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FALL 2017 HIGHLIGHTS
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ASIAN ART Austin Yuen Specialist Chih-En Chen Consulting Specialist Amelia Zhu Administrator
CANADIAN FINE ART Linda Rodeck Senior Specialist Anna Holmes Fine Art Administrator Rochelle Konn Catalogue Orders
CONCRETE CONTEMPORARY ART Stephen Ranger Senior Specialist Kristin Vance Fine Art Administrator D E C O R AT I V E A R T S Bill Kime Senior Specialist Ceramics, Glass and Silver Sean Quinn Senior Specialist Sculpture, Clocks, and Lighting
INUIT ART Christa Ouimet Senior Specialist
FINE JEWELLERY A N D WATC H E S Donald McLean Senior Specialist
“ O F F T H E WA L L” M O N T H LY F I N E A R T Doug Payne Specialist
Andrew Brandt Specialist Rugs and Carpets
FINE WINE & SPIRITS
I N T E R N AT I O N A L A R T
Stephen Ranger Senior Specialist
Susan Robertson Senior Specialist
Joann Maplesden Fine Wine and Spirits Administrator
Waddington’s is Canada’s original auction house, founded in 1850, and the most diverse auction and appraisal services company in the country. Waddington’s is also an international auction house, providing access to world markets for both sellers and buyers. We are driven to meet the evolving interests and needs of our clients and the changing parameters of the market. From setting record prices for Canadian Fine Art, to the launch of Concrete Contemporary Art Auctions and Projects; the marathon auction of Maple Leaf Gardens, or conducting Ontario’s only fine wine and spirits auctions; we always find what’s new, what’s exciting; and what the market is interested in buying or selling.
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FALL 2017 HIGHLIGHTS
Everything changes – and that’s a good thing. Our tastes, habits, interests and priorities are all in a constant state of evolution. Change often presents us with dramatically new opportunities; it can make you look at things with a new eye giving freedom to create your own distinct environment. Contradicting and contrasting the usual - inspiring you to create something unfamiliar, yet exciting and gratifying. In the past, for many of our clients, it was all about the hunt for that next piece to enhance or complete a collection. Researching and collecting in specific and often very narrow areas of interest: items like snuff boxes, pewter tankards, cranberry glass – even as focussed as examples of silver hallmarks from a particular era or country. Today, collecting is often a means to decorate, bringing together disparate items to create a unique look and feel. Finding a way to merge tastes and styles, mixing new and old, cultures and styles. Waddington’s, with our wide diversity of expertise and offerings, is ideally suited to help you reimagine where you live and work. This Fall 2017 Highlights Catalogue features some of the best and most captivating items from across all our upcoming auctions. Nowhere else in Canada can you source a contemporary Georg Jensen silver candelabra, a 2000-year old Chinese pottery watch tower, a Martin Brothers stoneware grotesque bird, a marble statue of Pandora, a Northwest Coast carved totem pole, or an elegant pencil portrait by Modigliani, to help individualize a room which might be minimally furnished in Scandinavian teak! We look forward to seeing you at one of our auction previews; to answer any questions you may have about whatever treasures you’ve discovered here. The only limit is your imagination. Duncan McLean President
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FALL 2017 HIGHLIGHTS
ASIAN 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 within the community. Specializing in jade, paintings, porcelain, bronzes, religious works of art, textiles, woodblock and export wares, we present works from China, Japan, Korea, South East Asia, South Asia, and the Himalaya region.
A S I A N A R T AU C T I O N Monday, December 4, 2017
A JAPANESE BRONZE SET OF AN OLD MAN WITH CHICKENS BY GENRYUSAI SEIYA, MEIJI PERIOD A magnificiently casted set of an old man seated on a rope-bound sheaf, one leg propped on the other and grasping a sagemono pouch, the floor laid out with a small meal set and a loose sandal as two chickens approach, all set on a large wood carved base, 26 x 35 x 25 in — 66 x 88.9 x 63.5 cm $10,000—12,000
provenance:
Acquired from Sotheby’s New York, June 1, 1988
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KAWASE HASUI (1883-1957), SPRING MOON AT NINOMIYA BEACH, 1932 Woodblock print, ink and colour on paper, framed, 14.8 x 10 in — 37.7 x 25.5 cm
provenance:
From the Collection of Dr. Brian L. Evans, Edmonton $300—500
note:
A copy of this print is in the collection of the Museum of Fine Arts, Boston, Gift of Miss Ellen Gleason, accession number 47.181 Another copy of this print is in the collection of the Art Institute of Chicago, Bruce Goff Archive, Gift of Shin’enkan, Inc., accession number 1990.607.644
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CHEN JING 陳景, WATER BUFFALO, QING DYNASTY A leisurely pastoral scene of water buffalo, with herdboys fishing, playing games and flying kites, ink on paper, cyclically dated 雍正丙午 to 1726, 13.4 x 90.1 in — 34 x 228.8 cm
provenance:
From an Important Private Collection, Hong Kong, and thence by descent $2,000—4,000
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A MUGHAL-STYLE CELADON JADE MARRIAGE BOWL, 18TH/19TH CENTURY The shallow dish with gently scalloped sides, the body reticulated with lush peony blooms and scrolling vines, flanked with openwork peony handles, the greyish-green stone with areas of white mottling, together with original finely-carved rosewood stand, with stand 6.3 x 8.9 in — 16 x 22.5 cm
provenance:
From an Important Private Collection, Toronto $14,000—18,000
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A VERY FINE WHITE JADE AXE FORM PENDANT, QING DYNASTY 18TH/19TH CENTURY The stone of even white tones, very finely carved throughout with archaic motifs, length 4 in — 10.2 cm
provenance:
Private Collection, Toronto, acquired in 1974, London, UK $8,000—12,000
note:
A similar archaistic pendant was sold at Christie’s New York, March 24, 2011, lot 1532 Another similar example was sold at Doyle, March 21, 2011, lot 255
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ISIDORE-STANISLAS HELMAN, “FOU-TE LIEUTENANT DE TCHAOHOEI POURSUIT AMOUR-SANA”, 1783 Engraving from the series “Batailles et Conquêtes de L’Empereur de la Chine”, ink on paper, framed, 9.8 x 15.9 in — 24.8 x 40.4 cm $5,000—7,000
note:
This rare engraving, part of a series of sixteen entitled Batailles et Conquêtes de l’Empereur de la Chine (Battles and Conquests of the Emperor of China), was executed by French engraver Isidore-Stanislas Helman. The series was originally commissioned on 13 July 1765 by Emperor Qianlong for the central hall of the Palace in Beijing, to serve as a commemoration and visual record of his victorious military campaigns throughout Central Asia from 1755 to 1759. The engravings are based on paintings completed by Jesuit missionaries employed by Emperor Qianlong’s court, including Giuseppe Castiglione (Lang Shining), Jean-Denis Attiret (Wang Zhicheng), Ignatius Sichelbarth (Ai Qimeng) and Jean-Damascene Sallusti (An Deyi). Small-scale versions of these paintings were then transported from the Chinese court to Paris where the era’s most renowned engravers were working. The Emperor decreed that the pieces were to emulate the style of Augsburg engraver Georg Philipp Rugendas the Elder (1666-1742), whose work he revered. Here, the paintings were transferred on to copperplates and printed by eight artists under the direction of CharlesNicolas Cochin of the Academie Royal at the Court of Louis XVI. Jean-Philippe Le Bas, Isidore-Stanislas Helman’s teacher, was one of the original eight engravers. The present example is from Helman’s renowned series, crafted from 1783-1788. Helman engraved a new series of cold-chisel prints that were half the size of the originals, with the intention of selling the editions to the public. The smaller reproductions were wildly popular, and the success encouraged Helman to create four additional prints in 1786, followed by a further four in 1788. Complete sets of Helman’s work are extremely rare, and are featured in the permanent collections of few eminent institutions, including the Musée Guimet in Paris.
