Fine Canadian Art

HEFFEL FINE ART AUCTION HOUSE

FINE CANADIAN ART

FINE CANADIAN ART MAY 15, 2013

V ISIT

HEFFEL FINE ART AUCTION HOUSE

www.heffel.com VANCOUVER

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HEFFEL FINE ART AUCTION HOUSE

ISBN 978~1~927031~07~0

SALE WEDNESDAY, MAY 15, 2013, VANCOUVER

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FINE CANADIAN ART

AUCTION WEDNESDAY, MAY 15, 2013 4 PM, CANADIAN POST~WAR & CONTEMPORARY ART 7 PM, FINE CANADIAN ART VANCOUVER CONVENTION CENTRE WEST BURRARD ENTRANCE, ROOM 211 1055 CANADA PLACE, VANCOUVER PREVIEW AT GALERIE HEFFEL, MONTREAL 1840 RUE SHERBROOKE OUEST THURSDAY, APRIL 25 & FRIDAY, APRIL 26, 11 AM TO 7 PM SATURDAY, APRIL 27, 11 AM TO 5 PM PREVIEW AT HEFFEL GALLERY, TORONTO 13 HAZELTON AVENUE THURSDAY, MAY 2 & FRIDAY, MAY 3, 11 AM TO 7 PM SATURDAY, MAY 4, 11 AM TO 5 PM PREVIEW AT HEFFEL GALLERY, VANCOUVER SATURDAY, MAY 11 THROUGH TUESDAY, MAY 14, 11 AM TO 6 PM WEDNESDAY, MAY 15, 10 AM TO 12 PM HEFFEL GALLERY, VANCOUVER 2247 GRANVILLE STREET, VANCOUVER BRITISH COLUMBIA, CANADA V6H 3G1 TELEPHONE 604 732~6505, FAX 604 732~4245 TOLL FREE 1 800 528~9608 INTERNET WWW.HEFFEL.COM

HEFFEL FINE ART AUCTION HOUSE VANCOUVER

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HEFFEL FINE ART AUCTION HOUSE A Division of Heffel Gallery Limited VANCOUVER 2247 Granville Street, Vancouver, BC V6H 3G1 Telephone 604 732~6505, Fax 604 732~4245 E~mail: mail@heffel.com, Internet: www.heffel.com T ORONTO 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 Telephone 416 961~6505, Fax 416 961~4245 M ONTREAL 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Telephone 514 939~6505, Fax 514 939~1100 OTTAWA 451 Daly Avenue, Ottawa, Ontario K1N 6H6 Telephone 613 230~6505, Fax 613 230~8884 C ALGARY Telephone 403 238~6505 C ORPORATE BANK Royal Bank of Canada, 1497 West Broadway Vancouver, British Columbia V6H 1H7 Telephone 604 665~5710 Account #05680 003: 133 503 3 Swift Code: ROYccat2 Incoming wires are required to be sent in Canadian funds and must include: Heffel Gallery Limited, 2247 Granville Street, Vancouver, BC, Canada V6H 3G1 as beneficiary.

BOARD OF DIRECTORS Chairman In Memoriam ~ Kenneth Grant Heffel President ~ David Kenneth John Heffel Auctioneer License T83~3364318 and V13~155938 Vice~President ~ Robert Campbell Scott Heffel Auctioneer License T83~3365303 and V13~155937

HEFFEL.COM DEPARTMENTS F INE CANADIAN ART canadianart@heffel.com APPRAISALS appraisals@heffel.com ABSENTEE AND TELEPHONE BIDDING bids@heffel.com SHIPPING shipping@heffel.com SUBSCRIPTIONS subscriptions@heffel.com

CATALOGUE SUBSCRIPTIONS Heffel Fine Art Auction House and Heffel Gallery Limited regularly publish a variety of materials beneficial to the art collector. An Annual Subscription entitles you to receive our Auction Catalogues and Auction Result Sheets. Our Annual Subscription Form can be found on page 132 of this catalogue.

AUCTION PERSONNEL Audra Branigan ~ Client Services and Accounts Lisa Christensen ~ Calgary Representative Jasmin D’Aigle and Max Meyer ~ Digital Imaging Kate Galicz ~ Director of Appraisal Services Andrew Gibbs ~ Ottawa Representative Brian Goble ~ Director of Digital Imaging Jennifer Heffel ~ Auction Assistant Patsy Kim Heffel ~ Director of Accounting Elizabeth Hilson and Anthea Song ~ Administrative Assistants François Hudon ~ Client Services Lindsay Jackson ~ Manager of Toronto Office Lauren Kratzer ~ Director of Art Index and Manager of Shipping Bobby Ma, John Maclean and Anders Oinonen ~ Internal Logistics Alison Meredith ~ Director of Consignments Jill Meredith ~ Director of Online Auction Sales Jamey Petty ~ Director of Shipping and Framing Kirbi Pitt ~ Director of Advertising and Marketing Tania Poggione ~ Director of Montreal Office Olivia Ragoussis ~ Manager of Montreal Office Judith Scolnik ~ Director of Toronto Office Rosalin Te Omra ~ Director of Fine Canadian Art Research Goran Urosevic ~ Director of Information Services C ATALOGUE PRODUCTION Dr. Mark Cheetham, Lisa Christensen, Dr. François~Marc Gagnon, Andrew Gibbs, Lindsay Jackson, Lauren Kratzer, Max Meyer, Joan Murray and Rosalin Te Omra ~ Essay Contributors Brian Goble ~ Director of Digital Imaging David Heffel, Robert Heffel, Iris Schindel and Rosalin Te Omra ~ Text Editing, Catalogue Production Jasmin D’Aigle and Max Meyer ~ Digital Imaging Jill Meredith and Kirbi Pitt ~ Catalogue Layout and Production C OPYRIGHT No part of this publication may be reproduced, stored in retrieval systems or transmitted in any form or by any means, digital, photocopy, electronic, mechanical, recorded or otherwise, without the prior written consent of Heffel Gallery Limited.

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P RINTING Generation Printing, Vancouver ISBN 978~1~927031~07~0

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AUCTION LOCATION

PREVIEW

AUCTION

Heffel Gallery

Vancouver Convention Centre West,

2247 Granville Street, Vancouver

Burrard Entrance, Room 211

Telephone 604 732~6505

1055 Canada Place, Vancouver

Toll Free 1 800 528~9608

Saleroom Cell 604 418~6505

Call our Vancouver office for special accommodation rates, or email reservations@heffel.com Please refer to page 136 for Toronto and Montreal preview locations

HEFFEL FINE ART AUCTION HOUSE

TABLE OF CONTENTS 5 5 5 5 5 7 120 122 124 130 131 131 132 132 133 134 135

S ELLING AT AUCTION B UYING AT AUCTION G ENERAL BIDDING INCREMENTS FRAMING, RESTORATION AND SHIPPING W RITTEN VALUATIONS AND APPRAISALS FINE CANADIAN ART C ATALOGUE H EFFEL SPECIALISTS N OTICES FOR C OLLECTORS T ERMS AND CONDITIONS OF BUSINESS CATALOGUE ABBREVIATIONS AND S YMBOLS CATALOGUE TERMS H EFFEL’S C ODE OF BUSINESS CONDUCT, ETHICS AND PRACTICES ANNUAL SUBSCRIPTION FORM COLLECTOR PROFILE F ORM S HIPPING FORM FOR PURCHASES ABSENTEE BID FORM I NDEX OF ARTISTS BY LOT

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HEFFEL FINE ART AUCTION HOUSE

SELLING AT AUCTION Heffel Fine Art Auction House is a division of Heffel Gallery Limited.

Together, our offices offer individuals, collectors, corporations and public entities a full service firm for the successful de~acquisition of their artworks. Interested parties should contact us to arrange for a private and confidential appointment to discuss their preferred method of disposition and to analyse preliminary auction estimates, pre~sale reserves and consignment procedures. This service is offered free of charge.

If you are from out of town, or are unable to visit us at our premises, we would be pleased to assess the saleability of your artworks by mail, courier or e~mail. Please provide us with photographic or digital reproductions of the artworks and information pertaining to title, artist, medium, size, date, provenance, etc. Representatives of our firm travel regularly to major Canadian cities to meet with Prospective Sellers.

It is recommended that property for inclusion in our sale arrive at Heffel Fine Art Auction House at least 90 days prior to our auction. This allows time to photograph, research, catalogue, promote and complete any required work such as re~framing, cleaning or restoration. All property is stored free of charge until the auction; however, insurance is the Consignor’s expense.

Consignors will receive, for completion, a Consignment Agreement and Consignment Receipt, which set forth the terms and fees for our services. The Seller’s Commission rates charged by Heffel Fine Art Auction House are as follows: 10% of the successful Hammer Price for each Lot sold for $7,500 and over; 15% for Lots sold for $2,500 to $7,499; and 25% for Lots sold for less than $2,500.

Consignors are entitled to set a mutually agreed Reserve or minimum selling price on their artworks. Heffel Fine Art Auction House charges no Seller’s penalties for artworks that do not achieve their Reserve price.

BUYING AT AUCTION All items that are offered and sold by Heffel Fine Art Auction House are subject to our published Terms and Conditions of Business, our Catalogue Terms and any oral announcements made during the course of our sale. Heffel Fine Art Auction House charges a Buyer’s Premium calculated at seventeen percent (17%) of the Hammer Price of each Lot, plus applicable federal and provincial taxes.

If you are unable to attend our auction in person, you can bid by completing the Absentee Bid Form found on page 134 of this catalogue. Please note that all Absentee Bid Forms should be received by Heffel Fine Art Auction House at least 24 hours prior to the commencement of the sale.

Bidding by telephone, although limited, is available. Please make arrangements for this service well in advance of the sale.

Telephone lines are assigned in order of the sequence in which requests are received. We also recommend that you leave an Absentee Bid amount that we will execute on your behalf in the event we are unable to reach you by telephone.

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Payment must be made by: a) Bank Wire direct to our account, b) Certified Cheque or Bank Draft, unless otherwise arranged in advance with the Auction House, or c) a cheque accompanied by a current Letter of Credit from the Buyer’s bank which will guarantee the amount of the cheque. A cheque not guaranteed by a Letter of Credit must be cleared by the bank prior to purchases being released. We honour payment by VISA or Mastercard for purchases. Credit card payments are subject to our acceptance and approval and to a maximum of $5,000 if you are providing your credit card details by fax or to a maximum of $25,000 if the card is presented in person with valid identification. Bank Wire payments should be made to the Royal Bank of Canada as per the account transit details provided on page 2.

GENERAL BIDDING INCREMENTS Bidding typically begins below the low estimate and generally advances in the following bid increments: $100 ~ 2,000 .............................. $100 INCREMENTS $2,000 ~ 5,000 ........................... $250 $5,000 ~ 10,000 ........................ $500 $10,000 ~ 20,000 ................... $1,000 $20,000 ~ 50,000 ................... $2,500 $50,000 ~ 100,000 ................. $5,000 $100,000 ~ 300,000 ............. $10,000 $300,000 ~ 1,000,000 .......... $25,000 $1,000,000 ~ 2,000,000 ....... $50,000 $2,000,000 ~ 5,000,000 ..... $100,000

FRAMING, RESTORATION AND SHIPPING As a Consignor, it may be advantageous for you to have your artwork re~framed and/or cleaned and restored to enhance its saleability. As a Buyer, your recently acquired artwork may demand a frame complementary to your collection. As a full service organization, we offer guidance and in~house expertise to facilitate these needs. Buyers who acquire items that require local delivery or out of town shipping should refer to our Shipping Form for Purchases on page 133 of this publication. Please feel free to contact us to assist you in all of your requirements or to answer any of your related questions. Full completion of our Shipping Form is required prior to purchases being released by Heffel.

WRITTEN VALUATIONS AND APPRAISALS Written valuations and appraisals for probate, insurance, family division and other purposes can be carried out in our offices or at your premises. Appraisal fees vary according to circumstances.

If, within five years of the appraisal, valued or appraised artwork is consigned and sold through either Heffel Fine Art Auction House or Heffel Gallery Limited, the client will be refunded the appraisal fee, less incurred “out of pocket” expenses.

HEFFEL FINE ART AUCTION HOUSE VANCOUVER

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The Purchaser and the Consignor are hereby advised to read fully the Terms and Conditions of Business and Catalogue Terms, which set out and establish the rights and obligations of the Auction House, the Purchaser and the Consignor, and the terms by which the Auction House shall conduct the sale and handle other related matters. This information appears on pages 124 through 131 of this publication.

All Lots can be viewed on our Internet site at: http://www.heffel.com Please consult our online catalogue for information specifying which works will be present in each of our preview locations at: http://www.heffel.com/auction If you are unable to attend our auction, we produce a live webcast of our sale commencing at 3:50 PM PDT. We do not offer real~time Internet bidding for our live auctions, but we do accept absentee and prearranged telephone bids.

Information on absentee and telephone bidding appears on pages 5 and 134 of this publication.

We recommend that you test your streaming video setup prior to our sale at: http://www.heffel.tv Our Estimates are in Canadian funds. Exchange values are subject to change and are provided for guidance only. Buying 1.00 Canadian dollar will cost approximately 1.00 US dollar, 0.78 Euro, 0.67 British pound, 97 Japanese yen or 8.10 Hong Kong dollars as of our publication date.

FINE CANADIAN ART

CATALOGUE

Featuring Works from An Important Montreal Collection A Prominent Montreal Family Estate The PSBGM Cultural Heritage Foundation Property of a Vancouver Philanthropist & other Important Private Collections

SALE WEDNESDAY, MAY 15, 2013, 7:00 PM, VANCOUVER

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101 EMILY CARR BCSFA RCA 1871 ~ 1945

Klee Wyck Totem Lamp painted ceramic sculpture, signed Klee Wyck, circa 1924 ~ 1926 8 x 5 x 5 in, 20.3 x 12.7 x 12.7 cm P ROVENANCE : Private Collection, Ontario

L ITERATURE : Gerta Moray, Unsettling Encounters, First Nations Imagery in the Art of Emily Carr, 2006, page 280, a circa 1924 ~ 1929 beaver table lamp reproduced page 280, figure 11.5 During the period when Emily Carr was virtually not painting, one of the multitude of things she did to make a living was to produce pottery

painted with native motifs. One of the most rewarding aspects for her in this process was in the researching of Haida motifs, from books such as John Swanton’s Ethnography of the Haida and museums such as the National Museum in Ottawa. Gerta Moray writes, “She transferred the two~dimensional designs used by the Haida on hats or on argillite plates to the surfaces of large ceramic bowls and platters, and she made lamp stands in the form of miniature totem posts of bears and beavers.” This is an outstanding beaver motif totem lamp base ~ the stylized beaver is quite animated, and its eyes have a great sense of presence. Carr’s identification with First Nations people was very strong during this period ~ she surrounded herself with her paintings of native villages and totems, and in her attic bedroom she painted two great bird forms from the ’Yalis cemetery, which she slept beneath. Carr stated, “They made ‘strong talk’ for me, as my Indian friends would say.”

E STIMATE: $8,000 ~ 12,000

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102 EMILY CARR BCSFA RCA 1871 ~ 1945

Klee Wyck Dogfish Bowl painted ceramic sculpture, signed Klee Wyck, circa 1924 ~ 1926 5 1/2 x 5 1/4 x 2 in, 14 x 13.3 x 5.1 cm P ROVENANCE : Private Collection, Toronto

L ITERATURE : Maria Tippett, Emily Carr, A Biography, 1979, page 136 Emily Carr signed her ceramic works Klee Wyck, meaning “Laughing One”, a name given to her by West Coast First Nations people. She was involved in all the stages of making her ceramic objects, which included

candlesticks, lamp bases, totems and vessels. She dug blue clay from the Dallas Road cliffs, bringing it home in her wicker pram. After molding her objects by hand, she fired them in her homemade backyard kiln. Each firing of this primitive kiln required Carr’s oversight for 12 to 14 hours, and she declared it caused her much “agony, suspense, sweat”. Finally, native designs were applied to the work with enamel paint. In this colourful ceramic piece, Carr inventively painted her dogfish motif into the curve of the bowl as though it is coiled up in its sea environment.

As well as selling her work in Victoria, Vancouver, Calgary and Banff, Carr found a market in Eastern Canada ~ at a craft sale in Toronto, the Château Laurier in Ottawa and the Canadian Handicraft Guild in Montreal.

E STIMATE: $6,000 ~ 8,000

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103 JAMES WILLIAMSON GALLOWAY (JOCK) MACDONALD ARCA BCSFA CGP OSA P11 1897 ~ 1960

Castle Towers ~ Garibaldi Park, BC oil on board, signed and dated 1943 and on verso signed and titled 12 x 14 7/8 in, 30.5 x 37.8 cm P ROVENANCE : Acquired directly from the Artist By descent to the present Private Collection, Vancouver

L ITERATURE : Joyce Zemans, Jock Macdonald: The Inner Landscape / A Retrospective Exhibition, Art Gallery of Ontario, 1981, page 101, the related 1943 canvas entitled Castle Towers Garibaldi Park reproduced page 103 and listed page 282

E XHIBITED : Art Gallery of Ontario, Toronto, Jock Macdonald: The Inner Landscape / A Retrospective Exhibition, 1981, traveling in 1981 ~ 1982 to the Art Gallery of Windsor, The Edmonton Art Gallery, the Winnipeg Art Gallery and the Vancouver Art Gallery, the related 1943 canvas entitled Castle Towers Garibaldi Park, catalogue #30 Jock Macdonald taught at the Vancouver School of Decorative and Applied Arts until 1933, when he and Group of Seven painter Frederick Varley formed the British Columbia College of Arts. Both artists painted together at Garibaldi in 1929 and 1934. After their school closed, Macdonald spent several years living simply at Nootka Sound on Vancouver Island, before returning to Vancouver in 1936 to teach and paint. For the next decade, before turning to abstraction, the landscape would dominate his work. In the early 1940s Lawren Harris moved to Vancouver, and Macdonald and Harris went on sketching trips together and exchanged ideas about the Transcendental movement and theories from the leading proponents of spiritualism. Macdonald spent the summers of 1942 and 1943 in Garibaldi Park, and the effect of these influences can be seen in stunning works such as this, in which the formal and spiritual merge in the magnificent mountain forms and glowing light.

Macdonald exclaimed that the nearby Sphinx Glacier “was the most powerful force I have ever seen outside the mountainous waters of the open Pacific�, and here found a cosmic oneness with nature.

E STIMATE: $12,000 ~ 16,000

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104 JAMES WILLIAMSON GALLOWAY (JOCK) MACDONALD ARCA BCSFA CGP OSA P11 1897 ~ 1960

Kalamalka Lake (Looking South), Okanagan, BC oil on canvas board, signed and dated 1945 and on verso signed, titled, dated and inscribed 44779 12 x 14 1/2 in, 30.5 x 36.8 cm P ROVENANCE : Acquired directly from the Artist By descent to the present Private Collection, Vancouver

L ITERATURE : Joyce Zemans, Jock Macdonald, The Inner Landscape / A Retrospective Exhibition, Art Gallery of Ontario, 1981, page 107 In the Art Gallery of Ontario’s retrospective exhibition catalogue, Joyce Zemans writes of Jock Macdonald’s Interior works: “The Okanagan seems

to have elicited a new vision, and the grandeur of the Rockies and of Garibaldi gave way to softer forms. The darkening clouds of a summer storm or the brilliant light of the summer sun along with a rich, brightly coloured palette create vibrant colour harmonies to unify these paintings.” This fine Okanagan panorama is a nostalgic reminder of a time when Interior lakes like Kalamalka were only sparsely populated. The successive layers of benchlands and steep hills plunging into the lake tapering off to shadowy blue mountains in the distance are a pure and tranquil expression of the beauty of this Mediterranean~like area of British Columbia’s Interior region. In 1944, Macdonald’s Okanagan paintings were featured in a one~man exhibition at the Vancouver Art Gallery, which was critically well~received. The National Gallery of Canada has one of Macdonald’s Okanagan canvases among the group of his works in its collection, dated 1944 ~ 1945 and entitled Thunder Clouds Over Okanagan Lake.

E STIMATE: $10,000 ~ 15,000

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105 JAMES WILLIAMSON GALLOWAY (JOCK) MACDONALD ARCA BCSFA CGP OSA P11 1897 ~ 1960

“Victory” Garden, Rutland, BC oil on canvas board, on verso signed, titled and dated 1944 12 x 14 7/8 in, 30.5 x 37.8 cm P ROVENANCE : Acquired directly from the Artist By descent to the present Private Collection, Vancouver During World War II, victory gardens of vegetables and fruits were planted at both private residences and public spaces such as parks, intended to supplement the public food supply during wartime ~ particularly in Britain where food was rationed. This also occurred in

the United States and Canada, as indicated in the title of this fine painting. This grassroots drive was a tremendous success, increasing self~sufficiency and raising morale during wartime. Macdonald painted this scene during the summer of 1944 when he traveled to the Okanagan Valley from Vancouver. He reacted to the Okanagan’s Mediterranean climate by using softer form and a warm colour palette, and loved the quality of brilliant light in this area. Macdonald depicted this rural scene with a fine sense of rhythm in the rolling hills, and in the fences and buildings following the lines of the undulating land. Sculpted cloud formations hovering above the hills add to the peaceful, dreamy mood ~ a world away from what was happening in Britain and Europe, yet still connected through the “victory” garden.

E STIMATE: $10,000 ~ 15,000

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106 JAMES EDWARD HERVEY (J.E.H.) MACDONALD ALC CGP G7 OSA RCA 1873 ~ 1932

Sketch for Logs in the Gatineau oil on board, initialed and on verso signed, titled and dated indistinctly 1914 8 x 10 in, 20.3 x 25.4 cm P ROVENANCE : Pickering College, Newmarket, Ontario Sold sale of Important Canadian Art, Sotheby’s Canada, November 18, 1986, lot 352; Private Collection, Ontario By descent to the present Private Collection, Ontario

L ITERATURE : Paul Duval, The Tangled Garden: The Art of J.E.H. MacDonald, 1978, page 53, the related 1915 canvas entitled Logs on the Gatineau, in the collection of the Mendel Art Gallery, Saskatoon, reproduced page 67

In 1914, J.E.H. MacDonald began to venture further afield from his home in Toronto to paint. As he had already worked in the Laurentians, he took a March trip to Algonquin Park with J.W. Beatty, meeting up with A.Y. Jackson who was already camping and sketching there. After this, MacDonald explored the area around Minden, north of Toronto, and later in that same year painted “a series of brilliant on~the~spot studies” along the banks of the Gatineau River. One of these was “the superb sketch [in the collection of the Art Gallery of Windsor] for the major 1915 canvas, Logs on the Gatineau [in the collection of the Mendel Art Gallery in Saskatoon],” as Paul Duval writes. Another is this fine lot. Here MacDonald gives us all of the rapid brushwork and harmonious palette that characterizes his outdoor sketches. The treatment of the logs, water and rocks on the near shore conveys the idea of a tangled, log~strewn riverbank quite nicely, while the distant hill, shore and sky are delineated with a very different brush~stroke, conveying a feeling of misty distance and softness that contrasts with the hurry and tumble of the river.

E STIMATE: $20,000 ~ 30,000

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107 JAMES EDWARD HERVEY (J.E.H.) MACDONALD ALC CGP G7 OSA RCA 1873 ~ 1932

Rocky Mountains oil on board, signed and dated 1929 and on verso signed, titled twice, dated, inscribed $75.00 / 1374 / BA286 and 49 and stamped with a 1939 National Revenue Canada customs excise stamp 8 1/2 x 10 1/2 in, 21.6 x 26.7 cm P ROVENANCE : The Right Honourable Malcolm MacDonald, Kent, England, British High Commissioner to Canada from 1941 to 1946 By descent to the present Private Collection, Toronto To reach Lake O’Hara, J.E.H. MacDonald would have taken the train from Toronto to Hector Station in British Columbia, at the southeast end of Wapta Lake. From there, he would have gone by packhorse to Lake

O’Hara. In some years he had sufficient overlay time to take out his sketching kit, and in 1929 he had enough time explore the valley leading towards Sherbrooke Lake. This hitherto unknown sketch allows us to pinpoint another spot on the map of MacDonald’s mountain travels, and is one of less than ten known mountain sketches done outside of Lake O’Hara proper. Here, we are a distance up the trail towards Sherbrooke Lake, looking back at the glaciated peaks of Mounts Collier, Victoria and Huber. Set in a burned~over forest, the blackened tree trunks are a striking contrast to the autumn colours of the forest floor. A pine tree on the left is touched with bright yellow lichen, and the bands of turquoise in the sky serve to contain our gaze and return it to the centre of the scene.

E STIMATE: $50,000 ~ 70,000

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HEFFEL FINE ART AUCTION HOUSE

108 THOMAS JOHN (TOM) THOMSON

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P ROVENANCE :

mile rapids near the end of the trip,” as Thomson wrote McRuer, but the few paintings that remained struck friends such as Dr. J.M. MacCallum, whom he met that autumn, with “their truthfulness, their feeling and their sympathy with the grim, fascinating northland.” They were, MacCallum wrote, “dark, muddy in colour, tight and not wanting in technical defects,” but worthy of purchase. He bought “some of the sketches fished up from the foot of the rapids.” Albert Robson, Thomson’s boss at Grip Ltd. and later at Rous & Mann Ltd. (another top commercial art firm in Toronto), also recalled the way in which these works caught the “real northern character” and showed an “intimate feeling of the country”.

Mellors Fine Arts, Toronto Laing Galleries, Toronto The Right Honourable Malcolm MacDonald, Kent, England, British High Commissioner to Canada from 1941 to 1946 By descent to the present Private Collection, Toronto

Thomson’s sketches of this year, mostly ragged and rather severe distant shorelines, are recognized as the first awakenings of the Group of Seven, both philosophically, because of the way the imagery was obtained, and in subject matter. At this moment, Thomson was only four years away from the high point of his career as a painter.

L ITERATURE :

Although it is difficult to identify the exact sketches Thomson painted in the Mississagi Forest Reserve in 1912, this sketch, from an early date, was almost certainly painted on this trip, or so we can believe from the inscription on the verso by MacCallum. Another early sketch was identified by Robson as having been painted on the trip ~ Drowned Land, in the collection of the National Gallery of Canada. In both works, Thomson was attracted to a simple motif, which he rendered with textured brushwork and with great sensitivity to the raw northern landscape and its often~grey skies.

OSA 1877 ~ 1917

Mississagi oil on canvas on board, signed and on verso titled Mississauga on the Laing Galleries label and inscribed authenticated Tom Thomson

by James M. MacCallum 22 / IV / 1937, circa 1912 4 1/2 x 7 in, 11.4 x 17.8 cm

Thomson to Dr. M.J. McRuer, postmarked October 17, 1912, McMichael Canadian Art Collection Archives Dr. J.M. MacCallum, “Tom Thomson: Painter of the North”, Canadian Magazine 50, No. 5, March 1918, page 376 Albert H. Robson, Tom Thomson, 1937, page 6 Joan Murray, The Best of Tom Thomson, 1986, titled as Mississauga, reproduced page 10 Joan Murray, “The World of Tom Thomson,” Journal of Canadian Studies 26, No. 3, fall 1991, reproduced page 25 Joan Murray, Tom Thomson: The Last Spring, 1994, reproduced page 61 Joan Murray, Design for a Canadian Hero, 1998, reproduced page 48 Sometimes a work of art can be a revelation. Mississagi is a painting that shows Tom Thomson learning his discipline by working in the North to create an authentic image of the country. At the same time, this quiet landscape, in shades of grey, green, light blue and black, sets an example for the artists who were his peers, acting as a conduit of energy which would become full~blown in Canadian art with the Group of Seven.

Thomson made his first major canoe trip in Northern Ontario in the summer of 1912 with English artist William Broadhead (1889 ~ 1960), a fellow artist from Grip Ltd., the commercial art firm in Toronto. This adventure inspired Thomson, though with modest means and ambition, to create bold new work. “We started in at Bisco [Biscotasing, northwest of Sudbury] and took a long trip on the lakes around there up the Spanish River and over into the Mississauga [Mississagi] water,” Thomson wrote to a friend, Dr. McRuer, the following fall. “The Mississauga is considered the finest canoe trip in the world.” Thomson and Broadhead lost most of their sketches and photographs when their boat capsized in the “forty

The Right Honourable Malcolm MacDonald was the British High Commissioner to Canada from 1941 to 1946. Among the other works he owned by Thomson are Spring, Algonquin Park (1914) and Canoe Lake, Algonquin Park (1916).

The inscription on the verso of this sketch is proof that MacCallum was asked to authenticate and date it in April 1937, perhaps at the request of art dealer Blair Laing, who had organized a Thomson show at Mellors Fine Arts in March of that year. Mississagi may have remained with Laing until about 1940, when it was purchased by MacDonald. Since MacDonald purchased another Thomson, the above~mentioned Canoe Lake, Algonquin Park, from Laing Galleries that year, he possibly purchased Mississagi around the same time.

We thank Joan Murray for contributing the above essay. This work will be included in Murray’s forthcoming catalogue raisonné on the artist’s work.

