Joyner Canadian Art Auction | November 26, 2012 by waddingtons

Canadian Fine Art Auction Monday, November 26th, 2012 at 7 p.m. Preview Friday, November 23rd: 3 p.m. to 8 p.m. Saturday, November 24th: 11 a.m. to 4 p.m. Sunday, November 25th: 11 a.m. to 4 p.m. Monday, November 26th: 10 a.m. to 12 noon Preview and Auction to be held at Waddington’s Auction Galleries 275 King Street East, 2nd Floor Toronto Ontario M5A 1K2 Front Cover Lot 130 Paul-Emile Borduas, Chatterie (detail) Back Cover Lot 50 Franklin Carmichael, Autumn Landscape Inside Front Cover Lot 157 William Kurelek, Yukon Trappers’ Stop (detail) Inside Back Cover Lot 30 Marc-Aurele Fortin, Maison Tessier (detail) All lots in the sale may be viewed online at Joyner.Waddingtons.ca

COPYRIGHT NOTICE This catalogue and its contents © 2012 Waddington McLean & Company Ltd., Waddington’s Canada’s Auction House Since 1850 and Joyner Canadian Fine Art are trademarks of Waddington McLean & Company Ltd. All rights reserved. Photography by Waddington’s™

CONDITIONS OF SALE 1. Any description issued by the auctioneer of an article to be sold is subject to variation to be announced in the auction room prior to the time of sale. However, while the auctioneer has endeavoured not to mislead in the description issued, such description is 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. 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. A premium of 18% of the successful bid price of each lot is paid by the buyer as part of the purchase price. Artfact Live! clients will be charged a buyer's premium of 23% of the successful bid price of each lot up to and including $50,000 and 18% on any amount in excess of $50,000 as part of the total purchase price. 3. 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. 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 on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee bids 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 auctioneerâ&#x20AC;&#x2122;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 and take away 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. 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 7 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, certified cheque, travellers cheque, bank draft, VISA or Mastercard (up to $25,000 or the cardholderâ&#x20AC;&#x2122;s limit, whichever is less). Credit cards must be presented in person by the cardholder. 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 re-sale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer. 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.

INFORMATION FOR BUYERS

INFORMATION FOR SELLERS

All lots will be oﬀered and sold subject to the Conditions of Sale which appear in this catalogue as well as any Glossary and posted or oral announcements. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any oral announcement or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s or Joyner Waddington’s, and the consignor (seller) of the lot.

Paintings, drawings, prints, furniture, jewellery and all forms of decorative arts and collectibles may be brought to our Toronto oﬃce where we can provide you with preliminary auction estimates and consignment procedures. Please visit our website at www.waddingtons.ca for details on our various departments and how to contact the specialists. We also provide advice by email on the marketability of objects. A photograph must accompany a full description of each item.

Descriptions or photographs of lots are not warranties and each lot is sold “as is” in accordance with the Conditions of Sale. A premium of 18% of the successful bid price of each lot is paid by the buyer as part of the total purchase price.

Our specialists regularly travel to major Canadian cities to meet with prospective consignors. For further information, or to arrange an appointment, please contact our Toronto oﬃce.

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.

Property normally arrives at Waddington’s or Joyner 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.

Please note that bidding at this sale will be in Canadian Dollars.

Commission Rates

In no event will Waddington’s or Joyner Waddington’s be liable for damage to glass or picture frames.

Items selling for $7,500 or more..............................................10% Items selling for $2,500-$7,499...............................................15% Items selling for less than $2,500.............................................20%

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 or Joyner Waddington’s. You may submit an Absentee Bid form if you are unable to attend the sale. Please refer to this form in the back of this catalogue for the appropriate forms and further information. 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 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. Artfact Live! Artfact Live! clients will be charged a buyer’s premium of 23% of the successful bid price of each lot up to and including $50,000 and 18% on any amount in excess of $50,000 as part of the total purchase price. Payment Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travellers cheque, bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000). As we require written authorization for all credit card purchases, credit cards must be presented in person by the cardholder and therefore cannot be accepted over the telephone. However, fax authorization arrangements can be made. Removal of Purchases The purchaser will be responsible for shipping and insurance expenses. The Auctioneer will, upon request, provide names of professional packers and shippers but will not be responsible or have any liability for providing this information.

Unless waived by the vendor at the time of the consignment, a 1% insurance charge, based on the hammer price of the property, will be applied to all accounts. GLOSSARY The terms below are used in this catalogue for your guidance, with the meanings ascribed to them below. While the use of these terms is based upon careful study they are not warranties; the Auctioneer and the seller assume no risk, liability or responsibility for the authenticity of authorship of any lot in this catalogue described by these terms. In this regard, you are requested to read condition 1 of the Conditions of Sale. Artist’s name or recognized designation: In our qualified opinion, a genuine work executed by the artist. Attributed to: In our opinion, probably a work by the artist but less certainty as to the authorship is expressed than in the preceding category. Circle of: In our opinion, a work of the period of the artist and closely related to his style. School of: In our opinion, a work executed in the artist’s style and possibly by a pupil or follower of the artist. Manner of: In our opinion, a work executed in the artist’s style and probably of a later period. After: In our opinion, a copy of a work of the artist. *** is in the place of the unknown name. Signed/Dated/Inscribed: In our opinion, the work has been signed/dated/inscribed by the artist. The inclusion of a question mark indicates some doubt. Bears signature/Bears date: In our opinion, the signature/date may be by a hand other than the artist. Certificates/Literature: Any reference to certificates or literature represent the opinion of the authority or author(s) shown. Provenance: It is intended to indicate previous collections or owners, other than the present owner. Measurements: Height precedes width in all measurements. Measurements shown are in inches and centimeters.

Purchases must be cleared within 48 hours of the date of the sale (see Conditions of Sale, conditions 8 to 15). Packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.

Canadian Fine Art - Monday, November 26th, 2012 at 7 p.m. 3

We are Canada’s pre-eminent auction house for conducting sales of Important Canadian Art. Our staﬀ has more than a century of combined experience holding specialized auctions and preparing formal written appraisals of Canadian works of art.

Geoﬀrey P. Joyner

With consignments from individual collectors, estates, corporations and institutions, sales of Important Canadian Art are held by Joyner Canadian Fine Art twice-yearly in Toronto. You may arrange to meet with us in Toronto or in major cities across Canada to discuss the appraisal of your paintings, drawings and prints for auction or other purposes such as probate, family division or insurance.

Robert P. Cowley Canadian Fine Art Specialist Member International Society of Appraisers

If you feel we may be of assistance, please contact us for our professional opinion.

Lydia C. Abbott M.A. 275 King Street East, Second Floor Toronto Ontario Canada M5A 1K2 Tel:416.504.9100 Fax:416.504.6971 Toll Free: 1.877.504.5700 www.waddingtons.ca

Canadian Fine Art Specialist Member International Society of Appraisers

Kristin V. Vance Client Services Administrator & Consignment Co-ordinator

Nastazja M. Pedersen Research & Cataloguing Assistant

Canadian Fine Art November 26th, 2012 7 p.m. Precisely

Lot 70 (detail)

CANADIAN ART Monday, November 26th AT 7 P.M. PRECISELY

The Property of Various Owners

1 MANLY EDWARD MACDONALD, R.C.A. LOADING THE SLEIGH, oil on canvas, signed 24 ins x 32 ins; 60 cms x 80 cms $4,000–6,000

1 2 JOHN INNES, O.S.A. RED RIVER CART, oil on canvas, laid down on board, signed 23 1/2 ins x 31 1/4 ins; 58.8 cms x 78.1 cms $2,000–3,000 Provenance: Harold Groves Collection, Toronto. Private Collection, Vancouver Island.

3 BERTHE DES CLAYES HORSE AND SLEIGH ON WINTER ROAD, oil on canvas, signed 16 ins x 20 ins; 40 cms x 50 cms $5,000–7,000 3

Provenance: Watson Art Galleries, Montreal. Private Collection, Montreal.

4 FREDERICK SPROSTON CHALLENER, O.S.A., R.C.A. GIRLS AT PLAY, QUEEN’S PARK, TORONTO, oil on board, signed and dated 1950 16 ins x 20 ins; 40 cms x 50 cms $4,000–6,000 Exhibited: 79th Annual Exhibition, The Ontario Society of Artists, March, 1951.

5 JOHN WILLIAM BEATTY, O.S.A., R.C.A. LANDSCAPE, oil on board 10 1/2 ins x 12 ins; 26.3 cms x 30 cms $5,000–7,000

6 HOMER RANSFORD WATSON CATTLE GRAZING ON THE GRAND, oil on canvas, signed 13 1/4 ins x 17 ins; 33.1 cms x 42.5 cms $3,000–4,000 Exhibited: Simplicity of Life and Brush, Homer Watson House & Gallery, Kitchener, June 9 - August 18, 2002.

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7 PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. PORT CREDIT, 1930s, oil on board, signed 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $3,000–5,000

7 8 LAWRENCE ARTHUR COLLEY PANTON, O.S.A., R.C.A. GRAY DAY, oil on canvas, signed 34 ins x 40 ins; 85 cms x 100 cms $5,000–7,000 Provenance: Roberts Gallery, Toronto. Private Collection, Toronto. Literature: Joyner Waddington’s Canadian Fine Art, auction, Toronto, May 30th, 2006, lot 123 for the oil sketch of this subject.

9 GEORGE DOUGLAS PEPPER, O.S.A., R.C.A. FISH HOUSES, BLUE ROCKS, oil on panel, signed and dated ‘31 9

12 ins x 14 ins; 30 cms x 35 cms $6,000–8,000

10 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. MAGNETAWAN RIVER, 1934, oil on board, signed 9 1/4 ins x 11 1/4 ins; 23.1 cms x 28.1 cms $30,000â&#x20AC;&#x201C;40,000 Provenance: Mayberry Fine Art, Winnipeg. Private Collection, Winnipeg.

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11 YVONNE MCKAGUE HOUSSER, O.S.A., R.C.A. AN ABANDONED FARM, QUEBEC, 1927, oil on panel, signed on the reverse 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $8,000–12,000 Provenance: Estate of Yvonne McKague Housser. Masters Gallery Ltd., Calgary. Private Collection, Toronto. 12 SARAH MARGARET ROBERTSON FARMHOUSE, QUEBEC, oil on board, signed 12

11 ins x 15 ins; 27.5 cms x 37.5 cms $4,000–6,000

13 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. INDIAN VILLAGE, 150 MILE HOUSE, B.C., MAY 1949, oil on panel, signed 10 1/2 ins x 13 1/2 ins; 26.3 cms x 33.8 cms $15,000–20,000 Provenance: Private Collection, Vancouver. Literature: Naomi Jackson Groves, A.Y.’s Canada, Toronto/Vanouver, 1968, pages 176-178 for an account of the “Mile Houses of the Cariboo Road.” See also plate 83, reproduced, for a drawing entitled 150 Mile House, British Columbia. 14 FREDERICK HORSMAN VARLEY, A.R.C.A. BARNS, WHYCOCOMAGH, CAPE BRETON ISLAND, graphite, signed 8 ins x 11 ins; 20 cms x 27.5 cms $2,000–3,000

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15 CLARENCE ALPHONSE GAGNON, R.C.A. RANG ST. LAURENT, BAIE ST. PAUL, oil on panel, certified by Lucile Rodier Gagnon (No.594) on the reverse 4 3/4 ins x 7 ins; 11.9 cms x 17.5 cms $25,000–30,000 Painted circa 1920. Provenance: Dominion Gallery, Montreal. Private Collection, Vancouver. 16 ROBERT WAKEHAM PILOT, P.R.C.A. WINTER SKY, QUEBEC, oil on panel, signed and dated ‘38 16

7 ins x 9 1/2 ins; 17.5 cms x 23.8 cms $4,000–6,000

17 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. MEADOWVALE, ONTARIO, oil on board, signed with initials and dated “June 4, ‘11” 7 1/2 ins x 9 1/4 ins; 18.8 cms x 23.1 cms $20,000–25,000 Provenance: Roberts Gallery, Toronto. Masters Gallery Ltd., Calgary. 18 JOHN GOODWIN LYMAN LAC OUIMET, MONT TREMBLANT, oil on panel, signed 13 ins x 16 ins; 32.5 cms x 40 cms $7,000–9,000 Provenance: Dominion Gallery, Montreal. Galerie Walter Klinkhoff Inc., Montreal. Private Collection, Toronto.

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19 MAURICE GALBRAITH CULLEN, R.C.A. WINTER EVENING IN THE LAURENTIANS, oil on canvas, signed and dated /20, Cullen Inventory No.1003 14 ins x 20 ins; 35 cms x 50 cms $20,000–30,000

20 ROBERT WAKEHAM PILOT, P.R.C.A. PARLIAMENT BUILDINGS, OTTAWA, oil on panel, signed and dated ‘38 7 1/4 ins x 9 1/2 ins; 18.1 cms x 23.8 cms $4,000–6,000 20

Provenance: Continental Galleries of Fine Art, Montreal. Masters Gallery Ltd., Calgary.

21 21 DAVID BROWN MILNE MAIN STREET, 1942, colour drypoint, signed and numbered 38/40 in the margin 7 ins x 9 ins; 17.5 cms x 22.5 cms $20,000–30,000 Literature: David Silcox, Painting Place, The Life and Work of David B. Milne, Toronto, 1996, page 314. David Silcox, David Milne, 1882-1953 (exhibition catalogue introduction), Agnes Etherington Art Centre, Kingston, 1967. Rosemarie L. Tovell, Reflections in a Quiet Pool, The Prints of David Milne, Ottawa, 1980, page 176 and 180, no.80, illustrated in colour. After moving to Uxbridge in 1940, Milne rented a studio above Gray's Bakery on Brock Street. Silcox notes how, as a means of hiding him from his estranged wife, Milne's agent Douglas Duncan had “...disguised Milne's whereabouts by giving generic titles, such as Main Street, to paintings of what was really Brock Street in Uxbridge”. Milne had also kept his address private from most friends and family, so all correspondence would be done through Duncan, at the agent's gallery, the Picture Loan

Society. Milne first used Main Street as a subject in 1940, with Window on Main Street, and continued years later with this work. By the time Milne had produced Main Street (1942) he had developed the perfect reproducible colour for the drypoint. The artist had been using varying mixtures for his drypoints, but by 1942, he began to use more stable and consistent mixtures so that the results would be predictable. He continued to use what many refer to as his “hellish colour”. Rosemarie Tovell notes, “Milne's use of ‘hellish colour’- a mixture of Yellow Ochre and Permanent Violet- broke dominance of the harsher blacks, whites, Cobalt Blues, and Chinese Vermilions. By early 1940, ‘hellish colour’ had become lighter and more transparent, varying from sandy to salmon shades.” Milne's concern for mixing the perfect colour indicates a desire for his art to provide an immediate impact through accessible depictions. Silcox quotes Milne: “Since art is aesthetic emotion, exhausting, to be sustained intensely only a short time, the more quickly readable a picture is, the more its emotional effect is compressed and the greater its power”. Main Street is a remarkable example of a vibrant street scene with tones that thrill the senses.

