A uction D et A i L s
Selling at Auction
Heffel offers individuals, collectors, corporations and public entities a full-service firm for the successful de-acquisition of their artworks. Interested parties should contact us to arrange for a private and confidential appointment to discuss their preferred method of disposition and to analyse preliminary auction estimates, pre-sale reserves and consignment procedures. This service is offered free of charge.
If you are from out of town or are unable to visit us at our premises, we would be pleased to assess the saleability of your artworks by mail, courier or e-mail. Please provide us with photographic or digital reproductions of the artworks front and verso and information pertaining to title, artist, medium, size, date, provenance, etc. Representatives of our firm travel regularly to major Canadian cities to meet with Prospective Sellers. It is recommended that property for inclusion in our sale arrive at Heffel at least 90 days prior to our auction. This allows time to photograph, research, catalogue and promote works and complete any required work such as re-framing, cleaning or conservation. All property is stored free of charge until the auction; however, insurance is the Consignor’s expense.
Consignors will receive, for completion, a Consignment Agreement and Consignment Receipt, which set forth the terms and fees for our services. The Seller’s Commission 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, plus applicable Sales Tax. Consignors are entitled to set a mutually agreed Reserve or minimum selling price on their artworks.
Buying at Auction
All items that are offered and sold by Heffel are subject to our published Terms and Conditions of Business, our Catalogue Terms and any oral announcements made during the course of our sale. Heffel charges a Buyer’s Premium 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.
If you are unable to attend our auction in person, you can bid by completing the Absentee Bid Form found on page 84 of this catalogue. Please note that all Absentee Bid Forms should be received by Heffel at least two (2) business days prior to the commencement of the sale. Bidding by telephone, although limited, is available. Please make arrangements for this service well in advance of the sale. Telephone lines are assigned in order of the sequence in which requests are received. We also recommend that you leave an Absentee Bid amount that we will execute on your behalf in the event we are unable to reach you by telephone. Digital Saleroom online bidding is available subject to pre-registration approval by the Auction House at least two (2) business days in advance of the auction.
Payment must be made by: a) Bank Wire direct to the Auction House’s account, b) Certified Cheque or Bank Draft, c) a Personal or Corporate Cheque, d) Debit Card and Credit Card only by Visa, Mastercard or Union Pay or e) Interac e-Transfer. Bank
Wire payments should be made to the Royal Bank of Canada as per the account transit details provided on your invoice. All Certified Cheques, Bank Drafts and Personal or Corporate Cheques must be verified and cleared by the Auction House’s bank prior to all purchases being released. Credit Card payments are subject to our acceptance and approval and to a maximum of $ 5,000 if the Buyer is providing their Credit Card details by fax or to a maximum of $ 25,000 per Lot purchased if paying online or if the Credit Card is presented in person with valid identification. A two percent (2.00%) Convenience Fee will apply to all Credit Card payments. In all circumstances, the Auction House prefers payment by Bank Wire.
General Bidding Increments
Bidding typically begins below the low estimate and generally advances in the following bid increments:
$ 50 – 300
$ 300 – 500
$ 500 – 2,000
$ 2,000–5,000
$ 25 increments
$ 50
$ 100
$ 250
$ 5,000–10,000 $ 500
$ 10,000–20,000 $ 1,000
$ 20,000–50,000 $ 2,500
$ 50,000–100,000 $ 5,000
$ 100,000–300,000 $ 10,000
$ 300,000–1,000,000 $ 25,000
$ 1,000,000–2,000,000 $ 50,000
$ 2,000,000–3,000,000 $ 100,000
$ 3,000,000–5,000,000 $ 250,000
$ 5,000,000–10,000,000 $ 500,000
$ 10,000,000+ $ 1,000,000
Framing, Conservation and Shipping
As a Consignor, it may be advantageous for you to have your artwork re-framed and/or cleaned and conserved to enhance its saleability. As a Buyer, your recently acquired artwork may demand a frame complementary to your collection. As a full-service organization, we offer guidance and in-house expertise to facilitate these needs. Buyers who acquire items that require local delivery or out-of-town shipping should refer to our Shipping Authorization Form for Property on page 87 and our Terms and Conditions for Shipping on page 88 of this publication. Please feel free to contact us to assist you in all of your requirements or to answer any of your related questions. Full completion of our shipping form is required prior to purchases being released by Heffel.
Written Valuations and Appraisals
Written valuations and appraisals for probate, insurance, family division and other purposes can be carried out in our offices or at your premises. Appraisal fees vary according to circumstances. If, within five years of the appraisal, valued or appraised artwork is consigned and sold through Heffel, the client will be refunded the appraisal fee, less incurred “out of pocket” expenses on a prorated basis.
lI ll IAN M Ayl AN d M C K IMM (b. 1925) took great joy in supporting Canadian artists. For Lillian, who celebrated her 100th birthday this year, art collecting was a personal pursuit, done for her own enjoyment. Always an inquisitive collector, she found the process of acquiring the work was as important as the work itself. She diligently researched the backgrounds, subjects and styles of the artists she pursued—always with a mind to celebrate the wealth and breadth of talent that Canadian art had to offer—and collected the artworks that touched her heart. The walls of her homes were filled with some of the finest examples from across Canadian art history, bringing enjoyment to her family over many years. The Lillian Mayland McKimm Collection is the result of a lifetime of curiosity and passion for the very best of Canadian art.
Lillian would rarely pass the opportunity to go into a gallery, and frequently she brought her children along to visits near at home or farther afield. Not being able to visit in person was not an impediment, and she spent many hours perusing the catalogues sent by Heffel Fine Art Auction House and galleries from across the country, including Madrona Gallery in Victoria. Heffel’s relationship with Lillian goes back more than forty years: Lillian’s first acquisition from Vancouver’s Heffel Gallery, then under the auspices of Kenneth G. Heffel, was a charming Joachim Gauthier oil purchased in July 1982. Lillian began to pursue her interest in Canadian art at an early age. An amateur painting practice during her teenage years led her to study fine art at the University of Toronto. There, Lillian took every art course she was able to, from drawing and painting—including, briefly, lessons under A.Y. Jackson—to sculpture and mosaics. Through her studies, she was introduced to the best of Canadian painting at the time. Admiring, researching and eventually acquiring art became part of the regular cadence of her life, a rhythm that would continue for decades.
Lillian’s university years were also when she met George F. McKimm, a young commerce student. They would marry in 1948 and soon after move to Calgary, where they would spend their leisure time hiking and skiing in the rugged Canadian Rockies. Lillian was originally from Calgary, and her family had a deep connection to the development of the city at the beginning of the century.
TOP LEFT :
Not for sale
t he Li LL i A n mAYLA n D m c K imm
Lillian Mayland McKimm, 1965
Portrait of Lillian Mayland pastel on sandpaper
Lillian’s father, Albert H. Mayland, often seen with Lillian and her sister Betty winning at the Calgary Horse Show, built his fortune through ranching, meat processing and oil. In 1926, he acquired the Belkin Brothers’ Calgary packing plant, renaming it the Union Packing Company, and soon turned to oil ventures, selling Mayland Oils to Imperial before founding Mercury Oils in 1930 to develop the Turner Valley oil fields. By acquiring Beaver Lumber’s Patron Oil stations and Arctic Oil, his “99” gasoline was distributed through more than 700 Prairie outlets. Lillian followed her father’s entrepreneurial drive for business with her quest and passion towards building her art collection. Her father was at one time among the city’s largest employers and owned substantial pastureland east of his packing plant. In 1962, fifteen years after Mayland’s passing, the east Calgary neighbourhood of Mayland Heights was named in his honour. (Mayland Heights is also the location of Heffel Calgary). Lillian’s abiding connection to Calgary and rural Alberta proved to be lifelong, and her affinity for the Rockies is evidenced in many of
the works she acquired. The Group of the Seven held particular importance to her, its members having painted across the country: as part of this sale, exceptional works by Lawren Harris, J.E.H. MacDonald, and A.Y. Jackson showcase the Rocky Mountains at their most dramatic.
From Calgary, Lillian and George moved to Vancouver Island, settling in Sidney, just north of Victoria, in 1971. There, the couple would add sailing to their recreational pursuits, exploring the landscapes and coastlines of British Columbia. Some of the finest masterworks from the McKimm Collection speak to the couple’s love of this area. Emily Carr’s Dancing Forest (lot 112) is a beautiful celebration of BC forests and an exemplar of Carr’s skill at rendering movement and energy. Entrance to Howe Sound (lot 110), a major rare, early canvas from E.J. Hughes, is a jewel of the collection. This work occupied a special place in the McKimm family home and can be ranked as one of the greatest works from the artist’s oeuvre.
Lillian and George McKimm at a dance contest aboard the SS Michelangelo in 1949, when they were declared the ship’s twist champions
Lillian Mayland McKimm with her children George Jr. and Anita at the Mayland residence on Durham Avenue, Calgary, during the wedding of Betty Mayland and William V. Ellis of Boston, Massachusetts, 1955
Some of the more interesting pieces on offer bridge the distance between Lillian’s dual loves of the coast and the mountains: several of W.J. Phillips’s best images of Canada (lots 101 – 104) are included here, as well as an extraordinarily rare Jock Macdonald sketch of Black Tusk in Garibaldi Park (lot 111). While images of the West comprise an affectionate core of her collecting, Lillian’s love of Canadian art was never limited to one area, and works reaching across the nation to Ontario, Quebec and the East Coast take pride of place within the present selection.
As the Canadian painting scene developed, Lillian continued to collect the best artists that were available. The post-Group generation are well represented with exceptional works by Sarah Robertson, Kathleen Daly Pepper and Paraskeva Clark. While landscapes and modernist subjects formed the core of her
interest, Lillian was never one to dwell on the past, and over the years her collection expanded to include emerging contemporary masters such as Jean Paul Riopelle, Mary Pratt, Jack Shadbolt and Bill Reid. (Watch for these works in upcoming online auctions.)
The Lillian Mayland McKimm Collection represents decades of passionate collecting driven by careful consideration and a love of Canadian art, featuring works of outstanding calibre from across the country. Heffel is incredibly proud to be continuing a relationship with the McKimm Collection started four decades ago by bringing these exceptional works to auction.
Lillian and George McKimm at their favourite restaurant, the Deep Cove Chalet in North Saanich, 1974
RIGHT :
The McKimm family at their home, Coste House, Christmas 1963
101 Walter Joseph (W.J.) Phillips
ASA CPE CSPWC RCA 1884 – 1963
Karlukwees, BC
colour woodcut on paper, signed and signed in the block, titled and editioned 85/100, 1929
10 1/4 × 12 1/2 in, 26 × 31.8 cm
Proven A nce
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Duncan Campbell Scott, Walter J. Phillips, 1947, reproduced page 27
Carlyle Allison, The Art of W.J. Phillips, 1970, the related 1927 watercolour and graphite sketch Karlukwees, Village Island and the woodcut reproduced, unpaginated
Michael J. Gribbon, Walter J. Phillips: A Selection of His Works and Thoughts, National Gallery of Canada, 1978, reproduced front cover, the 1927 watercolour and graphite sketch Karlukwees, BC reproduced page 64, the larger finished watercolour reproduced page 65, and a photograph of Walter J. Phillips holding an impression of the woodcut reproduced page 62
Roger H. Boulet, The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips, 1981, page 101, the related 1926 watercolour Myth of the Thunderbird (Karlukwees) reproduced page 101, the 1927 watercolour and graphite sketch Karlukwees, Village Island and the woodcut reproduced pages 125 and 126
Roger Boulet, Walter J. Phillips: The Complete Graphic Works, 1981, reproduced page 3
e xhibite D
National Gallery of Canada, Ottawa, Walter J. Phillips, 1978, same image
Art Gallery of Greater Victoria, To the Totem Forests: Emily Carr and Contemporaries Interpret Coastal Villages, August 5 – October 31, 1999, same image, catalogue #55.26.59
I N 1927, WA lTER J. P HI ll IPS took a sketching trip to the West Coast, visiting his sister at Alert Bay and then traveling by boat to the villages of Tsatsisnukomi, Mamalilicoola and Karlukwees, a small settlement on Turnour Island, at the entrance to Knight Inlet. He wrote, “We found another village—Karlukwees—more interesting than the others. The clean white beach had borrowed its shape from the new moon. . . . Karlukwees provided many
subjects for painting. In fact, never have I seen a more delectable sketching ground. I regretted leaving the coast, and I long to return.” This exquisite woodcut is considered to be among the finest in Phillips’s oeuvre. Technically superb, with a composition perfectly in balance, the delicate impression of falling snow cloaking the village in stillness creates an unforgettable atmosphere of peace. The woodcut is also a poignant record of the village, as little remains of it today. In 1929, Karlukwees, BC was awarded a gold medal for best colour woodcut by the Society of Arts and Crafts, Boston.
The National Gallery of Canada has two impressions of this woodcut in its collection.
e stim A te: $ 25,000 – 35,000
W.J. Phillips holding up his famous colour woodcut Karlukwees, BC , circa 1942
102 Walter Joseph (W.J.) Phillips
ASA CPE CSPWC RCA 1884 – 1963
Summer Idyll
colour woodcut on paper, signed, titled, editioned 86/100, dated 1926 and monogrammed in the block 18 × 12 in, 45.7 × 30.5 cm
Proven A nce
Leafhill Gallery, Victoria
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Walter J. Phillips, The Technique of the Colour Wood-Cut, 1926, page 39
Carlyle Allison, “W.J. Phillips: Artist and Teacher,”
The Beaver: Magazine of the North, Winter 1969, a related 1926 watercolour study reproduced page 10
Michael J. Gribbon, Walter J. Phillips: A Selection of His Works and Thoughts, National Gallery of Canada, 1978, page 38
Roger H. Boulet, The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips, 1981, page 71, reproduced page 71
Roger Boulet, Walter J. Phillips: The Complete Graphic Works, 1981, reproduced page 239
Maria Tippett and Douglas Cole, Phillips in Print: The Selected Writings of Walter J. Phillips on Canadian Nature and Art, 1982, pages xxvi and 30, reproduced on the dust jacket and page 31
Summer Idyll IS the largest print in Walter J. Phillips’s body of work and a stellar example of his mastery of the woodcut medium. Complex in its layering, it required more than 12 different blocks to execute. Phillips was a perfectionist, and because he was dissatisfied with his first run of the subject, he destroyed it entirely. In 1924, two years prior to the completion of this print, Phillips traveled to England to work with British printmaker William Giles, who was part of the colour print revival. There at the same time was Japanese printmaker Yoshijiro Urushibara, who possessed the accumulated knowledge of generations of his country’s printmakers, and Phillips learned much from him, calling him “the most important living technician” in the field of colour woodcut. From Urushibara, he learned to size paper correctly, which enabled him to print with softer and lighter-coloured papers. He began to use powdered colours applied with starch and stated he could then “produce at will that
enchanting bloom of colour which belongs to the best prints from Nippon, and which had been my admiration and despair.”
