Canadian Art Auction | November 24, 2014 by waddingtons

Canadian Fine Art Auction Monday 24 November 2014

Waddingtons.ca

Canadian Art Auction Monday 24 November 2014 at 7:00 pm

On View Saturday 22 November 2014 from 11:00 am to 5:00 pm Sunday 23 November 2014 from 11:00 am to 5:00 pm Monday 24 November 2014 from 10:00 am to 12 Noon Select lots may be viewed otherwise by appointment. Preview and Auction to be held at Waddingtonâ&#x20AC;&#x2122;s 275 King Street East, 2nd Floor Toronto Ontario Canada M5A 1K2 This auction is subject to the Conditions of Sale printed in the back of this catalogue. All lots in the auction may be viewed online at CanadianArt.Waddingtons.ca

Waddingtons.ca

Front Cover Lot 59 LAWREN STEWART HARRIS BATCHAWANA Inside Cover Lot 10 MARCELLE FERRON, R.C.A. SANS TITRE Title Page Lot 55 SYBIL ANDREWS SPEEDWAY, 1934 Inside Back Cover Lot 53 JOHN GRAHAM COUGHTRY TWO FIGURE SERIES XIX, 1964 Back Cover Lot 46 SOREL ETROG, R.C.A. HARBOUR AT NIGHT, 1953-4

Specialist Linda Rodeck 416.847.6176 lr@waddingtons.ca Condition Reports Eileen Reilly 416.847.6191 etr@waddingtons.ca Fine Art Administrator Erin Rutherford 416.504.5100 er@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 9100 tm@waddingtons.ca

All lots in the auction may be viewed

It always feels like a steep, steep climb when we embark upon the consignment gathering process at the start of each auction season. While the Accounts Department busies itself sending out invoices and tallying up the revenue from the last sale (this spring the total was in excess of $6 million), the Specialist Department can spend more than a few sleepless nights fretting about where the next sale will come from. This summer our climb was made easier by the delivery of our very first consignment to the Fall 2014 Canadian Art auction: the exquisite sketch for J.E.H. MacDonald’s Tracks and Traffic, 1912 (lot 58) which arrived while our Spring sale preview was still in progress. Entrusted to us by an old friend of the firm, the painting hung above my desk and provided The Team with enormous encouragement – particularly on those (albeit rare) days when great pictures seemed to elude us. Slowly at first and then at break-neck speed in the final weeks leading up to deadline, works started arriving – from Halifax, from Montreal, from Ottawa, from Calgary and Winnipeg and points in between – from the U.K. and the U.S. and the sale began to take shape. Over the years, we’ve come to understand that each sale seems to develop its own personality. Some are docile, some unruly, some sprightly, some even ungainly (many of you will remember the 450+ lot sales of old!). This sale, we all agree, has been a joy, and we will be sorry to part with works that have been our privilege to research and discuss these past few months. For Erin Rutherford it will be hard to part with the captivating rhythm of Ray Mead's Image No. 10 and the fervent passion of Marcelle Ferron's Sans Titre; Eileen Reilly was drawn to Joseph Plaskett's Dans le parc, Paris and Lawren Harris' Batchawana; I, too, have my favorites but curiously they change as the sale evolves and the result has been that, for this sale, there are too many for me to feel as though I can single out just one or two: the Verner Indian encampment? The Etrog Painted Construction? Coughtry’s Two Figures XIX from 1964? The Shadbolt Vancouver street scene? I find it impossible to decide. And hopefully you, too, will find something in the 170 lots we have been entrusted with that will whisper your name, draw you in and compel you to commit. This sale has been assembled without strict adherence to dollar value, although the catalogue sales we produce admittedly represent the high end of the market, with more modestly priced works appearing in our regular online auctions. However, we have been quite resolved to offer high-quality works in a selection of periods, media, subjects and artists, regardless of price, which should make the sale accessible to all levels of collector. As always for those of you who will visit us in person, we look forward to welcoming you to Waddington’s. For those of you who cannot travel to Toronto, we hope we can help you in other ways that will bring the joy of collecting great Canadian art closer to you, if not right into your home. We look forward to being of service. — Linda Rodeck Senior Specialist, Canadian Art Vice President, Fine 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.

Canadian Fine Art

Inuit 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.

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.

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

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

Duncan McLean Senior Specialist, Inuit Art

Christa Ouimet Specialist, Inuit Art

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

Concrete Contemporary Auctions and Projects

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

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

Bill Kime Specialist, Decorative Arts

Sean Quinn Specialist, Decorative Arts

Concrete Contemporary Auctions merges the worlds of traditional auction and the retail gallery, where our relationships with artists, art dealers, curators and collectors result in exciting new sources of contemporary works. The auctions are tightly focused on Canadian contemporary art since 1980 with an emphasis on midand late-career artists with exhibition history in the private and public sphere. An exciting initiative is the introduction of our Pop-Up Gallery series. These shortduration 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, we are committed to exploring new ways to connect, expand and support the contemporary art community.

Stephen Ranger Senior Specialist, Contemporary Art

Asian Art

“Oﬀ the Wall” Art

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

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

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

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

Anthony Wu Specialist, Asian Art

Doug Payne Specialist, Fine Art

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. We have supported: 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 Fine Art Lots 1â&#x20AC;&#x201C;170

CanadianArt.Waddingtons.ca

1 HENRI LEOPOLD MASSON OFF TO SCHOOL oil on canvas signed and dated ‘42 19 ins x 23 ins; 48.3 cms x 58.4 cms $4,000–5,000

Provenance: Private Collection, Toronto Literature: Marius Barbeau, Painters of Quebec (Canadian Art Series), The Ryerson Press, Toronto, 1995, page 33. Note: After a period of apprenticeship as an engraver, Henri Masson discovered an aptitude for painting, and his best work begins to emerge around 1939/40. The rolling hills of Gatineau were Masson’s favourite subject as were, says Barbeau, the human toil, prayers, play, past-times, and occupations of the townsfolk. Barbeau describes Masson’s development at this time as “astonishing.”

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

2 MASHEL TEITELBAUM RED SKY oil on canvas signed, titled and dated ‘80 on the reverse 14 ins x 18 ins; 35.6 cms x 45.7 cms Provenance: Private Collection, Toronto $1,000–1,500

3 SAMUEL BORENSTEIN MONTREAL - WINTER STREET SCENE, 1963 oil on board signed and dated ‘63; also titled and dated on the reverse 12 ins x 16 ins; 30.5 cms x 40.6 cms Provenance: Private Collection, Ontario Literature: Esther Trépanier, Jewish Painters of Montreal: Witnesses of Their Time 19431948, Éditions de l’Homme, Montreal, 2008, page 236. Note: Borenstein studied under Sherriﬀ Scott and John Y. Johnstone in Montreal in the mid 1920s and early 1930s and associated with artists such as Goodridge Roberts and Fritz Brandtner, exhibiting at the Art Association of Montreal with them. By the late 1940s, Borenstein had begun to develop the distinct style for which he is most known, “interpreting Montreal cityscapes and Laurentian villages with brilliant colours, exuberant brushwork and bold composition” as exempliﬁed by this painting. $8,000–10,000

CanadianArt.Waddingtons.ca

4 BERTHE DES CLAYES PORTRAIT OF A YOUNG LADY SKETCHING ON A BOAT oil on canvas, laid down on board signed 10 ins x 10 ins; 25.4 cms x 25.4 cms Note: Berthe des Clayes was known for her Impressionistic portraits and landscapes. In this scene, a woman sits in a skiﬀ, sketching underneath the blue skies of a spring afternoon. Delicately rendered, the ﬁgure is intently focused – her enjoyment and concentration visible beneath the brim of her cloche hat. The eldest of three children, Berthe des Clayes was sister to Alice (lot 144) and Gertrude (lot 132) des Clayes. This lot is sold together with a preparatory drawing which was attached to the back of this painting, signed, inscribed “V.H. Como PQ” (twice) and indistinctly dated 193?. $4,000–5,000

5 MANLY EDWARD MACDONALD, R.C.A. BRUCE’S MILL, 10 MILES NORTH OF UNIONVILLE oil on canvas signed; titled in pencil on the overﬂap 24 ins x 30 ins; 61 cms x 76.2 cms Provenance: Private Collection, Ontario Literature: Charles Beale, Manly Edward MacDonald (1889-1971), Plumley Press, Napanee, Ontario, 2010, plate no. 3, frontispiece, for a closely related composition, reproduced in colour. Note: Best-known for his depictions of the limestone mills and villages of Prince Edward County, MacDonald lived much of his life in Toronto residing at 4 Rosedale Road and often painted smaller towns more proximous to Toronto including Unionville. $5,000–7,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

6 WALTER JOSEPH PHILLIPS, R.C.A. SHARP’S DOCK - PENDER HARBOUR woodcut, printed in colours signed, titled and numbered 19/100 in pencil in the lower margin sight 10 ins x 14.5 ins; 25.4 cms x 36.8 cms Literature: Roger Boulet, Walter J. Phillips, The Complete Graphic Works, M.B. Loates Co., Markham, Ontario, 1981, page 568, for Sharp’s Dock Pender Harbour, reproduced. $5,000–7,000

7 JACK HAMILTON BUSH, O.S.A., A.R.C.A. CÔTE ST. ROSE oil on canvas signed and dated ‘34 20 ins x 24 ins; 50.8 cms x 61 cms Provenance: Private Collection, Nova Scotia (by descent through the family of the artist) Literature: Dennis Reid, “Jack Bush: The Development of a Canadian Painter,” Jack Bush, McClelland and Stewart, Toronto, 1984, page 12. Note: Raised in Montreal and trained in the commercial printing and design business there, Jack Bush moved to Toronto in 1929 and enrolled in evening classes held at the Ontario College of Art. The Toronto art world was heavily under the inﬂuence of the Group of Seven and the Group would have impacted Bush as it did almost all Canadian painters at that time. Reid writes that years later Bush recalled: “The Group of Seven, of course, were the top boys. I still can’t get over the habit we got into, which was to go out into the ﬁelds to make sketches...with little pads, just like A.Y. Jackson...” Côte St. Rose is dated to 1934, the year Jack Bush married his childhood friend, Montrealer Mabel Teakle. The wedding took place in September. $10,000–12,000

CanadianArt.Waddingtons.ca

8 HENRI LEOPOLD MASSON SPRING MOOD, RIDEAU RIVER oil on canvas signed 27 ins x 22 ins; 68.6 cms x 55.9 cms Provenance: Roberts Gallery Limited, Toronto Note: Through loose and vigorous brushwork, Henri Masson conveys his aﬃnity for the Canadian landscape. His canvas is a burst of vitality and colour, exuberantly signaling the coming of Spring. $3,000–4,000

9 JACK HAMILTON BUSH, O.S.A., A.R.C.A. ROCKY SHORELINE oil on board signed and dated ‘33 8.75 ins x 10.25 ins; 22.2 cms x 26 cms Provenance: Private Collection, Nova Scotia (by descent through the family of the artist) Literature: Dennis Reid, “Jack Bush: The Development of a Canadian Painter,” Jack Bush, McClelland and Stewart, Toronto, 1984. Note: In his chapter on Jack Bush’s development Dennis Reid writes, “As the 30s progressed, there is some evidence in his oil sketches and small canvases that Bush was working to extract more force from his colour while at the same time deﬁning form with greater clarity.” This lot suggests the start of a progression that would ﬂow into Bush’s abstract work of the 1950s and beyond. $6,000–8,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

10 MARCELLE FERRON, R.C.A. SANS TITRE oil on canvas signed and dated ‘61 10.5 ins x 8.5 ins; 26.7 cms x 21.6 cms $20,000–30,000

Literature: A.K. Prakash, Independent Spirit: Early Canadian Women Artists, Fireﬂy Books, Richmond Hill, Ontario, 2008, page 190. Note: Known for her trademark richly painted and vibrant compositions, Prakash describes Ferron’s art as a “ritual of sweeping brush strokes on canvas, a technique emphasizing emotional response rather than rationality.” In this particular composition, an abundance of golden ochre sets the stage for twists and garnishes of brilliant, pure colour. Winsor green, rose, violet and a trace of ultramarine, exemplify the passionate emotions of urgency and euphoria.

CanadianArt.Waddingtons.ca

11 ALEXANDER COLVILLE, R.C.A. A BOOK OF HOURS, LABOURS OF THE MONTH one serigraph and twelve facsmiles contained in a handmade presentation album the serigraph Hotel Maid, signed, titled, dated 1978 and numbered 29/75 in pencil in the lower margin; twelve facsimiles of the paintings from “A Book of Hours, Labours of the Month,” each individually matted, published by the Mira Godard Gallery, Toronto and Fischer Fine Art Limited, London, 1979 overall 16 ins x 15 ins x 2.75 ins; 40.6 cms x 38.1 cms x 7 cms Provenance: Private Collection, Toronto Literature: David Burnett, Colville – Prints/Estampes, Department of External Aﬀairs, Arts Promotion Division, Ottawa, 1985, page 18-19, for select Labour of the Month images and Hotel Maid, reproduced. Note: In a foreword contained within this album, Colville writes about the genesis of the Book of Hours project: “In 1971, someone suggested that I do a series of paintings for reproduction in a desk diary. I decided that I would like to do twelve little paintings - one for each month. I wanted to continue the medieval tradition of Books of Hours and Labours of the Months... At the beginning of the project I decided upon a geometric system which would govern the forms of each of the twelve works and so give them a kind of unity... The original serigraph, Hotel Maid, was also designed (using the same system and) was executed in the hand-cut ﬁlm technique and printed on acid free rag board. As usual I did all of this myself in my studio.” $9,000–12,000

12 FREDERICK HORSMAN VARLEY, A.R.C.A. SLEEPING FIGURE pencil and coloured chalks signed; Varley Inventory no. 930 7.75 ins x 13.75 ins; 19.7 cms x 34.9 cms Provenance: Roberts Gallery Limited, Toronto Private Collection, Toronto Literature: F.H. Varley : A Centennial Exhibition, The Edmonton Art Gallery, 1981, page 165, no.189, for a related drawing entitled Sleeping Figure, reproduced. $5,000–7,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

13 PETER CLAPHAM SHEPPARD & BERNICE FENWICK MARTIN A COLLECTION OF EIGHT SKETCHBOOKS watercolour and pencil Seven small sketchbooks containing works by P.C. Sheppard comprising over 80 pages of watercolours and 65 pages of pencil drawings; one sketchbook containing 4 watercolours by B.F. Martin depicting Muskoka scenes (3 titled on the reverse) and one unﬁnished drawing of ﬂowers Provenance: Private Collection, Toronto $4,000–6,000

14 WILLIAM ARMSTRONG, A.R.C.A. HUDSON BAY POST - LAKE NEPICON watercolour, laid down on card 12.25 ins x 18.5 ins; 31.1 cms x 47 cms Provenance: Collection of Horace F. Gooderham, Toronto Private Collection, U.S.A. Literature: Henry C. Campbell, Early Days on the Great Lakes: The Art of William Armstrong, McClelland and Stewart, Toronto/Montreal, 1971, page 92 for an almost identical view of the Hudson’s Bay Company post on the northwest shore of Lake Nipigon, from The Canadian Illustrated News, reproduced. Note: Campbell writes: “Lake Nipigon was a rich and proﬁtable trading area for the Hudson’s Bay Company... By Armstrong’s time (First Nations and settlers) were at peace, but in earlier years the H.B.C. had fortiﬁed posts (which can be seen in this watercolour) around the lakeshore.” $3,500–5,000

CanadianArt.Waddingtons.ca

15 GEORGE THEODORE BERTHON PORTRAIT OF JAMES LANCASTER oil on canvas signed and dated 1844 24 ins x 18 ins; 61 cms x 45.7 cms Provenance: Private Collection, United Kingdom

Note: George Theodore Berthon was one of the ﬁrst and most accomplished portrait painters in mid 19th century Canada. His father, Rene Theodore Berthon was a court painter to Napoleon Bonaparte and his artistic skills were honed in the studio of the foremost French Neoclassical master, Jacques Louis David. These painterly practises the elder Berthon passed on to his son. George Theodore furthered his study of portraiture when he emigrated from Paris to England in 1827. The majority of his fourteen year stay in London was devoted to developing a less elevated style of portrait, one that was steeped in the tradition of Sir Anthony van Dyck and culminated in the elegant 18th century portraits of Sir Joshua Reynolds, Thomas Gainsborough and Sir Thomas Lawrence. He began exhibiting portraits with the prestigious Royal Academy in 1835.

$15,000–20,000 The date of 1844 ascribed by the artist confirms that indeed it was executed during his stay in England. Berthon painted this full-length elegant portrait of a gentleman in riding livery with top hat in hand. While the identity of Berthon’s subject is limited in this case to a name, James Lancaster, we can deduce that his status is one of a “country gentleman”. Berthon depicts him standing comfortably in what presumably is his country estate and property. Berthon applied his European aesthetic training and his admiration of British portraiture to creating imposing portraits of the more prominent members of Canadian society. He quickly established himself as the celebrated “court painter” of Upper Canada – Ontario – where he lived and worked in Toronto for some fifty years, 1845-1891. His portraits of the city’s more prominent citizens allow us to have a visual history of the ruling Family Compact, including judges, chief justices, lieutenant governors, physicians, religious leaders and high-ranking military and naval officers. Berthon’s most important commissions were the portraits he created for the Law Society of Upper Canada – still on view at Osgoode Hall.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

16 WILLIAM RAPHAEL, R.C.A. HABITANT, HORSE AND SLEIGH oil on canvas, laid down on board signed, framed as an oval

Note: Both Raphael and Krieghoff are renowned for their Canadian sleigh scenes and character portraits of habitants. While similar at first glance, they are significantly different in their handling of these subjects. Here, for example, Raphael demonstrates a freer execution of his subject than could be expected from his younger compatriot who expressed a virtual obsession with detail.

18.25 ins x 30.25 ins; 46.4 cms x 76.8 cms Provenance: Private Collection, Toronto Exhibited: Hommage à William Raphael, R.C.A., Galerie Walter Klinkhoﬀ, Montreal September 1996, no. 22. Literature: J. Russell Harper, Early Painters & Engravers in Canada, University of Toronto Press, Toronto, 1970, page 259. J. Russell Harper, Painting in Canada: A History, University of Toronto Press, Toronto, 1977 pages 145-146.

Describing him as the “Pioneer Jewish Painter in Canada”, Russell Harper credits Prussian-born Raphael together with his contemporaries Adolphe Vogt and Otto Jacobi as contributing significantly to advancing landscape painting in Canada. Together, these three artists, writes Dennis Reid “set a new direction”. English landscape painting had exerted its influence over early Canadian landscape artists, particularly those in Ontario. French painting at this time held little sway; this would come later. Unlike their American contemporaries prior to the turn of the century, few Canadians had studied art in Germany despite the fact that, according to Harper, “the Berlin approach symbolized all that was most effective in contemporary painting.” It was the result of the immigration to Canada of artists like Vogt, Jacobi and Raphael - who was trained at the Berlin Academy- that German influences were introduced to Canadian painting.

