Canadian Fine Art Auction MONDAY, NOVEMBER 18, 2019
Canadian Fine Art Auction MONDAY, NOVEMBER 18, 2019 AT 7:00 PM
LOCATION OF PREVIEW & AUCTION
Waddington’s 275 King Street East, 2nd Floor Toronto, Ontario M5A 1K2 ON VIEW
Friday, November 15 from 2:00 pm to 5:00 pm Saturday, November 16 from 11:00 am to 4:00 pm
CANADIAN FINE ART
COVER
416-504-5100 canadianart@waddingtons.ca
Lot 79
PAUL RAND EARLY MORNING (detail)
CANADIAN FINE ART SPECIALIST
Stephen Ranger DIRECTOR OF CANADIAN ART
Yvonne Monestier
INSIDE FRONT COVER
Lot 5
GERSHON ISKOWITZ PRELUDE #6, 1968 (detail)
APPRAISAL AND CONSIGNMENT MANAGER
INSIDE BACK COVER
Sunday, November 17 from 11:00 am to 4:00 pm
Ellie Muir
JEAN-PAUL RIOPELLE TROMPETTE, 1969 (detail)
Monday, November 18 from 10:00 am to 12:00 pm
CONSIGNMENT COORDINATOR
Select lots may be viewed otherwise by appointment.
CLIENT SERVICES
Nicole Schembre
Alec Kerr
Lot 83
BACK COVER
Lot 44
JAMES WILSON MORRICE LADY WITH THE RED FAN (detail)
ALL LOTS CAN BE VIEWED ONLINE AT
www.waddingtons.ca
This auction is subject to the Conditions of Sale printed in the back of this catalogue.
This catalogue and its contents © 2019 Waddington McLean and Company Ltd. All rights reserved.
Photography and design by Waddington’s
1 WALTER JOSEPH PHILLIPS, R.C.A. YORK BOAT ON LAKE WINNIPEG woodcut, printed in colours signed with monogram to the plate and signed, titled, and numbered 105/150 in pencil to the margin sheet 11.75 ins x 15.5 ins; 29.2 cms x 38.7 cms PROVENANCE:
Private Collection, Brampton, Ontario LITERATURE:
Maria Tippett and Douglas Cole, Phillips in Print: The Selected Writings of Walter J. Phillips on Canadian Nature and Art, Manitoba Record Society, 1982, page 49, reproduced unpaginated plate. $15,000–20,000
Walter Phillips boarded the steam ship Wolverine for a tour of Lake Winnipeg in 1928 and was moved by the sight of the old York boats discarded on the shores. He writes, “It was easy to imagine the fast canoes or the brigades of York boats coming round the bend. They say you could hear the crews singing before the boats came in sight. I could imagine that too, and the eager-ness and interest of the nice folk at the fort as they waited... This northern route was taken by picturesque brigades of York boats – big open boats propelled by the sweeps when the wind was insufficient to fill the square blanket sail. There are none left now. The last lay rotting on the banks of the Nelson: the sturdy frame that withstood the shocks of a passage of the rapids a thousand times, now yielding to the action of the weather.”
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2 ALEXANDER COLVILLE CAT AND ARTIST, 1979 serigraph signed, dated, and numbered “artist’s proof 11/26” in pencil to the margin image diameter 9 ins; 22.9 cms PROVENANCE:
Mira Godard Gallery, Toronto Private Collection, Calgary LITERATURE:
Michael Bell, Colville, Being Seen: The Serigraphs, Carleton University Art Gallery, Ottawa, 1974, page 48, cat. no. 19, illustration. $7,000–9,000
3 ALEXANDER COLVILLE BLACK CAT, 1996 serigraph signed, dated, and numbered 35/70 in pencil to the margin image 14 ins x 14 ins; 35.6 cms x 35.6 cms PROVENANCE:
Private Collection, Calgary $8,000–10,000
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Canadian Fine Art Auction
4 HAROLD BARLING TOWN, R.C.A. THE OUTSIDE INTERIOR, 1960 oil on masonite signed and dated ‘60 12 ins x 12 ins; 30.5 cms x 30.5 cms PROVENANCE:
John Morris Gallery, Toronto $6,000–8,000
A highly creative, prolific and outspoken Toronto artist, Town gained international recognition early in his career. He worked in a variety of styles and media, but was first known for his “single autographic” prints and the abstract, gestural paintings that owed much to American Abstract Expressionism, especially the work of Willem de Kooning. A founding member of Painters Eleven, Town distinguished himself in his use of colour and bravura paint application. The Outside Interior is characteristic of Town’s painting at the height of his career in the early 1960s. The artist has struck a balance between the orderly division of the square picture plane and the rapid execution of the central section, held in place by a green border. The significance of the rapidly brushed forms is unclear; however, Town was exploring the theme of “inside” and “outside” in other works, and was interested in art history. The Outside Interior suggests the Renaissance idea of the picture as a window through which the viewer observes another reality, constructed by the use of artificial perspective. The “window” is the area framed in green through which we see the artist at work. We thank Christine Boyanoski for contributing the above essay. MONDAY, NOVEMBER 18, 2019
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5 GERSHON ISKOWITZ, R.C.A. PRELUDE #6, 1968 oil on canvas signed, titled, and dated to the gallery label on the reverse 52 ins x 39 ins; 132.1 cms x 99.1 cms PROVENANCE:
Moos Gallery Ltd., Toronto Joyner Fine Art, November 21, 1997 (lot 78) Private Collection, Ontario $20,000–30,000
Over the course of his career, Iskowitz developed a distinctive form of artistic expression which resists association with any particular art movement. The work produced in Canada after his arrival in 1949 was based on personal memories of the Holocaust. This gradually gave way to painting the landscape around Parry Sound in the mid-1950s, using watercolour for his experiments in abstraction. By 1960, he had embraced abstraction. Flying over the sub-arctic landscape in 1967, the artist was impressed by the view of the terrain seen through patchy clouds. This experience would be important in setting the course for his future work. Prelude #6 was painted the following year and shows Iskowitz evolving a distinct vocabulary, with small dabs of pure colour clustered together against a mottled ground of softer hues. These paintings were painted in the studio at night. While they may have been inspired by memories of a landscape, Iskowitz steered away from literalism, for it was the experience of pure painting that held meaning for him. The title, “Prelude”, is an introductory piece of music; perhaps Iskowitz was signaling the beginning of a new phase in his art, one without reference to the seasons or times of day. We thank Christine Boyanoski for contributing the above essay.
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Canadian Fine Art Auction
6 JOHN RICHARD FOX FENCING PIECE acrylic on canvas 43 ins x 32 ins; 109.2 cms x 81.3 cms PROVENANCE:
Estate of the Artist Big Brothers Big Sisters of Cornwall, Ontario $7,000–9,000 Proceeds to benefit Big Brothers Big Sisters of Cornwall.
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7 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. BARN AT GRENVILLE, QUEBEC, 1968 oil on panel signed; also signed, titled, and dated on the reverse 12 ins x 15 ins; 30.5 cms x 38.1 cms PROVENANCE:
Roberts Gallery Limited, Toronto Private Collection, Ontario $15,000–20,000
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Canadian Fine Art Auction
8 PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. UNLOADING THE SLEIGH oil on canvas signed 17 ins x 21 ins; 43.2 cms x 53.3 cms PROVENANCE:
Private Collection, Ontario $15,000–20,000
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9 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. PINE ISLAND, GEORGIAN BAY oil on panel signed; also signed, and titled on the reverse 10.8 ins x 13.4 ins; 27.5 cms x 34 cms PROVENANCE:
Private Collection, London, Ontario $12,000–16,000 A.Y. Jackson’s fondness for Pine Island in Georgian Bay is well-known, and it was a favourite place for the artist to paddle out to and paint. The unmistakable rhythm of Jackson’s rocky landscapes is on full display here.
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Canadian Fine Art Auction
10 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. IN THE DON VALLEY, 1920 oil on panel signed and dated ‘20; also signed, titled, and dated ‘20 on the reverse 9.25 ins x 11.25 ins; 23.8 cms x 28.5 cms PROVENANCE:
Roberts Gallery Limited, Toronto Private Collection, Ontario EXHIBITED:
A.J. Casson Retrospective, The Art Gallery of Windsor, Windsor, May 14-July 9, 1978, no. 3.
This early work was painted by Casson when he was a new hire at Rous & Mann. He was Assistant Designer to Franklin Carmichael, who would help found the Group of Seven that same year. Carmichael saw Casson as an impressive protegé and took him on weekend sketching trips outside of the city. This painting depicts a local Toronto scene, the Don Valley, which leads one to believe this may be one of the sketches that impressed Carmichael in the early days of Casson’s employment at the printing company.
$25,000–35,000 MONDAY, NOVEMBER 18, 2019
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11 KAZUO NAKAMURA, R.C.A. MIST, 1972 oil on canvas signed; titled, dated, and inscribed “Toronto” to the label on the reverse 18.9 ins x 24 ins; 48 cms x 61 cms PROVENANCE:
Private Collection, London, Ontario $9,000–12,000
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Canadian Fine Art Auction
12 YVES GAUCHER, R.C.A. B.W.VI, 1970 acrylic on canvas titled and dated to the stretcher 36 ins x 48 ins; 91.4 cms x 121.9 cms PROVENANCE:
Marlborough-Godard Gallery, Toronto/Montreal Mira Godard Gallery, Toronto Private Collection, Toronto $20,000–30,000
Yves Gaucher’s Grey on Grey series of paintings, a body of some sixty works produced from 1967 to 1969, indicated a turning point, stripping back schematic symmetry and colour in favour of rhythmic monochromes. This work — produced at a critical juncture immediately following Grey on Grey, when the artist was having a period of creative doubt — takes some obvious developmental and compositional cues from the earlier series. Here, grey monochromes are substituted with gradations of blue and white on a flat, neutral, azure-white field. Rather than scattered, repeating signals of earlier works, the lines of B.W.VI are anchored and regular, concentrated on the right-hand edge with two repeated short patterns. Two long threads of blue stretching nearly across the top of the canvas are stitched together by a floating line of white. Fused together, the lines threaten to interrupt the continuity of the pale ground. It seems to presage his later works characterised by wider horizontal bands of colour. This work remains sparse and intentional, a rejection of gesture and an embrace of structural non-objectivity. MONDAY, NOVEMBER 18, 2019
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13 PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. LAURENTIAN HILL oil on canvas signed; with the estate stamp on the reverse 24 ins x 30 ins; 61 cms x 76.2 cms PROVENANCE:
Estate of the Artist Private Collection, Toronto LITERATURE:
Smart, Tom. Peter Clapham Sheppard: His Life and Work. Richmond Hill: Firefly Books Ltd., 2018. $50,000–70,000
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Laurentian Hill embodies Sheppard’s artistic progression: the mastery of his expressive brushwork and evocative use of colour combined with the strong, energetic lines that nod to Sheppard’s past in the commercial arts, coalesce in this post-Impressionist canvas. Demonstrating the lasting impact of Scandinavian Impressionism and the popularity of winter scenes, Laurentian Hill continues in a similar vein to many works Sheppard completed in the 1920s while touring Montreal and its environs. In Laurentian Hill, Sheppard maintains a certain detachment from his subject matter, providing the viewer with the feeling of catching a glimpse or stumbling upon the convoy rather than being an active participant. Biographer Tom Smart states: “Just as spring and summer inspired Monet’s painting of his garden at Giverny, so winter spoke to Sheppard in a language of light and colour rather than strictly of form.”
