Canadian Contemporary Art Auction | September 23, 2014

Canadian Contemporary Art Auction Tuesday 23 September 2014 at 7:00 pm

On View Saturday 20 September from 11:00 am to 5:00 pm Sunday 21 September from 11:00 am to 5:00 pm Monday 22 September from 10:00 am to 12 Noon Preview and Auction to be held at Waddington’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 ConcreteContemporaryArt.Waddingtons.ca

Waddingtons.ca

Front Cover Lot 25 Robert Polidori 5979 West End Boulevard, New Orleans, September, 2005 (detail) Back Cover Lot 41 James Lahey, R.C.A. Orchid Title Page Lot 33 Medrie Macphee Flutter (detail) Inside Cover Lot 32 Melanie Authier Victrola (detail)

Specialist Stephen Ranger 416 847 6194 skr@waddingtons.ca Fine Art Administrator Kristin Vance 416.504.9100 x6178 kv@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca Absentee and Phone Bidding 416 504 0033 (Fax) bids@waddingtons.ca Online Bidding www.artfact.com Communications Tess McLean 416 504 1900 tm@waddingtons.ca

All lots in the auction may be viewed

online at ConcreteContemporaryArt.Waddingtons.ca This catalogue and its contents Š 2014 Waddington McLean & Company Ltd. All rights reserved.

Photography by Waddington’s

It is a great problem to have too much work to choose from when assembling an auction, but that has been an issue for Concrete Contemporary for some time. The solution has been to expand, but always with an eye to putting forward the best work possible. The original plan for this second offering of 2014 was to feature only 50 select lots, but given the quality of work offered to us by our consignors over the spring and summer, we have settled on 59 excellent examples of contemporary Canadian art.

We are thrilled to highlight on our cover the work of renowned Montrealborn photographer Robert Polidori. Polidori’s work has been exhibited, collected and lauded around the world. His photographs of the aftermath of Hurricane Katrina are poignant and powerful. This is the first time Polidori’s work has been offered at auction in Canada.

We are always pleased when we can break new ground and present the works of artists new to the auction market. This is certainly the case with Oshawa-born artist Shaun Downey who, in 2010, won the BP Portrait Award at the National Portrait Gallery in London, England.

Contemporary painting in Canada has been going through a remarkable resurgence led by artists such as Kim Dorland, Michael Adamson and Melanie Authier. We are delighted to be able to offer works by these and so many other important artists in this auction.

As we continue to build a vibrant and viable auction market for contemporary Canadian art, we would like to thank all the artists, collectors, curators and gallerists who have been so supportive of Concrete Contemporary’s vision. It is truly inspiring to be part of this dynamic and ever changing milieu.

— Stephen Ranger Senior Specialist, Contemporary Art

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 plays 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 mid- and latecareer 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

International Art

Jewellery, Watches and Numismatics

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 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.

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 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

Decorative Arts

Inuit Art

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 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.

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.

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.

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.

Duncan McLean Senior Specialist, Inuit Art

Bill Kime Specialist, Decorative Arts Christa Ouimet Specialist, Inuit Art

Sean Quinn Specialist, Decorative Arts

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

Philanthropy and Community

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.

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.

In 2012/2013 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

Canadian Contemporary Art Auction Lots 1–59

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1 MARA KORKOLA NO PLACE 168 oil on panel diptych diptych, both signed and titled on the reverse both 7.5 ins x 11 ins; 19.1 cms x 27.9 cms $3,000–4,000

Provenance: Private Collection, Toronto Note: Mara Korkola is fascinated with places that are at once anywhere and nowhere.

One has to look no further than to her series of small-scale, gem-like paintings to see how this theme is represented in her work. No Place 168, a diptych from the No Place series, depicts city streets on a rainy night. She contrasts the shimmering orbs of orange and red taillights, illuminated street signs, and bright white beams of oncoming cars against the cool blackness of the sky and road ahead. The scene is of no place in particular, yet certainly familiar, as all urban dwellers have shared this view from the driver’s seat.

Korkola studied art at the Ontario College of Art in Toronto, Wichita State University in Kansas and the University of Texas at San Antonio where she received her Master of Fine Arts degree. Her works have been shown in Canada, the United States, and Europe and are included in many private and corporate collections including Fidelity Investments, Hydro Quebec and Scotia Bank. Korkola is a recipient of several grants from the Ontario Arts Council and Canada Council for the Arts. She currently resides and works in Toronto.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

2 GARY EVANS THE SHADE oil on canvas titled and dated 2009 on gallery label on the reverse 24 ins x 18 ins; 61 cms x 45.7 cms $3,000–5,000

Provenance: Paul Petro Contemporary Art, Toronto Private Collection, Toronto Literature: Gary Evans was born in Weston Super Mare in the UK and resides in Alliston, Ontario. He graduated from the Ontario College of Art (Toronto, ON) and has been exhibiting his work in galleries across Canada since 1995. Evans creates extraordinary visual experiences using a veritable dictionary of shape, colour and form as a language of expression. His unique repertoire allows him to create highly imaginative versions of actual places. Curator Stuart Reid has drawn affinities between his landscape interpretations and those of iconic Canadian landscape painters Emily Carr and David Milne. Selections of his work can be found in the permanent collections of the Art Gallery of Kelowna (Kelowna, BC), Hart House (Toronto, ON) as well as numerous corporate and private collections.

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3 STEVEN NEDERVEEN A THOUSAND ROSES mixed media with resin on panel signed, titled and dated 2010 on the reverse 36 ins x 36 ins; 91.4 cms x 91.4 cms

Provenance: Galerie de Bellefeuille, Montreal Literature: “Chris.” Inspirational People: Part 2: Steven Nederveen on Images. 5 February 2011. http://happeningsofrainbowing.blogspot.ca/2011_02_01_archive.html Note: “Most of my work has to do with revealing a radiance that resides within all things, sort of a life force that seeps through the seams, hinting at what lies underneath.”

$5,000–7,000 Steven Nederveen begins with an abstract painting, adds a digitally aged photograph using an intricate transfer method, then finishes with a glassy coating of resin to create his ethereal works of art. His chosen materials and methods produce hybrids of representation and abstraction, his vision driven by his deep connection to nature.

Nederveen draws inspiration from his experiences outdoors and through meditation, allowing him to coax the “radiance that resides within all things.” Glowing orbs and shimmering lights appear from deep within the work and represent the supernatural; “...I am allowing light to come through from underneath, as if revealing other worlds.”

Nederveen has exhibited in solo and group shows across North America and Europe.

His works are regularly included in the Toronto International Art Fair and have been featured in numerous art and design publications. He currently lives and works in Toronto.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

4 DAVID BIERK A EULOGY TO LIFE, LOCKED IN MIGRATION, TO INGRES oil on ink-jet photo, oil on canvas, rusted iron on board stamped 31 ins x 46 ins; 78.7 cms x 116.8 cms $3,000–4,000

Note: In his artistic practice, David Bierk worked in the postmodern genre by appropriating old master paintings of art history and juxtaposing them with the style and aesthetic of modern culture and mass media. This re-presentation of old work in a new context turns historical masterpieces into lively, modernized masterpieces of the contemporary period. It is through this practice that Bierk’s creations reflect on culture, art, history, and philosophy.

He painted copies of works by artists like Vermeer, Ingres (as seen here in A Eulogy to Life, Locked in Migration,To Ingres), and famed artists of the Hudson River School. His manipulation of the work creates a tension between old masterly craft on the one hand, and Modernist abstraction and industrial fabrication on the other. The audience is urged to reflect on and understand the past in order to embrace the present.

Bierk unfortunately passed in 2002, however his work lives on in the collections of the National Gallery of Canada, Art Gallery of Ontario, and the Canada Council Art Bank as well as numerous private collections.

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5 MICHAEL ADAMSON GRAVEL LAKE oil on canvas signed, titled and dated 2006 on the reverse 40 ins x 36 ins; 101.6 cms x 91.4 cms $3,000–5,000

Literature: Adamson, Michael. Artist Statement. http://www.sopafinearts.com/artists/Adamson_Michael/adamson-bio.htm Note: “As an abstract painter, I have become increasingly interested in the structural language of colour and texture and the dynamic tension set up between the manipulation of a substance to reveal its properties and the external pattern created.”

A fundamental and deep attraction to the ways in which colour, texture and pattern interact on canvas compels Michael Adamson to paint. The interplay between these elements is complex in his work, drawing out intense, primordial emotions in response to the powerful colours and compositions. His paintings seem to transcend the canvas boundaries and viewers are enveloped in the abstracted work before them. Gravel Lake (2006) and Crew Bravo (2014) are examples of Adamson’s ability to apply his structural “language” to both genres, producing vibrant, tactile fields of colour and gestural form.

Michael Adamson graduated from the Emily Carr Institute of Art and Design in Vancouver in 1997. Since then, his work has been featured in dozens of solo and group exhibitions in Europe, Japan, the United States and across Canada. His paintings have been commissioned by major Canadian companies and can be found in many public, private, and corporate collections including the Art Gallery of Nova Scotia, Bank of Montreal, Royal Bank of Canada, Holt Renfrew and the Metro Toronto Convention Centre.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

6 MICHAEL ADAMSON CREW BRAVO oil on canvas signed, titled and dated 2014 on the reverse 28 ins x 30 ins; 71.1 cms x 76.2 cms $6,000–8,000

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7 ANGELA LEACH AR WAVE #64; AR WAVE #65 both acrylic on board both signed, titled and dated 2004 on the reverse both 18 ins x 18 ins; 45.7 cms x 45.7 cms

Literature: Roald Nasgaard, Abstract Painting in Canada, Douglas & McIntyre Ltd., Vancouver, 2007, page 377.

Leach, Angela. Artist Statement. 2006. www.angelaleach.com

Note: “The practice of filling lines with wiggly stripes of colour, similar to yarn, offered a direction in painting with endless experimentation.”

$3,000–5,000 Toronto native Angela Leach spent her early artistic career exploring the highly textural and colourful practice of weaving. This interest in textiles is evident in her paintings, especially those from her energetically charged AR (Abstract Repeat) series. Roald Nasgaard wrote of her work, “Modelling her procedure on weaving, Leach subjects her paintings to a number of restrictions...using exactly thirty-two colours, repeating them in a sequential order that runs from dark to light, the colour repetition reflecting the regular quality of woven fabric.” Leach paints ribbons of colour that expand and contract; the paintings seem to pulsate as the waves change shape and direction and the colours merge and undulate.