Dennis Reid, A Concise History of Canadian Painting, Oxford University Press, Toronto, 1973, page 79. $25,000–30,000

CanadianArt.Waddingtons.ca

17 NICHOLAS DE GRANDMAISON PAPOOSE IN PIGTAILS pastel signed 11 ins x 8.75 ins; 27.9 cms x 22.2 cms Provenance: Private Collection, Oakville Note: De Grandmaison’s early career began with childrens’ portrait commissions in Winnipeg. While he would become bestknown for his majestic renditions of Native Canadian elders, he continued to do portraits of children, particularly native children. $10,000–15,000

18 NICHOLAS DE GRANDMAISON PAPOOSE WITH TARTAN BLANKET pastel signed 11.25 ins x 9.5 ins; 28.6 cms x 24.1 cms Provenance: Private Collection, Oakville $10,000–15,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

19 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. SIOUX ENCAMPMENT watercolour on paper, laid down on card signed and indistinctly dated 18—; titled on a label on the backing 12.5 ins x 24.25 ins; 30.5 cms x 59.7 cms $12,000–15,000

Provenance: Private Collection, Ontario Literature: Joan Murray, The Last Buﬀalo: The Story of Frederick Arthur Verner, Painter of the Canadian West, Pagurian Press, Toronto, 1984, page 152, page 43 for the 1867 sketches of teepees and page 64 for Sioux Encampment, Red River, 1873, a watercolour based on sketches of Sioux teepees Verner had drawn in 1867, now in the Collection of the Glenbow Museum, Calgary, reproduced. Note: Verner began his professional life as a photographer and undoubtedly relied on photographs to inform both the composition and detail incorporated into his paintings. Still, he did not undervalue the importance of studying his subjects from life and as early as 1867 was making sketches of teepees on display at the 1867 Provincial Exhibition in Toronto, now in the collection of the National Gallery of Canada. The Red River carts shown in this lot were one of two important modes of transportation in common use throughout Manitoba until the end of the 1800s. (The other is the York boat so famously depicted in woodcut by Canadian artist W.J. Phillips). Verner, like many artists, revisited popular themes and we ﬁnd examples of Sioux subjects from the early 1870s through to circa 1920. However, Verner was perhaps less interested in the documentary value of his compositions and was more intent on creating a thing of beauty. Joan Murray writes: “In choosing to paint Indian subjects (Verner) was following a well established convention of his time, but in contrast to the tragic, violent vision of Indians recorded in the work of many American painters, Verner painted tranquil scenes in harmony with nature.”

CanadianArt.Waddingtons.ca

20 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. INDIAN VILLAGE - HAZELTON, B.C. charcoal and graphite drawing signed 9.25 ins x 7.5 ins; 23.5 cms x 19.1 cms Literature: A.Y. Jackson, A Painter’s Country, Clarke, Irwin & Company, Toronto, 1958, pages 89-90 for a discussion of Jackson’s visit to Hazelton, B.C. in the company of Edwin Holgate, 1926. Naomi Jackson Groves, A.Y.’s Canada, Clarke, Irwin & Company, Toronto, 1968, pages 152-170, for a discussion of Jackson’s impressions of the villages along the Skeena River, B.C. Note: Groves refers to the work Jackson produced during his 1926 trip to Skeena as “a rich crop” of drawings. Furthermore, Jackson astutely identiﬁed the importance of Skeena country to the Canadian narrative and pleaded for its preservation as a unique opportunity to build and tell our own legends at a time when Canada was still searching for its sense of nationhood. According to a label on the reverse this work is titled on the back of the work and was given to Margaret Hayes in August 1926. $5,000–7,000

21 CHRISTOPHER PRATT, R.C.A. DONNA NOW pencil signed and dated March 8/1980 11 ins x 13.25 ins; 27.9 cms x 33.7 cms Provenance: Marlborough-Godard Gallery, Toronto/Montreal Private Collection, Toronto Literature: Joyce Zemans, Christopher Pratt: A Retrospective, Vancouver Art Gallery, Vancouver, 1986, page 55. Note: Donna is the subject of many works by both Christopher and Mary Pratt. In this sketch, Donna’s gaze is relaxed but her crossed arms suggest a subtext – as if challenging the artist to the impossible task of truly capturing her image on a page. Joyce Zemans observes, “Pratt has puzzled over the years about the signiﬁcance of the artist/model relationship and particularly about the power struggle it implies.” $7,000–9,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

22 THOMAS DE VANY FORRESTALL, A.R.C.A. THE CHASER egg tempera on shaped masonite signed and titled on the reverse 33 ins x 23.25 ins; 83.8 cms x 59.1 cms Provenance: Roberts Gallery Limited, Toronto Literature: Ian G. Lumsden, Douglas Scott Richardson, Tom and Natalie Forrestall, Shapes of the paintings interest me as an integral part of the work, Beaverbrook Art Gallery, Fredericton, 1971, page 3. Tom Smart, Tom Forrestall: Paintings, Drawings, Writings, Key Porter Books, Toronto, 2008, page 61 for a closely related work entitled Preparation for the Pig, 1969, reproduced in colour. Note: In a style sometimes classiﬁed as Magic Realism, Tom Forrestall documents space, light & shade, and subjects like a historian. The content and contours of Forrestall’s shaped panels heighten the viewer’s response through their intrinsic blending of composition and emotion. As Ian Lumsden states, “Shape is allimportant and unimportant to Tom Forrestall. The shapes of things inside the panels are what matter: these are the forms that embody meaning. But the shaping of the panel relates to the shape of things. Sometimes the subject precedes the shape, and the panel is fashioned to suit the painting; sometimes the subject of the painting is found to suit the shape of the panel already on hand.” $4,000–5,000

23 EDWIN HEADLEY HOLGATE, R.C.A. THE ARTIST’S WIFE, 1928 pencil signed with initials and dated 1928 10.75 ins x 8 ins; 27.3 cms x 20.3 cms Provenance: The Morris Gallery, Toronto Private Collection, Ontario Literature: Rosalind Pepall and Brian Foss (eds.), Edwin Holgate, Montreal Museum of Fine Arts, Montreal, 2005, page 90. Note: The artist often sketched or painted his wife Frances whom he married in 1920. In her chapter on Holgate’s portraits Pepall writes, “Holgate was a master at creating a dramatic rendering through plastic elements – even of a ﬂower pot. However, in his portraits of female subjects in particular, and especially his wife, a frequent sitter for his ﬁgure studies, the artist was able to express himself most freely and reach beyond form to a more subjective emotion.“ $6,000–8,000

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24 WILLIAM KURELEK, R.C.A. COULD THAT BE OUR PRIME MINISTER? acrylic on masonite signed with initials; titled on the reverse 23.5 ins x 18 ins; 59.7 cms x 45.7 cms

Provenance: Atelier Lukacs, Monteal Private Collection, Toronto Literature: Joan Murray and William Kurelek, Kurelek’s Vision of Canada, Hertig Publishers, Edmonton, 1983, page 77. Note: “I am proud of being Canadian... And I truly love this country.”

$60,000–80,000 In the early 1970s Canada was abuzz with Trudeaumania. When the Prime Minister and his newlywed bride set out to Whistler on their honeymoon in March 1971, the media was in tow. William Kurelek seems to provide a tongue-in-cheek commentary on the frenzy over Trudeau: His painting is a witty tabloid photo – a ﬁgure at a distance, clipping down the ski-hill at record speed, and bundled indistinguishably in a red snowsuit.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

25 JEAN PAUL LEMIEUX, R.C.A. UNTITLED - THE VISITOR mixed media on paper signed 39.25 ins x 31.25 ins; 99.7 cms x 79.4 cms $60,000–80,000

Provenance: Private Collection, Canada Literature: Guy Robert, Lemieux, Gage Publishing, Toronto, 1978, pages 198 and 208. Note: Lemieux is admired for his ability to capture the innermost thoughts of his subjects who are frequently portrayed frozen in deep yet sudden contemplation, as though abruptly distracted from whatever action they were about to engage in. The resulting paintings are often quite mysterious and while Lemieux ably manifests the internal emotions of his cast, the cause of those emotions is often left tauntingly ambiguous. The result is a composition of great intensity - that critical moment immediately before the plot turns. In this family portrait, a woman who appears to be in mourning, looks out at the viewer. From the snowy landscape beyond, a second figure peers through the window - perhaps arriving with news that will restore or console the main figure as foreshadowed by the angelic woman profiled to the right who stands gracefully poised to enter the narrative.

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26 HAROLD BARLING TOWN, R.C.A. STILL LIFE WITH HORSE CHESTNUTS oil on masonite signed and dated ‘52; also signed, titled and dated ‘52 on the reverse and on two labels on the reverse 15.25 ins x 21.5 ins; 38.7 cms x 54.6 cms Exhibited: Annual Young Contemporaries Exhibition, Public Library and Art Museum, London, n.d. $7,000–9,000

27 JOHN MEREDITH UNTITLED watercolour and ink on paper signed and dated ‘65 Sight 19.5 ins x 20.5 ins; 49.5 cms x 52.1 cms Provenance: Isaacs Gallery, Toronto Private Collection, Toronto Literature: John Meredith: A Retrospective 1955-1990, Kaspar Gallery, Toronto, April 27-May 16, 1991, plate no. 5, for a closely related work entitled Study for Left Panel of Seeker, 1966, reproduced. Note: Paul Duval writes “John Meredith is one of the most lyrical of Canadian painters. It would be diﬃcult to ﬁnd an artist with a more immediate impulse of expression, short of recklessness. On Meredith’s part, any impending recklessness is reined in by his obsession for drawing – drawing in the purest sense, not as a descriptive tool, but existing in its own gestural right, with a line that follows its own unchartered path of discovery. Meredith’s line is sometimes madcap, sometimes slow, often wayward, but always vital, and much of his presence as a lyric painter depends upon it.” $7,000–9,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

28 FRITZ BRANDTNER JACQUES CARTIER PIER, MONTREAL mixed media on paper, laid down on card signed and inscribed “Montreal ‘34” 6.75 ins x 9 ins; 17.8 cms x 22.9 cms Provenance: Private Collection, Montreal $1,200–1,500

29 MARC-AURÈLE FORTIN, A.R.C.A. PAYSAGE LAURENTIENS, 1941 watercolour and charcoal signed; also signed, titled and dated on the reverse 18 ins x 24 ins; 45.7 cms x 61 cms $7,000–9,000

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30 WILLIAM KURELEK, R.C.A. HARVEST FIELD WITH APPROACHING RAIN mixed media on masonite signed with initials and dated ‘74; titled on the reverse 8.75 ins x 8 ins; 22.2 cms x 20.3 cms $18,000–22,000

Provenance: Private Collection, Toronto Literature: William Kurelek, The Messenger, http://kurelek.ca/wpcontent/themes/kurelek/audio/mp3/6_nature_love.mp3, Winnipeg Art Gallery, Art Gallery of Hamilton, Art Gallery of Greater Victoria, 2014. Note: “I really fell in love with nature - although my father was very ambitious and worked so hard... both himself and us that often... we weren’t able to appreciate nature as much as our neighbour’s children because they were more leisurely. But still... some of that got through so that I was really taken by nature.” Between the hardened path in the foreground – well-worn from travels to and from the ﬁeld – and the approaching rain – there lies a refuge, a secret fort. At the edge of everyday travails, Kurelek oﬀers up the haystack as a place to secret away from the labours of the harvest.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

31 TAKAO TANABE THE FOOTHILLS acrylic on canvas signed; also signed, titled and dated 10/78 on the reverse and on the stretcher 55 ins x 72 ins; 139.7 cms x 182.9 cms $15,000–20,000

Provenance: Private Collection, Toronto Literature: Roald Nasgaard, “Adventures in Abstraction,” Takao Tanabe, Douglas & McIntyre, Vancouver/Toronto, 2005, page 89. Note: The landscapes of Takao Tanabe focus on deﬁned colour planes, amalgamating Canadian subject matter and the techniques of Asian Art. In the Prairie Paintings, Tanabe reduced the prairies to their essential features and, in turn, emphasized their expansiveness. Describing a similar work from the series, Nasgaard writes: “A dust storm, which can give an unearthly yellow tinge of refracted light to a prairie sky, might be clearing or approaching... (T)he foreground is modulated with dense velvety darks and crossed... by the gash of a cart road or dry riverbed... The atmosphere is palpable and raw and ﬁlled with subtly scintillating light.”

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32 LAWREN STEWART HARRIS LAKE SUPERIOR oil on panel 10.5 ins x 13 ins; 26.7 cms x 33 cms Provenance: Acquired from the artist’s family By descent to the present owner, Toronto $50,000—70,000

Note: In 1921, after a return visit to Algoma to sketch with his painter friends, Lawren Harris pushed on to Lake Superior for the first time. He was accompanied by A.Y. Jackson and found the trip to be a revelation. Harris would revisit the area numerous times between 1921-1928 and many believe Lake Superior and its shores to have provided him with his greatest inspiration. While this sketch is not dated, it would be fair to assume that it was painted on one of the earlier visits to Superior. A transition between the rich Algoma landscape paintings and the starker, stripped down maturer Superior works, this lot combines elements of both periods. Its lush evergreens, heavy with impasto, are set beside the bleached leafless trees that bear witness to forest fires that ravaged Superior in the years before Harris’s visit. Unlike the later Superior works, this lot retains the richness of detail that would later be relinquished in order to idealize the landscape. Representing one last push to celebrate the lush textures associated with the Algoma pictures - as though Harris might be reluctant to recalibrate here we still enjoy a classic composition. The variety of colour and variegated textures would soon evolve out of his work to be replaced by a stylized, lonely landscape which, in its own turn, would be superseded by Harris’s later abstract forms.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

33 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. HOUSEBOAT AT SPLIT ROCK ISLAND, GEORGIAN BAY oil on board titled on the reverse 6 ins x 8 ins; 15.2 cms x 20.3 cms $45,000–60,000

Literature: Jeremy Adamson, Lawren S. Harris: Urban Scenes and Wilderness Landscapes, 1906-1930, exhibition catalogue, Art Gallery of Ontario, Toronto, 1978, page 44. Paul Duval, The Tangled Garden: The Art of J.E.H. MacDonald, Cerebrus/Prentice-Hall, Scarborough, Ontario, 1978, page 45. Note: In the summer of 1912 (some sources say 1911), MacDonald was invited to the cottage of Dr. James MacCallum, a Toronto eye doctor, whom he had met at the Arts & Letters Club in Toronto when MacCallum introduced himself to the artist having admired MacDonald’s works in an exhibition at the Club. The cottage - now known as the MacCallum-Jackman cottagewas located on Split Rock Island in Go Home Bay, Georgian Bay. MacDonald had been offered the use of a houseboat moored at Split Rock. According to an inscription on the reverse of this painting and certified by Thoreau MacDonald, the artist’s son, this work depicts the houseboat owned by Dr. MacCallum. The inscription further indicates that Thoreau, who was born in 1901, is the figure depicted on the shore.

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34 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. SNOW SCENE tempera on illustration board signed and dated ‘29 30 ins x 40 ins; 76.2 cms x 101.6 cms $60,000–80,000

Literature: Roger Burford Mason, A Grand Eye for Glory, A Life of Franz Johnston, Dundurn Press, Toronto, 1998, pages 12 and 78. Note: Departing from the Group of Seven in 1924, Franz Johnston “professed his desire to paint the Canadian landscape the way that he saw it, and not through the ﬁlter of any particular ideology.” A true individualist, he wielded a blatant, creative power in his manipulation of colour and style. Johnston aﬀords Snow Scene with serenity and spaciousness. The landscape is crisp a multitude of frosted blues and an astute rendering of the daylight on snow. Johnston contains the lonely grandeur of the winterized Canadian landscape into a striking yet delicate fantasy. In speaking of the North, Johnston once explained, “It slows up your thinking, and it’s a land where you have plenty of time to think... I felt as if I were in a another world.”

Canadian Fine Art Auction â&#x20AC;&#x201C; Monday 24 November 2014 at 7 p.m.

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35 KATHLEEN FRANCES DALY PEPPER, O.S.A., R.C.A. SNOWDRIFTS ON THE RIVERBANK oil on panel signed 10.25 ins x 12.5 ins; 26 cms x 31.8 cms $10,000–12,000

Literature: A.K. Prakash, Independent Spirit: Early Canadian Women Artists, Fireﬂy Books, Richmond Hill, Ontario, 2008, page 172. Note: Using the Group of Seven’s Studio Building in Toronto as their base, Kathleen Daly Pepper and her husband George Pepper, embarked on painting trips across Canada. In speaking of Daly Pepper’s paintings, A.K. Prakash stresses that, “It is not...her subject matter that compels admiration, but the emotion aroused by the meditation of the subject. In its own sphere, her art is without sentimentality and fanciful artiﬁce and has the force of a living representation.”

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

36 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. VIBRANT WOODS oil on panel signed 8.25 ins x 10.5 ins; 21 cms x 26.7 cms $30,000–40,000

Literature: “Superb travail des artistes canadiens” (unsigned). La Presse, Montreal, 22 November 1918. Note: On the fury of both A.Y. Jackson’s and J.E.H. MacDonald’s paintings, Albert Laberge writes, “It’s as if, vibrating before untamed nature, savage and wild, they can scarcely ﬁnd colours strong enough, gestures vigorous enough, to express the emotions they feel.” Vibrant Woods demonstrates A.Y. Jackson’s strong sense of both colour and composition. A trace of placid sky gives way to, ignites into, brushstrokes of saturated and rich hues: crowned by a foreground of the artist’s signature scarlet red.

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37 CORNELIUS KRIEGHOFF HURON INDIANS AT CAMP, AUTUMN oil on canvas signed 12 ins x 16.25 ins; 30.5 cms x 41.3 cms $60,000–80,000

Literature: Dennis Reid, Krieghoff, Images of Canada, Art Gallery of Ontario, Toronto, 1999, pages 60-61. Note: Dennis Reid writes: “Krieghoff’s approach to the depiction of Natives was not as focused on either the portrayal of prominent leaders or the systematic cataloguing of different nations... His most ambitious scenes of the Montreal period depict family groupings around a fire in summer, the Native equivalent, in a manner, of the Canadian Interior scenes.” Against the rich backdrop of an autumnal forest, Krieghoff depicts a family in a moment of quiet repose.

Canadian Fine Art Auction â&#x20AC;&#x201C; Monday 24 November 2014 at 7 p.m.

