Waddington’s West | June 24 - 29, 2023

Waddington’s West

JUNE —

Waddington’s West

JUNE —

Item(s) located in Vancouver, BC. Contact westerncanada@waddingtons.ca to book a preview appointment.

Local pick up by special arrangement; shipment from Vancouver only.

This auction is subject to the Conditions of Sale printed in the back of this catalogue.

Photography & design by Waddington’s All Rights Reserved.

FRANCIS HORNE SR B COAST SALISH

LARGE RAVEN TOTEM

red cedar; signed and dated verso

95 x 11 x 17 in — 241.3 x 27.9 x 43.2 cm

PROVENANCE

Private Collection, British Columbia

NOTE

Francis Horne is largely a self-taught carver but also learned from his elders, especially Chief Simon Charlie, an accomplished artist.

From 1986 to 1987, Horne carved four poles for the town of Duncan, BC, on Vancouver Island and began working in silver to create jewelry. Horne’s totem poles have been acquired by collectors around the world and are known for their clean and detailed carving. In 1988, he was invited to Singapore to demonstrate totem pole carving.

Specializing in large house poles, masks and limited edition prints, Horne has been carving for 25 years. He is known for these large-scale monumental pieces created for public and private art projects.

SIMON CHARLIE HWUNUMETSE’COAST SALISH

WELCOMING FIGURE

red cedar, acrylic paint

72 x 16 x 22 in — 182.9 x 40.6 x 55.9 cm

PROVENANCE

Private Collection, British Columbia

NOTE

Simon Charlie (Hwunumetse’) was a renowned Coast Salish artist who was named a 2003 recipient of the Order of Canada for his contribution to the education and preservation of his cultural heritage. In addition, Charlie received the National Centennial Medal in 1967 and the Order of British Columbia in 2001. His totem poles stand in the Royal B.C. Museum, the Parliament Buildings in O awa, New York, Chicago, Holland, New Zealand, and Australia. His artworks and masks are found in collections in North and South America, Europe and Japan.

SIMON CHARLIE HWUNUMETSE’ - COAST SALISH

HUMAN FIGURE

red cedar, acrylic paint; signed 62 x 16 x 16 in — 157.5 x 40.6 x 40.6 cm

PROVENANCE

Private Collection, British Columbia

NOTE

Simon Charlie (Hwunumetse’) was a renowned Coast Salish artist who was named a 2003 recipient of the Order of Canada for his contribution to the education and preservation of his cultural heritage. In addition, Charlie received the National Centennial Medal in 1967 and the Order of British Columbia in 2001. His totem poles stand in the Royal B.C. Museum, the Parliament Buildings in O awa, New York, Chicago, Holland, New Zealand, and Australia. His artworks and masks are found in collections in North and South America, Europe and Japan.

NORMAN TAIT - NISGA’A

LARGE DZUNOKWA TOTEM

cedar; signed and dated 74 x 31 x 24 in — 188 x 78.7 x 61 cm

PROVENANCE

Private Collection, British Columbia

NOTE

Innovative master artist Norman Tait is widely celebrated for the exquisite cra smanship and beauty of his work. Tait’s style is like no other; unique yet respectful of the Tsimshian tradition that is his cultural foundation. Early influences include Freda Diesing (design), Gerry Marks (silver engraving) and his father, Josiah Tait (totem poles. His poles have been raised around the world, including Chicago, London, Osaka, Stanley Park and UBC’s Museum of Anthropology.

In 2002 Tait was awarded the British Columbia Creative Lifetime Achievement Award For First Nations Art.

LARGE TOTEM WITH THUNDERBIRD KILLER WHALE AND SISUITL DESIGN cedar, acrylic paint; signed and dated

55.75 x 54 x 12.5 in — 141.6 x 137.2 x 31.8 cm

PROVENANCE

Private Collection, British Columbia

MODEL TOTEM THUNDERBIRD WITH CHIEF HOLDING A SCULPIN yellow cedar, pigment ; signed

13.8 x 8.3 x 3 in — 35 x 21 x 7.5 cm

PROVENANCE

Private Collection, British Columbia

STANLEY HUNT III - KWAKWAKA’WAKW

CHARLIE JAMES YAKUGLASKWAKWAKA’WAKW

MODEL TOTEM EAGLE WITH SALMON

yellow cedar, pigment; signed “Ronnie George Kuper Island BC”

14.6 x 18.3 x 5.1 in — 37 x 46.5 x 13 cm

PROVENANCE

Private Collection, British Columbia

THUNDERBIRD TOTEM

yellow cedar, pigment; signed “Jimmy Joseph Kwakiutl, Alert Bay Raven Wrenn”

24.2 x 23 x 5.3 in — 61.5 x 58.5 x 13.5 cm

PROVENANCE

Private Collection, British Columbia

NOTE

This tall totem features well-carved imagery featuring a thunderbird with a face on his chest and a seated bird/human figure at the bo om, painted in pigments of red, green, blue and black.

