& m odern art catalogue
f eaturing w orks fro m
The Aqueduct Foundation, benefiting the Art Gallery of Ontario
The Family of Julio Francisco Domingo de Arteche y Villabaso, Spain
The Family of W. Lawrence Heisey, Toronto
The Family of Carl F. Schaefer, Ontario
The Family of Lida Bell Pearson Sturdy QC , Cambridge, Ontario
& other Important Private and Corporate Collections
201 Ethel Seath
BHG CAS CGP 1879 – 1963
House in Winter oil on canvas, signed and on verso titled on the exhibition label
19 1/4 × 20 in, 48.9 × 50.8 cm
p rovenan C e
A.K. Prakash & Associates Inc., Ottawa Private Collection, Montreal Private Estate, Washington
l iterature
Evelyn Walters, The Women of Beaver Hall: Canadian Modernist Painters, 2005, page 11
Anita Lahey, “Harmony in Ethel Seath’s Life and Work,” National Gallery of Canada Magazine, March 12, 2025
e xhibited
Royal Canadian Academy of Arts (label verso)
E THE l S EATH WAS a founding member of the Beaver Hall Group, an association of Montreal artists established around 1920 and the first in Canada to prominently feature female artists. Unlike most of the other female members of the group, who came from wealthy families, Seath had a modest upbringing and was tasked with providing care and supplemental income for her mother and siblings. Her early training in the late 1890s at the Conseil des arts et manufactures led to her working as an illustrator at the Montreal Witness, Montreal Star and Family Herald newspapers. In her scarce spare time, she entered the tutelage of William Brymner, a Parisian-trained painter and long-time director of the Art Association of Montreal, who served as a mentor for many of the Beaver Hall members and advocated for the artist’s right to self-expression.
A.Y. Jackson, a member of both the Beaver Hall Group and the Group of Seven, also encouraged artists to break away from rigid academic dogmas and preconceived notions of how women’s painting should look. Jackson claimed at the inaugural Beaver Hall exhibition that the group’s aim was “to give the artist the assurance that [s]he can paint what [s]he feels, with utter disregard for what has hitherto been considered requisite to the acceptance of the work at the recognized art exhibitions in Canadian centres. Schools and ‘isms’ do not trouble us; individual expression is our chief concern.” Seath answered Jackson’s rallying call, going on to adopt radical Impressionist, Fauvist and even Cubist stylistic currents arriving in North America from Europe
in the pursuit of her own artistic voice. She herself became an art teacher and never ceased to experiment in her painting.
The chosen subject matter of this exceptional canvas, a vernacular building with its steep-pitched roof covered in snow, might call to mind great works by Jackson or Lawren Harris. Like those works, the brush-strokes here are long and curvaceous, resulting in simplified, bulbous forms that have an animated buoyancy. Seath’s skill here is in capturing the interplay of sharp winter light through the tree limbs and across the rolling mounds of fresh snow, vividly rendering each illuminated surface and shadow through resonant colour relationships. The bright teal sky appears to sing above the scene. Two nearly silhouetted figures in the left foreground introduce a narrative element, as if they have just discovered the newly fallen snow blocking the front door they intended to enter.
In an artist statement for the Canadian Review quoted by Anita Lahey, Seath wrote: “The modern painter does not try to copy the actual scene before him in a literal manner (a camera can do that much better) but creates a designed and abstracted work, which is the result of his own visual response to nature . . . the artist must be stimulated by some emotional reaction of the life about him.” Seath indeed sought to transform the world around her through her painting, seizing on the impulses of her spirit to render the ineffable through the everyday scenes she encountered. House in Winter is a bold and rare example of Seath’s vision on canvas, demonstrating her quiet confidence at the forefront of Canadian painting in the early twentieth century that was driving towards individualism, abstraction and modernity.
e stimate: $ 40,000 – 60,000
202 Lawren Stewart Harris
ALC BCSFA CGP FCA G7 OSA TPG 1885 – 1970
House Near Allandale, Ontario
oil on board, on verso titled, dated circa 1919 – 1920, inscribed Acquired from Lawren Harris / Studio Building, 255 Severn Street / Toronto 1933 by Carl F. Schaefer / Coll. Carl F. Schaefer / 157 St. Clemens Ave. Toronto 12, Ont. and certified by Thoreau Macdonald, Oct. 1969
7 7/8 × 6 3/4 in, 20 × 17.1 cm
p rovenan C e
Acquired directly from the Artist by Carl F. Schaefer, 1933 By descent to the present Private Collection, Ontario
lAWREN H ARRIS WAS the driving force behind the Group of Seven, and the establishment of a legacy of artistic expression that sought to paint “the Canadian scene on its own terms.” 1 Though he spent several years as a young man studying art in Germany, followed by collaborating with Harper’s Magazine journalist Norman Duncan to illustrate a journey across the Middle East and logging camps in Minnesota, his return to Canada found him immediately dedicated to the pursuit of a creative approach that was inspired by, and representative of, this land.
Harris quickly found kindred spirits including the likes of J.E.H. MacDonald, A.Y. Jackson and Tom Thomson, and these artists began to develop a style of their own, responding to the diversity of their surroundings. Of the works that were created, Harris wrote: “These pictures . were painted in quite a different manner, technique, arrangement, and spirit from any work I had done before. I was far more at home in them than any place else and naturally forgot the indoor studio-learning of Europe, being simply dictated to by the environment and life I was born and brought up in!” 2
The enthusiasm Harris felt for depicting Canada resulted in the exploration of many subjects, representing various facets of the country’s identity. These works include a small but important series done around his family’s summer home at Kempenfelt Bay, Lake Simcoe. House Near Allandale, Ontario, a charming and bright portrait of a Victorian-era home, is a brilliant representative of this rare and intriguing component of Harris’s catalogue, a series that contrasts with his more well-known urban scenes and wilderness landscapes.
Harris spent several years sketching in this region near Barrie, honing his skills and planning for future sketching trips north into more wild and rugged landscapes. Just over two dozen known sketches have been catalogued, with many of them likely coming from the summer of 1918, when Harris wrote to MacDonald: “I still sketch a bit in my spare time. . I have a few that are worthy, though I hanker after fall colouring.” 3 These works, including several portraits of old country homes such as this sketch, represent their own unique segment of Canadian culture.
F.B. Housser, early Group associate, friend and biographer, described Harris’s treatment of “rural Ontario homesteads” in his 1926 book:
Here Harris picks a type of dwelling expressive of the cooky-making, pie-baking farm atmosphere which many Canadians associate with their grandmothers. And the painter does not omit a certain note of puritanical respectability felt at country church socials, a world, the confines of which are the township’s concession roads. All this is suggested by treating a characteristic old Ontario farmhouse in a decorative way. . . . And there is that most characteristic old Ontario touch, the white curley-cues [sic] at the top of verandah posts with which the old English ship carpenters who cleared the land and settled the province decorate their homes. 4
As with his works in Toronto’s St. John’s Ward, Halifax’s Elevator and Black Courts, and Cape Breton’s Glace Bay, Harris manages to depict a unique aspect of Canadian society in the early twentieth century.
Harris and the Group of Seven movement inspired many subsequent generations of Canadian artists, and it is most fitting that this work was in the collection of Carl Schaefer, who, in 1936, joined Harris and other prominent landscape painters in the Canadian Group of Painters. Bold and confident in its execution, this small sketch would have been of particular interest to Schaefer, who acquired the work in 1933. In 1934, Schaefer painted his own version of this subject in one of his most celebrated works, the canvas Ontario Farmhouse, now in the collection of the National Gallery of Canada, demonstrating with poetic resonance the new paths that works like House Near Allandale, Ontario were able to forge for Canadian art.
We thank Alec Blair, Director/Lead Researcher, Lawren S. Harris Inventory Project, for contributing the above essay.
1. Lawren Harris quoted in Lawren Harris, ed. Bess Harris and R.G.P. Colgrove (Toronto: Macmillan, 1969), 48.
2. Quoted in Fred Housser, A Canadian Art Movement: The Story of the Group of Seven (Toronto: Macmillan of Canada, 1926), 36.
3. Lawren Harris to J.E.H. MacDonald, August 1918, l SH Estate Archives.
4. Housser, Canadian Art Movement, 184.
e stimate: $ 70,000 – 90,000
203 Emily Carr
BCSFA CGP 1871 – 1945
Cape Mudge
watercolour on paper, signed and dated 1909 and on verso titled, inscribed no 18 and 10 and stamped Dominion Gallery
21 3/8 × 14 3/4 in, 54.3 × 37.5 cm
p rovenan C e
Private Collection, Vancouver
Important Canadian Art, Sotheby’s Toronto, May 19, 1993, lot 242, titled as Village Totem
Heffel Gallery Limited, Vancouver, December 15, 1993
Private Collection, Victoria
l iterature
Gerta Moray, “Northwest Coast Native Culture and the Early Indian Paintings of Emily Carr, 1899 – 1913, Volume 2: Catalogue and Illustrations,” PhD thesis, University of Toronto, 1993, titled as Village Totem, listed page 19 and reproduced as catalogue #E.2/2, unpaginated
T HIS E x CEPTIONA lly f INE and vivid watercolour in Emily Carr’s early style was made three years after her return from studies in England, as she established herself in Vancouver. That same year, 1909, she was a founding member of the British Columbia Society of Fine Arts and well received by the local press. As a critic for the Province commented:
An artist of strong personality which finds expression in vigorous work is Miss M.E. Carr, the quality of whose work improves steadily. Her subjects have a distinctness which makes them easily recognizable by one familiar with her style. There is a strength and genuineness about her pictures, a concern for the character of the subject, and a persuasiveness of colour that draws the attention away from the technique, which, nevertheless is as admirable and brilliant as the most critical could ask.1
With her watercolour of Cape Mudge, Carr faced the challenge of conveying the huge scale of an ancient bighouse and the tall pole standing in front of it. The size of the bighouse becomes apparent when we notice how it dwarfs the more modern buildings along the street beyond. The incredible height of the pole becomes clear when we notice the door in the facade and realize that the head of a person exiting would barely reach up to the elbow of the lowest figure on the totem pole.
As Carr declared in the “Lecture on Totems” that she gave to accompany her large 1913 exhibition of paintings made in First Nations villages, “You must be absolutely honest & true in the depicting of a totem, for meaning is attached to every line, you must be most particular about detail & proportion.” 2 She renders the pole with great care: at the base a crouching human figure, above it a darker figure with hollow cheek and protruding mouth that may be a Dzunoqua or supernatural being; then a sea-wolf, close relation of the killer whale and bringer of wealth and success in fishing; and at the top a standing, gesturing human figure, topped off with an eagle.
We know from Harry Assu, Chief of the Cape Mudge Band for many years, that the pole and house in Carr’s painting belonged to a high-ranking Cape Mudge man, Tom Wallace. “Tom Wallace
Not for sale with this lot
was a big man at Cape Mudge then, and he was called on as ‘speaker’ at the potlatches by our chiefs.” 3 Perhaps the gesture of the pole’s top figure refers to this role as speaker, or perhaps to his prominence as a fisherman. 4 Wallace’s house subsequently burned down and presumably the pole with it, since no photograph of it is currently known.
It was in 1907, on a cruise to Alaska, that Carr had first glimpsed the monumental totem poles of First Nations villages in the North and conceived the idea of recording the poles in their village settings. She had ventured north the two following summers to sketch extensively in the Kwakwaka’wakw village at Alert Bay. On the second trip, in 1909, she stopped halfway along the steamer route at the two Lekwiltok 5 (southern Kwakwaka’wakw) villages of the We Wai Kai and the We Wai Kum First Nations, at Cape Mudge on Quadra Island and at Campbell River. We know of four large watercolour paintings she made there, of which Cape Mudge is one.
How does this watercolour reflect what Carr would have encountered at Cape Mudge? Unlike her Alert Bay scenes, there
FIGURE 1: emily C arr
Cape Mudge: An Indian Family with Totem Pole oil on canvas, 1912 32 × 23 ½ in, 81.3 × 59.7 cm Collection of the Beaverbrook Art Gallery
are no people in her sketch, as the villagers were usually away during summer at the fisheries and canneries. And it was only after her visit that Cape Mudge enjoyed its greatest spate of potlatches as the chiefs of the leading families celebrated and shared the wealth—gained from their active engagement in a local economy that had expanded since 1906 alongside the arrival of white entrepreneurs and settlers. Chief Billy Assu would build his great bighouse in 1910 to receive the nearly 2,000 guests he called to his potlatch in 1911, and three more great potlatches were held soon after.
As Harry Assu writes: “In my time, Wallace, Dick, Assu, and Naknakim were the [chiefs] to reach the position of Eagle because they went beyond the Lekwiltok tribe and called the people of all the tribes of the Kwagiulth.” 6 Carr missed witnessing this climax of Cape Mudge’s traditional life, the evidence of which is seen in a photograph taken a few years after her visit, where the white-painted, planked facades of the newer potlatch houses can be seen in the second row of houses (figure 2). Carr has left us a valuable record of the older style of potlatch house, built of hand-hewn cedar boards, with cedar shakes on its roof.
Carr’s watercolour also records another essential aspect of Cape Mudge when she shows a modern house on the village street beyond the bighouse. Henry Assu’s father, Chief Billy Assu, had been the first to build his family a modern house at Cape Mudge in 1894, and to decide that the traditional bighouses should be kept or built only for the holding of potlatches. By 1920, as village leader, he would persuade the We Wai Kai to demolish all the remaining potlatch houses and commit to a modern lifestyle.
Carr’s watercolour is thus a poignant record of Cape Mudge’s monumental past. It seems she did not show the work in her big 1913 exhibition, since the signature is in her late handwriting, probably added when she consigned it to the dealer Max Stern and the Dominion Gallery. Instead she used the watercolour as the basis for a large oil painting in 1912 (figure 1), inserting a group of figures and, at the left, one of the ancient war canoes that were used at Cape Mudge, just as at Alert Bay, as valuable potlatch gifts. In her oil painting the sunlit modern houses in the distance are framed by enduring images of traditional life in a balance upheld by the We Wai Kai themselves.
Surveying the changes over his lifetime, Harry Assu wrote: “[Now] we have a modern village that has been said to be the finest native village in British Columbia by people who know. And we are building up our traditions and holding the big potlatches again. So it has been good in both ways, modern and traditional.” 7
We thank Gerta Moray, Professor Emerita, University of Guelph, and author of Unsettling Encounters: First Nations Imagery in the Art of Emily Carr, for contributing the above essay.
1. Reviewing the Studio Club Show of June 1909. Quoted in Gerta Moray, Unsettling Encounters: First Nations Imagery in the Art of Emily Carr (Vancouver: UBC Press, 2006), 74.
2. Ibid.
3. Harry Assu with Joyce Inglis, Assu of Cape Mudge: Recollections of a Coastal Indian Chief (Vancouver: UBC Press, 1989), 48 and 127n3. See also Moray, Unsettling Encounters, 29 and 41, for more information on the owner of the pole.
4. Assu, Recollections, 29.
5. Also spelled Laich-kwil-tach or Liǧʷiłdaxʷ
6. Assu, Recollections, 41 and 53.
7. Ibid., 58.
The sheet is embossed with the watermark “Guaranteed Pure Paper, R.W.S., 5a Pall Mall,” identifying it as high-grade rag paper distributed by the Royal Watercolour Society from its London premises at 5a Pall Mall. These sheets, often manufactured by Whatman and rebranded under the R.W.S. mark, were renowned for their durable rag content, stable surface and superior capacity for repeated washes—qualities prized by professional watercolourists at the turn of the twentieth century.
Carr studied in London from 1906 to 1910 at the Westminster School of Art, and in 1909 she undertook further training in St. Ives, Cornwall. During these years she had direct access to the professional art suppliers of London, including the R.W.S., making the presence of this paper in this 1909 work consistent with her practice and materials from this formative period.
e stimate: $ 100,000 – 150,000
FIGURE 2: Cape Mudge village, circa 1915 Courtesy of Liǧwiłdaxw Research Centre
CAC RCA 1865 – 1924
View of the Seine, Paris oil on board, on verso inscribed Mrs. Loring / 320 / h019 and stamped Studio J.W. Morrice
8 1/2 × 10 5/8 in, 21.6 × 27 cm
p rovenan C e
Mrs. Robert Loring, Montreal
Private Collection, Ottawa
By descent through the family of the above to a Private Collection Important Canadian Art, Sotheby’s Canada, November 17, 1999, lot 180
A.K. Prakash & Associates Inc., Toronto
The Art Emporium, Vancouver Private Collection, Vancouver
J AMES W I l SON M ORRICE ’ S View of the Seine, Paris exemplifies the artist’s celebrated Impressionist approach and his unique sensitivity to the subtle moods of place and atmosphere. Morrice, who in his lifetime became one of Canada’s most acclaimed international artists, captures the essence of Paris with deft, fluid brushwork and a delicately muted palette. In this intimate depiction of daily life along the riverbank, he captures figures strolling and seated beneath golden-hued trees in early autumn. In the distance, a Gothic spire, likely that of Notre-Dame, rises, lending structure and depth to the composition.
Painted with characteristic immediacy and spontaneity, the scene invites quiet contemplation, allowing viewers to immerse themselves in life along the river. The work resonates with a distinctly Parisian charm, reflecting the city’s enduring appeal for artists seeking inspiration and creative renewal. As in Morrice’s best works, the moment depicted feels both specific and timeless, a lyrical snapshot of life observed through an artist’s keen eye.
e stimate: $ 25,000 – 35,000
204 James Wilson Morrice
205 Emily Carr
BCSFA CGP 1871 – 1945
Mooring Tugboats (Stanley Park)
watercolour on paper, signed M. Carr and on verso inscribed with the Dominion Gallery inventory #H 2658 and indistinctly, circa 1909 9 1/2 × 12 1/4 in, 24.1 × 31.1 cm
p rovenan C e
Dominion Gallery, Montreal
Mr. and Mrs. F.C. Lazier, Montreal
Private Collection, Vancouver
I N Mooring TugboaTS ( STanley par K ) , Emily Carr offers a rare and intimate glimpse of Vancouver’s working waterfront in the early twentieth century. Painted in about 1909, this watercolour captures the morning calm of the harbour, with a single tugboat moored alongside what appears to be a low-lying barge, and a sailboat nestled further to the left. A timber pier stretches behind them, stacked with cut lumber, while the misty rise of Stanley Park and the North Shore mountains dissolve softly into the background.
Carr executed this scene in watercolour, a medium she frequently turned to in her early years. Having recently returned from studies in England and San Francisco, she was developing a distinctive approach to local subjects, one grounded in close observation and a growing command of composition and colour. The present work reveals her sensitivity to atmosphere and light: the reflective surface of the water, the gentle washes of sky and hillside, and the muted red on the tug’s smokestack all contribute to the quiet lyricism of the scene.
This painting is particularly valuable for its subject matter. While Carr would later be best known for her bold interpretations of Indigenous themes and coastal rain forests, early in her career she was more often drawn to the lived and built environments around her. Vancouver’s harbour, with its convergence of industry, marine traffic and natural beauty, offered rich material. Yet very few of her surviving works depict tugboats or piers, making Mooring Tugboats an uncommon and evocative example from this formative period.
The composition is carefully considered, with the curved line of the tugboat and barge anchoring the foreground while drawing the viewer’s eye laterally towards the sailboat and then to the forested horizon. Carr’s use of watercolour is both precise and fluid: the structure of the pier is clearly delineated, yet the lowlying clouds and background hills appear to melt into one another, lending the work a sense of early morning stillness.