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38 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. NEAR MT ODARAY, ROCKY MTS oil on board signed with initials and dated Sept 4, ‘28; also signed and titled on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance: Private Collection, Ottawa Literature: Catharine M. Mastin (general editor), The Group of Seven in Western Canada, Key Porter in association with The Glenbow Museum, Calgary, 2002, pages 46, 53, 57 and page 52 for Rain in the Mountains, reproduced in colour. $40,000—50,000

Note: Mt Odaray, which soars over 3,100 metres upward into the British Columbian sky, is located in Yoho National Park, a few kilometres from Lake O’Hara, J.E.H. MacDonald’s favorite western painting place. In fact, as Catharine Mastin writes: “Of all the Group of Seven members who visited the Rockies, J.E.H. MacDonald was the most entranced of all by Lake O’Hara. The beauty of the area triggered in him a response that went far beyond that of other Group artists who sketched there.” MacDonald visited the west annually from 1924 to 1930. Dr. Mastin writes that his passion for this area was such that MacDonald “made more trips to O’Hara than to any other place, including Algoma, Georgian Bay and Algonquin Park.” Mt Odaray, the subject of this lot, is also the subject of one of MacDonald’s earliest, and among his best-known, mountain canvases, Rain in the Mountains 1924-25. So pleased was he with the result of this canvas that MacDonald submitted it for inclusion in the 1925 British Empire Exhibition at Wembley. While his effort was arguably a far more stylized interpretation of the mountainscapes he sketched with such vivacity, MacDonald would soon learn to tighten the composition of his work to better communicate the scale of the mountains enveloping him on his hiking trips. In this lot, we see evidence of the refinement of an innovative technique MacDonald employed that addressed this compositional challenge and left fellow artist A.Y. Jackson rather envious. Mastin quotes Jackson’s observation: “The usual problem is that the viewer’s eye goes to the top of the composition. By stressing the decorative quality of the foreground, moss on rocks, mountain flowers, little trees such as tamarack, MacDonald overcame this difficulty.” A truncated peak, and an increasingly interesting foreground provided scale, rendering a better sense of the majesty of the mountains and improved the overall composition of these subjects.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

39 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. WHITNEY, 1946 oil on board signed; titled and dated on the reverse

Note: Casson had a self-proclaimed “...interest in rural architecture and (a) fondness for scenes which were so typical of the life of the outskirts of Toronto...” This community in South Algonquin Township, named after the manager of its ﬁrst sawmill (Edwin Canﬁeld Whitney of the St. Anthony Lumber Company), was one such place for Casson to derive inspiration. The pronounced geometry in this depiction of Whitney is at once soft and strong, the colour palette both brooding and jubilant.

9.25 ins x 11.25 ins; 24.8 cms x 29.8 cms Provenance: Gift of C.A.G. Matthews to the present owner Private Collection, Toronto

A.J. Casson was employed as Art Director at Sampson-Matthews Limited until 1946, the year this work was painted, when he was made Vice President. Chuck Matthews was known to purchase works from his artist employees to give as gifts to clients, employees and friends. This work was gifted to the present owner directly by Mr. Matthews.

Literature: A.J. Casson, My Favourite Watercolours, 1919 to 1957, Cerebrus/Prentice Hall, Toronto, 1982, page 114. Paul Duval, A.J. Casson, The Ryerson Press, Toronto, 1951, page 49, illustrated, for a depiction of the same location. $30,000–40,000

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40 HENRIETTA MABEL MAY, A.R.C.A. HOUSES IN A HILLY LANDSCAPE oil on panel signed; with another oil sketch on the reverse

Note: A founding member of both the Beaver Hall Hill Group and the Canadian Group of Painters, Henrietta Mabel May enriches the landscapes of the Eastern Townships with the brushstrokes and radiance of the French Impressionists. Houses in a Hilly Landscape is a skillful coming together of both form and rolling contours. Distinctive shapes and masses of ‘scintillating’ colour create a bright scene –“painted with such vigour and strength.”

8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance: Private Collection, Ontario Literature: Anne Savage, Henrietta Mabel May, Anne Savage Archives, File 6, #2.21, Concordia University, Montreal. $15,000–20,000

(verso)

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

41 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. AUTUMN - GRENVILLE, QUE., 1967 oil on artist board signed; also signed, titled and dated on the reverse 12 ins x 14.75 ins; 30.5 cms x 37.5 cms

Note: “I never liked using every colour of the rainbow. Before I start... I have a deﬁnite colour scheme in mind.” Painted in the year of the country’s centennial, Grenville, Que., 1967 is an energetic and vibrant homage to the Canadian landscape. Leaves of ochre and yellow cling to the branches of trees, and a golden glow overtakes the hills. An autumn gust greys the sky, blows the clouds and chills the air. The summit which features prominently in the scene – rendered in charcoal and blues – seems an ominous reminder from Casson that the splendor is but a precursor to winter.

Literature: Margaret Gray, Margaret Rand and Lois Steen, A.J. Casson, Gage Publishing, Agincourt, Ontario, 1976, page 50. $20,000–30,000

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42 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. GREAT BEAR LAKE, 1938 oil on panel signed; also signed, titled and dated 1938 on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms Provenance: Peter Ohler Fine Arts Ltd., Vancouver Private Collection, Edmonton Literature: A.Y. Jackson, A Painter’s Country, Clarke, Irwin & Company, Toronto, 1958, pages 123, 124 and 126. Anna Hudson, “The Legend of Johnny Chinook: A.Y. Jackson in the Canadian West and Northwest” in Catharine M. Mastin (general editor), The Group of Seven in Western Canada, Key Porter in association with The Glenbow Museum, Calgary, 2002, page 124. $25,000–30,000

Note: While A.Y. Jackson had travelled west prior to 1938 - he had visited the Northwest Territories in the 1920s in the company of Dr. Frederick Banting Jackson admitted that he had never made any serious eﬀort to paint the region. This changed after 1937. He found the landscape intriguing but highly challenging after the more crowded subject matter of his northern Ontario sketching grounds. Anna Hudson reminds us that in Jackson’s day much of the northeast region of today’s Northwest Territories was still unmapped. Not being the kind of man to shy away from adventure, Jackson accepted an invitation from Gilbert La Bine to visit La Bine’s Eldorado Mines at Port Radium on Great Bear Lake, Northwest Territories. He sketched there from August 26th until the end of September 1938. Dr. Hudson writes: “‘Canada’s ﬁnest virgin territory’ sparked Jackson’s sense of adventure for painterly conquest.” In his autobiography, Jackson reminisces about his rambles around Great Bear Lake in the company of a little Scotch terrier belonging to the mine manager: “I spent six weeks at Eldorado, from August into October. The weather was lovely. I wandered over the rocky hills, which were easy to traverse. There were patches of spruce and small birch, and muskeg lakes, but mostly open rock.”

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

43 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. SUMMER, ST. HILARION oil on panel signed; titled on a gallery label on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Literature: A.Y. Jackson, A Painter’s Country, Clarke, Irwin & Company, Toronto, 1958, page 62. Charles C. Hill, The Group of Seven, Art for a Nation, National Gallery of Canada, Ottawa, 1995, pages 178-179 and page 172, ﬁg.133, cat. no. 99 for the closely related canvas by Lismer entitled Quebec Village, reproduced in colour. $25,000–30,000

Note: Marius Barbeau was an ethnographer who was interested in Canadian aboriginal and Quebec culture and tradition. Hill writes: “In August 1925, with passes from the C.P.R., Jackson and Lismer and his wife and daughter joined Barbeau and his family on the Île d’Orléans where he was studying... After a short stay on the island, the group... travelled to Baie-Saint-Paul, Île aux Coudres and Saint-Hilarion (the subject of this painting).” Hill continues: “Barbeau’s invitation to Jackson and Lismer to join him that summer was always linked to the idea of a possible exhibition.” Indeed, Lismer and Jackson canvases worked up from sketches made on this summer trip were included in the Group’s exhibition at the Art Gallery of Ontario in May of 1926. Jackson likened Saint-Hilarion to the Italian hill towns he had seen while serving oversees. He recounts: “The country around is cleared of trees, and the town stands on the top of a hill.” The ever-gregarious Jackson befriended the villagers of Saint-Hilarion and stayed with the Tremblay family in the Mayor’s house across from the church pictured in this lot. While Jackson is most often considered a snow painter - and irrefutably he made regular treks to the lower St. Lawrence region of Quebec in late spring specially motivated by the fact that snow remained on the ground there longer than in other regions - he is also a painter who as ably captures both the striking colours of Fall and the soft, pastel colours of Summer, particularly those of the small villages of Quebec - his favourite sketching grounds.

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44 WILLIAM KURELEK, R.C.A. PRAIRIE TRANSPORT IN THE DIRTY 30’S - THE BENNETT BUGGY mixed media on masonite signed with initials and dated ‘71 8.75 ins x 21 ins; 22.2 cms x 53.3 cms $30,000–50,000

Provenance: The Isaacs Gallery Ltd., Toronto Private Collection, Toronto Literature: Ramsay Cook and Avrom Issacs, Kurelek Country: The Art of William Kurelek, Key Porter Books Limited, Toronto, page 11. Note: “Kurelek’s vision of childhood is powerful and alive, whether in the joy of games, the hard work of the farm or the struggle against the elements. Perhaps its success comes from the nostalgia it creates.” Pulled by a horse, engine and windows removed, a “Bennett buggy” trundles towards the warm glow of a prairie farm. William Kurelek transforms the eﬀects of the Great Depression into a whimsical sight. He captures the delight a child would feel, under the moonlight, watching the buggy approach the farm.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

45 JAMES WILLIAMSON GALLOWAY MACDONALD, O.S.A., A.R.C.A. PROPHETIC oil and Lucite 44 on canvas signed and dated ‘57 30 ins x 40 ins; 76.2 cms x 101.6 cms $40,000–50,000

Provenance: Private Collection, Canada Literature: Iris Nowell, Painters Eleven: The Wild Ones of Canadian Art, Douglas & McIntyre, Toronto, 2010, page 224, reproduced in colour, page 212. Note: In 1956, Harold Town introduced Jock Macdonald to a new medium - a fluid, quick-drying solution called Lucite 44. Writing to Maxwell Bates on August 7, 1957, Macdonald likened the introduction to an epiphany of sorts: “I have twenty-two new things done since the college closed in the middle of May... They are altogether different from anything I have ever done and in our opinion far superior... Using Lucite with oil has enabled me to paint with a flow and quickly – but not slapdash.” The mid-point of the Painters Eleven period marked the maturation of Jock Macdonald’s style. His canvases became larger and more dramatic – affirmed as “absolute tops” by art critic, Clement Greenberg. Powerful colours and veils of soft paint infuse Prophetic with an astute expression of feeling and highly-charged emotion.

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46 SOREL ETROG, R.C.A. HARBOUR AT NIGHT, 1953-4 painted construction signed and titled on the reverse 24.75 ins x 35.25 ins; 62.9 cms x 89.5 cms Provenance: Private Collection, Toronto

Literature: William J. Withrow, Sorel Etrog: Sculpture, Wilfeld Publishing Co. Limited, Toronto, 1967, pages 11 and 23. Pierre Restany, Sorel Etrog, Prestel Verlag, Munich, London, New York, 2001, page 49, pages 48-69 for the chapter entitled “1952-60 Painted Constructions” and page 51 for Harbour 1, 1953, reproduced and page 53 for Harbour III, 1953, reproduced in colour. Ihor Holubizky (ed.), Sorel Etrog: Five Decades, Art Gallery of Ontario, 2013, pages 16-18 for three examples of painted constructions from the mid1950s, reproduced in colour.

$40,000–60,000 Note: In his 1967 publication on the sculpture of Sorel Etrog, William Withrow asserts that “all Etrog’s sculptures have strong developmental connections to his wood constructions.” While Etrog’s painted constructions are seldom seen on the market, it is not for lack of critical acclaim or, for that matter, popular appeal. Rather these works, produced quite early in his artistic development - and considered to be his most experimental work - are also among the rarest. Their impact on what was to follow must not be underestimated. Withrow writes: “Both the shapes and moods of those early plywood wall sculptures though constructionist in form, but always more expressionistic in eﬀect, still haunt his present work.” When Sorel Etrog moved with his family to Israel in 1950, he was exposed as never before to both modern art and music. He soon felt the need to develop his own style and so began working on shaped canvases, remarking: “I became dissatisﬁed working with the canvas and I started to construct my paintings directly in wood. This way I could extend even further the irregular frame and the raised contours outlining shape and colour. Inner and outer space interacted.”

Canadian Fine Art Auction â&#x20AC;&#x201C; Monday 24 November 2014 at 7 p.m.

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47 OSCAR CAHÉN UNTITLED, 1952-1954 ink and watercolour 40 ins x 26 ins; 101.6 cms x 66 cms Provenance: Private Collection, Toronto $30,000–40,000

Note: Oscar Cahén is acknowledged as one of the principal contributors to the evolution of abstract art in Canada in the 1950s. A prominent, influential member of Painters Eleven, his achievements have been in the public light on near perpetual exhibition in important public art institutions for the past 60 years. Thus, we may have come to imagine that we know what a characteristic picture is by Oscar Cahén. Many continue to celebrate the artist as an unparalleled colourist. Thereby, an exemplary Cahén painting, it seems, displays his remarkable mix of chromatic pyrotechnics, astonishing clashes of magenta, reds, oranges with striking complementary colour accents of vibrant blues and green. While these commendable signature attributes define certain outstanding Cahén paintings they are also surprisingly atypical of the characteristics of the vast majority of Cahén works. His mature career as an aspiring, progressive artist was all too brief, ten years bracketed between 1947 and his death in an auto accident in 1956. Throughout this period Cahén was a restless spirit, experimenting and exploring a wide range of aesthetic options, themes, approaches, media and timbres. A good number of his works are black and white or near monochrome. Why should this surprise? Cahén was one of Canada’s most respected illustrators, designing countless magazine covers for leading publications such as Maclean’s, creating drawings to accompany literary texts and more. He was a key member and annual exhibitor with the Canadian Society of Painters in Water Colour and The Canadian Society of Graphic Arts. Thereby, Cahén exercised his craft daily. He was fluid and at total ease creating and composing upon paper, perhaps even more so than upon canvas. His graphic acumen may have exceeded his considerable colouristic flair. This lot is a considerable achievement, a balance of expressive abandon and restraint, blunt gestural barrage and withheld, tempered delicacy. Cahén it seems was vexed by the idea of creating a composition that juggled polar opposites. In this work the left half of the picture is fully engaged, forceful black lines atop scumbled background. The right hand side of the page is poignantly blank, pristine, untouched. It is a challenge that he will battle the rest of his career, however, perhaps never so elementarily as in this picture on paper in strident black and white. The powerful mark-making of Franz Kline may seem the evident place to start when unravelling the evolution of Cahén’s black and white pictures such as this one. However, this is just not satisfactory. Cahén’s central image seems bidden by some referent, we do not know precisely what: a head, a trunk, outreaching appendages? Nevertheless it is a figure against a ground. His work embraced vegetative themes, flowers, pods; it quoted clawed roosters and chess pieces. Is the dominant void circle a celestial orb or a thought bubble? Many of his illustration and art works of the period were absorbed by technology, the appearance of traffic and railroad crossing lights. How is it that it is simultaneously all of these and none of these? The abstracted surrealism of Picasso, Gonzales, David Smith, Max Ernst and the Latin tradition including Tamayo all beg for discussion within the company of this picture. Perhaps, the evident touchstone is British artist, Graham Sutherland. His works depicting abstracted processional “personages” were in exhibition, publication and major museum collections at this period, including Toronto and the Art Gallery of Toronto. Cahén has been lauded historically for his exemplary chromatic inventiveness, Untitled, demonstrates why his Painters Eleven compatriots so revered his talent. It is a terse work, that stands beside the achievements of Borduas and Les Automatistes, Soulages and the finest of second generation abstract expressionism. This work was executed circa 1952-1954. We thank Jeffrey Spalding C.M., R.C.A. for this essay.

Canadian Fine Art Auction â&#x20AC;&#x201C; Monday 24 November 2014 at 7 p.m.

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48 RAYMOND JOHN MEAD IMAGE NO. 10

Provenance: Private Collection, Canada

oil on canvas signed and dated ‘54; titled on the reverse

Literature: Iris Nowell, Painters Eleven: The Wild Ones of Canadian Art, Douglas & McIntyre, Toronto, 2010, page 234.

30 ins x 36 ins; 76.2 cms x 91.4 cms $40,000–50,000

Note: Ray Mead treated the canvas as a single plane - eliminating any distinction between the background and the subject. Though he resisted the brand of Colour-Field painter, Mead skillfully emphasized the ﬂatness of his paintings. “The shapes and forms on his canvases – zigzagging blocks, small blots and squiggles, assertive arrows, crescents and arches – are rendered in lively hues.” Through angles and jagged blocks, pure colour – yellow, terracotta, blue – and deep black, Ray Mead created rhythm in Image No. 10.

Canadian Fine Art Auction â&#x20AC;&#x201C; Monday 24 November 2014 at 7 p.m.

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49 GREGORY RICHARD CURNOE RETURN FROM MONTREAL collage dated “January 23, 1964” 16 ins x 9.75 ins; 40.6 cms x 24.8 cms Provenance: Wynick/Tuck Gallery, Toronto Literature: Pierre Théberge, Greg Curnoe Retrospective, exhibition catalogue, Montreal Museum of Fine Arts/National Gallery of Canada, Montreal/Ottawa, 1982, page 6. Note: Writing on the method of Greg Curnoe’s collages, Pierre Théberge explains: “The elements were placed on the page and glued in an order that seems appropriate to the kind of disorder in which they were originally found. Their contours are very important; they impose a definite limit on this disorder. The pieces of paper take the form of a circle, a square, a rectangle, even a profile (of the artist’s father, for instance) or the outline of ears, lips and eyes.” As with his early assemblages, Greg Curnoe’s Return from Montreal is a scene of disorder roped in. Two blue painted circles feature prominently atop a collage of orderly scraps and fragments: Late Forms for school children stating “Punctuality is essential to success,” an evangelical pamphlet, the artist’s 1963 Chauffeur’s License, and a centre streak of repetitious spoonfuls of mandarin oranges. Within the blue, Curnoe’s signature block lettering stamps out both the title of the work, “Return from Montreal Number Five Losing It –,“ and lyrics from the 1963 Beatles song, Not a Second Time: “You know you made me cry / I see no use in wonderin.” $3,000–5,000

50 BERTRAM BROOKER, R.C.A. ABSTRACT (FLORAL: PURPLE, GREEN & BLACK) oil on illustration board titled and dated “circa 1949” on the reverse. 15 ins x 12 ins; 38.1 cms x 30.5 cms Provenance: Estate of the artist Private Collection, Toronto Literature: Lawren Harris, ”Revelation of Art in Canada,” The Canadian Theosophist, vol. VII, no. 5 (15 July 1926), page 86. Note: Dennis Reid suggests that Lawren Harris’ underlying principles for the Group of Seven could be viewed as a description of Brooker’s abstractions: “creating living works in their own right by using forms, colour, rhythms and moods, to make a harmonious home for the imaginative and spiritual meanings...evoked...” A typewritten label on the reverse of the painting reads “22. Sketch for Good Morning, ca. 1949” $5,000–7,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

51 WILLIAM RONALD, R.C.A. KUROSAWA oil on canvas signed, titled, dated 1990 and inscribed “Montreal” (twice) on the reverse

Provenance: Collection of Peter Appleyard, Ontario By descent to the present owner Note: Peter Appleyard was a friend of William Ronald and often played at openings for Ronald’s art shows. On the occasion of one such opening, the artist presented Mr. Appleyard with a gift of this painting.

