Editions | March 25 - 30, 2023

Editions MA R C H 25 — 3 0, 2 023

Editions M A R C H 25 - 3 0, 2 023

BID AND VIEW ALL LOTS ONLINE AT

DIRECTOR

www.waddingtons.ca

Goulven Le Morvan glm@waddingtons.ca

ON VIEW

438-528-8489

Sunday, March 26 from 12:00 pm to 4:00 pm Monday, March 27 from 10:00 am to 5:00 pm Tuesday, March 28 from 10:00 am to 5:00 pm

FRONT COVER

Lots 79

ALEX KATZ YELLOW TULIPS, 2014 FRONT INSIDE COVER

consignment coordinator Mary McMaster mm@waddingtons.ca 416-504-9100 X 6202

Lot 25

CHRISTOPHER PRATT RAILWAY, 1978 BACK INSIDE COVER

Lot 13

SALVADOR DALÍ LA DIVINE COMEDIE, FROM “DANTE ALIGHIERI, L’ENFER, LE PURGATOIRE, LE PARADIS,” 1959-1963 [ML. 1039-1138, F. 189-200]

PREVIEW HELD AT

275 King Street East, 2nd Floor Toronto, Ontario M5A 1K2

BACK COVER

TEL: 416-504-9100

Lot 46

TOLL FREE: 1-877-504-5700

NINGIUKULU (NINGEOKULUK) TEEVEE TAILWIND, 2014

NOTE

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This catalogue and its contents © 2023 Waddington McLean & Company Ltd.

This auction is subject to the Conditions of Sale printed in the back of this catalogue.

Photography & design by Waddington’s All Rights Reserved.

1 PIERRE-CHARLES CANOT (1710-1777), AMERICAN A MODERATE GALE, CIRCA 1766

etching with drypoint in black on wove paper; etching presumably made after the original artwork by Ludolf Bakhuyzen the Elder (1631-1708); published by John Boydell, London sheet 14 x 20 in — 35.6 x 50.8 cm PROVENANCE:

The Parker Gallery, London, UK; Private Collection, Toronto, ON, acquired by descent from the above $1,000 — 1,500

2 HEINRICH ZILLE (1858-1929), GERMAN DAS GEWITTER, 1899-1899 [R 22]

lithograph in black on wove paper; signed lower right sheet 9.1 ins x 11.2 ins; 23 cms x 28.5 cms PROVENANCE:

Private Collection, Toronto, ON $2,500 — 3,500

3 REMBRANDT VAN RIJN (1600-1669), DUTCH BEGGAR WITH A WOODEN LEG, CIRCA 1630 [HOLL, 179]

etching in black on laid paper, without watermark, with narrow margins; White and Boon’s second state of two sheet 4.8 x 2.9 in — 12.2 x 7.3 cm; plate 4.5 x 2.6 in — 11.4 x 6.7 cm PROVENANCE:

Titus Fine Art, California, USA; Private Collection, Ontario, acquired from the above $1,200 — $1,800

4 REMBRANDT VAN RIJN (1600-1669), DUTCH ST. JEROME, KNEELING IN PRAYER, LOOKING DOWN, CIRCA 1635 [H. (W&B), 102, B,35-H]

etching in black on laid paper, without watermark, with large margins; New Hollstein’s second state of two sheet 5.4 x 3.9 in — 13.6 x 9.9 cm; plate 4.6 x 3.5 in — 11.6 x 9 cm PROVENANCE:

Titus Fine Art, California, USA; Private Collection, Ontario, acquired from the above $1,000 — $1,500

5 AFTER EDWARD DEGAS (1834-1917), FRENCH DANSEUSE (STUDY, CIRCA 1878), 1936

etching in black on BFK Rives paper; signed in the plate; printed by Maurice Potin after the original drawing from the Ambroise Vollard collection, from an edition of approximately 325 10 x 7 in — 25.4 x 17.8 cm PROVENANCE:

Private Collection, Ontario LITERATURE:

Plate number 3 from Paul Valéry: Degas Danse Dessin,” published by Ambroise Vollard in 1936. $800 — 1,200

6 HENRI DE TOULOUSE LAUTREC (1864-1901), FRENCH REINE DE JOIE PAR VICTOR JOZE CHEZ TOUS LES LIBRAIRES, 1892 [D, 342; ADH, 5; ADR, 5]

lithograph in colours laid on linen; signed in plate; printed by Edw. Ancourt & Cie, Paris PROVENANCE:

Estate of Grover Burgis, Inventory Nos. 101-306138/ M217638 to unidentified typed label verso; Private Collection, Toronto, ON Private Collection, Israel.

NOTE:

Lautrec designed this rare, early lithographic poster for his friend Victor Joze, a Polish writer of erotic novels, advertising his book whose full title was Reine de Joie / Moeurs du Demi-Monde (Queen of Joy / Customs of the DemiMonde). The book became very rare when it was pulled from circulation by Baron Rothschild who sued the publishers claiming his image was depicted in the poster. The characters depicted instead are Georges Lasserre and Roger Luzarche d’Azay. $10,000 — 15,000

7 ALEXANDER CALDER (1898-1976), AMERICAN UNE FAMILLE DE LÀ-BAS, 1975

lithograph in colours on wove paper, with full margins; signed and inscribed “H.C.” (a proof aside from the edition of 75); published by Maeght, Paris, watermarked 8.7 x 11.8 in — 22 x 30 cm PROVENANCE:

Private Collection, Quebec $1,000 — 1,500

8 AFTER HENRI MATISSE AND OTHERS, FRENCH VERVE, VOL. I, NO. 4, 1938

lithographs with photoengraving in colours; in-folio, 132 pages with soft cover by Georges Rouault and several lithographs after André Derain and Henri Matisse including the folded double page “La Danse”; Edition Tériade, Paris, 15 Nov. 1938 10.4 x 14 in — 26.5 x 35.5 cm PROVENANCE:

Private Collection, Ontario $300 — 400

9 SALVADOR DALÍ (1904–1989), SPANISH LA VOIE LACTÉE OR MILKY WAY, PLATE 14 FROM THE “MYTHOLOGIE” SUITE, 1960-1964 [M.L 129, F. 63-3-F]

etching, drypoint and photogravure in colours on Arches paper, with full margins; signed, dated “1964” and numbered 41/150; published by Pierre Argilet, Paris and printed by Atelier Robbe, Paris sheet 19.3 x 21.3 in — 56.7 x 73.5 cm PROVENANCE:

Private Collection, Vancouver, BC $2,000 — 3,000

10 SALVADOR DALÍ (1904-1989), SPANISH TRISTAN ET LE DRAGON, FROM “TRISTAN & ISEULT,” 1971 [M. & L. 420, F 70-10 E]

etching and drypoint in colors on wove paper, with full margins.; signed and numbered 58/125; published by Pamela Verdag and printed by Atelier Rigail sheet 17.6 x 13 in — 44.7 x 33 cm; plate 15.7 x 10.4 in — 40 x 26.5 cm PROVENANCE:

Private Collection, British Columbia $500 — 700

11 SALVADOR DALÍ (1904-1989), SPANISH LES TROIS BARONS FELONS, FROM “TRISTAN & ISEULT,” 1971 [M. & L. 420, F 70-10 O]

etching and drypoint in colors on wove paper, with full margins.; signed and numbered 58/125; published by Pamela Verdag and printed by Atelier Rigail sheet 17.6 x 13 in — 44.8 x 32.9 cm PROVENANCE:

Private Collection, British Columbia $500 — 700

12 SALVADOR DALÍ (1904-1989), SPANISH THE WAILING WALL, FROM THE “ALIYAH” SUITE, 1968 [F, 68-1 E]

lithograph in colours on Arches paper, full margins; signed and numbered 178/250 image 20 x 15.6 in — 50.8 x 39.7 cm; sheet 25.5 x 19.6 in — 64.8 x 49.7 cm PROVENANCE:

Private Collection, Toronto, ON $300 — 400

13 SALVADOR DALÍ (1904–1989), SPANISH LA DIVINE COMEDIE, FROM “DANTE ALIGHIERI, L’ENFER, LE PURGATOIRE, LE PARADIS,” 1959-1963 [ML. 1039-1138, F. 189-200]

the complete portfolio comprising 100 woodcuts in colours on Rives BFK paper, watermark, with full margins; signed and numbered 4/150 in coloured crayon, the woodcuts from the volume “Inferno” in red, “Purgatory” in purple and “Paradise” in blue, each woodcut loose as issued, in six volumes with matching slipcases, this numbered edition of 150 is aside from the total edition of 4765, complete with the text

by Dante Alighieri in French; published by Editions d’Art Les Heures Claires, Paris sheet 13 x 10.38 in — 33.3 x 26.4 cm PROVENANCE:

Private Collection, Ontario $40,000 — 60,000

Salvador Dalí’s “The Divine Comedy” Salvador Dalí was not the obvious choice to illustrate Dante Alighieri’s “The Divine Comedy.”