E STIMATE: $80,000 ~ 120,000

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109 WALTER JOSEPH (W.J.) PHILLIPS ASA CPE CSPWC RCA 1884 ~ 1963

Leaf of Gold watercolour on paper, signed, circa 1941 13 7/8 x 20 3/4 in, 35.2 x 52.7 cm P ROVENANCE : Private Collection, Ontario

L ITERATURE : Roger Boulet, The Tranquility and the Turbulence, 1981, the 1941 colour woodcut entitled Leaf of Gold reproduced page 171 Walter J. Phillips was one of Canada’s finest printmakers and watercolourists. In this sensitive composition Phillips exquisitely positioned a single branch with golden fall leaves against a backdrop

of a lake and blue~shadowed mountains. This eye for beauty shows the influence of Japanese art on his work ~ in 1925 he had studied with the Japanese master Yoshijiro Urushibara in London. This, combined with his training in the British watercolour tradition before he came to Canada, forged an exceptional command of the medium. In 1941 he executed the colour woodcut Leaf of Gold, which is virtually identical in composition to this work ~ Phillips often derived his woodcuts from drawings and watercolours. The backdrop is the Rocky Mountains. In 1940 Phillips was asked to be an instructor at the Banff Summer School, and he moved to Calgary in the fall of 1941, later building a house in Banff. Responding to the clarity of Canadian light, he worked with washes on dry paper, and consequently captured with technical virtuosity the ephemeral play of light and purity of atmosphere seen in this superb watercolour.

E STIMATE: $15,000 ~ 25,000

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110 WALTER JOSEPH (W.J.) PHILLIPS ASA CPE CSPWC RCA 1884 ~ 1963

Peggy’s Cove watercolour on paper, signed and dated 1956 and on verso titled on the gallery label 14 x 21 in, 35.6 x 53.3 cm P ROVENANCE : Canadian Art Galleries, Calgary Private Collection, British Columbia Originally from England, Walter J. Phillips was steeped in the great tradition of British watercolourists such as David Cox and John Sell Cotman. Before immigrating to Canada in 1912, he undertook sketching trips throughout England and held two exhibitions of his watercolours in Salisbury. Once in Canada, Phillips settled in Winnipeg and set to painting the surrounding landscape. In his unpublished manuscript Wet Paint, Phillips describes the Canadian atmosphere as clear and dry, and his watercolours changed in response to it. Phillips was a champion of beauty in nature, and his body of work in watercolour is renowned for its

allure of image and for its technical accomplishment. Phillips’s refined use of transparent washes, which defined form and atmospheric effects, captured the clarity of light that is so distinctive in Canadian landscape.

This fine large format watercolour depicts the iconic lighthouse at Peggy’s Point in Peggy’s Cove, Nova Scotia. Built in 1914, it sits atop a rugged granite outcrop, and has endured the powerful crash of Atlantic surf during many winter storms. Phillips’s masterful hand with watercolour is in full evidence here, from the deft handling of texture and patterning in the rocks to delicate washes defining sand and sky. His eye for the dynamics of composition manifests in his highlighting of the lighthouse against a pale sky, and the strength of the granite outcropping on which it stands. Phillips lived in both Winnipeg and Banff, and painted primarily the Prairies, Lake of the Woods, the Rockies and the West Coast. Peggy’s Cove is a rare and splendid depiction of the East Coast.

E STIMATE: $15,000 ~ 25,000

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111 ALFRED JOSEPH (A.J.) CASSON CGP CSPWC G7 POSA PRCA 1898 ~ 1992

Village in the Rock Country oil on canvas, signed and on verso signed, titled and dated 1966 23 x 32 in, 58.4 x 81.3 cm P ROVENANCE : Roberts Gallery, Toronto Acquired from the above by Mr. Ameen Aboud By descent to the present Private Collection, Ontario A.J. Casson joined the Group of Seven in 1926, but, as the youngest member, knew he had to forge his own identity amongst them.

Acknowledging the fact that A.Y. Jackson had mastered the Quebec village, Casson turned his hand to the Ontario village ~ and these works

have contributed vitally to Casson’s stature within the Group and Canadian art history. Casson was an inveterate traveler who loved to drive to remote spots in his Willys Whippet car. He sought to capture the effects of light and shade on the landscape, but also wanted to record the architecture and atmosphere of these remote villages. This magnificent work combines two of Casson’s great strengths; his ability to bring an almost spiritual presence to the stark forms of a Northern Ontario village and his sophisticated handling of the massive Precambrian rock forms surrounding Ontario’s lakes. The scene is devoid of human activity, yet this somehow increases one’s sense of the human presence within the village. Art historian Paul Duval felt that, in this regard, Casson’s work had its parallel in the work of the well~known American artist Edward Hopper.

E STIMATE: $90,000 ~ 120,000

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PROPERTY OF A VANCOUVER PHILANTHROPIST

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112 ALFRED JOSEPH (A.J.) CASSON CGP CSPWC G7 POSA PRCA 1898 ~ 1992

Summer Landscape oil on canvas, signed 24 x 30 in, 61 x 76.2 cm P ROVENANCE : The Art Emporium, Vancouver, 1976 Private Collection, Vancouver Having worked for Grip Ltd. and then Sampson Matthews Limited as a designer for many years, Group of Seven painter A.J. Casson had a fine eye for discerning patterning in the landscape and attaining a fine compositional balance, qualities fully manifest in Summer Landscape.

Casson worked with a number of styles, one of which related to Cubism

in that a landscape element would be fractured into planes ~ as seen here in the clouds. In Summer Landscape, Casson first anchors the foreground with the large rock to the left edged by forest. He then pulls the eye down the lake along the shoreline out to the horizon and into an extraordinary space ~ an ephemeral effect created by the cloudscape of jagged layers ~ which, together with the reflection in the still surface of the lake, produce an otherworldly effect. The bluish zone at the horizon between the land forms takes the viewer into the far distance. Pale pearlescent tones in the water and clouds add to the sense of lightness and mood of transcendence in this beautiful and ethereal scene.

The proceeds from this lot will be donated by the consignor to establish a bursary for students in the Faculty of Medicine at the University of British Columbia.

E STIMATE: $50,000 ~ 70,000

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PROPERTY OF THE PROTESTANT SCHOOL BOARD OF GREATER MONTREAL CULTURAL HERITAGE FOUNDATION

The English Montreal School Board Building, 6000 Fielding Avenue, Montreal, March 2013

In our continued practice of carefully handling important estates and collections, Heffel is honoured to be entrusted with the sale of works from The Protestant School Board of Greater Montreal (PSBGM) Cultural Heritage Foundation, a non~profit body. The Protestant School Board of Greater Montreal was first incorporated in 1846 by Act of the Provincial Parliament as the Protestant Board of School Commissioners of the City of Montreal. For many years, it was the only school board serving the Protestant community on the Island of Montreal. Subsequently other Protestant school boards were established on the Island and in 1973, in addition to the Protestant Board of School Commissioners of the City of Montreal, there existed ten other school boards on the territory now served by the PSBGM. Under the school reform legislation which came into effect on July 1, 1973, the ten other school boards were merged into the Board incorporated in 1846 and the name of the Board was changed to The Protestant School Board of Greater Montreal.

Quebec’s Protestant school boards served numerous ethnically diverse non~Catholic populations in the city, and established a number of schools to serve Montreal’s growing immigrant population. Baron Byng High School on St. Urbain Street was attended largely by working~class Jewish Montrealers from its establishment in 1921 until the 1950s. It no longer operates as a school, and is presently home to the Sun Youth organization. It counts among its notable alumni artists Rita Briansky,

David Silverberg, William Allister, Tobie Steinhouse and Leah Sherman.

Rudolph A. Marcus, winner of the 1992 Nobel Prize in Chemistry, Louis Horlick, recipient of the Order of Canada and fellow Order of Canada recipient and Rhodes Scholar David Lewis (father of Stephen Lewis) were also students there.

In 1922, Anne Savage was hired by the Protestant Board of School Commissioners of the City of Montreal to teach at their Commercial and Technical High School. Baron Byng had opened the previous year, and after impressing the Board with her efforts at the Technical school, Savage was transferred to Baron Byng as the new school’s first art teacher. She was given a free hand with the children, and her receptive pupils were “first generation Canadians whose parents had fled the Jewish ghettos in Europe…They were hungry for knowledge and, if not especially crazy about school itself, eager to get ahead.” Savage was a gifted teacher in addition to being a gifted artist, and inspired many of her students. One student recalled, “We were all sort of in love with her…and through her had a love affair with art. I felt she had born me into the creative world.” At this time, copying the old masters was the standard method of art education, but Savage set her students to drawing from life, using each other as models, and taking them out~of~doors to sketch in the avenue of trees along Rachel Street. She also turned to fellow artist/teacher Arthur Lismer ~ who in 1922 was in the process of setting up the Children’s Art

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One of Anne Savage’s art classes at Baron Byng High School

Centre at The Toronto Art Gallery (now the Art Gallery of Ontario) ~ for advice. They would become regular correspondents over the issues and concerns of teaching art, having a shared passion for their work that fostered the creativity of children. Savage treated her students as serious artists from the outset ~ she mounted exhibitions of their work, and their designs were used for Christmas card layouts and rug patterns. Savage had connections to many other artists, and her enthusiasm for her work there drew their attention to the school. A.Y. Jackson was her close lifelong friend; he suggested she have the students decorate the school with panels of murals, and eventually Thoreau MacDonald ~ the artist son of J.E.H. MacDonald ~ would contribute one panel. Savage’s work at the school also increased its reputation and profile in the community. Jackson wrote in his autobiography A Painter’s Country, “Anne Savage is getting wonderful results teaching art at the Baron Byng High School from youngsters…this is about the most interesting development in Montreal.” Of the Group of Seven, Jackson in particular was interested in the school, and when Savage decided to build a small collection for the students to study, Jackson wrote to her, saying, “One thing I am doing is to send you a package of sketches for the Baron Byng school, if they want them. I picked out ones from all over Canada so they should be interesting from a geographical standpoint. Do as you please with them, they might have plain black strip frames around them later.” Savage donated several

of her own works to the school, and later helped mastermind the acquisition of additional works by notable artist friends and colleagues for the new PSBGM administration building which opened in July of 1961. Her connections and discernment led to the acquisition of works

by Jackson, Robert Wakeham Pilot, Maurice Cullen, Frederick Simpson Coburn, John Little and others. As well, it was a common practice in Montreal in the 1930s for parents and alumni to thank and recognize individual schools with the gift of a work of art. The respect and admiration that Savage’s students and their parents felt for her contribution can be seen in the quality of the works that were presented to Baron Byng High School.

Savage taught at Baron Byng from 1922 to 1948, and spent an additional four years supervising the art program for the Montreal Protestant School Board. She was then invited to teach art education at McGill University from 1954 to 1959, and also taught at the Thomas More Institute in Montreal. She died in March of 1971.

The proceeds from the sale of this collection will directly benefit graduates of the English Montreal School Board by providing much~needed scholarships for post~secondary education.

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113

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113 ALEXANDER YOUNG (A.Y.) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974

Snow on Spruce Trees / Countryside in Winter (verso) double~sided oil on panel, signed and on verso signed and titled, circa 1914 8 1/2 x 10 1/2 in, 21.6 x 26.7 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation

L ITERATURE : Jeremy Adamson, Lawren Harris: Urban Scenes and Wilderness Landscapes, 1906 ~ 1930, 1978, page 54 Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie Walter Klinkhoff Inc., 1990, listed, unpaginated

E XHIBITED : Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson Retrospective Exhibition, September 10 ~ 22, 1990, catalogue #1 A.Y. Jackson’s lusciously painted Snow on Spruce Trees is reminiscent of Lawren Harris’s exquisite northern wilderness deep~woods snow scenes executed from 1914 to 1918. Harris had seen a pivotal exhibition of modern Scandinavian northern landscapes at the Albright Gallery in Buffalo in 1913, and been greatly impressed, particularly by Gustav Fjaestad’s stunning scenes of snow and frost~covered trees. This vigorous and raw approach to the land was a hot topic among the future Group of Seven members, who were in close contact through the Arts and Letters Club and the Studio Building in Toronto ~ Jackson having moved into the Studio Building in 1914. The North beckoned both Harris and Jackson, particularly Algonquin Park in that decade, and in 1914 Jackson took two trips to Algonquin Park, joining Tom Thomson in the fall. The response of Group painters to the beauty of the North in winter produced iconic works, and Snow on Spruce Trees is a splendid example. Jackson’s approach is vigorous, with thick brush~strokes creating an almost abstract pattern of snow~laden branches, in a surprisingly bold and modern treatment.

It is interesting to compare this lot to lot 158 by Lawren Harris. Jackson and Harris often worked together, even sitting side by side to sketch at times. By 1914, Jackson would have seen the earliest of Harris’s fine winter works, such as Morning Sun, Winter, now in a private collection, which was painted in the Studio Building in January and February of 1914. Perhaps inspired by Morning Sun, Winter, and no doubt encouraged

by Thomson’s descriptions of the park, Jackson ventured to Algonquin Park alone in February of 1914, arriving in 45 degrees below zero weather and, in a letter to J.E.H. MacDonald, wrote that he “found it just as Lawren had said, you don’t notice the cold one bit, all you notice is your breath dropping down and splintering on the scintillating ground.”

E STIMATE: $25,000 ~ 35,000

Lawren Harris and A.Y. Jackson, 1954 Photo credit: Courtesy of The Vancouver Sun

verso 113

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114

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114 ALEXANDER YOUNG (A.Y.) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974

French Canadian Farm, Les Éboulements / Quebec Village (verso) double~sided oil on panel, signed and on verso titled, circa 1930 8 1/2 x 10 1/2 in, 21.6 x 26.7 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation

L ITERATURE : Naomi Jackson Groves, A.Y.’s Canada, 1968, page 42 Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie Walter Klinkhoff Inc., 1990, listed, unpaginated

E XHIBITED : Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson Retrospective Exhibition, September 10 ~ 22, 1990, catalogue #14 A.Y. Jackson’s keen powers of observation focused on those little details of rural Quebec life that made it so unique, such as the oft~depicted horse~drawn cart, the early mode of transport in small villages. As his niece Naomi Jackson Groves noted, “Horses were in for AY.” So were traditional barns that sagged with the land, irregular woodpiles, rutted, winding roads and organic snake~fences that followed the curves of hills and hummocks ~ all greatly pleased Jackson, and are present in the scenes on both sides of this delightful panel. Jackson visited the North Shore of the Saint Lawrence many times in the 1920s and 1930s, and was documented as sketching specifically in Les Éboulements in 1929, 1930, 1932 and 1935. The name Éboulements or landslide derives from a time in 1663 when the area was rocked by earthquakes for seven months, causing the cliff face to collapse, contributing to the uniqueness of the area’s geography. Jackson, painting on the spot, likely ran out of panels and, in his desire to keep sketching, painted another image on verso.

E STIMATE: $25,000 ~ 35,000

verso 114

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115 ALEXANDER YOUNG (A.Y.) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974

Fort Resolution, Great Slave Lake oil on panel, signed and on verso signed and titled, circa 1928 8 1/2 x 10 1/2 in, 21.6 x 26.7 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation

L ITERATURE : A.Y. Jackson, A Painter’s Country, The Autobiography of A.Y. Jackson, 1958, pages 100 and 101 Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie Walter Klinkhoff Inc., 1990, listed, unpaginated

E XHIBITED : Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson Retrospective Exhibition, September 10 ~ 22, 1990, catalogue #9

In July of 1928, A.Y. Jackson traveled to Fort Resolution on the shores of the vast Great Slave Lake. It was an arduous journey by rail and boat, but Jackson was an experienced and enthusiastic explorer, and he was intrigued that this “was a part of their country few Canadians at that time knew anything about.” There was interesting sketching material there, for, as he wrote, “In the summer the Indians congregate at Resolution, where they erect their tents and teepees, making of the settlement a most picturesque place.” However in 1928, due to the influenza epidemic that year, many had scattered. Jackson encountered a challenge from the summer swarms of insects, which were relentless, even working their way into his paint, so he concentrated on pencil drawings ~ making this oil sketch all the more rare. This fascinating scene has a strong central motif in the teepee’s bare poles, which frame the figures of two women.

Jackson deftly captures the atmosphere of the endless Arctic day in the flickering opalescent tones in the sky.

E STIMATE: $25,000 ~ 35,000

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116 ALEXANDER YOUNG (A.Y.) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974

Godhavn, Greenland oil on panel, signed and on verso titled and dated July 1927 8 1/2 x 10 1/2 in, 21.6 x 26.7 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation

L ITERATURE : Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie Walter Klinkhoff Inc., 1990, listed, unpaginated Wayne Larsen, A.Y. Jackson, The Life of a Landscape Painter, 2009, page 138

E XHIBITED : Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson Retrospective Exhibition, September 10 ~ 22, 1990, catalogue #8

On July 16, 1927, A.Y. Jackson and Dr. Frederick Banting, research scientist and painter, boarded the government supply ship the SS Beothic, bound for the Arctic. After a week, their first port of call was the village of Godhavn on the coast of Greenland. Their arrival created a sensation ~ a contingent including the Governor of North Greenland met them, and a public holiday was declared for the day. Godhavn was quite a sight with, as Wayne Larsen writes, its “colourful Danish~style cottages, with steep roofs and ornate trim, standing side by side with Inuit shacks built from whatever material happened to be handy ~ wood, tarpaper, and whale bones.” Jackson and Banting soon slipped away to paint. Jackson wrote, “It’s an unbelievable village, and you keep pinching yourself to find out if it was a dream or part of the Chauve Souris, or a fairy tale.” This finely balanced composition captures the striking impact of this harbour towered over by snow~capped mountains. Jackson’s sure and fluid handling of volume and paint is in full bloom in the foreground with its delicate colour tints in the molded rock formations.

E STIMATE: $25,000 ~ 35,000

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117

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117 ALEXANDER YOUNG (A.Y.) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974

A Quebec Village (Winter, Saint~Fidèle) oil on canvas, signed and on verso signed, titled A Quebec Village on the stretcher by the artist, and Winter, Ste. Fidele on a label and dated 1930 25 x 32 1/4 in, 63.5 x 81.9 cm P ROVENANCE : Baron Byng High School, Montreal, 1930 The PSBGM Cultural Heritage Foundation

L ITERATURE : A.Y. Jackson, A Painter’s Country, The Autobiography of A.Y. Jackson, 1958, pages 61 and 62 Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie Walter Klinkhoff Inc., 1990, reproduced front cover and listed, unpaginated Pierre B. Landry, editor, Catalogue of the National Gallery of Canada, Canadian Art, Volume Two / G ~ K, 1994, similar subjects: a 1926 graphite study of the church at Saint~Fidèle, entitled Saint~Fidèle, Quebec reproduced page 199, a 1926 canvas of Saint~Fidèle village with the church entitled Winter, Quebec reproduced page 199 and a 1926 graphite study entitled Church at Saint~Fidèle reproduced page 200 Charles C. Hill, The Group of Seven: Art for a Nation, National Gallery of Canada, 1995, titled as Saint~Fidèle, reproduced page 279, figure 248, listed page 336 David P. Silcox, The Group of Seven and Tom Thomson, 2003, titled as St. Fidèle, reproduced page 196 Wayne Larsen, A.Y. Jackson, The Life of a Landscape Painter, 2009, titled as St. Fidèle, reproduced page 145

E XHIBITED : The Art Gallery of Toronto, Exhibition of Seascapes and Water~Fronts

by Contemporary Artists and an Exhibition of the Group of Seven, December 4 ~ 24, 1931, catalogue #96 San Francisco Golden Gate International Exhibition, 1939 Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson, Retrospective Exhibition, September 1990, catalogue #13 National Gallery of Canada, Ottawa, The Group of Seven, Art for a Nation, October 13 ~ December 31, 1995, traveling in 1996 to the Vancouver Art Gallery and the Montreal Museum of Fine Arts, catalogue #170 This stunning A.Y. Jackson comes to Heffel through The Protestant School Board of Greater Montreal’s Cultural Heritage Foundation.

Beginning in 1922, Anne Savage taught art at the PSBGM’s Baron Byng High School, and during her time there she donated several of her own works to the school, including the stunning Northern Lake / Trees in the Wind (lot 118) and oversaw the acquisition of additional works by other important Canadian artists. It was a common practice in Montreal in the 1930s for parents and alumni to thank schools with the gift of a work of art. Savage’s skilled teaching during her 28~year tenure would have encouraged parents and alumni to do exactly that, and Savage’s

31 connections enabled the school to build a fine collection. No doubt her close relationship with Jackson led to the inclusion of this exceptionally fine canvas in the PSBGM’s collection. This important collection is now being sold to fund scholarships.

Jackson’s beloved Quebec, with its rural quaintness and variable weather, provided the spirit and character that give his works depicting the region such charm. Jackson was utterly at home in Quebec, whether on snowshoes or on foot, and so at ease with his surroundings that his Quebec works have a personality and familiarity to them that can only come when an artist is particularly attached to a certain place. As with J.E.H. MacDonald and Lake O’Hara, Lawren Harris and the Arctic, and Emily Carr and the British Columbia forest, when a geographical connection between art and artist becomes profound, the work that it generates reaches a new level. Here, with snow in abundance and light playing against the whites of winter, turning them into blues, pinks and purples, Jackson is at his finest. The colour of the snow alone makes this painting outstanding, and the play of the snow colour against that of the sky, so similar yet rendered in a slightly different hand, exemplifies Jackson’s skill with subtle brushwork. The work is beautifully composed, with the hollows and whorls of the snow gently broken up by the homes, barns and church that are painted in hues complementary to one another.

The rooftops of the buildings have a pleasing consistency of line and shape. In the near ground, the neatly stacked wood adds a contrast of pattern, while the fence line serves to return our gaze to the centre after we have taken in all that this charming work has to offer us. Horse~drawn carts ply the snow, adding two accents of life to the otherwise still scene.

Jackson’s first venture to Saint~Fidèle took place in 1926 with Edwin Holgate. He wrote, “It is rather like St. Hilarion on top of a hill but overlooking the river for miles…not ancient but just a natural village where everyone did as they pleased.” His description of the village as natural is key, and something Jackson sought out in his preferred painting locales, almost on an instinctive level. Although its buildings and the fieldstone church are clearly man~made, Saint~Fidèle seems to have sprouted from the earth with homes, sled~paths and fences situated in such a manner as to follow the natural hollows and rises of the landscape.

Jackson returned again in 1930 with Dr. Frederick Banting, and they encountered daunting amounts of snow. Jackson commented, “It was a hard month to work, not many effects and more wind than was necessary and too much new snow and frozen paint…‘Bigger and better snow drifts’ is Banting’s slogan. We went for a short~cut through the woods yesterday and that nearly cured him. We did not have our snowshoes, and we sank in the snow up to our waists. No newspapers, no radio and only enough water to wash once a day and yet we are happy.” This waist~deep snow is very prominent here, sparkling and infused with many delicate hues as it gently blankets this scene of a by~gone era in this masterpiece canvas.

This exceptional canvas was loaned by Baron Byng High School to the 1931 Group of Seven exhibition at The Art Gallery of Toronto.

As with the other lots consigned by the PSBGM, proceeds from the sale of this work will directly benefit graduates of the English Montreal School Board by providing scholarships for post~secondary education.

E STIMATE: $500,000 ~ 700,000

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118

118 ANNE DOUGLAS SAVAGE BHG CGP 1896 ~ 1971

Northern Lake / Trees in the Wind (verso) double~sided oil on canvas, signed 31 x 34 in, 78.7 x 86.3 cm P ROVENANCE : A gift from the Artist to Baron Byng High School, Montreal The PSBGM Cultural Heritage Foundation

L ITERATURE : Anne McDougall, Anne Savage: The Story of a Canadian Painter, 1977, pages 127 and 128 Anne Savage’s career as an art educator had an impact that still resonates today with the students and alumni of Montreal’s Baron Byng High School, where she taught from 1922 until 1948. The school was established in 1921 and notes Mordecai Richler, Irving Layton, Moe Reineblatt and William Shatner among its graduates. Savage was the school’s first art teacher, and during her long tenure there she employed a

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method of teaching focused on creative stimulus, positive reinforcement and showing complete trust in the innate artistic talents of all her students. Quite ahead of its time, this method produced outstanding results, and Savage soon became a beloved teacher. She oversaw the painting of murals on the school walls by students and arranged for the donation of important works of art by her artistic contemporaries to the school’s collections. Thus, the walls at Baron Byng were graced with a remarkable array of art. From sketches by J.E.H. MacDonald and fine canvases by A.Y. Jackson to a wintry street scene by Robert Wakeham Pilot, Savage built a collection with the eye of an experienced curator and the insight of a gifted educator. As well, she contributed a number of her own works, including Northern Lake / Trees in the Wind.

The view on one side of this double~sided work, entitled Northern Lake, is a depiction of one of Savage’s most treasured vistas. In 1911, her family had purchased a summer property at Lake Wonish, north of Montreal near Sixteen Island Lake. The property was high on a hill above the lake and had a commanding view of the lake’s waters, which could not be seen in their entirety from the home, being partially hidden beneath steep cliffs, with the view running off into the distance. This distant lake has a distinctive shoreline, standing out like a shard of glass in a lush landscape.

Savage was extremely fond of this outlook, and painted it often, in both sunlight and twilight like French Impressionist Claude Monet, who painted the same scene again and again. She captured it in all seasons and different times of day, and named it with varying titles. In 1933 she built a studio for herself on this property, at the head of the lake with a view out of her window that gave her an eagle’s overlook onto the landscape. Anne McDougall writes, “The fields between the studio and the water fold into valleys at the foot of elm and maple trees. There is a road running across the end of the fields that turns by a clump of maple trees. Anne found the view satisfying. It contained the elements of rhythm and design that she needed, and was right there in front of her…‘Anne’s Lake’, as her friends called it, so often gave her the inspiration she needed for on~the~spot subject matter. She turned to it again and again.” Her depiction of the lake in this work is both expansive and graceful, with a fine, rolling quality and a serene harmony in both her palette and her brushwork. The shadows and colouring of the elm trees are especially fine.

Anne Savage with a boys’ class, Baron Byng High School

The verso scene, Trees in the Wind, is equally enchanting. Characteristic of Savage’s style, movement, rhythm and balanced patterns of colour are the main focuses of this lyrical and energetic composition. Savage lined the walls of her studio with mirrors so that she could see the works she was painting in reverse and from various angles while she was working, feeling that these varied perspectives allowed her to compose her paintings more carefully. Indeed, with both Northern Lake and Trees in the Wind, her compositional structure perfectly supports these two delightful works.

Savage was a member of both the Beaver Hall Group and the Canadian Group of Painters. Following her retirement from Baron Byng High School, she supervised the Art Program for The Protestant School Board of Greater Montreal and taught at McGill University.

E STIMATE: $70,000 ~ 90,000

verso 118

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119

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119 ROBERT WAKEHAM PILOT CGP OSA PRCA 1898 ~ 1967

Indian Fur Traders oil on canvas on board, signed and dated 1925 72 x 122 5/8 in, 182.9 x 311.4 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation

L ITERATURE : Tim E. Holzkamm, Traders of the Plains: The European Fur Trade and the Westward Expansion of the Dakota or Sioux Indians, 1981, Open Access Dissertations and Theses, http://digitalcommons. mcmaster.ca/opendissertations/5428/, accessed February 20, 2013 Painted four years before Early Explorers, lot 120 in this sale, this Robert Pilot mural, offered by the PSBGM Cultural Heritage Foundation, depicts a familiar subject: native people and men of European background engaged in a commercial exchange related to the fur trade. This subject had been painted by other artists ~ for example, Toronto muralist Frederick S. Challener’s A View of Fort Rouillé, produced in 1928 for the offices of Loblaws, a major Toronto food company. The foreground of that work is occupied by a circle of natives sitting on the ground and engaged in trade with a single military man. Before 1906, Challener had produced an earlier version of the same subject for the King Edward Hotel in Toronto. In 1929, the famous historical illustrator C.W. Jefferys painted a scene of the exchange of goods between natives and French settlers for Le Manoir Richelieu in Murray Bay, Quebec. Even closer to the setting of Pilot’s murals were the scenes painted by Georges Agnew Reid for the auditorium of a Toronto high school, the Jarvis Collegiate Institute, between 1929 and 1930. One of the panels he produced was entitled Hudson’s Bay Company, Fur Trading in James Bay, 1668.

What is original in the case of Pilot’s mural is the Plains locale of the scene depicted. Considering the presence of the teepees in the background and the majestic feather headpiece of the Indian chief presenting furs to a trader, we are certainly among the Plains Indians; probably the Dakotas, who served as middlemen between other tribes of the Plains and the traders. The silhouette of a red buffalo on one of the teepees also confirms this locale. It also indicates that the shift in the fur trade from beaver pelts to bison robes, which occurred in the 1830s, was well under way. It would be impossible to interpret the furs being offered by the chief in Pilot’s mural as beaver pelts. The composition of this mural is similar to Early

Installation 119 Galerie Heffel, Montreal, March 2013

Explorers, with which it makes a pair. One finds again two groups of people facing each other in the foreground with a triangular shape of the teepee in the background. In the canoe are the trade goods the traders are offering in return for the furs. With these two murals, Pilot was covering an aspect of the history of Canada when European~Canadian settlers were confronted with Aboriginal populations ~ but he chose to represent moments of collaboration instead of warfare, moments of exchange of knowledge and skill instead of ignorance and barbarism. Needless to say, that was well suited to the educational purpose of the murals in their original placement in schools.

Let us hope that these murals will find public exposure. They could have much significance in a museum setting, where their intent could be clearly explained and situated in the context of historical painting. In other public places, as with their first provenance, schools or public buildings (either private or governmental) could give them the exposure they deserve. These works also add to our knowledge of Pilot’s art, which has been seen almost exclusively as landscapes or Quebec City scenes.

We thank François~Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay.