60 ins x 84 ins; 152.4 cms x 213.4 cms $30,000–50,000

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52 ALEXANDRA LUKE TRANSMUTATION, 1952 oil on canvas signed 40 ins x 32 ins; 101.6 cms x 81.3 cms Provenance: Collection of Mr. E.R.S. McLaughlin, Oshawa Private Collection Exhibited: Toronto Painting: 1953-1965, National Gallery of Canada 15 September - 15 October, 1972 and 10 November - 10 December, 1972, the Art Gallery of Ontario, cat. no. 2. $50,000–70,000

Literature: Toronto Painting 1953-1965, exhibition catalogue, National Gallery of Canada, Ottawa, 1972. no. 2, reproduced. Joan Murray, Alexandra Luke: Continued Searching, Robert McLaughlin Gallery, Oshawa, 1987. Note: Luke was first drawn to abstraction by J.W.G. (Jock) Macdonald. She wrote, “‘In his interesting talks [he] relates today’s architecture, science, physics and art expressions to the problems of spacetime.’ He encouraged her to create ‘from within with no relation to natural forms.’” Her notes from her time at Banff School of Fine Art include references to Kandinsky, Surrealism, E.E. Cummings and Gertrude Stein, as well as advice about colour and colour symbolism. Macdonald gave her the answer to Why Abstract? “‘He makes one see clearly what a very deep and searching problem it is.’” She organized the first Canadian all-abstract show - The Canadian Abstract Exhibition from which The Painters Eleven grew.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

53 JOHN GRAHAM COUGHTRY TWO FIGURE SERIES XIX, 1964 oil on canvas signed and dated ‘64 72 ins x 60 ins; 182.9 cms x 152.4 cms Provenance: Isaacs Gallery, Toronto Collection of Mr. and Mrs. Avrom Isaacs, Toronto Private Collection, Toronto Exhibited: Toronto Painting: 1953-1965, National Gallery of Canada 15 September - 15 October, 1972 and 10 November - 10 December, 1972, the Art Gallery of Ontario, cat. no. 63. Modern Painting in Canada, Edmonton Art Gallery, 1978, cat. no. 24. $30,000–50,000

Literature: Toronto Painting 1953-1965, exhibition catalogue, National Gallery of Canada, Ottawa, 1972, page 21, no. 63, reproduced in colour and unpaginated, cat. no. 63, reproduced. Terry Fenton and Karen Wilkin, Modern Painting in Canada, Hurtig Publishers, Edmonton, 1978, page 71, reproduced in colour. Barrie Hale, Graham Coughtry Retrospective, Robert McLaughlin Gallery, Oshawa, 1976, page 29, figure 22, reproduced. Graham Coughtry Two Figure Series 1962-64, exhibition catalogue, The Isaacs Gallery, October 9-26, 1983, reproduced. Note: Coughtry began working on the Two Series after his return to Toronto from Ibiza in 1961 – a series that would bring him much acclaim later in the decade. The series is inspired by Ovid’s Metamorphoses whose heroine, Salmacis, consummated her love for Hermaphroditus by uniting with him so closely that the two became one. With Two Figures Series XIX, “the essence of the myth of Hermaphroditus recurs, and which of the figures is male and which female, which Hermaphroditus and which Salmacis, becomes an increasingly ambiguous matter.” A critic at the time said “Coughtry is caught up in the peculiar passion of being human in the twentienth century... his two figures come to terms with each other in an isolated, frightening ... terrible kind of love.” Henry Malcolmson said “The sustained energy and concentration of this tour de force is unprecedented in Canadian art and, with the exception of certain of Picasso’s efforts, I can recall no similar examples of such virtuosity in modern art.”

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54 JEAN PAUL LEMIEUX, R.C.A. CHRIST EN CROIX oil on canvas signed 48 ins x 25.5 ins; 121.9 cms x 64.8 cms Provenance: Galerie Valentin, Montreal Private Collection, Montreal Literature: Guy Robert, Lemieux, Gage Publishing, Toronto, 1978, page 220. $50,000–70,000

Note: Lemieux painted a number of religious subjects during his lifetime. While many of these were produced during the 1940s and 1950s, Christ En Croix, executed circa 1986, was painted in the artist’s twilight years. This should not be surprising; myriad artists, Rembrandt among them, turn or return to religious and contemplative subjects as they approach old age. While this lot is obviously overtly Christian, in fact, many of Lemieux’s nonreligious canvases have a strong non-denominational spiritual quality to them focussed as they are on quiet contemplation and solitude which the artist emphasizes by the use of cooler colours, ﬂattening of space and economic composition. Beyond painting an emblem of Christianity, here Lemieux compels us to question our attachment to Life and Living, the cost of heroic sacriﬁce, and the inevitability of death. And for those who are inclined or persuaded to believe it, here is also the promise of salvation and reward. According to a gallery label on the stretcher this work was executed circa 1986.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

55 SYBIL ANDREWS SPEEDWAY, 1934 linocut signed, titled and numbered 13/60 14.25 ins x 10 ins; 36.2 cms x 25.4 cms Provenance: Purchased directly from the artist circa 1951 By descent to the present owner Private Collection, Toronto $45,000–60,000

Literature: Peter White, Sybil Andrews: colour linocuts, exhibition catalogue, Glenbow Museum, Calgary, 1982, page 37, reproduced in colour and page 57, cat. no.29, reproduced. Note: Speedway was created while Sybil Andrews was working in London, prior to her immigration to Canada in 1947. Andrews studied the art of linocutting at the Grosvenor School of Modern Art during the late 1920s and into the 1930s. Famous for her depictions of labourers and sporting people, Andrews captures the dynamism of the machine age. The Glenbow exhibition catalogue entry for Speedway notes: “This image initially was conceived as an idea for a London Transport Board poster. However, it was never executed as a poster.”

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56 JACK LEONARD SHADBOLT, R.C.A. GRANVILLE STREET AT NIGHT (EVENING, GRANVILLE STREET; GRANVILLE STREET, WARTIME), 1946 watercolour signed and dated ‘46 31 ins x 23 ins; 78.7 cms x 58.4 cms $100,000–150,000

Provenance: Maria Tachesi, Vancouver Mrs. Milus Douglas Roberts, Vancouver Private Collection Literature: Jack Shadbolt, National Gallery of Canada, Ottawa, 1969, page 29, cat. no. 3, reproduced. Ian Thom, Jack Shadbolt: Early Watercolours, Art Gallery of Greater Victoria, B.C., 1980, introduction. Scott Watson, Shadbolt, Douglas & McIntyre, Vancouver/Toronto, 1990, page 36, and page 31, reproduced in colour. Note: Watson quotes Shadbolt reflecting on his work of this period: “I find myself full of satisfaction as an artist in the streets about me: in the strange facade of a modern city block built up of all the historic hangovers of old architectural styles.” Watson continues: “The street scenes of downtown Vancouver showed (Shadbolt’s) fascination with telephone poles, neon signs, scaffolds, guy wires, chimneys - objects he called the “appendages of the modern street.” But his interest was no longer, he pointed out, in architectural incident for its own sake, but as “a complete reflection of society.” While the subjects are similar to the ones he worked on before joining the army, the treatment is different. The watercolour medium is used in a more fluid manner, which enhances the feeling of damp and inclement weather and heightens the reflection of neon light in pavement pools, an image that seemed of particular interest to him.” Granville Street at Night is an exceptional example of Shadbolt’s Vancouver street scenes. In the introduction to the catalogue for his watercolour exhibition of Shadbolt’s works, curator Ian Thom refers to this lot as a “documentary work of the highest order”.

Canadian Fine Art Auction â&#x20AC;&#x201C; Monday 24 November 2014 at 7 p.m.

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57 LAWREN STEWART HARRIS LUMBER CAMP

Note: According to an inscription by Thoreau MacDonald on the backing, this work was probably executed circa 1912. MacDonald suggests: “The lumber camp may have been within Algonquin Park or northern U.S.”

oil on board, mounted to board 8 ins x 8.75 ins; 20.3 cms x 22.2 cms Provenance: Thoreau MacDonald (son of J.E.H. MacDonald), Toronto Collection of Mrs. A.C. Kenny Private Collection, Oakville Literature: Jeremy Adamson, Lawren S. Harris: Urban Scenes and Wilderness Landscapes, 19061930, exhibition catalogue, Art Gallery of Ontario, Toronto, 1978, page 14, 23 and 43 and page 43, cat. no. 24 for The Drive (Collection of the National Gallery of Canada), reproduced. $30,000–50,000

In 1909, Harris spent weeks on assignment for Harper’s Magazine in a Minnesota lumber camp. Adamson writes: “It was here that the artist first came in direct contact with the austere majesty of the north.” The Minnesota trip did not only yield commercial material for Harper’s, but from sketches made there, Harris selected two Minnesota subjects to exhibit in the Ontario Society of Artists exhibit of that year. For the 1912 spring O.S.A. exhibition, Harris exhibited six canvases including a logging scene, The Drive, that was one of only two full scale canvases Harris had done to date and according to Adamson his first distinctly Northern Ontario subject. Clearly, Harris had identified a trope in the lumber camps and log drives that was the ideal vehicle for his expression of the “North” the interpretation of which he would pursue in paint and poetry for decades to come. While Harris had also visited Algonquin Park by 1914, it seems more likely that this lot pre-dates this, and was executed ca. 1912 as suggested by Thoreau MacDonald.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

58 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. SKETCH FOR TRACKS AND TRAFFIC oil on board signed with initials and dated ‘12 7.5 ins x 10.5 ins; 19.1 cms x 26.7 cms Provenance: Private Collection, Nova Scotia Literature: Donald W. Buchanan (ed.), Canadian Painters, Phaidon Press Ltd, U.K., 1945, no. 30, for the canvas, reproduced. J.E.H. MacDonald, R.C.A. 1873-1932, Art Gallery of Toronto, 1966, page 19, no. 9 for the canvas, reproduced and page 45, no. 50 for the Laidlaw sketch, reproduced. Jeremy Adamson, Lawren S. Harris, Urban Scenes and Wilderness Landscapes 19061930, Art Gallery of Ontario, 1978, page 35. Paul Duval, The Tangled Garden: The Art of J.E.H. MacDonald, Scarborough, 1978, pages 43-44, and page 31 for the canvas, reproduced in colour. Bruce Whiteman, J.E.H. MacDonald, Quarry Press, Kingston, 1995, page 27, page 28, for the canvas reproduced in colour.

Note: Tracks and Traffic has been called a “signal work”, “MacDonald’s first truly notable creation” and his earliest “masterpiece”. The canvas for this work was exhibited in the 1912 Ontario Society of Artists exhibition and was executed at a pivotal moment in the artist’s career. MacDonald had decided to leave his full-time employment in the commercial art business to devote himself to painting full-time. Released from the day-to-day demands of a regular job, MacDonald was to embark on producing his first great pictures. Tracks and Traffic (the canvas) is a studio painting that would have been worked up from plein-air sketches. We know of at least two such sketches produced by the artist: one in the collection of the Art Gallery of Ontario, where the canvas also hangs, and this lot. By 1912, the year this work was executed, MacDonald had met Lawren Harris, who in 1911 had seen a private show of MacDonald’s sketches at the Arts & Letters Club in Toronto and sought him out. Adamson writes that during the winter of 1911-1912 both artists “are sketching together in the vicinity of the gas works at the foot of Bathurst Street from which J.E.H. did Tracks and Traffic his most ambitious work up to that time.” Harris and MacDonald both were looking for a new language to describe the Canadian landscape experience and while this work is, as Adamson points out, reminiscent of Whistler, The Hague School, Barbizon painters, and the Impressionists with its use of atmospheric effects, it was a reflection of The Canadian Art Club (1908-1915) whose members “were Canada’s most modern” and so “was an attempt to bring a more progressive, painterly European manner into Canadian Art.” Furthermore, Paul Duval writes: “Unlike Monet who tackled his similar Gare St. Lazare theme ten times, MacDonald got industrial out of his system with this one brilliant effort” in which industry is “transformed into visual poetry.” $40,000–50,000

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59 LAWREN STEWART HARRIS BATCHAWANA oil on panel signed and titled on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms $75,000–100,000

Provenance: Acquired from the artist’s family By descent to the present owner, Toronto Literature: Jeremy Adamson, Lawren S. Harris, Urban Scenes and Wilderness Landscapes 1906-1930, exhibition catalogue, Art Gallery of Ontario, Toronto, 1978, page 83. Paul Duval, Lawren Harris: Where the Universe Sings, Cerebus Publishing, Canada, 2011, page 194 and page 184 for a closely related work entitled Autumn, Batchawana Lake XXIX, 1918, reproduced in colour. Note: The boxcar trips, arranged by Lawren Harris, in which he and his painting friends travelled north to Algoma are well-documented and we know that in 1919 (the second boxcar trip) the party stopped at Batchawana, the last point on the trip, where they remained for about a week. By mid-October they were back in Toronto. Harris found himself challenged by “the superabundance of colour, the inﬁnity of detail and the continuous change in the appearance of the countryside as winter approached”. In these works he and his fellow artists recognized the need to simplify their compositions down to the most essential shapes and colours. And yet this lot retains, with success, many of the complexities of the Batchawana experience. It is often said that Algoma confounded Harris, however, this lot most emphatically refutes this. Rather Harris had developed many positive associations with the Algoma visits; they helped restore his health which had become fragile during the war years. Duval quotes Harris as remarking that he found Algoma “a veritable paradise for the creative adventurer to paint in the Canadian north”. Duval continues: “The small panels with their brilliant, almost liquid, brushwork convey a virtuoso performance.”

Canadian Fine Art Auction â&#x20AC;&#x201C; Monday 24 November 2014 at 7 p.m.

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60 RITA LETENDRE, R.C.A. ASANNKI acrylic on canvas signed and titled on the reverse 36 ins x 108 ins; 91.4 cms x 274.3 cms

Literature: Anne-Marie Ninacs “The Teaching of Life” in Rita Letendre: Aux couleurs du jour, Musée national des beaux-arts du Québec, Québec, 2004, page 137. Note: “Rita Letendre’s painting is ﬁrst a celebration of life. Through its inﬁnite ability to marvel at colour, light and movement as so many manifestations of energy, it reminds us essentially that life is not a right but, on the contrary, at every moment a feat.”

$10,000–15,000 While her early works - spontaneous and thickly impastoed - made clear reference to her teacher Paul-Émile Borduas, the 1970s saw an entirely unique development for Rita Letendre. Restricting herself to schematic rays of intense colour, Letendre developed futuristic, linear abstractions that could be easily transformed into a multitude of variations. The piercing horizon lines and colour bands of these works are comprised of chevrons that seem to radiate without measure beyond the conﬁnes of the canvas. Until 1975, all works produced by the artist would reﬂect the hard-edged style seen in Asannki – a style that would become synonymous with the decade and emblematic of Letendre’s name.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

61 RITA LETENDRE, R.C.A. L’INNOMABLE oil on canvas signed and indistinctly dated ‘62 (?)

Provenance: Ladies Committee, Montreal Museum of Fine Arts, Exhibition and Sale Private Collection, Toronto Literature: Anne-Marie Ninacs “The Teaching of Life” in Rita Letendre: Aux couleurs du jour, Musée national des beaux-arts du Québec, Québec, 2004, page 134.

24 ins x 30 ins; 61 cms x 76.2 cms $22,000–28,000

Note: In 1962, Rita Letendre made her ﬁrst trip to Europe – spending periods in Italy, Paris and Israel until the autumn of the following year. During this time, she experienced a period of intense creativity and a radical advancement in her style. Employing thick masses of paint in limited palettes, Letendre began to provoke the viewer: stirring within them a quiet fervour, an emotional skirmish. In describing canvases created on this sojourn, Anne-Marie Ninacs states that, “thick black masses (are) brought to life by the spatula – engag(ing) in a struggle with the colour-light that attempts to surge out from it, a struggle one surmises will not soon be over. The main weapon in this duel, if that is what it is, is surely the painting knife, which Letendre uses to make the thick layers of coloured paint interpenetrate in a ‘high-risk’ work method that enables her to keep all the energy of spontaneity in the ﬁnished work.” L’Innomable, The Unnamable, splits scarlet space with black, white and green, titled by the artist despite its resistance to be named.

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62 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. QUEBEC FARM, ST. TITE DES CAPS, EARLY SPRING oil on panel signed; with a pencil sketch of mountains, trees and a winding river inscribed “Banting” in Jackson’s hand and “NJG 1134” in pen on the reverse

Note: The municipality of Saint-Tite-des-Caps provided an ideal sketching ground for A.Y. Jackson with its late Spring thaw which allowed Jackson to capture the last vestiges of snow. In this lot, the blue of the river, surging with spring run-oﬀ, contrasts dramatically with the pale lavender shadows of the remaining patches of crisp white snow. The title is derived from information on the backing of the painting and dates the painting to “March 1946”.

8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Literature: A.Y. Jackson, A Painter’s Country, Clarke, Irwin & Company, Toronto, 1958, page 78 for a discussion of Jackson’s sketching trips to St. Tite des Caps in the company of Dr. Frederick Banting. $20,000–30,000

(verso)

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

63 LAWREN STEWART HARRIS ROCKY LANDSCAPE oil on panel 10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms $75,000–100,000

Provenance: Acquired from the artist’s family By descent to the present owner, Toronto Literature: Paul Duval, Lawren Harris: Where the Universe Sings, Cerebus Publishing, Canada, 2011, page 196 for a comparable Algoma work circa 1920 and page 215 for a comparable Superior work, circa 1923, both reproduced in colour. Note: This lot is neither titled nor dated leaving some room for speculation about its subject and location of execution. Compositionally and stylistically it bears much in common with the later Algoma works or early Superior sketches dating it likely to circa 1920-1923.