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22 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. MOONLIGHT, BAIE ST. PAUL, 1924, oil on panel, signed 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $40,000â&#x20AC;&#x201C;60,000 Provenance: Lawren Harris (gift from the artist). G. Blair Laing Limited, Toronto. Private Collection, Ontario.

23 23 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. THE SILENT PLACES, oil on board, signed 24 ins x 36 ins; 60 cms x 90 cms $20,000–30,000

24 HORATIO WALKER, R.C.A. ROOTING TREES, oil on canvas, signed and dated 1893 17 3/4 ins x 27 ins; 44.4 cms x 67.5 cms $5,000–6,000 Provenance: Private Collection, Montreal.

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25 TOM THOMSON RIVER SCENE, oil on glass, signed with initials 3 ins x 3 ins; 7.5 cms x 7.5 cms $15,000–20,000 Provenance: Amy Barnard (née Turbayne), Toronto. Judi Barnard Koysam, Toronto. Private Collection, Ontario. River Scene is an unlikely convergence of medium and artist. Tom Thomson, whom we frequently associate with painting in oil on board or canvas, once painted on glass. He only essayed the medium once, but chose to depict on it a spacious landscape, a view into the distance from the shoreline of a body of water. The painting seems, at first, more related to his work as a mature artist, than to his early development. However, the detail with which Thomson painted the foliage on the trees returns the viewer to the recognition of the probable early date. In approximately 1904 or 1905, Thomson had returned to Owen Sound after a stint spent in the United States, studying and working. By 1905, he was working in Toronto with Legg Brothers, Photo Engravers, and around 1909, moved to the firm of Grip Limited. During this period, Thomson is believed to have attended the Central Ontario School of Art and Industrial Design in Toronto, perhaps taking an evening class, since he worked during the day. In 1907, Thomson painted in oil, and his work was commented on favorably by his teacher, the artist William Cruikshank. Thomson’s artwork prior to 1911, when he began to develop into an artist with a new identity and history, consists of drawings, watercolours and decorative, illuminated texts. The subjects vary from figures and portraits, often of family members, to landscapes painted around Leith and Owen Sound, and in the country surrounding Toronto. The media employed by Thomson during this period varied, from pencil and ink to chalk, watercolour and oil. The resulting artwork indicates the painter’s competence and often a knowledge of the Arts and Crafts movement, of which he had likely learned through his commercial work.

This masterful work on glass, with its fine sense of design and deft handling of depth, seems to be part and parcel of the same moment in the artist’s development. Thomson's fertile imagination likely conjured the trees that criss-cross at right, a motif he would use in later "decorative" works. Yet there is something about the way he created the work, a wry and resourceful method of tackling the scene which is a sign of the later man. Amy Barnard was a fellow student of Thomson’s at the Central Ontario School in Toronto, accompanying the artist on field trips (according to a letter from Judi Barnard Koysam, dated October 18, 2003). River Scene was a gift to Barnard from Thomson. In a sense, the painting is a student work, but one painted by a person with ambition, painting like mad towards the goal of becoming a full-time artist. Although tiny, the viewer senses in its refinement and originality, a "seeker”. River Scene is painted with exquisite care and naturally, since it is painted on glass, it is luminous, proof that Thomson, even at this early date, knew that if he worked hard enough and painted enough, he would be onto a genuinely fresh story. This work will be included in Joan Murray’s forthcoming catalogue raisonne of the artist’s work. We would like to thank art historian, Joan Murray, for contributing the foregoing essay. This lot is accompanied by a photocopy of a handwritten note, describing the early ownership history of River Scene, by Judi Barnard Koysam, granddaughter of Amy Barnard.

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26 26 HENRIETTA MABEL MAY, A.R.C.A. LANDSCAPE WITH MAPLE TREES, oil on board, signed 12 ins x 15 3/4 ins; 30 cms x 39.4 cms $12,000–15,000

27 YVONNE MCKAGUE HOUSSER, O.S.A., R.C.A. SUNSET IN THE SWAMP, oil on board, signed 27

14 ins x 18 ins; 35 cms x 45 cms $6,000–8,000

28 28 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. FARMHOUSE NEAR TERRA COTTA, oil on canvas board, signed 9 1/2 ins x 11 1/4 ins; 23.8 cms x 28.1 cms $20,000–30,000 Painted circa 1934. Provenance: Roberts Gallery, Toronto. Private Collection, Ontario.

29 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. IN THE LAURENTIANS, oil on board, signed 8 ins x 10 ins; 20 cms x 25 cms $4,000–6,000

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30 MARC-AURELE FORTIN, A.R.C.A. MAISON TESSIER, oil on board, signed 18 ins x 26 3/4 ins; 45 cms x 66.9 cms $30,000–50,000 Painted circa 1924. Provenance: Galerie L’Art francais, Montreal. Private Collection, Ontario. Literature: Esther Trepanier, Marc-Aurele Fortin, Retrospective Exhibition, exhibition catalogue, Galerie Walter Klinkhoff, Montreal, 2006. The 1920s were a transitionary period for Marc-Aurele Fortin, the painter beginning to include signature compositional elements within his rural Quebec scenes which would become characteristic of some of the artist’s most renowned work. The central, amber and gold-leafed tree depicted within Maison Tessier is a strong example of one of these characteristics. The tree towers over all other occupants within the composition, the houses and certainly the figures dwarfed in comparison. The tree commands the middle area of the painting, the colourful branches spreading as it reaches into the clouded sky, its enormity not fully contained within the artwork as its height extends beyond the top border. Trees populate and dominate the landscape of Maison Tessier, the houses, figures and laneway comfortably nestled, almost protected, within the lush autumn vegetation.

Clear focus falls on the building left of centre, the house which Fortin would call the Tessier House. Located in the Saguenay and now preserved as a historic monument, the property is presently known as the Little House. The house was constructed during the latter half of the nineteenth century and was first used as a base for the Jean-Baptiste Petit and David Tessier trading house. Now a private residence, Maison Tessier remains architecturally significant as one of the first neoclassical houses in Quebec. Art historian Esther Trepanier stated that Fortin viewed himself as a more traditional artist, writing that “in the course of the interviews he granted throughout his career, Fortin maintained his position against modernism and objected whenever his name was associated with fauvism, Van Gogh, or, worse still, when he was seen as a precursor to non-figurative art, especially since he claimed to adhere to a tradition that stopped with impressionism.” Trepanier calls attention to the similarities between Fortin and 19th century European landscape painters. “Even in instances where large trees are present in his paintings, the short strokes that give the foliage the appearance of rustling are not dealt with impressionistically. Their primary function is to impart vibrancy to the painted surface. The technique had been used by several other artists before the impressionists. Landscapes by the British painter John Constable come to mind, as do works executed after 1855 by the French artist Jean-Baptiste-Camille Corot, among others.”

30 (detail)

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31 31 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. CANAL VIEW WITH BARGES, oil on canvas, signed 13 ins x 16 ins; 32.5 cms x 40 cms $12,000–15,000 Provenance: Estate of Randolph Stanley Hewton. Private Collection, Ontario. Literature: Alexander Young Jackson, A Painter’s Country, Toronto/Vancouver, 1958, pages 7 and 10. Jackson writes: “In 1907, I went to Paris. All right-minded Montreal artists aspired to go to Paris and most of them wanted to study at the Academie Julian. It was not the instruction that attracted them to Julian’s, [but] the association with students from all over the world...These were happy years in France untroubled by thoughts of war; there were friendly people everywhere, living conditions were easy, and art, so far as we were concerned, was largely a matter of good craftsmanship.” 32 WILLIAM BRYMNER, O.S.A., P.R.C.A. VENETIAN CANAL, gouache and watercolour, signed 32

13 ins x 9 1/2 ins; 32.5 cms x 23.8 cms $2,000–3,000

33 YVONNE MCKAGUE HOUSSER, O.S.A., R.C.A. MONASTERY IN ITALY, oil on board, signed 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $4,000–6,000

34 FARQUHAR MCGILLIVRAY STRACHAN KNOWLES, O.S.A., R.C.A. EUROPEAN RIVER SCENE WITH FIGURES, oil on canvas, signed 20 ins x 16 ins; 50 cms x 40 cms $2,000–3,000

35 ROBERT WAKEHAM PILOT, P.R.C.A. LANDSCAPE NEAR ASSISI, oil on panel, signed with initials, dated ‘22 and inscribed “To E.J.” 5 1/2 ins x 7 1/4 ins; 13.8 cms x 18.1 cms $2,000–3,000 Provenance: Walter Klinkhoff Gallery, Montreal. Private Collection, Calgary.

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36 FREDERICK SIMPSON COBURN, R.C.A. TRANSPORT DU BOIS, oil on canvas board, signed and dated ‘31 6 1/2 ins x 8 3/4 ins; 16.3 cms x 21.9 cms $8,000–10,000 Provenance: Galerie L’Art francais Ltee, Montreal. Private Collection, Vancouver.

37 MARMADUKE MATTHEWS, O.S.A., R.C.A. TWO HUNTERS ENCAMPED AT THE WATER’S EDGE, watercolour, signed 20 ins x 28 1/2 ins; 50 cms x 71.3 cms $2,000–3,000 Provenance: Masters Gallery Ltd., Calgary. Private Collection, Vancouver.

38 MANLY EDWARD MACDONALD, R.C.A. HORSE AND SLEIGH IN WINTER, oil on canvas board, signed 38

12 ins x 16 ins; 30 cms x 40 cms $3,000–5,000

39 39 CORNELIUS KRIEGHOFF CAUGHNAWAGA INDIANS, WINTER, oil on canvas, signed 8 3/4 ins x 12 1/4 ins; 21.9 cms x 30.6 cms $30,000–50,000 Provenance: Watson Art Galleries, Montreal. Private Collection, Ontario. Literature: Marius Barbeau, Cornelius Krieghoff, Pioneer Painter of North America, Toronto, 1934, listed on page 134. Dennis Reid, “Cornelius Krieghoff: The Development of a Canadian Artist,” Krieghoff Images of Canada, Toronto, 1999, page 82. Ramsay Cook, “The Outsider as Insider: Cornelius Krieghoff's Art of Describing,” Krieghoff Images of Canada, ed. Dennis Reid, Toronto, 1999, page 163. Francois-Marc Gagnon, “Perceiving the Other: French-Canadian and Indian Iconography in the Work of Cornelius Krieghoff”, Krieghoff Images of Canada, ed. Dennis Reid, Toronto, 1999, page 233.

Krieghoff would have first encountered the Caughnawaga natives in Montreal, where the women would sell traditional crafts, such as the basket depicted in this painting. Caughnawaga Indians is exemplary of one of the artist’s frequently produced subjects. Dennis Reid describes: “As common as the Native hunter is the Native woman with baskets, moccasins, or other women's work for sale, travelling to town in the summer, or winter...”. By 1850, Krieghoff had mastered the Dutch painting tradition of absorbing the viewer into the painting. In Caughnawaga Indians the eyes of the two female subjects meet that of the viewers, as if inviting them to follow along the snow-laden trail to Montreal. The bare landscape surrounding the three subjects, with exception to Mount Royal in the distance, is Krieghoff's interpretation of modernity inciting a change in the landscape; what Francois-Marc Gagnon writes was for Krieghoff “...an inevitable result of colonization [visible through] the pushing back of the forest.”

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40 40 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. THE RAILWAY STATION IN UXBRIDGE, 1926, oil on board, signed 9 1/4 ins x 11 1/4 ins; 23.1 cms x 28.1 cms $30,000–40,000

41 RANDOLPH STANLEY HEWTON, R.C.A. QUEBEC VILLAGE, AUTUMN, oil on canvas, signed, Hewton Estate stamp on the reverse 12 ins x 15 ins; 30 cms x 37.5 cms $5,000–7,000 41

Provenance: Estate of Randolph Stanley Hewton. Private Collection, Ontario.

42 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. GATINEAU FARM WITH GRAZING CATTLE, oil on canvas, signed 26 ins x 32 ins; 65 cms x 80 cms $30,000â&#x20AC;&#x201C;40,000 Provenance: Joyner Fine Art Inc., auction, Toronto, November 15th, 1996, lot 136. Private Collection, Ontario.

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43 ARTHUR LISMER, O.S.A., R.C.A. TOTEM TREE AT LONG BEACH, B.C., 1953, oil on panel, signed 16 ins x 12 ins; 40 cms x 30 cms $15,000–20,000 Literature: Lois Darroch, Bright Land: A Warm Look at Arthur Lismer, Toronto, 1981, pages 138 and 149. Marjorie Lismer Bridges, A Border of Beauty, Toronto, 1977, pages 16-18. Dennis Reid, Canadian Jungle: The Later Work of Arthur Lismer, Art Gallery of Ontario, Toronto, 1985, page 51.

After visiting Long Beach, Vancouver Island, in 1951, Lismer continued to visit the area for sixteen years. Long Beach provided 10 kilometres of forest-lined beach and hiking trails between Wickaninnish and Florencia Bays; plenty of lush woodland for Lismer to explore. Returning for the remoteness that the location offered, the Lismers would take the train from Montreal to Vancouver; Lismer cherished the seclusion of the five-day journey. This period in Lismer’s life had led to a significant shift in his painting. The Totem Tree at Long Beach is a product of a renewed perspective Lismer gained in his later years. Lois Darroch writes, “Lismer was perspicacious enough to realize that the landscape art of the Group of Seven was not ‘old hat’ in a changing world, and he knew that he himself should change with it...His later work showed the sky pushed into ever lessening importance until it disappeared almost entirely with his interest in the foreground”. He was intrigued by “the details” since his very first encounter with Canadian landscape in 1914, writing of the “tall sombre trunks purple grey, and delicate branches interwoven in a marvelous intricacy of pattern” which he discovered in Algonquin Park. Although Lismer’s writings focused on the particularities, it was not until years after the Group of Seven had disbanded that Lismer’s paintings begin to show aspects often overlooked in Canadian landscape. Starting with the infamous Canadian Jungle, Lismer began to expose the richness and intensity of the forest. Incorporating a new subject that year, skunk cabbages, The Totem Tree at Long Beach is a vibrant concoction of colour and texture used to define the tree centred amongst what Dennis Reid calls “...floridly extravagant skunk cabbages that appear like grotesque efflorescence among the dead ferns and lesser flora of the forest floor”.