E STIMATE: $100,000 ~ 150,000

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120

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120 ROBERT WAKEHAM PILOT CGP OSA PRCA 1898 ~ 1967

Early Explorers oil on canvas on board, signed and dated 1929 72 x 122 5/8 in, 182.9 x 311.4 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation

L ITERATURE : Marilyn McKay, Canadian Historical Murals 1895 ~1939, Material Progress, Morality and the ‘Disappearance’ of Native People, Journal of Canadian Art History, Volume XV, #1, 1992, page 63, http://jcah~ahac.concordia.ca/en/archive/1992_15~1, accessed February 20, 2013 In an interesting article, Marilyn McKay of the Nova Scotia College of Art and Design indicated that, in the early 1990s, the location of a Robert Pilot mural completed for the High School of Montreal was unknown.

She will be pleased to learn that not only this mural, but also another of Pilot’s historical paintings have been found, and will now be auctioned at Heffel. Both are large~scale works and have been put up for sale by the PSBGM Cultural Heritage Foundation with the intention that the proceeds raised from this sale will provide post~secondary scholarships to current and future English Montreal School Board graduates.

Early Explorers depicts an encounter between Jacques Cartier and two of his men with Dom Agaya, the son of Donnacona, the Iroquois chief of Stadacona (Quebec City). Dom Agaya is providing Cartier with Eastern White Cedar boughs (Thuya occidentalis) to help his men recover from scurvy. This was a disease that resulted from a vitamin C deficiency, which was common among sailors and pirates who were deprived of fruits and vegetables for long periods. Dom Agaya stripped cedar needles from a nearby White Cedar tree and proceeded to boil them into a tea, which he offered to Cartier to drink. It would heal them, he said. Cartier declined, still apprehensive that it was a plot to poison them, but a few desperate men eagerly volunteered and drank it anyway ~ better to die quickly from poison than to suffer the prolonged and horrendous death of scurvy.

Surprisingly, they felt better almost immediately. More tea was made, and within eight days one tree had been stripped bare, but the Frenchmen were cured of scurvy.

This is a rare example in the documents of the time where the medical knowledge of the natives is presented as superior to European settlers’ knowledge, and indeed it is a rare subject in historical murals of the

Installation 120 Galerie Heffel, Montreal, March 2013

period, where the common theme was to praise European technology as superior to that of the natives. However, the presence of ships in Pilot’s painting is certainly to reestablish the Eurocentric “balance”. In fact, this native “superiority” would quickly be forgotten in favour of the work of Scottish physician James Lind (1716 ~ 1794), who pioneered naval hygiene in the Royal Navy. By conducting the first~ever clinical trial, Lind developed the theory that citrus fruits cured scurvy.

Pilot, known for his views of Quebec, reveals himself here as interested in an historical subject on a grand scale. The triangular composition set up by the men and the ship in the background is perfectly balanced, the setting in a winter landscape makes sense considering the subject matter, and the opposition between the engaging Europeans ~ see the man on the extreme left ~ and, on the right, the rather “inactive, emotionless Native Canadians”, to quote McKay, reflects the prejudices of the time.

Nevertheless, Pilot’s painting demonstrates the need to use history in an educational context, an idea sponsored by the Group of Seven painter Arthur Lismer, among others. It was seen as crucial to developing the national consciousness of Canadians.

We thank François~Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay.

E STIMATE: $100,000 ~ 150,000

HEFFEL FINE ART AUCTION HOUSE

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121

121 ANNE DOUGLAS SAVAGE BHG CGP 1896 ~ 1971

November oil on board, signed and on verso titled 24 x 30 in, 61 x 76.2 cm P ROVENANCE : A gift from the Artist to Baron Byng High School, Montreal The PSBGM Cultural Heritage Foundation

L ITERATURE : Anne McDougall, Anne Savage: The Story of a Canadian Painter, 1977, pages 44 ~ 45 Anne McDougall writes, “Anne Savage sought light and rhythm and had a sure hand with a purple shadow beneath a bank or a burnt umber across a

sunlit hayfield…she showed a joyful, fearless use of colour…she does not people her pictures with human beings…but turns again to landscape and throws joy into the sweeping tree or bank.”

Savage’s colours in this bright, enchanted scene are awash in sunlight. The effect is one of bleached brilliance, and the scrubbed, dry~brush application of paint furthers this effect. Her balanced composition consists of rolling hills set under an umbrella of trees that partially screens a distant hill, with all of this accented by a few small buildings. Savage varies her application of paint by a pattern of dotting in some of the tree boughs, and sets these next to ones painted with fluid smoothness. There are vertical brush~strokes to offset the horizontal ones, and the division of the whole scene by lyrical, sweeping lines of reddish~brown ~ quite Art Nouveau in their character ~ gives the scene a fine sense of design.

E STIMATE: $15,000 ~ 20,000

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122

122 ANNE DOUGLAS SAVAGE BHG CGP 1896 ~ 1971

Summer oil on board, signed 23 1/2 x 30 in, 59.7 x 76.2 cm P ROVENANCE : A gift from the Artist to Baron Byng High School, Montreal The PSBGM Cultural Heritage Foundation

L ITERATURE : Anne McDougall, Anne Savage: The Story of a Canadian Painter, 1977, pages 42, 44 and 47 Anne McDougall writes, “Her paintings…like those of the others in the Beaver Hall group, show the influence of the Impressionists, an influence which Morrice and others had brought late to Canada but which was

considered very much avant~garde in households still hanging copies of old European masters ~ ‘the Dutch gravy school’, [A.Y.] Jackson called them.”

In late January of 1921, an article in La Presse included the name Anne Savage in a list of 20 painters that the author considered comparable to the “Indépendants de Paris” (Société des Artistes Indépendants). Along with that of Prudence Heward, Adam Sherriff Scott, Edwin Holgate and the others listed, Savage’s work was, for Canadian eyes, a marked change from the mainstream. In describing Savage’s work, her biographer McDougall, when writing of Savage’s membership in the short~lived Beaver Hall group, states, “They were like a flurry of bright butterflies settling on a rock for a brief time, then off on their own ways.” Bright and delicate, and when considered in contrast to the “Dutch gravy” works that were the object of Jackson’s ire, Savage’s works are butterflies indeed.

E STIMATE: $15,000 ~ 20,000

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123

123 ALEXANDER YOUNG (A.Y.) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974

Cap~aux~Oies, Que. oil on panel, signed and on verso signed, titled, dated March 1931 and inscribed Severn St., Toronto 8 1/2 x 10 1/2 in, 21.6 x 26.7 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation

L ITERATURE : Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie Walter Klinkhoff Inc., 1990, listed, unpaginated

E XHIBITED : Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson Retrospective Exhibition, September 10 ~ 22, 1990, catalogue #16

In March of 1931, A.Y. Jackson was sketching on the north shore of the St. Lawrence River with Dr. Frederick Banting and Randolph Hewton, and painted Cap~aux~Oies, located between the villages of Sainte~Irenée and Les Éboulements. The string of villages leading up to Baie~Saint~Paul were noted for their picturesque qualities, and Jackson knew this “painting trail” on the North Shore intimately. This fine Quebec oil sketch displays Jackson’s characteristic compositional elements and sparkles with vitality. The diagonal line of the snake fence leads the eye straight to the iconic horse and sleigh, then to the rustic town arrayed at the base of the hill. The scene is flooded by early spring sun, which lights up the piles of snow shrinking at their edges from the increased warmth.

Jackson’s colour palette is rich, from the houses painted with both warm and cool colours to the bright blue tones in the shadows on the snow and the brilliant sky. Jackson’s affection for Quebec villages is palpable ~ he walked their back roads, knew their people and captured their essence in fresh, on~the~spot oil sketches like Cap~aux~Oies, Que.

E STIMATE: $25,000 ~ 35,000

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124 ALEXANDER YOUNG (A.Y.) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974

Ellesmere Island oil on panel, signed and on verso signed, titled and dated August 1927 8 1/2 x 10 1/2 in, 21.6 x 26.7 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation

L ITERATURE : Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie Walter Klinkhoff Inc., 1990, listed, unpaginated

E XHIBITED : Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson Retrospective Exhibition, September 10 ~ 22, 1990, catalogue #7

During A.Y. Jackson’s 1927 trip to the Arctic on the SS Beothic, he arrived at the end of July at the tiny settlement of Bache Post on Ellesmere Island, the most northern inhabited point in Canada. Three Inuit and four police were the whole population of this remote island, and the Beothic was dropping supplies there. The ship had to manoeuvre through the pack ice of Kane Basin to reach it, and due to ice could only anchor nearby. With the imminent threat of the ice closing in, Jackson and his painting companion Dr. Frederick Banting hurried ashore and set to sketching.

They found a stark sculptural landscape of ice, shale and gravel, as revealed in this bold oil sketch. The strength of the landforms, the lofty perspective and the beauty of the delicate colour tints in the ice floes make this one of Jackson’s classic Group period sketches.

Jackson later painted a fine canvas based on sketches made of the Beothic at Ellesmere Island, which he presented to the Minister of the Interior, who later donated it to the National Gallery of Canada.

E STIMATE: $25,000 ~ 35,000

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125

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125 ROBERT WAKEHAM PILOT CGP OSA PRCA 1898 ~ 1967

Corner of Sherbrooke and Peel Streets oil on canvas, signed and on verso signed and dated 1960 28 x 24 in, 71.1 x 61 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation

L ITERATURE : Harold Beament, Robert W. Pilot Retrospective, the Montreal Museum of Fine Arts, 1968, a similar canvas entitled Peel Street, Winter reproduced page 37 G. Blair Laing, Memoirs of an Art Dealer 2, 1982, page 146 Well~known art dealer Blair Laing wrote, “Robert Pilot was, at his best, one of Canada’s finest artists. His early works of lower~town Quebec City and streetscapes of Montreal catch the piquant Gallic charm of these places and are a delight to look at.” Pilot spent his youth in the vibrant studio of his stepfather Maurice Cullen, who had married Pilot’s widowed mother in 1910. Cullen was one of Canada’s finest Impressionist painters, and quite successful during his lifetime. He had been trained in European methods and welcomed his young stepson into his studio, giving him solid foundational skills in painting through the apprenticeship method, which was in its waning days as a common educational practice. Along with the direction of William Brymner at the Royal Canadian Academy, this training gave Pilot a sound academic foundation and excellent technical skills. In addition to serving in World War I (and later World War II), Pilot followed the example of his stepfather and other artists of the time and traveled, training further at the Académie Julian in Paris and sharing his studio there with Edwin Holgate. In 1922, Pilot returned to Canada and opened a studio in Montreal. He turned immediately to painting Canadian scenes, selecting views in the nearby parks, along city streets, near Montreal’s beautiful churches and along the edges of the city.

While the influence of his time in France remained strong throughout his life, Pilot was able to blend the Canadian scenery and his French training smoothly. Here, in this fine scene painted at the intersection of Sherbrooke and Peel Streets in Montreal, the soft evening light and frosty winter atmosphere are of paramount interest in the painting. Pilot was especially fond of early evening light and often painted scenes such as this, wherein daylight is just ending and the transition into evening begins. This fleeting moment of ethereal light and atmospheric effects would fascinate him and stand as one of his favourite subjects. Pilot was also particularly adept at depicting snow, and here we see it in the form of frost, slush and ice. Further, light is expertly handled in differing ways in this work; we have the warm light coming from the windows in the

Mr. Hamilton’s four~in~hand, corner of Sherbrooke and Peel Streets, Montreal, QC, 1894 © McCord Museum II~106399

buildings, the cool light coming from the street lamps and their soft reflections on the wet, slick street, and the fading evening light in the sky, which Pilot has painted using a subtle pointillist method. Larger daubs of colour demark the sky from the tips of the tree branches, which are coated with hoar frost and differ only slightly in their form and colour from the sky. The lyrical, calligraphic forms of the trees further serve to break up the linear patterns of the architectural details on the buildings directly behind them and play nicely with the vertical spikes of the iron fence, creating both balance and contrast in this unified and tonally subdued work. Corner of Sherbrooke and Peel Streets has an inviting, pleasant appeal, despite the fact that we are looking at a cold, wintry evening.

Warm interior lights tell us the rooms are occupied, the deftly painted figures attend to the business of heading on their way, and the red and green traffic lights indicate that everything is under control. Pilot’s depictions of Quebec have the ability to take us back in time without being trite or overly sentimental. His foundational skills as a colourist and compositional master did not allow for trivial or hackneyed scenes, and his affection for his home province, its people and scenery, infused his work with a palpable sincerity. As the last significant painter in the Canadian Impressionist style, his works are highly sought after, and Corner of Sherbrooke and Peel Streets is a fine example ~ an evocative, everyday moment in an historic city during the long Canadian winter.

E STIMATE: $100,000 ~ 150,000

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126

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126 ALEXANDER YOUNG (A.Y.) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974

Saint~Simeon, Lower St. Lawrence oil on canvas, signed, 1950 24 x 30 in, 61 x 76.2 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation

L ITERATURE : A.Y. Jackson, A Painter’s Country, The Autobiography of A.Y. Jackson, 1958, pages 82, 166 and 167 Wild weather exhilarated A.Y. Jackson. His brushwork, so full of movement in this wind~swept, lilting scene, conveys a feeling of windblown vitality to us instantly. In this quaint village of Saint~Siméon set on the edge of the St. Lawrence River, even the buildings seem to have been arranged to withstand the wind that blows steadily across the water, licking it into waves while curling the clouds in the sky. It is a shoreline shaped by a powerful force, a place where the land and people are at the water’s mercy.

Jackson was very familiar with the St. Lawrence, and was asked to illustrate a book about it as part of the ambitious Rivers of America Series, published in 1942 in the United States by Farrar & Rinehart. A highly collected series of books, it contained 65 volumes and was issued under three different publishers over 37 years. The Jackson~illustrated St. Lawrence volume was reissued in 2012. This commission was taken on during the Second World War, and Jackson, so familiar with Quebec’s riverside villages, assumed he would be able to paint wherever he liked.

Instead, he found himself being repeatedly questioned as to his motives for sitting alone on the St. Lawrence, and was forced to seek permits to paint near ports of any strategic significance. He was once, while not

45 actually arrested, taken under armed guard to port officials to explain himself.

Nonetheless, Jackson’s affection for the St. Lawrence’s shoreline would last throughout his life. “I have worked in villages on both the north and south shores…In thirty years I missed only one season, the year I was teaching at the Ontario College of Art. I have happy memories of a great many places, from St. Joachim to Tadoussac, and on the south shore from Lévis to Fox River in Gaspé. The canvasses I painted there are scattered from New Zealand to Brazil and Barbados, throughout the United States, and all over Canada.”

His palette in Saint~Simeon, Lower St. Lawrence is especially lovely, with the colour of the river water echoed in the muddy brown~greens of the road ~ linking the land and the river so nicely ~ and the rusty red of the truck’s cab is recalled in the red of the hill in the middle ground, tying the human elements to the land itself. Further, he uses the same violet ~ in different levels of saturation ~ to create horizontal slices of cloud in the sky and to highlight the vertical faces of homes in the village, another unifying touch. The bright emerald green of the boat behind the bare tree branches and two middle ground homes form a further connection.

Jackson was a master of these painterly subtleties. His depiction of the Quebec landscape and aspects of the lives his fellow Quebecers lived upon it is a gentle dance of people and place. He was just as at home in Saint~Siméon as the villagers were, and thus his depiction of the village seems effortless and relaxed, with fluid and assured brushwork that is used with a consistent touch to depict the sky, water, earth, ramshackle buildings and fence posts, boats and people. The horse~drawn cart and red truck add a further human note to this depiction of life lived on the edge of one of North America’s largest rivers.

E STIMATE: $90,000 ~ 120,000

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127

127 ROBERT WAKEHAM PILOT CGP OSA PRCA 1898 ~ 1967

The Mill Town Near Murray Bay oil on canvas, signed and on verso signed and titled 24 1/4 x 32 1/4 in, 61.6 x 81.9 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation The town of Murray Bay, in Charlevoix County, Quebec, has attracted the attention of artists and been a popular tourist destination from as early as the late 1700s. Situated on the north shore of the St. Lawrence River, where the Malbaie River feeds into the St. Lawrence, it was renamed

La Malbaie in 1957. In addition to Robert Pilot, who here has painted Murray Bay against a backdrop of low~lying clouds that have settled along the river, Nora Collyer, Arnold Benjamin Hopkins and Henri Masson all painted scenes depicting this quaint village and its inhabitants. Pilot has depicted the town’s homes and buildings nestled along the gently rolling shoreline landscape in a contained, appealing manner. The church and millworks are the tallest of the buildings depicted, with a plume of smoke from the paper mill evaporating as it moves skyward. Grey clouds fill the sky, patterning the atmosphere and balancing the geometry of the village below.

E STIMATE: $30,000 ~ 40,000

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128

128 RITA MOUNT ARCA 1888 ~ 1967

Village de L’Anse~aux~Gascons, Gaspé, Que.

129

129 ROBERT WAKEHAM PILOT CGP OSA PRCA 1898 ~ 1967

Farm Near Baie~Saint~Paul

oil on canvas, signed 24 x 32 in, 61 x 81.3 cm

oil on canvas, on verso titled on the gallery label, 1936 18 x 24 in, 45.7 x 61 cm

P ROVENANCE :

P ROVENANCE :

Continental Galleries, Montreal The PSBGM Cultural Heritage Foundation

Galerie Walter Klinkhoff Inc., Montreal The PSBGM Cultural Heritage Foundation

E XHIBITED :

Robert Pilot was the last significant Canadian painter working in the Impressionist tradition. He was known for his atmospheric views of Quebec, both city and countryside, as in this charming canvas.

Baie~Saint~Paul, on the north shore of the St. Lawrence River, was a favourite location of artists such as A.Y. Jackson and Clarence Gagnon.

Pilot has depicted the scene with a clear, suffused light and a palpable feeling of affection for the farm nestled into the base of the hill.

Art Association of Montreal, Spring Exhibition, 1945 Rita Mount was an anglophone Montreal artist known for her Quebec landscape painting, particularly seascapes of the Gaspé coast. This is a remarkably atmospheric work, with its gorgeous green and blue water and the small, informal harbour with sailboats pulled up on the shore.

Mount’s soft brush~strokes, pastel tones and sensitive treatment of light is reminiscent of the French Impressionists’ treatment of coastal France, but with a brilliant, clear light that reflects the uniqueness of Canadian atmosphere.

E STIMATE: $4,000 ~ 6,000

E STIMATE: $8,000 ~ 12,000

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130

130 ROBERT WAKEHAM PILOT CGP OSA PRCA 1898 ~ 1967

Rooftops, Quebec oil on canvas, signed and on verso titled on the gallery label 18 1/8 x 24 1/8 in, 46 x 61.3 cm P ROVENANCE : Galerie Walter Klinkhoff Inc., Montreal The PSBGM Cultural Heritage Foundation Robert Pilot was deeply devoted to the artistic tradition of Impressionism.

Arguably, his greatest influence came from his stepfather Maurice Cullen, both in the studio and on their many weekend sketching trips. In addition to the training provided by Cullen, Pilot received formal education under

William Brymner at the Art Association of Montreal before traveling to Paris to study at the Académie Julian, and in 1922 exhibited at the Paris Salon. While abroad, Pilot absorbed the work of fellow Impressionists and, upon returning to Canada, channelled their techniques into his work. Pilot found his greatest inspiration in the snow~laden streets of Montreal and Quebec City, working in a muted colour palette to reflect a distinctive sense of serenity amidst the urban environment. Rooftops, Quebec provides the viewer with a unique perspective, as we are raised above the slush~laden streets and perched amongst brick chimneys and traditional spires. A few blocks over, a waft of smoke floats into the grey, overcast sky, expertly rendered by Pilot’s careful hand. It was this loyal admiration and affection for his urban surroundings that helped confirm Pilot as one of Canada’s greatest Impressionist painters.

E STIMATE: $20,000 ~ 30,000

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131

131 ROBERT WAKEHAM PILOT CGP OSA PRCA 1898 ~ 1967

Sainte~Adèle, PQ oil on canvas, signed 19 x 24 in, 48.3 x 61 cm P ROVENANCE : Continental Galleries, Montreal The PSBGM Cultural Heritage Foundation Robert Pilot was considered an exceptional talent as a young student, and William Brymner, who was his teacher at the Royal Canadian Academy School and at the Art Association of Montreal, went so far as to offer him free classes in support of his training. In 1920 Pilot was invited to participate in the first show held by the Group of Seven, but traveled to

France instead, where he was exposed to a wide variety of art and met fellow Canadian painter Edwin Holgate, who was living and working in Paris. Pilot was a great admirer of the work of James Wilson Morrice, and we can see the influence of Morrice, along with a Canadian version of French Impressionism in Pilot’s work. This fine view of Sainte~Adèle shows us how clearly Pilot understood the soft light of the Canadian winter. The reflections in the water and treatment of the snow are particularly skilled, and the upper branches of the leafless trees seem to float hazily, suspended in the air as if they are made of smoke.

E STIMATE: $15,000 ~ 20,000

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132

132 FREDERICK SIMPSON COBURN AAM RCA 1871 ~ 1960

Harrowing oil on canvas, signed and dated 1921 and on verso titled on the gallery label 20 x 25 in, 50.8 x 63.5 cm P ROVENANCE : Galerie Walter Klinkhoff Inc., Montreal The PSBGM Cultural Heritage Foundation

L ITERATURE : Janet M. Brooke et al, The Frederick Simpson Coburn Collection, Musée des beaux~arts de Sherbrooke, 1996, essay by Monique Nadeau~Saumier, page 35

E XHIBITED : Galerie Walter Klinkhoff Inc., Montreal, Hommage à F.S. Coburn (1871 ~ 1960), September 1986, catalogue #31

Frederick Coburn’s best known theme was that of horse~drawn sleighs in the Quebec countryside near his familiar terrain of Upper Melbourne ~ sometimes jauntily transporting people and sometimes working, such as pulling sledges loaded with lumber ~ typically in winter. This is a rare summer scene, depicting a horse team harrowing the land, a process that prepares the soil for seeding. Monique Nadeau~Saumier writes that it is “ ‘the human history of the nation’ that provided a fertile ground for the development of his art, specifically in the activities of the woodsmen and farmers of the St. Francis River Valley.” Beautifully detailed, and painted with vigorous brush~strokes, there is much for the eye to savour, from the lush foreground foliage to the delicate patterns of birds in the sky. Coburn captures the activities of the farm in a fresh and natural way, observing the man involved in his work, the watchful dog, the patient horses and the livestock grazing in the background. Coburn’s consummate knowledge of composition, light effects and paint handling is fully manifest in this work, so expressive of the spirit of rural Quebec.

E STIMATE: $12,000 ~ 16,000

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133

133 FREDERICK SIMPSON COBURN AAM RCA 1871 ~ 1960

Near Melbourne, Quebec oil on canvas, signed and dated 1924 26 1/2 x 32 in, 67.3 x 81.3 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation

E XHIBITED : Galerie Walter Klinkhoff Inc., Montreal, Hommage à F.S. Coburn (1871 ~ 1960), September 1986, catalogue #29 At the turn of the twentieth century in Canada, artists were struggling to overcome the prejudice of collectors towards dark European paintings of the Hague and Barbizon Schools. Frederick Coburn trained in Europe, and the influence of contemporary Dutch painting persisted in his work until about 1907 ~ Coburn’s art collection even included a work by Vincent van Gogh. However, Coburn painted with Canadian

Impressionist Maurice Cullen, who had a strong influence on him, and soon Coburn’s depictions of the landscapes surrounding his studio in Quebec’s Upper Melbourne were full of fresh, bright atmosphere. Also, Coburn collaborated with writers William Henry Drummond and Louis Fréchette, illustrating their books on the legends, traditions and everyday life of rural Quebec. One senses in Near Melbourne, Quebec Coburn’s keen appreciation of peaceful rustic scenes such as this, so typical of life in his district. Pale greens and golds in the foreground and the crest of the near hill strikingly contrast with a dark screen of trees and blue~shadowed mountains in the background. High clouds drifting across a blue sky complete Coburn’s masterful depiction of this tranquil, light~filled landscape.

E STIMATE: $15,000 ~ 20,000

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134

134 ALEXANDER YOUNG (A.Y.) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974

Lutheran Church, Rosendal, Ont. oil on panel, signed and on verso signed, titled and dated October 1960 10 1/2 x 13 1/2 in, 26.7 x 34.3 cm P ROVENANCE : Galerie Walter Klinkhoff Inc., Montreal The PSBGM Cultural Heritage Foundation

L ITERATURE : Arthur Lismer, A.Y. Jackson: Paintings 1902 ~ 1953, The Art Gallery of Toronto and the National Gallery of Canada, 1953, page 7 By the 1960s, A.Y. Jackson had left the legendary Studio Building in Toronto and was living in Manotick in a new studio that he had built.

The pattern of his sketching trips had changed ~ though he continued to regularly visit Georgian Bay and the east shore of Lake Superior, he would now explore areas such as the Gatineau region and the Madawaska and Ottawa Valleys. In October of 1960 he was in the Madawaska Valley, where he discovered this rural church at Rosendal. Standing peacefully on its own in a field, the church has a quietly heroic quality, with its spire reaching to the sky. The brightness in the clouds above the trees gives the impression of a spiritual glow behind it. Jackson’s simple, fluid brush~strokes depict the landscape with a natural and rhythmic flow of its elements. As fellow Group of Seven member Arthur Lismer wrote of Jackson’s oil sketches, “They are easy to look at, disarming at first in their simplicity…but they also invite participation in the subtleties of his execution, of his thoughtful composition, and in the definitive mood.”

E STIMATE: $15,000 ~ 20,000

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135 ROBERT WAKEHAM PILOT CGP OSA PRCA 1898 ~ 1967

Government Buildings, Quebec City oil on canvas, signed 16 1/4 x 20 in, 41.3 x 50.8 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation When Anne Savage was building the Protestant School Board of Greater Montreal’s art collection, it is likely that works were selected for their educational purposes as well as for their artistic merit. Robert Pilot’s view of the Government Buildings in Quebec City is a fine example of a stately view of these Second Empire~style buildings, and of Pilot’s urban Impressionism.

E STIMATE: $8,000 ~ 12,000

136 ROBERT WAKEHAM PILOT

135

CGP OSA PRCA 1898 ~ 1967

Summer Near Murray Bay oil on canvas, signed and dated 1936 and on verso titled on the gallery label 14 1/8 x 17 3/4 in, 35.9 x 45.1 cm P ROVENANCE : Galerie Walter Klinkhoff Inc., Montreal The PSBGM Cultural Heritage Foundation In this relaxed family scene in Murray Bay, situated in Charlevoix County on the north shore of the St. Lawrence River, Robert Pilot has deftly captured everyday life in rural Quebec. As a young man he had forayed on sketching trips with his stepfather, Canadian Impressionist Maurice Cullen. Once established in Cullen’s old Montreal studio, Pilot took regular sketching trips to the Laurentians and the Baie~Saint~Paul area.

Based on his sketches, he produced fresh, atmospheric canvases such as Summer Near Murray Bay.

136

E STIMATE: $7,000 ~ 9,000

137 ROBERT WAKEHAM PILOT CGP OSA PRCA 1898 ~ 1967

Street in Kingston, Ontario oil on canvas board, signed and on verso titled and inscribed 3602 12 1/2 x 17 in, 31.7 x 43.2 cm P ROVENANCE : The PSBGM Cultural Heritage Foundation

E STIMATE: $4,000 ~ 6,000

137

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138

138 ANNE DOUGLAS SAVAGE BHG CGP 1896 ~ 1971

Birches oil on board, signed and on verso signed and titled 20 x 24 in, 50.8 x 61 cm P ROVENANCE : A gift from the Artist to Baron Byng High School, Montreal The PSBGM Cultural Heritage Foundation

L ITERATURE : Anne McDougall, Anne Savage: The Story of a Canadian Painter, 1977, page 127 Anne McDougall described Anne Savage’s method of working as follows: “She used to stand her easel by the front window where the light came over her left shoulder. She would hold one brush in her teeth while

reaching with a finer one for a new colour. She was quick and deft and unfussy in her movements; mixing turpentine, flourishing a rag to clean her palette, and standing back, squinting, to get a better perspective.”

This description aptly fits the execution of this bright, modernist still life.

We are looking down on a simple bouquet of leaves that has been evenly illuminated through Savage’s attention to light and colour. In the angle of the table, window and distant hills outside, we see Savage’s modernist leanings clearly expressed. Careful forethought has been put into the layers of colour that give us the wall, window frame and table. Savage paints the sun on the bouquet as prominently as the bouquet itself, and the effect, with pink light and blue shadows playing with the fallen leaves on the table while sun streams through the foliage in the vase, is quite dazzling.

E STIMATE: $10,000 ~ 15,000

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139

139 THOREAU MACDONALD CGP CPE 1901 ~ 1989

Canadian Geese oil on canvas, signed, initialed and dated 1931 50 x 40 in, 127 x 101.6 cm P ROVENANCE : Art Emporium Limited, Montreal Baron Byng High School, Montreal, circa December 1931 / January 1932 The PSBGM Cultural Heritage Foundation

L ITERATURE : Margaret E. Edison, Thoreau MacDonald, A Catalogue of Design and Illustration, 1973, a black and white design of three flying geese for a 1930 Canadian National Exhibition catalogue cover reproduced page 69

Thoreau MacDonald, the son of Group of Seven artist J.E.H. MacDonald, was an accomplished designer and book illustrator. This striking depiction of Canadian geese reflects the strong, graphic quality of his work as a designer. MacDonald reduces his painting to powerful essentials ~ a migration of the strong, assertive geese over a darkened land against a glowing sky ~ the most Canadian of images.