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64 NICHOLAS DE GRANDMAISON CHIEF WITH PIPE pastel signed 17.5 ins x 11.75 ins; 44.5 cms x 29.8 cms Provenance: Private Collection, Oakville Literature: Hugh Dempsey, History in Their Blood: The Indian Portraits of Nicholas de Grandmaison, Douglas & McIntyre, Vancouver/Toronto, 1982. Note: Nicholas de Grandmaison is part of the second generation of great documenters of Canada’s native peoples following closely in the footsteps of artists like Paul Kane who excelled at this genre of portraiture. As Dempsey writes, while de Grandmaison worked nearly 100 years later than the earlier documenters, “in these portraits there is no diminution of vitality and freshness... Rather they are portraits that grip the imagination.” $10,000–15,000

65 THOMAS MOWER MARTIN, O.S.A., R.C.A. INDIAN ENCAMPMENT, L. SUPERIOR, ONT. oil on canvas signed; titled on a label attached to the stretcher 35 ins x 26 ins; 88.9 cms x 66 cms Provenance: The Collector’s Gallery, Calgary Private Collection, Calgary $9,000–12,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

66 CORNELIUS KRIEGHOFF NIGHT ENCAMPMENT oil on canvas signed 12 ins x 16 ins; 30.5 cms x 40.6 cms $40,000–50,000

Literature: Dennis Reid, Krieghoff, Images of Canada, Art Gallery of Ontario, Toronto, 1999, page 233. Note: Cornelius Krieghoff’s “image of the Indian conveyed a harmonious vitality, communicated with verve in the purposeful activity of the people...” The artist’s nighttime encampment conveys a warmth and an animation. Despite the darkness, there is a liveliness to the scene: the day’s work ends as a canoe is pulled ashore, the embers of the fire grant a fitting stage for stories to be shared, and the glow of the moon illuminates the sky.

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67 CHARLES EDOUARD MASSON HUOT HABITANT WITH PIPE oil on canvas signed 11.25 ins x 8.25 ins; 28.6 cms x 21 cms Note: Perhaps most well-known for his murals in the Quebec Provincial Parliament, Charles Huot drew inspiration from the works of Cornelius Krieghoﬀ and Joseph Légaré. Depicting the inhabitants of the Île d’Orléans, Huot crafted genre scenes that celebrated a traditional way of life in Quebec. $6,000–8,000

68 HENRI BEAU THE READER oil on panel signed 12.5 ins x 8.75 ins; 31.8 cms x 22.2 cms Provenance: Private Collection, Montreal Note: Born in Montreal, Beau spent a number of years studying and painting in Paris prior to his career as an assistant archivist at the Public Archives of Canada. Primarily known as a genre painter in the Impressionist style, Beau began focusing exclusively on historical portraits commissioned by the Canadian government. $3,000–5,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

69 CORNELIUS KRIEGHOFF SHOOTING THE RAPIDS oil on canvas, framed as an oval signed 12.5 ins x 17.5 ins; 31.8 cms x 44.5 cms $50,000–70,000

Provenance: Walter Klinkhoff Gallery Inc., Montreal Galerie d’art Michel Bigué, Saint-Sauveur-des-Monts, Quebec Private Collection, Toronto Literature: Dennis Reid, Krieghoff, Images of Canada, Art Gallery of Ontario, Toronto, 1999, page 233. Note: In this scene, a guide and a voyageur travel swiftly through the river water – the canoe light without the burden of furs or cargo. As Dennis Reid postulates, “Krieghoff felt an affinity” towards the First Nations people “who had often acted as his guides on hunting expeditions.” The artist’s fascination with the people who lived and labourered in harsh surroundings enabled him to capture the excitement and subtle nuances present in their everyday life.

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70 FREDERICK SIMPSON COBURN, R.C.A. PORTRAIT OF A YOUNG BOY watercolour laid down on board signed and dated 1903 18 ins x 14 ins; 45.7 cms x 35.6 cms Provenance: Collection of John Swain, Toronto (gift from the artist) By descent to the present owner, Ontario Literature: Evelyn Lloyd Coburn, F.S. Coburn: Beyond the Landscape, The Boston Mills Press, Erin, Ontario, 1996. Note: Coburn studied across Europe but it was in Germany where he honed his skills in portraiture and anatomy. “There he would be taught the strict discipline of drawing in acute detail. He would study every aspect of the human anatomy and would soon be able to produce an almost photographic image.” John Swain, to whom this painting once belonged, was a friend of the artist and sold frames and mouldings for Matthews Brothers Ltd. on Davenport Road, Toronto. $5,000–7,000

71 FREDERICK SIMPSON COBURN, R.C.A. INTERIOR SCENE oil on canvas, laid down on board signed and dated 1903 17.5 ins x 14 ins; 44.5 cms x 35.6 cms Provenance: Collection of John Swain, Toronto (gift from the artist) By descent to the present owner, Ontario Literature: Evelyn Lloyd Coburn, F.S. Coburn: Beyond the Landscape, The Boston Mills Press, Erin, Ontario, 1996, page 52 for a closely related work entitled Washer Woman, c. 1903, reproduced in colour. Note: In 1903 Coburn took a break from more commercial work to study and paint in the Netherlands and Belgium. He was “impressed and inspired by the painters of the Hague School, and anxious to put some of his newly acquired techniques into practice [and] moved around the Dutch countryside painting farms and cattle, cottages with their thatched roofs, canal scenes with windmills against stormy, billowing clouds, ﬁshing boats beached on shore, and Dutch and Flemish interiors.” John Swain, to whom this painting once belonged, was a friend of the artist and sold frames and mouldings for Matthews Brothers Ltd. on Davenport Road, Toronto. $10,000–15,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

72 MARJORIE (JORI) ELIZABETH THURSTON SMITH SEATED NUDE, C. 1931 oil on canvas signed 22.25 ins x 16.25 ins; 56.5 cms x 41.3 cms Provenance: Private Collection, Ontario Literature: A.K. Prakash, Independent Spirit: Early Canadian Women Artists, Fireﬂy Books, Richmond Hill, Ontario, 2008, pages 186 & 187, reproduced in colour. Note: A.K. Prakash describes Seated Nude as “an ambitious self-portrait painted with vigorous colour to stress important detail.” It has, he asserts, “the distortions of Cézanne, the wedge-like contours of African sculpture, and an imitation of cubism”. In her self-portrait, Jori Smith confronts the viewer with a self-conﬁdent gaze. A woman unbound and assertive, she declares her objection to the nude as sinful, through the resoluteness of her pose. As with the majority of her portraiture, the work lacks sentimentality and opts instead to capture the artist’s character. The impact is as forceful and spontaneous as Smith’s expressionist brushstrokes. $4,000–6,000

73 LAURA ADELINE MUNTZ LYALL, O.S.A., A.R.C.A. UNTITLED - LULLABY oil on canvas signed 16 ins x 10.25 ins; 40.6 cms x 26 cms Provenance: Matthews Art Gallery, Toronto Literature: Joan Murray, “Laura Muntz Lyall: Impressions of Women and Childhood”, McGill-Queen’s University Press, Montreal & Kingston, 2012, page 32, colour plate 64 for a similar portrait entitled The Lullaby, 1915, and colour plate 69 for a similar portrait entitled Lullaby, 1924. Note: Of Laura Muntz’s portraiture Joan Murray wrote: “She always presented the subject in a flattering yet honest way and with an effect of refined vivacity, most often highlighting the face and body against a dark, broadly painted neutral background and adding a few notes of colour, usually to the sitter’s eyes and lips, and sometimes to the costume.” In Untitled - Lullaby, a cool indigo costume frames the warm embrace shared by a mother and her little girl. Their tenderness is palpable. They sit together out-of-doors, barefoot, as if characters in a whimsical fairytale. The mother’s expression is wistful, as she drapes her arms lovingly around the slumbering girl. $7,000–9,000

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74 LOUIS MUHLSTOCK, R.C.A. ROOFTOPS oil on masonite 20 ins x 24 ins; 50.8 cms x 61 cms Provenance: Estate of the artist Literature: Charles Hill, “Introduction,” Louis Muhlstock: A Survey of Forty-Five Years, Art Gallery of Windsor, Windsor, 1976, unpaginated. Note: Hill writes that from the late 1930s onwards Muhlstock strayed away from his sombre palette to a brighter one, painting “joyous landscapes of Mount Royal in rich, surging colours” and returning to the subject of “the back lanes of the poorer areas of Montreal. But his palette was brighter, the walls painted in warm, dry tones and the bright sun shone through the trees...” $3,000–5,000

75 FRITZ BRANDTNER BEACH, NOVA SCOTIA gouache on board signed 30 ins x 40 ins; 76.2 cms x 101.6 cms Provenance: Kastel Gallery Inc., Montreal Private Collection, Toronto $6,000–8,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

76 KAZUO NAKAMURA SUMMER MORNING oil on canvas signed and dated ‘61 25 ins x 31 ins; 63.5 cms x 78.7 cms $20,000–25,000

Provenance: Acquired directly from the artist Private Collection, Toronto Literature: Ihor Holubizky “Nakamura: The Method of Nature” in Kazuo Nakamura: the Method of Nature, The Robert McLaughlin Gallery, Oshawa, 2001, pages 10 and 14. Note: The artist in a 1993 interview said, “’it takes energy to do abstract work. Every once in a while, I do landscapes, to do what’s on top.’” Many reviewers and art critics have said that Nakamura is “one artist doing the work of three or four.”

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77 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. COUNTRY HOUSE, CA. 1945 mixed media on paper signed 11 ins x 13.5 ins; 27.9 cms x 34.3 cms Provenance: Edgar Stone (Former Director, Hart House, University of Toronto) Peter Ohler Fine Arts Ltd., Vancouver Private Collection, Edmonton Literature: Paul Duval, “Hillside Village,” in A.J. Casson, The Ryerson Press, Toronto, 1951, pages 27-29, for a discussion on the Ontario village as a theme. Note: In the mid-1940s, Casson’s depictions of rural village structures experienced a stylistic shift. As exempliﬁed in this lot, Casson began to reduce forms to their essentials. The awnings, windows, plants and porch of Country House are rendered as simple, geometric shapes. The blocks of colour that Casson intersperses across the otherwise monochromatic scene, are not only components of the house, but are emblematic of the warmth radiating from within the home. $12,000–15,000

78 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. IN DEEP - BREAKING A NEW TRAIL AT JACKPINE, ONTARIO oil on masonite signed; also signed and titled on the reverse 25 ins x 30 ins; 63.5 cms x 76.2 cms Provenance: Walter Klinkhoff Gallery, Montreal Private Collection, Montreal Literature: Roger Burford Mason, A Grand Eye for Glory: A Life of Franz Johnston, Dundurn Press, Toronto, 1998, page 69. Note: During the late 1920s and 1930s Johnston would make regular trips to Northern Ontario, many of them to the Thunder Bay area and beyond. Masson notes that at this time Johnston secured a commission “from a wealthy patron to paint a rare, all-white team of huskies.” The locals he encountered on these northern excursions were struck by “his philosophical acceptance of frost-bitten fingers and ears, the concomitant of painting out-of-doors in those sub-zero temperatures” finding it “more than a little strange, not to say eccentric.” $12,000–15,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

79 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. GEORGIAN BAY, GIANTS TOMB IN DISTANCE oil on panel signed; also signed, titled and dated “August 1960” on the reverse 10.75 ins x 13.5 ins; 27.3 cms x 34.3 cms $12,000–15,000

80 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. BATCHEWANA POINT oil on panel signed 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms Provenance: Private Collection, Ottawa $12,000–18,000

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81 JOHN GEOFFREY CARUTHERS LITTLE, R.C.A. AUTUMN, MCGILL CAMPUS, MONTREAL, ‘62 oil on canvas board signed; also signed, titled and dated on the reverse 12 ins x 16 ins; 30.5 cms x 40.6 cms Provenance: Private Collection, Hudson, Quebec $6,000–8,000

82 DANIEL PRICE ERICHSEN BROWN THE READER egg tempera signed 13.75 ins x 23.5 ins; 34.9 cms x 59.7 cms Provenance: Dunkelman Gallery, Toronto Private Collection, Toronto Exhibited: D.P. Brown, Twenty Years, Art Gallery of Hamilton, Hamilton, n.d. $6,000–8,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

83 ALEXANDER COLVILLE, R.C.A. CHIEN D’OR serigraph signed, dated 1987 and numbered 22/70 11 ins x 30 ins; 27.9 cms x 76.2 cms Provenance: Beckett Gallery, Hamilton Literature: David Burnett, Colville – Prints/Estampes, Department of External Aﬀairs, Arts Promotion Division, Ottawa, 1985, page 15. Michael Bell, Colville, Being Seen: The Serigraphs, Carleton University Art Gallery, Ottawa, 1994, page 60, ﬁg. 28, for Chien D’Or, reproduced. Note: Many of Colville’s works feature animals as part of the whole scene or as the subject themselves. Burnett writes, “His love of animals is deep, and his respect for their existence absolute. ‘I think,’ he has said, ‘of animals as being incapable of evil.’” Here Colville’s dog, Min, is the main subject. $4,000–5,000

84 ALEXANDER COLVILLE, R.C.A. NEW MOON serigraph signed, dated 1980 and numbered 24/70 15.75 ins x 19.75 ins; 40 cms x 50.2 cms Provenance: Mira Godard Gallery, Toronto Literature: David Burnett, Colville – Prints/Estampes, Department of External Affairs, Arts Promotion Division, Ottawa, 1985, page 14 and page 15, fig. 24, for New Moon, reproduced. Michael Bell, Colville, Being Seen: The Serigraphs, Carleton University Art Gallery, Ottawa, 1994, page 49, fig. 20, for New Moon, reproduced. Note: Burnett describes New Moon as a composition “where physical activity and a moment of revelation are set aside in contemplation of the night sky.” $5,000–7,000

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85 NORMAND HUDON LE GRAND L’ARRANGEMENT oil on masonite signed, titled and dated ‘86 23.75 ins x 29.75 ins; 60.3 cms x 75.6 cms $9,000–12,000

86 NORMAND HUDON ÎLE D’ORLÉANS oil on masonite signed, titled and dated ‘83 20 ins x 16 ins; 50.8 cms x 40.6 cms Provenance: Private Collection, Toronto $5,000–7,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

87 JOHN KASYN, O.S.A. BEHIND THE PAWN SHOP (QUEEN ST W.) oil on masonite signed 30 ins x 24 ins; 76.2 cms x 61 cms $18,000–22,000

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88 NORA FRANCES ELISABETH COLLYER RED FLOWERS oil on panel signed with initials 18 ins x 16 ins; 45.7 cms x 40.6 cms Provenance: Private Collection, Ontario $15,000–25,000

Literature: Evelyn Walters, The Women of Beaver Hall: Canadian Modernist Painters, Dundurn Press, Toronto, 2005, page 23. Note: Nora Collyer brings the rhythm of a landscape to the richly coloured still-life of Red Flowers. The delicate nature of her approach is reminiscent of that of her teacher, Maurice Cullen. Evelyn Walters notes that Collyer’s technique “is never harsh and is remarkable for its shapes, rich colour, and soft rhythms.” Just past bloom, these tulips cascade over their vase, a cavalcade of colour against the pale horizon.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

89 CHARLES PACHTER RED BARN acrylic on canvas signed and dated ‘88 and ‘97 on the reverse 36 ins x 60 ins; 91.4 cms x 175.3 cms $20,000–30,000

Literature: Bogomila Welsh-Ovcharov, Charles Pachter, McClelland & Stewart, Inc., Toronto, 1992, page 105, page 110, fig. 118 for a closely related work entitled Green Barn Reflected, 1988, reproduced in colour. Note: “In 1987 Pachter began working with an Amiga computer graphics program that enabled him to create and store variations of a visual idea.” His “barn works,” (Green Barn Reflected, Oro Barns Seen from My Window etc.) including Red Barn Reflected, were conceived in this way. The block images and bold colours of computer graphics were transferred and transformed in paint. Like his iconic images of Queen Elizabeth, flags, and moose, the red barn is a quintessential symbol of Charles Pachter’s Canadiana.

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90 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. RAIN - GREAT LA CLOCHE ISLAND oil on board signed; also signed and titled on the reverse 9.5 ins x 11.25 ins; 24.1 cms x 28.6 cms $20,000–30,000

Literature: A.J. Casson, My Favourite Watercolours, 1919 to 1957, Cerebrus/Prentice Hall, Toronto, 1982, page 122. Margaret Gray, Margaret Rand and Lois Steen, A.J Casson, Gage Publishing, Agincourt, Ontario, 1976, page 39, for a similar work. Note: A.J. Casson found the Cloche Hills to be an “excellent place to sketch.” The landscape’s jack pines and lichen-covered white rocks had a strong aﬀect on Casson. Utilizing a cool colour palette, the artist chisels out a raw and moody drama. The ragged lines of clouds, the downpour in the distance, and the dark silhouettes of trees, evoke the powerful sweep of the brewing storm.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

91 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. BOW LAKE oil on board signed; also signed and titled on the reverse 10.25 ins x 13.5 ins; 26 cms x 34.3 cms $15,000–20,000

Provenance: Private Collection, Ontario Literature: Anna Hudson, “The Legend of Johnny Chinook: A.Y. Jackson in the Canadian West and Northwest” in Catharine M. Mastin (general editor), The Group of Seven in Western Canada, Key Porter in association with The Glenbow Museum, Calgary, 2002, pages 114 and 118. Note: Dennis Reid has suggested that the romance of adventure was what lured Jackson west and Jackson could not believe how much of the country had yet to be painted. While he had visited western Canada prior to 1937 he began to paint what he saw only from this year onward until 1951. Interestingly, while Jackson is most closely associated with charming renditions of life in rural Quebec, particularly the lower St. Lawrence region of that province in winter, Dr. Hudson insists that “a remarkable group of collectors looked forward to the results of Jackson’s Western trips. The artist kept up a lively correspondence with his supporters describing his travels and negotiating sales.” Bow Lake is one of the largest glacial lakes in Banﬀ National Park. Jackson taught at the Banﬀ Summer School in the 1940s.