14 CLARENCE ALPHONSE GAGNON, R.C.A. FIRST SNOW, OCTOBER, DALEN (TELEMARK) NORWAY, 1935 oil on panel certified by Lucile Rodier Gagnon (no. 36) on the reverse 6 ins x 8.5 ins; 14.6 cms x 21.6 cms PROVENANCE:
Joyner Fine Art, November 24, 1992, Toronto, (lot 144) Private Collection, New York $12,000–15,000
15 CLARENCE ALPHONSE GAGNON, R.C.A. AFTER SUNSET, BAIE ST. PAUL oil on panel certified by Lucile Rodier Gagnon (no. 602) on the reverse 5 ins x 7 ins; 12.7 cms x 17.8 cms PROVENANCE:
Watson Art Galleries, Montreal Joyner Fine Art, November 15, 1996, (lot 86) Private Collection, New York $18,000–22,000
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16 WALTER JOSEPH PHILLIPS, R.C.A. KARLUKWEES B.C., 1929 woodcut, printed in colours signed to the plate and signed, titled, and numbered 99/100 in pencil to lower margin image 10.25 ins x 12.25 ins; 26 cms x 31.1 cms PROVENANCE:
From the Collection of Frederick H. Brigden
Phillips writes, “Karlukwees provided many subjects for painting. In fact, never have I seen a more delectable sketching ground. We had penetrated an arm of the sea, the open sea seemed far away, for it flowed only in narrow channels, between an immense number of islands. I regretted leaving the coast and I long to return.” In 1929, this colour woodcut was awarded a gold medal by the Society of Arts and Crafts, Boston.
LITERATURE:
Roger Boulet, Walter J. Phillips: The Complete Graphic Works, Loates Publishing Limited, 1981, reproduced page 319. $35,000–50,000 MONDAY, NOVEMBER 18, 2019
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17 EDWARD BURTYNSKY XIAOLANGDI DAM, YELLOW RIVER, HENAN PROVINCE, CHINA, 2011 chromogenic print signed, titled, and numbered 1/6 to artist’s label on the reverse 48 ins x 64 ins; 121.9 cms x 162.6 cms PROVENANCE:
Nicholas Metivier Gallery, Toronto Private Collection, Calgary $25,000–30,000
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Canadian Fine Art Auction
Edward Burtynsky’s photography is preoccupied with exploring the impact of human development on the planet, unveiling the frequently dramatic collisions between control and nature. An extended project begun in 2008 focussed on our use of water as a resource and the conflicts, shortcomings, and risks embedded in our relationship with it. Xiaolangdi Dam is deliriously sublime, almost abstract. Set on the Yellow River, the titular structure is caught almost completely engulfed by a rushing deluge as it is released from the spillway. Silt and sediment carried by the river give it an otherworldly russet hue. The surging cloud of water is menacing, appearing as a towering nebula of swirling dust. Beautiful and ominous, Burtynsky’s images confront the turbulent relationship between progress and the natural environment.
18 JEAN ALBERT MCEWEN, R.C.A. LAQUE DES PAYS VASTES, 1972 oil on canvas signed; titled and inscribed “V.1972” to the stretcher 11.8 ins x 11.8 ins; 30 cms x 30 cms PROVENANCE:
Galerie Simon Blais, Montreal Private Collection, Toronto $12,000–18,000
19 BETTY ROODISH GOODWIN FIGURE/LADDER, 1996 oil stick and graphite on mylar signed and dated ‘96 sheet 17 ins x 10.5 ins; 43.2 cms x 26.7 cms PROVENANCE:
Private Collection, Ontario $8,000–12,000
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20 JEAN PAUL LEMIEUX, R.C.A. JEUNE FILLE SUR FOND JAUNE, 1961 oil on canvas signed and dated ‘61; titled to the stretcher 9.88 ins x 7.88 ins; 25.1 cms x 20 cms PROVENANCE:
This portrait was produced in the middle of Lemieux’s classical period, characterised by space and bare, simplified subjects. Jeune Fille sur Fond Jaune is an exceptional example of this time — a stoic face on a vast background presenting something both boundless and immediate. There is a sense that she will dissolve into the background entirely, the bright yellow radiating from behind her.
Acquired directly from the artist, 1962 By Descent to Private Collection, Quebec City The girl’s face, however, is direct to the point of starkness: her eyes are chips of coal under a blunt fringe of hair, $25,000–35,000 anchoring her gaze to the luminous field of yellow. The painting hovers in a guileless balance, the figure elided with the ground — perhaps underscored by the playful jeunejaune rhyme of the title — while suggesting a moment of reflection in isolation.
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21 LOUIS-PHILIPPE HÉBERT, R.C.A. FLEUR DES BOIS, 1897 bronze signed, dated, titled, and stamped with foundry mark “R. Howeiller Fondeur Paris”, and inscribed “Car son coeur fut pris par un guerrier blanc” on the base 21 ins x 8 ins x 6.5 ins; 53.3 cms x 20.3 cms x 16.5 cms PROVENANCE:
Private Collection, Montreal LITERATURE:
Daniel Drouin, et alia, Louis-Philippe Hébert, Musée du Québec et Musée des Beaux-Arts de Montréal, 2001, page 306, fig. 62, reproduced in colour. $12,000–15,000 MONDAY, NOVEMBER 18, 2019
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22 FREDERICK HORSMAN VARLEY, A.R.C.A. PORTRAIT OF A MAN, c.1940 charcoal and conté crayon on paper titled “Negro Head” to the label and stamped with Varley inventory no. 312 12.5 ins x 13 ins; 31.8 cms x 33 cms PROVENANCE:
Roberts Gallery Limited, Toronto Private Collection, Woodbridge, Ontario $5,000–7,000 This is a study for an oil portrait in the McMichael Canadian Art Collection, Kleinburg.
23 EDWIN HEADLEY HOLGATE, R.C.A. MAN WITH CAP, 1921 conté crayon on paper signed, and dated ‘21 25.25 ins x 19.5 ins; 64.1 cms x 49.5 cms PROVENANCE:
Private Collection, Montreal $4,000–6,000
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Canadian Fine Art Auction
24 CORNELIUS KRIEGHOFF HUNTER ON SNOWSHOES oil on canvas signed 11 ins x 9 ins; 27.9 cms x 22.9 cms PROVENANCE:
Private Collection, Montreal Private Collection, Toronto $15,000–20,000
25 CORNELIUS KRIEGHOFF MOCCASIN SELLER oil on canvas signed 11 ins x 9 ins; 27.9 cms x 22.9 cms PROVENANCE:
Private Collection, Montreal Private Collection, Toronto $15,000–20,000
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26 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. THE RED BARN, c.1930 oil on panel signed; also signed, titled, and inscribed “Petite Riviere” on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms PROVENANCE:
Private Collection, Toronto $25,000–30,000 This is a sketch for an oil on canvas in the collection of the Art Gallery of Ontario which bears the same title.
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27 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. INDIAN HOME, 1926 oil on double-sided panel with a Lake Superior sketch on the reverse; signed on both sides sight 8 ins x 10.25 ins; 20.3 cms x 26 cms PROVENANCE:
Laing Galleries, Toronto Private Collection, British Columbia $60,000–80,000 VERSO
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28 MAUD LEWIS OXEN oil on board signed 12 ins x 16 ins; 30.5 cms x 40.6 cms PROVENANCE:
Purchased directly from the artist By descent to Private Collection, Ottawa $8,000–12,000
29 MAUD LEWIS BLACKSMITH SHOP oil on board signed 12 ins x 15.75 ins; 30.5 cms x 40 cms PROVENANCE:
Private Collection, Connecticut $7,000–9,000
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Canadian Fine Art Auction
30 MAUD LEWIS THREE BLACK CATS oil on board signed 12 ins x 16 ins; 30.5 cms x 40.6 cms PROVENANCE:
Purchased directly from the artist By descent to Private Collection, Ottawa $8,000–12,000
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31 WILLIAM PEREHUDOFF, R.C.A. AC-78-54, 1978 acrylic on canvas signed, titled, and dated on the reverse 66 ins x 65.75 ins; 167.6 cms x 167 cms PROVENANCE:
Waddington Galleries, Toronto Private Collection, Hamilton, Ontario $20,000–30,000
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Canadian Fine Art Auction
William Perehudoff was already an established abstractionist from the beginning of his career, however it was after attending the summer artists’ workshops at Emma Lake, Saskatchewan that he refined his practice. The relationships borne in these workshops impacted Perehudoff, the most influential of which included Herman Cherry, Jules Olitsky, Kenneth Noland, and Clement Greenberg. AC-78-54 continues his large-scale experiments with colour and texture, producing a shimmer of blue and purple that wavers across the canvas. The bottom edge is blurred, emphasising the thin wash of colour, and a pinkish glow radiates from behind the translucent stains of pigment. This striated haze is bordered on one side by thicker, solid stripes that emphasise the verticality of the work. These offer a tenuous balance: the softer violets and beryl-blues in the central field are echoed by coral, red and indigo, but also off-set by bands of black and green that float above the surface. Solid colour is literally side lined, while a softer, fuller treatment of form expands to encompass the ground. The canvas blooms with lush energy.
32 TAKAO TANABE DOZOA, BLUE BLAST oil on canvas signed, titled and inscribed “Vancouver #250” to the stretcher 36 ins x 34 ins; 91.4 cms x 86.4 cms
For a short time in the mid-1960s Tanabe was producing paintings focused on geometry and colour. While this work is not dated, it would seem to fit into this period of Tanabe’s oeuvre.
PROVENANCE:
Private Collection, Ontario LITERATURE:
Roald Nasgaard, Adventures in Abstraction, Takao Tanabe, Douglas & McIntyre, Vancouver/Toronto, 2005, page 47, reproduced in colour. $15,000–20,000
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33 HAROLD BARLING TOWN, R.C.A. PAINTING FOR LYNNE #1, 1989 oil on canvas signed and dated ‘89; also signed, titled, and dated ‘89 on the reverse 16 ins x 30 ins; 40.6 cms x 76.2 cms PROVENANCE:
The Drabinsky Gallery, Toronto Thielsen Galleries, London, Ontario Private Collection, Toronto $9,000–12,000
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Canadian Fine Art Auction
Town painted this work, Painting for Lynne #1, 1989 towards the end of his life. Returning to the bright colours of his earlier paintings, Town created decorative canvases, some with figurative content. Here, a fantastic bird is framed by two humanoid figures. The pattern of undulating coloured stripes and the simplified shapes surrounded by outlines, like cloisonné or stained glass, lend the work a folk-art quality.
34 BRIAN KIPPING TWILIGHT, 1996 oil on wood signed, titled, and dated on the reverse 15.75 ins x 10.25 ins; 40 cms x 26 cms PROVENANCE:
Bau-Xi Gallery, Vancouver Private Collection, Ontario $2,000–3,000
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35 Norval Morrisseau is considered to be the grandfather of contemporary Indigenous art in Canada. He inspired a OJIBWA INDIAN THUNDERBIRD ART FORM group of artists known as the Woodland School, advocated acrylic on canvas for emerging Indigenous artists, and was awarded signed in syllabics; also signed and titled the Order of Canada in recognition for his significant “Ojibwa Indian Thunderbird Art Form” contribution to Canadian art. in pencil on the reverse Morrisseau, whose art was based on the culture and 57.75 ins x 49 ins; 146.7 cms x 124.5 cms spiritual teachings of the Anishinaabeg, came to identify PROVENANCE: himself with Thunderbird, a powerful spirit-being. As a Jenkins Showler Gallery, White Rock, young man, Morrisseau was given the name “Copper British Columbia Thunderbird” during a healing ceremony to cure him of a Private Collection, Montreal serious illness. By the 1970’s, he was presenting himself as a shaman artist, with his work taking on a hybrid spirituality $30,000–50,000 drawn from Anishinaabe, Christian and Far Eastern sources. NORVAL MORRISSEAU
Ojibwa Indian Thunderbird Art Form exhibits all the characteristics of a mature Morrisseau painting. It features the image of Thunderbird with outstretched wings, outlined in black and divided internally into boldly coloured shapes. The choice of complementary colours — predominant blue against a yellow ground – gives this iconic image a mesmerizing quality. The border contains three divided circles. The divided circle, signifying duality was Morrisseau’s favourite motif. Here, they are connected to the spirit-being by “power lines,” indicating the nature of the being. The painting carries Morrisseau’s signature in Cree syllabics. We thank Christine Boyanoski for contributing the above essay.