RONNIE GEORGE TH/ TH CENTURY COAST SALISH

JIMMY JOSEPH B KWAKWAKA’WAKW

TH CENTURY HAIDA OR TLINGLIT

FISH CLUB WITH ABALONE INSET EYES

wood, abalone ; seal form fish club with abalone inset eyes; hole drilled in handle where a hide safety cordage would have been looped through

3.9 x 11 x 2.4 in — 10 x 28 x 6 cm

PROVENANCE

Private Collection, British Columbia

GEORGE NOOKEMUS TH CENTURY

NUU-CHAH-NULTH

LARGE THUNDERBIRD CARVING red cedar, abalone

78 x 94 x 4.5 in — 198.1 x 238.8 x 11.4 cm

PROVENANCE

Private Collection, British Columbia

CHESTER CHAZ PATRICK - GITXSAN CARVED CHEST WITH RAVEN KILLER WHALE SALMON EAGLE AND FROG DESIGN

yellow cedar; signed and dated 20 x 66 x 21.5 in — 50.8 x 167.6 x 54.6 cm

PROVENANCE

Estate of Leona La imer, Vancouver, BC

NOTE

Chester Patrick was the recipient of the 2007 BC Achievement in First Nations Art award.

In 1974 Chester (Chaz) began his training at the prestigious Gitanmaax School of Northwest Coast Arts at ‘Ksan. Chaz excels at painting, carving and designing, working primarily in yellow cedar which allows him to make clean, well-defined cuts to highlight his design work. Design is the most fundamental element in all of his work, whether carving or painting. As the artist-in-residence, he was hired to build two ceremonial panels for the front of the Hill’s Indian Cra s Gallery in Gastown. His work can be found in private collections, galleries, and public institutions throughout North America, Asia, and Europe.

UNIDENTIFIED ARTIST TH CENTURY HAIDA TOTEM POLE CIRCA

argillite

8.25 x 2.25 x 2.25 in — 21 x 6 x 6 cm

PROVENANCE

Private Collection, British Columbia

NOTE

This totem pole features detailed, deep and wellcarved imagery of a seal biting his tail, a raven and a beaver at the base.

ATTRIBUTED TO PAUL JONES - HAIDA

TOTEM POLE CIRCA -

argillite

10 x 2.2 x 2.4 in — 25.5 x 5.5 x 6 cm

PROVENANCE

Private Collection, British Columbia

NOTE

An early work by Jones, this pole is nicely proportioned and features deep, wellcarved imagery with each creature clearly delineated from the others. The totem features a bear with a salmon hanging from its mouth, a frog and a seated beaver holding a chew stick at the bo om.

ATTRIBUTED TO ARTHUR MOODY - HAIDA

TOTEM POLE

argillite

5.25 x 1.5 x 1.5 in — 13.3 x 3.8 x 3.8 cm

PROVENANCE

Private Collection, British Columbia

NOTE

A well-carved early totem pole featuring a diving dogfish and a seated bear at the bo om.

EDMUND CALDER - HAIDA

TOTEM WITH BEAR RAVEN AND BEAVER argillite; signed “Ed Calder, Haida Tribe, Masset B.C.”

5.75 x 2.25 x 2.25 in — 14.6 x 5.7 x 5.7 cm

PROVENANCE

Private Collection, British Columbia —

UNIDENTIFIED ARTIST TH CENTURY

A FIRST PERIOD HAIDA PANEL PIPE CIRCA

argillite

2 x 11 x 1 in — 20 x 29 x 3.5 cm

PROVENANCE

Private Collection, British Columbia

NOTE

During the 1830s, the second decade of argillite carving traditions, pipes were carved longer and fla er than those of earlier years. This pipe likely represents an early departure from the compact style. The pipe bowl is located about two thirds of the way down the pipe in the head of the raven, which is lying on the back of the sea bear. The carving is continued on the bo om, a feature found on early pipes. The pipe is large enough to be functional.

GREG LIGHTBOWN B HAIDA

UNTITLED

argillite; signed at bo om

2.75 x 2.5 x 1.75 in — 7.5 x 5 x 3 cm

PROVENANCE

Private Collection, British Columbia

NOTE

An argillite sculpture by master carver Greg Lightbrown depicting a reclining man holding the world in his hands.

ANDREW WILLIAMS B HAIDA

DOGFISH

argillite, abalone, mastodon ivory; signed 7.5 x 3 x 4 in — 19.1 x 7.6 x 10.2 cm

PROVENANCE

Private Collection, British Columbia

GLEN POLLARD B HAIDA

EAGLE FROG TOTEM

argillite, abalone; signed, titled and dated 4.5 x 1.5 x 3.5 in — 11.4 x 3.8 x 8.9 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

PHIL JANZÉ - GITKSAN

BRACELET

silver; signed and dated 1.5 x 2.25 in — 3.8 x 5.7 cm

PROVENANCE

Private Collection, British Columbia

NOTE

Janzé is internationally recognized for his elegant and thought-provoking works of art. He is represented in private, public and corporate collections in Canada, the United States, Germany and Japan.

Janzé is a 2012 recipient of the B.C. Achievement in First Nation’s Art award.

CHIEF HENRY SPECK SR OZISTALIS - KWAKWAKA’WAKW

SEAGULL MASK DANCERS

watercolour; signed and titled; unframed 14 x 16.5 in — 35.6 x 41.9 cm

PROVENANCE

Private Collection, British Columbia

NOTE

Speck’s work and his dedication to teaching has inspired generations of artists. Northwest Coast artist Bill Reid told the CBC in 1964 that Speck’s drawings “are imaginative in their concept, o en going far beyond anything a empted before in Kwakiutl art.” Reid saw Speck’s work as being deeply rooted in his knowledge of the cosmologies of his people. Todd Ayo e, associate director of the Derek Simpkins Gallery of Tribal Art, wrote that “Speck’s paintings speak to the viewer with a clarity and a sense of immediacy. A striking aspect of Speck’s work is its ability to invoke a three-dimensional ‘space’ within the confines of a limited design field.”