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92 PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. SHIP AT DOCK oil on canvas signed 20.25 ins x 25.25 ins; 51.4 cms x 64.1 cms Provenance: Private Collection, Ontario Literature: Graham Campbell Mclnnes, “World Of Art”, Saturday Night, Toronto, Apr. 27 1935. A.H. Robson, Canadian Landscape Painters, Ryerson Press, Toronto, 1932, page 164. Note: Robson writes that Peter Sheppard “began exhibiting pictures with the breadth of brush handling and a brilliancy of colour which attracted favourable attention.” Critic Graham Mclnnes points out that “Peter Sheppard is at his best among the skyscrapers and the docks.” $7,000–9,000

93 WILLIAM GOODRIDGE ROBERTS, R.C.A. LAURENTIAN LAKE, CANADA oil on masonite signed 32 ins x 48 ins; 81.3 cms x 121.9 cms Provenance: Dominion Gallery, Montreal $10,000–12,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

94 LOUIS MUHLSTOCK, R.C.A. VIEW FROM THE STUDIO WINDOW oil on canvas 26.5 ins x 29.75 ins; 67.3 cms x 75.6 cms Provenance: Estate of the artist Literature: Monique Nadeau-Saumier, Louis Muhlstock: New Themes and Variations 1980-1985, Concordia Art Gallery, Montreal, 1986, page 6. Note: Louis Muhlstock moved to Sainte-Famille Street in the late 1930s. A vibrant artists’ community, Alfred Laliberté, too, had a large studio there and welcomed visits from Suzor-Côté, Maurice Cullen, G. Horne Russell, Robert Pilot, Jori Smith and Jean Palardy. Many years passed but, “Le vieux peintre de la rue Sainte-Famille” as he called himself, never felt the need to leave the neighbourhood... and views from the window of Muhlstock’s studio remain a favourite subject of the artist and collectors alike. $4,000–5,000

95 LAWREN STEWART HARRIS TREES IN SUMMER oil on canvas signed with initials 22.25 ins x 18 ins; 56.5 cms x 45.7 cms Provenance: Private Collection, Niagara-on-the-Lake Literature: Jeremy Adamson, Lawren S. Harris, Urban Scenes and Wilderness Landscapes 1906-1930, exhibition catalogue, Art Gallery of Ontario, Toronto, 1978, page 13-14, page 40, no. 11 and page 65, no. 53 reproduced. Paul Duval, Lawren Harris: Where the Universe Sings, Cerebus Publishing, Canada, 2011, page 50. Note: This lot represents one of the earliest Lawren Harris canvases to appear at auction. It was executed sometime between 1905 and 1910 when a young Harris travelled to Aurora to spend time with the family of the grandparents of the present owner. While imprecise, this dating is based both on the recollection of the owners, the manner of signature, (Harris used initials to sign his work until 1910) as well as a second work in the collection whose subject’s age is known to the family allowing us to date this work - which was executed on the same visit - with increased accuracy. In 1904 Harris left Canada to study art in Berlin. In 1905, he returned to Canada for the summer, and went back to Europe once again until the end of the summer of 1907. While clearly far removed from the works Harris would eventually produce - and oh-so much tamer, even reﬁned - in this lot we have a notion of Harris’ early approach to composition: the contoured outline of the rising hill, the screen of trees and grasses and the clouds and sky in deep space beyond, which would later form the basis of so many of Harris’ wilderness sketches. Very few works from this early formative period have been located; Jeremy Adamson illustrates two comparable works one undated and one dating from 1908 though both much smaller than this canvas. $10,000–15,000

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96 WILLIAM RONALD, R.C.A. UNTITLED acrylic on board laid down on canvas signed 20 ins x 29.75 ins; 50.8 cms x 75.6 cms $12,000–18,000

Literature: William Ronald interview by Joan Murray, 31 May 1977, quoted in Roald Nasgaard, Abstract Painting in Canada, Douglas & McIntyre, Vancouver/Toronto, 2007, page 109. Note: In this untitled work, William Ronald transforms the canvas into an abstract altarpiece. Three distinct sections, each with a background of alternating white and blue stripes, appear like opened panels. Ronald’s central dominant shape is a circle of jubilant orange – facets of which appear to radiate across the canvas, seeking out its blue counterparts. Evoking reverence for the polemic and the exuberant, Untitled is an ample reﬂection of Ronald himself. As the artist once conveyed, “If I’m going to make an impact..., I’ve got to be unique.”

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

97 HAROLD BARLING TOWN, R.C.A. EDGE #1 oil on canvas signed and dated ‘89; also signed, titled and dated “Jan 89” multiple times on the reverse, and titled (twice) on the stretcher 80 ins x 80 ins; 203.2 cms x 203.2 cms $12,000–18,000

Provenance: Private Collection, Toronto Literature: David Burnett, Town, Art Gallery of Ontario, Toronto, 1986, page 162. Note: Working across a range of media, Harold Town was known for his bold, risktaking artworks. In Edge #1, Town delights with the canvas’ large scale and vibrancy. A central row of stacked, horizontal lines appear like the outward facing edges of books. Shapes, lines and colourful symbols create vertical borders. As David Burnett writes of Town’s works, “Eccentricity in painting, means standing against the mainstream, outside the normal bounds of seriousness.”

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98 KOSSO ELOUL, R.C.A. SOLSTICE

99 SOREL ETROG, R.C.A. UNTITLED

aluminum maquette signed and titled

tapestry signed, dated ‘76 and numbered 13/25 in the tapestry

height 21 ins; 53.3 cms

95 ins x 47 ins; 241.3 cms x 119.4 cms

Provenance: Private Collection, Ontario

Exhibited: Canadian Tapestries 1977, Art Gallery of Ontario, Toronto, 04 June - 24 July 1977, Confederation Centre Art Gallery and Museum, Charlottetown, 09 June - 31 July 1977, Glenbow Alberta Institute, Calgary, 08 June - 24 July 1977, The Vancouver Art Gallery, 08 July - 31 July 1977, The Winnipeg Art Gallery, 19 May - 26 June 1977.

Literature: William Withrow, Kosso Eloul 1964-1984, 20 Years of Sculpture, exhibition catalogue, McClelland & Stewart, Toronto, 1984, page 80 for a proposed installation for Solstice and a model, reproduced. Note: With nearly 50 works on display throughout Toronto, Kosso Eloul’s sculptures are mainstays of the City’s outdoor public art oﬀerings. A larger, painted version of this sculpture, also titled Solstice, is located on the grounds of the Guild Inn at 201 Guildwood Parkway in the area known as the Greek Theatre. $3,000–5,000

Literature: Canadian Tapestries 1977, exhibition catalogue, Art Gallery of Ontario, Toronto, 1977, page 21 for Untitled tapestry. Pierre Restany, Sorel Etrog, Prestel Verlag, Munich, London & New York, 2001, page 117. Note: Referencing his ‘hinge works’ of the 1970s, this tapestry by Sorel Etrog is a juncture of coloured and shaded blocks. Etrog recalls, “On a vacation in Israel, visiting my family, I picked up a child’s drawing pad and began to draw doodles of ﬂat and organic surfaces connected by hinges... The hinge started to obsess me and so I adopted it.” The plushness of the tapestry provides a curious contrast to the work’s articulated forms. $5,000–7,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

100 LÉON BELLEFLEUR LES ORCHIDÉES oil on canvas signed and dated ‘69; also signed, titled and dated on the reverse 35 ins x 46 ins; 88.9 cms x 116.8 cms $12,000–15,000

Provenance: Roberts Galllery, Toronto Private Collection, Toronto Literature: Guy Robert, Bellefleur, The Fervour of the Quest, Montreal, 1988, page 107. Note: By titling his works only after completion, Léon Bellefleur allowed his art to name itself. The title, Les Orchidées, encapsulates the emotional setting of this dewy canvas. Intense, lush pigments blossom into enlivened masses and forms of paint. As emphasized by Guy Robert, Bellefleur’s “romantic sensibility blooms in a surrealist atmosphere that transforms the relationship with reality into an alchemy dominated by the immediate, spontaneous and impromptu expression of the most deep-seated impulses of his being.”

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101 FRITZ BRANDTNER LACHINE: THE OLD SHIPYARD mixed media on paper signed 12.75 ins x 14.5 ins; 32.4 cms x 36.8 cms Provenance: Willistead Art Gallery, Windsor, The Women’s Art Committee Annual Exhibition-Sale, n.d. Note: There is a cancelled drawing on the back of the backboard. $2,500–3,000

102 ALEXANDER COLVILLE, R.C.A. RAVEN serigraph signed, dated 1990 and numbered 42/70 Image 29.5 ins x 18.75 ins; 76.8 cms x 50.2 cms Literature: Michael Bell, Colville, Being Seen: The Serigraphs, Carleton University Art Gallery, Ottawa, 1994, page 64, ﬁg. 30, for Raven, reproduced. $4,500–6,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

103 RICHARD GORMAN THE SECRET OF PANCHO VILLA oil on canvas signed and dated ‘60; titled on the reverse 59.5 ins x 54 ins; 151.1 cms x 137.2 cms $6,000–8,000

Provenance: Private Collection Literature: Joan Murray, Naked Eye: Richard Gorman, Lake Galleries in association with Robert McLaughlin Gallery, 1990, unpaginated. Note: José Doroteo Arango, alias Francisco ‘Pancho’ Villa, emerged during the Mexican Revolution as head of the Division of the North. His commanding presence – paired with his tale of bandit turned general – granted him a mythic presence in the Mexican consciousness. Like a secret held in the mind of this prominent ﬁgure, this painting exhibits an alluring passion: a combination of functional shades and tiny prisms of sensuous colour, builtup in sweeping masses of thick impasto. At once dark and luminous, it beckons the eye with its inescapable presence and raw energy. Himself a Revolutionary of sorts, “Gorman use(d) the canvas as an arena for personal combat: with him every painting (was) an upheaval, an act of physical involvement.”

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104 THOMAS SHERLOCK HODGSON WHEELBARROW watercolour on illustration board signed and dated /52 25 ins x 32 ins; 63.5 cms x 81.3 cms Provenance: Private Collection, Toronto Exhibited: Canadian Abstract Painters, Oshawa Art Society, 1952 (organized by Alexandra Luke). Literature: Iris Nowell, Painters Eleven: The Wild Ones of Canadian Art, Douglas & McIntyre, Toronto, 2010, page 1. David G. Taylor, Tom Hodgson, catalogue, Lynnwood Arts Centre, Simcoe, Ontario, 1988, illustrated, fig. 5, page 13 alongside a black and white photograph from the artist’s collection, Wheelbarrow, 1952. Note: In 1952, the year in which this work was painted, Hodgson earned a berth on the Canadian Olympic Canoe Team for the games in Helsinki. It was also the year in which the artist sold his first painting – a gouache exhibited in the eighteenth O.S.A. exhibition at the Art Gallery of Toronto. Alluding to the works of Willem de Kooning, Hodgson’s compositions meld abstract, architectural forms with his distinctive use of colour. The forms within this watercolour modulate and move. David Taylor writes, “In 1951-1952, Hodgson’s painting changed in style. Instead of painting pure abstracts, he turned his attention to depicting natural subjects... He would first take a photograph and then make a painting (based on the snap-shot), distorting the original object. An example of this technique is Hodgson’s watercolour Wheelbarrow... Within those familiar shapes he has distorted almost everything... The composition becomes more complex, thus providing more interest for the eye.” $5,000–7,000

105 DENNIS EUGENE NORMAN BURTON RELEVANCE oil on canvas signed and dated “12.16.62”; also signed, titled and dated again “12.16.62” on the reverse 40 ins x 36 ins; 101.6 cms x 91.4 cms Literature: Roald Nasgaard, Abstract Painting in Canada, Douglas & McIntyre, Vancouver/Toronto, 2007, page 231. Note: Coined by Roald Nasgaard as one of the “Second Generation” of Toronto abstract painters, Dennis Burton was stylistically encouraged by his teacher at the Ontario College of Art, Jock MacDonald. Painted in 1962, Relevance hints at the Pop-inspired turn that Burton’s painting would take in the years to follow. $5,000–7,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

106 DAVID BOLDUC ZOO PICTURE, 1975 oil on canvas signed, titled and dated 1975 on the reverse, also signed on the overﬂap 66 ins x 81 ins; 167.6 cms x 205.7 cms Provenance: Marlborough-Godard Gallery, Toronto/Montreal Private Collection, Toronto

Literature: Karen Wilkin, Introduction to Recent Paintings by David Bolduc, Paul Fournier, K M Graham, Canada House Cultural Centre Gallery, London, 1982, unpaginated. Note: Karen Wilkin describes the canvases of David Bolduc as “meditations of the history of art itself.” She goes on to describe the way the works are composed: “Bolduc usually alternates between two modes of picture making: severe formal inquiries and more elaborate, more spontaneouslooking images. Both types share a characteristic format: a continuous, inﬂected ground with a (usually centralized) drawn element, and characteristic motifs... Since about 1974, he has been concerned with formal (and conceptual) paradox, exploring polarities of austerity and sensuality, reticence and aggression, individuality and reference.”

$8,000–10,000

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107 FRITZ BRANDTNER ABSTRACT mixed media on board signed 7.75 ins x 7.75 ins; 19.7 cms x 19.7 cms Provenance: Kastel Gallery Inc., Westmount Private Collection, Toronto $1,000–1,500

108 LÉON BELLEFLEUR AVANT L’ORAGE oil on canvas signed and dated ‘89; also signed, titled and dated on the reverse 24 ins x 18.75 ins; 61 cms x 47.6 cms Literature: Guy Robert, Bellefleur, The Fervour of the Quest, Iconia, Montreal, 1988, page 15. Note: “’It’s like dreaming – in technicolour, of course! Painting is like making music, poetry, films; they all go so far beyond sounds, words and images, and it’s what goes beyond that counts the most!’” Across a background of grey and green, Léon Bellefleur cuts an array of colour into an improvised form. Sharply defined and irregular fans of paint together compose the remnant of a storm’s fury. Like in the facets of so many water droplets, a rainbow intensity is left behind after the passing of the rain. Bellefleur’s signature finish – an inspired sprinkling of paint – heightens the effect. $9,000–12,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

109 DENNIS EUGENE NORMAN BURTON EDGE oil on masonite signed and dated ‘58; also signed, dated Feb ‘58, titled and inscribed “never shown” on the reverse 36 ins x 48 ins; 91.4 cms x 121.9 cms $9,000–12,000

Provenance: Private Collection, Toronto Literature: Denise Leclerc, The Crisis of Abstraction in Canada: The 1950s, National Gallery of Canada, Ottawa, 1992, page 97. Note: Following a series of visits to the Albright-Knox Gallery, Buﬀalo, in the late 1950s, Dennis Burton embraced a shift towards Abstract Expressionism. As Denise Leclerc observed, “The large, square paintings on hardboard from 1958...have the same complex composition of interweaving forms as seen in de Kooning’s works of this period.” In Edge, coloured forms amass – generating a perspective that makes the viewer feel as though they are standing on a breathtaking precipice.

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110 EDWIN HEADLEY HOLGATE, R.C.A. LABRADOR KITCHEN woodcut signed and numbered 11/30 in pencil in the lower margin 11.25 ins x 8.5 ins; 28.6 cms x 21.6 cms Literature: Rosalind Pepall and Brian Foss (eds.), Edwin Holgate, Montreal Museum of Fine Arts, Montreal, 2005, for François-Marc Gagnon’s chapter entitled, “Edwin Holgate and Rural Life” and page 34, cat. no. 170 for Labrador Kitchen (Collection of the National Gallery of Canada), reproduced. Note: Holgate’s treatment of interior rooms was not dissimilar to his treatment of a portrait or a landscape. The interior alone is the main subject. Gagnon in his chapter on Holgate’s rural works states, “Holgate made several images – both prints and paintings – of French-Canadian interiors, not in order to show human ﬁgures in their habitual setting, but (since in most cases they are entirely devoid of ﬁgures) as ends in themselves. The only subject, in these unusual works, is the interior.” $4,000–5,000

111 HAROLD BARLING TOWN, R.C.A. ENIGMA #8 (JOCKEY AND DART BOARD) ink and wash on light blue paper signed and dated “2/17-18/64” 19 ins x 26 ins; 48.3 cms x 66 cms Provenance: Walter and Else Landauer, Toronto Private Collection, Toronto Literature: David Burnett, Town, Art Gallery of Ontario, Toronto, 1986, page 143, reproduced. $4,000–6,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

112 EDWIN HEADLEY HOLGATE, R.C.A. MAN WITH AXE, 1925 woodcut signed with initials in the print, and signed and inscribed “No. 10” in pencil in the lower margin 7.25 ins x 5.5 ins; 18.4 cms x 14 cms Provenance: Private Collection, Montreal Literature: Rosalind Pepall and Brian Foss (eds.), Edwin Holgate, Montreal Museum of Fine Arts, Montreal, 2005, page 81, cat. no. 149 for Man with Axe (Collection of the National Gallery of Canada), reproduced. $4,000–5,000

113 FRITZ BRANDTNER A COLLECTION OF 14 CHRISTMAS CARDS ILLUSTRATED WITH ORIGINAL PRINTS various print media Literature: Helen Duﬀy and Frances K. Smith, The Brave New World of Fritz Brandtner, Agnes Etherington Art Centre, Queen’s University, Kingston, 1982, page 86, cat. no. 93 for a listing of four Christmas cards from the 1960s, shown in the 1982 Brandtner exhibition at the gallery. $4,000–6,000

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114 LEO MOL, R.C.A. KNEELING NUDE bronze signed and dated ‘84 height 15.25 ins; 38.7 cms Provenance: Private Collection, Ontario Note: Working in the historical academic tradition, Leo Mol’s strength lay in his ability to sculpt the hardness of bronze into supple forms. Kneeling Nude appears frozen in a private moment of felicity. Unlike many of Mol’s nudes, she is not a quiet beauty. She is not a passive or delicate recipient of our attention – her revelry and her air of elation command it. $2,000–3,000

115 ALFRED LALIBERTÉ, R.C.A. LE PÊCHEUR DE PERLES bronze signed, titled and inscribed “Andro Fondeur Paris” height 14 ins; 35.6 cms Provenance: Private Collection, Montreal Literature: Odette Legendre, Laliberté, Fides, Quebec, 2001, page 113, cat. no. 74 for Le Pêcheur de perles, reproduced in colour. $7,000–9,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

116 DANIEL PRICE ERICHSEN BROWN STUDY- GIRL IN A FUR COAT pencil signed and dated /85 12 ins x 9.75 ins; 30.5 cms x 24.8 cms Provenance: Private Collection, Toronto $2,500–3,500

117 DANIEL PRICE ERICHSEN BROWN GIRL IN A FUR COAT egg tempera on board signed 12 ins x 9.75 ins; 30.5 cms x 24.8 cms Provenance: Private Collection, Toronto $4,000–6,000

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118 MOLLY LAMB BOBAK, R.C.A. MEMORY OF ALGIERS oil on canvas signed “Molly Bobak”; also signed and titled on the stretcher 28 ins x 30 ins; 71.1 cms x 76.2 cms $8,000–12,000

Provenance: Roberts Gallery Limited, Toronto Private Collection, Toronto Note: Molly Lamb Bobak lends the invigoration of her animated crowd scenes to the dazzling, jewel-like white of the buildings of Algiers. Built on the slopes of the Sahel Hills, the city waterfalls into the bay below. The harbour, nestled like a natural amphitheatre in the landscape, is framed by the scarlet tint of the ship’s deck.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

Miss Rosa Hermannsson in September 1930.

119 BERTRAM BROOKER, R.C.A. PORTRAIT OF MISS. ROSA HERMANNSSON oil on canvas signed; inscribed “Rosa” on the overﬂap and with the artist’s stamp on the reverse 30 ins x 24 ins; 76.2 cms x 61 cms Provenance: Collection of Rosa Hermannsson Private Collection, Ontario (by descent to the present owner) Exhibited: 51st Annual Exhibition, Royal Canadian Academy, The Art Gallery of Toronto, Toronto, November 1930, no. 21. Literature: Bertram Brooker, The Seven Arts, The Citizen and Associated Newspapers of the Southam Publishing Co., November 1929.