Leach graduated from the Ontario College of Art and Design in 1989 and has since presented her work in many group and solo exhibitions at such institutions as the Art Gallery of Ontario; the Power Plant (Toronto); the Contemporary Art Gallery (Vancouver); Edmonton Art Gallery; and the Albright-Knox Art Gallery (Buffalo).

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

8 MALCOLM RAINS STUDIO STILL LIFE 4 oil on canvas signed, titled and dated 1991 on the overflap 14 ins x 20 ins; 35.6 cms x 50.8 cms $3,500–4,500

Provenance: Costin & Klintworth Gallery, Toronto Private Collection, Toronto Note: Malcom Rains was born in Bristol, England in 1947. He studied architecture at the University of Detroit and the University of Toronto before completing his education at the Ontario College of Art focusing on sculpture. He has since turned exclusively to painting; however, his sculptural background is evident in the physical and architectural presence of the objects he paints. Rains’ work has been compared to the 16th century Dutch masters in his use of dramatic and highly precise lighting, while on the other hand championed as thoroughly modern in his minimalist presentation. Quotidian objects, such as crumpled paper, or rolls of paper towel, are used as vehicles to explore perception using a highly developed play of light and shadow against stark backgrounds. Rains prefers to work in series, noted in particular for the Pear series (2011) that he developed over seven years. By working on concentrated studies, he is able to pair down extraneous details, rendering objects “dramatic in their subtlety.”

Rains’ work has been exhibited in many galleries and museums across Canada including the Art Gallery of Ontario and the Winnipeg Art Gallery. His work is also found in the collection of corporations across the world including the Bank of Tokyo, Xerox Corporation and Swiss Bank.

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9 GREG MURDOCK DUO mixed media on panel diptych both signed, titled and dated 1999 on the reverse both 24 ins x 24 ins; 61 cms x 61 cms $4,000–6,000

Provenance: Olga Korper Gallery, Toronto Note: An artist of many mediums, Greg Murdock’s work has continually explored the processes that mediate between drawing and painting. The results are richly layered surfaces of curious mark-making. Often suspending subject matter consisting of natural forms, geometric shapes, and architectural devices, Murdock has a talent for connecting the canvas with a viewer’s intrigue.

He is inspired by the variety of encounters and experiences gathered when traveling and exploring new cultures, always keeping his mind and eyes open to new ways of interpreting the visual. Additionally, Murdock finds inspiration in famous artists of history such as JMW Turner and Cy Twombly. In Duo (1999), the artists’s hand is prevalent like scratches on the canvas. It is a reminder that through an artwork lives traces of an individual’s presence and circumstance. The soft glows of color balance this stark linear shape.

Murdock was born in Saskatoon, Saskatchewan in 1954. He studied at the University of Saskatchewan, Instituto Allende (Mexico) and Emily Carr Institute of Art & Design (Vancouver). His work can be found in numerous private, corporate and public collections in Canada and the United States including the Vancouver Art Gallery, the MacKenzie Art Gallery (Regina) Musee d’art Contemporain (Montreal) and the Art Institute of Chicago. He currently lives and works in Vancouver, BC where he exhibits regularly.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

10 GREG MURDOCK VIGIL #2

Provenance: Olga Korper Gallery, Toronto

mixed media on panel signed, titled and dated 2001/02 on the reverse 60 ins x 90 ins; 152.4 cms x 228.6 cms $10,000–15,000

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11 BRIAN KIPPING DOORWAY

Provenance: Wallack Galleries, Ottawa Private Collection, Toronto

oil on canvas signed, titled and dated 1999 on the reverse

Literature: Jansma, Linda. Brian Kipping: Descriptions of What is Known. Oshawa: The Robert McLaughlin Gallery, 2002.

24 ins x 18 ins; 61 cms x 45.7 cms

Note: Brian Kipping is best known for his painterly depictions of the urban landscape, and in particular, the streets of downtown Toronto. Kipping’s signature style includes pops of colour, texture and chiaroscuro. In combination, these techniques allow the artist to create a luminous atmosphere on a two-dimensional surface. “I have faith in traditional approaches to painting...I was brought up to believe art should not have a function. I believe in painting as painting.”

$2,000–3,000

Kipping’s work reveals true continuity, brought on by his passion for photography and interest in architectural space. His works are often blurred street-scenes that are void of figures and focus on the details of our built environment. Doorway (1999) is an example of the artist’s attention to space and the concept of vacancy. The cool colour palette of vivid blues and saturated purples adds a surreal character to the work, one with depth and heightened activity, yet, the scene remains unoccupied. Rendered on canvas, Doorway details an urban jungle, our industrial world, caught in a moment of silence.

Originally from Edmonton, Kipping attended the Ontario College of Art in Toronto, graduating in 1974. Over the course of his career Kipping participated in multiple solo shows across Canada and the United States. He succumbed to cancer in 2007, leaving behind an important and engaging body of work.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

12 TONY SCHERMAN UNTITLED encaustic on canvas signed and dated /88 on the overflap; unframed 54 ins x 60 ins; 137.2 cms x 152.4 cms $12,000–15,000

Provenance: Private Collection, Ontario Literature: Smith, Pete. Interview with Tony Scherman. FOAM (Fine Ontario Art Magazine).

2010. http://www.tonyscherman.com/videos/FoamInterview.html

Note: “I realized that actually what I had been [painting] is film stills from my inner film...my inner dream...”

Prior to his paintings based on mythology, art historical narratives, and culturally iconic personalities in the early 1990s, Tony Scherman painted scenes with unidentified “characters” posed within cinematic backgrounds. In his Untitled canvas from 1988, the figures seem to be in a state of arrested action. There is a sense of the dramatic in this painting with the motion abruptly halted; the standing figure and its hazy after-image turn away from the passive, reclining youth. Though they are likely self-referential, the figures are universal, contemplative presences and capable of echoing our collective emotions and experiences. Void of obvious narrative in this painting, viewers are given the opportunity to interpret this scene according to their own personal histories as well as to simply enjoy Scherman’s technical expertise in the demanding medium of encaustic and his mastery of portraiture.

Scherman has exhibited professionally in North America and Europe since receiving his Master of Arts degree from the Royal College of Art in London, England in 1974.

His works are widely collected by major museums and corporations and he regularly lectures at colleges and universities on both continents.

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13 PETER HOFFER DIVIDE mixed media with resin on panel titled and dated April ‘04 on the reverse, unframed 24 ins x 48 ins x ins; 61 cms x 121.9 cms x cms $4,000–5,000

Provenance: Private Collection, Toronto Note: Drawing inspiration from historical landscape paintings, Peter Hoffer fuses the time-honoured landscape genre with contemporary mixed media practices. Referencing the landscapes he paints, Hoffer interprets them through the use of materials and processes that suggest threedimensionality. As seen in Divide (2004), layer upon layer of paint and resin and his signature scratching and dripping techniques give his works an imperfect and aged appearance. Hoffer says of his landscapes, “Inconsistencies including discoloration and surface cracking are intentional and integral to the resin paintings. Many of these works have surfaces with various anomalies within the mixed resins. Surfaces are often layered off center thereby exaggerating the inconsistent topography.” Hoffer skillfully applies these methods to mirror the ever-changing characteristics of the scenes he paints.

Hoffer’s works are included in the collections of the Royal Bank of Canada, Cirque de Soleil, the Musee des Beaux-Arts (Montreal), and in major corporate collections in Canada and the United States. He graduated from fine art programs at the University of Guelph (Ontario) and the Ontario College of Art (Toronto) and received his MFA from Concordia University (Montreal). He currently lives in Berlin, Germany.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

14 NATHALIE MARANDA FRÈRE ARBRE mixed media diptych signed, titled, dated 2005 and inscribed “181105” on the reverse 8 ins x 7.5 ins; 20.3 cms x 19.1 cms; 52 ins x 35.5 ins; 132.1 cms x 90.2 cms Provenance: Galerie de Bellefeuille, Montreal Private Collection, Toronto Note: Immediately drawn to the rich, earthy palette of Nathalie Maranda’s landscapes and nature studies, viewers are soon aware that the surpassing depth of her work is revealed through hazy images of a beautiful yet unsettling post-apocalyptic world. In her diptych Frère Arbre (2005), she depicts a vapourous, blackened tree floating in a toxic sky, while filament-like roots tether it to a glowing pool in an imagined underworld.

The smaller companion panel evokes a sense of nostalgia and suggests the threat of extinction as she renders the bird as a fading apparition. Guided by her desire to communicate a deep concern for the earth, Maranda’s paintings can be seen as cautionary visual reminders of humanity’s impact on our planet’s fragile environment.

Maranda earned her Bachelor of Visual Arts degree from the University of Quebec in 1990 and has since exhibited her work in group and solo exhibitions across North America. She currently lives and works in Montreal. $5,000–7,000

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15 PATRICK LUNDEEN TEENAGE DOG, 2012

Provenance: Private Collection, New York

acrylic on linen with hair

Literature: Lundeen, Patrick, interview by Pan Wendt. Patrick Lundeen: Tragicomic.

Confederation Centre of the Arts, May 2013.

73 ins x 49 ins; 185.4 cms x 124.5 cms $5,000–7,000

Note: While Lundeen admittedly works with a “lowbrow aesthetic” (using human hair, flags, rugs, posters, and magazines as materials), he hesitates in calling himself a pop artist. Using sinister humour and a child-like aesthetic, Lundeen works to decipher and manage the overwhelming dependence of culture on media and images. The artist’s mask series is inspired by the carnivalesque atmosphere of Coney Island, neon coloured kaleidoscope patterns, MAD magazines and a nostalgia for these colourful childhood memories. In a 2012 interview he explains, “I love masks and how they can transform people. Or how they become totemic for collective fears or desires.” The masks become a map of experiences and observations, capable of transforming these singular memories into a collective experience.

Lundeen is a Canadian artist now living and working in Brooklyn, New York.

