Major Fall Auction: First Nations Art
NOVEMBER 7 - 28, 2024
bid and view all lots online at bid.waddingtons.ca
auction ends
Thursday, November 28, 2024 starts to close at 7 pm ET
on preview
Saturday, November 23 from 12 pm to 4 pm
Sunday, November 24 from 12 pm to 4 pm
Monday, November 25 from 10 am to 5 pm
Tuesday, November 26 from 10 am to 5 pm
Or by appointment.
preview held at 100 Broadview Ave., Suite 200 Toronto, Ontario M4M 3H3
first nations art firstnationsart@waddingtons.ca
senior specialist
Palmer Jarvis
416-847-6191
consignment coordinator
Elizabeth Gagnon
416-847-6184
front cover
Lot 151
Kent Monkman Postmodern, 2013
front inside cover
Lot 153
Daphne Odjig
The Legend of Nanabush, 1968 (detail)
opposite Lot 168
Robert Charles Davidson
Sea Monster, 1976 (detail)
back inside cover Lot 150
Norval Morrisseau Thunderbird, ca. 1960-62 (detail)
back cover
Lot 152
Daphne Odjig
Our Night of Song, 1985
150
NORVAL MORRISSEAU
CM, RCA (1932-2007), ANISHINAABE (OJIBWE)
THUNDERBIRD, CA. 1960-62
acrylic on kraft paper, signed in syllabics lower right; titled and dated to gallery label verso
31.5 x 45 in — 80 x 114.3 cm
PROVENANCE:
Kinsman Robinson Galleries, Toronto, ON S.P. Family Collection, Toronto, ON
$14,000—18,000
VIEW LOT
KENT MONKMAN
OC (B. 1965), CREE
POSTMODERN, 2013
acrylic on canvas, signed and dated lower right; titled and dated to gallery label verso 36 x 27 in — 91.4 x 68.6 cm
PROVENANCE:
Patel Gallery, Toronto, ON, 2019
Private Collection, New York, NY
EXHIBITED:
Kent Monkman: New Works, TrépanierBaer Gallery, Calgary, AB, May 22-Aug 24 2013.
$40,000—60,000
Kent Monkman is known for referencing a wide range of art historical periods and movements, from the caves at Lascaux to Modern masters. In Postmodern, two flattened cutouts in the foreground allude to the work of Pablo Picasso. On the right is the protagonist of the 1937 La Suppliante (The Supplicant), a portrait Picasso painted a few months after he completed Guernica, a continuation of his commentary on lamentation and despair in the face of modern conflicts. On the left is a figure resembling one of the women from Les Demoiselles d’Avignon, a Cubist figure which Monkman referred to again in his Casualties of Modernity, a 2015 performance, installation and film.1
Monkman viewed Cubism and its fragmented, flattened figures as reductive, and per art historian Shirley Madill, as a “metaphor for modernity’s compression of Indigenous cultures.”2 Echoing Madill, critic Hrag Vartanian notes that when Monkman inserts figures from modern art into his work, “he is deliberately flattening pictorial space, and bringing up the shortcomings of these figures that look crippled and violated outside their usual context. For the artist, that flattening of pictorial space is a metaphor of how indigenous cultures have been flattened aggressively over the last few centuries, but also how women have been violated in modern art as they are exploited by male artists who butchered their bodies for art.”3
Both cutouts are mirrored by alternate versions of themselves, which, as they rise amidst the smoke of a car crash, are restored to three-dimensionality and wholeness. They too are casualties of modernity, but in death, they appear to transcend the wreckage. Though Monkman has never shied away from difficult topics – colonialism, residential schools, social dysfunction, abuse, rape, etc. – his work is often underscored by messages of resilience and renewal. By citing both the flattened Modernist figures and their actualized counterparts, Monkman rewrites prevailing narratives.
Not content to merely fuse the modernist iconography of the 20th century with the trauma of the 21st century, Monkman layers in the problematic art historical legacy of the 19th century. In Postmodern, Monkman sets his scene of tragedy and transcendence against Albert Bierstadt’s 1897 painting “Liberty Cap, Yosemite.” When the Bierstadt painting was sold at Christie’s in 1999, the accompanying essay notes that it is one of the “mythic beacons of the West for which Bierstadt is most famous”4 – precisely the sort of overly-romanticized scene that Monkman seeks to interrupt with his work.