This Polaroid is included with this lot.
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36 WALTER JOSEPH PHILLIPS, R.C.A. TEN CANADIAN COLOUR PRINTS, 1927 Ten woodcuts, printed in colours each signed with monogram to the plate and signed and numbered “7” in pencil to the lower margin; together with printed booklet by Duncan Campbell Scott, published Toronto: Thomas Nelson and Sons, 1927, all contained in portfolio numbered 7 of an edition of 250 plate size varies; each sheet 15.75 ins x 11.75 ins; 40 cms x 29.8 cms PROVENANCE:
From the Collection of Frederick H. Brigden $10,000–15,000 38
Canadian Fine Art Auction
This portfolio contains: Mount Cathedral from Lake O’Hara A Muskoka Sunset Cathcart’s Island, Muskoka The Red River in Winter Moonlight, Lake of the Woods The Mountain A Winnipeg Street, Snow-bound Water-lilies Lake of the Woods Wild Cherry
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37 WALTER JOSEPH PHILLIPS, R.C.A. WINTER WOOD CUTS, 1936 Fifteen woodcuts, printed in colours twelve signed with monogram to the plate; each signed and one numbered “69” in pencil to the margin; together with printed booklet published Toronto: Thomas Nelson and Sons, 1936; all contained within a portfolio from the edition of 100. plate size varies; each sheet 15.25 ins x 11.5 ins; 38.7 cms x 29.2 cms PROVENANCE:
From the Collection of Frederick H. Brigden $10,000–15,000
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Canadian Fine Art Auction
This portfolio contains: Little Log House The Lily Alpine Meadow Winter Woods Our Street Tree Shadows on Snow Winter Sunshine Agamemnon Channel B.C. Smoke Haze - Lake of the Woods The Stream in Winter Snow Bank Soft Maple Rime Pom Poms Suburban Street
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38 WILLIAM GOODRIDGE ROBERTS, R.C.A FARMHOUSE IN SUMMER, 1957 oil on masonite signed; titled and dated to gallery label on the reverse 29 ins x 36 ins; 73.7 cms x 91.4 cms PROVENANCE:
Walter Klinkhoff Gallery Inc., Montreal Private Collection, Montreal $6,000–8,000
39 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. LAKE OF TWO RIVERS, ALGONQUIN PARK, 1942 oil on board signed; also signed and titled on a piece of paper affixed to the reverse 9.5 ins x 11.25 ins; 24.1 cms x 29.2 cms PROVENANCE:
Roberts Gallery Limited, Toronto Private Collection, Ontario $25,000–35,000 Every summer, from 1942-45, Casson would visit this region of Algonquin Park. Many oil sketches of this area were produced showing all types of weather and terrain. In this painting, dark cumulus clouds glide across the sunny sky, while the greenish glow over one of the distant hills is a sure sign of a strong storm on the way.
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40 JOHN WILLIAM BEATTY, O.S.A., R.C.A. SUMMER LANDSCAPE oil on panel signed 10.25 ins x 13.75 ins; 26 cms x 34.9 cms PROVENANCE:
Private Collection, Windsor, Ontario
$5,000–6,000
41 JOHN YOUNG JOHNSTONE, A.R.C.A. RUE DE CARRIÉRES MONTREAL, 1917 oil on panel signed; also signed, titled, and dated on the reverse 4.75 ins x 7 ins; 12.1 cms x 17.8 cms PROVENANCE:
Private Collection, Vermont $6,000–8,000
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42 MARC-AURÈLE DE FOY SUZOR-COTÉ, R.C.A. WOMAN IN RED, 1906 oil on panel signed and dated 1906 10.5 ins x 8.5 ins; 26.7 cms x 21.6 cms PROVENANCE:
Acquired from the artist By decent through the family to the previous owner Joyner Waddington’s, December 3rd and 4th, 2002 (lot 102) Private Collection, Toronto $5,000–6,000
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Canadian Fine Art Auction
43 CLARENCE ALPHONSE GAGNON, R.C.A. EVENING, PIAZZA SAN MARCO, VENICE, 1906 oil on panel signed and dated ‘06; titled to label and Certified by Lucile Rodier Gagnon (no. 705) on the reverse 6 ins x 9 ins; 15.9 cms x 22.9 cms PROVENANCE:
Joyner Fine Art, November 24, 1992 (lot 78) Private Collection, New York $20,000–30,000
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44 JAMES WILSON MORRICE, R.C.A. LADY WITH THE RED FAN, c.1904 oil on canvas signed 19.125 ins x 14.25 ins; 48.6 cms x 36.2 cms PROVENANCE:
James Wilson Morrice Estate Dominion Gallery, Montreal, sold May 15, 1943 Private Collection, Montreal then Pittsburgh By descent to Private Collection, Santa Fe, New Mexico EXHIBITED:
Old exhibition catalogues list only titles and lenders, rarely dimensions, with very few illustrations, if any. After years of Morrice research, his Catalogue Raisonné still contains “orphan” titles; vague ones (Venice) may remain so, but others, more descriptive, still harbour hope. Such was Lady with the Red Fan, no. 30 in the Memorial Exhibition of Paintings organized by the Art Association of Montreal (now the Montreal Museum of Fine Arts) in January 1925, lent by the artist’s Estate, which was handled by Montreal dealers Scott & Sons. Morrice painted a few women holding fans, but they vary from pink to white, never bright red; we therefore propose to identify the present painting with the 1925 Lady. We ignore if Scott sold her, and to whom (their archives are lost), but we know that in May 1943 a young Montreal couple purchased our Lady as Portrait of Woman with Fan from the recently opened Dominion Gallery. Dr. Max Stern, its director for only seven months, was already crusading for the best in local Art vivant: Goodridge Roberts, subject of a solo exhibition the previous March, may have even seen this painting.
Art Association of Montreal, Memorial Exhibition of Paintings by the Late James W. Morrice, R.C.A., January 16 to February 15, 1925, no 30 (probably) Although Morrice is mostly known for his globe-trotting landscapes, as Lady with the Red Fan. he was also a figure painter, especially between 1895 to 1915 : a few portraits of friends, but mostly studio “studies” of professional $150,000–250,000 models; not intended for exhibition until 1908, when he showed Une Vénitienne in Paris, described as a woman with one (or two) shoulder(s) emerging from a black shawl (yet unidentified). Our Lady with the Red Fan is more modest, but she also portrays a Venetian, as I found a few years ago when I first met her (Fig. 1, Private Collection). The model with the typical Venetian high bun is the same; she sits on the same chair backed by the same cushion, in the same black coat, and poses in front of the same salmon screen; the artist was standing at his easel, probably in a studio. But the paintings differ in size and support – a large wood panel for the profile, a larger oil on canvas for our Lady. But one is not the preparatory sketch for the other; both are stand-alone studies of the same model in the same setting, a unique occurrence in Morrice’s oeuvre.
FIG.1
The artist inserted her profile in his famous Venice, Looking Out Over the Lagoon (Fig. 2 woman at left), based on a small 1904 sketch where the faces of the two women at left are only pink ovals (Ottawa, National Gallery of Canada). Enlarging the shawled bodies was easy, but more studies were needed for the faces; so Morrice hired a model, perhaps Italian – there were many in Paris – and used a huge black coat (his?) to stand in for the shawl. But if the profile version qualifies as a preparatory study, Lady with the Red Fan stands alone as one of Morrice’s best, and rare, model studies from his mid-career. Her presence is such that her 1943 purchaser, and her descendant, never parted with her. We thank Lucie Dorais for contributing this essay. Ms. Dorais is very grateful to Charles C. Hill for his help with the Dominion Gallery data.
Fig. 1 James Wilson Morrice, Study for a Venetian Woman, about 1904-05. Private Collection. Photo Brian Merrett Fig. 2 James Wilson Morrice, Montreal 1865 – Tunis 1924, Venice, Looking Out over the Lagoon, about 1904, Oil on canvas mounted on aluminum, MMFA, gift of James Wilson Morrice Estate, Photo MMFA FIG.2
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45 PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. WINTER LANDSCAPE oil on board signed 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms PROVENANCE:
Private Collection, Kitchener, Ontario $3,500–5,000
46 DORIS MCCARTHY, O.S.A., R.C.A. BARACHOIS, GASPÉ oil on board signed, also signed and titled in ink on the reverse 11.75 ins x 13.5 ins; 29.8 cms x 34.3 cms $5,000–7,000
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47 WILLIAM BRYMNER, O.S.A., P.R.C.A. SAILING OFF THE COAST oil on panel 5 ins x 7 ins; 12.7 cms x 17.8 cms PROVENANCE:
Masters Gallery Ltd., Toronto Private Collection, Toronto EXHIBITED:
William Brymner, Watson Art Galleries, Montreal, November 30 - December 14, 1925, no.29. $3,000–5,000
48 ROBERT WAKEHAM PILOT, P.R.C.A CAPE RACE, NFLD oil on panel signed 12 ins x 17 ins; 30.5 cms x 43.2 cms PROVENANCE:
Private Collection, Toronto $5,000–7,000 Proceeds to benefit Casey House, Toronto
MONDAY, NOVEMBER 18, 2019
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49 MOLLY LAMB BOBAK, R.C.A. BEACH SCENE oil on canvas board signed 7 ins x 11 ins; 17.8 cms x 27.9 cms PROVENANCE:
Private Collection, Edmonton $3,000–4,000
50 CHARLOTTE MOUNT BROCK SCHREIBER, O.S.A., R.C.A. CHILDREN MAKING A FLOWER CROWN oil on canvas signed 24 ins x 18 ins; 61 cms x 45.7 cms PROVENANCE:
Private Collection, Florida $3,000–5,000 Schrieber was born in England and came to Toronto in 1875. Her subjects include figures and portraits; she also wrote and illustrated children’s books. Schreiber was the first woman painter to be admitted to the R.C.A., where she exhibited from 1880-1898.