Receiving his MFA from Concordia University in Montreal, Lundeen has exhibited work all over Canada, Chicago, New York, and Sweden, with 13 solo exhibitions. Teenage Dog (2012) was featured in his first New York City solo show, Good For You Son. His work is also a part of the permanent collection at the Glenbow Museum in Calgary, and the Alberta Foundation for the Arts Art Bank in Edmonton.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

16 GRAHAM GILLMORE UNTITLED (WAITING ON YOU), 2008 mixed media on canvas 60 ins x 80 ins; 152.4 cms x 203.2 cms $15,000–20,000

Provenance: Private Collection, New York Literature: Williams, Griff. Graham Gillmore and Griff Williams at Gallery 16. Online video clip. Vimeo. Vimeo, 30 Apr. 2013. Web. 7 May 2014. Accessed May 7, 2014.

Note: “...painting without text is kind of like going to an Ella Fitzgerald concert and her just like not singing...”

The sources for the text in Graham Gillmore’s work are varied, borrowed from music, literature, overheard conversations and his own stream of consciousness. Regardless of where he finds his inspiration, the resulting artwork is a commentary on our shared experiences. In Waiting On You (2008), Gillmore uses text in a vibrant labyrinth of line and colour layered atop a collage of spontaneous drawings and found handwritten pages.

Within the worded maze are phrases such as, “I HAVE A PROBLEM IN MY HEART,” “A LOVED ONE IS BOUND BY A BAD HABIT,” and “WAITING ON YOU,” all leading to a multitude of possible interpretations. His works are often caustic, critical, or laden with confessions, but they are amusing as well and always visually engaging.

Gillmore’s work is included in numerous public and private collections, including the Ghent Museum (Belgium); the Museum of Contemporary Canadian Art (Toronto); the Vancouver Art Gallery; and the Museum of Modern Art (New York). He attended the Emily Carr College of Art and Design in the early 1980s and moved to New York City in 1986.

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17 ANDA KUBIS UNTITLED (TWO WORKS)

Literature: Campbell, Carson. Interview with Anda Kubis on Now What Podcast, Episode #14.

Podcast Audio. Accessed August 18, 2014. http://nowwhatpodcast.com/about/

both acrylic on canvas both signed and dated 2002 on the reverse

Note: “I don’t think art is about teaching people something... it’s a blend of giving people permission and steering them in a direction that challenges them.”

both 14 ins x 18 ins; 35.6 cms x 45.7 cms

Originally from Toronto, Anda Kubis completed her BFA at the Nova Scotia College of Art and Design before completing her MFA at York University in 1992. Strongly influenced by modern colour field painting, Kubis emphasizes contemporary critical perspective in her work. Demonstrating a true understanding of the nature of colour and the influence of form, her enigmatic paintings offer a quiet solitude, inviting the viewer to question perceptual relationships.

$1,200–1,800

Kubis produces her paintings through an improvisational process that explores the dynamism of light. She utilizes traditional painting techniques while simultaneously exploring contemporary aesthetics and principles. These untitled works completed in 2002 are an example of the artist’s early fascination with subtlety and the effects of light, as indicated in the subdued tones.

Her work can be found in a number of public and private collections including the Bank of Montreal, the Royal Bank of Canada, Cenovus Energy and Aimia. She currently resides in Toronto, and is an Associate Professor at OCAD University.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

18 SCOTT EVERINGHAM WET METEOR FALLOUT oil on canvas signed, titled and dated 2009 on the reverse, unframed 36 ins x 36 ins; 91.4 cms x 91.4 cms $4,000–6,000

Provenance: Private Collection, Toronto Literature: Everingham, Scott. Studio Visit: Scott Everingham, Painter. Feb. 7, 2014. http://www.studio-beat.com/studio-visit/scott-everingham-painter/ Note: Scott Everingham is a painter based in Toronto. Holding a BFA from NSCAD and an MA from the University of Waterloo, Everingham is a three-time finalist in the RBC Canadian Painting Competition and is the recipient of numerous awards from the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council.

In his own words, Everingham discusses his process, “I work on one painting at a time.

A lot of my previous work was heavily influenced by what I was reading. I would create a body of work based on a text or fictional novel and the paintings would become like short stories too. Now, I’m not interested in tying my paintings together with a narrative. I’m more interested in tying them together with the process, the colour and paint itself.” In Wet Meteor Fallout (2009), Everingham immediately engages the viewer in the process of the work, unfinished objects and gestures scattered across the canvas draw the viewer to his deftly constructed vision suggesting both an environment built and yet to be built. In other words, the work carries the possibilities and ambiguities of the moments and process of creation.

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19 TIM JOCELYN UNTITLED colour silkscreen signed, dated 1986 and inscribed “AP” image diameter 16 ins; 40.6 cms $1,200–1,500

Provenance: Private Collection, Toronto Note: Tim Jocelyn was a beloved artist who is remembered for his contributions to the art community in Toronto and across Canada. Known primarily for his work in clothing design and accessories, Jocelyn produced memorable works of all varieties before passing away from an AIDS-related illness in 1986. Jocelyn’s artwork reveals his sensibility and range as he explored various means of representation, choosing not to limit himself or his vision.

The later stage of his career saw a shift in production, as his interest in the avantgarde began to emerge on paper. Influenced by Canadian icons and familiar cultural emblems, Jocelyn started working with paper cuts, collage and printmaking. Untitled (1986), produced in the same year of his death, reveals geometric forms and solid primary colours that showcase his fascination with Russian constructivism. Two stags stand in symmetry, mirroring each other at the center of a yellow sun-circle, mighty and strong.

Jocelyn was the principal organizer of Chromaliving in 1983, a celebration of Canadian artists in Toronto. His greatest achievement is considered to be Astrolabe Papercut, an installation commissioned for Vancouver’s Expo ’86.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

20 MAYUREAK ASHOONA (1946-), E7-818, CAPE DORSET HUMAN BIRD TRANSFORMATION stone 27.25” x 12” x 26” — 69.9 x 30.5 x 66 cm. $1,500—2,000

Note: Mayureak Ashoona is the daughter of early printmaker Sheouak Parr and wife of master carver Kaka Ashoona (son of the famous graphic artist, Pitseolak Ashoona).

Both Mayureak and her late husband, Kaka, are prominent Inuit artists whose art reflects traditional Inuit culture. The couple became involved in art separately and developed their own distinctive styles. Mayuerak prefers working on a large scale, often depicting birds and communal activities that involve women.

Mayureak started drawing in the 1960s and began carving in the mid-1990s after her husband’s death. She is recognized as an accomplished sculptor and was one of nine women artists celebrated in a traveling survey exhibition at the Canadian Museum of Civilization, entitled Isumavut: The Artistic Expression of Nine Women from Cape Dorset. She has exhibited extensively in Canada, as well as internationally in the US, Japan, Netherlands, Switzerland, Belgium, France, Germany, and Korea.

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21 DOUGLAS COUPLAND ELECTRIC CRYSTAL LISMER LANDSCAPE giclee print signed; dated 2010 on gallery label on backing; edition 5/10 sight 20.5 ins x 28 ins; 52.1 cms x 71.1 cms

Provenance: Daniel Faria Gallery, Toronto Literature: Coupland, Douglas. Douglas Coupland in Conversation with Michelle Jacques, 2012, http://www.torontoartsfoundation.org/Our-Programs/PAST-INITIATIVES/Canadiansat-Armory

Note: “I didn’t set out to become Mr. Canada Guy... Certain threads just weren’t being explored, so I went there. Probably half of what I do relates to Canada in some way.”

$1,500–2,500 Vancouver-based designer, best-selling author and renowned multi-media artist Douglas Coupland is known for creating works that combine Canadian iconography with modern technologies and observations of contemporary society. The works presented in his 2010 exhibition, G72K10, explored themes of national identity with digital renderings of Group of Seven landscapes, including Electric Lismer Landscape.

“The landscapes I do are abstractions of seminal Group of Seven images. These are the images that the Canadian government officially used...to inculcate a sense of nationalism... So when Canadians see my abstract works, they know they know what they’re seeing – they just don’t know why...” By digitally re-creating these quintessentially Canadian paintings, Coupland investigates the ways in which technology can alter our perception of cultural identity.

Coupland is a graduate of the Emily Carr Institute of Art and Design, as well as the Hokkaido College of Art and Design in Sapporo, Japan and the Instituto Europeo di Design in Milan, Italy. He was recently appointed as an Officer of the Order of Canada and his first major career survey exhibition is currently on view at the Vancouver Art Gallery.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

22 DOUGLAS COUPLAND THE OPEN BOOK, 1924 archival pigment print signed; dated 2012 on gallery label on the reverse 24 ins x 29.5 ins; 61 cms x 74.9 cms $3,000–4,000

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23 BARBARA STEINMAN ATLANTIS IMPROV three colour photographs each titled and dated 1995 on gallery label on the backing each 14.5 ins x 14.5 ins; 36.8 cms x 36.8 cms Provenance: Charles Bronfman’s Claridge Collection Olga Korper Gallery, Toronto Literature: Mackay, Gillian. “Reflective Spaces: The Art of Barbara Steinman”.

The Governor General’s Awards in Visual Arts and Media Arts.

2002. http://ggavma.canadacouncil.ca/htmlfixed/Archives/2002/barbara_s teinman-e.html Note: “At it’s most effective, the work evokes a feeling or knowledge that viewers remember, recognize, or share. Curiosity and obsession pull me forward.”

Polished, elegant, and conceptually intelligent are just some of the words that have been used to describe Barbara Steinman, one of Canada’s most distinguished contemporary artists. Her creation revolves around the theme of collective and personal memory as a site of recollection. Her response to memory is found in many mediums including video art, sculpture, installation, photography, and most recently, outdoor commissions. In Atlantis Improv (1995), Steinman has created three coloured photographs which document a collection of musical instruments, records, and art work. Tapping into not only visual memories but also auditory memories of the vibrations of sound, Steinman unveils emotions of both the past and the present.

Steinman studied Literature at McGill University in her home town of Montreal. After a brief time developing her artistic practice in Vancouver in the 1970s, she is adamant on continuing her endeavours from her beloved Montreal, as she says, “I use the city like a laboratory- its chemistry informs my work.” Her multidisciplinary art has been shown in numerous exhibitions in Canada and abroad including the Museum of Modern Art in New York, the Stedelijk Museum in Amsterdam, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Art Institute of Chicago, as well as the Seoul Metropolitan Museum of Art. $3,000–5,000

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

24 GEOFFREY JAMES, R.C.A. CEDAR, STANLEY PARK gelatin silver print edition of 9

Provenance: Private Collection, Toronto Jessica Bradley Gallery, Toronto Literature: James, Geoffrey. Meet the Artist, Geoffrey James – Clip 5, National Gallery of Canada, http://cybermuse.beaux-arts.ca/cybermuse/docs/JamesClip5_e.pdf.