For years Monkman has re-used and re-coded works by “heroic” 19th-century painters including Paul Kane, John Mix Stanley, George Catlin, Thomas Cole and Bierstadt, painters who made their careers by “discovering” and disseminating picturesque images and images of the “untamed” and “uncharted” West. Bierstadt, when he included figural elements in his paintings, would reduce Indigenous people to mere markers of scale, auxiliary to the territory they had long inhabited – that is, if they were included at all.
Looking at Bierstadt’s landscape through a contemporary lens, the viewer can no longer see these scenes as neutral. Madill cites Monkman, who says: “I started looking at landscape painting and North American art history as it was painted by Europeans and how they saw Indigenous people... that narrative needed to be challenged.”5 Madill explains that for Monkman, these 19th-century paintings “were empty stages with huge potential, a perfect avenue for inserting a different story based on his lived experience.” 6 By both using and subverting the language of 19th-century European landscape painting, Monkman is able to counteract the historic erasure of Indigenous peoples and hopefully alter their narratives in the present day.
1 Kent Monkman, “Casualties of Modernity,” accessed September 24, 2024, http://casualtiesofmodernity.com/our-casualties.html.
2 Shirley Madill, Kent Monkman: Life and Work (Toronto: Art Canada Institute, 2022), 52.
3 Hrag Vartanian, “The Violent History of Kent Monkman,” Hyperallergic, October 31, 2019, https://hyperallergic.com/131828/the-violent-history-of-kent-monkman/
4 “Liberty Cap, Yosemite, Albert Bierstadt,” Christie’s, accessed September 24, 2024, https://www.christies.com/en/lot/lot-1635097
5 Madill, 78.
6 Madill, 78.
VIEW LOT
DAPHNE ODJIG
CM, OBC, RCA (1919-2016), NISHNAABE-NESHNABE (ODAWA-POTAWATOMI)
OUR NIGHT OF SONG, 1985
acrylic on canvas, signed lower right; titled and dated “85” verso; titled to stretcher
18 x 14.25 in — 45.7 x 36.2 cm
PROVENANCE:
Gallery Phillip, Toronto, ON
Acquired from the above in 1989 by the present Private Collection, Ontario
EXHIBITED:
Daphne Odjig, Gallery Phillip, Toronto, ON, 7-23 Nov 1985.
NOTE:
Accompanied by a copy of the purchase invoice (client name redacted).
$10,000—15,000
VIEW LOT
DAPHNE ODJIG
CM, OBC, RCA (1919-2016), NISHNAABE-NESHNABE (ODAWA-POTAWATOMI)
THE LEGEND OF NANABUSH, 1968 acrylic on kraft paper, signed and dated lower right sight 31.5 x 59.5 in — 80 x 151.1 cm
PROVENANCE:
Gift of the artist to Etienne Wood of Winnipeg, Manitoba
By Descent to the present Private Collection
$20,000—30,000
Throughout The Northeastern Woodlands and Great Lakes, stories of the shape-shifting trickster-hero Nanabush are widespread. For some Algonquin and Anishinaabeg people, Nanabush is cited as having furnished mankind with their first canoe, and among the Anishinaabe, Nanabush is central to the origin story of Turtle Island.
Legend of Nanabush from 1968 appears to depict one telling of the Nanabush story, in which the hero attacks malevolent underwater Manitou (spirits) in retribution for their fatal attack on a companion of Nanabush. After Nanabush’s attack on the Manitou, the spirits will go on to flood the world, and Nanabush will create the earth, rested on the back of a turtle.
The mythical figure Nanabush was a favourite childhood character of Daphne Odjig. Drawn to the transformative powers embodied by this sometimes trickster, sometimes teacher spirit, it was a subject she enjoyed revisiting throughout her career, saying in the 1992 book A Paintbrush in My Hand: “I’m very much a part of the past, that’s where I draw a lot of my inspiration. I enjoy delving into things like that and being able to express it on paper. For something to turn out well you’ve got to be happy doing it; the thought, the idea has to flow. When I envisioned Nanabush he was a little spirit, a little being. I never thought of Nanabush in terms of being she. I didn’t think of Nanabush as being physically powerful, but powerful in the sense of being able to do anything, turn into anything, living in the spiritual world and in this one at the same time.”1
Gifted by Odjig in the early 1970s to her accountant and financial advisor for the Odjig Gallery, Etienne Wood, this large and significant early work by the artist is offered for sale here for the first time since being painted in 1968.
