THE GILBERT COLLECTION
These are the words of Dr. Henry Levant, who was married to Al Gilbert’s late daughter Nina.
From everything I’ve heard and read, Gilbert sounds like the sort of man you’d have loved to call family: generous, compassionate, gentle…and a world-famous photographer. Gilbert was one of those “only in Canada” geniuses who flies under the radar at home, better recognized for their talents abroad.
EARLY LIFE
Al Gilbert’s father was Nathan Gittelmacher, a trained photographer from Ukraine who emigrated to Canada in 1921. By the following year, Gittelmacher had opened the Elite Photography Studio at 513 Queen Street West. Early years saw Gittelmacher photographing weddings, bar mitzvahs, and Jewish community events across Toronto. After putting down roots, Gittelmacher changed the family name to Gilbert, and welcomed four children with his wife Nina: Louis, Albert, Jack, and Ruth. Elite Photography Studio changed its name to Gilbert Studios. The children grew up surrounded by the photographer’s art, learning to take pictures and retouch images, which was a speciality of the family business. After Nina’s death, Nathan Gilbert abruptly decamped for New York City, meaning that Al, at the age of 19, was left to run the studio and provide for his family –which included his own young wife and child, as well as his siblings.
PHOTOGRAPHER TO THE STARS –AND THE COMMUNITY
Like his father, Al Gilbert began working as a commercial photographer: weddings, bar mitzvahs, and Jewish community events. Equal parts artist and businessman, Gilbert was ambitious. Interested in photographing celebrities, yet unable to leave his family and business to travel abroad, Gilbert came up with an idea. He lobbied a local radio station to let him photograph popular singers and jazz legends when they passed through Toronto, which he would do for free. In exchange for the access, he would provide stacks of the images to the radio station to hand out to fans. This was how he was able to start building his legendary portfolio. He photographed a young Frank Sinatra, Dizzy Gillespie, Moe Koffman and others – all without leaving his family in Toronto.
“Photography is all about your ability to control light. Composition and control of light, if you’ve got those two talents, you’re an artist. And he was an artist.”
© The Irving Penn Foundation
Gilbert developed his career making portraits of some of the great figures of his time: world leaders including His Holiness John Paul II, Golda Meir, Benjamin Netanyahu, and Joe Biden; Canadian icons including Jean Beliveau, Dr. Charles Best, Robertson Davies; and artists including A.J. Casson, Joyce Wieland, Oscar Peterson, Henry Moore, and Yousuf Karsh – a good friend who ended up mentoring Al’s son Michael Gilbert, who also became a photographer.
Though he photographed international celebrities and would become known as the “Ambassador of Canadian Photography,” Gilbert continued to work commercially, capturing important events in the lives of the Toronto community. Gilbert was noted for his tremendous ability to connect with his subjects –famous or otherwise — drawing them out while also helping them relax. Perhaps the only person to dislike being photographed by Gilbert was his daughter Nina, who had often been corralled into posing for her father throughout her childhood.
ALWAYS INNOVATING
Though famous for his wide-angle portraits and his mastery of pioneering photographic techniques, Al Gilbert was not content to make the same images over and over. He was an early adopter of the digital camera, innately understanding this new technology as another tool he could use to capture light.
Fellow photographer and friend Kurt F.G. Jafay wrote that “Al has never been satisfied with being an operator of a camera in ‘hopes of good results’. He continually concentrates energies in producing images which must have the ‘Al Gilbert Stamp.’”
When I asked Dr. Levant if his father-in-law had any hobbies, he replied, “photography.” If Gilbert wasn’t working in his studio, he was out taking more pictures. Dr. Levant recalls that Gilbert’s eye was so honed that he was incapable of taking a bad picture.
“He could see things that he simply couldn’t teach others. When he gave courses, he would say, ‘I would tell them almost everything. But you can’t teach them something if they can’t see it. It’s something you’re born with.’” Dr. Levant speaks of Gilbert’s love of teaching, recalling that the shy, reserved man transformed into a witty raconteur on stage – “he was two different people!” Gilbert loved sharing his expertise, authoring books and articles, giving lectures around the world, and making videos.
Gilbert’s portraits have been deemed to be of “outstanding significance and cultural importance” by the Canadian Cultural Property Export Review Board. He was made a Member of the Order of Canada and was awarded the Confederation Medal of Canada, in addition to being awarded a plethora of the highest awards and tributes from countries and photographic societies around the globe –too numerous to list here.
THE GILBERT COLLECTION
Al Gilbert’s great eye was not limited to his own work. Along with his son Michael, Gilbert collected photography from its earliest period through to the present day. Among the collection are works by Irving Penn, André Kertesz and Arnold Newman, some of which were exhibited in the inaugural exhibition at the Canadian Centre of Photography, which Gilbert helped found.
Waddington’s is pleased to be offering a selection of these images in our Photographs in Partnership with Scotiabank CONTACT Photography Festival auction. Al Gilbert’s special collection is complemented by photographs from an important private collection documenting First Nations, Inuit and Métis subjects. Photographs included are by Robert Flaherty, Lachlan Burwash, Richard Harrington, Harry Pollard, and Métis photographer Richard Throssel. These special collections are complemented by contemporary photography curated by CONTACT, including artists Suzy Lake, Ken Lum, Max Dean, and more.
NADAR (GASPARD FÉLIX TOURNACHON) (1820-1910), FRENCH
DOUBLE PORTRAIT OF A DANCER (FROM “ART IN PHOTOGRAPHY,” 1905)
two stereoscopes; inscribed “Théatre de Nadar, Edition B.K.” on card
3.5 ins x 7 ins; 9 cms x 17.7 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$400 — 600
1
2
GERTRUDE KÄSEBIER (1852-1934), AMERICAN
MRS. R. COLLIER
(FROM “ART IN PHOTOGRAPHY,” 1905)
halftone photograph
sight 5.7 ins x 4.5 ins; 14.5 cms x 11.5 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$300 — $400
3
CLARENCE HUDSON WHITE (1871-1925), AMERICAN
WOMAN READING BY THE WINDOW, CIRCA 1905
photogravure
sight 4.2 ins x 5.3 ins; 10.7 cms x 13.5 cms
PROVENANCE:
Canadian Centre of Photography, Ontario; Estate of Al Gilbert, Toronto, ON
$400 — 500
HOWARD CLINTON TIBBITTS (1863-1937), AMERICAN
THE FALLEN MONARCH
albumen print ; signed and titled in the negative; a later impression (1899)
19.1 ins x 22.1 ins; 48.5 cms x 56.2 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$600 — 800
5
WALLACE R. MACASKILL (1887-1956), CANADIAN
NOCTURNE
hand-coloured photograph laid down on card; signed and titled to mat board sheet 4.4 ins x 6.5 ins; 11.2 cms x 16.5 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$300 — 400
6