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51 JAMES WILSON MORRICE, R.C.A. PLOUGHING TEAM oil on canvas, laid down on board titled on the reverse, with J.W. Morrice Studio stamp 8.5 ins x 11.5 ins; 21.6 cms x 30.5 cms PROVENANCE:
F.R. Heaton Estate Continental Galleries, Montreal Waldorf Galleries Ltd., Montreal (From whom purchased from above in 1953) Laing Galleries, Toronto Jacoby, Montreal, October 23, 1969 (lot 155) Walter Klinkhoff Gallery Inc., Montreal Private Collection, Ontario $15,000–20,000
52 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. MONGOOSE LAKE, ALGOMA oil on panel signed; also signed and titled to the label on the reverse 6 ins x 8.5 ins; 15.2 cms x 21.6 cms PROVENANCE:
Acquired directly from the artist by his personal physician, Dr. Noble Sharpe By descent to Private Collection, Timmins, Ontario $8,000–12,000
MONDAY, NOVEMBER 18, 2019
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53 PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. DAWSON’S BOATS, c.1939 oil on canvas signed 24 ins x 32 ins; 61 cms x 81.3 cms PROVENANCE:
Hennok’s, Toronto, 13 November 2001, (lot 222) Private Collection, Ontario $20,000–30,000
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54 GORDON MCKINLEY WEBBER CABIN IN THE WOODS oil on board signed 23 ins x 19 ins; 58.4 cms x 48.3 cms PROVENANCE:
Family of the Artist, Kitchener, Ontario $10,000–15,000
With a diverse set of influences that include Arthur Lismer, Mexican muralists, and Hungarian artist László Moholy-Nagy, Webber excels in creating vibrant and evocative scenes that bristle with energy. Frequently, his works address a particularly Canadian relationship between the natural and the constructed, centered on a fusion of diligent construction set in abstracted environments. Cabin in the Woods is an excellent example of Webber’s unique treatment of an otherwise typical rural landscape. The cabin is pressed into the hillside, the surrounding forest reduced to a series of fluid bands and whorls. Stacks of wood are jostled against green-painted shutters and rusted tools, trees and walls each bending in the breeze around deep voids of shadow. The scene seems outside of human scale: tools and stumps are as large as buildings; construction material and cast-off detritus are indistinguishable from each other. The whole painting is flattened onto a single receding plane, proceeding across the surface of the canvas like a ripple, and punctuated by a bare yellow and black tree breaking through the centre of the image. MONDAY, NOVEMBER 18, 2019
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55 LAWREN STEWART HARRIS, R.C.A. ALGOMA SKETCH oil on panel laid down to wood board panel 10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms PROVENANCE:
Private Collection, Toronto $40,000–60,000
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56 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. OCTOBER MORNING - GREENAN LAKE, 1956 oil on board signed; also signed three times, titled, dated, and inscribed “Greenan Lake near Barry Bay” on the reverse 12 ins x 15 ins; 30.5 cms x 38.1 cms PROVENANCE:
Private Collection, Toronto $20,000–30,000
MONDAY, NOVEMBER 18, 2019
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57 DAVID BROWN MILNE SPRING ACROSS THE WAY, 1945 watercolour on paper 13.5 ins x 19.25 ins; 35.6 cms x 50.5 cms PROVENANCE:
A gift from the artist’s wife Kathleen (Pavey) Milne to Kim Ondaatje, 1999. Private Collection, Ontario EXHIBITED:
Mira Godard Gallery, Toronto, 1979, 18 Mira Godard Gallery, Calgary, 1981, 26 Mira Godard Gallery, Toronto, David Milne/Milton Avery, 1986, 24 Grace Borgenicht Gallery, New York, 1992 LITERATURE:
David Milne Jr, David Silcox, et al. David B. Milne: Catalogue Raisonné of the paintings, University of Toronto Press, Toronto, 1998, no. 405.27, illustrated p. 863. $20,000–25,000 56
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At the end of October 1940, Milne moved to the town of Uxbridge with Kathleen Pavey, the expectant mother of his only child. This new location provided the artist with fresh subject matter; he painted many views of the streets surrounding his home on Brock Street and his nearby studio. Spring Across the Way depicts the general store as seen from an upper storey window. It is rendered in watercolour, a medium to which Milne had returned in 1937 after many years of painting in oils and producing drypoint etchings. His wet-onwet technique, in which wet pigment is applied to dampened paper, was influenced by Asian watercolours. He had applied clear washes to his earlier Boston Corners watercolours in order to achieve the effect of reflective pools of water, but these later ones, as Canadian writer Northrop Frye observed admiringly, were surely among the wettest watercolours ever done (1948). In places, the pigment is applied with a dry brush to create thin descriptive lines, establishing the structure of the composition; in others, wet paint diffuses into a soft line or patch of colour, resulting in a richly textured, atmospheric piece. We thank Christine Boyanoski for contributing the above essay.
58 MARC-AURÈLE FORTIN, A.R.C.A. OLD QUEBEC HOUSE, LAURENTIANS, c.1928 watercolour signed; catalogue raisonné number A-0374 13.25 ins x 19.25 ins; 33.7 cms x 48.9 cms PROVENANCE:
Canadian Fine Arts Gallery, Toronto $15,000–20,000
MONDAY, NOVEMBER 18, 2019
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59 KENT MONKMAN STUDY FOR THE ACADEMY, 2008 acrylic on canvas signed 24 ins x 26 ins; 61 cms x 66 cms PROVENANCE:
Private Collection, Toronto Patel Gallery, Toronto $40,000–50,000
The appearance of Kent Monkman’s Study for The Academy at auction is an unprecedented opportunity to acquire a full compositional study for his major canvas The Academy, in the collection of the Art Gallery of Ontario, that has been on almost constant view to millions of visitors since November 2008. The powerful and popular work was editioned by the artist as an etching in 2011 and a giclée print in 2016. Born to a Cree father and English-Irish-Canadian mother, Monkman contains cultural multitudes that echo throughout his work as an illustrator, performance artist, and most notably as a painter. The space between cultures in flux defined the paintings of the first decade of his career in the early 2000s when the imagery of 19th-century American and European art became the basis for his reclamation of the landscape. In preparation for the opening of the Frank Gehry building, AGO curators Gerald McMaster and David Moos discussed a commission with Monkman. By January 2008 it was agreed Monkman would make a painting indicative of his current work with subject matter relating to works held by the AGO. Monkman derived his composition of an artist’s atelier from 19th-century Swiss artist, Karl Bodmer’s The Interior Hut of a Mandan Chief. The tableau is a hybrid of another 19th-century work by Jean-Henri-Cless, Un atelier d’artiste, presume être celui de David, with the AGO’s Neoclassical Zeuxis choissant des modèles by Nicolas André Monsiau. Mining the AGO’s collection, he extracted Massimiliano Soldani-Benzi’s Baroque Castor and Pollux, French-British-Canadian painter George Theodore Berthon’s portraits of William Henry Boulton and his wife Harriet, the naked children from Paul Peel’s After the Bath, Auguste Rodin’s Adam, and Norval Morrisseau’s Self-Portrait Devoured by Demons. From European and Indigenous art he drew on the homo-eroticism of the Classical Laocoön, a Zuni pot, Benjamin West’s The Death of General Wolfe, and historic Indigenous art on loan for the AGO’s reopening. Among the latter is a model totem pole by Charles Edenshaw bulging through the green drapery on the riser, and the magnificent Cree quilled and fringe-hide costume worn by Monkman as he tutors Jacques-Louis David on centre-right. Monkman’s shrewd knowledge of contemporary art filters through his evocation of the critical-parodic painting of Mark Tansey, and cowboy-erotic painting of Delmas Howe. The sum of the painting’s parts is distinctly Monkman’s. His tableau conveys the fullness of his thought in a painting that reconfigures the history of art to communicate the complexities between cultures. We thank Gregory Humeniuk for contributing the above essay.
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60 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. HOUSE AND BARN oil on panel signed 10.5 ins x 13.25 ins; 26.7 cms x 33.7 cms PROVENANCE:
Private Collection, Ontario $12,000–15,000
61 ROBERT WAKEHAM PILOT, P.R.C.A. AUTUMN, LAKE SUPERIOR, QUEBEC, 1946 oil on canvas signed and dated ‘46 24 ins x 32 ins; 61 cms x 81.3 cms PROVENANCE:
Galerie Walter Klinkhoff, Montreal Private Collection, British Columbia $25,000–35,000
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62 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. CLEARING AFTER RAIN LAKE KAMANISKEG oil on canvas board signed; also signed and titled to the label on the reverse 12 ins x 15 ins; 30.5 cms x 38.1 cms PROVENANCE:
Private Collection, Toronto $15,000–18,000
63 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. BURNT COUNTRY, PORCUPINE, ONTARIO, 1956 oil on panel signed; titled and dated “May 1956” on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms PROVENANCE:
Private Collection, Montreal $10,000–15,000
MONDAY, NOVEMBER 18, 2019
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64 GERALD FERGUSON 500 METRES, 2000 enamel on canvas titled and dated to gallery label on the reverse 48 ins x 48 ins; 121.9 cms x 121.9 cms PROVENANCE:
Olga Korper Gallery, Toronto Private Collection, Ontario $15,000–20,000 Gerald Ferguson was a conceptual artist and a highly respected teacher at the Nova Scotia College of Art and Design (NSCAD) from 1968 until 2006. There, he contributed to establishing the college as a foremost centre of conceptual art in far-flung Halifax in the 1970s. The conceptual art movement sought 64
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to dematerialize and decommodify the art object, at best, removing any trace of the artist’s hand in the making of the work. While painting as an art form was duly relegated to the past, Ferguson and several others redefined painting to bring it in line with conceptualist art practice. He used ordinary materials—stencils, spray paint and enamel, for example—applied to the support using mechanical methods to suppress the agency of the artist. In 1999, Ferguson began using the frottage technique which involved rolling black enamel paint over a length of canvas which had been stapled over such ordinary materials as rope or a garden hose. 500 Metres consists of a dense agglomeration of vertical lines that registers the process of rolling paint onto a canvas under which metre-long lengths of rods had been arranged. As Roald Nasgaard has observed, the materials—whose original identity was all but lost—were laid out so that the resulting paintings ironically mimic classical modernist abstraction. We thank Christine Boyanoski for contributing the above essay.
65 ULYSSE COMTOIS LES JARDINS DU REVE XV, 1975 oil on canvas signed and dated ‘75; titled to the stretcher 16 ins x 20 ins; 40.6 cms x 50.8 cms PROVENANCE:
Marlborough-Godard Gallery, Toronto Private Collection, Quebec $6,000–8,000
MONDAY, NOVEMBER 18, 2019
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66 MARC-AURÈLE FORTIN, A.R.C.A. UN PORT (TRAVAUX AU PORT SUR LE SAGUENAY), c.1938 oil on canvas, mounted to board signed; inscribed “Un Port” on the reverse, with catalogue raisonné number H-0235 13.75 ins x 16.25 ins; 34.9 cms x 41.3 cms PROVENANCE:
Galerie Walter Klinkhoff Inc., Montreal Galerie Bernard Desroches, Montreal Private Collection, Quebec EXHIBITED:
Exposition, Musée Marc-Aurèle Fortin, Montreal, December 17, 1986 to January 10, 1987, no. P307. $15,000–20,000 66
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67 WILLIAM RONALD, R.C.A. GARDEN OF DELIGHTS, 1982 oil on canvas signed and dated ‘82; also signed, titled, and dated “Jan 20/82” on the reverse 30 ins x 30 ins; 76.2 cms x 76.2 cms PROVENANCE:
Private Collection, Hamilton, Ontario $5,000–7,000
68 JACK REPPEN, O.S.A. UNTITLED mixed media on board signed 27 ins x 24 ins; 68.6 cms x 61 cms PROVENANCE:
Private Collection, Woodbridge, Ontario $2,000–3,000
MONDAY, NOVEMBER 18, 2019
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69 JEAN ALBERT MCEWEN, R.C.A. LES JARDINS D’AUBÉS NO. 12, 1975 oil on canvas signed, titled, and dated ‘75 to the overflap 18.88 ins x 19.75 ins; 48 cms x 50.2 cms PROVENANCE:
Marlborough-Godard Gallery, Montreal Private Collection, Quebec $20,000–30,000
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70 OTTO DONALD ROGERS, R.C.A. SUNLIGHT AND SAND ON THE EDGE OF THE SEA, 1987 acrylic on canvas signed and dated ‘87 on the reverse 60 ins x 60 ins; 152.4 cms x 152.4 cms PROVENANCE:
Mira Godard Gallery, Toronto Private Collection, Toronto $8,000–12,000
MONDAY, NOVEMBER 18, 2019
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71 RONALD LANGLEY BLOORE BRUSHLINE SERIES #26, 1997 oil on masonite signed, titled, and dated “Nov. 9-28, 1997” on the reverse 48 ins x 72 ins; 121.9 cms x 182.9 cms PROVENANCE:
Private Collection, Nova Scotia $15,000–20,000
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72 ESTHER WERTHEIMER MADRE GIOCANDO marble including base height 19.5 ins; 49.5 cms PROVENANCE:
Private Collection, Montreal $2,000–3,000
MONDAY, NOVEMBER 18, 2019
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73 ALEXANDER COLVILLE MORNING, 1981 serigraph, printed in colours signed, dated, and numbered 15/70 in pencil to margin diameter 22 ins; 55.9 cms PROVENANCE:
Private Collection, Ontario LITERATURE:
Michael Bell, Colville, Being Seen, The Serigraphs, Carleton University Art Gallery, Ottawa, 1994, page 50, figure 21, illustrated. $6,000–8,000 Colville began the drawings for Morning in 1971. The nude figures are modelled after the artist and his wife.