Note: Rosa Hermannsson was the sixth of seven children born in Manitoba to parents of Icelandic origin. At the age of 17, Hermannsson moved to Winnipeg and began to study singing as a contralto. Pushing her passion still further, the singer moved east to Toronto in 1929 to hone her skills as a mezzo soprano under the guidance of Carl Hunter. She performed concert tours and also had her own program on a local radio station. Bertram Brooker’s involvement in the arts extended far beyond his own pursuits as a painter. From 1928 to 1930, Brooker wrote a syndicated newspaper column on artistic activity in Canada. The Seven Arts, as it was called, reviewed and analyzed visual arts, poetry, theatre and music – linking him to artistic communities across the country. His November 1929 article included a feature on the people of Iceland. Brooker notes that it was through Professor Pilcher, a faculty member at Wycliﬀe College and a translator of hymns by the poet Halligrimur Pjetursson, that he met Icelanders, “including Rosa Hermansson, a singer well known in Winnipeg, now studying music in Toronto...” Like Hermannsson, Brooker had moved from Manitoba to Toronto in pursuit of expanding his career. Hermannsson’s look is à la mode – come-hither without coquettishness, the kind eyes of a formidable talent cast away from the viewer in a sideways glance. Speaking of Miss Hermannsson, a reviewer in the Toronto Daily Star wrote: “A refreshing exhibition of lovely tone quality, excellent atmosphere and... indescribable beauty...” It is as much a description of Hermannsson’s voice as it is of Brooker’s depiction of the woman who possessed it.

$4,000–6,000

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120 JACK REPPEN, O.S.A. ABSTRACT COMPOSITION mixed media collage signed and dated ‘63 22.5 ins x 17.5 ins; 57.2 cms x 44.5 cms Provenance: Private Collection, Montreal Note: In the late 1950s and early 1960s Jack Reppen was celebrated as a muralist, a cartoonist and, foremost, as an abstract painter. A combination of incised gesso and thickly-painted textures, Jack Reppen’s collages are entrancing – taking on the look of enamelled and oxidized, metallic surfaces. $2,000–3,000

121 GREGORY RICHARD CURNOE SHAKESPEREAN ACTOR oil on masonite indistinctly inscribed on the reverse 36 ins x 24 ins; 91.4 cms x 61 cms Literature: Dennis Reid and Matthew Teitelbaum (eds.), “Some Things I Learned from Greg Curnoe,” in Greg Curnoe: Life and Stuﬀ, Art Gallery of Ontario, Toronto, 2001, page 119. Note: “And since you know you cannot see yourself, so well as by reﬂection, I, your glass, will modestly discover to yourself, that of yourself which you yet know not of.” – Act I, Scene II, Julius Caesar Curnoe spent the majority of his life in London, Ontario but travelled to England on occasion. Using a warm, vibrant palette, Curnoe captures a Shakespearean actor in a style reminiscent of Matisse’s Fauvist portraits. “Curnoe’s art was about momentary experience, about pausing to look at something or someone,” and he tended to spontaneously create forms rather than employ a methodic rigour to his work. Alongside his collages and lettered works, Curnoe’s portraits were always autobiographical and marked important relationships that the artist made throughout his life. $5,000–7,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

122 GREGORY RICHARD CURNOE UNTITLED NUDE oil on masonite signed and dated 1958 on the reverse 36 ins x 24 ins; 91.4 cms x 61 cms Note: Inﬂuenced by Kees van Dongen, Curnoe painted many nudes throughout his career, including portraits of his wife Sheila and of unnamed sitters such as the female subject of this lot. $5,000–7,000

123 RITA LETENDRE, R.C.A. SOUVENIR MOROSE gouache on paper signed and dated ‘62 9.5 ins x 12.125 ins; 24.1 cms x 30.8 cms Provenance: Private Collection, Montreal Private Collection, Winnipeg Literature: Rita Letendre, Rita Letendre: A Continuing Tradition, Moore Gallery, Toronto, 1994, quoted by Linda Jansma in Rita Letendre: Beginnings in Abstraction, Robert McLaughlin Gallery, Oshawa, 2005, page 6. Note: Though lacking the lavish impasto of canvases executed during this time, the surface of Souvenir Morose, vibrates with the same tension. Rita Letendre manipulates the watery medium into a restless scene that wields magnetic command over the viewer’s eye. Atop a backdrop of black and Venetian red, Letendre compels us towards a cascade of vitesse in blue: a semblance of a ﬁgure caught between two worlds, one of the “prisoners struggling to free themselves.” $6,000–8,000

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124 ARTHUR SHILLING PORTRAIT OF A YOUNG MAN oil on masonite signed and dated ‘76 22 ins x 20 ins; 55.9 cms x 50.8 cms Note: Striking colour and vigorous brushtrokes seem at odds with Shilling’s contemplative portrait, yet it is these elements which serve to animate what might otherwise read as a human still-life. While his portraits often remain unnamed, Shilling’s tender treatment of his subject leaves no doubt about his real-ness. With each gesture, Young Man is animated and Shilling clearly conveys his character if not his actual identity. $4,000–6,000

125 WILLIAM GOODRIDGE ROBERTS, R.C.A. LANDSCAPE oil on masonite signed 19.75 ins x 23.75 ins; 50.2 cms x 60.3 cms Provenance: Gerard Gorce Beaux-Arts Inc., Montreal Private Collection, Montreal $3,000–4,000

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

126 HAL ROSS PERRIGARD, A.R.C.A. HARBOUR SCENE oil on panel signed and dated ‘22; also signed on the reverse 6 ins x 8.5 ins; 15.2 cms x 21.6 cms Provenance: Private Collection, Montreal Note: Although largely self-taught, Perrigard did study under Maurice Cullen and William Brymner. Perrigard excelled at landscape and his subjects were frequently inspired by the summers he spent on the coast in Rockport, Massachusetts where he had a studio from 1923 until his death. $1,500–2,000

127 RICHARD MONTPETIT APRÈS L’AVERSE, RUE ST-DENIS oil on canvas signed; also signed, titled and dated ‘94 on the reverse 18 ins x 24 ins; 45.7 cms x 61 cms Provenance: Roberts Gallery Limited, Toronto Note: Montreal, the city Montpetit calls home, has provided rich inspiration for his paintings. Here, a wet sidewalk along StDenis - after a rain shower - is an open invitation to Montpetit to demonstrate his masterful rendering of reﬂected light - a signature skill of his. $1,200–1,500

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128 THOMAS HAROLD BEAMENT, P.R.C.A. RIVER IN WINTER oil on canvas signed 24 ins x 27.25 ins; 61 cms x 69.2 cms Provenance: Private Collection, Toronto $3,000–4,000

129 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. HOMEWARD BOUND oil on masonite signed 16 ins x 20 ins; 40.6 cms x 50.8 cms Provenance: Private Collection, British Columbia $6,000–8,000

100

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

130 ADAM SHERRIFF SCOTT, R.C.A. OUTSKIRTS OF EAST ANGUS, P.Q. oil on canvas board signed 20 ins x 25.25 ins; 50.8 cms x 64.1 cms Provenance: Private Collection, Montreal $3,000–5,000

131 RENÉ RICHARD UNTITLED - THE CURVE IN THE ROAD oil on masonite signed 16 ins x 20 ins; 40.6 cms x 50.8 cms Provenance: Private Collection, Montreal Note: Richard’s fascination with the Canadian landscape emerged from his animal trapping expeditions across the country in the 1930s. He documented the countryside in and around Baie-SaintPaul, Quebec using his expressionist style within various diﬀerent media including oil, watercoulour, pencil and charcoal. $6,000–8,000

101

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132 GERTRUDE DES CLAYES, A.R.C.A. PORTRAIT OF A YOUNG LADY oil on panel signed 18 ins x 10.5 ins; 45.7 cms x 26.7 cms Note: Gertrude des Clayes was a member of the National Portrait Society (1911) in England. In soft, loose brushstrokes, des Clayes captures a young woman coming of age – Her beauty rests in her uncertainty and her delicacy. The middle child of three, Gertrude des Clayes was sister to Alice (lot 144) and Berthe (lot 4) des Clayes. $2,500–3,000

133 LOUIS-PHILIPPE HÉBERT, R.C.A. SIR WILFRED LAURIER signed, dated 1892 and inscribed “Thiebaut Frères Fondeurs, Paris” bronze height 24.75 ins; 62.9 cms Provenance: Private Collection, Montreal $8,000—12,000

102

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

134 JOSEPH FRANCIS PLASKETT, R.C.A. INTERIOR, STILL LIFE WITH FRUIT AND CHAIR oil on canvas signed and dated 1967 30 ins x 22 ins; 76.2 cms x 55.9 cms Provenance: Private Collection, Montreal Literature: Joseph Plaskett, A Speaking Likeness, Ronsdale Press, Vancouver, 1999, page 160. Note: Plaskett took great pleasure in collecting furniture and renovating his homes especially as they were a favoured subject for his paintings. The surrounding dark room in this particular work feels like the chair and fruit have a spotlight on them. Plaskett said, “I was forced inward and had to find new ways to exploit the insufficiency of natural light. I could look down at an intimate theatre of life [in this case, Paris] in a narrow street, or I could bring the outside world in ... The house was rarely without models, which could include the profusion of flowers, fruits and vegetables from the old Les Halles markets a few streets away.” $5,000–7,000

135 STANLEY MOREL COSGROVE, R.C.A. LAURENTIAN LANDSCAPE oil on canvas signed; inscribed “March 76 T” in pencil on the stretcher 24 ins x 20 ins; 61 cms x 50.8 cms Provenance: Kastel Gallery Inc., Montreal Private Collection, Montreal $4,000–6,000

103

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136 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. DOUBLE-SIDED DRAWING: ST. PAUL, QUEBEC, 1923; TWO SLEIGHS pencil 4.5 ins x 8 ins; 11.4 cms x 20.3 cms Provenance: Georges Loranger XX Century Art, Toronto Private Collection, Ontario $3,000–5,000

(verso)

137 LEO MOL, R.C.A. A.Y. JACKSON bronze signed, dated ‘65, and numbered 11/15 height 15.25 ins; 38.7 cms Literature: John W. Fisher, Speaker, Homage to A.Y. Jackson, Speech at the Empire Club of Canada, 05 October 1972 given at the Fairmont Royal York Hotel, Toronto. Note: “He was a builder. He was an interpreter who wasn’t scared to go into the toughest places. He had no time for the soft life. Had he been born a hundred years earlier, assuming that he had the same assortment of genes in his system, I think he would have been an explorer and probably a great one; because where he went he always wanted to go further, always that curiosity...” Leo Mol’s rendering of Jackson captures the artist as he was later in life: a rugged and wizened ﬁgure with a substantial presence. Despite the toughness of the bronze’s texture and of the pose, Jackson’s furrowed brow and crossed arms cannot conceal the twinkle, the curiosity in his eye. This sculpture is a smaller casting of a work installed in the Leo Mol Sculpture Garden in Assiniboine Park in Winnipeg. $2,500–4,000

104

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

138 LOUIS-PHILIPPE HÉBERT, R.C.A. CHANDELIER “LA LISEUSE” bronze signed height 4.5 ins; 11.4 cms $3,500–5,000

139 ALFRED LALIBERTÉ, R.C.A. LE VIEUX / LA VIEILLE bronze signed and titled 16 ins x 16.5 ins x 9.5 ins; 40.6 cms x 41.9 cms x 24.1 cms Literature: Les Bronzes d’Alfred Laliberté, Collection du Musée du Québec, 1978, page 119, cat. no. 99 for Le Vieux / La Vieille. $5,000–7,000

105

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140 ANDREAS CHRISTIAN GOTTFRIED LAPINE, A.R.C.A. WINTER’S WORK oil on canvas board signed; an unﬁnished brush and ink sketch of a horse on the reverse 20 ins x 16 ins; 50.8 cms x 40.6 cms Provenance: J. Merritt Malloney’s Gallery, Toronto Private Collection, Ontario $3,000–5,000

141 MARC-AURÈLE FORTIN, A.R.C.A. MAISON DE CAMPAGNE watercolor, laid down on card signed 8.5 ins x 14.25 ins; 21.6 cms x 36.2 cms Provenance: Private Collection, Montreal $6,000–8,000

106

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

142 GORDON MCKINLEY WEBBER MEXICAN WOMAN SEATED oil on board signed on the reverse and inscribed “Toronto” 28 ins x 24 ins; 71.1 cms x 61 cms Provenance: Private Collection, Toronto $4,000–6,000

143 JEAN-PHILIPPE DALLAIRE LA CHASSE À L’OURS gouache on paper dated 1951 on a gallery label on the reverse 8.5 ins x 12.5 ins; 21.6 cms x 31.8 cms Provenance: Galerie Valentin, Montreal Literature: Guy Robert, Dallaire ou l’oeil panique, Éditions France-Amerique, Montreal, 1980, page 93. Note: As Guy Robert indicates, “En 1951, le pinceau de Dallaire se montre de nouveau très actif.” During this year, Jean-Philippe Dallaire executed several major works including the mural Québec sous le Régime français at the Industrial Alliance Head Oﬃce in Québec City. This playful work of a startlingly successful bear hunt, contrasts the serious nature of his political works and alludes to the skills he would hone as a draughtsman at the National Film Board of Canada in Ottawa (1952-1956). $6,000–7,000

107

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144 ALICE DES CLAYES, A.R.C.A. POSTBRIDGE, DARTMOOR oil on canvas signed 19 ins x 25 ins; 26 cms x 63.5 cms Provenance: Private Collection, Toronto Note: The Clapper Bridge rests in the hamlet of Postbridge, in the moorland of Dartmoor. The ancient structure is believed to have been built during the 13th Century to enable packhorses to cross the river en route to Tavistock. Alice des Clayes paints three unbridled horses and a foal leisurely watering at the river – not yet called upon to labour. The youngest child of three, Alice des Clayes was sister to the painters Berthe (lot 4) and Gertrude (lot 132) des Clayes. $3,000–5,000

145 ARMAND TATOSSIAN, R.C.A. GLOIRE DE ROUGE oil on canvas signed; also signed and titled on the reverse 24 ins x 30 ins; 61 cms x 76.2 cms Provenance: Private Collection, Montreal $2,500–3,000

108

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

146 JOSEPH FRANCIS PLASKETT, R.C.A. DANS LE PARC, PARIS pastel signed and dated 1960 19 ins x 24.5 ins; 48.3 cms x 62.2 cms Provenance: Private Collection, Montreal Literature: Joseph Plaskett, A Speaking Likeness, Ronsdale Press, Vancouver, 1999, page 250. Note: In Plaskett’s autobiography he writes extensively about his choice of subject matter. He notes, “Landscape occupies an anomalous space in my work. Land, sea and city have been my subjects: in Canada the wilderness from Labrador to the Queen Charlotte Islands; in Europe landscapes rarely without architectural and human traces. The rapidity in my use of pastel, the medium I chose for this huge production, allowed little time for contemplation or revision.” The artist captures a moment in this painting, just as the Impressionists strove for in their work. $1,000–1,500

147 JACK HAMILTON BUSH, O.S.A., A.R.C.A. ROADWAY IN WINTER oil on board 8.75 ins x 10.75 ins; 22.2 cms x 27.3 cms Provenance: Private Collection, Nova Scotia (by descent through the family of the artist) Literature: Dennis Reid, “Jack Bush: The Development of a Canadian Painter,” in Jack Bush, McClelland and Stewart, Toronto, 1984. Note: Dennis Reid writing about another early work of Bush’s emphasizes the role that the Group of Seven had on the younger artist. He could be describing this work when he writes that it has “roughly blocked-in colour areas, with the broad brushwork describing only major forms. It is tied to the work of Jackson, Lawren Harris, and MacDonald, in particular, in that it displays the saturated colour often used by those painters during the 20s and avoid anecdotal detail, pursuing the dominant mood of the place that is its subject.“ $4,000–6,000

109

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148 THOMAS HAROLD BEAMENT, P.R.C.A. LAURENTIAN STREAM oil on board signed and titled on the reverse 9 ins x 12 ins; 22.9 cms x 30.5 cms Provenance: Private Collection, Montreal $800–1,200

149 LEO AYOTTE COWS BY RIVER oil on masonite signed and dated ‘67 36 ins x 48 ins; 91.4 cms x 121.9 cms $4,000–6,000

110

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

150 JOHN YOUNG JOHNSTONE, A.R.C.A. FARMING SCENE oil on canvas signed 14 ins x 19.75 ins; 35.6 cms x 50.2 cms Provenance: Private Collection, Montreal $6,000–8,000

151 GEORGE AGNEW REID, O.S.A., P.R.C.A. THE HUMBER RIVER oil on canvas signed and dated 1890 22 ins x 36 ins; 55.9 cms x 91.4 cms Literature: Muriel Miller Miner, G.A. Reid: Canadian Artist, The Ryerson Press, Toronto, 1946, pages 57-58. Note: It was 1890, the year this painting was executed, that George Reid was elected a full academician of the Royal Canadian Academy. That summer Reid and his wife rented an old mill as a studio in Lambton Mills. According to Miner, in front of the old mill ran the Humber River, which may have been the inspiration for this painting. $5,000–7,000

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152 LIONEL LEMOINE FITZGERALD TREES coloured pencil drawing 15.5 ins x 16 ins; 39.4 cms x 40.6 cms Provenance: Private Collection, Montreal Literature: Essay by Linda Jansma in A Vital Force: The Canadian Group of Painters, Agnes Etherington Art Centre, The Robert McLaughlin Gallery, Kingston and Oshawa, 2013, page 41. Note: FitzGerald delicately renders aged and unyielding trees into delicate threads of subdued colour. As Linda Jansma wrote, “FitzGerald requires the viewer to reﬂect on the quiet harmonies and rhythms found within nature in order to discover its beauty.” $1,200–1,500

153 WALTER JOSEPH PHILLIPS, R.C.A. GIMLI woodcut printed in colours initialled in plate and signed, titled and numbered 14/100 in pencil in the margin 9.5 ins x 13.5 ins; 24.1 cms x 34.3 cms Literature: Nancy E. Green, Kate Rutherford and Toni Tomlinson, Walter J. Phillips, Pomegranate, Portland, Oregon, 2013, page 72 for a related Gimli subject. $2,500–3,000

112

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

154 LIONEL LEMOINE FITZGERALD ABSTRACTION coloured pencil drawing signed and dated “17.7.53” in pencil in the lower margin 18 ins x 17.75 ins; 45.7 cms x 45.1 cms Provenance: Private Collection, Montreal Note: The so-called “last” member of the Group of Seven, LeMoine FitzGerald first painted subject matter from everyday life in western Canada. Later into his career, his style became more abstract: muted colours, swirling across the page in dynamic, Pointillist formations. FitzGerald’s abstract art had a profound influence on Bertram Brooker (lots 50 & 119), whom he first met in 1929. $1,500–2,000

