.2 x 55.9 cm; image 11 x 20.75 in — 27.9 x 52.7 cm
PROVENANCE: Private Collection, Toronto, ON $1,000 — 1,200
120
SANAZ
MAZINANI (B. 1978), IRANIAN/CANADIAN
ROME/TRIPOLI, 2012 FROM THE CONTACT PHOTOGRAPHY COLLECTION inkjet print; signed, titled, dated and numbered 1/25 to label verso 16 x 20 in — 40.6 x 50.8 cm
PROVENANCE: CONTACT Photography Festival, Toronto, ON $1,200 — 1,800
121
ROY ARDEN (B. 1957)CARIBBEAN FESTIVAL, 1992
chromogenic print on plexiglass
signed, titled, dated, numbered 3/3 and situated “Vancouver, B.C.” to stretcher verso
40 x 51 in — 101.6 x 129.5 cm
PROVENANCE:
Private Collection, Toronto, ON
$2,500 — 3,500
122
MARK GLEBERZON (B. 1969)
STRONG ARM, 2023
archival pigment print mounted to aluminum dibond
signed, titled, dated and numbered 3/4 verso
24 x 72 in — 61 x 182.9 cm
PROVENANCE:
Private Collection, Toronto, ON
$900 — 1,200
123
LISA KLAPSTOCK (B. 1956)
AMBIGUOUS LANDSCAPE, KAMLOOPS, 2004 diptych, chromogenic prints
titled and dated to label verso each 48 x 60 in — 121.9 x 152.4 cm
PROVENANCE:
Drabinsky Gallery, Toronto, ON Corporate Collection, Ontario
$1,200 — 1,800
124
JASON BROWN (B. 1974)
BOLER AND CHICKENS, HAVENSIDE, NS, 2011 archival pigment print
image 22.5 x 30 in — 57.2 x 76.2 cm
PROVENANCE:
Robert McLaughlin Gallery, Exposed 2013, Oshawa, ON; Private Collection, Toronto, ON
$1,200 — 1,500
125
JASON BROWN (B. 1974)
CANADA ROCKS, MIDDLETON, PEI, 2011
archival pigment print
image 22.5 x 30 in — 57.2 x 76.2 cm
PROVENANCE:
Robert McLaughlin Gallery, Exposed 2013, Oshawa, ON; Private Collection, Toronto, ON
$1,200 — 1,500
126
ANTOINE SCHNECK (B. 1963), FRENCH
SANKÉ BAH (SÉRIE MALI), 2011 pigment print adhered to dibond, under plexiglass; signed lower right; signed, titled, dated and numbered 5/20 verso 15.7 x 11.8 in — 40 x 30 cm
PROVENANCE:
Galerie Berthet-Aittouares, Paris, France
Private Collection, Montreal, QC
$1,500 — 2,000
127
CARLOS & JASON SANCHEZ (B. 1976) (B. 1981), CANADIAN
DESCENT, 2003 FROM THE CONTACT PHOTOGRAPHY COLLECTION
chromogenic print; signed, titled, dated and numbered 20/25 to label verso 20 x 24 in — 50.8 x 61 cm
PROVENANCE:
CONTACT Photography Festival, Toronto, ON $1,500 — 2,500
128
YURI DOJC (B. 1946)
UNTITLED (FLOWERS)
three digital pigment prints
each signed and numbered 2/12, with artist’s blindstamp each 22 x 17 in — 55.9 x 43.2 cm
PROVENANCE:
Private Collection, United States
$1,000 — 1,200
VIVIENNE WESTWOOD (1941-2022), BRITISH
I AM EXPENSIV, THE OFFICIAL
VIVIENNE WESTWOOD OPUS, 2008 cream cloth bound book; signed to title page; limited edition 83 out of 900 copies worldwide, divided into nine editions of 100; published by Opus, London
35.4 x 25.6 in — 90 x 65 cm
PROVENANCE:
Private Collection, Toronto, ON
$300 — 400
MAY 24 - 29, 2024