44 44 ARTHUR LISMER, O.S.A., R.C.A. TREE STUMP, B.C. FOREST, oil on board, signed and dated ‘51 12 ins x 15 3/4 ins; 30 cms x 39.4 cms $15,000–20,000 Provenance: The Art Emporium, Vancouver. Private Collection, Toronto. Literature: Marjorie Lismer Bridges, A Border of Beauty, Toronto, 1977, pages 16-18. Although documented by Arthur Lismer almost forty years before painting Tree Stump, B.C. Forest, the artist’s recorded first impressions of his inaugural trip to Algonquin Park (on a sketching trip with Tom Thomson) reveal Lismer’s “wonder and excitement” for the Canadian forest landscape and a love for the

details he discovered within its depths, traits which remain a constant in the painter’s work throughout his career. Lismer’s description of the intricacies he discovered inside Algonquin Park point clearly to details which the artist has captured within Tree Stump, B.C. Forest. “Everything was growing, growing, growing – everything had a song… There – a contrast in the depth of cedar grove, or pine and spruce bush – here – a merciless tangle of fallen trees and age-long struggle with the elements… Overhead, the heavy interlacing branches permit but little light to penetrate. Only here and there a shaft of light has caught the top of a rotting stump, and burns like a sacrificial fire in some huge primeval temple.”

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45 ROBERT WAKEHAM PILOT, P.R.C.A. WINTER, MONTREAL, oil on panel, signed 8 1/4 ins x 10 1/2 ins; 20.6 cms x 26.3 cms $4,000–6,000 Painted circa 1936. Provenance: Walter Klinkhoff Gallery, Montreal. Masters Gallery Ltd., Calgary. Peter Ohler Fine Arts, Vancouver. Private Collection, Vancouver.

46 PAUL ARCHIBALD CARON, A.R.C.A. STREETSCAPE, QUEBEC, watercolour, signed 11 3/4 ins x 15 1/4 ins; 29.4 cms x 38.1 cms $2,500–3,000

47 JOHN YOUNG JOHNSTONE, A.R.C.A. OLD CHURCH, POINTE-AUX-TREMBLES, oil on panel, signed 4 3/4 ins x 7 ins; 11.9 cms x 17.5 cms $4,000–6,000 47

Provenance: Canadian Fine Arts, Toronto. Private Collection, Toronto.

48 48 CLARENCE ALPHONSE GAGNON, R.C.A. LA MAISON AU PIQUE VERT, oil on panel, certified by Lucile Rodier Gagnon (No.230) on the reverse 4 3/4 ins x 7 ins; 11.9 cms x 17.5 cms $25,000–30,000 Painted circa 1923. Provenance: Laing Fine Art Galleries, Toronto. Private Collection, Vancouver. 49 RENE RICHARD RUE DU VILLAGE, BAIE ST. PAUL, oil on board, signed 16 ins x 20 ins; 40 cms x 50 cms $3,000–5,000 Provenance: Galerie L’Art francais, Montreal. Private Collection, Florida.

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50 FRANKLIN CARMICHAEL, O.S.A., R.C.A. AUTUMN LANDSCAPE, oil on board, signed and dated 1921 10 ins x 12 ins; 25 cms x 30 cms $125,000–150,000 Provenance: L. Bruce Pierce Collection (No.9), Toronto. Jennings D. Young Collection, Toronto. Private Collection, Ontario. Exhibited: Masterpieces of Twentieth-Century Canadian Painting, The Norton Gallery and School of Art, West Palm Beach, Florida, March 18-April 29, 1984. Literature: E. Robert Hunter, Masterpieces of Twentieth-Century Canadian Painting, Catalogue of an exhibition, The Norton Gallery and School of Art, West Palm Beach, Florida, page 54, listed. Megan Bice, Light & Shadow: The Work of Franklin Carmichael, McMichael Canadian Art Collection, Kleinburg, 1990, pages 30-33 and plate 22, entitled Autumn Woods, Interior, West Don Valley, 1921. During the early 1920s Carmichael painted many works which included a close-up examination of the natural pattern of branches and leaves where the composition is dominated by a central massing of trees. Bice mentions Carmichael’s “…continuing love of the tangled lines of trees…” and “…his fascination with the intermingling of dappled light and luminescent leaves.” Jennings Young, a resident of Toronto and well-known collector of Canadian art but with family connections in Owen Sound, donated works by Casson and Schaefer to the newly formed Tom Thomson Art Gallery in Owen Sound. In 1990 the Gallery established an endowment fund to support the long-term objectives and operations. The initial capital for the fund was provided through a bequest from the estate of Mr. Young.

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51 51 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. RAIN, OXTONGUE LAKE, OCT. 1977, oil on board, signed 12 ins x 15 ins; 30 cms x 37.5 cms $15,000–20,000 Provenance: Roberts Gallery, Toronto. Pegasus Gallery of Canadian Art, British Columbia. Private Collection, Vancouver.

52 HORTENSE MATTICE GORDON, R.C.A. ST. CATHERINES BAY, JERSEY, oil on canvas, signed 52

20 ins x 24 ins; 50 cms x 60 cms $2,000–3,000

53 53 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. LAKE NEAR WAWA, AUGUST 1954, oil on board, signed, N.J.G. no.1542 10 1/2 ins x 13 1/2 ins; 26.3 cms x 33.8 cms $15,000–18,000

54 NORA FRANCES ELISABETH COLLYER LAKE MEMPHREMAGOG, oil on board, signed and dated /76 16 ins x 19 ins; 40 cms x 47.5 cms $4,000–6,000

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55 55 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. VIEW THROUGH THE TREES, AUTUMN, oil on board 8 1/2 ins x 6 ins; 21.3 cms x 15 cms $15,000â&#x20AC;&#x201C;18,000 Provenance: Keith MacIver. By descent to the present owner, New Hampshire.

56 56 JOHN WILLIAM BEATTY, O.S.A., R.C.A. AUTUMN LANDSCAPE, oil on canvas, signed and dated ‘25 28 ins x 34 ins; 70 cms x 85 cms $20,000–30,000

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57 57 KATHLEEN MOIR MORRIS, A.R.C.A.

58 EFA PRUDENCE HEWARD

SHEEP GRAZING, MARSHALL’S BAY, oil on panel, signed

LAKE WONISH, QUEBEC, oil on panel

10 1/4 ins x 14 ins; 25.6 cms x 35 cms $8,000–12,000 Provenance: Galerie Walter Klinkhoff, Montreal. Private Collection, Toronto. Literature: Evelyn Walter, The Women of Beaver Hall, Toronto, 2005, pages 79-80. Relating to the subject of this artwork, Evelyn Walter notes that “through her life, [Kathleen Morris] spent two months of every summer in Marshall’s Bay near Arnprior, Ontario, at the small secluded cottage that had been in the family for over a hundred years. There she would paint the field and sunsets or indulge her love for animals by painting cows and sheep.”

8 ins x 9 ins; 20 cms x 22.5 cms $7,000–9,000 Provenance: Continental Galleries, Montreal. Kastel Gallery Inc., Montreal. Galerie Walter Klinkhoff Inc., Montreal. Private Collection, Toronto. Exhibited: Prudence Heward Retrospective Exhibition, Galerie Walter Klinkhoff, Montreal, September 1980, no.41 . 59 HENRIETTA MABEL MAY, A.R.C.A. LAKE IN THE HILLS, LAURENTIANS, oil on panel, signed 6 ins x 8 1/2 ins; 15 cms x 21.3 cms $7,000–9,000 Painted circa 1924. Provenance: Canadian Fine Arts, Toronto. Galerie Walter Klinkhoff Inc., Montreal. Private Collection, Toronto.

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60 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. NEAR CREDIT FALLS, watercolour, signed and dated 1929 9 1/2 ins x 11 ins; 23.8 cms x 27.5 cms $25,000â&#x20AC;&#x201C;30,000 Provenance: Mayberry Fine Art, Winnipeg. Private Collection, Winnipeg.

61 61 LIONEL LEMOINE FITZGERALD PRAIRIE LANDSCAPE, oil on canvas, signed and dated 1921 9 3/4 ins x 11 3/4 ins; 24.4 cms x 29.4 cms $10,000–15,000 Literature: Ferdinand Eckhardt, L.L. FitzGerald (1890-1956) A Memorial Exhibition, The National Gallery of Canada, Ottawa, 1958, n.p. FitzGerald’s first one-man exhibition was held at Winnipeg Art Gallery in 1921. This work displays one of the artist’s favourite subjects; the light of a warm summer day with the expansive view of the prairie under a blue sky dappled with clouds. FitzGerald once remarked how, “the prairie has many aspects, but intense light and the feeling of great space are dominating characteristics.”

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62 62 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. ADVANCING SPRING, oil on board, signed 17 ins x 19 ins; 42.5 cms x 47.5 cms $20,000–25,000

63 RANDOLPH STANLEY HEWTON, R.C.A. WINTER LANDSCAPE, QUEBEC, oil on canvas, signed 20 ins x 24 ins; 50 cms x 60 cms $8,000–10,000 63

Provenance: Private Collection, Calgary.

64 (recto)

64 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. JUNE, BANCROFT, ONT., 1935, oil on panel, signed, with a sketch of a landscape with a figure and houses on the reverse 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $20,000â&#x20AC;&#x201C;30,000

64 (verso)

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65 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. GLEAM OF GOLD, YORK MILLS, oil on board, signed 24 ins x 30 ins; 60 cms x 75 cms $7,000–9,000

66 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. QUIET DAWN, oil on board, signed 10 ins x 12 ins; 25 cms x 30 cms $2,000–3,000 66

Provenance: J. Merritt Malloney’s Gallery, Toronto. Private Collection, Ontario.

67 67 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. WOODED LANDSCAPE WITH A HOUSE BEYOND A FENCE, oil on board, unsigned 9 ins x 11 ins; 22.5 cms x 27.5 cms $12,000–15,000 Provenance: Isabel Hardy (cousin of the artist). Private Collection, Michigan. Private Collection, Ontario. 68 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. HUMBER RIVER, watercolour 7 1/2 ins x 5 1/4 ins; 18.8 cms x 13.1 cms $3,000–4,000 Painted circa 1906. Provenance: Thoreau MacDonald, Thornhill. John W. MacDonald (nephew of the artist), Thornhill. 68

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69 69 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. THE BAY, OXTONGUE LAKE, JULY 1982, oil on board, signed 12 ins x 15 ins; 30 cms x 37.5 cms $15,000–20,000 Provenance: Roberts Gallery, Toronto. Private Collection, British Columbia. Literature: Margaret Gray et al., A.J. Casson, Agincourt, 1976, page 50.

The family of the owner of this painting once owned the property in the centre of the composition. Meeting with Casson in Toronto in the spring of 1991, the owner discussed the depicted area with the painter, Casson recalling vividly the details of the setting and recollecting many of exact details of the location which are included in the previous paragraph. During the meeting, the artist posed for a photograph with the painting.

Situated slightly south west of Algonquin Park, Oxtongue Lake was visited frequently by the artist. When asked what his favourite painting place was, Casson named Oxtongue Lake as one of the few. This lot was painted from the north end of the lake near Blue Spruce Resort at the highway 60 bridge. Never needing a photograph to recall a landscape, Casson’s memory of Oxtongue Lake was engrained in his mind; “If you ask me to paint a picture of Oxtongue Lake with one of the islands, I could sit down and do it right now”. Photograph courtesy of the consignor

70 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. INDIANS PADDLING WEST COAST CANOES, oil on canvas, signed and dated 1889 20 ins x 40 ins; 50 cms x 100 cms $60,000–80,000 Provenance: Private Collection, Ontario. Literature: Dennis Reid, Our Own Country Canada, 1860-1890, National Gallery of Canada, Ottawa, 1979, subheading “F.A. Verner”, pages 346-350. Joan Murray, The Last Buffalo, The Story of Frederick Arthur Verner, Painter of the Canadian West, Pagurian Press, Toronto, 1984, page 22. In the early 1880s, Verner settled in London and travelled through England and Europe, during which time he continued to send paintings back to various exhibitions in Canada. In 1884

the reviewer in The Week (1 May, pages 344-345) wrote: “Mr. Verner is well known for his prairies, canoes and buffaloes, which attract special attention. It is said that he astounds the ‘natives’ in England who now take an interest in the wonders and inhabitants of the great ‘Lone Land’ of a past generation.” Reid mentions that Verner periodically returned to Canada and “…seems to have enjoyed some prominence again from late 1888 until the summer of 1892.” Murray records Verner as having visited British Columbia during this time. With mountains and water blending together in a haze, the focus of the painting is on the vividly painted groups of figures on canoes in the foreground. Verner's use of fog in many of his canoe scenes reflect his artistic training in Europe, at the peak of Romanticism, when a perpetual fixation with Canadian First Nations had prevailed in Europe.

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71 71 ARTHUR LISMER, O.S.A., R.C.A. LITTLE POOLS, GEORGIAN BAY, oil on canvas, laid down on board, signed and dated /43 17 1/2 ins x 21 1/2 ins; 43.8 cms x 53.8 cms $30,000–40,000 Provenance: Walter Klinkhoff Gallery, Montreal. Private Collection, Ontario. Literature: Marjorie Lismer Bridges, A Border of Beauty, Toronto, 1977, page 28. Lois Darroch, Bright Land, A Warm Look at Arthur Lismer, Toronto, 1981, page 15. Although Lismer had moved to Montreal in 1940 to teach at the Art Association of Montreal, he continued to paint Georgian Bay. Lismer had an ongoing affair with the rock-laden body of water and once described his fascination: “Georgian Bay! Thousands of islands, little and big some of them mere rocks just breaking the surface of the waters of the Bay-other with great high rocks tumbled in confused masses and

cowed with leaning pines, turned away in ragged disarray from the west wind presenting a strange pattern against the sky and water. Some of the trees are like miniatures in an oriental garden, their roots seeking tenacious hold in the cracks in the rocks. The undergrowth is tangled and in the spring the wild iris a cherry blossoms cluster round little pools in the hollows...Georgian Bay-the happy isles, all different, but bound together in a common unity of form, colour and design. It is a paradise for painters”. A paradise it must have been; Lismer had painted Georgian Bay for many years before he composed Little Pools. His first visit was in 1913, when he received an invitation from friend and art patron, Dr. James MacCallum. It is on MacCallum’s island cottage near Beausoleil Island that Lismer was first inspired. Lois Darroch addresses this deep inspiration: “Only one who has been freshly introduced to Georgian Bay, not raised beside it, can appreciate the impact of that glorious landscape on a newcomer… It was a Canada Lismer never dreamed could exist. He was shaken by the revelation of the new and wonderful landscape.”

76 76 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. HOUSES, FOX RIVER, GASPE, 1927, oil on board, signed 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $20,000–30,000

77 REGINA SEIDEN VILLAGE STREET WITH FIGURES, FRANCE, oil on panel, signed and dated 1923 9 ins x 12 1/4 ins; 22.5 cms x 30.6 cms $3,000–4,000

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78 78 WILLIAM JOHN WOOD CHILDREN ON THE BEACH, oil on canvas, laid down on board, signed and dated 1915 9 3/4 ins x 8 1/2 ins; 24.4 cms x 21.3 cms $9,000–12,000 Provenance: Private Collection, Toronto. Exhibited: W.J. Wood, Paintings and Etchings, The Society of the Four Arts, Palm Beach, 7 January 5 February, 1989, no.24. 79 WILLIAM JOHN WOOD WEEKEND BATHERS, oil on board, signed 9 ins x 6 ins; 22.5 cms x 15 cms $4,000–6,000 Provenance: Private Collection, Toronto. 79

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Exhibited: W.J. Wood, Paintings and Etchings, The Society of the Four Arts, Palm Beach, 7 January 5 February, 1989, no.24.

