Charles Bronfman's Claridge Collection Auction: Part III | June 18, 2014 by waddingtons

Charles Bronfman's Claridge Collection Auction Wednesday 18 June 2014 at 2:00 pm

On View Saturday 14 June from 11:00 am to 5:00 pm Sunday 15 June from 11:00 am to 5:00 pm Monday 16 June from 10:00 am to 12 Noon Preview and Auction to be held at Waddingtonâ&#x20AC;&#x2122;s 275 King Street East, 2nd Floor Toronto Ontario Canada M5A 1K2 This auction is subject to the Conditions of Sale printed in the back of this catalogue. All lots in the auction may be viewed online at DecorativeArts.Waddingtons.ca

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Waddington’s

Leadership Team

Waddington’s is Canada’s most diverse and significant provider of fine art auction and appraisal services. Based on a rich legacy in the industry, Waddington’s actively seeks to redefine our business to ensure we remain fresh and reactive to what our clients are seeking. Through our appraisal, auction, private sale and downsizing expertise, we are pleased to provide a complete range of services.

Waddington’s leadership team brings together three of the industry’s best. The combination of their experience, knowledge of market trends and client networks builds on Waddington’s 160 year legacy of growth and dominance.

Waddington’s is Canada’s original auction house, with a history of conducting auctions since 1850. We are also an international auction house, providing access to world markets. Waddington’s is an innovative leader. We enjoy pushing the limits, exploring new territory and creating new partnerships. From the marathon auction of Maple Leaf Gardens, our partnership with the LCBO to auction ﬁne wine, to the launch of Concrete Contemporary and our new Pop-Up Gallery series, we are driven to ﬁnd what’s new, what’s exciting, and what you want to buy or sell.

Waddington’s by Department Asian Art Canadian Fine Art Contemporary Art Auctions and Projects Decorative Arts International Art Inuit Art Jewellery, Watches & Numismatics “Oﬀ the Wall” Art Transitions Philanthropy and Community

Duncan McLean, President, is Waddington’s corporate leader, responsible for strategic development and innovation realization. Under his direction Waddington’s strives to not only continuously evolve to meet the needs of our clients and address the demands of the market, but to push the boundaries, with integrity, creativity and passion. Mr. McLean has been involved in the auction industry for 35 years, as art specialist, appraiser, auctioneer and corporate leader. His knowledge base spans the diversity of Waddington’s offerings, with internationally-recognized expertise in Inuit Art. As Vice President Business Development, Stephen Ranger is focused on identifying new markets, new clients and new ways to do business. For example, Mr. Ranger launched Waddington’s Contemporary Art venture, Concrete Contemporary, to reach an exciting new sector of art enthusiasts and artists. Under Mr. Ranger’s guidance, new partnerships are also being created resulting in edgy new offerings like our Pop-Up Gallery series debuting in 2013. Mr.Ranger brings over 25 years of diverse experience as an auctioneer, appraiser and consultant in the art auction industry with specific expertise in Canadian Fine Art. Linda Rodeck, Vice President Fine Art, is one of Canada’s most trusted and respected Canadian Art specialists. Her impressive career of 25+ years includes leadership roles in the country’s most distinguished auction houses. Ms. Rodeck’s keen understanding of the market and her extensive network are invaluable in her role of sourcing the best works and providing the best service to our clients. As Vice President of Waddington’s Fine Art, Ms. Rodeck will play a critical role in developing new business leveraging her success in the Canadian art market.

Concrete Contemporary Auctions and Projects

Canadian Fine Art

Waddington’s launched its newest division, Concrete Contemporary Auctions and Projects (CCAP) in March 2012 with a vision and mandate to create a secondary market for contemporary Canadian art.

Waddington’s has been a major force in the Canadian art sector for over five decades, beginning with our first auction of Canadian Fine Art held at the Queen Elizabeth Building at the CNE in 1967. Since that historic event, Waddington’s has offered some of the most important Canadian works, set record prices, and has been an integral part of driving the Canadian art market.

Concrete Contemporary Auctions merges the worlds of traditional auction and the retail gallery, where our relationships with artists, art dealers, curators and collectors result in exciting new sources of contemporary works. The auctions are tightly focused on Canadian contemporary art since 1980 with an emphasis on midand late-career artists with exhibition history in the private and public sphere. An exciting initiative of CCAP is the introduction of our Pop-Up Gallery series. These short-duration single artist exhibitions oﬀer works by some of Canada’s most accomplished and inﬂuential working artists. As well, the groundbreaking Concrete Contemporary Acquisition Fund assists museums and public galleries in the acquisition of works by artists included in the auction. Led by one of Canada’s most plugged-in arts experts, Stephen Ranger, CCAP is committed to exploring new ways to connect, expand and support the contemporary art community.

Stephen Ranger Senior Specialist, Contemporary Art

Linda Rodeck Senior Specialist, Canadian Art Vice President, Fine Art

Decorative Arts

Jewellery, Watches and Numismatics

Decorative Arts at Waddington’s encompasses a broad and diverse variety of objects and the department's client database is one of our largest. From ancient to modern, delicate to deadly, Waddington’s Decorative Arts department redeﬁnes the term, bringing much more than traditional silverware and porcelain ﬁgurines to market, and with remarkable success.

Waddington's has conducted auctions of Fine Jewellery and Numismatics for close to three decades. Highly respected expertise and in-depth knowledge of both domestic and international markets are the anchors of the ongoing success and popularity of our auctions.

Waddington’s reputation for developing new markets is well represented by our Decorative Arts department, as is our ability to present large collections – notable recent sales have included Contemporary Studio Glass, Scientific Instruments and Militaria. The department regularly offers auctions which include bronzes, items of Canadian Historical interest, ceramics, devotional works of art, glass, lighting, militaria, mirrors, objets de vertu, porcelain, scientific instruments, travel and exploration maps.

Sean Quinn Specialist, Decorative Arts

Bill Kime Specialist, Decorative Arts

Our auctions are composed of a wide spectrum of contemporary and period jewellery featuring examples by some of the most desired names in jewellery including Tiﬀany, Cartier, Fabergé, Jensen, Yurman and Van Cleef & Arpels. Also featured in our auctions are ﬁne wrist and pocket watches, designer fashion jewellery and all forms of numismatics including coins, tokens, banknotes and ancients.

Donald McLean Senior Specialist, Jewellery, Watches and Numismatics

International Art

Inuit Art

Waddington’s International Art department presents auctions of ﬁne art from around the world, oﬀering original works from art centres across North America and Europe while continuing to expand our scope to bring our collectors works from Asia, South Asia, Russia and South America. A major element of Waddington’s legacy, our International art auctions draw on Canada’s cultural diversity. The combination of our expertise and our expansive global network ensures the highest standards of authentication and research.

Waddington’s is internationally recognized as one of the leading authorities in marketing Inuit Art. No other auction house has been as intrinsically linked to the development of a market for this art form. Inuit Art is a proud part of our DNA. From our ﬁrst landmark auction in 1978 of the William Eccles Collection, Waddington’s has oﬀered thousands of works, set record prices, and expanded the market well beyond Canada’s borders.

Rare and important paintings, sculptures, prints and photographs are oﬀered in our live and online auctions, attracting buyers worldwide.

Susan Robertson Senior Specialist, International Art

Our legacy of successful Inuit Art auctions, our ability to achieve continually increasing values and our creation of an international market have been key factors in validating Inuit art as a whole and establishing it as an integral part of the Canadian Art scene.

Duncan McLean Senior Specialist, Inuit Art

Christa Ouimet Specialist, Inuit Art

Asian Art

“Oﬀ the Wall” Art

Waddington’s Asian Art department is Canada’s leader in serving the demands of the rapidly growing Asian market supported by our recognized and credible expertise. Our ability to achieve exceptional prices for works is based on our international reputation and network with the community.

Our “Oﬀ The Wall” Art online auctions are a unique opportunity to showcase accessible art. Drawing from our International Art and Canadian Art divisions, “Oﬀ The Wall” Art auctions feature paintings, prints and sculpture.

Specializing in jade, paintings, porcelain, religious works of art, textiles, woodblock and export wares, we present works from China, Japan, Korea, South East Asia, South Asia, Himalaya and others.

These monthly, online auctions are always an eclectic selection of aﬀordable works – a great way to learn, enjoy art and start building a collection. Working closely with our other divisions, this auction has developed its own diverse and extensive network of clients.

Anthony Wu Specialist, Asian Art

Doug Payne Specialist, Fine Art

Transitions

Philanthropy and Community

Transitions is Waddington’s downsizing and estate management service, created speciﬁcally for clients going through a transition who require knowledgeable, qualiﬁed and professional advice.

Waddington's is committed to working within the community by contributing our time to charity fundraising events and appraisal clinics. We are honoured to work with countless museums, galleries, art organizations and fund raising events and contribute our time to over 20 events each year raising over $2,000,000 annually for the community.

Successful downsizing and estate planning require an accurate appraisal of tangible assets. Drawing on Waddington’s 160 years of experience across our diverse areas of specialties, Transitions helps clients make informed decisions to keep, gift, sell or donate. Our clients include ﬁduciaries, executors and beneﬁciaries responsible for settling estates, as well as private clients looking to downsize and turn their material encumbrances into a monetary resource. Transitions is an end-to-end solution to help you sort, value, sell and move on to the next stage.

Marcia Kim Manager

Ellie Muir Coordinator

In addition, the Concrete Contemporary Acquisition Fund each year funds 50% of the purchase price for a work of contemporary Canadian art for a public institution. We have supported the following organizations: Aids Committee of Toronto, SNAP Best Buddies Birdlife International Canadian Opera Company Casey House, Art with Heart Casey House, Snowball CAMH Unmasked Covenant House The Furniture Bank Integra Foundation Lake Ontario Waterkeepers OCAD University Metro Toronto Zoo Montreal Children’s Hospital Nyota School, Kenya Princess Margaret Hospital Robert McLaughlin Gallery Second Harvest, Toronto Taste Serve Canada St. Mary’s General Hospital, Kitchener St. Michaels Hospital, ARTGEMS The STOP Foodbank Toronto Symphony Orchestra The Varley Gallery Windsor Art Gallery Warchild Canada York University Fisher Fund

Charles Bronfman's Claridge Collection Part III Lots 1â&#x20AC;&#x201C;158

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

When my family holding company Claridge was created, we moved into what was formerly the Windsor Hotel in Montreal, occupying the top three ﬂoors of that wonderful building. Our beautiful new premises now needed decorating.

Lorsque nous avons fondé la société d'investissement privée Claridge, nous nous sommes installés dans les trois derniers étages du magniﬁque ancien Hôtel Windsor, à Montréal. Il fallait alors décorer nos superbes nouveaux locaux.

In April of 1986, my late wife Andy and I were having lunch with Franklin Silverstone, our Curator, and the subject of decorating the new oﬃces came up and the idea of searching out and using Canadian art exclusively was discussed. Not only would it support the work of the Saidye Bronfman Award recipients, it would also beneﬁt all artists who are working in decorative arts and crafts across Canada.

En avril 1986, lors d'un déjeuner avec Franklin Silverstone, notre conservateur, ma défunte femme Andy et moi avons abordé le sujet. C'est alors que nous est venue l'idée de décorer les bureaux exclusivement avec des pièces d'art canadien triés sur le volet. Non seulement cette démarche aiderait-elle les lauréats du Prix Saidye Bronfman, elle proﬁterait également à tous les artistes travaillant en arts décoratifs et en métiers d'art au Canada.

The idea took hold and, for the next two years, Franklin travelled across the country, visiting artists in various cities in every province in search of excellent objects. Those works would then be set up, exhibition-style, for Andy and me, together with a couple of our colleagues to review and select those that wowed us. Between 1986 and 1996, over 900 works were purchased and displayed throughout our oﬃces. It quickly became referred to as “The Claridge Collection,” a title that has held all these many years. Dismantling the collection is bittersweet, but knowing the proceeds will beneﬁt on-going programs of Historica Canada is really a gift that keeps on giving!

Charles Bronfman

L'idée a suivi son chemin, et Franklin est parti à la recherche d'objets qui répondaient à notre critère d'excellence. Pendant deux ans, il a parcouru toutes les provinces du pays pour y rencontrer des artistes. Les pièces que Franklin sélectionnait nous étaient ensuite présentées, sous forme d'exposition. Avec l'aide de certains de nos collègues, Andy et moi les examinions et choisissions celles qui nous épataient. Entre 1986 et 1996, plus de 900 oeuvres ont ainsi été achetées pour être exposées dans nos bureaux. Bientôt, on s'est mis à parler de la « collection Claridge », titre qu'elle a gardé jusqu'à ce jour. C'est avec un sentiment doux-amer que je dis adieu à la collection, mais je tire satisfaction du fait que les proﬁts de sa vente seront versés aux programmes d'Historica Canada, ce qui lui accordera une forme de pérennité. Charles Bronfman

DecorativeArts.Waddingtons.ca

The Claridge Collection

La collection Claridge

Our Claridge colleagues have been fortunate to be able to work amongst the Claridge Collection of Canadian arts and crafts since we moved into the oﬃces at the Windsor in Montreal in 1987. With its unique blend of interior design and varied art collection, this workspace became a warm, friendly, and stimulating place to inhabit over these past 30 years. Visitors have always remarked that we have a very special work environment, much less of an oﬃce, and more of an eclectic home - truly one of a kind.

Depuis que Claridge s'est installé dans l'édiﬁce Windsor à Montréal, en 1987, nos collègues ont eu la chance de travailler entourés des œuvres de la collection Claridge de métiers d'art canadiens. Mariant le design d'intérieur avec une collection d'art des plus variées, notre milieu de travail est devenu, au ﬁl des ans, un lieu accueillant, chaleureux et stimulant. D'ailleurs, les visiteurs nous disent que nos locaux ressemblent moins à des bureaux traditionnels qu'à une résidence éclectique - bref, un milieu unique en son genre.

Conceived by my father, Charles, and his wife Andy, and curated by Franklin Silverstone and his assistant, Judy Strapp, the Claridge Collection evolved into one of the great Canadian corporate collections of its time. It is unique in that it is an amalgamation of all artistic media, contemporary in nature, mixing paintings with photography, sculpture, ceramics, glass and many objets d’art. Far from the Group of Seven style of banks and law firms of the day, the collection was much more representative of Canada in the 1980s, less staid than the prevailing corporate style and much more daring in its whimsy, color and blending of works. Claridge employees were able to work with the curators to decorate their offices, selecting pieces from the collection to suit their individual styles and personalities. We have always been proud to take visitors through the space, knowing its uniqueness for an office environment, and have done many private art tours as well. After 30 years, I decided that it was time for renewal. We have redesigned and updated our workplace and, along with that upgrade, we are now putting together a new Claridge Collection of Canadian arts, representing today’s stars and emerging stars on the Canadian art scene. As my father, Charles, put together his collection, he had the opportunity to learn about the top talents in Canada, and I look forward to doing the same with with the help of my curator, Judy Strapp, and her assistant, Tina Kyriakakis. I’m a big believer in continuity, be it in building businesses, philanthropy or in surrounding oneself with vibrant, interesting and challenging works of art. Growing up surrounded by art was a real gift, and being able to share the beauty and appreciation of art is also very rewarding. My father’s vision for the Claridge Collection was highly original, and I’m hoping that today’s version will live up to his legacy. Surrounding ourselves with great Canadian art and being proud of our colourful and diverse Canadian heritage is what I hope that the new Claridge Collection will bring to people.

Stephen Bronfman

Conçue par mon père, Charles, et sa femme, Andy, et réalisée par le conservateur Franklin Silverstone et son adjointe, Judy Strapp, la collection Claridge est devenue l'une des plus importantes collections corporatives de son époque au Canada. Elle se distingue par le fait qu'elle est un amalgame de toutes les formes de support artistique contemporaines, incorporant la peinture, la photographie, la sculpture, la céramique, le verre et un grand nombre d'objets d'art. À la différence des collections des banques ou firmes d'avocats de l'époque, qui privilégiaient typiquement les œuvres du Groupe des Sept et autres artistes de même genre, la collection Claridge était un reflet bien plus authentique du Canada des années quatre-vingt. Délaissant le style sobre qui avait cours dans les autres entreprises, cette collection a osé être fantaisiste, colorée et hétérogène. En collaboration avec les conservateurs de la collection, les employés de Claridge pouvaient choisir des pièces pour décorer leurs bureaux en fonction de leurs goûts et personnalités. Nous avons toujours été fiers de faire connaître à d'autres l'originalité de nos locaux, et y avons aussi accueilli de nombreuses visites guidées privées. Après trente ans, j'ai décidé que le moment était venu de renouveler la collection. Après avoir réaménagé et modernisé nos bureaux, nous montons maintenant une nouvelle collection d'art Claridge, qui rassemblera les œuvres d'artistes déjà très en vue et d'étoiles montantes du milieu artististique canadien. La première collection Claridge a permis à mon père, Charles, de se familiariser avec les meilleurs talents du Canada. J'espère en faire de même avec l'aide de ma conservatrice, Judy Strapp, et de son adjointe, Tina Kyriakakis. Je crois beaucoup à la continuité, que ce soit sur le plan du développement d'entreprises, de l'engagement philanthropique, ou du choix de s'entourer d'œuvres d'art vivantes, intéressantes et stimulantes. J'ai eu le grand privilège de grandir entouré d'art, et j'ai énormément de plaisir à en partager la beauté et l'appréciation. La collection Claridge était le fruit de la vision très originale de mon père; j'ose espérer que la nouvelle version en sera un digne successeur. Nous entourer de magnifiques œuvres d'art canadiennes et célébrer fièrement la richesse et la variété de notre patrimoine: voilà l'objectif que je me suis fixé pour la nouvelle collection Claridge. Stephen Bronfman

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

If ever there were the perfect job offer, it was made to me by Charles and his late wife, Andy, over lunch one Saturday in June 1985. I had at this point been advising them on their collections for a couple of years. Charles had chosen to move the Claridge offices into what was once the Windsor Hotel, on Peel Street in Montreal. It had been completely restored and he had taken the top three floors, some 60,000 square feet. Charles and Andy had decided that Canadian art and decorative arts must adorn the offices. During our discussion as to what form that would take, we talked about the Saidye Bronfman Award, which he and his family had created to honour their mother’s 80th birthday back in 1976. The prize, now part of the Governor General’s Awards, is bestowed annually on a leading decorative arts artist, known in those days as craftsman or craftswoman! The winner for 2013 was Calgary’s Greg Payce. My mandate was to handpick a fun, colourful and bright collection of the top Canadian artists, sculptors and craftspeople, and not based on who was popular at the time. I was to spend the next couple of years travelling to every major city across Canada, and, with folks who knew the art scene there, visiting artists, galleries, craft centers and, in some cases, frame shops, to choose the art. I then shipped all the works back to Montreal for final selection by Andy, Charles and John Hobday, head of the Samuel and Saidye Bronfman Family Foundation. I borrowed John Daniel’s gallery and, on a Sunday night, we would move in to set up the work to be reviewed by the jury on the Monday. As with everything they bought, both Charles and Andy had to love the work to give the piece a ‘thumbs up’ for purchase. Today, we make way for Claudine and Stephen Bronfman. It is their turn to encourage new faces to the canvases and clay around the Claridge offices, and I know they are deriving as much enjoyment as we did all those years ago. Perhaps now it is your turn to own some of the collection: you will not be disappointed. Should you purchase work, I shall be delighted to offer you a copy of the privately printed Claridge Collection catalogue containing the first group of artists. I should point out that supplies of the catalogue are limited. Franklin Silverstone Curator, The Claridge Collection FSilverstone@Collectify.com

Au cours d'un déjeuner, un samedi du mois de juin 1985, Charles et sa défunte épouse Andy m'ont offert un emploi de rêve. Cela faisait un certain temps déjà que je les conseillais au sujet de leurs collections. Charles avait décidé d'installer les bureaux de Claridge dans l'ancien Hôtel Windsor, qui venait d'être entièrement restauré. Claridge allait occuper les trois derniers étages de cet édifice de la rue Peel, à Montréal, soit quelque 60 000 pieds carrés. Charles et Andy voulaient que les nouveaux bureaux soient décorés d'œuvres d'art et d'art décoratif canadiens. En discutant de la meilleure façon de réaliser ce projet, nous en sommes venus à parler du Prix Saidye Bronfman, que Charles et sa famille avaient fondé en 1976 en l'honneur des 80 ans de leur mère. Ce prix, entretemps incorporé aux Prix du Gouverneur général, est attribué annuellement à un ou une artiste en arts décoratifs, ou, pour employer la terminologie de l'époque, à un artisan ou une artisane. Le lauréat de 2013 est le Calgarien Greg Payce. J'avais pour mandat de choisir des pièces amusantes, colorées et lumineuses, créées par les meilleurs artistes, sculpteurs et artisans canadiens, sans me soucier de qui avait la plus grande cote de popularité. Au cours des deux années suivantes, j'ai donc sillonné le pays, me rendant dans toutes les villes principales du Canada. Avec l'aide de personnes qui connaissaient bien le milieu artistique de leur communauté, j'ai rencontré des artistes et visité des galeries, des centres d'artisanat et parfois même des ateliers d'encadrement pour y dénicher des pièces. Ensuite, j'expédiais le tout à Montréal, où je montais une exposition dans la galerie de John Daniel, grâcieusement mise à notre disposition. Le lendemain, Charles, Andy et John Hobday, directeur de la Fondation de la famille Samuel et Saidye Bronfman, s'y réunissaient pour choisirent les pièces qui seraient achetées. Comme ce fut le cas pour toutes leurs collections, les pièces n'étaient retenues qu'à condition de plaire autant à Andy qu'à Charles. Aujourd'hui, nous cédons la place à Claudine et Stephen Bronfman. C'est à leur tour d'agrémenter les bureaux de Claridge avec les œuvres d'artistes contemporains, et je suis convaincu qu'ils auront autant de plaisir que nous en avons eu, il y a tant d'années. Peut-être envisagez-vous d'acquérir une pièce de la collection? Vous ne serez pas déçu. Si vous achetez une œuvre, je serai heureux de vous offrir un exemplaire du catalogue de la collection Claridge, dans lequel sont reproduites les pièces qui font partie du premier encan. Je signale cependant que nous n'en avons imprimé qu'un nombre limité. Franklin Silverstone, conservateur de la collection Claridge FSilverstone@Collectify.com

DecorativeArts.Waddingtons.ca

The Claridge Collection: As Chance Would Have It

La Collection Claridge : Née d'un heureux hasard

Serendipity has often featured prominently in the birth and growth of many of our renowned Canadian cultural programs and institutions. Such was the case with the Claridge Collection.