CHIEF HENRY SPECK SR OZISTALIS - KWAKWAKA’WAKW

LADY GIANT DANCE MASK

watercolour; signed and titled; unframed 14 x 17 in — 35.6 x 43.2 cm

PROVENANCE

Private Collection, British Columbia

NOTE

Writing for a 2012 exhibition of Speck’s paintings, co-curator Karen Duffek explains that his work “brought forward a new way of picturing Kwakwak’awkw ritual dances and mythological characters. His subjects came from own, lived, contemporary experience in the potlatch as a ceremonial singer and dancer, and he sometimes depicted supernatural beings mapped onto the landscape features of Tlawit’sis territory.” She remarks on the painterly qualities of his work, which may be unexpected for viewers expecting fla er representations in Northwest Coast art.

CHIEF HENRY SPECK SR OZISTALIS - KWAKWAKA’WAKW

HALLOWEEN FOOLS IN MASK LADY GIANT PUMPKIN

watercolour; signed and titled; unframed 14 x 17 in — 35.6 x 43.2 cm

PROVENANCE

Private Collection, British Columbia

CHIEF HENRY SPECK SR OZISTALIS - KWAKWAKA’WAKW

BULLHEAD KWA-MA RAVEN GWA WE NA

watercolour; signed and titled; unframed 14 x 16.5 in — 35.6 x 41.9 cm

PROVENANCE

Private Collection, British Columbia

CHIEF HENRY SPECK SR OZISTALIS - KWAKWAKA’WAKW

CRANE KWA-QWA-NE

watercolour; signed and titled; unframed 14 x 16.75 in — 35.6 x 42.5 cm

PROVENANCE

Private Collection, British Columbia

CHIEF HENRY SPECK SR OZISTALIS - KWAKWAKA’WAKW

SEA BEAR NA-NIS SEA WOLF

watercolour; signed and titled; unframed 14 x 16.5 in — 35.6 x 41.9 cm

PROVENANCE

Private Collection, British Columbia

BEAU DICKKWAKWAKA’WAKW

FOOL NOOHLMAHL MASK

red cedar, acrylic paint, fabric; signed, titled and dated 12 x 8 x 6.5 in — 30.5 x 20.3 x 16.5 cm

PROVENANCE

Inuit Gallery, Vancouver, BC, 1986 Estate of Thomas and Judith Peacocke, Edmonton, AB

DWAYNE SIMEON B

KWA-KIULTH SUN MASK

red cedar, acrylic paint

signed, titled and dated 29 x 30 x 11.5 in — 73.7 x 76.2 x 29.2 cm

PROVENANCE

Marion Sco Gallery, Vancouver, BC; Estate of Kenneth and Eunice Barron, Edmonton, AB

DEMPSEY BOB B

TAHLTAN TLINGIT

UNTITLED

bronze; signed, dated and numbered 1/12

5.5 x 4 x 4 in — 14 x 10.2 x 10.2 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

TOM PATTERSON B

NUU-CHAH-NULTH

KWAGUILTH MOSQUITO HEADDRESS

cedar, acrylic paint, copper, fur, horsehair, abalone, cedar bark; signed, titled and dated; includes stand

8.5 x 27 x 11.5 in — 21.6 x 68.6 x 29.2 cm

PROVENANCE

Private Collection, British Columbia

JOE PETERS JRKWAKWAKA’WAKW

EAGLE FROM UNDER THE SEA “IN THE SUN” FRONTLET

cedar, copper, acrylic paint, abalone; signed, titled and dated

11 x 10 x 3.5 in — 27.9 x 25.4 x 8.9 cm

PROVENANCE

Private Collection, British Columbia —

DWAYNE SIMEON B

RYAN CRANMER B

CHARLES JOSEPH B

KWAKWAKA’WAKW

THREE MINIATURE MASKS

cedar, alder, acrylic paint, cedar bark, glass, resin, metal beads and bear claw; signed

largest 5 x 3 x 2 in — 12.7 x 7.6 x 5.1 cm

PROVENANCE

Private Collection, British Columbia —

JOE PETERS JRKWAKWAKA’WAKW

KILLER WHALE RATTLE

cedar, acrylic paint, cedar bark, leather; signed and dated

12 x 4.5 x 4.5 in — 30.5 x 11.4 x 11.4 cm

PROVENANCE

Private Collection, British Columbia

DWAYNE SIMEON B

KWAKIUTL OWL

red cedar, acrylic paint signed, titled and dated 8.5 x 8 x 6.5 in — 21.6 x 20.3 x 16.5 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

SIMON DANIEL JAMES WINADZI B KWAKWAKA’WAKW

SEA CHIEF MASK

red cedar, acrylic paint, cedar bark, feathers; signed, titled and dated 20 x 25 x 10.25 in — 50.8 x 63.5 x 26 cm

PROVENANCE

Private Collection, British Columbia

COREY MORAES B TSIMSHIAN HUMAN FORM MASK

yellow cedar, acrylic paint, silver, cedar bark, horse hair, abalone, sinew, feathers; signed, titled and dated 22 x 9 x 4 in — 55.9 x 22.9 x 10.2 cm

PROVENANCE

Private Collection, British Columbia

NOTE

Corey Moraes is of Tsimshian heritage, belonging to the raven clan of the Lax Kw’aLaams Band. Moraes apprenticed under Tsimshian carver David Boxley and worked with Kwakwaka’wakw master carver Dwayne Simeon.