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YU YOUREN 于右任 (1879-1964), CALLIGRAPHY Ink on paper, 38.8 x 13.4 in — 98.5 x 34.1 cm
provenance:
From a private collection, Taiwan, and thence by descent $6,000—8,000
note:
Born on April 11, 1879 in the town of Hedaogang in Sanyuan County, Shaanxi Province in China, Yu Youren is regarded as one of the nation’s modern masters of calligraphy. Following the death of his mother in 1880, Yu Youren was raised principally by his aunt. He attended private school at the Mawang Temple in Yangfu, studying under Mr. Diwu. In 1889, Yu returned to Sanyuan with his aunt, and began studies at the school of Mao Banxiang where he became interested in archaic and modern forms of poetry. He was also introduced to the works of ‘Southern Song’ patriots such as Wen Tianxing and Xie Fangde. At the age of 17, Yu placed first in entrance examinations, and continued his studies at the Dao Academy in Sanyuan, the Weijing Academy in Jingyang, and Guanzhong Academy. In 1900, Yu’s revolutionary leanings began to solidify. He penned a letter to the Pacification Commissioner of Shaanxi urging action against the Empress Dowager Cixi. He also began using poetry as an outlet for his frustrations with the government, and he eventually collected his works into a book entitled Poetry Drafts from the Hall of Tears and Mockery. In 1903, Yu passed the civil service examinations to become a Provincial Graduate. However, due to his satirical writings, the government branded him a revolutionary. He fled to Shanghai where he enrolled in the Aurora Academy under the assumed name Liu Xueyu. In 1906, Yu fled to Japan where he met Sun Yat-sen and the Tongmenghui, also known as the Chinese Revolutionary Alliance, which he officially joined. He returned to China in 1907, and over the next three years established various newspapers that were strongly critical of government corruption. Arrested and imprisoned numerous times, he remained undaunted in his vocal opposition of the government. Active in the revolution throughout his career, Yu Youren held a number of prominent positions in the organization of revolutionary activities. He also became central in the cultural world and pursued many endeavors to preserve and protect artistic heritage. In 1936, Yu collected examples of Chinese characters and compiled them into the Thousand Character Essay in Standard Cursive Script. In 1941, along with fellow members of the artistic community, Yu Youren named the fifth day of the fifth lunar month as Poets’ Day. He was also instrumental in the establishment of the Dunhuang Art Academy. In 1949, Yu followed the Chinese Nationalist government to Taiwan where he lived until his death in 1964. He continued to pursue his interests in poetry and calligraphy while in Taiwan, producing works that became very popular with collectors. A scholar of calligraphy, Yu Youren is considered a modern master. His distinct and animated style is highly desirable, and can be found in many prominent public and private collections.
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A FINE FAMILLE ROSE GRISAILLE-DECORATED ‘WINTER LANDSCAPE’ PLAQUE, ATTRIBUTED TO YU WENXIANG 余文襄 (1910-1993) Cyclically dated to 1962, finely and dynamically rendered, with a winter retreat set amongst a snowy treed mountain landscape, 14.4 x 10 in — 36.7 x 25.4 cm
provenance:
From an Estate in Seattle, WA $2,000—3,000
note:
For a close example depicting winter in Liang Yuan, see Lyon & Turnbull, November 8, 2016, lot 155. For another similar ‘winter landscape’ plaque by Yu Wenxiang, see Beijing Council’s sale on June 5, 2012, lot 2425.
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A FAMILLE ROSE ‘FAUX BOIS’ DOUBLE GOURD VASE, JINGYUANTANG 靜遠堂 MARK, REPUBLIC PERIOD (1912-1949) Heavily potted, supported on a short foot and rising to an ovoid lower body, tapering to a narrow waist and extending to the gently rounded upper body, finely enameled throughout with a faux bois motif, and punctuated by roundels depicting birds and flowers, height 10.4 in — 26.5 cm $2,000—3,000
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A BLUE AND WHITE ‘BAJIXIANG’ VASE, QIANLONG MARK, LATE QING/REPUBLIC PERIOD OR EARLIER Well and heavily potted, the globular body rising steeply to broad shoulders, and tapering gradually to a wide neck and a gently everted rim, the body intricately enameled throughout in vibrant tones of cobalt blue, with banded registers of contrasting motifs, including the Eight Buddhist Emblems amongst densely scrolling lotus flowers over the belly, a fine band of bats amongst clouds, with a register of rolling waves above, and repeating geometric bands encircling the neck, height 19.4 in — 49.2 cm
provenance:
From an Estate in Johannesburg, South Africa Private Collection, Toronto $6,000—8,000
note:
A similar example was sold at Bonhams San Francisco, October 18, 2016, lot 9146. Another comparable example without the mark was sold in the same room, March 10, 2015, lot 8153. For a Qianlong period example, please see Jinghua Auction, Shanghai, December 14, 2016, lot 1687. A Doucai example was sold at Christie’s London, May 13, 2016, lot 705.
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A FAMILLE ROSE ‘CALLIGRAPHY AND FIGURE’ VASE, REPUBLIC PERIOD (1912-1949) OR LATER, ATTRIBUTED TO WANG DAFAN 王大凡 (1888-1961) Unusually and heavily moulded in a rhomboid form, with two faces finely enameled with figural scenes, and two faces depicting calligraphy, cyclically dated to 1933, the neck and foot with a banded archaic motif, height 12.6 in — 31.9 cm
provenance:
From an Estate in Seattle, WA $2,000—3,000
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A MASSIVE CARVED GILT-LACQUERED WOOD FIGURE OF WEI TUO, 18TH/19TH CENTURY Finely and dynamically rendered, the gallant figure is depicted in a confident stance, with a hand on his hip, his broad shoulders back and chest raised, with a resolute and peaceful look over his youthful face, clad in intricately fashioned armor, height 42 in — 106.7 cm $6,000—8,000
note:
Wei Tuo, also known as the bodhisattva Skanda, is regarded as a devoted guardian of Buddhist monasteries, responsible for protecting the teachings of Buddhism. He was given this instruction by the Buddha as he entered nirvana. In Chinese Buddhism, Wei Tuo is recognized as one of the eight divine protectors. As such, he is traditionally depicted as a majestic general clad in elegant armor, as evidenced by the current example. WA D D I N G TO N ’ S AU C T I O N H I G H L I G H T S
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A BRONZE ‘PHOENIX’ VASE, QING DYNASTY, QIANLONG MARK BUT POSSIBLY LATER Of square baluster form, with flared foot and broad shoulders, neck and body decorated with phoenixes amongst dense peony scrolls, ruyi and key-fret borders, one side of the foot with a six-character Qianlong mark, height 16.4 in — 41.6 cm $6,000—8,000
provenance:
From an Estate in Seattle, WA
note:
Possibly the only comparable pair, originally from the collection of Yuanming Yuan, was sold at Sotheby’s Hong Kong, October 9, 2007, lot 1322
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A MON-DVARAVATI STONE-CARVED STANDING BUDDHA, THAILAND, 10TH-12TH CENTURY The stone of warm grey tones, the Buddha standing confidently with a serene expression over the face, with a curled hairdress, elongated earlobes and downcast eyes, without stand height 21.1 in — 53.5 cm $3,000—5,000
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A GREEN-GLAZED THREE TIER POTTERY TOWER, HAN DYNASTY (206 BC - AD 220) Potted in three separate tiers, the largest providing the foundation and the further two storeys descending in size, each with an overhanging tile roof, the larger two supported by corbels and set with decorative florets, each storey with a series of windows, some ajar to reveal the space within, glazed over the surface in pale tones of iridescent green, height 39 in — 106.7 cm, Old Sotheby’s New York tag, lot 43 $4,000—6,000
note:
During the Han Dynasty, burials commonly included tomb pottery. The pieces were miniature versions of elements that one would require in the afterlife, such as animals, oil lamps, housing, and joyful figures, such as musicians and dancers. These symbolic items not only provide insight into Han burial traditions and their cultural attitude towards death and the afterlife, but offer visual evidence of architectural styles, and the design of tools and implements. As many of these elements would have been crafted of wood that has long since deteriorated, these miniature, three-dimensional pottery replicas provide valuable insight into the aesthetic of daily life in the Han Dynasty. A similar example sold at Christie’s New York, March 21, 2000, lot 246
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FALL 2017 HIGHLIGHTS
CANADIAN FINE ART Waddington’s has been a major force in the Canadian art market 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 countless important Canadian works of art, set record prices, and firmly established itself as a reputable and reliable venue for buying and selling exceptional Canadian Art at all value levels.
C A N A D I A N F I N E A R T AU C T I O N Monday, November 20, 2017
JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. GEORGIAN BAY, CIRCA 1914-1915 oil on panel inscribed “Dr. MacCallum” in pencil on the reverse 4 ins x 6 ins; 10.2 cms x 15.2 cms
provenance:
Estate of Dr. James MacCallum, Toronto Kaspar Gallery, Toronto Private Collection, Toronto $35,000–45,000 In the canon of Canadian painting there is no shortage of reverie about James Edward Hervey MacDonald (1873-1932), the poet-painter and co-founder of the Group of Seven. Nor is there any lack of strong sentiment for Georgian Bay, the playground of the Toronto Establishment and, as such, a good subject for artists who recognize the benefit of predictable patronage. In estimating the worth of any painting, reputation of the artist, and the desireability of the subject are two important characteristics to consider. A third is the work’s provenance, or history of ownership and on the reverse of this painting is the name “James MacCallum” written in pencil, the great patron of the Group of Seven. Georgian Bay, 1914 shows a mastery of mood, colour, composition, design, balance and selection that results in a titanic emotional reaction that seems steeped both in memory and pure feeling.