155 WILLIAM RONALD, R.C.A. UNTITLED watercolour signed and dated ‘58 15 ins x 20 ins; 38.1 cms x 50.8 cms Provenance: Private Collection, Toronto (gift of the artist) Literature: William Ronald, interviewed by Richard Brown Baker, New York, Archives of American Art, April 18 and June 2, 1963. Note: Despite his reputation as the founding member of the Painters Eleven in 1954, Ronald did not consider himself an abstract expressionist. In a 1963 interview with Richard Brown Baker, he explained: “I always think of abstract expressionism more or less as de Kooning. He’s the man that sort of made it popular, I think. It’s a fragmentated (sic) manner of painting and breaking up of space usually using the whole canvas; that is, working out to the four sides like Pollock worked out to the four sides, you see. But I never did. I always had a focal point and a solid, or more or less solid, almost ﬂat image to began with, and then there was some movement in the paint.” $1,800–2,200

113

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156 JOHN RICHARD FOX ON THE BANKS OF THE SEINE oil on panel signed 5.5 ins x 7 ins; 14 cms x 17.8 cms Provenance: Private Collection, Montreal Literature: The Montreal Star, February 9, 1957. Note: Fox’s inﬂuence of the Fauvists that he so admired can be seen in this work. While this group were intense with their colour and line, they were more conservative with their choice of subject matter often depicting charming landscapes. Here we have the center of Paris with a bucolic atmosphere. One reviewer discussing Fox’s work wrote that he, “paints thinly, something like a water colour painter, taking pleasure not in juicy pigment or in the third dimension, but in the pattern that ﬁlls the square, in space and proportion and the judicious use of colour. In colour he is individual and ingratiating, rich and glowing without being sumptuous and reticent, wearing it like a mellow bloom...” $600–800

157 CHARLES FRASER COMFORT, O.S.A., P.R.C.A. RAIN, GEORGIAN BAY oil on masonite signed 12 ins x 16 ins; 30.5 cms x 40.6 cms Provenance: Private Collection, Oakville $4,000–6,000

114

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

158 MARJORIE (JORI) ELIZABETH THURSTON SMITH RANG DE LA DECHARGE, ST URBAIN, 1933 oil on board signed; also signed, titled and dated on the reverse 3.75 ins x 4.75 ins; 9.5 cms x 12.1 cms Provenance: Private Collection, Montreal Literature: Jori Smith, Charlevoix County, 1930, Penumbra Press, 1998, for Smith’s memoirs of her time in Charelvoix during the period in which this lot was executed. $1,000–1,500

159 HENRI LEOPOLD MASSON LE FÔRET oil on canvas signed and dated ‘34, unframed 10.5 ins x 12.5 ins; 26.7 cms x 31.8 cms Provenance: Private Collection, Montreal $1,200–1,500

115

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160 ARTHUR LISMER, O.S.A., R.C.A. BEACH SCENE oil on masonite signed 12.25 ins x 16.25 ins; 31.1 cms x 41.3 cms Provenance: Private Collection, Ontario Literature: Augustus Bridle, “Pictures of the Group of Seven Art Show, ‘Art Must Take the Road,’” Toronto Daily Star, 20 May 1922. $10,000—15,000

116

Note: A charter member of the Group of Seven, Arthur Lismer was motivated to express the spirit of Canada through landscape painting. Joining his fellow artists on painting trips to the north shore of Lake Superior and the Algoma region, Lismer’s contributions to the Group’s body of work depicted the Canadian terrain as more angular and rough than his counterparts. In 1922, Augustus Bridle wrote: “Of the group (Lismer) is the most restless, and is only now toning down to a point where he can begin to size up to a really big thing on its merits... I think Lismer understands his art better as yet than he has been able to illustrate it. But he is becoming more clarified and simple and it is gaining strength.” It was in Lismer’s later work that his style reached maturation – lending a gentleness to the wilds; softened and literal. His concentration shifted from expansive scenes toward tightly framed and close-up formations of land and vegetation. In 1951, Arthur Lismer made his first trip to Long Beach on the west coast of Vancouver Island. For 16 subsequent summers, he returned to the area to paint scenes of the seashore and of the nearby forest. Like the bulk of his paintings from his time on Long Beach, Beach Scene demonstrates Lismer’s intimate familiarity with natural forms. A tangle of shells, driftwood, and flotsam, are to Lismer a potpourri of cadmium orange and green, mauve and greys.

Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

161 JOE NORRIS GETTING READY FOR A FISHING TRIP oil on panel signed and dated 1986 24 ins x 30 ins; 61 cms x 76.2 cms Provenance: Private Collection, Kingston $3,000–4,000

162 STANLEY MOREL COSGROVE, R.C.A. STILL LIFE WITH LEMONS oil on canvas signed 16.25 ins x 20 ins; 41.3 cms x 50.8 cms Provenance: Dominion Gallery, Montreal $2,500–3,500

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163 JOSEPH FRANCIS PLASKETT, R.C.A. PARIS STREET SCENE pastel signed and dated ‘61 25.5 ins x 19.5 ins; 64.8 cms x 49.5 cms Provenance: Private Collection, Montreal $1,000–1,500

164 BRUNO CÔTÉ MISTY oil on masonite signed; also signed and titled on the reverse 30 ins x 36 ins; 76.2 cms x 91.4 cms Provenance: Private Collection, Montreal Literature: Roxane Babinska, Bruno Côté: Beyond the Land, Vincent Fortier Publishing, Ottawa & Toronto, 2003, page 138. Note: “It is necessary to go beyond the structure in order to uncover the signiﬁcance of each painting. Bruno Côté oﬀers a useful tip: He suggests that I hold my hand to my eye like a telescope, and that I observe the paintings through it.” Transitioning from work in his family’s publicity business to that of a fulltime artist, Côté was inspired by the richness of the Canadian landscape. Using a simple palette, Côté paints scenery that is savage yet beautiful. $4,000–5,000

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Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

165 MICHELINE BEAUCHEMIN LA MARIÉE D’ANGOULEME oil on canvas board, laid down on board signed and dated ‘56 18 ins x 13 ins; 45.7 cms x 33 cms Provenance: Private Collection, Montreal Note: Beauchemin, known primarily for her production of large tapestries, studied under Alfred Pellan. $800–1,200

166 RODY KENNY HAMMOND COURTICE, O.S.A., R.C.A. NIGHT, OLD CITY tempera on board signed 20 ins x 16 ins; 50.8 cms x 40.6 cms Exhibited: Canadian Group of Painters, 1959 $1,200–1,500

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167 MILLER GORE BRITTAIN SEATED NUDE coloured chalks, heightened with white signed with initials and dated ‘48 21.5 ins x 15 ins; 54.6 cms x 38.1 cms Provenance: Private Collection, Toronto $1,800–2,200

168 TAKAO TANABE UNTITLED gouache, laid down on card signed and indistinctly dated ‘55; inscribed “study for a painting”, signed and dated in pencil on the mount 10.75 ins x 13.75 ins; 27.3 cms x 34.9 cms Provenance: Private Collection, Montreal $800–1,200

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Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

169 NORMAND HUDON LES GENS DU VOYAGE mixed media on illustration board signed and dated ‘58 16 ins x 20 ins; 39.4 cms x 49.5 cms Provenance: The Waddington’s Galleries Inc., Montreal Private Collection, Montreal $1,000–1,500

170 PAUL FOURNIER, R.C.A. BY EMERALD WATERS acrylic on canvas signed, titled and dated ‘90 on the reverse 40 ins x 80 ins; 101.6 cms x 203.2 cms Provenance: Private Collection, Toronto Literature: Karen Wilkin, Introduction to Recent Paintings by David Bolduc, Paul Fournier, K M Graham, Canada House Cultural Centre Gallery, London, 1982, unpaginated. Note: The rich play of colour and application of media recalls what Karen Wilkin notes about Fournier’s paintings: “They are pictures about the act of painting itself: about gesture and colour, about the pleasure of applying paint, about ways of making paint thick or thin, transparent or opaque. The lushness and subtlety of their surfaces are reason enough for these paintings to exist, in purely formal terms.” $3,000–4,000

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Index

Coburn, Frederick Simpson (1871-1960)…

FitzGerald, Lionel Lemoine (1890-1956)…

Andrews, Sybil (1898-1992)… 55

70, 71

152, 154

Armstrong, William (1822-1914)… 14

Colville, Alexander (1920-2013)... 11, 83,

Forrestall, Thomas de Vany (1936-)… 22

Ayotte, Leo (1909-1976)… 149

84, 102

Fortin, Marc-Aurèle (1888-1970)… 29, 141

Collyer, Nora Frances Elisabeth (1898-

Fournier, Paul (1939-)… 170

1979)… 88

Fox, John Richard (1927-2008)… 156

Beament, Thomas Harold (1898-1984)…

Comfort, Charles Fraser (1900-1994)… 157

128, 148

Cosgrove, Stanley Morel (1911-2002)…

Beau, Henri (1863-1949)… 68

135, 162

Gorman, Richard (1935-2010)… 103

Beauchemin, Micheline (1930-2009)… 165

Côté, Bruno (1940-2010)… 164

Belleﬂeur, Léon (1910-2007)… 100, 108

Coughtry, John Graham (1931-1999)… 53

Berthon, George Theodore (1806-1892)…

Courtice, Rody Kenny Hammond (1895-

Harris, Lawren Stewart (1885-1970)… 32,

1973)… 166

57, 59, 63, 95

Bolduc, David (1945-2010)… 106

Curnoe, Gregory Richard (1936-1992)…

Hébert, Louis-Philippe (1850-1917)… 133,

Bobak, Molly Lamb (1922-2014)… 118

49, 121, 122

138

Borenstein, Samuel (1908-1969)… 3

Hodgson, Thomas Sherlock (1924-2006)…

Brandtner, Fritz (1896-1969)… 28, 75, 101,

104

107, 113

Dallaire, Jean-Philippe (1916-1965)… 143

Holgate, Edwin Headley (1892-1977)… 23,

Brittain, Miller Gore (1912-1968)... 167

Daly Pepper, Kathleen (1898-1994)… 35

110, 112

Brooker, Bertram (1888-1955)… 50, 119

de Grandmaison, Nicholas (1892-1978)…

Hudon, Normad (1929-1997)… 85, 86,

Brown, Daniel Price Erichsen (1939-)… 82,

17, 18, 64

169

116, 117

Des Clayes, Alice (1890-1968)… 144

Huot, Charles (1855-1930)… 67

Burton, Dennis Eugene Norman (1933-

Des Clayes, Berthe (1877-1968)… 4

2013)… 105, 109

Des Clayes, Gertrude (1879-1949)… 132

Bush, Jack Hamilton (1909-1977)… 7, 9, 147

Jackson, Alexander Young (1882-1974)… E

20, 36, 42, 43, 62, 79, 80, 91, 136

Eloul, Kosso (1920-1995)… 98

Johnston, Frank Hans (1888-1949)… 34,

Etrog, Sorel (1933-2014)… 46, 99

78, 129

Cahén, Oscar (1916-1956)… 47

Johnstone, John Young (1887-1930)… 150

Casson, Alfred Joseph (1898-1992)… 39,

41, 77, 90

Ferron, Marcelle (1924-2001)… 10

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Canadian Fine Art Auction – Monday 24 November 2014 at 7 p.m.

Meredith, John (1933-2000)… 27

Sherriﬀ Scott, Adam (1887-1980)… 130

Kasyn, John (1926-2008)… 87

Mol, Leo (1915-2009)… 114, 137

Shilling, Arthur (1941-1986)… 124

Krieghoﬀ, Cornelius (1815-1872)… 37, 66,

Montpetit, Raphael (1980-)… 127

Smith, Marjorie (Jori) Elizabeth Thurston

Muhlstock, Louis (1904-2001)… 74, 94

(1907-2005)… 72, 158

Nakamura, Kazuo (1926-2002)… 76

Tanabe, Takao (1926-)… 31, 168

Laliberté, Alfred (1878-1953)… 115, 139

Norris, Joe (1924-1996)… 161

Tatossian, Armand (1948-2012)… 145

Kurelek, William (1927-1977)… 24, 30, 44

Lapine, Andreas Christian Gottfried (1866-

Teitelbaum, Mashel (1921-1985)… 2

1952)… 140

Town, Harold Barling (1924-1990)… 26,

Lemieux, Jean-Paul (1904-1990)… 25, 54

Pachter, Charles (1942-)… 89

97, 111

Letendre, Rita (1928-)… 60, 61, 123

Perrigard, Hal Ross (1891-1960)… 126

Little, John Geoﬀrey Caruthers (1928-)…

Phillips, Walter Joseph (1884-1963)… 6,

153

Varley, Frederick Horsman (1881-1969)…

Lismer, Arthur (1885-1969)… 160

Plaskett, Joseph Francis (1918-2014)… 134,

Luke, Alexandra (1901-1967)… 52

146, 163

Verner, Frederick Arthur (1936-1928)… 19

Lyall, Laura Adeline Muntz (1860-1930)…

Pratt, Christopher (1935-)… 21

W R

Webber, Gordon McKinley (1909-1965)…

Raphael, William (1833-1914)… 16

142

Macdonald, James Williamson Galloway

Reid, George Agnew (1860-1947)… 151

(1897-1960)… 45

Reppen, Jack (1933-1964)… 120

MacDonald, James Edward Hervey (1873-

Richard, René (1895-1982)… 131

1932)… 33, 38, 58

Roberts, William Goodridge (1904-1974)…

MacDonald, Manly Edward (1889-1971)…

93, 125

Ronald, William (1926-1998)… 51, 96, 155

Martin, Thomas Mower (1838-1934)… 65 Masson, Henri Leopold (1907-1996)… 1, 8,

159

Shadbolt, Jack Leonard (1909-1998)… 56

Mead, Raymond John (1921-1998)… 48

Sheppard, Peter Clapham (1882-1965)…

May, Henrietta Mabel (1877-1971)… 40

13, 92

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CanadianArt.Waddingtons.ca

Buying at Waddington’s

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

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inquire as to the condition of a lot before bidding. Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale. Frames on artwork are not included as part of purchase or condition. Buyers Premium A premium of 18% of the successful bid price of each lot sold is paid by the buyer as part of the total purchase price. Artfact Live! clients will be charged a buyer's premium of 21% of the successful bid price of each lot up to and including $50,000 as part of the total purchase price. A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer's premium, except for purchases exported from Canada. In the case where purchases are shipped out of the province of Ontario, the HST or GST is charged based on the tax status of that province.

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

Payment Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certiﬁed cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000). As Waddington's requires written authorization for all credit card purchases, credit cards must be presented in person by the cardholder and therefore cannot be accepted over the telephone. However, fax authorization arrangements can be made. ALL PRICES IN CANADIAN FUNDS

Canadian Fine Art Auction – Monday 24 November 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 preauction 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 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% 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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CanadianArt.Waddingtons.ca

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 18% of the successful bid price. 3. Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of that province, whether it HST or GST (Goods and Services Tax). 4. The auctioneer reserves the right to withdraw any lot from

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sale at any time, to divide any lot or to combine any two or more lots at his sole discretion, all without notice. 5. The auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion. The auctioneer reserves the right not to accept and not to reject any bid. Without limitation, any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance over the previous bid may not be recognized. 6. Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor. The auctioneer may bid, or direct an employee to bid, on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant to the instructions of prospective purchasers not in attendance at the sale. 7. The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from the sale, or to re-offer it at the same or a subsequent sale. The auctioneer’s decision in all cases shall be final. 8. Immediately after the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the auctioneer with respect to payment of the whole or any part of the purchase price requested by the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without re-offering the item for sale.

9. The buyer shall pay for all lots within 48 hours from the date of the sale, after which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale. The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale , after which storage charges may be incurred. 10. Each lot purchased, unless the sale is cancelled as above, shall be held by the auctioneer at his premises or at a public warehouse at the sole risk of the buyer until fully paid for and taken away. 11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 14 days following the sale a written opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a written request by the buyer for rescission of the sale, then the sale of the lot will be rescinded and the sale price refunded to the buyer. 12. Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000). 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. 13. In the event of failure to pay for or remove articles within the

aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for: (a) any deficiency in price between the re-sale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer. 14. It is the responsibility of the buyer to make all arrangements for insuring, packing and removing the property purchased and any assistance by the auctioneer or his servants, agents or contractors, in packing or removal shall be rendered as a courtesy and without any liability to them. 15. The auctioneer acts solely as agent for the consignor and makes no representation as to any attribute of, title to, or restriction affecting the articles consigned for sale. Without limitation, the buyer understands that any item bought may be affected by the provisions of the Cultural Property Export Act (Canada). 16. The auctioneer reserves the right to refuse admission to the sale or to refuse to recognize any or all bids from any particular person or persons at any auction.

Canadian Fine Art Auction â&#x20AC;&#x201C; Monday 24 November 2014 at 7 p.m.

Operational StaďŹ&#x20AC;

Specialist Departments

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

Jewellery, Watches & Numismatics Don P. McLean 416 847 6170 dpm@waddingtons.ca Lynda Macpherson Jewellery Administrator 416 847 6190 lm@waddingtons.ca

Canadian Fine Art Monthly Fine Art Linda Rodeck 416 847 6176 lr@waddingtons.ca Eileen Reilley Condition Reports 416 847 6191 etr@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 Di Monte Assistant nd@waddingtons.ca

Doug Payne 416 847 6180 dp@waddingtons.ca Decorative Arts Bill Kime Silver, Glass & Ceramics 416 847 6189 bk@waddingtons.ca Sean Quinn Sculpture, Decorations, Clocks & Lighting 416 847 6187 sq@waddingtons.ca Ellie Muir Decorative Arts Assistant 416 847 6196 em@waddingtons.ca

President Duncan McLean 416 847 6183 adm@waddingtons.ca

Building Manager Steve Sheppard 416 847 6186 ss@waddingtons.ca

Vice President Business Development Stephen Ranger 416 847 6194 skr@waddingtons.ca

Client Services Andrew Brandt 416 504 9100 ext 6200 ab@waddingtons.ca

Vice President Fine Art Linda Rodeck 416 847 6176 lr@waddingtons.ca General Manager Duane Smith 416 847 6172 das@waddingtons.ca Creative & Technical Manager Jamie Long 416 847 6188 jl@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

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

Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca Ali Nasir 416 847 6181 an@waddingtons.ca Appraisal Co-ordinator Ellie Muir 416 847 6196 em@waddingtons.ca Communications Tess McLean 416 504 9100 tm@waddingtons.ca

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Canadian Fine Art Waddingtons.ca

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

Telephone: 416.504.5100 Fax: 416.504.6971 Toll Free: 1.877.504.5700