80 FREDERICK SPROSTON CHALLENER, O.S.A., R.C.A. RED CROSS KNIGHT, oil on board, signed, framed in an oval diameter 17 1/2 ins; 43.8 cms $3,000â&#x20AC;&#x201C;5,000 Painted circa 1910. Literature: Joan Murray, Northern Lights: Masterpieces of Tom Thomson and the Group of Seven, Toronto, 1997, page 34, reproduced. In his wide-ranging contribution to Canadian art, Challener included many memorable mural paintings as well as striking genre paintings, often portrayals of childhood and women, landscapes, still-lifes and portraits, all painted with a perceptive attitude toward composition and subject. A member of a number of clubs devoted to drawing, and to the creation of congenial groups of mutually supportive artists, such as the Toronto Art Students' League (1888-1904) and its successor The Mahlstick Club (1904-08), the Graphic Arts Club and the Arts and Letters Club, Toronto, of which he was a founder, he provided the Group of Seven with an example of an artist who enjoyed working in the open to record the effects of light and atmosphere. His commercial work also reveals his solid knowledge of draughtsmanship and the figure.

There is a curious ambiguity about Challener's beautifully painted Red Cross Knight. You can see it as a straightforward portrait of the subject, a knight "in shining armour," complete to the appropriate armour and trappings on the horse. But there is also something subtly humorous about the way Challener represented the knight firmly planting his lance point down, with an elaborate penant on the other end, in front of a giant red cross. The patient look to the horse adds a delicate expressive balance to the sense of romance and Challener doesn't let the balance tip the wrong way. So this painting isn't really about the time when knighthood was in flower; it's about the way artists allude to the past and put it into the context of the present. Challener's considerable virtue was to create effects which are both meditative and full of the mood of the period. His Red Cross Knight brilliantly does what art does best: open the eyes of the viewer to the power of the creative imagination in action. We would like to thank art historian, Joan Murray, for her assistance in cataloguing this lot. 81 HENRIETTA MABEL MAY, A.R.C.A. ANN, oil on canvas board, signed 16 ins x 12 ins; 40 cms x 30 cms $5,000â&#x20AC;&#x201C;7,000 Provenance: Private Collection, British Columbia. The sitter of this portrait was Ann Scott whose great aunt was Mabel May.

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82 82 MAURICE GALBRAITH CULLEN, R.C.A. EARLY MARCH ON THE CACHE RIVER, pastel; signed, Cullen Inventory No.1584 30 ins x 40 ins; 75 cms x 100 cms $25,000–30,000 Provenance: Watson Art Galleries, Montreal. Exhibited: 11th Annual Exhibition of Oil Paintings and Pastels by Maurice Cullen, RCA, Watson Art Galleries, Montreal, 14-24 January, 1933 (as The Cache River in Early March). Literature: William R. Watson, Retrospective: Recollections of a Montreal Art Dealer, Toronto, 1974, chapter 4 (Maurice Cullen), pages 30-39. Sylvia Antoniou, Maurice Cullen, Kingston, 1982.

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Cullen and William Watson, the art dealer, developed a rather special relationship combining friendship and business. Watson’s support and promotion of the artist’s Laurentian landscapes played an important role in Cullen’s career. Cullen often confessed his pleasure in the flexibility of pastels and, as Watson writes, he explored the wide subtleties of tone attainable only in this medium. It is probably in his depictions of the Laurentians that Cullen achieved his greatest success. Watson points out that the artist made a long and special study of ice formation and ice colour: “There is the steel-blue of mid-winter ice…Cullen loved the joyous flashes of sunlight, the glow of snow, the gleam of ice, the tumult of the freed river in the springtime…He taught us to see beauty where we had only thought of cold.”

83 83 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. VILLAGE IN WINTER, oil on panel, signed 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $15,000–20,000

84 FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A. FEEDING CHICKENS, oil on board, signed 9 ins x 12 ins; 22.5 cms x 30 cms $3,000–4,000 Provenance: Laing Galleries, Toronto. Private Collection, Vancouver.

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85 ADOLPHUS GEORGE BROOMFIELD, O.S.A., R.C.A. WORKING ON A 143 TYPHOON FIGHTER, EINDHOVEN, HOLLAND, 1944, oil on canvas, signed 16 ins x 22 ins; 40 cms x 55 cms $3,000–4,000

As a Squadron Leader, George Broomfield served with 143 Wing RCAF Second Tactical Air Force 83 Group between 1943 and 1945. This Group was created to support the Second Army from the D-Day June 6th,1944 invasion through the advance to Germany. From March 26th to D-Day, they performed preinvasion strikes and on June 6th, provided first close support aircraft over the invasion beaches. The ground party of the unit landed on the beaches on D-Day, faced heavy shelling and moved to set up a forward base at Lantheuil, Normandy. With enemy forces usually as close as four to five miles from the base, takeoffs were often “hot” and enemy shelling was constant. Typhoon aircraft performed the bulk of the missions and ran over two thousand sorties over the six week period. During this time, personnel slept very seldom, due to the constant noise of shelling, anti-aircraft firing and aircraft engines.

86 ADOLPHUS GEORGE BROOMFIELD, O.S.A., R.C.A. GERMAN 1/2 TRACK TROOP CARRIER GETTING READY FOR WINTER AT EINDHOVEN, HOLLAND, 1944, oil on canvas, laid down on board 16 ins x 21 ins; 40 cms x 52.5 cms $3,000–4,000 Exhibited: 71st Annual Exhibition, Ontario Society of Artists, Wartime Section, 1943. After becoming a commissioned officer, rather than applying for war artist accreditation and lose his posting to Europe, George Broomfield sought and received special permission to paint and sketch in the field of operations during the war. Broomfield was one of three RCAF members that arrived in Caen, France after the German evacuation and witnessed the devastation first-hand. The painter survived lengthy bombing raids at Eindhoven as well as multiple “close calls” from sniper fire while sketching. Broomfield’s artwork from the second world war stretches from 1941 to 1945, providing a visual record of events in Normandy, Holland, Belgium and Germany. George Broomfield was awarded the 1939/45 Star, the France and Germany Star and the Defense Medal, CVSM & Clasp. In 1965, the artist gifted 35 war drawings to the National Gallery of Canada which are now in the collection of the Canadian War Museum in Ottawa.

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87 (one of two) 87 JAMES WILSON MORRICE, R.C.A. QUAI DE LA SEINE; PARISIENNE, both graphite drawings each 4 ins x 6 ins; 10 cms x 15 cms $1,500–2,000 (2) Provenance: The Right Honourable Vincent Massey. Walter Klinkhoff Gallery, Montreal. Private Collection, Montreal.

88 FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A. LOW TIDE, LONDON, oil on board, signed 6 1/2 ins x 8 ins; 16.3 cms x 20 cms $3,000–5,000

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89 89 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. HALFWAY LAKE, 1968, oil on board, signed 9 1/4 ins x 11 1/4 ins; 23.1 cms x 28.1 cms $20,000–25,000

90 MARC-AURELE DE FOY SUZOR-COTE, R.C.A. ARTHABASKA, QUE., CIRCA 1930, oil on board, signed 5 1/2 ins x 7 ins; 13.8 cms x 17.5 cms $4,000–6,000

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Provenance: Galerie L’Art francais, Montreal. Zwicker’s Gallery, Halifax. Private Collection, Nova Scotia.

91 91 FRANKLIN CARMICHAEL, O.S.A., R.C.A. SUMMER LANDSCAPE, oil on board; inscribed “An original sketch by Franklin Carmichael” and signed by the artist’s wife on the reverse 10 ins x 12 ins; 25 cms x 30 cms $125,000–175,000 Painted in 1936. Provenance: Private Collection, Ontario. Literature: Megan Bice, Light and Shadow: The Work of Franklin Carmichael, McMichael Canadian Art Collection, Kleinburg, 1990, page 64, cat. no.74, for a graphite sketch entitled La Cloche Mountain Tops, circa 1934.

The period during which this work was painted was a significant one for Carmichael. A year earlier he was elected to the Royal Canadian Academy. He also designed and built his La Cloche cottage on Cranberry Lake that same year. In 1937, he became President of the Ontario Society of Artists. This lot could have been based on Carmichael’s studies such as his graphite sketch of La Cloche Mountain Tops (circa 1934), which bears a close resemblance to Summer Landscape.

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92 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. SUMMER, GEORGIAN BAY, oil on panel, signed, N.J.G. Inventory no.2075 12 ins x 16 ins; 30 cms x 40 cms $15,000â&#x20AC;&#x201C;20,000

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93 EFA PRUDENCE HEWARD RAILWAY TRACKS, BROCKVILLE, oil on panel, with a sketch of a house and yard on the reverse 10 1/2 ins x 13 1/2 ins; 26.3 cms x 33.8 cms $25,000â&#x20AC;&#x201C;30,000 Provenance: Canadian Fine Arts, Toronto. Private Collection, Toronto.

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94 94 ROBERT WAKEHAM PILOT, P.R.C.A.

96 MAURICE GALBRAITH CULLEN, R.C.A.

DUFFERIN TERRACE AND THE CITADEL, oil on canvas, signed (indistinctly)

SUNGLOW, CACHE RIVER, pastel, Cullen Inventory No.1582, an authentication by Robert Pilot on the reverse

16 ins x 20 ins; 40 cms x 50 cms $20,000–25,000 95 ROBERT WAKEHAM PILOT, P.R.C.A. MARCH, MONTREAL LAKE, oil on canvas, signed and dated /40 18 ins x 24 ins; 45 cms x 60 cms $20,000–25,000 Provenance: Private Collection, British Columbia.

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7 1/2 ins x 9 ins; 18.8 cms x 22.5 cms $8,000–10,000 Painted circa 1928. Provenance: Robert Pilot, Montreal. Canadian Fine Arts, Toronto. Private Collection, Toronto.

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97 97 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. NIGHT FALL, MOOSE LAKE, 1967, oil on board, signed 12 ins x 15 ins; 30 cms x 37.5 cms $15,000–20,000 Provenance: Roberts Gallery, Toronto. Private Collection, Calgary.

98 JOHN YOUNG JOHNSTONE, A.R.C.A. STE-ANNE DE BEAUPRE, 1920, oil on panel, signed 98

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10 ins x 13 ins; 25 cms x 32.5 cms $5,000–7,000

99 99 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. THE BEACH, WAWA, ONT., JULY 1966, oil on panel, signed 10 1/2 ins x 13 1/2 ins; 26.3 cms x 33.8 cms $15,000–18,000

100 RENE RICHARD COASTAL LANDSCAPE, oil on board, signed 28 ins x 34 1/2 ins; 70 cms x 85.6 cms $8,000–12,000

100

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101 LIONEL LEMOINE FITZGERALD APPLES, watercolour, signed with initials 18 ins x 23 1/2 ins; 45 cms x 58.8 cms $3,000–5,000 Provenance: John A. MacAulay, Winnipeg. Carol Joan Taylor (by descent), Toronto.

101

102 PERCY FRANKLIN WOODCOCK, R.C.A. STILL LIFE, oil on board, signed 8 ins x 10 1/4 ins; 20 cms x 25.6 cms $1,500–2,000

102

103 EMILY GERALDINE COONAN STILL LIFE, 1942, oil on canvas, signed 103

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18 ins x 21 ins; 45 cms x 52.5 cms $4,000–6,000

104 104 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. DAHLIAS, 1949, tempera, signed, pinholes and grooves within the subject (likely by the artist’s hand) 10 1/2 ins x 24 3/4 ins; 26.3 cms x 61.9 cms $7,000–9,000 Provenance: Private Collection, Ontario. Literature: Paul Duval, A.J. Casson, Roberts Gallery, Toronto, 1975, page 8, reproduced in colour.

105 FREDERICK SIMPSON COBURN, R.C.A. STILL LIFE OF ROSES, oil on canvas, signed and dated 1914 10 1/4 ins x 13 1/2 ins; 25.6 cms x 33.8 cms $2,000–3,000 105

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106 FARQUHAR MCGILLIVRAY STRACHAN KNOWLES, O.S.A., R.C.A. RIDING IT OUT, oil on canvas 25 ins x 30 ins; 62.5 cms x 75 cms $3,000–4,000 Painted circa 1920. Provenance: Acquired directly from the artist. By descent to the present Private Collection, Ontario.

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107 ROBERT FORD GAGEN, O.S.A., R.C.A. PORTUGUESE FISHERMAN, oil on canvas, signed 20 ins x 28 ins; 50 cms x 70 cms $2,000–3,000

107

108 ROBERT MCVITTIE CEDRIC THE SAXON, oil on canvas, signed 24 ins x 36 ins; 60 cms x 90 cms $3,000–4,000 108

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Provenance: Grosvenor Gallery, Vancouver. Private Collection, Toronto.

109 109 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. LES EBOULEMENTS, QUE., oil on panel, signed, N.J.G. Inventory no.978 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $15,000–20,000 Painted circa 1928. Provenance: Walter Klinkhoff Gallery, Montreal. Private Collection, Montreal. 110 FREDERICK HORSMAN VARLEY, A.R.C.A. NIGHT CAMP - GARIBALDI, ink wash, numerous tears (repaired) and some staining at edges, Varley Inventory No.789 11 1/2 ins x 14 1/2 ins; 28.8 cms x 36.3 cms $2,000–3,000 Executed circa 1928. Provenance: Yaneff Gallery, Toronto. Private Collection, Vancouver. Exhibited: Varley: A Celebration, The Frederick Horsman Varley Art Gallery of Markham, Unionville, Ontario, May 31-August 10, 1997.

110

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111 111 ROBERT WAKEHAM PILOT, P.R.C.A.

112 ALBERT HENRY ROBINSON, R.C.A.

STREET IN PERCE, QC, oil on board, signed

WINTER VILLAGE, QUEBEC, oil on panel, signed (indistinctly); an unfinished work depicting an impressionist sunset on the reverse

12 ins x 17 ins; 30 cms x 42.5 cms $10,000–15,000

8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $10,000–15,000 Provenance: Peter Ohler Fine Arts Ltd., Vancouver. Private Collection, Vancouver.

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112 (recto)

112 (verso)

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113

113 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. BATCHWANA, oil on panel, signed 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $15,000â&#x20AC;&#x201C;20,000

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114

114 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. NEAR KINCARDINE, 1968, oil on board, signed 9 1/4 ins x 11 1/4 ins; 23.1 cms x 28.1 cms $20,000â&#x20AC;&#x201C;25,000

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115 FREDERICK SIMPSON COBURN, R.C.A. THE LAST LOAD, etching, printed in colours, signed, dated 1912 and numbered “No.16” in the plate 14 ins x 21 ins; 35 cms x 52.5 cms $1,500–2,000 Literature: Gerald Stevens, Frederick Simpson Coburn, Toronto, 1958, pages 42-43, plate 6, illustrated. Evelyn Lloyd Coburn, F.S. Coburn, Beyond the Landscape, Toronto, 1996, page 81, illustrated in colour.