This painting also serves as a document of a city in transition. Vancouver in 1909 was a bustling, rapidly growing port city, driven by resource industries like logging and fishing. The presence of the stacked lumber and industrial boats situates this image firmly within that moment of urban and economic expansion, but as filtered through Carr’s artistic lens, the scene becomes less about commerce and more about quiet rhythm, balance and atmosphere.
Mooring Tugboats (Stanley Park) stands as a poetic and historically resonant image. It reveals Carr’s emerging skill as a draughtswoman and her deepening engagement with the landscapes and coastal culture of British Columbia. While she would later move towards more expressive, modernist interpretations of nature, this early work reminds us of her keen observational eye and the breadth of her vision. It is a finely tuned composition, rendered with restraint and clarity, and anchored by Carr’s signature sensitivity to the spirit of place.
e stimate: $ 60,000 – 80,000
206 William Percival (W.P.) Weston
ARCA BCSFA CGP RBA 1879 – 1967
The White Church, Vancouver Island oil on canvas, signed and on verso signed, titled and inscribed 1419 Dogwood Ave., Vancouver, B.C. and variously, circa 1941
33 1/8 × 37 1/8 in, 84.1 × 94.3 cm
p rovenan C e
Private Collection, Vancouver
l iterature
British Columbia Society of Fine Arts Thirty-second Annual Exhibition, Vancouver Art Gallery, 1942, listed Sixty-third Annual Exhibition of the Royal Canadian Academy of Arts, Art Gallery of Toronto, 1942, listed
e xhibited
Vancouver Art Gallery, British Columbia Society of Fine Arts Thirty-second Annual Exhibition, May 15 – 31, 1942, catalogue #53
Art Gallery of Toronto, Sixty-third Annual Exhibition of the Royal Canadian Academy of Arts, November 6 – December 6, 1942, catalogue #116
Calgary Art Gallery, 1942
Vancouver Art Gallery, W.P. Weston, ar C a , November 12 –December 1, 1946, titled as White Church, catalogue #29
Art Association of Montreal, 64th Spring Exhibition, March 21 –April 20, 1947
W I ll IAM P ERCIVA l W ESTON was trained in Britain and came to Canada in 1909, accepting a teaching position in Vancouver. In 1914, he accepted the post of art master at the Provincial Normal School. There he taught the province’s art teachers until his retirement in 1946, after which he devoted himself solely to his painting. The landscape of British Columbia was to become Weston’s major focus for most of his career. His images are generally focused on the dramatic vistas, paying particular attention to the mountains and trees of the region. In this sense, The White Church, Vancouver Island is an unusual canvas for Weston. Turning to a church and the surrounding landscape suggests a sense of spirituality that is more usually expressed in his depictions of the mountainous landscape of BC ’s coast.
The present canvas was likely painted in 1941, perhaps while Weston was teaching summer school in Victoria. At this time, he likely painted in the evenings or on weekends, between his classes, and the canvas may have been finished at his home studio in Vancouver (note the inscription on verso with his home address). His teaching duties made it less possible for him to explore the rugged coastal landscape and he turned his attention to a church, likely St. Stephen’s Anglican Church, within the
Victoria region.1 What is striking about the composition is the care with which Weston has revealed his subject. The church is partially hidden behind a dramatic screen of trees, possibly Garry oaks, and some smaller evergreens. The rectilinear architecture of the church is contrasted with the sinuous forms of the tree trunks. The view through these trees slows our visual entrance into the composition.
Weston has also been deliberate in his colour choices. He contrasts the brilliant white of the church with its darker roof and the greens and browns of the nearby trees. The grasses around the building are tinged with both green and orange, suggesting the dryness of late summer on the coast. Our progress towards the church is carefully measured by the strong shadows throughout the composition and the curve of the road, which leads the eye into the pictorial space. The dominance of the church is implied by the shift of colour to white, which appears nowhere else in the picture. Even the clouds in the sky are tinged blue in order to highlight the white church. Weston’s use of shadow throughout the composition also helps to define the recession into space.
The White Church, Vancouver Island is an example of Weston altering his usual approach to a subject. His images often include single trees silhouetted against a striking landscape background with mountains and sea. Here, Weston has given himself a distinctly different challenge. The careful placement of all the elements—the various trees and bushes, the church, the fence and even the scattering of gravestones—serves to define the spatial depths of the composition: the background of the work— distant hills and a cloud-filled sky above—is subdued in tone, allowing the church and trees in the fore and middle grounds to emerge strongly.
This work reveals a different side of Weston as an artist. His repeated showing of the canvas in exhibitions in Vancouver, Toronto, Montreal and Calgary suggests that he was pleased with the composition. Notably, the painting was also included in his first retrospective, held at the Vancouver Art Gallery in 1946. The White Church, Vancouver Island clearly demonstrates Weston’s strengths as a painter. Always willing to explore the varied use of colour, design and texture, Weston brings his own vision and understanding to the task of depicting the riches of the landscape of his adopted province.
We thank Ian M. Thom, Senior Curator—Historical at the Vancouver Art Gallery from 1988 to 2018, for contributing the above essay. Thom is the author of W.P. Weston, published in 1980.
1. St. Stephen’s Anglican Church and Cemetery are located at 7921 St. Stephen Road, Saanichton, BC
e stimate: $ 40,000 – 60,000
207 Emily Carr
BCSFA CGP 1871 – 1945
Woods Edge
oil on paper on board, signed and on verso titled on the exhibition label and inscribed variously, circa 1938
23 5/8 × 35 1/4 in, 60 × 89.5 cm
p rovenan C e
The Art Emporium, Vancouver, 1972
George Clark, Fannin Hall Collection, Vancouver
Kenneth G. Heffel Fine Art Inc., Vancouver, 1980
Private Collection, Calgary
Canadian Art, Sotheby’s Toronto, November 8, 1983, lot 90 Private Collection, Winnipeg
l iterature
Seventh Annual B.C. Artists’ Exhibition, Vancouver Art Gallery, 1938, listed Emily Carr, Hundreds and Thousands: The Journals of Emily Carr, 1966, page 193
Rosalyn Porter, The Group of Seven and Their Contemporaries, Kenneth G. Heffel Fine Art Inc., 1980, listed, unpaginated
e xhibited
Vancouver Art Gallery, Seventh Annual B.C. Artists’ Exhibition, September 16 – October 9, 1938, catalogue #17
Kenneth G. Heffel Fine Art Inc., Vancouver, The Group of Seven and Their Contemporaries, February 29 – March 22, 1980, catalogue #17
T HE OI l ON paper works she produced throughout the 1930s are among the most vibrant and expressive of Emily Carr’s oeuvre. As she moved away from larger studio canvases, Carr entered a profoundly inventive and productive period, immersing herself in the coastal forests of British Columbia. Woods Edge, executed around 1938, beautifully captures the essential qualities and kinetic spirit of this crucial moment in her practice.
Seeking a transportable and inexpensive method for her sketching excursions, Carr began to use oil thinned with gasoline on large sheets of lightweight manila paper. While she was an accomplished watercolourist, it was a cumbersome medium to work with. Her new technique offered a watercolour-like effect with the chromatic intensity of oil and a fluid application that better suited her new focus on capturing the landscape’s inherent movement. Her brush-strokes became open and intuitive, responding directly to the vitality she sensed in the forest. The solid, sculpted elements of her earlier works gave way to soft lines and graceful gestures, entwining into one continuous flow of animated form. Through her vigorous brushwork, Carr conveyed the felt experience of her surroundings, its distinctive cadence and resonant energy. She notes in her journals in September 1935:
Everything is green. Everything is waiting and still. Slowly things begin to move, to slip into their places. Groups and masses and lines tie themselves together. Colours you had not noticed come out, timidly or boldly. In and out, in and out your eye passes. Nothing is crowded; there is living space for all. Air moves between each leaf. Sunlight plays and dances. Nothing is still now. Life is sweeping through the spaces. Everything is alive.
Woods Edge exemplifies Carr’s reverential vision of life teeming within the forest interior. Here, a tangled network of branches, rendered as wisps of black pigment, curl and stretch across the roiling ochre clearing. In the foreground, sinewy tree trunks reach towards the lush green canopy above: an undulating mass rippling and converging like oceanic currents meeting midwater. Dappled sunlight breaks through as flecks of white paint, softly illuminating the dense woodland. Each element surges with life, woven together in a symphonic rhythm, a single harmonious current of energy. Amongst the trees stand their remnants: two rugged stumps in earthy browns and inky black, at once signaling Carr’s lament at deforestation and her fierce admiration for the resiliency of nature, its steadfast renewal and the inherent beauty found in all cycles of life.
In 1938, Woods Edge was shown at the Vancouver Art Gallery’s Seventh Annual B.C. Artists’ Exhibition, one of the few occasions in her lifetime that Carr formally exhibited her oil on paper works. Four decades later, in 1980, the painting was featured in The Group of Seven and Their Contemporaries, part of an important exhibition and sale of the Fannin Hall Collection at Kenneth G. Heffel Fine Art Inc. in Vancouver. The exhibition brought together masterpieces by Carr alongside works by the Group of Seven, underscoring her integral role in shaping the visual language of Canadian modernism.
Heffel has been deeply connected to the art of Emily Carr since our founding in 1978, and it was through such exhibitions that we established a national reputation for expertise and leadership in Canadian art. In 1995, we inaugurated our auction division, and this year we proudly mark our 30th anniversary of live auctions, continuing the vision set forth by Kenneth G. Heffel. To present this painting now is to celebrate not only Carr’s lasting influence on Canadian visual identity nearly a century later but also Heffel’s milestones in bringing Canada’s most vital art to the world stage.
Emily Carr is being celebrated in the 2025 Northern Lights exhibition organized by the Fondation Beyeler, Basel, Switzerland, showcasing her visionary landscapes and cultural depth. Touring to the Buffalo AKG Art Museum, the show broadens her international reach and affirms her vital place in modern art history.
e stimate: $ 250,000 – 350,000
Thomas John (Tom) Thomson
OSA 1877 – 1917
Hillside on Big Cauchon Lake oil on panel, on verso initialed, titled and dated 1915 by J.E.H. MacDonald and inscribed 2611 A and stamped with the estate stamp
8 1/2 × 10 1/2 in, 21.6 × 26.7 cm
p rovenan C e
Estate of the Artist
Masters Gallery Ltd., Calgary
Tom Chapman, Red Deer, Alberta
The Art Emporium, Vancouver
George Clark, Fannin Hall Collection, Vancouver
Kenneth G. Heffel Fine Art Inc., Vancouver, 1980
Acquired from the above by a Private Collection, Toronto, February 28, 1980
Private Collection, Hamilton
Roberts Gallery, Toronto
Private Collection, Toronto
Important Canadian Art, Sotheby’s Canada, June 2, 2010, lot 25
Private Collection, British Columbia
l iterature
Rosalyn Porter, The Group of Seven and Their Contemporaries, Kenneth G. Heffel Fine Art Inc., 1980, listed, unpaginated
Dennis Reid, editor, Thomson, Art Gallery of Ontario and National Gallery of Canada, 2002, the related 1915 canvas
Burnt Land, collection of the National Gallery of Canada, reproduced page 194 and listed page 340
208
e xhibited
Vancouver Art Gallery, Canadian Painting, 1970, catalogue #2, and after on extended loan
Kenneth C. Heffel Fine Art Inc., Vancouver, The Group of Seven and Their Contemporaries, February 29 – March 22, 1980, catalogue #137
National Gallery of Canada, Ottawa, Thomson, June 7 –
September 8, 2002, traveling in 2003 to the Vancouver Art Gallery; Musée du Québec, Quebec City; Art Gallery of Ontario, Toronto; and Winnipeg Art Gallery, the related 1915 canvas Burnt Land, catalogue #41
T OM T HOMSON ’ S Hillside on Big Cauchon Lake is a powerful depiction of the northern woods painted by Thomson in the early morning hours of a cold spring day. The dry grasses in the foreground are painted with a rich scumbled effect of creams set against golds and browns, and the scene is balanced by dark-blue hills and dark trees in the background set against a lighter sky. The foreground features a few birch trees, which serve almost as sentinels of the coming dawn. The painting is a bold exercise in subtle colour acutely observed and transcribed as well as an exercise in composition. The result is an evocative portrayal of spring in the North.
In the middle of March 1915, after a two-day visit to his girlfriend Winifred Trainer’s home in Huntsville, Thomson, anxious to get started painting, traveled by canoe to Tea Lake and Big Cauchon Lake, the place of this sketch. Shortly afterwards, he went to the Kearny area and stayed at McCann’s Half-way House.1 While there, he discovered and was intrigued by an area called “burned land” that he subsequently enjoyed painting. When he returned to the city from Algonquin Park in the fall, he would have shown the works he had painted to friends and fans of his work, such as J.E.H. MacDonald and Lawren Harris in the Studio Building in Toronto. This explains why MacDonald knew the date and title of the painting, which he wrote on the back of this sketch after Thomson’s death.
The year 1915 marked a great improvement in Thomson’s work, a new assurance on his part, coupled with novel ideas for painting colour and related to composition. What counted for Thomson in his sketch of Big Cauchon Lake was the contrast between the dark blue, evenly painted background hills and the pale blue and white sky. The branches of the birches against the sky were likely painted first, as can be seen from the patches he left bare around them. The painting device of dark against light is called contre-jour, a French phrase meaning “against the daylight,” and is much loved by people who know and love design, as did Thomson. Using a contre-jour technique allows artists to explore the unusual effects caused by darkness in daytime, like the ethereal birch trees in Hillside on Big Cauchon Lake.
The result is a combination of colours and forms that may have given him the inspiration for the well-known but larger work done later that year, Burnt Land (1915, collection of the National Gallery of Canada), owned originally by Harris, who bought it in the fall of 1915. Both the sketch and canvas have dark hillsides and
lighter skies that are punctuated by trees or tree branches or, in Burnt Land, tree skeletons. Thomson may have been so pleased with the effect of Hillside on Big Cauchon Lake that he thought of it in painting Burnt Land.
Thomson used the combination of dark hills and trees against light, even brilliant sky, sporadically thereafter that year, notably in works such as Pine Trees at Sunset (summer 1915, private collection). It is a technique that forces the viewer to look beyond the foreground and focus on the light, which became Thomson’s compelling theme later in this painting year.
Other works painted by Thomson the important year of 1915 include the dynamic Winter Morning, sold by Heffel in the fall 2024 sale Legendary: The Collection of Torben V. Kristiansen, and many other solid works given high ratings by his painting mates. MacDonald even thought Thomson’s painting so good this year that he chose sketches for himself, the spectacular Marguerites, Wood Lilies and Vetch (summer 1915, collection of the Art Gallery of Ontario) and the boldly painted Sunset, Canoe Lake (fall 1915, location unknown). Harris, too, owned the mysteriously beautiful sketch A Rapid (fall 1915, collection of the Art Gallery of Ontario) as well as Burnt Land. These two men, mentors to Thomson, felt confident in his progress as his ability reached new heights of achievement, and they knew how to show their approval—by either accepting as gifts or acquiring works Thomson offered when he returned that fall. Of course, they chose only works they considered his best or which most appealed to them.
Hillside on Big Cauchon Lake was sold from the Studio Building in Toronto to a collector at an early date, since there are no markings with the names of family on the back, only labels of galleries. In 1980, this work was included in The Group of Seven and Their Contemporaries, part of an important exhibition and sale of the Fannin Hall Collection at Kenneth G. Heffel Fine Art Inc. in Vancouver. Since 2010, when this painting was sold at Sotheby’s, it has been treasured and sequestered in a private collection in British Columbia.
We thank Joan Murray, former curator of Canadian art and chief curator (1972) at the Art Gallery of Ontario, for contributing the above essay. Murray helped to bring the paintings of Tom Thomson to world attention through a series of exhibitions and seven books, including a biography (the most recent is A Treasury of Tom Thomson). Murray is the author of the Tom Thomson Catalogue Raisonné. This work is included in the Tom Thomson catalogue raisonné, researched and written by Murray, as catalogue #1915.30: https:// www.tomthomsoncatalogue.org/catalogue/entry.php?id=309.
1. Joan Murray, “Chronology,” in Thomson, ed. Dennis Reid (Toronto: Art Gallery of Ontario, in assoc. with Douglas & McIntyre, 2002), 314.
e stimate: $ 500,000 – 700,000
209 Sir Frederick Grant Banting 1891 – 1941
Glacier Off South Shore of Bylot oil on board, signed and on verso titled, dated 1927 and inscribed F. Moriarty 1987 / M.P.B. / 175
8 1/2 × 10 1/2 in, 21.6 × 26.7 cm
p rovenan C e
Pavilloner Art Gallerie, Charlottetown
Jim A. Hennock Ltd., Toronto
A.K. Prakash & Associates Inc., Toronto Private Collection, Calgary Fine Canadian Art, Heffel Fine Art Auction House, May 25, 2016, lot 101 Private Collection, British Columbia
l iterature
Roger Boulet, A Legacy of Canadian Art from Kelowna Collections, Kelowna Art Gallery, 2017, reproduced page 66
e xhibited
Kelowna Art Gallery, A Legacy of Canadian Art from Kelowna Collections, July 1 – October 15, 2017
I N THE SUMMER of 1927, Sir Frederick Banting and A.Y. Jackson embarked on a remarkable painting expedition aboard the SS Beothic, a government supply ship traveling north from Sydney, Cape Breton, along the coast of Labrador and Baffin Island. The journey provided rare access to remote northern communities and rugged arctic landscapes—a setting that both artists found profoundly inspiring.
Although stormy conditions during their crossing of the Davis Strait limited their ability to work, calmer weather on the return leg allowed for productive painting sessions near Pond Inlet and Bylot Island. Situated just across Eclipse Sound from Pond Inlet, Bylot Island’s dramatic terrain captivated the artists. Its sweeping glaciers, jagged peaks and ice-choked waters became a recurring subject in their arctic works.
Glacier Off South Shore of Bylot is a striking example of Banting’s painterly response to the grandeur of the eastern Arctic. With its bold contours and expressive brushwork, the painting captures a massive glacier descending between two darkened cliffs, its luminous ice extending into the frigid, fragmented sea. Patches of floating ice and the subdued, overcast sky evoke the raw, inhospitable beauty of the North. This was a region Banting would never forget—his arctic paintings are among his most compelling and atmospheric.