Parmi les institutions et programmes culturels les mieux connus du Canada, bon nombre doivent leur origine et leur épanouissement à un heureux hasard. Ce fut le cas de la Collection Claridge.

In the mid 1960s, Peter Swann was strolling down Sloane Street in London, England, and happened to stop in front of a window display of Canadian First Nations crafts. He struck up a conversation with the shop manager, Peter Weinrich, and together the two Englishmen lamented the fact that very little attention was given to Canadian crafts.

Vers le milieu des années 60, Peter Swann se trouvait à Londres. Un jour, alors qu'il déambulait dans Sloane Street, son attention fut attirée par la vitrine d'un magasin dans laquelle étaient exposées des œuvres d'artisanat des Premières Nations du Canada. Swann entama une conversation avec le gérant du magasin, Peter Weinrich, et les deux Anglais déplorèrent le peu d'intérêt que suscitaient à l'époque les métiers d'art canadiens.

Swann came to Canada in 1966 to become Director of the Royal Ontario Museum and the first Executive Director of the Samuel & Saidye Bronfman Family Foundation in 1972. Throughout these years, he remained in contact with Weinrich, who was offered the position of Executive Director of the Canadian Crafts Council in 1974. An opportunity finally arose in 1977 to raise the profile of Canadian crafts: As a way of commemorating the 80th birthday of “Mrs Saidye”, Swann came up with the idea of establishing a national award in her honour. With Weinrich’s support through the CCC and the Saidye Bronfman Foundation, the Saidye Bronfman Award for Excellence was established, and soon became Canada’s foremost distinction for excellence in the fine crafts. The awards were jointly administered by the Foundation and the Canadian Museum of Civilization. Ever since, the $25,000 prize has been awarded annually to an exceptional craftsperson and the recipient's works are acquired by the Canadian Museum of Civilization for its permanent collection. The museum has mounted several solo exhibitions and two major retrospective exhibitions of the collection, which have toured across Canada, including "Transitions", which travelled to New York's American Craft Museum, now renamed the Museum of Arts and Design. In 2007 the award became a part of the Governor General’s Awards in Visual and Media Arts. This in turn was a major recognition of both the growing “acceptance” of the fine crafts and the pioneering efforts made to raise the profile of both the crafts and the prestige of the award. Charles Bronfman began acquiring the works of some of the early Saidye Bronfman Award winners. Thanks to his growing respect for fine crafts, and the enthusiastic support of his late wife, Andrea, their curator Franklin Silverstone began criss-crossing the country in 1986, assembling a wide range of remarkable Canadian fine crafts to adorn the new offices of Claridge Inc. in Montreal. This marked the birth of the Claridge Collection. John Hobday C.M., Former Executive Director of the Samuel & Saidye Bronfman Family Foundation

En 1966, Swann s'installa au Canada et assuma le poste de premier directeur du Royal Ontario Museum; en 1972, il devint le premier directeur général de la Fondation de la famille Samuel et Saidye Bronfman. Au fil des années, il garda le contact avec Weinrich qui, en 1974, arriva à son tour au Canada pour devenir directeur général du Conseil canadien des métiers d'art. C'est en 1977 que se présenta enfin l'occasion de rehausser le profil des métiers d'art canadiens. En effet, Swann eut l'idée de marquer les 80 ans de « Mme Saidye » en créant un prix national en son honneur. Avec l'appui du CCMA, par l'entremise de Weinrich, et de la Fondation Saidye Bronfman, le Prix Saidye-Bronfman pour l'excellence fut lancé, et fut bientôt reconnu comme la plus haute distinction conférée dans le domaine des métiers d'art au Canada. Le prix était administré conjointement par la Fondation et par le Musée canadien de la civilisation. Depuis lors, le prix de 25 000 $ est décerné annuellement à un artisan exceptionnel, dont les œuvres sont ensuite achetées par le Musée canadien de la civilisation pour sa collection permanente. En outre, le Musée a tenu plusieurs expositions solo et a monté deux importantes rétrospectives de la collection, qui ont traversé le Canada. La rétrospective « Transitions » fut aussi montrée au American Craft Museum de New York, entretemps renommé Museum of Arts and Design. En 2007, le prix fut incorporé aux Prix du Gouverneur général en arts visuels et en arts médiatiques, une évolution témoignant à la fois de la légitimation croissante des métiers d'art et des initiatives pionnières entreprises pour mettre en valeur cette forme d'art et pour souligner le prestige du prix. Charles Bronfman se mit à acquérir les œuvres de certains des premiers lauréats du Prix Saidye Bronfman. En raison de l'appréciation grandissante de Charles pour les métiers d'art, et avec l'appui enthousiaste de feu son épouse, Andrea, le commissaire Franklin Silverstone se mit à sillonner le pays en 1986 pour assembler un vaste éventail de remarquables œuvres artisanales canadiennes, destinées à orner les nouveaux bureaux de Claridge Inc. à Montréal. Ainsi naquit la Collection Claridge. John Hobday, C.M., ancien directeur général de la Fondation de la famille Samuel et Saidye Bronfman

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

One Family, Two Collections In the early 1980s, the Canadian Crafts Council and the Samuel and Saidye Bronfman Family Foundation approached the Canadian Museum of Civilization about the creation of a collection and exhibition of works by the recipients of the Saidye Bronfman Award. This philanthropic gesture was one of three major gifts from Canadian families that strengthened the museum’s holdings of contemporary craft. During this same period, representatives of the Massey Foundation offered us a large collection of Canadian craft. This collection had been developed to demonstrate the continuing importance of the handmade functional object. The Massey Foundation’s focus on functionality allied it with the museum’s collections of historical handmade functional objects. Over 900 artifacts came into our collection by many of the premier craftspeople from across the country. After the initiation of the museum’s Bronfman acquisitions, we were also offered a collection that had been assembled by the Ontario Crafts Council (OCC); much of this collection had been acquired through the generosity of the Chalmers family of Toronto. Focusing on works made in Ontario, the OCC’s holdings of over 600 artifacts included both functional objects and personal expressions, as well as many works by First Nations and Inuit makers, thus demonstrating the strength of Aboriginal culture. With the support of the Samuel and Saidye Bronfman Family Foundation, the Canadian Museum of Civilization initially embarked on the acquisition of works by each of the Award recipients. In time, the criteria for the collection were broadened to include works by craftspeople short-listed for the award, those whom the jury deems especially worthy of inclusion, as well as those who have contributed significantly to the history of crafts. Over 200 works by important craftspeople have been collected so far, spanning the 1940s to the present day, and the museum continues to acquire works with funds previously provided by the foundation.

collection. It provides an all-encompassing view of creative practices in Canada by featuring the works of artists from all regions of the country during the latter part of the 20th century. In contrast, the Canadian Museum of Civilization’s Canadian Crafts collection focuses exclusively on traditional craft materials, that is clay, glass, textiles, metal and wood. Many craft artists’ works are featured in both the Claridge and the Museum’s collections. Among them are Roy Ron’s beautiful celadon vases; Walter Ostrom’s majolica ﬂower baskets; Monique Cliche-Spénard’s traditional quilts that depict the history of the Beauce region, and Ted Hodgetts’s paper-thin turned wooden vessels. Not all artists are included in both collections. The Canadian Museum of Civilization’s approach to acquisitions is based on a more structured set of criteria, while the Claridge Collection has had the freedom to choose from a broader spectrum of art forms. Looking through the catalogue, I will admit to coveting some of the Claridge pieces for the Museum’s collection. Many institutions across Canada have been the recipients of the Bronfman family’s generous gifts and donations. The proceeds of this auction will beneﬁt Historica Canada, whose mission is to strengthen our understanding of Canadian heritage: another example of the family’s support for all facets of Canadian culture. Alan C. Elder Curator, Canadian Crafts and Design, Canadian Museum of History

There has sometimes been confusion about the nature and holdings of the Claridge Collection, owned by the Bronfmans, and the works that the Canadian Museum of Civilization has acquired through the generosity of the Bronfman family. Although the two are related, in that acquisitions for both collections were being made during the same period of time and often included works by the same artists, they are also quite different. The Claridge Collection’s much broader approach encompasses photographs, paintings, sculptures and works of traditional craft materials. As I look through the images of the works that will be offered for auction, Evergon’s large-scale Polaroid of his mother making bread, Jennifer Dickson’s ethereal garden landscape, Edward Burtynsky’s startling record of uranium tailings, Léon Bellefleur’s small-scale expressions, John Little’s view of Old Quebec in the winter and Allen Sapp’s nostalgic view of life on the Northern Plains, I am struck by the diversity of the

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Une famille, deux collections C'est au début des années 80 que le Conseil canadien des métiers d'art et la Fondation de la famille Samuel et Saidye Bronfman proposèrent au Musée canadien des civilisations de monter une collection et d'exposer les œuvres des lauréats du Prix Saidye Bronfman. À la même époque, deux autres familles faisaient d'importants dons au musée, agrandissant ainsi sa collection d'artisanat contemporain. La Fondation Massey offrit au musée une vaste collection d'œuvres artisanales canadiennes. Cette collection avait été assemblée dans le but d'illustrer l'importance toujours actuelle des objets utilitaires fabriqués à la main. Comme elle privilégiait le volet utilitaire, la collection offerte par la Fondation Massey se mariait bien avec les objets utilitaires historiques que détenait déjà le musée. Plus de 900 artéfacts, créés par certains des artisans les plus réputés du Canada, furent ainsi intégrés aux collections du musée. Plus tard, après le lancement des acquisitions offertes par la Fondation Bronfman, ce fut au tour de l'Ontario Crafts Council d'offrir au musée une collection dont beaucoup de pièces avaient été acquises grâce à la générosité de la famille Chalmers, de Toronto. La collection de l'OCC se composait de plus de 600 œuvres d'artisans ontariens et comprenait à la fois des objets utilitaires et des œuvres d'expression personnelle. Un grand nombre des ces pièces avaient été crées par des artisans des Premières Nations ou Inuit et illustraient la vitalité de la culture autochtone. Avec l'appui de la Fondation de la famille Samuel et Saidye Bronfman, le Musée canadien des civilisations se mit à acquérir les œuvres des lauréats du Prix Saidye Bronfman. Au fil du temps, les critères d'inclusion à la collection furent élargis pour inclure les œuvres d'artisans finalistes et d'artisans que le jury considérait particulièrement méritoires, ainsi que ceux qui avaient contribué de façon exceptionnelle à l'histoire des métiers d'art. Plus de 200 œuvres furent acquises, remontant aux années 1940 et créées par des artisans renommés, et le musée poursuit toujours ses acquisitions grâce aux fonds offerts par la fondation. Il y a parfois confusion quant à ce qui distingue la collection Claridge, détenue par la famille Bronfman, de la collection assemblée par le Musée canadien des civilisations grâce à la générosité de cette même famille. Bien qu'elles aient des point communs, les acquisitions ayant été faites à la même époque et bon nombres d'artistes figurant dans les deux collections, elles sont toutefois assez différentes l'une de l'autre. En effet, la collection Claridge est le fruit d'une approche beaucoup plus large; elle contient des photographies, des tableaux, des sculptures ainsi que des œuvres créées avec les matériaux traditionnels des métiers d'art. Lorsque je regarde les images des œuvres qui seront mises en vente, je suis frappé par leur grande diversité : la photo Polaroid grand format d'Evergon, montrant sa mère en train de faire du pain; le paysage de jardin éthéré de Jennifer Dickson; les représentations déroutantes de résidus d'uranium, d'Edward Burtynsky; les expressions de format réduit de Léon Bellefleur; le Vieux Québec en hiver, peint par John Little; et l'évocation nostalgique de la vie des plaines du Nord par Allen Sapp. La collection est un recueil complet des pratiques artistiques et artisanales de toutes les régions du Canada au 20e siècle. Par contre, les

collections de Métiers d'art et de design canadiens du Musée canadien des civilisations sont uniquement axées sur les matériaux traditionnellement utilisés en métiers d'art, à savoir l'argile, le verre, les textiles, le métal et le bois. De nombreux artisans figurent à la fois dans la collection Claridge et dans les collections du musée. Parmi eux, citons Roy Ron et ses beaux vases céladon, Walter Ostrom et ses paniers de fleurs en majolique, Monique Cliche-Spénard et ses courtepointes traditionnelles dépeignant l'histoire de la Beauce, et Ted Hodgett et ses vaisseaux en bois tourné, minces comme du papier. Certains artistes, cependant, ne sont représentés que dans une seule collection. En effet, les acquisitions faites par le Musée canadien des civilisations devaient répondre à un ensemble de critères plus restrictif, alors que la collection Claridge pouvait puiser dans une large gamme de formes d'art. En contemplant le catalogue, je ne peux m'empêcher de convoiter certaines des pièces pour la collection du musée. Un grand nombre d'institutions canadiennes ont bénéficié de dons généreux qui leur ont été accordés par la famille Bronfman. Les profits de la présente vente seront versés à Historica Canada, qui a pour mission de renforcer notre connaissance du patrimoine canadien : un autre bel exemple de l'intérêt que porte la famille Bronfman à toutes les facettes de la culture canadienne. Alan C. Elder Conservateur des métiers d'art et du design du Canada, Musée canadien de l’histoire

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

The Claridge Collection

La collection Claridge

Reviewing again the work in the Claridge Collection has been an experience both of nostalgia and of pleasure. Nostalgia because so many of the objects embody stories of people and places, events, achievements and lives lived… relationships with artists and artisans who have given shape and texture to their communities, their institutions and their country. Pleasure because so many of the objects retain their vitality and relevance despite the developments in the arts subsequent to their creation.

Renouer avec les œuvres de la collection Claridge a été un mélange de nostalgie et de plaisir. Nostalgie, parce que beaucoup de ces pièces rappellent les personnes, les lieux et les événements qui les ont inspirées, les réalisations marquantes et les parcours de vie, les relations avec les artistes et les artisans qui ont contribué à façonner leurs communautés, leurs institutions et leur pays. Et plaisir, car bon nombre de ces œuvres n'ont rien perdu de leur vitalité et de leur pertinence malgré l'évolution qui a marqué les arts depuis leur création.

As the collection, carefully gathered over decades, once again disperses into individually-owned objects, it may be an occasion to consider some of the characteristics that made it a collection, and an unusual one in Canada. One characteristic is that so many of the works emerge from the hand-made craft tradition and thus carry the historic skills and technical developments that have brought such richness and diversity to Canadian art. Although often ignored or avoided in the more general discourse on the arts, this energy is celebrated in the Claridge Collection without apology. The places where fine arts and fine crafts inevitably overlap are encountered repeatedly and can be appreciated from the multiple perspectives of skill, imagination, and meaning. The ceramics alone offer a catalogue of significant makers and ideas in this media in the mid to late 20th century. Another characteristic is that engagement of so many of the works in regional movements of style, design, landscape and culture. The West Coast, Prairies, Maritime and northern environments seem to come alive in so many of the works. The distinctive styles and designs of the cities, often with international liaisons, also resonate through the collection. In a society as culturally diverse and geographically vast as Canada, what might appear to be fragmentation and hybridity becomes a part of the character of any broad-based collection. Those who might acquire an object from the Claridge Collection will enjoy it in its own right and fold it into an already existing personal or institutional collection. What they might also enjoy is its legacy as part of an unusual corporate collection, one that involved engagement with artists, with Canadian museums and galleries, with exhibitions and publications. It was an effort that enabled many more Canadians than would otherwise have been possible to encounter the best of Canadian artists working in a wide range of media and drawing on a fascinating range of traditional skills. Dr. Stephen Inglis Executive Director, Aanischaaukamikw Cree Cultural Institute; former Adjunct Professor, Art History, Carleton University; former Director General, Research and Collections, Canadian Museum of Civilization

Alors que la collection, méticuleusement assemblée au fil des décennies, se voit maintenant répartie entre les mains d'amateurs d'art individuels, le moment est peut-être propice à une réflexion sur ce qui en a fait une collection parmi les plus inusitées au Canada. La collection s'est distinguée notamment par le fait qu'un grand nombre des pièces qui la composent sont issues de la tradition artisanale, et incarnent ainsi les anciens métiers et savoir-faire qui ont enrichi le patrimoine artistique du Canada et contribué à sa diversité. Alors que ce volet de la création artistique est souvent oubliée, voire exclu du discours général sur l'art, la collection Claridge a fièrement choisi de le mettre en valeur. D'ailleurs, les beaux-arts et les métiers nobles se recoupent inévitablement, et leurs nombreux points de convergence peuvent s'apprécier sur le plan du talent, de l'imagination et du sens. À elles seules, les céramiques sont une représentation éloquente de cette forme d'art de la deuxième moitié du vingtième siècle. La collection tire aussi son originalité du fait que beaucoup de ses œuvres témoignent de courants régionaux sur le plan du style, du design, des paysages et des cultures. La côte Ouest, les Prairies, les Maritimes et les milieux nordiques y sont incarnés de façon très vivante. Les villes s'y trouvent également bien représentées; chacune y arbore son style distinctif et son design particulier, avec, souvent, un écho international. Dans un pays comme le Canada, avec ses vastes étendues et sa grande diversité culturelle, une démarche qui pourrait sembler fragmentaire et métissée devient un incontournable de toute collection polyvalente. Les amateurs d'art qui acquerront une pièce de la collection Claridge l'apprécieront pour ses qualités intrinsèques et pourront l'intégrer à une collection personnelle ou institutionnelle. Ils pourront aussi se féliciter d'avoir acquis une part d'une collection d'entreprise unique en son genre, fondée sur l'engagement avec les artistes, avec divers musées et galleries du Canada et avec des expositions et publications. Grâce à cette démarche, la collection Claridge aura permis à un grand nombre de Canadiens de connaître les meilleurs artistes du pays, faisant appel à un large éventail de médias et exerçant une gamme de métiers traditionnels fascinants. M. Stephen Inglis Directeur général, Institut culturel cri Aanischaaukamikw; ancien professeur auxiliaire d'histoire de l'art, l'Université Carleton; ancien directeur général, Direction de la recherche et des collections, Musée canadien des civilisations

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1 VICTOR CICANSKY TOMATO CHAIR clay, 6.5” x 7” x 5.75” — 16.5 x 17.8 x 14.6 cm., painted signature and dated ‘87 in green Exhibited: Susan Whitney Gallery, Regina, SK $400—600

Victor Cicansky was born in Regina, Saskatchewan in 1935. He developed a respect for the land at an early age as his family grew most of what they ate. He received his B.Ed. from the University of Saskatchewan in 1935, and was an elementary school teacher for several years. He went on to study art at the Hastack Mountain School of Art, Deer Island, Maine, and at the University of California, Davis, where he received his MFA in 1970. Strongly inﬂuenced by the funk art movement in California of the 1960‘s, he returned to Saskatchewan and began to create sculptures that reﬂected his strong connection to nature, depicting the sensuous quality of fruits, vegetables and the land. As Cicansky himself stated, his work is about the backyard garden, what he has seen, remembered, and experienced as a gardener, and translated this into his artwork. Cicansky was a member of the Faculty of Fine Arts and the University of Regina for over twenty years. He was also a guest lecturer at universities in Canada and the United States, including the University of California, Davis. He also received numerous awards, including the Victoria and Albert Award for Ceramic Sculpture (1967); he was named as a member of the Order of Canada in 2009 for his contributions as an artist and educator. He was honoroured with the Saskatchewan Lieutenant Governor’s Award for Lifetime Achievement in the arts in 2012. He lives and works in Regina.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

2 VICTOR CICANSKY POTATO CHAIR clay, 7.5” x 7.25” x 5.5” — 19.1 x 18.4 x 14 cm., painted signature and dated ‘86 Exhibited: Susan Whitney Gallery, Regina, SK $400—600

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3 WAYNE NGAN PLAQUE stoneware, 22.25” x 14.75” — 56.5 x 37.5 cm., impressed seal mark Provenance: Purchased directly from the artist $400—600

Wayne Ngan was born in Kwantung, China in 1937. During the Japanese invasion of China, he immigrated to Canada with his mother at the age of 13, and was sent to live with his grandfather. He grew up struggling with language and poverty in Vancouver. His personal and artistic achievements can undoubtedly be linked to the strength of mind and body that he developed through this struggle. Ngan put himself through the Vancouver School of Art while working night shift at a local sawmill, graduating in Ceramics in 1963. He soon established his own pottery studio and taught at the art school and at the University of British Columbia, emerging as one of BC’s top ceramic artists. In 1965 Ngan had his first solo show at Bau-Xi Gallery, Vancouver, displaying his paintings, drawings, sculptures and ceramics. He subsequently moved to the rural community of Hornby Island, where he built a home and studio. Throughout his career, Ngan has led workshops and exhibited throughout the world. In 1983, the Palace Museum in Taipei exhibited some of his works, the first time in the museum’s history to exhibit a modern piece of pottery. Ngan was one of three distinguished artists featured in the award-winning 2007 film Glimpses of Heaven. He continues to produce and exhibit his art, and recently had an exhibition of his paintings at the Granville Fine Art Gallery in Vancouver. He is the only potter to be given a one-man show at the Vancouver Art Gallery, and his pieces are frequently presented to visiting foreign dignitaries as official gifts from the Canadian government.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

4 WAYNE NGAN OIL SPOT BOWL clay, height 2.75” — 7 cm., diameter 7.25” — 18.4 cm., impressed seal mark Provenance: Purchased directly from the artist $200—400

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5 WAYNE NGAN UNTITLED stoneware, height 3” — 7.6 cm., diameter 16” — 40.6 cm., impressed seal mark, circa 1988 Provenance: Purchased directly from the artist $800—1,200

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

6 MASATADA FUNO UNTITLED clay, 5” x 4” x 4.5” — 12.7 x 10.2 x 11.4 cm., incised initials, circa 1989 Provenance: Purchased directly from the artist

Masatado Funo was born in Seattle, Washington, of Japanese descent. He pursued graduate studies in Clinical Psychology at the University of Chicago in the 1960’s. He was interested in the patterns along which human beings develop, which has translated into his artwork, more specifically the patterns of evolutionary history present within the human body. His work always, as life, starts with an egg, from which he produces exquisite forms in the form of small, clay measuring not more than five inches.