GEORGE WASHINGTON WILSON (1823-1893), SCOTTISH
WASHING DAY IN SKYE, SCOTLAND, CIRCA 1880
albumen silver print
sight 7.1 ins x 9.5 ins; 18 cms x 24.2 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$300 — 400
7
WILLIAM NOTMAN (1826-1891), SCOTTISH/CANADIAN MONTREAL SNOWSHOE CLUB, 1877 albumen composite print
image 12.2 ins x 18.2 ins; 31 cms x 46.3 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON $100 — 200
8
EMILE JOACHIM CONSTANT PUYO (1857-1933), FRENCH
CHAMBERMAID AT A PARISIAN BALCONY, MONTMARTRE (Nᵒ 16 FROM “CAMERA WORK”), 1906
halftone photograph
6.5 ins x 8.3 ins; 16.4 cms x 21 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$2,000 — 3,000
9
ALVIN LANGDON COBURN (1882-1966), BRITISH
PORTRAIT OF ALFRED STIEGLITZ (Nᵒ 21 FROM “CAMERA WORK”), 1908
photogravure on tissue mounted to paper sheet 12 ins x 8.3 ins; 30.6 cms x 21.2 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$800 — 1,200
10
ALVIN LANGDON COBURN (1882-1966), BRITISH
SPIDER-WEBS (Nᵒ 21 FROM “CAMERA WORK”), 1908
halftone photograph
sight 9.2 ins x 6.3 ins; 23.3 cms x 16 cms
PROVENANCE:
Canadian Centre of Photography, Ontario; Estate of Al Gilbert, Toronto, ON
$300 — 400
11
ALVIN LANGDON COBURN (1882-1966), BRITISH
NOTRE DAME (Nᵒ 21 FROM “CAMERA WORK”), 1908 photogravure
sight 7.8 ins x 6.3 ins; 19.8 cms x 16 cms
PROVENANCE:
Canadian Centre of Photography, Ontario; Estate of Al Gilbert, Toronto, ON
$300 — 400
12
ALVIN LANGDON COBURN (1882-1966), BRITISH
THE RUDDER (Nᵒ 21 FROM “CAMERA WORK”), 1908
halftone photograph sight 7.9 ins x 6.3 ins; 20 cms x 16 cms
PROVENANCE:
Canadian Centre of Photography, Ontario; Estate of Al Gilbert, Toronto, ON
$300 — 400
13
ALVIN LANGDON COBURN (1882-1966), BRITISH
NEW YORK (Nᵒ 21 FROM “CAMERA WORK”), 1908
halftone photograph
sight 6.4 ins x 6.3 ins; 16.3 cms x 16 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$300 — 400
14
EDWARD STEICHEN (1879-1973)
THE POOL (Nᵒ 2 FROM “CAMERA WORK”), 1903 photogravure
sight 7.9 ins x 5.8 ins; 20 cms x 14.7 cms
PROVENANCE:
Canadian Centre of Photography, Ontario; Estate of Al Gilbert, Toronto, ON $400 — 600
15
EDWARD STEICHEN (1879-1973), AMERICAN STEEPLECHASE DAY, PARIS: AFTER THE RACES (Nᵒ 42/43 FROM “CAMERA WORK”), 1913 photogravure
sight 6.2 ins x 6.7 ins; 15.7 cms x 17 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$300 — 400
16
EDWARD STEICHEN (1879-1973), AMERICAN
GEORGE BERNARD SHAW, CIRCA
1907-1908
four-colour halftone photograph sheet 7.5 ins x 5.5 ins; 20 cms x 14.7 cms
PROVENANCE:
Canadian Centre of Photography, Ontario; Estate of Al Gilbert, Toronto, ON
$2,000 — 3,000
17
EDWARD STEICHEN (1879-1973), AMERICAN PORTRAIT OF ALBERT BARTHOLOMÉ, CIRCA 1905 photogravure
sight 8.1 ins x 5.9 ins; 20.5 cms x 15 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$300 — 400
18
19
ALFRED STIEGLITZ (1864-1946), AMERICAN
A SNAPSHOT OF PARIS (Nᵒ 41 FROM “CAMERA WORK”), 1911-1913 photogravure printed on tissue attached to paper; inscribed “Alfred Stieglitz A Snapshot, Paris 1911 CW #41” in graphite on paper support verso sheet 11.1 ins x 8.1 ins; 28.3 cms x 20.5 cms
PROVENANCE:
Canadian Center of Photography, Ontario; Estate of Al Gilbert, Toronto, ON
$800 — 1,200
20
EDWARD P. MCMURTRY (1883-1969), AMERICAN UNTITLED, CIRCA 1930 carbro colour print; signed lower right sight 5.1 ins x 3.9 ins; 13 cms x 10 cms
PROVENANCE: Estate of Al Gilbert, Toronto, ON $200 — 300
IRVING PENN (1917-2009), AMERICAN
HELL’S ANGELS: DOUG (SAN FRANCISCO), 1967-1976
platinum palladium print; signed, titled, dated “1967,” numbered 9/40 and inscribed “P1713” in pencil; there were also 15 signed and unnumbered prints according to the stamp; copyright by Cowles Communication, Inc. verso; printed in July 1976
sheet 19.3 ins x 19.7 ins; 57 cms x 63.1 cms; image 19.7 ins x 20.4 ins; 50.1 cms x 51.8 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$15,000 — 20,000
NOTE:
Irving Penn is one of the most iconic photographers of the 20th century, known for his innovative approach to portraiture and fashion photography. Among his many celebrated works is the suite of photographs “Hell’s Angels” which captures the infamous motorcycle gang of the same name.
The “Hell’s Angels” suite was created by Penn in 1968 for a feature in Look magazine, and was later published in a book in 1972. The photographs feature members of the Hell’s Angels motorcycle club, dressed in their leather jackets and motorcycles, posed against neutral backgrounds. The images are powerful and evocative, conveying both the danger and allure of the outlaw biker lifestyle.
The photograph “Hell’s Angel: Doug” is a standout piece from the suite, featuring a member of the gang. Doug’s expression is intense and focused, conveying a sense of both menace and vulnerability shot in black and white, which adds to its raw feel.
Penn has employed a technique known as chiaroscuro, which involves using strong contrasts of light and dark to create a sense of depth and drama. Doug’s face is illuminated by a bright, light source, which creates deep shadows on his jacket and behind him.
“Hell’s Angel: Doug”, offered here is a powerful and iconic piece of photography that captures the essence of the Hell’s Angels motorcycle club and the outlaw biker culture of the late 1960s. It is sure to be a sought-after piece for collectors of Irving Penn, of photographs and enthusiasts of motorcycle culture alike.
21
© The Irving Penn Foundation
22
YOUSUF KARSH (1908-2002), ARMENIAN/CANADIAN
GEORGIA O’KEEFE, 1956
photogravure; signed in ink; a later impression sheet 12 ins x 9.6 ins; 30.5 cms x 24.3 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$600 — 800
23
YOUSUF KARSH (1908-2002), ARMENIAN/CANADIAN
ALBERT EINSTEIN, 1948
photogravure; signed in ink; a later impression sheet 11.4 ins x 9.5 ins; 29 cms x 24.2 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$600 — 800
24
YOUSUF KARSH (1908-2002), ARMENIAN/CANADIAN
TENNESSEE WILLIAMS, 1956
photogravure; signed in ink; a later impression sheet 11.9 ins x 9.6 ins; 30.3 cms x 24.3 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$600 — 800
25
YOUSUF KARSH (1908-2002), ARMENIAN/CANADIAN
PABLO PICASSO, 1954
photogravure; signed in ink; a later impression sheet 11.9 ins x 9.6 ins; 30.2 cms x 24.3 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$600 — 800
26
ARNOLD NEWMAN (1918-2006), AMERICAN
YASUO KUNIYOSHI, 1941
gelatin silver print mounted to board; signed “© Arnold Newman,” titled and dated to mat board
sheet 7.7 ins x 9.8 ins; 19.6 cms x 25 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON
$1,500 — 2,500
27
DAVID RUBINGER (1924-2017), ISRAELI
THE PARATROOPERS AT THE WESTERN WALL, CIRCA 1967
gelatin silver print; signed lower left 16 ins x 11.8 ins; 40.7 cms x 30 cms
PROVENANCE:
Estate of Al Gilbert, Toronto, ON $300 — 400
In partnership with Scotiabank CONTACT Photography Festival
Darcy Killeen has been behind the helm of the Scotiabank CONTACT Photography Festival for 19 years. Killeen’s career took an abrupt turn when he quit his job as a high-powered Wall Street and Bay Street trader to become the CEO of CONTACT, which, during his tenure, has grown into the world’s largest photographic exhibition in the world. Waddington’s is pleased to partner with CONTACT to present an auction of lens-based works spanning the 19th to 21st centuries, online from May 13 – 18.