Bylot Island would go on to inspire other major Canadian artists, including Lawren Harris, who painted it during his own arctic voyage in 1930. Today, Banting’s works from this pivotal 1927 trip remain highly sought after for their historical importance and rare first-hand vision of Canada’s northern frontier.
e stimate: $ 45,000 – 55,000
A.Y. Jackson and F.G. Banting sketching aboard the SS Beothic, August 1927 Collection of University of Toronto Library
210 Alexander Young (A.Y.) Jackson
ALC CGP G7 OSA RCA RSA 1882 – 1974
Souvenir of Kispayaks oil on canvas, signed and on verso titled on the gallery labels, circa 1942 21 1/4 × 32 1/4 in, 54 × 81.9 cm
p rovenan C e
Dominion Gallery, Montreal
Private Collection, Montreal
Laing Galleries, Toronto
Private Collection, Montreal, 2010
Private Collection, Toronto
l iterature
Marius Barbeau, The Downfall of Temlaham, 1928, the related canvas Kispayaks Village listed page xi and reproduced page 70 Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie Walter Klinkhoff Inc., 1990, dated as 1943, listed, unpaginated e xhibited
Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson Retrospective Exhibition, September 10 – 22, 1990, catalogue #21
T HE GRACE f U l CONTOURS of a snow-capped mountain peak rise above crest poles crowned by avian figures in this lyrical picture of the Gitxsan village of Kispiox. Its scenic landforms and solemn potlatch houses alike showcase artist A.Y. Jackson’s rhythmic handling of colour and pigment. Souvenir of Kispayaks belongs to a pivotal series in Jackson’s output documenting his participation in an epochal chapter in Canadian and Indigenous art histories. In 1926, Jackson visited Gitxsan territory at the invitation of renowned ethnologist Marius Barbeau, for whom the journey was the culmination of several ambitious projects.1
Souvenir of Kispayaks is believed to be among the very last largescale works in private hands resulting from this voyage up the Skeena River.
While traveling with Jackson and future Group of Seven member Edwin Holgate, Barbeau was in the process of collecting Gitxsan stories that would inform both a scholarly monograph on the family histories and titles memorialized by the region’s stunning crest poles, Totem Poles of the Gitksan (1929), as well as a novel that freely adapted those narratives into an original hybrid of historical fiction and folklore, The Downfall of Temlaham (1928).2 To illustrate Barbeau’s novel, both Jackson and Holgate supplied original artworks inspired by their encounters with Gitxsan material culture. Jackson’s picture of the downriver village of Gitsegukla displays striking compositional similarities to Souvenir of Kispayaks. In both pictures, dynamic groupings of crest poles soar above wooden structures set against majestic backdrops of mountain and cloud.
Souvenir of Kispayaks is closely related to the earlier canvas Kispayaks Village (1926 – 1927), in the collection of the Art Gallery of Greater Victoria. The stirring rhythms of Jackson’s Skeena canvases of the 1920s were greatly admired by the Victoria-born Emily Carr, who, after viewing examples of this series in the artist’s Toronto studio, confided to her journal, “I felt a little as if
Not for sale with this lot
beaten at my own game.” 3 Carr may have had in mind her own canvas Kispiox Village (1912, in the collection of the Royal BC Museum and Archives), painted in the prismatic palette characteristic of the Fauvist works she completed upon returning to Canada following studies in France. It may well have been Jackson’s treatment of this subject that inspired Carr to revisit it in Kispiax (Kispiox) Village (1929), a gem of the Art Gallery of Ontario’s permanent collection. Through an astonishing coincidence, Carr was brought into the orbit of the Group of Seven through a tip from hereditary Tsimshian Chief William Beynon, Barbeau’s interpreter while traveling in Gitxsan territory.4
Barbeau’s Skeena River trip was also partly motivated by his plan to preserve historic crest poles that were coming to the end of their intended life cycle. Railways proved indispensable to this work in more ways than one: while Barbeau had negotiated free Canadian National Railway passes for Jackson and Holgate on the understanding that their artworks would help promote the region’s tourist potential, he had also enlisted a CNR engineer, T.B. Campbell, to straighten and secure crest poles that had begun to tilt precariously. The dramatically angled poles in Souvenir of Kispayaks attest to Jackson’s reservations about these conservationist measures, which, as documented by his autobiography, were at odds with the wishes of his Gitxsan informants.5
Diverging from Barbeau’s aspirations could be risky business for his collaborators, however: art historian Leslie Dawn has documented how the American artist Langdon Kihn, who had accompanied the ethnologist on an earlier trip up the Skeena River in 1924, was slated to be the sole illustrator of The Downfall
a lexander young ( a y.) Ja C kson
Potlatch and Totem Poles in Kispiox on the Upper Skeena River, BC graphite on paper, 1929
8 × 9 7/8 in, 20.32 × 25.1 cm
© A.Y. Jackson / CARCC Ottawa 2025
Not for sale with this lot
of Temlaham before becoming estranged from Barbeau over minor discrepancies in vision.6 Jackson’s knack for diplomacy successfully diffused possible frictions, as he jokingly suggested to Campbell that the CNR engineer secure leaning poles by setting them in concrete at the angles in which he found them.7
Jackson’s wit aside, this episode reveals political undercurrents that continue to generate important conversations today. Beyond their tourist potential, Barbeau had hoped to promote Gitxsan crest poles as emblems of Canadian identity. Relatedly, in 1926 he was busy preparing a watershed exhibition of Canadian and Indigenous art co-organized by the National Gallery of Canada and the National Museum of Canada (the precursor to today’s Canadian Museum of History, where Barbeau worked as an anthropologist). When it opened in 1927, the touring Exhibition of West Coast Art: Native and Modern presented masterworks by the Group of Seven and Emily Carr alongside a selection of Indigenous cultural belongings.8 Barbeau’s rationale for this unprecedented—and not soon to be repeated—multicultural statement was shaped by his recognition of Indigenous societies as the First Peoples of the lands now known as Canada.
Barbeau’s decentring of settler cultures in West Coast Art came into conflict, however, with the more homogenous image of Canadian nationhood then in the process of being forged by
NGC director Eric Brown.9 But while the wilderness landscapes of the Group have been closely associated with Brown’s agenda, paintings inspired by Barbeau’s gambit to bring Group members and their associates into generative contact with the Indigenous arts of Western Canada, including Jackson’s Souvenir of Kispayaks, reveal rifts within this tense force field of competing national visions—rifts that compel our attention today.
Particularly striking in this regard is Jackson’s inclusion in Souvenir of Kispayaks of multiple groups of Indigenous figures attired in bright, Western-style clothing. At left, a pair of figures appears engaged in lively conversation, while a central grouping of three figures huddles around a campfire accompanied by a dog. The modernity, agency and centrality of these figures is at odds with prior readings of Jackson’s Skeena works that allege a subordination of Indigenous figures to the landscape.10 By contrast, the emphatic foregrounding of Indigenous subjects in Souvenir of Kispayaks is consistent with the humanistic gaze of Jackson’s representations of Inuit life in the works that resulted from his travels to the Arctic with Dr. Frederick Banting in 1927, a trip that galvanized both men’s humanitarian advocacy for Indigenous Peoples.11
With Souvenir of Kispayaks, Jackson fulfills Barbeau’s ambition to forge a new type of Group of Seven picture, one attentive to
a lexander young ( a y.) Ja C kson
Kispayaks Village oil on canvas, 1926 – 1927
25 × 31 in, 63.5 × 79 cm
Collection of the Art Gallery of Greater Victoria, Gift of David N. Ker, 1984.049.001
© A.Y. Jackson / CARCC Ottawa 2025
the ethnologist’s calls to recentre Indigenous arts, but at the same time resistant to the more idealizing currents of his conservation agenda. With an assured brush and bold palette, Jackson delivers an image of romantic sweep simultaneously animated by vivid details of everyday life, from mundane attire and weathered buildings to slanting crest poles. An artwork of national significance, Souvenir of Kispayaks is a vibrant ode to Gitxsan lifeways and lands.
We thank Adam Lauder for contributing the above essay. Lauder is an art historian based in Toronto and an adjunct professor at the Ontario College of Art and Design University.
1. See Leslie A. Dawn, National Visions, National Blindness: Canadian Art and Identities in the 1920s (Vancouver: UBC Press, 2006), chap. 8; Sandra Dyck, “ ‘A New Country for Canadian Art’: Edwin Holgate and Marius Barbeau in Gitxsan Territory,” in Edwin Holgate (Montreal: Montreal Museum of Fine Arts, 2005), exhibition catalogue, 55–67.
2. See Marius Barbeau, Totem Poles of the Gitksan, Upper Skeena River, British Columbia (Ottawa: F.A. Acland, 1929); Marius Barbeau, The Downfall of Temlaham (Toronto: Macmillan, 1928). See also Wayne Larsen, A.Y. Jackson: The Life of a Landscape Painter (Toronto: Dundurn Press, 2009), 130.
3. Emily Carr, Hundreds and Thousands: The Journals of Emily Carr (Vancouver: Douglas & McIntyre, 2006), 24. See also Joan Murray, essay in Canadian, Impressionist, & Modern Art (Vancouver: Heffel Fine Art Auction House, May 2025, lot 126), 68–69.
4. See Naomi Jackson Groves, A.Y.’s Canada (Toronto: Clarke, Irwin, 1968), 152.
5. See A.Y. Jackson, A Painter’s Country: An Autobiography of A.Y. Jackson (1958; repr., Toronto: Clarke, Irwin, 1976), 110.
6. See Dawn, National Visions, chap. 6.
7. See Larsen, A.Y. Jackson, 131.
8. National Gallery of Canada, Exhibition of Canadian West Coast Art: Native and Modern (Ottawa: National Gallery of Canada, 1927). See also Dawn, National Visions, chap. 9.
9. See Dawn, National Visions, 261.
10. For instance, Larsen reads the Indigenous figures in Jackson’s Indian Home (1926), painted in Port Essington at the mouth of the Skeena River, as “part of the landscape—an indigenous people rooted to their environment.” Larsen, A.Y. Jackson, 132.
11. See F.G. Banting, “With the Arctic Patrol,” Canadian Geographical Journal 1, no. 1 (May 1930): 19–30; C.R. Greenaway, “Banting Regrets Hudson Bay Use of Eskimo,” Toronto Daily Star, September 8, 1927, 1, 36; Jackson, Painter’s Country, 121–22.
e stimate: $ 600,000 – 800,000
Gitxsan poles and houses in village of Kispiox, British Columbia, 1909 Photo: University of Washington Libraries, Special Collections
211 Emily Carr
BCSFA CGP 1871 – 1945
Strait of Juan de Fuca, BC oil on paper on board, signed and on verso titled on the Watson Art Galleries label, circa 1934
22 1/4 × 35 3/4 in, 56.5 × 90.8 cm
p rovenan C e
Watson Art Galleries, Montreal
By descent to a Private Collection, Montreal
Fine Canadian Art, Heffel Fine Art Auction House, November 24, 2005, lot 139
Private Collection, United States Fine Canadian Art, Heffel Fine Art Auction House, May 15, 2013, lot 164
Private Collection, British Columbia
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, page 55
I N S T rai T o f juan de fu C a, b C , Emily Carr channels the spiritual power of the British Columbia coastline with a vitality emblematic of her mature period. The composition depicts a windswept point on Vancouver Island’s southern shore, where rocky escarpments rise like ancient sentinels above swirling tides. This view across the Strait of Juan de Fuca towards the Olympic Peninsula is one Carr returned to with reverence, drawn by its energy and its capacity to evoke the vastness and mystery of the natural world.
By the 1930s, Carr had embraced the medium of oil on paper—an innovation that brought her unparalleled expressive freedom. She thinned her oils with turpentine, and at times even with gasoline, allowing for effects that ranged from translucent, watercolour-like washes to more saturated, gestural brushwork. In this painting, she harnesses that fluidity with striking effect. Streaks of ochre and indigo move rhythmically across the surface, animating the rocks and waters of the strait with a sense of motion and elemental force. The forms are at once sculptural and ethereal—rooted in the land, yet suffused with Carr’s sense of the divine life force she believed flowed through all of nature.
This unity of the physical and spiritual was central to Carr’s artistic vision. In her journals, she often described her ecstatic connection with the natural world in mystical terms. For instance, in a November 1932 entry, she wrote: “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.” Her conviction permeates this painting. The weight of the landmass is counterbalanced by Carr’s sweeping brush-strokes, which pulse with vitality and light. While the rocky bluff dominates the right side of the image, it dissolves at its edges into the sky and water, suggesting a world in flux—forever moving, changing, breathing.
Painted at a time when Carr had largely turned away from depicting First Nations totem poles and village scenes, Strait of Juan de Fuca, b C reflects her full commitment to capturing the essence of the West Coast landscape. It is part of a key series of works produced during what is known as her mature period. A closely related painting of similar title is in the permanent collection of the McMichael Canadian Art Collection.
This work embodies the passion with which Carr sought to express the West Coast’s grandeur not merely as a place, but as a living spirit. In this transcendent work, Carr invites us to not only see the coast but also to feel it.
e stimate: $ 125,000 – 175,000
212 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, dated 1930 and inscribed 3
25 × 32 1/4 in, 63.5 × 81.9 cm
p rovenan C e
Baron Byng High School, Montreal, 1930
PSBGM Cultural Heritage Foundation
Fine Canadian Art, Heffel Fine Art Auction House, May 15, 2013, lot 117
Private Collection, British Columbia
l iterature
Exhibition of Seascapes and Water-Fronts by Contemporary Artists and an Exhibition of the Group of Seven, Art Gallery of Toronto, 1931, titled as St. Fidèle, Quebec, listed page 6
A.Y. Jackson to Marius Barbeau, “Canvases Painted by A.Y. Jackson,” June 27, 1933, Marius Barbeau fonds, Correspondence, Canadian Museum of History, Gatineau
A.Y. Jackson, A Painter’s Country: The Autobiography of A.Y. Jackson, 1958, pages 63 and 64
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 titled Saint-Fidèle, Quebec reproduced page 199, a 1926 canvas of Saint-Fidèle village with the church titled Winter, Quebec reproduced page 199, and a 1926 graphite study titled 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, and 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
Roger Boulet, A Legacy of Canadian Art from Kelowna Collections, Kelowna Art Gallery, 2017, reproduced page 45
e xhibited
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
Golden Gate International Exhibition, San Francisco, February 18 – October 29, 1939
Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson Retrospective Exhibition, September 10 – 22, 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 Montreal Museum of Fine Arts, catalogue #170
Kelowna Art Gallery, A Legacy of Canadian Art from Kelowna Collections, July 1 – October 15, 2017
A.y. J ACKSON ’ S d EEP affection for the province of Quebec is evident throughout his career, and especially in masterworks like A Quebec Village (Winter, Saint-Fidèle). This majestic 1930
canvas captures the essence of Jackson’s vision of rural Quebec: an unspoiled village nestled into the snow-covered hills, painted with rhythmic structure and lyrical colour. Few artists were as adept as Jackson at evoking both the atmosphere and character of place. His depictions of Quebec’s countryside are not just landscape studies—they are cultural portraits, alive with rhythm and harmony.
The village of Saint-Fidèle, perched above the St. Lawrence River, first captured Jackson’s attention in 1926, when he traveled there with fellow artist Edwin Holgate. In his autobiography he described it as “a remote little village . . . , not known to tourists, . . . but good material for painters.” Its sense of organic order, of a place shaped by nature and necessity, deeply appealed to him. Jackson returned to Saint-Fidèle in 1930 with Dr. Frederick Banting, who became his frequent painting companion. That winter, they encountered particularly challenging conditions, with “piles of snow.” Jackson wrote that the pair took a shortcut through the woods: “We did not have our snowshoes, and we sank in the snow up to our waists.” That very snow, rendered here in an array of cool blues, lavenders, pinks and silvery whites, becomes the central protagonist of the scene.
A Quebec Village is compositionally masterful. The rooftops of the various structures form a pleasing cadence, their angles echoed by the church spire, which rises confidently at the centre of the canvas. The wooden barns, stacked firewood, sled tracks and fences all reinforce Jackson’s remarkable ability to weave narrative and structure into his landscapes. Two horse-drawn sleighs—vividly painted in red—punctuate the stillness and introduce subtle movement. Jackson’s snow is never static: it folds, drifts and reflects light in delicate modulations, revealing his nuanced understanding of atmosphere and form.
The canvas was acquired in 1930 by Montreal’s Baron Byng High School, likely with the guidance of artist and educator Anne Savage. Savage taught at the school for nearly three decades and was instrumental in building its art collection, encouraging the acquisition of important Canadian works and donating her own. Her close relationship with Jackson undoubtedly contributed to the inclusion of this painting in the school’s holdings. It remained there until 2013, when Heffel offered the work at auction, where it was acquired by a prominent private collector in BC .
This painting has a distinguished exhibition history. It was loaned by Baron Byng High School to the Art Gallery of Toronto’s 1931 Group of Seven show, exhibited at the 1939 Golden Gate International Exhibition in San Francisco, and included in 1995 in the National Gallery’s show The Group of Seven: Art for a Nation, a landmark touring retrospective. In 2017, it was featured in A Legacy of Canadian Art from Kelowna Collections at the Kelowna Art Gallery.
In terms of historical importance, artistic quality and provenance, A Quebec Village is a career-defining canvas. In a letter of June 27, 1933, Jackson wrote to Marius Barbeau that he considered this work to be among a short list of his most important from the decade starting in 1922. It is a superb embodiment of Jackson’s mature style—bold yet sensitive, with sculptural form and expressive brushwork—and ranks among the finest Jackson works Heffel has handled. As we celebrate our 30th anniversary of fine art auctions, we are honoured to once again offer this iconic work by one of Canada’s most beloved painters.
e stimate: $ 600,000 – 800,000
213 Alfred Joseph (A.J.) Casson
CGP CSPWC G7 OC POSA PRCA 1898 – 1992
Village in the Rock Country oil on canvas, signed and on verso signed, titled and dated 1966 on the artist’s label 23 × 32 in, 58.4 × 81.3 cm
p rovenan C e
Roberts Gallery, Toronto
Acquired from the above by Ameen Aboud By descent to a Private Collection, Ontario Fine Canadian Art, Heffel Fine Art Auction House, May 15, 2013, lot 111 Private Collection, British Columbia
AlTHOUGH THE WORKS A.J. Casson produced while a member of the Group of Seven are key, his mid-career works, such as the sublime canvas Village in the Rock Country, showcase his refined and distinctive vision. Within them, Casson synthesized his experiences as both a painter and a commercial artist into his own, very personal artistic expression.
Casson formally joined the Group in 1926, 10 years the junior of the youngest of the original members, Franklin Carmichael. Beginning his commercial art career at Brigden’s Ltd., he soon moved to Rous & Mann Ltd., where he met and apprenticed under Carmichael. When Carmichael moved to Sampson-Matthews Ltd., the young Casson followed. He would be employed there for the next three decades, eventually rising to the role of art director and vice-president. Casson held a deep respect for the focus, efficiency and other graphic skills imparted by his long-term employment at many of Canada’s premier commercial art firms. He united this expertise with his rich parallel life as an artist, which was cultivated alongside some of the most important artists of the era. Over his career, which stretched into the 1980s, Casson experienced admiration, renown and well-deserved success, producing some of Canada’s most iconic images along the way.
While he learned many invaluable lessons from the titans of Canadian art he called his friends, from his earliest years Casson worked to develop and maintain his own artistic vision. His depictions of rural Ontario architecture, for example—central to his body of work—were refined over decades of sketching journeys by car. While other Group members, such as Lawren Harris, had periods in which they focused on architecture, in many ways only Casson maintained that keen interest throughout his career. As a means of comparison, just as fellow Group member Frederick Varley distinguished himself via his explorations of portraiture, Casson sought a separate path by capturing the character of Ontario through its countryside structures and villages.
The way Casson used this imagery to place humanity and nature in a form of peaceful coexistence is often in contrast to the philosophical underpinnings of much of the Group’s efforts, which depicted landscapes devoid of human presence. While he was entirely capable of depicting the imposing grandeur of nature, especially in the moody, subtly theatrical atmosphere shown here, Casson was just as adept in placing his sympathies with people and community.