115

Stevens describes this work as showing a team of horses, tired after a long day in the woods: “The feeling of exhaustion in the horses and the man is in accord with the early winter dusk suggested in the carefully treated sky. It has many, if not all, of the qualities of an oil painting.”

116 THOMAS MOWER MARTIN, O.S.A., R.C.A. IN THE MOOSE COUNTRY, NORTH OF GEORGIAN BAY, oil on board, signed 13 3/4 ins x 19 3/4 ins; 34.4 cms x 49.4 cms $1,500–2,000 Provenance: Masters Gallery Ltd., Calgary.

116

117 FREDERICK SIMPSON COBURN, R.C.A. ON THE LOGGING ROAD, WINTER, etching, printed in colours subject 18 1/2 ins x 24 ins; 46.3 cms x 60 cms $1,500–2,000 117

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Literature: Coburn, ibid., page 86, for a canvas of an almost identical subject entitled Winter Morning at Melbourne, Quebec, 1922.

118 118 MARC-AURELE DE FOY SUZOR-COTE, R.C.A. FEMMES DE CAUGHNAWAGA, bronze, signed, titled and numbered 2/8, cast in two sections, set on a base height 17 ins; 42.5 cms $20,000–30,000 Provenance: Private Collection, Montreal. Literature: Laurier Lacroix, Suzor-Cote, light and matter, Musee du Quebec, Quebec, 2002, pages 250 and 253, cat. no.120, illustrated. Lacroix writes that the artist regarded this sculpture as “one of his greatest successes” and quotes Pierre L’Allier’s view: “Even if Suzor-Cote had only created this one work, his name would deserve to be featured in any history of Canadian sculpture.”

119 LOUIS-PHILIPPE HEBERT SIR JOHN A. MACDONALD, plaster, signed and dated 14.10.86 height 29 1/2 ins; 73.8 cms $3,000–5,000

119

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120 GEORGE HART HUGHES INDIAN HUNTER ON SNOWSHOES, oil on board, signed with initials and inscribed “Montreal 1883” 11 ins x 9 ins; 27.5 cms x 22.5 cms $3,000–4,000 Provenance: Walter Klinkhoff Gallery, Montreal. Private Collection, Toronto.

120 121 FATHER HENRY METZGER PORTRAIT OF AN ELDER, oil on canvas, signed 16 ins x 14 ins; 40 cms x 35 cms $3,000–4,000

121

122 GEORGE HART HUGHES INDIAN MOCCASIN SELLER, oil on board 11 ins x 9 ins; 27.5 cms x 22.5 cms $2,500–3,500 122

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Provenance: Walter Klinkhoff Gallery, Montreal. Private Collection, Toronto.

Contemporary Canadian Fine Art

Lot 152 (detail)

123 123 GORDON APPELBE SMITH, R.C.A. SUMMER PAINTING, acrylic on canvas, signed and titled on the stretcher 40 ins x 44 ins; 100 cms x 110 cms $20,000–30,000 “Divided Green”, a serigraph by the artist, features a very similar composition to Summer Painting, this lot likely the source for the print.

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124 124 JACK LEONARD SHADBOLT, R.C.A. ABSTRACT COMPOSITION, STUDY FOR MURAL, mixed media on paper, signed and dated ‘63 26 ins x 40 ins; 65 cms x 100 cms $8,000–10,000 Provenance: Private Collection, West Coast.

125 MARIAN MILDRED DALE SCOTT ARTIFACT #4, 1969, oil on canvas 16 ins x 20 ins; 40 cms x 50 cms $2,000–3,000

125

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126 126 MARCELLE FERRON, R.C.A. ABSTRACT COMPOSITION, oil on canvas, signed and dated ‘63 11 ins x 14 ins; 27.5 cms x 35 cms $15,000–18,000 Provenance: Private Collection, British Columbia.

127 ALFRED PELLAN, R.C.A. ELEMENTS, 1945, mixed media and collage, signed 19 ins x 13 ins; 47.5 cms x 32.5 cms $10,000–12,000 127

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Provenance: Private Collection, West Coast.

128 TOM HOPKINS LIFELINE / SOURCE OF LIGHT III, oil on canvas, signed 54 ins x 60 ins; 135 cms x 150 cms $12,000–15,000 Provenance: Galerie de Bellefeuille, Montreal. Private Collection, New York.

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129 ALEXANDER COLVILLE, R.C.A. STUDY FOR LOOKING DOWN, ink and acrylic on paper, signed and dated “16 May ‘88 - 1 June ‘88” image 7 1/4 ins x 7 1/4 ins; 18.1 cms x 18.1 cms $12,000–15,000 Provenance: Dominion Gallery, Montreal. Private Collection, Vancouver.

129

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130 PAUL-EMILE BORDUAS CHATTERIE, oil on canvas, signed and dated ‘57, inventory no.12F printed on a label on the reverse 24 ins x 20 ins; 60 cms x 50 cms $150,000–200,000 Provenance: Martha Jackson Gallery, New York. Blair Laing Gallery, Toronto. Private Collection, Toronto. Literature: Francois-Marc Gagnon, Paul-Emile Borduas, National Gallery of Canada, Ottawa, 1976, page 26. Francois-Marc Gagnon, Paul-Emile Borduas (19051960), Biographie critique et analyse de l’oeuvre, Montreal, 1978, pages 429-430. G. Blair Laing, Memoirs of an Art Dealer 2, Toronto, 1982, pages 156 and 200. Denise Leclerc, “Paul Emile-Borduas,” Treasures of the National Gallery of Canada, Ottawa, 2003, page 154. Roald Nasgaard, “Paul-Emile Borduas,” Canadian Art, The Thomson Collection at the Art Gallery of Ontario, Toronto, 2008, page 142. Chatterie came to life during an intense period of work in the artist’s Paris studio. In the spring of 1957, Borduas was given his first solo exhibition at the Martha Jackson Gallery in New York as well as a second at the Gallery of Contemporary Art in Toronto that April. In this masterwork, the shapes are distributed in a dynamic manner, in what Gagnon has described as “an attempt to suggest movement and rhythm in space.” Rhythm is at the heart of Chatterie; the play of light on the pigments instills the composition with a fantastic sense of vibration. The white “ground” appears to be penetrated by black, deep blue and burgundy amorphous shapes and stained with tachiste red. Borduas wields his palette knife to sculpt marvelous variations in texture, spreading and layering his paint so assertively that, as

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Nasgaard writes, “the space of the painting seems to occur in that of the viewer”. The intensity and simplicity of Chatterie makes the painting one of Borduas’ finest. Borduas once expressed: “Basically, the element of the world that is for me the most permanent, the only one perhaps, is paint, physical paint, the matiere, the substance. It is my native soil, my land. Without it, I am rootless. With it-whether in Paris or elsewhere, no matter-I am home.” By 1957, the artist had truly mastered his matiere, producing some of the most majestic and sought-after constructions of his career. Gagnon notes how Martha Jackson had purchased a large amount of Borduas’ paintings in 1956, however, the following year, she had become far more selective in her choice of works. In July of 1957, she wrote to Borduas from Florence to reserve three striking canvases: Bercement Silencieux (Collection of the Art Gallery of Ontario), Ardente (Private Collection) and Chatterie. Gagnon lists Chatterie as having been sold by Martha Jackson to Blair Laing in March of 1960 and, since then, its location has remained unknown to the public until its inclusion in this auction. Blair Laing, who sold Chatterie to a Toronto collector, described Borduas as “an abstract artist genius,” noting that the “…bold resonant paintings of his final years… severe and powerful as they are, [would] probably remain as Borduas’ most important painting creations.”

130

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131 FERNAND LEDUC ABSTRACT COMPOSITION, mixed media, signed and dated ‘66 13 ins x 9 1/2 ins; 32.5 cms x 23.8 cms $2,500–3,500 Provenance: Gerard Gorce, Montreal. Masters Gallery Ltd., Calgary.

131 132 GERSHON ISKOWITZ, R.C.A. UNTITLED, watercolour, signed and dated ‘78 21 ins x 13 ins; 52.5 cms x 32.5 cms $2,500–3,000

132

133 JEAN ALBERT MCEWEN, R.C.A. SANS TITRE, watercolour, signed and dated /62 133

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14 ins x 10 ins; 35 cms x 25 cms $3,000–4,000

134 PIERRE GENDRON CITE EN CONSTRUCTION, oil on canvas, signed, dated ‘58 and inscribed “Paris” 45 1/2 ins x 35 1/4 ins; 113.8 cms x 88.1 cms $5,000–7,000

134

135 JACK HAMILTON BUSH, O.S.A., A.R.C.A. LINCOLN CENTRE, screen print, printed in colours, signed, dated 1974 and numbered 51/144 135

overall 61 1/4 ins x 36 1/2 ins; 153.1 cms x 91.3 cms $3,500–4,500

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136 136 ALEXANDRA LUKE COMPOSITION, 1964, watercolour and crayon on paper, signed 21 3/4 ins x 30 ins; 54.4 cms x 75 cms $3,000–4,000 Provenance: The Estate of Margaret Ferguson, North York. Private Collection, Ontario. One of the mediums which Alexandra Luke used with amazing force was watercolour, employed either in the pure state or combined inventively with ink or collage elements, such as Japanese rice paper, fabric or even birch bark. One of her watercolours from 1964, the same year that this work of art was completed, is titled Adventure, a title which Luke used repeatedly but which seems to apply with special relevance to the paintings she created during her last decade. The composition of this painting is more loose and abstractly

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handled than in many of the artist’s other watercolour work, where Luke would use a sort of grid within which she placed blocks of colour. A strong playful element is often present in Luke’s work and is evident in Composition, 1964. The painter allows the watercolour to form pools of colour which she interrupts with a delicate black line that seems to melt into the paper. Several other works from 1964 have related titles such as Composition in Blue and Yellow or Red Composition. In each of these works Luke experimented with colour, composition, and space dimensions, as Hans Hofmann had suggested she do, urging the artist towards a freedom and spontaneity within her work. However, the unusually large size of Composition, 1964 suggests its importance in her oeuvre – only about three other works of this approximate size are known, all dating from the period between 1963 and 1965. We would like to thank art historian, Joan Murray, for providing information for the foregoing essay.

137 137 HAROLD BARLING TOWN, R.C.A. FORE, oil on canvas, signed and dated /66 52 ins x 52 ins; 130 cms x 130 cms $20,000–30,000 Provenance: Mazelow Gallery, Toronto. Private Collection, Toronto. Literature: David Burnett, Town, Art Gallery of Ontario, Toronto, 1986, page 132. Town’s Fore can be placed within the artist’s Opticals series, a work which forges layers of tension through the movement between surface and depth. The artist’s method is meticulous, utilizing various sizes of strips of masking tape to construct lines throughout the composition. A time-consuming endeavour, his layering technique creates a tension between the rigid bars and the looser forms which they appear to enclose.

Town’s oil paintings of the mid-60s have been described as exhibiting the artist’s indulgence in “optical gymnastics”. The reference to gymnastics seems fitting to Fore; the composition is filled with lines dipping downwards and shooting upwards in constant waves, twisting and approaching the viewer, before turning away and receding back into space. The horizontal bands of yellow and peach can barely contain the script-like formations which dance beneath them. Burnett states that many of Town’s paintings shown in his 1966 exhibitions were, “sheer gesture(s) of challenge, the challenge to push a painting against the grain of what should work, the challenge to timidity.” Fore is anything but timid; it exudes the dynamic optical schemes that Town’s bold works of the 1960s thrived upon.

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138 138 JEAN-PHILIPPE DALLAIRE COMPOSITION MUSICALE, gouache on paper, signed, dated ‘45 and inscribed “Canada” 40 ins x 27 ins; 100 cms x 67.5 cms $30,000–40,000 Provenance: Mr. and Mrs. Georges Ayotte, Ottawa (as a wedding present from the artist), Hull, Quebec. Private Collection, Ottawa (acquired from the above in 1973). Exhibited: Jean Dallaire, Cercle Universitaire de Montreal, Montreal, May 3-17, 1947, no.40. Retrospective Jean Dallaire, La Grande Fete de Hull, Hull, du 23 juin au 6 juillet, 1975, no.9 (as Musique Canada, 1945).

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Literature: Maurice Gagnon and Paul Dumas, Jean Dallaire, Cercle Universitaire de Montreal, Montreal, 1947, n.p., cat.no.40. Guy Robert, Retrospective Jean Dallaire, Campeau Corporation, Hull, 1975, n.p. Guy Robert, Dallaire ou l’oeil panique, Editions France-Amerique, Montreal, 1980, pages 63-66. Marie Carani, Michele Grandbois and Michael La Chance, Dallaire, Musee du Quebec, Quebec, 1999. Dallaire married Marie-Therese Ayotte, the sister of the designer Georges Ayotte in Ottawa in 1938.

139 139 LEON BELLEFLEUR POUPEE XVIIIieme, oil on canvas, signed and dated ‘75 24 ins x 20 ins; 60 cms x 50 cms $12,000–15,000 Provenance: Collection of the artist. Collection of the artist’s daughter. Private Collection, Quebec. Literature: Guy Robert, Bellefleur, Montreal, 1988, pages 117119, reproduced, full-page in colour.

Discussing Bellefleur’s work during the 1970s, Guy Robert demonstrates that the artist’s ongoing preoccupation with the passage of time became intensified, the painter turning sixty at the start of the decade: “…We sense in Bellefleur’s painting, with more fervour and intensity than ever in the 1970s, the diffuse but firm intention to keep from vanishing the flavour of an instant, the fragrance of a particular hour, the music of a special moment, and so give fleeting time new living space, a safeguard against its inevitable transience.” Robert notes that “…paintings like [this lot] invent a space where time takes on a magical form”.

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140 THOMAS SHERLOCK HODGSON MANGANESE BLUE, oil on canvas with metal eyes, signed and dated /77 57 1/2 ins x 57 1/2 ins; 143.8 cms x 143.8 cms $6,000–8,000

140 141 WILLIAM RONALD, R.C.A. SEPTEMBER MORN, oil on canvas, signed and dated /82 30 ins x 30 ins; 75 cms x 75 cms $6,000–8,000

141

142 PIERRE PATRY CURIOUS, mixed media on canvas 28 ins x 32 ins; 70 cms x 80 cms $2,000–3,000

142

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Literature: Guy Robert, Pierre Patry, Quebec, 1995, page 37, reproduced in colour.

143 143 MARCELLE FERRON, R.C.A. L’AUBE, acrylic on board, signed and dated ‘72 40 ins x 26 ins; 100 cms x 65 cms $25,000–35,000 Provenance: Collection of the artist. Galerie Lacerte, Quebec. Private Collection, Montreal.