$100—150

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7 MASATADA FUNO PINCH BOX clay, height 6” — 15.2 cm., incised signature, circa 1987 Provenance: Purchased directly from the artist $150—250

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

8 MASATADA FUNO PINCH BOX clay, height 5” — 12.7 cm., incised signature, circa 1987 Provenance: Purchased directly from the artist $150—250

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9 MASATADA FUNO UNTITLED clay, 4” x 6.25” x 5” — 10.2 x 15.9 x 12.7 cm. Provenance: Purchased directly from the artist $150—250

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

10 TONY BLOOM PLANTER WITH CURL clay, height 8.25” — 21 cm., applied seal mark and incised signature Provenance: Purchased directly from the artist $100—150

Tony Bloom was born in Tokyo, Japan and lived in Washington, D.C., and Paris, before settling in Canmore, B.C. in 1970. Through his art, he found that he could create objects and notations that allowed him to convey what was meaningful to him. He studied musical composition at the Banff School of Fine Arts in 1970. Wanting to create a flute out of clay, he signed up for a pottery course and soon realized that flutes were a challenge to make out of clay. He grew to love the material and processes and only realized ten years into it that he now had a career, a business and his life’s work. In the mid-1980’s, Bloom started to work with bronze, discovering that, although this material offered different qualities to clay, techniques for each could be overlaid into the other. In 2011, Bloom was commissioned to produce a major piece of art for the Northern Alberta Jubilee Auditorium and, in 2013, a recently opened exhibit entitled "Landbuoys” is at the Whyte Museum in Banff, AB. He is the recipient of numerous awards, including the Province of Alberta Achievement Award (1988) and the Canada Council Award (1984, 1987, 1997). He is also co-founder of Stonecrop Studios in Canmore, Alberta, where he continues to create his artwork.

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11 TONY BLOOM BOWL WITH CURL clay, height 5.25” — 13.3 cm., diameter 10.5” — 26.7 cm., applied seal mark and incised signature Provenance: Purchased directly from the artist $100—150

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

12 TONY BLOOM WALL MURAL clay, 37.5” x 18.5” x 2.25” — 95.3 x 47 x 5.7 cm., circa 1986 Provenance: Purchased directly from the artist $700—900

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13 MEL BOLEN UNTITLED clay, height 2.5” — 6.4 cm., diameter 13.25” — 33.7 cm., impressed signature and dated ‘87 Provenance: Purchased directly from the artist $150—200

Mel Bolen was born in Regina, Saskatchewan, in 1947. He began his studies in engineering at the University of Regina in 1967 but, after taking a pottery course as an elective, transferred into the Fine Arts program. Upon graduating in 1971, Bolen worked as a pottery instructor for the city of Regina, and was then offered the position of Head of the Extension Pottery Department at the University of Regina, which he held from 1972 to 1976. During this time he was also exhibiting across Canada. In 1978, Bolen was among a group of Saskatchewan delegates who attended The World Crafts Council General Assembly in Japan, where he visited the ancient ceramic centres of Bizen and Shigaraki, as well as meeting Fujiwara Kei, one of Japan’s “living national treasures.” He soon after established his current practice in Humboldt, Saskatchewan, where he set up his studio and gallery, North Star Pottery. Bolen has received several Saskatchewan Arts Board and Canada Council grants through the years, allowing him to move away from his commercial practice to a more creative form of ceramic sculpture. He was the 2012 and 2007 recipient of the Premier’s Prize in the Saskatchewan Craft Council juried exhibition, Dimensions. Bolen also served as a demonstrator and exhibitor at the Saskatchewan Pavilion during the Expo 86 in Vancouver, BC. Bolen has gained international recognition for his salt and wood-fired pottery. His works are a strong and sensuous demonstration of his ability to manipulate the clay at his fingertips.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

14 TATIANA DEMIDOFF-SEGUIN SCENE THREE mixed media, 5.75” x 37” x 1.5” — 14.6 x 94 x 3.8 cm., signed in black pen Provenance: Galerie John Daniel, Montreal, QC $300—500

Tatiana Demidoff-Seguin was born in the mid 1930‘s in Algers, Algeria to a Russian father and Spanish mother. She trained in classical art and sculpture, before taking exile in Paris with her family. While continuing her studies in drawing and painting, she met the Quebec historian Maurice Seguin, whom she married and immigrated to Quebec with him in 1962. From 1979 to 1999, Demidoff-Seguin exhibited her works in 17 solo and 60 group exhibitions in museums and galleries in Canada, France, the United States and Russia, and also completed monumental sculptures in Quebec, Mexico, Russia and France. She was also the recipient of several awards, including from the Government of Quebec, co-founder and editor of the magazine Espace, and her work is found in prominent public and private collections. Demidoff-Sequin passed away in 2006.

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15 LINDSAY ANDERSON VESSEL raku, height 4.75” — 12.1 cm., diameter 11” — 27.9 cm., circa 1991 Exhibited: Susan Whitney Gallery, Regina, SK $100—150

Lindsay Anderson studied art at the Balfour Technical School and pottery under Don Chester and Helen Rogers at the University of Regina. He worked as a studio technical in the Ceramics Department of the university from 1982 to 1990, and continued on to teach ceramics for the City of Regina for two years. Since 2012, Anderson is an instructor at the Visual Arts Center in Bowmanville, Ontario. Anderson’s works focus primarily on functional ware, with sculptural elements incorporated into the pieces. The majority of his pottery is functional porcelain and hand built raku, where he uses a combination of metallic luster and crackle glazes. Anderson has participated in numerous solo and group exhibitions nationally and international and his work is included in several private and public collections in Canada. He is the recipient of the Saskatchewan Arts Board purchase award in 1986. Anderson lives in Cobourg, Ontario.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

16 JONATHAN AYRES GRASS blown glass, height 14” — 35.6 cm., circa 1997 Exhibited: Joseph Gross Gallery, Tucson, AZ $300—400

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17 PETER BAKER HOME TEAPOT clay, 11” x 7.5” x 4.75” — 27.9 x 19.1 x 12.1 cm. Provenance: Purchased directly from the artist $100—150

Peter Baker was born in 1924 in Winnipeg, Manitoba. After receiving his Bachelor of Architecture from the University of Manitoba, he began his career as an architect, traveling and studying through Europe and living for 4 years in Sweden. Upon his return to Canada in 1959, he settled in Vancouver, British Columbia. Baker started with clay in the 1970’s, at the urging of his wife, Brita, an avid potter. He soon found a way to combine his new-found hobby and his profession. Baker was known for his miniature reproductions of Ontario farmhouses, Danish churches and San Francisco row houses. Some of the houses were designed into teapots, lamps and candle lanterns. Baker exhibited his ceramic houses throughout British Columbia. He passed away in Vancouver in 2009.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

18 KATRINA CHAYTOR UNTITLED clay earthenware, glazes, height 15” — 38.1 cm., painted signature and dated ‘89 in black Provenance: Purchased directly from the artist $400—600

Katrina Chaytor was born St. John’s, Newfoundland in 1962. She received her BFA from the Nova Scotia College of Art and Design in Halifax in 1983 and her MFA from New York State College of Ceramics at Alfred University, Alfred, New York, in 1986. Chaytor has participated in numerous exhibitions both nationally and internationally, and in 2007, was one of ten Canadian ceramic artists invited to participate in a month-long residency at the Fule International Ceramics Art Museums at FuPing, Shaanxi, China. Chaytor has been a permanent member of the Ceramics faculty at the Alberta College of Art and Design since 2001. She has lectured and taught workshops both nationally and internationally, and is the recipient of several awards and grants, including the Award of Honour from the Alberta Craft Council in 2010. Chaytor’s work is of slab construction, incorporating complex patterns onto her surfaces with plaster moulds and accentuating them with luminous glazes. She continues to research the role of ornament as a “mediator between art and life” in contemporary culture.

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19 ALLAN CRIMMINS UNTITLED clay, height 1.75” — 4.4 cm., diameter 12.75” — 32.4 cm., incised signature and dated ‘81 Provenance: Purchased directly from the artist $200—300

Allan Crimmins was born in Vancouver, British Columbia in 1943 and studied art at Mount Allison University in Sackville, New Brunswick from 1961 to 1963, and at the Pennsylvania Academy of Fine Arts from 1964 to 1965. Upon completion of his studies, Crimmins taught at the New Brunswick Craft School, eventually becoming its director from 1968 to 1979. In 1970, Crimmins became co-owner of Keswick Ridge Craftsmen Ltd, a pottery production studio, and in 1974, built Opus Craft Village in Mactaquac, New Brunswick, a studio that housed some 23 craftsmen and apprentices working in various disciplines. In 1978, he opened up his own studio, Crimmins Pottery, where he made production pottery. Crimmins also served as the President of the Canadian Craft Council from 1981 to 1982. He has just recently retired from his profession.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

20 ALLAN CRIMMINS NIGHT SCAPE clay, height 6” — 15.2 cm., diameter 8” — 20.3 cm., incised signature and dated ‘87 Provenance: Purchased directly from the artist $150—250

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21 DAILY CUMBERLAND DECORATIVE WALL PLATE clay, height 1.75” — 4.4 cm., diameter 13.5” — 34.3 cm., incised signature and dated ‘86 Provenance: Purchased directly from the artist $100—150

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

22 ANN CUMMINGS LOOKING FOR A GOOD HOME clay, 4.5” x 23.5” x 13.75” — 11.4 x 59.7 x 34.9 cm., painted signature in cream, circa 1993 Provenance: Purchased directly from the artist $300—400

Born in Detroit, Michigan in 1947, Ann Cummings received her Bachelor of Fine Art, majoring in Ceramics and Drawing, from Wayne State University in 1972. It was during her undergraduate studies that Cummings happened upon a ceramics course, which redirected her art career. She went on to further studies at the Archie Gray Foundation in Montana and the Banff Center for the Arts. Cummings moved to Toronto, Ontario in 1974, and attended Sheridan College School of Crafts and Design in 1976. Cummings has taught courses and workshops in ceramics and, more specifically, Raku at the Ontario College of Art, Sheridan College, and George Brown College in Toronto. She has participated in several solo and group exhibitions across Canada, the United States and Australia, and her work is included in prominent collections across Canada, including the Burlington Art Center and the Canadian Clay and Glass Gallery. Cummings lives in Port Perry, Ontario.

DecorativeArts.Waddingtons.ca

23 JAMIE EVRARD UNTITLED wire, plastic tubes, 10.25” x 29.75” x 25” — 26 x 75.6 x 63.5 cm. Provenance: Purchased directly from the artist $600—800

Born in Milwaukee, Wisconsin in 1949, Jamie Evrard received a Bachelor of Arts Magna cum Laude from Brown University, Rhode Island, in 1971 and a Masters of Art and Masters in Fine Art with a concentration in Printmaking from the University of Iowa in 1974 and 1976, respectively. She moved to Vancouver, British Columbia in 1978 and pursued her painting and monotype printmaking. She has also taught printmaking and painting at the University of British Columbia and the Emily Carr Institute of Art, and lectured on anthropology at Simon Fraser University. Evrard is the recipient of many awards, including the Andrews Scholar, Brown University, the Ford Foundation Scholarship for Graduate Studies in Art, University of Iowa and an Explorations grant from the Canada Council. She has exhibited her paintings and prints throughout British Columbia, as well as in Seattle, Washington, and her work is included in the Canada Council Art Bank, and the Art Gallery of Hamilton.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

24 TODD FEARS GOBLET glass, height 9.5” — 24.1 cm., engraved signature Exhibited: Joseph Gross Gallery, Tucson, AZ $75—125

DecorativeArts.Waddingtons.ca

25 SOMANI FERLEY CONIC STRATIFORM - 3 pâte de verre, 7.25” x 10.25” x 10.25” — 18.4 x 26 x 26 cm. Exhibited: Joseph Gross Gallery, Tucson, AZ $1,000—1,500

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

26 SALLY BARBIER BUGALUSA MAMBO glazed ceramic, 30” x 24.25” x 13” — 76.2 x 61.6 x 33 cm.

Sally Barbier was born in Lafayette, Louisiana in 1949. She received her Bachelor of Arts from Nicholls State University in Thibodaux, Louisiana, in 1972, and her Master of Fine Arts from the University of Wisconsin in 1975. Barbier’s works have been exhibited throughout Canada and the United States.

Provenance: Purchased directly from the artist $500—700

DecorativeArts.Waddingtons.ca

27 CYNDY CHWELOS PLATTER NUMBER 4 painted majolica, 2.5” x 16.75” x 13.5” — 6.4 x 42.5 x 34.3 cm., incised signature Exhibited: Susan Whitney Gallery, Regina, SK $100—150

Cyndy Chwelos received her BFA from the University of Saskatchewan, Saskatchewan in 1983. Interested in education, she completed her Early Childhood Certification from Vancouver Community College in 1998 and her MA (art education/curriculum studies) in 2004 from the University of British Columbia in 2004. She works as the Program Co-ordinator for Catalyst for Change, a residency program that brings artists into classrooms to explore social justice issues, through the creation and discussion of works of art. Chwelos also teaches a class in Arts, Culture and Heritage at Langara College, which exposes the students to the spectrum of arts programming offered in the field of recreation. The goal of the course is to instill and enhance the students’ values and understandings for the arts and the fundamental role it plays in building healthy communities. Chwelos lives in Vancouver, British Columbia.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

28 CHARLEY FARRERO UNTITLED clay, height 2” — 5.1 cm., diameter 17” — 43.2 cm., incised signature Provenance: Purchased directly from the artist $100—150

Born in Paris, France, in 1946, Charley Farrero studied at the Faculté des Sciences Jussieu Paris 5 from 1965-69. He moved to Regina, Saskatchewan at the age of 23, where he worked as a systems analyst for the Saskatchewan government. He began taking classes in ceramics at the University of Saskatchewan and eventually set up his own studio in Meacham in 1979. He also co-founded North Star Pottery in Humboldt in 1976, along with Robert Oeuvrard, Mel Bolen, and Anita Rocamora. Farrero's work includes both functional and sculptural ceramic pieces, as well as large outdoor sculpture work. He incorporates a variety of materials, including commercial tile pieces and ceramic shards, into his work. After many years of research, Farrero completed his Anagama kiln In 2003; this type of kiln is revered for producing unpredictable glazes during the five-day firing process. Sajoi, which is part of the MacKenzie Art Collection, was fired in the kiln. Farrero has exhibited his work in Canada, United States and Mexico and has received numerous grants for his work and study. His ceramics are included in prestigious corporate, private and public collections, including the Claridge Collection, the MacKenzie Art Gallery and the New Canadian Ceramics Museum in China. Farrero was nominated for the Governor General Award in 2007, and was awarded the Saskatchewan Lieutenant Award for Innovation in the Arts in 2008. He is an honorary member of the Canadian Craft Council and the Saskatchewan Craft Council. Farrero lives in Meacham, Saskatchewan.

DecorativeArts.Waddingtons.ca

29 PATRICK AMIOT AND BRIGITTE LAURENT GONE FISHING mixed media, 29” x 11.5” x 7.5” — 73.7 x 29.2 x 19.1 cm., painted monogram and dated ‘90 in blue Provenance: Purchased directly from the artist $2,000—3,000

Patrick Amiot was born in Montreal, Quebec in 1960. At 16 he entered the boat-selling business like his father, making his specialty in windsurfing boards and equipment. Inspired by an art course he took in CEGEP, Amiot decided to try his hand at caricature sculpture. He soon realized that he may stand a chance at succeeding in the arts. Disillusioned with his life in Montreal, Amiot moved to Vancouver at the age of 21, where rented a studio to create his clay sculptures and supported himself by working at a local bakery. He sold his clay pieces at Circle Craft Cooperative for $15 or $20 a piece. His work quickly became sought after and he was able to quit his bakery job and devote full time to sculpting and exhibiting at regular art galleries. Amiot exhibits at Grace Gallery and at North Park Gallery in Victoria. In 1997, Amiot and his wife, sculptor Brigitte Laurent, sold most all of their belongings, left behind their artists' loft in Montreal, and drove across America in a motor home with their two young girls. They settled in Sebastopol, California, but soon found that Northern California didn’t have the market for their ceramics. Finding themselves in financial difficulties, Amiot, on a whim, decided to build a sculpture of a fisherman from an old rowboat he had bought at a flea market, and displayed it on his front lawn. The public response was so positive that he began filling his neighbors’ lawns with his works. Within eight months, Amiot had his first commission, and sold his first piece. Besides being environmentally friendly, Amiot and Laurent's sculptures play an immense part in raising money for community schools. Amiot has recently joined forces with Renga Arts to create a showcase for exemplary works made of salvaged materials. Amiot lives with his family in Sebastopol, California.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

30 RON BENSTEAD UNTITLED clay stoneware and porcelain, height 18” — 45.7 cm., incised signature and dated ‘84

Ron Benstead was born in Calgary, Alberta in 1938. After studying at the Alberta College of Art, he moved to Bragg Creek, Alberta, where he was introduced to ceramics by Ed Drahanchuk. Benstead pursued a successful thirty-year career as a potter, working from his studio in Bragg Creek and then Calgary. His work is found in numerous private and public collections across Canada. Benstead passed away in 1997.

Provenance: Purchased directly from the artist $150—250

DecorativeArts.Waddingtons.ca

31 RON BENSTEAD UNTITLED stoneware and porcelain, height 9.75” — 24.8 cm., incised signature and dated ‘85 Provenance: Purchased directly from the artist $100—150

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

32 MACIEJ DYSKIEWICZ YOU SHOULDN’T PLAY WITH RED blown glass, height 10.75” — 27.3 cm., diameter 10.75” — 27.3 cm., engraved signature Exhibited: Galerie Elena Lee, Montreal, QC $600—800

Maciej Dyskiewicz was born in Warsaw, Poland in 1959. He was exposed at an early age to glass by his father, who taught him the art of stone wheel engraving. Dyskiewicz apprenticed from 1977 to 1984, working on custom made designs for leaded crystal and soda lime glass. He came to Canada in 1986 and set up Glass Dream Studio in Toronto, a glass engraving and custom made design shop. Dyszkiewicz returned to school full-time and graduated from the school of craft and design Sheridan College in 1993, where he was an instructor in glass engraving until 2009. He currently blows his glass at Living Arts Center in Mississauga, Ontario. Dyskiewicz has exhibited internationally and his work features in several prominent collections, including the Royal Ontario Museum. He lives in Mississauga, Ontario.

DecorativeArts.Waddingtons.ca

33 JEANNOT BLACKBURN A THREE-LETTER WORD glass, height 9.5” — 24.1 cm. Exhibited: Galerie Barbara Silverberg, Montreal, QC $150—200

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

34 ROBIN HOPPER LIDDED JAR - CORE SAMPLE SERIES #2 porcelain, height 10.5” — 26.7 cm., impressed stamp Exhibited: Bronfman Award Exhibition, 1978

Robin Hopper was born just prior to the Second World War in 1939, and grew up in London, England. He trained at Croydon College of Art from 1956 to 1961 and emigrated to Canada with his family in 1968. After teaching for two years at Central Technical School in Toronto, he moved to Barrie, Ontario, where he was responsible for starting up and heading the Ceramics and Glass Department at Georgian College. He resigned from his post in 1972 to devote his full energy to his ceramics work. Along with four assistants, Hopper produced a considerable volume of repeat functional production pieces, as well as one-of-a-kind works for exhibition and gallery sales; most of his work at the time was in porcelain, both reduction and oxidation-fired.