1 Daphne Odjig, A Paintbrush in my Hand (Toronto: Natural History/Natural Heritage inc., 1992), 103.
Reference:
John Bierhorst, Mythology of the Lenape: Guide and Texts (Arizona: University of Arizona Press, 1995)
F. Kent Reilly, James F. Garber et al, Ancient Objects and Sacred Realms: Interpretations of Mississippian Iconography (Texas: University of Texas Press, 2010)
VIEW LOT
154
NORVAL MORRISSEAU
CM, RCA (1932-2007), ANISHINAABE (OJIBWE)
CONVERSATION, CA. 1975
acrylic on board, signed in syllabics lower left; partial gallery label “3338” verso; inscribed “Artist / Vishionary [sic] wife Number 3 / with Artist / Copper Thunderbird” verso
40.25 x 31 in — 101.6 x 79.5 cm
PROVENANCE:
The Art Emporium, Vancouver, BC
Acquired from the above in 1975 by the present Private Collection, Vancouver, BC
$15,000—25,000
NOTE:
Accompanied by a copy of the purchase invoice from the Art Emporium (client name redacted).
VIEW LOT
ALEX JANVIER
CM, AOE, RCA, LLD (1935-2024), DENESULINE
UNTITLED, 1972
acrylic on paper, signed and dated “’72” lower left; also inscribed with treaty number sheet 11.5 x 15 in — 29.2 x 38.1 cm
PROVENANCE:
Private Collection, British Columbia
$6,000—8,000
VIEW LOT
NORVAL MORRISSEAU CM, RCA (1932-2007), ANISHINAABE (OJIBWE)
MERMAN IS THE LORD AND RULER OF THE WATER, 1992 acrylic on canvas, signed in syllabics lower right; titled and dated to gallery label verso 90 x 48 in — 228.6 x 121.9 cm
PROVENANCE:
Kinsman Robinson Galleries, Toronto, ON S.P. Family Collection, Toronto, ON $25,000—35,000
VIEW LOT
157
NORVAL MORRISSEAU
CM, RCA (1932-2007), ANISHINAABE (OJIBWE)
THE PROTECTOR, 1979
acrylic on canvas, signed in syllabics lower right
60 x 63 in — 152.4 x 160 cm
PROVENANCE:
Pollock Gallery Limited, Toronto, ON
Acquired from the above in 1979 by the present Private Collection, Toronto, ON
$20,000—30,000
NOTE:
Accompanied by original Pollock Gallery Limited bill of sale.
VIEW LOT
VIEW LOT
158
ALEX JANVIER
CM, AOE, RCA, LLD (1935-2024), DENESULINE
POST CLEAR-CUTTING, 2007
acrylic on canvas, signed lower right; titled and dated “08/08/07” verso
24 x 20 in — 61 x 50.8 cm
PROVENANCE:
Private Collection, British Columbia
$8,000—10,000
VIEW LOT
159
ALEX JANVIER
CM, AOE, RCA, LLD (1935-2024), DENESULINE
SHADOW OF SUMMER, 1979
acrylic on linen, signed lower right; titled and dated verso; titled to gallery label verso
23.75 x 30 in — 60.3 x 76.2 cm
PROVENANCE:
West End Gallery, Edmonton, AB
Private Collection, Ontario
$10,000—15,000
VIEW LOT
160
MICHAEL ROBERT ROBINSON (TWO RIVERS) (1948-2010), CREE
THE RIVER AND THE FEAR OF SILENCE mixed media on paper, signed “two rivers” lower right; titled sheet 21.75 x 29.75 in — 55.2 x 75.6 cm
PROVENANCE: Private Collection, Toronto, ON
$2,000—3,000
VIEW LOT
DAPHNE ODJIG CM, OBC, RCA (1919-2016) NISHNAABE-NESHNABE (ODAWA-POTAWATOMI)
FIRE OF THE MAPLE LEAVES, 1968 oil pastel on paper, signed and dated lower left; titled and dated to gallery label verso sight 34.6 x 22 in — 88 x 56 cm
PROVENANCE:
Collection of Ben Robertson, Kamloops, BC Private Collection, British Columbia
EXHIBITED:
The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition, Curated by Bonnie Devine.