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74 ARTHUR FORTESCUE MCKAY COMPOSITION, BROWN ON WHITE enamel and acrylic on masonite signed 24 ins x 24 ins; 61 cms x 61 cms PROVENANCE:
John Morris Gallery, Toronto $3,000–5,000
75 THOMAS DE VANY FORRESTALL, A.R.C.A. WINTER BOUQUET, 1992 egg tempera on board signed; also signed, titled, dated, and inscribed “Collected from our garden in winter” on the reverse diameter 20 ins; 50.8 cms PROVENANCE:
Kinsman Robinson Galleries, Toronto Private Collection, UK $3,000–4,000
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76 RITA LETENDRE, R.C.A. SANS TITRE, 1960 double-sided gouache on paper signed and dated ‘60 12 ins x 16 ins; 30.5 cms x 40.6 cms PROVENANCE:
Private Collection, Quebec $3,500–4,500
VERSO
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77 JACQUES GODEFROY DE TONNANCOUR, A.R.C.A. PRECARIOUS BALANCE, 1969 mixed media on canvas, laid down on board signed, titled, and dated on the reverse 24 ins x 24 ins; 61 cms x 61 cms PROVENANCE:
Dunkelman Gallery, Toronto Marlborough-Godard Gallery, Toronto/Montreal
Private Collection, Woodbridge, Ontario $6,000–8,000
78 JACK REPPEN, O.S.A. CREPUSCULE ON THE PLAIN, 1962 mixed media on masonite signed and dated ‘62; also signed, titled, and dated on the reverse 48 ins x 48 ins; 121.9 cms x 121.9 cms PROVENANCE:
Private Collection, Toronto $4,000–5,000
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79 PAUL RAND, B.C.S.A., R.C.A. EARLY MORNING oil on canvas signed 28 ins x 34 ins; 71.1 cms x 86.4 cms PROVENANCE:
Elan Fine Art, Vancouver Private Collection, Vancouver EXHIBITED:
B.C. Society of Fine Arts 27th Annual Exhibition, Vancouver Art Gallery, 16 April - 2 May 1937, cat. no. 32. $20,000–30,000 76
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Paul Rand was born Otto Schellenberger in Bonn, Germany in 1896, immigrating to Canada in 1912, travelling throughout the prairies before finally settling on the west coast in 1927. There, he began evening classes in painting at the Vancouver School of Art. Early works were produced under his original name, but he quickly began signing his works as Paul Rand. He did not legally change his name until 1941. This lot is an exceptional example of the artist’s technique. A hazy sky is struck through with a dawn glow and evocatively rendered clouds. The rising sun clears the distant morning fog, revealing the searing ridgeline of mountain peaks. The whole scene is counterbalanced by the deep blue-black lake against a burntorange shore, while a heavily gnarled tree moors the scene to solid ground. This work was exhibited along with one other painting, Woodland Lace (Vine Maples), at the B.C. Society of Fine Arts annual exhibition of 1937, where it was shown alongside works by Jack Shadbolt and Jock Macdonald, under whom Rand studied at the VSA.
80 YEHOUDA CHAKI DIARY 9816 oil on canvas signed; also signed and titled on the reverse 40 ins x 65 ins; 101.6 cms x 165.1 cms PROVENANCE:
Odon Wagner Gallery, Toronto Private Collection, Ontario $8,000–12,000
81 ARTHUR LISMER, O.S.A., R.C.A. FOREST INTERIOR oil on masonite signed and indistinctly dated 11.8 ins x 15.6 ins; 30 cms x 39.5 cms PROVENANCE:
Private Collection, Vancouver $20,000–25,000
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82 LAWREN STEWART HARRIS, R.C.A. Harris fully committed to abstract painting when he was living in the United States beginning in 1934 - first in New Hampshire ABSTRACT #136 and then Santa Fe where he joined the Transcendental Painting oil on canvas Group. The stated purpose of the group’s manifesto was “to carry 55 ins x 40 ins; 139.7 cms x 101.6 cms painting beyond the appearance of the physical world through new concepts of space, color, light and design, to imaginative realms PROVENANCE: that are idealistic and spiritual.” Harris’ interest in Theosophy Estate of the Artist LSH Holdings Ltd. (no. 136), Vancouver aligned well with these convictions and his abstract painting practice continued to evolve. Private Collection, Toronto $90,000–120,000
The red and grey barbed structure balances the three golden corners, giving a harmonious balance to the entire painting. The black lines perhaps indicate movement in a circular swirl around the sharp yellow axis that bisects the composition. Harris’ abstracts were his expressions of space and light, and Abstract #136 shows this exceedingly well.
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83 JEAN-PAUL RIOPELLE, R.C.A. TROMPETTE, 1969 oil on canvas signed; titled to the stretcher 18 ins x 24 ins; 45.7 cms x 61 cms PROVENANCE:
Galerie Maeght, Paris Private Collection, Burlington, Ontario
The artist and critic, Jeffrey Spalding, has described Riopelle’s work as “commanding, virtuoso performances in mass, colour and shape”. Further, “he never seems to have an off day.” Trompette embodies these glorious qualities, hard edges moving into flowing curves as the palette crescendos, rendering order from seeming chaos. Simultaneously hedonistic and restrained, Trompette exhibits the best of Riopelle’s work from the mid to late 1960s. While Riopelle found international fame in the 1950s, it was not until 1962 that he was chosen to represent Canada at the Venice Biennale.
Trompette stands as an exquisite example of Riopelle’s maturity as LITERATURE: Yseult Riopelle, Jean-Paul Riopelle Catalogue an artist and the purity of his abstraction. Raisonné, Volume 4, 1966-1971, Hibou Éditeurs, Montreal, 2014, reproduced page 171, catalogue #1969.027H.1969. $125,000–175,000 MONDAY, NOVEMBER 18, 2019
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84 RICHARD BORTHWICK GORMAN, R.C.A. ABSTRACT COMPOSITION, 1960 oil on canvas signed and dated ‘60 20 ins x 24 ins; 50.8 cms x 61 cms PROVENANCE:
Private Collection, Ontario $3,000–5,000
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85 JACK HAMILTON BUSH, O.S.A., A.R.C.A. A PLEASANT DAY, 1953 gouache and watercolour on paper signed and dated ‘53; also signed, titled, dated, and inscribed “Lake of Bays” on the reverse 22.5 ins x 31.25 ins; 57.2 cms x 79.4 cms PROVENANCE:
Salander-O’Reilly Galleries, New York Grace Borgenicht Gallery, New York Collection of William Mac Chambers, New York Collection of David and Annette Raddock, Colorado Private Collection, Ontario EXHIBITION:
“Jack Bush: Early Work,” Art Gallery of Ontario, Toronto, ON (1985-86), cat. no. 65; “Jack Bush: Selected Works, 1930-1976,” Grace Borgenicht Gallery, New York, NY (1988); “Jack Bush: The Decade of Discovery 1952-1962,” Miriam Shiell Fine Art, Toronto, ON (1996); “Modernist Paintings,” La Parete Gallery (2011) $15,000–20,000 This work will be included in the forthcoming Catalogue Raisonné of Paintings currently being prepared by Dr. Sarah Stanners.
86 LÉON BELLEFLEUR, R.C.A. UNE PENSÉE POUR VOUS, 1978 gouache on paper signed, titled, and dated ‘78 sight 18 ins x 13.5 ins; 45.7 cms x 34.3 cms PROVENANCE:
Private Collection, London, Ontario $3,500–4,500
MONDAY, NOVEMBER 18, 2019
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87 WALTER JOSEPH PHILLIPS, R.C.A. JIM KING’S WHARF, ALERT BAY, B.C., 1927 woodcut, printed in colours signed to the plate and signed, titled, and numbered 34/100 in pencil to lower margin 10.7 ins x 8 ins; 27.2 cms x 20.3 cms PROVENANCE:
From the Collection of Frederick H. Brigden $8,000–10,000
88 M. EMILY CARR BEAVER POT painted ceramic signed “KLEE WYCK” 2 ins x 3 ins x 3 ins; 5.1 cms x 7.6 cms x 7.6 cms PROVENANCE:
Private Collection, Arizona LITERATURE:
Gerta Moray, Unsettling Encounters: First Nations Imagery in the Art of Emily Carr, UBC Press, Vancouver/Toronto, 2006, pages 277-280. $10,000–15,000 Gerta Moray writes, that beginning in 1924: “In her search for ways to eke out a living, Carr turned to craft production, taking up rug making and pottery as media through which her interest in native imagery could find a market.” Carr signed her pottery “Klee Wyck,” which meant Laughing One, a nickname bestowed upon her by the First Nations people of Ucluelet.
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89 HAIDA PANEL PIPE argillite, mid-19th century 3.75 ins x 13.75 ins x .5 ins; 9.5 cms x 34.9 cms x 1.3 cms PROVENANCE:
Collection of the Honourable George William Allan By descent to Private Collection, Mississauga $20,000—25,000 This fine example of a Haida panel pipe, created from argillite, was produced most likely between the 1830s and 1870s. Panel pipes were specifically made for commercial trade. The pipe is adorned with ten figures, an interlocking array of animals, birds and sea creatures that are specific to the Haida spiritual world. This particular piece has an illustrious provenance. The pipe was part of the collection of the Honorable George William Allan (1822-1901) who was the principal patron of the Canadian artist, Paul Kane (1810-1871). The current owner is a direct descendant of G.W. Allen.
Kane travelled across the country between 1845 and 1848 sketching the Indigenous Peoples he met and the Canadian landscape. We know that he was in Fort Victoria in 1847, where the Haida people traded. It is also known that Kane recruited Hudson’s Bay Company employees to make acquisitions on his behalf that were shipped to him in Toronto. It is probable that Kane acquired this pipe during this period. George William Allan directly purchased Kane’s entire artifact collection, along with his paintings and field sketches in the 1850s. Much of it is now housed in the Royal Ontario Museum and the Manitoba Museum. By 1856 the collection was housed at Allan’s home in Toronto. Allan’s daughter, Maude Cassels, recalled the collection fondly: “[the collection] survived its worst enemies, loan exhibitions and moths, besides the dusting of the housemaids, the handling of visitors and the curiosity of the seven children, who grew up under the same roof with it.” There is no denying the strong connection between the artist and his patron. The current owner, a direct descendant of G.W. Allan, is a testament to the strong provenance of the piece.
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90 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. GREAT BEAR LAKE, 1939 oil on board signed, titled and dated ‘39 24 ins x 27.125 ins; 61 cms x 68.9 cms PROVENANCE:
A gift from the Artist to Emil and Virginia Walli, Great Bear Lake, Northwest Territories By descent to Private Collection, Ontario LITERATURE:
A.Y. Jackson, A Painter’s Country: The Autobiography of A.Y. Jackson, 1976, page 123. $14,000–18,000 Franz Johnston gifted this painting to Emil and his wife Virginia, manager of the Eldorado Mine, who hosted the artist and A.Y. Jackson.