$100—150 Hopper relocated to Vancouver Island, B.C., in 1977, and set up Chosin Pottery, a studio-business which he set up with his wife, Judy Dyelle. That same year, he was the first recipient of the Saidye Bronfman Award, Canada’s most prestigious annual award in the crafts. He has taught throughout Canada, and in England, USA, Australia, New Zealand, China, Korea, Japan and Israel. His works can also be found in numerous public, corporate and private collections throughout the world. Hopper is an honorary member of the National Council on Education for the Ceramic Arts, and the author of several books, including The Ceramic Spectrum and Functional Pottery, as well as videos. He is also the Founding President Emeritus of the Metchosin International Summer School of Arts, dedicated to bringing internationally acclaimed artists to lead workshops.

DecorativeArts.Waddingtons.ca

35 ZBIGNIEW KUPCZYNSKI UNTITLED clay, paint, 20.5” x 13.75” x 6.75” — 52.1 x 34.9 x 17.1 cm., painted signature in purple, circa 1986 Provenance: Purchased directly from the artist $400—700

Kupczynski was born in Wilno, Poland, in 1928. He escaped with his mother to Warsaw in 1939 during the Soviet invasion of Poland, while his father, an oﬃcer in the Polish army, went to Britain to aid in the war eﬀorts. Kupczynski moved to Wroclaw at the end of the war to study at the Academy of Fine Arts in 1946. He became a member of The Association of Polish Artists, but his works were banned from exhibition by the Polish socialist government because of his tendencies towards expressionism and semi-abstract art. With the change in government in the mid-1950’s, and a more liberal view adopted to abstract art, Kupczynski’s works began to gain attention. The turning point for his career in terms of international recognition came in 1959, when then Vice-President Richard Nixon purchased one of Kupczynski’s paintings. Kupczynski immigrated to Canada in 1971, eventually settling in Vancouver, British Columbia. In 1980, he and his wife opened the Kupczynski Studio Gallery and worked on commissions for the Vancouver Opera, a mural for the British Columbia’s Children’s Hospital, and a commemorative poster , Pax in Terra, to mark Pope John Paul II’s visit to Canada. Kupczynski lives in Vancouver, BC.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

36 ROBERT ‘IRISH’ FLYNN UNTITLED clay, 17” x 15” x 13” — 43.2 x 38.1 x 33 cm., circa 1987 Provenance: Purchased directly from the artist $400—600

Robert Flynn was born in Teaneck, New Jersey in 1944. He received his BFA from the University of Massachusetts, Amherst in 1970 and his MFA from the Rhode Island School of Design in 1972. He moved to Winnipeg, Manitoba in 1973, where he taught at the School of Art, University of Manitoba, alongside Robert Archambeau. Flynn eventually became Professor and Head of Ceramics at the school until his retirement in 2002. Flynn, known for his functional ware and low-fired salt glazes, has exhibited across Canada and the United States, in New Zealand and South Korea. His work is included in collections across North America, and in 1993, he was nominated for the Saidye Bronfman Award. Flynn is presently a studio artist living in Helena, Montana.

DecorativeArts.Waddingtons.ca

37 ROBERT ‘IRISH’ FLYNN UNTITLED stoneware, glaze, height 15” — 38.1 cm., diameter 10.5” — 26.7 cm., applied seal mark, circa 1997 Provenance: Purchased directly from the artist $300—500

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

38 BARBARA GENTLE THE PRESS

Barbara Gentle was born in London, England, in 1951. She studied at Langara College of Arts in Vancouver, BC, from 1976 to 1978, and received an arts diploma from the Emily Carr College of Art in 1981. Gentle is recognized for both her painting and hand-built ceramic sculptures.

clay, 14.75” x 14.75” x 7.75” — 37.5 x 37.5 x 19.7 cm., impressed stamp Provenance: Purchased directly from the artist $300—500

DecorativeArts.Waddingtons.ca

39 GORDON HUTCHENS UNTITLED clay, height 2.25” — 5.7 cm., diameter 7.5” — 19.1 cm., incised signature Provenance: Purchased directly from the artist $75—125

Gordon Hutchens’ fascination with ceramics started as a child, during a visit to Japan, where he watched master potters at work. Hutchens received Bachelor of Fine Arts with Honors in Ceramics (Clay and Glass Blowing) from the University of Illinois. He worked as a ceramics laboratory assistant throughout his degree, giving him an in-depth technical background in glaze and clay chemistry. Hutchens moved to Denman Island in the 1970’s, where he set up his own studio and gallery, Side Street Studios. Hutchens formulates and blends his own clay bodies, often using clay from his own property; his glaze blends use local wood ash as a major glaze ingredient. He has published several articles and authored videos on Raku techniques and salt and soda ﬁring. He also has taught courses and workshops for many colleges and potters’ guilds, and has been a member of Circle Crafts Cooperative since 1977. Hutchens lives on Denman Island, British Columbia.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

40 GORDON HUTCHENS PLATE clay, 2.5” x 14.5” x 11” — 6.4 x 36.8 x 27.9 cm., incised signature, circa 2006 Provenance: Purchased directly from the artist $100—150

DecorativeArts.Waddingtons.ca

41 GORDON HUTCHENS COVERED CIRCULAR BOX clay, height 4” — 10.2 cm., diameter 7” — 17.8 cm., incised signature, circa 2004 Provenance: Purchased directly from the artist $100—150

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

42 GORDON HUTCHENS TEAPOT ceramic, 8.25” x 8.75” x 5” — 21 x 22.2 x 12.7 cm., incised signature, circa 1987 Provenance: Purchased directly from the artist $100—150

DecorativeArts.Waddingtons.ca

43 JOHN IKEDA HARLEQUIN TRAY clay, 5.5” x 13.25” x 10.75” — 14 x 33.7 x 27.3 cm., incised signature and dated ‘86 Provenance: Purchased directly from the artist $400—700

John Ikeda was born in Lethbridge, Alberta 1948, of Japanese-Canadian origin. Early childhood memories were of menial labour on the sugar beet ﬁelds of southern Alberta, and racial prejudice, the consequences of internment and displacement after the incarceration of Japanese Canadians during the Second World War. Ikeda received his Bachelor of Arts from the University of Lethbridge, Alberta, in 1971, and went on to pioneer the emergence of the studio art pottery practice of the 1970’s. Ikeda has participated in solo and group exhibitions across Canada since 1970 and is the recipient of several awards, including the Gold Medal at 32nd Annual International Exhibition of Ceramics, in Faenza, Italy in 1974. His work is also part of major collections in Canada, France, Italy and Taiwan. Ikeda moved to St. Bernardin, Ontario, in 1978 where he set up his rural studio and residence.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

44 SUKI IKEDA PITCHER THIS wood, glass, 9.75” x 11.75” x 6.25” — 24.8 x 29.8 x 15.9 cm., circa 1996 Exhibited: Joseph Gross Gallery, Tucson, AZ $75—125

DecorativeArts.Waddingtons.ca

45 STEVE IRVINE UNTITLED ceramic, height 15” — 38.1 cm., impressed seal mark Provenance: Purchased directly from the artist $200—300

Steve Irvine was born in Hamilton, Ontario in 1953. He began working in clay in 1968, and photography in 1971 and went on to study Ceramics at Sheridan College from 1971 to 1974. After leaving Sheridan, Irvine established a full-time studio on the Bruce Peninsula in 1974 and has been producing ceramics ever since. Irvine has received many awards, including the John Mather Award from the Ontario Crafts Council for making a significant contribution to the development of craft in Ontario over an extended period of time. As well, he has been the recipient of Purchase Awards from Fusion: The Ontario Clay and Glass Association; Crafts Grants for travel and research from the Ontario Arts Council; and a Volunteer Service Award from the Government of Ontario. He has exhibited his work in numerous solo, group and invitation exhibitions over the past forty-two years, with major exhibitions recently at the Burlington Art Center, and the Tom Thomson Art Gallery in Owen Sound. Irvine was one of five Canadian photographers to be invited to take part in an exhibition at the Museo dell'Informazione e Arte Moderna, in Senegalia, Italy. His photographs have received national magazine awards, and have appeared in publications such as National Geographic Magazine, Canadian Geographic Magazine, The Journal Science, Natural History Magazine, Photo Life Magazine, Astronomy Magazine, Sky & Telescope Magazine, SkyNews Magazine, Adbusters Magazine, and the Journal of the Royal Astronomical Society of Canada. They have also been published in science texts used in Canada, the U.S., the U.K. and Asia. Irvine lives in Georgian Bluffs, Ontario. Irvine lives in Georgian Bluffs, Ontario.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

46 CONSTANCE JEFFERESS CAPE FOR CHARLES RENNIE MACKINTOSH fabric, length 52” — 132.1 cm., signed with stitched label in black thread Provenance: Purchased directly from the artist

Constance (Connie) Jefferess was born in London, Ontario in 1929. She worked for a number of years in advertising and publishing in both Toronto and London, Ontario, before teaching commercial art and textile design at Bealart Secondary School in London from 1963 to 1987. Throughout her artistic career Jefferess has studied with many internationally recognized textile artists including Theo Moorman, Jan Beaney, Jean Littlejohn, and Jean Draper. She has taught several embroidery workshops and given lectures as well as exhibited throughout Ontario and has been awarded many liturgical commissions. Jefferess lives in London, Ontario.

$300—600

DecorativeArts.Waddingtons.ca

47 JANE KIDD, R.C.A. FOREGIN CONSEQUENCES, 1988 fabric, 78” x 55.5” — 198.1 x 141 cm. Provenance: Purchased directly from the artist $600—900

Jane Kidd was born in Victoria, British Columbia, and studied design at the Vancouver School of Art, and Fine Arts at the University of Victoria. She taught at the Alberta College of Art + Design in Calgary, Alberta from 1979 until 2010. She has traveled extensively to pursue interests in historic and multi-cultural textile production. Kidd has exhibited in numerous solo and over ﬁfty group shows across Canada, the United States, Japan, Poland, Hungary and Australia. Her work is found in private and public collections including the Canada Council Art Bank, the Department of Foreign Aﬀairs, the Alberta Art Foundation, and The Canadian Museum of Civilization. She has produced several large commissions for public buildings in Canada. Kidd was elected to the Royal Canadian Academy of Art in 2001 and was awarded the Alberta Craft Council Award of Excellence in 2008. She currently lives on Salt Spring Island in British Columbia and maintains an active studio practice.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

48 JOANNA STANISZKIS BAFFLES IN YELLOW wool, 64” x 66” — 162.6 x 167.6 cm. Provenance: Purchased directly from the artist $600—900

Joanna Staniszkis was born in 1944 in Poland. She studied at the Fine Arts Academy in Warsaw from 1962 to 1964 and spent the summer of 1965 at the Universidad Catlike in Lima, Peru. She graduated with honors in Interior Design and Textile Design at the Chicago Art Institute in 1967 and then immigrated to Toronto, Ontario. In the early part of her career, Staniszkis experimented with texture and hand spun yarns and dyes, focussing on form and construction methods, combining her woven and unstructured fabric with plexiglass and netting. She was a professor in the Design Department at the University of British Columbia (1969-1977) and Acting Head of the Textile Department at the Ontario College of Art (1977-1978). Staniszkis returned to teaching at the University of British Columbia. In 1981, Staniszkis was commissioned to produce a six-panel tapestry depicting the Vancouver waterfront and its reflection. She received the Saidye Bronfman Award for Excellence that same year, in recognition of contributions she made to the field of textile art. In 1989, the University of British Columbia Museum of Anthropology presented Translations of Tradition: Joanna Staniszkis’ Recent Work, where she explored textile art from different cultures and presented them in new forms. In 2007, she was the recipient of the British Columbia Creative Achievement Award of Distinction. Staniszkis currently resides in Vancouver.

DecorativeArts.Waddingtons.ca

49 CHARMIAN JOHNSON UNTITLED stoneware, height 4.25” — 10.8 cm., diameter 4.5” — 11.4 cm., incised mark Provenance: Purchased directly from the artist $75—125

Born in 1939, Charmian Johnson received her formal training in drawing and graphics in the Department of Art Education at the University of British Columbia, under Jim MacDonald and Bob Steele. She is renowned for her tea bowls, porcelain boxes, ikebana dishes, gargoyles and platters, with exquisite glazes and unpretentious forms. She returned to painting in 1978, producing a series of pen and ink drawings. Johnson has taught drawing and art education within the public school system as well as at the University of Saskatchewan and the University of British Columbia. She lives in Vancouver, British Columbia.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

50 CHARMIAN JOHNSON UNTITLED stoneware, height 3.75” — 9.5 cm., diameter 4.5” — 11.4 cm., impressed seal mark Provenance: Purchased directly from the artist $75—125

DecorativeArts.Waddingtons.ca

51 CHARMIAN JOHNSON TEA BOWL stoneware, height 3.75” — 9.5 cm., diameter 5.75” — 14.6 cm., impressed seal mark Provenance: Purchased directly from the artist $75—125

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

52 CHARMIAN JOHNSON UNTITLED stoneware, height 1.25” — 3.2 cm., diameter 10.25” — 26 cm., impressed seal mark Provenance: Purchased directly from the artist $100—200

DecorativeArts.Waddingtons.ca

53 KATHRYNE KOOP LOW TURQUOISE BOWL porcelain, height 2.75” — 7 cm., diameter 14.75” — 37.5 cm., incised signature, circa 1991 Provenance: Purchased directly from the artist $200—300

Kathryne Koop was born and raised in Winnipeg, Manitoba. She has worked as a full-time potter since 1980 when she received her Bachelor of Fine Arts with Honours from the University of Manitoba. The following year, she became a partner in the Stoneware Gallery, a co-operative gallery of fourteen potters, and the Stoneware Studio, a co-operative studio of ﬁve potters, where she remains active to this day. Throughout the years she has taught numerous classes, given many workshops, and presented lectures in Canada, the United States, and China. Koop’s work has been exhibited in numerous juried, invitation, group and solo shows, both nationally and internationally, including The Gardiner Museum’s traveling group show, On the Table: 100 Years of Functional Ceramics in Canada, which was displayed at the Winnipeg Art Gallery (WAG) among other places. Her work is found in prominent private, public, company and government collections that include the Winnipeg Art Gallery, the Art Bank of Canada and the Manitoba Arts Council, as well as, the Governments of Canada and Manitoba. She lives in Winnipeg, Manitoba.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

54 JIM KRIEGER THRUST steel, marble, height 18” — 45.7 cm., engraved initials

Jim Krieger was born in Biloxi, Mississippi in 1946 and received his Bachelor of Arts from the University of Massachusetts in 1968. He moved to Vancouver, British Columbia in 1969 to pursue studies in pottery at Handcraft House, and eventually established a studio in Naples, Florida in 1987, where he taught at the von Liebig Art Center. In 2006, Krieger moved to Montreal, Quebec, where he maintains a studio.

Provenance: Purchased directly from the artist $1,000—1,500

DecorativeArts.Waddingtons.ca

55 HÉLÈNE LABRIE LE SIÈGE DU SIÈGE clay, 18.5” x 14.5” x 9” — 47 x 36.8 x 22.9 cm., incised signature and dated ‘95 Note: This was the last clay work by the artist who used it for a bronze edition. $2,500—3,000

Born in 1956, Quebec native Hélène Labrie studied Graphic Design at the Université de Laval from 1975 to 1977. It was while there that she was mentored by Claude A. Simard, who taught her the necessity to justify each line in her drawings and recognized the sculptor in her. Labrie discovered ceramics quite by chance when she met up with her father at a pottery class he was taking. She was seduced by the calm atmosphere of the workshop and was inspired to take a course in clay technology in Montreal. Her talent was evident immediately and she was oﬀered an exhibition at the municipal library in Ste. Foy in 1979, where her sculptures caught the eye of Robert Lapalme, caricaturist for the daily Le Devoir, and founder of the Museum of Humour in Montreal. He was so impressed by her talent that he oﬀered to exhibit her works in the lobby of the museum. Her career as a sculptor soared from that point on. Labrie has participated in solo and group exhibitions nationally and internationally since 1979, and her sculptures are included in prominent private and public collections throughout Canada. Labrie lives in Quebec City, Quebec.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

56 MARGARET KEELAN NAOMI SEATED STUDY 2 hand painted clay, 16.5” x 18.25” x 15.75” — 41.9 x 46.4 x 40 cm. Provenance: Purchased directly from the artist $2,000—4,000

Margaret Keelan was born in 1948 in Regina, Saskatchewan. She received her Advanced Bachelor of Art in Fine Arts in 1970, where she discovered clay and wheel throwing, studying under James Thornsbury. She moved to Regina to study under Joe Fafard at Regina Campus in 1973. Keelan completed her Masters in Fine Arts, specializing in Ceramic Sculpture, in 1976 at the University of Utah, under Marilyn Levine. Keelan moved to California, where she taught at several institutions, including San Francisco State University, and the San Francisco Academy of Art, where she is currently Assistant Direct of Fine Arts, Sculpture. Keelan’s early sculptures were primarily sections of bodies, mainly of torsos, with truncated limbs, which she described as “incomplete, as I was.” With the “Woman with Alter Ego” series, she addressed her concern with submerged emotions, spiritual growth and our “tribal” connections. Her most recent sculptures have been the appearance of wooden dolls, the surfaces reminiscent of disintegrating paint over weathered wood, echoing her reflections on mortality. She currently lives in San Pablo, California.

DecorativeArts.Waddingtons.ca

57 ROBERT JEKYLL, R.C.A. HOMMAGE TO FRANK GEHRY mixed media, condition noted, 39.5” x 41.5” — 100.3 x 105.4 cm. Provenance: Purchased directly from the artist $1,000—2,000

Robert Jekyll was born in Montreal, Quebec in 1933 and moved to London, England at the age of 16. He returned to Canada and obtained his BA from York University in 1972. He returned to England to study and apprentice in art and architectural stained glass for two years with Patrick Reyntiens at Burleighﬁeld House, in Loudwater, Buckinghamshire and came back in 1974 to set up his ﬁrst studio in Toronto. He started work on commissions almost immediately and was soon engaged by Sheridan College to establish a stained glass class. Jekyll has been closely associated with the development of stained glass in Canada and, in 1975, was founding President of Artists in Stained Glass. He has been connected with the visual art, craft and design movements in Canada for many years, serving on the boards of the Ontario Crafts Council (President 1998-2000), Visual Arts Ontario (Chair 1983-86), Design Exchange (founding board member), Canadian Society of Decorative Arts (National Council 1983-84), and the Canadian Crafts Federation / Fédération canadienne des métiers d’art (founding President 1999-2003). Jekyll’s stained glass work has been included in exhibitions throughout Canada and is represented in major collections. His commissioned works are also found in numerous public buildings and private residences. He has been twice nominated for the Saidye Bronfman Award for Excellence in Craft and for the Governor General’s Award in Visual and Media Arts. In 2010 Jekyll was elected to the Royal Canadian Academy of Arts. Jekyll lives in Toronto, Ontario.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

58 RUSSELL T. GORDON MISPLACED MYSTIC clay, 19.25” x 16.75” x 4.25” — 48.9 x 42.5 x 10.8 cm., painted signature and dated 1984 in black

Russell T. Gordon was born in 1936 in Philadelphia, Pennsylvania. He received his Master of Fine Arts in 1967 from the University of Wisconsin and taught at the University of Utah, and the University of California, Berkeley, before settling in Montreal, Quebec in 1974. Gordon taught painting and drawing in the Department of Studio Arts at Concordia University until his retirement in 1998. Gordon passed away in 2013.

Exhibited: Waddington and Gorce Inc., Montreal, QC $1,500—2,500

DecorativeArts.Waddingtons.ca

59 RUSSELL T. GORDON BAROQUE BABBLER clay, 19.5” x 13.75” x 3.25” — 49.5 x 34.9 x 8.3 cm., painted signature and dated 1984 Exhibited: Waddington and Gorce Inc., Montreal, QC $1,500—2,500

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

60 IAN FORBES OVERLAY VASE glass, height 12” — 30.5 cm., engraved signature and dated ‘94 Provenance: Purchased directly from the artist $400—600

Toronto native Ian Forbes graduated with honours from Sheridan College, School of Crafts & Design in 1984. He continued his studies in glass at Alfred University, Alfred, New York, where he was enrolled in their bachelor of Fine Arts program. Upon leaving Alfred University Ian was accepted as a resident artist at the Harbourfront Glass Studio in Toronto. He worked at the Harbourfront Glass Studio for almost three years and went on to work at Sheridan College in Oakville as the technologist in the glass program as well as an instructor in both the full-time diploma program and the Summer School of the Arts. Ian and his family settled in Picton in 1989 and started working towards setting up shop in the area. Bloomfield Glassworks opened its doors in 1995. Unfortunately, the business closed in 2001. Throughout his glass blowing career, Forbes has exhibited throughout Canada and parts of the United States. He attended numerous professional workshops with master glassblowers, including Lino Tagliapietra, and attended the Pilchuk Glass School in Stanwood, Washington. His work is included in prominent private and public collections and has won a number of awards for his work. Unfortunately, Ian is no longer blowing glass.