Despite his great skill and originality as a draughtsman and artist, Dalí was a Spanish Surrealist who had rejected – even mocked – religion in his youth. In contrast, “The Divine Comedy” was a religious narrative poem embraced by the Roman Catholic Church and widely considered to be the greatest work of Italian literature.

So how did this avant-garde provocateur come to illustrate a medieval masterpiece?

A BRIEF HISTORY OF THE DIVINE COMEDY Written circa 1308–21, “The Divine Comedy” is divided into three major sections – Inferno, Purgatoria and Paradiso. Each section of the poem represents the soul’s journey towards the divine, beginning with the acceptance and rejection of sin (Hell), penitence (Purgatory), and finally, revelation and ascent towards God (Heaven). The story follows a pilgrim – assumed to be Dante himself – on Good Friday in the year 1300. Guided by the Roman poet Virgil, who represents the zenith of human knowledge, Dante must descend through nine circles of Hell, where the damned are tormented for eternity. After reaching the bottom, the two men escape and reach the shores of the mountain island of Purgatory. After Dante has climbed through seven terraces, each corresponding to the seven deadly sins, Virgil takes his leave of Dante. Virgil is unable to serve as Dante’s guide any further, for human knowledge cannot explain or comprehend the divine. The final third of Dante’s journey is led by his platonic love, Beatrice, who symbolizes theology. She guides him through nine celestial spheres of Heaven towards the Empyrean, a realm beyond physical existence, where he briefly glimpses the glory of God. Dante (1265-1321) wrote “The Divine Comedy” after being expelled from Florence in 1302. He penned the work in his native Florentine vernacular dialect instead of in Latin, which was the standard language used for poetry during the Middle Ages. Only the most educated readers were able to read in

Latin, meaning that high literature was reserved for but a privileged few. By using a living dialect, Dante allowed a much wider swath of the population to access his work. As such, “The Divine Comedy” is considered to be the first great work of truly Italian literature and laid the foundation for the modern Italian language used today.

The ways in which Dante visualized and described Hell, Purgatory and Heaven have become canonical. His imagery has deeply shaped how these biblical concepts are represented in Western art and literature over the ensuing centuries.

Considered as both Dante’s greatest work as well as a masterpiece of world literature, few other pieces of art can be said to have impacted culture on this massive scale.

FROM THE POPE TO PARLIAMENT Dalí (1904 –1989) was born to a Catholic mother and an Atheist father. The latter’s beliefs won out, and Dalí was sent to be educated in a state-run school. Early work, such as films made with Luis Bunuel, portrayed the church and its acolytes as corrupt and stupid. Dalí blamed the church for his repressed attitudes towards sex. He even went so far as to draw an image of Jesus and the Sacred Heart in 1929 entitled “Sometimes I spit with pleasure on the Portrait of my Mother (The Sacred Heart).”

These feeling of anger towards the Church began to shift as he matured, and Dalí found himself pulled again towards his religious roots. He had married his wife Gala in a church ceremony in 1934, and began incorporating holy themes in his work by the late 1940s. In 1949, he painted “The Madonna of Port Lligat,” which fused his Surrealist ideas with traditional Catholic iconography. The same year, Dalí met with Pope Pius XII to show him this Madonna, and asked for the Pope’s blessing to paint religious works, specifically the Immaculate Conception, to which the Pope consented. Dalí was to remark that the Pope showed great comprehension of the artist’s work, and so devoted himself to painting more surrealistic religious works, including a second “Madonna of Port Lligat.”

In 1950, inspired by this papal blessing, the Italian government, specifically The National Library of Italy, commissioned Dalí to create 100 illustrations for a commemorative edition of Dante’s “The Divine Comedy” to mark the upcoming 700th anniversary of the poet’s birth.

Though Dalí’s inimitable style was perfectly suited to the task, some Italians viewed the commissioning of a foreign artist to interpret this quintessentially Italian masterpiece as a crime against the Italian State. Protests became so feverish that they reached the Italian Parliament, who, bowing to pressure, canceled the contract with Dalí.

WATERCOLOUR TO WOODBLOCK Despite the withdrawal of official patronage, Dalí was undeterred, too enthralled by the project to drop it. Dalí had long been familiar with the text, and his artistic focus during that period was centred on the exploration of classicism and mysticism, which aligned perfectly with the task at hand. Art historians also suggest that Dalí saw a parallel between Dante’s love Beatrice and his own wife and muse Gala, who served as a model for his illustrations of the character For the project, Dalí produced 100 watercolours between 1950 and 1952, one for each of the verses in “The Divine Comedy,” divided into 34 for Inferno, and 33 each for Purgatoria and Paradiso. His unbridled creativity was at its apex in this project, channeling his proclivities for the bizarre, the sublime and the nightmarish.

To see the project to completion, Dalí reached out to Joseph Forêt and his Paris-based fine art publishing house Editions d’art Les Heures Claires. Fôret agreed to purchase the entire set of watercolours as well as the rights to publish Dalí’s version of “The Divine Comedy” in limited edition. Each of Dalí’s watercolours was carefully reproduced in woodblock by master engraver Raymond Jacquet and his assistants Jean Taricco and Paul Bassin, a process closely supervised by the Dalí himself.

In order to render the drawings faithfully, each image needed to be “deconstructed” into its component colours. Each colour in a polychromatic print is laid onto its

own block: as an example, a print with 10 colours will typically have 10 interdependent woodblocks involved in printing the final image. Dalí’s 100 illustrations necessitated the carving of over 3,500 separate blocks, and took just under five years to complete. This number represents an average of 35 blocks per print — though each print varies in terms of its complexity, some have estimated that the more intricate ones required upwards of 50 blocks to reproduce.

PUBLISHED AT LAST Dalí’s interpretation of “The Divine Comedy” is considered to be among the most original and expressive bodies of work in the artist’s career, a view supposedly echoed by Dalí himself. In places, the artist’s work depicts Dante’s words with high fidelity, while in others, the motifs are pure Dalí – windowed torsos, limbs on crutches. Writing for a London exhibition of this work in 2021, Luke Wallis writes that: More than any of the poem’s many illustrators, Dalí fits Dante’s vision. The inferno is to some extent already an absurd, surreal nightmare; in the act of translation from word to image, it is oftentimes difficult to pinpoint where the early Renaissance Poet ends and the Surrealist artist begins.

That the two possess a shared sensibility in their conception of hell and purgatory as intellectual torture, body-horror and farce, we might expect. Dalí’s Paradise, however, offers up something we are much less likely to anticipate. The delicacy of line and colour on display here is unique in his oeuvre. All in all, it is something of a revelation.

In May 1960, Dalí’s watercolours went on display at the Museum Galliera in Paris. Les Heures Claires published 150 editions of the prints in 1963, with all the 100 prints signed

by Dalí: Inferno in red, Purgatoria in purple, and Paradiso in blue, each numbered 150.

Limited edition books were also released, 4765 books in French and 2,900 in Italian. A subsequent edition of 1000, known as the “German edition” was released in 1974 by adding English and German text to previous copies of the French edition, along with block signatures, under the supervision of Dalí.

14 ZAO WOU-KI (1920-2013), CHINESE/FRENCH UNTITLED, 1959 [A., 120]

etching and aquatint in colours on BFK Rives paper, with full margins; signed, dated and numbered 24/75; published by L’Oeuvre Gravée, Zurich sheet 19.9 x 25.8 in — 50.6 x 65.5 cm; plate 13.8 x 23.6 in — 35 x 60 cm PROVENANCE:

Private Collection, British Columbia $3,500 — 4,500

15 ROBERTO MATTA (1911-2002), CHILEAN VA-RIANTE, 1974 [S. 353]

etching and aquatint in colours on wove paper, with full margins; signed and numbered 70/100, there were also 25 artist’s proofs numbered in Roman, published by George Visat, Paris sheet 25.6 x 19.7 in — 67.7 x 51.3 cm; plate 19.7 x 15 in — 50 x 38 cm PROVENANCE:

Private Collection, British Columbia $600 — 800

16 ROBERTO MATTA (2011-2002), CHILEAN UNTITLED, CIRCA 1970

etching and aquatint in colours on Arches paper, watermark, with full margins; signed and numbered 79/100 sheet 20.1 x 26.4 in — 51 x 67 cm; plate 15 x 18.9 in — 38 x 48 cm PROVENANCE:

Private Collection, British Columbia $600 — 800

17 WIFREDO LAM (1902-1982), CUBAN CONTRE UNE MAISON SÈCHE, 1974

etching and aquatint in colours on BFK Rives paper, with full margins; signed and numbered 45/60; published by Jean Hughes, Paris sheet 15 x 21.9 in — 38 x 55.5 cm PROVENANCE:

Private Collection, Quebec $400 — 600

18 PIERRE ALECHINKSY (B. 1927), BELGIAN OBJETS VOLANTS, 1977

lithograph in colours on Arches paper, with full margins; signed and numbered 29/100; printed by Atelier Clot, Paris, published by London Arts, Inc., stamped sheet 25.2 x 18.9 in — 64 x 48 cm PROVENANCE:

Private Collection, Quebec $1,000 — 1,500

19 ANTONI CLAVÉ (1913-2005), SPANISH UNTITLED, CIRCA 1975

engraving with carborundum in colours on wove paper, the full sheet; signed and numbered 60/75 sheet 18.9 x 14.6 in — 48 x 37 cm PROVENANCE:

Private Collection, Quebec $200 — 300

20 ANTONI CLAVÉ (1913-2005), SPANISH A ALBRECHT DÜRER, 1971

engraving in colours with carborundum and embossing on wove paper, the full sheet; signed and numbered 51/79 sheet 29.9 x 22.4 in — 76 x 57 cm PROVENANCE:

Private Collection, British Columbia $800 — 1,200

21 ANTONI CLAVÉ (1913-2005), SPANISH LE MAIN DU ROI OU LE BONJOUR DU ROY, 1959 [P. 70]

lithograph in colours on wove paper, the full sheet; signed and numbered 98/100 sheet sight 22.4 x 29.9 in — 57 x 76 cm PROVENANCE:

Private Collection, British Columbia $1,200 — 1,600

23 HENRY MOORE (1898-1986), BRITISH FIGURE IN A ROOM, 1977 [C. 451]

lithograph in colours on T.H. Saunders paper, with full margins; signed and numbered 43/50, there were also 15 artist’s proofs numbered in Roman; published by Curwen Press, London sheet 9.8 x 13.8 in — 43 x 51.3 cm PROVENANCE:

Private Collection, Toronto, ON $800 — 1,000

24 WILLIAM KURELEK, RCA (1927-1977), CANADIAN MAP OF CANADA

colour lithograph on wove paper signed and numbered 29/554 sheet 22 x 24 in — 63.6 x 65.3 cm PROVENANCE:

Private Collection, Toronto, ON $800 — 1,000

25 CHRISTOPHER PRATT, RCA (1935-2022), CANADIAN RAILWAY, 1978

colour screenprint on wove paper signed, titled, dated “Nov 1978” and numbered 16/39; titled and dated to gallery label verso 25.8 x 30 in — 65.3 x 76.2 cm PROVENANCE:

Mira Godard Gallery, Toronto, ON; Private Collection, Toronto, ON $5,000 — 7,000

26 DAVID LLOYD BLACKWOOD, OSA, RCA (1941-2022), CANADIAN IN THE LABRADOR SEA, 1996

etching and aquatint on paper signed, titled, dated and numbered 7/50 plate 20 x 32 in — 50.8 x 81.3 cm; sheet 24.5 x 36.6 in — 62.3 x 93 cm PROVENANCE:

Private Collection, Ontario LITERATURE:

Gough, William, and David Blackwood. David Blackwood: Master Printmaker. Reproduced pages 116-117. Vancouver: Douglas & McIntyre, 2001. $4,000 — 6,000

“The destination for both adventure and income was always the Labrador,” writes William Gough in his monograph on artist David Blackwood. Blackwood’s hometown of Wesleyville, Newfoundland was once an important outpost for fishing and sealing enterprises.

Residents relied on the ocean’s bounty for survival, travelling to the rich northern waters off the Labrador coast in the brief summer months. Wesleyville was close to these abundant fishing grounds, and the local geography played host to large schooners and custombuilt facilities designed to cure the Labrador catch. The majority of the men in the community would depart annually for the Labrador, returning with a ship full of fish.

Once they had returned, the local women and children would clean and dry the catch for export. Danger was implicit on these voyages, with vessels menaced by ice and fire, weather and accident.

The fragility of human life is a recurring motif in Blackwood’s art, expressed here in this Melvillean print – three ships and their small crews dwarfed by the ocean and by its shadowy denizens.

27 CHRISTOPHER PRATT, RCA (B. 1935), CANADIAN CHRISTOPHER PRATT, 1979-1980

limited edition book and screenprint on wove paper the screenprint signed, titled, dated and numbered 20/93, the book from an edition of 279, the accompanying certificate signed by artist, David P. Silcox and Meriké Weiler; published by Quintus Press, 1981 book 12.8 x 14 x 2.8 in — 32.5 x 35.6 x 7.1 cm; screenprint 8 x 10 in — 20.3 x 25.4 cm PROVENANCE:

Private Collection, Ottawa, ON $1,200 — 1,600

28 GUIDO MOLINARI, RCA (1933-2004), CANADIAN SANS TITRE, 1956-1967

screenprint on wove paper signed with Estate stamp and embossed with Fondation Guido Molinari blindstamp; inscribed verso sheet 25.5 x 29.5 in — 64.8 x 74.9 cm; image 22 x 28.87 in — 55.9 x 73.3 cm PROVENANCE:

Guido Molinari Foundation, Montreal, QC NOTE:

Proceeds from the sale of this lot will benefit the Guido Molinari Foundation $1,500 — 2,500

29 GUIDO MOLINARI, RCA (1933-2004), CANADIAN SANS TITRE, 1958-1988

screenprint on wove paper signed with Estate stamp and embossed with Fondation Guido Molinari blindstamp; inscribed verso sheet 31 x 42 in — 78.7 x 106.7 cm; image 30.25 x 41.25 in — 76.8 x 104.8 cm PROVENANCE:

Guido Molinari Foundation, Montreal, QC NOTE:

Proceeds from the sale of this lot will benefit the Guido Molinari Foundation $2,000 — 3,000

30 GUIDO MOLINARI, RCA (1933-2004), CANADIAN BI-ROUGE III, 1965-1993

screenprint in colours on wove paper signed with Estate stamp and embossed with Fondation Guido Molinari blindstamp; inscribed verso sheet 39.25 x 27.5 in — 99.7 x 69.9 cm; image 37.88 x 21.38 in — 96.2 x 54.3 cm PROVENANCE:

Guido Molinari Foundation, Montreal, QC NOTE:

Proceeds from the sale of this lot will benefit the Guido Molinari Foundation $3,000 — 4,000

31 JACK HAMILTON BUSH, OSA, ARCA (1909-1977), CANADIAN LOW SPREAD, 1974

colour screenprint on wove paper signed, dated and numbered “AP XVI/XXV” 25.5 x 34.25 in — 64.8 x 87 cm PROVENANCE:

Private Collection, Toronto, ON $5,000 — 7,000

32 JACK HAMILTON BUSH, OSA, ARCA (1909-1977), CANADIAN LINCOLN CENTRE, 1974

colour screenprint on wove paper signed, dated and numbered 3/144 61.5 x 37 in — 156.2 x 94 cm PROVENANCE:

Important Corporate Collection, Ontario $12,000 — 15,000

Throughout the middle 1950s and into 1962 Jack Bush and the Painters Eleven developed as Abstract Expressionists raised in a particularly Canadian context in booming postwar Toronto. After a visit to New York and an introduction to Clement Greenberg, Bush’s abstraction matured with nuanced application of vivid colours and streamlined, all-over composition.

The largest of Jack Bush’s screenprints, Lincoln Centre comes from the artist’s Totem series, and is an exceptional example of why Bush remains one of Canada’s foremost modernists. In 1974, Bush decided to revisit his ‘color column’ concept, which examines the interplay between blocks of colour. As evidenced in this print, these adjacent passages, placed on a neutral ground, showcase the intensity of these relationships. At the time, Bush was working on three large-scale works on paper, another nearidentical version which was chosen to serve as a poster for the Lincoln Center “Mostly Mozart” Festival, July 22 – August 21, 1974.

33 JACK HAMILTON BUSH, OSA, ARCA (1909-1977), CANADIAN FRIDAY MORNING, 1968

colour screenprint on wove paper signed, dated and numbered IX/XV (artist’s proof) 20 x 24.5 in — 50.8 x 62.2 cm PROVENANCE:

Private Collection, Ontario $6,000 — 8,000

34 JEAN PAUL RIOPELLE, RCA (1923-2002), CANADIAN TRIPTYQUE ORANGE [YSEULT RIOPELLE 1967.02EST.LI]

colour lithograph on wove paper signed and numbered 68/75 29.5 x 45.5 in — 74.9 x 115.6 cm PROVENANCE:

Mira Godard Gallery, Toronto, ON; Important Corporate Collection, Ontario LITERATURE:

Yseult Riopelle, Jean Paul Riopelle: Catalogue raisonné des estampes, 2005, reproduced pages 20 and 142, listed page 363, catalogue #1967.02EST.LI $3,000 — 4,000

35 RITA LETENDRE, RCA (1928-2021), CANADIAN NOGA, 1980

colour screenprint on wove paper signed, titled, dated “’80” and inscribed “Bon à tirer” 20 x 28 in — 50.8 x 71.1 cm PROVENANCE:

Important Corporate Collection, Ontario $400 — 600

36 RITA LETENDRE, RCA (1928-2021), CANADIAN ODE TO SEBASTIAN BACH, 1982

aquatint on wove paper signed, dated “’82” and numbered 40/50 image 17.8 x 25.7 in — 45.1 x 65.2 cm PROVENANCE:

Important Corporate Collection, Ontario $400 — 600

37 PATERSON EWEN, RCA (1925-2002), CANADIAN UNTITLED, 1967

screenprint in colours on wove paper signed, titled, dated “’67” and numbered 48/100 verso sheet 26 x 20 in — 66 x 50.8 cm; image 24.5 x 18 in — 62.2 x 45.7 cm PROVENANCE:

Guido Molinari Foundation, Montreal, QC NOTE:

Proceeds from the sale of this lot will benefit the Guido Molinari Foundation $400 — 600

38 JEAN ALBERT MCEWEN, RCA (1923-1999), CANADIAN SANS TITRE, 1967

screenprint in colours on wove paper signed, titled, dated “’67” and numbered 54/90 verso sheet 26 x 20 in — 66 x 50.8 cm; image 21.75 x 18 in — 55.2 x 45.7 cm PROVENANCE:

Guido Molinari Foundation, Montreal, QC NOTE:

Proceeds from the sale of this lot will benefit the Guido Molinari Foundation $600 — 800

39 MARIO MEROLA (B. 1931), CANADIAN SANS TITRE, 1967

screenprint in colours on wove paper signed, dated “’67” and numbered 7/100 verso sheet 26 x 20 in — 66 x 50.8 cm; image 22 x 16.25 in — 55.9 x 41.3 cm PROVENANCE:

Guido Molinari Foundation, Montreal, QC NOTE:

Proceeds from the sale of this lot will benefit the Guido Molinari Foundation $800 — 1,200

40 ROY KIYOOKA, RCA (1926-1994), CANADIAN UNTITLED, 1967

screenprint in colours on wove paper signed, dated “’67” and numbered 62/100 verso sheet 26 x 20 in — 66 x 50.8 cm; PROVENANCE:

Guido Molinari Foundation, Montreal, QC NOTE:

Proceeds from the sale of this lot will benefit the Guido Molinari Foundation $800 — 1,200

41 JACQUES HURTUBISE (1939-2014), CANADIAN LOLA, 1967

screenprint in colours on wove paper signed, titled, dated “’67” and numbered 6/100 verso sheet 19.875 x 19.875 in — 50.5 x 50.5 cm; image 17.875 x 17.875 in — 45.4 x 45.4 cm PROVENANCE:

Guido Molinari Foundation, Montreal, QC NOTE:

Proceeds from the sale of this lot will benefit the Guido Molinari Foundation $600 — 800

42 HAROLD BARLING TOWN (1924-1994), CANADIAN SMALL KITE FOR HOKUSAI, 1956

single autographic print on wove paper signed and dated “’56” to margin PROVENANCE:

Private Collection, British Columbia $1,000 — 1,500

43 CHARLES PACHTER (B. 1942), CANADIAN I SAID GOOD MORNING TO THE ROOSTER, 1965

colour lithograph on wove paper signed, titled and numbered 14/15 24.5 x 18 in — 62.2 x 45.7 cm PROVENANCE:

Acquired directly from the artist; Private Collection, Toronto, ON $500 — 700

44 LAWREN STEWART HARRIS, OSA (1885-1970), CANADIAN EVENTIDE, FROM “COUTTS PAINTERS OF CANADA SERIES,” 1931

screenprint in colours mounted on card initialed in matrix; published by William E. Coutts, Toronto and printed by SampsonMatthews, Toronto 4.75 x 5.625 in — 12.1 x 14.3 cm PROVENANCE:

Private Collection, Toronto, ON $1,000 — 1,500

45 ALEXANDER YOUNG (A.Y.) JACKSON, OSA, RCA (1882-1974), CANADIAN OVER THE HILLS, FROM “COUTTS PAINTERS OF CANADA SERIES,” 1931

screenprint in colours on wove paper, mounted on card initialed in matrix; published by William E. Coutts, Toronto and printed by Sampson-Matthews, Toronto 4.75 x 5.625 in — 12.1 x 14.3 cm PROVENANCE:

Private Collection, Toronto, ON $500 — 700

46 NINGIUKULU (NINGEOKULUK) TEEVEE ᓂᒋᐅᑯᓗ ᑎᕕ (B. 1963), KINNGAIT (CAPE DORSET) TAILWIND, 2014

stonecut and stencil; titled, dated and numbered 26/50; artist’s name in Roman and syllabics sheet 11 x 13 in — 27.9 x 33 cm PROVENANCE:

Private Collection, Ontario $500 — 700

Waddington’s is pleased to be offering six prints by Ningiukulu Teevee in this auction.

Self-taught, Teevee began her career in the 1990s, and works primarily with ink and coloured pencils. From Kinngait (Cape Dorset), Teevee explores both traditional legends and contemporary topics in her work. Inuit art curator and writer Leslie Boyd writes that “Ningiukulu Teevee has never lost her wonder at the world, and, at heart, she is unikaarti—a storyteller.

She thinks in pictures, and drawing is her language. Teevee is soft-spoken, but her message is clear and strong, and with it she is expanding the narrative of the North, breaking new ground for Inuit art.”

One of the leading graphic artists working in Canada today, over 80 of Teevee’s drawings have been selected for inclusion in the annual Cape Dorset print collection.

47 NINGIUKULU (NINGEOKULUK) TEEVEE ᓂᒋᐅᑯᓗ ᑎᕕ (B. 1963), KINNGAIT (CAPE DORSET) SHAPE SHIFTER, 2014

stonecut; titled, dated and numbered 9/50; artist’s name in Roman and syllabics sheet 18.5 x 26 in — 47 x 66 cm PROVENANCE:

Private Collection, Ontario $400 — 600

48 NINGIUKULU (NINGEOKULUK) TEEVEE ᓂᒋᐅᑯᓗ ᑎᕕ (B. 1963), KINNGAIT (CAPE DORSET) COASTAL SPIRIT, 2016

etching and aquatint; titled, dated and numbered 6/50; artist’s name in Roman and syllabics sheet 30 x 43.5 in — 76.2 x 110.5 cm PROVENANCE:

Private Collection, Ontario $400 — 600

49 NINGIUKULU (NINGEOKULUK) TEEVEE ᓂᒋᐅᑯᓗ ᑎᕕ (B. 1963), KINNGAIT (CAPE DORSET) TIPTOE THROUGH THE TUNDRA, 2016

stonecut; titled, dated and numbered 6/50; artist’s name in Roman and syllabics sheet 24.25 x 31 in — 61.6 x 78.7 cm PROVENANCE:

Private Collection, Ontario $500 — 700

50 NINGIUKULU (NINGEOKULUK) TEEVEE ᓂᒋᐅᑯᓗ ᑎᕕ (B. 1963), KINNGAIT (CAPE DORSET) SIRUSIQ NATSIARUQTUQ (BOY TURNS INTO A SEAL), 2018

stonecut; titled, dated and numbered 9/50; artist’s name in Roman and syllabics sheet 20.5 x 21.5 in — 52.1 x 54.6 cm PROVENANCE:

Private Collection, Ontario $400 — 600

51 NINGIUKULU (NINGEOKULUK) TEEVEE ᓂᒋᐅᑯᓗ ᑎᕕ (B. 1963), KINNGAIT (CAPE DORSET) MAGIC ULU, 2016

stonecut and stencil; titled, dated and numbered 6/50; artist’s name in Roman and syllabics sheet 13 x 14.75 in — 33 x 37.5 cm PROVENANCE:

Private Collection, Ontario $500 — 700

52 OLLE BAERTLING (1911-1981), SWEDISH COMPOSITION, 1961-1972

screenprint in colors on strong wove paper, with full margins; signed, dated and numbered 67/115 sheet 20.9 x 29.6 in — 53 x 75.2 cm PROVENANCE:

Private Collection, Toronto, ON; Rental Service of the Art Gallery of Ontario, Toronto, ON; The Pollack Gallery, Toronto, ON $800 — 1,200

53 JEAN-PIERRE VASARELY (YVARAL) (1934-2002), FRENCH COMPOSITION, CIRCA 1970-1980

screenprint in colours on wove paper, with full margins; signed and numbered 75/150 27.7 ins x 27.7 ins; 70.3 cms x 70.3 cms PROVENANCE:

Private Collection, Ontario $600 — 800

54 HERBERT OEHM (B. 1935), GERMAN COMPOSITION, CIRCA 1980

screenprint in colours on cardboard, with full margins; signed and numbered 21/120 27.6 ins x 27.4 ins; 70 cms x 69.5 cms PROVENANCE:

Private Collection, Ontario $500 — 700

55 JOSEF ALBERS (1888-1976), AMERICAN/GERMAN TWO WORKS FROM THE “FORMULATION: ARTICULATION” PORTFOLIO: FOLIO I/ FOLDER 1; FOLIO I/FOLDER 3, 1972 [D. APPENDIX C]

screenprint in colours on Mohawk Superfine bristol paper ; each folder with the printed signature and title verso, from the edition of 1000; co-published by Ives-Sillman, Inc., New Haven and Harry N. Abrams, Inc., New York and printed by Sirocco Screenprints each open spread 15 x 40.2 in — 38.1 x 102 cm PROVENANCE:

Private Collection, Ontario $800 — 1,200

56 JOSEF ALBERS (1888-1976), AMERICAN/GERMAN TWO WORKS FROM THE “FORMULATION: ARTICULATION” PORTFOLIO: FOLIO I/ FOLDER 3; FOLIO I/FOLDER 6, 1972 [D. APPENDIX C]

screenprint in colours on Mohawk Superfine bristol paper ; each folder with the printed signature and title verso, from the edition of 1000; co-published by Ives-Sillman, Inc., New Haven and Harry N. Abrams, Inc., New York and printed by Sirocco Screenprints each open spread 15 x 40.2 in — 38.1 x 102 cm PROVENANCE:

Private Collection, Ontario $800 — 1,200

57 JOSEF ALBERS (1888-1976), AMERICAN/GERMAN TWO WORKS FROM THE “FORMULATION: ARTICULATION” PORTFOLIO: FOLIO I/ FOLDER 7; FOLIO I/FOLDER 12, 1972 [D. APPENDIX C]

screenprint in colours on Mohawk Superfine bristol paper ; each folder with the printed signature and title verso, from the edition of 1000; co-published by Ives-Sillman, Inc., New Haven and Harry N. Abrams, Inc., New York and printed by Sirocco Screenprints each open spread 15 x 40.2 in — 38.1 x 102 cm PROVENANCE:

Private Collection, Ontario $800 — 1,200

58 JOSEF ALBERS (1888-1976), AMERICAN/GERMAN TWO WORKS FROM THE “FORMULATION: ARTICULATION” PORTFOLIO: FOLIO II/ FOLDER 4; FOLIO II/FOLDER 2, 1972 [D. APPENDIX C]

screenprint in colours on Mohawk Superfine bristol paper; each folder with the printed signature and title verso, from the edition of 1000; co-published by Ives-Sillman, Inc., New Haven and Harry N. Abrams, Inc., New York and printed by Sirocco Screenprints each open spread 15 x 40.2 in — 38.1 x 102 cm PROVENANCE:

Private Collection, Ontario $800 — 1,200

59 JOSEF ALBERS (1888-1976), AMERICAN/GERMAN TWO WORKS FROM THE “FORMULATION: ARTICULATION” PORTFOLIO: FOLIO II/ FOLDER 3; FOLIO II/FOLDER 20, 1972 [D. APPENDIX C]

screenprint in colours on Mohawk Superfine bristol paper ; each folder with the printed signature and title verso, from the edition of 1000; co-published by Ives-Sillman, Inc., New Haven and Harry N. Abrams, Inc., New York and printed by Sirocco Screenprints each open spread 15 x 40.2 in — 38.1 x 102 cm PROVENANCE:

Private Collection, Ontario $800 — 1,200

60 JIM DINE (B. 1935), AMERICAN AWL, PLATE 5 FROM “ELEVEN POP ARTISTS VOLUME 1,” 1965

screenprint in colours on wove paper, the full sheet; signed, dated and numbered 9/200; published by Original Editions, New York and printed by KMF Inc., New York sight 23.3 x 18.7 in — 59.2 x 47.6 cm PROVENANCE:

Private Collection, Ontario $500 — 700

61 ROBERT RAUSCHENBERG (1925-2008), AMERICAN HOMAGE TO FREDERICK KIESLER, 1966 [F. 38]

lithograph in colours on wove paper, with full margins; signed, dated and numbered 51/200 34.9 x 23 in — 88.7 x 58.4 cm PROVENANCE:

Private Collection, Toronto, ON; Gallery Moos, Toronto, ON; The Fine Art Galleries, Eaton & Co., Toronto, ON $1,500 — 2,000

62 JESÚS RAFAEL SOTO (1923-2005), VENEZUELAN UNTITLED, FROM THE “SOTO MAGIE” SERIES, 1967

acrylic, plexiglass and metal rods with nylon strings; signed and numbered 92/100 to the base; published by Edition Denise René, Paris 20 x 12 x 8 in — 50.8 x 30.5 x 20.3 cm PROVENANCE:

Private Collection, Toronto, ON $8,000 — 12,000

63 LEON GOLUB (1922-2004), AMERICAN CLASSIC HEAD? CLAW, HAND, CIRCA 1980-1990

lithograph in colours on wove paper, the full page; signed, titled and numbered 5/5 sheet 25 x 32.5 in — 57 x 76.8 cm PROVENANCE:

Collection of the Appleton Museum of Art, Ocala, Florida; Private Collection, Toronto, ON $400 — 600

64 VICTOR PASMORE (1908-1998), BRITISH LINEAR DEVELOPMENT IN ONE MOVEMENT, 1974

etching and aquatint in colours on wove paper, with full margins; signed, dated “74” and numbered 20/60; published by Marlborough Graphics and printed by White Ink Studio, London sheet 25 ins x 17.7 ins; 60.5 cms x 70 cms; plate 12.8 ins x 14.6 ins; 32.5 cms x 37 cms PROVENANCE:

Private Collection, Ontario $700 — 900

65 CHRISTO (1935-2020) AND JEANNE-CLAUDE (1935-2009), AMERICAN PONTE SANT’ANGELO, WRAPPED, 2011 [S. 205]

photograph mounted on rag paper, with collotype, screenprint and collage on card, the full sheet; signed and numbered 35/150, there were also 50 artist’s proofs; published by Geur und Breckner, Düsseldorf and produced by Ostfildern, Stuttgart and Schullmann Art, Munich 25 x 28.5 in — 63.5 x 72.4 cm PROVENANCE:

Private Collection, Switzerland NOTE:

This lot ships from Switzerland.

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $11,000 — 13,000

66 SAM FRANCIS (1923-1994), AMERICAN TRIETTO 4, 1991 [SFE-077RC]

aquatint in colours on Fabriano paper, with full margins; signed in pencil and numbered 58/66, there were also 14 artist’s proofs; published and printed by 2RC Edizioni d’Arte, Vigna Antoniniana Stamperia d’Arte, Rome, blindstamp sheet 52.8 x 65 in — 134 x 165 cm PROVENANCE:

Private Collection, Europe NOTE:

This lot ships from Europe.

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $10,000 — 12,000

67 SAM FRANCIS (1923-1994), AMERICAN TRIETTO 3, 1991 [SFE-076RC]

aquatint in colours on Fabriano paper, with full margins; signed in pencil and numbered 22/66, there were also 14 artist’s proofs; published and printed by 2RC Edizioni d’Arte, Vigna Antoniniana Stamperia d’Arte, Rome, blindstamp sheet 38.2 x 53.1 in — 97 x 135 cm PROVENANCE:

Private Collection, Europe NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $8,000 — 12,000

68 SAM FRANCIS (1923-1994), AMERICAN UNTITLED, 1982 [L. 253, SF-268]

lithograph and monotype in colours on Rives BFK paper, the full sheet; signed in pencil and numbered 3/18, there was also one artist’s proof; published and printed

by The Litho Shop, Inc., Santa Monica, blindstamp, each print in the edition is a unique colour variant (monotype) sheet 41.7 x 29.7 in — 106 x 75.5 cm PROVENANCE:

Private Collection, Europe

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $3,000 — 4,000

69 SAM FRANCIS (1923-1994), AMERICAN UNTITLED, FROM THE “EIGHT BY EIGHT TO CELEBRATE THE TEMPORARY CONTEMPORARY” PORTFOLIO, 1984 [L. 263, SF-272]

lithograph in colours on Rives BFK paper, the full sheet; signed and inscribed “TP” (trial proof), aside from the edition of 250, there were also 30 artist’s proofs; published by The Museum of Contemporary Art, Los Angeles and printed by The Litho Shop, Inc., Santa Monica sheet 41.9 x 28 in — 106.5 x 72 cm PROVENANCE:

Private Collection, Europe NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $4,000 — 6,000

70 SAM FRANCIS (1923-1994), AMERICAN UNTITLED, 1982 [L. 252; SF-267]

lithograph in colours on BFK Rives paper, the full sheet; signed in pencil and numbered 7/26, there were also four artist’s proofs; published and printed

by The Litho Shop, Santa Monica sheet 41.7 x 29.5 in — 106 x 75 cm PROVENANCE:

Private Collection, Europe NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $3,000 — 4,000

71 SAM FRANCIS (1923-1994), AMERICAN CONCERT HALL SET III, 1997 [L. 225, SF. 232]

lithograph in colours on BFK Rives paper, with full margins; signed and justified “AP” aside from the edition of 75, there was also one BAT (bon à tirer) and 11 artist’s proofs (this lot being one); published by Louisiana Museum of Modern Art, Humlebæk and printed by George Page, Litho Shop, Inc., Santa Monica sheet 28.9 x 40.2 in — 73.5 x 102 cm PROVENANCE:

Private Collection, Europe NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $3,000 — 4,000