E STIMATE: $8,000 ~ 12,000

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140

140 MAURICE GALBRAITH CULLEN AAM RCA 1866 ~ 1934

Palisades Through the Trees

141

141 MAURICE GALBRAITH CULLEN AAM RCA 1866 ~ 1934

North River Near St. Margaret’s, PQ

oil on board, signed and on verso titled on the gallery labels, inscribed No. 17, January 1925 on the Watson Galleries label and Chairman’s lounge and certified by Cullen Inventory #1394 11 3/4 x 16 1/4 in, 29.8 x 41.3 cm

oil on board, signed and on verso titled and certified by Cullen Inventory #1395 11 3/4 x 16 1/4 in, 29.8 x 41.3 cm

P ROVENANCE :

The North River in the Laurentians in winter was one of Maurice Cullen’s favoured subjects. The cabin on Lac Tremblant that he built in the early 1920s was his base from which he explored this river’s banks and the surrounding snow~encrusted forests. His treatment of the delicate borders between snow and water are particularly exquisite, as are the contrasts between brilliant white snow and deep blue water in this sunlit painting.

Watson Art Galleries, Montreal Galerie Walter Klinkhoff Inc., Montreal The PSBGM Cultural Heritage Foundation Maurice Cullen, an important Canadian Impressionist, had absorbed the tenets of this movement while studying in Paris. Painting out~of~doors and capturing the moment in the landscape with its ephemeral effects of light were a vital part of his work. Mountains such as the Palisades, often seen from Lac Tremblant or the Cache River, are a recurring element of Cullen’s Laurentian compositions, captured here with mysterious, deep~shadowed cobalt hues.

E STIMATE : $10,000 ~ 15,000

P ROVENANCE : The PSBGM Cultural Heritage Foundation

E STIMATE: $10,000 ~ 15,000

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143

142

142 ROBERT WAKEHAM PILOT CGP OSA PRCA 1898 ~ 1967

Cabbies at McGill

143 FREDERICK SIMPSON COBURN AAM RCA 1871 ~ 1960

View from the Studio, Upper Melbourne

oil on canvas on board, signed indistinctly and titled on a plaque 12 1/2 x 16 1/2 in, 31.7 x 41.9 cm

oil on canvas, signed 15 x 18 in, 38.1 x 45.7 cm

P ROVENANCE :

The PSBGM Cultural Heritage Foundation

Continental Galleries, Montreal The PSBGM Cultural Heritage Foundation

E XHIBITED :

The horse~drawn carriage in service as a cab was a popular subject in the work of several of Canada’s turn~of~the~century era painters. Often situated on busy corners or, as here, under the shade of a stately tree, horses rested, drivers chatted and people came and went. One rig would be replaced by the next in turn, and artists could set up across the street to sketch as the day’s passengers were collected and delivered to their destinations. Cabbies at McGill is a charming window into life in old Montreal. Robert Pilot has painted the line of cabs, one horse resting, the next more alert, under the lively spring~green foliage of tall, black~trunked trees. It is a verdant, tranquil scene, with unhurried people and an air of pleasant calm. The cabs have their tops pulled back, indicating the fine weather, and the iron fence, painted in a tone that echoes that of the tree trunks, breaks up the mossy green of the lawn behind it.

E STIMATE: $6,000 ~ 8,000

P ROVENANCE :

Galerie Walter Klinkhoff Inc., Montreal, Hommage à F.S. Coburn (1871 ~ 1960), September 1986, catalogue #30 Although Frederick Coburn trained in Berlin, Munich, Antwerp and Paris, it was Melbourne in Quebec, his birthplace, that he returned to and where he based his studio. His surroundings had fine scenery for a landscape painter, and the rolling hills of the township were covered with hardwoods ~ such as this large and beautiful tree overlooking a river.

Coburn exhibits his command of techniques honed in Europe in this lovely pastoral scene, lush with rich greens and blues.

E STIMATE: $7,000 ~ 9,000

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PROPERTY OF VARIOUS COLLECTORS

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144 ARTHUR LISMER AAM CGP CSGA CSPWC G7 OSA RCA 1885 ~ 1969

Undergrowth in the Pine Woods ~ Georgian Bay oil on board, signed and dated 1950 and on verso signed, titled, dated on a label and inscribed 21 12 x 16 in, 30.5 x 40.6 cm P ROVENANCE : Private Collection, Vancouver Island

L ITERATURE : Dennis Reid, Canadian Jungle, The Later Work of Arthur Lismer, Art Gallery of Ontario, 1985, page 46 In July of 1950, Arthur Lismer was back at his beloved Georgian Bay, and spent time at both Amanda Island and Manitou Dock. Lismer was

interested not only in the dramatic vistas and turbulent elemental weather there, but also in life at ground level. Lismer noted that his fellow Group of Seven artists looked over the foreground into the distance, and now he chose to look at the earth at his feet, where everything originated.

Twisting roots, rocks thrusting their way to the surface, random fallen forest debris and plucky small plants surviving in the stoney ground were the raw material of his forest floor still lifes. Art historian Dennis Reid feels that the paintings Lismer produced during the summer of 1950 at both Cape Breton Island and Georgian Bay were vital and exciting, exhibiting “the outrageous hedonism of their sensuous materiality�. In Undergrowth in the Pine Woods ~ Georgian Bay, Lismer revels in the pure joy of the painterly experience, scumbling and incising his paint, depicting golden leaves cavorting amongst the stolid rocks of the Canadian Shield with vital, expressionist brush~strokes.

E STIMATE: $12,000 ~ 16,000

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145

145 ARTHUR LISMER AAM CGP CSGA CSPWC G7 OSA RCA 1885 ~ 1969

Flowers of the Forest, BC oil on board, signed and dated July 19, 1951 and on verso titled and inscribed 1485 Fort St. and $100 on a label 12 x 15 7/8 in, 30.5 x 40.3 cm P ROVENANCE : Private Collection, Vancouver Island During Arthur Lismer’s 1951 trip to British Columbia, he visited Victoria, then traveled to Galiano, Pender and Saltspring Islands, as well as Long Beach on Vancouver Island’s west coast. It would be the first of many summer sketching trips to the West Coast. In this truly exquisite natural still life, Lismer continued his fascination with the forest floor that had

begun in Georgian Bay. His delicate colour palette is quite luscious, contrasting tonal variations of soft greens against cream and dark orange and pink. A strong use of incised line emphasizes and defines shape amid the profusion of blooming growth, thick moss and spiky grasses. Lismer’s use of paint is raw and bold, textural and painterly. There is a sense of urgency and confidence that comes through works such as this ~ as Lismer sensed that within this fragment of the forest floor was a microcosm of its life as a whole. A delightful and sensual work, Flowers of the Forest, BC expresses the irrepressible, jungle~like and voluptuous nature of rain forest growth.

E STIMATE: $12,000 ~ 16,000

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146

146 CORNELIUS DAVID KRIEGHOFF 1815 ~ 1872

Racing Across the Ice, Quebec oil on canvas on board, signed 13 x 20 in, 33 x 50.8 cm P ROVENANCE : Continental Galleries, Montreal Private Collection, Montreal Racing Across the Ice, Quebec is an especially interesting example of Cornelius Krieghoff’s scenes of horse~drawn sleighs. In addition to the artist’s careful observation of detail, nuance and colour, we have French Canadian politics. The two sleighs, finely painted but completely different in their styles, are each carrying three men and are drawn by

galloping horses. They are political rivals ~ the Parti rouge racing against the Parti bleu. After The Act of Union (formerly The British North America Act of 1840) united Upper and Lower Canada, the Parti rouge and Parti bleu developed in the ensuing years. Their party colours are designated by the ribbons on the horse’s bridles, which fly in the wind as they race for political pride. Quebec’s Citadel is seen in the distance, sitting like a quiet observer atop Cap Diamant, and the angular forms of the St. Lawrence River’s ice, crushed up and piled like barriers alongside the ice road, contain the race, adding tension and excitement. The ice and snow, distant city and sky are all finely handled in varying tones of winter whites.

E STIMATE: $40,000 ~ 60,000

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147 CORNELIUS DAVID KRIEGHOFF 1815 ~ 1872

Winter Blizzard ~ Horse and Sleigh oil on canvas, signed and on verso inscribed indistinctly Guy ~ St. Catherine St. Montreal 9 1/4 x 13 3/4 in, 23.5 x 34.9 cm P ROVENANCE : John Massey, Toronto By descent to the present Private Collection, British Columbia This especially fine winter scene by one of Canada’s beloved historical painters, Cornelius Krieghoff, is filled with charming detail. In this delightful depiction of winter, the horse pulls hard to drag the bright red box~style sleigh through the heavy snow, which blankets the fence lines

A2013s_FCA_Catalogue_Final_032213_blueline 61changes.pmd

and coats the trees, some of which are still holding on to their reddish autumn leaves. Krieghoff has captured a typical Canadian moment from the time; the horse and sleigh plod directly into the drifting, blowing snow, and as the snow settles on the hat and clothing of the sleigh’s lone occupant, he looks at us, aware of his plight and unable to do anything but endure the storm, as does the horse, until they reach the end of their journey. The snow sprays up against the sides of the sleigh ~ we can just see the line of its bright blue interior ~ but allows the curled iron runners to show in the back; classic Krieghoff details. The wayside cross, with a decorative rooster atop, is finely handled and stands as a symbol of the influence of the church in rural Quebec during that time.

E STIMATE: $70,000 ~ 90,000

3/22/2013, 4:34 PM

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148

148 ALEXANDER YOUNG (A.Y.) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974

Sunday Morning, St. Fabien oil on board, on verso titled St. Fabien and inscribed A.Y. Jackson 8 1/2 x 10 1/2 in, 21.6 x 26.7 cm P ROVENANCE : John Clymer, Toronto, 1936 Sold sale of Canadian Art, Joyner Fine Art Inc., November 25, 1985, lot 55 Private Collection, Quebec Saint~Fabien, on the south shore of the St. Lawrence, was one of A.Y. Jackson’s most fruitful painting spots. It was also, thanks to the hospitality of the local inhabitants, one of his favourite places to stay. In his

autobiography A Painter’s Country, he writes of his 1935 trip to Saint~Fabien and the warm welcome he received on being invited to a lively sugaring~off party there. Jackson knew that he was witnessing the final days of a way of life that would soon be changed forever, and he was determined to record it for posterity. The scene depicted here is classic Jackson and his most sought~after subject matter ~ a gently undulating road leading down through an old Quebec village lined with a haphazard collection of wood~clad houses painted in an array of colours. There is, however, nothing haphazard about the structure of the painting. Jackson was a master of composition, and he leads our eye down towards the focal point of the horse and sleigh and then up to the distant mauve hills, before circling back down through the wave~like movements of the undulating landscape.

E STIMATE: $25,000 ~ 35,000

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149

149 SIR FREDERICK GRANT BANTING 1891 ~ 1941

Village in Winter, St. Fidele, Quebec oil on panel, on verso titled variously, dated 1930 on the Henrietta Banting label and certified by Henrietta Banting, #11 8 1/4 x 10 1/2 in, 21 x 26.7 cm P ROVENANCE : Henrietta Banting; David B. Masur, Montreal Kastel Gallery Inc., Montreal Sold sale of Important Canadian Paintings, Drawings, Watercolours, Books and Prints, Sotheby Parke Bernet (Canada) Inc., May 14, 1979, lot 46; Private Collection, Toronto

L ITERATURE : Michael Bliss, Banting: A Biography, 1984, page 191

Frederick Banting was catapulted into the spotlight by his co~discovery of insulin in 1923. A man who began his life as a straightforward fellow from an unpretentious rural upbringing, Banting was unprepared for many of the complexities brought on by his success. Stresses, both professional and personal, led him to flee Toronto whenever possible, and in March of 1927 he undertook his first sketching trip with A.Y. Jackson to Quebeçois villages along the St. Lawrence. This charming scene of the village of Sainte~Fidèle was executed during another trip with Jackson in 1930; it deftly portrays the simple rural landscape which Banting so loved. Visiting these small towns and living amongst their residents, he discovered a way of life that he thought was vanishing. He sought to capture these scenes both as a return to his youth and an escape from everyday life. In his travel diary, he wrote, “The more I think of the city the more I want to live in the country, and the more I think of being a professor of research the more I want to be an artist.”

E STIMATE: $20,000 ~ 30,000

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150

150 PETER CLAPHAM SHEPPARD ARCA OSA 1882 ~ 1965

Market oil on canvas, signed, circa 1925 24 x 31 1/2 in, 61 x 80 cm P ROVENANCE : Private Collection, Ontario Peter Clapham Sheppard exhibited extensively throughout his career but notably in the 1920s, showing internationally at Wembley in 1925 and the Jeu de Paume in Paris in 1927. He was a versatile painter ~ talented in depicting figures, coastal scenes, landscapes and still lifes. Sheppard was particularly adept at capturing the energy and activity of urban and industrial scenes, as seen here in Market, in which various figures, either

at work or at leisure, bustle about, enjoying the light streaming into this urban space. The location of this particular market is undetermined, but we can assume it is Montreal, Ottawa or Toronto. However, the anonymity of the location allows the viewer to identity with the familiarity of the market scene and draw connections to their own experiences. Sheppard uses his colour palette liberally, adding broad and contrasting strokes of colour, particularly the electric blue surrounding the windows contrasted with pink tones on the roof and mint green on the building’s front. Executed in masterly fashion, this luscious light~filled painting can be seen to have qualities of Canadian Impressionism.

There is an unfinished figurative work on verso.

E STIMATE: $15,000 ~ 20,000

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151

151 KATHLEEN MOIR MORRIS AAM ARCA BHG 1893 ~ 1986

Byward Market, Ottawa oil on board, signed and on verso titled and inscribed Miss Maw [or May], 172 Ottawa St, Ottawa 10 x 13 in, 25.4 x 33 cm P ROVENANCE : Private Collection, Toronto By descent to the present Private Collection, Toronto

L ITERATURE : A.K. Prakash, Independent Spirit: Early Canadian Women Artists, 2008, page 156 The history of the Byward Market in Ottawa is the history of working~class folk, of farmers and industry. Although today it is best

known for its trendy restaurants and boutiques, this was not always so.

The Market area was, until two or three decades ago, simply known as Lowertown, Ottawa’s oldest blue~collar neighbourhood and the hub of the city’s French inhabitants. York Street was the farmers’ street, lined with all sorts of store shops, sidewalk sellers and fruit stands. Kathleen Morris has created a portal to the past in her animated painting Byward Market, Ottawa. A.K. Prakash compliments Morris on her insightful vision, writing that, “Each painting is a window on the past, offering visions of pioneer fortitude to modern generations seeking inspiration and a refuge from the present…she immortalizes her experience through the imagination of a poet.” Her vivacious use of colour and detail help us to envision the bustling noise, sights and smells of this lively market scene.

E STIMATE: $70,000 ~ 90,000

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152

152 FRANKLIN CARMICHAEL CSPWC G7 OSA RCA 1890 ~ 1945

La Cloche Hills watercolour on paper, signed and dated indistinctly 1925 or 1935 10 1/2 x 13 in, 26.7 x 33 cm P ROVENANCE : Roberts Gallery, Toronto Private Estate, Toronto

L ITERATURE : Megan Bice and Mary Carmichael Mastin, Light and Shadow: The Work of Franklin Carmichael, McMichael Canadian Art Collection, 1990, page 106 Franklin Carmichael first viewed this area from Tower Hill in the North Range of La Cloche, and found it irresistible. Mary Mastin writes: “Here

were the elements of height, distance, light and solitude he had been seeking, and his immediate rapport with La Cloche was to endure from the early 1920s to the time of his death in 1945.” Hilltops scoured by glaciers, sparkling quartzite rock, forests, and many lakes and streams made it visually stunning. It became such an important painting place for him that he built a log cabin at Cranberry Lake in 1935. Carmichael’s mastery of watercolour was well known ~ he and fellow Group of Seven artist A.J. Casson along with Fred Brigden formed the Canadian Society of Painters in Water Colour in 1925 ~ and Carmichael was passionate in his promotion of this medium. La Cloche Hills is full of light and fresh pastel colours, from pink to blue and peridot green, contrasted by the smokey darker blue of the distant peak. With its expansive view and clear atmosphere, it is a stunning example of his La Cloche watercolours.

E STIMATE: $40,000 ~ 50,000

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P ROVENANCE : Douglas Duncan, Picture Loan Society, Toronto James Coyne, Toronto, 1955 The Framing Gallery, Toronto, circa 1970 Private Collection, Toronto, circa 1970 By descent to the present Private Collection

L ITERATURE: David P. Silcox, Painting Place: The Life and Work of David B. Milne, 1996, pages 320, 333 and 344 and reproduced in colour page 322 David Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonné of the Paintings Volume 2: 1929 ~ 1953, 1998, reproduced page 881, catalogue #406.5

E XHIBITED : The Montreal Museum of Fine Arts, Water Colours by David Milne, January 22 ~ February 7, 1954, titled as Poppies and Lilies No. 1 National Gallery of Canada, Ottawa, David Milne, September 16 ~ October 9, 1955, traveling exhibition, catalogue #106 In 1941 David Milne began a series of paintings of delicate flowers using a pink wash that precipitated the use of an increasing range of colour ~ David Silcox describes it as “a scarlet richness that saturated the paper in a way that was new in Milne’s work, and that he would exploit over the new few years.” The fragile poppy flowers, with their soft, gauzy petals and hairy stems, were especially well suited to Milne’s interest in gentle line and ethereal form. Silcox counts these works amongst Milne’s finest, as they seem “to fulfill his statement that he would like to have ‘wished’ his images onto the paper.” A related watercolour entitled Poppies and Lychnis was painted circa August 1943 and acquired by the National Gallery of Canada in 1947. Of the four versions of Poppies and Lilies, two are from August of 1943 and two are from early 1946, and all but this work are in public or government collections ~ the Art Gallery of Ontario, the Vancouver Art Gallery and the Department of Foreign Affairs, Government of Canada.

153

153 DAVID BROWN MILNE CGP CSGA CSPWC 1882 ~ 1953

Poppies and Lilies III watercolour on paper, dated 1944 ~ 1946 and on verso titled in graphite and inscribed by Douglas Duncan W~493, ca. Apr. 1946 21 1/4 x 14 1/2 in, 54 x 36.8 cm

E STIMATE : $20,000 ~ 30,000

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154

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154 EMILY CARR BCSFA RCA 1871 ~ 1945

Cape Mudge Totem Poles watercolour on paper, signed ME Carr and inscribed in graphite Chief Chekiuite and on verso titled on the Laing Galleries label and in graphite Cape Mudg [sic], inscribed in graphite Cad Mudg [sic] Pole Supporting Chicken House and stamped Dominion Gallery, circa 1909 ~ 1912 22 x 15 1/4 in, 55.9 x 38.7 cm P ROVENANCE : Dominion Gallery, Montreal Laing Galleries, Toronto Sold sale of American & European Paintings and Drawings, Weschler’s, March 4, 1995, lot 20, reproduced cover lot Private Collection, USA

L ITERATURE : Emily Carr, “Modern and Indian Art of the West Coast”, Supplement to the McGill News, June 1929, page 22 Emily Carr, Growing Pains, manuscript, Carr Papers, Royal BC Museum and Archives, undated, unpaginated Marius Barbeau, Totem Poles, National Museum of Canada, 1950, a 1912 related work entitled Kwakiutl Village reproduced page 702 and two photographs showing similar totem poles reproduced pages 704 and 705 Gerta Moray, Northwest Coast Native Culture & the Early Indian Paintings of Emily Carr, 1899 ~ 1913, Volume 2: Catalogue and Illustrations, Doctoral dissertation, University of Toronto, 1993, page 19 listed as E 2/3, Cape Mudge Pole Supporting Chicken House Emily Carr, Growing Pains: The Autobiography of Emily Carr, 2005, page 279 Gerta Moray, Unsettling Encounters: First Nations Imagery in the Art of Emily Carr, 2006, page 95 Watercolour was Emily Carr’s primary painting medium in her early career. We see her use it in the latter years of the nineteenth century, which saw her visit the First Nations village in Ucluelet. She also produced a number of watercolours of the Squamish First Nations village in North Vancouver, Stanley Park and the environs of Victoria after her return to British Columbia following her training in England. Carr’s more serious engagement with First Nations subject matter began with a trip that she and her sister Alice took to Alaska in the summer of 1907. The sight of totems in Alert Bay and Sitka made Carr realize that these monumental sculptures were worthy of her attention. She responded to the forms of the totems, even if she sometimes did not understand their significance to the First Nations people. She also realized that these poles and houses were threatened by decay and neglect, and this realization seems to have been the origin of her plan to document the totemic works of the coastal First Nations. She returned to northern British Columbia during the three subsequent summers and visited T’sakwa’lutan / Cape Mudge on Quadra Island in the summer of 1909. She produced a small number of

Kwakiutl house posts and cross beam at Cape Mudge

watercolours, among them Cape Mudge Totem Poles. It does not appear that Carr had any intention of producing oils from these field studies at this point. By the time she had made her fourth trip north in 1910, she resolved to go to France and take more training.

Interestingly enough, Carr took some of what she referred to in her Growing Pains manuscript as her “Indian sketches” with her to France and “repainted” some of them in light of her new “bigger methods” learned in France. It is possible that this work was one of these reworked studies, because it is remarkable for the sensitive handling of colour, form and light. Particularly noteworthy is the subtle treatment of the plank that holds the door of the small hut closed. The shadow is wonderfully observed and conveys a real sense of space.

This work is highly accomplished, and sensitive to the details of the two house poles. The poles are boldly carved and painted with eagles atop human figures (male on the left and female on the right) and the figures stand, in turn, on bears. The small hut between the two poles is a chicken house. We know this from the inscription on verso of this work, and from the painting based on this watercolour that Carr produced in 1912 ~

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Kwakiutl Village, in a private collection ~ which introduces figures feeding chickens. Emily Carr also writes of her encounter with the owner of the poles, perhaps Chief Chekiuite, in her essay “Modern and Indian Art of the West Coast” written for 1929’s McGill News: “Once an old man returned from fishing and found me sketching his poles. ‘Go away, you stealing my poles’ he shouted. I explained that they were beautiful and I wanted to show them to my friends. ‘Why not ask me?’ ‘How could I when you weren’t home?’ ‘That’s so, get along and finish.’ ‘Why did you put your poles in front of your chicken house and not in front of your house?’ ‘My house velly strong ~ my chicken house velly weak ~ poles fix him strong.’”

The notable differences between the two compositions (field study and canvas) reveal that, for Carr, watercolours such as Cape Mudge Totem Poles, done in the field, were essential to allowing her to develop the larger canvases of 1912.

Gerta Moray suggests that the 1909 watercolours were used by Carr to produce a series of canvases in early 1912, before she went sketching in the summer. There is support for this idea in Carr’s writings. As Moray notes, upon Carr’s return from France, she did not return to her previous teaching job, and wrote in Growing Pains, “Having so few pupils, I had much time to study. When I got out my Northern sketches and worked on them I found that I had grown. Many of these old sketches I made into large canvases.”

These canvases set the stage for the major work of the summer of 1912 and saw Carr apply her new Fauvist painting skills to “the bigger material of the west” as she described it in her Growing Pains manuscript. Based on the acutely observed studies of 1908 ~ 1910, they establish Carr as the most significant painter working in British Columbia. The canvases would have been impossible without watercolours such as this one, and the richness of these images done from on~the~spot observation is still evident today. Watercolours such as Cape Mudge Totem Poles reveal Carr as an artist of skill in both composition and colour, with a firm grasp of her medium and an individual voice.

On verso of this work is a graphite drawing of the totem pole.

E STIMATE : $150,000 ~ 250,000

Kwakiutl house posts and cross beam from Cape Mudge In the collection of the Canadian Museum of Civilization

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left side 155

right side 155

Ď• 155

EARLY HAIDA ARTIST 19TH CENTURY

Haida Ship Panel Pipe argillite relief carving, circa 1830 ~ 1860 3 x 10 x 3/4 in, 7.6 x 25.4 x 1.9 cm P ROVENANCE : Private Collection, USA Private Collection, Vancouver The Haida were the first of the Northwest Coast First Nations peoples to develop art for trade and sale to the Europeans that arrived on their shores in the Queen Charlotte Islands. Some of the earliest objects produced were argillite pipe forms with Haida mythological figures, which a decade

later evolved into elongated panel pipes with Euro~American figures and structures, such as this fine carving. These extraordinary and unique panel pipes were not actually intended for smoking tobacco, instead functioning as complex sculptural tableaux. Included were details of ships, forts, houses and cabins, which evidently fascinated the Haida carvers. This intriguing work includes ship structures such as the stylized cabin, a Euro~American man with a nautical spyglass telescope and a figure, likely a woman, with a dog. The pipe is finely carved, with expressive faces on both human figures and dog, and features decorative patterns and cross~hatching on the structural elements of the ship. Works such as this are rare to the market.

E STIMATE: $12,000 ~ 16,000

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156

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156 EMILY CARR BCSFA RCA 1871 ~ 1945

Old Timer oil on canvas, signed and on verso titled and inscribed Old Timer by Emily Carr and Given by Emily Carr for auction (written bids) by the Vancouver Art Gallery in aid of the Red Cross in the Second world war ~ 1942 ~ and bought

by Alice Hemming at that sale. (E.C. was pleased about this) (She was a regular listener to the CBC programme ‘A Morning Visit with Alice Hemming’) and $50 on a label, 1931 ~ 1932 27 x 20 in, 68.6 x 50.8 cm P ROVENANCE : Donated by Emily Carr to a charity auction at the Vancouver Art Gallery in aid of the Red Cross in the Second World War, 1942 Acquired from the above by Alice Hemming, Vancouver, 1942, then to London, England, 1944 By descent to the present Private Collection, London, England

L ITERATURE : Doris Shadbolt, Emily Carr, National Gallery of Canada, 1990, listed in the catalogue addendum Emily Carr, Hundreds and Thousands, The Journals of Emily Carr, 2006, page 49

E XHIBITED : National Gallery of Canada, Ottawa, Emily Carr, June 29 ~ September 3, 1990, catalogue #134 In 1927, Emily Carr’s work was included in the National Gallery’s exhibition of Canadian West Coast Art: Native and Modern. The exhibition marked her debut into the larger world of Canadian art and re~launched her career as an artist. In the exhibition she showed a selection of her 1912 First Nations canvases, some of her ceramics and her rag rugs. This recognition of Carr as an artist was of critical importance for her career.

She was welcomed as an important participant in the modernist movement in Canadian art and met members of the Group of Seven including Frederick Varley, A.Y. Jackson, Arthur Lismer and, most importantly, Lawren Harris. The reception her work received from fellow artists encouraged her to return full force to painting and subsequently, in the late twenties and early thirties, she produced some of her most memorable totemic canvases, such as Totem and Forest and Big Raven, both in the collection of the Vancouver Art Gallery.

Harris and Carr began a lengthy correspondence that was a major source of inspiration and support to Carr, working as a relatively isolated figure in Victoria. Harris, while enthusiastic about Carr’s totemic work, encouraged her to focus more on the landscape of her native province.

Her approach to the landscape was shaped by advice from both Harris and the young American artist, Mark Tobey, with whom she had a workshop in the fall of 1928. Likely at the suggestion of Tobey, Carr devoted a significant period of time to drawing the forests of the province in a series of charcoal drawings that helped her to define spatial volumes more convincingly and paved the way for the series of major landscape

73 canvases beginning in the late twenties and early thirties. These works are among the most abstract and mysterious of her landscapes: Grey, 1929 ~1930, in a private collection, Tree Trunk, 1931, and the magisterial Forest, British Columbia, 1931, both in the collection of the Vancouver Art Gallery. These canvases see her grappling with volume, colour and light with a new conviction and power. The last factor, light, was critical for Carr in conveying the inner life of the forest and is key to the success of Old Timer. This exceptional work pulsates with a vibrant light that silhouettes the structure of the tree, defines the volumes of the foliage and makes vividly sculptural the central tree. The whole canvas has a strong upward surge, which reflects the rich abundance and life of the coastal forest. Carr celebrates the continued vitality of this magnificent old tree.

We see the ‘Old Timer’ within what Carr herself described as “A forest done in simple movement, just forms of trees moving in space.” Clearly, however, the whole is more than the sum of the parts, more than “forms of trees moving in space”. In this exceptional canvas, Carr takes command of her subject matter ~ the landscape of her beloved province ~ like no other artist before or after her. Old Timer is a magnificent canvas that reveals the profound beauty and spiritual power of the forests of British Columbia and Carr’s special place in helping define our relationship to them.

This radiant canvas was generously donated by Carr to support the Red Cross in World War II, and was purchased by Alice Hemming, a radio host at the Canadian Broadcasting Corporation. As the inscription on verso indicates, Carr listened to Hemming’s daily radio programme, A Morning Visit with Alice Hemming, and was pleased to learn that she was the purchaser. Hemming was also familiar with Carr through their mutual friend Ira Dilworth, who was also a long~term employee at the CBC and a very important figure in Carr’s later life ~ as confidante, literary editor and co~executor of her estate. This rare painting has been passed down within the family until its consignment to Heffel and its return to Canada this year.

E STIMATE: $400,000 ~ 600,000

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157 LAWREN STEWART HARRIS ALC BCSFA CGP FCA G7 OSA RPS TPG 1885 ~ 1970

Pic Island, Lake Superior

75 red tones of the rocky shore, the bleached bone~like trunks of the burnt~over trees and the deep blue of Lake Superior, we are clearly heading towards something profound with this painting of light and air.

L ITERATURE :

In Pic Island, Lake Superior, we seem to stand, with Harris, on the edge of the uppermost rocky promontory in the near foreground of the work.

From this sanctified place, we look out onto a still, unpeopled landscape.