Art Gallery of Sudbury, Sudbury, ON, 15 Sep-11 Nov 2007
Kamloops Art Gallery, Kamloops, BC, 8 Jun-31 Aug 2008
National Gallery of Canada, Ottawa, ON, 23 Oct 2009-3 Jan 2010
MacKenzie Art Gallery, Regina, SK, 6 Feb 2010-2 May 2010.
$10,000—15,000
VIEW LOT
162
NORVAL MORRISSEAU
CM, RCA (1932-2007), ANISHINAABE (OJIBWE)
THE ART OF NORVAL MORRISSEAU, 1979
portfolio of five colour screenprints and gallery edition book each signed and numbered 322/350; housed in original packaging, and accompanied by Pollock Gallery Limited bill of sale each sheet 24 x 18 in — 61 x 45.7 cm
PROVENANCE:
Pollock Gallery Limited, Toronto, ON
Acquired from the above in 1979 by the present Private Collection, Toronto, ON
$2,000—3,000
VIEW LOT
ROBERT CHARLES DAVIDSON (B. 1946), HAIDA
K’A.ADS NEE ST’UNG, 1990
screenprint, dated “91” and inscribed; unnumbered edition of 75; includes original invitation to the house naming potlach, framed sight 19 x 7.5 in — 48.3 x 19.1 cm
PROVENANCE: Private Collection, Alberta
$2,000—3,000
VIEW LOT
ROBERT CHARLES DAVIDSON (B. 1946), HAIDA
DOGFISH MOTHER, 1980
screenprint, signed, titled, dated, and numbered 61/199, framed
sight 19 x 12 in — 48.3 x 30.5 cm
PROVENANCE: Private Collection, British Columbia
$700—900 VIEW LOT
165
ISABEL RORICK (B. 1955), HAIDA
RATTLE TOP BASKET spruce root, maiden hair grasses
3.5 x 4 x 4 in — 8.9 x 10.2 x 10.2 cm
PROVENANCE: Private Collection, British Columbia
$1,500—2,500
VIEW LOT
166 NORMAN TAIT (1941-2016), NISGA’A MASK, 1989 wood, signed “NTait”; dated “’89”
12 x 11.75 x 7 in — 30.5 x 29.8 x 17.8 cm
PROVENANCE: Private Collection, Geneva, Switzerland
$2,500—3,500
VIEW LOT
167
ROBERT CHARLES DAVIDSON (B. 1948), HAIDA
INNOCENT BYSTANDER, 2000 screenprint, signed, titled, dated, and numbered 52/75, framed sheet 22 x 22 in — 55.9 x 55.9 cm
PROVENANCE: Private Collection, British Columbia
$1,000—1,500
VIEW LOT
168
ROBERT CHARLES DAVIDSON
(B. 1946), HAIDA
SEA MONSTER, 1976
screenprint, signed, titled, dated, and numbered 252/258, framed
sight 14 x 13.75 in — 35.6 x 34.9 cm
PROVENANCE: Private Collection, British Columbia
$500—700 VIEW LOT
TERRY STARR (B. 1951), TSIMSHIAN
MOON WOMAN WITH LABRET, 1990
wood, shredded cedar bark, paint, signed and dated; titled “Moon” including cedar bark 36 x 13.5 x 7 in — 91.4 x 34.3 x 17.8 cm
PROVENANCE:
Private Collection, Geneva, Switzerland
$2,000—3,000
VIEW LOT
170
CHIEF HENRY SPECK SR. (OZISTALIS) (1908-1971), KWAKWAKA’WAKW
TWO FACE DANCE MASKS - TYEE SALMON, BULL FROG gouache on paper, signed and titled, unframed sheet 14 x 16.5 in — 35.6 x 41.9 cm
PROVENANCE:
Private Collection, British Columbia
$800—1,200
VIEW LOT
171
CHIEF HENRY SPECK SR. (OZISTALIS) (1908-1971), KWAKWAKA’WAKW
GROUSE - THE CALLER OF THE WILDS, THE SPRUCE TREE - KING OF THE WILDS gouache on paper, signed and titled, unframed sheet 14 x 16.5 in — 35.6 x 41.9 cm
PROVENANCE:
Private Collection, British Columbia
$800—1,200
VIEW LOT
172
CHIEF HENRY SPECK SR. (OZISTALIS) (1908-1971), KWAKWAKA’WAKW
SEAL FEAST DISH; TWO IN ONE WILDMAN’S DANCE MASK, HAMA’TSA gouache on paper, signed and titled, unframed sheet 14 x 16.5 in — 35.6 x 41.9 cm
PROVENANCE: Private Collection, British Columbia
$800—1,200
VIEW LOT
173