Phillips and his wife Gladys had six children, and he often used them as models in his work. The family took summer holidays at Lake of the Woods and Muskoka, and the children posed for him in these idyllic outdoor locations. In the summer of 1925, the Phillips family spent three months in a roomy cottage on Big Island, Lake Muskoka, surrounded by lush growth with a clear view looking west at the lake dotted with small islands. From here, they explored the surrounding area by boat. Phillips was greatly pleased by the beauty of the landscape, stating “of all the places I have seen none seemed to possess so many agreeable features.” Fortunately, this location was not plagued by the usual clouds of mosquitoes in Manitoba, making it possible to pose his models outdoors. In Phillips’s words:
The weather was glorious, the air was soft, the sandy shores inciting. . . . It was impossible to stay indoors. My young family disported itself in the water and along the shore all day long. Here was an exceptional opportunity. I made sketches of the children. . They made splendid willing models.
Back at home in Winnipeg, Phillips used his sketches and watercolours from the summer for prints such as Summer Idyll, which is considered one of his most accomplished woodcuts. In it, he depicts a blissful scene, capturing the innocence of childhood in his daughter’s delight with the natural world. Her gesture of reaching with open arms towards the flitting butterflies is utterly charming. From the soft mosses and lichens on the rocks to the peeling bark of the tree trunks, Phillips’s use of detail is exquisite, as is his sense of design and balance in his composition. The artist utilized the natural grain of one of his woodblocks to depict the ripples of the water in the lake.
In recognition of Phillips’s prowess in the medium, Summer Idyll was awarded the bronze medal for best colour woodcut by the Graphic Arts Club in Toronto in 1926. Today, Phillips is revered as one of Canada’s most accomplished printmakers, both for his virtuoso technique and for his gracefully styled landscapes. The appreciation of beauty in nature was deep in Phillips’s psyche, and he wrote about it, as noted by Maria Tippett and Douglas Cole, “with some of the sophistication of a botanist, zoologist, and geologist, and with all the sensitivity of an aesthete.” In all aspects, Summer Idyll is an extraordinary example of what is best in Phillips’s body of work.
e stim A te: $ 12,000 – 16,000
103 Walter Joseph (W.J.) Phillips
ASA CPE CSPWC RCA 1884 – 1963
York Boat on Lake Winnipeg
colour woodcut on paper, signed, titled, editioned 121/150 and monogrammed in the block, 1930
10 1/4 × 13 1/2 in, 26 × 34.3 cm
Proven A nce
Agghazy Gallery, Calgary
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Malvina Bolus, editor, The Beaver: Magazine of the North, Winter 1969, reproduced page 4
Roger H. Boulet, The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips, 1981, reproduced page 133 Roger Boulet, Walter J. Phillips: The Complete Graphic Works, 1981, reproduced pages 10 and 335
Maria Tippett and Douglas Cole, Phillips in Print: The Selected Writings of Walter J. Phillips on Canadian Nature and Art, 1982, page 49, reproduced unpaginated plate
THE yORK BOAT was a large wooden freight canoe-boat hybrid developed and used by the Hudson’s Bay Company. For over a century, it was an important way of transporting heavy goods between inland trading posts and York Factory, at the mouth of the Hayes River on Hudson Bay. The construction of these sturdy boats was based on an old Orkney design derived from the Viking longship. With the advent of the railroad their use died out, but they are still celebrated in a summer festival.
In 1928, Walter J. Phillips spent a week on the Lake Winnipeg steamboat Wolverine and reached Norway House, sketching buildings, figures and boats along the way. He wrote: “This northern route was taken by picturesque brigades of York boats—big open boats propelled by sweeps when the wind was insufficient to fill the square blanket sail. There are none left now. The last lay rotting on the banks of the Nelson; the sturdy frame that withstood the shocks of a passage of the rapids a thousand times, now yielding to the action of the weather.” This dynamic and historic image is considered to be one of Phillips’s finest woodcuts.
The National Gallery of Canada has two impressions of this woodcut in its collection.
e stim A te: $ 15,000 – 25,000
104 Walter Joseph (W.J.) Phillips
ASA CPE CSPWC RCA 1884 – 1963
Rainbow Falls
watercolour on paper, signed and on verso titled on the exhibition label 14 3/4 × 21 1/2 in, 37.5 × 54.6 cm
Proven A nce
Richardson Bros., Winnipeg Canadian Art Galleries, Calgary
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Michael J. Gribbon, Walter J. Phillips: A Selection of His Works and Thoughts, National Gallery of Canada, 1978, page 11
Roger H. Boulet, The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips, 1981, page 201
e xhibite D
Canadian National Exhibition, Toronto, organized under General Manager Elwood A. Hughes, circa 1930s – 1940s, label verso
WA lTER J. P HI ll IPS , born in England in 1884, would go on to become one of Canada’s most prolific and accomplished printmakers and painters as well as a beloved writer and teacher of art. He originally trained in watercolour—a highly venerated artistic medium in late-Victorian England. Phillips cites as a key role model Birmingham’s David Cox (1783 – 1859), who compelled him to pare back his landscapes to the most essential elements. He noted that Cox “held that the truth of effect is greater than the truth in detail and that a selective attitude toward nature should be adopted.”
Phillips would apply this restrained approach towards his ardent plein air exploration of Canada’s most majestic landscapes. In Rainbow Falls, an exceptionally crisp watercolour on paper, a noble beaver dam is framed by a ridge of jagged mountains and whipped clouds reflected in the breeze-generated ripples across the surface of the water below. According to Phillips, “Water is the most expressive element in nature. . . . The artist who paints moving water successfully arranges his lines and masses rhythmically so that ripples and waves seem wet, limpid and lively . . . representing an epitome of the whole movement.”
e stim A te: $ 12,000 – 16,000
CGP CSPWC G7 OC POSA PRCA 1898 – 1992
Store at Washago
oil on board, signed and on verso signed, titled and dated 1936
9 1/2 × 11 1/4 in, 24.1 × 28.6 cm
Proven A nce
Roberts Gallery, Toronto; A.C. Pathy, Toronto
Christie’s Canada, Montreal, April 27, 1972, lot 100
Galerie Walter Klinkhoff Inc., Montreal Masters Gallery Ltd., Calgary
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Paul Duval, A.J. Casson: His Life and Works, 1980, the related 1937 canvas The Village Store reproduced, unpaginated
W ITH THE R E d E NSIGN waving gently atop a general store in the small community of Washago, this work perfectly captures
A.J. Casson’s engagement with the imagery of rural Ontario. His depictions of rural buildings often sit near the centre of the composition, as seen here, and are presented with a portraitist’s eye for detail and character. Such architectural renderings, a central motif in his body of work, showcase his deft skills as a draughtsman while also expressing a warm and idyllic sentiment.
Washago is located on the northernmost tip of Lake Couchiching, which would have been about a two-and-a-half-hour drive from the artist’s Toronto home. He expanded this image into a larger studio work, The Village Store (1937), which includes details of local residents and a scattering of chickens pecking at the dirt road in the foreground. That canvas and this sketch beautifully convey Casson’s placement of humanity peacefully within nature. The tradition of landscape painting in Canada has often avoided the inclusion of figures or human-made objects, placing works like these in notable counterpoint. While Casson excelled at expressing the grandeur of nature, he was equally adept at placing his sympathies within human communities.
e stim A te: $ 25,000 – 35,000
105 Alfred Joseph (A J.) Casson
106 Alfred Joseph (A J.) Casson
CGP CSPWC G7 OC POSA PRCA 1898 – 1992
Street in Bobcaygeon
oil on board, signed and on verso titled on the frame and inscribed ST #F 260 , circa 1934
9 1/2 × 11 1/4 in, 24.1 × 28.6 cm
Proven A nce
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
A.J. Casson, My Favourite Watercolours, 1919 to 1957, 1982, page 86, and the related 1934 watercolour Bobcaygeon reproduced pages 85 and 87
T HE COMMUNIT y O f Bobcaygeon straddles the Bobcaygeon River, just to the southwest of Kawartha Highlands Provincial Park in southern Ontario. A.J. Casson visited the town in the mid-1930s with his wife, Margaret, renting a nearby cottage for
a week’s stay. His watercolour Bobcaygeon (1934) is reproduced in the artist’s 1982 book My Favourite Watercolours, 1919 to 1957, and his accompanying text notes how he was attracted to the town’s “sense of tranquility on that autumn day.” Judging by the details in that work and this lovely on-site oil sketch, it must have been early autumn, which would align with Casson’s tendency to take holidays from his day job at the commercial art firm Sampson-Matthews Ltd. during their quieter summer months. Street in Bobcaygeon displays multiple Casson hallmarks. One is his motif of rural buildings, many of which he viewed as vanishing into the past. Another is the deft use of green, said by fellow Group of Seven member A.Y. Jackson to be equaled only by British Columbia contemporary Emily Carr. Finally, this work also showcases Casson’s masterful expression of weather, palpably communicated in subtly stormy clouds and the long shadows of rustling trees in full leaf.
e stim A te: $ 25,000 – 35,000
107 Alexander Young (A.Y.) Jackson
ALC CGP G7 OSA RCA RSA 1882 – 1974
Rolling Hills Winter, Near St. Simon, Rimouski /
Winter Barns, Horse and Sleigh, St. Simon, Rimouski (verso)
double-sided oil on board, on verso signed, circa 1930
8 1/2 × 10 1/2 in, 21.6 × 26.7 cm
Proven A nce
Acquired directly from the Artist by Mr. Wilson, likely Victoria, British Columbia, 1944
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
I N THE EAR ly spring of 1921, A.Y. Jackson traveled to the Lower St. Lawrence. Although he was a native of Montreal, this was his first time visiting the older, smaller villages huddled against the river. Compelled by their charm and the formal effects of the weather and the clarity of the light, he would return here nearly every winter, alternating between the northern and southern shores and traveling across the various towns that populated the area. The village of Saint-Simon-de-Rimouski, nestled on the
south shore of the St. Lawrence, was the site of some of Jackson’s best scenes, providing ample opportunity to explore the ramshackle buildings and rolling landscapes that characterized rural Quebec.
The paintings made here reflect the quaintness of the countryside along the river and capture the sense of a rapidly disappearing way of life that attracted Jackson to the area: aging farm buildings anchoring themselves into the sweeping hills, fusing into the roil and tranquility of the natural rhythms of the surrounding landscape. While he would typically stay in Quebec until the late spring, it was in the depths of winter snow that he could best explore the qualities of form, colour and light that kept him returning to the region. This exceptional double-sided painting is a beautiful expression of Jackson’s affection and ease amid one of his most treasured locations.
Jackson would frequently use both sides of his sketch boards, and here both scenes showcase a Quebec landscape buried under lavender swirls of snow. The recto image is dominated by a rolling cascade of softly snowed-in hills, capped by plumes of cloud and a bright frosted sky. A cluster of farm buildings, half buried in the mounds of snow, huddles to the right of the composition. In the centre, tracing a thin route amid deep snowbanks, a small
red sleigh heads uphill. The road is marked by teetering electrical poles, marching perpendicular to the pillowy lateral ridges of the hills, while just the very tips of a snow-buried wooden fence mark the boundary of the foreground.
The verso depicts a different farm, perhaps later in the spring than the first scene: the snow has melted to expose more of the buildings and the browns of the distant trees, while here the fence more forcefully emerges from the angular shadows of the snowbanks. The buildings here seem more heavily worn by the season, the roofs sagged under the force of age, and we see the wood frame and weathered shingles of one in detail along the right edge. Again, a horse and sleigh centre the scene. The overall effect of these scenes is a sparkling, crisp view of the specific character of the Rimouski landscape: human and natural environments buried together under the silent stillness of winter.
This lot is accompanied by several exceptional archival items relating to the original sale of the work by Jackson to one Mr. Wilson (all of which can be viewed at Heffel.com), providing rare insight into the provenance and original intent of the painting: a handwritten note from Jackson to Wilson dated January 4, 1944; a cancelled Bank of Montreal cheque made out to Jackson in the purchase amount of $ 35, dated January 10, 1944; and a typed
letter from November 3, 1944, identifying the subject as a village near Rimouski. In the earlier letter, Jackson noted that the work had already been received by Wilson in time for Christmas a few weeks earlier.
Perhaps more interesting, the artist also suggested that even as late as 1943, he had intended to work up the sketch into a full canvas (though he does not clarify which scene). By that time, having earlier that summer taken up a teaching post at the Banff School of Fine Arts, he felt he did not have the time to do it justice, preferring to dedicate his focus to the nearby landscapes of the West (“mostly Alaska highway,” he says in the letter) rather than reflecting on his travels in Quebec.