Harris’s hot red ochre and orange and the cool blue of the lake are in perfect complement, and the stillness of the scene is broken only by the vertical trees and the aura of pink and yellow~toned clouds in the unending sky. The trees are like sentinels, standing guard and looking out onto the lake, facing toward the source of the light that bathes the scene in warmth.

Anne McDougall, Anne Savage: The Story of a Canadian Painter, 1977, page 43 Walt Whitman, The Complete Poems, 1995, “Song of the Open Road” from Leaves of Grass, pages 116 and 309

In Anne Davis’s book The Logic of Ecstasy, she compares the characteristics of nature that Harris sought to depict to those that Walt Whitman explored in the poem “Song of the Open Road”, which was published in his seminal collection of poetry entitled Leaves of Grass:

oil on panel, signed and on verso titled on the gallery label, circa 1923 10 1/2 x 13 5/8 in, 26.7 x 34.6 cm P ROVENANCE : Estate of Randolf MacDonald, Toronto Galerie Walter Klinkhoff Inc., Montreal Private Collection, Montreal

“He pulled out the drawers and there were his brushes as streamlined as a scientific laboratory. He had a heavy black easel. He showed me panels of Lake Superior with huge black stems of trees and a definite feeling of dignity and control. There was nothing out of place. I remember thinking isn’t this extraordinary and couldn’t analyse it. But after I came back I realized he was abstracting his subject. He was on his way to just shooting off into this world of nothing but light and air.” (Anne Savage to Arthur Calvin) When Savage penned these comments about Lawren Harris in 1925, she was fortunate to have visited him in his studio at a pivotal time in his artistic career. It is clear from her remarks that the visit had a dramatic effect on her. Studio visits such as this, with the sharing of ideas between artists, as well as group exhibitions and public dialogue, all contributed to the rich ferment in the school of landscape painting in Canada. Eastern philosophies were being more widely read, and spiritualism, partly in reaction to the First World War, had taken hold of many creative minds.

Harris and the other members of the Group of Seven were expressing ideas of idealistic nationalism through landscape art, and Harris often, in his references to the north, chose to write North with a capital, denoting its significance to him. Savage’s analysis that Harris was about to enter a “world of nothing but light and air” is quite profound, especially when we take his later abstractions into account, and this work ~ perhaps even being one of those that Savage saw in his studio ~ is certainly a stepping~stone on the way to that world. While a realistic rendering of the actual colours and shapes of the Canadian landscape is still clear in the

The earth never tires; The earth is rude, silent, incomprehensible at first, Nature is rude and incomprehensible at first, Be not discouraged, keep on, there are divine things well envelop’d, I swear to you there are divine things more beautiful than words can tell.

Harris held Whitman in the utmost esteem, as did several of his contemporaries, especially Bertram Brooker and J.E.H. MacDonald. And like Whitman, who felt that it was his duty to connect man with nature through words so that “Nature and Man shall be disjoin’d and diffused no more”, Harris felt that art and nature were deeply intertwined, and that it was his duty to connect man with nature through painting. Both art and nature, he felt, operated from the same set of rules ~ regardless of things as temporal as fashion and appearances. The “divine things more beautiful than words can tell” are the characteristics of nature that Harris sought in his paintings of the north shore of Lake Superior. The divine light, the elemental form, the beauty of harmonious colour and line, and the precision and order of nature in Canada’s North ~ all are pared down to their most simple state as Nature’s divine things.

E STIMATE: $200,000 ~ 300,000

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158 LAWREN STEWART HARRIS ALC BCSFA CGP FCA G7 OSA RPS TPG 1885 ~ 1970

Snow in the Woods, Algonquin Park I oil on panel, signed and on verso signed, titled variously and inscribed with the artist’s symbol, 4 (circled), 36 in red, the Doris Mills inventory #5/21 (crossed out), Not For Sale, and on a label Misc. Group no. XXI, circa 1915 10 1/2 x 13 3/4 in, 26.7 x 34.9 cm P ROVENANCE : Galerie Walter Klinkhoff Inc., Montreal A Prominent Montreal Collection Sold sale of Canadian Art, An Outstanding Collection, The Property of a Prominent Montreal Collector, Fraser Bros., Montreal, October 23, 1986, lot 62 Private Collection, Vancouver

L ITERATURE : Doris Mills, L.S. Harris Inventory, 1936, listed as Group 5 (5/21) Miscellaneous Sketches, location noted as the Studio Building Lawren Harris, The Story of the Group of Seven, 1964, page 19 Snow in the Woods, Algonquin Park I was in the sale of an outstanding collection of a prominent Montreal collector, sold at auction in October of 1986. This sale was the subject of numerous headlines, as the collection sold for $4 million ~ a high value at the time. Because of the high quality of works from this collection, including this superb oil, the sale jump~started the Canadian art market at the time to a new level.

This very fine oil on panel by Lawren Harris comes from around 1915, and relates directly to master canvases including Snow, circa 1915, in the McMichael Canadian Art Collection, Snow II, circa 1916, in the collection of the National Gallery of Canada and the oil on canvas, Snow, Algonquin

77 Park, sold at Heffel on May 23, 2007 (lot 8), now in the Thomson Collection at the Art Gallery of Ontario.

At this time in his a career, Harris was interested in the depiction of light and pattern as he saw it in the Canadian landscape. Stylistically related to Impressionism, but thematically rooted in Canada, this swirling, close~in~view work is a riotous dance between light, tree limbs and snow.

Harris went on a painting trip with Tom Thomson into Algonquin Park in 1916. He was impressed with Thomson’s lack of regard for the weather, and noted that Thomson’s need to paint on the spot remained no matter how wild the wind or the rain. After observing Thomson painting in a storm, Harris would later write, “Tom had caught in living paint the power and drama of the storm in the north. Here was symbolized, it came to me, the function of the artist in life: he must accept in deep singleness of purpose the manifestations of life in man and in great nature, and transform these into controlled, ordered and vital expressions of meaning.”

Here, Harris has taken a scene from “great nature” and transformed it through paint. The brilliant whites of his snow, the deep greens of his forest, and the wonderful variety of mauve and pink that indicate the depth of the shadows on the snow and how they play against the light as it hits the snow nearby, act together in vital expression of a moment in a Canadian winter. In his masterful depictions of winter woods, Harris carefully analyzed the subtle variety of colour in winter snows, and was adept at blending his pigments to achieve the desired affect. When a person familiar with the nuances of a Canadian winter closely examines a work such as this, the response is often one of delighted understanding.

Snow in the Woods, Algonquin Park I is a superb example of Harris’s snow paintings, a distillation of the winter beauty of the densely forested northern wilderness.

E STIMATE: $200,000 ~ 300,000

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159 DAVID BROWN MILNE CGP CSGA CSPWC 1882 ~ 1953

Drying Waterfall oil on canvas, on verso signed, titled, dated 1916 and inscribed by Douglas Duncan David Milne, Drying Waterfall (Berkshires), (Summer 1916) 20 x 24 in, 50.8 x 61 cm P ROVENANCE : Douglas Duncan, Picture Loan Society, Toronto R. MacDonald, Woodbridge, Ontario, 1960 Private Collection, Toronto, circa 1968 By descent to the present Private Collection

L ITERATURE : David P. Silcox, Painting Place: The Life and Work of David B. Milne, 1996, page 79 and reproduced page 80 David Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonné of the Paintings Volume 1: 1882 ~ 1928, 1998, reproduced page 173, catalogue #107.52 David Milne moved a great deal during his career. Perpetually impecunious as well as endlessly curious about landscape motifs, he made the most of his surroundings. His work from Boston Corners in New York State is some of the finest he ever did, and Drying Waterfall stands out even in this company.

Milne painted both long and close views of the landscape at this time.

Where the more distant prospects are distinguished by their openness, an effect accomplished with his usual minimal application of pigment and by leaving many areas of the surface untouched, Drying Waterfall brings us into an intimate visual relationship with nature’s complex forms and colours. Boldly intricate, the scene of a waterfall diminishing in force with the change of season displays a remarkable range of forms, hues and lines.

Milne brings our eyes to the brink of confusion with this view: what, we might wonder at first, is the theme, the central motif? Yet with the attentive looking he demanded of himself and, in turn, of those who see his work, the scene becomes readily legible without losing any of its density.

79 Drying Waterfall is, as a physical painting, an intensely delicate lattice of interlocking elements carefully delineated by Milne’s signature outlines. The result might remind us of cloisonné, the elaborate compartmentalization of miniature coloured insets on metal work, long practiced in many cultures and adapted to painting in the late nineteenth century, particularly by Vincent van Gogh and Paul Gauguin. But Milne’s image is not flat or still. It depicts at least three spatial planes, moving back from a close and almost tactile foreground, through a vertical middle space over which the water flows (and whose vertical axis is both confirmed and measured by the birch trees in the right foreground) and into a deeper space behind the ebbing waterfall. A strong diagonal that runs from near the top left hand corner to the bottom right of the image suggests the course that the flowing water must follow without actually showing us a stream. Milne articulates this satisfying complexity with characteristic economy, using only five colours, none of which is typically used to indicate water (green, brown, grey, black and white).

One of the great pleasures of a major Milne painting such as this one is that we can ~ with Milne’s aesthetic guidance ~ meet his challenge to look at a landscape in all its complexity and achieve a new way of understanding what we see. On the one hand, Drying Waterfall presents us with a special place. It is as if we have discovered something singular and intimate. On the other hand, though, and as Milne’s laconic title suggests, the phenomenon that we witness is cyclical and fleeting. The waterfall will be gone soon. The painting is in this way appealingly anti~heroic. Milne does not set himself up as a daring explorer discovering a sublime natural site. He simply sees and depicts what is readily present to the eye. The painting is similarly intimate and quiet. It does not lead us grandly to a stupefying view, but instead revels in the pleasures of close looking.

We thank Mark Cheetham, Professor of Art History at the University of Toronto, for contributing the above essay.

E STIMATE: $70,000 ~ 90,000

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160 JAMES EDWARD HERVEY (J.E.H.) MACDONALD ALC CGP G7 OSA RCA 1873 ~ 1932

Algoma oil on board, on verso titled 8 1/2 x 10 1/2 in, 21.6 x 26.7 cm P ROVENANCE : A wedding gift from the Artist to Enid Goss Lowe Doris Huestis Speirs Collection, 1971 Roberts Gallery, Toronto Galerie Walter Klinkhoff Inc., Montreal Continental Galleries, Montreal Private Collection, London, England

L ITERATURE : Paul Duval, The Tangled Garden: The Art of J.E.H. MacDonald, 1978, page 91

Paul Duval observes, “Throughout his Algoma period, MacDonald proved again and again that he was a master of the big panorama. It is easy for grand overviews in landscape painting to become monotonous and tiresome, as is proven by countless portrayals of mist~ridden highlands.

MacDonald escaped monotony by changing not only the immediate locale, but the technique, mood and compositional treatments of his panoramas.”

This expansive Algoma panorama, with its sky~blue lake and cloud~filled sky, conveys a vast sense of distance despite its small size.

The foreground foliage is painted in hot, fiery oranges and bright yellows that are a brilliant yet balanced contrast to the blue of the lake, which is depicted as both still and wind~stirred, with a slice of quiet water shining in the distance and reflecting the yellow trees on the far shore. The billowing clouds almost completely fill the sky, yet the day is still bright and open, furthering the sense of distance and openness. In mood, by technique, and in its compositional treatment, this charming work exemplifies J.E.H. MacDonald’s mastery of Algoma.

E STIMATE: $70,000 ~ 90,000

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161 DAVID BROWN MILNE CGP CSGA CSPWC 1882 ~ 1953

Wooded Valley oil on canvas, signed and on verso titled on the Laing Gallery label and inscribed no. 76 in graphite by Massey, circa 1930 12 x 16 in, 30.5 x 40.6 cm P ROVENANCE : Milne sale to Vincent Massey, 1934 Laing Galleries, Toronto, 1958 Collection of C. Stewart, Toronto, 1958 The Framing Gallery, Toronto, circa 1970 Private Collection, Toronto By descent to the present Private Collection

L ITERATURE : David Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonné of the Paintings Volume 2: 1929 ~ 1953, 1998, reproduced page 499, catalogue #302.24

In 1943, David Milne wrote to Alice and Vincent Massey, who were known for their patronage of the arts and who already owned one of his paintings. Milne proposed to sell them some 300 pieces of art as a collection, in order to keep the works together. The Masseys accepted, but then began a program of disseminating the work through galleries and as gifts and donations, as well as initiating exhibitions. While Milne objected to the break~up of the collection, the Massey’s efforts, in the long term, resulted in greater exposure and increased appreciation for Milne’s art. Wooded Valley is a characteristically spare Milne oil, painted with black as the defining, outlining colour, accented and enlivened by green, purple, red and brown plus white. It depicts the woodlands near Palgrave, within walking distance of where Milne was living at the time.

Milne’s controlled palette is used with masterful dexterity in this serene work, where the blank sky, something he explored fully at Palgrave, allows the focus to rest almost fully on the forest.

E STIMATE: $30,000 ~ 40,000

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162 MARC~AURÈLE FORTIN ARCA 1888 ~ 1970

Vue de St~Siméon oil on board, signed and on verso signed, titled, inscribed C~1483 / B~53171 and 33~53309 and stamped OP2064001, circa 1945 39 x 48 in, 99 x 121.9 cm P ROVENANCE : The Bonneville Collection, Quebec Galerie Walter Klinkhoff Inc., Montreal Galerie Bernard Desroches, Montreal Kenneth G. Heffel Fine Art Inc., Vancouver, inventory #614~6 B678 Private Collection, Toronto

L ITERATURE : Ottawa Citizen, June 7, 1964, reproduced page 14 Maurice Huot, Le Droit, April 25, 1964, reproduced page 3 Jean~René Ostiguy, Fortin, National Gallery of Canada, 1964, reproduced frontispiece and listed, unpaginated Jean~Pierre Bonneville, M.A. Fortin, Verdun Cultural Centre, 1968, listed page 15 and reproduced page 16 Hughes de Jouvancourt, Marc~Aurèle Fortin, 1980, reproduced page 161 Guy Robert, Fortin, 1982, reproduced page 189 A.K. Prakash, Canadian Art: Selected Masters from Private Collections, 2003, reproduced page 173 Marc~Aurèle Fortin, The Experience of Colour / Marc~Aurèle Fortin, L’expérience de la couleur, Musée national des beaux~arts du Québec, 2011, reproduced page 182 and listed page 256

E XHIBITED : Montreal Museum of Fine Arts, 1954 Queen Elizabeth Hotel, Montreal, 1958 National Gallery of Canada, Fortin, 1964, traveling to the Montreal Museum of Fine Art, the Musée du Québec, the MacKenzie Art Gallery, Regina and the Willistead Art Gallery, Windsor, catalogue #62 Centre Cultural de Verdun, M.A. Fortin, 1968, catalogue #15 Galerie Walter Klinkhoff Inc., Montreal, Fortin Exposition Retrospective, 2006, catalogue #46 Musée national des beaux~arts du Québec, Marc~Aurèle Fortin, The Experience of Colour / Marc~Aurèle Fortin, L’expérience de la couleur, 2011, traveling to the McMichael Canadian Art Collection, Kleinburg, catalogue #101 Saint~Siméon is a small village on the St. Lawrence River in the Charlevoix region, some 175 kilometres from Quebec City. Marc~Aurèle Fortin’s painting showing the village in the foreground, in front of the spectacular series of capes ending in the river, is a classic view of the site.

Fortin was committed to the idea of producing an image of Quebec that had nothing to do with Europe, and in that he shared the thoughts of the American regionalists (Thomas Hart Benton, John Steuart Curry and Grant Wood) and even of the Group of Seven, who were similarly

83 inclined. But he was also convinced that neither the bustling US economic growth nor the wild Canada cherished by the Group could be used to accurately represent the situation in Quebec. For 300 years, French settlers had established churches and villages in Quebec, pushed back the wild border of the forest and established a rural countryside similar to the one the first colonists had left in France. The average look of the landscape did not have much to do with the Group’s depiction of Algoma in Northern Ontario or the Rockies in the West. Fortin thought, along with traditionalist thinkers like Roman Catholic priest and historian Chanoine Lionel Groulx, that Quebec remained unique because of the language barriers and the attachment to the Catholic faith, both of which allowed it to avoid the secularisation of its way of life. In this, Fortin was in accord with a part of Quebec’s elite ~ in particular the clergy. Some critics (like Jean Chauvin, Maurice Gagnon and Paul Gladu, to name but a few) who admired Fortin’s painting but did not share his traditionalist views, tried to annex him to the “modern art” movement ~ the so~called “art vivant” trend. However, he objected vehemently to it because of his attachment to the great masters of the past (he quoted Rembrandt, Peter Paul Rubens and Nicolas Poussin in his work), and he kept his vision of a rural Quebec ~ immutable, far from the city and its global economy. His trip to the north shore of the St. Lawrence River immersed him more deeply in this persuasion, already defined in his paintings of large trees done on the outskirts of Montreal.

If we forget about this particular ideological context, it is true that Fortin’s painting is a pure delight of colour, line and movement. We can see in his Vue de St~Siméon an almost unbroken continuity between the houses seen in the foreground and the square patches on the hills. The vertical church spire is really the pivotal element of the entire composition, and the unruly allure of the fences in the foreground is a part of a gyrating movement that incorporates the village into the landscape. Movement also occurs in the blue rocks of the cape plunging into the river, in the winding road climbing the hills and in the pale clouds drifting in a yellow sky. Fortin also had complete control of colour and of mood in the painting. We are obviously at the end of the day, as the blue shadows are deepening, and the river seems almost as quiet as a lake. In Fortin’s work is the clear demonstration that one can never reduce a good painter to his political or religious ideas. The ideas are important not just for themselves, but for what he is able to do with them.

Since his untimely death more than 40 years ago, the “modern movement” has strongly claimed Fortin as one of its own. His annexation to the movement was settled once and for all at the great retrospective, Marc~Aurèle Fortin, The Experience of Colour, shown at the Musée national des beaux~arts du Québec in 2011. This painting was one of the gems of that show and is reproduced in the substantial catalogue, which was produced in both French and English for the occasion.

We thank François~Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay.

This work will be included in the forthcoming catalogue raisonné on the artist’s work, #H~0518.

E STIMATE: $400,000 ~ 600,000

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163 EMILY CARR BCSFA RCA 1871 ~ 1945

British Columbia Forest oil on paper on board, signed, circa 1935 33 1/4 x 22 1/2 in, 84.4 x 57.1 cm P ROVENANCE : Mrs. V. LaFontaine, Montreal G. Blair Laing, Toronto Private Collection, Toronto Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 24, 2005, lot 138 Private Collection, USA

L ITERATURE : Doris Shadbolt, The Art of Emily Carr, 1979, a similar circa 1937 ~ 1940 oil on canvas entitled Sombreness Sunlit, in the collection of The Province of British Columbia, Provincial Archives, reproduced page 131 Charles C. Hill, Johanne Lamoureux, Ian M. Thom et al, Emily Carr, New Perspectives on a Canadian Icon, National Gallery of Canada, 2006, a similar circa 1938 canvas entitled Forest, in the collection of Victoria University at the University of Toronto, reproduced page 232 Emily Carr, Hundreds and Thousands, The Journals of Emily Carr, 2006, pages 263 and 273 Before 1933, Emily Carr’s sketching trips to the woods around Victoria to sites such as Metchosin, Sooke, Cedar Hill and Goldstream Flats had been based in cabins, summer cottages or even a derelict hunting lodge belonging to others. But in 1933 Carr bought a caravan, which she named the Elephant, that she outfitted to suit her needs ~ with a bed, shelving, boxes for her dogs and monkey, oil stove and a canvas tarp for a cooking shelter. She could then have it towed to various woods and seashore locations around Victoria as a base for her sketching excursions. Not only did this give her more freedom of choice, but more of a sense of immersion in her beloved woods ~ she wrote of the sensual joys of the sound of rain on the roof and wind in the trees and the sweet scents of cedar and pine. Her favourite seasons to paint in the woods were spring and fall as, in the summer, she found the forest “too leafy” and invaded by

85 people. In the spring of 1935 she was in the Elephant at Albert Head. In September of that same year, she went into the forest again with the Elephant, and experienced warm days and cool nights, with mornings dewy and sometimes foggy. Setting out into the woods to sketch, she would choose a spot, set up her campstool and paints, and wait until form, light and the energy of the woods coalesced into an inspired composition in her vision. Using an innovative medium of oil thinned with turpentine or gasoline, she would capture what she saw and felt with great sweeping brush~strokes. Carr built a vocabulary of form to define the elements of her paintings ~ such as curves, rings, or spirals ~ and in British Columbia Forest she used a distinctive horizontal web of whitish strokes in the upper part of the trees, as well as short strokes in the centre right tree trunk, likely indicating broken~off lower branches. This distinctive treatment can be seen in a number of other 1930s works in public collections, such the canvas Sombreness Sunlit, in the collection of The Province of British Columbia, Provincial Archives, and the canvas Dancing Sunlit, in the McMichael Canadian Art Collection. The foreground in this work creates, with its strong but light strokes of paint, the sensation that Carr perceived as a rushing sea of undergrowth. In her journals, Carr strove to express her overwhelming feeling of being a part of the pulse of life in the forest, writing, “There is a robust grandeur, loud~voiced, springing richly from earth untilled, unpampered, bursting forth…an awful force greater in its stillness than the crashing, pounding sea…It is life itself, strong, bursting life.”

In her striving to capture the essence of energy that she felt pervaded everything she saw in the forest, Carr was dissolving form through her expressionist brush~strokes. Carr had been in contact with Group of Seven painter Lawren Harris, who by this time had turned from landscape to abstraction, and he was encouraging her to do the same. Both artists were highly spiritual, Harris following the tenets of Theosophy while Carr was Christian, and ideas were exchanged about this as well. However, Carr discovered that she was not comfortable with Theosophy and that, for her, abstraction was not the final liberation. It was nature that sustained her spiritually and artistically as nothing else could, so in the end she would never relinquish it.

E STIMATE: $150,000 ~ 250,000

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164 EMILY CARR BCSFA RCA 1871 ~ 1945

Strait of Juan de Fuca, BC oil on paper on board, signed and on verso titled on the Watson Galleries label, circa 1934 22 1/4 x 35 3/4 in, 56.5 x 90.8 cm P ROVENANCE : Watson Art Galleries, Montreal By descent to a Private Collection, Montreal Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 24, 2005, lot 139 Private Collection, USA

L ITERATURE : Paula Blanchard, The Life of Emily Carr, 1987, a similar circa 1936 oil on paper entitled Strait of Juan de Fuca, in the McMichael Canadian Art Collection, reproduced, unpaginated plate Emily Carr, Hundreds and Thousands, The Journals of Emily Carr, 2006, pages 54 and 55

In the 1930s Emily Carr began to use oil on paper, precipitating a new freedom in her work. She mixed her oil paint with turpentine ~ and even gasoline ~ to achieve a variety of effects, from the thinness of a watercolour wash to a greater density approaching undiluted oil. The medium’s fluidity allowed her to use sweeping brush~strokes, which expressed the sense she had of the movement of a divine energy through nature, whether forest or shore. In 1931, she wrote, “This evening I aired the dogs and took tea on the beach…all the world was sweet, peaceful, lovely. Why don’t I have a try at painting the rocks and cliffs and sea? God is in them all. Now I know that is all that matters.” In Strait of Juan de Fuca, BC, there is a sculptural strength in the looming rocky headland, yet through the use of transparent oil washes there is also a quality of dematerialization like that of the surrounding water and atmosphere. In this transcendent seascape, Carr shows her mastery of the medium, permeating form with glowing light and energy.

E STIMATE: $100,000 ~ 150,000

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165 EMILY CARR BCSFA RCA 1871 ~ 1945

Storm Over Grey Forest oil on canvas, signed with the estate stamp and on verso signed twice with the estate stamp on the tacking edge and titled on the Dominion Gallery label, circa 1931 16 x 20 in, 40.6 x 50.8 cm P ROVENANCE : Dominion Gallery, Montreal, inventory #B150 Kastel Gallery, Montreal Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 24, 2005, lot 193 Private Collection, USA

L ITERATURE : Doris Shadbolt, Emily Carr, 1990, the related 1930 charcoal drawing Untitled (landscape with “eye” in sky), in the collection of the Vancouver Art Gallery, reproduced page 165

Emily Carr’s small sketchbook drawings of 1929 and 1930 formed the basis for a group of contemporaneous larger drawings that consolidated her ideas for canvases, including the precursor to this work, Untitled (landscape with “eye” in sky). Doris Shadbolt noted that Carr “was still under the spell of the Indian presence and in several of these drawings she expressed the underlying correspondence that she had discovered between the natural environment and the Indian carvings in which eyes, or eyelike shapes, appear between totemlike sections of foliage.” In this dramatic work, the eye is present more abstractly ~ an aperture of light piercing through the storm over the dark forest. The compression of the storm is visible, the wind whipping the branches into wave~like formations. Much of Carr’s work in the 1930s was done in oil on paper, which allowed a tremendous freedom of movement. Storm Over Grey Forest embodies that freedom in a rare and thrilling oil on canvas, in which her expressionistic brush~strokes captured the essence of the intangible ~ the storm’s energy, the vapour~laden air and the sensation of intensity in the forest.

E STIMATE: $80,000 ~ 120,000

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166 EMILY CARR BCSFA RCA 1871 ~ 1945

BC Forest oil on paper on board, signed and on verso inscribed in graphite Miss Flora Burns $20.00 and 103 circled, circa 1939 16 1/2 x 22 3/8 in, 41.9 x 56.8 cm P ROVENANCE : Private Collection, Victoria, possibly Flora Burns, friend of the Artist Galerie Agnès Lefort, Montreal Private Collection, Ontario

L ITERATURE : Emily Carr, Hundreds and Thousands, The Journals of Emily Carr, 2006, page 185

Emily Carr’s body of forest work is like an opera, sometimes with deep, serious tones, sometimes with light, high passages. In BC Forest, Carr chose to include an open foreground and view of the sky, and to make us aware of the atmosphere of the day. The playful wind makes itself known through the rollicking rhythms in the trees, diagonal lines in the sky and the bent~over tree in the upper left. In the open ground Carr delineates more directional movements ~ and the whole painting strikes a fine balance between vertical and horizontal rhythms. The whirling gesticulation of the gathering of small conical evergreens creates a joyous atmosphere. Carr wrote in her journals about the “frivolous pines, very bright and green…The wind passes over them gaily, ruffling their merry, fluffy tops and sticking~out petticoats. The little pines are very feminine and they are always on the swirl and dance in May and June.” Whatever the mood of the forest setting she sketched in, she strove to strike the true chord of its expression, as nature was as a cathedral to her that she worshipped in.

E STIMATE: $50,000 ~ 70,000

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P ROVENANCE : Dominion Gallery, Montreal The Collection of Dr. John A. MacAulay, Winnipeg Private Collection, Vancouver

L ITERATURE: Doris Shadbolt, The Art of Emily Carr, 1979, a similar circa 1936 Untitled oil on paper work, in the collection of the Maltwood Art Museum and Gallery, University of Victoria, reproduced page 214 Emily Carr, Hundreds and Thousands, The Journals of Emily Carr, 2006, pages 265 and 273 Emily Carr’s depictions of inner forests ranged from solemn to tender and joyous, such as in this fluid, energized oil on paper work. In Forest Interior, painted in a free and expansive manner, Carr is attuned to the pulse of life. The foreground is lush forest undergrowth, which she described in her journal as “a sea of sallal [sic] and bracken, waving, surging, rolling towards you. Green jungle…solid, yet the very solidity full of air spaces.” With her technique of oil washes on paper, Carr could work directly in the forest. She captured what she perceived with sweeping brush~strokes, finding “themes everywhere, something sublime…or joyous, or calm, or mysterious. Tender youthfulness laughing at gnarled oldness. Moss and ferns, and leaves and twigs, light and air, depth and colour chattering, dancing a mad joy~dance, but only apparently tied up in stillness and silence. You must be still in order to hear and see.”

This beautiful painting was once owned by the prominent Winnipeg collector Dr. John MacAulay, whose collection included the extraordinary Carr canvas Wind in the Tree Tops, which Heffel sold for a record price in June of 2009.

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167 EMILY CARR BCSFA RCA 1871 ~ 1945

Forest Interior oil on paper on board, signed and on verso titled on the Dominion Gallery label and inscribed with the Dominion Gallery inventory #D4178, circa 1936 22 3/4 x 16 in, 57.8 x 40.6 cm

E STIMATE : $50,000 ~ 70,000

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168 CORNELIUS DAVID KRIEGHOFF 1815 ~ 1872

Indian Moccasin Seller oil on canvas, signed and titled The Indian Shoe Seller on a plaque and on verso inscribed PC~183 and stamped Leslie Lewis, London 11 1/8 x 9 1/8 in, 28.3 x 23.2 cm P ROVENANCE : Leslie Lewis, London Private Collection, Ontario

168

Cornelius Krieghoff lived in Quebec City from 1853 to 1863, and some of his best~loved works from this period are depictions of the local Hurons. Although the fur trade provided their greatest source of income, the local economy in Quebec City included the production and sale of traditional items such as moccasins, snowshoes, baskets and canoes. Moccasins were not only attractive footwear; they were also very practical. Their soft soles enabled the wearing of snowshoes in the winter and allowed one to step safely into a birch bark canoe in the summer. Many of these local crafts were sold to army officers who were looking for a tangible keepsake of their stay in this place of romantic scenery. These same officers were also avid collectors of Krieghoff’s small paintings, as the subject matter of these works provided a special memory of Canada. The female moccasin seller is seen picking her way through the ice jams on the St. Lawrence River, the jagged shards of ice serving as a dramatic backdrop as well as a reminder of the harsh but beautiful winters of Quebec.