Though we caught him during the lead up to the festival, Killeen found some time to speak with us about this year’s mustsees at CONTACT, buying at auction, and the works of art that move him.
What’s in your collection?
My wife and I have been in the same home for 20 years, so we have quite the robust art collection. We collect a lot of sculptural work, and of course, photography from various CONTACT exhibitions from over the years. My wife went to OCA (OCAD U) with artist Ken Nicol, so we have a lot of his work, especially his early paintings and sculptures.
Another big collection we have is a series of woodblock prints by Joseph P. Love, a Jesuit priest. The collection was discovered at a monastery in Quebec around 25 years ago. Love did his work in the late 50s and early 60s in New York, having interned with Hans Hoffman. He also studied in Japan for a period of time. I have a substantial part of his collection, so we rotate which artworks get hung and which get stored.
What do you think is the greatest photograph(s) ever taken?
The easy answer here would be to pick one of the acknowledged masters of the genre, like Man Ray, or one of the most expensive photographs ever sold. But I like to think about art in terms of my connection to it, so I will say Carrie Mae Weems’ “Kitchen Table Series.” They’re close to my heart. We have been very fortunate to have mounted five different exhibitions of her work at CONTACT, which had a tremendous impact on me as well as on our audiences.
What was the last piece of art to really blow you away?
We had a mural outside the CONTACT office by Toronto-based artist Jorian Charlton. It was a staged photograph of a woman’s face and upper torso, absolutely massive in size. The subject’s gaze was incredible. You could walk the length of the parking lot and her gaze just seemed to follow you the entire time. It was hypnotizing. I told so many people to go outside and just walk the length of the parking lot. It was a piece that really captured you. What makes a good picture?
Personally, I am a big fan of colour. Composition. When you look at the work of the Vancouver School, it’s all about the composition, how they fit together. Carrie Mae Weems’ work has that. Technique. Intimacy. When you look at the entirety of an artist’s career, you start to see their central preoccupations emerge, how their core subject matter evolves. Often what you
don’t see when you look at a piece of art is the years and even decades of work and thought behind it. A good picture doesn’t come easily.
Have you ever bought anything at auction?
I’ve been to many Waddington’s auctions! I’ve done a lot of bidding on things but I am rarely successful. One of my more memorable auction wins was in New York. I went to an auction with friends who were very serious art collectors. I wasn’t expecting to bid, but a piece came up that I fell in love with: a copy of an angel by Michelangelo. It was made of cement, and the head and feet had been broken off. I found out that it had been made for the exterior of the original Brooklyn Academy of Arts in the late 1800s. Over time, it had crumbled and fallen off the building. I didn’t bid much but I won! It lived in my apartment in New York for years, and now it resides in my garden here in Toronto, where it continues to slowly crumble. Is there a piece that got away from you? Something that you wish was in your collection?
Another Waddington’s story! There was a print by Joseph Albers in one of the Prints & Multiples auctions. I am a massive, massive fan of Albers. I put in a few bids but there was a lot of competition, so I let it go. In hindsight, I really wish I had gone higher. That said, my walls are already really full.
How did a Wall Street guy come to run a photography festival?
I wanted to be on Wall Street since I was very young. I was trading stocks at the age of 16. I had the most amazing job as a trader in New York City, but I was always involved in giving back to the community. My parents were both social workers. Even at the height of my career in finance, I was serving food two nights a week at Hell’s Kitchen Community Center, and teaching high school math and science to the prisoners at Rikers Island. I was also helping support a few young artists with their careers.
When I moved to Toronto, I started sitting on boards of various cultural institutions, including CONTACT. I was working on Bay Street, but was still very invested in giving back. When CONTACT was looking to hire a CEO, they asked me to write the job description. At this point in my life, I was exhausted from my Bay Street job, and the stress was manifesting itself physically, just like it had done when I was on Wall Street. These jobs were very financially rewarding, but I just didn’t want to do them anymore. So, I asked the board of CONTACT if I could take the job. I submitted an application and got the role. This was 19 years ago and I haven’t looked back. I love my job. When people used to tell me that they love their jobs, I used to say “you’re crazy, nobody likes their job.” But I really enjoy what I do. I have an amazing team and I really feel that this organization is providing a tremendous service to artists, curators, and an audience of over a million people.
How does Toronto influence the shape CONTACT takes and vice versa?
Unlike other festivals around the world, CONTACT is very community-based. We support and unite artists of all caliber. Other festivals are highly curated, often invitation-only, and exhibit only a few artists at a time. But CONTACT is so big –175 exhibitions simultaneously. It’s a festival that links first-time photographers with some of the biggest names in the world, all on the same stage, all in the same catalogue.
It goes hand in hand with the city that Toronto is: the most diverse multicultural city in the world, with people of every race, religion, age, and sexual orientation. I think that really aids in the celebration of the diversity of photography that we exhibit. The city and CONTACT work really well together, and feed off each other. I’m always amazed that so many museums, commercial galleries, and artist-run centers save the month of May to show photography.
How has the festival and the work it exhibits changed over the years?
Unlike when it first started, the festival is now entirely free thanks to Scotiabank, our title sponsor, and the three levels of government. We used to have to charge artist fees, registration fees, fees to attend workshops and lectures – but no more. Everything is free. In fact, we are now able to pay our participating artists over $200,000 collectively for the work they do. We spend over $100,000 on the production and installation of artwork and outdoor programs. This is unique to CONTACT.
I think we’ve always been here to provide a service to a diverse range of artists, that’s part of our foundation. We’ve very focused on showcasing marginalized, BIPOC, female, and queer artists. The past few years of the festival have been focused on the Black body. This year, our focus is more on supporting Canadian Indigenous artists. It’s always evolving. Environmental issues continue to be at the fore, as we present exhibitions that examine what we have done to our planet.
What does a typical day look like? I’m assuming your schedule is very tied to the time of year, and that your years have their own rhythm.
I’ve been trying for years to normalize the amounts of work that we do during a specific period, but we deal with 500 artists or more a year, and to wrangle them all into doing certain things at a certain time is impossible. Same goes for institutions, galleries and artist-run centers, which gift us with amazing exhibitions: out of respect for their cycles and schedules, we let them take the lead. It does mean that we work long hours from December to mid-January, after which we work even harder, putting in 100-hour weeks. Once May is here, we’re in the office all day and out every night going to openings, meeting artists and celebrating the work. June is kind of busy with wrap ups, and writing reports. July and August the office is running and there’s plenty to do, but we tend to disappear a bit so we can recharge. My staff is incredible, they
know what is required of them to get the job done. Our work is very cyclical, though every day brings something new.
What advice would you give to a young artist?
Continuously work on your projects, do research, and see as much artwork as possible. You need to understand what is happening in the art world and what the trends are. See where the mediums are going, and learn as much as you can. Get lost in your own artwork. And take advantage of services like CONTACT that are entirely free.
What about your advice to a young collector?
Collect what you love. Even if you’re looking at art as an investment, make sure it is still something close to your heart. Go to see a lot of art in different spaces, including auctions. Get to know other collectors and visit their collections. I’ve learned so much from going to peoples’ homes and listening to the guiding principles they use to collect. Everybody’s got an angle, which is important: they’re not just collecting “photography” in general, but something more nuanced and specific, like black and white photography, or African American artists from the 60s.
Any must-sees at CONTACT this year?
I believe that some of the best things to see happen when you’re just walking down the street, and you see the red sign indicating an exhibition. You walk in and see something unexpected, unanticipated. All of the public art sections of the festival – subway platforms, billboards, advertising spaces – can put a smile on your face, make you think, or change the course of your day.
We’re also really excited to have artist Maggie Groat in the CONTACT gallery this year, accompanied by an outdoor installation. Another show worth checking out is Meryl McMaster at the McMichael, which is open now and runs until May 28. The AGO is showing a major retrospective of artist Wolfgang Tillmans. Jin-me Yoon, winner of the 2022 Scotiabank Photography Award, is also not to be missed, nor are smaller shows at places like Toronto Metropolitan University.