CHIEF HENRY SPECK SR. (OZISTALIS) (1908-1971), KWAKWAKA’WAKW
RAVEN, SUN, KLI.SA.LA
gouache on paper, signed and titled, unframed sheet 14 x 16.5 in — 35.6 x 41.9 cm
PROVENANCE:
Private Collection, British Columbia
$800—1,200
VIEW LOT
UNIDENTIFIED HAIDA ARTIST
MODEL TOTEM POLE, CA. 1880 argillite, unsigned; collector’s inventory label to underside 7.75 x 1.5 x 1.5 in — 19.7 x 3.8 x 3.8 cm
PROVENANCE: Private Collection, Toronto, ON
$1,000—1,500
175
JIM CHARLIE
(GWA TYE YATH) (B. 1967), COAST SALISH
CIRCULAR PANEL wood, acrylic paint, signed verso; also inscribed “Squamish Nation / Village of Capilano”
35.5 x 35.5 x 1.5 in — 90.2 x 90.2 x 3.8 cm
PROVENANCE:
Private Collection, Seattle, WA
$1,500—2,000
VIEW LOT
176
GEORGE YELTATZIE (B. 1940S), HAIDA
ORCA AND THUNDERBIRD TRANSFORMATION PLATTER argillite, signed; dated “Sept /13” and titled “Kill Whale ~ Thunderbird”; old collector’s inventory label affixed to underside height .75 in — 1.9 cm, diameter 6. in — 15.2 cm
PROVENANCE:
Private Collection, Toronto, ON $1,500—2,500
VIEW LOT
177
DOUG HORNE (B. 1982), COAST SALISH
TOTEM POLE, 2008
red cedar, signed and dated
33 x 26 x 8.5 in — 83.8 x 66 x 21.6 cm
PROVENANCE:
Private Collection, Seattle, WA
$2,000—3,000
VIEW LOT
178
JOE PETERS (1959-1994), KWAKWAKA’WAKW
FOOL (NOOHLMAHL) RATTLE, CA. 1990
wood, paint, shredded cedar bark, fur, signed; old transport labels affixed to underside
15.5 x 6 x 7 in — 39.4 x 15.2 x 17.8 cm
PROVENANCE:
Private Collection, Geneva, Switzerland
$500—700 VIEW LOT
DAVID NEEL (B. 1960), KWAKWAKA’WAKW
CLAN MOTHER (PORTRAIT MASK), 1990
wood, paint, shredded cedar bark, signed and dated; also inscribed “Clan Mother” including cedar 20 x 12 x 7 in — 50.8 x 30.5 x 17.8 cm
PROVENANCE:
Private Collection, Geneva, Switzerland
$2,000—3,000
VIEW LOT
COREY BULPITT
(TAAKEIT GAAYAA) (B. 1978), HAIDA
DAUGHTER OF MOUSE WOMAN (KUUGA’N JAA’D), 2019
wood, acrylic paint, horse hair, wool, abalone, leather, signed, titled, and dated including hair 24 x 11 x 6 in — 61 x 27.9 x 15.2 cm
PROVENANCE:
Private Collection, British Columbia
$2,000—3,000
VIEW LOT
COREY BULPITT (TAAKEIT GAAYAA) (B. 1978), HAIDA
MOUNTAIN GOAT RATTLE
wood, acrylic paint, twine, signed and titled; accompanied by stand not including stand 13 x 5 x 5 in — 33 x 12.7 x 12.7 cm
PROVENANCE:
Private Collection, British Columbia
$1,500—2,000
VIEW LOT
UNIDENTIFIED NUU-CHAH-NULTH
LARGE MODEL TOTEM POLE, CA. 1929 wood, paint, inscribed in pen and ink verso “J.B.C. Horwood / Victoria B.C. / Thursday March 7th 1929” 26 x 3.75 x 4.75 in — 66 x 9.5 x 12.1 cm
PROVENANCE:
J.B.C Horwood, Toronto, ON Private Collection, Toronto, ON
$1,500—2,500
VIEW LOT
SAM HENDERSON (1905-1982), KWAKWAKA’WAKW
THUNDERBIRD AND SISIUTL, CA. 1970
wood, acrylic paint, unsigned
16.5 x 45 x 6.5 in — 41.9 x 114.3 x 16.5 cm
PROVENANCE:
Private Collection, British Columbia
$1,500—2,500
VIEW LOT
TIM PAUL
(B. 1950), NUU-CHAH-NULTH
OCTOPUS MASK, 1988
wood, paint, shredded cedar bark, signed, titled, and dated
11 x 11 x 4.5 in — 27.9 x 27.9 x 11.4 cm
PROVENANCE:
Private Collection, Geneva, Switzerland
$2,000—3,000
VIEW LOT
RUFUS MOODY (1923-1998), HAIDA
MODEL TOTEM POLE
argillite, signed; also inscribed “Haida Carving by Rufus Moody / Skidegate Mission / Q.C.I. B.C.”