E STIMATE : $20,000 ~ 30,000

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169 CORNELIUS DAVID KRIEGHOFF 1815 ~ 1872

The Indian Hunter oil on canvas, signed and on verso titled on the gallery label 10 7/8 x 9 in, 27.6 x 22.9 cm P ROVENANCE : Roberts Gallery, Toronto Private Collection, Toronto

L ITERATURE : Dennis Reid, Krieghoff / Images of Canada, Art Gallery of Ontario, 1999, a similar 1858 work entitled Indian Trapper on Snowshoes, in The Thomson Collection, the Art Gallery of Ontario, reproduced page 175 and a similar 1866 canvas entitled The Indian Hunter, also in The Thomson Collection, reproduced page 184 Cornelius Krieghoff, Canada’s best~known nineteenth century artist, had a great affinity for First Nations peoples, and often depicted them, both in single figure subjects such as hunters and moccasin sellers, and in complex tableau settings. In the 1840s, while living at Montreal and Longeuil, he was in contact with the Mohawks from the village of Caughnawaga, and after moving to Quebec City after 1853, observed the Hurons at the nearby village of Lorette, amongst other peoples. Single figures such as the hunter represented in this fine winter scene were portrayed by Krieghoff more as archetypes than as individual personalities. He paid great attention to authentic ethnographic detail, carefully depicting the subject’s snowshoes, Hudson’s Bay blanket coat, leggings, mittens and distinctive hat with its feather crest. Krieghoff himself enjoyed hunting, and was said to be a fine marksman, and it was common for native guides to be hired for these excursions. Striding along briskly, full of purpose and undeterred by the wintery conditions, this self~sufficient hunter is an idealized icon of native life, much admired by Krieghoff and his collectors of the time.

E STIMATE: $20,000 ~ 30,000

169

HEFFEL FINE ART AUCTION HOUSE

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170

170 ALBERT HENRY ROBINSON CGP RCA 1881 ~ 1956

Cacouna oil on board, signed and on verso titled on the gallery label, circa 1925 8 3/8 x 10 1/2 in, 21.3 x 26.7 cm P ROVENANCE : Galerie Walter Klinkhoff Inc., Montreal Private Collection, Ontario Cacouna was an important location for Albert Robinson. Situated on the south shore of the St. Lawrence, some 200 kilometres downstream from Quebec City, it was here that he went on a series of productive trips with his old friend A.Y. Jackson in the 1920s. Two similar sketches of Cacouna,

showing glimpses of the icy St. Lawrence through the rooftops, are in the collection of the National Gallery of Canada, and works from Cacouna are amongst his most sought after.

Robinson is known as a superb colourist ~ one of the best of his generation. He had a great affection for snow scenes, and while white was often a dominant element, he used both warm and cool colours to build up the overall image. In this powerful sketch, the strong, horizontal band of the river, almost visibly moving from left to right, is depicted in a most striking blue~green. In contrast, he has used varying shades of mauve in the reflections in the snow and used the warm colour of the bare supporting board to complete the overall symphony of colour.

E STIMATE: $20,000 ~ 25,000

HEFFEL FINE ART AUCTION HOUSE

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171

171 FREDERICK HORSMAN VARLEY ARCA G7 OSA 1881 ~ 1969

Rough Waters, Kootenay Lake oil on canvas board, signed and on verso titled on a label and stamped with the Varley Inventory #292 12 x 16 in, 30.5 x 40.6 cm P ROVENANCE : Roberts Gallery, Toronto Private Collection, Vancouver Island

L ITERATURE : Katerina Atanassova, F.H. Varley: Portraits into the Light / Mise en lumière des portraits, 2007, page 103 Frederick Varley’s skill with colour enabled him to command a brilliantly saturated palette, work with unusual combinations of complementary

tones and to infuse his warm colours with gold. Not one to take his colour cues from what he saw, he instead sought to give his work the essence of the emotional charge he felt when painting. In this lively, bright depiction of Kootenay Lake, Varley has used a preponderance of white, lightening all his colours to their palest, most silvery hues. It is a work of blinding light, with a unique Varley~esque force conveyed through subtle blends and fine colour harmonies. Katerina Atanassova writes, “Varley insisted on seeing the true nature of colour, searching out the exact value and hue instead of resorting to formulas. In that respect he had a less structured approach than the academic painters, who used to lay colours over carefully executed drawings. Once he had defined the largest areas of colour, he made sure that the colours worked together. He never viewed colours separately, because his goal was always a harmonious blend.”

E STIMATE: $15,000 ~ 25,000

HEFFEL FINE ART AUCTION HOUSE

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172

172 ARTHUR LISMER AAM CGP CSGA CSPWC G7 OSA RCA 1885 ~ 1969

Georgian Bay Near Manitou Dock oil on board, signed and dated August 12 and on verso titled and dated 1948 12 5/8 x 17 3/4 in, 32.1 x 45.1 cm P ROVENANCE : Private Collection, Calgary

L ITERATURE : Lois Darroch, Bright Land, A Warm Look at Arthur Lismer, 1981, page 15 The Group of Seven members each had painting places that had a particular resonance for them, and for Arthur Lismer it was Georgian Bay. Lismer’s first sight of it was a revelation to him, and he wrote, “Georgian

Bay!…thousands of islands, little and big, some of them mere rocks just breaking the surface of the Bay ~ others with great, high rocks tumbled in confused masses and crowned with leaning pines, turned away in ragged disarray from the west wind…Georgian Bay ~ the happy isles, all different, but bound together in a common unity of form, colour and design. It is a paradise for painters.” In 1948, Lismer was based at Manitou Dock, one of his favourite locations. This vital work is full of the tumult of the elements, with Lismer depicting the surf lashing the edges of the rocky outcrops. Heavy clouds loom over the horizon, but the light is strong, and the expanse of pale blue water lights up the painting. Georgian Bay Near Manitou Dock is alive with ephemeral weather, and Lismer makes us feel the very touch of the wind.

E STIMATE: $20,000 ~ 30,000

HEFFEL FINE ART AUCTION HOUSE

95

173

173 ARTHUR LISMER AAM CGP CSGA CSPWC G7 OSA RCA 1885 ~ 1969

Shoreline, Georgian Bay oil on canvas on board, signed and dated 1943 and on verso titled and dated on the gallery label 18 1/2 x 22 1/4 in, 47 x 56.5 cm P ROVENANCE : Galerie Walter Klinkhoff Inc., Montreal Private Collection, Montreal Georgian Bay was an iconic painting place for Arthur Lismer, one he returned to often after he first saw it in 1913. It was a landscape of windswept pines, distinctive islets, powerful rock formations and radiant atmosphere, and Lismer loved its rugged beauty. In 1943 he stayed at

Copperhead, on a small island north of his usual haunt of Manitou Dock.

It was at Georgian Bay that he developed his distinctive gestural, textured brush~stroke and a more sculptural approach to form. He also began to paint close~up views of life at ground level, and here depicts a striking beachscape where large slabs and shelves of rocks are contrasted with smaller rocks and driftwood thrown up on shore. On the horizon, the turbulent waters of Georgian Bay churn and froth, their deep blue highlighted with rich emerald green. Rocks, driftwood and their shadows are highlighted with a vibrant range of colour, from blue, green and purple to warm orange and ochre. In Shoreline, Georgian Bay, Lismer has captured the bold and vital nature of this unique and compelling place.

E STIMATE: $20,000 ~ 30,000

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174 ARTHUR LISMER AAM CGP CSGA CSPWC G7 OSA RCA 1885 ~ 1969

Shafts of Light in the BC Forest oil on canvas, signed twice, circa 1952 26 x 21 in, 66 x 53.3 cm P ROVENANCE : The Art Emporium, Vancouver, 1973 Private Collection, Vancouver

L ITERATURE : Robert Ayre, “A Sheaf of Summer Sketches”, Canadian Art, Volume XIII, Winter, 1956, page 228 Dennis Reid, Canadian Jungle, The Later Work of Arthur Lismer, Art Gallery of Ontario, 1985, page 53 In 1951, Arthur Lismer discovered a new painting place when he traveled to Vancouver Island, exploring Long Beach on its west coast, as well as Galiano, Pender and Saltspring Islands. The West Coast made such an impact that he returned over 16 summers, painting both shore and inner forest. Robert Ayre described Lismer’s experience at Wickaninnish at Long Beach: “Lismer swims and catches crabs, paints and helps Joe cut trails through the jungle, choked with salal, ground sumac and skunk cabbage. You could get lost in the dense tropical growth of the cedar swamps.” The huge trees on the coast captured Lismer’s imagination, as did Emily Carr’s depictions of them; he stated, “I’m always expecting Emily Carr to appear from behind a tree.”

In Shafts of Light in the BC Forest, a cathedral~like forest is lit from within by shafts of warm light that spill over a forest floor further illuminated by splashes of pink and orange. Lismer’s bold brush~strokes and textural approach to paint serve to further emphasize the power of the trees and the vigour of the West Coast rain forest.

E STIMATE : $25,000 ~ 35,000

174

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175 ARTHUR LISMER AAM CGP CSGA CSPWC G7 OSA RCA 1885 ~ 1969

Tree Study oil on board, signed and on verso inscribed Property of D.M. Ferms~Collier, Forest Hill, Toronto 16 x 12 in, 40.6 x 30.5 cm P ROVENANCE : D.M. Ferms~Collier, Toronto Private Collection, Whitehorse

L ITERATURE : Dennis Reid, Canadian Jungle: The Later Work of Arthur Lismer, Art Gallery of Ontario, 1985, page 51, a similar canvas entitled Forest Giant, Vancouver Island reproduced page 55

175

Arthur Lismer brought techniques and interests developed during the time he worked at Georgian Bay to his 1950s and 1960s British Columbia coast painting trips, which began after his attention was drawn west when his cross~Canada retrospective exhibition was closing at the Art Gallery of Greater Victoria and the Vancouver Art Gallery in 1951. Paint was bold and textural, often incised with animated lines created by the tip of his brush, and trees and the jumble of life at the forest floor were his main subjects. Old growth giants such as these were often depicted by Lismer in his West Coast works, and he lit this vibrant forest interior with bold splashes and strokes of yellow, orange, flesh and mauve. In paintings such as this, one can feel the presence of Emily Carr, who Lismer had first met on her visit east in 1927. On his summer trips west, Lismer visited her in Victoria, once even sketching with her below Beacon Hill Park. In Tree Study, Lismer celebrates a forest full of life, yet venerable through the passage of time.

E STIMATE : $18,000 ~ 22,000

HEFFEL FINE ART AUCTION HOUSE

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176

176 LAWREN STEWART HARRIS ALC BCSFA CGP FCA G7 OSA RPS TPG 1885 ~ 1970

On an Algoma Lake oil on board, signed and on verso signed, titled and inscribed in graphite with the Doris Mills Inventory #2/115 (crossed out), circa 1918 ~ 1920 10 1/2 x 13 3/4 in, 26.7 x 34.9 cm P ROVENANCE : The Fine Art Galleries, T. Eaton Co. Ltd., Toronto Private Collection, Ontario

L ITERATURE : Doris Mills, L.S. Harris Inventory, 1936, listed as Group 2 (2/115), Algoma Sketches, location noted as the Studio Building

Lawren Harris often chose the place where water meets land as a subject in his work. Water, with its reflective possibilities and depth of shadows, requires a different approach than rocks or the lush undergrowth of forest. On an Algoma Lake is a fine example of Harris’s ability to play these two elements against each other. The smooth lines of the flat rock jutting out into the water divides the forest from the lake nicely, with a few white accenting laps against the nose of the rock. It is interesting to note how similar the brushwork is in the water and this rock; they work in harmony together, despite their differences in solidity. A single yellow tree blazes against the green forest, and Harris has outlined many of the features in this work with black ~ a striking method of his which served to balance out bright highlights such as the vivid yellow of the small tree. It is a portrait of sorts, wherein the little tree takes most of our attention despite the eloquent surroundings.

E STIMATE: $70,000 ~ 90,000

HEFFEL FINE ART AUCTION HOUSE

99

177

177 LAWREN STEWART HARRIS ALC BCSFA CGP FCA G7 OSA RPS TPG 1885 ~ 1970

Rainstorm, Northern Lake oil on panel, signed, circa 1917 10 3/4 x 13 3/4 in, 27.3 x 34.9 cm P ROVENANCE : A gift from the Artist to Arthur Burk, Toronto By descent to a Private Collection, Montreal Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 25, 2004, lot 78 Private Collection, London, England

L ITERATURE : Jeremy Adamson, Lawren S. Harris: Urban Scenes and Wilderness Landscapes 1906 ~ 1930, Art Gallery of Ontario, 1978, page 65 This exciting work by Lawren Harris is an essay in contrasts. The graceful, vertical trees are light and airy, with thinly painted trunks that make

skillful use of the wooden support panel itself. The dark green of their lifting, seemingly windblown tops contrasts with the bright green of the solid horizontal brush~strokes that Harris uses to depict the foreground.

By mood, colour and direction, Harris’s brushwork shows us fine weather and poor, wind and calm, with the rainstorm on the right being a sheet of perfect, thinly~painted pale blue verticality.

The subject of this dramatic painting is possibly Kempenfelt Bay on Lake Simcoe, 60 miles north of Toronto, where Harris and his mother owned a summer home. In referring to the works Harris painted there, Jeremy Adamson states, “The majority of his Lake Simcoe sketches are studies of trees set against an expansive sky and indicate pictorial interests differing from those of his decorative studio snow scenes.” Harris’s interest here lies in the contrast between the softly~glowing pastoral foreground and the elemental forces of nature in the rainstorm washing across the lake.

E STIMATE: $90,000 ~ 120,000

HEFFEL FINE ART AUCTION HOUSE

100

178

HEFFEL FINE ART AUCTION HOUSE

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178 MAURICE GALBRAITH CULLEN AAM RCA 1866 ~ 1934

Evening Glow, Near Lac Tremblant oil on canvas, signed and on verso titled on the Watson Art Galleries label and certified by Cullen Inventory #1032, circa 1926 24 1/4 x 32 1/4 in, 61.6 x 81.9 cm P ROVENANCE : Watson Art Galleries, Montreal, 1926 Acquired from the above exhibition by George McDougall, Montreal Private Estate, Ontario Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, May 25, 2006, lot 68 Private Collection, Vancouver

L ITERATURE : Paul Duval, Canadian Impressionism, 1990, page 42

E XHIBITED :

179

Watson Art Galleries, Montreal, Fourth Annual Exhibition of Oil Paintings and Pastels by Maurice Cullen, RCA and Robert Pilot, ARCA, January 18 ~ 30, 1926, priced at $750, catalogue #6

179 RANDOLPH STANLEY HEWTON

By 1926, Maurice Cullen’s great series of Laurentian landscapes had reached its apogee. Evening Glow, Near Lac Tremblant is a salient example of the winter scenes produced by the artist in the 1920s, landscapes that eloquently captured both the essence and ephemeral characteristics of the area around Lac Tremblant. Cullen’s connection to the Laurentians was profound and prevailing, born of many solitary sketching excursions taken along the shores of Lac Tremblant and the Cache River, and the artist’s deeply felt experiences of this wild and sentient nature. In the early 1920s Cullen built a painting cabin on the shores of Lac Tremblant, making concrete an attachment described as being “as passionate as that of Monet’s to Giverny”.

oil on canvas, signed and on verso inscribed 6 B / J 70 / 04lier and stamped with the Hewton estate stamp and twice with the Hewton studio stamp 10 1/4 x 12 in, 26 x 30.5 cm

Significantly, Evening Glow, Near Lac Tremblant was exhibited at William Watson’s art gallery, then located on St. Catherine Street, the same year it was produced. This exquisite painting may be said to encapsulate the very essence of Cullen’s unique oeuvre. In its fluency of form and gentle, glimmering luminosity, the work evokes the grand, sensorial dimension of the natural world in flux. At once sparse and sumptuous, Evening Glow, Near Lac Tremblant quietly conveys the fullness of the moment as day turns to dusk. The stillness of the lake, almost abstracted in its articulation, the enveloping low light, and the tranquil drama of the sunset unfolding on the horizon, combine to evoke a scene of charged and timeless serenity.

E STIMATE: $150,000 ~ 200,000

BHG CGP RCA 1888 ~ 1960

North Shore, Lower St. Lawrence

P ROVENANCE : The Art Emporium, Vancouver, 1972 Private Collection, Vancouver Randolph Hewton trained in France along with Group of Seven artist A.Y. Jackson, and was invited to participate in the first Group exhibition in 1920. He was one of the members of Montreal’s Beaver Hall Group and was considered to be a prominent member of that city’s art community.

His Quebec landscapes were known for their strength of composition, freshness of colour and simplicity of form, as in this crisp winter rural scene on the St. Lawrence River.

E STIMATE: $10,000 ~ 15,000

HEFFEL FINE ART AUCTION HOUSE

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180

180 JAMES EDWARD HERVEY (J.E.H.) MACDONALD ALC CGP G7 OSA RCA 1873 ~ 1932

Village Houses oil on board, signed and dated 1930 and on verso signed, titled and inscribed 25 Severn St., Toronto, $30 and $65 8 1/2 x 10 3/8 in, 21.6 x 26.3 cm P ROVENANCE : A gift from the Artist to a Private Collection, Windsor, 1930 By descent to the present Private Collection, Oshawa This delightful J.E.H. MacDonald oil painting depicts a farm scene, something we do not often see in his subjects. MacDonald’s palette here is quite spare ~ he has used only a few colours to depict the scene, as was his

practice when sketching out~of~doors. Particularly fine is his choice of a deep cobalt blue, which has been applied first to depict the trees, shrubs and some lines of the buildings in the village. The age~induced burnt orange colour of the supporting board, which shows through in places between the lively, quickly applied strokes of paint, is a lovely contrast to the cobalt blue. In the sky, billowing clouds tower and are echoed in their shape by the plume~like trees, which serve, along with the buildings, to both break up and contrast with the linear treatment of the earth. The movement of the brushwork in the portion of the painting where the sky meets the distant band of trees is characteristically MacDonald, and reminds us nicely of the presence of his hand in this work.

E STIMATE: $25,000 ~ 35,000

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181

181 JAMES EDWARD HERVEY (J.E.H.) MACDONALD

William Colgate, Toronto; Laing Galleries, Toronto Kenneth G. Heffel Fine Art Inc., Vancouver Private Collection, British Columbia Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, May 10, 2000, lot 121 Private Collection, USA

This brightly lit depiction of a frozen Algonquin swamp dates from 1914, and it both echoes the earlier style of J.E.H. MacDonald’s masterpiece canvases in the impressionist mode, and foreshadows the distinctly Canadian style that he was rapidly developing. By this time in his life, MacDonald had moved into his Thornhill home, which allowed him daily access to a rural country environment. As well, he had met the future members of the Group of Seven and had begun to explore Canada’s northlands with them. His expanding appreciation for the landscape of Canada is evident in his letters and diaries, and A.Y. Jackson noted in his autobiography that “J.E.H. MacDonald…was probably the first to dream of a school of painting in Canada that would realize the wealth of motifs we had all around us.” MacDonald had an acutely sensitive nature, which allowed him to respond to things in a very personal way. This bold rendering of the effects of winter sunlight is now almost 100 years old, yet it thoroughly retains its fresh qualities.

L ITERATURE :

There is an unfinished sketch on verso.

A.Y. Jackson, A Painter’s Country, The Autobiography of A.Y. Jackson, 1958, page 29

E STIMATE: $20,000 ~ 30,000

ALC CGP G7 OSA RCA 1873 ~ 1932

The Swamp, Algonquin Park oil on panel, on verso signed, titled, dated 1914 and certified by Thoreau MacDonald, November 1951 8 x 10 in, 20.3 x 25.4 cm P ROVENANCE :

HEFFEL FINE ART AUCTION HOUSE

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182

182 WILLIAM PERCIVAL (W.P.) WESTON ARCA BCSFA CGP RBA 1879 ~ 1967

Atlin, BC oil on canvas, signed and on verso signed, titled and dated 1956 27 1/4 x 32 in, 69.2 x 81.3 cm P ROVENANCE : Private Collection, Toronto Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, May 25, 2005, lot 51 Private Collection, USA

L ITERATURE : Ian M. Thom, W.P. Weston, Heffel Gallery Limited, 1991, page 6 Majestic mountains and indomitable trees were William Weston’s two most powerful subjects. Rugged beauty was what he sought ~ and early in

his career, he wrestled with depicting it, stating, “I painted some pretty wild things, but always I came a little closer to my own language of form and the expression of my own feeling for this coast region; its epic quality, its grandeur, its natural beauty.” Atlin Lake is British Columbia’s largest lake, drawing its aqua colour from the sediment in the melt water from the nearby Llewellyn Glacier. After he retired from teaching in 1946, Weston was able to make sketching trips outside of the Vancouver area, and traveled to the Okanagan Valley, the Kootenays and the Yukon, which provided material for his winter studio work. Atlin, BC contains the essence of Weston’s reverential approach to British Columbia’s awe~inspiring landscape, pared down to its essential elements of the misty lake with its foreshore of sculpted logs and rocky shelves and, rising above all, the stunning mountain range with glacial rivulets.

E STIMATE: $15,000 ~ 20,000

HEFFEL FINE ART AUCTION HOUSE

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183

183 DONALD M. FLATHER FCA

1903 ~ 1990

The Green Growler of Pond Inlet oil on board, signed and dated 1981 and on verso signed, titled and dated 35 3/4 x 48 1/2 in, 90.8 x 123.2 cm P ROVENANCE : Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, May 10, 2000, lot 182 Private Collection, USA Inscribed on verso by the artist: “This iceberg entered Pond Inlet from Greenland three years before, and much larger than at present. The character of its ice revealed its birthplace. It moved around Pond Inlet under the caprice of winds and tides. In its appearance here it had been grounded for over three years. The sunshine had reduced its above~water

volume. The cold water did not affect the submerged part much. It was about one mile west of the Shaw boat~launching beach and about 800 yards offshore to the north. A weighted depth line indicated 195 feet of water. The launching beach is another mile west of the centre of Pond Inlet village. A good truck road connects the two places. The iron~brown hills to the north form the south shore of Bylot Island with three large glaciers reaching tide~water. Bylot was Baffin’s excellent navigator.”

The term “growler” refers to a piece of glacier ice, often transparent, appearing green or almost black. This glacier is an extraordinary sculpted shape, resembling an Arctic cathedral, a remarkable subject for this exceptional painting by Donald Flather.

E STIMATE: $10,000 ~ 15,000

HEFFEL FINE ART AUCTION HOUSE

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184

184 ALEXANDER YOUNG (A.Y.) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974

Eldorado, Great Bear Lake oil on board, signed and on verso signed, titled, dated September 1938 and inscribed Harbour at Port Radium and with the Naomi Jackson Groves Inventory #1577 10 1/2 x 13 1/2 in, 26.7 x 34.3 cm P ROVENANCE : Dr. Charles Camsell The Right Honourable Malcolm MacDonald, British High Commissioner to Canada 1941 ~ 1946, and Mrs. MacDonald Private Collection, Ontario A.Y. Jackson was particularly attracted by the northern Canadian wilderness, and we know that he jumped at the chance to visit Port Radium when his friend Gilbert LaBine, president of Eldorado Mining

and Refining, invited him up to sketch in 1938. He flew up in LaBine’s company float plane in the late summer, and produced some remarkable work, including this wonderful panoramic sketch. Fall comes early in the Far North, and the reds and yellows of the foliage in the foreground are typical for September. The buildings in the middle distance are part of the Eldorado mine complex ~ a valuable source of radium and uranium in the 1930s.

This painting comes with an interesting provenance. Originally owned by Dr. Charles Camsell, an important geologist and Commissioner of the Northwest Territories from 1936 to 1946, he gave it as a wedding present to the Right Honorable Malcolm MacDonald (British High Commissioner to Canada) and his Canadian bride in 1946. This is the first time this fine painting has appeared on the market.

E STIMATE: $25,000 ~ 35,000

HEFFEL FINE ART AUCTION HOUSE

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185

185 LAWREN STEWART HARRIS ALC BCSFA CGP FCA G7 OSA RPS TPG 1885 ~ 1970

Sketch XI, Farmhouse Near Mattawa oil on board, signed and on verso signed, titled and inscribed $25 and inscribed by Thoreau MacDonald With J.E.H. MacD., Mattawa, April 1913 / Gift to Carl Schaefer from J.E.H. MacD., 1928 and by Carl Schaefer Collection Carl Schaefer, 117 St. Clements Ave., Toronto, 12, Ont. 8 x 10 in, 20.3 x 25.4 cm P ROVENANCE : Collection of J.E.H. MacDonald A gift from J.E.H. MacDonald to Carl F. Schaefer, 1928 By descent to the present Private Collection, Ontario The year 1913 was a turning point for Lawren Harris. In the previous year he had made his first major sale to the National Gallery of Canada, and it

was with increasing confidence that he set off with fellow artist J.E.H. MacDonald in the spring of 1913 to sketch the northern wilderness near Mattawa. This new confidence can be seen in Harris’s application of the thick brush~strokes in the sky and foreground and in his characteristic handling of the lone tree ~ techniques for which he would come to be known in the decades ahead. Few sketches from this trip have appeared on the market, yet they form an invaluable insight into the beginnings of the artist’s new style of painting. Mattawa is a small settlement on the Ottawa River, just north of Algonquin Park, where the transition between northern coniferous forest and southern deciduous forest occurs. Harris and MacDonald presumably exchanged sketches from the trip, because this work was in MacDonald’s collection until it was given to the artist Carl Schaefer in 1928.

E STIMATE: $20,000 ~ 30,000

HEFFEL FINE ART AUCTION HOUSE

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186

186 ALFRED JOSEPH (A.J.) CASSON CGP CSPWC G7 POSA PRCA 1898 ~ 1992

Driving Shed ~ Grenville, Que. oil on board, signed and on verso signed, titled and dated 1971 12 x 15 in, 30.5 x 38.1 cm P ROVENANCE : Roberts Gallery, Toronto Winchester Galleries, Victoria Private Collection, Toronto Soon after joining the Group of Seven in 1926, A.J. Casson defined his unique identity in the Group with his depictions of Ontario’s villages and

rural countryside. Casson considered Quebec to be A.Y. Jackson’s territory, although Jackson had tried to persuade him to paint there in the 1920s. In 1966 Jackson finally convinced Casson to accompany him on a sketching trip to the town of Grenville in Quebec, guiding him to choice painting places in the area. Casson returned to Grenville every year until 1972. In Driving Shed ~ Grenville, Que., Casson exhibits the same ability to crystallize the mood of a singular moment and place that he was so well known for in his Ontario scenes. The weathered driving shed exudes the warmth of human presence in a rural landscape glowing with fall colours, while mist effects rise through the background, adding an intriguing atmospheric element to this peaceful, radiant scene.

E STIMATE: $20,000 ~ 25,000

HEFFEL FINE ART AUCTION HOUSE

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187

187 JAMES EDWARD HERVEY (J.E.H.) MACDONALD ALC CGP G7 OSA RCA 1873 ~ 1932

Petite Rivière, Nova Scotia oil on board, on verso signed, titled, dated 1922 and certified by Thoreau MacDonald and with the estate seal 8 3/8 x 10 3/8 in, 21.3 x 26.3 cm P ROVENANCE : F. Wallace Clancy, Toronto The Framing Gallery, Toronto Kastel Gallery Inc., Montreal Private Collection, Ontario Petite Rivière is a small settlement on the south shore of Nova Scotia.

Samuel de Champlain is said to have named it after landing there in 1604.

In 1922, J.E.H. MacDonald was teaching at the Ontario College of Art and took a summer trip to Petite Rivière to stay with his old friend, artist Lewis Smith. Both had worked at Grip Ltd., that great meeting place of artists that included many of the future members of the Group of Seven. The trip proved to be a successful one as he produced, in a relatively short time, an impressive body of work including shorescapes, open vistas and tranquil settings such as this one overlooking the river. MacDonald depicted the scene with typical gusto ~ he excelled at stormy skies, and in this sketch he included the darkest of clouds. Fortunately, we are in the month of July, and the sun is doing its best to pick out the highlights of the landscape: the church spire, the whites of the scattered houses and the broad, verdant green in the foreground.

E STIMATE: $20,000 ~ 25,000

HEFFEL FINE ART AUCTION HOUSE

110

188

188 ALEXANDER YOUNG (A.Y.) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974

Georgian Bay oil on panel, signed and on verso titled and dated 1920 8 1/4 x 10 1/2 in, 21 x 26.7 cm P ROVENANCE : Exposition Art Gallery, Vancouver Private Collection, Vancouver

L ITERATURE : A.Y. Jackson, A Painter’s Country, The Autobiography of A.Y. Jackson, 1958, page 49 A.Y. Jackson had a long and fruitful connection with Georgian Bay. A pivotal event in his career took place there: during a 1913 Georgian Bay

sketching trip, he encountered art patron Dr. James MacCallum, who had a cottage on Go Home Bay. As well as providing the use of his cabin, MacCallum offered a year’s financial support if Jackson moved into the Studio Building in Toronto. Starting in February of 1920, Jackson spent two months sketching at Georgian Bay, principally at Penetanguishene and Franceville. Back in Toronto in April, he worked on Georgian Bay canvases for the first Group of Seven show in May. Jackson returned often to Georgian Bay up until 1967 ~ he had family and friends there, and declared it “one of my happy hunting grounds for camping and fishing in all seasons”. He explored its islands, intricate rocky channels and bays by canoe, finding fine subjects. This classic Group of Seven period work places the viewer intimately on the edge of a still channel. It reflects an image iconic to the Group ~ a stand of wind~blown pines above the rocky shore.