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144 144 GREGORY RICHARD CURNOE SILVA DISC WHEEL, watercolour and graphite, signed and dated twice, enclosed within the artist’s frame 18 ins x 18 ins; 45 cms x 45 cms $12,000–15,000 Executed from December 1985-March 1986. Literature: Sarah Milroy, “Greg Curnoe: Time Machines”, Greg Curnoe: Life & Stuff, Toronto, 2001, pages 68 and 80. Christopher Dewdney, Evident Truths: Greg Curnoe 1936-1992 (pamphlet), National Gallery of Canada, Ottawa, 1995. Curnoe’s recurrent use of the bicycle motif highlights his unique technical skill with the often unpredictable medium of watercolour. Rediscovering a passion for cycling in the early

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seventies, Christopher Dewdney remarks how Greg was able to “fuse three separate interests into one: racing machines, personal participation in physically demanding competitive sport, and painting.” Silva Disc Wheel underscores Curnoe’s incredible passion for cycling that remained with the artist until his death in 1992, which occurred during a Saturday morning ride with the London Centennial Wheelers. Sarah Milroy writes how Curnoe had “described bicycles as a form of functional collage; through a limitless refining of the component parts, the cycle aficionado could produce a lighter and lighter machine.” Silva Disc Wheel was given by Curnoe to the owner of a Toronto bicycle shop in exchange for his very own clear anodized Silva disc wheel.

145 145 MICHAEL SNOW TWO, oil on canvas; signed, titled and dated “September 1960” on the reverse 40 ins x 50 ins; 100 cms x 125 cms $35,000–45,000 Provenance: The Isaacs Gallery Ltd., Toronto. Mr. and Mrs. J.R. Colombo, Toronto. Private Collection, Toronto. Private Collection, Montreal. Exhibited: Michael Snow Solo Exhibition, The Isaacs Gallery Ltd., Toronto, 1960. Toronto Collects, The Art Gallery of Toronto, 1961. The Michael Snow Project: Exploring Plane and Contour, Art Gallery of Ontario and The Power Plant, Toronto, May 11-June 5, 1994, Cat. #81.

Literature: Dennis Reid, Philip Monk and Louise Dompierre, The Michael Snow Project, Art Gallery of Ontario and The Power Plant, Toronto, 1994, page 207, reproduced. Catsu Roberts, Michael Snow Almost Cover to Cover, 2001, essay by Catsu Roberts, page 8. In Two, the artist used a stencil to create the rectangular opening into the central dark red mass, a technique which would figure prominently in his later explorations of the foregroundbackground binary in his iconic Walking Woman series. Over time, Snow’s intentional craquelure has evolved, resulting in either a success or not, based on the viewer’s perspective.

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146 HORTENSE MATTICE GORDON, R.C.A. DESIGN FOR WALLPAPER, gouache, signed twice 21 ins x 21 ins; 52.5 cms x 52.5 cms $6,000–8,000 Provenance: Private Collection, Hamilton. Exhibited: Exhibition of Architecture and Allied Arts, Ontario Association of Architects, Toronto, date unknown. Literature: Iris Nowell, Painters Eleven, The Wild Ones of Canadian Art, Vancouver/Toronto, 2010, pages 255 and 260.

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Upon a visit to Michigan while in her teens, Hortense Gordon discovered artist William Morris, a designer well-represented in the American galleries who had lead the Arts and Crafts movement in Britain decades earlier. Returning to Canada, Gordon's interest in the crafts grew exponentially and she began working in her own studio with a kiln, teaching classes on china painting and pottery making. Relocating back to Hamilton in 1918 for a higher paying teaching position, Gordon created a ceramics course at the Hamilton Technical and Art School. As Iris Nowell points out, Gordon believed in making art that could be enjoyed by all: “She tried to uphold William Morris's commitment to bringing the highest standard of beauty into daily life...” It was her interest in function and art that lead to Design for Wallpaper, a product of her two passions, painting and craftwork. The work was most likely done before the 1940s when Gordon's interest in Abstract Expressionism had gained momentum and she began to study under Hans Hofmann at his school in Provincetown, Massachusetts. After Gordon's death in 1963, Hans Hofmann stated: “Hortense Gordon was indeed an extraordinary person; always directed toward the future and progress in life and art, and determined to do her very best in her work...and the results and consequences have been remarkable and beautiful.” 147 MAUD LEWIS DEER IN WINTER, oil on board, signed 11 1/4 ins x 14 ins; 28.1 cms x 35 cms $6,000–8,000 Provenance: Acquired directly from the artist. Private Collection, Ontario.

Photograph courtesy of the consignor

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Purchased from Maud Lewis by the family of the consignor, the original owner of the painting is photographed conversing with the artist, steps away from Lewis’ famous home. The image was captured on the day which Deer In Winter was purchased.

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148 JOE FAFARD MONSEIGNEUR, painted bronze, number 3 in an edition of 5 18 ins x 41 ins x 6 ins; 45 cms x 102.5 cms x 15 cms $12,000â&#x20AC;&#x201C;15,000 Executed in 1998.

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149 DAVID LLOYD BLACKWOOD, O.S.A., R.C.A. FIRE DOWN ON THE LABRADOR, etching and aquatint, printed in colours, signed, titled, dated 1980 and numbered 17/50 31 1/2 ins x 19 3/4 ins; 78.8 cms x 49.4 cms $20,000–25,000 Provenance: Private Collection, Ontario. Literature: Gary Michael Dault, “Ice and Fire: An Interview with David Blackwood”, Black Ice: David Blackwood, Prints of Newfoundland, Toronto, 2011, page 37. Michael Crummey, “Candles In The Dark”, Black Ice: David Blackwood, Prints of Newfoundland, Toronto, 2011, page 120. Discussing two of David Blackwood’s most celebrated prints, Michael Crummey demonstrates that, “Blackwood has always set the human element in his art within that same looming scale, the ocean and headland and restless night… In Loss of Flora S. Nickerson and in Fire Down on the Labrador, the human disasters are happening in the wings, barely registering against the vastness of the North Atlantic and its creatures. I’ve always been struck by how often light is a peripheral presence in Blackwood’s best-known work, whether in the torches of sealers adrift in the cavernous winter night, the helpless ship ablaze in Fire Down on the Labrador, or the tangential gleam of sunrise or sunset just offstage in his many seascapes… The sheer scope and eerie beauty of the landscape he depicts inspire both wonder and dread in equal measure. The cumulative effect of his work is to make the history of settlement of this island – and all human endeavour beside it – seem impossibly fragile and fugitive. And heartbreakingly tenacious and honourable”. 149

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In a 2010 interview with Gary Michael Dault, Blackwood noted the immense risk which fire presented at both land and sea, a grease fire in the gallery of a schooner a serious threat which could lead to catastrophic destruction and abandoning of a ship in the unforgiving sea. “…And then you’d be facing the worst possible scenario, the thing that was the greatest fear of all – to be caught in the Labrador Sea all alone, and having to abandon… So in my print Fire Down on the Labrador, it’s the ultimate disaster that I’m depicting – to be caught in that environment, and having to abandon ship.”

150 DAVID LLOYD BLACKWOOD, O.S.A., R.C.A. LOSS OF THE FLORA NICKERSON, etching and aquatint, printed in colours, signed, titled, dated 1993 and inscribed “artist’s proof III/X” in the margin 32 ins x 19 3/4 ins; 80 cms x 49.4 cms $12,000–15,000 Provenance: Mayberry Fine Art, Winnipeg. Private Collection, Ontario. Literature: Sean T. Cadigan, “The Newfoundland of David Blackwood: A Historical Setting”, Black Ice: David Blackwood, Prints of Newfoundland, Toronto, 2011, page 75. William Gough, David Blackwood, Master Printmaker, Vancouver/Toronto, 2001, pages 104. In Black Ice, Sean T. Cadigan illustrates the role which Blackwood’s immediate family and their sailing vessel played in the fishery industry: “Over the course of Wesleyville’s involvement in the Labrador fishery, about 175 men served as captains of ships, mostly schooners, that plied the waters off Labrador. Such was the calling of David Blackwood’s grandfather, Captain Albert Blackwood, and his father, Captain Edward Blackwood, with whom David Blackwood sailed to Labrador as a young man on their schooner, the Flora S. Nickerson.” William Gough notes that for “…Blackwood growing up, Labrador and the Flora S. Nickerson were always connected. The image of her stayed vivid, newly outfitted in springtime, heading bravely for Labrador, then sliding back into home port in the fall, sails worn, the look of a hard summer’s voyage upon her. The sighting of sails full against the clouds, the look of a bone curve of wave in the teeth of the prow that brought the Flora S. Nickerson home. Perched on a rock, leaning into the earth, David would watch the boat, crisp against the day, and dream of the time when he’d head to the Labrador.”

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151 151 MARCELLE FERRON, R.C.A. ABSTRACTION, oil on paper, laid down on canvas, signed and dated ‘65 39 1/2 ins x 29 ins; 98.8 cms x 72.5 cms $15,000–20,000 Provenance: Galerie Arts & Culture, Ottawa. Private Collection, Ottawa. Paul-Emile Borduas, who became her mentor, taught Ferron the basics of “Automatiste” painting and, in 1948, she was one of

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the youngest signatories of the Refus global manifesto. Towards 1953, as the Automatiste group disintegrated, Ferron left for France and did not return to Quebec until 1966. “Even though, in France, where Marcelle Ferron has lived for the last ten years, her painting belongs to the Paris School, she still maintains her own touch, recalling her native country with its vast size and harsh climate, where her spirit of independence and her passionate temperament were formed.” (Herta Wescher, Vie des Arts 43, 1966).

152 152 WILLIAM RONALD, R.C.A. MEMORIES, NEW YORK, 1959, oil on canvas, signed 33 ins x 45 ins; 82.5 cms x 112.5 cms $40,000–60,000 Provenance: Acquired at a New York gallery, circa 1960s. Private Collection, Ontario. Literature: Harold Rosenberg, The Tradition of the New, New York, 1959, page 45. Joan Murray, Painters Eleven in Retrospect, Robert McLaughlin Gallery, Oshawa, 1979, page 15. Ronald moved to New York in 1955, shortly after the first Painters Eleven exhibitions, and quickly became immersed in the energetic art scene there. The artist played an important role in securing the American Abstract Artists’ invitation to the Painters Eleven to exhibit in New York in April of 1956 and he also pressured members of the Painters Eleven to accept (and finance) Clement Greenberg’s visit in 1957. That same year, Ronald’s first solo exhibition was held at Kootz Gallery in New York, where he remained on retainer with a remarkable roster of abstract artists until 1963.

Joan Murray notes that upon his move to the city, Ronald “quickly discovered the work of Jackson Pollock, which he was always to admire.” That admiration shines through in Ronald’s magnificent homage to action painting here in Memories, New York. Pollock was certainly on the minds of New York art critics, collectors and artists, mourning the sudden loss of the postwar American icon in August of 1956. In gestural abstraction, the canvas becomes what art critic Harold Rosenberg described as “an arena in which to act”. Ronald is certainly in action here; his dripping, splattering and pouring of paint upon the canvas reveals a composition that is bursting with bold colour, spontaneity and energy. Vivid blue and yellow calligraphic lines fill the canvas, truly solidifying Ronald’s reputation as an outstanding colourist. Joan Murray writes how residing in New York made Ronald’s experience “different from other members of the Eleven. For Ronald, New York and its art atmosphere ‘makes you rise up to your best.’” In Memories, New York, Ronald does just that.

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153 153 DORIS JEAN MCCARTHY, O.S.A., R.C.A. A VALLEY NEAR SARTEANO, oil on canvas, signed 36 ins x 48 ins; 90 cms x 120 cms $15,000–20,000 Provenance: Private Collection, New Brunswick. Literature: William Moore, Celebrating Life: The Art of Doris McCarthy, The McMichael Canadian Art Collection, Kleinburg, Ontario, 1999, page 21. Doris McCarthy first visited Italy in 1951 while on teaching sabbatical, escorted by a former student, Dino Rigolo. The artist would return to the country on multiple visits in the nearly fifty years that followed, this work depicting the Tuscan countryside, Sarteano located approximately one hundred kilometers southeast of Florence.

154 154 BARKER FAIRLEY, R.C.A. BARN NEAR VASEY, 1971, oil on board, signed 20 ins x 24 ins; 50 cms x 60 cms $5,000–7,000

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155 155 DORIS JEAN MCCARTHY, O.S.A., R.C.A. GEORGIAN BAY, oil on board, signed; signed and dated 71/07/10 on the reverse 24 ins x 30 ins; 60 cms x 75 cms $10,000–12,000 Literature: Nancy Campbell, Doris McCarthy: Roughing It in the Bush, Doris McCarthy Gallery, Toronto, 2010. Georgian Bay reveals great movement through its varying paint strokes and angles, hinting at the direction of the wind and the fluctuating shadows. The fluidity of the painting contrasts typical imaginings of bedrock, depicting it as delicate and rapidly changing, appearing akin to the vegetation. McCarthy had flirted with abstraction for a majority of her career, yet she had never rejected form all together. As Nancy Campbell writes for the Roughing it in the Bush exhibition catalogue, “Because her work documents the landscape of Canada and beyond, Doris McCarthy is not, strictly speaking, an abstract artist. But neither is she a landscape painter in the conventional sense. Her strength lies in the binding of the two, and her most successful landscapes are abstracted while remaining highly specific”.

156 156 BARKER FAIRLEY, R.C.A. OAT FIELD, AUGUST 1972, oil on board, signed 11 1/4 ins x 14 ins; 28.1 cms x 35 cms $2,000–3,000

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157 WILLIAM KURELEK, R.C.A. YUKON TRAPPERS’ STOP (BIG LONELY SERIES), mixed media on board, signed with initials and dated ‘77 24 ins x 7 3/4 ins; 60 cms x 19.4 cms $60,000–80,000 Provenance: Isaacs Gallery, Toronto. Private Collection, Toronto. Literature: William Kurelek, Big Lonely, Isaac’s Gallery (letter), Toronto, not dated. Patricia Morely, Kurelek, Toronto, 1986, pages 190 and 201. Ramsay Cook, Kurelek Country, The Art of William Kurelek, Toronto, 1999, page 67, reproduced in colour. Yukon Trappers’ Stop belongs to Kurelek’s celebrated Big Lonely series, a collection of paintings composed over the span of almost two decades. In a detailed description by the artist on Isaacs Gallery letterhead, Kurelek described these paintings as expressing a type of sublimity: “It is that its enormity dwarfs and dominates life, all life, both man and animal...” The Big Lonely series was named after the colloquial term used to describe Canada, specifically western Canada, an environment familiar to the artist since his childhood in the Prairies. Patricia Morely describes Big Lonely as one of the series which “confirms

Bill’s feeling for the vastness of Canada, and for nature as a source of joy.” Kurelek noted how the series reflected his very own experience as a “loner” who had seen this vastness of the country firsthand through his travels, having found comfort in such secluded immensity. In this work, Kurelek’s imagination conjures up a wonderful vision of the Yukon trapper. The artist described the trappers’ journey: “A Yukon trapper must feel a special warmth towards his little cabin stops, after a long day of checking his trap lines.” The solitary figure trudges along a path carved into the deep snow, the bewildering, boundless space of the Canadian north juxtaposed with the serenity of isolation in the wild. Morely describes Kurelek's childhood as one where “he had frequently been moved to semi-mystical states of ecstasy by the play of wind and light on a natural landscape.” Through the use of a perspective that elongates the night sky and shrinks the human presence, Kurelek succeeded at not only expressing the isolation of the northern wilderness, but also maintaining the survival of humanity. Kurelek wrote: “I don’t want to belabour the threatening aspect of nature as we Canadians know it, for actually I mean this series to be enjoyed as pure poetry...” Poetry is certainly achieved in Yukon Trappers’ Stop; the aurora borealis illuminates the sky in glorious dancing rhythms of blue and green pigment, providing a wondrous guiding light to the lonesome trapper.