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CLARENCE ALPHONSE GAGNON, R.C.A. SMALL FARMHOUSE IN THE HILLS OF BAIE ST. PAUL, 1924 oil on panel Certified by Lucile Rodier Gagnon (no.392) 4.75 ins x 7.25 ins; 12.7 cms x 17.8 cms
provenance:
Private Collection, Toronto
literature:
Hélène Sicotte and Michèle Grandbois, Clarence Gagnon, 1881-1942: Dreaming the Landscape, Musée national des beaux-arts du Québec, 2006, pages 102, 136, 150, 152, 156, and 338. $25,000–35,000 Clarence Gagnon (1881-1942) spent five years in Baie St. Paul from 1919-1924. He had, of course, spent time painting in the region before but he returned this time with a renewed approach to materials and matrimony. In June 1919, he married his second wife Lucile Rodier, whose labels affixed to the reverse of Gagnon’s little pochades are a mark of authenticity and have served scholars and collectors well in the identification of both date and place of execution of her husband’s work. Paintings such as this one mark a change in both materials and methods that cement Gagnon’s position as one of Canada’s greatest colourists. There is a “chromatic harmony” here that dominates and may be the result of new methods of paint preparation that Gagnon had adopted on his return to Quebec in 1919. Around this time, Gagnon began experimenting with various painting techniques which involved grinding his own pigments, having become disenchanted with commercial preparations which he refused to use. Sicotte notes that this involved “a considerable investment of time and energy” but allows that it was demonstrably worth it because paintings from this period “are notable for their vivacity and purity of colours”. WA D D I N G TO N ’ S AU C T I O N H I G H L I G H T S
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MAURICE GALBRAITH CULLEN, R.C.A. QUEBEC FROM LÉVIS - TWILIGHT pastel signed and dated ‘04, Cullen inventory no. 854 21.25 ins x 28.75 ins; 58.4 cms x 71.1 cms
provenance: Private Collection, Montreal
literature:
Sylvia Antoniou, Maurice Cullen, Agnes Etherington Art Centre, Queen’s University, Kingston, 1982, cover illustration for a related subject, Lévis from Quebec, 1906, and page 16 and 18. $25,000–35,000
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When Maurice Cullen (1866-1934) returned to Canada from furthering his art training abroad he began regularly exhibiting works executed in pastel, like Quebec from Levis - Twilight. He had learned the technique while at the École des Beaux Arts in Paris and made his own pastel sticks from pigments he ground himself. Cullen was a perfectionist when it came to his materials and Sylvia Antoniou notes: “Cullen’s pastel drawings are quite unique in that they have stood up to time as well as the oils”. Antoniou notes that the “Quebec area seems to have been his preferred painting ground.” Indeed, the subject of this lot, the stretch of seaway that separates Quebec City from Lévis, with a backdrop of the ramparts of the fortified city - was a favourite subject of Cullen, Pilot and colleagues, such as James Wilson Morrice, who also famously painted the ferry boats that transported goods and people from one shore to the other. Each of the artists produced works of art depicting picturesque views of Lévis from Quebec, or Quebec from Lévis.
JEAN PAUL LEMIEUX, R.C.A. LES ENFANTS DE LA PAIX
oil on canvas signed 24 ins x 36 ins; 61 cms x 91.4 cms provenance: Joyner Fine Art Inc., Toronto, May 1991 (Lot 126) Private Collection, Toronto $125,000–175,000
Unlike many of the painters of his generation who came under the influence of French Surrealism, or American Abstract Expressionism or other “isms”, Jean Paul Lemieux (1904-1990) developed an individual, figure-based style of his own. His reputation was first established on the basis of the works of his “classic” period (1956-70) in which simplified figures inhabit sparse, horizontal spaces. In the later, so-called “Expressionist phase,” (1970-1990) of his work, Lemieux vented his distress at the state of the world and the future of the human race. Paintings of the 1980s dealt with themes of war, hell and anguish. Les Enfants de la Paix was probably painted around 1982. The subject is a group of twelve children, seemingly at play, their hands joined to form a circle. The circle opens to admit another child entering from the right. The title and composition suggest that the painting marked the International Day of Peace, initiated in 1981 by the General Assembly of the United Nations, and first observed in September 1982. In the midst of his pessimism, Lemieux may have looked upon this event as offering some hope for the future. Symbolic of hope are the smiling children from different racial backgrounds, who live and play in harmony with each other. Behind them, a gap in the trees allows sunshine and light to fall upon these “children of peace.”
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LÉON BELLEFLEUR, R.C.A. METAMORPHOSE I oil on canvas signed and dated ‘62 39.25 ins x 32 ins; 99.7 cms x 81.3 cms
provenance:
Galerie du siecle Inc., Montreal Private Collection, Montreal $20,000–30,000 In the early 1940s, debate raged between two giants of the Montreal art world: Paul-Émile Borduas and Alfred Pellan. Essentially the debate involved ideological differences around surrealism. Léon Bellefleur (1910-2007) not only had allegiances to both leading figures, but also exhibited with each side as well. Painted in 1962, Metamorphose is a synthesis of artistic ideas, and its very title hints at the shifting metamorphosis of spontaneous thought as it evolves on the canvas from concept to physical manifestation. A lyrical outburst of colour and line, the sliding paint in dark shades of purple, blue and black, and sharp agitated angles is offset and illuminated by splattered bright yellows, greens and a splash of vibrant red; it is clear that Bellefleur is revelling in the potential of the spatula to be an extension of his swirling imagination.
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DAPHNE ODJIG, R.C.A. WALKING WITH DONALD acrylic on canvas signed and dated /81 39.75 ins x 32 ins; 101 cms x 81.3 cms
provenance:
Private Collection, British Columbia
exhibited:
The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition, National Gallery of Canada (in collaboration with the Art Gallery of Sudbury), 2007-2010, catalogue no.55.
literature:
Bonnie Devine, et al., The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition (catalogue), National Gallery of Canada (in collaboration with the Art Gallery of Sudbury), 2007, reproduced in colour, catalogue no.55, unpaginated. $15,000–20,000 A highly respected, feminist Anishnaabe artist, Daphne Odjig (1919-2016) made an important contribution to contemporary Indigenous art in Canada. Born at Wikwemikong Unceded Indian Reserve, Manitoulin Island, Ontario in 1919, she was a largely self-taught artist whose early work was strongly influenced by Picasso. Her first solo exhibitions, which took place in the 1960s, introduced her work to a wider public. In the 1970s, along with six other Indigenous artists including Alex Janvier, Norval Morrisseau and others, Odjig founded the Professional Native Indian Artists Inc., a collective whose aim was to encourage the development of Indigenous art in Canada. Influenced by the murals and large paintings that she produced at this time, her work became bolder and less tied to the Woodland style of painting. Walking with Donald exemplifies Odjig’s personal form of abstraction as it had evolved by the early 1980s with its stylized figures and use of circular motifs.
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CONCRETE CONTEMPORARY ART Launched in 2012, Concrete Contemporary Auctions and Projects’ vision and mandate is to create a secondary market for contemporary Canadian art. Merging the worlds of traditional auction and the retail gallery, our relationships with artists, art dealers, curators and collectors result in exciting new sources of contemporary works. The auctions are tightly focused on Canadian contemporary art since 1980 with an emphasis on mid and late-career artists with exhibition history in the private and public sphere.
C O N T E M P O R A RY A R T AU C T I O N Monday, November 27, 2017
CARLOS & JASON SANCHEZ OVERFLOWING SINK cibachrome print titled, dated 2007 and numbered 36/70 (Special Edition) on gallery label on the backing 15 ins x 22 ins; 38.1 cms x 55.9 cms
provenance:
Private Collection, Toronto Christopher Cutts Gallery, Toronto
literature:
Tucker, Anne Wilkes, Reality Interupted: Carlos and Jason Sanchez, Houston Center for Photography, Fall 2007. $1,500–2,000
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Montréal-based brothers Carlos and Jason Sanchez have been working collaboratively since 2001 creating cinematic, meticulously staged photographs. Works such as Overflowing Sink, (2007), often take months to produce, from the arduous process of refining the concept and constructing the set (including design, carpentry, prop installation and lighting) to long hours spent in post- production. Their works are instilled with visual tension; in this case, there is an encroaching fire mere inches away from water that could extinguish it. Yet, for all of this, there is a strange tranquility and air of effortlessness present in Overflowing Sink. The colour choices of calming blues and greens, the placement of foliage within the scene and inclusion of what could be interpreted as a “waterfall” create possible overtones of a landscape. The Sanchez brothers prompt the viewer to imagine endless possibilities of narrative; subtle clues to their intent are always lurking in the scene but meaning is never freely given away.
KIM DORLAND BUSH PARTY #6 acrylic on canvas signed, titled and dated 2006 on the reverse 40 ins x 36 ins; 101.6 cms x 91.4 cms
provenance:
Private Collection, New York $12,000–18,000
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DAVID DREBIN I LOVE YOU TOO neon signed, titled, dated 2013 and numbered 2/9 on artist’s label on the reverse 40.5 ins x 53.5 ins x 6 ins; 102.9 cms x 135.9 cms x 15.2 cms
provenance:
Private Collection, Toronto Galerie de Bellefeuille, Montréal
literature:
Drebin, David, Neon Installations, daviddrebin.com/neon-installations. $10,000–12,000 “I wanted to branch out from being a “photographer” to being a multidisciplinary artist showcasing multiple art forms with similar themes yet different messages.” – David Drebin David Drebin’s I Love You Too, (2013), is an example of the artist’s ongoing explorations into alternative media. Primarily known for his iconic photographs of “femmes fatales” posed against dramatic cityscapes and sweeping, panoramic landscapes, his drive in new directions serves to support and expand his established themes. His works in neon “…illuminate the secret thoughts and veiled aspirations of the femmes fatales who inhabit the elusive world of his iconic photographs.”