91 HORACE CHAMPAGNE OPABAN PLATEAU IN MORNING SHADOW, 1989 pastel signed, also signed with monogram; also signed, titled, and dated “September /89” and inscribed “Lake O’Hara, Yoho Nat. Pk. B.C.” on the reverse 40 ins x 30 ins; 101.6 cms x 76.2 cms PROVENANCE:
La Galerie Continentale Inc., Montreal Private Collection, Montreal $4,000–6,000
84
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92 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. MIDNIGHT SUNLIGHT oil on board signed; titled “Midnight Sunlight, June at Great Bear Lake, N.W.T.” and inscribed “Silver Point in Shadow, and the distant hills lit by the midnight sun” on the reverse 20 ins x 24 ins; 50.8 cms x 61 cms PROVENANCE:
Collection of Gilbert LaBine Private Collection, Ontario $12,000–16,000
93 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. LAKE AT TWILIGHT c.1940 oil on panel signed 9.3 ins x 11.2 ins; 23.5 cms x 28.5 cms PROVENANCE:
Private Collection, Toronto $20,000–30,000
MONDAY, NOVEMBER 18, 2019
85
94 ROBERT HARRIS, O.S.A., P.R.C.A. INDIAN CHIEF OF THE NORTH WEST, CANADA oil on canvas signed; also signed, titled and inscribed “Montreal” on the reverse 34.25 ins x 24.25 ins; 87 cms x 61.6 cms PROVENANCE:
Collection of William Rein Wadsworth By descent to Private Collection, Ontario EXHIBITED:
Colonial Exhibition of 1886, London, U.K. Annual Exhibition of the Royal Canadian Academy of Arts, 1886, Ottawa LITERATURE:
Best known for painting The Fathers of Confederation, 1884, Robert Harris’ portrait of Pîhtokahanapiwiyin, better known as Chief Poundmaker, is a powerful piece of history in its own right. Harris had been sympathetic to the cause of Métis and Cree leaders Louis Riel, Big Bear, One Arrow and Poundmaker, and the Northwest Rebellion. The hanging of Louis Riel in 1885 caused Harris to express his shock in a letter to his mother on November 22, 1885: “I can’t understand how anyone who has any feeling of justice, and even any sense of right and wrong and a brain capable of thought can look on such a barbarous murder for policy with anything but horror.” The artist presents the Cree Chief as the peace-seeker, leader and defender of his people, not the ‘rebel traitor’ as authorities portrayed him at the time.
Moncrieff Williamson, Robert Harris: An Unconventional Biography, McClelland and Stewart, The 1876 signing of Treaty 6 was a critical juncture in the relationship between government authorities and the 1970, p. 117 Cree, Ojibwa and Assiniboine. Poundmaker opposed the treaty, but relented to ensure that his people $80,000–120,000 would receive much-needed rations and supplies the treaty promised. When the supplies were not provided, he strove to reach a peaceful means of resolution and prevented worse bloodshed by stopping Cree warriors from pursuing the retreating government troops at the Battle of Cut Knife Creek. Ultimately, Poundmaker would surrender to the government forces to bring an end to the conflict. He fell ill during his imprisonment in Stoney Mountain Penitentiary and died shortly after his release in 1886. We wonder if Poundmaker’s death may have motivated Harris to paint this majestic portrait. Certainly, its inclusion in an exhibition designed to showcase the wealth and discoveries of the British Empire tells a different story of life in the new colony. Rather than presenting him as a specimen, which is how many other colonies presented their Indigenous peoples, Harris’ portrait manages to make a statement on the troubling and complex events occurring in Canada and the painful effects of colonization. It would not be until 2019 that the Government of Canada would fully exonerate Chief Poundmaker of his wrongful conviction. Photograph of Poundmaker, Cree Chief Courtesy of Glenbow Museum Archives, Calgary, na-1681-4
86
Canadian Fine Art Auction
The portrait has remained in the same family since its acquisition from the artist around 1886.
MONDAY, NOVEMBER 18, 2019
87
95 JACK HAMILTON BUSH, O.S.A., A.R.C.A. WHITE HORSES, 1949 oil on masonite signed and dated ‘49 17 ins x 23 ins; 43.2 cms x 58.4 cms PROVENANCE:
Estate of the Artist EXHIBITED:
New Paintings by Jack Bush, Gavin Henderson Gallery, Toronto (1949), cat. no. 7. LITERATURE:
Dennis Reid, Jack Bush: The Development of a Canadian Painter, in Jack Bush, ed. Karen Wilkin (New York: Hudson Hills, 1984). $15,000–20,000 88
Canadian Fine Art Auction
This work was included in Jack Bush’s first solo exhibition in 1949. In her review of the exhibition for the Globe and Mail, Pearl McCarthy wrote, “While the new paintings tend toward the abstract, the canyons and mysterious figures will thrill even those usually afraid of the abstract.” Rose MacDonald in the Toronto Telegram described it “as concerned with a mighty spiritual conflict, a sort of Jacob-wrestling-with-the-angel-mood.” This work will be included in the forthcoming Catalogue Raisonné of Paintings currently being prepared by Dr. Sarah Stanners.
96 RONALD LANGLEY BLOORE UNTITLED, 1991-92 oil on masonite signed and dated “Dec 10-Feb 4, 91-92” on the reverse 48 ins x 48 ins; 121.9 cms x 121.9 cms PROVENANCE:
Moore Gallery, Toronto Private Collection, Ontario $15,000–20,000
97 MELANIE AUTHIER FAULT LINES AND FOOTHOLDS, 2015 acrylic on canvas signed and dated on the reverse 36 ins x 43 ins; 91.4 cms x 109.2 cms PROVENANCE:
Georgia Scherman Projects, Toronto Private Collection, Ontario $3,500–4,500
MONDAY, NOVEMBER 18, 2019
89
98 JEAN-PAUL MOUSSEAU QUART DE CERCLE, 1955 oil on canvas signed and dated ‘55 to the stretcher 40 ins x 30 ins; 101.6 cms x 76.2 cms
In 1955 Guido Molinari and journalist Fernande Saint-Martin opened L’Actuelle in Montreal, a gallery dedicated to non-figurative art and one of the first of its kind in Canada. The artist-run hot bed of culture featured exhibitions by Mousseau, Borduas, Barbeau, Leduc, Letendre, McEwen, Tousignant, and Molinari. Over its two-year operation, Mousseau exhibited there multiple times.
PROVENANCE:
One of 16 Automatiste artists and intellectuals who signed the Refus Global, an anti-establishment and anti-religious manifesto written by Borduas, Mousseau was a multidisciplinary artist interested in not just painting, but also architecture, design and costumes. The vibrant tonal palette EXHIBITED: of red in this painting speaks to his interest in light and Exposition Jean-Paul Mousseau, L’Actuelle, Galerie d’Art colour. Following the completion of this painting, Mousseau Non Figuratif, Montreal, 22 March - 12 April, 1956; went on to study colour theory and evolved his practice to Mousseau, Musée d’art contemporain de Montréal, 31 include sculpture in coloured resin and fibreglass. January 1997 - 27 April 1997. Revered art critic François-Marc Gagnon noted that the forms in Mousseau’s work have a tendency to be distributed LITERATURE: randomly over the entire surface of the composition, as Pierre Landry, Mousseau, Musée d’art contemporain if the artist is consciously working to fill the entire plane. de Montréal, 31 January 1997 - 27 April 1997, Éditions By choosing to only paint a “quatre de cercle”, Mousseau Meridien, illus. pg. 99. extends the eye outside of the boundaries of the work.
Galerie Denyse Delrue, Montreal Royal Bank of Canada, Montreal By descent to Private Collection, Toronto
$25,000–35,000 90
Canadian Fine Art Auction
This important work was shown at L’Actuelle in a solo exhibition in 1956.
99 JEAN-PHILIPPE DALLAIRE LE CERCEAU gouache on paper signed 7 ins x 4.75 ins; 17.8 cms x 12.1 cms PROVENANCE:
Private Collection, Quebec $5,000–7,000
MONDAY, NOVEMBER 18, 2019
91
100 JEAN PAUL RIOPELLE, R.C.A. SANS TITRE, c.1965 oil on canvas signed 23.5 ins x 36.25 ins; 59.7 cms x 92.1 cms PROVENANCE:
By descent to Private Collection, Ontario This work will be included as an addendum in the Jean Paul Riopelle: Catalogue Raisonne by Yseult Riopelle. A certificate of authenticity also accompanies this lot. $150,000-250,000 Sans Titre is representative of Riopelle’s mastery of the palette knife technique in the 1960s, when this piece was produced. At the time, Riopelle was moving away from the large, densely painted canvases characteristic of his work in the 1950s, favouring smaller, more open compositions. We are able to enjoy the deliberate spaciousness and freer configuration of these later gestures in comparison to the mosaic works from the 1950s. Where earlier works were characterized by a diffuse all-over approach, here the composition is more controlled, the distinction between ground and figure made more apparent. The essence of the work is contained in the central organization of the canvas. Warm purple tones and yellow-greens cut through with overlapping branches of icy whites and crackling blue-blacks. Darker colours impede from the corners of the work, bounding and containing the center: heavy violets and earthy forest greens on the right, with knife-edge black cuts through a daubed harlequin haze on the left. Bursts of red erupt from the upper corner and smoulder through the foreground, upheaving the central mass of colour with dramatic, almost sculptural movement. This effect is heightened by the use of gloss varnish, mixed in with the paint, creating a play of matte and shine across the surface of the work. Sans Titre was produced at a time where Riopelle was solidifying his reputation outside Canada as an important voice in modern abstract painting. He represented Canada at the Venice Biennale in 1962, was offered the first solo exhibition by Pierre Mattise in New York, and was included at an exhibition of Canadian artists at the Galeries nationales du Grand Palais in Paris in 1968. He received a retrospective at the National Gallery of Canada in 1963, and at the Musée du Québec in 1967. Waddington’s is proud to provide this timely offering following a recent announcement by the newly formed Jean Paul Riopelle Foundation in their commitment to further national and international awareness about the Artist in advance of his centenary, in 2023.