72 SAM FRANCIS (1923-1994), AMERICAN UNTITLED, 1982 [L. 33, SFE-001]

aquatint and etching in colours on Somerset paper, with full margins; signed and justified “AP” (artist’s proof) aside from the edition of 100, there were 19 artist’s proofs (this lot being one); published and printed by The Litho Shop, Inc., Santa Monica, blindstamp sheet 30.9 x 23.8 in — 78.5 x 60.5 cm PROVENANCE:

Private Collection, Europe NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $1,200 — 1,800

73 SAM FRANCIS (1923-1994), AMERICAN UNTITLED, 1982 [L. 35, SFE-003]

etching and aquatint in colours on Somerset paper, with full margins; signed and justified “CTP” (colour trial proof), each with unique colours, aside from the edition of 20, there were also eight artist’s proofs and other colour trial proofs; published and printed

by The Litho Shop, Inc., Santa Monica, blindstamp sheet 32.3 x 25.6 in — 82 x 65 cm PROVENANCE:

Private Collection, Europe NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $1,200 — 1,800

74 SAM FRANCIS (1923-1994), AMERICAN UNTITLED, 1988 [L. S19, SFS-332]

screenprint in colours on waterfleaf wove paper, the full sheet; signed and numbered 113/114; published by Sam Francis, Santa Monica sheet 29.9 x 22 in — 76 x 56 cm PROVENANCE:

Private Collection, Europe NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $1,200 — 1,800

A TALE OF TWO GREATS: ANDY WARHOL AND WAYNE GRETZKY “He’s more than a hockey player, he’s an entertainer, an entertaining hockey player.” – Andy Warhol, on Wayne Gretzky

Though Andy Warhol may not have been a passionate sports fan, he was a devotee of celebrity in all forms. Warhol’s great talent lay in distilling and reflecting a specific cultural moment, often a step ahead of the cultural moment itself. With great prescience, Warhol sensed the impending rise of the athlete-as-celebrity, as well as the commercialization of sport.

In Warhol’s words, “the sports stars of today are the movie stars of yesterday.”

Warhol made a series of silkscreen portraits of athletes in 1977, commissioned by art collector and sports fan Richard Weisman. The ten subjects selected were seen as the greatest of the period: Muhammad Ali, Dorothy Hamill, Kareem Abdul-Jabbar, Chris Evert, Jack Nicklaus, O.J. Simpson, Willie Shoemaker, Rod Gilbert, Tom Seaver, and Pelé.

Six years later, Warhol would make a portrait of another sporting great: The Great One himself, Wayne Gretzky.

A BOLD IDEA Warhol’s portrait of Gretzky was the brainchild of neither artist nor subject, but of Vancouver gallery owner Frans Wynans.

In 1983, Wynans was working as an art consultant for a Canadian corporate client, helping to put together a collection of conservative artworks from the early 20th century. Wynans recalls telling his client, “You’re too young to be collecting antiques,” and instead suggested they get Warhol to make a portrait of Gretzky, Canada’s biggest celebrity of the moment.

Through a mutual friend, Wynans was able to contact Warhol, who agreed to the commission. Wynans then reached out to Gretzky’s manager with an offer of payment to the then-22-year-old athlete that would also include one of the paintings Warhol would produce. Gretzky agreed.

Gretzky explained that he had been a fan of Warhol’s prior to his sitting, telling Radio Canada International in December of 1983 that “I have a few of Andy Warhol’s paintings of my own that I’ve collected over the years. I’m by no means saying that I know a whole lot about art. I buy things that I enjoy and I enjoy his stuff and to be painted by him is terrific.”

ONE HOCKEY STICK SHORT Gretzky and Warhol met for the first time at a photoshoot in June of 1983, held at Warhol’s Manhattan studio, The Factory.

Wynans explains that as “Gretzky was coming from Long Island, he ended up being about three or 3 1/2 hours late because of congestion on the highway.

And we were sitting there — me and Andy Warhol and Frederick Hughes (Warhol’s manager at the time), chatting around and enjoying ourselves, but all the time hoping (Gretzky) would get there.”

When Gretzky did show up, Warhol asked if he had brought a hockey stick. Gretzky, not being in the habit of carrying around his athletic gear, had not. Coincidentally, there was a sporting goods store across

75 ANDY WARHOL (1928–1987), AMERICAN WAYNE GRETZKY #99, 1984 [F&S, II.306]

screenprint in colours on Lenox museum board, the full sheet; signed and numbered 268/300 by Andy Warhol, signed and inscribed “99” by Wayne Gretzky, there were also 50 artist’s proofs; published by Frans Wynans, Vancouver and printed by Rupert Jasen, New York sheet 40 x 32 in — 102 x 81.8 cm PROVENANCE:

Private Collection, Vancouver, BC $10,000 — 15,000

the street from The Factory. As Wynans tells it, he ran across the street and asked to borrow a stick. The clerk demurred, insisting that Wynans instead purchase the stick. Wynans told him that the stick was needed for Wayne Gretzky, which understandably the clerk did not believe.

Wynans ran back to Warhol’s studio and convinced Gretzky to join him at the sporting goods store – and thus, the hockey stick was secured.

FROM NEW YORK TO EDMONTON Warhol took a series of Polaroid photographs to use as the basis for his paintings and silkscreens.

Gretzky told Sports Illustrated that the session involved an afternoon of “warm, lively conversation,” which was unspoiled by Warhol’s loyalty to the New York Rangers – Gretzky playing for the Edmonton Oilers at the time.

As promised, one of the six oil paintings made was given to Gretzky, who hung the work in the dining room of his Edmonton residence. Gretzky chose the one that had his home colours on it: “The Oiler colours, if you can see the blue with the orange and white. They all look the same, but the colour in that one was the one that I seemed to like the most.” This image is the same as was used in Warhol’s screenprints from that session, one of which is included in Waddington’s Editions auction as lot 75.

76 ALEX KATZ (B. 1927), AMERICAN REFLECTION II, 2011

etching and aquatint in colours on Somerset paper, with full margins; signed and numbered 14/30, there were also seven artist’s proofs; published by Peter Blum Edition, New York and printed by Christopher T. Creyts, Collaborative Art Edition, St. Petersburg 40.9 x 31 in — 104 x 78.7 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $5,500 — 7,500

77 ALEX KATZ (B. 1927), AMERICAN SIX AQUATINTS, 2013

the complete portfolio of six photoengravings and aquatints on Somerset satin 300g paper, the full sheets; each signed and numbered 22/25 with inkstamp of the publisher verso; published by Lococo Fine Art Publishers, Inc., St Louis each 29.4 x 33.9 in — 74.6 x 86 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $25,000 — 35,000

78 ALEX KATZ (B. 1927), AMERICAN TWILIGHT 1, 2009 [S. 462]

woodcut in colours on strong Arches paper, the full sheet; signed and numbered 23/25; published by Marlborough Graphics, New York 46.7 x 37.7 in — 118.7 x 95.7 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $14,000 — 16,000

79 ALEX KATZ (B. 1927), AMERICAN YELLOW TULIPS, 2014

screenprint in colours on museum board, the full sheet; signed and numbered 23/50, there were also 15 artist’s proofs and four printer’s proofs; published by Lococo Fine Art St. Louis, stamp verso 48.2 x 77 in — 122.5 x 195.7 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $34,000 — 36,000

Alex Katz – the subject of a recent retrospective at the Solomon R. Guggenheim Museum in New York City – notes that his paintings seek to create a record of “quick things passing.” He has been painting flowers since the 1960s, inspired by his summer sojourns in Maine, and harkening back to his first encounters working en plein air in 1949 while studying at the Skowhegan School of Painting & Sculpture.

Though often thought of as a portraitist, Katz has long been interested in the landscape and the natural world.

In Yellow Tulips, Katz’s tightly cropped, flat aesthetic strips away all that is superfluous. Critic Calvin Tomkins explains that Katz “make us see the world the way he sees it, clear and up close, with all but the most essential details pared away.” Tulips 4, which was used as the basis for this edition, is held in the permanent collection of the Museum of Modern Art in New York City.

80 AI WEIWEI (B. 1957), CHINESE WO IST DIE REVOLUTION, 2019

digital black and white print on Canson 180g paper, the full sheet; signed and numbered 107/180 74.8 x 39.4 in — 190 x 100 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview.

Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $5,500 — 6,500

81 AI WEIWEI (B. 1957), CHINESE THE PAPERCUT PORTFOLIO (NEW YORK, CATS AND DOGS, MAP OF CHINA, FURNITURE, HAIRCUT, CITIZENS INVESTIGATION, RIVER CRABS, ZODIAC), 2019

complete portfolio of eight papercuts in red, the full sheet; each papercut signed, loose as issued, portfolio numbered 12/250, there were also 24 artist’s proofs; published by Taschen, London, in the original red cloth-bound clamshell portfolio 23.6 x 23.6 in — 60 x 60 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $28,000 — 32,000

82 AI WEIWEI (B. 1957), CHINESE STUDY OF PERSPECTIVE IN GLASS (VIOLET), 2018-2019

Murano glass casting in violet shades; signed, dated “2018” under the base and numbered 70/100; fabricated by Berengo Studio, Murano, in the original linencovered box; accompanied by certificate of authenticity signed by the artist and Adriano Berengo 3.5 x 4.9 x 3.9 in — 9 x 12.5 x 10 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $10,500 — 12,500

83 WANG GUANGYI (B. 1957), CHINESE ALPHA AND OMEGA, FROM THE “RHYTHMICAL DICHOTOMY” PORTFOLIO, 2008

lithograph in colours on BFK Rives 300g paper, with full margins; signed and numbered 64/165, there were also four artist’s proofs; accompanied by a poem by Fernando Arrabal 31.5 x 47.2 in — 80 x 120 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $1,800 — 2,200

84 WANG GUANGYI (B. 1957), CHINESE SWATCH NO, FROM THE “RHYTHMICAL DICHOTOMY” PORTFOLIO, 2008

lithograph in colours on BFK Rives 300g paper, with full margins; signed and numbered 64/165, there were also four artist’s proofs; accompanied by a poem by Fernando Arrabal 47.2 x 31.5 in — 120 x 80 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $1,800 — 2,200

85 YUE MINJUN (B. 1962), CHINESE LOTUS POOL, FROM THE “SNATCHED ECSTASY” PORTFOLIO, 2009

lithograph in colours on BFK Rives paper, the full sheet; stamped in red and numbered XLI/CXXX on the double page with a poem by Fernando Arrabal, there were also four artist’s proofs; printed

by Arts-Litho, Paris and the text printed

by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 47.2 x 31.5 in — 120 x 80 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $6,500 — 8,500

86 YUE MINJUN (B. 1962), CHINESE SHEEP HERD, FROM THE “SNATCHED ECSTASY” PORTFOLIO, 2009

lithograph in colours on BFK Rives paper, the full sheet; stamped in red and numbered LXXVI/CXXX on the double page with a poem by Fernando Arrabal, there were also four artist’s proofs; printed

by Arts-Litho, Paris and the text printed

by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 47.2 x 31.5 in — 120 x 80 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $4,000 — 6,000

87 YUE MINJUN (B. 1962), CHINESE FLOATING CLOUDS, FROM THE “SNATCHED ECSTASY” PORTFOLIO, 2009

lithograph in colours on BFK Rives paper, the full sheet; stamped in red and numbered XLI/CXXX on the double page with a poem

by Fernando Arrabal, there were also four artist’s proofs; printed by Arts-Litho, Paris and the text printed by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 31.5 x 47.2 in — 80 x 120 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $6,000 — 8,000

88 CHIHARU SHIOTA (B. 1972), JAPANESE I HOPE..., 2021

stainless steel, heat-resistant satin glass and transparent sheets displaying 28 printed pages; signed and numbered 58/100; published by Köing, this design was made in collaboration with Ingo Maurer and is contained in original case 47.2 x 47.2 in — 120 x 120 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $4,500 — 5,500

89 TOSHIO SAEKI (1945-2019), JAPANESE UNTITLED FROM “AKAI HAKO” (THE RED BOX), 1972-2010

screenprint in colours on washi shin-kozo-shi paper; a later impression after the original print from 1972 framed 18.7 x 25.7 in — 47.6 x 65.4 cm PROVENANCE:

Private Collection, Ontario $600 — 800

90 TOSHIO SAEKI (1945-2019), JAPANESE UNTITLED FROM “AKAI HAKO” (THE RED BOX), 1972-2010

screenprint in colours on washi shin-kozo-shi paper; a later impression after the original print from 1972 framed 18.75 ins x 25.75 ins; 47.9 cms x 65.4 cms PROVENANCE:

Private Collection, Ontario $600 — 800

91 PETER BLAKE (B. 1932), BRITISH MARILYN, 2010

screeprint in colours with diamond dust on Somerset paper, the full sheet; signed and numbered 75/150; published by Paul Stolper, London 37.4 x 29.5 in — 95 x 75 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $2,200 — 2,500

92 CHUCK CLOSE (1940-2021), AMERICAN UNTITLED (SUNFLOWER), 2011

archival pigment print in colours on photo paper, with full margins; signed, dated and numbered 51/60 verso 20.5 x 15.4 in — 52 x 39 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $4,500 — 5,500

93 PETER DOIG (B. 1959), SCOTTISH FISHERMAN, 2014

archival digital pigment print in colours on Somerset 300g photo rag paper, the full sheet ; signed and numbered 147/500; published by the Montreal Museum of Fine Art 34.4 x 27.2 in — 87.5 x 69 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $5,000 — 7,000

94 PETER DOIG (B. 1959), SCOTTISH UNTITLED (CANOE), 2008

aquatint in colours, on Somerset paper, the full sheet; signed and numbered 203/500; published for the “Peter Doig” exhibition at the Musée d’Art Moderne, Paris 23.4 x 29.5 in — 59.5 x 75 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $3,000 — 4,000

95 TRACEY EMIN (B. 1963), BRITISH ME - MAY 2019, 2020

lithograph in colours on Somerset velvet warm white 400g paper, the full sheet; signed, titled, dated and numbered 20/50; printed and published by Counter Studio, Margate 21.9 x 17.9 in — 55.5 x 45.5 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview.

Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $12,000 — 18,000

96 TRACEY EMIN (B. 1963), BRITISH THESE FEELINGS WERE TRUE, 2020

lithograph in colours on Somerset velvet warm white 400g paper, the full sheet ; signed, titled, dated and numbered 20/50; printed and published by Counter Studio, Margate 21.9 x 17.9 in — 55.5 x 45.5 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $12,000 — 18,000

97 TRACEY EMIN (B. 1963), BRITISH AFTER THE SHADOW, 2020

lithograph in colours on Somerset velvet warm white 400g paper, the full sheet; signed, titled, dated and numbered 20/50; printed and published by Counter Studio, Margate 25.8 x 21.9 in — 65.5 x 55.5 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $12,000 — 18,000

98 TRACEY EMIN (B. 1963), BRITISH CRYING - SHOUTING - SCREAMING - WAS NOT GOING TO HELP ME LIVE, FROM “A JOURNEY TO DEATH,” 2021

lithograph in colours on Somerset velvet warm white 400g paper, the full sheet; signed, titled, dated and numbered 28/50; printed and published by Counter Studio, Margate 37 x 29.1 in — 94 x 74 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $17,000 — 20,000

99 TRACEY EMIN (B. 1963), BRITISH THESE FEELINGS WERE TRUE II, 2020

lithograph in colours on Somerset velvet warm white 400g paper, the full sheet; signed, titled, dated and numbered 20/50; printed and published by Counter Studio, Margate 21.9 x 17.9 in — 55.5 x 45.5 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $10,000 — 15,000

100 JEFF KOONS (B. 1955), AMERICAN BALLOON DOGS PRESENTATION SET (YELLOW, MAGENTA AND ORANGE), 2015

the complete set of three sculptures in Limoges porcelain with chromatic coating; three sculptures numbered 1827/2300 in gold verso, contained in original styrofoam-lined presentation box with original plastic stands; manufactured by Bernardaud, Limoges and published by the Museum of Contemporary Art, Los Angeles, accompanied by certificates of authenticity 10.5 x 10.5 x 5 in — 26.6 x 26.6 x 12.7 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $22,000 — 28,000

101 JEFF KOONS (B. 1955), AMERICAN BALLOON SWAN (YELLOW), 2017

Limoges porcelain with chromatic coating; signature-stamped, titled, dated and numbered 825/999 on the underside, contained in the original styrofoamlined presentation box; published by Bernardaud, Limoges, accompanied by certificate of authenticity 9.5 x 6.5 x 8.3 in — 24.1 x 16.4 x 21 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $15,000 — 20,000

102 JEFF KOONS (B. 1955), AMERICAN DIAMOND (RED), 2020

Limoges porcelain with chromatic metalized coating in red and gold; stampsigned, titled, dated and numbered 127/599 on the side, there were also 30 artist’s proofs; published by Bernardaud, Limoges height 12.8 in — 32.4 cm, diameter 15.4 in — 39.2 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $20,000 — 25,000

103 DONALD SULTAN (B. 1951), AMERICAN BLUE POPPIES, 2015

powder-coated aluminium on polished aluminium base; signature incised “DS,” titled, dated and stamp-numbered 7/25 under the base; published by Lococo Fine Art, St. Louis, contained in the original foam-lined white cardboard box 24.4 x 24 x 3 in — 62 x 61 x 7.6 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $22,000 — 25,000

104 DONALD SULTAN (B. 1951), AMERICAN BLACK TULIPS AND VASE, 2014

screenprint in black and white with enamel and powdered texture on museum cardboard, with full margins; signed, titled, dated and numbered 15/50, there were also 15 artist’s proofs; published by Lococo Fine Art, St. Louis (stamp) 46.1 x 46.1 in — 117 x 117 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $6,000 — 8,000