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DAVID BOLDUC TONKA acrylic on canvas signed, titled and dated 1981 on the reverse 72 ins x 67 ins; 182.9 cms x 170.2 cms
provenance:
Private Collection, Toronto $3,500–4,500
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TEAM MACHO SWING KIDS acrylic on board ca. 2008 14 ins x 11 ins; 35.6 cms x 27.9 cms
provenance:
Private Collection, Toronto
literature:
Reebok, Oh, Canada: An Interview with Team Macho, online video clip, YouTube, published on Jun 24, 2011.
Stephen Appleby-Barr, Lauchie Reid, Christopher Buchan and Nicholas Aoki comprise the artist collective Team Macho. Since forming in 2005, the members have continually refined the collaborative method of art-making. Producing mixed media works that integrate the group’s individual and multidisciplinary approaches, ranging from loose, illustrative drawing to classical painting, they generate artwork that focuses on craft, technique and subject matter. “Our mutual attraction was our dedication to work and pushing ourselves to understand methodology of image-making and the ways you can push that to extremes.”
$1,200–1,500
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CAROL WAINIO, R.C.A. BODY OF TEXT acrylic on canvas diptych; signed, titled and dated 1988 on each panel each 33 ins x 112 ins; 83.8 cms x 284.5 cms
provenance:
Private Collection, Toronto $12,000–15,000
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FALL 2017 HIGHLIGHTS
DECORATIVE ARTS Decorative Arts at Waddington’s encompasses a broad and diverse variety of objects. 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. The department offers auctions which include bronzes, items of Canadian historical interest, ceramics, devotional works of art, glass, lighting, militaria, mirrors, objets de vertu, porcelain, silver, scientific instruments, travel and exploration maps.
D E C O R AT I V E A R T S AU C T I O N Wednesday, December 6, 2017
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FALL D ECO 2017 R ATHIGHLIGHTS IVE ARTS
DANISH SILVER ‘GRAPEVINE’ FIVE-LIGHT CANDELABRUM, #383A, GEORG JENSEN, COPENHAGEN, POST-1945 the five spiral scroll branches chased with fruit below a ring finial and pendant bunches of grapes, on a partly fluted circular base, height 10.8 ins — 27.5 cms, 105.4 oz. — 3278 grams $20,000 - 25,000 Designed in 1920 by Georg Jensen, this elaborate five-branch candelabrum is evocative of the era of abundance which followed World War I, similar to other richly ornamented pieces Jensen created during this period of optimism and plenty. Sometimes referred to as the Octopus candelabrum, the fantastical design features traditional Art Nouveau motifs of grape leaves, organic structures and meandering vines. The animated and playful arms suggest a sense of growth, with the profusion of buds blossoming from within. From a solid foundation, the arms extend outward and upward, offering their bounty. While many of Jensen’s pieces were designed by members of his workshop, it is of note that this candelabrum was designed by Jensen himself, albeit in a style that was unusual for the eminent silversmith. This candelabrum represents the zenith of Jensen’s distinct aesthetic, marrying the organic elements of Art Nouveau with simple lines, and creates a striking balance between the two. It is an exceptional example of Jensen’s vibrant imagination and superb craftsmanship, and is a testament to why he remains one of history’s most recognized and sought after silver artists.
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DALE CHIHULY (1941) AMERICAN EIGHT-PIECE WHITE SEAFORM GLASS GROUP WITH ONYX LIP WRAPS, C.1995 AND 1999 21.3 x 37.4 x 30.1 ins — 54 x 95 x 76.5 cms $8,000 - 12,000 “Glass has the ability, more than any other material, to bring joy and a certain happiness to people. “ Dale Chihuly has led the avant-garde in the development of glass as a fine art. Inspired by ancient Persian glass and by sea forms, Chihuly creates distorted glass shapes and blasts everything with colour. His biggest ambition is for his art to make people feel good, he has said. Born in 1941 in Tacoma, Washington, Dale Chihuly was introduced to glass while studying interior design at the University of Washington. After participating in the first glass program in the country, at the University of Wisconsin, he continued his studies at the Rhode Island School of Design, where he later established the glass program and taught for more than a decade. In 1968 he went to work at the Venini glass factory in Venice, where he observed the team approach to blowing glass, which is critical to the way he works today. In 1971, Chihuly cofounded Pilchuck Glass School in Washington State. His work is included in more than 200 museum collections worldwide and most recently exhibited at the Royal Ontario Museum in Toronto.
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CESARE LAPINI (ITALIAN, 1848-AFTER 1902) PSYCHE AND THE BUTTERFLY Carrara marble, inscribed Gall.Lapini, Firenze, 1895, height 57.25 ins — 145.4 cms
provenance:
Gifted to the Art Gallery of Ontario by Mrs. J. Morrow; The Art Gallery of Ontario, deaccessioned to benefit art purchases at the AGO $20,000—30,000
note:
This version of Psyche shows her in a jubilant state, celebrating her new immortality and reunion with her husband, Cupid. She has accomplished momentous tasks assigned to her by Venus in order to achieve her union of love, and seems to be joyfully sending a butterfly, which symbolizes innocence as well as transformation, into flight. Everything about her is ascending up into the air, her hair, her arms, even the vines of roses encircling her body reach upward. Psyche now has her own butterfly wings as she has joined Cupid as an immortal. Cesare Lapini made many sculptures of Psyche at various points in her journey - this one in particular shows her in her final state; self-assured and confident in her new place amongst the Gods.
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PANDORA Carrara marble, inscribed O. Fantacchiotti, Firenze, height 58.5 ins — 148.6 cms
provenance:
Gifted to the Art Gallery of Ontario by Mrs. J. Morrow; The Art Gallery of Ontario, deaccessioned to benefit art purchases at the AGO $40,000—60,000 Fittingly carved from what is widely believed to be the most beautiful type of marble in the world, Pandora hesitates before the sealed vase that Zeus gave to her husband Epimetheus on their wedding day. Pandora was sent to earth by Zeus as a beautiful trick that would ultimately punish the earthly realm for disobeying him when Prometheus stole back fire despite Zeus having banned it for disrespectful behaviour. Pandora, having been moulded from clay by Hephaestos to be the perfect human specimen, blessed by Aphrodite with overwhelming beauty and imbued by Hermes with charm and deceitfulness, seemed to be a glorious gift to be treasured, loved and trusted. However Zeus’ plan worked. She could not contain her curiosity, and one day when her husband left her alone with the vase, she opened it. Out poured sickness, death, turmoil, strife, jealousy, hatred, famine. Zeus knew these evil gifts would cause suffering to humans forever, so he also included one last thing - hope. Perfectly communicated in carrara marble; a look of hesitance captured by the upraised hand with splaying fingers, a sly smile to show her internal struggle, and carved on the vase, a lamp. Perhaps a hint that could have warned humankind that Pandora and her vase were not a gift, but a curse for disobeying Zeus in the first place. Fantacchiotti poignantly captures the last moment when humans were free of all the evil in the world. This statue of Pandora comes to auction from The Grange at the Art Gallery of Ontario where it previously graced the centre hallway by the grand staircase.
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JEAN-BAPTISTE CARPEAUX (FRENCH, 1827-1875) THE THREE GRACES, 1874 terracotta, incised signature and date, and with impressed ‘Atelier-Dépôt, Paris’, and ‘Propriété Carpeaux’ seals, height 31.5 ins — 80 cms
provenance:
Collection of the Art Gallery of Ontario The Art Gallery of Ontario, deaccessioned to benefit art purchases at the AGO $8,000—12,000
note:
Jean-Baptiste Carpeaux is best known for his sensational marble sculpture “Dance” which adorns the façade of the Paris Opéra (a replacement is now displayed as the original was moved to the Louvre in 1964 to preserve it from the elements). When it was unveiled in 1868 it caused a sensation as it went against the popular Neo-Classical aesthetic of the time and instead favoured a raucous Baroque style where the nude figures seemed to move with joyous sensuality and abandon. Some unhappy onlookers were compelled to deface it by throwing bottles of ink. As is often the case, any publicity is good publicity, especially when it comes to art, and Carpeaux went on to produce many other iterations of “Dance”. This lot shows three of the figures in a smaller configuration, but they are no less pleasurable to view. The swirling motion of the women with their fingers just barely touching give the sense that the centrifugal force of their dance could send them flinging outward at any moment as they emit peals of laughter. Carpeaux produced plaster, terra cotta and bronze versions at his atelier right up until his death in 1875.