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61 JAY MACDONELL FORMULATION glass, height 18” — 45.7 cm.; 17.75” — 45.1 cm., both engraved with signature and dated 2001 Provenance: Purchased directly from the artist $2,000—4,000

A native of Vancouver, British Columbia, Jay Macdonell was born in 1968. It was a chance walk past Robert Held Art Glass in 1992 that lead him to a successful career in the arts. He started off sweeping the floors at the production studio until he was invited to make glass. He eventually became the apprentice of Daniel Vargas, receiving step-by-step training in the art of glassblowing. Macdonell has worked for many Pacific Northwest studios since his apprentice days, for such artists as Laura and Alessandro De Santillana, Xu Bing, and Catherine Chalmers. He has been a visiting artist at The Royal Danish School of Design and Architecture and the Berengo Studio in Murano, Italy, and co-instructor with Ann Wahlstrom at the Pilchuck Glass School in Stanwood, Washington. Although he started his career in production pieces, Macdonell’s personal works have recently taken center stage with a great deal of success. His pieces are part of major corporate and public collections, including Elton John’s, Boston Museum of Fine Arts, Foreign Affairs Canada, and the Montreal Museum of Fine Arts. He was the recipient of a Canada Council for the Arts for further glass exploration, and his goblet design was chosen by the Washington State Wine Commission for their annual restaurant awards in 2004. He served as vice-president from 2012 to 2013 of the Glass Association Organization. Macdonell lives in Vancouver, British Columbia.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

62 SARAH MULLIGAN BEETLES glass, height 1” — 2.5 cm., diameter 13.25” — 33.7 cm., engraved signature Exhibited: Galerie Elena Lee, Montreal, QC $100—150

Canadian glass artist Sarah Mulligan has been a glassblower for over 10 years, in which time she has worked for herself and with otherAfter completing her BA in Philosophy from the University of Western Ontario in 1995, Mulligan decided to change direction and enrolled in the Interior Design program at Sheridan College in Oakville, Ontario. A chance discovery of the hot glass studio at school lead to her to revise her major and she graduated from the SOCAD glass program in 1999, receiving the Special Faculty Award for excellence in glass. Mulligan worked as a resident glass artists at the Livings Arts Center in Mississauga, Ontario from 2000 to 2005 before relocating to Victoria, British Columbia. She has been working for herself and with other Canadian glass artists in designing, manufacturing and selling blown glass across Canada. Mulligan’s works are available in a number of museums across Canada and in the United States, including The Gardiner Museum and The Art Gallery of Ontario in Toronto, The Winnipeg Art Gallery, and Vetri International Glass in Seattle, Washington. Mulligan lives in Victoria, British Columbia.

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63 EVA LAPKA, R.C.A. AND MILAN LAPKA COCKEREL ceramic, 13.25” x 8” x 4.75” — 33.7 x 20.3 x 12.1 cm., incised signature Provenance: Purchased directly from the artist $150—250

Married couple Eva and Milan Lapka, were born in the Czech Republic, in 1944 and 1942, respectively.They immigrated to Montreal, Quebec in 1968, five years after having received their diploma in Ceramics, Sculpture and Design from the College of Arts and Crafts in Brno, Czech Republic. Eva produced the form of the figures, while Milan fired and glazed the works. Most of their ceramics consisted of an exploration of the human figure. They produced both large installations, such as In Infinitum (1990), which combined abstract human forms with painted architectural and landscape backgrounds; and smaller works, such as Ancestral Hero (1989). During an exhibition that they held in the Czech Republic in 1992, they initiated a cross-cultural exchange between Czech and Canadian artists, known as Exchange (1993, 1996), and Interchange (1995, 1997). Eva served as a Professor of Ceramic Perfecting at the Institut de métier d’art and the Commission de formation professional in Montreal from 1988 to 1995, and has been teaching ceramics at the Montreal Visual Arts Center since 1991, where she is the Head of the Ceramics Department since 1999. Milan also taught Ceramic Perfecting at the Institut des métiers d’art and at the Commission from 1988 to 1993, and at the Visual Arts Center, where he taught art to children with learning disabilities. Milan Lapka passed away in 1999. Recently in 2012, Eva became a member of the Royal Academy of Artists.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

64 EVA LAPKA, R.C.A. AND MILAN LAPKA APHRODITE clay, height 13” — 33 cm., painted signature in black Exhibited: Poterie Bonsecours, Montreal, QC $700—900

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65 EVA LAPKA, R.C.A. AND MILAN LAPKA TRAINER OF BLUE HORSE clay, minor loss to mane, measurement of horse 26” x 20.5” x 5.75” — 66 x 52.1 x 14.6 cm., incised signature Provenance: Purchased directly from the artist $1,000—2,000

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

66 ENID LEGROS-WISE, R.C.A. BARNACLES AND EMERALDS porcelain, 4” x 3.75” x 3.25” — 10.2 x 9.5 x 8.3 cm., incised signature, circa 1987 Provenance: Purchased directly from the artist $300—400

Enid Legros-Wise, a native of Gaspé, is recognized across Canada as a pioneer in the use of porcelain. Enid Legros-Wise was born in 1943 in the Gaspé Peninsula of Quebec. She received her diploma at the École des Beaux Arts in Montreal in1964 and studied at the Institut des Arts Appliqués. She continued on to do postgraduate research on a scholarship at the studio of Francine DelPierre, in Paris, France. Legros-Wise returned to Canada after her studies and established her studio at Paspebiac, in her native Gaspé. Legros-Wise has received several prestigious awards throughout her career, including two Croix de Chevalier in France, the Sarajevo Prize from the First World Triennial of Small Ceramics in Yugoslavia, and the Gaspesian Cultural Merit Award 1996. In 2007 she was made a member of the prestigious Royal Canadian Academy of Arts. She has participated in several solo and group exhibitions in Canada and Japan, and her work is included in several prominent corporate and public collections. Enid Legros-Wise lives and works in the Gaspé Peninsula in Quebec.

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67 ENID LEGROS-WISE, R.C.A. RAIN CUPS OF ROCK ISLAND porcelain, 4” x 2” x 2.5” — 10.2 x 5.1 x 6.4 cm., incised signature, circa 1987 Provenance: Purchased directly from the artist $300—400

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

68 ENID LEGROS-WISE, R.C.A. WISH OF SIGHS AGAIN porcelain, 3” x 3.5” x 3” — 7.6 x 8.9 x 7.6 cm., incised signature, circa 1987 Provenance: Purchased directly from the artist $300—400

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69 SYLVA LESER UNTITLED porcelain, height 13.75” — 34.9 cm., incised signature, circa 1993 Exhibited: Canadian Clay and Glass Gallery, Waterloo, ON $100—150

Sylva Leser was born in Prague, Czechoslovakia where she studied Art History at Charles University from 1946 to 1948. She continued her studies in art while working in Paris and London. In 1968, she enrolled in full-time courses in Pottery and Composition at Camden Art Center and Stanhope Institute from 1968 to 1970. Leser immigrated to Canada in 1971, settling in Stratford, Ontario, where she had her own studio and gallery, and taught at the Waterloo Potters Workshop from 1972 to 1978 and the Stratford Potters Guild from 1973 to 1980. She moved her studio and pottery shop to Bayfield, Ontario in 1988, which she ran for 31 years, until relocating her studio to Toronto in 2002. Leser works in stoneware and porcelain, using both fire and electric kilns. Her pieces are wheel thrown or hand built. She has participated in more than fifty solo and group exhibitions throughout Canada.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

70 SHELLY LOW LOUNGING LADY stoneware, 11.25” x 15” x 7.5” — 28.6 x 38.1 x 19.1 cm., signed and dated ‘87 in black pen Exhibited: Galerie Pink, Montreal, QC $500—800

Born and raised in Montréal, Quebec, Shelly Low received her Bachelor of Fine Arts with distinction, majoring in Studio Arts in 1995 and her Masters of Fine Arts in 2000 from Concordia University. She has worked with mixed media, including photography, video and installation; her recent production centers around the ubiquitous Chinese restaurant. Low has worked as a technician and taught ceramics, fibre structures, paper making and visual arts at Concordia from 1984 and, since 2006, has been teaching in the Creative Arts program at Champlain College in St. Lambert, Quebec. Low has been exhibiting in artist-run centres, museums and galleries across Canada and in the States for over twenty year, with recent solo exhibitions in Québec, Ontario, and Manitoba. Throughout her career she has been the recipient of many awards, prizes and grants, and her works are part of the Canada Council Art Bank, the Musée du Québec Prêt d’Oeuvres, and the Claridge Collection. Shelly Low lives in Montreal, Quebec.

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71 LOU LYNN, R.C.A. CALLIGRAPHY fused glass, chip to base, length 5.75” — 14.6 cm., engraved signature and dated 1987 Provenance: Purchased directly from the artist $500—800

Lou Lynn was born in 1950 and raised in Edmonton, Alberta. At the age of 18, she moved to British Columbia, where she traveled and worked at various jobs throughout the province. This was a very stimulating time in terms of the crafts revival that was occurring in the Western provinces. It was during this period that she developed an interest in stained glass and began exploring the sculptural potential of glass in the mid 1980′s. Lynn attributes her interest in the use of glass as a sculptural medium to the frequent periods of study she undertook at the Pilchuck Glass School in Stanwood, Washington. Lynn’s sculpture has been widely exhibited nationally and internationally and is displayed in major corporate and public collections that include the Embassy Collection of Foreign Aﬀairs Canada in Berlin, the Yunnan Hanrongxuan Art Museum in Kunming, China, the Corning Museum of Glass in Corning, New York, and the Canadian Museum of Civilization in Ottawa, Ontario. She has lectured at the Academy of Art & Design at Tsinghua University in Beijing, China, and has taught extensively, including at the Corning Museum of Glass Studio and Pilchuck Glass School. Lynn was awarded several grants throughout her career from the Canada Council for the Arts and the BC Arts Council. In 2006 she was the recipient of the Gerson Award for Excellence, Innovation & Leadership, from the Craft Council of BC, and has been nominated twice for the Governor General’s Award (Saidye Bronfman Award). In 2010 she was inducted into the Royal Canadian Academy of Arts (R.C.A.). Lou Lynn lives and maintains a studio in Winlaw, British Columbia.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

72 LEONARD MARCOE MAUVE NON-VASE WITH FLORAL TRIM AND VINES clay, condition noted, height 10.25” — 26 cm., incised signature, circa 1988 Provenance: Purchased directly from the artist $100—150

Leonard Marcoe was born in Winnipeg, Manitoba, in 1924. He worked parttime doing window displays at The Bay in downtown Winnipeg, while enrolled in pre-med at the University of Manitoba. Due to family illness, Marcoe had to withdraw from university to take over management of the family shoe store business. He quickly gained a reputation for his wild window displays and artistic flare that he brought to the store. Tired of the business world, Marcoe returned to the University of Manitoba in the mid-1960’s, to study his true passion, art, where he graduated with honors in painting. In the 1970’s, Marcoe founded Arts in Sight Studio, a venue that allowed local artists to exhibit their work, and give art classes to children. The development of the studio also gave him the opportunity to focus on his own work, which included painting, silkscreen printing and pottery. Marcoe went on to open the Leonard Marcoe Studio Gallery, where continued to teach children, exhibit his own works, and promote local art. He exhibited established artists, such as Grant Marshall, and was instrumental in launching the career of several local artists, including Eva Stubbs, Judith Allsop, and Bud Gillies. Marcoe passed away in 2011.

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73 JASON MARLOW BLACK LOCUST (CELTIC VESSEL) black locust wood, height 5.5” — 14 cm., diameter 12.25” — 31.1 cm., pyrographed signature Provenance: Purchased directly from the artist $100—150

Born in the UK, Jason Marlow studied Sculpture and Ceramics at Birmingham College of Art. He went on to do woodwork apprenticeship and cabinet making in the late 1970s. Marlow emigrated to Canada in 1980 and has been a full-time studio woodturner for 34 years. Marlow has been recognized internationally for his innovative and original pieces and is one of Canada’s most distinguished woodturners. Known particularly for his signature Helmet series, he also produces architectural scale Tapestry Wall pieces and a large range of objects inspired by Vancouver Island’s forests, rivers and wildlife. Marlow also uses sustainable native woods of British Columbia. He has taught woodturning since 1983 in Canada and the US, and apprentice-trained several contemporary woodturners. Marlow lives in Qualicum Beach, British Columbia.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

74 DANIEL MATERNA NUDE WOMAN raku, height 16.25” — 41.3 cm., painted signature in gold Provenance: Purchased directly from the artist $200—400

Daniel Materna was born in Prague, Czech Republic. He graduated from the Ceramics College of Arts in Bechyne in 1965, and worked in several ceramics studios throughout Europe. In 1969, Materna immigrated to Vancouver, British Columbia, where he set up his own studio in 1969. Materna has participated in a number of exhibitions and his work is found in several collections in Canada. He and his wife, Zuzy Vacek, moved their studio to Granville Island, Vancouver, in the mi-1980‘s, where they produce functional ware, lamps and sculptures. Materna creates the wood fired pieces, while his wife paints folk art style finishes on many of the works.

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75 DANIEL MATERNA UNTITLED raku, height 16.5” — 41.9 cm., impressed seal mark Exhibited: Terra Cotta Gallery, Vancouver, BC $100—150

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

76 DANIEL MATERNA UNTITLED raku, height 3.5” — 8.9 cm., diameter 17.5” — 44.5 cm., signed in gold Sharpie Provenance: Purchased directly from the artist $150—200

DecorativeArts.Waddingtons.ca

77 KAREN MCKINNELL UNTITLED blown glass with steel wool, height 8.5” — 21.6 cm., engraved signature and dated 1994 Exhibited: Terminal 3, Toronto Int. Airport, Toronto, ON $75—125

Karen McKinnell was born in 1963 in Halifax Nova Scotia and received her Diploma of Applied Arts at Sheridan College in Oakville, Ontario, in 1992. Upon graduating, she was a awarded a three-year residency at the Harbourfront Centre’s Craft Studio and was one of the founding members of the Geisterblitz Glass Studio in Toronto in 1998. McKinnell won several awards throughout her education, including Sheridan’s Board of Governor’s Silver Medal Ward for Academic Excellence and Glass Art Association of Canada Award. She has exhibited her glass works across Canada and continues to work part-time making glasswork as she raises her family on Toronto Island.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

78 KAREN MCKINNELL UNTITLED blown glass with steel wool, height 12” — 30.5 cm., engraved signature and dated 1994 Exhibited: Terminal 3, Toronto Int. Airport, Toronto, ON $100—200

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79 SUSAN MEINDL THE TELEPHONE clay, 10” x 16.25” x 10.25” — 25.4 x 41.3 x 26 cm., incised signature and dated 1988 Provenance: Purchased directly from the artist $800—1,200

Susan Meindl grew up in Nova Scotia. Her mother, Elfriede Meindl, was a self-taught and known ceramicist, and taught Susan the skills and discipline of pottery. By the age of 12, she was selling her work regularly to local craft shops in the province. By the time she graduated from Acadia University in 1977 with a degree in English Literature, she was well enough established to open her own studio and earn a full-time living from her ceramic work. Meindl’s work started oﬀ as functional ware but slowly evolved into pieces that demonstrated her artistic expression. She eventually moved to Montreal where she studied with Christophe Lacki, then head of the Department of Design at Concordia. Meindl returned to school in 2003 and received her MA in Counselling Psychology from McGill University in 2008, and has since established a successful private practice in Psychotherapy in Montreal, Quebec.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

80 GARY MERKEL YELLOW AND PINK PITCHER

Born in Thurnder Bay, Ontario, Gary Merkel is a well-established ceramic artist and has exhibited throughout North America, including S.O.F.A in New York and Chicago, as well as in Japan and France. Merkel lives in Victoria, British Columbia.

clay, 11” x 12” x 3” — 27.9 x 30.5 x 7.6 cm., signed in pencil, circa 1987 Provenance: Purchased directly from the artist $75—125

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81 PETER PAVEL MRNAVY IS LIFE STILL clay, 36” x 36” — 91.4 x 91.4 cm., circa 1991 Exhibited: Christopher Cutts Gallery, Toronto, ON $700—1,000

Peter Pavel Mrnavy was born in Prague, Czechoslovakia in 1946. He studied at the Academy of Arts in Prague under Josef Svoboda from 1965 to 1967, and at the Ontario College of Art in Toronto, Ontario, from 1977 to 1978. MrNavy showed his paintings in both solo and group exhibitions in Toronto, and completed several commissions, including one for The Marriott Hotel at the Toronto Airport. MrNavy passed away in 1999 in Toronto, Ontario.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

82 DIANE NASR BOTTLE porcelain, height 18” — 45.7 cm., signed and dated 1998 in pencil Provenance: Purchased directly from the artist $300—500

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83 WALTER DEXTER, R.C.A. POT #8 raku, height 14.5” — 36.8 cm., painted signature in black Provenance: Purchased directly from the artist $500—800

Walter Dexter was born in Calgary, Alberta in 1931. He entered the Commercial Art program at the Alberta Institute of Technology and Art in 1952, but was dissatisﬁed with his progress two years into the program. His teacher and mentor, Luke Lindoe, encouraged him to try pottery and he thus completed his studies in 1954, receiving a major in Ceramic Art. He was oﬀered a one-year scholarship to study at the Swedish School of Art and Craft in Stockholm by The University of Manitoba. After living in Europe for two years, he returned to Canada to work for Luke Lindoe in his Calgary studio, producing utilitarian objects, where he learned to work as a craftsman, but was also given the freedom to engage in endless weekend experiments. In 1962, Dexter was awarded a silver medal at the International Ceramics Exhibition in Prague, and the following year received the outstanding Stoneware Award at the Canadian Ceramics Biennial. Walter Dexter was head of the Clay Department at the Kootenay School of Art in Nelson, BC, a position he held from 1968 to 1974. He also taught at the Vancouver Community College, the Emily Carr College of Art and the University of Saskatoon, and until recently taught summer courses at the University of Victoria. In 1975, Dexter moved to Metchosin, BC, where he set up his studio. He has gained international recognition for his raku work and has exhibited in Canada, the United States, England, Italy, Belgium and Czechoslovakia. Dexter’s ceramics are featured in the permanent collections of The Claridge Collection, Montreal; the Canada Council Art Bank, Ottawa; the Canadian Museum of Civilization, Gatineau, amongst many others. Dexter won the Saidye Bronfman Award for Excellence in Craft in 1992 and is a member of the Royal Canadian Academy of Arts. He was also President of the Craftsmen’s Association of British Columbia and a Director of the Canadian Crafts Council. He has also served as President and VicePresident of Ceramists Canada. Walter Dexter lives in Metchosin, BC, with his wife, Canadian poet, Rona Murray.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

84 WALTER OSTROM, O.C. FLOWER BRICK TORTOISE clay, 8” x 20.5” x 15.25” — 20.3 x 52.1 x 38.7 cm., painted signature and dated 1988 in white Provenance: Purchased directly from the artist $1200—1500

Walter Ostrom was born in 1944 in Binghamton, New York. After receiving his B.A. in Biology from Wilmington College, Ohio, in 1967, and his M.F.A. from Ohio State University in 1969, Ostrom came to Canada in 1969 to teach at the Nova Scotia College of Art and Design. A pioneer in the use of Nova Scotia’s Lantz clay, Ostrom had his first show in 1976 at the Art Gallery at Mt. St. Vincent University. Ostrom has participated in over 100 group and solo exhibitions throughout Canada, the United States, Asia, and Europe. His art is also found in major museum collections, including the Museum of CIvilization in Gatineau, the Victoria and Albert Museum in London and the Museum of Fine Arts in Boston. Ostrom’s work and legacy as a teacher was the subject of the 1996 exhibition at the Art Gallery of Nova Scotia, Walter Ostrom: The Advocacy of Pottery. Ostrom has gained international recognition for reviving and making contemporary the ancient technique of low-fire majolica production. Walter was one of the first western artist/educators to begin traveling to Jingdezhen, China, to study, teach, and research Chinese Ceramics. Ostrom has also been recognized with the Jean A. Chalmers National Craft Award (1995), the prestigious Saidye Bronfman Award for Outstanding Creativity in Craft (2003), and was named to the Order of Canada (2006). He was visiting professor at the Jingdezhen Ceramics Institute Jiangxi, China, which awarded him an Honorary Professorship in 1997; quite fitting as this was the town where porcelain was discovered and developed. After 38 years of teaching at NSCAD University, Professor Emeritus Ostrom retired in 2008, with the Walter Ostrom Scholarship in Ceramics set up in his honor. In the fall of 2013, he will be Visiting Artist with the West Virginia Universe China Ceramics Program in Jingdezhen, China. Ostrom lives in Lunenberg, Nova Scotia.