There are so many great shows. May is a month to just get lost and find photography all over the city.
FELICITY HAMMOND (B. 1988), BRITISH
FRAGMENT 04, 2018 chromogenic print; signed on label verso; from an edition of 5 22 ins x 16 ins; 55.9 cms x 40.6 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON
$1,200 — 1,800
28
ROBIN CAMERON (B. 1981), CANADIAN
WHEN IS IT?, 2017 chromogenic print; signed on label verso; from an edition of 25 24 ins x 18 ins; 61 cms x 45.7 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON $1,200 — 1,800
29
DANA CLAXTON (B. 1959), CANADIAN STUDY FOR A PROTEST, 2018 chromogenic print; signed on label verso; from an edition of 25 20 ins x 16 ins; 50.8 cms x 40.6 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON
$1,200 — 1,800
30
CHARLIE ENGMAN (B. 1987), AMERICAN
MOM IN THE BADLANDS, 2014 chromogenic print; signed on label verso; from an edition of 25 16 ins x 24 ins; 40.6 cms x 61 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON $1,200 — 1,800
31
LARRY TOWELL (B. 1953), CANADIAN
US SOLDIERS ENTERING NURAY VILLAGE
NEAR PAKISTAN BORDER
archival pigment print; signed; printed in 2012
image 8.5 ins x 20 ins; 16.8 cms x 46 cms
PROVENANCE:
Scotiabank CONTACT Photography
Festival, Toronto, ON
$800 — 1,200
32
PETRA COLLINS (B. 1992), CANADIAN ANNA AND KATHLEEN (SKY), 2017 chromogenic print; signed on label verso; from an edition of 3 65 ins x 43 ins; 165.1 cms x 109.2 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON
$12,000 — 18,000
33
SJOERD KNIBBELER (B. 1981), DUTCH
CURRENT STUDY #12, 2015 chromogenic print; signed on label verso; from an edition of 25, printed in 2016 20 ins x 16 ins; 50.8 cms x 40.6 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON
$1,500 — 2,000
34
JOHAN HALLBERG-CAMPBELL (B. 1978), SCOTTISH
HARRINGTON HARBOUR, QUEBEC, 2013 chromogenic print; signed on label verso; from an edition of 25, printed in 2017 30 ins x 20 ins; 76.2 cms x 50.8 cms
PROVENANCE: Scotiabank CONTACT Photography Festival, Toronto, ON
$1,200 — 1,800
35
ROBERT BURLEY (B. 1957), CANADIAN FILM, ILFORD, MOBBERLEY, UNITED KINGDOM, 2010 chromogenic print; signed on label verso; from an edition of 2, printed in 2016 24 ins x 30 ins; 61 cms x 76.2 cms
PROVENANCE: Scotiabank CONTACT Photography Festival, Toronto, ON
$3,000 — 4,000
36
ROBERT BURLEY (B. 1957), CANADIAN DARKROOM, BUILDING 11, KODAK CANADA, TORONTO, 2006 chromogenic print; signed on label verso; from an edition of 2, printed in 2016 24 ins x 30 ins; 61 cms x 76.2 cms
PROVENANCE: Scotiabank CONTACT Photography Festival, Toronto, ON
$3,000 — 4,000
37
TAKASHI SUZUKI (B. 1971), JAPANESE
BAU GRID (CONTACT EDITION), 2015
chromogenic print; signed on label verso; from an edition of 20, printed in 2015
24 ins x 16 ins; 61 cms x 40.6 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON
$1,500 — 2,000
38
39
MAX DEAN (B. 1949), CANADIAN
TWO STACKS OF PHOTO ALBUMS, 2012 archival pigment print; signed in ink on label verso; from an edition of 25, printed in 2012 image 20 ins x 16 ins; 50.8 cms x 40.6 cms
PROVENANCE: Scotiabank CONTACT Photography Festival, Toronto, ON
$1,000 — 1,500
40
PHILIPPE CHANCEL (B. 1959), FRENCH
ARIRANG, 2006
chromogenic print; signed in ink on label verso; from an edition of 25, printed in 2012
14 ins x 20 ins; 35.6 cms x 50.8 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON
$1,000 — 1,500
41
SUZY LAKE (B. 1947), AMERICAN/CANADIAN EXTENDED BREATHING WITH MOVING GRASSES, 2009
lightjet print; signed in ink on print border; from an edition of 25, printed in 2011 18 ins x 24 ins; 45.7 cms x 61 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON
$1,500 — 2,000
MARTIN PARR (B. 1952), BRITISH CANADA. TORONTO. 2012 pigment print; signed in ink; from an edition of 1, printed in 2013 20 ins x 30 ins; 50.8 cms x 76.2 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON $4,500 — 5,500
42
KEN LUM (B. 1956), CANADIAN
I DON’T KNOW WHETHER TO LAUGH OR CRY, 2003 giclee print; signed and numbered 55/75 in pencil sheet 22.8 ins x 15 ins; 58 cms x 38.1 cms; image 20 ins x 7.75 ins; 50.8 cms x 19.7 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON $800 — 1,200
43
44
JAMES NIZAM (B. 1977), BRITISH/CANADIAN
PYRAMID, 2013
archival pigment print on fibre paper; signed in ink; from an edition of 25, printed in 2013 20 ins x 16 ins; 50.8 cms x 40.6 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON
$1,000 — 1,500
DOMINIQUE REY (B. 1976), CANADIAN WINTER GREEN, 2011 chromogenic print; signed in ink on label verso; from an edition of 25, printed in 2012 16 ins x 24 ins; 40.6 cms x 61 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON
$1,200 — 1,800
45
SANAZ MAZINANI (B. 1978), IRANIAN/CANADIAN ROME/TRIPOLI, 2012
inkjet print; signed in ink on label verso; from an edition of 25, printed in 2012
16 ins x 20 ins; 40.6 cms x 50.8 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON
$1,200 — 1,800
46
47
SHELLEY NIRO (B. 1954), AMERICAN TUTELA HEIGHTS, 1990
chromogenic print; signed on label verso; from an edition of 25, printed in 2017 18.5 ins x 24 ins; 47 cms x 61 cms
PROVENANCE:
Scotiabank CONTACT Photography Festival, Toronto, ON
$1,500 — 2,500
NOTE:
Proceeds from the sale of this lot will benefit the Scotiabank CONTACT Photography Festival
PHOTOGRAPHS:
A SELECTION OF PHOTOGRAPHS CURATED BY THE CANADIAN, INUIT AND FIRST NATIONS AND INTERNATIONAL ART DEPARTMENTS
BENJAMIN A. GIFFORD (1859-1936)