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ROMAN MARBLE RELIEF FIGURE OF A SATYR, 1ST CENTURY A.D. modelled standing draped with animal skin, marble height 18 ins — 45.7 cms $5,000—7,000
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AFTER ALFRED-AUGUSTE JANNIOT LA RÉCOLTE DU CACAO ET DU COTON art deco patinated bronze bas relief panel, 75.5 x 24.5 ins — 191.8 x 62.2 cms
note:
‘The Harvest of Cocoa and Cotton’ is one of a series of works commissioned for the Musée des Colonies at the Paris Colonial Exposition of 1931. The artist is also known for the relief ‘Friendship Between America and France’ above the main entrance of La Maison Française at Rockefeller Center in NYC as well as the interiors of the ocean liners ‘Isle de France’ and ‘Normandy’. $8,000—12,000 WA D D I N G TO N ’ S AU C T I O N H I G H L I G H T S
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TORONTO MAPLE LEAF HOCKEY
BUCKINGHAM HOCKEY
MAPLE LEAF GARDENS LTD.
CLUB PLAYERS COMPETITION
PICTORIAL TROPHY
CANADIAN SILVER TRAY PRESENTED
TROPHY TO CLARENCE ‘HAP’ DAY,
NATIONAL HOCKEY LEAGUE
TO TORONTO MAPLE LEAFS
SEASON 1928-29
MOST POPULAR PLAYER P
CAPTAIN “HAPPY” DAY, APRIL 29TH
‘Presented by the Board of Directors of The Arena Gardens of Toronto’, silver plate on lacquered metal base with impressed maker’s mark: Standard ‘S’ Co., Toronto, height 9.7 ins — 24.6 cms
RESENTED TO TORONTO MAPLE
1933
$500 - 700
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LEAFS CAPTAIN CLARENCE “HAPPY” DAY, 1929 silver plate on turned ebonized wooden base, height 18 in — 45.7 cm $600—800
with presentation engraving including the names of the Gardens Board of Directors: J.P. Bickle (President), Conn Smythe, Sir John AIrd, Mr. E.W. Bickle, J.E. Birks, G.R. Cottrelle, A.L. Ellsworth, Geo. H. Gooderham, R.A. Laidlaw, F.K. Morrow, J.Y. Murdoch, W.A.H. MacBrien, Leighton McCarthy, Harry McGee, Frank P. O’Connor, Alfred Rogers, Frank A. Rolph, Victor Ross, Hon. W.D. Ross, Sigmund Samuel, R. Home Smith and John A. Tory, with impressed maker’s mark for Birks, 15.25 x 25.75 in — 38.7 x 65.4 cm, 97.7 oz. — 3038 grams $3,000—4,000
D E C O R AT I V E A R T S
Clarence Day’s perpetually cheery demeanor earned him the nickname “Happy,” which was later shortened to “Hap.” Day was born in Owen Sound, Ontario, where he played his minor hockey. He routinely walked five miles - carrying his equipment - to games in the closest big town, Port McNicholl, and later in life he maintained his penchant for walking. During his teens he ended up in Hamilton, where he played senior hockey with the Tigers. He also enrolled at the University of Toronto, where he majored in pharmacy and played for the Varsity team. He was considered one of the finest amateurs in the country and one of the best skaters outside the NHL. On December 10, 1924, Day made his NHL debut as a left wing. After his rookie year, he shifted to defense, where he spent the rest of his career. During his playing days, Day also ran a drugstore in Maple Leaf Gardens. Eventually he gave up this business and Dick Dowling’s Grill took its place. Day was a born leader, and when the Leafs captaincy became available, there was no doubt as to who would lead the team. He was team captain from 1926 until 1936. Starting in 1931, he was paired on defense with King Clancy; together they formed one of the best twosomes in the league. In 1940 Conn Smythe hired Day to coach the Toronto Maple Leads, and over the next 10 years he was the most successful coach in the NHL. In his first year the Leafs made it to the semifinals before losing to Boston in seven games. But in 1942 he coached the team to the greatest Stanley Cup comeback of all time. The Leafs lost the first three games of the finals to Detroit but stormed back to win four in a row and claim the Stanley Cup. After he gave up coaching in 1950, the Leafs immediately appointed Day assistant to GM Conn Smythe, although Day had the responsibility of running the team until 1957. He picked up another Stanley Cup with coach Joe Primeau in 1951, and was appointed general manager for 1957-58. Day was elected to the Hockey Hall of Fame in 1961. Excerpts from the “Legends of Hockey” Hap Day Biography: Official Site of the Hockey Hall of Fame.
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FALL 2017 HIGHLIGHTS
THE MARTIN BROTHERS Comprised of nearly 100 pieces, this private collection includes an intriguing mixture of sculptural objects and pots, a small flock of Robert Wallace Martin’s ‘Wally birds’. A collection of this breadth has not come to the market in a long time. Working in late Victorian-era London, the Martin Brothers are considered pioneers in transforming decorative arts from the stale formalism of the Victorian era to a more whimsical and naturalistic style that foreshadowed the Art Nouveau movement. Eclectic to the core, the Martin Brothers’ work bears the influence of art and architecture from the Middle Ages and Gothic periods, but much of their unique pottery exists in a category of its own. Among recognizable Martinwares, their sculpted ‘face jugs’, gothic stoneware vases and spoon warmers resembling monsters, portrayals of mythical creatures and classical figures, and the use of sea life motifs and other fantasy-imbued images are all very well represented in this collection.
T H E M A R T I N B R OT H E R S C O L L E C T I O N Wednesday, December 6, 2017
MARTIN BROTHERS STONEWARE BIRD TOBACCO JAR, 1904
MARTIN BROTHERS STONEWARE BIRD TOBACCO JAR, 1901/03
modelled with raised head and folded wings, coloured in shades of blue, green, brown and cream, on an ebonised wood base, overall height 9.8” — 24.8 cm., incised on the base and head flange Martin Bros. / London & Southall and dated 11-1904
modelled and coloured in shades of brown, blue, green and cream, on an ebonised wood base, associated cover, crack, overall height 8.1” — 20.6 cm., incised on the base R.W. Martin & Bros. London Southall and dated 5 /12-1903, the cover with Martin Bros. / London & Southall and dated 5-1901
$10,000 - 15,000
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$2,000 - 3,000
MARTIN BROTHERS STONEWARE BIRD TOBACCO JAR, C.1900
MARTIN BROTHERS STONEWARE BIRD TOBACCO JAR, 1905
modelled with crested head and plump chest, coloured in tones of brown, green, blue and cream, on a turned wood base, head restored, overall height 7.2” — 18.2 cm., incised on the base Martin and on the head flange R.W. Martin & Bros., London & Southall
modelled erect with balding head and curved beak, coloured in shades of brown, green, blue, grey and black, on an ebonised wood base, minor restoration, overall height 11.1” — 28.2 cm., incised on the base and head flange R.W. Martin & Bros. / London & Southall and dated 2-6-1905
$7,000 - 10,000
$15,000 - 20,000
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MARTIN BROTHERS STONEWARE FACE JUG, 1897 modelled with a smiling face on either side, coloured in tones of light brown, black and cream, height 9.5” — 24.2 cm., incised R.W. Martin & Bros. / London & Southall and dated 4-1897 $2,500 - 3,500
provenance:
MacMillan & Perrin Gallery, Vancouver
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MARTIN BROTHERS STONEWARE LARGE JARDINIÈRE, 1887 carved in low relief, etched and painted with a frieze of dragons amongst fruiting and flowering scrolling foliage in shades of brown, green and blue, height 9.4” — 24 cm., diameter 13” — 33 cm., incised R.W. Martin & Brothers / London & Southall and dated 10-1889 $3,500 - 5,000
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INTERNATIONAL ART Waddington’s International Art department presents auctions of fine art from around the world, offering original works from art centres across North America and Europe while continuing to expand our scope to bring our collectors works from Asia, South Asia, Russia and South America. A major element of Waddington’s legacy, our International art auctions, draw on Canada’s cultural diversity. The combination of our expertise and our expansive global network ensures the highest standards of authentication and research. Rare and important paintings, sculptures, prints and photographs are offered in our live and online auctions, attracting buyers worldwide.
I N T E R N AT I O N A L A R T AU C T I O N December 2 - 7, 2017
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EDWARD SEAGO (1910-1974), BRITISH THE ROUND POND, TUILERIES GARDENS Oil on canvas; signed lower left, titled “The Round Pond, Tuilleries Gardens” (with the 2nd “l’ crossed out in pencil to the stretcher) 26 x 36 in — 66 x 91.4 cm
provenance:
Private Collection, Brighton, Ontario, purchased many years ago; By descent
literature:
“Edward Seago Painter in the English Tradition”, Introductory text by Horace Shipp, Collins, 1952, p. 41; Laing Galleries, “Edward Seago”, April 1970, Cat. No. 4, illustrated $60,000—90,000
note:
Edward Seago is considered to be Britain’s most revered and best known 20th century artist with worldwide recognition. In Canada, Seago amassed a devout following that began in Toronto at his first exhibition held at the “foremost of Canadian galleries, Laing Galleries” at 194 Bloor Street West, in 1951. So noteworthy was his introduction that Earl Alexander, the Governor-General of Canada, opened the exhibition. Collectors queued to attend Seago’s sell-out exhibitions held consistently at Laing Galleries until the 1970s. Waddington’s is privileged to be the leading purveyor of Seago’s works in Canada, having offered at auction many of the 70 important oil paintings and watercolours recorded since the early 1990s.