157 (detail)

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158 158 JOHN GEOFFREY CARUTHERS LITTLE, R.C.A. HIVER - RUE HENRI JULIEN, MONTREAL, 1977, oil on canvas, signed 24 ins x 30 ins; 60 cms x 75 cms $12,000–15,000 Provenance: Continental Galleries Inc., Montreal. Private Collection, Quebec. 159 JOHN GEOFFREY CARUTHERS LITTLE, R.C.A. RUE LAVAL, QUARTIER LATIN, QUEBEC, 1968, oil on canvas, signed 10 ins x 12 ins; 25 cms x 30 cms $5,000–7,000 159

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Provenance: The Art Emporium, Vancouver. Private Collection, British Columbia.

160 160 WILLIAM KURELEK, R.C.A. WINTER OUTSIDE ANDREW, ALBERTA, 1966, mixed media on board, signed with initials 13 3/4 ins x 16 3/4 ins; 34.4 cms x 41.9 cms $12,000–15,000 Provenance: Private Collection, Ontario. Literature: Patricia Morley, Kurelek: A Biography, Toronto, 1986, pages 190-191. Joan Murray and William Kurelek, Kurelek’s Vision of Canada, Edmonton, 1983, page 10. During the early 1960s, William Kurelek began annual excursions to Western Canada, “principally to Manitoba and Alberta, to paint the areas where he had lived as a child and which would become the basis for his most popular paintings.” Approximately an hour’s drive northeast of Edmonton, Andrew, Alberta is located less than ten kilometers from Whitford, the

birthplace and early childhood home of the artist. “To outsiders, Whitford might look bleak – two grain elevators and three buildings huddled under a vast sky. But to Kurelek, even as a small child, the austere emptiness had its own charm.” Common with many of Kurelek’s most fascinating works, Winter Outside Andrew, Alberta possesses minute and distinct details which provide interesting thematic dimensions to an otherwise tranquil Canadian winter landscape. The breathless chase of a hare by a pursuing wolf in the upper left corner provides an urgent and dangerous tone to the snowy scene, while the tiny copy of the Jehovah Witness magazine The Watchtower blowing into the bare trees on the right side of the painting ushers a religious tone into the setting. Kurelek’s exact motive to include the religious periodical is not made clear to the viewer, leaving the audience to interpret the painter’s unique perspective and intention.

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161 CHARLES PACHTER HOCKEY KNIGHT IN CANADA (LE ROI DE L’ARENE), baked enamel on steel, mounted on board, signed and dated ‘85 45 ins x 42 ins; 112.5 cms x 105 cms $20,000–30,000 Provenance: Private Collection, Ontario. Literature: Charles Pachter, M Is For Moose: A Charles Pachter Alphabet, Toronto, 2008, n.p., six images from the mural project reproduced in colour (representing “H is for Hockey, our Heroes, our boys, all of them players with our favourite toys”). Adorning the walls of Toronto’s College subway station, Charles Pachter’s Hockey Knights in Canada / Les Rois de L’Arène have greeted countless commuters and travellers for close to thirty years, the eight-foot players from the Toronto Maple Leafs on the southbound platform facing off against an equal number of opponents from the Montreal Canadiens across the tracks on the northbound side. The public installation adds colour, character and life to the busy setting, a fitting home within the station which serves Maple Leaf Gardens, the home of Toronto’s NHL franchise until 1999. In 1984, Charles Pachter was approached by the Toronto Transit Commission Chairman Julian Porter, who encouraged the artist to submit an application for the commission of murals to be featured at track level in College Station. Pachter presented two large acrylic paintings as part of his submission, each work depicting a player, one from the Maple Leafs, one from the Canadiens. Versions of the players presented on the canvases would later appear within the final team murals. Pachter was awarded the commission and creation of the multi-paneled installation began in 1984. The two team murals would each be comprised of nine members, the individual players silk-screened using powdered enamel on two large vertical steel panels. Throughout a six-month process, Pachter completed the thirtysix panels at a Mississauga foundry, before final installation at the station.

within the Montreal Canadiens mural. Here the skater is not captured in an “action pose”, instead appearing to be at rest during a stoppage in play, his gaze possibly falling above to the scoreboard, concentrating on the current details of the evening’s contest. This was Pachter at the height of his Canadian pop-art iconographic period – The Mountie, the Queen on a Moose, the Flag, and ultimately, the Hockey player. Common with many of Pachter’s most renowned works, the Hockey Knights project was not without controversy. Despite initial agreements from the Maple Leafs and Canadiens for use of their imagery on the murals, Maple Leafs owner Harold Ballard attempted to block the use of the Leafs’ logo once he learned that the team’s fierce rival would also be represented in the station’s installation. Ballard’s decision was challenged, overturned and the project proceeded. Pachter felt that his opposing murals represented more than simply the historic rivalry between two hockey clubs, the rivalry also spoke to relations between Ontario and Quebec, as well as the teams’ blue and red uniforms lending itself to parallel the political rivalry between Canada’s Conservative and Liberal parties. We extend our thanks to Charles Pachter for providing important information in the cataloguing of this work.

This unique work of art is a prototype for the College station mural project, created to test the firing procedure at the foundry where the panels would be baked at over twelve hundred degrees to complete the process. This panel depicts the upper half of the Montreal player who would become the centre competitor Installation, North & South Platforms, College Subway Station, Toronto

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162 JEAN-PHILIPPE DALLAIRE LA JARDINIERE, gouache, signed and dated /49 6 ins x 7 ins; 15 cms x 17.5 cms $7,000–9,000

162 163 BARKER FAIRLEY, R.C.A. CHRISTOPHER CHAPMAN, 1960, oil on board, signed 40 ins x 30 ins; 100 cms x 75 cms $6,000–8,000

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164 ARTHUR SHILLING PORTRAIT OF MILLIE, acrylic on board, signed 164

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24 ins x 18 ins; 60 cms x 45 cms $4,000–6,000

165 165 JEAN-PAUL LEMIEUX, R.C.A. PORTRAIT DE GARCON, oil on canvas, signed (indistinctly) 10 1/4 ins x 8 ins; 25.6 cms x 20 cms $25,000–35,000 Provenance: Private Collection, Montreal. 166 JEAN-PAUL LEMIEUX, R.C.A. YOUNG GIRL WEARING A NECKLACE, graphite and marker, signed 23 ins x 17 1/2 ins; 57.5 cms x 42.5 cms $6,000–8,000

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167 DAVID LLOYD BLACKWOOD, O.S.A., R.C.A. LONE MUMMER INSIDE, etching and aquatint, printed in colours, signed, titled, dated 1979 and inscribed Artist’s Proof 6/10 in the margin 28 ins x 22 ins; 70 cms x 55 cms $2,500–3,000

167 168 DAVID LLOYD BLACKWOOD, O.S.A., R.C.A. AUNT GERTI HANN HOME IN WESLEYVILLE, etching and aquatint, printed in colours, signed, titled, dated 1987 and inscribed “H/C” 15 3/4 ins x 19 3/4 ins; 39.4 cms x 49.4 cms $2,000–2,500

168 169 ALEXANDER COLVILLE, R.C.A. THE BALLAD OF THE FOXHUNTER: I, II, III, IV, colour serigraphs, each signed and dated 1959 each 18 ins x 10 ins; 45 cms x 25 cms $4,000–6,000 (4)

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Literature: Michael Bell, Colville, Being Seen: The Serigraphs, Carlton University Art Gallery, Ottawa, 1994, page 31, cat. no.5, reproduced. David Burnett, Colville, Art Gallery of Ontario, Toronto, 1983, page 104, reproduced.

170 170 JOE FAFARD AUGUSTE, patinated bronze with acrylic paint, signed, dated 1992 and numbered 3/5 height 22 ins; 55 cms $30,000–40,000 Literature: Mayo Graham, Joe Fafard, The Bronze Years, Montreal, 1996, page 29 and 31. Terrence Heath, Joe Fafard, Toronto, 2007, page 97. Known for his animal representations and portraits, Fafard utilizes various mediums such as clay, bronze and steel in his creations. Fafard’s lifelike sculptures are described by curator Mayo Graham to contain an “...animated, uncanny presence, as much as iconography or description, gives Fafard’s figures the sense that they are characters inhabiting a narrative”. Like other portraits, Auguste encapsulates movement, as if Fafard has captured a moment in a story. Heath’s description of Fafard’s sculpture of his father, Mon pere, can also be applied to Auguste: “There is a certain sense that he is present and could also get up and be absent. The figure has authority, a paterfamilias quality,

but there is vulnerability, or hesitancy or perhaps gullibility, in the stance as well. The chair would have welcomed him to recline and relax, but he is perched on the edge, ready to say the next thing, ready to move on.” The year Auguste was done, Fafard had also done a similar sculpture titled Renoir, where the nineteenth-century artist is sitting upright rather than leaning forward. As with many other artists depicted, Fafard has continued to sculpt and even draw Pierre-Auguste Renoir throughout his career; art which has been collected and exhibited by many major art institutions such as the National Gallery of Canada, McMichael Canadian Art Collection and the Art Gallery of Nova Scotia. Graham writes that “there is a deep sense that certain of Fafard’s figures are effigies as much as portraits... the portraits of Van Gogh, Cezanne, Monet, Renoir and Picasso construe a brotherhood in the history of art”. Graham also quotes Fafard: “I feel a bit like a novice studying the lives of the saints”. Fafard’s humble approach instills his art with a sense of raw expression, as an artist whose ambition is unaffected by easily outdated trends and academic expectations, but rather, simply put, seeks to provide his vision a form.

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171 WILLIAM GOODRIDGE ROBERTS, R.C.A. YELLOW CLOTH AND YELLOW JUG, oil on board, signed 12 ins x 16 ins; 30 cms x 40 cms $4,000–6,000 Painted in 1965. Provenance: Roberts Gallery, Toronto. Private Collection, Vancouver.

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172 JOSEPH FRANCIS PLASKETT, R.C.A. THE WHITE CUPS ON THE MANTLEPIECE, oil on board, signed and dated /55 15 ins x 31 ins; 37.5 cms x 77.5 cms $4,000–6,000

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173 MOLLY LAMB BOBAK, R.C.A. BOUQUET, watercolour, signed 173

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19 ins x 22 ins; 47.5 cms x 55 cms $1,500–2,000

174 ISABEL MCLAUGHLIN, O.S.A. CHINESE HATS, BERMUDA, 1948, oil on canvas, signed 26 ins x 26 ins; 65 cms x 65 cms $10,000–12,000 Provenance: Private Collection, Ontario. Literature: Anne Newlands, Canadian Paintings, Prints and Drawings, Richmond Hill, Ontario, 2007, page 208. McLaughlin was a founding member of the Art Students’ League and the Canadian Group of Painters, where she was president from 1937-1944. A.Y. Jackson once described McLaughlin as “...reserved, shy of acclaim, paints a naturalist's world...She has been a moving spirit in keeping the Group alive, and we are very much indebted to her”. After meeting Prudence Heward in 1929, McLaughlin and Heward began to take sketching trips together, often accompanied by Yvonne McKague Housser. Isabel’s father, Sam McLaughlin, founder of General Motors Canada, owned various properties, one of which was in Bermuda. Often travelling south with Heward, McLaughlin visited Bermuda periodically throughout her lifetime. Chinese Hats, Bermuda depicts large, vibrant, fully blossomed flowers, certainly one of the artist’s favourite motifs.

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175 TONY SCHERMAN STILL LIFE OF GRAPES, encaustic, signed and dated ‘97 22 1/2 ins x 21 1/2 ins; 56.3 cms x 53.8 cms $6,000–8,000

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176 JOHN GEOFFREY CARUTHERS LITTLE, R.C.A. RUE DE BULLION VERS VILLENEUVE, D’AUTREFOIS, MONTREAL, 1960, oil on canvas, signed 12 ins x 16 ins; 30 cms x 40 cms $6,000–8,000

176 177 JOHN KASYN, O.S.A. OAK AND RIVER ST., watercolour heightened with white, signed and dated /74 20 ins x 16 ins; 50 cms x 40 cms $3,000–4,000

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178 ALBERT JACQUES FRANCK, A.R.C.A. HOUSE ON BIRCH STREET, oil on board, signed and dated ‘58 178

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16 ins x 12 ins; 40 cms x 30 cms $3,000–4,000

179 HENRI LEOPOLD MASSON SKATING RINK, HULL, QUE., 1982, oil on canvas, signed 16 ins x 20 ins; 40 cms x 50 cms $3,000–5,000

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180 CLAUDE LANGEVIN EN FIN DE RETOUR, oil on canvas, signed 30 ins x 40 ins; 75 cms x 100 cms $2,500–3,000

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181 HORACE CHAMPAGNE EARLY WET STICKY SNOW IN OCTOBER, PARK (SIC) DES LAURENTIDES, pastel, signed 12 ins x 18 ins; 30 cms x 45 cms $2,000–3,000 Provenance: Private Collection, Calgary.

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182 MARCELLE FERRON, R.C.A. MEMOIRES, NO. 3, oil on canvas, signed and dated ‘86 30 ins x 20 ins; 75 cms x 50 cms $7,000–9,000 Provenance: Galerie Dresdnere, Toronto. Private Collection, Newfoundland.

182 183 JEAN-PHILIPPE DALLAIRE LA MARIEE, gouache, signed and dated ‘52 14 ins x 11 ins; 35 cms x 27.5 cms $8,000–10,000 Literature: Guy Robert, Dallaire, ou l’oeil panique, Ottawa, 1980, page 19, colour plate entitled Vive la mariee, 1952, for a gouache which relates to this lot.

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184 CLEMENT LEMIEUX PETITE FAMILLE, painted wood, signed, set on a granite base 184

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47 1/2 ins; 18.8 cms $2,000–3,000

185 185 GATHIE FALK FAIRIES RING, ceramic and plexiglass sculpture overall 16 1/2 ins; 41.3 cms $5,000–7,000 Falk is known for her depictions of ordinary objects in wonderfully imaginative ways. Fairies Ring depicts a naturally occurring ring of mushrooms using sculptures molded into languid peppershakers, boxed within a pink cube. Similar in composition to Eight Red Boots (1973) in the collection of the National Gallery of Canada, Fairies Ring has eight glossy ceramics of ordinary objects encompassed in a colourful geometric structure. Falk has said of her tendency to integrate a box into her sculpture: “Much of my work is boxed. It is a natural way to think about sculpture for me because you have not only the precious object, but also a protecting and also aesthetic surround for it. Sometimes the object is seen through glass or plastic. Old things of value end up in boxes, like shoe boxes, and sit on shelves, seldom looked at. This work reflects that experience, common to us all”. The term “fairy ring” also has a mystical connotation. In European folklore these circular patterns are thought to be a result of elves or fairies dancing, something that may have influenced Falk's decision to tint the box a pink tone, showing the playfulness of the object.