The compositions here recall the romance and scale of some of Jackson’s best Quebec canvases, such as Laurentian Country, Winter (circa 1926) and The Red Barn (1929, both in the Thomson Collection at the Art Gallery of Ontario) or Winter Morning, St.-Tite-des-Caps (1937, McMichael Canadian Art Collection). As it stands, this exceptional double-sided painting represents a superb example of Jackson’s vision of rural Québécois life.
e stim A te: $ 50,000 – 70,000
108 Helen Galloway McNicoll
ARCA RBA 1879 – 1915
Washerwomen on the Loing / Washing Clothes
oil on canvas, signed and on verso inscribed 59 and variously and stamped with the Artist’s Estate stamp and Studio Helen G. McNicoll RBA ARCA , catalogue #46 indistinctly
29 × 34 1/2 in, 73.7 × 87.6 cm
Proven A nce
Emilie McNicoll
By descent to Dollie and May McNicoll
Morris Gallery, Toronto, 1976
Ross Woodman
Masters Gallery Ltd., Calgary
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Postcard from Miss Helen McNicoll (Moret-sur-Loing) to Master Charles McNicoll, 27 Reginald St., Derby, England, July 31, 1908, A Collection of the McNicoll Family’s Postcards, catalogue #1
Twenty-fifth Spring Exhibition, Art Association of Montreal, 1909, listed page 19
“The Art Gallery,” Montreal Daily Star, March 17, 1909, listed page 14
“Spring Art Exhibition,” Gazette (Montreal), March 24, 1909, listed page 9
“A Glimpse at the Pictures for the Spring Exhibition,” Montreal Daily Star, March 27, 1909, listed page 8
“Twenty-fifth Spring Art Exhibition at Art Gallery,” Montreal Daily Star, April 9, 1909, listed page 6
“Pictures That Are Being Talked About,” Montreal Daily Witness, April 15, 1909, listed page 3
Thirtieth Annual Exhibition, Royal Canadian Academy of Arts, 1909, listed page 15
“National Art Exhibition,” Evening Citizen (Ottawa), May 11, 1909, listed page 5
“More Examples of Canadian Art,” Evening Journal (Ottawa), May 19, 1909, listed page 6
Catalogue of Department of Fine Arts, Canadian National Exhibition, 1909, listed page 23, reproduced
“Canadian Art at the Exhibition,” Toronto Daily Star, September 7, 1909, listed page 9
Memorial Exhibition of Paintings by the Late Helen McNicoll, rBA, ArCA, Art Association of Montreal, 1925, titled as Washerwomen on the Loing, listed page 5
“Memorial Show of Work by Canadian: Sunlight Is Dominant Note in Paintings by Late Helen G. McNicoll, A.R.C.A.,” Gazette (Montreal), November 10, 1925, listed page 5
Helen McNicoll Oil Paintings from the Estate, Part Two, Morris Gallery, 1976, titled as Washing Clothes, listed and reproduced, unpaginated
James Purdie, “At the Galleries: McNicoll, Eastman,” Globe and Mail, February 21, 1976, listed and reproduced page 22
e xhibite D
Art Association of Montreal, Twenty-fifth Spring Exhibition, April 2 – 24, 1909, catalogue #240
Royal Canadian Academy of Arts, Ottawa, Thirtieth Annual Exhibition, May 6 – 21, 1909, catalogue #92a
Canadian National Exhibition, Toronto, Department of Fine Arts, August 30 – September 13, 1909, catalogue #140
Art Association of Montreal, Memorial Exhibition of Paintings by the Late Helen McNicoll, rBA, ArCA, November 7 –December 6, 1925, catalogue #46
Morris Gallery, Toronto, McNicoll Inventory, 1976, catalogue #59
Morris Gallery, Toronto, Helen McNicoll Oil Paintings from the Estate, Part Two, February 7 – 21, 1976, catalogue #3
I N WASherWomen on T he l o I ng / WAS h I ng Clo T he S , Helen McNicoll applies her celebrated skill with light and colour to the theme of women’s work. Painted in France, the canvas shows two women performing a mundane chore—laundry. The pair diligently wash clothing by hand on the banks of the river Loing, apparently unaware of the artist or viewer. McNicoll treats the figures and their task with a certain gravity, even as she uses the seemingly quotidian subject matter as an excuse to experiment with a distinctly modern approach to style.
Born in Toronto and raised in Montreal, McNicoll was one among a generation of ambitious Canadian artists who moved to Europe in pursuit of a professional artistic career. After receiving her first training at the Art Association of Montreal, McNicoll enrolled at the Slade School of Fine Art in London. Never content to stay in one place long, she traveled extensively throughout her career to locations such as Cornwall, Venice, Belgium and France. The artist often focused her brush on the labour of the rural girls and women she witnessed while on the move. While this subject matter was common among artists of the period, McNicoll’s treatment stands out for its lack of sentimentality.
In Washerwomen, for example, McNicoll highlights the physically difficult nature of the work. The women bend over to wash their items on a board, kneeling in three-sided wooden boxes
designed to keep themselves relatively dry. The straw under the legs of the smaller figure presumably granted only slight relief from this uncomfortable position. The glimpse we see of the nearer woman’s hands reveals they are rough and red from the long hours spent scrubbing. As a professional working artist herself, perhaps the theme of hard work resonated with McNicoll on a personal level.
While the laundry method portrayed in Washerwomen looks old-fashioned to a twenty-first-century eye, McNicoll depicts a surprisingly modern practice. In 1851, as part of an effort to prevent the spread of diseases such as cholera, France mandated that open-air washhouses be constructed in every town and village for women to do their families’ laundry. After boiling and soaping the clothes in the washhouse, the women rinsed their laundry in the local river, as seen here. On one hand, village laundries made a private household task alarmingly public: women quite literally “aired the dirty laundry.” But these spaces also afforded an opportunity for women to socialize, share news and build community bonds. McNicoll’s canvas A Welcome Breeze (1909, private collection)—painted and exhibited the same year as Washerwomen—represents the final step in this process. Now back at home, a woman hangs the clean laundry to dry in her backyard.
Washerwomen, like McNicoll’s other paintings of women and children working, shows the artist’s careful observation of the figure in different settings and poses. Here, the figures ground the balanced composition, drawing our eye before allowing it to wander into the background, across the rippling surface of the river to the village on the opposite shore. The clear shallow water and patches of green plant life allow McNicoll to play with the effects of sunlight on the scene. Capturing these transient effects was a fundamental tenet of the Impressionist approach she adopted while traveling abroad and would ultimately become the most celebrated quality of her oeuvre.
This canvas was painted in a moment of career success, one year after she won the Art Association of Montreal’s inaugural Jessie Dow Prize. As such, expectations for her next pictures were high among reviewers. Washerwomen, along with several other works, was exhibited at the 1909 annual exhibitions of the Art Association of Montreal, the Royal Canadian Academy of Arts and the Canadian National Exhibition. Several critics noted with interest that her submissions had come directly from France and explicitly praised the modernity of her work. One highlighted the pursuit of sunshine by artists like McNicoll: “Given this play of light, no object is too trivial, too unimportant for the consideration of the painter. Under the artist’s brush, a common subject vibrates, lives, smiles, and is radiant; revealing to one’s surprise the poetry hidden in everything.” 1 With this philosophy, McNicoll convinces the viewer that even laundry can be a thing of beauty.
We thank Samantha Burton, Assistant Professor (Teaching) of Art History at the University of Southern California, for contributing the above essay. In 2017, Burton authored the Art Canada Institute publication Helen McNicoll: Life & Work.
1. “Spring Art Exhibition,” Montreal Gazette, March 24, 1909, 9.
e stim A te: $ 250,000 – 350,000
109 Jean Paul Riopelle
AUTO CAS OC QMG RCA SCA 1923 – 2002
Nouvelles impressions 49
oil on canvas, initialed and on verso signed, titled on a label and inscribed 16693 and 2267-C -WOXYZ , 1978
9 1/2 × 7 1/2 in, 24.1 × 19.1 cm
Proven A nce
Galerie Maeght, Paris
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Yseult Riopelle, Jean Paul Riopelle Catalogue Raisonné, Volume 5, 1972 – 1979, 2020, reproduced page 287, catalogue #1978.051 H .1978
I N THE l ATE 1970s, Jean Paul Riopelle turned his focus to small-scale works, producing the Nouvelles impressions series consisting of around 100 small-format oil paintings. This sudden surge of productivity followed a knee injury that confined him to a seated position in the studio. The physical limitation changed the format of his work but not its intensity. Riopelle’s palette knife remained restless, his gestures just as forceful, though now concentrated within smaller frames.
Nouvelles impressions 49 is a striking example from this period. At just 9 ½ by 7 ½ inches, it is modest in scale but charged with energy. The surface feels alive—layered with thick, tactile swathes of paint, built up in fast, confident motions. Despite its size, the painting holds nothing back. Crimson reds push up against icy whites and deep blacks in a kind of rough harmony. The painting holds a tension between spontaneity and structure, a push and pull that gives the piece its rhythm. Everything here feels immediate but intentional.
For all its intensity, the work also displays a sense of precision— of Riopelle knowing exactly when to stop. Nouvelles impressions 49 captures his ongoing obsession with gesture, material and the natural world, distilled into one concentrated, unforgettable moment.
e stim A te: $ 30,000 – 50,000
110 Edward John (E.J.) Hughes
BCSFA CGP OC RCA 1913 – 2007
Entrance to Howe Sound oil on canvas, signed and dated 1949 and on verso titled, dated 1949 and inscribed LD [light damar varnish]
MED March 25 1948 / LD MED March 31 1948 / LD +ZC
[Zapon cellulose] THIN Oct 22 1948
32 × 36 in, 81.3 × 91.4 cm
Proven A nce
Mr. D.G. Hahn, Toronto
Ronald MacDonald, Toronto Masters Gallery Ltd., Calgary
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Exhibition of Contemporary Canadian Arts, Art Gallery of Toronto, 1950, listed page 9
Doris Shadbolt, E.J. Hughes, Vancouver Art Gallery, 1967, reproduced, unpaginated
Paul Duval, High Realism in Canada, 1974, reproduced page 113
Jacques Barbeau, The E.J. Hughes Album, Volume 1, The Paintings, 1932 – 1991, 2011, dated as 1948, reproduced page 10 and listed page 90
Robert Amos, E.J. Hughes Paints British Columbia, 2019, reproduced page 42
e xhibite D
Arts Centre of Victoria, Juried Exhibition, 1949
Art Gallery of Toronto, Exhibition of Contemporary Canadian Arts, March 3 – April 16, 1950, catalogue #70
Vancouver Art Gallery, E.J. Hughes: A Retrospective Exhibition, October 5 – 29, 1967, traveling to York University, Toronto, November 13 – December 8, 1967, catalogue #12
e n T r A n C e T o h o W e Sound marks a watershed moment in the career of E.J. Hughes. When Hughes returned from seven years’ service as an official war artist for Canada, he received the Emily Carr Scholarship, but the turmoil of wartime had coloured his paintings with a darkness that persisted for some years. Even a holiday subject like that of the canvas Qualicum Beach (1948, collection of Hart House, University of Toronto) was overshadowed
Howe Sound graphite cartoon, circa 1937 11 1/2 × 15 in, 29.2 × 38.1 cm
Sold by Heffel Fine Art Auction House, November 7, 1996, lot 149
Not for sale with this lot
with existential dread. But at last, with his next painting, our Entrance to Howe Sound, Hughes began to emerge into the light, his soul soothed by the balm of the forest and waters of his home territory.
The subject of Howe Sound had interested him for more than ten years. In about 1937, following his studies at the Vancouver School of Art, Hughes had taken a trip:
Orville Fisher’s mother owned a guest house at Grantham’s Landing, Howe Sound. [Paul] Goranson and I were visiting and the three of us [including Fisher] canoed to a nearby island to do some sketching. From there I made a pencil sketch of this small island. It was about 1937, just before I met my wife and before the San Francisco mural commission.
eD w A r D John ( e .J.) h ughes
I spent a long time making a black and white cartoon, reworking the tree forms, and made much use of an eraser to help form some of the lighter shapes.1
The drawing, which he titled Howe Sound, was a fully realized pencil study, showing a forested island with rocky shoreline, similar in composition to Lawren Harris’s Island—MacCallum Lake (1921).
Eleven years later, after seven years of military service, Hughes revisited the Howe Sound drawing. He was living with his wife Fern in a tiny house in Victoria’s Fernwood neighbourhood and had just completed a momentous summer trip north on Vancouver Island, sponsored by the Emily Carr Scholarship. The artist was beginning the slow evolution towards something like a naturalism, which he pursued for the rest of his career.
In preparation for the new painting, Hughes created a densely worked graphite study of the composition which, despite its tiny size, includes every detail of the final oil. His repeated application of the graphite pencil is such that the paper has become
embossed and somewhat reflective. When he finished the study he drew a grid over it, which helped him to enlarge it on his final canvas.
Much had changed in the artist’s life since those early days at Howe Sound. Using his new “primitive” manner he tilted the horizon, and the original impressionistic reflections on the calm water were replaced by stylized choppy waves. In place of the sunny day he painted a brooding sky, while the trees and beach on the near island are boldly illuminated. Doris Shadbolt identified the effect: “It is the faint disquiet we all experience in moments of revelation when familiar objects momentarily take on new dimensions of meaning; we cannot explain them but they can haunt us for a lifetime.” 2
Hughes added the narrative touch of a coastal steamship hurrying by in the middle distance and noted, “That boat was one of the Union steamships that stopped at small ports along the west coast of the mainland. Savary Island, where the Vancouver School of Art had their summer sketching camps, was among the stops of this boat. The boat is shown on its way to Gibsons Landing.” 3 In
E.J. Hughes with Entrance to Howe Sound (1949) in the backyard at 1341 Vining Street, Victoria
Photo: Fern Hughes
the distance on the left is a fishing boat like the ones Hughes had worked on at Rivers Inlet before the war.
Writing to his sister Zoe in the summer of 1949, Hughes let her in on his thoughts and methods:
I am still working and reworking my five or six pictures on hand. I know it is not the best thing for good painting, but it is the best thing for the paintings I am trying to make good at present. I am, and expect to be for a number of years, still groping and uncertain, hence rarely able to put down the right thing with the first coat of paint. On second thought, in one case at least, it is the best thing for painting. I mean in the work of Albert Ryder, the American who worked until his paint was one quarter of an inch thick and eventually deeply cracked, but whose work still steals the show in a roomful of paintings. I’m thinking of the Ryder in the Metropolitan Museum in New York.4
The influence of Ryder is certainly evident in Entrance to Howe Sound. “While doing the painting,” Hughes explained, “I altered the forms slightly to get a more solid primitive effect.” He continued: “There is a certain mannered formula to the foliage here that I developed for a while. It can also be seen in Farm Near Courtenay, B.C.” 5
In 1949, the Arts Centre, a predecessor to the Art Gallery of Greater Victoria, was renting a storefront on Broughton Street and held its first juried show there. Hughes was among a field of amateurs and, in an unsigned review for the Victoria Colonist, the writer, probably Audrey Johnson, noted that “textural quality and solidly modelled forms are stressed in an arresting oil canvas, Entrance to Howe Sound, by E.J. Hughes.” 6
Entrance to Howe Sound was not part of the original sale of paintings to Max Stern’s Dominion Gallery that Hughes contracted on July 31, 1951. Pat Salmon records it as entering the collection of D.G. Hahn of Toronto, probably at an earlier date. It was loaned to the Art Gallery of Toronto for their Exhibition of Contemporary Canadian Arts in 1950 and then to the Vancouver Art Gallery for the retrospective E.J. Hughes in 1967.
Though one of Hughes’s most appealing and dramatic paintings, Entrance to Howe Sound has not been seen as often as his contemporaneous canvases that belong to public institutions. Except for its appearance in Paul Duval’s book High Realism in Canada, it disappeared from sight for many years.
Yet the painting embodies much of what is best in Hughes’s art. Robert Ayre, writing about the artist’s first show in Montreal, put it brilliantly:
He not only looks at the Canadian scene but feels it, with passion, and puts it down note for note, leaf for leaf and wave for wave, with the love and concentration of a “primitive.” I can well believe it takes him two months to paint a picture— I almost said carve, because some of these works look as if they have been carved out of linoleum. The result of his passion and labor is tremendous intensity. The familiar world of the West Coast—the sea and the shore, the boats and the
eD w A r D John ( e .J.) h ughes
Compositional Study for Entrance to Howe Sound graphite on paper, 1948
Special Collections, University of Victoria
Not for sale with this lot
houses and the trees of the forest—takes on the strangeness and solidity of the world in the afterlife.7
Entrance to Howe Sound was painted at a time when Hughes’s future had not yet been secured by his contract with the Dominion Gallery and the artist put his utmost effort into this picture, striving to create something that would speak to the world in the most convincing visual language he knew. It was, in every way, a success.