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EDWARD SEAGO (1910-1974), BRITISH THE LOCK AT LIEDSCHENDAM - HOLLAND Oil on masonite board; signed lower left, titled in pencil verso 26 x 36 in — 66 x 91.4 cm
provenance:
Laing Galleries, Toronto, “Edward Seago” exhibition, April, 1970; Ex. Collection Mr. Tim Wills, Toronto; By descent to the present Private Collection, Toronto
exhibited:
Laing Galleries, Toronto, “Edward Seago” exhibition catalogue, April 1970, Cat. No. 4, illustrated in colour $20,000—30,000
note:
The Lock at Ledischendam – Holland, was purchased by a collector in Toronto at the exhibition “Edward Seago” which was held at the Laing Galleries in April of 1970. The Lock at Ledischendam - Holland, (Cat. No. 4) is considered one of the highlights of the 44 paintings featured in the gallery’s catalogue with a full-page colour illustration. Of the four views of Ledischendam on display at the exhibition, The Lock at Ledischendam – Holland was the highlight.
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DANIEL MACLISE (1806-1870), IRISH COUPLE RELATING A STORY TO SOLDIERS WITH BIBLICAL RELICS BEFORE THEM IN A LANDSCAPE WITH ROMAN RUINS, CIRCA 1840 Oil on canvas; inscribed “D. Maclise #26” in pen and ink to an old label to the stretcher 30 x 36 in — 76.2 x 91.4 cm
provenance:
Ex. Collection of Philip Shackleton’s sister, in the family for over 60 years; Sold at Tim Potter Auctions, December 4, 2014; From whom purchased by the present Private Collection, Kingston, Ontario
exhibited:
Agnes Etherington Art Gallery, Kingston $15,000—25,000
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AMEDEO CLEMENTE MODIGLIANI (1884-1920), ITALIAN LUNIA CZEHOWSKA (CZECHOWSKA) , CIRCA 1916- 1920 Pencil drawing heightened with blue crayon on smooth paper on cardboard glued to the board at the edges; signed “Modigliani” in pencil lower left, titled and inscribed by Leopold Zborowski: “Lunia Czehowska - un / bon dessin de Modigliani (the second word ”dessin” crossed out) / L. Zborowski/ Paris le 31/ II. 1922” in black ink lower right, inscribed “Leopold Zborowsky No. 9” (in a circle) in pencil to the cardboard mount verso Sheet 9.6 x 6.7 in — 24.4 x 16.9 cm
provenance:
Collection of Leopold Zborowski (1889-1932), Paris; Ex. Collection Mr. Herman Eiser, Montreal until circa 2000/2001, willed to his son; By descent to the present Private Collection, Toronto
literature:
“The Unknown Modigliani Drawings from the Collection of Paul Alexandre”, Royal Academy of Arts, London, 14 January - 4 April 1994, pgs. 21, 82, 89 $10,000—15,000
note:
Amedeo Clemente Modigliani (1884-1920) was a Jewish-Italian painter and sculptor. Born in Poland, he was educated in Florence and Venice, and worked mainly in France, establishing himself in the famous Montmartre area of Paris. Modigliani sketched rapidly, sometimes drawing over 100 sketches in a day, but many of his works were lost, given away, or in some cases, destroyed by Modigliani himself. His favourite subject was by far the human form, characterized by elongation and mask-like faces. Modigliani met Lunia Czehowska in 1916. He was very fond of Lunia and painted at least ten portraits of her. In her “Souvenirs,” Lunia recounts an event that took place in 1919, citing that while she was working in the kitchen preparing dinner, Modigliani drew a sketch of her by the light of a candle. After only a few moments she lifted her head to find he had already completed the sketch in his characteristic quick manner. This lot is similar in composition to Modigliani’s pencil and watercolour portrait, Jean Cocteau, 1918, which was sold at Italian auction house Farsettiarte on November 28, 2015 (lot 573). This drawing was also inscribed by Leopold Zborowski in the same manner as this lot.
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ATTRIBUTED TO JAN CORNELISZ VERMEYEN (BORN CIRCA 1500-1559), DUTCH PORTRAIT OF A DISTINGUISHED MAN: POSSIBLY A COLLECTOR OR A GOLDSMITH, 1534 Oil on cradled oak panel; dated “Anno 1534” upper right. Accompanied by four letters of opinion (“Gutachten”) written in German including documents by: Dr. Ernst Wengenmayr Kunsthistoriker, dated October 25, 1961 at Munich; Professor Emerich Schaffran, dated 18.X.1961 at Vienna; Adolf Bangel, dated October 25, 1961 at Frankfurt am Main; and Professor Dr. Alfred Stange, dated September 1, 1961 at Tutzing Attributing this work to Jan Cornelisz Vermeyen 37.5 x 29.5 in — 95.3 x 74.9 cm
provenance:
The House of Hohenzollern Collection, Germany, likely a commissioned work by the Kaiser Monarchy Karl V and Margarethe; Ex. Collection, Wilhelm Pfeiffer, Germany & Canada, probably acquired in the late 1950’s or early 1960’s; By descent to the present Private Collection, Heidelberg, Ontario $30,000—50,000
note:
This lot is accompanied by four scholarly opinions dating from the 1960’s that are consistent in regarding this painting as a portrait by Jan Cornelisz Vermeyen. All make the assumption that the sitter in this portrait is of an unidentified distinguished man that may have been a goldsmith or a collector. Dr. Ernst Wengenmayr suggests that the painting could be associated with a student in the workshop of Jan Van Scorel (1495-1562) and in his opinion it is a work of his student, Jan Cornelisz Vermeyen. Vermeyen was one of the leading portrait artists active in the mid 16th Century that painted for the Kaiser of the Netherlands. Dr. Wengenmayr suggests that this portrait may have been commissioned by the Kaiser monarchy. Dr. Ernst Wengenmayr and Professor Emerich Schaffran have certified other 16th Century works from The House of Hohenzollern collection including two portraits from the Studio of Lucas Cranach the Younger: ”Portrait of Martin Luther” and “Portrait of Philipp Melanchton.
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EDOUARD LEON CORTES (1882-1969), FRENCH MARCHE AUX FLEURS, LA MADELEINE Oil on canvas; signed lower left, the stretcher with gallery stamp: ”Tableaux Modernes Leon Gerard Expert 18 Rue Drouot 18, Paris” and the number “4754” in black crayon to the stretcher 14.9 x 21.7 in — 37.8 x 55 cm
provenance:
Galerie Leon Gerard, Tableaux Modernes Leon Gerard Expert, Paris gallery stamp to the stretcher; Number 4754 inscribed in black crayon to the stretcher; Private Collection of Alfred & Mathilde Paradis, Montreal, purchased by them more than 60 years ago; By descent to their daughter, Louise Paradis, Montreal, her name inscribed to a label to the frame; By descent to the present Private Collection, Montreal $20,000—30,000
note:
Edouard Cortes began to paint his popular scenes of Paris around the turn of the 20th century when he was in his late teens. During this time, Paris was the centre of the art world. Scenes of the city were in high demand by both collectors and tourists. Cortes’ views of Paris are among the most telling and beautiful images of this genre, capturing the city during its heyday and in all seasons for more than 60 years. His beautiful atmospheric depictions were always in demand and he continued to paint them until his death in 1969. Cortes’ canvases that have never previously been on the market attract the attention of the most seasoned collectors around the world. He is considered to be one of the greatest masters of French Impressionism.
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MARIO NEGRI (1916-1987), ITALIAN TUTTA UNA VITA INSIEME (THROUGH ALL OF LIFE TOGETHER), 1976 Bronze; stamped with the artist’s monogram and numbered 3/3 in the cast, titled and numbered 3/3 to the accompanying copy of the original gallery receipt dated July 28, 1980 44.5 x 27.6 x 23.6 in — 113 x 70 x 60 cm
provenance:
Galerie Dominion Gallery, Montreal, Inventory No. H6376 acquired directly from the artist (with the recorded date of 1975-1976 in Max Stern’s Dominion Gallery inventory book); From whom purchased by a prominent Private Collection, Calgary & Toronto, on July 28, 1980 together with a copy of the original receipt, invoice No. 13554 and with a copy of Max Stern’s Certificate (the owner and Director of the Dominion Gallery), dated September 27, 1980 accompanied by a colour photographic copy of the bronze shown in a garden setting; Private Collection, Toronto EXHIBITED: “Tutta Una Vita Insieme” was one of a group of 25 large bronzes Negri personally selected for the exhibition “Mario Negri, Opere 1946-1987” held at the Palazzo Te, Mantua from June 7 to July 19, 1987 and at the Palazzo Salis, Tirano from July 26 to August 30, 1987. The catalogue of the exhibition held in the National Gallery of Canada, Dominion Gallery Archives has a copy with a manuscript flyleaf inserted into the front of the catalogue written by Max Stern that includes the title of this work: “Tutta Una Vita Insieme”, the page number (page 48) and the date: 1976 inscribed by Max Stern.
literature:
“Mario Negri. Catalog of Sculptures” by Anna Finocchi; introduction by Marco Rosci, editions Bolis, Bergamo 1995, illustrated No. 288; Exhibition catalogue: “Mario Negri Opere 1946-1987”, with Max Stern’s manuscript flyleaf, Cat. No. N0 N388 A4 1987 $30,000—50,000 NOTE: Tutta Una Vita Insieme, with its heartwarming title in English, “Through all of Life Together,” has been held in the same private collection for 37 years. It has been on display in several outdoor locations in Canada and the United States, including in Calgary, Alberta, Florida and Toronto, Ontario.