HOME GUARD ON THE COLUMBIA, 1899 sepia toned gelatin silver print; mounted on period board now housed in uniform white mat; inscribed: “Copyright 1899 / Benj. A. Gifford / The Dalles Or.”; inscribed in pen and ink verso: “miles above the Dalles Or. on the [?] side. Columbus situated in poplar grove to the right and Mt. Hood in the West down stream. / Indians are very superstitious about having their pictures taken believing that it angers the Great Spirit (Sahale Tyce). The photographer was unable to induce on [sic] Indians to appear out of his tent therefore his absence in this picture. “
4.25 x 9.5 in — 10.8 x 24.1 cm
PROVENANCE:
Private Collection, Toronto, ON
$400 — 600
48
HARRY POLLARD (1880-1968)
UNTITLED (MRS. ONE-SPOT, KAINAI [BLACKFOOT]), CA. 1920
gelatin silver print; housed in uniform white mat, inscribed verso “otherwise / 24621”
9 x 7.25 in — 22.9 x 18.4 cm
PROVENANCE:
Private Collection, Toronto, ON
$1,000 — 2,000
49
HARRY POLLARD (1880-1968)
CHIEF DUCK (ON HORSEBACK WITH COUP STICK, SIKSIKA [BLACKFOOT]), CA. 1925 hand tinted gelatin silver print; mounted to period board; mount with artist signature and title in graphite; framed, two dealer labels verso
19.5 x 15.5 in — 49.5 x 39.4 cm
PROVENANCE: Frank Jarman Limited, Ottawa, ON; Rare Photo Gallery, Toronto, ON; Private Collection, Toronto, ON
$700 — 900
50
HARRY POLLARD (1880-1968)
UNTITLED (CHIEF DUCK IN HUNTING COSTUME, SIKSIKA [BLACKFOOT]), CA. 1925
gelatin silver print; stamped verso: “Photograph courtesy Canadian National Railways / Please Credit / made in Canada”; inscribed: “Chief Duck (Blackfoot Indians) / Pollard / 24616”
10 x 8 in — 25.4 x 20.3 cm
PROVENANCE:
Private Collection, Toronto, ON
$800 — 1,200
51
LACHLAN TAYLOR BURWASH (1874-1940)
TWELVE ARCTIC PORTRAITS, CA. 1925
10 gelatin silver prints, 2 platinum prints; 10 on period mounts; 2 in period frames stamped verso: “Canadian Government Exhibition Branch/Department of Immigration and Colonization / Designing and Decorative Division” and inscribed in pencil “Mr. Finnie”
9.5 x 7.5 in — 24.1 x 19.1 cm
PROVENANCE:
Oswald Sterling Finnie, Yukon; Private Collection, Toronto, ON
$10,000 — 20,000
52
53
ROBERT JOSEPH FLAHERTY, (1884-1951)
UNTITLED (POSSIBLY A PORTRAIT OF PANTANY), CA. 1912
sepia-toned gelatin silver print; mounted to period album paper; mount hinged to mat window
6 x 7.75 in — 15.2 x 19.7 cm
PROVENANCE:
Private Collection, Toronto, ON
$8,000 — 10,000
54
VARIOUS PHOTOGRAPHERS
ALBUM OF TRAVEL IN NORTHERN CANADA, CA. 1925-1927
gelatin silver prints; 569 photographs, 100 pages; black cloth album
10 x 13 x 2 in — 25.4 x 33 x 5.1 cm
PROVENANCE:
Collection of Robert Band, Toronto, ON; Private Collection, Toronto, ON
$3,000 — 5,000
55
JOHN REEVES (1938-2016)
UNTITLED (PITSEOLAK ASHOONA)
selenium toned gelatin silver print; housed in uniform white mat and framed; label affixed to housing verso inscribed: “John Reeves/ Photographer/11 Yorkville Avenue Toronto Ontario M4W 1L3 922-0926” further signed and inscribed in artist’s hand: “for Terry Ryan the best chef in Dorset [artist signature]”
17.5 x 13.5 in — 44.5 x 34.3 cm
$300 — 500
56
RICHARD HARRINGTON (1911-2005)
IGLOOLIK, NWT (IGLOO ILLUMINATED AT NIGHT), 1951
selenium toned gelatin silver print; dry mounted to board; framed and housed in uniform white mat; signed titled and dated 14.25 x 18.5 in — 36.2 x 47 cm
PROVENANCE:
Lorraine Monk, Toronto, ON; By decent to present Private Collection, Toronto, ON
$1,000 — 1,500
57
RICHARD HARRINGTON (1911-2005)
SPENCE BAY, NWT (MAN WITH WHITE ARCTIC FOX FURS, CA. 1950S (PRINTED CA. 1994)
selenium toned gelatin silver print; mounted to window mat; titled and dated verso; inscribed by the photographer: “An Eskimo in Arctic Canada displays bundles of Arctic fox pelts - most of which he has trapped himself / Spence Bay N.W.T 1952”; stamped: “Richard Harrington / Canada”
10 x 8 in — 25.4 x 20.3 cm
PROVENANCE:
Lorraine Monk, Toronto, ON; By decent to present Private Collection, Toronto, ON
$1,000 — 1,500
58
RICHARD HARRINGTON (1911-2005)
PADLEI INUIT WOMAN AND CHILD (KEENAQ AND KEEPSEEYUK), 1950 (PRINTED 1984)
selenium toned gelatin silver; titled, dated, and signed; inscribed by the photographer: “Padlei Inuit Woman and her child inside their igloo, during a period of famine in the Padlei area, Canadian Arctic, 1950 / photo by: (photographer’s signature) / Print by: (Photographer’s signature)”; stamped: “Richard Harrington / Canada”
14 x 11 in — 35.6 x 27.9 cm
PROVENANCE:
Private Collection, Toronto, ON
$3,000 — 5,000
59
ROBERT JOSEPH FLAHERTY, (1884-1951)
UNTITLED (SET OF SIX ARCTIC PHOTOGRAVURE PLATES), CA. 1920S
photogravure ; 5 housed in uniform off-white mats, 1 loose; accompanied by introductory leaf; Revillon Frères, New York
8.5 x 6.75 in — 21.6 x 17.1 cm
PROVENANCE:
Private Collection, Toronto, ON
$1,000 — 1,500
EDWARD SHERIFF CURTIS (1868-1952)
SET OF TWO PHOTOGRAVURE PLATES OF INUIT ARTISTS, CA. 1928 photogravure ; housed in mats; titled: “The Ivory Carver, Nunivak” and “Drilling Ivory, King Island”
7.5 x 5.5 in — 19.1 x 14 cm
PROVENANCE:
Private Collection, Toronto, ON
EXHIBITED:
Private Collection, Toronto, ON $600 — 800
60
61
EDWARD SHERIFF CURTIS (1868-1952)
SET OF FOUR UGIUVAK (KING ISLAND)
PHOTOGRAVURE PLATES, CA. 1928
photogravure ; titled: “On the Cliff Edge, King Island”, “Housetops, King Island”, The Bow-Drill, King Island”, and “King Island”
7.5 x 5.5 in — 19.1 x 14 cm
PROVENANCE:
Private Collection, Toronto, ON
$400 — 600
62
EDWARD SHERIFF CURTIS (1868-1952)
SET OF THREE UGIUVAK (KING ISLAND) PHOTOGRAVURE PLATES, CA. 1928 photogravure ; titled: “King Island Village From the Sea”, “King Island Homes”, and “Qunaninru - King Island / Plate 703”; inscribed: “photogravure Suffolk Eng. Cambridge Mass.”