Many elements of this image bear the classic qualities of a Casson composition. The characteristics of the still and moving water, for instance, are notably stylized but still genuine, with the sense of a current present at the inlet’s surface as well as beneath. Casson’s ability to convey dimensionality was also exceptional, carefully honed over his many decades as a graphic designer. The elegant overall palette of greens, pinks, greys and blues is utterly unified and imbued with a compellingly mysterious tone, amplified by the farthest building receding into a shadowy distance.
The painting’s sense of depth and open sky contribute to its alluring quality. Its still and darkened tone never tips into foreboding, with any ominous qualities gracefully countered by a warm sense of care and humanity. It is this quality that runs through all of Casson’s most beautiful and successful works, and is testament to why he is one of Canada’s most beloved and collected artists.
e stimate: $ 125,000 – 175,000
214 James Edward Hervey (J.E.H.) MacDonald
ALC CGP G7 OSA RCA 1873 – 1932
Rocky Shore, Sturgeon Bay (Georgian Bay
Near Pointe-au-Baril)
oil on board, on verso signed, titled, dated September 1931 and inscribed variously
8 1/2 × 10 1/2 in, 21.6 × 26.7 cm
p rovenan C e
Galerie Walter Klinkhoff Inc., Montreal
Corporate Collection, Ontario
Fine Canadian Art, Heffel Fine Art Auction House, November 24, 2011, lot 210
Private Collection, Toronto
Canadian Fine Art, Waddington’s Auction, May 25, 2015, lot 48
Private Collection, Halifax
l iterature
Nancy E. Robertson, J.E.H. MacDonald, r C a , 1873 – 1932 , Art Gallery of Toronto, 1965, page 7
B EGINNING IN 1909 , J.E.H. MacDonald made frequent short trips to Georgian Bay, and in September of 1931, he made his last trip to this painting place beloved by the Group of Seven. MacDonald was an admirer of poet Walt Whitman and author Henry David Thoreau and was influenced by their romantic responses to nature. MacDonald, who also wrote poetry, focused his fine sensibilities on expressing the moods he sensed in the landscape, and to him, Georgian Bay, with its windblown pines, rocky islets, temperamental weather and fresh atmosphere, was the essence of the raw Canadian landscape. In a 1929 lecture, MacDonald stated, “A poem is a perfect moment of time with a heightened sense of heart and pulsation in it. A picture is a perfected enclosure of space seen with heightened vision.” Rocky Shore, Sturgeon Bay (Georgian Bay Near Pointe-au-Baril), with its central pine clinging indomitably to the powerful rock formations of the Canadian Shield above the bay, is an outstanding expression of MacDonald’s vision and a classic Group of Seven image.
The National Gallery of Canada has a MacDonald oil sketch entitled Sturgeon Bay, Near Pointe-au-Baril in its collection.
e stimate: $ 60,000 – 80,000
ALC CGP G7 OSA RCA RSA 1882 – 1974
Lake Superior oil on board, signed and on verso signed, titled and dated September 1925
8 1/2 × 10 1/2 in, 21.6 × 26.7 cm
p rovenan C e
Lida Bell Pearson Sturdy QC , Cambridge, Ontario By descent to the present Private Collection, Ontario
l iterature
Lawren Harris, “The Group of Seven in Canadian History,” Report of the Annual Meeting of the Canadian Historical Association, vol. 27, no. 1, 1948, page 34
A.Y. Jackson, A Painter’s Country: The Autobiography of A.Y. Jackson, 1958, page 46
We found that, at times, there were skies over the great Lake Superior which, in their singing expansiveness and sublimity, existed nowhere else in Canada.
l AWREN HARRIS
T HE PRO f OUN d VASTNESS of Lake Superior was an acute inspiration to A.Y. Jackson and his fellow members of the Group of Seven. From the time of Jackson and Lawren Harris’s first visit in 1921, members of the Group made near-annual pilgrimages to this locale, with its visually extraordinary but often unwelcoming weather. The dazzle across the water in this work carries with it a sense of inspiration in action, reminiscent of A.J. Casson’s Pic Island, Lake Superior (1928, sold by Heffel in December of 2021). The sketch presents a land that truly has, in Jackson’s famous words, “a sublime order to it.”
The original owner of this work was a trailblazing Canadian in her own right. Lida Bell Pearson Sturdy forged a single-minded path as one of Ontario’s important early female legal practitioners. After studying at Osgoode Hall at the University of Toronto, she was called to the bar in 1921. The first woman to set up her own legal practice in Cambridge, she would eventually be appointed Queen’s Counsel after 40 years of practising law.
e stimate: $ 30,000 – 50,000
215 Alexander Young (A.Y.) Jackson
216 Alfred Joseph (A.J.) Casson
CGP
Wapomeo Island
oil on canvas, signed and on verso signed, titled, dated 1979 on the artist’s label and inscribed 9243 H and variously 24 × 30 in, 61 × 76.2 cm
p rovenan C e
Roberts Gallery, Toronto
Private Collection, Stoney Creek, Ontario
Important Canadian Art, Sotheby’s Canada, June 2, 1999, lot 53 A
Private Collection, Ontario Fine Canadian Art, Heffel Fine Art Auction House, November 14, 2002, lot 81
Private Collection, Halifax
WAPOMEO I S l AN d IS located in Algonquin Park’s Canoe Lake, one of Canada’s most mythic painting locales. A profound source of inspiration for generations of artists, it is perhaps most synonymous with Tom Thomson. Thomson’s influence was a guiding light to Ontario’s Group of Seven, who formally inducted A.J. Casson as a member in 1926. The imposing influence of these artists was something Casson was acutely aware of as he sought to maintain his own artistic identity. He, for example, avoided sketching trips to Quebec for many years, considering that province the artistic domain of A.Y. Jackson
It is notable, then, that Casson elected to paint this highly significant setting. His choice speaks to the confidence Casson would have felt at this point in his career, after experiencing multiple decades of success and admiration. Indeed, this fine canvas exhibits both clarity and self-assurance in Casson’s handling of the landscape and his refined palette. The stylized structures of the clouds hang imposing but weightless, casting shadows on the scene below. With a deft and painterly touch, Casson darkens the sky from right to left, imbuing the distant atmosphere with an authentic sense of storm.
e stimate: $ 70,000 – 90,000
217 Frederick Horsman Varley
ARCA G7 OSA 1881 – 1969
Natasha
oil on board, signed and on verso titled on an exhibition label, inscribed 54 and stamped Dominion Gallery, circa 1943
15 × 11 3/4 in, 38.1 × 29.8 cm
p rovenan C e
Dominion Gallery, Montreal
Private Collection, Toronto
A.K. Prakash & Associates Inc., Toronto
Private Collection, Toronto
Fine Canadian Art, Heffel Fine Art Auction House, November 26, 2015, lot 153
Private Collection, Halifax
l iterature
Group of Seven Exhibition, Dominion Gallery, 1944, listed Peter Varley, Frederick H. Varley, 1983, page 37
Katerina Atanassova, F.H. Varley: Portraits into the Light / Mise en lumière des portraits, Varley Art Gallery, 2007, pages 86, 95 and 105, a circa 1943 portrait entitled Natalie (also known as Natasha), collection of the Town of Markham, reproduced plate 50, unpaginated, and listed page 155
e xhibited
Dominion Gallery, Montreal, Group of Seven Exhibition, May 13 – 24, 1944, catalogue #7
The Fine Art Galleries, T. Eaton Co. Ltd., Toronto, October 30 –November 11, 1944
Royal Canadian Academy, Montreal (label verso)
I N HIS y EARS as a member of the Group of Seven and following its dissolution in 1933, Frederick Varley painted hundreds of landscapes, marked by fine draughtsmanship, expansive colour and a fluid treatment of form. Unlike the rest of the Group, Varley felt particularly attracted to the figure: the early 1920s saw him work primarily as a portraitist, producing commissions for the likes of the Massey family to make ends meet. Money never lasted long, however, and Varley struggled to make a career as a painter, taking up a teaching position at the Vancouver School of Decorative and Applied Arts in 1926.
Striking out on their own, Varley and fellow artist Jock Macdonald opened the BC College of Arts a few years later, in 1933. Plagued by money problems, the school was forced to close in 1936, and Varley traded the west coast for the east. Spending time between Ottawa, Toronto and Montreal, Varley had hopes that the new locations and personalities in the east would provide potent material for a more fertile portrait career.
The works he produced during this period fell into two broad categories: his commissioned formal portraits, produced for patrons and a vital source of his income; and the more intimate, spontaneous pictures he made of his friends and family. His earlier commissioned portraits of the 1920s tended to be more academic: poised figures, realist settings, evocatively rendered but generally unobtrusively coloured. By the end of the 1930s, Varley’s painting increasingly gave way to exotic colours, prismatic use of light and expressive backgrounds. His portraits radiated with a Fauvist energy, but were nonetheless grounded in a mutually productive relationship between artist and sitter. Erica Leach, a friend whom Varley painted (Erica, 1942, collection
of Trinity College, University of Toronto), noted: “I feel very defensive of the reputation that is bandied about that he was a womanizer, a philanderer. A man who philanders is taking, grabbing. That was not Varley. He was eager to give from his talent.” Among his portraits, the ones Varley produced of his friends prove to be his finest, the artist propelled by a familiarity and affection towards their inner self.
The identity of the present portrait is somewhat more mysterious. Natalie Kassab was a Montreal woman said to be of Armenian or Lebanese descent, recently divorced and independently wealthy. She had a lingerie salon at 648 Sherbrooke Street West—an address associated with studios for other high-fashion Montrealers in the 1940s, including designer MariePaule Nolin and hatmaker Lola Lanyi. Her relationship to Varley is unclear: he affectionately referred to her with the diminutive form Natasha; and Peter Varley, the artist’s son, said “he kept me clear of that one . She was a mystery lady in Dad’s life, the ideal type to awaken Dad’s gypsy soul.”
Whatever the details of their relationship, it seems to have been brief. According to Katerina Atanassova, “All that we know is that she eventually left Montreal and settled in New York, where she married a wealthy Greek merchant.” Varley made only two paintings of this enigmatic woman. Another, titled simply Natalie, was painted in 1943 and is now in the collection of the Frederick Horsman Varley Art Gallery in Markham, Ontario. The other, Peter notes in his 1983 monograph with some wistfulness, had vanished: “It was a striking, fearsome portrait—fiery eyes, a flame of hair, torso nearly bare.”
Our portrait, Natasha, is this vanished work, resurfacing in a private Toronto collection in 2015. Here, Natalie faces outwards, her gaze looking just past the viewer. Her dress and large earrings are rendered in vivid green, her hair simultaneously in burnt umbers and deep blues. She looks both modern and universal: her face seems sculpted in a naturalist, Art Nouveau confidence, while her swirl of hair and ambivalent look most closely recall Botticelli’s Venus. Varley has delineated her neck and face here, subtly bisecting her face between light and shadow, but this is almost overwhelmed by the warm glow of her skin and lips (Varley was known to use his models’ own lipsticks to ensure the shade matched reality). The background is left indefinite but energetic—a tumult of colour and movement—while her figure commands the entirety of the canvas with something of an elemental calm. The overall effect is a harmonious expression of formal skill and the assertive subject, and a compelling example of Varley’s ability to capture the essential identity of a sitter when given the opportunity to know them well.
Varley held an intuitive theory of colour, drawing variously from his studies in Buddhist philosophy, Hindu mysticism and Asian visual art, and manifested these influences in a masterful use of closely toned pigments to create prismatic effects. He believed that each person had “a unique aura that could be expressed through a specific colour,” and that green had a “spiritual value.” Natasha, with her tawny skin and iridescent blue eyes, is a mesmerizing presence emerging from a storm of green—a larger-than-life presence, intimately rendered yet barely contained by Varley’s evocative brushwork.
Natasha is #690 in the Varley Inventory listing, titled as Natalie, circa 1943.
e stimate: $ 70,000 – 90,000
218 James Wilson Morrice
CAC RCA 1865 – 1924
Le pont oil on canvas, signed and on verso inscribed Morrice / Effet (crossed out) Le Pont / à M. Durio / 1310 / 3856 e on the exhibition label and on the frame 2505 (crossed out) / 8856 and stamped indistinctly, 1907 23 1/2 × 28 7/8 in, 59.7 x 73.3 cm
p rovenan C e
Julio Francisco Domingo de Arteche y Villabaso, 1st Count of Arteche, acquired in Paris circa 1930 By descent to the present Private Collection, Spain
l iterature
Catalogue des Ouvrages de Peinture, Sculpture, Dessin, Gravure, Architecture et Art décoratif exposés au Grand Palais des ChampsÉlysées, Société du Salon d’Automne, 1907, listed page 151 Marius and Ary Leblond, Peintres de Races, Société des Éditions de l’Art, Brussels, 1909, Morrice section pages 197 – 206, titled as Le Pont de Charenton, reproduced facing page 198
e xhibited
Grand Palais des Champs-Élysées, Paris, Salon d’Automne, October 1 – 22, 1907, catalogue #1310
f rom the 1907 Salon d’ a utomne to a Century in o ne f amily
J AMES W I l SON M ORRICE occupies a central position in the history of Canadian art. Based in Paris for much of his career, he absorbed the cosmopolitan spirit of the French capital and introduced modern art to a generation of Canadian painters. He was a member of some of the most important artistic circles of the day— his friendships with Henri Matisse, John Singer Sargent, and the poet and art critic Guillaume Apollinaire are well documented— yet he retained a distinct, independent voice. Le pont, painted in 1907 and exhibited that same year at the Salon d’Automne, is a masterful example of Morrice’s ability to capture the rhythms of urban life through a modern lens.
The subject is quintessentially Parisian. A stone bridge spans the Seine, its solid form anchoring the composition, while figures stroll along the riverbank in leisurely fashion. A barge, moored under the arch, suggests the hum of working life beneath the surface of Parisian elegance. Morrice combines these elements with remarkable economy of means: blocks of colour define the bridge, water and sky, while the dappled brushwork in the trees and figures enlivens the surface. The balance of compositional solidity and painterly freedom is characteristic of his finest works from this period.
The Salon d’Automne was the most progressive Paris Salon at the time. Founded in 1903, it quickly became the stage for the most innovative artists of the day, including the Fauves, Paul Cézanne and the young Pablo Picasso. Morrice first exhibited there in 1905, and his repeated inclusion underscores his acceptance within the Parisian avant-garde. The 1907 catalogue lists four works by Morrice, with Le pont designated as entry #1310.
The exhibition history is further documented by the original frame, which still bears two important period labels. At the top of the frame is the original handwritten exhibition label, inscribed “Morrice – Le Pont,” with the catalogue number 1310 from the 1907 Salon d’Automne. The same label also bears the word Effet, which has been crossed out—most probably a reference to Morrice’s other submission to the Salon that year, Effet de neige (Canada), #1309. On the right side of the frame is a shipping label from Pottier, Emballeur de Tableaux & Objets d’art, 14 Rue Gaillon, Paris, printed with the word Exposition. Pottier was one of the leading packers and shippers of artworks in Paris, widely used by artists, dealers and institutions in the late nineteenth and early twentieth centuries. Together, these original labels highlight the work’s exhibition history.
After being acquired in Paris circa 1930, Le pont was admired and enjoyed for decades in the collection of Julio Francisco Domingo de Arteche y Villabaso (1878 – 1960). Julio, the 1st Count of Arteche, was a Bilbao banker and president of Banco de Bilbao. Beyond finance, he engaged in cultural life, serving on museum boards, supporting heritage projects, commissioning portraits and fostering intellectual circles, linking his social influence with artistic patronage and preservation.
labels on verso
Adding a more personal dimension to the work’s history, the painting’s original ornate frame, which was originally gilded, was painted white by the family’s mother, from whose estate the work descends. This anecdote, passed down with the painting, connects the work not only to its Parisian origins but also to its long custodianship within the same family collection.
Stylistically, Le pont reveals Morrice’s sensitivity to both Impressionism and Post-Impressionism. His restricted palette of greens, ochres and blues reflects his preference for subtle harmonies. Unlike the exuberant colourism of Henri Matisse, Morrice’s modernism was tempered, refined, and suffused with a sense of quiet poetry. Critics of the time often remarked upon his restraint, noting how he distilled the bustle of Paris into meditative, atmospheric scenes. This canvas exemplifies that tendency: although the subject is animated by figures and boats, the prevailing mood is one of stillness, beneath the arching bridge.
Le pont also marks an important moment in Morrice’s career. By 1907, he had achieved recognition in Europe while continuing
to act as a vital conduit for Canadian art. His participation in the Salon d’Automne affirmed his place in the French art world and also expanded the visibility of Canadian painting on an international stage. For Canadian audiences, works like Le pont introduced the vocabulary of Post-Impressionist modernism, influencing contemporaries such as Maurice Cullen, Clarence Gagnon, and later, members of the Group of Seven.
In this canvas, Morrice achieves a synthesis that defines his finest work: the modernity of Paris filtered through a sensibility that is at once international and profoundly personal. The bridge becomes both subject and metaphor, linking the traditions of Impressionism with the innovations of twentieth-century modernism, and connecting the Canadian painter to the artistic currents of the wider world. Exhibited at one of the most important avant-garde salons of the early twentieth century, and descending within a single family collection, this is a landmark work within Morrice’s oeuvre.
Cover of the Salon d’Automne catalogue, Grand Palais des Champs-Élysées, Paris, 1907
Exhibition listing of the Salon d’Automne catalogue, Grand Palais des Champs-Élysées, Paris, 1907
W HEN M ARIUS AN d Ary Leblond published Peintres de Races in Brussels in 1909, their aim was to chart the spirit of modern painting through a series of artist monographs. The volume gathered leading figures of the day—Paul Gauguin, Vincent van Gogh, Maurice Denis, Charles Cottet, Lucien Simon, among others— each presented as exemplars of the new art. Morrice’s inclusion demonstrates the esteem in which he was held in Paris and affirms his place within the international avant-garde.
The authors praised qualities still admired today: a painter of calm and atmosphere, whose modernity was understated rather than flamboyant. They emphasized his delicate harmonies, his gift for transforming bustle into reverie, and his instinct for poetic suggestion. To them, Morrice was both cosmopolitan and personal, with Paris, Venice and Canada all appearing in his work, expressed through a sensibility attuned to balance and mood.
Our painting was among those reproduced in Peintres de Races. Exhibited at the Salon d’Automne in 1907 as Le pont, it appeared
in the book as Le Pont de Charenton. The title variation points to Charenton-le-Pont, a historic suburb southeast of Paris where the Marne flows into the Seine and where Morrice painted on several occasions. Its bridge, a long-standing gateway into the city, was a favoured subject for painters and provided the motif Morrice transformed into a study of structure and atmosphere.
Placed alongside Gauguin’s Tahitian canvases, Van Gogh’s portraits and Denis’s Nabi compositions, Morrice is not a peripheral Canadian but part of the European avant-garde. This dual recognition—first at the Salon d’Automne and then in Peintres de Races—confirms his stature in his own time as a painter of international importance.