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ABRAHAM MANIEVICH (1883-1942), UKRAINIAN/AMERICAN STILL LIFE OF FLOWERS, 1930 Oil on canvas; signed lower right, signed and dated 1930 verso 29.25 x 27.25 in — 74.3 x 69.2 cm
provenance:
Private Collection of Mr. Oscar Faerman, Montreal, acquired directly from the artist, a friend of the family; With Morency Freres Ltee, Montreal; By descent to the present Private Collection, Montreal $15,000—20,000
note:
Manievich was a Post-Impressionist landscape painter born in 1881 in Mstislavl, Mogilev, Russia. He received his early art education in Kiev, and later at the Academy of Art in Munich, Germany. Manievich served as professor of art in the Kiev Art Academy from 1918 - 1922. Manievich was part of the international artistic avant-garde of the early 20th century. Like many other Jewish artists of that time, he hoped that the Russian Revolution would see a renaissance of Jewish culture, suppressed under the old regime. Although initially welcomed by Lenin and the new state, Manievich and others, including Chagall, soon found themselves out of favour by virtue of their religion and their art. Manievich emigrated in 1921 to the United States where he enjoyed critical acclaim until his death in 1942. While in the United States, he and Russian expatriate artists contributed to the development of American Modernism. His works have been acquired by the Luxembourg Museum in Paris, the Imperial Academy of Art in Petrograd, the Moscow Museum of Art, and the Brooklyn Museum of Art. Manievich also had a Canadian connection. He was a frequent guest at the Montréal home of Oscar Faerman (grandfather of the present owner of this lot) where he painted regularly in the 1930s. The family indicates, “...meals were very lively with Manievich frequently creating amusing objects with pieces of bread to everyone’s delight.” Several other works were acquired from the artist including portraits of the Faerman family. Waddington’s sold a landscape by Manievich from the same collection on June 16, 2016, lot 354.
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ROBERT THEGERSTROM (1857-1919), BRITISH/SWEDISH DAMPORTRATT, PARIS, 1880-1885 Colour pastel on August Bergin & Co., Stockholm “Lilla Wattugatan No. 26” prepared board; given to the artist and titled to the exhibition label verso 36 x 24 in — 91.4 x 61 cm
provenance:
Ex. Collection of the present owner’s grandfather, Dr. Axel Gauffin, Stockholm; Hung in the summer residence of Axel Gauffin and his wife, Britta at Stora Lundby, outside Stockholm from circa 1909, then later at the city home at Alstens Gard, Stockholm; By descent to Margit (Gauffin) and Gosta Korean, Djursholm; By descent to the present Private Collection, London, Ontario EXHIBITED: Parisutstallningen, 1929 while with Axel Gauffin (G. Korean’s name in pencil to the label), Cat. No. 8 $20,000—30,000
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LÉONARD TSUGUHARU FOUJITA (1886-1968), JAPANESE/FRENCH JEUNE FILLE AVEC CHAT, 1950 Ink and watercolour wash en grisaille on paper; signed and dated 1950 at Paris bottom centre Sheet 9 x 6.25 in — 22.9 x 15.9 cm
provenance:
Trosby Auction Galleries, Inc., Palm Beach, Florida; From whom purchased by the family of the present Private Collection, Montreal on April 6, 1967 together with the receipt
note:
This lot will be included in the forthcoming catalogue raisonne “Léonard Tsuguharu Foujita”, Volume 4 currently being prepared by Sylvie Buisson, Paris, No. D50.298.D $10,000—15,000
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STANHOPE ALEXANDER FORBES (1857-1947), BRITISH “THE YOUNG FRIENDS”, 1917 Oil on canvas signed “Stanhope A. Forbes” and dated 1917 lower right, title inscribed “The Young Friends” to gallery label verso 24 x 20 in — 61 x 50.8 cm
provenance:
Garfield Galleries, Toronto; Private Collection, Toronto $20,000—30,000
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ELIZABETH ADELA STANHOPE FORBES (1859-1912), CANADIAN/BRITISH LADY IN A BLACK HAT WEARING A JAPANESE KIMONO Oil on canvas; signed with initial compounded monogram EAF lower right 24 x 20 in — 61 x 50.8 cm
provenance:
With Robert Oliver Fine Paintings Prints and Handmade Frames, Montreal, Quebec; This painting was purchased with a grouping of other items in West Vancouver
note:
Elizabeth Forbes was born in Ottawa in 1859. She studied at the South Kensington Art School (now the Royal College of Art) in England; returning to Canada in the 1870s to continue her studies at the Art Students League in Toronto and later travelled to Munich, Brittany, Holland and London. In 1885 she moved to Cornwall where she met her future husband, the artist Stanhope A. Forbes. Together, they would open the Newlyn School of Painting in 1899. Her works of art, many of them of children, including her son Alec, were influenced by French realism. She was a successful artist, more successful than some of her male counterparts and most commonly associated with the Newlyn School, or Forbes School. This work may be a self-portrait, circa 1890.
$6,000—9,000
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INUIT ART
INUIT ART 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. 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. 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.
I N U I T A R T AU C T I O N Tuesday, November 21, 2017
“WE COULD DO THAT” The Inuit people of Canada’s Arctic traditionally did not have access to paper, pencils or ink, relying on their tradition of storytelling to preserve and pass down a millennium of stories, legends, and traditions. This was about to change in the 1950s with the arrival of James Houston. While sitting in a tent while out on a hunting trip, Osuitok Ipeelee, who went on to become a world renowned artist, commented to Houston that it must be very boring for artists in the south to repeatedly paint all those Players tobacco tins, again and again. As the word for ‘printing’ didn’t exist in Inuktitut, Houston took soot from the lamp, spat on it, and taking the walrus tusk Osuitok was carving, proceeded to demonstrate the technique of printing on some toilet paper. Osuitok said “we could do that”. Houston then traveled to Japan to study woodblock printmaking with Un’ichi Hiratsuka, one of Japan’s most revered print artists of the twentieth century, and returned to inspire the Inuit of Cape Dorset to draw, and instruct them on the process of print making. The first print collection was created in 1957; the first catalogued collection released in 1959. Terry Ryan arrived in Cape Dorset in 1960 to succeed Houston and for the next 50+ years Terry’s leadership ensured the continued success and growth of the Cape Dorset (Kinngait) print studio.
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JOSEPHIE POOTOOGOOK (1887-1958), ᑭᑐᒍ, CAPE DORSET / KINNGAIT JOYFULLY I SEE TEN CARIBOU stonecut and stencil, 1959, 48/50, unframed 12 x 17.5 in — 30.5 x 44.5 cm
literature:
The Inuit Print, exh. cat., National Museum of Man (Ottawa, ON), 1977, pages 54-55, pl. 6. $6,000—9,000 “An Inuk hunter signals the sighting of caribou to companions by raising curved arms above his head to represent antlers, and rotating his body to draw attention to the signal. This practice is still used. The title suggests the number of figures raised signalled [sic] the size of the caribou herd, but this is unlikely, given the distance between hunters.”