15.5 x 11.5 in — 39.4 x 29.2 cm
PROVENANCE:
Private Collection, Toronto, ON
$900 — 1,200
ATTRIBUTED TO AUGUSTE GIRAUDON (ACTIVE 1870S), FRENCH
ARTIST’S STUDY (FIELD WORKER WITH SICKLE), CIRCA 1870 albumen print mounted on card; titled “Artist’s Study” and dated “Circa 1870” on label verso image 6.5 x 3 in — 17 x 8.5 cm
PROVENANCE: Steven Evans Vintage Photography, Toronto, ON
$300 — 300
63
64
EADWEARD MUYBRIDGE (1830-1904), AMERICAN/BRITISH
PLATE 170 (FROM “ANIMAL LOCOMOTION”), 1887
collotype
image 7 ins x 16.9 ins; 17.7 cms x 42.8 cms
PROVENANCE:
Private Collection, Toronto, ON
$600 — 800
HENRI CARTIER-BRESSON (19082004), FRENCH
THETFORD MINES, RUE SMITH (HOUSES IN QUARRY, QUEBEC, CANADA), 1965 gelatin silver print; studio stamp verso; printed circa 1965
6.7 ins x 10 ins; 16.9 cms x 25.4 cms
PROVENANCE:
Presented to the National Film Board of Canada for selection purposes as part of a commission in Ottawa; Returned from the above to the Henri Cartier-Bresson Foundation, Paris, France; Private Collection, France; Private Collection, United States; Private Collection, Toronto, ON
$7,000 — 9,000
65
HENRI CARTIER-BRESSON (19082004), FRENCH
QUAI DE JAVEL, PARIS (THE PLASTERERS), 1932
gelatin silver print; signed lower right; printed circa 1990
sheet 12 x 16 in — 30.6 x 40.6 cm; image 9.7 x 14.2 in — 24.6 x 36.1 cm
PROVENANCE:
Private Collection, Vancouver, BC, purchased from a gallery in New York in the 1990s;
Private Collection, Toronto, ON
$6,000 — 8,000
66
67
HENRI CARTIER-BRESSON (1908-2004), FRENCH
CÓRDOBA, SPAIN, 1933
gelatin silver print on baryta paper; signed in black pen and ink to margin; blue credit stamp “Henri Cartier-Bresson” verso, printed circa 1980s
image 14.4 ins x 9.8 ins; 36.5 cms x 24.8 cms; sheet 17.9 ins
13.9 ins; 45.5 cms x 35.3 cms
PROVENANCE:
Private Collection, Europe
$4,500 — 5,500
x
68
ROBERT DOISNEAU (1912-1992), FRENCH
NOBEL WINNER IRENE JOLIOT-CURIE, 1943-1985
gelatin silver print; signed in ink lower right; printed circa 1985
sheet 15.9 x 20.1 in — 40.4 x 51 cm; image 12.5 x 15 in — 31.8 x 38.2 cm
PROVENANCE:
Andrew Smith Gallery, Tucson, AZ; Private Collection, Toronto, ON, acquired from the above in 2020
$1,200 — 1,500
69
RUSSELL LEE (1903-1986), AMERICAN DINER, SOUTH DAKOTA, 1937
gelatin silver print; printed circa 1950 sheet 8.1 x 10 in — 20.7 x 25.5 cm; image 6.5 x 9.5 in — 16.5 x 24.1 cm
PROVENANCE:
Andrew Smith Gallery, Tucson, AZ; Private Collection, Toronto, ON, acquired from the above in 2020
$1,200 — 1,500
70
DANNY LYON (B. 1942), AMERICAN ATLANTA, GEORGIA, 1963-1964
gelatin silver print; signed in pencil and stamped “Bleak Beauty” verso; printed by Ralph Lyon in 1993
sheet 11 x 13.9 in — 28 x 35.4 cm; image 8.8 x 12.9 in — 22.4 x 32.7 cm
PROVENANCE:
Etherton Gallery, Tucson, AZ; Private Collection, Toronto, ON, acquired from the above in 1998
$5,000 — 7,000
71
FRANZ J. ROSENBAUM (1929-2012), GERMAN
COUNT BASIE, PALAIS ROYAL, TORONTO, JUNE 1964
gelatin silver print; signed, titled and dated verso 10 x 8 in — 25.3 x 20.2 cm
PROVENANCE:
Private Collection, Toronto, ON, purchased from the artist in 2011
$700 — 900
72
FRANZ J. ROSENBAUM (1929-2012), GERMAN
LOUIS ARMSTRONG, BRANT INN, BURLINGTON, JULY 1965
gelatin silver print; signed, titled and dated verso sheet 10 x 14 in — 25.3 x 35.6 cm; image 5.6 x 8 in — 14.2 x 20.4 cm
PROVENANCE:
Private Collection, Toronto, ON, purchased from the artist in 2011
$900 — 1,200
WEEGEE (USHER ARTHUR FELLIG) (1899-1968), AMERICAN
HARLEM AUTOMOBILE CRASH IN WHICH COMEDIAN (STEPIN FETCHIT) WAS INJURED, 1937 gelatin silver print; stamped “A. Fellig” and dated; a newspaper clipping affixed verso sight 6.75 x 8.75 in — 17.1 x 22.2 cm
PROVENANCE: Monte Clark Gallery, Vancouver, BC Private Collection, British Columbia
$800 — 1,200
73
GARRY WINOGRAND (1928-1984), AMERICAN
UNTITLED (FROM “WOMEN ARE BETTER THAN MEN”), 1982
gelatin silver print; signed and dated verso sheet 11 x 14 in — 27.9 x 35.6 cm
PROVENANCE:
Private Collection, British Columbia $1,500 — 2,500
74
75
WALKER EVANS (1903-1975), AMERICAN FARM FROM TRAIN WINDOW, 1963
gelatin silver print; signed, dated “63” and numbered 9/50 to margin sight 13.5 x 10.75 in — 26.7 x 27.3 cm
PROVENANCE:
Private Collection, British Columbia
$800 — 1,200
WALKER EVANS (1903-1975), AMERICAN RIALTO THEATRE, WASHINGTON, D.C. SHOWING “THE PLOW,” 1937 gelatin silver print laid down on cardboard; dated “Feb 2, 1937” and stamped “Resettlement Administration” verso 9.5 x 7.5 in — 24.1 x 19.1 cm
PROVENANCE:
Private Collection, British Columbia
$2,000 — 3,000
76
77
ARTHUR ROTHSTEIN (1915-1985), AMERICAN CONDUCTING SCHOOL IN THE CHURCH, GEES BEND, ALABAMA, 1937
gelatin silver print
sight 7.9 x 9.7 in — 20 x 24.7 cm
PROVENANCE:
Private Collection, British Columbia
$600 — 800
78
DENNIS STOCK (1928-2010), AMERICAN
JAMES DEAN IN MIDTOWN, NEW YORK CITY, 1955
silver gelatin print; signed in pencil verso; printed circa 2000
sheet 11.1 x 14 in — 28.1 x 35.6 cm; image 9.4 x 13.3 in — 23.9 x 33.9 cm
PROVENANCE:
Magnum Photo, New York, NY; Private Collection, Toronto, ON, acquired from the above in 2003 Private Collection, Toronto, ON
$5,000 — 7,000
LARRY FINK (B. 1941), AMERICAN OSLIN’S GRADUATION PARTY, 1977-1983 gelatin silver print applied on original cardboard; signed, titled and dated “June, 1977” verso; a later impression
19.75 x 15.75 in — 50 x 40 cm
PROVENANCE:
Private Collection, Montreal, QC $600 — 800
79
JACOBI LOTTE (1896-1990), AMERICAN UNTITLED (CHILD ON A MONUMENT); UNTITLED (PORTRAIT), CIRCA 1970 two gelatin silver prints mounted on carte-postale paper; signed lower right and lower left, respectively
1.4 x 2.1 in — 3.5 x 5.25 cm;
2.2 x 1.4 in — 5.5 x 3.5 cm
PROVENANCE:
Private Collection, Montreal, QC
$800 — 1,200
80
WYNN BULLOCK (1902-1975), AMERICAN POINT LOBOS, TIDE POOLS (FROM “WYNN BULLOCK, A PORTFOLIO 1951-1973”), 1972
gelatin silver print; signed lower right margin; titled, dated and numbered “Set nº 11, print nº11” verso
9.5 x 7.5 in — 24.1 x 19.1 cm
PROVENANCE:
Private Collection, Montreal, QC
$1,000 — 1,500
81
LYNNE COHEN, RCA (1944-2014), CANADIAN CAPTAIN’S LOUNGE, PINE TREE POINT CLUB, ALEXANDRIA BAY, NEW YORK, 1975 contact silver print signed and titled in pencil verso of the mount board
7.25 x 9.25 in — 19.2 x 24.4 cm
PROVENANCE:
Acquired directly from the artist; Private Collection, Massachusetts, USA
$1,400 — 2,000
82
83
LYNNE COHEN, RCA (1944-2014), CANADIAN ISLE OF FUN SKATING RINK, GRAND ISLAND, NEBRASKA, 1975 contact silver print signed and titled in pencil verso of mount board
7.25 x 9.25 in — 18.4 x 23.5 cm
PROVENANCE:
Yarlow/Salzman Gallery, Toronto, ON; Private Collection, Massachusetts, USA
$1,400 — 2,000
84
LYNNE COHEN, RCA (1944-2014), CANADIAN
WATERFALL, PRESCOTT ARENA, PRESCOTT, ONTARIO, 1976
gelatin silver print signed, titled and dated in pencil on verso of backboard
7.6 x 9.6 in — 19.3 x 24.5 cm