16.5 ins x 40 ins; 41.9 cms x 101.6 cms $5,000–6,000

Note: Geoffrey James’ subject matter ranges from ecological slag heaps and asbestos mines to formal gardens and stunning architecture. Many of his photographs imply the distressed relationship between humanity and nature, though he makes no claim about making art to change the collective conscience with regard to the environment. “...I don’t go around making photographs for environmental posters. I suppose primarily I’m making a record, I’m bearing witness.” In 2006, James focused his lens on Canada’s parks, including Stanley Park in British Columbia. Cedar, Stanley Park (2006) is a photograph from this project and a manifestation of his desire to make a record and to induce a sense of memory. It is James’ intent to explore, in exquisite detail, all facets of our urban and natural surroundings.

James, a self-taught photographer, moved from his birthplace of St. Asaph, Wales to Canada in 1966 and began exhibiting in the early 1970s. His photographs can be found in the collections of the Musee d’Art Contemporain (Montreal); the Canada Council Art Bank; Air Canada; the Vancouver Art Gallery; the Museum of Modern Art (New York); and the Art Gallery of Ontario. He is a recipient of many grants and awards and is a member of the Royal Canadian Academy.

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25 ROBERT POLIDORI 5979 WEST END BOULEVARD, NEW ORLEANS, SEPTEMBER, 2005 Fujicolor Crystal Archive print mounted to Dibond edition 8/10 40 ins x 54 ins; 101.6 cms x 137.2 cms $18,000–20,000

Provenance: Nicholas Metivier Gallery, Toronto Private Collection, Toronto Literature: Rosenheim, Jeff L. “Do You Know What It Means.” Robert Polidori: After the Flood, Gottingen: Steidl Publishers, 2006, page 11.

Note: Montreal-born photographer Robert Polidori’s photographs have been seen by millions in publications such as Vanity Fair, Condé Nast Traveler, Newsweek, Fortune and The New Yorker, where he was a staff photographer for over ten years. He covered the devastation caused by Hurricane Katrina in the days after its landfall in 2005, a direct hit on New Orleans where he lived for a short time as a child. Virtually destroyed, the low-lying areas of the city were captured with his large format camera, the resulting images enduring long after the city emerged from the ruins.

Polidori’s series on the aftermath of Katrina includes hundreds of documentary photographs including 5979 West End Boulevard. Vividly detailed, this image, like the other works in the series, is void of people; only upturned trees and murky water lines remain on what was once someone’s property, someone’s home. “Polidori seems to have been able to record not just the physical residue of the inhabitants’ lives, but also something of the air that generations of anonymous New Orleanians had breathed in and out. The pictures succeed because, in part, Polidori eschewed nostalgia for something more complex – the poignancy of absence.”

The challenge for photojournalists is to find a way to document historical events while presenting them in compelling, insightful and even beautiful ways. The white picket fence, long considered an icon of “The American Dream,” remains in perfect condition amidst the wreckage of trees and the splintered house around which it stands guard.

Polidori’s 5979 West End Bouldvard is an example of the artist’s ability to make a beautifully compelling visual statement while disseminating essential information about this unparalleled natural disaster.

Polidori received the World Press Photo Award in 1997 and was twice granted the Alfred Eisenstadt Award for Magazine Photography (1999, 2000). His works can be found in the Metropolitan Museum of Art (New York); the Museum of Modern Art (New York); Bibliotèque nationale de France (Paris); the Walker Art Center (Minneapolis); and the Los Angeles County Museum of Art. Polidori currently lives in New York City.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

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ConcreteContemporaryArt.Waddingtons.ca

26 BARBARA ASTMAN, R.C.A. PARIS POSTCARDS: #11 VICHY, 2001 digital output on archival matte paper signed and inscribed “20-167” and “R/G” on the backing image 12.5 ins x 21.5 ins; 31.8 cms x 54.6 cms $3,000–5,000

Provenance: Private Collection, Toronto Note: Barbara Astman combines traditional photography with new technologies and a multitude of mixed media practices. She often begins a series of work with handmade or found objects as inspiration as she is drawn to their ability to link the past to the present. Astman’s collection of vintage postcards figures prominently in her Paris Postcards series from 2001, wherein she fuses nostalgic images of a time and place with her unique use of photographic processes to create a new visual narrative. The collage-like #11 Vichy presents viewers with the opportunity to interpret for themselves the story this work is telling.

Astman’s work is shown and collected worldwide and is featured in the collections of the National Gallery of Canada (Ottawa); the Art Gallery of Ontario (Toronto); the Bibliotheque Nationale (Paris); and the Victoria and Albert Museum (London). She is an active member in the arts community, teaches at the Ontario College of Art and Design University and has been a member of the Royal Canadian Academy since 2000.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

27 JACQUES PAYETTE LE SILENCE QUE S’ENTANT AVEC CEUX QU’ON AIME encaustic on linen laid down on board signed and dated; signed, titled and dated 2003 on the reverse 50.25 ins x 66 ins; 127.6 cms x 167.6 cms $6,000–9,000

Provenance: Galerie de Bellefeuille, Montreal Private Collection, Toronto Literature: Payette, Jacques. Jacques Payette. Accessed August 15, 2014. http://www.galeriemichelguimont.com/expositions/jacques-payette/ Note: Jacques Payette was born in Montreal in 1951. A self-taught artist, he began exhibiting his work in the early 1970s in Montreal and subsequently throughout Canada. His work is characterized by its quiet and moody ambience with layers of encaustic paint, creating rich transparent colour for a dream-like effect.

Payette is known to paint portraits of his wife and daughters but also frequently includes historic objects and costumes from the 18th and 19th centuries for which he holds a fascination. The duality of the physical and metaphysical is an underlying theme in his work, which for Payette is a way to better understand and appreciate his surroundings. Says the artist, “Our senses can only perceive what they are made for; maybe art enables us to transcend these senses and see farther into the horizon.” In 2011, the Musee des Beaux-Arts in Montreal held a retrospective exhibition of Payette’s 30-year career entitled “Capturing Time.”

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28 TIM ZUCK UNTITLED #72

Provenance: Private Collection, Ontario

oil and pencil on canvas signed, titled and dated 1976

Literature: Zuck, Tim. Artist Tim Zuck Learns to Talk. theconcordian. Jan. 15, 2003. Accessed August 1, 2014. http://theconcordian.com/2003/01/artist-tim-zuck-learns-to-talk/.

22 ins x 22 ins; 55.9 cms x 55.9 cms $15,000–20,000

Note: Born in Erie, Pennsylvania in 1947, Tim Zuck completed his Bachelor of Fine Arts from the Nova Scotia College of Art and Design in 1971 and a Masters of Fine Arts from the California Institute of the Arts in 1972. He worked as an instructor at NSCAD from 1972-1979. Both educational milieus were hubs for conceptual art at this time and much of Zuck’s earlier practice reflected the prevalent interest in the processoriented. In 1979, he left NSCAD and his earlier performance, video, and photography work to pursue painting full time.

Generally considered a realist, Zuck is known to paint common objects, familiar places and known genres paired down to their most essential form. In his expertly executed paintings, he pushes the boundaries of realism, “I really try to slow down time by trying to take simple things and actually tear them down, peel away at it. I basically try to reduce the object to its essence and that is really intense for me and it works.”

Untitled #72 epitomizes Zuck’s approach to artmaking; a bird’s eye view of the artist’s house in Purcell’s Cove, near the entrance to Halifax Harbour, is distilled to its fundamental core.

Zuck has shown his work extensively with over 30 solo exhibitions and 50 group exhibitions in North America and Asia. In 2002, a retrospective of his work traveled the country, which surveyed his work from 1976-2003. He now resides in Penetanguishine, Ontario and keeps a studio in Georgian Bay.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

29 KELLY MARK THE KISS archival durotrans print mounted into aluminum light box with LEDs 24 ins x 32 ins x 5.5 ins; 61 cms x 81.3 cms x 13.9 cms $5,000–7,000

Literature: Rosemary Heather: “Kelly Mark Always Working” Canadian Art, Winter 2007.

Note: Multi-media artist Kelly Mark has long been interested in the obsession of television in our culture and in technology’s gradual replacement of human interaction. Her light box entitled The Kiss was derived from an installation included in her Glow Video Series that Mark produced using reflected light as a primary material. The installation consisted of two television screens positioned as if “kissing” and emanating a glowing, flesh-toned light between them. “The light source for this work was created by simply recording the cast light [from] a hard core porn movie...the resulting glow is steady and rhythmic [with] quickening pulses of colour, mainly pinks, oranges and red hues.”

Viewers of Mark’s The Kiss are reminded of Constantin Brancusi’s sculpture by the same name, which was simplified over many incarnations until it became a highly distilled abstraction of his initial representation. Mark’s version takes the theme much further into the realm of the conceptual, as The Kiss becomes wholly symbolic of the intervening nature of technology in our daily lives.

Mark’s work is collected by the National Gallery of Canada (Ottawa); the Art Gallery of Ontario (Toronto); the Musée d’art contemporain de Montréal; the Art Gallery of Greater Victoria; and the Victoria and Albert Museum (London). She represented Canada in both the Sydney and Liverpool Biennales in 1998 and 2006, respectively.

10% of the proceeds from the sale of this lot will be donated to the 2015 Concrete Contemporary Acquisition Fund.

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30 JOHN MACGREGOR GILLETTE acrylic on canvas titled on the reverse 69 ins x 47 ins; 175.3 cms x 119.4 cms $2,500–3,500

Note: John MacGregor is best known for his fascination with time, and specifically how perceptions and the importance of time differ based on age, culture, and geographical location. However, time is always consistent in its ability to both guide us and imprison us at once. MacGregor sees this as making time dangerously disorienting, a concept he explores and is inspired by in his work. Gillette represents this bewilderment with the abstract concept of time. Full of lightness and darkness, the abstractions of this canvas are both enriching and disorienting. A pair of static butterflies recalls the mysterious transformations of these creatures over their life span, and their ability to perplex and fascinate.