Moraes’ work can be seen in numerous publications, galleries, and collections in North America, England and Japan. In 2010, he was the recipient of the Aboriginal Traditional Visual Art Award.

POSSIBLY SCOTT JENSEN TH CENTURY ADOPTED TLINGIT

SMALL BEAR MASK

wood, acrylic paint

4 x 3.5 x 3 in — 10.2 x 8.9 x 7.6 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

PAT NATRALLKWAKWAKA’WAKW

KWAKUITL FIGURE WITH HAMATSA MASK

cedar, pigment ; signed

8.75 x 8 x 3 in — 22 x 20.5 x 5 cm

PROVENANCE

Private Collection, British Columbia

NOTE

A rare depiction of a Kwakiutl dancer dressed for the winter Hamatsa ceremony, wearing a thunderbird headdress and cedar bark cape.

ALEX HUNT TH CENTURY

KWAKIUTL WREN

red cedar, acrylic paint

signed and titled 9 x 8 x 5.5 in — 22.9 x 20.3 x 14 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

HENRY ROBERTSONCOAST SALISH

MOON CARVING

red cedar, acrylic paint; inscribed “VHR” 6.75 x 4 x 7.25 in — 17.1 x 10.2 x 18.4 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

ALEX JANVIER B DENESULINE

SNAPPY COLD SPELL

acrylic on canvas; signed including treaty number “287”

20 x 24 in — 50.8 x 61 cm

PROVENANCE

Acquired directly from the artist

Estate of Kenneth and Eunice Barron, Edmonton, AB

DAPHNE ODJIGANISHINAABE

OJIBWE

BOY HOOP DANCER

acrylic on canvas; signed and dated lower le ; titled verso

24 x 20 in — 52.1 x 41.9 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

NOTE

Odjig received numerous awards and honorary doctorates, including a Governor General’s Award in Visual and Media Arts, the National Aboriginal Achievement Award, the Order of British Columbia and the Order of Canada. Her works have been exhibited in the National Gallery of Canada, O awa, Ontario; the Canadian Museum of History, Gatineau, Quebec; the Art Gallery of Ontario, Toronto, Ontario; and the McMichael Canadian Art Collection in Kleinburg, Ontario.

DAPHNE ODJIGANISHINAABE OJIBWE

HE COMFORTS HER acrylic on canvas; signed and dated lower le ; titled verso

24 x 18 in — 59.7 x 45.7 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

NOTE

Odjig received numerous awards and honorary doctorates, including a Governor General’s Award in Visual and Media Arts, the National Aboriginal Achievement Award, the Order of British Columbia and the Order of Canada. Her works have been exhibited in the National Gallery of Canada, O awa, Ontario; the Canadian Museum of History, Gatineau, Quebec; the Art Gallery of Ontario, Toronto, Ontario; and the McMichael Canadian Art Collection in Kleinburg, Ontario.

ALLEN SAPP -

STOPPING FOR TEA

acrylic on canvas signed lower right 20 x 24 in — 50.8 x 61 cm

PROVENANCE

Private Collection, Alberta

ALLEN SAPPCAMPSITE WITH TWO TEEPEES acrylic on canvas board signed lower right 20 x 24 in — 50.8 x 61 cm

PROVENANCE

Private Collection, Alberta

JANE ASH POITRAS B

UNTITLED

mixed media on paper signed 9 x 20.9 in — 22.9 x 53 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

DAPHNE ODJIGODAWA-POTAWATOMI

GIRL HOOP DANCER

silkscreen print; signed, titled, dated and numbered 45/75 sight 25.2 x 20.5 in — 64 x 52 cm

PROVENANCE

Estate of Ken and Eunice Barron, Edmonton, AB —

ROBERT CHARLES DAVIDSON B HAIDA

IN FLIGHT

silkscreen print; signed, titled, dated and numbered 46/85 22 x 30 in — 55.9 x 76.2 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

SUSAN POINT B COAST SALISH

PEOPLE OF THE FOREST

silkscreen print; signed, titled, dated and numbered 65/90; unframed

16.5 x 17.75 in — 41.9 x 45.1 cm

PROVENANCE

Private Collection, Alberta

BILL WILLIAM RONALD REID - HAIDA

HAIDA DOGFISH - XAXADA

silkscreen print; signed, titled, dated and numbered 386/450, sight

23.5 x 19 in — 59.7 x 48.3 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

BILL WILLIAM RONALD REIDHAIDA

HAIDA RAVEN - XO YA

silkscreen print; signed, titled, dated and numbered 117/450, sight 23.5 x 19 in — 59.7 x 48.3 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

FREDA DIESING - HAIDA

HAIDA SITTING EAGLE CREST DESIGN

silkscreen print; signed, titled, dated and numbered 72/100 sight 22.8 x 17.3 in — 58 x 44 cm