E STIMATE: $18,000 ~ 22,000

HEFFEL FINE ART AUCTION HOUSE

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189

189 SIR FREDERICK GRANT BANTING 1891 ~ 1941

Honey Harbour oil on board, signed and on verso titled, dated 1933 on the Hart House exhibition label and inscribed To Freddie H Aug 26 / 33, ‘Many Happy Returns’ as the girl said and Dr. Hipwell, 172 Rosedale Heights Dr., Toronto 8 1/8 x 10 1/4 in, 20.6 x 26 cm P ROVENANCE : A gift from the Artist to Dr. F.W.W. Hipwell, Toronto By descent to the present Private Collection, Ontario

L ITERATURE : Michael Bliss, Banting: A Biography, 1993, page 26

E XHIBITED : Hart House, University of Toronto, Exhibition of Paintings of the late Sir Frederick Banting, February 13 ~ March 1, 1943

Dr. Frederick Banting, world~famous as the co~discoverer of insulin, was also a talented artist. While practicing as a medical doctor, his interest in culture drew him to the Toronto Arts and Letters Club where, among others, he met Group of Seven artist A.Y. Jackson. They became friends, and Banting joined Jackson on some important sketching trips to the Arctic, Quebec and Northern Ontario, resulting in significant works for both artists. This richly colourful, atmospheric 1933 work is comparable in style and execution to some of the best sketches that Jackson painted in Georgian Bay in the mid~1930s. Honey Harbour is at the south~east end of Georgian Bay, and is dotted with countless small islands and outcrops.

This painting was a gift from Banting to Dr. Fred Hipwell, his first cousin and friend, someone who “was, and always would be, his greatest chum.”

Dr. Hipwell and his wife were intimately involved in the progress of Banting and Dr. Charles Best in the early 1920s, as they lived near the laboratory where the discovery of insulin was made.

E STIMATE: $12,000 ~ 15,000

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190

190 EMILY COONAN BHG 1885 ~ 1971

Quebec Landscape oil on canvas, signed and on verso titled on a label 20 x 24 in, 50.8 x 61 cm P ROVENANCE : Patricia Coonan, the Artist’s sister Charlotte Tansey, Montreal A gift from Charlotte Tansey to the present Private Collection, Montreal, 1977 An early exponent of Canadian modernism, Emily Coonan first took art classes at Conseil des arts et manufactures, but her formative studies were later at the Art Association of Montreal. During this time, William Brymner

became her teacher and, with his encouragement, Coonan and fellow artist Henrietta Mabel May traveled to France, Belgium and Holland in 1912. This trip allowed Coonan to see the work of the French Impressionists and greatly expanded her artistic horizons. She returned to France in 1920, enabled by a traveling grant awarded by the National Gallery of Canada. This trip proved to be significant, and subsequently her work began to indicate modernist sensibilities through increasingly simplified portraits and landscapes. Also in 1920, she became a member of the important Beaver Hall Group, and exhibited regularly at the Art Association of Montreal and the Royal Canadian Academy. Coonan frequently traveled to the Quebec countryside to paint en plein air, and this work illustrates her clear admiration of her surroundings. With its harmonious colour palette and simplified forms, Quebec Landscape is a charming work from this important female modernist.

E STIMATE: $15,000 ~ 20,000

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191

191 ALFRED JOSEPH (A.J.) CASSON CGP CSPWC G7 POSA PRCA 1898 ~ 1992

Clear Morning ~ Quebec oil on board, signed and on verso signed, titled and dated 1967 12 x 15 in, 30.5 x 38.1 cm P ROVENANCE : Roberts Gallery, Toronto By descent to the present Private Collection, British Columbia

L ITERATURE : Paul Duval, A.J. Casson, Roberts Gallery, 1975, page 151 “In 1966,” Paul Duval writes, “Casson turned his creative attention to Quebec Province for the first time in a serious way. Before that, his

experience painting in French Canada had been limited to a two week trip to Lake La Pêche in 1940.” The 1966 trip was with fellow Group of Seven painter A.Y. Jackson, and they stayed at Grenville, at the farmhouse of Jackson’s friends Munroe and Joyce Putnam. The two artists sketched in Harrington, Avoca and Montebello ~ Avoca being A.J. Casson’s favourite area. In 1968, Casson’s paintings from the Grenville area were featured in an exhibition at Roberts Gallery. Casson was enjoying much success with his exhibitions there, and was receiving great recognition in general at this point ~ Group of Seven members being well on their way to attaining the status of national treasures. Clear Morning ~ Quebec is a tranquil meditation on pure landscape. The foreground screen of trees, showing a turn to autumn colours, is a symphony of tonal pale greens and golds, while beyond it the background mountain looms in blue~shadowed mystery.

E STIMATE: $12,000 ~ 16,000

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192

192 RENÉ JEAN RICHARD OC RCA 1895 ~ 1982

Territoire de trappeurs oil on board, signed 40 1/4 x 47 in, 102.2 x 119.4 cm P ROVENANCE : Galerie Clarence Gagnon, Montreal Private Collection, Montreal

E XHIBITED : Musée Marc~Aurèle Fortin, Montreal, Exposition, May 10 ~ September 9, 1990, catalogue #19 René Richard came to Canada in 1909. His parents were in search of new opportunities, and established themselves at Cold Lake in northern

Alberta in 1910, where Richard’s father operated a trading post. Richard, then 15, became a trapper, and in 1923 paddled a canoe down the McKenzie River to the Arctic Ocean, trapping Arctic fox along the way.

His interest in art, and his desire for another kind of life, spurred him to travel to Paris where he met Clarence Gagnon. Gagnon took Richard under his wing, encouraging him to visit museums and to explore the countryside to sketch. After exhausting his funds, Richard returned to Alberta and the mining and trapping life, but filled his backpack with art supplies, working out~of~doors whenever he could. He moved to Quebec in 1940 at the suggestion of Gagnon. Territoire de trappeurs has a lively, windswept and wintery atmosphere. Richard keenly understood the hard work involved in trapping, and thus his depiction of this lone trapper’s encampment has a unique authenticity.

E STIMATE: $20,000 ~ 30,000

HEFFEL FINE ART AUCTION HOUSE

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PROPERTY OF A PROMINENT MONTREAL FAMILY ESTATE

193

193 MARC~AURÈLE DE FOY SUZOR~COTÉ CAC RCA 1869 ~ 1937

Le halage du bois bronze sculpture, signed, dated 1924 and inscribed with the foundry mark Roman Bronze Works N.Y., Copyright Canada & United States 14 3/4 x 61 x 6 in, 37.5 x 154.9 x 15.2 cm P ROVENANCE : The Elizabeth T. Greenshields Memorial Foundation, Montreal, 1970 A Prominent Montreal Family Estate

L ITERATURE : Laurier Lacroix, Suzor~Coté, Light and Matter, National Gallery of Canada and Musée du Québec, 2002, pages 244 and 266, reproduced pages 267 and 349 and reproduced in an installation photograph from the 1929 exhibition page 312

E XHIBITED : Art Association of Montreal, Forty~Second Spring Exhibition, April 2 ~ 26, 1925, same cast, catalogue #401 École des beaux~arts de Montréal, Rétrospective Suzor~Coté, December 3 ~ 20, 1929, listed as Haleur de bois, catalogue #144 Laurier Lacroix writes, “The majority of Suzor~Coté’s sculptures draw on one aspect or another of the land and one of his most ambitious works was Hauling Logs, a subject he first treated around 1909, then took up again in 1920 and exhibited in 1924. The theme, with its explicit sense of movement, consists of a farmer drawing a load of wood. The sculpture is conceived as a bas~relief frieze and its horizontal format ironically destines it to wind up over a mantelpiece.”

In 1910, Marc~Aurèle Suzor~Coté exhibited the maquette for this work at the Ontario Society of Artists. Never made to endure and now lost, it is known only through a photograph in which we see that the farmer and horse were made of sculpted plaster and that the artist used small branches and natural wood for the logs and sled. This quaint and extremely detailed maquette was also used as a subject for a painting, exhibited in that same year at the Art Association of Montreal, also in an unknown location.

Suzor~Coté returned to the theme again in 1924 when he made a painting and a bronze of the log hauler. Hauling Logs, the 1924 oil on canvas, now in the collection of the National Gallery of Canada, is a masterwork, true to the form of the original maquette and full of energy and movement. All the details of the model are found therein, the axe stuck into one of the logs, the blowing scarf of the farmer, the chuffing energy of the horse. In Le halage du bois, the details vary only slightly from that of the original maquette and the National Gallery of Canada’s painting, to allow for the different medium of bronze. The reins have become a whip that the farmer holds in one hand and flicks lightly above the haunches of the horse as it strains against the load of wood. The farmer’s other hand ~ having no reins to hold ~ has been stuffed into his pocket, emphasizing the cold of winter that one reads instantly from this action. Measuring more than a metre and a half in length, this unique and delightful bronze is the only work the artist is known to have executed in the style of a frieze.

Suzor~Coté understood the painterly equivalents of a frieze~style work, and used the qualities of the landscape format to emphasize the painterly aspects of bronze. The bronze is textured and very finely detailed, and in the different castings, coloured patinas give the work a painterly feel.

When the bronze was shown in 1925 at the Art Association of Montreal, it elicited this response from Albert Laberge in La Presse, April 3, 1925: “Mr. Suzor~Côté…is establishing himself as a powerful sculptor…This composition is full of movement and action, reflecting a thorough knowledge of nature and a highly developed faculty of observation.”

When the work was shown in the Suzor~Coté retrospective exhibition at the École des beaux~arts de Montréal in 1929, it was placed just off the floor, under the paintings. It was often noted, during the artist’s lifetime, that his work in bronze equaled and, in some cases, surpassed his work in paint. Lacroix notes, “The sensitivity with which Suzor~Coté approached the technique of sculpting in the round, his ability to synthesise and suggest movement, and his skill in animating matter all derived from the French school of sculpture as it was practised in the late 19th century.

Nonetheless, he was able to transcend this influence in his Canadian subjects, infusing them with a presence and a permanence that no other artist has ever matched.”

E STIMATE: $60,000 ~ 80,000

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194

194 MARC~AURÈLE DE FOY SUZOR~COTÉ CAC RCA 1869 ~ 1937

Le vieux pionnier Canadien bronze sculpture, signed, titled, dated 1912 and inscribed with the foundry mark Roman Bronze Works Inc. NY, Copyrighted Canada 1914 15 3/4 x 9 1/4 x 17 in, 40 x 23.5 x 43.2 cm P ROVENANCE : The Elizabeth T. Greenshields Memorial Foundation, Montreal, 1970 A Prominent Montreal Family Estate

L ITERATURE : Pierre L’Allier, Suzor~Coté, l’oeuvre sculpté, Musée du Québec, 1991, reproduced page 46, catalogue #6 and #6a Laurier Lacroix, Suzor~Coté, Light and Matter, National Gallery of Canada and Musée du Québec, 2002, page 235, reproduced page 237

Le vieux pionnier Canadien (The Old Canadian Pioneer) was first exhibited at the Art Association of Montreal exhibition in 1913. Léon Lorrain described the sculpture as “a commendable form of nationalism.” In this humbly dressed pioneer, sitting in his rocking chair while smoking his pipe, Marc~Aurèle Suzor~Coté captured the inner strength of early Quebec settlers, who cleared the land for farming. Laurier Lacroix writes, “Suzor~Coté’s sculpture was perceived to have succeeded in transmitting the character of the intrinsic ‘soul’ of French~Canadian rural residents, the pillars of a nation.” La compagne du vieux pionnier, lot 195, is considered to be a companion to this work, and although the two sculptures were created separately, they were exhibited as a pair, and have grown to be regarded as icons of Canadian art. These sculptures are considered to be an inseparable pair, symbolic of the tenacity and perseverance of Canadian rural life.

E STIMATE: $15,000 ~ 20,000

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195

195 MARC~AURÈLE DE FOY SUZOR~COTÉ CAC RCA 1869 ~ 1937

La compagne du vieux pionnier bronze sculpture, signed, titled, dated 1912 and inscribed with the foundry mark Roman Bronze Works Inc. NY, Copyright, Canada United States 1918 by Suzor~Coté 15 3/4 x 9 1/4 x 17 1/4 in, 40 x 23.5 x 43.8 cm P ROVENANCE : The Elizabeth T. Greenshields Memorial Foundation, Montreal, 1970 A Prominent Montreal Family Estate

L ITERATURE : Pierre L’Allier, Suzor~Coté, L’oeuvre sculpté, Musée du Québec, 1991, reproduced pages 48 and 49, catalogue #7 and #7a Laurier Lacroix, Suzor~Coté, Light and Matter, National Gallery of Canada and Musée du Québec, 2002, page 224, reproduced page 236

In 1901, Marc~Aurèle Suzor~Coté produced his first sculpture in clay, and by 1907 was casting in bronze. He had studied sculpture in Paris at well~known art schools, and while in France in 1911, spent many hours with renowned sculptor Auguste Rodin. In sculptures such as La compagne du vieux pionnier (The Companion of the Old Pioneer), Suzor~Coté was able, through his long observation of French~Canadian habitants, to transmit their admirable qualities. As Charles L. Sibley wrote in 1914, “Those who don’t know the French Canadian people have no idea of the pride of Suzor~Coté’s people in him. And he in them. Travel has opened his eyes to what the people of his race stand for ~ to their genuine simplicity and sweetness of heart. He sees character, character, character everywhere…Nothing enthuses him like his own ancestral country and the old customs of his race.” The Companion is introspective, absorbed in her knitting ~ her posture reflects a life of hard work, although her features are fine~boned and her hands are strong. She is a moving symbol of the humble yet enduring French~Canadian rural woman, the backbone of her family and society.

E STIMATE: $15,000 ~ 20,000

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196

196 MARC~AURÈLE FORTIN ARCA 1888 ~ 1970

Vue de Montréal du Mont~Royal watercolour on paper, signed and on verso titled, circa 1928 9 x 11 1/8 in, 22.9 x 28.3 cm P ROVENANCE : Private Collection, Toronto By descent to the present Private Collection In about 1910, Quebec artist Marc~Aurèle Fortin left Montreal for extended travels in western Canada, specifically Edmonton, and then went on into the United States, where he studied at The Art Institute of Chicago and in New York and Boston, returning to Montreal in 1914.

He also traveled to France and England in 1922. During the course of these travels, Fortin saw a wide range of art, which influenced his own production. However, his love for his home city did not change, and views of Montreal are a core subject in his work from the early days of his career through to his later years when he worked in a fauvist style. Fortin was known for his artistic courage and interest in experimenting with his art. Vue de Montréal du Mont~Royal is quite loose and freely handled for a watercolour of 1928, and would have been considered stylistically modern, with the vertical trees on either side of the view acting as curtains of a sort, framing the scene in a pleasing manner, as if it has just been opened up for us too see.

This work will be included in the forthcoming catalogue raisonné on the artist’s work, #A~0563.

E STIMATE: $9,000 ~ 12,000

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197 ROBERT WAKEHAM PILOT CGP OSA PRCA 1898 ~ 1967

The Ramparts, Quebec oil on board, signed and on verso titled indistinctly 8 1/2 x 11 in, 21.6 x 27.9 cm P ROVENANCE : A gift from the Artist By descent to an Important Montreal Collection

E STIMATE: $5,000 ~ 7,000

197

198 MARC~AURÈLE DE FOY SUZOR~COTÉ CAC RCA 1869 ~ 1937

Retour de pêche au large de Bréhat, Bretagne oil on card, signed and on verso signed, titled and dated 1907 5 1/4 x 9 1/4 in, 13.3 x 23.5 cm P ROVENANCE : Private Collection, Montreal

E STIMATE: $4,000 ~ 6,000 198

Thank you for attending our sale of Fine Canadian Art. After tonight’s sale, please view our Third Session ~ May Online Auction of Fine Canadian Art at www.heffel.com, closing on Thursday, May 30, 2013. Lots can be independently viewed at one of our galleries in Vancouver, Toronto or Montreal, as specified in our online catalogue.

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INVITATION TO CONSIGN

ANDY WARHOL, Marilyn, screenprint on paper, 1967, 36 x 36 in Sold for $87,750

We are now accepting consignments for our October sale of: Fine International Art International Pop Art Prints

HEFFEL FINE ART AUCTION HOUSE VANCOUVER • TORONTO • O T TAWA • M O N T R E A L

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INVITATION TO CONSIGN

LAWREN S. HARRIS, The Old Stump, Lake Superior, oil on board, 1926, 12 x 15 in Sold for a Record $3,510,000

We are now accepting consignments for our fall live auction of: Canadian Post~War & Contemporary Art Fine Canadian Art

HEFFEL FINE ART AUCTION HOUSE VANCOUVER • TORONTO • O T TAWA • M O N T R E A L

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HEFFEL FINE ART AUCTION HOUSE

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TERMS AND CONDITIONS OF BUSINESS These Terms and Conditions of Business represent the terms upon which the Auction House contracts with the Consignor and, acting in its capacity as agent on behalf of the Consignor, contracts with the Buyer. These Terms and Conditions of Business shall apply to the sale of the Lot by the Auction House to the Buyer on behalf of the Consignor,

A. DEFINED TERMS: 1. AUCTION HOUSE The Auction House is Heffel Fine Art Auction House, a division of Heffel Gallery Limited, or an affiliated entity; 2. C ONSIGNOR The Consignor is the person named in the Consignment Agreement as the person from which the Property or Lot has been received for auction; 3. C ONSIGNOR ’S COMMISSION The Consignor’s Commission is the amount paid by the Consignor to the Auction House on the sale of a Lot, that is calculated on the Hammer Price, at the rates specified in writing by the Consignor and the Auction House on the Consignment Agreement Form, plus applicable Sales Tax; 4. P ROPERTY The Property is any Property delivered by the Consignor to the Auction House to be placed in the auction sale held by the Auction House on its premises, online or elsewhere and, specifically, that Property described by Lot number in the Auction House catalogue for the auction sale. The Auction House will have the authority to partition the Property into Lots (the “Lots” or “Lot”); 5. R ESERVE The reserve is a minimum price for the sale of the Lot, agreed to between the Consignor and the Auction House; 6. KNOCKED D OWN Knocked Down means the conclusion of the sale of the Lot being auctioned by the Auctioneer; 7. EXPENSES Expenses shall include all costs incurred, directly or indirectly, in relation to the consignment and sale of the Lot;

and shall supersede and take precedence over any previously agreed Terms and Conditions of Business. These Terms and Conditions of Business are hereby incorporated into and form part of the Consignment Agreement entered into by the Auction House and the Consignor.

Expenses including expenses due from a defaulting Buyer; 11. BUYER ’S PREMIUM The Buyer’s Premium is the amount paid by the Buyer to the Auction House on the purchase of a Lot, that is calculated on the Hammer Price, at the rate of seventeen percent (17%) of the Hammer Price of the Lot, plus applicable Sales Tax; 12. SALES TAX Sales Tax means the Federal and Provincial sales and excise taxes applicable in the jurisdiction of sale of the Lot; 13. R EGISTERED BIDDER A Registered Bidder is a bidder who has fully completed the registration process, provided the required information to the Auction House and has been assigned a unique paddle number for the purpose of bidding on Lots in the auction; 14. P ROCEEDS OF SALE The Proceeds of Sale are the net amount due to the Consignor from the Auction House, which shall be the Hammer Price less commission at the Published Rates and Expenses and any other amounts due to the Auction House or associated companies; 15. L IVE AND ONLINE AUCTIONS These Terms and Conditions of Business apply to all live and online auction sales conducted by the Auction House. For the purposes of online auctions, all references to the Auctioneer shall mean the Auction House and Knocked Down is a literal reference defining the close of the auction sale.

B. THE BUYER: 1. T HE AUCTION HOUSE The Auction House acts solely as agent for the Consignor, except as otherwise provided herein.

8. HAMMER P RICE The Hammer Price is the price at which the Auctioneer has Knocked Down the Lot to the Buyer;

2. T HE BUYER a) The highest Registered Bidder acknowledged by the Auctioneer as the highest bidder at the time the Lot is Knocked Down;

9. BUYER The Buyer is the person, corporation or other entity or such entity’s agent, who bids successfully on the Lot at the auction sale;

b) The Auctioneer has the right, at his sole discretion, to reopen a Lot if he has inadvertently missed a Bid, or if a Registered Bidder, immediately at the close of a Lot, notifies the Auctioneer of his intent to Bid;

10. P URCHASE PRICE The Purchase Price is the Hammer Price and the Buyer’s Premium, applicable Sales Tax and additional charges and

c) The Auctioneer shall have the right to regulate and control the bidding and to advance the bids in whatever intervals he considers appropriate for the Lot in question;

HEFFEL FINE ART AUCTION HOUSE d) The Auction House shall have absolute discretion in settling any dispute in determining the successful bidder; e) The Buyer acknowledges that invoices generated during the sale or shortly after may not be error free, and therefore are subject to review; f) Every Registered Bidder shall be deemed to act as principal unless the Auction House has acknowledged in writing at least twenty~four hours (24) prior to the date of the auction that the Registered Bidder is acting as an agent on behalf of a disclosed principal and such agency relationship is acceptable to the Auction House; g) Every Registered Bidder shall fully complete the registration process and provide the required information to the Auction House. Every Registered Bidder will be assigned a unique paddle number (the “Paddle”) for the purpose of bidding on Lots in the auction. For online auctions, a password will be created for use in the current and future online sales only.

This online registration procedure may require up to twenty~four (24) hours to complete; h) Every Registered Bidder acknowledges that once a bid is made with his Paddle, or Paddle and password, as the case may be, it may not be withdrawn without the consent of the Auctioneer who, in his sole discretion, may refuse such consent; and i) Every Registered Bidder agrees that if a Lot is Knocked Down on his bid, he is bound to purchase the Lot for the Purchase Price.

3. BUYER ’S PRICE The Buyer shall pay the Purchase Price (inclusive of the Buyer’s Premium) to the Auction House. The Buyer acknowledges and agrees that the Auction House may also receive a Consignor’s Commission.

4. SALES TAX EXEMPTION All or part of the Sales Tax may be exempt in certain circumstances if the Lot is delivered or otherwise removed from the jurisdiction of sale of the Lot. It is the Buyer’s obligation to demonstrate, to the satisfaction of the Auction House, that such delivery or removal results in an exemption from the relevant Sales Tax legislation. Shipments out of the jurisdiction of sale of the Lot(s) shall only be eligible for exemption from Sales Tax if shipped directly from the Auction House and appropriate delivery documentation is provided, in advance, to the Auction House. All claims for Sales Tax exemption must be made prior to or at the time of payment of the Purchase Price. Sales Tax will not be refunded once the Auction House has released the Lot. 5. P AYMENT OF THE PURCHASE PRICE a) The Buyer shall: (i) Unless he has already done so, provide the Auction House with his name, address and banking or other suitable references as may be required by the Auction House; and

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(ii) Payment must be made by 4:30 p.m. on the seventh (7th) day following the auction by: a) Bank Wire direct to the Auction House’s account, b) Certified Cheque or Bank Draft, unless otherwise arranged in advance with the Auction House, or c) a cheque accompanied by a current Letter of Credit from the Buyer’s bank which will guarantee the amount of the cheque (release of Lot subject to clearance of cheque). Credit card payments are subject to acceptance and approval by the Auction House and to a maximum of $5,000 if the Buyer is providing his credit card details by fax, or to a maximum of $25,000 if the card is presented in person with valid identification. Such credit card payment limits apply to the value of the total purchases made by the Buyer and will not be calculated on individual transactions for separate Lots. In all other circumstances, the Auction House accepts payment by wire transfer. b) Title shall pass, and release and/or delivery of the Lot shall occur, only upon payment of the Purchase Price by the Buyer to the Auction House.

6. DESCRIPTIONS OF LOT a) All representations or statements made by the Auction House, or in the Consignment Agreement, or in the catalogue or other publication or report, as to the authorship, origin, date, age, size, medium, attribution, genuineness, provenance, condition or estimated selling price of the Lot, are statements of opinion only. The Buyer agrees that the Auction House shall not be liable for any errors or omissions in the catalogue or any supplementary material produced by the Auction House; b) All photographic representations and other illustrations presented in the catalogue are solely for guidance and are not to be relied upon in terms of tone or colour or necessarily to reveal any imperfections in the Lot; c) Many Lots are of an age or nature which precludes them from being in pristine condition. Some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. Such information is given for guidance only and the absence of such a reference does not imply that a Lot is free from defects, nor does any reference to particular defects imply the absence of others; d) The prospective Buyer must satisfy himself as to all matters referred to in a), b) and c) of this paragraph by inspection, other investigation or otherwise prior to the sale of the Lot. If the prospective Buyer is unable to personally view any Lot, the Auction House may, upon request, e~mail or fax a condition report describing the Lot to the prospective Buyer.

Although the Auction House takes great care in executing such condition reports in both written and verbal format, condition reports are only matters of opinion, are non~exhaustive, and the Buyer agrees that the Auction House shall not be held responsible for any errors or omissions

HEFFEL FINE ART AUCTION HOUSE contained within. The Buyer shall be responsible for ascertaining the condition of the Lot; and e) The Auction House makes no representations or warranties to the Buyer that the Buyer of a Lot will acquire any copyright or other reproduction right in any purchased Lot. 7. P URCHASED LOT a) The Buyer shall collect the Lot from the Auction House by 4:30 p.m. on the seventh (7th) day following the date of the auction sale, after which date the Buyer shall be responsible for all Expenses until the date the Lot is removed from the offices of the Auction House; b) All packing, handling and shipping of any Lot by the Auction House is undertaken solely as a courtesy service to the Buyer, and will only be undertaken at the discretion of the Auction House and at the Buyer’s risk. Prior to all packing and shipping, the Auction House must receive a fully completed and signed Shipping Form and payment in full of all purchases; and c) The Auction House shall not be liable for any damage to glass or frames of the Lot and shall not be liable for any errors or omissions or damage caused by packers and shippers, whether or not such agent was recommended by the Auction House.

8. R ISK a) The purchased Lot shall be at the Consignor’s risk in all respects for seven (7) days after the auction sale, after which the Lot will be at the Buyer’s risk. The Buyer may arrange insurance coverage through the Auction House at the then prevailing rates and subject to the then existing policy; and b) Neither the Auction House nor its employees nor its agents shall be liable for any loss or damage of any kind to the Lot, whether caused by negligence or otherwise, while any Lot is in or under the custody or control of the Auction House.

9. N ON~PAYMENT AND FAILURE TO COLLECT LOT( S) If the Buyer fails either to pay for or to take away any Lot by 4:30 p.m. on the seventh (7th) day following the date of the auction sale, the Auction House may in its absolute discretion be entitled to one or more of the following remedies without providing further notice to the Buyer and without prejudice to any other rights or remedies the Auction House may have: a) To issue judicial proceedings against the Buyer for damages for breach of contract together with the costs of such proceedings on a full indemnity basis; b) To rescind the sale of that or any other Lot(s) sold to the Buyer; c) To resell the Lot or cause it to be resold by public or private sale, or by way of live or online auction, with any deficiency to be claimed from the Buyer and any surplus, after Expenses, to be delivered to the Buyer;

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d) To store the Lot on the premises of the Auction House or third party storage facilities with Expenses accruing to the account of the Buyer, and to release the Lot to the Buyer only after payment of the Purchase Price and Expenses to the Auction House; e) To charge interest on the Purchase Price at the rate of five percent (5%) per month above the Royal Bank of Canada base rate at the time of the auction sale and adjusted month to month thereafter; f) To retain that or any other Lot sold to the Buyer at the same or any other auction and release the same only after payment of the aggregate outstanding Purchase Price; g) To apply any Proceeds of Sale of any Lot then due or at any time thereafter becoming due to the Buyer towards settlement of the Purchase Price, and the Auction House shall be entitled to a lien on any other property of the Buyer which is in the Auction House’s possession for any purpose; h) To apply any payments made by the Buyer to the Auction House towards any sums owing from the Buyer to the Auction House without regard to any directions received from the Buyer or his agent, whether express or implied; and i) In the absolute discretion of the Auction House, to refuse or revoke the Buyer’s registration in any future auctions held by the Auction House.

10. GUARANTEE The Auction House, its employees and agents, shall not be responsible for the correctness of any statement as to the authorship, origin, date, age, size, medium, attribution, genuineness or provenance of any Lot or for any other errors of description or for any faults or defects in any Lot and no warranty whatsoever is given by the Auction House, its employees or agents in respect of any Lot and any express or implied conditions or warranties are hereby excluded.

11. ATTENDANCE BY B UYER a) Prospective Buyers are advised to inspect the Lot(s) before the sale, and to satisfy themselves as to the description, attribution and condition of each Lot. The Auction House will arrange suitable viewing conditions during the preview preceding the sale, or by private appointment; b) Prospective Buyers are advised to personally attend the sale.

However, if they are unable to attend, the Auction House will execute bids on their behalf subject to completion of the proper Absentee Bid Form, duly signed and delivered to the Auction House forty~eight (48) hours before the start of the auction sale. The Auction House shall not be responsible nor liable in the making of any such bid by its employees or agents; c) In the event that the Auction House has received more than one Absentee Bid Form on a Lot for an identical amount and at auction those absentee bids are the highest bids for that

HEFFEL FINE ART AUCTION HOUSE Lot, the Lot shall be Knocked Down to the person whose Absentee Bid Form was received first; and d) At the discretion of the Auction House, the Auction House may execute bids, if appropriately instructed by telephone, on behalf of the prospective Buyer, and the prospective Buyer hereby agrees that neither the Auction House nor its employees nor agents shall be liable to either the Buyer or the Consignor for any neglect or default in making such a bid.