We thank Charles C. Hill, former Curator of Canadian Art (1980 – 2014) at the National Gallery of Canada and author of Morrice, A Gift to the Nation: The G. Blair Laing Collection (1992), for his assistance with researching this lot.
e stimate: $ 600,000 – 800,000
r eprodu C ed in Peintre S de r ace S (1909)
219 Henrietta Shore
1880 – 1963
Children and Nannies by the Sea oil on canvas, signed, circa 1918 20 × 24 in, 50.8 × 61 cm
p rovenan C e
Estate of the Artist
Private Collection, Toronto Private Collection, California
Private Collection, Toronto
l iterature
Joan Murray, Canadian Art in the Twentieth Century, 1999, titled as On the Beach and dated circa 1914, reproduced page 41
A.K. Prakash, Independent Spirit: Early Canadian Women Artists, 2008, titled as Nannies, reproduced page 83
H ENRIETTA S HORE WAS an early modernist in Canada and occupies a distinctive place in early twentieth-century North American art. Born in Toronto, she spent most of her life in the United States, immigrating in 1913 and becoming an American citizen in 1920. Unlike many of her contemporaries, Shore did not pursue extended training in the studios of European masters but studied in Canada with Impressionist Laura Muntz Lyall, at the Art Students League of New York alongside fellow student Georgia O’Keeffe, and later in London at the Heatherley School of Fine Art. Renowned for her lush palette, elegant line and reduced forms, Shore brought a refined sensibility to her semiabstract portrayals of the landscape.
Painted circa 1918, Children and Nannies by the Sea reflects Shore’s representational style at a moment of stylistic transition. Living in California after the First World War, she often painted everyday activity along the seashore, as with this scene depicting seven figures gathered on a luminous stretch of beach. Children play in the foreground, while the elongated forms of the women stand still and abstracted, their individual identities obscured.
The atmospheric light of the Pacific bathes the scene, rendered in a soft palette of lilac, rose and pale gold, while lyrical brushstrokes sweep across the iridescent sands and sloping hills. Shore’s work from this period sought meaning in the intimate scenes of life, imbuing the quiet moments of the everyday with vitality. This painting encapsulates the meditative quality of Shore’s compositions, balancing representation with the distilled, symbolic forms that would later inform her move towards abstraction.
e stimate: $ 20,000 – 30,000
220 Aristide Maillol
1861 – 1944 French
La Nymphe sans bras
bronze and patina, initialed, editioned 3/6 and stamped with the Alexis Rudier fondeur Paris foundry mark, 1930
61 1/2 × 15 × 12 1/2 in, 156.2 × 38.1 × 31.8 cm
p rovenan C e
Lucien Maillol, son of the Artist
Galerie Dina Vierny, Paris
Impressionist and Modern Paintings and Sculptures, Sotheby’s London, December 6, 1979, lot 30, titled as Nymphe W. Lawrence Heisey, Toronto
By descent to the present Private Collection, Toronto
l iterature
John Rewald, Maillol, 1939, the original plaster and lead cast illustrated plate 130, the grouping Les Trois Graces reproduced plate 131, each listed page 167
Pierre Camo, Maillol: Mon ami, 1950, page 69
John Rewald, Original Pieces of Sculpture by Aristide Maillol, Paul Rosenberg & Co., 1958, page 6, listed and reproduced page 38 Bertrand Lorquin, Maillol, 1995, another casting reproduced page 114 and listed page 199 as The Nymph (Armless)
e xhibited
Paul Rosenberg & Co., New York, Original Pieces of Sculpture by Aristide Maillol, March 3 – 29, 1958, traveling 1958 – February 1960 to the Philadelphia Museum of Art; Cleveland Museum of Art; Toledo Museum of Art; Museum of Fine Arts, Boston; Albright Art Gallery, Buffalo; Minneapolis Art Institute; St. Louis City Art Museum; California Palace of the Legion of Honor, San Francisco; Los Angeles County Museum; and Dallas Museum of Fine Arts, titled as Nymph, catalogue #37
Af TER THE d EATH of Auguste Rodin in 1917, Aristide Maillol emerged as the pre-eminent sculptor on the European art scene. Like Rodin, Maillol rejected the heightened romance, narrative and symbolism that characterized the sculpture of the nineteenth century, preferring to engage directly with the force and volume offered by the body. But whereas Rodin chose to repudiate that older tradition with dynamic, vigorous contortions, Maillol’s style represented more of a clean break with the past.
His aim was that art should not be overly descriptive or symbolic, but rather emphasize the purity of form and volume of the body’s natural contours, achieving harmony between allegory and naturalism. The simplified lines of his almost exclusively female nudes, eradicated of extraneous detail, stand with a calm monumentality that essentialized the power within the figure. With their overwhelming sense of elegance, balance and near-abstracted freedom, Maillol’s works were among the best of their time, and their organic forms would directly inspire (if not foreshadow) works by the important later generation of sculptors such as Henry Moore and Jean Arp.
By the 1930s, Maillol, then in his late 60s, was at the height of his career. Arising from his late popularity, he was commissioned by the French state to create a monumental sculpture, La Montagne, to coincide with the Exposition internationale des arts et techniques dans la vie moderne, to be held in Paris in 1937. As part of the expo, the city of Paris hosted the exhibition Les Maîtres
de l’art indépendant, 1895 – 1937 at the Petit Palais, with the aim of promoting contemporary French art. Maillol was given the use of three dedicated rooms as part of the exhibition, a rare privilege for a living artist, and enough space to hold over 60 of his works— making him the most prominently featured artist of the show.
To match this unprecedented honour, Maillol decided to create an ambitious sculpture composed of three figures. Up to that point, Maillol had almost exclusively sculpted single figures, wary of the complexities involved in the manufacture and casting of larger groupings. The subject he chose was the Three Graces: drawn from antique myth, the intertwined female nudes representing youthful beauty have been frequent subjects across art history, from ancient Greece and Rome to Raphael to Pablo Picasso. For Maillol’s interpretation, he looked to interject the celebration of youth and the beauty of nature with a sense of grandeur and nobility. After seven years between conceiving the group and finally casting it in bronze in 1937, the resulting group is a triumph of Maillol’s later career and received immediate praise at its exhibition.
The familiar representation of the Three Graces—dynamically dancing, bodies and arms intertwined—is here replaced by Maillol’s sense of clarity and purity. A hymn to natural beauty, he chose to emphasize the figures’ plastic qualities, bringing a warmth and stability to their closed-in poses and replacing the flurry of movement with the specificity of gesture. In his
Aristide Maillol, 1925
Photo: Alfred Kuhn
monograph on the artist, John Rewald wrote, “The absence of movement, however, is compensated by a tenderness and charm distinctively his own; and while all agitation is foreign to his art, there is in his work . . . such quiet grace and such warm feeling that they never appear inanimate.” Indeed, despite its classical inspiration, Maillol felt that the title Les Trois Graces was insufficient to capture the latent power and physicality of his nudes, finally settling on the title Les Trois Nymphes de la prairie—injecting a sense of elemental energy. In their elegant poise, the trio present an emphatically tactile presence, radiating a youthful and striking beauty.
Our sculpture, La Nymphe sans bras, is the central figure of the group, with which Maillol began his conception. The inspiration here was his then-muse and student Lucile Passavant, herself a sculptor, printmaker and poet. Typical of his practice, Maillol would work up his sculptures in parts, starting with the torso and only moving on to the next element once he was satisfied. Adding limbs was the artist’s greatest worry (especially given the limits presented by upright standing figures compared to the more folded forms of reclining ones), and he would often create multiple variations before settling on the final form. In the grouping, the nymph’s arms are outstretched, palms upwards towards the two other figures in greeting. Here, in their absence, and now without arms, our nymph most directly recalls the Venus de Milo, a work that Maillol admired all the more for being armless: he declared that arms “would add nothing to its beauty; on the contrary they would probably detract from it.”
Maillol’s Nymphes was one of the last major compositions produced before his accidental death in 1944, and was perhaps his most celebrated. The vigorous figures that comprise it represent the apotheosis of his aesthetic goals of essential, monumental physicality. Standing on her own, La Nymphe sans bras sensitively captures the balanced grace and enduring power of the female body. In this, one of his finest works, Maillol represents a bold declaration of modernist form, while recalling some of the greatest sculptures of the classical age.
This work is from an edition of six casts after the 1930 study of the central figure and comes with exceptional provenance. It was once owned by the artist’s son, Lucien Maillol, and was then held by Galerie Dina Vierny, the gallery founded by the artist’s muse and model under the guidance of Henri Matisse and Jeanne Bucher; Verny would also go on to found the Musée Maillol in Paris. This lot toured extensively in a major American exhibition of Maillol’s sculpture in the late 1950s and in 1979 was purchased by W. Lawrence Heisey, a Toronto businessman and publisher. It has been held in the family collection ever since. Castings of Les Trois Nymphes are held in major global collections, including the Jardin des Tuileries in Paris, the Tate Britain in London, and the National Gallery of Art in Washington, d C , while studies of the central nymph are held in the Centre Pompidou and the Smithsonian’s Hirshhorn Museum.
This work was conceived in 1930 and cast in the late 1940s. Olivier Lorquin has confirmed the authenticity of this work.
e stimate: $ 300,000 – 500,000
Les Trois Nymphes at the Jardin des Tuileries in Paris
221 James Wilson Morrice
CAC RCA 1865 – 1924
The Crossing oil on board, on verso titled, dated circa 1912 on the gallery label and stamped Studio J.W. Morrice
5 1/4 × 6 5/8 in, 13.3 × 16.8 cm
p rovenan C e
By descent through the family of the Artist Galerie Walter Klinkhoff Inc., Montreal
Private Collection, Toronto
Canadian Fine Art, Waddington’s Auction, November 21, 2016, lot 55 Private Collection, Halifax
l iterature
A.K. Prakash, Impressionism in Canada: A Journey of Rediscovery, 2015, pages 335 and 342, reproduced page 368
Katerina Atanassova et al., Morrice: The A.K. Prakash Collection in Trust to the Nation, National Gallery of Canada, 2017, the related circa 1912 – 1913 Sketch for Waiting for the Boat, Tangiers and the circa 1912 sketch By the Sea reproduced page 164
J AMES W I l SON M ORRICE was born in Montreal in 1865. His father, David Morrice, was a successful Scottish-born textile merchant and intended his son to become a lawyer. Young Morrice briefly studied law at Osgoode Hall at the University of Toronto and was admitted to the bar in 1889. But Morrice, then a shy flautist and emerging painter, had a change of heart. He later told a friend, “What prevents me going back to the Ontario bar is the love I have of paint—the privilege of floating over things.” In the winter of 1889, he would depart for Europe, never to live in Canada permanently again. He would shape his life and work around his desire to “[float] over things,” becoming a flâneur in the tradition of Charles Baudelaire, the French writer who popularized the term “modernity” to describe the transient urban encounters that painters like Morrice were eager to capture.
While in Paris, Morrice was drawn to leisurely scenes in public squares, parks, terraces and gardens. His subdued palette, gauzy application and sparse highlights emphasized the impression of light and mood over photographic realism, often intentionally confusing figures and ground with his hazy yet omnipotent eye. At night, he would engage in the lively café and bar culture, sparking up regular conversation with the most forward-thinking members of French cultural society, many of whom would become household names: people like Henri Matisse, Auguste Rodin and Pablo Picasso.
Morrice was constantly on the move, always seeking out new scenes of modern life to capture with his portable painting kit. Matisse noted that Morrice was “a little like a migrating bird, but without any fixed landing place.” Along with his typical meandering through the streets of Paris, he regularly returned home to Quebec, toured throughout France and made frequent visits to Venice, attracted by the allure of ideal subject matter and finding it wherever he happened to find himself.
In 1912, the year The Crossing was painted, Morrice would sail straight to Gibraltar after a visit home to Canada and cross for the first time to Morocco. That year the Treaty of Fes was signed, granting France military control over many regions of Morocco and offering French nationals a new sense of freedom while traveling within its borders. Morrice would join generations of French artists, designers and writers, from Eugène Delacroix to Yves Saint Laurent, who would travel to Northwest Africa seeking inspiration, freedom or immersion in a culture quite different to the French way of life.
While The Crossing carries thematic similarities to Morrice’s revered ferry paintings depicting the voyage between Quebec City and Lévis, this sketch likely derives from crossing the Strait of Gibraltar on his first trip to Tangier. Although it would be difficult to confirm resolutely, the bright sand, cerulean palette and long coastal compositional elements match many sketches from the same year with similar subject matter, including Sketch for Waiting for the Boat, Tangiers (circa 1912 – 1913) and By the Sea (circa 1912).
Morrice painted this sketch from an elevated perspective, looking down at a small crowd of shrouded passengers and one isolated figure below. A bright red ensign floats high above the boat’s deck, flanked by white vents. The strong symmetrical composition and rippling sea rendered with rapid thin strokes gives the vessel a sense of power and movement, charging towards its destination.
This painting can be read as a metaphorical passage for Morrice, as his ensuing travels through North Africa and later the Caribbean would bring about fundamental changes to his painting style. While in Tangier, he would work closely with Matisse and invite vivid colours into his work, inspired by the beating sun of the Maghreb. This exquisite sketch is quintessentially Morrice, featuring allusions to his home in Quebec, demonstrating the Impressionist techniques he mastered in the French capital, and suggesting the relentless sense of adventure that would define his life and his painting.
e stimate: $ 125,000 – 175,000
222 Cornelius David Krieghoff
1815 – 1872
Canadian Autumn, View on the Road to Lake St. John oil on canvas, signed, dated 1862 and inscribed Quebec and on verso inscribed Mrs. Ross
22 3/8 × 37 7/8 in, 56.8 × 96.2 cm
p rovenan C e
John S. Budden Esq., Quebec City, before 1865
James Gibb, Quebec City
Mrs. David A. Ross (widow of James Gibb), Quebec City
Frank W. Ross, Esq. (no relation), Quebec City, gift in lieu of payment before May 1923
By descent to F. Donald Ross, Quebec City
By descent to Christopher Donald Frank Ross, Ottawa
Estate of Christopher Donald Frank Ross
By donation to Aqueduct Foundation, Vancouver
l iterature
W. Notman, Notman’s Photographic Selections, Second Series, 1865, reproduced plate 35 and listed, unpaginated
H.B. Small, The Canadian Handbook and Tourist’s Guide, 1866, titled as Indian Camp on the Road to Lake St. John, reproduced, unpaginated
Toronto Centennial Historical Exhibition: Paintings by Cornelius Krieghoff, Art Gallery of Toronto, 1934, titled as Indian Camp on the Road to Lake St. John, listed page 20
Exhibition of Paintings by Cornelius Krieghoff, 1815 – 1872 , National Gallery of Canada, 1934, titled as Indian Camp on the Way to Lake St. John, listed page 18
Marius Barbeau, Cornelius Krieghoff: Pioneer Painter of North America, 1934, titled as Indian Camp on the Way to Lake St. John, listed page 137, noted as “One of the best”
Dennis Reid, Krieghoff: Images of Canada, Art Gallery of Toronto, 1999, reproduced frontispiece (detail) and page 200, and listed pages iv and 307
e xhibited
Art Gallery of Toronto, Toronto Centennial Historical Exhibition: Paintings by Cornelius Krieghoff, January 5 – 29, 1934, titled as Indian Camp on the Road to Lake St. John, catalogue #254
National Gallery of Canada, Ottawa, Exhibition of Paintings by Cornelius Krieghoff, 1815 – 1872 , February 1934, traveling to the Art Association of Montreal, March 19 – April 22, 1934, titled as Indian Camp on the Way to Lake St. John, catalogue #130
Art Gallery of Ontario, Toronto, long-term loan, March 1988 –August 2025
Art Gallery of Ontario, Toronto, Krieghoff: Images of Canada, November 26, 1999 – March 5, 2000, traveling to the Musée du Québec, Quebec City, June 14 – September 10, 2000; National Gallery of Canada, Ottawa, October 12, 2000 –January 7, 2001; Vancouver Art Gallery, February 17 –May 21, 2001; and McCord Museum of Canadian History, Montreal, June 22 – October 8, 2001, catalogue #118
I N THIS CHARMING autumn scene, Cornelius Krieghoff portrays a lively group of Indigenous hunters camped en route to Lac Saint-Jean in the picturesque Laurentian Highlands. One figure builds a fire, another skins a deer, while a third reloads their rifle. In his 1934 catalogue raisonné of Krieghoff’s paintings, Marius Barbeau justly describes this work as “One of the best.” 1 This judgment has withstood the test of time: a detail of Canadian Autumn, View on the Road to Lake St. John is reproduced as the frontispiece to Dennis Reid’s lavishly illustrated Krieghoff: Images of Canada, the 1999 catalogue accompanying the most ambitious presentation of the Dutch-born Canadian artist to date. Traveling to the National Gallery of Canada as part of a cross-country tour, this exhibition confirmed A.Y. Jackson’s valuation of Krieghoff as the leading artist in mid-nineteenth-century Canada. 2
Born in Amsterdam and raised in Germany, Krieghoff brought to his North American canvases a sensibility informed by the Dutch-inspired genre paintings popular in the Düsseldorf of his youth. 3 Landing in New York in 1837, the artist enlisted in the United States Army. While serving in Florida, he documented the Seminole Wars in a body of work that was later lost in Quebec City’s great fire of 1881. Krieghoff would reprise his portrayal of Indigenous themes after deserting a subsequent tour of duty and relocating to Longueuil with a young Québécoise woman, Émilie Gauthier.
Krieghoff’s encounters with the Haudenosaunee of Kahnawà:ke—a village located across from Montreal on the south shore of the St. Lawrence River—inspired his portraits of First Nations subjects during his early years in Canada. Many of these images adapted pictorial devices from popular lithographs by Coke Smyth and Currier and Ives, to which the painter added cultural belongings he had the opportunity to study in private collections, such as the cabinet of curiosities–like display of souvenirs amassed by A.A. Staunton, which Krieghoff depicted in An Officer’s Room in Montreal (1846). 4 After moving to Quebec City at the urging of his friend, the auctioneer John Budden, Krieghoff would develop a greater familiarity with members of the Wendat Nation that yielded increasingly dynamic and nuanced representations of Indigenous subjects, with Canadian Autumn, View on the Road to Lake St. John being a compelling example. 5
Accompanied by Budden and their mutual friend James Gibb— both early owners of the present work—Krieghoff undertook a number of journeys through the traditional territories of the Wendat and Innu surrounding Quebec City. Krieghoff’s record of one of these expeditions, The Narrows on Lake St. Charles (1859), notably incorporates the trio’s Wendat guide, chief Zacharie Vincent Telari-o-lin (1815 – 1886), an accomplished visual artist in his own right. 6
In addition to their heightened individualization of Indigenous figures, works from Krieghoff’s Quebec City period are significant for how they amplify the artistry of Indigenous women. 7 This dynamic is evident, for instance, in Krieghoff’s meticulous rendering of the beaded octopus bag worn by the seated figure at centre-left in Canadian Autumn, View on the Road to Lake St. John In turn, Krieghoff’s work has more recently provided a point of departure for Indigenous artists to reimagine the canon, including Kent Monkman—a painter who shares Krieghoff’s penchant for comic anecdote. 8
With its brilliant seasonal palette and dynamic interaction of individualized figures, Canadian Autumn, View on the Road to Lake St. John shows Krieghoff at the height of his powers as an observer of nineteenth-century life.
We thank Adam Lauder for contributing the above essay. Lauder is an art historian based in Toronto and an adjunct professor at the Ontario College of Art and Design University.
1. Marius Barbeau, Cornelius Krieghoff: Pioneer Painter of North America (Toronto: Macmillan, 1934), 137.
2. A.Y. Jackson quoted in Marius Barbeau, Cornelius Krieghoff (Toronto: Ryerson Press, 1948), 20.
3. See J. Russell Harper, Krieghoff (Toronto: University of Toronto Press, 1979), chap. 1.
4. See Harper, Krieghoff, 49–52; Laurier Lacroix, “Les Autochtones tels que dépeints par Krieghoff,” Le Devoir, March 5, 2022.