His work has been reviewed and admired by Canadian art historian Joan Murray in “Painter as Time Traveler,” “Best in Contemporary Art,” and “Canadian Art in the 20th Century.” Additionally, he is represented in the collections of The National Gallery of Canada, the Art Gallery of Ontario, The Vancouver Art Gallery, The Winnipeg Art Gallery, and numerous other art institutions and corporations.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

31 ATTILA RICHARD LUKACS AMERICAN FLAG EDITION silkscreen on fabric signed and numbered 61/120 72 ins x 36 ins; 182.9 cms x 91.4 cms Provenance: Private Collection, Toronto Note: Attila Richard Lukacs is known as a pioneer in the Canadian Contemporary art scene and is highly revered for his ambition and international success. As a spontaneous and outlandish multidisciplinary artist, Lukacs turned heads in the early 1990s with his portrayals of sexual aggression and social deviance through painting and photography.

Keenly interested in the neo-Nazi subculture of West Germany, he launched his career once he arrived in Berlin, inviting young skinheads into his studio and turning fascist symbols into sex objects.

Lukac’s success stems from his ability to document history from a perspective that others were afraid of or simply hesitant to explore through art. American Flag Edition (1990) is a silkscreen American flag, from an edition of 120 that originates from the artist’s military series. The work examines the various institutions that recruit young men, and attempt to build character and instill discipline by authority. Through the use of text, Lukacs references the undeniable powers of persuasion associated with the conscription process.

Originally from Calgary, Alberta, Lukacs attended the Emily Carr institute of Art and Design and graduated in 1985. His work is included in many public and private collections including the Vancouver Art Gallery, Museum van Hedendaagse (Belgium), Musée d’art Contemporain (Montréal), the Belkin Gallery (Vancouver) and the Art Gallery of Nova Scotia. He remains a driving force in the Canadian art community, currently residing in Vancouver, British Columbia.

This lot is accompanied by the exhibition catalogue, Attila Richard Lukacs (Diane Farris Gallery 1990). $4,000–6,000

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32 MELANIE AUTHIER VICTROLA acrylic on canvas signed, titled and dated ‘09 on the reverse 16 ins x 20 ins; 40.6 cms x 50.8 cms $2,000–3,000

Provenance: Private Collection, Toronto Literature: Melanie Authier. National Gallery of Canada Artist Interview: Melanie Authier. Dec. 21, 2012. Accessed July 30, 2014. https://www.youtube.com/watch?v=5lLtzD5kLoo

Note: Melanie Authier’s paintings are spirited arrangements of conflicting elements that appeal to each viewer in a unique way. Some are drawn to the extreme ranges of dynamic colour, while others gravitate toward the controlled chaos of shapes always present in her work. Inspired by the scope of reactions to her painting, Authier creates with the intent of awakening her audience to the complexities of abstract art while retaining a sense of “playfulness.” She says, “With all of my works the attempt and goal is always to combine various visual contradictions into one imaginary space...I’m interested in creating these visual contrasts through a negotiation of oppositions...”

Victrola (2009) is a complex visual experience with its disparate, rainbow coloured bands and earthy swatches of colour competing for canvas space. Geometric and organic forms alongside a dizzying composition of lulls and frenetic spaces blend together to exist in balanced harmony.

Authier received a BFA from Concordia University in 2002 and completed her MFA at the University of Guelph in 2006. She has received several grants from the Canada Council for the Arts and the Ontario Arts Council. Authier was awarded an honourable mention in the RBC Canadian Painting Competition in 2007 and her work is represented in many corporate, private and institutional collections.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

33 MEDRIE MACPHEE FLUTTER oil on wood signed, titled and dated 2012 on the reverse, unframed 33 ins x 36 ins; 83.8 cms x 91.4 cms

Provenance: Private Collection, Toronto Literature: Laurence, “Robin, Medrie MacPhee, An Interview.” Canadian Art Summer 1999, pages 46-49 Note: “What I love in painting [is] that area of play where you are faced with the unknowable and the unidentifiable. Things are not what they seem.”

$9,000–12,000 A landing parachute? A billowing sheet? Shards of glass? One never quite knows how to identify the subject matter in Medrie MacPhee’s paintings, yet the wildly discordant shapes are somehow familiar. As if seen through a kaleidoscope, shapes collide, light and shadow fall in unexpected places, and lines cut random, geometric subdivisions within the picture plane. There is a sense of halted chaos in many of MacPhee’s recent works, as if she has painted snapshots of falling debris resulting from an unknown but decidedly destructive force. Viewers may recognize parts of MacPhee’s subjects but not the whole, and that is precisely why paintings such as Flutter (2012) are so compelling.

MacPhee has been the recipient of many prestigious awards and grants from institutions such as the John Simon Guggenheim Foundation, the New York Foundation for the Arts, and the Canada Council. Her works are included in the collections of the Metropolitan Museum of Art (New York); the Art Gallery of Ontario (Toronto); the National Gallery of Canada (Ottawa); and the Musee d’Art Contemporain (Montreal) to name a few. MacPhee currently lives in New York.

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34 KIM DORLAND SAD GIRL oil on wood panel signed, titled and dated 2009 on the reverse 72 ins x 72 ins; 182.9 cms x 182.9 cms $25,000–30,000

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Provenance: Private Collection, New York

Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

35 KIM DORLAND DRIPPING DREAM #2 oil and acrylic gouache on canvas over wood panel signed, titled and dated 2013 on the reverse; signed, titled and dated on the overflap 60 ins x 72 ins; 152.4 cms x 182.9 cms $15,000–20,000

Provenance: Private Collection, New York Literature: Dowling, Dar. “Kim Dorland.” modernnyc. modmedia.inc. 2013. Web. 24 Apr. 2014.

Accessed July 5, 2014. http://modernnyc.com/kim_dorland_mike_weiss_gallery.html.

Note: A painter of extremes, Kim Dorland’s artwork is an instantly recognizable fusion of intense colour, copious amounts of paint and psychological narratives. Drawing his inspiration from the likes of Tom Thomson and the Group of Seven, he takes the rich tradition of Canadian landscape painting and infuses it with contemporary imagery such as spectral figures that seem alienated in natural settings and colour combinations that transfix the viewer’s gaze. In Dripping Dream #2, (2013), Dorland depicts himself sitting deep in the woods making the first brushstroke on an otherwise blank canvas of neon pink. “This painting came from a photo of me painting outdoors at the Emma Lake workshop in 2009…I wanted to make a painting that used this experience but twisted it to give it a sense of claustrophobia and a hallucinatory feel.”

The sitter for Sad Girl (2008), from Dorland’s portrait series About a Girl, is his wife, Lori. The massive scale of the painting and the seemingly violent rendering of the subject are at first disconcerting. Viewers are left pondering the psychology behind such a depiction, but the artist insists that first and foremost, his works are about the creative process, his near obsession with colour and his powerful and intuitive relationship to paint.

Dorland studied at the Emily Carr Institute of Art and Design as well as York University where he received his Master of Fine Arts in 2003. His works are exhibited globally and are included in the collections of the Montreal Museum of Fine Arts; the Musee d’art Contemporain de Montreal; the Glenbow Museum (Calgary); and the Museum of Contemporary Art (San Diego).

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36 SHAUN DOWNEY UNTITLED (FROM THE RELIGIOUS INTOXICATION SERIES) oil on canvas signed and dated 2006; unframed; condition noted 82 ins x 83.75 ins; 208.3 cms x 212.7 cms $6,000–9,000

Note: As an alumni of Michael John Angel Studios (Florence), a fine art school dedicated to the Old Master tradition of portraiture of the Italian Renaissance, and heavily influenced by famous fresco and portrait painter Pietro Annigoni, it is no surprise that Shaun Downey has already seen his work hanging in the National Portrait Gallery in London for the BP Portrait award in 2010. Painting meticulous and well thought-out combinations of traditional Italian realism mixed with raw, relatable, and introspective modern subjects, Downey has a talent for capturing the banality and emptiness of many everyday lived experiences.

In the Religious Intoxication series, Downey speaks to the abundance of religious subject matter in art history’s past. Yet through the rendering of contemporary individuals, he questions the “intoxication” of our over-indulgent society. His thoughtful subjects invite you into a realm of figuration that borders the mystical with the strangely familiar.

Most recently an artist in residence for the Robert McLaughlin Gallery in his hometown of Oshawa, Ontario, Downey has continued to dedicate himself wholly to his practice since his first show in 2003.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

37 LINDEE CLIMO ULYSSES REUNITED WITH PENELOPE (AFTER PRIMATICCIO) oil on linen signed; signed, titled and dated ‘94 on the stretcher 45 ins x 48 ins; 114.3 cms x 121.9 cms $4,000–6,000

Note: Inspired by the paintings of Old Renaissance Masters, Lindee Climo’s work demonstrates classical style with a contemporary twist. She paints detailed portraits of animals in place of well-known figures featured in religious or historical scenes, evidence of the farm animals integral to her childhood and adult life. Climo’s Ulysses Reunited with Penelope (after Francisco Primaticcio) (1994), exemplifies the artists ability to anthropomorphize her animal subjects. The painting, which recalls the popular love story between Ulysses and Penelope from Homer’s Odyssey, introduces a pair of pigs rekindling a long-lost romance. The humorous touch makes this a lighthearted work, full of detail and originality.

Originally from Massachusetts, Climo moved to Eastern Canada in 1970, and has been exhibiting her art across North America since 1975. Her work can be found in various collections, including the Art Gallery of Nova Scotia, the Robert McLaughlin Gallery, Acadia University, the Art Gallery of Newfoundland and Labrador, Department of External Affairs, and Scotiabank Group Fine Art Collection. The artist continues to produce work while residing in Nova Scotia.

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38 HOWARD LONN SEMICIRCULAR DRIVE oil on canvas signed, titled and dated 2008 on the reverse 48 ins x 32 ins; 121.9 cms x 81.3 cms $4,000–6,000

Provenance: Nicholas Metivier Gallery, Toronto Private Collection, Toronto Note: Celebrated for his architecturally-themed paintings and drawings, Howard Lonn explores the urban landscape through an array of techniques including dripping, scraping, and layering. Lonn’s painted surfaces are highly textural and his use of colour judicious and expressive. In Semicircular Drive (2008) Lonn’s depiction of a building in tonal blues and greys conveys the coldness of concrete but juxtaposes the scene with a singular, bright orange traffic cone as its focal point. Compositionally, the painting attests to Lonn’s draftsmanship and sense of structure and balance with its diagonal separation and geometric lines that are intuitively contrasted with the arcing curb.