PROVENANCE

Estate of Ken and Eunice Barron, Edmonton, AB —

FREDA DIESING - HAIDA

HAIDA HAWK DESIGN

silkscreen print; signed, titled, dated and numbered 99/200

sight 22.6 x 17.1 in — 57.5 x 43.5 cm

PROVENANCE

Estate of Ken and Eunice Barron, Edmonton, AB

JOE DAVID B

NUU-CHAH-NULTH

MEMORIAL CAUSE

silkscreen print; signed, titled, dated and numbered 45/120

sight 17.25 x 21.5 in — 43.8 x 54.6 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

BEAU DICKKWAKWAKA’WAKW

CRANE

silkscreen print; signed, titled, dated and inscribed A/P, sight sight 11 x 26.8 in — 28 x 68 cm

PROVENANCE

Private Collection, British Columbia —

RICHARD HUNT B KWAKWAKA’WAKW

A BOGEY

silkscreen print; signed, dated, titled and inscribed A/P sight 21.9 x 21.9 in — 55.5 x 55.5 cm

PROVENANCE

Private Collection, British Columbia —

RICHARD DICKS B NUXALK

REPOUSSÉ COPPER BOX

copper, felt; signed on the bo om with black marker

3.25 x 6.25 x 5.75 in — 8.3 x 15.9 x 14.6 cm

PROVENANCE

Private Collection, British Columbia

DENNIS CLIFTON TH CENTURY

HAWK RATTLE

wood, acrylic paint, ermine fur, feathers, abalone and twine

signed including feathers 13 x 6 x 5 in — 33 x 15.2 x 12.7 cm

PROVENANCE

Kenneth and Eunice Barron, Edmonton, AB

AN EARLY LARGE LIDDED NUU-CHAH-NULTH BASKET CIRCA -

cedar bark, natural and dyed grasses; finely stitched (approximately 28-30 vertical stitches per inch) with cedar bark and natural and dyed bear grasses; the rare design features two bands of wave pa erns and circular bands on the lid

3.3 x 7.1 x 5.5 in — 8.5 x 18 x 14 cm

PROVENANCE

Private Collection, British Columbia —

A FINE MINIATURE TLINGIT BASKET spruce root, natural and dyed bear grasses

1.8 x 2.8 x 2.8 in — 4.5 x 7 x 7 cm

PROVENANCE

Private Collection, British Columbia —

AN EARLY LIDDED NUU-CHAH-NULTH BASKET CIRCA -

cedar bark, wove natural and dyed grass; the design features a sun and a band of zig-zags on the lid in green, purple, yellow and red; the central striking pa ern in the middle features a mirrored wave design and bands on the lid and bo om; the colours are well-preserved; approximately 30 stitches per inch

2.6 x 4.1 x 4.3 in — 6.5 x 10.5 x 11 cm

PROVENANCE

Private Collection, British Columbia

NOTE

The design features a sun and a band of zig-zags on the lid in green, purple, yellow and red. The central striking pa ern in the middle features a mirrored wave design and bands on the lid and bo om. The colours are well-preserved. Approximately 30 stitches per inch.

A

KLICKITAK YAKIMA BURDEN BASKET

split cedar root, bear grass, horsetail root, and hide; fully imbricated burden basket complete with crenelated rim and remnants of carrying straps; design features geometric stepped v’s 9.3 x 9.8 x 9.4 in — 23.5 x 25 x 24 cm

PROVENANCE

Private Collection, British Columbia

NOTE

A hard, fully imbricated burden basket complete with crenelated rim and remnants of carrying straps. Design features geometric stepped V’s.

A HAIDA LIDDED BASKET CIRCA

spruce root, natural and dyed bear grasses; a rare Haida lidded knob top trinket basket; finely woven from split spruce root and the complex false imbricated designs from natural and dyed bear grasses; the design features two arrows and a black checkerwork pa ern on the lid and three arrow designs encircling the periphery framed top and bo om with black dashes

3 x 4.9 x 4.5 in — 12 x 12.5 x 11.5 cm

PROVENANCE

Private Collection, British Columbia —

A COAST SALISH KLICKITAT FULLY IMBRICATED FIGURAL BASKET CIRCA

split cedar root, bear grass, cherry bark and horsetail root; a striking figural basket featuring rare human forms in red standing between and below pa erns of mountain peak designs in black, cream and a rare shade of purple

7.5 x 6.5 x 6.3 in — 19 x 16.5 x 16 cm

PROVENANCE

Private Collection, British Columbia —

A PORCUPINE QUILL LIDDED BASKET TH CENTURY

porcupine quills, sweetgrass, pigment

2.4 x 3 x 3 in — 6 x 7.5 x 7.5 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

STAN JOSEPH SEQUILEM COAST

SALISH SPIRIT CANOE

red cedar; signed, inscribed

5 x 27 x 3.5 in — 12.7 x 68.6 x 8.9 cm

PROVENANCE

Private Collection, Alberta

OSUITOK IPEELEEKINNGAIT CAPE DORSET

CARVED OOSIK WITH ANIMALS

oosik (fossilized walrus penis), stone; signed

21.1 x 3.3 x 3 in — 53.5 x 8.5 x 7.5 cm

PROVENANCE

Marion Sco Gallery, Vancouver, BC Private Collection, Alberta

NOTE

Similar examples can be found in the University of Lethbridge collection.