5. See, for instance, François-Marc Gagnon, “Perceiving the Other: French-Canadian and Indian Iconography in the Work of Cornelius Krieghoff,” in Dennis Reid, Krieghoff: Images of Canada (Toronto: Art Gallery of Ontario, in assoc. with Douglas & McIntyre, 1999), exhibition catalogue, 226–33.
6. See Louise Vigneault, Zacharie Vincent: Life & Work (Toronto: Art Canada Institute), 17; Reid, Krieghoff, 77n125.
7. See Lacroix, “Autochtones.”
8. See Robert Amos, “Trickster in Drag Upends Colonial View,” Times Colonist (Victoria, BC ), June 26, 2010, 45.
Proceeds from the sale of this work will benefit the Indigenous and Canadian Art Collection at the Art Gallery of Ontario, made possible by Aqueduct Foundation. Founded in 2006, Aqueduct Foundation is a Canadian public charitable foundation dedicated to facilitating significant personal philanthropy. With total assets exceeding one billion dollars (CA d ), Aqueduct makes grants to any Canadian registered charity or qualified donee at the recommendation of its donors.
e stimate: $ 100,000 – 150,000
223 James Wilson Morrice
CAC RCA 1865 – 1924
Boats by a Promenade, Public Gardens oil on canvas, signed and on verso titled as Fishing Boats near the Public Gardens, Venice on the McMichael Canadian Art Collection label, circa 1898 9 × 12 1/2 in, 22.9 × 31.8 cm
p rovenan C e
Ernest E. Poole, Edmonton
By descent to a Private Collection, Vancouver Fine Canadian Art, Heffel Fine Art Auction House, May 17, 2012, lot 140 Private Collection, Calgary Private Collection, Toronto
l iterature
Sandra Paikowsky, James Wilson Morrice: Paintings and Drawings of Venice, 2023, pages 223 and 224, reproduced page 222 as figure 168
e xhibited
Galerie Alan Klinkhoff, Montreal and Toronto, James Wilson Morrice Retrospective Exhibition, September 12 –October 8, 2023, catalogue #11
McMichael Canadian Art Collection, Kleinburg, Morrice in Venice, May 31 – September 21, 2025
J AMES W I l SON M ORRICE ’ S Boats by a Promenade, Public Gardens captures a quiet quayside moment on the Riva dell’Impero (now Riva dei Sette Martiri), near the Giardini Pubblici in Venice. Painted circa 1898, the work features trabàccoli—large, twomasted cargo boats—moored alongside the promenade, their reddish sails forming a colourful cascade that dominates the composition. These boats were attractive subjects to the artists who traveled to Venice: “Down by the Public Gardens,” one contemporary travel writer observed, “you are always sure to find a number of them lying idly by the shore . while almost as many artists are painting or trying to paint them from under the trees.” Executed with swift, confident brushwork and rich tonal harmonies, this painting is a prime example of Morrice’s Venetian period.
Morrice’s perspective, likely from the landing steps near the water, affords him a compelling angle on the scene. He
compresses the sailboats into a dynamic, nearly abstract composition. The patchwork of earth-toned sails surges upward, forming what Sandra Paikowsky calls “a chromatic jigsaw of differently sized and shaped trapezoids.”
These vibrant sails were not mere aesthetic devices but rooted in tradition, and Morrice was likely drawn to this blend of folk craft and abstract beauty. As described in historical accounts, Chioggia fishermen painted their sails using earthy pigments, applied with sponges, then dipped them repeatedly in sea water to fix the colour. In the foreground, a mysterious emblem is emblazoned on the prow of the nearest trabàccolo—folkloric or protective markings traditionally painted on Venetian boats.
Rather than depict Venice’s grand architecture, Morrice isolates a modest, working section of the city. A woman in a red cap reclines near the hull, and along the promenade a lone parasolbearing figure walks towards the gardens. These human notes are deliberately understated; Morrice gives over most of the surface to the boats and sails, emphasizing their rhythmic mass and chromatic complexity. His flattening of forms and energetic brushwork bring the composition close to abstraction, the background trees and Castello rooftops dissolving softly into a haze. The deep greens of the water vibrate against the coral pinks of the sails, and the play of light over the hulls and stone walkway suggests an artist reveling in colour and surface. Paikowsky likens Morrice’s painting to Dorothy Menpes’s 1904 description of Venetian fishing boats: “Their sails are folded close together, like the wings of great vermilion moths. These sails are of the deepest oranges and reds, rich red-browns, orange yellows, and burnt siennas, contrasting strangely with the cool grey waters of the lagoon . ”
Morrice’s framing is tight and deliberate. He presents no sweeping vistas—just a sliver of Venetian daily life, distilled through modernist perception. This painting stands among Morrice’s most resolved and elegant Venetian paintings. It was most recently featured in the landmark 2025 exhibition Morrice in Venice at the McMichael Canadian Art Collection and is illustrated in Paikowsky’s authoritative monograph, James Wilson Morrice: Paintings and Drawings of Venice, confirming its significance within the artist’s oeuvre.
e stimate: $ 40,000 – 60,000
224 Cornelius David Krieghoff 1815 – 1872
Toboggan Sliding from Quebec Citadel oil on canvas, on verso titled and dated circa 1858 – 1859 on the gallery labels 10 × 14 in, 25.4 × 35.6 cm
p rovenan C e
James Thom, Montreal
By descent to Mrs. James Thom, Montreal
Galerie Walter Klinkhoff Inc., Montreal Private Collection, Westmount Donald McMorland, Calgary Masters Gallery, Calgary
Peter Ohler Fine Arts Ltd., Vancouver Private Collection, Vancouver
l iterature
Marius Barbeau, Cornelius Krieghoff: Pioneer Painter of North America, 1934, listed page 129
Hugues de Jouvancourt, Cornelius Krieghoff, 1971, titled as Tobogganing Near Quebec City, reproduced page 131
C ORNE l IUS K RIEGHO ff, A lTHOUGH born in the Netherlands and trained in Germany, did not fully emerge as an artist until his arrival in Canada in about 1846. At first, he settled in Montreal, but he had moved to Quebec City by 1853 and spent most of his career there until he returned to Europe in 1863. He returned to North America in 1868, when he retired to Chicago, and he died in that city in 1872. Overall, his time working as an artist in Canada was less than 20 years. This fact makes his artistic production even more remarkable, because it can safely be said that Krieghoff, in a period of less than two decades, defined the artistic life of nineteenth-century Quebec. He did so by being both incredibly productive and by spending serious time studying the landscape of Quebec and the lives and customs of the Indigenous communities and settlers who dwelt in the province. He depicted these residents and their environs with an intricacy and liveliness that is unmatched in the history of Canadian painting.
The canvas Toboggan Sliding from Quebec Citadel is a vital depiction of the recreation of Québécois citizens in the mid-nineteenth century. The important Krieghoff scholar Marius Barbeau describes the work briefly in his catalogue raisonné:
Slope downwards from right. Man and woman on toboggan—to left, towards Sillery and St. Lawrence. Two other people walking with toboggan. Snowshoes planted in snow. Rock to right, fence to left. Late afternoon, reddish sky.
While Barbeau’s description is accurate, it in no way conveys the remarkable joy found in this painting. The immediacy of the image suggests that we are present with these Québécois enjoying their toboggans. That this image was certainly done in Krieghoff’s studio rather than on site makes the immediacy of the scene that much more noteworthy.
One of Krieghoff’s greatest skills was his ability as an observer of the world around him. Look, for example, at his depiction of the principal tobogganers in the image. He pays attention to the details of their winter clothing and their relationship to each other. The woman at the front of the toboggan, enrobed in a fur jacket and blanket, clutches her partner’s foot as they pick up speed. He guides the toboggan in their journey down the slope by running his gloved hand in the snow. Where she looks a bit unsettled by the ride, which looks to be just beginning, he seems to be keenly anticipating their slide downhill. Krieghoff has suggested the pair’s momentum by the upward movement of her scarf and the track made by the toboggan in the snow. The other couple, who have walked up the hill to make another run, are quickly delineated, but again Krieghoff has been careful to paint the woman’s scarf blown out, suggesting both movement and, perhaps, a gentle breeze.
The composition is centred on the couple beginning their ride down the citadel hill in Quebec City, but Krieghoff has also included a view across the St. Lawrence River at the left. The tobogganers’ safety is ensured by a snow-covered fence also seen to the left. Krieghoff emphasizes the coldness of this winter scene by the bare branches of the shrubs, the expanse of the snowy slope and the openness of the sky. He has defined the space of the composition using several elements—the rock and bushes in the right foreground, the snowshoes, the two couples and their toboggans, the distant bushes, the fence at the left and, in the distance, the far shore of the river. Even though this canvas was painted in his studio, Krieghoff makes the viewer feel they are there with these tobogganers.
Toboggan Sliding from Quebec Citadel, painted 166 years ago, has an immediacy and vigour that is startling. The painting vividly reminds us of how important Krieghoff’s images have been in defining our understanding of nineteenth-century Quebec.
We thank Ian M. Thom, Senior Curator—Historical at the Vancouver Art Gallery from 1988 to 2018, for contributing the above essay.
e stimate: $ 50,000 – 70,000
225 James Wilson Morrice
CAC RCA 1865 – 1924
Along the Seine oil on canvas board, signed and on verso titled on various gallery labels, circa 1892 – 1896
9 × 11 1/2 in, 22.9 × 29.2 cm
p rovenan C e
Acquired directly from the Artist by Violette de Mazia, Pennsylvania
Property from the Violette de Mazia Collection, Merion, Pennsylvania, Christie’s New York, May 25, 1989, lot 216
Berry-Hill Galleries Inc., New York
Terra Foundation for American Art, Chicago, 1989
Fine Canadian Art, Heffel Fine Art Auction House, May 25, 2016, lot 117
Private Collection, British Columbia
l iterature
William H. Gerdts et al., Lasting Impressions: American Painters in France, 1865 – 1915 , Terra Museum of American Art, 1992, page 266, reproduced page 267
Nathalie Reymond, An American Glance at Paris: 37 Works Belonging to the Terra Foundation for the Arts, 1997, pages 63 and 64, reproduced page 62
Roger Boulet, A Legacy of Canadian Art from Kelowna Collections, Kelowna Art Gallery, 2017, reproduced page 31
e xhibited
Musée d’Art Américain, Giverny, Lasting Impressions: American Painters in France, 1865 – 1915 , June 1 – November 1, 1992, April 1 – October 31, 1993, April 1 – October 30, 1994 and April 1 – October 31, 1995, catalogue #83
Musée d’Art Américain, Giverny, An American Glance at Paris: 37 Works Belonging to the Terra Foundation for the Arts, April 1 – October 31, 1997
Musée d’Art Américain, Giverny, Waves and Waterways: American Perspectives, 1850 – 1900 , April 1 – October 31, 2000
Terra Museum of American Art, Chicago, American Classics from the Collection, May 14 – June 15, 2003
Terra Museum of American Art, Chicago, Studies Abroad: Painted Impressions from the Collection, September 6, 2003 –April 4, 2004
Kelowna Art Gallery, A Legacy of Canadian Art from Kelowna Collections, July 1 – October 15, 2017
A POETIC MASTER of quiet city views, James Wilson Morrice painted Along the Seine during one of his many stays in Paris, where he lived and worked for extended periods throughout his career. In this atmospheric study, painted from a vantage point near the Louvre, Morrice captures the gently curving bank of the Seine beneath a canopy of trees, with the dome of the Institut de France rising above the horizon. A lone figure walks in the foreground—a recurring motif in Morrice’s work that introduces an element of introspection and human scale to the urban environment.
Morrice’s intimate Parisian panels are among the most admired works in his oeuvre. Executed quickly en plein air, they reflect his subtle modernist sensibility and his ability to distill form, light and atmosphere into concise, lyrical compositions. Here, we see his sure brushwork, rich tonal harmonies and understated handling of light. He simplifies architecture and foliage into interlocking patches of colour, balancing spontaneity with structure.
The provenance of this painting is as exceptional as its subject. It was acquired directly from Morrice by Violette de Mazia, a scholar and teacher at the Barnes Foundation in Merion, Pennsylvania, an important art educational institution and collection. De Mazia worked closely with the collection’s founder, chemist and businessman Albert C. Barnes, and helped develop one of the most influential educational programs in American art history. Given Barnes’s own appreciation of Morrice—whose works featured prominently in his collection—it is highly plausible that de Mazia was introduced to the artist through her work with the foundation. Her direct acquisition from the artist underscores both her discerning eye and the regard Morrice commanded within transatlantic art circles.
Along the Seine was included in the landmark exhibition Lasting Impressions: American Painters in France, 1865 – 1915 at the Musée d’Art Américain in Giverny, a show that explored transatlantic artistic exchange during the late nineteenth and early twentieth centuries. The painting was also part of the distinguished collection of the Terra Foundation for American Art, underscoring its importance within both Canadian and American art historical contexts.
A number of scholars have observed echoes of the Hague School and James McNeill Whistler in Morrice’s tonal palette and compositional restraint, which he brought into dialogue with the innovations of French modernism and his own Canadian roots. Along the Seine captures that subtle synthesis, demonstrating the artist’s distinctive position between nations and traditions.
e stimate: $ 60,000 – 80,000
226 Cornelius David Krieghoff 1815 – 1872
Indian Hunters Camping oil on canvas, signed and dated 1861 and on verso inscribed P-C 268 on a label and e 6169
14 1/8 × 21 1/4 in, 35.9 × 54 cm
p rovenan C e
Kenneth R. Thomson, Toronto Masters Gallery Ltd., Calgary Private Collection, Vancouver
C ORNE l IUS K RIEGHO ff’ S WORK in Canada was centred on the lives of both habitants and Indigenous Peoples in Quebec. Trained in Germany, Krieghoff brought a keen eye to his images of the people of the province. During his approximately 20 years in Quebec, he drew inspiration from the lives of both Indigenous Peoples and French-Canadian settlers. His work involved considerable study of both the landscape and inhabitants of his new home but his images, despite being set outdoors, were always painted in his studio. The works therefore recall rather than depict the natural world. The fact that his images are so often remarkably compelling is a tribute to Krieghoff’s skills as an observer and visual storyteller. Krieghoff’s incisively painted images of the Québécois landscape and its people have come to define much of our understanding of life in nineteenth-century Quebec.
Indian Hunters Camping, painted in 1861, some 15 years after his arrival in Quebec, is an excellent example of one of his favoured subjects. The image depicts a group of four Indigenous hunters making camp after harvesting a boreal caribou. Krieghoff shows the four men in a variety of activities. One man is preparing to skin the caribou, and a second man carries wood towards
the campfire that has been started at the base of a rock face. The third man, having put his rifle aside, converses with the individual about to butcher the caribou. The fourth man is seen reclining and smoking a pipe, at rest after their hunt. The caribou sheds blood onto the ground, suggesting how recently it was killed. The camp has been set up by a pond, seen at the right of the composition, to provide the men with water and allow for a clean dressing of the animal.
Krieghoff has placed the hunters within an open area of the forest, the whole scene illuminated by sunlight streaming from the left side of the composition. The image is an autumnal scene, reflected in the changing colours of the leaves. The presence of death may be signified by Krieghoff’s inclusion of a bare tree trunk at the right of the composition, its bent branches subtly echoing the antlers of the slain caribou. An extensive mountain landscape spreads out behind the foreground scene of the four hunters and their prey. Krieghoff has with this landscape provided a backdrop for the stage on which the hunters complete their hunt.
Indian Hunters Camping presents both the hunters and the caribou in a carefully constructed and skilfully painted setting. Although formulated in the artist’s studio, the setting reveals both the acuteness of Krieghoff’s vision and his enormous skills as a narrative painter.
We thank Ian M. Thom, Senior Curator—Historical at the Vancouver Art Gallery from 1988 to 2018, for contributing the above essay.
e stimate: $ 70,000 – 90,000
227 Lawren Stewart Harris
ALC BCSFA CGP FCA G7 OSA TPG 1885 – 1970
Hill, North Shore, Lake Superior oil on board, signed and on verso signed, titled and inscribed with the artist’s symbol and variously 10 3/8 × 13 3/4 in, 26.4 × 34.9 cm
p rovenan C e
Acquired directly from the Artist by a Private Collection, Vancouver Fine Canadian Art, Heffel Fine Art Auction House, November 9, 2000, lot 226 Private Collection, Ontario
Hill, n or TH S H or e, la K e S uperior is a striking early example of Lawren Harris’s works from the north shore of Lake Superior, an area that was of critical importance to the artist during his landscape period and the site of much of his artistic evolution during the 1920s. With his nearly annual visits between 1921 and 1928, we can trace Harris’s changing style through the sketches he painted there, depicting the diverse subjects that fed his inspiration for longer than any other area of the country.
Harris’s Lake Superior paintings, with their wide range of subject matter, provide perhaps the best example of his uniqueness as an artist, including within the Group of Seven. Even early on in his explorations of this region, these works became closely associated with his signature approach and style. A review from summer 1924 of the Group Exhibition of Paintings by Contemporary Canadian Artists at the Brooklyn Museum articulates this from a contemporary perspective:
Lawren Harris has the most dramatic point of view. He, more than any of the others, gets away from the idea that a picture is merely a decoration and gives us an emotional reaction. He paints the country about the north shore of Lake Superior and gives us a feeling of vastness, of starkness and of wilderness. His shapes are hard-edged and bold, simplified down to their essential forms, his color cold and clean. There is something of Rockwell Kent’s dramatic simplicity about them.1
Hill, North Shore, Lake Superior superbly demonstrates the writer’s observations.
While Harris’s general lack of record keeping means that uncertainty persists in knowing exactly when he traveled and painted in various locations, it is likely that this work is from the fall of 1923, during his third trip to the North Shore. That year, accompanied by A.Y. Jackson, Harris explored the hills and bays around Port Munro, situated to the north of Marathon about halfway to Port Coldwell, another significant sketching ground. A map, drawn in graphite by Harris’s hand on the verso of one of his sketching boards (Entrance, Coldwell Bay, Lake Superior, sold by Heffel November 24, 2022, lot 138), roughly identifies the pertinent features that were of interest to the artists, including the railway line and the various hills, islands and shorelines. One
peak that appears on the map, and which Harris and Jackson painted from, is the central focus of this sketch, as viewed looking west across Carden Cove. Today, this has been named “Painter’s Peak” and is accessible as part of the Group of Seven Lake Superior Trail that is being built, linking together many areas in which Harris and his contemporaries worked.2
Many of the works done by Harris in the Port Munro area, including this oil on board, have a distinct atmospheric haze to them, and a palette emphasizing the pink and orange hues. This is recognizable as the effects of forest fire smoke, which was so prevalent and severe in the area during the fall of 1923 that it contributed to a shipwreck off the shore of Michigan’s Upper Peninsula.3 As a result of these conditions, Harris’s palette during this period takes on a limited, and distinctive, range and character. The effect and particular aesthetic likely encouraged the restrained and experimental colour motifs that he would use to further hone his compositions in the years that followed, another realization traceable through his broad catalogue of iconic Lake Superior works.
We thank Alec Blair, Director/Lead Researcher, Lawren S. Harris Inventory Project, for contributing the above essay.