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85 KAYO O’YOUNG UNTITLED porcelain, height 5.5” — 14 cm., diameter 20” — 50.8 cm., painted signature and dated ‘88 in black Provenance: Purchased directly from the artist $400—600

Kayo O’Young is recognized as one of Canada’s ﬁnest porcelain potters. In the industry, he is known as “a potter’s potter,” the highest acclaim, and he serves as both teacher and inspiration to numerous potters. Kayo O’Young was born in Canton, China in 1950 and immigrated to Canada in 1965. As a teenager, Kayo was introduced to pottery at English Language classes, and his interest in clay grew from there. He describes himself as a self-taught artist, yet his work is found in some of the most prestigious museums, galleries and collections across the world. O’Young’s pieces are one-of-a kind, the style is detailed yet minimalist, quiet yet inviting. O’Young has taught at various schools in Toronto and Montreal, and hosted workshops and seminars at the Ontario College of Art, Mohawk College of Applied Art and the University of Waterloo. His work has also been featured in the ﬁlms The Hand and the Spirit (TV Ontario, 1992), and Playing with the Fire (CBC Arts and Entertainment, 1993). O’Young lives in Kleinburg, Ontario, with his ceramic artist wife, Diane Nasr, and children.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

86 KAYO O’YOUNG VASE porcelain, height 12” — 30.5 cm., painted signature in blue Provenance: Purchased directly from the artist $300—400

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87 KAYO O’YOUNG TEAPOT porcelain, 6.25” x 9.5” x 7.5” — 15.9 x 24.1 x 19.1 cm., painted signature in blue, circa 1988 Provenance: Purchased directly from the artist $150—250

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

88 KAYO O’YOUNG VASE porcelain, height 14.5” — 36.8 cm., painted signature and dated ‘89 in blue Provenance: Purchased directly from the artist $300—400

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89 KAYO O’YOUNG UNTITLED porcelain, minor chip, height 2.25” — 5.7 cm., diameter 18.25” — 46.4 cm., painted signature and dated ‘88 in blue Provenance: Purchased directly from the artist $250—350

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

90 LES MANNING, O.C. RUNDLE VIEW laminated stoneware and porcelain, height 10.25” — 26 cm., incised signature and dated ‘88 Provenance: Purchased directly from the artist $500—800

Les Manning was born in Provost, Alberta, in 1944. He studied at the Alberta College of Art in Calgary, intending to be a painter of western images, but in his second year, he discovered clay. After graduating in 1961 in Ceramics, Manning worked for several years in a production studio. He entered a one-year residency at the Banff School of the Arts in 1970 where he taught community classes; within three years, he was named the first director of the ceramics studio at the Centre and played a pivotal role in designing the facilities which made it a world-class destination for ceramic artists around the world. Manning was also instrumental in the creation of the Canadian Craft Council and served as its first President in 1974. He was also President of the Alberta Craft Council from 1986 to 1988. He assisted with the expansion of the Medalta International Artists in Residence program. Manning donated his time to Medalta for eight years and was instrumental in the design of new artist residency facilities – named the Shaw International Centre for Contemporary Ceramics – at the Medalta Potteries National Historic Site, which is a centrepiece of Medicine Hat’s Historic Clay District. Manning was named a Member of the Order of Canada in 2012. Manning continues to stay active in the international ceramic community through exhibiting, teaching, lecturing and doing volunteer development work. He lives in Medicine Hat, Alberta.

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91 MICHEL LECLERC TISANE O BANANAS glass, height 6” — 15.2 cm., engraved signature and dated ‘92 Exhibited: Galerie Elena Lee, Montreal, QC $60—90

Michel Leclerc received his DEC in 1993 from CEGEP du Vieux Montréal, with a specialization in Glass, training at the Centre des Métiers du verre du Québec in Montréal. He immediately opened his own studio, Feu Verre, having built the furnaces and most of the equipment himself. Leclerc has continued his studies in glass schools in North America and Europe. Since 2000, he has been teaching at the Centre des Métiers du verre du Québec, Espace Verre, in Montréal. He has collaborated on several public commission, and, most recently, was commissioned by the Casino de Montreal to create A River, a Passage, a glass installation which adorns the ceiling of one of the recently renovated rooms. Leclerc lives in Mont St. Hilaire, Quebec.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

92 SETSUKO PIROCHE THE UNICYCLIST mixed media, height 80.25” — 203.8 cm. Exhibited: Grace Gallery, Vancouver, BC $600—900

Setsuko Piroche was born in Tokyo, Japan in 1933. She studied traditional Japanese painting with Setsu Asakura in Tokyo in 1947, and travelled extensively in India and Australia to study art as well. Piroche showed her works regularly in Japan, including an exhibition at the Tokyo Museum in 1958, and winning Young Artists Prize in Tokyo in 1957 and 1960. Setsuko immigrated to Canada in 1967 at the age of 35, settling in Vancouver, British Columbia where she held her first solo exhibition in 1969 at the Mary Frazee Gallery. She has worked in a wide variety of media, including painting, ceramics, textile art and woven sculptures before settling on printmaking. Piroche has illustrated five childrens’ books, favouring the collagraph technique. In 2000, she was one of twelve artists chosen to be part of the Art and Heritage Millennium Project. Piroche has participated in numerous solo and group exhibitions throughout her career, in various parts of Japan and British Columbia, exhibiting her paintings, ceramics and sculptural weavings.

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93 MARGARET STEPHENSON COOLE BURGAMASQUE fabric, height 44” — 111.8 cm., stitched signature in orange thread Provenance: Purchased directly from the artist $300—500

Margaret Stephenson Coole was born in Kirkland Lake, Ontario in 1933 and graduated from the Ontario College of Art, Honours, in 1955. She worked brieﬂy as a graphic designer and display chief for the Toronto Public Libraries before she married in 1959 and raised a family. She eventually returned to the arts, taking courses on contemporary stitchery under Jane Dams at Sheridan College in 1980. In 1979, one of Coole’s wall hangings was chosen for the Ontario Crafts Council Permanent Collection, and in the same year she received the Ontario Society of Artists’ Collector’s Choice Award. The following year, she was asked to design the costume for R. Murray Schafer’s epic dancedrama-music pageant, Apocalypsis. Coole continued to win many awards, including the ﬁrst prize in the King Tut Needleart Contest sponsored by Canadian Living Magazine and the Village by the Grange. One of her works appeared on the covers of Embroidery Canada and the Artisan, and examples have been reproduced in The Second Quiltmakers' Handbook by Michael James, Fibre Arts Design Book II, and the 1985 Calendar of the National Standards Council of American Embroiderers. Coole received many awards throughout her career, including the Joan Chalmers Award for Quilting in 1981, and the Ontario Crafts Council Design Award in 1987, to name but a few. She exhibited throughout North America, and her works are found in several prominent collections in Canada and the United States. Coole passed away in 2008 in Georgetown, Ontario.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

94 MARGARET STEPHENSON COOLE FIESTA ﬁber, cotton, 58.5” x 58.25” — 148.6 x 148 cm., signed and dated 1988 in orange thread Provenance: Purchased directly from the artist $1,000—1,500

DecorativeArts.Waddingtons.ca

95 MARTHA TOWNSEND BREACH mahogany wood, silver plate, 19.5” x 17” x 7” — 49.5 x 43.2 x 17.8 cm. Exhibited: Art 45, Montreal, QC $300—500

Martha Townsend was born in 1956 and grew up in Ottawa, Ontario. She received her Bachelor of Fine Art in 1978 from the Nova Scotia School of Art and Design, and moved to Montreal, Quebec . During that six-year period she continued developing her art and taught at Concordia University. In 1991 Townsend and her family moved to New York, but they later returned to Canada and currently live in Montreal. Over the years she has continued to teach at many universities as part-time faculty, sessional instructor and visiting artist. Through her sculptures and drawings, Townsend addresses shapes: spheres, cubes, holes and lines. Many of Townsend’s earlier works were rooted in feminist theory and the assemblage of found objects. Her recent works are more abstract in form and are often related to fabricated circles or spherical forms. She has participated in solo and group exhibitions throughout Canada, in the United States and Ireland, and her works are included in international corporate and public collections in Canada. She has also received several grants from the Canada Council, the Ontario Arts Council, and the Ministère de la culture du Québec. Townsend lives in Montreal, Quebec.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

96 JAMES AND DAVID PATERSON MR. PENGUIN OFF TO THE CLUB carved and painted wood, height 17.5” — 44.5 cm., painted signature and dated 1989 in black Provenance: Purchased directly from the artist $1,000—2,000

James Paterson was born in Prince Albert, Saskatchewan and moved to Toronto, Ontario, where his brother David, was born in 1961. They grew up in the Kensington Market area of Toronto. James received his Bachelor of Fine Arts (Honours) from the University of Waterloo in 1981 and taught art at the elementary and high school levels for several years before leaving teaching to pursue art full time. David graduated from George Brown College, specializing in General Carpentry, in 1985, and worked in his field from 1985 to 1988. The brothers started creating folk art together, with David doing the carving and James painting them. Their works feature Canadian icons such as stylized Mounties with loons’ heads, and hockey players. James Paterson has recently completed a series of illustrations for the Revised Common Lectionary. He has participated in solo and group exhibitions both nationally and internationally.

DecorativeArts.Waddingtons.ca

97 GREG PAYCE UNTITLED clay, height 6.25” — 15.9 cm., diameter 16.25” — 41.3 cm., circa 1988 Provenance: Purchased directly from the artist

Greg Payce was born in Edmonton, Alberta in 1956. He received his Bachelor of Arts, with a minor in Anthropology, from the University of Alberta in 1977, and his Master of Fine Arts from the Nova Scotia College of Art and Design in 1987. Payce has been Head of Ceramics at the Alberta College of Art and Design since 1989. Payce worked with more traditional vessel forms at the start of his career, inspired by ancient pottery from Crete (Octopus Vase, 1992). In the 2000’s he began to explore the negative space between pottery forms to created images (Al Barelli, 2002).

$1,000—1,500 Starting in 2007, Payce began to create large-scale lenticular photographs of major pieces, opening new possibilities for seeing and experiencing the original works (The Customs and the Spirit of the Nations: Occident, 2011). He also began to work with video projections onto moving works, creating mesmerizing sequences that relate decorative motifs found around the globe to contemporary ceramics practice (Albedo Lux: Europa, 2009). Most recently, Payce’s work was featured in the 2012 solo exhibition, Illusions, at the Gardiner Museum in Toronto. Payce’s work is included in numerous public and private collections, including the Claridge Collection in Montreal, the Gardiner Museum in Toronto, and the Canadian Museum of Civilization in Gatineau, Quebec. He has given numerous lectures workshops and presentations both in Canada and internationally. He is also the 2013 recipient of the Saidye Bronfman Award now part of the Governor General’s Award in Visual Arts and Media. Payce lives and works in Calgary, Alberta.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

98 JOHN PICKERING LIDDED BOX raku, height 13.75” — 34.9 cm., incised signature, circa 1988

John Pickering first studied Ceramics at the University of California, Santa Barbara, while concurrently pursuing a degree in Confluent Education. He continued his art studies at the University of Manitoba and graduated in 1984 from the Emily Carr College of Art and Design in Vancouver. Pickering has had his own studio on Granville Island, and lives in Vancouver, British Columbia.

Provenance: Purchased directly from the artist $300—500

DecorativeArts.Waddingtons.ca

99 BRIGITTE RADECKI STILL LIFE WITH PAINTED SUPPORT mixed media, height 49.75” — 126.4 cm., circa 1986 Exhibited: Galerie John Daniel, Montreal, QC $1,000—1,500

Brigitte Radecki was born in Germany in 1940 and immigrated to Edmonton, Alberta in 1947. She moved to Montreal, Quebec to study at Concordia University, where received her BFA and MFA in 1978 and 1982, respectively. Her focus was initially on large-scale sculptures and environmental installations, but since the 1990’s is primarily on painting. Radecki has exhibited throughout Canada and Europe for over twenty years. She has held regular solo exhibitions at the Musée d'art contemporain de Montréal and participated in group exhibitions in Quebec, Ontario and British Columbia. Her work is found in several public and private collections, including those of the Musée des beaux-arts de Montréal, the Musée d'art contemporain de Montréal, and the Musée National des beauxarts du Québec. Radecki lives between Cape Breton and Montreal, Quebec, where she teaches at Concordia University.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

100 AULI RAUTIAINEN MEMORY CONTAINER glass, height 11” — 27.9 cm., engraved signature Exhibited: G.A.S. Conference - Student Show at MIT, Cambridge, MA

Auli Rautiainen is a Finnish-born glass artist who studied at the Glass Department of the School of Craft and Design at Sheridan College from 1994 to 1996, while completing her Masters of Fine Arts with the University of Art and Design in Helsinki, Finland. She went on to be Artist in Residence at the Harbourfront Center Glass Studio in Toronto from 1997 to 1999, also teaching glass blowing workshops. Rautiainen retuned to Finland to found the glass program at Kuopio Academy of Design, where she taught from 2001 to 2007. She has since dedicated herself to her art full time, exhibiting world wide and the recipient of numerous international awards.

$250—350 In recent years, Auli Rautiainen has expanded her glass art into kiln formed glass. Use of colours and patterns is the signature feature in her works. Auli Rautiainen's glass has been exhibited world wide, and she has been presented with awards and grants for her unique glass works and designs through out her career.

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101 SHIRLEY RIMER TOO LATE TO SKATE clay, condition noted, height 11.75” — 29.8 cm., painted signature in black Provenance: Purchased directly from the artist $250—350

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Shirley Rimer took her ﬁrst pottery course at a local community college in 1979, and has been working in clay ever since. Her work is primarily sculptural but includes functional pieces as well. She has attended residencies in Europe and Mexico and has been exhibited both nationally and internationally. Rimer lives in Red Deer, Alberta, where she has a studio.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

102 RON ROY SNOW PLATE porcelain, height 2.25” — 5.7 cm., diameter 16” — 40.6 cm., incised signature and dated ‘95 Provenance: Prime Canadian Crafts, Toronto, ON $250—350

Ron Roy was born in Montreal, Quebec in 1935. He graduated from the Ontario College of Art in 1963 and went on to establish his studio in Scarborough, Ontario. He was a studio potter and part-time educator in ceramics until 1971, during which time he participated in many shows, won numerous awards, executed several architectural commissions, laid the foundation for Rodaco Clay, and served as a volunteer in two major craft organizations. Roy set up the studio, developed the curriculum and taught at the Centennial College continuing education department from 1967 to 1985. He also started up Rodaco Clay, which supplied the ceramics community with well-designed and quality-processed clay. The company was taken over by his partner in 1981, which allowed Roy to return to the creative life of a studio potter, with a focus on porcelain ware. He is currently concentrating on technical writing, consulting, leading workshops, and his dilatometry experiments. Roy lives in Brighton, Ontario.

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103 RON ROY CELADON BRANCH BOTTLE clay, height 14.75” — 37.5 cm., incised signature and dated ‘87 Provenance: Prime Canadian Crafts, Toronto, ON $150—250

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Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

104 LISETTE SAVARIA CONTOUR DE L’AME porcelain, height 6.5” — 16.5 cm. Exhibited: George R. Gardiner Museum of Ceramic Art, Toronto, ON $1,000—1,200

Lisette Savaria was born in McMasterville, Quebec, in 1947. After her husband’s death in 1975, she turned her focus on art. She studied at the École des arts Appliqués, in Montréal, Quebec, from 1976 to 1979, as well as painting and sculpture in Mont St. Hilaire with Jordi Bonet and ceramics with Maurice Savoie in Longueuil. Savaria opened her own studio in 1979, and worked on techniques of sculpting, engraving and painting, producing porcelains with window-like openings. She went to France for one year in 1988 to attend the École nationale supérieure des beaux-arts in Paris and the Manufacture nationale de Sèvres. Savaria has participated in solo and group exhibitions in Canada, France, Norway and Japan. Her works are part of major public and private international collections. The federal government has also presented her porcelain as gifts to visiting heads of state and prominent dignitaries, including Their Imperial Highnesses Prince and Princes Takamado of Japan, Their Royal Highnesses The Duke and Duchess of York, and His Majesty King Fahd bi n Abdul Aziz al Saud, Riyadh of Kingdom of Saudi Arabia. Lisette Savaria lives in Mirabel, Quebec.

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105 LISETTE SAVARIA FLEUR DE PRINTEMPS porcelain, height 6.75” — 17.1 cm., incised signature and dated 1990, numbered 4/14 Provenance: Purchased directly from the artist $400—700

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Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

106 LOIS SCHKLAR UNTITLED acrylic on canvas, height 36.5” — 92.7 cm., painted signature in purple, circa 1988 Provenance: Purchased directly from the artist $200—300

Lois Scholar received her Bachelor of Fine Arts from the Atlanta College of Art in Atlanta, Georgia, studying drawing and painting. She settled in Toronto, Ontario, and began to focus on non-traditional textile sculpture, specifically creating dolls and human figures. Through experimentation, Scholar developed a technique which allows her to laminate rather than stuff the burlap figures with fabric, which are then painted with gesso and acrylic. Some of these sculptures stand six feet tall. Scholar has served as Artist in Residence at the McMichael Canadian Art Collection, in Kleinberg, Ontario (1993) and at Connexion Gallery in Fredericton, New Brunswick (2008). She also curated “Dolls: Reclaimed” at the Ontario Crafts Council in 2007. She is a member of the Artists’ Committee, as well as other organizations that bring art into the community. Schklar lives in Toronto, Ontario.

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107 ANNE MARIE SCHMID ESLER UNTITLED clay, condition noted, height 1.75” — 4.4 cm., diameter 21” — 53.3 cm., incised signature and painted signature in gray, circa 1986 Provenance: Purchased directly from the artist $75—125

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Anne Marie Schmid Esler was born in Winnipeg, Manitoba, in 1937. She received her Bachelor of Arts in 1959 from the University of Manitoba, and went on to further studies at the University of Munich, Germany.from 11961 to 1962. She returned to Winnipeg and worked as a social worker before focusing her education in ﬁne art. She graduated with a diploma in ceramics from the Alberta College of Art in 1968. Schmidt’s work often reﬂects a concern for the sorrow of human existence. She played an integral role in shaping the history of ceramic arts in Alberta in the 1970‘s and 80‘s, pushing the medium beyond traditional practices and ensuring its rightful place in contemporary practice. Schmid’s career in the arts spanned over 25 years, and she was the recipient of several awards and scholarships, including the Manitoba Arts Council Award. Her work is included in several university collections, as well as in the Alberta House in London, England. She took part in several solo and group exhibitions throughout Canada, in England, France and Japan, including a retrospective of her work at the Triangle Arts Gallery in Calgary, Alberta in 2006. Schmid Esler passed away in 2013 in Calgary, Alberta.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

108 MELISSA SEARCY EE 6 SLAB VASE

Melissa Searcy studied ceramics at the Emily Carr College of Art and Design in Vancouver, British Columbia from 1981 to 1983. She has exhibited her ceramics throughout Canada and lives on Salt Spring Island, British Columbia.

clay, 13.25” x 9.75” x 3.25” — 33.7 x 24.8 x 8.3 cm., incised signature Provenance: Purchased directly from the artist $100—200

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109 DAVID SIDLEY THE BULL bronze, 8.25” x 12.75” x 2” — 21 x 32.4 x 5.1 cm., incised signature and dated ‘86 Provenance: Purchased directly from the artist $500—800

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David Sidley was born in 1958 in Sun Valley, Idaho and studied at the University of Oregon before immigrating to Canada in 1980. He graduated from the Ontario College of Art 1984, and continued on to do one year of post-graduate studies in Foundry at the college. He moved to Rossland, British Columbia in 1988, where he has been working as a sculptor since. Sidley has exhibited his work extensively in British Columbia as well as other parts of Canada.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

110 EVA SLESKA UNTITLED blown glass, metal, 8.25” x 13.75” x 10.75” — 21 x 34.9 x 27.3 cm., signed and dated ‘93 in silver Sharpie Exhibited: Canadian Clay and Glass Gallery, Waterloo, ON $100—150

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111 JIM SMITH, R.C.A. GREEN HANDLED SERVING DISH glazed ceramic, 4.5” x 21” x 5” — 11.4 x 53.3 x 12.7 cm., incised signature Provenance: Purchased directly from the artist $200—300

Jim Smith, born in 1956, has been a studio potter in Chester, Nova Scotia. Smith began researching schools and, through the encouragement of Walter Ostrom, Smith studied at the Nova Scotia College of Art and Design. Ostrom also introduced him to working with earthenware clay. Smith graduated with a Bachelor of Fine Arts, majoring in Ceramics, in 1989. Smith’s art has been greatly influenced by his travels; he has undertaken research in China, Mexico, Europe, Turkey, South Korea and Morocco, as well as done a residency in Italy. He has participated in over 80 exhibitions, both nationally and internationally, and his work is included in many prominent public and private collections, including The Gardiner Museum of Ceramic Art in Toronto, and the Jingdezhen Ceramic Institute in Jingdezhen, China. Smith has won many awards for his work, including The QE II Golden Jubilee Commemorative Medal by the Canadian Government in recognition of distinguished career achievement and significant contribution to Canadian society in 2002, and was inducted into the Royal Canadian Academy of Arts in 2008. He had the honour of being a juror for Canada's highest award in fine craft, the Saidye Bronfman Award/Governor General’s Award in Visual and Media Arts. Smith has also recently been granted “Master Craftsman” membership with the Nova Scotia Designer Crafts Council.