We thank Robert Amos, artist and writer from Victoria, BC , for contributing the above essay. Amos is the official biographer of Hughes and has so far published five books on his work. Building on the archives of Hughes’s friend Pat Salmon, Amos is at work on a catalogue raisonné of the artist’s work.
1. Quoted in Pat Salmon, unpublished biography in the possession of the author.
2. Doris Shadbolt, “Ed Hughes—Painter of the West Coast,” Canadian Art Magazine, Spring 1953, 100.
3. Quoted by Pat Salmon, unpublished biography.
4. E.J. Hughes to Zoe Foster, August 15, 1949, Special Collections, University of Victoria.
5. Quoted by Pat Salmon, unpublished biography. Farm Near Courtenay, B.C. (1949) is in the collection of the Vancouver Art Gallery.
6. Victoria Colonist, November 23, 1949.
7. Robert Ayre, Montreal Star, October 27, 1951.
e stim A te: $ 1,250,000 – 1,750,000
111 James Williamson Galloway (Jock) Macdonald
ARCA BCSFA CGP OSA P1 1 1897 – 1960
Black Tusk oil on board, signed and dated 1934 and on verso titled on a label 12 × 15 in, 30.5 × 38.1 cm
Proven A nce
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
B ORN IN S COT l AN d, Jock Macdonald worked initially as a commercial designer at the firm of Morton Sundour in northern England. In 1925, he began working as a design teacher at Lincoln School of Art, England, but the next year applied for a job teaching at the Vancouver School of Decorative and Applied Arts (now Emily Carr University of Art + Design). His application successful, he arrived in Vancouver in September 1926.
Crucially for Macdonald, Group of Seven member Frederick Varley was also hired by the art school that year. It was with Varley’s encouragement and guidance that Macdonald began to paint and explore the landscape of coastal British Columbia. In short order, Macdonald became one of the most interesting artists working in the province. He exhibited his first canvas executed without Varley’s advice, Lytton Church, BC (1930, collection of the National Gallery of Canada), at the Royal Canadian Academy of Arts exhibition in Toronto in 1931.
For both Macdonald and Varley, the landscape of the Coast Mountains was a profoundly rich subject. They went on many sketching trips into the mountains, taking time from their teaching duties in Vancouver. Macdonald was particularly struck by the terrain and painted the region many times. His attention was captured by the form of the Black Tusk, a stratovolcano that dominates what is now Garibaldi Provincial Park, just south of Whistler, BC . Macdonald first essayed the peak in his important canvas The Black Tusk (1932, collection of the Vancouver Art Gallery). The mountain looms above a glacier field in the foreground and is silhouetted against a swirling pattern of cloud. The canvas, like the landscape in which the distinctive peak is located, is both dramatic and visually exciting. Of this landscape, Macdonald later wrote: “The lakes are pure emerald, the glaciers are
fractured with rose-madder, turquoise-blue and indigo crevasses, and the mountains are black, ochre and Egyptian Red.” 1
With a landscape so remarkable, it is little surprise that Macdonald returned to the subject two years later, when he executed two oil sketches depicting the peak. One of these works, The Black Tusk, Garibaldi Park (1934, collection of the Royal BC Museum and Archives), is a striking composition that silhouettes the Black Tusk against an active sky. The lower reaches of the mountain retain some snow but are largely bare. The jagged form of the Black Tusk, as in the 1932 canvas, is the dominant feature of the composition.
In the second 1934 sketch, our Black Tusk, Macdonald has radically adjusted the mountain vista. Instead of appearing as a large mass above a loosely defined landscape, the volcanic pinnacle is depicted as a slender peak rising above a richly articulated mountainscape. The peak itself seems to surge upward into the clouds. Macdonald has carefully defined the mountain through the use of shadow falling on the snow and the vertical rock forms, which forcefully lead the eye towards the peak’s summit. This strong upward movement is reinforced by the rock forms on the left side of the painting and by Macdonald’s decision to depict a thin line of rock atop the ridgeline on either side of the peak itself. The peak seems to thrust through this thin line of rock, giving the composition a sense of both energy and power.
Macdonald places the summit of the Black Tusk slightly to the centre right of the composition. This subtle decision on Macdonald’s part, together with the billowing clouds in the sky, gives the landscape a sense of movement that animates our perception of the mountain. This oil sketch, like the artist’s other images of the Black Tusk, is a remarkable testament to the skill and power of Macdonald’s artistic vision.
We thank Ian M. Thom, Senior Curator—Historical at the Vancouver Art Gallery from 1988 to 2018, for contributing the above essay.
1. J.W.G. Macdonald, “Vancouver,” in F.H. Varley: Paintings and Drawings, 1915 – 1954 (Toronto: Art Gallery of Toronto, 1954), unpaginated.
There is an unfinished landscape sketch on verso. The image can be viewed at Heffel.com.
e stim A te: $ 20,000 – 30,000
112 Emily Carr
BCSFA CGP 1871 – 1945
Dancing Forest oil on canvas, signed M.E. Carr and on verso inscribed 65 / S / A 359 / A 409 , circa 1931
18 1/8 × 14 1/8 in, 46 × 35.9 cm
Proven A nce
Warwick Gallery, Vancouver
Mary Margaret Young, Vancouver
Dr. William Bie, Vancouver
Kenneth G. Heffel Fine Art Inc., Vancouver, 1982
Michael Dick, Calgary
Masters Gallery Ltd., Calgary
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
E MI ly C ARR WAS , without question, the most important artist working in British Columbia during the first half of the twentieth century. Born in Victoria in 1871, Carr depicted the landscape of the province in a manner unlike any other artist. The richly forested terrain of southern BC , particularly that near her home in Victoria, became an important subject for her early in her career and provided artistic inspiration throughout her life. Early watercolour landscapes of the forests and later oils on both paper and canvas are amongst the most important of her works.
Some of Carr’s most eloquent paintings combine the coastal rain forest landscape with her other great interest, the totemic art of the First Nations people—the canvas Strangled by Growth (1931, collection of the Vancouver Art Gallery) is one of the finest examples of these two subjects being brought together. However, if one looks at the whole of Carr’s career, the forest landscape of her native British Columbia is the subject that dominates her artistic practice. Early watercolours such as Forest Scene (1909, collection of the Art Gallery of Greater Victoria) depict the forest with a
sensitivity and vision that no other artist working in the province could match.
Perhaps ironically for Carr, her emergence as an artist of national importance came with the presentation of her 1912 paintings of Northwest Coast First Nations totem poles in the Exhibition of Canadian West Coast Art: Native and Modern at the National Gallery of Canada in 1927. Indeed, at this important moment in her career, Carr had largely turned away from Indigenous subjects towards the forest landscape of BC . In 1928, Carr hosted the American artist Mark Tobey at her studio in Victoria. Carr and other artists such as Ina Uhthoff (1889 – 1971) worked with Tobey to intensify and refine their work. In the late twenties, Carr simplified her palette and turned her attention to the forest in an important series of charcoal drawings. These works developed into a new approach to the forest landscape, seen in the canvases of the following decade.
It is in forest landscapes such as Dancing Forest that Carr came closest to abstraction. The forms of these evergreens are greatly simplified but continue to reference the natural world. The masses of the trees have both a solidity and a dynamism that is striking. We are given a close-up view of thick, lush foliage and rocks that seems impenetrable, but if we give the image a little more attention, we can move into the dense landscape. Carr recognized the need for visual escape from this concentrated pattern of foliage and provides it with the patches of sky in the upper regions of the painting. It is, however, the forest that Carr wants the viewer to contemplate. As our focus turns to the massed forms of trees and rocks, we relish, with Carr, both the power and the beauty of the forest itself.
We thank Ian M. Thom, Senior Curator—Historical at the Vancouver Art Gallery from 1988 to 2018, for contributing the above essay. Thom contributed to the major exhibition catalogue From the Forest to the Sea: Emily Carr in British Columbia and is author of Emily Carr Collected
e stim A te: $ 400,000 – 600,000
113 Jean Paul Riopelle
AUTO CAS OC QMG RCA SCA 1923 – 2002
Sans titre
oil on canvas, signed and dated 1959 and on verso titled Abstraction and dated on the gallery label and inscribed X 140 (twice) / No 9 and variously 25 5/8 × 31 3/4 in, 65.1 × 80.6 cm
Proven A nce
Albert White Gallery, Toronto
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Yseult Riopelle, Jean Paul Riopelle Catalogue Raisonné, Volume 2, 1954 – 1959, 2004, reproduced page 335, catalogue #1959.074 H .1959
A 1956 PHOTOGRAPH by Robert Doisneau shows an appropriately Promethean Jean Paul Riopelle “plunged into a world of paint” during the genesis of his signature triptych Pavane (Hommage aux Nymphéas) (1954), now a keystone of the National Gallery of Canada’s permanent collection.1 The adventurous palette and textures of Sans titre (1959) likewise testify to the bold material explorations of this phase in Riopelle’s evolution. Its audacious abstraction carries forward the artist’s experimentation with the physical properties of paint in his earliest works inspired by the spontaneity of Quebec Automatisme. At the same time, Sans titre crystallizes what set Riopelle apart from the Montreal movement’s charismatic leader, Paul-Émile Borduas.
Riopelle’s abstractions emerged from a milieu of collective discovery that coalesced in late 1945, when fellow future Automatist Marcel Barbeau rented a modest shed on the alley running between the Montreal streets of Saint-Hubert and Resther. Both Riopelle and Jean-Paul Mousseau—then a clerk at the Librairie Tranquille, the bookstore where the Automatists’ incendiary manifesto Refus global would be launched in 1948—were invited to share this improvised studio. In a striking instance of necessity acting as the mother of invention, the trio would investigate the unique characteristics of enamel in the absence of adequate resources to purchase traditional artists’ supplies. Notably, they experimented with dripping commercial paints to produce “allover” compositions whose originality was only matched by the drip paintings of Jackson Pollock—who was, however, unknown to Riopelle at the time.2
After relocating to Paris in December 1946, Riopelle would extend this exploratory ethos in works of increasingly ambitious scale that, after 1949, were executed with the use of spatulas in lieu of the brush. While enhancing the artist’s manual control, these knife-like implements generated unpredictable colour harmonies. In utilizing the spatula to flatten masses of paint applied directly to canvas from the tube, chance consequently came to play a decisive role in these “mosaic” paintings—so named for their tile-like blocks of colour. Sans titre is a powerfully argued
example of this signature phase, which art historian FrançoisMarc Gagnon described as “the period most prized by collectors to the present day.” 3
The spatula’s aleatory effects boldly broke with the Surrealistinspired concerns of Quebec Automatisme as articulated by Borduas, for whom even unpremeditated acts of painting unfolded an unconscious logic that was never purely based on chance. Such methodological tensions had already characterized Riopelle’s student days as a pupil of Borduas while attending the storied École du meuble de Montréal. From the start, Borduas was resistant to the plastic orientation of Riopelle’s experiments, which was at odds with the psychological wellsprings of his own art. Nonetheless, the two artists would find common cause in the aforementioned defining document of Quebec Automatisme, Refus global—a publication initially proposed by Riopelle in answer to the competing manifestos of post-war Surrealism that he encountered in Paris.4 The only Canadian signatory of the André Breton–aligned, anti-Stalinist Rupture inaugurale (1947), Riopelle still cautioned his Canadian colleagues against simply adding their names to this Surrealist statement of principles, instead urging the group to “make a manifesto of our own.” 5 Championing this vision of an independent manifesto, Borduas contributed the titular essay while Riopelle supplied its vivid cover art.
Whereas Borduas preferred the term “non-figuration” to describe the residual spatial cues characteristic of his own abstractions,6 Sans titre is typical of Riopelle’s more radical break with pictorial convention. In contrast to the fan-like impasto of Pavane, Riopelle’s homage to the late Water Lilies of Monet (in the collection of the National Gallery of Canada), the loosely orthogonal application of paint in Sans titre evokes that paragon of total abstraction, the grid. While Borduas rejected the rationality associated with that figure, Riopelle’s forceful spatula marks achieve a subtle equipoise of expressionism and impersonality that anticipates the “collapsed” grid art historian Briony Fer invokes when describing the contemporary abstractions of Gerhard Richter.7
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.
1. François-Marc Gagnon, Jean Paul Riopelle and the Automatiste Movement (Montreal: McGill-Queen’s University Press, 2020), 103.
2. See ibid., 174–75, 181.
3. Ibid., 157.
4. See ibid., 64–66.
5. Riopelle quoted in Lise Gauvin, “Entretien avec Riopelle: Les artistes sont-ils révolutionnaires?,” Vie des arts, no. 161 (Winter 1995): 15.
6. See François-Marc Gagnon, Paul-Émile Borduas: A Critical Biography (Montreal: McGill-Queen’s University Press, 2013), 200.
7. Briony Fer, On Abstract Art (New Haven, CT : Yale University Press, 1997), 158.
e stim A te: $ 250,000 – 350,000
114 Lawren Stewart Harris
ALC BCSFA CGP FCA G7 OSA TPG 1885 – 1970
Lake Superior Sunrise (Lake Superior Sketch XXIII ) oil on board, on verso signed, titled and inscribed with the Doris Mills inventory #4/23, circa 1925
12 × 15 in, 30.5 × 38.1 cm
Proven A nce
McCready Gallery, Toronto
Glen Edwards, Calgary
A.K. Prakash & Associates Inc., Toronto
John Byrne, Calgary
Masters Gallery Ltd., Calgary
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Doris Mills, L.S. Harris Inventory, 1936, Lake Superior Sketches, Group 4, catalogue #23, with a drawing by Hans Jensen, location noted as the Studio Building
W HEN f E ll OW ARTIST Emily Carr visited Lawren Harris’s studio in 1933, she described it as “wonderful, all quiet and grey, nothing unnecessary. . . . It is a place to invite the soul to come and gather the riches of thought, and ponder over them and try to express them, an orderly place of an orderly mind.” 1 This description of Harris’s methods is one of the few contemporary insights we have into his practice but provides excellent context for how the artist was able to translate the complex richness of the Canadian landscape into immediately recognizable and poignant visions of solitude and beauty, such as seen here in Lake Superior Sunrise (Lake Superior Sketch XXIII)
The north shore of Lake Superior was fertile ground for Harris’s artistic vision, and between 1921 and 1928, he visited the area almost every autumn to sketch in both oil and pencil, capturing the enthralling scenes he encountered where the dramatic headlands met the Great Lake. For many of those trips, he camped, alongside various fellow artists from the Group of Seven, in the region that is present-day Neys Provincial Park. Here they explored lakeshores, hilltops and fishing villages to find the subject matter that would seed the development of a new artistic movement and an expanded appreciation for Canadian landscape painting.