Lonn graduated from the Ontario College of Art in 1981 and has since been exhibiting his work regularly across Canada as well as in New York and Spain. His works can be found in the Art Gallery of Ontario, the Art Gallery of Hamilton and the McMaster Museum of Art as well as in many private and corporate collections. Lonn also works in the animation industry.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

39 SKY GLABUSH PORTRAIT AS GERTRUDE STEIN oil on canvas signed, titled and dated 2012 on the reverse 30 ins x 24 ins; 76.2 cms x 61 cms $3,000–4,000 Provenance:

Private Collection, Toronto Literature: The Painting Project. “Galerie de l’UQAM Figures of Reality.” Accessed August 18, 2014. http://www.leprojetpeinture.uqam.ca/sky_glabush_citationsky_glabush_quotation-eng Note: “I am particularly interested in investigating and maybe renovating an early modern notion of the pictorial that draws on painting’s specific syntax and history, while finding expression in the local and familiar.”

A prominent artist in the Canadian Contemporary art scene, the influence of Modernism is apparent in the work of Sky Glabush. Fascinated with symbolism, Glabush works primarily in painting, creating an extensive body of work that incorporates art for art’s sake and abstract ideologies. His work presents a plethora of influence, including Abstract Expressionism, Cubism and Futurism. Portrait as Gertrude Stein (2012) demonstrates the artist’s interest in form and geometric composition. The work seemingly pays homage to Pablo Picasso’s portrait of Gertrude Stein (1905-1906), a representational portrait of the famed novelist rendered before the Cubist movement. Glabush questions our psychological understanding of painting by presenting Portrait as Gertrude Stein as a constructed portrait, demonstrating his interest in abstract principles and historic narratives.

Having obtained commercial success at an early point in his career, Sky Glabush has been featured in many solo exhibitions across Canada, including the Mackenzie Art Gallery (Regina), the Mendal Art Gallery (Saskatoon), and the Art Gallery of Windsor.

His work is featured in many public and private collections including the Canada Council Art Bank, McIntosh Gallery and Mackenzie Art Gallery. He currently resides in London, Ontario where he teaches at Western University.

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40 JAMES LAHEY, R.C.A. ABSTRACTION, 030403-01 mixed media on canvas signed, titled and dated 2003 on the reverse 30 ins x 30 ins; 76.2 cms x 76.2 cms $3,000–4,000

Provenance: Galerie de Bellefeuille, Montreal Note: Known for his dramatic landscapes, cloudscapes, large-scale abstracts and opulent still lifes, James Lahey excels on all points on the painting spectrum from photorealism to total abstraction. Orchid (2004) depicts a luxurious, blossoming orchid branch suspended in a vast, deep purple space. The highly technical rendering of the orchid is exquisitely delicate and seems to have a mysterious internal light source as it virtually glows. His broad range of stylistic talent is evident in Abstraction, 030403-01 where the viewer is drawn into the depths of the painting through his utilization of emotive cool colours, multi-layered textures, and patchwork shapes.

Lahey’s work is represented in galleries across Canada, Great Britain and the United States and are included in numerous public, private, and corporate collections such as the Art Gallery of Nova Scotia; the Art Gallery of Windsor (Ontario); the Edmonton Art Gallery; the Department of Foreign Affairs (Ottawa); the University of Toronto; CitiBank; CIBC; and the Royal Bank.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

41 JAMES LAHEY, R.C.A. ORCHID

Provenance: Galerie de Bellefeuille, Montreal

mixed media on canvas signed, titled, dated 2004 and inscribed “040824-04” on the reverse 72 ins x 48 ins; 182.9 cms x 121.9 cms $10,000–15,000

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42 APRIL HICKOX CRYSTAL, PORCELAIN, GLASS gelatin silver print signed, titled and dated 2002 on the reverse sight 17 ins x 16.5 ins; 43.2 cms x 41.9 cms $1,500–2,000

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Provenance: Private Collection, Toronto Note: April Hickox is a Canadian contemporary artist known for her work in film, video, photography and installation. As a teacher and independent curator, she remains a highly active member of the fine arts community in Toronto. In her own work, Hickox concerns herself with narrative, specifically the passage from one experience to another. Crystal, Porcelain, Glass (2002) alludes to life’s ephemeral qualities and the fragility of material objects. From the artist’s Stacking Tea Cup series, where broken teacups are reassembled and then piled in what appears to be a fragile tower, Crystal, Porcelain, Glass is a fine example of her ability to capture narrative. If you look closely, you can see the fine lines that adorn the delicate teacups, evidence of trauma and a reminder of the past. Through these black and white photographs, the artist exposes the delicate nature of our surroundings and our built environment.

Hickox is the founding director of Gallery 44, the Center for Contemporary photography, and a founding member of Tenth Muse Studio and Artscape. She currently teaches at OCAD University in Toronto.

Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

43 EDWARD BURTYNSKY OIL REFINERIES #5, OAKVILLE, ONTARIO, 1999 chromogenic colour print signed titled, dated 1999 and numbered 3/10 on artist label on the backing 22.5 ins x 45 ins; 57.2 cms x 114.3 cms $6,000–9,000

Provenance: Mira Godard Gallery, Toronto Note: Edward Burtynsky is widely regarded as one of Canada’s most respected and important photographers. Born in St. Catharines, Ontario in 1955, Burtynsky holds both a Bachelor of Applied Arts in Photography from Ryerson University and a Graphic Art degree from Niagara College. Burtnysky is known for his large-format photographs that are sublime in their scope. Since the mid-1980s, the subject matter of his work has focused almost exclusively on the impact of human enterprise on the earth, resulting in thought-provoking and aesthetically breathtaking tableaus. His photographs simultaneously capture the monstrosity of such large-scale industrial endeavors as oil sands and quarries, as well as their monumental beauty. It is his prolific ability to capture these dualities that have earned him both critical accolades and commercial success alike.

Burtynsky’s accomplishments have recently extended to filmmaking, producing his first feature-length documentary “Watermark” in 2013 about the meaning and use of water. His photographs are included in the collections of major museums around the world, including the National Gallery of Canada, the Bibliothèque Nationale in Paris, and the Museum of Modern Art in New York. In 2006 he was awarded the title of Officer of the Order of Canada.

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44 JASON MCLEAN GENTLY HOLD ME...SUNSHINE

Provenance: Private Collection, Toronto

acrylic and ink on paper signed, titled and dated Jan ‘05

Literature: Clarke, Bill. “Jason McLean: Diaries of Place.” Canadian Art, Summer 2011.

Accessed August 12, 2014. http://www.canadianart.ca/features/2011/08/11/jason_mclean/

11 ins x 14 ins; 27.9 cms x 35.6 cms $1,000–1,500

Note: Born in 1971, Jason McLean is best known for his large-scale illustrations that amalgamate details of his personal life with the eccentricities of our everyday world. Finding influence in the work of the Dadaists and Surrealists before him, McLean’s free-form drawings unfold into a stream-of-consciousness. The result is effective, with works such as Gently Hold Me...Sunshine (2005) providing an honest display of the artist’s introspective process.

McLean has collected art, books and various creative materials throughout his lifetime, often manipulating found objects in his work. By focusing on the details of his surroundings and by incorporating light humour, McLean is able to effectively touch upon challenging subject matter such as sadness, loss, and mental illness. The artist was diagnosed with schizophrenia following his graduation from the Emily Carr College of Art and Design in 1997. Taking control of his condition, McLean chooses to explore and express himself through art. “I also want to be a role model. I want people with the same condition to know that they can have a life and family, and successfully pursue whatever it is they want to do.”

McLean has been exhibited nationally and internationally, having been chosen by MacLean’s magazine as one of the top 10 up-and-coming Artists in Canada (2004). He was commissioned to design the billboard for the Vancouver Olympics in 2012 before returning to his hometown of London, Ontario to continue his art practice.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

45 MARGAUX WILLIAMSON INSIDE FOUNTAIN

Provenance: Private Collection, Toronto

oil on wood signed, titled and dated 2007 on the reverse

Literature: Goodden, Sky. “10 Questions with Sheila Heti, Margaux Williamson, Sholem Krishtalka, and Ryan Kamstra”. ARTINFO Canada, May 01, 2012. Accessed August 18, 2014. http://ca.blouinartinfo.com/visual-arts/article/802200-10-questions-withsheila-heti-margaux-williamson-sholem-krishtalka-and-ryan-kamstra

24 ins x 24 ins; 61 cms x 61 cms $3,000–5,000

Note: Margaux Williamson is a multi-disciplinary artist, well known for her work in film, literature and painting. Her dreamlike world is brought to life as she follows her creative instincts and challenges our concept of reality, “I am completely obsessed with art and how it relates to the world.” Williamson introduces us to a subtle fantasy world, full of wit and imagination. Her studied explorations of everyday life reflect the mundane, infused with a subdued colour palette meant to enhance our understanding of our contemporary surroundings.

Originally from Pittsburgh, Williamson has been living and working in Toronto since early 2000. Her work has been exhibited internationally and throughout North America. Her new book entitled I Can See Everything: The Paintings of Margaux Williamson was published by Coach House Press in the Spring of 2014, and includes 46 works by the artist.

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46 EVERGON UNTITLED (MALE FIGURE) polaroid signed, dated 1991 and numbered 1/10 30 ins x 36 ins; 76.2 cms x 91.4 cms $1,500–2,000

Provenance: Private Collection, Toronto Note: Addressing major themes such as sexuality, homoeroticism and body image, Evergon has helped to shape our understanding of gender and sexual relationships while challenging photographic conventions. Untitled (Male Figure) (1991) is a polaroid from the artist’s Ramboy series, created as a homoerotic paradigm that focuses on male beauty and sensuality. His work with polaroids began in the early 1980s, with works like Untitled (Mother), featured as a triptych, preceding the artist’s fascination with sexual exploitation and promiscuity. The burnt edges and saturated colours are an effect of the photographic process to which Evergon often experiments. It was during this transition that the artist begins to explore theatrical motifs including costume, lighting, models and props.