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Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

112 JIM SMITH, R.C.A. TURQUOISE HANDLED SERVING DISH glazed ceramic, 4.5” x 21” x 5.5” — 11.4 x 53.3 x 14 cm., incised signature Provenance: Purchased directly from the artist $200—300

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113 PAT STRAKOWSKI SINGER FOR THE MASQUE mixed media, height 38.5” — 97.8 cm., signed and dated ‘88 in pencil on cloth Exhibited: Virginia Christopher Galleries, Calgary, AB $700—1,000

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Pat Strakowsky is best known for her papier-mâché sculptures that are carefully painted and adorned to emphasize the mythical quality of her creations. Pat Strakowski was born in 1937. She waited until her daughters were in high school to enroll at the Alberta College of Art in Calgary, and graduated in 1979 with a Diploma in Textiles. Throughout the greater part of her artistic career, Strakowski has created mythical sculptures with papier mache adorned with found objects, her work influenced by the likes of Marisolo Escobar, Magdalena Agakanowicz and Frida Kahlo. More recently, Strakowski has focussed on altering books: she finds discarded hardcover books and builds them up with found objects, based on a specific theme or imagery. In 2009, a book on her works was published, entitled Moon Nibbler: The Art of Pat Strakowski. Strakowski lives in Calgary, Alberta.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

114 IAN SYMONS COVERED JAR earthenware, height 13.25” — 33.7 cm., painted signature in black, circa 1985 Provenance: Prime Canadian Crafts, Toronto, ON $600—900

Ian Symons was born in Port Credit, Ontario in 1959. He studied painting and ceramics at the Rhode Island School of Design, Kent State University, and the Nova Scotia College of Art and Design, leading to a Bachelor of Fine Arts from N.S.C.A.D in 1982, and a Master of Fine Arts from Alfred University in 1985. Symons moved to Toronto upon completion of his studies, where he has operated a studio pottery in Toronto since. Symons is known for his limited production of colourfully painted hand-built earthenware, which draws from history yet is intensely personal. Symons’ work has been exhibited frequently in Canada and internationally, including shows at Canada House Gallery, London England; Prime Gallery Toronto; and Nancy Margolis Gallery New York City. His work is found in both private and public collections, such as The Museum of Civilization, the Gardiner Museum, and the Art Gallery of Nova Scotia. Symons has taught ceramics throughout his career, including Ohio State University and George Brown College. He has also given workshops in Canada and the United States. Currently, he is an educator at the Gardiner Museum of Ceramic Arts in Toronto. Symons lives in Toronto, Ontario.

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115 IAN SYMONS LIDDED TUREEN majolica, 7” x 15.75” x 8.75” — 17.8 x 40 x 22.2 cm., signed and dated in the glaze 1985; painted signature and dated Sept, 30, 1986 in red Provenance: Purchased directly from the artist $300—400

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Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

116 PAT TADDY LARGE SHIP FLASK GREEN FLOWERS clay, 18.75” x 6.5” x 6.25” — 47.6 x 16.5 x 15.9 cm., impressed initials

Pat Taddy graduated with a Bachelor or Fine Arts from the Nova Scotia College of Art and Design in 1993 and his Master of Fine Arts from Kansas University. He received the B.C. Telephone scholarship from Emily Carr College in 1990 and the David Lambert Memorial Award in 1991. He is Senior Studio Technician in the Visual Arts department of the University of Simon Fraser Valley.

Exhibited: Gallery of BC Ceramics, Vancouver, BC $150—250

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117 JACK SURES, O.C. SMALL PLATE porcelain, height 4.5” — 11.4 cm., diameter 16.25” — 41.3 cm., incised signature and dated ‘86 Provenance: Purchased directly from the artist $200—400

Jack Joseph Sures was born in Brandon, Manitoba, in 1934, the son of Russian Jewish immigrants. He attended the Winnipeg School of Art under the tutelage of Canadian artists, George Swinton (RCA) and Robert Nelson. He received his Bachelor of Fine Arts in 1959 from the University of Manitoba and continued on to obtain a Master of Arts, with a double major in painting and printmaking, from Michigan State University. During this time, he took one ceramics course, which was the impetus that initiated his largely self-taught career in clay. It was during the late 1960’s to the mid 1970’s that the Regina Clay Movement was started. Sures, along with Joe Fafard, David Gilhooly, Lorne Beug, Marilyn Levine and others, dissociated themselves with the midtwentieth century modernism, in favor of the pop movement style that emerged from California. Sarcasm, wit, and personal expression were the essence of their art. In 1987, Sures won a competition for a mural at the new Canadian Museum of Civilization in Gatineau, Quebec, and in 1989, Sures received the Grand Prize at the Second International Ceramics Competition in Mino, Japan, the foremost international ceramic competition held in Japan every three years. In 1991, he was appointed a Member of the Order of Canada, being recognized for a lifetime of outstanding achievement and dedication to the community and service to the nation. He was elected to the International Academy of Ceramics that year as well. Sures lives in Regina, where he continues to create in his own studio and exhibit his work

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Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

118 RON TRIBE SCULPTURAL TEAPOT raku, 9.75” x 7.25” x 1.25” — 24.8 x 18.4 x 3.2 cm. Provenance: Purchased directly from the artist $100—150

Born in Surrey, England in 1927, Ron Tribe immigrated to Canada in his youth, and worked for a number of years in the retail business. He eventually chose to pursue the arts and studied different media at the Vancouver School of Art, Capilano College and the University of British Columbia, and eventually opened his own pottery studio. Tribe also taught at various schools, including Capilano College. Tribe exhibited at Retrospect Ceramics 80, the 25th Anniversary of the Potters Guild of B.C., an invitational exhibition featuring 120 national and international ceramic artists who received honors locally or at the national and international level, as well as those who contributed to the growth and development of ceramics in British Columbia over the previous 25 years. Tribe passed away in 2009.

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119 RON TRIBE SCULPTURAL FORM AND STOPPER raku, 16.25” x 8.75” x 4” — 41.3 x 22.2 x 10.2 cm., impressed seal mark Provenance: Purchased directly from the artist $150—250

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Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

120 RON TRIBE SCULPTURAL TEAPOT ceramic, 11.5” x 7.5” x 1.5” — 29.2 x 19.1 x 3.8 cm. Provenance: Purchased directly from the artist $100—150

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121 RON TRIBE GROUP SCULPTURE FOR CANDLES ceramic, height 6.25” — 15.9 cm., diameter 3” — 7.6 cm., impressed seal marks Provenance: Purchased directly from the artist $100—150

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Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

122 RON TRIBE SCULPTURAL FORM AND STOPPER ceramic, height 4.5” — 11.4 cm., diameter 16.25” — 41.3 cm., impressed seal mark Provenance: Purchased directly from the artist $150—250

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123 WENDY WALGATE, R.C.A. THE GRAND MENAGERIE porcelain, glaze chip, approximately 16” x 21” x 21” — 40.6 x 53.3 x 53.3 cm., painted signature and dated 1988 in green Provenance: Purchased directly from the artist $800—1,200

Toronto-native Wendy Walgate graduated from the University of Manitoba in Winnipeg with a B.A. in Printmaking and Ceramics, and received her diploma in Ceramics at George Brown College in Toronto in 1986. She went on to obtain her M.A. in History of Art from University of Toronto and M.F.A. from Cranbrook Academy of Art in 1994. Walgate was awarded the Artists’ Residency Scholarship in 1995 while resident at the Harbroufront Crafts Studios. She served as Vice-President and President of the Ontario Crafts Council from 2001 to 2005. In 2005, Walgate was awarded membership in the Royal Canadian Society of Artists. Walgate has participated in numerous solo and group exhibitions across North America, in Korea, Dubai and Belgium. Her work has recently been featured in British Vogue and the design book Fragiles which was sponsored by Die Gestalten in Berlin. She has worked as an instructor and a lecturer at Ontario College of Art & Design, Concordia University, Nova Scotia School of Art & Design and Sheridan College. In 2009, Walgate lectured about her work at the Cheongju International Craft Biennale and was invited to exhibit at Adventures in Fire, Invitational World Contemporary Masters Ceramics Exhibition in Icheon, Korea. Walgate’s current work examines and comments upon our culture of acquisition, accumulation and display although the collections initially appear to be light-hearted and even whimsical. Walgate works full-time at her studio in the historical distillery district of Toronto.

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Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

124 KIM WEBSTER OPAL WHITLEY’S GARDEN III blown glass, height 24.75” — 62.9 cm., engraved signature and dated ‘97 Exhibited: Galerie Elena Lee, Montreal, QC $300—500

Canadian glass artist, Kim Webster, graduated with honors from Sheridan College School of Craft and Design in 1998. She moved to Oakland, California in 1999 where she teaches intermediate glass-forming at Public Glass in San Francisco. Webster is known as the glass gardener: she has combined her love of glass and horticulture to create glass garden themes which are unique and whimsical. In 2000, Webster was awarded special recognition from the Royal Canadian Society of Arts for her work entitled Three Years Apart. The title refers to three of years of correspondence between her parents during the Second World War. Webster’s works have been included in the Corning Museum New Glass Review (1999) and Vetro Magazine (Winter, 2000). She has been involved in teaching at Sheridan College, Public Glass in San Francisco, and Pilchuck Glass School in Washington. Webster lives in San Francisco, California.

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125 DON WELLS UNTITLED clay, height 8.75” — 22.2 cm., diameter 17.5” — 44.5 cm., incised signature and dated ‘85 Exhibited: Fireworks Gallery, Calgary, AB $150—250

Don Wells received his Bachelor of Arts in drama from the University of Alberta in 1964. He worked for ten years with CBC Television in Toronto and Edmonton before deciding to make pottery his full-time profession. Wells attended classes at the University of Alberta Extension in visual arts, pottery and painting in the 1970’s, as well as at the Banﬀ Center, studying under Gerda and Kurt Spurey, Claude Vermet, and Jim Romberg. Wells set up his own studio in High River, Alberta in 1980, where he has produced ﬁne pottery, ceramic and bronze sculptures and murals. Throughout his career, Wells has attended workshops led by well-known ceramicists including Les Manning, Harlan House, and Robin Hopper. He has also taught workshops and classes throughout Canada and in Greece, covering all aspects of working with clay, including clay sculpture techniques, stoneware slip and glaze decorations. Wells’ works are included in prominent international collections, and he has participated in both solo and group exhibitions since 1976 throughout Canada, as well as in the United States, Germany, Greece and Taiwan. The Gardiner Museum of Ceramic Art held a solo show of his porcelain vessels, Ultramarine, in 1992. Wells has been a member of the Alberta Potters Association since 1972, serving as President from 1978 to 1980, as well as a member of the Alberta Crafts Council, where he acted as Treasurer from 1994 to 1996. He has recently returned to painting, his preferred medium before discovering clay. Wells lives in High Deer, Alberta.

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Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

126 KATHRYN YOUNGS BOTTLE, JUG AND LEMONS clay, 20.5” x 16” x 8.5” — 52.1 x 40.6 x 21.6 cm., painted signature and dated ‘91 in black Provenance: Purchased directly from the artist $400—600

Kathryn Youngs was born in southern California, and grew up in Lytle Creek. She moved to Vancouver in 1972, where she studied at the Vancouver School of Art from 1972 to 1974. Youngs started her career as a printmaker, but it was while taking a pottery course at a local community center in 1979 that she discovered clay and has since worked on slab-built sculptural vessels. Youngs’ work is part of major collections in Canada, as well as at the National History Museum of Taipei. She has exhibited her work across Canada, in the United States, Norway and China. In 2008, Youngs retired as an artist and returned to school to obtain her Bachelor of Arts in Anthropology from the University of British Columbia. She is presently manager of Circle Craft Cooperative Association of BC, and lives in Vancouver.

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127 MAURICE SAVOIE, R.C.A., O.C. STONEWARE BOX WITH TRIPLE COVER clay, 11.5” x 10.5” x 9” — 29.2 x 26.7 x 22.9 cm., impressed initials Provenance: Purchased directly from the artist $400—600

Born in Sherbrooke in 1930, Savoie began his studies in 1948 at the École du meuble in Montréal, where he was taught by ceramic sculptors Pierre Normandeau and Louis Archambeault. Between 1949 and 1989, he continued his studies in programs at the École des beaux-arts in Montréal, at ceramic studios in Faenza, Rome and Paris, and at the École nationale d'art décoratif in Limoges, France. Savoie's extensive training in both commercial and industrial applications for ceramics and his strong background in sculptural modeling helped him develop a unique combination of skills that have contributed to the extraordinary range of his work. Savoie was also extremely active in the art and architecture programme in Quebec in the 1960s and 1970s, and he continued to produce ceramic murals until 1995. His 1966 ceramic mural adjacent to the McGill Metro station is widely considered to be the ﬁrst instance of integrated art in the Montréal subway system, and Savoie also produced an innovative design for a screen installation at the Quebec Pavilion at Expo 67. Savoie has exhibited his work in over 100 group and individual shows in Canada and abroad, in Czechoslovakia, England, Italy, Hungary and the United States. His work is part of several prominent corporate and public collections throughout Canada, including the Montreal Museum of Fine Arts and the Canadian Museum of History in Gatineau, Quebec. In 1994, Savoie was elected to the Royal Canadian Academy of Arts and was also made a Member of the Order of Canada. In 2004 he was the recipient of the prestigious Saidye Bronfman Award and the Paul-Emile Borduas Prize. Savoie passed away in 2013.

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Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

128 MURI WILDSMITH UNTITLED clay, glass, longest length 14..25” — 36.2 cm. Exhibited: Show of Hands, Toronto, ON $200—400

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129 JANE DONOVAN PLATTER clay, height 2” — 5.1 cm., diameter 15” — 38.1 cm., painted signature and dated ‘88 Provenance: Purchased directly from the artist $75—100

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Jane Donovan was born in 1957 in Bedford, Nova Scotia. She studied Business at Acadia University, but soon realized that this was not her ﬁeld of choice. She became involved with the Wolfville Potter’s Guild, and soon afterwards enrolled at the Nova Scotia College of Art and Design, where she studied under Homer Lord, and Walter Ostrom from 1978 to 1980. Donovan moved to Canmore, Alberta, where she worked at Stonecrop, with Tony Bloom and Les Manning. She returned to Halifax in 1982, and established her own studio. Donovan’s works, celebrated for their exuberant gestural decoration and hardy forms, have been represented in exhibitions and publications in Canada, and are included in numerous public and private collections. She has since closed her studio and is no longer producing pottery.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

130 JANE DONOVAN PITCHER clay, height 10.25” — 26 cm., incised signature and dated ‘87 Exhibited: Regent Craft Gallery, Fredericton, NB $100—150

130

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131 JANE DONOVAN EWER clay, height 12.5” — 31.8 cm., incised signature and dated ‘87 Provenance: Purchased directly from the artist $100—150

131

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

132 MICHELINE BEAUCHEMIN, R.C.A. RAILES COULEUR DE TEMPS GRIS

Textile artist Micheline Beauchemin is best known for her monumental tapestries and theatre curtains, as well as works of embroidery and stained glass, costumes and paintings. She has experimented with varied materials, including metallic yarns, natural and synthetic threads and glass beads.

ﬁbre and acrylic, 20.5” x 10.5” x 10.5” — 52.1 x 26.7 x 26.7 cm., engraved signature and dated 1981

Micheline Beauchemin was born in Longueuil, Quebec in 1929. She studied at Montréal’s École des Beaux-Arts, and in Paris at the École des Beaux-Arts and Académie de la Grande Chaumière. Beauchemin first developed her artistic talent through painting and stained glass. While on a trip to Greece, she became interested in murals, embroidery and tapestries, and began experimenting with new textures and colours.

Provenance: Purchased directly from the artist Note: Maquette for a larger work $800—1,200

Beauchemin’s works are included in prominent collections throughout the world, including at the National Gallery of Canada Beauchemin was elected member of the Royal Society of Arts of Canada and the Royal Society of Canada in 1971 and received several prominent awards throughout her career, including the Saidye Bronfman Award in 1986, and the Governor General’s Award in Visual and Media Arts in 2006. Beauchemin passed away in 2009.

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133 BRIAN GREGORY CHALICE FOR THE SEASONS blown glass, height 13” — 33 cm., diameter 8.25” — 21 cm., engraved signature and dated ‘97 Exhibited: Galerie Elena Lee, Montreal, QC $150—250

133

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

134 JEAN-DENIS BISSON ST. LAWRENCE ST. salt glazed stoneware, height 18.5” — 47 cm., incised dignature and dated 1987 Exhibited: Galerie Barbara Silverberg, Montreal, QC $400—600

Jean-Denis Bisson was born in Ste-Agathe-des-Monts, Quebec in 1947. He studied computer science and worked as a programmer for ten years, before turning his focus to art. It was while traveling in France in 1989, that Bisson met the architect and sculptor Pierre Szekely. He accompanied the artist in 1991 to Brittany and assisted him with his work in the granite quarries. The two worked together for ten years, which gave Bisson the skills to create monumental sized sculptures. Bisson founded the Blue Heron Pottery Works, in Val-David, Quebec, in 1982, where he reproduces Canadian traditional pottery. He has researched and studied ceramic glazes, metal refractory, and moulding, combining ceramics and bronze. Bisson has won several public commissions and has participated in a number of exhibitions across Canada. He has also published a book of his works, entitled Mes oeuvres de pierre: Sculptures choisies 1990-2010. He continues to work as a sculptor and ceramic artist in Val-David, Quebec.

134

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135 MICHAEL HUYGHE UNTITLED clay, height 9.25” — 23.5 cm., impressed seal mark, circa 1987 Provenance: Purchased directly from the artist $80—120

135

Michael Huyghe was born in Vancouver, British Columbia in 1952. Upon completing high school, he travelled throughout Europe, and took his ﬁrst pottery class at Finsbury Park Polytech in London, England. When he returned home in 1972, he began working in the family business, the Huyghe School of Pottery. He continued his education in pottery, taking courses at the Vancouver School of Art, now Emily Carr College of Art Design, where he studied under John Reeve, Michael Henry and Clary Illian. In 1983, Huyghe founded Terra Cotta in Vancouver, a commercial gallery which specialized in clay, paper, wood and glass. The gallery closed in 1990 and Huyghe has since started a new career in carpentry in the Vancouver area.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

Remaining lots from a Montreal Collection (Lots 136-158)

136 MICHAEL HUYGHE CERAMIC JAR AND COVER ceramic, height 3.25” — 8.3 cm., diameter 4.75” — 12.1 cm., impressed seal mark Provenance: Purchased directly from the artist $75—125

136

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137 MICHAEL HUYGHE CERAMIC JAR AND COVER ceramic, height 3” — 7.6 cm., diameter 4.75” — 12.1 cm., impressed seal mark, circa 1984 Provenance: Purchased directly from the artist $75—125

137

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

138 WALTER DEXTER, R.C.A. VASE ceramic, height 16” — 40.6 cm., signed and dated 1989 in black Sharpie Provenance: Purchased directly from the artist $500—800

British Columbia-based Walter Dexter is one of Canada’s most accomplished potters and ceramic sculptors. He is known primarily for his innovative work with raku techniques and high-quality stoneware. Walter Dexter was born in Calgary, Alberta in 1931. He entered the Commercial Art program at the Alberta Institute of Technology and Art in 1952, but was dissatisfied with his progress two years into the program. His teacher and mentor, Luke Lindoe, encouraged him to try pottery and he thus completed his studies in 1954, receiving a major in Ceramic Art. He eventually worked for Lindoe in his Calgary studio, producing utilitarian objects, where he learned to work as a craftsman, but was also given the freedom to engage in endless weekend experiments. Dexter was head of the Clay Department at the Kootenay School of Art in Nelson, BC, a position he held from 1968 to 1974. He also taught at the Vancouver Community College, the Emily Carr College of Art and the University of Saskatoon, and until recently taught summer courses at the University of Victoria. In 1975, Dexter moved to Metchosin, BC, where he set up his studio. He has exhibited in Canada, the United States, England, Italy, Belgium and Czechoslovakia. Dexter won the Saidye Bronfman Award for Excellence in Craft in 1992 and is a member of the Royal Canadian Academy of Arts. He was also President of the Craftsmen’s Association of British Columbia and a Director of the Canadian Crafts Council. He has also served as President and VicePresident of Ceramists Canada. Walter Dexter lives in Metchosin, BC, with his wife, Canadian poet, Rona Murray.

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139 GATHIE FALK, O.C. CABBAGES ceramic, height 6.25” — 15.9 cm., circa 1977 Exhibited: Equinox Gallery, Vancover,BC $1,000—1,500

Gathie Falk was born in Alexander, Manitoba in 1928. She moved to Vancouver in 1946,and spent twelve years as a primary school teacher before she embarked on a new career path in 1965. She enrolled at the University of British Columbia but soon abandoned formal studies to become a self-supporting artist. Falk held her ﬁrst exhibition of ceramic sculpture in 1968 at the Douglas Gallery, Vancouver, which launched her career as an artist. The show, entitled Home Environment, recreated an entire living room which she furnished with altered found objects and ceramic replicas of domestic articles, juxtaposed in disconcerting ways. From 1968 to 1977 her numerous exhibitions were counterpointed by her work as a performance artist. After 1974, Falk turned to drawing, watercolour and oil-painted images in an impressionistic vein. Falk’s works are included in major public galleries, including the National Gallery of Canada. The Vancouver Art Gallery staged solo exhibitions of her work in 1981, 1982, 1983, 1985 and 1987 and in 1990 she won the Gershon Iskowitz Prize for her contribution to Canadian art. In 1997 she was named to the Order of Canada and in 2003 won the Governor General's Award in Visual Arts. In 2000, the Vancouver Art Gallery, together with the National Gallery of Canada, mounted a major retrospective of her work that toured the country. Falk continues to live and work in Kitsilano, Vancouver.