Given the size of this work, this oil sketch can be dated from one of Harris’s later trips, between 1925 and 1928, as before then
he worked on slightly smaller boards (about 10 ½ × 13 ½ inches). In these final trips to Lake Superior Harris was at the pinnacle of his landscape period, with his artistic ideals harmonizing with the abundance of material he found before him. This particular scene, looking down from a hill on the Coldwell Peninsula over Detention Island, bathed in the morning light, was especially resonant for the artist. He painted at least six sketches of it and further worked up several of them into full-scale canvases. These sketches include Lake Superior Sunrise (Lake Superior Sketch XXIII), which was the direct source for the canvas North Shore, Lake Superior (31 ¼ × 40 ½ inches), recently sold at auction. Oil panels that served as sources for canvases are always of particular importance in the artist’s catalogue, as they often represent the compositions Harris himself felt had the most potential and impact. This sketch is an excellent example of this, as its cohesion of form and colour and the elegant simplicity of the composition align perfectly with Harris’s pursuit to refine his works to their most foundational elements. Of his artistic journey Harris wrote:
My work was founded on a long and growing love and understanding of the North, of being permeated with its spirit. It was an unfolding of the heart itself through the effect of environment, of people, place, and time. No man is profound enough to explain fully the nature of his own inspiration—he generally attributes it to a thousand and one extraneous things. To the artist, his art is adventure in which he seeks to regain unity with nature and the knowledge of his own immortal being.2
In viewing works like Lake Superior Sunrise (Lake Superior Sketch XXIII), we are privileged to accompany Harris on this adventure and glimpse the illumination he found in this austere yet abundant landscape.
We thank Alec Blair, Director/Lead Researcher, Lawren S. Harris Inventory Project, for contributing the above essay.
1. Emily Carr, Hundreds and Thousands: The Journals of Emily Carr (Toronto: Clarke, Irwin, 1966), 78.
2. Quoted in Bess Harris and R.G.P. Colgrove, eds., Lawren Harris (Toronto: Macmillan of Canada, 1969), 7.
e stim A te: $ 500,000 – 700,000
115 James Edward Hervey (J.E.H.) MacDonald
ALC CGP G7 OSA RCA 1873 – 1932 Lake O’Hara, Rocky Mountains oil on board, signed and dated 1929 and on verso signed, titled, dated and inscribed variously 8 1/2 × 10 1/2 in, 21.6 × 26.7 cm
Proven A nce
Gladys Myrtle Roberts, Toronto Canadian Art, Sotheby’s Parke Bernet (Canada) Inc., November 2, 1982, lot 57 Masters Gallery Ltd., Calgary Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Stanley Munn and Patricia Cucman, To See What He Saw: J.E.H. MacDonald and the O’Hara Years, 1924 – 1932, 2024, reproduced page 51
B ORN IN dURHAM , England, in 1873, J.E.H. MacDonald moved to Canada with his family in 1887. The family settled in Hamilton, Ontario, where MacDonald began his artistic training. In 1889, the family moved to Toronto, where the young artist and designer continued his education at the Central Ontario School of Art and Design. He embarked on his artistic career working as a designer with the firm Grip Ltd. in Toronto. He began his independent career as an artist in 1911, executing commercial projects to supplement his income. A friend of Lawren Harris, whom he had met in 1912, MacDonald produced a renowned series of paintings during the First World War, principal among them The Tangled Garden (1916, collection of the National Gallery of Canada). A distinguished artist and designer, he was the most senior member of the Group of Seven when it was founded in 1920.
MacDonald first visited the Rocky Mountains in the summer of 1924. He was so beguiled by the magnificence of the mountain landscape that he returned every summer until 1930. The sketches MacDonald produced in the Rockies were intended as source material for larger canvases, executed in his Toronto
studio. These sketches therefore have an immediacy and vitality that reflects his direct confrontation with the landscape.
MacDonald was particularly drawn to the rich forms and colours of the Rocky Mountains in the region of Lake O’Hara (now part of Yoho National Park). Some 2,020 metres in elevation, Lake O’Hara is an exceptionally beautiful glacial lake, and MacDonald returned to the area repeatedly because these alpine sketching expeditions refreshed him, body and soul. Importantly, the mountains and their shifting forms and climate provided him with a wealth of artistic subjects. Struck by the vivid colours of this landscape, he wrote: “Let any one of them conjure up the finest colour your mental eye can picture, you cannot overdo it. Rainbow-green seems to me the best. It has the soft quality of light and change and variation of intensity which comes nearest to the feeling of the mountain lake colour.” 1
Lake O’Hara, Rocky Mountains was painted in 1929, during MacDonald’s sixth sketching trip in the Rockies. By this juncture MacDonald had confidence in his understanding of the changing light patterns within the Rockies.
The painting presents a remarkable vista of the richly varied waters of Lake O’Hara backed by the tree-clad mountains of the far shore. Behind these are the magnificent forms of larger mountains, devoid of trees but still retaining glacial snow. The subtle shift of colour on the farthest peaks and the fact that the mountains on the right are truncated by the edge of the board suggest both the grandeur and enormous scale of this vista.
The power of the landscape is emphasized by MacDonald’s decision to introduce us to this mountain landscape so abruptly. A quickly executed patch of foliage at the lower left of the composition provides a brief introduction to this magnificent view. The rich variety of form and colour beyond gives the eye much to contemplate. Look, for example, at the varied surface of the lake itself. One cannot, as MacDonald surely intended, be anything but awed by the spectacle of Lake O’Hara in its mountain setting.
1. J.E.H. MacDonald, “A Glimpse of the West,” The Canadian Bookman 6, no. 11 (November 1924): 229.
e stim A te: $ 80,000 – 120,000
116 Lawren Stewart Harris
ALC BCSFA CGP FCA G7 OSA TPG 1885 – 1970
Mountain Sketch (LSH #11)
oil on board, signed and on verso titled on a partial label, inscribed with the Doris Mills inventory #7/78 and stamped Lawren Harris LSH Holdings Ltd. 11, circa 1930 12 × 15 in, 30.5 × 38.1 cm
Proven A nce
Collection of the Artist l SH Holdings Ltd., Vancouver Estate of the Artist
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Doris Mills, L.S. Harris Inventory, 1936, Rocky Mountain Sketches, Group 7, catalogue #78, with a drawing by Hans Jensen, location noted as the Studio Building
mounTAIn SKeTCh (lSh #11) is a captivating painting, a brilliant synthesis of Lawren Harris’s fascination with mountains and his exploration of abstraction. Intense light pours across the moody composition, with rich, electric blues radiating from the bold forms. This work is a confident and assured exploration of the foundations of landscape by one of Canada’s most celebrated artists.
Beginning in 1924 with his first trip to Jasper National Park, Harris’s artistic interest in mountain shapes and forms grew rapidly, and this interest persisted throughout his long and diverse career. Repeated visits to the Rocky Mountains in the late 1920s gave him the opportunity to explore the spectacular peaks, radiant lakes and ever-changing, dramatic weather conditions this magnificent region has to offer, and he painted over 175 oil sketches of the scenes he encountered there. As his visits progressed and his style evolved, Harris increasingly began to abstract elements of his landscape paintings, a process that culminated, in the mid-1930s, with a complete reinvention of his approach to art, including the newfound conviction that nonobjective abstraction was the way forward.
In 1936, writing to fellow artist Emily Carr, who had some trepidation about this approach, Harris proclaimed:
There is no doubt in my mind that it enlarges the range, the scope of painting enormously. It replaces nothing. It adds to the realm of painting. It makes possible an incalculable range of ideas that the representational painting is closed to. It increases the field of experience, enlarges it and that is
surely all to the good. As for me, there is for the present no other way.1
Following this epiphany, the expression of Harris’s fascination with mountains transformed from specific representations of real-world locations into increasingly abstracted depictions of the spirit and experience of being amidst these awe-inspiring landscapes.
In Mountain Sketch (lSh #11) we find Harris pushing to the far limits of his landscape work, generalizing a mountain scene to its most idealized form, though still tethered to the natural world. The result is a pristine and evocative depiction of the mountains. Highly simplified, it bears resemblance to the scenes near Lake O’Hara, one of the most awe-inspiring regions of the entire country, but Harris has pushed beyond geographic specificity, stripping the far mountains of any recognizable topography. This process of abstraction reflects the artist’s sentiment that
our spirits emerge into purer creative work wherein they change the outward aspect of nature, alter colours, intensify forms, purge rhythms of pettiness, and seek to enable the soul to live in the grand way of certain wondrous moments in the North when the outward aspect of nature becomes for a while full luminous to her informing spirit—and man, nature, and spirit are one.2
With deliberation and focus, Harris has transformed the inspiration of a specific time and place in the Rocky Mountains into a more universal and essential work of art. It is one of his first definite steps towards pure abstraction, which he would embrace by the mid-1930s, though the presence of mountains, now completely severed from their real-world context, would still play a central role. Masterful works including Mountain Experience (circa 1946, sold by Heffel May 23, 2024) and Northern Image (1952, sold by Heffel May 25, 2023) are a continuation of the path Harris began with his first mountain sketches in 1924, and Mountain Sketch (lSh #11) represents a critical link between these two important bodies of work in Harris’s catalogue.
We thank Alec Blair, Director/Lead Researcher, Lawren S. Harris Inventory Project, for contributing the above essay.
1. Harris to Emily Carr, May 3, 1936, Emily Carr Papers, MS 2181, box 2, folder 3, BC Archives, Victoria.
2. Quoted in Bess Harris and R.G.P. Colgrove, eds., Lawren Harris (Toronto: Macmillan of Canada, 1969), 61.
e stim A te: $ 500,000 – 700,000
117 Alexander Young (A.Y.) Jackson
ALC CGP G7 OSA RCA RSA 1882 – 1974
Exshaw, Alberta
oil on board, signed and on verso signed, titled and inscribed
Studio Bldg, Severn St., Toronto and 1081 , circa 1946
10 1/2 × 13 1/2 in, 26.7 × 34.3 cm
Proven A nce
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
A.y. J ACKSON f IRST painted in Alberta in 1937, and he was captivated by the province’s expansive prairies and rolling foothills. When a teaching position opened at the Banff School of Fine Arts in 1943, he leapt at the opportunity. Jackson taught summer sessions in Banff for over six years and often extended his stays
into the fall, capturing the landscape’s transformation from lush greens and vivid canola to subtle gradations of ochre and straw. Alberta became a central focus of Jackson’s work in the mid to late 1940s, and this vibrant oil sketch, Exshaw, Alberta, exemplifies the richness and immediacy of the painter’s Alberta works. At the centre of the panel is Exshaw’s main street, Portland Avenue. Once a focal point of the town, the street was partially demolished in the mid-1970s. St. Bernard’s Church and other colourful structures sit nestled within the grassy valley, while the barren peak of Mount Fable rises prominently beside the snowy ridges of the Fairholme Range. Heavy purple clouds loom behind the mountains, their fluid shapes accentuating the jagged ridgeline. Exshaw, Alberta is a rich and evocative oil sketch, in which Jackson captures the rugged intrigue of Alberta and its landscape.
e stim A te: $ 20,000 – 30,000
118 Alexander Young (A.Y.) Jackson
ALC CGP G7 OSA RCA RSA 1882 – 1974
Cariboo, BC
oil on canvas, signed and on verso titled, dated circa 1945 and inscribed variously 21 1/8 × 26 1/4 in, 53.7 × 66.7 cm
Proven A nce
Important Canadian Paintings, Drawings, Watercolours, Books & Prints of the 19th & 20th Centuries, Sotheby’s & Co. (Canada) Ltd., May 12, 1975, lot 67, titled as Cariboo Country Winchester Gallery, Victoria Lillian Mayland McKimm Collection, Calgary then Vancouver Island
I N 1943 , A.y. J ACKSON accepted a summer teaching position at the Banff School of Fine Arts, and he returned to Banff nearly every summer for the next six years. Ever eager for new sketching
sites, he often set out at the close of term, venturing across southern Alberta into the interior of British Columbia, staying with friends and students along the way. The Cariboo region of BC , steeped in gold rush history, proved especially captivating to Jackson with its rolling grasslands, old ranches, alkaline lakes and creekside groves.
In this charming canvas, Jackson deftly translates his signature style to the distinctive contours of the Cariboo. Sun-warmed slopes, gestural swathes of scrub and verdant poplars undulate across the expansive vista, crossed by split-rail fencelines and the serene, pastel waters of the creek, while the enduring motif of the solitary spar tree stands resolutely in the meadow. Towering cumulus clouds in the background capture the Interior’s wideopen skies. With his fluid brush-strokes and tonal palette, Jackson creates a lively testament to the rich and varied landscape of the Cariboo region.
e stim A te: $ 40,000 – 60,000
119 Kathleen Frances Daly Pepper CGP OSA RCA 1898 – 1994
Quebec Village oil on board, signed and on verso titled and dated 1935 on the gallery label 14 1/2 × 16 5/8 in, 36.8 × 42.2 cm
Proven A nce
A.K. Prakash & Associates Inc., Toronto Masters Gallery Ltd., Calgary
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
H IGH ly TRAINE d AN d well traveled, Kathleen Daly Pepper honed her aesthetic approach through her studies at the Ontario College of Art with J.W. Beatty, J.E.H. MacDonald and Arthur Lismer. She also studied at the Académie de la Grande Chaumière in Paris, and later at the Parsons School of Design in New York. From 1934 onward, she and her husband, fellow artist George Pepper, were long-term tenants at the Studio Building in Toronto. While her work retains the influence of the Group of Seven, particularly that of close friend A.Y. Jackson, Pepper brought her own atmospheric vision to her compositions, defined by her singular mastery of contrast, astute sense of design, and sensitivity to colour.