12. EXPORT PERMITS Without limitation, the Buyer acknowledges that certain property of Canadian cultural importance sold by the Auction House may be subject to the provisions of the Cultural Property Export and Import Act (Canada), and that compliance with the provisions of the said act is the sole responsibility of the Buyer.

C. THE CONSIGNOR: 1. T HE AUCTION HOUSE a) The Auction House shall have absolute discretion as to whether the Lot is suitable for sale, the particular auction sale for the Lot, the date of the auction sale, the manner in which the auction sale is conducted, the catalogue descriptions of the Lot, and any other matters related to the sale of the Lot at the auction sale; b) The Auction House reserves the right to withdraw any Lot at any time prior to the auction sale if, in the sole discretion of the Auction House: (i) there is doubt as to its authenticity; (ii) there is doubt as to the accuracy of any of the Consignor’s representations or warranties; (iii) the Consignor has breached or is about to breach any provisions of the Consignment Agreement; or (iv) any other just cause exists. c) In the event of a withdrawal pursuant to Conditions C.1.b (ii) or C.1.b (iii), the Consignor shall pay a charge to the Auction House, as provided in Condition C.8.

2. W ARRANTIES AND INDEMNITIES a) The Consignor warrants to the Auction House and to the Buyer that the Consignor has and shall be able to deliver unencumbered title to the Lot, free and clear of all claims; b) The Consignor shall indemnify the Auction House, its employees and agents and the Buyer against all claims made or proceedings brought by persons entitled or purporting to be entitled to the Lot; c) The Consignor shall indemnify the Auction House, its employees and agents and the Buyer against all claims made or proceedings brought due to any default of the Consignor in complying with any applicable legislation, regulations and these Terms and Conditions of Business; and

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d) The Consignor shall reimburse the Auction House in full and on demand for all Expenses or any other loss or damage whatsoever made, incurred or suffered as a result of any breach by the Consignor of Conditions C.2.a and/or C.2.c above.

3. R ESERVES a) The Auction House is authorized by the Consignor to Knock Down a Lot at less than the Reserve, provided that, for the purposes of calculating the Proceeds of Sale due to the Consignor, the Hammer Price shall be deemed to be the full amount of the agreed Reserve established by the Auction House and the Consignor.

4. C OMMISSION AND E XPENSES a) The Consignor authorizes the Auction House to deduct the Consignor’s Commission and Expenses from the Hammer Price and, notwithstanding that the Auction House is the Consignor’s agent, acknowledges that the Auction House shall charge and retain the Buyer’s Premium; b) The Consignor shall pay and authorizes the Auction House to deduct all Expenses incurred on behalf of the Consignor, together with any Sales Tax thereon; and c) The charge for illustrating a Lot in the live auction sale catalogue shall be a flat fee paid by the Consignor of $500 for a large size reproduction and $275 for a small reproduction, per item in each Lot, together with any Sales Tax chargeable thereon. The Auction House retains all rights to photographic and printing material and the right of reproduction of such photographs. The charge for online digital photography, cataloguing and Internet posting is a flat fee of $100 per Lot. 5. INSURANCE a) Lots are only covered by insurance under the Fine Arts Insurance Policy of the Auction House if the Consignor so authorizes; b) The rate of insurance premium payable by the Consignor is $15 per $1,000 (1.5%) of the greater value of the high estimate value of the Lot or the realized Hammer Price or for the alternative amount as specified in the Consignment Receipt; c) If the Consignor instructs the Auction House not to insure a Lot, it shall at all times remain at the risk of the Consignor who hereby undertakes to: (i) indemnify the Auction House against all claims made or proceedings brought against the Auction House in respect of loss or damage to the Lot of whatever nature, howsoever and wheresoever occurred, and in any circumstances even where negligence is alleged or proven; (ii) reimburse the Auction House for all Expenses incurred by the Auction House. Any payment which the Auction House shall make in respect of such loss or damage or Expenses shall be binding upon the Consignor and shall

HEFFEL FINE ART AUCTION HOUSE be accepted by the Consignor as conclusive evidence that the Auction House was liable to make such payment; and (iii) notify any insurer of the existence of the indemnity contained in these Terms and Conditions of Business. d) The Auction House does not accept responsibility for Lots damaged by changes in atmospheric conditions and the Auction House shall not be liable for such damage nor for any other damage to picture frames or to glass in picture frames; and e) The value for which a Lot is insured under the Fine Arts Policy of the Auction House in accordance with Condition C.5.b above shall be the total amount due to the Consignor in the event of a successful claim being made against the Auction House.

6. P AYMENT OF P ROCEEDS OF SALE a) The Auction House shall pay the Proceeds of Sale to the Consignor thirty~five (35) days after the date of sale, if the Auction House has been paid the Purchase Price in full by the Buyer; b) If the Auction House has not received the Purchase Price from the Buyer within the time period specified, then the Auction House will pay the Proceeds of Sale within seven (7) working days following receipt of the Purchase Price from the Buyer; and c) If before the Purchase Price is paid in full by the Buyer, the Auction House pays the Consignor an amount equal to the Proceeds of Sale, title to the property in the Lot shall pass to the Auction House.

7. C OLLECTION OF THE P URCHASE PRICE If the Buyer fails to pay to the Auction House the Purchase Price within thirty (30) days after the date of sale, the Auction House will endeavour to take the Consignor’s instructions as to the appropriate course of action to be taken and, so far as in the Auction House’s opinion such instructions are practicable, will assist the Consignor in recovering the Purchase Price from the Buyer, save that the Auction House shall not be obligated to issue judicial proceedings against the Buyer in its own name. Notwithstanding the foregoing, the Auction House reserves the right and is hereby authorized at the Consignor’s expense, and in each case at the absolute discretion of the Auction House, to agree to special terms for payment of the Purchase Price, to remove, store and insure the Lot sold, to settle claims made by or against the Buyer on such terms as the Auction House shall think fit, to take such steps as are necessary to collect monies from the Buyer to the Consignor and, if appropriate, to set aside the sale and refund money to the Buyer.

8. C HARGES FOR WITHDRAWN LOTS The Consignor may not withdraw a Lot prior to the auction sale without the consent of the Auction House. In the event

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that such consent is given, or in the event of a withdrawal pursuant to Condition C.1.b (ii) or C.1.b (iii), a charge of twenty~five percent (25%) of the high pre~sale estimate, together with any applicable Sales Tax and Expenses, is immediately payable to the Auction House, prior to any release of the Property.

9. UNSOLD LOTS a) Unsold Lots must be collected at the Consignor’s expense within the period of ninety (90) days after receipt by the Consignor of notice from the Auction House that the Lots are to be collected (the “Collection Notice”). Should the Consignor fail to collect the Lot from the Auction House within ninety (90) days from the receipt of the Collection Notice, the Auction House shall have the right to place such Lots in the Auction House’s storage facilities or third party storage facilities, with Expenses accruing to the account of the Consignor. The Auction House shall also have the right to sell such Lots by public or private sale and on such terms as the Auction House shall alone determine, and shall deduct from the Proceeds of Sale any sum owing to the Auction House or to any associated company of the Auction House including Expenses, before remitting the balance to the Consignor. If the Consignor cannot be traced, the Auction House shall place the funds in a bank account in the name of the Auction House for the Consignor. In this condition the expression “Proceeds of Sale” shall have the same meaning in relation to a private sale as it has in relation to a sale by auction; b) Lots returned at the Consignor’s request shall be returned at the Consignor’s risk and expense and will not be insured in transit unless the Auction House is otherwise instructed by the Consignor; and c) If any Lot is unsold by auction, the Auction House is authorized as the exclusive agent for the Consignor for a period of ninety (90) days following the auction to sell such Lot by private sale or auction sale for a price that will result in a payment to the Consignor of not less than the net amount (i.e., after deduction of the Auction House Commission and Expenses) to which the Consignor would have been entitled had the Lot been sold at a price equal to the agreed Reserve, or for such lesser amount as the Auction House and the Consignor shall agree. In such event, the Consignor’s obligations to the Auction House hereunder with respect to such a Lot are the same as if it had been sold at auction. The Auction House shall continue to have the exclusive right to sell any unsold Lots after the said ninety (90) day period, until such time as the Auction House is notified in writing by the Consignor that such right is terminated.

10. C ONSIGNOR’ S SALES TAX STATUS The Consignor shall give to the Auction House all relevant information as to his Sales Tax status with regard to the Lot to be sold, which he warrants is and will be correct and upon which the Auction House shall be entitled to rely.

HEFFEL FINE ART AUCTION HOUSE 11. P HOTOGRAPHS AND ILLUSTRATIONS In consideration of the Auction House’s services to the Consignor, the Consignor hereby warrants and represents to the Auction House that it has the right to grant to the Auction House, and the Consignor does hereby grant to the Auction House, a non~exclusive, perpetual, fully paid~up, royalty free and non~revocable right and permission to: a) reproduce (by illustration, photograph, electronic reproduction, or any other form or medium whether presently known or hereinafter devised) any work within any Lot given to the Auction House for sale by the Consignor; and b) use and publish such illustration, photograph or other reproduction in connection with the public exhibition, promotion and sale of the Lot in question and otherwise in connection with the operation of the Auction House’s business, including without limitation by including the illustration, photograph or other reproduction in promotional catalogues, compilations, the Auction House’s Art Index, and other publications and materials distributed to the public, and by communicating the illustration, photograph or other reproduction to the public by telecommunication via an Internet website operated by or affiliated with the Auction House (“Permission”). Moreover, the Consignor makes the same warranty and representation and grants the same Permission to the Auction House in respect of any illustrations, photographs or other reproductions of any work provided to the Auction House by the Consignor. The Consignor agrees to fully indemnify the Auction House and hold it harmless from any damages caused to the Auction House by reason of any breach by the Consignor of this warranty and representation.

D. GENERAL CONDITIONS: 1. The Auction House as agent for the Consignor is not responsible for any default by the Consignor or the Buyer.

2. The Auction House shall have the right at its absolute discretion to refuse admission to its premises or attendance at its auctions by any person.

3. The Auction House has the right at its absolute discretion to refuse any bid, to advance the bidding as it may decide, to withdraw or divide any Lot, to combine any two or more Lots and, in the case of dispute, to put up any Lot for auction again. At no time, shall a Registered Bidder retract or withdraw his bid.

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or suffered by the person for whose benefit the indemnity is given and, the Auction House shall hold any indemnity on trust for its employees and agents where it is expressed to be for their benefit.

6. Any notice given hereunder shall be in writing and if given by post shall be deemed to have been duly received by the addressee within three (3) business days.

7. The copyright for all illustrations and written matter relating to the Lots shall be and will remain at all times the absolute property of the Auction House and shall not, without the prior written consent of the Auction House, be used by any other person.

8. The Auction House will not accept any liability for any errors that may occur in the operation of any video or digital representations produced and/or broadcasted during an auction sale.

9. This Agreement shall be governed by and construed in accordance with British Columbia Law and the laws of Canada applicable therein and all parties concerned hereby submit to the exclusive jurisdiction of the British Columbia Courts.

10. Unless otherwise provided for herein, all monetary amounts referred to herein shall refer to the lawful money of Canada.

11. All words importing the singular number shall include the plural and vice versa, and words importing the use of any gender shall include the masculine, feminine and neuter genders and the word “person” shall include an individual, a trust, a partnership, a body corporate, an association or other incorporated or unincorporated organization or entity.

12. If any provision of this Agreement or the application thereof to any circumstances shall be held to be invalid or unenforceable, the remaining provisions of this Agreement, or the application thereof to other circumstances, shall not be affected thereby and shall be held valid to the full extent permitted by law.

The Buyer and the Consignor are hereby advised to read fully the Agreement which sets out and establishes the rights and obligations of the Auction House, the Buyer and the Consignor and the terms by which the Auction House shall conduct the sale and handle other related matters.

4. For advertising and promotional purposes, the Consignor acknowledges and agrees that the Auction House shall, in relation to any sale of the Lot, make reference to the aggregate Purchase Price of the Lot, inclusive of the Buyer’s Premium, notwithstanding that the Consignor’s Commission is calculated on the Hammer Price.

5. Any indemnity hereunder shall extend to all actions, proceedings, costs, claims and demands whatsoever incurred Version 2013.03, © Heffel Gallery Limited

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CATALOGUE ABBREVIATIONS AND SYMBOLS: AAM AANFM AAP ACM AGA AGQ AHSA ALC AOCA ARCA ASA ASPWC ASQ AUTO AWCS BCSFA BCSA BHG CAC CAS CC CGP CH CPE CSAA CSGA CSMA CSPWC EGP FBA FCA FRSA G7 IAF IWCA LP MSA NAD NEAC NSSA OC OIP OM OSA

Art Association of Montreal founded in 1860 Association des artistes non~figuratifs de Montréal Association des arts plastiques Arts Club of Montreal Art Guild America Association des graveurs du Québec Art, Historical and Scientific Association of Vancouver Arts and Letters Club Associate Ontario College of Art Associate Member Royal Canadian Academy of Arts Alberta Society of Artists American Society of Painters in Water Colors Association des sculpteurs du Québec Les Automatistes American Watercolor Society British Columbia Society of Fine Arts founded in 1909 British Columbia Society of Artists Beaver Hall Group, Montreal 1920 ~1922 Canadian Art Club Contemporary Arts Society Companion of the Order of Canada Canadian Group of Painters 1933 ~ 1969 Companion of Honour Commonwealth Canadian Painters ~ Etchers’ Society Canadian Society of Applied Art Canadian Society of Graphic Artists founded in 1905 Canadian Society of Marine Artists Canadian Society of Painters in Water Colour founded in 1925 Eastern Group of Painters Federation of British Artists Federation of Canadian Artists Fellow of the Royal Society of Arts Group of Seven 1920 ~ 1933 Institut des arts figuratifs Institute of Western Canadian Artists Les Plasticiens Montreal Society of Arts National Academy of Design New English Art Club Nova Scotia Society of Artists Order of Canada Ontario Institute of Painters Order of Merit British Ontario Society of Artists founded 1872

P11 PDCC

Painters Eleven 1953 ~ 1960 Print and Drawing Council of Canada

PNIAI

Professional Native Indian Artists Incorporation

POSA

President Ontario Society of Artists

PPCM

Pen and Pencil Club, Montreal

PRCA

President Royal Canadian Academy of Arts

PSA

Pastel Society of America

PSC

Pastel Society of Canada

PY

Prisme d’yeux

QMG

Quebec Modern Group

R5

Regina Five 1961 ~ 1964

RA

Royal Academy

RAAV

Regroupement des artistes en arts visuels du Québec

RAIC

Royal Architects Institute of Canada

RBA RCA RI

Royal Society of British Artists Royal Canadian Academy of Arts founded 1880 Royal Institute of Painters in Watercolour

RMS

Royal Miniature Society

ROI

Royal Institute of Oil Painters

RPS

Royal Photographic Society

RSA

Royal Scottish Academy

RSC RSMA

Royal Society of Canada Royal Society of Marine Artists

RSPP

Royal Society of Portrait Painters

RWS

Royal Watercolour Society

SAA SAAVQ SAP SAPQ SC SCA SCPEE SSC SWAA

Society of American Artists Société des artistes en arts visuels du Québec Société des arts plastiques Société des artistes professionnels du Québec The Studio Club Society of Canadian Artists 1867 ~ 1872 Society of Canadian Painters, Etchers and Engravers Sculptors’ Society of Canada Saskatchewan Women Artists’ Association

TCC

Toronto Camera Club

TPG

Transcendental Painting Group 1938 ~ 1942

WAAC

Women’s Art Association of Canada

WIAC

Women’s International Art Club

WS

Woodlands School

YR

Young Romantics

ϕ

Indicates that Heffel Gallery owns an equity interest in the Lot Denotes that additional information on this lot can be found on our website at www.heffel.com

HEFFEL FINE ART AUCTION HOUSE

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CATALOGUE TERMS:

HEFFEL’S CODE OF BUSINESS CONDUCT, ETHICS AND PRACTICES:

These catalogue terms are provided for your guidance:

Heffel takes great pride in being the leader in the Canadian fine art auction industry, and has an unparalleled track record. We are proud to have been the dominant auction house in the Canadian art market from 2004 to the present. Our firm’s growth and success has been built on hard work and innovation, our commitment to our Clients and our deep respect for the fine art we offer. At Heffel we treat our consignments with great care and respect, and consider it an honour to have them pass through our hands.

We are fully cognizant of the historical value of the works we handle, and their place in art history.

C ORNELIUS DAVID KRIEGHOFF In our best judgment, a work by the artist.

ATTRIBUTED TO CORNELIUS DAVID KRIEGHOFF In our best judgment, a work possibly executed in whole or in part by the named artist.

STUDIO OF CORNELIUS DAVID K RIEGHOFF In our best judgment, a work by an unknown hand in the studio of the artist, possibly executed under the supervision of the named artist.

C IRCLE OF CORNELIUS DAVID KRIEGHOFF In our best judgment, a work of the period of the artist, closely related to the style of the named artist.

MANNER OF CORNELIUS DAVID KRIEGHOFF In our best judgment, a work in the style of the named artist and of a later date.

AFTER CORNELIUS DAVID KRIEGHOFF In our best judgment, a copy of a known work of the named artist.

DIMENSIONS Measurements are given height before width in both inches and centimetres.

SIGNED / TITLED / DATED In our best judgment, the work has been signed/titled/dated by the artist. If we state “dated 1856” then the artist has inscribed the date when the work was produced. If the artist has not inscribed the date and we state “1856”, then it is known the work was produced in 1856, based on independent research. If the artist has not inscribed the date and there is no independent date reference, then the use of “circa” approximates the date based on style and period.

BEARS SIGNATURE / BEARS DATE In our best judgment, the signature/date is by a hand other than that of the artist.

Heffel, to further define its distinction in the Canadian art auction industry, has taken the following initiative. David and Robert Heffel, second~generation art dealers of the Company’s founding Heffel family, have personally crafted the foundation documents (as published on our website www.heffel.com): Heffel’s Corporate Constitutional Values and Heffel’s Code of Business Conduct, Ethics and Practices. We believe the values and ethics set out in these documents will lay in stone our moral compass.

Heffel has flourished through more than three decades of change, proof that our hard work, commitment, philosophy, honour and ethics in all that we do, serves our Clients well.

Heffel’s Employees and Shareholders are committed to Heffel’s Code of Business Conduct, Ethics and Practices, together with Heffel’s Corporate Constitutional Values, our Terms and Conditions of Business and related corporate policies, all as amended from time to time, with respect to our Clients, and look forward to continued shared success in this auction season and ongoing.

David K.J. Heffel President, Director and Shareholder (through Heffel Investments Ltd.)

Robert C.S. Heffel Vice~President, Director and Shareholder (through R.C.S.H. Investments Ltd.)

P ROVENANCE Is intended to indicate previous collections or owners.

C ERTIFICATES / LITERATURE / EXHIBITED Any reference to certificates, literature or exhibition history represents the best judgment of the authority or authors named.

ESTIMATE Our Estimates are intended as a statement of our best judgment only, and represent a conservative appraisal of the expected Hammer Price.

Version 2013.03, © Heffel Gallery Limited

Version 2013.03, © Heffel Gallery Limited

HEFFEL FINE ART AUCTION HOUSE

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ANNUAL SUBSCRIPTION FORM

COLLECTOR PROFILE FORM

Please complete this Annual Subscription Form to receive our twice~yearly Auction Catalogues and Auction Result Sheet.

Please complete our Collector Profile Form to assist us in our ability to offer you our finest service.

To order, return a copy of this form with a cheque payable to: Heffel Gallery, 2247 Granville Street, Vancouver, British Columbia, Canada V6H 3G1 Tel 604 732~6505, Fax 604 732~4245, Toll free 800 528~9608 E~mail: mail@heffel.com, Internet: www.heffel.com C ATALOGUE SUBSCRIPTIONS ~ DELIVERED

IN

OF

PARTICULAR INTEREST

IN

PURCHASING

OF

PARTICULAR INTEREST

IN

SELLING

1) 2)

TAX INCLUDED

CANADA

One Year (four catalogues) ~ Fine Canadian Art / Post~War & Contemporary Art Two Year (eight catalogues) ~ Fine Canadian Art / Post~War & Contemporary Art

DELIVERED

ARTISTS

TO THE

UNITED STATES

AND

AT

4) $130.00 5)

OVERSEAS

One Year (four catalogues) ~ Fine Canadian Art / Post~War & Contemporary Art Two Year (eight catalogues) ~ Fine Canadian Art / Post~War & Contemporary Art

C ANADIAN ART

3) $80.00

AUCTION INDEX ONLINE ~

$90.00

6)

$150.00

7) 8)

TAX INCLUDED

Please contact Heffel Gallery to set up One Block of 25 Search Results One Year Subscription (35 searches per month) Two Year Subscription (35 searches per month)

$50.00 $250.00 $350.00

9)

ARTISTS

Name

1) Address

2) 3) 4)

Postal Code

E~mail Address 5)

Residence Telephone

Business Telephone

Fax

Cellular

6) 7) 8)

VISA # or MasterCard #

Expiry Date

Signature

Date

9)

Version 2013.03, Š Heffel Gallery Limited

HEFFEL FINE ART AUCTION HOUSE

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SHIPPING FORM FOR PURCHASES Heffel Fine Art Auction House will arrange to have Property purchased at the auction sale packed, insured and forwarded to the Purchaser at the Purchaser’s expense and risk pursuant to the Terms and Conditions of Business set out in the Auction Sale Catalogue. The Purchaser is aware and accepts that Heffel Fine Art Auction House does not operate a professional packing service and shall provide such assistance for the convenience only of the Purchaser. Your signature on this form releases Heffel Fine Art Auction House from any liability that may result from damage sustained by artwork during packing and shipping. All such works are packed at the Purchaser’s risk and then transported by a carrier chosen at the discretion of Heffel Fine Art Auction House.

Works purchased may be subject to the Cultural Property Export and Import Act (Canada), and compliance with the provisions of the said Act is the sole responsibility of the Purchaser.

Sale Date

Purchaser’s Name as invoiced

Shipping Address

City

Province, Country

Postal Code

E~mail Address

Residence Telephone

Business Telephone

Fax

Cellular Telephone

Credit Card Number

Expiry Date

Please indicate your preferred method of shipping below All Charges are Collect for Settlement by the Purchaser

Social Security Number for U.S. Customs (U.S. Residents Only)

SHIPPING OPTIONS

L OT NUMBER

L OT DESCRIPTION

in numerical order

artist

Please have my purchases forwarded by: Air

Surface or

Consolidated Ground Shipment to (when available): Heffel Toronto C ARRIER

OF

Heffel Montreal

2) 3)

C HOICE

Please have my purchases couriered by: FedEx

1)

4)

Other

Carrier Account Number O PTIONAL INSURANCE YES, please insure my purchases at full sale value while in transit. Heffel does not insure frames or glass. (Please note: works under glass and some ground shipments cannot be insured while in transit.)

NO, I do not require insurance for the purchases listed on this form. (I accept full responsibility for any loss or damage to my purchases while in transit.)

SHIPPING QUOTATION YES, please send me a quotation for the shipping options selected above.

NO shipping quotation necessary, please forward my purchases as indicated above. (Please note: packing charges may apply in addition to shipping charges.)

AUTHORIZATION

FOR

COLLECTION

My purchase will be collected on my behalf

Individual or company to collect on my behalf

Date of collection/pick~up

Signed with agreement to the above

Date

Heffel Fine Art Auction House 2247 Granville Street, Vancouver British Columbia, Canada V6H 3G1 Telephone 604 732~6505, Fax 604 732~4245 E~mail:mail@heffel.com, Internet:http://www.heffel.com Version 2013.03, © Heffel Gallery Limited

HEFFEL FINE ART AUCTION HOUSE

134

ABSENTEE BID FORM Please view our General Bidding Increments as published by Heffel.

Sale Date

L OT NUMBER

L OT DESCRIPTION

in numerical order

artist

M AXIMUM BID Hammer Price $ CAD (excluding Buyer’s Premium)

1) Billing Name

2) 3)

Address 4)

City

Province, Country

5) 6)

Postal Code

E~mail Address

Daytime Telephone

Evening Telephone

7) 8)

Fax

Cellular

I request Heffel Fine Art Auction House to enter bids on my behalf for the following Lots, up to the maximum Hammer Price I have indicated for each Lot. I understand that if my bid is successful, the purchase price shall be the Hammer Price plus a Buyer’s Premium of seventeen percent (17%) of the Hammer Price of each Lot, and applicable GST/HST and PST. I understand that Heffel Fine Art Auction House executes Absentee Bids as a convenience for its clients and is not responsible for inadvertently failing to execute bids or for errors relating to their execution of my bids. On my behalf, Heffel Fine Art Auction House will try to purchase these Lots for the lowest possible price, taking into account the Reserve and other bids. If identical Absentee Bids are received, Heffel Fine Art Auction House will give precedence to the Absentee Bid Form received first. I understand and acknowledge all successful bids are subject to the Terms and Conditions of Business printed in the Heffel Fine Art Auction House catalogue.

Signature

Date Received ~ for office use only

Confirmed ~ for office use only

Date

To be sure that bids will be accepted and delivery of Lots not delayed, bidders not yet known to Heffel Fine Art Auction House should supply a bank reference. All Absentee Bidders must supply a valid MasterCard or VISA # and expiry date.

MasterCard or VISA #

Expiry Date

Name of Bank

Branch

Address of Bank

Name of Account Officer

Telephone

To allow time for processing, Absentee Bids should be received at least 24 hours before the sale begins. Heffel Fine Art Auction House will confirm by telephone or e~mail all bids received. If you have not received our confirmation within one business day, please re~submit your bids or contact us at: 2247 Granville Street, Vancouver British Columbia, Canada V6H 3G1 Telephone 604 732~6505, Fax 604 732~4245 E~mail: mail@heffel.com; Internet: http://www.heffel.com Version 2013.03, © Heffel Gallery Limited

HEFFEL FINE ART AUCTION HOUSE

INDEX OF ARTISTS BY LOT A/B

M/N/O

BANTING, SIR FREDERICK GRANT 149, 189

MACDONALD , JAMES EDWARD HERVEY (J.E.H.) 106, 107, 160, 180, 181, 187 MACDONALD, JAMES WILLIAMSON GALLOWAY (JOCK) 103, 104, 105 MACDONALD , THOREAU 139 MILNE, DAVID BROWN 153, 159, 161 MORRIS, KATHLEEN MOIR 151 MOUNT, RITA 128

C/D/E CARMICHAEL , FRANKLIN 152 CARR , EMILY 101, 102, 154, 156, 163, 164, 165, 166, 167 CASSON, A LFRED JOSEPH (A.J.) 111, 112, 186, 191 COBURN, FREDERICK SIMPSON 132, 133, 143 COONAN , EMILY 190 CULLEN, M AURICE GALBRAITH 140, 141, 178 F/G/H FLATHER, DONALD M. 183 FORTIN, M ARC~AURÈLE 162, 196 HAIDA ARTIST, E ARLY 155 HARRIS, L AWREN STEWART 157, 158, 176, 177, 185 HEWTON, RANDOLPH STANLEY 179 I/J/K/L JACKSON, ALEXANDER YOUNG (A.Y.) 113, 114, 115, 116, 117, 123, 124, 126, 134, 148, 184, 188 KRIEGHOFF, C ORNELIUS DAVID 146, 147, 168, 169 L ISMER, ARTHUR 144, 145, 172, 173, 174, 175

P/Q/R P HILLIPS, W ALTER JOSEPH (W.J.) 109, 110 P ILOT, ROBERT WAKEHAM 119, 120, 125, 127, 129, 130, 131, 135, 136, 137, 142, 197 RICHARD, R ENÉ J EAN 192 ROBINSON, A LBERT HENRY 170 S/T/U SAVAGE , ANNE DOUGLAS 118, 121, 122, 138 SHEPPARD , PETER CLAPHAM 150 SUZOR ~COTÉ, MARC~AURÈLE DE FOY 193, 194, 195, 198 THOMSON, T HOMAS J OHN (TOM ) 108 V/W/X/Y/Z V ARLEY, F REDERICK HORSMAN 171 WESTON , WILLIAM PERCIVAL (W.P.) 182

135

Spring Live Auction Highlight Previews MONTREAL AND TORONTO

Montreal Preview Thursday, April 25 & Friday, April 26, 11:00 AM to 7:00 PM Saturday, April 27, 11:00 AM to 5:00 PM

Toronto Preview Thursday, May 2 & Friday, May 3, 11:00 AM to 7:00 PM Saturday, May 4, 11:00 AM to 5:00 PM

Please visit our live auction online catalogue at www.heffel.com for specific details designating which Lots will be exhibited for our Montreal and Toronto previews.

1840 rue Sherbrooke Ouest Montreal, Quebec H3H 1E4 Telephone: 514 939~6505 Toll Free: 866 939~6505 Facsimile: 514 939~1100

13 Hazelton Avenue Toronto, Ontario M5R 2E1 Telephone: 416 961~6505 Toll Free: 866 961~6505 Facsimile: 416 961~4245

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HEFFEL FINE ART AUCTION HOUSE

FINE CANADIAN ART

FINE CANADIAN ART MAY 15, 2013

V ISIT

HEFFEL FINE ART AUCTION HOUSE

www.heffel.com VANCOUVER

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TORONTO

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MONTREAL

HEFFEL FINE ART AUCTION HOUSE

ISBN 978~1~927031~07~0

SALE WEDNESDAY, MAY 15, 2013, VANCOUVER

OTTAWA

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3/15/2013, 4:20 PM