OSUITOK IPEELEEKINNGAIT CAPE DORSET GOOSE

stone; signed in syllabics

10.6 x 5.1 x 3 in — 27 x 13 x 7.5 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

ISA AQIATTUSUK SMILERINUKJUAK PORT HARRISON

SEATED WOMAN STRETCHING SKIN stone; signed in Roman

12.5 x 11.5 x 7 in — 31.8 x 29.2 x 17.8 cm

PROVENANCE

Private Collection, Alberta

MATHEW AQIGAAQQAMANI’TUAQ BAKER LAKE

MOTHER AND CHILD stone; signed in syllabics

8 x 6 x 7 in — 20.3 x 15.2 x 17.8 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

CHARLIE UGYUKTALOYOAK SPENCE BAY

HAWK

whalebone, stone; signed in syllabics

11 x 4 x 7 in — 27.9 x 10.2 x 17.8 cm

PROVENANCE

Private Collection, Alberta —

ABRAHAM ANGHIK RUBEN B PAULATUK

OWL SPIRIT

whalebone, stone

12 x 17 x 12 in — 30.5 x 43.2 x 30.5 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

ELIJAH PALITUK KANGIQTUGAAPIK CLYDE RIVER

WALRUS

whalebone, antler

17 x 10.5 x 8 in — 43.2 x 26.7 x 20.3 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

RONALD NOOKEIQULAK

QIKIQTARJUAQ BROUGHTON ISLAND

CARVED IVORY WALRUS TUSK

ivory

11.8 x 1.8 x 1.6 in — 30 x 4.5 x 4 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

UNIDENTIFIED ARTIST

TWO TUPILAQS

ivory

3 x 1 x 1.5 in — 1.25 x 1.25 x 3.5 cm;

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

MARK TUNGILIKHUNTER WITH SEAL AND BEAR ivory and stone signed in syllabics

3 x 4 x 2.5 in — 7.6 x 10.2 x 6.4 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

JAMASEE PADLUQ PITSEOLAK B KINNGAIT CAPE DORSET

THE PUCK STOPS HERE

stone, antler; signed in syllabics

4 x 2.25 x 2 in — 10.2 x 5.7 x 5.1 cm

PROVENANCE

Spirit Wrestler Gallery, Vancouver, BC Estate of Kenneth and Eunice Barron, Edmonton, AB

POVUNGNITUK

DAVIDIALUK ALASUA AMITTUPUVIRNITUQ

HUNTER WRESTLING BEAR CUB

stone; signed in syllabics

3 x 6 x 9 in — 7.6 x 15.2 x 22.9 cm

PROVENANCE

George R. Dinney Collection, Victoria, BC (formerly of Winnipeg, MB)

NOTE

George R. Dinney was the Vice President of Development for Great-West Life Insurance, Winnipeg, MB and primarily responsible for building Great-West’s impressive collection of Inuit graphics and sculptures. Dinney’s personal collection has been described by representatives of the Department of Indian Affairs in the 1970s as the best small collection they had seen.

BARNABUS ARNASUNGAAQQAMANI’TUAQ BAKER LAKE

MUSK OX

stone

6 x 8 x 4 in — 15.2 x 20.3 x 10.2 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

MARK TUNGILIKNAUJAAT REPULSE BAY

MUSK OX

stone, antler; signed in syllabics

5 x 8.5 x 3 in — 15.2 x 7.6 x 20.3 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

SEEPEE IPEELIEIQALUIT FROBISHER BAY

MUSK OX

stone, antler; signed in syllabics, dated 5.5 x 2.5 x 7 in — 14 x 6.4 x 17.8 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

SAKIASSEE QAUNAQ B

IKPIARJUK ARCTIC BAY

OWL

stone; signed in Roman 10 x 10.5 x 8.5 in — 25.4 x 26.7 x 21.6 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

ATTRIBUTED TO LUCY QINNUAYUAK - KINNGAIT CAPE DORSET

BIRD

stone; signed in syllabics

10 x 8.5 x 3.5 in — 25.5 x 21.5 x 9 cm

PROVENANCE

Estate of Ken and Eunice Barron, Edmonton, AB —

ADAMIE ASHEVAK B

KINNGAIT CAPE DORSET

BEAR WITH INSET EYES

stone, ivory; signed in syllabics

10 x 13 x 5 in — 25.4 x 33 x 12.7 cm

PROVENANCE

Private Collection, Alberta —

TUNA IQULIQQAMANI’TUAQ BAKER

THREE GEESE stone

LAKE

4.5 x 5.1 x 1.4 in — 11.5 x 13 x 3.5 cm; 4.7 x 3.9 x 1.8 in — 12 x 10 x 4.5 cm; 4.5 x 4.9 x 1.4 in — 11.5 x 12.5 x 3.5 cm

PROVENANCE

Estate of Ken and Eunice Barron, Edmonton, AB

LUCY TASSEOR TUTSWEETOKARVIAT ESKIMO POINT

FAMILY stone

10.6 x 6.1 x 5.5 in — 27 x 15.5 x 14 cm

PROVENANCE

Private Collection, Alberta

SILAS QIYUK B

QAMANI’TUAQ BAKER LAKE

FLOATING BIRDS

stone; signed in Roman

6 x 11.5 x 10.5 in — 15.2 x 29.2 x 26.7 cm

PROVENANCE

Private Collection, Alberta —

NANOOKLOOK

FAMILY GROUPING stone

5 x 10.5 x 3 in — 12.7 x 26.7 x 7.6 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