In this vibrant sketch, we peer from beneath a shadowed overhang onto a sunlit village rendered in a rich palette of earthen and jeweled tones. The winding fence at right traces the knolls and ridges of the verdant field, its lines mirrored in the sloping rooftops of quaint buildings along the meandering path. Charming everyday elements enliven the townscape: a lone figure ambles along the footpath while wild turkeys wander lazily in the road, creating a rustic vignette that exemplifies Pepper’s refined skill and lyrical eye.
e stim A te: $ 10,000 – 15,000
120 Sarah Margaret Armour Robertson
BHG CGP 1891 – 1948
Sunflowers, Frankville, Ont.
oil on board, signed and on verso signed, titled, dated September 1932 and inscribed variously 10 × 12 in, 25.4 × 30.5 cm
Proven A nce
Mrs. Nora de Pencier, Owen Sound
Important Canadian Paintings, Drawings, Watercolours, Books & Prints of the 19th & 20th Centuries, Sotheby’s
Parke Bernet (Canada) Inc., October 18, 1976, lot 52
Private Collection
Important Canadian Paintings, Drawings, Watercolours, Books & Prints of the 19th & 20th Centuries, Sotheby’s
Parke Bernet (Canada) Inc., May 15, 1978, lot 198
Galerie Walter Klinkhoff Inc., Montreal Masters Gallery Ltd., Calgary
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
e xhibite D
Art Gallery of Hamilton, catalogue #23, label verso Art Gallery of Toronto, January 17, 1935, loaned by Mrs. de Pencier
Art Gallery of Toronto, February 7, 1957, loaned by Mrs. de Pencier
Tom Thomson Memorial Gallery and Museum of Fine Art, Owen Sound, label verso
Elsie Perrin Williams Memorial Art Museum, London, Ontario, catalogue #22, label verso
A CE l EBRATE d MEMBER of both the Beaver Hall Group and the Canadian Group of Painters, Sarah Robertson is best known for her vibrant landscapes. She studied at the Art Association of Montreal under William Brymner, Maurice Cullen and Randolph Hewton, developing a singular visual language marked by refined form, confident brushwork and an expressive palette. Deeply connected to her surroundings, Robertson found inspiration in the idyllic settings around her home and on sketching trips with fellow artists. Though financial strain, an ailing mother and ongoing health concerns left Robertson little time to paint—she produced only a few canvases a year—she remained resilient, spirited and was beloved by her peers.
This bold sketch exemplifies Robertson’s sensitivity to colour and form. Glimpsed through a window onto a lush backyard of rich ochres, verdant greens and cool pastels, the vignette unfolds with lyrical rhythm: curving rows of vegetables against a sloping fence, quaint houses bathed in luminous late-summer light, and a languid sunflower stretching sunward. Here, Robertson creates a layered composition rich in atmospheric detail, transforming the everyday kitchen garden into something vital and radiant.
e stim A te: $ 8,000 – 12,000
121 Paraskeva Plistik Clark
CGP CSPWC OSA RCA 1898 – 1986
Deck of Cards
oil on canvas, signed and dated 1943
34 × 20 1/8 in, 86.4 × 51.1 cm
Proven A nce
Acquired from the family of the Artist by J.S. MacLean, Toronto
Masters Gallery Ltd., Calgary
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Christine Boyanoski, Paraskeva Clark: Life & Work, Art Canada Institute, 2016, page 61
e xhibite D
Canadian Group of Painters, 1943
I am primarily after reality—after the pulsation of life of all objects around me to be painted.
—PARASKEVA Cl ARK , 1949
H AVING ARRIVE d IN Toronto by way of Paris in 1931, Russian-born Paraskeva Clark was soon embraced by the city’s thriving art world, exhibiting with the Ontario Society of Artists and becoming a member of the Canadian Group of Painters in 1936. Trained at the Free Art Studio in Petrograd under the influential Kuzma Petrov-Vodkin, Clark developed a bold modernist style shaped by formalist-realist foundations, structural brushwork and a keen sensitivity to the inherent dynamism of her everyday surroundings.
In this still life, her teacher’s early influence is evident in the elevated perspective, vibrant primary palette, and interplay of compressed space and multiple viewpoints. Clark’s distinctive sculptural forms and richly textured surfaces—achieved through experiments with dry-brush techniques and varied impasto— animate the composition. The tactility of each object is precisely rendered: from the densely patterned pineapple rind and decorative porcelain atop a reflective table to the crimson leather pumps and raking shadows across the plush cobalt carpet. Meanwhile, a set of playing cards, captured mid-fall, cascades off the table’s edge, infusing the intimate scene with a sense of chance, immediacy and vitality.
e stim A te: $ 10,000 – 15,000
122 John Goodwin Lyman
CAS CGP EGP FRSA 1886 – 1967
La jupe verte
oil on canvas, signed and on verso titled, inscribed Carol and with the Dominion Gallery inventory #E 8460 and variously and stamped Dominion Gallery Montreal, 1963
30 × 24 in, 76.2 × 61 cm
Proven A nce
Dominion Gallery, Montreal
Acquired from the above by Masters Gallery Ltd., Calgary, 1993
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Guy Viau, Lyman, Dominion Gallery, 1963, listed, unpaginated
Guy Viau, John Lyman, Octogenarian: A Retrospective Tribute, 1966, listed, unpaginated
Louis Dompierre, John Lyman, 1886 – 1967, Agnes Etherington Arts Centre, 1986, listed page 211 in catalogue of the 1966 exhibition
e xhibite D
Dominion Gallery, Montreal, Lyman, September – November 1963, catalogue #2
Musée du Québec, Quebec City, John Lyman, Octogenarian: A Retrospective Tribute, November 23 – December 19, 1966, traveling to the Musée d’art contemporain de Montréal, January 10 – February 5, 1967, catalogue #154
PAINTE d IN THE final years of John Lyman’s distinguished career, La jupe verte exemplifies the artist’s lifelong commitment to the harmonious interplay of form and colour. A seminal figure in Canadian modernism and founder of the Contemporary Arts Society in Montreal, Lyman was deeply invested in defining the human figure within a modernist framework—an endeavor he returned to repeatedly throughout his career.
In La jupe verte, a quiet intensity emerges from the poised stillness of the sitter and the chromatic tension between the deep green of the skirt and the muted tones of the surrounding interior. The composition resonates with the influence of Henri Matisse, with whom Lyman shared both a personal friendship and an enduring artistic affinity. The model’s averted gaze, softened outlines and elegantly draped clothing reflect Lyman’s sensitivity to psychological nuance and his gift for conveying character through understated gestures and subtle shifts in posture.
This late work reveals a distilled clarity characteristic of Lyman’s mature style—intimate, contemplative and assured. La jupe verte stands as a rare and evocative example from one of Canada’s most influential modernists, encapsulating his vision of figuration that is at once lyrical, modern and profoundly human.
e stim A te: $ 15,000 – 20,000
123 David Brown Milne
CGP CSGA CSPWC 1882 – 1953
Blocks and Flowers (Train II ) oil on canvas, signed and on verso inscribed by Douglas Duncan David Milne: Blocks and Flowers (1943), circa 1943
14 1/2 × 20 1/2 in, 36.8 × 52.1 cm
Proven A nce
Douglas Duncan Picture Loan Society, Toronto
W.S. Goulding, Toronto, 1953
Warwick Gallery, Vancouver, circa 1970
Dr. and Mrs. Bie, Vancouver, circa 1970
D. Milliken, West Vancouver, circa 1986
S. Mah Toy, Calgary, circa 1986
Masters Gallery Ltd., Calgary, 1987
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
David Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonné of the Paintings, Volume 2: 1929 – 1953, 1998, reproduced page 825, catalogue #404.41
e xhibite D
Picture Loan Society, Toronto, Flower Paintings by David Milne, March 1 – 14, 1947, catalogue #11
Hart House, University of Toronto, November 1 – 15, 1947
dAVI d B ROWN M I l NE , after several years of working on his own, following his separation from his first wife “Patsy” May Hagerty in 1931, met the nurse Kathleen “Wyb” Pavey in 1938. This meeting was to bring about a pivotal change in Milne’s life. He lived with Pavey from 1939 and, in 1941, their son, David Milne Jr., was born. Although Milne did not directly depict his son within his work, items like “baby bottles and toys became part of his still lives.” 1
Blocks and Flowers (Train II) was likely painted in 1943, following three watercolour versions of the subject. Two of these earlier watercolours were trimmed by Milne, likely because he was unhappy with the compositions. Nasturtiums (catalogue raisonné #404.38) and Zinnias and Jar (#404.39), both dating to September 1943, each include only part of the overall composition. A complete watercolour, Train I (#404.40), includes most of the elements seen in the oil composition. Although the oil was probably executed in 1943, the painting was not signed until 1946. The signature was likely in preparation for the work’s inclusion in two exhibitions the following year. The first of these was at the Picture
Loan Society, run by Milne’s dealer Douglas Duncan. Flower Paintings by David Milne, which ran from March 1 to 14, 1947, placed greater emphasis on the painting of the flowers within the composition. The second exhibition, simply entitled David Milne, ran at the University of Toronto’s student building, Hart House, from November 1 to 15.
Blocks and Flowers (Train II) is a wonderful example of Milne’s subtle genius as a painter. The composition includes two rows of simply delineated blocks and three vases or jars, two containing vivid bunches of pansies, nasturtiums and zinnias. The foreground blocks and round vase form an imaginary train that is headed by an engine built of four small wooden blocks. One can easily see that this arrangement might delight a young child, although the assemblage would have been too complex for the youngest member of the family to play with. Milne, in this composition, has hinted at the life of his family in Uxbridge, but his son and companion are not the subjects of his work.
A large jar at right, partially filled with water, provides a visual bridge between the row of blocks and the vase in the rear centre of the image. Milne has made this empty jar visually appealing by using a reflection and a strong vertical of orange, which visually echoes the imaginary smokestack of the block train in the foreground. Next to the empty jar is what appears to be a metal vase, the surface of which is defined by the deep shadows cast by the zinnias.
Although it is very loosely denoted, Milne has paid close attention to the varied colours of the background, which serve to highlight the foreground blocks and flowers. Note, for example, the splash of orange that highlights the nasturtium hovering above the foreground vase, or the pink of the zinnias that reappears in the train engine’s cab.
Blocks and Flowers (Train II) is a vivid example of Milne’s great skill as both a colourist and a designer. The eye is led through this rich composition using line and colour. The interruption in the pattern of the blocks makes the imaginary train more vivid and encourages the viewer to explore the pictorial space with Milne. A simple still life subject—the traces of domestic life—is made visually exciting through Milne’s command of form, colour and space.
We thank Ian M. Thom, Senior Curator—Historical at the Vancouver Art Gallery from 1988 to 2018, for contributing the above essay.
1. David P. Silcox, “David Milne,” The Canadian Encyclopedia, online version, May 25, 2008, https://www.thecanadianencyclopedia. ca/en/article/david-brown-milne.
e stim A te: $ 35,000 – 45,000
124 Florence Carlyle
OSA RCA 1864 – 1923
Lady with Lantern oil on canvas, signed and on verso titled on the gallery label, circa 1900
48 × 12 1/2 in, 121.9 × 31.8 cm
Proven A nce
Masters Gallery Ltd., Calgary
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Joan Murray, Florence Carlyle, 1864 – 1923: Against All Odds, Museum London & the Woodstock Gallery, 2004, page 18
A PROMINENT PORTRAITIST of the late nineteenth and early twentieth centuries, Florence Carlyle is celebrated for her luminous palette and masterful handling of light. Her atmospheric scenes are infused with psychological depth, often featuring women within intimate interior settings, draped in ethereal fabric and immersed in ambient light. Deftly entwining academic realism with expressive brushwork, her portraits reflect both her technical mastery and her sensitivity to the inner lives of her subjects.
Raised in the vibrant community of Woodstock, Ontario, Carlyle showed artistic promise from an early age, taking local art classes at the encouragement of her family. A formative moment came in 1882, when Oscar Wilde lectured in her hometown, extolling the tenets of the Aesthetic Movement in Britain and its pursuit of beauty in one’s everyday surroundings. This early exposure to the aesthetes and their philosophy left a lasting impression, instilling in Carlyle a lifelong fascination with the aesthetic qualities of light, as well as textiles and decorative objects. Her formal studies at the Académie Julian and the Académie Delécluse in Paris in the 1890s refined her skills in anatomy and spatial composition, while her exposure to the Impressionists inspired a looser application of paint, dashed across her surfaces as dappled light or gossamer fabric. Carlyle traveled extensively, living in both New York and England, drawing inspiration ranging from the lush, moody surfaces of the Pre-Raphaelites to the lyrical portraiture of John Singer Sargent. Yet she remained distinctly original in her approach, synthesizing her academic precision and modern influences into a style uniquely her own.
Lady with Lantern beautifully encapsulates the defining characteristics of Carlyle’s aesthetic vision, particularly her signature portrayal of light. Subtle, ambient light, whether from a fireplace, lamp or window veiled in sheer fabric, illuminates her figures. Here, a young woman in elegant dress stands out against a dark backdrop. The rosy, diffused glow of the paper lantern plays across the varied surfaces—the diaphanous tulle sleeves, the soft folds of the gown rendered in iridescent shades, and the glimmering decorative orbs above. The model posed beneath the proscenium-like frame, in a dramatic interplay of light and shadow, creates a scene both intimate and theatrical—invoking the playful drama of the stage within the domestic interior.
However, a deeper emotional undercurrent saturates all of Carlyle’s portraits. Lush hues, nuanced effects of light, subtle gestures and subdued expressions work to convey the rich interiority of her subjects. Of the emotional range of her work, Joan Murray aptly notes: “Her use of colour, and even her subject, seems entirely happy until your eyes adjust to the scene, and then you may notice the shade of melancholy attached to the work. Women are often shown as being in the pink of health and as beautiful as the flowers that accompany them, but a shadow falls.” While Lady with Lantern appears to be a purely resonant ode to beauty, revelling in the bright flame of youth, it is tempered by a quiet allusion to its inherent ephemerality. We could draw subtle parallels to the lantern motif in Sargent’s renowned Carnation,
Lily, Lily, Rose (1885 – 1886), where two children light paper lanterns in a flowering garden—each work evoking light, youth and the poignant resonance of a fleeting moment suspended in time. As a female artist establishing a place for herself in a male-dominated art world, Carlyle built an esteemed career marked by her singular vision, artistic independence and critical acclaim. She was elected an associate of the Royal Canadian Academy of Arts in 1897 and a member of the Ontario Society of Artists in 1900, and her radiant portraits remain enduring highlights of Canadian art.
e stim A te: $ 25,000 – 35,000
125 Niviaqsi (Niviaksiak)
1908 – 1959
Man Hunting at Seal Hole
sealskin stencil on paper, titled, editioned 1/30, dated May 1959 and inscribed Cape Dorset, Baffin Island and Niviaksiak 24 × 18 in, 61 × 45.7 cm
Proven A nce
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Gerald McMaster, editor, Inuit Modern: The Samuel and Esther Sarick Collection, Art Gallery of Ontario, 2010, reproduced page 72 and the circa 1950s ink and graphite drawing Man Hunting at a Seal Hole in the Ice, from Niviaksiak Sketchbook, reproduced page 72
Norman Vorano, Inuit Prints: Japanese Inspiration, Early Printmaking in the Canadian Arctic, Canadian Museum of Civilization, 2011, titled as Man Hunting at Seal Hole in Ice, reproduced page 79
e xhibite D
Museum of Modern Art, New York, Printin’, February 15 –May 14, 2012, same image
N IVIAQSI , A l SO KNOWN as Niviaksiak, was one of the foundational artists of the Kinngait (Cape Dorset) print movement and among the first Inuit creators to bridge traditional lifeways with modern artistic expression. Born in 1908, he lived much of his life as a hunter before taking up drawing in the late 1950s. Though his career was cut short by his untimely death in 1959, Niviaqsi’s work had a lasting influence.