7.75 x 2.5 x 2.9 in — 19.7 x 6.4 x 7.4 cm
PROVENANCE:
Private Collection, British Columbia
$900—1,200
VIEW LOT
186
RAY NATRAORO (FORMERLY NATRALL) (B. 1961), COAST SALISH TSONOQUA, 2005 wood, acrylic paint, horse hair, signed, titled, and dated including hair 28 x 10 x 5.5 in — 71.1 x 25.4 x 14 cm
PROVENANCE: Private Collection, British Columbia
$900—1,200
VIEW LOT
187
SUN HAWK MASK, 1999
wood, shredded cedar bark, abalone, opercula, feather, signed, titled, and dated including hair 27 x 12 x 3.5 in — 68.6 x 30.5 x 8.9 cm
PROVENANCE: Private Collection, Seattle, WA
$1,000—1,500
VIEW LOT
wood, signed and titled
50 x 26 x 11 in — 127 x 66 x 28 cm
PROVENANCE: Private Collection, Seattle, WA
$1,500—2,000
VIEW LOT
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A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer’s premium except for any items directly shipped from our premises out of Canada. In the case where purchases are shipped out of the province of Ontario, the HST or GST is charged based on the tax status of that province.
PAYMENT
Payment for purchases must be by cash; interac direct debit (CDN clients in person only); certified cheque (U.S. & Overseas not applicable); bank draft; E-Transfer; Wire Transfer (fee applies); visa or Mastercard (up to $25,000).
all transactions are conducted in canadian dollars (cad)
SHIPPING
The auctioneers will not undertake packing or shipping. The purchaser must designate and arrange for the services of an independent shipper and be responsible for all shipping and insurance expenses. The auctioneers will, upon request, provide names of professional packers and shippers but will not be held responsible for the service or have any liability for providing this information. Reliable pre-auction estimates of shipping costs of lots offered in this sale may be obtained from:
PakShip
905-470-6874 / 416-293-8225
905-470-6875
taurus@pakship.ca / www.pakship.ca
Safer Shipping Inc.
416-299-3367 / 416-299-9750 perry@safershipping.ca www.safershipping.ca
REMOVAL OF PURCHASES
Purchases must be paid for within 48 hours of the date of the sale, and removed from premises within 10 days of the date of sale (see Conditions of Sale, conditions 8 to 15). Clients are advised that packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.
CITES
Restrictions exist regarding the import and export of species protected under CITES (Convention on International Trade in Endangered Species). This includes but is not limited to items made of or containing bone (whalebone etc.), ivory, tortoise shell, seal skin, rhinoceros horn and any other animal part and is strictly controlled or forbidden by most countries. Please review your country’s laws before bidding on pieces made of or containing
these restricted items. It is the sole responsibility of the buyer to inquire about and obtain the proper permits for artwork purchased that may contain restricted materials, if such permit can be obtained.
Please contact the department for further assistance. Failure to obtain necessary import/export permits will not void any sale..
For more information please visit: www.cites.org
INSURANCE
A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.
AUCTION ADVICE
For auction advice on paintings, drawings, prints, jewellery, and various forms of decorative arts and other collectibles, please contact us via email or telephone.
We are pleased to review emails containing photographs and information on your pieces in order to provide auction estimates for you to consider.
For collections with a variety of objects, please contact our Appraisals and Consignments department (consignments@waddingtons.ca).
For department-specific inquiries, please contact the specialist and/or department directly. All contact information can be found at www.waddingtons.ca.
With specialists located at our head office in Toronto as well as in Vancouver and Montreal, we are pleased to meet with prospective consignors across the country. For more information on consigning to our auctions, please contact us at consignments@waddingtons.ca.
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.