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ANNIE POOTOOGOOK (1969-2016), ᐊᓇ ᐳᑐᒍ, CAPE DORSET / KINNGAIT FAMILY SCENE coloured pencil and felt tip drawing, signed in syllabics, framed, sight 10.25 x 19.75 in — 26 x 50.2 cm
provenance:
Feheley Fine Arts, Toronto Private Collection, Toronto $700—1,000
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JOHNNY INUKPUK, R.C.A. (1911-2007), ᔭᓇ ᐃᓇᐸ, PORT HARRISON / INUKJUAK INUIT WOMAN CRADLING HER CHILD stone, c. 1970 30.75 x 13 x 12 in — 78.1 x 33 x 30.5 cm
literature:
George Swinton, Sculpture of the Eskimo, McClelland & Stewart, 1972, page 16 & 17. $30,000—40,000
note:
George Swinton aptly describes Inukpuk’s sculptural form in this excerpt from Sculpture of the Eskimo: “This sculpture exemplifies form - form which transforms fact and expresses sensations and ideas. Every single part breathes life and strength, so that meanings do not emanate as much from its imagery as from the abundant, excrescent shapes and the over-size volumes that are so closely related to each other, producing a fugue-like structure of roundnesses [sic]. These are Johnny’s personal style characteristics. The artist has found a unique form to express his emotions, impressions, and ideas.” WA D D I N G TO N ’ S AU C T I O N H I G H L I G H T S
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ISA AQIATTUSUK SMILER (1921-1986), ᐊᐃᓴ ᐊᑭᐊᑐᓱ ᓯᒪᐃᓚ, PORT HARRISON / INUKJUAK NURSING MOTHER WITH HER CHILDREN stone, soap, ivory, c. 1957 10.5 x 12 x 12 in — 30.5 x 30.5 x 30.5 cm
provenance:
Originally acquired by an engineer working in Port Harrison (Inukjuak) in the late 1950’s, The (Isaacs) Innuit Gallery of Eskimo Art, Toronto, 1987, Private Collection, Toronto $40,000—60,000 This piece, along with Inukpuk’s Woman Cleaning Fish (see page 102) were sculpted circa 1955, at the beginning of what was to become a uniquely Canadian artistic phenomenon which continues to this day. Both works were created in Port Harrison, now called Inukjuak, translated as ‘Many People’. Located on the shore of Hudson Bay, at the mouth of the Innuksuak River in Nunavik, Inukjuak has been inhabited by the Inuit for hundreds of years. Ruins of stone houses from pre-Dorset (2000-500 BCE) times are evidence of the long history of habitation. Beginning in 1949, together with Cape Dorset and Pivirnituq, Inukjuak was one of the three earliest northern settlements to commercially produce and market Inuit art. The locally sourced marbled dark green stone characterized by glowing translucent layers, the inset detail of ivory and soap, the dynamic depiction of an Inuit woman, are all trademarks of the special pieces created in Inukjuak during this classic early period of Inuit art. Both of these ‘early master’ artists were born in the Inukjuak area in the early years of the 20th century. They grew up in the harsh and isolated environment of Canada’s Eastern Arctic, initially flourishing as traditional hunters, trappers and fishermen before moving their families to the settlement. Their innate powers of observation, keen awareness of their natural world, and the vital skills of survival needed to live in this unforgiving land - combined with a love for family grounded by a rich and ancient cultural legacy – came together to result in some of Canada’s most compelling and influential art. Although this artist’s Inuktitut name was Aqiattusuk, he is known to collectors as Isa Smiler in recognition of his easy and broad smile. He was referred to as Isa the Smiler in Eskimo Sculpture, a National Gallery of Canada exhibition catalogue from 1955.
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JOHNNY INUKPUK, R.C.A. (1911-2007), ᔭᓇ ᐃᓇᐸ, PORT HARRISON / INUKJUAK WOMAN CLEANING A FISH stone, ivory, c. 1953 6 x 6.5 x 9 in — 15.2 x 16.5 x 22.9 cm $5,000—7,000 “The hardest thing is to get the carving stone out of the ground. It is very hard work to try and get stone to carve. Sometimes the tools are not always up to standard; we use shovels and other hand tools to remove the stone from the ground. At the quarry there are huge boulders on top of the stone we carve.” - Interview with Inuit Art Foundation staff in Inukjuak in 1998.
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OSUITOK IPEELEE, R.C.A. (1923-2005), ᐅᓱᐃᑐ ᐃᐱᓕ, CAPE DORSET / KINNGAIT CARIBOU ON HIND LEGS stone, antler, signed in syllabics, c. 1985 20.25 x 6 x 20 in — 51.4 x 15.2 x 50.8 cm $25,000—30,000 Osuitok’s finest sculptures exude a quiet strength. Clearly mastering the subject, Osuitok infuses a feeling of vitality into this graceful depiction of a caribou. George Swinton refers to this life force in this way: “The stone comes to life; life comes from the stone.”
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INUIT ART
OSUITOK IPEELEE, R.C.A. (1923-2005), ᐅᓱᐃᑐ ᐃᐱᓕ, CAPE DORSET / KINNGAIT HAWK stone, signed in syllabics, c. 1970 16.5 x 11 x 2 in — 41.9 x 27.9 x 5.1 cm
provenance:
Inuit Gallery, Vancouver, 1996, exhibition catalogue cover for A Private Collection, 19601969, Inuit Art Private Collection, U.S.A.
exhibited:
Sculpture of the Inuit: Masterworks of the Canadian Arctic, Canadian Eskimo Arts Council, 1971, fig. 165.
literature:
Alma Houston, Inuit Art: An Anthology, Winnipeg, MB, 1988 pages 42-55. $22,000—26,000 Osuitok Ipeelee was a highly regarded artist from an early age. Having grown up traditionally with a family of artists, Osuitok groomed a deep understanding of the behavior of stone; where it fractures and breaks. He became known as “keeper of the carving stone” and a guide and teacher for other artists. It is this profound understanding of stone that allows him to carve with such delicacy and grace. Osuitok once noted about carving, “you have to really know how it’s going to work; if you don’t you are going to end up with a problem”. Known for his innovative and original techniques, Osuitok loved trying different ways of playing with the space and balance around his stone. His birds are particular to balancing acts. Often being predominantly top heavy, the birds are skillfully balanced on fine points, as in this lot. Additionally, Osuitok has chosen to utilize the space around the sculpture to achieve a more two dimensional effect. The sculpture is almost flat, resulting in an attractive silhouette of a mighty, proud hawk.
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F I N E J E W E L L E R Y & WATC H E S
FINE JEWELLERY AND WATCHES Waddington’s has conducted auctions of Fine Jewellery And Watches for over three decades. Our auctions are composed of a wide spectrum of contemporary and period pieces featuring some of the most desired names in jewellery including Tiffany, Cartier, FabergÊ, Rolex and Patek Philippe. In addition to the Fine Jewellery and Watch Auctions, we hold fascinating quarterly and online auctions of all forms of jewellery, wrist and pocket watches, designer fashion jewellery, numismatics and bank notes.
F I N E J E W E L L E R Y & WATC H AU C T I O N Tuesday, December 5, 2017
PLATINUM FILIGREE RING set with an old European cut diamond (approx. 2.10ct.) and decorated with 14 small single cut diamonds and 2 baguette cut emeralds, size 6 1/4, 4.8 grams $5,000—7,000
PLATINUM ART DECO RING set with an old European cut diamond (approx. 2.12ct.) and decorated with 18 various cut sapphires and 34 small single cut diamonds, size 7 14/, 5.5 grams $5,500—7,500
PLATINUM ART DECO RING set with an antique cushion cut diamond (approx. 2.20ct.) and decorated with 6 small single cut diamonds, size 4 12, 3.7 grams $2,500—4,000
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ENGLISH 18K YELLOW GOLD AND PLATINUM BROOCH & EARRINGS SUITE formed in a foliate and berry motif; set with 90 small single cut diamonds, carved nephrite leaves and hard stone berries, 36.3 grams $2,000—3,000
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F I N E J E W E L L E R Y & WATC H E S
TIFFANY & CO. PALOMA PICASSO ITALIAN 18K YELLOW GOLD BRACELET with a hammered finish length 9 in — 22.9 cm, 60.8 grams, dated 1989 $3,500—5,000
PLATINUM BRACELET set with 196 baguette cut diamonds (approx. 5.25ct.t.w.) and 84 round cut sapphires (approx. 9.50ct.t.w.) length 6.25 in — 15.9 cm, 50.1 grams $3,500—5,000
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BREGUET CLASSIQUE AUTOMATIC WRISTWATCH #4522; 33mm; 889/1 cal. automatic movement; in an 18k yellow gold case $5,000 — 7,000
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F I N E J E W E L L E R Y & WATC H E S
MEN’S ROLEX YACHT-MASTER WRISTWATCH circa 2010; stainless steel case; ref. #16622; #29087876, with box and papaers $5,000 — 7,000
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FINE WINE & SPIRITS
FINE WINE & SPIRITS The popularity of collecting wine as an investment grows every year. Many wines offered at auction appreciate in value, especially rare and acclaimed vintages, making auctions an excellent way to build a fine wine portfolio. Our auctions also provide an opportunity for collectors to buy wines that aren’t available through other channels and allow restaurants to build world-class wine lists Waddington’s is the sole, and first company in Ontario, permitted to provide the sale by auction of fine wine and spirits, under the authority of the LCBO. Previously, Waddington’s had conducted the LCBO’s Vintages Fine Wine and Spirits auctions, from 2009 – 2013.
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Waddington’s is the only auction house in Ontario authorized by the LCBO to conduct commercial auctions of Fine Wine and Spirits. For our sellers, our results speak for themselves. Sell-through rates that average 97% with prices at 120% of estimate means you can be assured of realizing an excellent return on your investment. If you are a buyer, you will find an incredible range of the world’s greatest wines from magnificent vintages. Our strict vetting process means all the wines we offer have been cellared in ideal conditions and we are assured of their provenance. Auctions are held online each quarter with special live events and tastings throughout the year. To receive information about our Fine Wine auctions visit finewine.waddingtons.ca or contact Joann Maplesden at jmm@waddingtons.ca or call 416-847-6182.
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FINE WINE & SPIRITS
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FINE WINE & SPIRITS
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