Created shortly before his death, Man Hunting at Seal Hole remains Niviaqsi’s most iconic and widely reproduced image. The print uses the stonecut technique to depict a standing Inuit hunter in a moment of poised concentration, spear in hand, above a single tiny breathing hole in the ice. The figure, rendered in bold curved lines and deep mottled blue, dominates the image. Its scale contrasts sharply with the minuscule seal hole, creating a striking tension that mirrors the discipline and patience required of the traditional hunt.
The composition stands out for its clear, uncomplicated design and careful use of space. The hunter’s figure suggests a balance of strength and calm, with the upright spear providing a strong visual focal point. The open space around the figure reflects the wide, quiet arctic landscape, reinforcing the stillness of the moment. This stillness is not just visual but reflects the reality of the hunt, where the hunter must wait motionless, sometimes for hours, for a seal to surface at the breathing hole in the ice.
The emergence of printmaking in Cape Dorset in the late 1950s marked a watershed in the history of Inuit art. While the Inuit of West Baffin Island had long expressed creativity through carving, appliqué and incising, full-time art-making was rare. That changed in 1957, when artist James Houston introduced printmaking to Inuit communities as both an economic opportunity and a new visual language. The response was enthusiastic. Houston began soliciting drawings from Niviaqsi that same year.
Two years of experimentation culminated in the release of the first Cape Dorset print collection in 1959. Niviaqsi contributed nine images, eight of which were included in the debut catalogue, firmly establishing him as one of the studio’s leading early figures. Man Hunting at Seal Hole remains a cornerstone of Canadian art history and a symbol of the transformative power of early Kinngait printmaking. It represents not only Niviaqsi’s legacy as an artist but also the emergence of Inuit graphic art as a vital part of the national cultural landscape.
This work was published and printed by the West Baffin Eskimo Co-operative, Kinngait (Cape Dorset), Canada, from an edition of 30. The sheet size is 24 × 18 inches (61 × 45.7 cm).
Printmaker: Iyola Kingwatsiak (1933 – 2000).
The Museum of Modern Art in New York has an impression of this print and another by Niviaqsi, Polar Bear and Cub in Ice (1959), in its collection.
e stim A te: $ 15,000 – 25,000
Niviaqsi’s print Man Hunting at Seal Hole on view at the Museum of Modern Art, New York, 2012, IN 2185.19
Photo: Thomas Griesel, © The Museum of Modern Art Courtesy of SCALA / Art Resource, NY
126 Arthur Lismer
AAM CGP CSGA CSPWC G7 OSA RCA 1885 – 1969
Cape Breton Island oil on board, signed and on verso signed, titled, dated 1946 and inscribed Painted at Ingonish, N.S. on a label 12 × 16 in, 30.5 × 40.6 cm
Proven A nce
A gift from the Artist to a Private Collector Important Canadian Art, Sotheby’s Canada, November 10, 1987, lot 100, titled as Ingonish, Cape Breton Island Christopher Varley, Toronto Masters Gallery Ltd., Calgary Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Donald W. Buchanan, The Growth of Canadian Painting, 1950, page 38
e xhibite D
McMichael Canadian Art Collection, 1988, label verso
dESPITE A l ONG familiarity with the Maritimes stretching back to the First World War, Arthur Lismer only visited Cape Breton Island for the first time with his wife Esther in 1940. They would return there on four more summer trips between 1945 and 1950, usually staying around the villages of Ingonish and Neil’s Harbour. Among the subjects that most interested Lismer here were the docks and wharves used by the local fishermen, awash with the haphazardly piled nets, buoys, stone killicks and wooden buckets that comprised their gear. Cape Breton Island is an exceptional exploration of the visual pleasure that can be found in the riotous activity of these tools of sea-bound life: the arc of a fish is echoed by the curves of salt-rusted anchors, while the tangle of ropes and litter portend the turmoils of the ocean backdrop. Rather than still lifes, Lismer viewed his Cape Breton works more as unconscious abstractions of a natural order, akin to the tangled Georgian Bay landscapes he painted in the 1930s. He wrote that pieces of fishing gear, “many made by hand have a human quality . . . and they seem to have as well the same feeling of weather as pine trees. . To rearrange them into formal still lifes would be to kill them. I am too fond of the things themselves to want to change them into something else.” Dynamically rendered with a rich flotsam of detail, Cape Breton Island celebrates the inherent beauty of a working life in tune with the environment.
e stim A te: $ 15,000 – 25,000
127 Edwin Headley Holgate
AAM BHG CGP CSGA G7 RCA 1892 – 1977
Spring, Morin Heights oil on board, initialed and on verso signed, titled, dated 1947 and inscribed W.K. 230 8 1/2 × 10 1/2 in, 21.6 × 26.7 cm
Proven A nce
A.K. Prakash & Associates Inc., Toronto Masters Gallery Ltd., Calgary Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Dennis Reid, Edwin Holgate, Canadian Artists Series, National Gallery of Canada, 1976, page 22
Ed WIN H O l GATE WAS a significant figure in the development of Canadian modernism. He was a founder of Montreal’s Beaver Hall Group, later invited to become the eighth member of the Group of Seven, and was an influential teacher at the École des beaux-arts de Montréal. Though based in the city and renowned for portraiture, Holgate had a strong affinity for the Laurentian and Charlevoix landscape. Along with A.Y. Jackson, whom he had served with in the First World War, Holgate would often explore the rolling hills of the Quebec countryside on skis.
In 1946, Holgate sold his city studio and moved to Morin Heights in the Laurentians. In the mountain town, Holgate was afforded solitude in nature and deepened his connection to the landscape. Painted in 1947, Spring, Morin Heights is a striking example from Holgate’s later period, capturing the crisp clarity and renewal of early spring. Dennis Reid described Holgate’s small oil sketches of the late forties and fifties as “sure and deft, spontaneous in response, yet resolved .” Here, balancing spontaneity with thoughtful control, Holgate uses a selective and harmonious palette to succinctly convey the freshness and illumination of the day.
e stim A te: $ 15,000 – 20,000
128 Sir Frederick Grant Banting
1891 – 1941
Forest Landscape
oil on board, on verso inscribed ST #J 79 and stamped with the authenticity stamp and signed by Henrietta E. Banting, March 28, 1970
8 1/4 × 10 1/2 in, 21 × 26.7 cm
Proven A nce
The Art Emporium, Vancouver; Lillian Mayland McKimm Collection, Calgary then Vancouver Island
S IR fRE d ERICK B ANTING , the co-discoverer of insulin, who shared the Nobel Prize in Physiology or Medicine for 1923, was also an accomplished painter. His career as an artist is often associated with the Group of Seven era, and specifically with A.Y. Jackson, since the two traveled and painted together throughout the late 1920s and 1930s. Although this landscape is not titled
with a specific location, the windswept pines suggest the southern shores of Georgian Bay, where Banting painted with Jackson around 1930.
Exploring remote wilderness and painting on location were essential aspects of the Group’s modernist approach. Their sketches are defined by directness and spontaneity, aiming to convey the unconventional beauty of the rugged Canadian landscape. This fine Banting sketch is a quintessential example of that modernist sentiment, favouring gesture and feeling over precision. Loose, fluid brush-strokes convey the movement of the trees and clouds, while the foliage forms a patchwork of unexpected—yet surprisingly harmonious—colour combinations. The large foreground pines are rendered confidently in two tones of deep green, standing as heroic silhouettes against the bright sky. Banting’s sketch is a dynamic image from a formative moment in Canadian art history, capturing the era’s bold and adventurous spirit.
e stim A te: $ 15,000 – 25,000
129 Doris Jean McCarthy
CSPWC OC OSA RCA 1910 – 2010
St. Tite des Caps
oil on board, signed and on verso titled, dated 1933 and inscribed 330720
10 1/2 × 13 1/2 in, 26.7 × 34.3 cm
Proven A nce
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
dORIS M C C ARTH y ENTERE d the art world during a period of significant and dynamic change, as the modernist ideals of the Group of Seven were gaining widespread recognition. From 1926 to 1930, McCarthy studied at the Ontario College of Art under Group members Arthur Lismer and J.E.H. MacDonald. With a strong appreciation for nature and an innate drive,
McCarthy readily embraced the Group’s modernist sensibility and adventurous approach to painting the Canadian landscape.
In the summer of 1933, McCarthy embarked with friends on her first major painting trip outside of Ontario. Camping, exploring and painting in the Gatineau villages of Quebec, they traveled as far north as the town of Mont-Laurier and east to Baie-SaintPaul, and later voyaged along the south shore to the Gaspé Peninsula. Exhibiting the principles of rhythm and design she had learned from Hortense Gordon earlier that year, St. Tite des Caps is a lively and harmonious rendering of Quebec farmland. The rhythmic, loose forms of the crop lines are well balanced by the solid structures and foreshortened fence. A novel yet restrained palette reveals the distinctive character of McCarthy’s early artistic voice. Works from the artist’s formative period are extremely rare, and this charming sketch is a gem.
e stim A te: $ 6,000 – 8,000
130 Alfred Joseph (A.J.) Casson
CGP CSPWC G7 OC POSA PRCA 1898 – 1992
Suburbs in Winter
oil on canvas board, signed and on verso signed, titled, dated circa 1930 on the gallery labels and inscribed ST #F 105
9 3/4 × 11 1/2 in, 24.8 × 29.2 cm
Proven A nce
The Art Emporium, Vancouver
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
e xhibite D
Vancouver Art Gallery, Painting in Canada, label verso
I N THE EAR ly 1920s, A.J. Casson apprenticed with Franklin Carmichael at a Toronto commercial design firm, later following him to Sampson-Matthews. Upon Carmichael’s invitation, Casson joined the Group of Seven in 1926. He was drawn to the
quaint simplicity of Ontario townscapes, and his early work as a member of the Group reflects his design background and focuses on the communities and countryside not far from Toronto.
Suburbs in Winter is a fresh, clear-eyed image from the Group era, capturing the brilliance of a bright winter day with quiet drama. Sunlight strikes boldly across the landscape, the exaggerated contrast between the illuminated and shadowed sides of the suburban homes giving the composition a crisp, graphic vitality. Repeating telephone poles were a frequent design motif in Casson’s work during this era, notably appearing in two of his masterpiece canvases: Old Store at Salem (1931, in the collection of the Art Gallery of Ontario) and Thunderstorm (1933). While the poles assert human presence against the soft blue sky, their irregular slants lend an organic rhythm to the scene. They also suggest the continuation of the rolling suburban road into the distance— striated with melting snow in painterly shapes—and the viewer can imagine a laborious, bumpy journey along the slushy byway.
e stim A te: $ 25,000 – 35,000
CGP CSPWC G7 OC POSA PRCA 1898 – 1992
Grenville, Que.
oil on board, signed and on verso signed, titled, dated 1969 and inscribed For Tom and Janet, I am sorry that the sketch is not of the landscape around Stanstead but hope that it will serve as a reminder of your years in Quebec. 12 × 15 in, 30.5 × 38.1 cm
Proven A nce
Roberts Gallery, Toronto
Canadian Art, Joyner Fine Art Inc., November 25, 1987, lot 217, titled as The White Barn, Grenville, Que and dated 1976
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Paul Duval, A.J. Casson: His Life and Works / A Tribute, Roberts Gallery, 1975, unpaginated
S OON A f TER JOINING the Group of Seven in 1926, A.J. Casson established his unique identity within the Group
through his colourful and measured depictions of Ontario’s villages and rural countryside. Casson always considered Quebec to be A.Y. Jackson’s territory and initially refrained from painting there. Not until 1966 did Casson finally agree to join Jackson on a sketching trip to Grenville, Quebec. The experience resonated strongly with the artist—he developed a deep appreciation for the region and would return to Grenville and its surroundings annually until 1972, creating over 150 oil sketches of the area. Art historian Paul Duval indicates that this was the greatest number of sketches Casson did of a single, specific location.
Grenville, Que. is a quintessential Casson image—a warm, harmonious scene, laced with an underlying sense of brooding. The light beige structures at the centre of the sketch stand out against the richly coloured hills, where soft greens, warm yellows and rosy peach-pinks give way to deeper purples in the distant ridges. Above, heavy clouds loom, their weight adding quiet tension. Casson’s nuanced palette and precise rendering perfectly capture a still moment beneath shifting skies, imbued with both serenity and suspense.
e stim A te: $ 20,000 – 30,000
131 Alfred Joseph (A.J.) Casson
132 Clarence Alphonse Gagnon
CAC RCA 1881 – 1942
Winter in Laurentian Mountains, Canada oil on board, signed and on verso signed with the artist’s thumbprint, titled and inscribed ST #C 316 , 1923 6 1/4 × 9 1/4 in, 15.9 × 23.5 cm
Proven A nce
Masters Gallery Ltd., Calgary
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Anne-Marie Bouchard and Sarah Milroy, editors, River of Dreams: Impressionism on the St. Lawrence, McMichael Canadian Art Collection, 2024, the related circa 1925 canvas Baie-Saint-Paul, Winter reproduced page 214
e xhibite D
McMichael Canadian Art Collection, Kleinburg, River of Dreams: Impressionism on the St. Lawrence, June 22, 2024 –January 12, 2025, the related circa 1925 canvas Baie-SaintPaul, Winter
I N 1919 , Cl ARENCE G AGNON returned from Paris to the province of Quebec, settling in the village of Baie-Saint-Paul, nestled along the north shore of the St. Lawrence River in Charlevoix County. Infused with the aesthetic sensibilities of Impressionism, this captivating pochade imparts Gagnon’s refined vision to the Canadian landscape. Whether at dusk or daybreak, the diffused light across the iridescent snow and distant Laurentian Mountains evokes a quiet, liminal moment, conjuring a dreamy midwinter vignette. Traversing the terrain on skis in winter and on foot in summer, Gagnon developed an intimate connection to the rhythms and moods of the Laurentians. A preparatory sketch for his circa 1925 canvas Baie-Saint-Paul, Winter, this study foregrounds his fluid en plein air brushwork. Enlivening the scene is his singular palette, achieved by hand-grinding his own pigments imported from Paris. Here, swathes of white snow are infused with dappled bursts of soft pastel, while moody, muted shadows stretch across the forested hills beyond. At once atmospheric and evocative, this picturesque sketch exemplifies Gagnon’s keen sensitivity to the distinctive charm of the Charlevoix region.
e stim A te: $ 15,000 – 25,000
133 Albert Henry Robinson
CGP RCA 1881 – 1956
Village on Lower St. Lawrence
oil on board, signed and dated 1922 and on verso signed, titled on the gallery labels and inscribed Studio Building, Severn Street, Toronto / Reserved 8 1/2 × 10 3/4 in, 21.6 × 27.3 cm
Proven A nce
Galerie Walter Klinkhoff Inc., Montreal Canadian Art, Sotheby’s Parke Bernet (Canada) Inc., November 10, 1981, lot 15
The Art Emporium, Vancouver Lillian Mayland McKimm Collection, Calgary then Vancouver Island
VIllAge on loWer S T. lAW ren C e is a sketch made by Albert H. Robinson during his prime period, while on one of his frequent
late-winter painting trips with A.Y. Jackson through the small towns of rural Quebec. Although this particular village has been left unnamed, we know that in 1922, the year this sketch was produced, Robinson stopped in Lévis, Lauzon, Bienville and Baie-Saint-Paul, all in the vicinity of Quebec City.