TUNA IQULIQQAMANI’TUAQ BAKER LAKE

MOTHER & CHILD CA stone; signed in syllabics

8.7 x 6.7 x 3 in — 22 x 17 x 7.5 cm

PROVENANCE

Estate of Ken and Eunice Barron, Edmonton, AB

JOY KILUVIYUAK HALLAUKARVIAT ESKIMO POINT

MOTHER & CHILD stone

11.6 x 4.7 x 4.7 in — 29.5 x 12 x 12 cm

PROVENANCE

Private Collection, Alberta

MARTHA TIKTAQ ANAUTALIKQAMANI’TUAQ BAKER LAKE

FIGURE OF WOMAN stone

6.3 x 3.5 x 1.4 in — 16 x 9 x 3.5 cm

PROVENANCE

Private Collection, British Columbia —

PAUL PUQIQNAQ UQSUQTUUQ GJOA HAVEN KNEELING HUNTER WITH SEAL stone, antler, ivory, hide

8 x 5.5 x 3.5 in — 20.3 x 14 x 8.9 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

GEORGE ARLUK B

ARVIAT ESKIMO POINT

FIGURE

stone; signed in syllabics

4.5 x 3.7 x 1.2 in — 11.5 x 9.5 x 3 cm

PROVENANCE

Private Collection, British Columbia

ANNIE TALIGGAQ ARQVIQ B

UQSUQTUUQ GJOA HAVEN

SEDNA

stone; signed in syllabics

4.3 x 7.5 x 3.9 in — 11 x 19 x 10 cm

PROVENANCE

Private Collection, British Columbia

NUVEEYA IPELLIEIQALUIT FROBISHER BAY LOON

stone; signed in syllabics

4.7 x 8.5 x 2.8 in — 12 x 21.5 x 7 cm

PROVENANCE

Private Collection, British Columbia —

JOSHUA PAUJUNGI TALIRUNILI B POVUNGNITUK

MAN PLAYING AQIJUT

stone

6.7 x 7.5 x 2 in — 17 x 19 x 5 cm

PROVENANCE

Private Collection, British Columbia —

DAVIDEE KAVIK B SANIKILUAQ BELCHER ISLANDS

HUNTER WITH HARPOON stone, wood, antler; signed in syllabics

7.1 x 4.1 x 3.3 in — 18 x 10.5 x 8.5 cm

PROVENANCE

Estate of Ken and Eunice Barron, Edmonton, AB

PETER SEVOGAQAMANI’TUAQ BAKER LAKE

MOTHER & CHILD stone

9.1 x 9.1 x 4.9 in — 23 x 23 x 12.5 cm

PROVENANCE

Private Collection, Alberta

AGNES NANOGAKULUKHAKTOK HOLMAN

IT’S A SORCEROR

stonecut print together with printing stone; signed, dated, titled and numbered 32/50

sight 17 x 22.5 in — 43.2 x 57.2 cm; sight 16 x 26 x 5 in — 40.6 x 66 x 12.7 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

OHOTAQ MIKKIGAKKINNGAIT CAPE DORSET

SEA SPIRIT WITH FISH

stonecut; signed, dated and numbered 46/50

sight 16.5 x 11.6 in — 42 x 29.5 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

PITSEOLAK ASHOONAKINNGAIT CAPE DORSET

PLAYING KICKBALL WITH DEMONS

stonecut; signed, titled, dated and numbered 31/50

17.5 x 19.5 in — 44.5 x 49.5 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

PITSEOLAK ASHOONAKINNGAIT CAPE DORSET

TATTOOED WOMAN

stonecut; signed, dated and numbered 33/50

sight 22.5 x 22.5 in — 57.2 x 57.2 cm

PROVENANCE

Private Collection, Alberta

KENOJUAK ASHEVAKKINNGAIT CAPE DORSET COMPOSITION

stonecut ; signed, titled, dated, numbered, 20/50

sight 21.9 x 29.7 in — 55.5 x 75.5 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB —

KENOJUAK ASHEVAKKINNGAIT CAPE DORSET

YOUNG GIRL’S THOUGHT OF BIRDS

stonecut and stencil; signed, titled, dated, numbered 7/50

sight 23.6 x 32.3 in — 60 x 82 cm

PROVENANCE

Estate of Ken and Eunice Barron, Edmonton, AB —

KENOJUAK

ASHEVAKKINNGAIT CAPE DORSET

BIRD OF THE SUMMERLAND

stonecut and stencil; signed, titled, dated and numbered 25/50

sight 29.5 x 22.5 in — 74.9 x 57.2 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

NOTE

This was the cover illustration for the 1979 print catalogue

KANANGINAK POOTOOGOOK

- KINNGAIT CAPE DORSET

SUMMER OWL

stonecut; signed, titled, dated and numbered 26/50

sight 29.5 x 22.5 in — 74.9 x 57.2 cm

PROVENANCE

Estate of Kenneth and Eunice Barron, Edmonton, AB

LUCY QINNUAYUAKKINNGAIT CAPE DORSET INTRUDER

stonecut; signed, titled, dated and numbered 10/50

sight 15.75 x 23.5 in — 40 x 59.7 cm

PROVENANCE

Private Collection, British Columbia —

LUCY QINNUAYUAKKINNGAIT CAPE DORSET THREE BIRDS

stonecut; signed, titled, dated, numbered, 33/50, sight 21.3 x 26.4 in — 54 x 67 cm