1. Helen Appleton Read quoted in review of Group Exhibition of Paintings by Contemporary Canadian Artists, Brooklyn Museum Quarterly 11, no. 3 (July 1924): 106.
2. Group of Seven Lake Superior Trail, https://groupofseventrail. com/.
3. See Great Lakes Shipwreck Museum, “Shipwreck Society Discovers a World War One Era Steel Bulk Freighter 100 Years after It Sinks,” October 11, 2023, available at https://shipwreckmuseum.com.
e stimate: $ 100,000 – 150,000
Carden Cove, 2024
Photo: Alec Blair
228 Alexander Young (A.Y.) Jackson
ALC CGP G7 OSA RCA RSA 1882 – 1974
Georgian Bay
oil on canvas, signed and dated 1920 and on verso titled and dated on the gallery label
25 × 32 in, 63.5 × 81.3 cm
p rovenan C e
Acquired directly from the Artist
Mr. P.R. Hilborn, Ottawa
By descent within the family
Canadian Art, Joyner Fine Art, December 4, 2001, lot 50, titled as April, Georgian Bay Galerie Walter Klinkhoff Inc., Montreal
Private Collection, California
l iterature
Charles C. Hill, The Group of Seven: Art for a Nation, National Gallery of Canada, 1995, page 117 for photographs of the 1920 exhibition at the Worcester Art Museum, Massachusetts
e xhibited
Worcester Art Museum, Massachusetts, Paintings by the Group of Seven Canadian Artists, November 7 – 28, 1920, traveling in 1920 – 1922 to Boston, Rochester, Toledo, Indianapolis, Detroit, Cleveland, Buffalo, Columbus, Minneapolis and Muskegon, Michigan
Art Gallery of Toronto, A.Y. Jackson: Paintings, 1902 – 1953 , October – November 1953, and the National Gallery of Canada, Ottawa, December – January 1954, catalogue #30(a)
A.y. J ACKSON ’ S PAINTING of an early spring day on Georgian Bay is a vision of renewal. It belongs to a pivotal series of canvases that Jackson worked up from sketches painted in Muskoka between February and April 1920. This period marked the artist’s re-engagement with wilderness as a subject following a four-anda-half-year hiatus of military service during World War I—first as a private in the Canadian infantry, and subsequently as a war artist for the Canadian War Records Office under Lord Beaverbrook. Georgian Bay was among the first works the artist painted following the formation of the Group of Seven in March 1920. It would be included in the Group’s inaugural international exhibition, held at the Worcester Art Museum in Massachusetts in November 1920, which followed close on the heels of the Group’s premiere presentation at the Art Gallery of Toronto in May of the same year. Hanging alongside Tom Thomson’s painting The West Wind (1916 – 1917), Georgian Bay would help to define the Group for American viewers as the Worcester show went on tour to cities including Boston, Detroit and Minneapolis through 1922. In his autobiography, Jackson wrote that he had spent the winter of 1920 attempting “to regain the excitement which had sustained me in the months before the war.”1 After harrowing years as a witness to conflict overseas, Jackson hoped to regain his bearings as a painter of northern landscapes in the islandstudded Cognashene archipelago, where he had sketched some of his pre-war works. Staying in Franceville on Georgian Bay, Jackson revisited the Precambrian landscape that had inspired Terre Sauvage (1913), a work he later dubbed “the first large canvas of the new movement.” 2
Though not yet formalized as the Group of Seven, a nascent national landscape movement was beginning to coalesce around J.E.H. MacDonald and Lawren Harris by 1913. In that year, MacDonald had written to Jackson, then based in Quebec, on behalf of Harris, who was interested in acquiring Jackson’s early masterpiece The Edge of the Maple Wood (1910). After meeting with Harris and MacDonald as well as Arthur Lismer and Frederick Varley, Jackson was convinced to stay on in Toronto, where he was offered space in the Studio Building that Harris was in the process of constructing in the Rosedale Valley in partnership with Dr. James MacCallum, an ophthalmologist and visionary patron of the arts. As he had previously done for MacDonald, MacCallum agreed to subsidize Jackson’s expenses for a year, freeing him to paint full time. While staying at MacCallum’s cottage on West Wind Island that summer, Jackson completed sketches for Terre Sauvage. Back in Toronto, Terre Sauvage was worked up on canvas in Harris’s studio at Yonge and Bloor just prior to the completion of the Studio Building. An enthusiastic witness to its execution was Tom Thomson, a protégé of MacDonald’s at Grip Ltd., and a soon-to-be fellow beneficiary of MacCallum’s patronage.
Georgian Bay recaptures the optimism of the rainbowed landscape of Terre Sauvage, whereas other works produced by a war-traumatized Jackson in the same period amounted to a continuation of his war paintings. “Nature had become a field of battle, glimpsed as though after some terrible shelling, with more yet in store,” Douglas Hunter observes.3 The blackened tree stumps of October Morning, Algoma (1920), based on sketches produced during a railway trip to the scenic region north of Sault Ste. Marie organized by Harris in the fall of 1919, are notably absent from Georgian Bay. After struggling for months to rekindle his desire to paint following his discharge from the army in April 1919, on the Algoma expedition Jackson “got enthused again and worked quite hard,” as he wrote to critic and photographer Harold Mortimer-Lamb.4 Georgian Bay is evidence of continued progress in the artist’s post-war recovery: the oppressive atmosphere of works such as March Storm, Georgian Bay (1920) has cleared, revealing patches of blue sky and placid waters that glow like a polished gemstone.
We thank Adam Lauder for contributing the above essay. Lauder is an art historian based in Toronto and an adjunct professor at the Ontario College of Art and Design University.
1. A.Y. Jackson, A Painter’s Country: An Autobiography of A.Y. Jackson (1976; repr., Toronto: Clarke, Irwin, 1958), 51.
2. Ibid., 31.
3. Douglas Hunter, Jackson’s Wars: A.Y. Jackson, the Birth of the Group of Seven, and the Great War (Montreal: McGill-Queen’s University Press, 2022), 356.
4. Quoted in Hunter, Jackson’s Wars, 348.
e stimate: $ 125,000 – 175,000
229 Lawren Stewart Harris
ALC BCSFA CGP FCA G7 OSA TPG 1885 – 1970
Algoma Sketch CIV, River and Mountain oil on board, signed and on verso signed, titled and inscribed with the artist’s symbol, the Doris Mills inventory #2/104 and variously, circa 1920 10 3/4 × 14 in, 27.3 × 35.6 cm
p rovenan C e
Galerie Walter Klinkhoff Inc., Montreal Private Collection, Vancouver
l iterature
Doris Mills, L.S. Harris Inventory, 1936, Algoma Sketches, Group 2, catalogue #104, location noted as the Studio Building
e xhibited
Galerie Walter Klinkhoff Inc., Montreal
O NTARIO ’ S Al GOMA REGION holds exceptional significance for the development of modern Canadian art. Here, along the Algoma Central Railway (ACR ) that climbs northward from Sault Ste. Marie, Lawren Harris and his fellow artists explored the expansive and dramatic landscapes and translated the wild scenes onto their sketching panels. These paintings became central to the formation of the Group of Seven and subsequently have become iconic elements in Canada’s cultural identity, continuing to resonate over a century later. With its composition filling the board, Algoma Sketch C i V, River and Mountain is a prime example of how Harris was able to capture the spectacular scenes of rugged northern Ontario and present them to a broader audience, changing how we viewed both our art and our country. First visiting Algoma in the spring of 1918 alongside art patron Dr. James MacCallum, Harris realized the area’s potential as a sketching ground that could provide a wealth of subjects to aid in celebrating the scale and majesty of the Canadian landscape. Over the next four years, accompanied by artists including J.E.H. MacDonald, Frank Johnston, A.Y. Jackson and Arthur Lismer, Harris would repeatedly travel to Algoma to sketch and explore, staying in either a customized boxcar or rented cabins along the ACR . It was on one of these trips, likely in the spring of 1920 or 1921, when Harris made this fine oil sketch, while staying at Agawa Canyon.
This sketch, like all of Harris’s Algoma works, was painted on site, en plein air. Perched high on one of the steep hills overlooking the canyon, Harris captures the dark Agawa River snaking its way along the valley bottom, below the massive, tree-covered far side. This particular stop along the ACR was one of the most productive areas for members of the Group, and this overview gives a sense of scale to the splendour they encountered there, seemingly unending, and filled with countless potential compositions. MacDonald wrote upon arriving at Agawa: “The country is certainly all that Lawren and the Dr. said about it. It is a land after Dante’s heart. . . . The canyon seems to lead upwards, and has all the attributes of an imagined Paradise, excepting, perhaps, anything in the way of meadows. There are beautiful waterfalls on all sides, and the finest trees—spruce, elm and pine.” 1
In River and Mountain, without the autumnal tapestry adorning the hardwoods, it is the contours of the landscape that become the focal point, foreshadowing Harris’s interest in volume and underlying form, which he would fully explore in the burnt-over headlands of Lake Superior’s north shore in the coming years. Here, the vibrancy of the peaceful scene is still brought to the fore by the brilliant ultramarine shadows Harris uses.
This work hints at the direction Harris’s work was heading in the 1920s. The austerity of Lake Superior’s more northern landscapes would broaden his scope and focus, and he would capture increasingly grand visions in his sketches. River and Mountain is a strong representative of a period of critical growth in his work, a process of continued evolution and expansion that saw him constantly discovering new and exciting ways to view the Canadian environment and depict this appreciation of the land in his paintings.
We thank Alec Blair, Director/Lead Researcher, Lawren S. Harris Inventory Project, for contributing the above essay.
1. Quoted in Paul Duval, The Tangled Garden: The Art of J.E.H. MacDonald (Scarborough, ON : Cerebrus Publishing, 1978), 86–87.
e stimate: $ 100,000 – 120,000
D
Patsy K I m Heffel Corporate Director
l auren Kratzer National Director of Consignments, Co-Director of Vancouver Office
D ouglas watt Art Handler m ere DI
Clara w ong Director of Operations, Consignment Specialist
n orth van C ouver
H erry wang Client Services and Administration, Luxury Handbag Specialist
Jos H Heffel Art Handler
van C ouver
s et H m en D oza Art Handler
Cynt HI a ta I Client Services and Administration
ryan H effel Art Handler
Bran D on Pr I n C e Digital Imaging, Art Handler
Just I n s om J en Art Handler
T HESE TerMS and Condi T ion S of b u S ine SS 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, and shall supersede and take precedence over any previously agreed Terms and Conditions of Business. These Terms and Conditions of Business and the Heffel Privacy Policy are hereby incorporated into and form part of the Consignment Agreement entered into by the Auction House and the Consignor.
a . d efined t erms
1. Auction House
The Auction House is Heffel Gallery Limited, or an affiliated entity;
2. Consignor
The Consignor is the person or entity named in the Consignment Agreement as the source from which the Property or Lot has been received for auction;
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The Seller’s Commission is the amount paid by the Consignor to the Auction House on the sale of a Lot, which 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 and Expenses;
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The Buyer is the person, corporation or other entity or such entity’s agent who bids successfully on the Lot at the auction sale;
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The Buyer’s Premium is the amount paid by the Buyer to the Auction House on the purchase of a Lot, which is calculated on the Hammer Price as follows: a rate of twenty-five percent (25%) of the Hammer Price of the Lot up to and including $ 25,000; plus twenty percent (20%) on the part of the Hammer Price over $ 25,000, plus applicable Sales Tax;
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Sales Tax means Federal and Provincial sales, excise and other taxes applicable to the sale of the Lot, applied using place of supply rules required by Canadian taxation authorities. QST will be levied on all purchases collected in Quebec or shipped to Quebec;
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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;
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b . t he b uyer
1. The Auction House
The Auction House acts solely as agent for the Consignor, except as otherwise provided herein.
2. The Buyer
a) The Buyer is the highest Registered Bidder acknowledged by the Auctioneer as the highest bidder at the time the Lot is Knocked Down;
b) The Auctioneer has the right, at their sole discretion, to reopen a Lot if they have inadvertently missed a Bid, or if a
Registered Bidder, immediately at the close of a Lot, notifies the Auctioneer of their intent to Bid;
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The Buyer shall pay the Purchase Price (inclusive of the Buyer’s Premium) and applicable Sales Tax to the Auction House. The Buyer acknowledges and agrees that the Auction House may also receive a Seller’s Commission.
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b) Title shall pass, and release and/or delivery of the Lot shall occur, only upon payment of the Purchase Price by the Buyer and receipt of cleared funds by the Auction House.
6. Descriptions of Lot
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d) The prospective Buyer must satisfy themselves 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. The Buyer acknowledges that the Buyer has not relied on the Auction House, its statements or descriptions in regard to determining whether or not to purchase a Lot. The Buyer understands it is incumbent upon the Buyer to inspect the Lot and hire any necessary experts to make the determination as to the nature, authenticity, quality and condition of any 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 contained within. The Buyer shall be responsible for ascertaining the condition of the Lot; and
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7. Purchased 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;
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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. Proceeds received from the insurance shall be the extent of the Auction House’s liability for any loss, damage or diminution in value.
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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 that the Auction House or the Consignor 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;
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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 or consigned by the Buyer at the same or any other auction and release the same only after payment of the aggregate outstanding Purchase Price;
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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 their agent, whether express or implied;
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; and
j) All the above rights and remedies granted to the Auction House may be assigned to the Consignor at the Auction House’s discretion. Further, the Auction House may disclose to the Consignor the Buyer’s identity, contact information and other such information as the Consignor may need in order to maintain a claim against the Buyer for non-payment.
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b) If prospective Buyers are unable to personally attend the live auction, telephone bid, or bid in the Digital Saleroom, 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 two (2) business days before the start of the auction sale. The Auction House shall not be responsible or 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 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 in the live auction, if appropriately instructed by telephone or through Heffel’s Digital Saleroom, 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.
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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. Failure by the Buyer to obtain any necessary export license shall not affect the finality of the sale of the Lot or the obligations of the Buyer.
C the C onsignor
1. The 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 (iii), the Consignor shall pay a charge to the Auction House, as provided in Condition C.8.
2. Warranties 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. You, as the Consignor, are the owner of the Lot or a joint owner of the Lot acting with the express permission of all of the other co-owners, or, if you are not the owner of the Lot:
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(ii) You will disclose to the owner(s) all material facts in relation to the sale of the Lot;
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of not less than five (5) years the documentation and records evidencing the due diligence;
(vi) You will make such documentation and records (including originals, if available) evidencing your due diligence promptly available for immediate inspection by an independent thirdparty auditor upon our written request to do so. The Auction House will not disclose such documentation and records to any third parties unless (1) it is already in the public domain, (2) it is required to be disclosed by law, or (3) it is in accordance with anti–money laundering laws; and
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b) At the time of handing over the Property to us, you have met all import and export requirements of all applicable law. You are not aware that anyone else has failed to meet these requirements;
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d) The Consignor shall indemnify the Auction House, its employees and agents and the Buyer for breach of its representations, warranties and obligations set forth herein and against all claims made or proceedings brought by persons entitled or purporting to be entitled to the Lot;
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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. Commission and Expenses
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(i) the costs of packing the Lot and transporting it to the Auction House, including any customs, export or import duties and charges;
(ii) if the Lot is unsold, the costs of packing it and returning it to the Consignor, including any customs, export or import duties and charges;
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(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 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 Insurance 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. The actual proceeds received from the Auction House’s insurance shall be and shall represent the sole liability of the Auction House for any damages, loss, theft or diminished value of the Lot. Under no circumstances shall the Auction House be liable for any special,
consequential, incidental or indirect damages of any kind or lost profits or potential lost profits.
6. Payment of Proceeds 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. Collection of the Purchase 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.
Charges 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 that such consent is given, or in the event of a withdrawal pursuant to Condition C.1.b (ii) or (iii), a charge of twenty-five percent (25%) of the high presale 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 incurred Expenses by the Auction House exceed the sums received from the sale of the Lot, the Buyer shall be liable for the difference between the sums received and the Expenses. 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 at the Consignor’s expense; 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 Seller’s 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 period of ninety (90) days, until such time as the Auction House is notified in writing by the Consignor that such right is terminated.
10. Consignor’s Sales Tax Status
The Consignor shall give to the Auction House all relevant information as to their Sales Tax status with regard to the Lot to be sold, which the Consignor warrants is and will be correct and upon which the Auction House shall be entitled to rely.
11. Photographs and Illustrations
In consideration of the Auction House’s services to the Consignor, the Consignor hereby warrants and represents to the Auction House that the Consignor 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 C onditions
1. The Auction House as agent for the Consignor is not responsible for any act, omission or 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 their bid.
4. The Auctioneer may open the bidding on any Lot below the Reserve by placing a bid on behalf of the Auction House. The Auctioneer, on behalf of the Auction House, may continue to bid up to the amount of the Reserve, either by placing consecutive bids or by placing bids in response to other bidders.
5. 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 Seller’s Commission is calculated on the Hammer Price.
6. Any indemnity hereunder shall extend to all actions, proceedings, costs, claims and demands whatsoever incurred 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.
7. 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 delivered by a recognized overnight delivery service with a signature required.
8. 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.
9. The Auction House will not accept any liability for any failure or errors that may occur in the operation of any online, telephonic, video or digital representations produced and/or broadcasted during an auction sale.
10. This Agreement shall be governed by and construed in accordance with British Columbia Law and the laws of Canada
applicable therein. Any dispute, controversy or claim arising out of, relating to, or in connection with this Agreement, or the breach, termination, or validity thereof (“Dispute”), shall be submitted for mediation in Vancouver, British Columbia, Canada. If the Dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the Dispute shall be submitted for final and binding arbitration to the British Columbia International Commercial Arbitration Centre, with such Dispute to be resolved pursuant to its Rules and procedure. The arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitration proceedings will be English. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets.
11. Unless otherwise provided for herein, all monetary amounts referred to herein shall refer to the lawful money of Canada.
12. 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.
13. 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.
14. In the event of any discrepancy or conflict between the English and French versions of these Terms and Conditions of Business, the English version will prevail.
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.
H E ff E l G A ll ER y lIMITE d maintains a strict Property Collection Notice policy that governs the Property collection terms between the Auction House and the Consignor, Buyer and Clients being provided professional services from the Auction House. The Collection Notice is pursuant to the Auction House’s published Terms and Conditions of Business with specific reference to Conditions B.7, B.9, B.12, C.5, C.9 and D.6.
a . property C olle C tion re Q uirement
1. Buyer
a) Sold Property must be collected or have a completed and signed Shipping Authorization Form for Property submitted to the Auction House within seven (7) days post auction sale date and a shipping dispatch date not greater than thirty (30) days post auction sale date;
2. Consignor
a) Unsold Property must be collected by the Consignor within ninety (90) days post auction sale date;
3. Client being provided additional professional services
a) Property delivered and deposited with the Auction House by the Client for the purpose of appraisal, assessment, research, consultancy, photography, framing, conservation or for other purpose must be collected within thirty (30) days after delivery receipt of the Property to the Auction House.
b treatment of property C olle C tion noti C e default and of un C laimed property
1. All Property in default to the Property Collection Notice, as defined in Condition A, will be resolved as follows:
a) Property in default of the Property Collection Notice will require a completed and signed Auction House or third party Storage Agreement for Property submitted to the Auction House within seven (7) days of default;
b) Property listed in the signed and completed Storage Agreement for Property may be moved off-site from the Auction House offices or preview galleries to warehouse storage at the Property Owner’s expense;
c) Remaining unclaimed Property will be subject to the Unclaimed Property Act (British Columbia) [SBC 1999] 199948-19 to 32 and consequential amendments and repeal.