92
Canadian Fine Art Auction
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93
94
Canadian Fine Art Auction
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95
101 MARCEL BARBEAU, R.C.A. RETINE LUGANO, 1965 acrylic on canvas signed, titled, dated ‘65, and inscribed “New York” to the overflap 20 ins x 20 ins; 50.8 cms x 50.8 cms PROVENANCE:
Carmen Lamanna Gallery, Toronto Private Collection, Toronto $8,000–12,000
96
Canadian Fine Art Auction
102 FERNAND LEDUC CHROMATISME BINAIRE: COERULEUM-VERMILLON, 1964 oil on canvas signed and dated ‘64 to the stretcher 15 ins x 18 ins; 38.1 cms x 45.7 cms PROVENANCE:
Carmen Lamanna Gallery, Toronto Private Collection, Toronto $8,000–10,000
MONDAY, NOVEMBER 18, 2019
97
103 GERSHON ISKOWITZ, R.C.A. BLUE VIOLET-D, 1983 oil on canvas signed, titled, and dated on the reverse 24 ins x 39 ins; 61 cms x 99.1 cms PROVENANCE:
Artist’s Studio, Gershon Iskowitz Foundation Miriam Shiell Fine Art, Toronto $9,000–12,000
98
Canadian Fine Art Auction
104 JACK LEONARD SHADBOLT, R.C.A. BLACK RHAPSODY, 1962-1975 oil on canvas signed and dated ‘62-’75; also signed, titled and inscribed “1961” to the stretcher 45 ins x 53.5 ins; 114.3 cms x 135.9 cms PROVENANCE:
Bau-Xi Gallery Ltd., Vancouver Equinox Gallery, Vancouver Private Collection, Vancouver $8,000–12,000
105 LÉON BELLEFLEUR, R.C.A. MATIN D’AVRIL, 1973 oil on canvas signed; also signed, titled, and dated ‘73 on the reverse 13 ins x 16 ins; 33 cms x 40.6 cms PROVENANCE:
Private Collection, Edmonton $4,000–5,000
MONDAY, NOVEMBER 18, 2019
99
106 RICHARD BORTHWICK GORMAN, R.C.A. SPRING PATHS, 1983 oil on canvas signed; titled and dated to the overflap 30 ins x 26 ins; 76.2 cms x 66 cms PROVENANCE:
Private Collection, Hamilton, Ontario $3,000–4,000
100 Canadian Fine Art Auction
107 GORDON RAYNER BILLETES A MEXICO, 1981 acrylic and polymer composition signed and dated ‘81 on the reverse; also signed, titled, and dated to the stretcher 19.25 ins x 45.5 ins; 48.9 cms x 115.6 cms PROVENANCE:
The Isaacs Gallery Ltd., Toronto Private Collection, Ontario $3,000–4,000
108 FRITZ BRANDTNER AQUARIUS - THE MAN carved and painted linoleum 5.25 ins x 7 ins; 13.3 cms x 17.8 cms PROVENANCE:
Private Collection, Los Angeles LITERATURE:
Fritz Brandtner, Linoleum Carving, Canadian Art, Vol. 6, no. 4 (Summer 1949). $2,000–3,000 As a medium, Brandtner notes, “linoleum calls up ideas that lead us away from pure representation and towards the abstract... The desire of a few creative artists to experiment with this material has let them find in carved linoleum a new and excellent medium for direct expression. As a result, low-relief carvings of great beauty in design and texture have been produced.” MONDAY, NOVEMBER 18, 2019
101
109 JOHN LITTLE, R.C.A WATER STREET, HALIFAX IN BYGONE DAYS, 1973 oil on canvas signed; also signed, titled, and dated ‘73 to the stretcher 12 ins x 16 ins; 30.5 cms x 40.6 cms PROVENANCE:
Private Collection, Ontario $7,000–9,000
110 CAROL WAINIO UNTITLED, 1983 acrylic on masonite signed and dated on the reverse 44 ins x 48 ins; 111.8 cms x 121.9 cms PROVENANCE:
Private Collection, Toronto $8,000–12,000
102
Canadian Fine Art Auction
111 MIKE BAYNE UNTITLED (VICTORIA UPHOLSTERY VAN), 2005 oil on panel signed and dated on the reverse 9 ins x 13 ins; 22.9 cms x 33 cms PROVENANCE:
Private Collection, Florida $8,000–10,000
112 JOHN LITTLE, R.C.A CORNER OF PEEL AND PINE, MONTREAL, 1968 oil on canvas signed; also signed, titled, and dated “68, Dec 9” in pencil to the stretcher 10 ins x 14 ins; 25.4 cms x 35.6 cms PROVENANCE:
Private Collection, Edmonton $7,000–9,000
MONDAY, NOVEMBER 18, 2019
103
113 FREDERICK SIMPSON COBURN, R.C.A. HAULING LOGS, WINTER, 1920 oil on canvas signed and dated ‘20 15 ins x 18.25 ins; 38.1 cms x 46.4 cms PROVENANCE:
Private Collection, California $6,000–8,000
114 MANLY EDWARD MACDONALD, R.C.A. SPRING, WESTBROOK oil on canvas signed; titled to label on the reverse 24 ins x 32 ins; 61 cms x 81.3 cms PROVENANCE:
Private Collection, Winnipeg $5,000–7,000
104
Canadian Fine Art Auction
115 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. LAKE ATHABASKA, 1957 oil on panel signed; also signed, titled, and dated “Sept 22, 1957” on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms PROVENANCE:
Collection of Gilbert LaBine Private Collection, Ontario $15,000–18,000
116 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. FISHING STATION, LAKE ATHABASKA, 1957 oil on panel signed; also signed, titled, and dated “Sept 22 ‘57” on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms PROVENANCE:
Collection of Gilbert LaBine Private Collection, Ontario $15,000–18,000
MONDAY, NOVEMBER 18, 2019
105
117 ROBERT WAKEHAM PILOT, P.R.C.A. QUEBEC HOMESTEAD oil on panel signed 12.5 ins x 17 ins; 31.8 cms x 43.2 cms PROVENANCE:
Private Collection, Montreal $8,000–12,000
106
Canadian Fine Art Auction
118 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. DEER HUNTING IN MUSKOKA, 1873 oil on canvas signed and dated 1873 13 ins x 19 ins; 33 cms x 48.3 cms PROVENANCE:
Acquired from the artist by W.H. Howland, President of the Ontario Society of Artists, Toronto, May 1873 Laing Galleries, Toronto, February 1968 Galerie Walter Klinkhoff, Montreal Private Collection, Toronto
EXHIBITED:
The Exhibition of the Ontario Society of Artists, 1873 Art Gallery of Ontario, Collector’s Canada, 1988, cat. no. 13. University of Toronto Art Centre, Beaver Tales: Canadian Art and Design, 16 September - 6 December 2008 LITERATURE:
The Exhibition of the Ontario Society of Artists, Canadian Illustrated News 7 (3 May 1873). p. 275, reproduced in line p. 276. Dennis Reid, Our Own Country Canada, Being an Account of the National Aspirations of the Principal Landscape Artists in Montreal and Toronto 1860-1890 (Ottawa: National Gallery of Canada, 1979), p. 240. $20,000–30,000
MONDAY, NOVEMBER 18, 2019
107
119 JOSEPH YVON FAFARD, R.C.A BULL, 2007 bronze signed and dated ‘07 22.5 ins x 15.5 ins x 6 ins; 57.2 cms x 39.4 cms x 15.2 cms PROVENANCE:
Private Collection, Toronto $6,000–8,000
108
Canadian Fine Art Auction
120 JOHN HARTMAN, R.C.A. STUDY FOR SAUL’S MOUNTAIN, 1990 diptych, pastel on paper signed and dated ‘90 overall 26 ins x 26.5 ins; 66 cms x 67.3 cms PROVENANCE:
Mira Godard Gallery, Toronto Private Collection, Ontario $2,500–3,500
121 JACK LEONARD SHADBOLT, R.C.A. NIGHT FIELD PREDATOR, 1987 acrylic on canvas signed and dated ‘87; titled to the stretcher 42 ins x 52 ins; 106.7 cms x 132.1 cms PROVENANCE:
Bau-Xi Gallery, Vancouver Equinox Gallery, Vancouver Private Collection, Vancouver EXHIBITED:
Correspondences: Jack Shadbolt, Glenblow Museum, Calgary, 2 Nov 1991 - 5 Jan 1992. $9,000–12,000
MONDAY, NOVEMBER 18, 2019
109
122 ROBERT WAKEHAM PILOT, P.R.C.A. WINTER LANDSCAPE oil on canvas signed 18 ins x 24.25 ins; 45.7 cms x 61.6 cms PROVENANCE:
Private Collection, Ontario $12,000–15,000
123 MANLY EDWARD MACDONALD, R.C.A. SUGAR BUSH oil on canvas signed 20 ins x 26 ins; 50.8 cms x 66 cms PROVENANCE:
Private Collection, Toronto $6,000–8,000
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Canadian Fine Art Auction
124 CHRISTOPHER PRATT, R.C.A. WINTER MOON, 1987 screenprint, printed in colours signed, titled, dated “November ‘87”, and numbered 9/60 in pencil to the margin image 14.75 ins x 34 ins; 37.5 cms x 86.4 cms PROVENANCE:
Mira Godard Gallery, Toronto Private Collection, Ontario LITERATURE:
Christopher Pratt, Personal Reflections of a Life in Art, Key Porter Books, Toronto, 1995, reproduced page 164.
“There is a lot of snow, and the wind is blowing very hard. It is the kind of night when wind and waves and temperature combine, making ice, and glass-sharp crystals blow inland, cutting shapes that hikers find on summer afternoons to take home for the mantelpiece because they look like ‘ducks.’ Such is the creative process: a storm under the cover of darkness, shaping things in turmoil and privacy leaving souvenirs.” Diary, February 15, 1982
$3,000–5,000
125 CHRISTOPHER PRATT, R.C.A. THE BRIDGE, 1989 screenprint, printed in colours signed, titled, dated “December 1989”, and numbered 11/65 in pencil to the margin image 18 ins x 34 ins; 45.7 cms x 86.4 cms PROVENANCE:
Mira Godard Gallery, Toronto Private Collection, Ontario $3,000–5,000
MONDAY, NOVEMBER 18, 2019
111
126 MARY PRATT, R.C.A. STILL LIFE WITH ROSES, 1992 pastel and watercolour on paper signed and dated ‘92 22 ins x 29.75 ins; 55.9 cms x 75.6 cms PROVENANCE:
Mira Godard Gallery, Toronto Private Collection, Ontario $8,000–12,000
127 WALTER JOSEPH PHILLIPS, R.C.A. PINES AND SKY watercolour signed 10 ins x 9 ins; 25.4 cms x 22.9 cms PROVENANCE:
Private Collection, Toronto $4,000–6,000
112
Canadian Fine Art Auction
128 WALTER JOSEPH PHILLIPS, R.C.A. NOCTURNE WITH BOAT, 1913 watercolour laid down on card signed with initials and dated 14 ins x 19 ins; 35.6 cms x 48.3 cms PROVENANCE:
Private Collection, Toronto $5,000–7,000
MONDAY, NOVEMBER 18, 2019
113
129 ARTHUR LISMER, O.S.A., R.C.A.
SKUNK CABBAGE, B.C., 1962 oil on board signed; also signed, titled, and dated ‘62 on the reverse 12 ins x 15.75 ins; 30.5 cms x 40 cms PROVENANCE:
Galerie Martal, Montreal Private Collection, Montreal $15,000–20,000
130 ARTHUR LISMER, O.S.A., R.C.A. B.C. FOREST, VANCOUVER, 1961 oil on panel signed and dated ‘61; also signed, titled, and dated on the reverse 16 ins x 12 ins; 40.6 cms x 30.5 cms PROVENANCE:
Walter Klinkhoff Gallery, Montreal Private Collection, Toronto $12,000–16,000
114
Canadian Fine Art Auction
131 MOLLY LAMB BOBAK, R.C.A. JULY 1ST, FREDERICTON oil on board signed; also signed and titled on the reverse 7 ins x 11 ins; 17.8 cms x 27.9 cms PROVENANCE:
Walter Klinkhoff Gallery Inc., Montreal Masters Gallery Ltd., Vancouver Private Collection, Toronto $9,000–12,000
132 NORMAND HUDON LA FAMEUSE MONTÉE, 1990 acrylic on masonite signed, titled, and dated ‘90 16 ins x 12 ins; 40.6 cms x 30.5 cms PROVENANCE:
Private Collection, Montreal $3,000–5,000
MONDAY, NOVEMBER 18, 2019
115
133 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. NEGEEK LAKE, 1968 oil on board signed; titled, dated, and inscribed “Madawaska R. at Corbermere” on the reverse 9.25 ins x 11.125 ins; 23.5 cms x 28.3 cms PROVENANCE:
Private Collection, Toronto $20,000–30,000
134 FREDERICK SIMPSON COBURN, R.C.A. HAULING LOGS, 1934 oil on canvas signed and dated ‘34 15 ins x 18.25 ins; 38.1 cms x 46.4 cms PROVENANCE:
Private Collection, Guelph, Ontario
$5,000–7,000
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Canadian Fine Art Auction
135 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. OCTOBER MORNING, KOSHLONG LAKE, HALIBURTON, c.1941 oil on panel signed; titled in ink and dated “1941 +/-” in pencil to label on the reverse 9.4 ins x 11.2 ins; 24 cms x 28.5 cms PROVENANCE:
Muskoka Tamarack Gallery, Gravenhurst, Ontario Private Collection, Brampton, Ontario $25,000–30,000
MONDAY, NOVEMBER 18, 2019
117
136 FREDERICK HORSMAN VARLEY, A.R.C.A. AUTUMN AFTERNOON - DOON, c.1942 watercolour on paper, laid down on card signed; titled to the gallery label on the reverse, Varley Inventory no. 321 10 ins x 12.5 ins; 25.4 cms x 31.8 cms PROVENANCE:
Roberts Gallery, Toronto Private Collection, Woodbridge, Ontario $8,000–12,000
137 FREDERICK HORSMAN VARLEY, A.R.C.A. FIGURES IN A LANDSCAPE watercolour signed 10.5 ins x 14 ins; 26.7 cms x 35.6 cms PROVENANCE:
Private Collection, Ontario $5,000–7,000
118
Canadian Fine Art Auction
138 JOHN KASYN, O.S.A. ON MCCAUL STREET NEAR QUEEN, 1980 oil on masonite signed; also signed, titled, and dated ‘80 on the reverse 16 ins x 20 ins; 40.6 cms x 50.8 cms PROVENANCE:
Private Collection, Guelph, Ontario $7,000–9,000
MONDAY, NOVEMBER 18, 2019
119
Index
A AUTHIER, MELANIE (b.1980)...97
G GAGNON, CLARENCE ALPHONSE (1881-1942)...14, 15, 43 GAUCHER, YVES (1934-2000)...12 GOODWIN, BETTY ROODISH (1923 -2008)...19
B
GORMAN, RICHARD BORTHWICK (1935-2010)...84, 106
BARBEAU, MARCEL (1925-2016)...101 BAYNE, MIKE (b.1977)...111 BEATTY, JOHN WILLIAM (1869-1941)...40
H
BELLEFLEUR, LÉON (1910-2007)...86, 105
HAIDA PIPE PANEL (89)
BLOORE, RONALD LANGLEY (1925 -2009)...71, 96
HARRIS, LAWREN STEWART (1885 -1970)...55, 82
BOBAK, MOLLY LAMB (1922-2014)...49, 131
HARRIS, ROBERT (1849-1919)...94
BORDUAS, PAUL-ÉMILE (1905-1960)...100
HARTMAN, JOHN (b.1950)...120
BRANDTNER, FRITZ (1896-1969)...108
HÉBERT, LOUIS-PHILIPPE (1850-1917)...21
BRYMNER, WILLIAM (1855-1925)...47
HOLGATE, EDWIN HEADLEY (1892-1977)...23
BURTYNSKY, EDWARD (b.1955)...17
HUDON, NORMAND (1929-1997)...132
BUSH, JACK HAMILTON (1909-1977)...85, 95
I C
ISKOWITZ, GERSHON (1920-1988)...5, 103
CARR, M. EMILY (1871-1945)...88 CASSON, ALFRED JOSEPH (1898-1992)(7, 10, 39, 56, 62, 93, 133, 135
J
CHAKI, YEHOUDA (b.1938)...80
JACKSON, ALEXANDER YOUNG (1882-1974)
CHAMPAGNE, HORACE (b.1937)...91
...9, 26, 27, 60, 63, 115, 116
COBURN, FREDERICK SIMPSON (1871 -1960)...113, 134
JOHNSTON, FRANK HANS (1888-1949)...52, 90, 92
COLVILLE, ALEXANDER (1920-2013)...2, 3, 73
JOHNSTONE, JOHN YOUNG (1887-1930)...41
COMTOIS, ULYSSE (1931-1999)...65
K D
KASYN, JOHN (1926-2008)...138)
DALLAIRE, JEAN-PHILIPPE (1916-1965)...99
KIPPING, BRIAN (1953-2007)...34) KRIEGHOFF, CORNELIUS (1815-1872)...24, 25)
F FAFARD, JOSEPH YVON (1942-2019)...119)
L
FERGUSON, GERALD (1937-2009)...64
LEDUC, FERNAND (1916-2014)...102
FORRESTALL, THOMAS DE VANY (b.1936)...75
LEMIEUX, JEAN PAUL (1904-1990)...20
FORTIN, MARC-AURÈLE (1888-1970)...58, 66
LETENDRE, RITA (b.1928)...76
FOX, JOHN RICHARD (1927-2008)...6
LEWIS, MAUD (1903-1970)...28, 29, 30 LISMER, ARTHUR (1885-1969)...81, 129, 130 LITTLE, JOHN (b.1928)...109, 112
120
Canadian Fine Art Auction
M
S
MACDONALD, MANLY EDWARD (1889-1971)...114, 123
SCHREIBER, CHARLOTTE MOUNT BROCK
MCCARTHY, DORIS (1910-2010)...46
(1834-1922)...50
MCEWEN, JEAN ALBERT (1923-1999)...18, 69
SHADBOLT, JACK LEONARD (1909 -1998)...104, 121
MCKAY, ARTHUR FORTESCUE (1926-2000)...74
SHEPPARD, PETER CLAPHAM (1879-1965)...8, 13, 45, 53
MILNE, DAVID BROWN (1882-1953)...57
SUZOR-COTÉ, MARC-AURÈLE DE FOY (1869-1937)...42
MONKMAN, KENT (b.1965)...59 MORRICE, JAMES WILSON (1865-1924)...44, 51 MORRISSEAU, NORVAL H. (1932-2007)...35
T
MOUSSEAU, JEAN-PAUL (1927-1991)...98
TANABE, TAKAO (b.1926)...32 TONNANCOUR, JACQUES GODEFROY DE (1917- 2005) ...77
N
TOWN, HAROLD BARLING (1924-1990)...4, 33
NAKAMURA, KAZUO (1926-2002)...11
V P
VARLEY, FREDERICK HORSMAN (1881 -1969)...22, 136, 137
PEREHUDOFF, WILLIAM (1918-2013)...31
VERNER, FREDERICK ARTHUR (1836-1928)...118
PHILLIPS, WALTER JOSEPH (1884-1963)...1, 16, 36, 37, 87, 127, 128) PILOT, ROBERT WAKEHAM (1898-1967)
W
...48, 61, 117, 122
WAINIO, CAROL (b.1955)...110
PRATT, CHRISTOPHER (b.1935)...124, 125
WEBBER, GORDON MCKINLEY (1909 -1965)...54
PRATT, MARY (1935-2018)...126
WERTHEIMER, ESTHER (b.1926)...72
R RAND, PAUL (1896-1970)...79 RAYNER, GORDON (1935-2010)...107 REPPEN, JACK (1933-1964)...68, 78 RIOPELLE, JEAN-PAUL (1923-2002)...83 ROBERTS, WILLIAM GOODRIDGE (1904-1974)...38 ROGERS, OTTO DONALD (1935-2019)...70 RONALD, WILLIAM (1926-1998)...67
MONDAY, NOVEMBER 18, 2019
121
Buying at Waddington’s 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 announcement. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any oral announcement or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s™ and the consignor (seller) of the lot. Descriptions 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 description, 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 examine the pieces in person or have our staff answer any questions before bidding. Sizes are approximate. 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. Frames on artwork are not included as part of purchase or condition.
BUYER’S PREMIUM
A premium of 20% of the successful bid price of each lot. A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer’s premium, except for purchases exported from 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), travelers cheque, bank draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000).
ALL PRICES IN CANADIAN FUNDS 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.
Selling at Waddington’s BIDDING
To bid in person at the auction, you must register for a bidding number by showing identification acceptable to the Auctioneer upon entering the salesroom. Your number will identify you if you are the successful bidder. You will be responsible for all lots purchased on your bidding number. Banking information may be requested by Waddington’s™. You may submit an Absentee Bid Form if you are unable to attend the sale. Bidding by telephone, in limited circumstances, can be arranged prior to the sale. While we are pleased to offer absentee and telephone bidding as a service to our clients, and take great care in their commission, the Auctioneer will not be responsible for technical difficulties, errors or failure to execute bids. The Auctioneer may also execute bids on behalf of the consignor to protect the reserve. The reserve is the confidential minimum price the seller is willing to accept for his or her property, below which it will not be sold.
WADDINGTON’S COMMISSION RATES Items selling for $7,501 or more - 10% Items selling for $2,501 to $7,500 - 15% Items selling for $251 to $2,500 - 20% Items selling for $250 or less - 25% *There is a minimum handling charge of $20 per item
CANADIAN ART DEPARTMENT COMMISSION RATES Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15%
SHIPPING Items selling for The Auctioneers will not undertake packing or $2,500 or less 20% shipping. The purchaser must designate and arrange for the services of an independent *There is a minimum handling charge of $20 shipper and be responsible for all shipping, per item insurance expenses and any necessary export permits that may apply. The Auctioneers will, INSURANCE upon request, provide names of professional A 1% insurance charge, based on the packers and shippers but will not be held hammer price of the property, will be responsible for the service or have any liability applied to all accounts. for providing this information. Reliable preauction estimates of shipping costs of lots AUCTION ADVICE offered in this sale may be obtained from: For auction advice on paintings, drawings, prints, jewellery, and various forms of PakShip decorative arts and other collectibles, please 905-470-6874 / 905-470-6875 / 416-293-8225 feel free to contact us via email or telephone. taurus@pakship.ca / www.pakship.ca We are pleased to review emails containing photographs and information on your pieces Safer Shipping Inc. in order to provide auction estimates for you 416-299-3367 / 416-299-9750 to consider. perry@safershipping.ca/www.safershipping.ca Fero Transport 514-453-1462 / www.ferotransport.ca
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
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.
ART IS HAPPENING ÀBADAKONE CONTINUOUS FIRE FEU CONTINUEL Contemporary International Indigenous November 8, 2019 April 5, 2020
Visit gallery.ca to learn more
Will Wilson, K’ómoks Imperial Stormtrooper (Andy Everson), Citizen of the K’ómoks First Nation (detail), 2017. From the series Critical Indigenous Photographic Exchange: d zid zəlalič [Seattle]. © Will Wilson. Photo: courtesy of the artist
Conditions of Sale 1. 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 or announced verbally in the auction room prior to the time of sale. While the auctioneer has endeavoured 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. An opportunity for inspection of each article is offered prior to the time of sale. No sale will be set aside on account of lack of correspondence of the article with its description or its reproduction, if any, whether colour or black & white. 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. Frames on artwork are not included as part of purchase or condition. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid, relying upon their own advisers, and to bid accordingly. 2. Each lot sold is subject to a 20% buyers premium as part of the purchase price. 3. Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of that province, whether it HST or GST (Goods and Services Tax). 4. 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. 5. 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.
6. 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. 7. 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. 8. 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. 9. 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. 10. 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. 11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 14 days following the sale a written opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a written request by the buyer for rescission of the sale, then the sale of the lot will be rescinded and the sale price refunded to the buyer.
12. Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000). 13. 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 resale 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. 14. 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. 15. 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). 16. 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.
With Gershon Iskowitz’s wish in 1986 to create an award that would be an ‘artist helping artists’, the Gershon Iskowitz Prize is awarded annually to a Canadian artist whose body of work has made a significant contribution to visual arts in Canada. In partnership with the Art Gallery of Ontario since 2012, the Prize now includes a solo exhibition at the AGO. Funds secured through the sale of Iskowitz’s work are committed to the Prize.
[most likely date of production, 1987] 97.2 x 84.2 cm Not signed GIF: B252
Selected by Ihor Holubizky for the Art Canada Institute publication www.iskowitzfoundation.ca
Departments ASIAN ART
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Tess McLean
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Liz Edwards
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VICE PRESIDENT
DESIGN & PRODUCTION
COLLINGWOOD
Stacey Blouin
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Julia Deo
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