PROVENANCE

Estate of Ken and Eunice Barron, Edmonton, AB —

KANANGINAK POOTOOGOOK

-

KINNGAIT CAPE DORSET

THE LOON PAINTS THE RAVEN

stonecut and stencil; signed, titled, dated, numbered, 42/50 sight 22.4 x 30.3 in — 57 x 77 cm

PROVENANCE

Estate of Ken and Eunice Barron, Edmonton, AB

KINGMEATA ETIDLOOIEKINNGAIT CAPE DORSET

LAND AND SEA

lithograph; signed, dated, titled and numbered 35/50; unframed

16.5 x 18.5 in — 41.9 x 47 cm

PROVENANCE

Private Collection, British Columbia

PUDLO PUDLATKINNGAIT CAPE DORSET

PROTECTIVE HARBOUR

lithograph; signed, dated, titled and numbered 6/50; unframed

21.5 x 27 in — 54.6 x 68.6 cm

PROVENANCE

Private Collection, Alberta —

NINGEEUGA OSHUITOQKINNGAIT CAPE DORSET

SIX OWLS

lithograph; signed, dated, titled and numbered 35/50; unframed

15.5 x 18.75 in — 39.4 x 47.6 cm

PROVENANCE

Private Collection, British Columbia —

JESSIE OONARK -

QAMANI’TUAQ BAKER LAKE

THE PEOPLE

stonecut; signed, titled and numbered 8/40; unframed

25 x 30.75 in — 63.5 x 78.1 cm

PROVENANCE

Private Collection, Alberta

JESSIE OONARK -

QAMANI’TUAQ BAKER LAKE

TWO ROOMS INSIDE THE IGLU

linocut and stencil; signed, titled, dated, numbered, 24/35

sight 21.1 x 29.5 in — 53.5 x 75 cm

PROVENANCE

Private Collection, Alberta

JESSIE OONARKQAMANI’TUAQ BAKER LAKE

WHALES

stonecut and stencil; signed, titled, dated and numbered 12/44; unframed

12.4 x 19.3 in — 31.5 x 49 cm

PROVENANCE

Private Collection, Alberta —

LUKE ANGUHADLUQQAMANI’TUAQ BAKER LAKE

WHITE CARIBOU

stonecut; signed, titled, dated, numbered, 19/50

sight 17.7 x 23.2 in — 45 x 59 cm

PROVENANCE

Estate of Ken and Eunice Barron, Edmonton, AB —

SIMON TOOKOOMEQAMANI’TUAQ BAKER LAKE

INUK IMAGINES DOG ANIMALS

stonecut; signed, dated and numbered 4/40 18.5 x `23.5 in — 47 x 59.7 cm

PROVENANCE

Estate of Thomas and Judith Peacocke, Edmonton, AB

OSHOOCHIAK PUDLATKINNGAIT CAPE DORSET

CARIBOU ACT AS MEN

lithograph; signed, titled, dated, numbered, 1/50

sight 21.3 x 21.3 in — 54 x 54 cm

PROVENANCE

Estate of Ken and Eunice Barron, Edmonton, AB

JAMASIE TEEVEEKINNGAIT CAPE DORSET

AHIGIIT

lithograph; signed, dated, titled and numbered 48/50; unframed 20 x 26 in — 50.8 x 66 cm

PROVENANCE

Private Collection, British Columbia —

SOROSILUTO ASHOONA B

KINNGAIT CAPE DORSET

FLOCK OF SWANS

lithograph; signed, dated, titled and numbered 32/50; unframed 16.5 x 19 in — 41.9 x 48.3 cm

PROVENANCE

Private Collection, British Columbia —

PITSEOLAK ASHOONAKINNGAIT CAPE DORSET

WOMEN PLAYING WITH BEAR CUB

stonecut; signed, dated, titled and numbered 11/50

sight 23.25 x 31 in — 59.1 x 78.7 cm

PROVENANCE

Private Collection, Alberta

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.

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.

Waddington’s charges a buyer’s premium of 23% on the hammer price up to and including $25,000 CAD. Hammer prices in excess of $25,000 CAD will be charged a buyer’s premium of 20%. 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.

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

- - / - - / -taurus@pakship.ca / www.pakship.ca

Safer Shipping Inc.

- - / -perry@safershipping.ca / www.safershipping.ca

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.

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.

A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.

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 ( - - ).

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, se ing forth terms and fees for our services.

Payment for purchases must be by cash;

direct debit (CDN clients in person only); certified cheque (U.S. & Overseas not applicable); bank dra ; E-Transfer; Wire Transfer (fee applies);  or Mastercard (up to $25,000).

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

Conditions of Sale

Each lot is subject to a premium of 23% on the hammer price up to and including $25,000 CAD. Hammer prices in excess of $25,000 CAD will be charged a buyer’s premium of 20%. Buyer’s premium and applicable Canadian taxes are added to the hammer price.

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.

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.

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.

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 a endance at the sale.

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 a er 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, a er 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, a er 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;  direct debit (CDN client in person only); certified cheque (U.S. & Overseas not applicable); bank dra ; E-Transfer; Wire Transfer (fee applies);  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 a ribute 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.