186 186 DAVID BIERK A EULOGY TO LIFE, FROM DE CHIRICO, oil on photographs on board, with a steel surround, signed with initials 18 ins x 25 ins; 45 cms x 62.5 cms $2,000–3,000

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187 WILLIAM GOODRIDGE ROBERTS, R.C.A. STILL LIFE, oil on board, signed 16 ins x 20 ins; 40 cms x 50 cms $10,000–15,000 Provenance: Dominion Gallery, Montreal. Private Collection, Ontario.

187 188 JOSEPH FRANCIS PLASKETT, R.C.A. TABLE WITH EVENING LIGHT, 1994, oil on canvas, signed 20 ins x 26 ins; 50 cms x 65 cms $3,000–4,000 Provenance: Private Collection, Vancouver.

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189 DAVID BIERK STILL LIFE FRAGMENT #69, AFTER ZURBARAN, oil on canvas, signed with initials 189

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20 ins x 20 ins; 50 cms x 50 cms $2,000–3,000

190 JOSEPH DRAPELL MILES IN ANTIBES, 1995, mixed media on canvas, signed on the reverse 29 3/4 ins x 35 3/4 ins; 74.4 cms x 89.4 cms $3,000–4,000

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191 LISE GERVAIS ABSTRACT, oil on canvas, signed and dated ‘88 28 ins x 21 3/4 ins; 70 cms x 54.4 cms $6,000–8,000

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192 WILLIAM RONALD, R.C.A. UNTITLED, watercolour, signed and dated /71 17 1/2 ins x 23 ins; 43.8 cms x 57.5 cms $2,000–3,000

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193 WILLIAM GOODRIDGE ROBERTS, R.C.A. NEW BRUNSWICK LANDSCAPE, oil on canvas, signed 12 ins x 16 ins; 30 cms x 40 cms $5,000–7,000 Painted in 1928.

193

194 DOROTHY KNOWLES, R.C.A. THE BEAR HILLS, 1966, oil on canvas, signed 22 ins x 28 ins; 55 cms x 70 cms $3,000–4,000

194

195 DAVID BIERK DIABLO MEMORY / BLACK OAK, SUNSET, 1992, oil on photographs on paper, laid down on board, signed with initials 195

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9 1/4 ins x 15 ins; 23.1 cms x 37.5 cms $1,500–2,000

196 STANLEY MOREL COSGROVE, R.C.A. FOREST INTERIOR, 1979, oil on board, signed 16 ins x 20 ins; 40 cms x 50 cms $2,500–3,500 Provenance: Galerie L’Art francais, Ltee, Montreal. Private Collection, Florida.

196

197 CARL FELLMAN SCHAEFER, R.C.A. THE POND, WATERLOO COUNTY, watercolour, signed and dated 25.7.62 15 ins x 22 ins; 37.5 cms x 55 cms $2,000–3,000 Provenance: Roberts Gallery, Toronto. Private Collection, Calgary.

197

198 BARKER FAIRLEY, R.C.A. WHITE PINE, LAKE OF BAYS, SEPTEMBER 1972, oil on board, signed 11 1/4 ins x 14 ins; 28.1 cms x 35 cms $2,000–3,000

198

Canadian Fine Art - Monday, November 26th, 2012 at 7 p.m. 123

199 DORIS JEAN MCCARTHY, O.S.A., R.C.A. SOUTH FROM JASPER LAKE, 1990, oil on panel, signed 12 ins x 16 ins; 30 cms x 40 cms $4,000–6,000 Provenance: Wynick/Tuck Gallery, Toronto. Private Collection, Toronto.

199

200 ALAN CASWELL COLLIER, O.S.A., R.C.A. CUMBERLAND PENINSULA, BAFFIN ISLAND (ABOARD C.C.G.S. D’IBERVILLE, 1972), oil on board, signed 12 ins x 16 ins; 30 cms x 40 cms $2,500–3,500

200

201 ALAN CASWELL COLLIER, O.S.A., R.C.A. MADAWASKA RIVER, NEAR QUADVILLE, ONT., oil on canvas, signed 30 ins x 50 ins; 75 cms x 125 cms $3,000–5,000 201

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Provenance: Roberts Gallery, Toronto. Private Collection, Toronto.

202 202 MICHAEL FRENCH GOING THROUGH THE TREES, acrylic on board, signed and dated 1988 30 ins x 60 ins; 75 cms x 150 cms $8,000–10,000 Provenance: Roberts Gallery, Toronto. Private Collection, Toronto.

203 HENRI LEOPOLD MASSON BYWARD MARKET, OTTAWA, 1980, oil on canvas, signed 18 ins x 24 ins; 45 cms x 60 cms $4,000–6,000 203

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204 HENRI LEOPOLD MASSON MUSICIANS, oil on canvas, signed 15 ins x 18 ins; 37.5 cms x 45 cms $4,000–6,000

204

205 STANLEY MOREL COSGROVE, R.C.A. FOREST LANDSCAPE, oil on canvas, signed 24 ins x 20 ins; 60 cms x 50 cms $4,000–5,000

205

206 ALLEN SAPP, R.C.A. RED PHEASANT RESERVE - A LONG TIME AGO, acrylic on canvas, signed 24 ins x 30 ins; 60 cms x 75 cms $3,000–5,000 206

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Provenance: The Fine Art Galleries, T. Eaton Company, Toronto. Private Collection, Ontario.

207 HENRI LEOPOLD MASSON ROAD TO RIPON, QUE., oil on canvas, signed 18 ins x 24 ins; 45 cms x 60 cms $3,000–4,000 Provenance: Private Collection, Ottawa.

207

208 HENRI LEOPOLD MASSON WALKING TO SCHOOL, oil on canvas, signed 12 ins x 16 ins; 30 cms x 40 cms $2,500–3,500 208

END OF SALE

Spring 2013 Canadian Fine Art Auction Our spring sale is tentatively scheduled to take place on Monday, June 3rd at 7:00 p.m.

Canadian Fine Art - Monday, November 26th, 2012 at 7 p.m. 127

INDEX OF ARTISTS B

Beatty, John William (1869-1941)...5, 56 Bellefleur, Leon (1910-2007)...139 Bell-Smith, Frederic Marlett (1846-1923)...84, 88 Bierk, David (1944-2002)...186, 189, 195 Blackwood, David Lloyd (b. 1941)...149-150, 167-168 Bobak, Molly Lamb (b. 1922)...173 Borduas, Paul-Emile (1905-1960)...130 Broomfield, Adolphus George (1906-1992)...85-86 Brymner, William (1855-1925)...32 Bush, Jack Hamilton (1909-1977)...135

Gagen, Robert Ford (1847-1926)...107 Gagnon, Clarence Alphonse (1881-1942)...15, 48, 74 Gendron, Pierre (b. 1934)...134 Gervais, Lise (1933-1998)...191 Gordon, Hortense Mattice (1889-1961)...52, 146

C Carmichael, Franklin (1890-1945)...50, 91 Caron, Paul Archibald (1874-1941)...46 Casson, Alfred Joseph (1898-1992)...10, 28, 40, 51, 60, 67, 69, 89, 97, 104, 114 Challener, Frederick Sproston (1869-1959)...4, 80 Champagne, Horace (b. 1937)...181 Coburn, Frederick Simpson (1871-1960)...36, 105, 115, 117 Collier, Alan Caswell (1911-1990)...200-201 Collyer, Nora Frances Elisabeth (1898-1979)...54 Colville, Alexander (b. 1920)...129, 169 Coonan, Emily Geraldine (1885-1971)...103 Cosgrove, Stanley Morel (1911-2002)...196, 205 Cullen, Maurice Galbraith (1866-1934)...19, 82, 96 Curnoe, Gregory Richard (1936-1992)...144

H Hebert, Louis-Philippe (1850-1917)...119 Heward, Efa Prudence (1896-1947)...58, 93 Hewton, Randolph Stanley (1888-1960)...41, 63 Hodgson, Thomas Sherlock (1924-2006)...140 Hopkins, Tom (1944-2011)...128 Housser, Yvonne McKague (1898-1996)...11, 27, 33 Hughes, George Hart (1839-1921)...120, 122 I Innes, John (1863-1941)...2 Iskowitz, Gershon (1921-1988)...132 J Jackson, Alexander Young (1882-1974)...13, 22, 31, 42, 53, 64, 72,76, 83, 92, 99, 109, 113 Johnston, Frank Hans (1888-1949)...23, 29, 62, 65-66, 73 Johnstone, John Young (1887-1930)...47, 98

D K Dallaire, Jean-Philippe (1916-1965)...138, 162, 183 Des Clayes, Berthe (1877-1968)...3 Drapell, Joseph (b. 1940)...190 F Fafard, Joe (b. 1942)...148, 170 Fairley, Barker (1887-1986)...154, 156, 163, 198 Falk, Gathie (b. 1928)...185 Ferron, Marcelle (1924-2001)...126, 143, 151, 182 FitzGerald, Lionel Lemoine (1890-1956)...61, 101 Fortin, Marc-Aurele (1888-1970)...30 Franck, Albert Jacques (1899-1973)...178 French, Michael (b. 1951)...202

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Kasyn, John (1926-2008)...177 Knowles, Dorothy (b. 1927)...194 Knowles, Farquhar McGillivray Strachan (1850-1932)...34, 106 Krieghoff, Cornelius (1815-1872)...39 Kurelek, William (1927-1977)...157, 160

INDEX OF ARTISTS L

Langevin, Claude (b. 1942)...180 Leduc, Fernand (b. 1916)...131 Lemieux, Clement (b. 1946)...184 Lemieux, Jean-Paul (1904-1990)...165-166 Lewis, Maud (1903-1970)...147 Lismer, Arthur (1885-1969)...43-44, 71 Little, John Geoffrey Caruthers (b. 1928)...158-159, 176 Luke, Alexandra (1901-1967)...136 Lyman, John Goodwin (1886-1967)...18

Richard, Rene (1895-1982)...49, 100 Roberts, William Goodridge (1904-1974)...171, 187, 193 Robertson, Sarah Margaret (1891-1948)...12 Robinson, Albert Henry (1881-1956)...112 Ronald, William (1926-1998)...141, 152, 192

M MacDonald, James Edward Hervey (1873-1932)...17, 55, 68, 75 MacDonald, Manly Edward (1889-1971)...1, 38 Martin, Thomas Mower (1838-1934)...116 Masson, Henri Leopold (1907-1996)...179, 203-204, 207-208 Matthews, Marmaduke (1837-1913)...37 May, Henrietta Mabel (1877-1971)...26, 59, 81 McCarthy, Doris Jean (1910-2010)...153, 155, 199 McEwen, Jean Albert (1923-1999)...133 McLaughlin, Isabel (1903-2002)...174 McVittie, Robert (1935-2002)...108 Metzger, Father Henry (1876-1949)...121

S Sapp, Allen (b. 1929)...206 Schaefer, Carl Fellman (1903-1995)...197 Scherman, Tony (b. 1950)...175 Scott, Marian Mildred Dale (1906-1993)...125 Seiden, Regina (1897-1991)...77 Shadbolt, Jack Leonard (1909-1998)...124 Sheppard, Peter Clapham (1882-1965)...7 Shilling, Arthur (1941-1986)...164 Smith, Gordon Appelbe (b. 1919)...123 Snow, Michael (b.1929)...145 Suzor-Cote, Marc-Aurele de Foy (1869-1937)...90, 118 T Thomson, Tom (1877-1917)...25 Town, Harold Barling (1924-1990)...137

Milne, David Brown (1882-1953)...21 Morrice, James Wilson (1865-1924)...87 Morris, Kathleen Moir (1893-1986)...57

V Varley, Frederick Horsman (1881-1969)...14, 110 Verner, Frederick Arthur (1836-1928)...70

Pachter, Charles (b. 1942)...161 Panton, Lawrence Arthur Colley (1894-1954)...8 Patry, Pierre (b. 1956)...142 Pellan, Alfred (1906-1988)...127 Pepper, George Douglas (1903-1962)...9 Pilot, Robert Wakeham (1898-1967)...16, 20, 35, 45, 94-95, 111 Plaskett, Joseph Francis (b. 1918)...172, 188

Walker, Horatio (1858-1938)...24 Watson, Homer Ransford (1855-1936)...6 Wood, William John (1877-1954)...78-79 Woodcock, Percy Franklin (1855-1936)...102

Canadian Fine Art - Monday, November 26th, 2012 at 7 p.m. 129

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Joyner.Waddingtons.ca 275 King Street East, Second Floor, Toronto Ontario Canada M5A 1K2 Tel:416.504.9100 Fax:416.504.6971 Toll Free: 1.877.504.5700

Absentee/Telephone Bid Form Name (please print) _________________________________________________________________________________ Address___________________________________________________________________________________________ Telephone #__________________________________________Fax #_________________________________________ E-mail Address _____________________________________________________________________________________ Sale Date:

PLEASE EXECUTE THESE BIDS ON MY BEHALF __________________________________ Signed Please circle the type of bid you would like to request

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IMPORTANT 1.

Joyner Waddington’s is hereby authorized to bid on the following lots up to the prices stated and will obtain the lot(s) as reasonably as possible. 2. Joyner Waddington’s assumes no responsibility for failure to execute these bids for any reason whatsoever. 3. If a bid is successful, the purchase price will be the aggregate of the final bid and a buyer’s premium together with any tax due thereon. 4. “Buy” bids are not accepted and the top limit you leave should be the amount to which you would bid if you were to attend the sale. Alternate bids may be placed by using the word “OR” between lot numbers. 5. Order bids, when placed by telephone, are accepted only at the sender’s risk and must be confirmed by letter, e-mail or fax. 6. Please place your bids as early as possible. The earliest bid received will take precedence in case of identical bids. In the event of identical absentee bids, the auctioneer’s decision is final. 7. If you wish to be telephoned during the auction to bid on specific lots, please check the box indicated above. We will endeavour to call you subject to the availability of telephone lines. 8. Successful bidders will be invoiced within a few days of the sale. Buyers are earnestly requested to arrange early clearance of their lots. 9. All bids are subject to the Conditions of Sale printed in the catalogue. 10. These bids will not be executed unless this form is signed.

Lot # (In numerical order)

Brief Lot Description

Top limit of bid in Canadian Dollars excluding Buyer’s Premium or telephone number at which you would like to be called.

YOU MAY FAX A COMPLETED ORDER BID FORM TO US AT LEAST 24 HOURS PRIOR TO THE AUCTION. OUR FAX NUMBER IS (416) 504-6971

NOTES

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