These Property Collection Notice terms shall supersede and take precedence over any previously agreed terms.
AAM Art Association of Montreal founded in 1860
AAN f M Association des artistes non-figuratifs de Montréal
AAP Association des arts plastiques
ACM Arts Club of Montreal
AGA Art Guild America
AGQ Association des graveurs du Québec
AHSA Art, Historical and Scientific Association of Vancouver
A l C Arts and Letters Club
AOCA Associate Ontario College of Art
ARCA Associate Member Royal Canadian Academy of Arts
ASA Alberta Society of Artists
ASPWC American Society of Painters in Water Colors
ASQ Association des sculpteurs du Québec
AUTO Les Automatistes
AWCS American Watercolor Society
BCSA British Columbia Society of Artists
BCS fA British Columbia Society of Fine Arts founded in 1909
BHG Beaver Hall Group, Montreal 1920 – 1922
CAC Canadian Art Club
CAS Contemporary Arts Society
CC Companion of the Order of Canada
CGP Canadian Group of Painters 1933 – 1969
CH Companion of Honour Commonwealth
CM Member of the Order of Canada
CPE Canadian Painters–Etchers’ Society
CSAA Canadian Society of Applied Art
CSGA Canadian Society of Graphic Artists founded in 1905
CSMA Canadian Society of Marine Artists
CSPWC Canadian Society of Painters in Water Colour founded in 1925
EGP Eastern Group of Painters
f BA Federation of British Artists
f CA Federation of Canadian Artists
f RSA Fellow of the Royal Society of Arts
G 7 Group of Seven 1920 – 1933
IA f Institut des arts figuratifs
IWCA Institute of Western Canadian Artists
l P Les Plasticiens
MSA Montreal Society of Arts
NA d National Academy of Design
NEAC New English Art Club
NSSA Nova Scotia Society of Artists
OC Officer of the Order of Canada
OIP Ontario Institute of Painters
OM Order of Merit British
OSA Ontario Society of Artists founded in 1872
P 11 Painters Eleven 1953 – 1960
P d CC 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
P y Prisme d’yeux
QMG
Quebec Modern Group
R 5 Regina Five 1961 – 1964
RA Royal Academy
RAAV Regroupement des artistes en arts visuels du Québec
RAIC Royal Architects Institute of Canada
RBA Royal Society of British Artists
RCA Royal Canadian Academy of Arts founded in 1880
RI 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 Royal Society of Canada
RSMA Royal Society of Marine Artists
RSPP Royal Society of Portrait Painters
RWS Royal Watercolour Society
SAA Society of American Artists
SAAVQ Société des artistes en arts visuels du Québec
SAP Société des arts plastiques
SAPQ Société des artistes professionnels du Québec
SC The Studio Club
SCA Society of Canadian Artists 1867 – 1872
SCPEE Society of Canadian Painters, Etchers and Engravers
SSC Sculptors’ Society of Canada
SWAA 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
y R Young Romantics
w Denotes that additional information on this lot can be found on our website at www.heffel.com
ϕ Indicates that Heffel owns an equity interest in the Lot or may have funded all or part of our interest with the help of a third party. Additionally Heffel may have entered into arrangements to provide a Consignor a guaranteed Reserve bid. A guaranteed Reserve bid may have funded all or part with a third-party guarantor.
These catalogue terms are provided for your guidance:
Cornelius d avid k rieghoff
In our best judgment, a work by the artist.
a ttributed to Cornelius d avid k rieghoff
In our best judgment, a work possibly executed in whole or in part by the named artist.
s tudio of Cornelius d avid 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.
Cir C le of Cornelius d avid k rieghoff
In our best judgment, a work of the period of the artist, closely related to the style of the named artist.
m anner of Cornelius d avid k rieghoff
In our best judgment, a work in the style of the named artist and of a later date.
a fter Cornelius d avid k rieghoff
In our best judgment, a copy of a known work of the named artist.
n ationality
Unless otherwise noted, all artists are Canadian.
s igned / t itled / d ated
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.
b ears s ignature / b ears d ate
In our best judgment, the signature/date is by a hand other than that of the artist.
d imensions
Measurements are given height before width in both inches and centimetres.
p rovenan C e
Is intended to indicate previous collections or owners.
Certifi C ates / l iterature / e xhibited
Any reference to certificates, literature or exhibition history represents the best judgment of the authority or authors named. Literature citations may be to references cited in our Lot essay. These references may also pertain to generic statements and may not be direct literary references to the Lot being sold.
e stimate
Our Estimates are intended as a statement of our best judgment only, and represent a conservative appraisal of the expected Hammer Price.
h effel’s Code of b usiness
Condu C t, e thi C s and p ra C ti C es
H E ff E l 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.
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 four decades of change, since 1978, proof that our hard work, commitment, philosophy, honour and ethics in all that we do serve 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.
h effel g allery l imited
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.)
Please complete this Annual Subscription Form to receive our twice-yearly Auction Catalogues. By submitting this form, I am indicating that I understand and acknowledge the Terms and Conditions of Business printed in the Heffel catalogue.
To order, return a copy of this form with a cheque payable to:
Heffel Gallery Limited 2247 Granville Street Vancouver, BC , Canada V 6 H 3 G 1 Tel 604-732-6505 · Toll free 1-888-818-6505 mail@heffel.com · www.heffel.com
Catalogue Subscriptions tax included
d elivered within Canada
■ One Year (four catalogues) Post-War & Contemporary Art / Canadian, Impressionist & Modern Art
■ Two Years (eight catalogues) Post-War & Contemporary Art / Canadian, Impressionist & Modern Art
d elivered to the u nited s tates and o verseas
■ One Year (four catalogues) Post-War & Contemporary Art / Canadian, Impressionist & Modern Art
■ Two Years (eight catalogues) Post-War & Contemporary Art / Canadian, Impressionist & Modern Art
Billing Information
d igital Communi C ation Consent I agree to receive e-mails and SMS notifications from Heffel.
Please complete this Collector Profile Form to assist us in offering you our finest service.
90
150
a bsentee b id f orm
Heffel recommends submitting your Absentee Bid Form via e-mail to bids@heffel.com for expedited service. Should you wish to participate in French, please complete the French version of this form.
If you are bidding as a corporation (and not as an individual), please provide the Registered Business Name and Address of the corporation.
Please view our General Bidding Increments as published by Heffel.
Number Lot Description Maximum Bid
I request Heffel Gallery Limited (“Heffel”) 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 the Buyer’s Premium calculated at a rate of twenty-five percent (25%) of the Hammer Price of the Lot up to and including $ 25,000; plus twenty percent (20%) on the part of the Hammer Price over $ 25,000, plus applicable Sales Tax. I understand that Heffel 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 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 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, including any amendments in the Priority Special Terms & Conditions of Business and Saleroom Announcements, as printed in the Heffel catalogues and published on Heffel.com.
To be sure that bids will be accepted and delivery of the Lot(s) is/are not delayed, bidders not yet known to Heffel must supply a bank reference letter at least two (2) business days before the time of the auction. All Absentee Bidders must supply a valid Visa, Mastercard or UnionPay number, expiry date and CVV number.
d igital Communi C ation Consent I agree to receive e-mails and SMS notifications from Heffel.
I authorize the above financial institution to release information to Heffel and to discuss with them particulars of my financial condition and typical transactions conducted.
To allow time for processing, Absentee Bids should be received at least two (2) business days before the sale begins. Heffel will confirm by telephone or e-mail all bids received. If you have not received our confirmation within two (2) business days, please re-submit your bids or contact us at: h effel g allery l imited 13 Hazelton Avenue Toronto, ON , Canada M 5 R 2 E 1 Tel 416-961-6505 · Fax 416-961-4245 bids@heffel.com · www.heffel.com
Heffel recommends submitting your Telephone Bid Form via e-mail to bids@heffel.com for expedited service. Should you wish to participate in French, please complete the French version of this form.
If you are bidding as a corporation (and not as an individual), please provide the Registered Business Name and Address of the corporation.
Please view our General Bidding Increments as published by Heffel.
I request Heffel Gallery Limited (“Heffel”) 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 the Buyer’s Premium calculated at a rate of twenty-five percent (25%) of the Hammer Price of the Lot up to and including $ 25,000; plus twenty percent (20%) on the part of the Hammer Price over $ 25,000, plus applicable Sales Tax. I understand that Heffel executes Telephone/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 will try to purchase these Lots for the lowest possible price, taking into account the Reserve and other bids. I am aware that all telephone bid lines may be recorded.I understand and acknowledge all successful bids are subject to the Terms and Conditions of Business, including any amendments in the Priority Special Terms & Conditions of Business and Saleroom Announcements, as printed in the Heffel catalogues and published on Heffel.com.
To be sure that bids will be accepted and delivery of the Lot(s) is/are not delayed, bidders not yet known to Heffel must supply a bank reference letter at least two (2) business days before the time of the auction. All Telephone Bidders must supply a valid Visa, Mastercard or UnionPay number, expiry date and CVV number.
I agree to receive e-mails and SMS notifications from Heffel.
I authorize the above financial institution to release information to Heffel and to discuss with them particulars of my financial condition and typical transactions conducted.
To allow time for processing, Telephone/Absentee Bids should be received at least two (2) business days before the sale begins. Heffel will confirm by telephone or e-mail all bids received. If you have not received our confirmation within two (2) business days, please re-submit your bids or contact us at:
h effel g allery l imited 13 Hazelton Avenue Toronto, ON , Canada M 5 R 2 E 1 Tel 416-961-6505 · Fax 416-961-4245 bids@heffel.com · www.heffel.com
d igital s aleroom r egistration f orm
Heffel recommends submitting your Digital Saleroom Registration Form via e-mail to bids@heffel.com for expedited service. This form should be received at least two (2) business days before the sale begins. Should you wish to participate in French, please complete the French version of this form. If you are bidding as a corporation (and not as an individual), please provide the Registered Business Name and Address of the corporation.
Live Auction Paddle # (for office use only)
Once approved, those who have previously bid in Heffel’s online auctions will log on to Heffel.com with their existing online paddle number and password in order to access the digital saleroom for the live auction.
■ n ew h effel. C om r egistrants
If my bid is successful, the purchase price shall be the Hammer Price plus a Buyer’s Premium of twenty-five percent (25%) of the Hammer Price of the Lot up to and including $ 25,000; plus twenty percent (20%) on the part of the Hammer Price over $ 25,000, plus applicable Sales Tax. I understand and acknowledge all successful bids are subject to the Terms and Conditions of Business, including any amendments in the Priority Special Terms & Conditions of Business and Saleroom Announcements, as printed in the Heffel catalogues and published on Heffel.com.
To be sure that bids will be accepted and delivery of Lot(s) not delayed, bidders not yet known to Heffel should supply a bank reference at least two (2) business days before the time of the auction.
■ I authorize the above financial institution to release information to Heffel and to discuss with them particulars of my financial condition and typical transactions conducted.
d igital Communi C ation Consent I agree to receive e-mails and SMS notifications from Heffel.
s hipping a uthorization f orm for p roperty
Heffel recommends submitting shipping authorization and payment by logging in at heffel.com for expedited service. Alternatively, please sign and return this form via e-mail to shipping@heffel.com. Please contact the Shipping Department at 1-888-818-6505 for questions.
s hipping m ethod ( Choose o ption a , b or C )
Option A
Consolidated ground shipment (when available) to destination Heffel Gallery:
■ Heffel Vancouver ■ Heffel Calgary ■ Heffel Montreal ■ Heffel Toronto
p a C king m ethod
■ Soft packed (Cardboard) ■ Hard packed (Custom crate)
Option B
Direct shipment to address below via Heffel approved third-party carrier:
p roperty i nformation
p a C king m ethod
■ Soft packed (Cardboard) ■ Hard packed (Custom crate)
Heffel’s insurance does not cover Fedex shipments with glass. Framed works will be shipped without glass.
All customs duties, import taxes and related charges are the sole responsibility of the buyer. Heffel is not liable for any such fees or delays related to international shipping or customs clearance.
Your Property will be insured under Heffel’s insurance policy at a rate of 1.5% of the value. Heffel does not insure ceramics, frames or glass. Please review Section 3 of Heffel’s Terms and Conditions for Shipping for further information regarding insurance coverage.
■ Please DO NOT insure my Property while in transit. I accept full responsibility for any loss or damage to my Property while in transit.
payment i nformation
Option C
I do not require packing/shipping services provided by Heffel. I have reviewed Section B.4 of Heffel’s Terms and Conditions of Business and accept all consumer tax liabilities. I authorize for my Property to be retrieved on my behalf by:
Shipping costs will be provided for approval prior to shipment unless authorized below to proceed.
■ No shipping quotation necessary, please forward my Property as indicated above
s ignature
Signed with agreement to the above, Heffel’s Terms and Conditions of Business and Heffel’s Terms and Conditions for Shipping
Avenue
2 E 1 Tel 416-961-6505 · Fax 416-961-4245 shipping@heffel.com · www.heffel.com
Heffel Gallery Limited (“Heffel” or “Auction House”) provides professional guidance and assistance to have Property packed, insured and forwarded at the Property Owner’s expense and risk pursuant to Heffel’s Terms and Conditions of Business and Property Collection Notice, as published in the auction sale catalogue and online. The Property Owner is aware and accepts that Heffel does not operate a full-service fine art packing business and shall provide such assistance for the convenience only of the Property Owner.
Heffel agrees to ship your Property (the “Property”), as described by sale and Lot number or such other designation on the front side of this Shipping Authorization Form for Property, subject to the following terms and conditions:
1. If the Property has been purchased at an auction or private sale conducted by Heffel, Heffel will not pack and ship, or release the Property, until payment in full of the purchase price for the Property, including the Buyer’s Premium and any applicable sales tax has been received in funds cleared by Heffel.
2. All packing and shipping services offered by Heffel must be preceded by a completed and signed Shipping Authorization Form for Property which releases Heffel from any liability that may result from damage sustained by the Property during packing and shipping.
3. The Property Owner agrees that Heffel’s liability for any loss or damage to the Property shall be limited according to the following terms:
a) Lots are only covered by insurance under the Terms and Conditions of the Fine Arts Insurance Policy provided to Heffel if the Property Owner so authorizes;
b) The rate of the insurance premium payable by the Property Owner is $ 15 per $ 1,000 (1.5% of the value). The value of insurance is determined by the High Estimate value, or Purchase Price, or Appraised Value or for the alternative amount as listed and defined under Insured Value while in transit as specified in the Shipping Authorization Form for Property. Heffel will charge a flat rate fee of $ 40 should the value be less than $ 2,500;
c) The value for which a Lot is insured under the Fine Arts Insurance Policy provided to Heffel in accordance with Condition 3.b above shall be the total amount due to the Property Owner in the event of a successful claim being made against the Auction House;
d) With regard to loss or damage, however caused, not covered by Heffel’s Insurance Underwriters, the Property Owner hereby releases Heffel, its employees, agents and contractors with respect to such damage;
e) Heffel does not accept responsibility for Lots damaged by changes in atmospheric conditions and Heffel shall not be liable for such damage nor for any other damage to picture frames or to glass in picture frames;
f) In no event will Heffel be liable for damage to glass, frames or ceramics;
g) If your Property is damaged in transit, please contact the Shipping Department promptly and provide photographs of the damage, retain the shipping box and materials and gather all relevant information;
h) If the Property Owner instructs Heffel not to insure a Lot, it shall at all times remain at the risk of the Property Owner, who hereby undertakes to:
(i) Indemnify Heffel against all claims made or proceedings brought against Heffel 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 Heffel for all Expenses incurred by Heffel. Any payment which Heffel shall make in respect of such loss or damage or Expenses shall be binding upon the Property Owner and shall be accepted by the Property Owner as conclusive evidence that Heffel was liable to make such payment; and
(iii) Notify any insurer of the existence of the indemnity contained in these Terms and Conditions for Shipping
4. All such works are packed at the Property Owner’s risk and then must be transported by a Heffel approved third-party carrier. Prior to export, works 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 Property Owner.
5. Heffel shall have the right to subcontract other parties in order to fulfill its obligation under these Terms and Conditions for Shipping.
6. As per section B.4 of Heffel’s Terms and Conditions of Business, all or part of the Sales Tax may be exempt in certain circumstances if the Lot is delivered outside of the jurisdiction of sale of the Lot. 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 with shipping contracted by 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. The Buyer agrees and shall fully indemnify the Auction House for any amount claimed by any taxing authority due as Sales Tax upon the sale of the Lot, including any related costs, legal fees, interest and penalties.
7. All customs duties, import taxes and related charges are the sole responsibility of the buyer. Heffel is not liable for any such fees or delays related to international shipping or customs clearance.
p a C king o ptions
Soft packed
Works will be glass taped, plastic wrapped, cardboard wrapped and labeled. All fees are exclusive of applicable taxes.
• Works up to 40 united inches (height + width + depth = united inches) — $30 per work
• Works 41 to 75 united inches — $ 50 per work
• Works 76 to 150 united inches — $ 100 per work
• Works 151 to 250 united inches — minimum $ 150 per work
Hard packed (Custom Crate)
Custom crates are available when required or upon request. Works will be glass taped, plastic wrapped, cardboard wrapped, or divided foam packed in a custom wooden crate and labeled. All fees are exclusive of applicable taxes.
• Works up to 40 united inches (height + width + depth = united inches) — $150 per crate
• Works 41 to 75 united inches — $ 300 – $ 500 per crate
• Works 76 to 150 united inches — $ 500 – $ 750 per crate
• Works 151 to 250 united inches — minimum $ 750 per crate
International shipments as per international wooden packing restrictions may require ISPM 15 rules certified crating material to be used. Additional minimum $200 per crate.
s hipping t ransportation Carrier o ptions
Heffel may periodically offer consolidated ground shipments between Heffel’s offices in Vancouver, Calgary, Toronto and Montreal. Consolidated rates, in addition to the Packing Options outlined above, between our offices are as follows. All fees are exclusive of applicable taxes.
Regional (maximum range of two provinces)
• Works up to 40 united inches (height + width + depth = united inches) — $35 per work
• Works 41 to 75 united inches — $50 per work
• Works 76 to 150 united inches — $ 100 per work
• Works 151 to 250 united inches — minimum $ 150 per work
National
• Works up to 40 united inches (height + width + depth = united inches) — $35 per work
• Works 41 to 75 united inches — $ 75 per work
• Works 76 to 150 united inches — $ 150 per work
• Works 151 to 250 united inches — minimum $ 250 per work
A – G
Banting, Sir Frederick Grant 209 Carr, Emily 203, 205, 207, 211 Casson, Alfred Joseph (A.J.) 213, 216
H – L
Harris, Lawren Stewart 202, 227, 229 Jackson, Alexander Young (A.Y.) 210, 212, 215, 228 Krieghoff, Cornelius David 222, 224, 226
M – S
MacDonald, James Edward Hervey (J.E.H.) 214
Maillol, Aristide 220
Morrice, James Wilson 204, 218, 221, 223, 225 Seath, Ethel 201 Shore, Henrietta 219
T – Z
Thomson, Thomas John (Tom) 208 Varley, Frederick Horsman 217 Weston, William Percival (W.P.) 206