Robinson’s beloved Québécois structures, including a soaring church spire, are rendered with his characteristic flat, simplified planes. The village buildings, clustered in the upper half of the composition, are brightened with touches of his quintessential palette of pale coral and mint. The treatment of the sky and snow suggests an overcast winter light, illuminating this unassuming village with a quiet splendour that only Robinson could accomplish.
The inscription on verso indicates that Robinson must have taken space around this time in the Group of Seven’s Studio Building at 25 Severn Street in Toronto.
e stim A te: $ 15,000 – 25,000
134 Bertram Richard Brooker
CGP CSGA CSPWC OSA RCA 1888 – 1955
Sandbanks, Picton oil on canvas, on verso titled on a label and stamped with the estate stamp, circa 1942 24 × 45 in, 61 × 114.3 cm
Proven A nce
Morris Gallery, Toronto
Mrs. D.H. Fast, California
Lillian Mayland McKimm Collection, Calgary then Vancouver Island
Liter A ture
Dennis Reid, Bertram Brooker, 1888 – 1955, National Gallery of Canada, 1973, reproduced page 68
e xhibite D
National Gallery of Canada, Ottawa, Bertram Brooker: A Retrospective Exhibition, 1972, traveling in 1972 – 1973 to the Sarnia Public Library & Art Gallery; London Public Library & Art Museum; Sir George Williams University, Montreal; Confederation Art Gallery & Museum, Charlottetown; Winnipeg Art Gallery; Art Gallery of Greater Victoria; Regina Public Library; and Hart House, University of Toronto, catalogue #28
B ERTRAM B ROOKER IS now best recognized for his achievements as an early Canadian abstractionist, having painted non-objective works since the early 1920s and exhibiting his works in 1927 in Canada’s first show of abstract art. A lukewarm response to that show, as well as a meeting with Lemoine FitzGerald in 1929, inspired him to shift his painting
somewhat towards the more representational. However, it always retained an element of the conceptual and formally experimental: tree branches became grasping arms, rolling hills were faceted geometries, and flowered still lifes became Cubist fantasies.
The Sandbanks are something of an unusual phenomenon in the scheme of Canadian (certainly Ontario) geography. Found on the shores of Lake Ontario in Prince Edward County, the towering, desert-like drifts of sand stretch across a series of inlets to comprise the world’s largest barrier dune system. Brooker’s synthesis of the non-objective with the representational can be readily felt in his depiction of this liminal landscape. The dunes heave softly across the canvas with richly nuanced form and colour, peaks lit with stormy light and furrows rutted in shadow. The sky feels heavy and indeterminate, while beach grass and flares of trees scrabble to stay rooted in the shifting sands. The scene is naturalistic but nonetheless feels somewhat otherworldly, recognizable but unfamiliar—a reflection of Brooker’s interest, shared with Lawren Harris, in capturing the hidden spiritual dimensions of life in both landscape and non-representational painting. Subtle in its complexity and expansive in its affect, Sandbanks, Picton is a remarkable example of Brooker’s masterful approach to painting.
e stim A te: $ 15,000 – 25,000
Thank you for attending our sale of The Lillian Mayland McKimm Collection. Please view additional lots from this collection in our November Online Auction at Heffel.com, which closes Thursday, November 27, 2025. Lot preview locations are noted with each item in our online catalogue.
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b) To rescind the sale of that or any other Lot(s) sold to the Buyer;
c) To resell the Lot or cause it to be resold by public or private sale, or by way of live or online auction, with any deficiency to be claimed from the Buyer and any surplus, after Expenses, to be delivered to the Buyer;
d) To store the Lot on the premises of the Auction House or third-party storage facilities with Expenses accruing to the account of the Buyer, and to release the Lot to the Buyer only
after payment of the Purchase Price and Expenses to the Auction House;
e) To charge interest on the Purchase Price at the rate of five percent (5%) per month above the Royal Bank of Canada base rate at the time of the auction sale and adjusted month to month thereafter;
f) To retain that or any other Lot sold to 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;
g) To apply any Proceeds of Sale of any Lot then due or at any time thereafter becoming due to the Buyer towards settlement of the Purchase Price, and the Auction House shall be entitled to a lien on any other property of the Buyer that is in the Auction House’s possession for any purpose;
h) To apply any payments made by the Buyer to the Auction House towards any sums owing from the Buyer to the Auction House without regard to any directions received from the Buyer or 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.
10. No Warranty
The Auction House, its employees and agents shall not be responsible for the correctness of any statement as to the authorship, origin, date, age, size, medium, attribution, genuineness or provenance of any Lot or for any other errors of description or for any faults or defects in any Lot, and no warranty whatsoever is given by the Auction House, its employees or agents in respect of any Lot, and any express or implied conditions or warranties are hereby excluded.
11. Attendance by Buyer
a) Prospective Buyers are advised to inspect the Lot(s) before the sale, and to satisfy themselves as to the description, attribution and condition of each Lot. The Auction House will arrange suitable viewing conditions during the preview preceding the sale, or by private appointment;
b) 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.
12. Export Permits
Without limitation, the Buyer acknowledges that certain property of Canadian cultural importance sold by the Auction House may be subject to the provisions of the Cultural Property Export and Import Act (Canada), and that compliance with the provisions of the said act is the sole responsibility of the Buyer. 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 consignor
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:
(i) You have the permission of the owners to sell the property under the terms of this Agreement and the Buyer’s Agreement;
(ii) You will disclose to the owner(s) all material facts in relation to the sale of the Lot;
(iii) You are irrevocably authorized to receive the proceeds of sale on behalf of the owner(s) of the Lot;
(iv) You have or will obtain the consent of the owner(s) before you deduct any commission, costs or other amounts from the proceeds of sale you receive from the Auction House;
(v) You have conducted appropriate customer due diligence on the owner(s) of the Lot in accordance with any and all applicable anti– money laundering and sanctions laws, consent to us relying on this due diligence and will retain for a period
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
(vii) You and your principal (if any) are not aware of, nor are you knowingly engaged in any activity designed to facilitate tax evasion or tax fraud.
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;
c) The Property and any proceeds of sale paid to you pursuant to this Agreement will not be used for any unlawful purpose and are not connected with any unlawful activity;
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;
e) The Consignor shall indemnify the Auction House, its employees and agents and the Buyer against all claims made or proceedings brought due to any default of the Consignor in complying with any applicable legislation, regulations and these Terms and Conditions of Business; and
f) The Consignor shall reimburse the Auction House in full and on demand for all costs, Expenses, judgment, award, settlement, or any other loss or damage whatsoever made, including reasonable legal fees incurred or suffered as a result of any breach or alleged breach by the Consignor of Conditions or its obligations as set forth in this Agreement.
3. Reserves
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
a) The Consignor authorizes the Auction House to deduct the Seller’s Commission and Expenses from the Hammer Price and, notwithstanding that the Auction House is the Consignor’s agent, acknowledges that the Auction House shall charge and retain the Buyer’s Premium;
b) The Consignor shall pay and authorizes the Auction House to deduct all Expenses incurred on behalf of the Consignor, together with any Sales Tax thereon including but not limited to:
(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;
(iii) the costs of any restoration to the Lot that has been agreed by the Consignor in advance;
(iv) the costs of any framing and/or unframing, and any mounting, unmounting and/or remounting, if applicable for the Lot;
(v) the costs of any third-party expert opinions or certificates that the Auction House believes are appropriate for the Lot;
(vi) the costs of any physically non-invasive tests or analyses that the Auction House believes need to be carried out to decide the quality of the Lot, its artist or that it is authentic; and (vii) the costs of photographing the Lots for use in the catalogue and/or promoting the sale of the Lot or auction.
c) The Auction House retains all rights to photographic and printing material and the right of reproduction of such photographs.
5. Insurance
a) Lots are only covered by insurance under the Fine Arts Insurance Policy of the Auction House if the Consignor so authorizes;
b) The rate of insurance premium payable by the Consignor is $ 15 per $ 1,000 (1.5%) of the greater value of the high estimate value of the Lot or the realized Hammer Price or for the alternative amount as specified in the Consignment Receipt;
c) If the Consignor instructs the Auction House not to insure a Lot, THE AUCTION HOUSE SHAll HAVE NO lIABIlIT y Of ANy KINd fOR ANy lOSS, THEf T, dAMAGE, dIMINISHEd VAlUE TO THE lOT WHIlE IN ITS CARE, CUSTOdy OR CONTROl, and the Lot shall at all times remain at the risk of the Consignor, who hereby undertakes to:
(i) indemnify the Auction House against all claims made or proceedings brought against the Auction House in respect of loss or damage to the Lot of whatever nature, howsoever and wheresoever occurred, and in any circumstances even where negligence is alleged or proven;
(ii) reimburse the Auction House for all Expenses incurred by the Auction House. Any payment which the Auction House shall make in respect of such loss or damage or Expenses shall be binding upon the Consignor and shall 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 . gener AL con D itions
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 . P ro P ert Y co LL ection 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 tre Atment of P ro P ert Y co LL ection notice D efA u Lt A n D of unc LA ime D P ro P ert Y
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:
c orne L ius D A vi D Krieghoff
In our best judgment, a work by the artist.
Attribute D to c orne L ius D A vi D Krieghoff
In our best judgment, a work possibly executed in whole or in part by the named artist.
s tu D io of c orne L ius D A vi D Krieghoff
In our best judgment, a work by an unknown hand in the studio of the artist, possibly executed under the supervision of the named artist.
c irc L e of c orne L ius D A vi D Krieghoff
In our best judgment, a work of the period of the artist, closely related to the style of the named artist.
mA nner of c orne L ius D A vi D Krieghoff
In our best judgment, a work in the style of the named artist and of a later date.
After c orne L ius D A vi D Krieghoff
In our best judgment, a copy of a known work of the named artist.
nA tion AL it Y
Unless otherwise noted, all artists are Canadian.
s igne D / t it L e D / D A te D
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 e A rs s ign A ture / b e A rs D A te
In our best judgment, the signature/date is by a hand other than that of the artist.
Dimensions
Measurements are given height before width in both inches and centimetres.
Proven A nce
Is intended to indicate previous collections or owners.
c ertific A tes / Liter A ture / e xhibite D
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 stim A te
Our Estimates are intended as a statement of our best judgment only, and represent a conservative appraisal of the expected Hammer Price.
h effe L ’s c o D e of b usiness c on D uct, e thics A n D Pr A ctices
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.
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.)
h effe L gALL er Y Limite D
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De L ivere D within cA n ADA
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■ Two Years (eight catalogues) Post-War & Contemporary Art / Canadian,
& Modern Art
De L ivere D to the u nite D s t A tes A n D o verse A s
■ One Year (four catalogues) Post-War & Contemporary Art / Canadian, Impressionist & Modern Art $ 90
■ Two Years (eight catalogues) Post-War & Contemporary Art / Canadian, Impressionist & Modern Art
Billing Information
I
Please complete this Collector Profile Form to assist us in offering you our finest service.
Absentee b i D 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.
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.
u SE ON lY )
cON fi RMED (fOR Offic E uSE O N lY)
Digit AL c ommunic A tion c onsent 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.
S ig NAT u RE DATE
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 effe L gALL er Y Limite D 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. S A l E DATE
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.
Digit AL c ommunic A tion c onsent I agree to receive e-mails and SMS notifications from Heffel.
i T
Nu
P i RY DATE c VV N u MBER
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.
S ig NAT u RE DATE
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 effe L gALL er Y Limite D 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
Digit AL sAL eroom r egistr A tion 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 effe L .com r egistr A nts
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.
DigitAL c ommunic Ation c onsent I agree to receive e-mails and SMS notifications from Heffel.
s hi PP ing Authoriz A tion f orm for Pro P ert Y
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 hi PP ing m etho D ( c hoose oP tion 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 K ing m etho D
■ Soft packed (Cardboard) ■ Hard packed (Custom crate)
Option B
Direct shipment to address below via Heffel approved third-party carrier: R
P ert Y i nform Ation Lot Number Property Description in numerical order artist / title
P A c K ing m etho D ■ 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. PAY ment i nform Ation
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 ign Ature
Signed with agreement to the above, Heffel’s Terms and Conditions of Business and Heffel’s Terms and Conditions for Shipping
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 K ing oP tions
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 hi PP ing t r A ns P ort A tion cA rrier oP tions
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 128
Brooker, Bertram Richard 134
Carlyle, Florence 124
Carr, Emily 112
Casson, Alfred Joseph (A.J.) 105, 106, 130, 131
Clark, Paraskeva Plistik 121
Gagnon, Clarence Alphonse 132
H – L
Harris, Lawren Stewart 114, 116
Holgate, Edwin Headley 127
Hughes, Edward John (E.J.) 110
Jackson, Alexander Young (A.Y.) 107, 117, 118
Lismer, Arthur 126
Lyman, John Goodwin 122
M – O
MacDonald, James Edward Hervey (J.E.H.) 115
Macdonald, James Williamson Galloway (Jock) 111
McCarthy, Doris Jean 129
McNicoll, Helen Galloway 108
Milne, David Brown 123
Niviaqsi (Niviaksiak), 125
P – Z
Pepper, Kathleen Frances Daly 119
Phillips, Walter Joseph (W.J.) 101, 102, 103, 104
Riopelle, Jean Paul 109, 113
Robertson, Sarah Margaret Armour 120
Robinson, Albert Henry 133