PROVENANCE:
Yarlow/Salzman Gallery, Toronto, ON; Private Collection, Massachusetts, USA
$1,400 — 2,000
LAURENT GUÉRIN (B. 1969), CANADIAN SANS TITRE (SILVER AND GREEN), 2006 digital print on paper; dated and numbered 6/6 to labels verso
26.5 x 40 in — 67.3 x 101.6 cm
PROVENANCE:
Acquired directly from the artist; Mira Godard Gallery, Toronto, ON; Private Collection, Ontario
$400 — 600
85
SERGE CLÉMENT (B. 1950), CANADIAN BRUXELLES, BELGIQUE, 1992
gelatin silver print
signed and dated verso; titled and numbered “1/6 with Negative No. 92-19921” to label verso
image 15 x 22 in — 38.1 x 55.9 cm
PROVENANCE:
Corkin Gallery, Toronto, ON; Waddington’s Auctioneers, Toronto, ON 4 Oct 2018, lot 1; Private Collection, Toronto, ON
$400 — 600
86
87
VIOLET KEENE PERINCHIEF (1893-1987), ENGLISH/CANADIAN
UNTITLED gelatin silver print mounted on two-ply period board signed 7.75 x 5.75 in — 19.7 x 14.6 cm
PROVENANCE: Private Collection, Toronto, ON $200 — 300
JOYCE TENNESON (B. 1945), AMERICAN
UNTITLED (FROM “LIGHT WARRIORS”), 2000
archival pigment print; signed and dated lower right sheet 19.2 ins x 13 ins; 48.8 cms x 33 cms; image 14.1 ins x 11 ins; 35.7 cms x 28 cms
PROVENANCE: Private Collection, Toronto, ON
$600 — 800
88
89
GARY SCHNEIDER (B. 1954), AMERICAN
EAR, 1997
gelatin silver print; block printed signed, titled and dated; inscribed “For Jonathan - Peace - Gary” in pencil verso sheet 6.4 x 4.4 in — 16.3 x 11.2 cm
PROVENANCE: Private Collection, Quebec $400 — 600
WILLIAM EGGLESTON (B. 1939), AMERICAN
WILLIAM FAULKNER’S HOUSE, 1982 chromogenic print on Kodak paper; signed in blue ink verso
image 8.25 x 12.25 in — 21 x 31.1 cm; sheet 11 x 14 in — 27.9 x 35.6 cm
PROVENANCE:
Francis Gassner and David Lusk Gallery, Memphis, TN; Private Collection, Europe; Private Collection, Ontario
$3,000 — 5,000
90
WILLIAM EGGLESTON (B. 1939), AMERICAN
TENNESSEE GULF SIGN (FROM “SOUTHERN SUITE”), 1972-1981 chromogenic print on Kodak paper; signed in blue ink verso
image 8 x 12 in — 20.3 x 30.5 cm; sheet 10.75 x 13.75 in — 27.3 x 34.9 cm
PROVENANCE:
Francis Gassner and David Lusk Gallery, Memphis, TN; Private Collection, Europe; Private Collection, Ontario
LITERATURE:
Holborn, “William Eggleston: Ancient and Modern”, Random House, 1992, pl. 61
$5,500 — 6,500
91
JOAN JONAS (B. 1936), AMERICAN RUSTING SET UP (DETAIL OF “PERFORMANCE, LODZ”), 1992 gelatin silver print in colours on Kodak paper; numbered “ed. 1/5” on label verso
6.1 x 9.4 in — 15.5 x 24 cm
PROVENANCE:
Gallery Samuel Lallouz, Montreal, QC; Private Collection, Montreal, QC
$1,000 — 1,500
92
JOSEPH HARTMAN (B. 1978), CANADIAN
JOHN SCOTT, 2014
digital chromogenic print numbered 2/9 to label verso; printed in 2015
18 x 22 in — 45.7 x 55.9 cm
PROVENANCE:
Private Collection, Toronto, ON
$800 — 1,000
93
ALEX MCLEOD (B. 1984), CANADIAN
GOLD SPECTRAL CLOUDS, 2011 digital chromogenic print signed, titled, dated and numbered 1/1 to label verso 40 x 40 in — 101.6 x 101.6 cm
PROVENANCE:
Angell Gallery, Toronto, ON; Private Collection, Toronto, ON $2,000 — 3,000
94
GREG GIRARD (B. 1955), CANADIAN MIGRANT WORKERS IN CREEK, DONGGUAN (FROM “PHANTOM SHANGHAI SERIES”), 1996 [GIR 037-1] chromogenic print signed in black ink on gallery label verso backing, titled, dated and numbered 1/3 to gallery label verso 48 x 60 in — 121.9 x 152.4 cm
PROVENANCE: Monte Clark Gallery, Vancouver, BC and Toronto, ON; Private Collection, Ontario
$3,000 — 5,000
95
MELVILLE MCLEAN (B. 1952), CANADIAN MOUNTAINS, TREES, RIVERS AND CLOUDS, 2008 original Fuji Crystal Archive C-Print titled, dated, and numbered 1/9 to label verso 40 x 50 in — 101.6 x 127 cm
PROVENANCE:
Acquired directly from the artist; Mira Godard Gallery, Toronto, ON; Private Collection, Toronto, ON
$2,500 — 3,500
96
EDWARD BURTYNSKY, RCA (B. 1955), CANADIAN
OIL FIELDS #22, COLD LAKE PRODUCTION PROJECT, COLD LAKE, ALBERTA, 2001 original chromogenic colour print signed, titled, dated and numbered 1/10 to label verso
image 27 x 34 in — 68.6 x 86.4 cm
PROVENANCE:
Acquired directly from the artist; Mira Godard Gallery, Toronto, ON; Private Collection, Toronto, ON
$5,000 — 7,000
97
EDWARD BURTYNSKY, RCA (B. 1955), CANADIAN
CN TRACK ALONG THOMSON RIVER, 1985 chromogenic print
signed, titled, dated and numbered 1/25 in ink verso; printed in 1986
19.75 x 24 in — 50.2 x 61 cm
PROVENANCE:
Private Collection, Toronto, ON
$4,000 — 6,000
98
EDWARD
BURTYNSKY,
RCA (B. 1955),
CANADIAN THE ROYAL ALEXANDRA THEATRE PORTFOLIO, 2007
10 chromogenic prints colophon signed “Ed Burtynsky” and “David Mirvish”; issued in an edition of 12 plus 3 artist’s proofs, printed in 2008 each 14 x 17 in — 35.6 x 43.2 cm
PROVENANCE:
Private Collection, Toronto, ON
$6,000 — 8,000
99
100
EDWARD BURTYNSKY (B. 1955), CANADIAN
MANUFACTURING #15, BIRD MOBILE, NINGBO, ZHEJIANG PROVINCE, CHINA, 2005
chromogenic colour print signed, titled, dated and numbered 18/25 to label verso; printed in 2007 image 20 x 24 in — 50.8 x 61 cm
PROVENANCE: Private Collection, Toronto, ON
$4,500 — 5,500
101
STEPHEN WADDELL (B.1968)
WOMAN ADJUSTING SHOE, 2004 archival pigment print signed, dated and numbered 2/5 verso 57 x 38 in — 144.8 x 96.5 cm
PROVENANCE:
Monte Clark Gallery, Vancouver, BC Private Collection, Vancouver, BC
$3,000 — 5,000
JOEL MEYEROWITZ (B. 1938), AMERICAN
OCEAN & WONDROUS LIGHT (FROM “BAY SKY SERIES”), 1981 chromogenic print; signed, titled “Bay Sky Series” and dated “1984” in ink verso 20 x 24 in — 50.8 x 61 cm
PROVENANCE:
Private Collection, Toronto, ON
$1,600 — 2,000
102
DAVID BURDENY (B. 1968), CANADIAN LES ETAPES A L’EAU ARMONCHES (STEPS), 2004 archival pigment print
edition 4/35
image 13 x 13 in — 33 x 33 cm
PROVENANCE:
Jennifer Kostuik Gallery, Vancouver, BC; Private Collection, British Columbia
$750 — 1,000
103
JOSHUA JENSEN-NAGLE (B. 1981), AMERICAN/CANADIAN
A HALLWAY I DREAM ABOUT, 2008 archival ink Diasec
signed and numbered A.P. 3/3 verso; titled, dated and numbered to label verso
20 x 20 in — 50.8 x 50.8 cm
PROVENANCE:
Galerie de Bellefeuille, Montreal, QC; Private Collection, Montreal, QC
$750 — 1,000
104
JOSHUA JENSEN-NAGLE (B. 1981), AMERICAN/CANADIAN
NOT SURE WHERE I AM GOING (SMALL EDITION), 2007 pigment print with resin signed and numbered A.P. 2/3 verso; titled, dated and numbered to label verso 30 x 30 in — 76.2 x 76.2 cm
PROVENANCE:
Galerie de Bellefeuille, Montreal, QC; Private Collection, Montreal, QC
$1,250 — 1,750
105
All lots will be offered and sold subject to the Conditions of Sale which appear in this catalogue as well as any Glossary and posted or oral announcements. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any announcements or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s™ (auctioneer) and the consignor (seller) of the lot. Description or photographs of lots are not warranties and each lot is sold “as is” in accordance with the Conditions of Sale.