139

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

140 DANIEL MATERNA VASE raku, height 14” — 35.6 cm., signed in gold Sharpie Provenance: Purchased directly from the artist $150—250

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141 WAYNE NGAN GOLD BOWL WITH SILVER NITRATE raku, height 4.5” — 11.4 cm., diameter 6.25” — 15.9 cm., incised seal mark Provenance: Purchased directly from the artist $150—300

141

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

142 LYNN ONLEY PINK PELICAN clay, 15.25” x 20.5” x 1.25” — 38.7 x 52.1 x 3.2 cm. Provenance: Purchased directly from the artist

Lynn Onley was born in Brantford, Ontario in 1953, her father being the celebrated artist, Tony Onley. After the passing of her mother at a very early age, her father received a scholarship to study in San Miguel Alende, Mexico, and Lynn spent three years there as a young child. Onley began her formal training in art at Capilano College, and received her B.A. in sculpture from the Emily Carr College of Art in 1982. Lynn’s interest in painting grew as she would fly with her father to remote locations of British Columbia and would paint with him. Lynn continues to participate in workshops at the Vancouver Academy of Art, and also teaches watercolour painting.

$300—500

142

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143 JEAN-DENIS BISSON LES BOULES salt glazed stoneware, height 19” — 48.3 cm., incised signature and dated 1987 Provenance: Purchased directly from the artist $400—600

143

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

144 JUDITH BURKE PLANTER stoneware shine glaze, height 13.75” — 34.9 cm., diameter 10.5” — 26.7 cm., impressed seal mark Provenance: Purchased directly from the artist $200—400

Judith Burke was born in Washington, DC in 1932 and moved to San Francisco with her family at the age of fifteen. She received her Bachelor of Arts in Art History in 1953 and her Master of Arts in Painting in 1955 from the University of California, Berkeley. Burke discovered ceramics when she took an evening pottery class after her university studies and continued on to enrol in several additional courses and workshops. She and her husband moved to Canada in 1970, where she began her career as a ceramic artist in the mid-1970s. Burke’s work is primarily functional stoneware, however, she often works in three dimensions and uses colour to fulfill her needs as an artist. Burke has been exhibiting both nationally and internationally since 1980 and her works are found in private and public collections including the Museum of Anthropology, University of British Columbia; the Shepparton Art Gallery, Australia; and the World Ceramic Exposition Foundation, Korea. Burke lives in Maple Ridge, British Columbia.

144

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145 KATHRYN YOUNGS STILL LIFE WITH SPHERE ceramic, 18.75” x 18.5” x 6.75” — 47.6 x 47 x 17.1 cm., painted signature and dated ‘90 in black Provenance: Purchased directly from the artist $300—500

145

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

146 KATHRYN YOUNGS THREE PEARS ceramic, 9” x 14.5” x 6.25” — 22.9 x 36.8 x 15.9 cm., painted signature and dated 1985 in cream Provenance: Purchased directly from the artist $300—500

146

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147 ANITA DUMINS SUBCONSCIOUS RELICS 3 raku with copper, height 13” — 33 cm., diameter 8” — 20.3 cm., signed in pencil Provenance: Purchased directly from the artist $300—600

147

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

148 JOANNE VANDERHORST GREEN COFFEE SET porcelain, coﬀee pot height 15” — 38.1 cm., incised signatures Provenance: Purchased directly from the artist

Joanne Vanderhorst is a Winnipeg artist who is recognized for her paintings and ceramics. She has worked as a professional potter since 1978, and was a founding member and co-owner of The Stoneware Gallery, one of the longest running artist’s co-operatives in Canada. She has given classes and workshops in pottery at the Parks and Recreation Department for the City of Winnipeg, and at the Icelandic College of Art in Reykjavik, Iceland. Vanderhorst has exhibited across Canada, the United States, and Japan, and her work is included in corporate and public collections across Canada.

$300—600

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149 DIANE NASR TALL GOBLET porcelain, height 12” — 30.5 cm., signed and dated ‘88 in pencil Provenance: Purchased directly from the artist $200—400

149

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

150 DIANE NASR TALL VASE porcelain, height 16.25” — 41.3 cm., signed and dated November ‘87 in pencil Provenance: Purchased directly from the artist $300—400

150

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151 REBECCA RUPP COFFEE SET ceramic, coﬀee pot height 11.25” — 28.6 cm., incised marks Provenance: Purchased directly from the artist $500—800

151

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

152 GWEN HUGHES THE STAR GAZERS ceramic, series of nine players dressed in Expo baseball uniforms, longest width 8” — 20.3 cm., incised signatures Exhibited: Shayne Gallery, Montreal, QC

Gwen Hughes was born in Regina, Saskatchewan. She graduated in 1979 from the Alberta College of Art, and has also taken art classes at the University of Calgary. Hughes is known as both a painter and sculptor, and has exhibited in both Canada and the United States. Her works are also found in collections across North America. Hughes owns Hughes and Barber Art Studio, a gallery in Bragg Creek, Alberta. She lives in La Quinta, California, where she also teaches art workshops.

$400—600

152

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153 ANDRE PETTERSON HACK 1980 mixed media, height 28.5” — 72.4 cm., signed and dated 1980 in black Sharpie Provenance: Purchased directly from the artist $500—800

153

Andre Petterson was born in Rotterdam, Holland, in 1951, and moved to Saskatoon, Saskatchewan at the age of three. He became seriously interested in art in his late teens and was encouraged to follow this path by the Dean of Art at the University of Saskatchewan. Petterson moved to Vancouver, British Columbia, in 1970 and since then has had over 50 international solo shows, exhibiting across the spectrum of art media, including painting, photography, photo-based works, and steel sculpture. He has also explored performance art, ﬁlm, and kinetic work involving his own musical compositions, set design and choreography. His current photo-based work explores themes of lighting to created elements of mystery, where the integration of movement and fabric are analogous to brushstrokes. He was the recipient of the National Film Board of Canada Award in 1986. Petterson lives in Vancouver, British Columbia.

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

154 LETA CORMIER VASE ceramic, height 13.75” — 34.9 cm., impressed seal mark Provenance: Purchased directly from the artist

Leta Cormier grew up in the Bay of Fundy area of Nova Scotia. She was educated in Early Childhood Education and taught kindergarten for ﬁve years before she was oﬀered the opportunity by the Halifax board of Education. The board was dedicated to strengthen its visual arts program at the elementary school level. She and her husband, Don, soon afterwards moved to Ottawa from 1972 to 1973, and then to Vancouver. As there were no teaching positions available in Vancouver, Leta was able rekindle her passion for clay. She studied at the Vancouver School of Art and Douglas College, being instructed and mentored by Fred Owen, Walter Dexter and Wayne Ngan.

$150—250 The Cormiers returned to Ottawa, where Leta set up a studio in the home basement. She started to make fake fired work, one of the first in Ontario. to study at the Nova Scotia College of Art, Vancouver School of Art and Douglas College. She and her husband, Don, eventually settled in Ottawa and were amongst the first members of the Ottawa Guild of Potters in 1975. Cormier has served as President of the Ontario Potters Association (Fusion) and the Ontario Crafts Council, a member of the board of Directors of the Canadian Craft Council, the Council for the Arts Ottawa, and the founding program committees and boards of Directors of Arts Court and the Ottawa Art Gallery.

154

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155 LETA CORMIER VASE ceramic, height 10.5” — 26.7 cm., impressed seal mark Provenance: Purchased directly from the artist $100—200

155

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

156 ALBERT BORCH DISH extruded slab ceramic, 2.75” x 9.25” — 7 x 23.5 cm., impressed seal mark Provenance: Purchased directly from the artist $75—125

Albert Borch was born in Fort Dodge, Iowa in 1933. He received his Bachelor of Fine Arts in Crafts, with distinction in 1955 and his Master of Fine Arts in Ceramics, with high distinction in 1961 from the California College of Arts and Crafts, Oakland, California. Borch worked as a teacher at the Scattergood Friends School in Iowa from 1955 to 1959, and moved to Chicago, where he taught at the School of the Art Institute of Chicago, from 1961 to 1968. He was also a visiting professor at the University of Chicago the summers of 1964 and 1965. Borch moved to Calgary, Alberta, where he began teaching in 1968 at the Alberta College of Art and Design, eventually becoming Chairman of the Ceramics Department in 1975. He was awarded Lecturer Emeritus in 1999. Borch also taught bookbinding at several schools throughout his career, including Red Deer College, and the Alberta College of Art and Design. Albert Borch currently lives with his wife in Kelowna, BC.

156

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157 ROBERT ARCHAMBEAU TEAPOT WITH BRONZE LID salt glazed ceramic, height 8.5” — 21.6 cm., engraved initials Provenance: Purchased directly from the artist $300—500

Artist Robert Archambeau has been an indisputable force in Canadian ceramics for over fifty years, and has earned an international reputation for his functional pots, with their confident profiles, subtle wood-fired glazes, and meticulous finishes. Robert Archambeau was born in Toledo, Ohio in 1933. After serving in the S. Marines for four years, he worked in a factory to earn enough money to put himself through university. He received his Bachelor in Fine Arts (Studio Arts) in 1959 from Bowling Green, Ohio and completed his MFA in Studio Ceramics in 1964 at New York State College of Ceramics at Alfred University. Archambeau went on to teach for four years at the Rhode Island School of Design before moving to Canada in 1968. He started teaching at the University of Manitoba’s School of Art, and became a full professor and head of the Ceramics Department, before retiring in 1991. In the late 1970’s and early 1980’s, Archambeau studied and worked in the Far East, in particular with Akio Takamori in the studio of Jun Knack in Higashiura Aichi Prefecture. His experiences in Japan, China, and Korea, greatly influenced his style of work, which has been described as “serene, rich in detail, yet detached from the mundane and timeless.” Archambeau’s art has recently taken a new direction, exploring drawing as an independent art form rather than a preparatory exercise which he has always done for his vessels. Archambeau’s works are included in major collections across Canada and Japan. He has also exhibited both nationally and internationally. In 2003, he became the first Manitoban to win the prestigious Governor General’s Award in Visual and Media Arts. He lives in Bissett, Manitoba, where he continues to produce wood-fired bowls, vases, teapots and lidded containers.

157

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

158 LOUISE CARD SMALL SPOUTED TEAPOT pottery, height 5.5” — 14 cm. Provenance: Purchased directly from the artist $200—400

Louise Card established a studio in Toronto in 1986 while studying ceramics at Sheridan College. She had previously received her Bachelor of Fine Arts (painting) and Bachelor of Home Economics (textiles) 1986 from the University of Manitoba. In 2006, she moved her studio, Dish Gallery & Studio, to the Distillery Historic District in Toronto. Card has been exhibiting her works for the past twenty-five years in solo, group, juried and curated exhibitions across Canada and the United States. She has published articles on ceramics in national and international publications, and taught Professional Practice to crafts and design students at Sheridan College as well as advanced pottery for adults at Cedar Ridge Creative Center in Toronto. Her works was also recently featured on Museum Secrets, a Canadian television production which aired on the History Chanel in 2011. Card lives in Toronto, Ontario.

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Index

A Amiot, Patrick & Laurent, Brigitte...29 Anderson, Lindsay...15 Archambeau, Robert...157 Ayres, Jonathan...16

Hopper, Robin...34 Hughes, Gwen...152 Hutchens, Gordon...39, 40, 41, 42 Huyghe, Michael...135, 137, 139

O Onley, Lynn...142 Ostrom, Walter, O.C....84 O’Young, Kayo...85, 86, 87, 88, 89

I B Baker, Peter...17 Barbier, Sally...26 Benstead, Ron...30,31 Beauchemin, Micheline, R.C.A....132 Bisson, Jean-Denis...134 Blackburn, Jeannot...33 Bloom, Tony...10, 11, 12 Bolen, Mel...13 Borch, Bert...156 Burke, Judith...144

Ikeda, John...43 Ikeda, Suki...44 Irvine, Steve...45 J Jeﬀeress, Constance...46 Jekyll, Robert, R.C.A....57 Johnson, Charmian...49, 50, 51, 52 K

C Card, Louise...158 Chaytor, Katrina...18 Chwelos, Cyndy...27 Cicansky, Victor...1, 2 Coole, Margaret Stephenson...93, 94 Cormier, Leta...154, 154 Crimmins, Allan...19, 20 Cumberland, Daily...21 Cummings, Ann...22 D Dexter, Walter, R.C.A....83, 138 Demidoﬀ-Seguin, Tatiana...14 Donovan, Jane...129, 130, 131 Dumins, Anita...147 Dyskiewicz, Maciej...32

Keelan, Margaret...56 Kidd, Jane...47 Koop, Kathryne...53 Krieger, Jim...54 Kupczynski, Zbigniew...35 L Labrie, Hélène...55 Lapka, Eva, R.C.A. and Milan...63, 64, 65 Leclerc, Michel...91 Legros-Wise, Enid, R.C.A....66, 67, 68 Leser, Sylva...69 Low, Shelly...70 Lynn, Lou, R.C.A....71

P Paterson, James and David...96 Payce, Greg...97 Petterson, Andre...153 Pickering, John...98 Piroche, Setsuko...92 R Radecki, Brigitte...99 Rautlianen, Auli...100 Rimer, Shirley...101 Roy, Ron...102, 103 Rupp, Rebecca...151 S Savaria, Lisette...104, 105 Savoie, Maurice...127 Schklar, Lois...106 Schmid Esler, Anne Marie...107 Searcy, Melissa...108 Sidley, David...109 Sleska, Eva...110 Smith, Jim, R.C.A....111, 112 Staniszkis, Joanne...48 Strakowski, Pat...113 Sures, Jack...117 Symons, Ian...114, 115 T Taddy, Pat...116 Townsend, Martha...95 Tribe, Ron...118, 119, 120, 121, 122

E Evrard, Jamie...23

V M Vanderhorst, Joanne...148

F Falk, Gathie, O.C....139 Farrero, Charley...28 Fears, Todd...24 Ferley, Somani...25 Flynn, Robert ‘Irish’...36, 37 Forbes, Ian...60 Funo, Masatada...6, 7, 8, 9 G

Macdonelll, Jay...61 Manning, Les, O.C....90 Marcoe, Leonard...72 Marlow, Jason...73 Materna, Daniel...74, 75, 76, 140 McKinnell, Karen...77, 78 Meindl, Susan...79 Merkel, Gary...80 Mrnavy, Peter Pavel...81 Mulligan, Sarah...62

Walgate, Wendy...123 Webster, Kim...124 Wells, Don...125 Wildsmith, Muri...128 Y

Gentle, Barbara...38 Gordon, Russell T....58, 59 Gregory, Brian...133

Nasr, Diane...82, 149, 150 Ngan, Wayne...3, 4, 5, 141

159

Youngs, Kathryn...126, 145, 146

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

Buying at Waddington’s

All lots will be offered and sold subject to the Conditions of Sale which appear in this catalogue as well as any Glossary and posted or oral announcement. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any oral announcement or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s and the consignor (seller) of the lot. Descriptions or photographs of lots are not warranties and each lot is sold “as is” in accordance with the Conditions of Sale. Condition of Lots All of the items are to be considered, unless otherwise noted in the description, in good condition. The definition of “good” when used in reference to condition, describes an object as having had no major damage or repair but as with the nature of the material, may show minor surface wear, discolouration etc., which indicates the acceptable wear that the piece may acquire with age. If you are particular about minor flaws, you should examine the pieces in person or have our staff answer any questions before bidding. Sizes are approximate. It is the sole responsibility of the bidder to inquire as to the

condition of a lot before bidding. Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale. Frames on artwork are not included as part of purchase or condition. Buyers Premium A premium of 20% of the successful bid price of each lot up to and including $50,000 and 15% on any amount in excess of $50,000 is paid by the buyer as part of the total 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. 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.

Bidding To bid in person at the auction, you must register for a bidding number by showing identification acceptable to the Auctioneer upon entering the salesroom. Your number will identify you if you are the successful bidder. You will be responsible for all lots purchased on your bidding number. Banking information may be requested by Waddington’s. You may submit an Absentee Bid Form if you are unable to attend the sale. Bidding by telephone, in limited circumstances, can be arranged prior to the sale. While we are pleased to offer absentee and telephone bidding as a service to our clients, and take great care in their commission, the Auctioneer will not be responsible for technical difficulties, errors or failure to execute bids. The Auctioneer may also execute bids on behalf of the consignor to protect the reserve. The reserve is the confidential minimum price the seller is willing to accept for his or her property, below which it will not be sold.

Payment Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certiﬁed cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000). As Waddington's requires 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. ALL PRICES IN CANADIAN FUNDS

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Selling at Waddington’s

Shipping: The Auctioneers will not undertake packing or shipping. The purchaser must designate and arrange for the services of an independent shipper and be responsible for all shipping, insurance expenses and any necessary export permits that may apply. The Auctioneers will, upon request, provide names of professional packers and shippers but will not be held responsible for the service or have any liability for providing this information. Reliable pre-auction estimates of shipping costs of lots oﬀered in this sale may be obtained from: Pak Mail 905.470.6874 905.470.6875 416.293.8225 taurus@pakmailmarkham.ca www.pakmailmarkham.ca Envoy 416.299.3367 416.299.9750 ph@envoy.ca www.envoypackandship.com Removal of Purchases Purchases must be paid for within 48 hours of the date of the sale, and removed from premises within 10 days of the date of sale (see Conditions of Sale, conditions 8 to 15). Clients are advised that packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.

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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 accept mailed and emailed requests for advice on the marketability of objects. A photograph and phone number must accompany a full description of each item. 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. Property normally arrives at Waddington’s at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items. Consignors will receive a contract to sign, setting forth terms and fees for our services.

Notice for our International Clients

Commission Rates Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15% Items selling for $251 to $2,500 20% Items selling for $250 or less 25% *There is a minimum handling charge of $20 per item Insurance A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.

Restrictions exist regarding the export of species protected under CITES (Convention on International Trade in Endangered Species). The export and importation of items made of or containing whalebone, ivory, tortoise shell, seal skin, rhinoceros horn and other animal parts is strictly controlled or forbidden by most countries. Please review your country’s laws before shipping or purchasing pieces made of or containing these restricted items. Obtaining the appropriate permits is the responsibility of the client. All Narwhal Tusks must have a Marine Harvest Number or a Marine and Mammal Transport number to be sold at Waddington's. For more information please visit: www.cites.org

Charles Bronfman's Claridge Collection Auction: Part III – Wednesday 18 June 2014 at 2 p.m.

Conditions Of Sale

1. All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted or announced verbally in the auction room prior to the time of sale. While the auctioneer has endeavoured not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made. An opportunity for inspection of each article is oﬀered prior to the time of sale. No sale will be set aside on account of lack of correspondence of the article with its description or its reproduction, if any, whether colour or black & white. Some lots are of an age and/or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others. Frames on artwork are not included as part of purchase or condition. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid, relying upon their own advisers, and to bid accordingly. 2. Each lot sold is subject to a premium of 20% of the successful bid price of each lot up to and including $50,000 and 15% on any amount in excess of $50,000 as part of the purchase price.

sale at any time, to divide any lot or to combine any two or more lots at his sole discretion, all without notice. 5. The auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion. The auctioneer reserves the right not to accept and not to reject any bid. Without limitation, any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance over the previous bid may not be recognized. 6. Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor. The auctioneer may bid, or direct an employee to bid, on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant to the instructions of prospective purchasers not in attendance at the sale. 7. The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from the sale, or to re-offer it at the same or a subsequent sale. The auctioneer’s decision in all cases shall be final.

3. Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of that province, whether it HST or GST (Goods and Services Tax).

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.

4. The auctioneer reserves the right to withdraw any lot from

9. The buyer shall pay for all lots within 48 hours from the date of

the sale, after which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale. The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale , after which storage charges may be incurred. 10. Each lot purchased, unless the sale is cancelled as above, shall be held by the auctioneer at his premises or at a public warehouse at the sole risk of the buyer until fully paid for and taken away. 11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 14 days following the sale a written opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a written request by the buyer for rescission of the sale, then the sale of the lot will be rescinded and the sale price refunded to the buyer. 12. Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000). As Waddington's requires 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.

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.

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

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Lynda Macpherson 416 847 6190 lm@waddingtons.ca Appraisal Co-ordinator Ellie Muir 416 847 6196 em@waddingtons.ca Building Manager Steve Sheppard 416 847 6186 ss@waddingtons.ca Client Services Andrew Brandt 416 504 9100 ext 6200 ab@waddingtons.ca

Waddingtons.ca/Cobourg 9 Elgin Street East, Cobourg ON K9A 0A1 General Manager Paul Needham 905 373 0501 pn@waddingtons.ca Absentee and Phone Bidding 905 373 1467 (Fax) Waddingtons.ca/Collingwood P. O. Box 554, Collingwood ON L9Y 4B2 Valerie Brown 705 445 8811 vb@waddingtons.ca Transitions.Waddingtons.ca Marcia Kim 416 847 6196 mk@waddingtons.ca