Evergon, born Albert Lunt in 1946, changed his name once he began working professionally. He received a BFA from Mount Allison University in Sackville, New Brunswick and completed his MFA at the Rochester Institute of Technology in 1974.

He currently works as a professor in the photography department at Concordia University.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

47 EVERGON UNTITLED (MOTHER) polaroid triptych overall 27 ins x 62.5 ins; 68.6 cms x 158.8 cms Provenance: Charles Bronfman’s Claridge Collection $2,000–4,000

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48 RICHARD STURM KORREKTUR

Literature: Sturm, Richard. Artist Statement. January 2007. Accessed Aug. 14, 2014. http://www.sturm.ca/artwork/artiststatement.htm

acrylic on canvas signed, titled and dated 1985 on the reverse

Note: “As a painter, I often feel that I am working as an archaeologist in reverse, burying layers of images with layers of colour.”

hexagon diameter 65 ins; 165.1 cms

Exploring visual ideas found in movements such as Op-Art, Colour Field painting, and Abstract Expressionism has led Sturm to his all-over, layered style of art making.

Interested in the technical aspects of vision, he believes that visual practices are a form of vocabulary which has the ability to unite many separate elements into a coherent image, just as one would link carefully chosen words to create a poem.

While his practice is well informed by art history, it is also unique as he combines his most beloved 20th century techniques to develop this contemporary vision.

$2,000–4,000

In Korrectur (1985), these influences are obvious. Directly translated into “Correction,” a flurry of multicolored markings create a near-hypnotizing field of colour. Taking a step back you may expect an image to become clear through the storm of the paint, but as one corrects their vision the canvas still bears no subject representation, challenging the viewer’s visual capacity and expectation of a painted canvas. It is through this playful strategy of looking and interpreting that Sturm ensures onlookers of his art remain continuously intrigued.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

49 DOUG STONE UNTITLED (RED, BLACK AND WHITE) acrylic on canvas dated 1995 on gallery label on the stretcher

Provenance: Christopher Cutts Gallery, Toronto Note: Doug Stone, a multidisciplinary artist from Simcoe, Ontario, creates artwork from a variety of mediums all providing a glimpse into his biography and memory. From furniture design to mixed media collages of commonplace objects documenting his everyday life, the artist invites the viewer into a world of personal intimacy and symbolism.

38 ins x 44 ins; 96.5 cms x 111.8 cms $3,000–4,000

In his practice, Stone is fascinated with deconstructing culture and meaning through material objects, lurking through yard sales and flea markets in search of inspiration.

Ultimately however, it is his own personal life experiences which give much of his work meaning. His struggle with AIDS in the 1980s and subsequent near death experience in 1995 can be seen in Untitled (Red, Black and White) (1995). Darkness invades the canvas, as if devouring the handwritten scrawls of his memory. The viewer is left wondering what prevents this darkness from ever prevailing. Stone’s work in various mediums are original and stand on their own merit. Yet altogether, they represent a true portrait of the artist. Deeply autobiographical, his vulnerability enables him to connect to elements of many human experiences such as hope and life, anger and death. The result is art which is ultimately passionate, sincere, and intensely emotional.

Stone lives and works both in Toronto and New York City.

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50 TYLER CLARK BURKE UNTITLED #13 oil and acrylic polymer on wood 30 ins x 24 ins; 76.2 cms x 61 cms

Provenance: Private Collection, Toronto Note: Known as a driving force in Toronto’s independent cultural scene, Tyler Clarke Burke has been actively producing art since the early 2000s. Having designed the album art for Leslie Feist’s record The Reminder, and several posters for the artist, Burke has garnered success in the contemporary world of print and design.

$1,500–2,000 Working with a variety of mixed media, Burke is known for her inventiveness and creativity. While she often works figuratively, Untitled #13 demonstrates the artist’s ability to render abstractly with equal success. The bold colours, fluid design and vivid brush strokes create movement in the painting and attest to Burke’s free and passionate approach to making art.

Burke founded the Indie record label Three Gut Records in 1999 and is constantly engaged in producing art and organizing events in the artistic community. Her work has been shown and collected internationally.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

51 ALEX CAMERON THICK GROWTH

Provenance: Bau-Xi Gallery, Toronto Private Collection, Toronto

oil on canvas signed, titled and dated 2010 on the reverse

Literature: Cameron, Alex. Alex Cameron. Accessed August 15, 2014. http://www.thecanadianencyclopedia.ca/en/article/alex-cameron/

50 ins x 40 ins; 127 cms x 101.6 cms

Note: Alex Cameron is an established figure in the Toronto arts community. In 1967 he enrolled at the New School of Art where he studied under Graham Coughtry, Gordon Rayner, Dennis Burton and Robert Markle. He maintained a relationship with the famed art critic Clement Greenberg and was studio assistant to Jack Bush from 1972-1974. It was in the 1970s and 1980s that Cameron would cultivate his signature style described as “whimsical imaginative versions of the Canadian Wilderness.” Following in the tradition of the Group of Seven, Jack Bush and the Painters Eleven, Cameron is considered one of their most distinguished contemporary heirs, noted in particular for landscape paintings with thick impasto application that overflow with colour and exude joy. Since 2010, his work has become increasingly vibrant and eccentric in palette, which he attributes to a condition of chronic migraines, which he likens to “explosions of colour in his brain.”

$5,000–7,000

Cameron has had over 40 solo exhibitions since his first show at A Space Gallery in 1971. His work is found in the permanent collections of the Art Gallery of Ontario, the Agnes Etherington Art Centre in Kingston, ON, as well as the Office of the Prime Minister of Canada.

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52 MARIANNA GARTNER SANTA LUCIA oil on canvas signed with artist’s stamp on the stretcher and dated 1999 on gallery label 65 ins x 63 ins; 165.1 cms x 160 cms $8,000–10,000

Provenance: The Sable-Castelli Gallery Ltd., Toronto Private Collection, Toronto Note: Rummaging through old photographs in flea markets and antique shops is the first step in a long process of imaginative creations by Winnipeg native Marianna Gartner. Born in 1963, this artist has matured a style so distinct and accomplished that she has exhibited at solo shows from Vancouver to London to Germany and many points in between. Old heirlooms of the past are given new life all over Canada and Europe with Gartner’s interventions.

Appropriating elements of late 19th and early 20th century cabinet cards, a style of photography used for portraiture which was most popular in the 1880s, Gartner mixes photographic history and records with her own imagined fantasies to create eerie representations of an other-worldly environment. Gartner says this is the process of recalling “fictional memories” of the viewer. Her subjects often hold a direct and confrontational stare resulting in them being haunting yet intriguing.

In Santa Lucia (1999), an angelic figure painted in grisaille style sits atop a pool of blackness, almost oil-like in quality, with expansive raven-like wings on his back. A sinister smile is lain on her face, as she places a flower below her, seemingly unaware of a pair of eyes gazing directly upwards at her. Balancing the ominous with the innocent, and the terrifying with the delightful is the ultimate success of Gartner.

Marianna Gartner currently lives and works both in Canada and Europe.

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53 FRANK GEHRY FISH LAMP, 1984 formica, glass, wire, and painted wood Produced by New City Editions height 72 ins; 182.9 cms Note: Internationally famed, Toronto-born architect Frank Gehry reminds us that he has an instinctual vision not only for architectural spaces, but also for creative design of any sort, when it comes to his sculptural endeavors. Although endlessly experimenting with new materials and gravity-defying shapes, Gehry recalls that his fish were ultimately inspired by his criticism of postmodern architecture for its over-reliance on the past.

Gehry is also influenced by the sculptor Bernini and his marble folds. Yet here, he challenged his own comfort of working with delicate folds to instead work with the edgy, triangular scales of the fish.

These scales are the most principal element in these softly glowing lamps.

They bring a textured surface, which creates a tension with their radiant glow.

Each unique and made by hand, Gehry’s Fish Lamps exude a quiet calmness, stability, and warmth amongst its surroundings when they are lit. They are truly a testament to Gehry’s innovation and recognizable style. $30,000–40,000

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54 JOHN MASSEY AND BECKY SINGLETON AFTERLIFE GIANT ERYNGO, YELLOW AFTER BLOSSFELDT; GIANT ERYNGO GREEN AFTER BLOSSFELDT (TWO PRINTS) direct positive prints both editioned 2/30 and dated 1995 on gallery label on backing image (both) 14 ins x 11 ins; 35.6 cms x 27.9 cms $1,000–1,500

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Provenance: Charles Bronfman’s Claridge Collection Olga Korper Gallery, Toronto Note: John Massey and Becky Singleton could both be described as sculptors, film-makers, and installation artists at one point in their artistic careers. Yet as their practices matured through the 1990s, they became increasingly interested in the field of photography and have both found themselves investigating the space between the real and the imagined through this medium. Ultimately, this has led them to collaborate on projects such as Afterlife Giant Eryngo (1995). The Eryngo, a flowering plant typically purple in colour is shown in somber and unnatural shades of yellow and green. This evokes both a visual and visceral intensity, while also conveying the medium’s aptitude for manipulating reality.

During the early 1980s, Massey gained a national and international reputation for his artwork and ever since has been seen in major exhibitions in Germany, the United States, France, Australia and Canada. In 2001, he was award the Gershon Iskowitz prize by the AGO, recognizing him for his successful artistic contributions as a mature Canadian artist. His most recent practice surrounds digital manipulation, and investigating whether photographs only amount to artificial construction.

Meanwhile, Singleton continues to work in a variety of mediums which all explore the interpretation and creation of meaning through visual language. She has also had a series of solo exhibitions in Canada and has been included in a group exhibitions at the Art Gallery of Ontario (2000, 1981) and the Art Gallery of York University. Both artists are at present living and working in Toronto.

Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

55 MICHAEL SNOW UNTITLED double-sided transparency signed and dated ‘72 in each corner 11.5 ins x 23.5 ins; 29.2 cms x 59.7 cms $2,000–3,000

Provenance: Private Collection, Toronto Literature: Enright, Robert. “The Lord of Missed Rules: An Interview with Michael Snow.”