condition of lots
All of the items are to be considered, unless otherwise noted in the catalogue description or condition report, in good condition. The definition of “good” when used in reference to condition, describes an object as having had no major damage or repair but as with the nature of the material, may show minor surface wear, discolouration etc., which indicates the acceptable wear that the piece may acquire with age. If you are particular about minor flaws, you should have our staff answer any questions before bidding. Sizes are approximate. Frames on artwork are not included as part of purchase or condition. It is the sole responsibility of the bidder to inquire as to the condition of a lot before bidding. Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale.
buyer’s premium
Waddington’s charges a buyer’s premium of 20% on the hammer price. Buyer’s premium and applicable Canadian taxes are added to the hammer price.
A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer’s premium except for any items directly shipped from our premises out of Canada. In the case where purchases are shipped out of the province of Ontario, the HST or GST is charged based on the tax status of that province.
payment
Payment for purchases must be by cash; interac direct debit (CDN clients in person only); certified cheque (U.S. & Overseas not applicable); bank draft; E-Transfer; Wire Transfer (fee applies); visa or Mastercard (up to $25,000).
all transactions are conducted in canadian dollars (cad)
shipping
The auctioneers will not undertake packing or shipping. The purchaser must designate and arrange for the services of an independent shipper and be responsible for all shipping and insurance expenses. The auctioneers will, upon request, provide names of professional packers and shippers but will not be held responsible for the service or have any liability for providing this information. Reliable preauction estimates of shipping costs of lots offered in this sale may be obtained from:
PakShip
905-470-6874 / 416-293-8225 / 905-470-6875 taurus@pakship.ca / www.pakship.ca
Safer Shipping Inc.
416-299-3367 / 416-299-9750 perry@safershipping.ca / www.safershipping.ca
removal of purchases
Purchases must be paid for within 48 hours of the date of the sale, and removed from premises within 10 days of the date of sale (see Conditions of Sale, conditions 8 to 15). Clients are advised that packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.
cites
Restrictions exist regarding the import and export of species protected under CITES (Convention on International Trade in Endangered Species). This includes but is not limited to items made of or containing bone (whalebone etc.), ivory, tortoise shell, seal skin, rhinoceros horn and any other animal part and is strictly controlled or forbidden by most countries.
Please review your country’s laws before bidding on pieces made of or containing these restricted items. It is the sole responsibility of the buyer to inquire about and obtain the proper permits for artwork purchased that may contain restricted materials, if such permit can be obtained.
Please contact the department for further assistance. Failure to obtain necessary import/ export permits will not void any sale.
All Narwhal Tusks must have a Marine Harvest Number or a Marine and Mammal Transport number to be sold at Waddington’s.
For more information please visit: www.cites.org
insurance
A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.
auction advice
For auction advice on paintings, drawings, prints, jewellery, and various forms of decorative arts and other collectibles, please contact us via email or telephone.
We are pleased to review emails containing photographs and information on your pieces in order to provide auction estimates for you to consider.
For collections with a variety of objects, please contact our Appraisals and Consignments department (consignments@waddingtons.ca). For department-specific inquiries, please contact the specialist and/or department directly. All contact information can be found at www.waddingtons.ca.
Our offices are located in Toronto and Vancouver, but our specialists occasionally travel to major Canadian cities to meet with prospective consignors. To receive more information on Valuation Days across Canada or to arrange an appointment, please contact our Toronto office (416-504-9100).
Please note that property typically arrives at Waddington’s at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items. Consignors will receive a contract to sign, setting forth terms and fees for our services.
Selling at Waddington’s Buying at Waddington’s
Conditions of Sale
1. Each lot sold is subject to a premium of 20% of the successful bid price of each lot as part of the purchase price.
2. Unless exempted by law, the buyer is required to pay Federal Good and Services Tax on the total purchase price including the buyer’s premium.
3. The auctioneer reserves the right to withdraw any lot from sale at any time, to divide any lot or to combine any two or more lots at his sole discretion, all without notice.
4. 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 not 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.
5. Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor. The auctioneer may bid, or direct an employee to bid, on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant to the instructions of prospective purchasers not in attendance at the sale.
6 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 shall be final.
7. Immediately after the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the auctioneer with respect to payment of the whole or any part of the purchase price requested by the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without re-offering the item for sale.
8. The buyer shall pay for all lots within 48 hours from the date of the sale, after which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale. The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale, after which storage charges may be incurred.
9. Each lot purchased, unless the sale is cancelled as above, shall be held by the auctioneer at his premises or at a public warehouse at the sole risk of the buyer until fully paid for and taken away.
10. All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted online and/or announced via email prior to the time of sale. While the auctioneer has endeavored not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made. Some lots are of an age and/or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid and to bid accordingly.
11. Payment for purchases must be by cash; interac direct debit (CDN client in person only); certified cheque (U.S. & Overseas not applicable); bank draft; E-Transfer; Wire Transfer (fee applies); visa or Mastercard (up to $25,000).
12. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for:
(a) any deficiency in price between the r e-sale amount and the amount to have been paid by the original buyer
(b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer and
(c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer.
13. It is the responsibility of the buyer to make all arrangements for insuring, packing and removing the property purchased and any assistance by the auctioneer or his servants, agents or contractors, in packing or removal shall be rendered as a courtesy and without any liability to them.
14. The auctioneer acts solely as agent for the consignor and makes no representation as to any attribute of, title to, or restriction affecting the articles consigned for sale. Without limitation, the buyer understands that any item bought may be affected by the provisions of the Cultural Property Export Act (Canada).
15. The auctioneer reserves the right to refuse admission to the sale or to refuse to recognize any or all bids from any particular person or persons at any auction.
tel: 416-504-9100 toll free: 1-877-504-5700 www.waddingtons.ca Waddington’s 275 King Street East, Second Floor Toronto, Ontario M5A 1K2