Border Crossings 102, May 2007. Accessed August 13, 2014. http://bordercrossingsmag.com/article/the-lord-of-missed-rules-an-interview-withmichael-snow Note: Michael Snow is regarded as one of Canada’s most important contemporary artists, well recognized for his work in film and video, music and sculpture, photography and painting. “My paintings are done by a filmmaker, sculpture by a musician, films by a musician, music by a sculpture... sometimes they all work together.” By amalgamating his creative interests, Snow has engaged audiences across Canada and internationally while playing a major part in the development of contemporary art and culture. An advocate of viewer interaction, his untitled work from 1972, a twosided transparency, is meant to be displayed in a window so that from the interior, one sees the exterior actions through the transparent colours. At the age of 84, he continues to impress us with his creative energy while working to intensify the spectator’s involvement with art.

After living and working in the city of New York for ten years, Snow relocated to his hometown of Toronto in 1971 where he continues to produce art. He is best known for his large-scale commissioned works including the Walking Women series (19611967), Flight Stop (1979) and Audience (1989).

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56 ROBERT HOULE, R.C.A. A NEW SENTINEL mixed media on paper signed, titled, dated ‘90 and numbered 7/22 61 ins x 28 ins; 154.9 cms x 71.1 cms $2,000–3,000

Note: Robert Houle has been active in the Canadian contemporary art scene since the mid 1970s, effectively bridging the gap between contemporary First Nations artists and the broader Canadian art scene. His powerful imagery stems from his personal experiences as a First Nations member of the Anishnabe Saulteaux community.

Working with mixed media, Houle incorporates aspects of indigenous culture in the majority of his work. He explores the history of his people while addressing contemporary Canadian politics and often employs text and photographic elements in his large-scale works, as illustrated in A New Sentinel (1990). While recalling the names of various First Nations tribes through text, the coloured ribbons act as symbols of holy offerings used during traditional ceremonies.

Houle’s work is featured in many public and private collections worldwide including the National Gallery of Canada (Ottawa); the Art Gallery of Ontario; the Museum of Contemporary Art (Sydney); the Canadian Cultural Centre in Paris, and the Stedelijk Museum (Amsterdam). Having taught at the Ontario College of Art and Design for a number of years, Houle currently resides in Toronto, and is the co-chair of the Aboriginal Curatorial Collective and is a member of the Royal Canadian Academy.

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Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

57 RICHARD ROBLIN BALENCIAGA acrylic on canvas from the Jewels of Perception series 54 ins x 54 ins; 137.2 cms x 137.2 cms $6,000–8,000

Literature: Madison Galleries. “Richard Roblin Biography.” Accessed August 05, 2014. http://www.madisongalleries.com/artists/richard-roblin-biography/ Note: Canadian artist Richard Roblin finds inspiration for his paintings in nature, architecture and design. Having traveled extensively, he absorbs himself in the teachings of various cultures, utilizing expressive shapes and a vibrant palette to communicate ideas. When describing his process, Roblin comments, “The nature of my painting activities is to engage with the magical resonances of colour and form. I play with the dynamics of luminosity to reveal the sense of joy which inspires it.”

Balenciaga (2014) epitomizes Roblins artistic style with its grid-like structure, inviting texture, and stimulating colours.

Roblin garnered attention at an early age, when his work was first acquired by the Montreal Museum of Fine Arts in 1961. Since then he has exhibited throughout Europe and North America. His work has been collected widely through commercial galleries and museums, including the Museum of Modern Art in New York.

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58 GARY TAXALI SEZ ME mixed media signed 11 ins x 10 ins; 27.9 cms x 25.4 cms $2,000–2,500

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Note: Gary Taxali is a Toronto based artist and award winning illustrator who captures an alt zeitgeist that connects with the viewer on very elemental levels. He is also a thoroughly modern-day artist; his work finds it way into non-traditional channels including silk pocket squares designed for men’s retailer Harry Rosen and his album cover design and artwork for Aimee Mann’s 2009 @#%&*! Smilers which garnered a Grammy Award nomination. In 2012 Taxali was commissioned by the Royal Canadian Mint to create a series of six limited-edition 25-cent coins.

Taxali’s imagery is both startlingly original and a throwback to images associated with Depression-era media. His characters carry a natural and very human ambivalence, a combination of swagger, pathos, mirth and sadness. In Sez Me, the central figure of Bunty, rabbit eared cap drawn down over his eyes, is seen blithely strolling through a landscape of Taxali characters, oblivious, perhaps not, to the noise of life and nuance around him. Perhaps this is Taxlali’s not-so-obvious comment on the state of relationships with ourselves and with others.

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59 ANDRE ETHIER UNTITLED oil on board signed and dated 2007 on the reverse 20 ins x 16 ins; 50.8 cms x 40.6 cms $2,000–4,000

Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

Provenance: Private Collection, Toronto Literature: “LOOK AT THIS: The Colourful Paintings that Andre Ethier Makes When He’s Not Playing Music.” CBC News: Canadian Artist of the Week, November 23, 2013.

Accessed August 12, 2014. http://www.cbc.ca/strombo/news/look-at-this-andreethier Note: André Ethier finds inspiration for his paintings from a variety of sources. The artist typically paints figuratively; images of whimsical men, organic still lifes and twisting flowers that fill the canvas as if in a quaint dream. Finding inspiration in Neoexpressionism and the work of Italian artist Giuseppe Arcimboldo, Ethier’s compositional oddities can often be disturbing, as the artist defies convention by challenging societies understanding of what is “normal.”

Ethier has also garnered success as an accomplished musician, mentioning that, “Music and painting are related, in that there is craft that stands between the artist and expression…you have to negotiate with tools, and the tools inform your work.”

His paintings are reminiscent of his creative life and vivid imagination. Ethier’s process includes a pastiche of colours applied in thin coats, providing a transparent luminosity and inherent depth. The multiple layers of oil paint exude an earthly quality that brings to life the gnomish characters often present in his work.

Ethier often leaves his paintings untitled, as he feels titles eliminate intrigue and reduce the impact that a work might have on the viewer. Born and raised in Toronto in 1977, Ethier received his BFA at Concordia University in Montreal. He has since been collected and exhibited internationally, and currently lives and works in Toronto.

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Index A

J

S

ADAMSON, MICHAEL

5, 6

JAMES, GEOFFREY

24

SCHERMAN, TONY

12

ASHOONA, MAYUREAK

20

JOCELYN, TIM

19

STONE, DOUG

49

ASTMAN, BARBARA

26

SNOW, MICHAEL

55

AUTHIER, MELANIE

32

STEINMAN, BARBARA

23

STURM, RICHARD

48

B BIERK, DAVID

4

BURKE, TYLER CLARK

50

BURTYNSKY, EDWARD

43

C

K KIPPING, BRIAN

10

KORKOLA, MARA

1

KUBIS, ANDA

17

T TAXALI, GARY

L LAHEY, JAMES

40, 41

W

LEACH, ANGELA

7

WILLIAMSON, MARGAUX

CAMERON, ALEX

51

LONN, HOWARD

38

CLIMO, LINDEE

37

LUKACS, ATTILA RICHARD

31

Z

COUPLAND, DOUGLAS

21, 22

LUNDEEN, PATRICK

15

ZUCK, TIM

D

58

45

28

M

DORLAND, KIM

34, 35

MACGREGOR, JOHN

30

Notes written by Stephen Ranger, Kristin

DOWNEY, SHAUN

36

MACPHEE, MEDRIE

33

Vance, Emma Frank, Elyse Clinning, Emily

MARANDA, NATHALIE

14

Cavanagh and Nadine Di Monte

MARK, KELLY

29

E ETHIER, ANDRE

59

MASSEY, JOHN AND

EVANS, GARY

2

BECKY SINGLETON

54

EVERGON

46, 47

MCLEAN, JASON

44

EVERINGHAM, SCOTT

18

MURDOCK, GREG

8, 11

G

N

GARTNER, MARIANNA

52

NEDERVEEN, STEVEN

3

GEHRY, FRANK

53

GILLMORE, GRAHAM

16

P

GLABUSH, SKY

39

PAYETTE, JACQUES

27

POLIDORI, ROBERT

25

H HICKOX, APRIL

42

R

HOFFER, PETER

13

RAINS, MALCOLM

9

HOULE, ROBERT

56

ROBLIN, RICHARD

57

64

Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 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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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.

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.

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

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.

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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.

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

Canadian Contemporary Art Auction – Tuesday 23 September 2014 at 7 p.m.

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.

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.

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

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.

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ConcreteContemporaryArt.Waddingtons.ca

Operational Sta

Specialist Departments

Asian Art Anthony Wu 416 847 6185 aw@waddingtons.ca Yvonne Li 416 847 6195 yl@waddingtons.ca Anthony Lee Consultant

Jewellery, Watches & Numismatics Don P. McLean 416 847 6170 dpm@waddingtons.ca Monthly Fine Art Doug Payne 416 847 6180 dp@waddingtons.ca

Canadian Fine Art Silver, Glass & Ceramics Linda Rodeck 416 847 6176 lr@waddingtons.ca Erin Rutherford Fine Art Administrator 416 504 5100 er@waddingtons.ca Contemporary Art Stephen Ranger 416 847 6194 skr@waddingtons.ca Kristin Vance Fine Art Administrator 416 504 9100 ext 6178 kv@waddingtons.ca International Art Susan Robertson 416 847 6179 sr@waddingtons.ca Emma Frank Assistant ef@waddingtons.ca Inuit Art Christa Ouimet 416 847 6184 co@waddingtons.ca Nadine DiMonte Assistant nd@waddingtons.ca

President Duncan McLean 416 847 6183 adm@waddingtons.ca Vice President Business Development Stephen Ranger 416 847 6194 skr@waddingtons.ca Vice President Fine Art Linda Rodeck 416 847 6176 lr@waddingtons.ca

Bill Kime 416 847 6189 bk@waddingtons.ca

General Manager Duane Smith 416 847 6172 das@waddingtons.ca

Sculpture, Decorations, Clocks & Lighting

Creative & Technical Manager Jamie Long 416 847 6188 jl@waddingtons.ca

Sean Quinn 416 847 6187 sq@waddingtons.ca

Queeny Xu Assistant qx@waddingtons.ca Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca Elda Pappada 416 504 9100 x6213 ep@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca 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

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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

Canadian Contemporary Art Waddingtons.ca

275 King Street East, Second Floor Toronto Ontario Canada M5A 1K2

Telephone: 416.504.9100 Fax: 416.504.0033 Toll Free: 1.877.504.5700