105 DONALD SULTAN (B. 1951), AMERICAN YELLOW MIMOSA, 2015

screenprint in colours with flocking on museum board, the full sheet; signed and numbered 13/50; published by Lococo Fine Art, St. Louis (stamp verso) 32 x 45 in — 81.3 x 114.3 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $6,000 — 8,000

106 DAMIEN HIRST (B. 1965), BRITISH ETERNAL SLEEP (BLACK), 2017

lost wax crystal sculpture in black on Corian base; signed and numbered 24/35 with the copyright of the manufacturer, there were also two artist’s proofs and one H.C.; manufactured by Lalique, Paris, accompanied by certificate of authenticity including stand 7.9 x 6.5 x 8.7 in — 20 x 16.5 x 22 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $22,000 — 26,000

107 DAMIEN HIRST (B. 1965), BRITISH FRUITFUL (LARGE), 2020 [H8-1]

laminated giclée print on aluminum composite panel, the full panel; stampedsigned, titled and numbered 1613/1928 verso; published by Heni Productions, London in collaboration with Fondazione Prada 30.9 x 30.9 in — 78.5 x 78.5 cm PROVENANCE:

Private Collection, Toronto, ON $2,500 — 3,500

108 DAMIEN HIRST (B. 1965), BRITISH FOREVER (LARGE), 2020 [H8-3]

laminated giclée print in colours on aluminum composite panel, the full panel; stamp-signed and numbered 417/1449; published by Heni Editions, London 30.7 x 30.7 in — 78 x 78 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $2,200 — 2,800

109 DAMIEN HIRST (B. 1965), BRITISH FRUITFUL (SMALL), 2020 [H8-2]

laminated giclée print in colours on aluminum composite panel, the full panel; stamp-signed and numbered 942/3308; published by Heni Editions, London 15.4 x 15.4 in — 39 x 39 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $1,200 — 1,800

110 DAMIEN HIRST (B. 1965), BRITISH FOREVER (SMALL), 2020 [H8-4]

laminated giclée print in colours on aluminum composite panel, the full panel; stamp-signed and numbered 431/2173; published by Heni Editions, London 15.4 x 15.4 in — 39 x 39 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $850 — 950

111 JR (B. 1983), FRENCH THE CHRONICLES OF NEW YORK CITY, DOMINO PARK, USA, 2020

lithograph in colours on white BFK Rives 300g paper, with full margins; signed and numbered 53/180 with the artist’s stamp; published by Social Animals 27.6 x 39.4 in — 70 x 100 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $2,200 — 2,400

112 JR (B. 1983), FRENCH INSIDE OUT, HAITI, 2012

lithograph in colours on white BFK Rives 300g paper, with full margins; signed and numbered 33/180 with the artist’s stamp; published by Social Animals and printed

by Ateliers Stéphane Guilbaud, Paris 27.6 x 39.4 in — 70 x 100 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $1,800 — 2,200

113 JR (B. 1983), FRENCH LA FERITA, 25 MARS 2021, 19H07, PALAZZO STROZZI, FLORENCE, ITALIE, 2021

lithograph in colours on white BFK Rives 300g paper, with full margins; signed with stamp and pencil and numbered 27/180; published by Social Animals 39.4 x 27.6 in — 100 x 70 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $2,200 — 2,600

114 JR (B. 1983), FRENCH IN THE CONTAINER WALL, LE HAVRE, FRANCE, 2014-2020

lithograph in colours on white BFK Rives 300g paper, with full margins; signed with stamp and pencil and numbered 124/180; published by Social Animals 19.7 x 27.6 in — 50 x 70 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $1,500 — 2,500

115 REFIK ANADOL (B. 1985), TURKISH QUANTUM MEMORIES: NOISE A, B, C, 2020

complete suite of three chromogenic prints; signed and numbered 404/413 17.3 x 17.3 in — 44 x 44 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $2,000 — 3,000

116 IMI KNOEBEL (B. 1940), GERMAN UNA’S HAUS, 2015

linocut in colours on wove paper, with full margins; signed and justified printer’s proof 8/10, aside from the edition of 100; published by Edition Copenhagen 27.2 x 39.4 in — 69 x 100 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $1,800 — 2,200

117 ROBERT LONGO (B. 1953), AMERICAN FAIRMOUNT FOREST, 2014

archival pigment print on Epson hot-pressed paper, with full margins; signed, dated and numbered 5/25; published

by Adamson Editions, Washington 35.7 x 59.9 in — 90.6 x 152.2 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $14,000 — 18,000

118 ROBERT LONGO (B. 1953), AMERICAN IVY MIKE, 2010

archival pigment print on Epson hotpressed paper, with full margins; signed, dated and numbered 7/15, there were also five artist’s proofs; published by Adamson Editions, Washington 44.8 x 34 in — 113.9 x 86.4 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $12,000 — 18,000

119 ROBERT LONGO (B. 1953), AMERICAN CRYSTAL CHANDELIER, 2012

archival pigment print on Epson hotpressed paper, with full margins; signed, dated and numbered 9/15, there were also five artist’s proofs; published by Adamson Editions, Washington 50 x 59.6 in — 127 x 151.5 cm PROVENANCE:

Private Collection, Switzerland

NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $25,000 — 30,000

120 ROBERT LONGO (B. 1953), AMERICAN HORSEHEAD NEBULA, 2008

archival pigment print on Epson hotpressed paper, with full margins; signed, dated and numbered 5/25; published by Adamson Editions, Washington 59.8 x 35.2 in — 152 x 89.4 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $12,000 — 18,000

121 ROBERT LONGO (B. 1953), AMERICAN ERIC, NYC, 1980-2009

chromogenic print on photo paper, with full margins; signed and numbered 29/100 in felt pen, there were also 20 artist’s proofs image 8.9 x 5.9 in — 22.5 x 15 cm; sheet 10 x 7.3 in — 25.5 x 18.5 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $3,000 — 4,000

122 ED RUSCHA (B. 1937), AMERICAN TURBO TEARS, FROM THE “TATE 21 YEARS PRINT” PORTFOLIO, 2020

lithograph in colours on grey BFK Rives paper, the full sheet; signed, dated and numbered 19/120, there were also 20 artist’s proofs lettered from A to V; co-published

by Counter Editions, Margate and Hamilton Press, Venice, blindstamp 23.6 x 29.9 in — 60 x 76 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $18,000 — 22,000

123 GERHARD RICHTER (B. 1932), GERMAN BAGDAD I, 2014 [P09]

chromogenic print in colours mounted on Diasec, flush-mounted to aluminum, the full panel; numbered 407/500 verso; published by Heni Productions, London 19.7 x 15.7 in — 50 x 40 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $12,000 — 18,000

124 ELGER ESSER (B. 1967), GERMAN NOCTURNES À GIVERNY, 2010

chromogenic print on photo paper; signed and numbered 37/50 verso 8.3 x 10.4 in — 21.1 x 26.4 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $1,200 — 1,800

125 UGO RONDINONE (B. 1964), SWISS/AMERICAN STARS, 2009

screenprint in black on BFK Rives paper, watermarked, with full margins; signed and numbered 272/300; published by Eric Seydoux, Paris 41.3 x 29.4 in — 105 x 74.7 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $1,000 — 1,500

126 OLAFUR ELIASSON (B. 1967), DANISH CONTACT IS CONTENT AT SELJALANDSFOSS, 2014

chromogenic prints on photographic paper, diptych; signed and numbered 80/100 on adhesive label verso, with title page and text, from the edition of 100, the two prints loose, as issued, in their original box each 20.9 x 16.5 in — 53 x 42 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $4,500 — 5,500

127 LARRY POONS (B. 1937), AMERICAN CHERRY BOBALINK, 2021

Epson inkjet print with HDX Ultrachrome inks in colours on paper, with full margins; signed and numbered 25/30; published by Triangle Arts Association with Benefit Print Project 27 x 30 in — 68.6 x 76.2 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $4,500 — 5,500

128 OTTO PIENE (1928-2014), GERMAN RASTERMOND, 2009

clay with gold glaze, polychromed; stamped and numbered 76/99 verso; the glazing on each sculpture differs, making them unique 18.5 x 18.5 x 0.8 in — 47 x 47 x 2 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $7,000 — 9,000

129 OTTO PIENE (1928-2014), GERMAN RASTERSONNE, 2009

clay with gold glaze, polychromed; stamped and numbered 66/99 verso; the glazing on each sculpture differs, making them unique 18.5 x 18.5 x 0.8 in — 47 x 47 x 2 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $7,000 — 9,000

130 THOMAS STRUTH (B. 1954), GERMAN MUSEO DEL PRADO, RM 12, MADRID, 2009

chromogenic print in colours on Kodak Professional Endura paper, with full margins; signed, titled, dated and numbered 37/100 verso, there were also 20 artist’s proofs 9.7 x 11.3 in — 24.6 x 28.6 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $3,000 — 4,000

131 CANDIDA HÖFER (B. 1944), GERMAN DEUTSCHE OPER AM RHEIN DÜSSELDORF, 2012/2015

chromogenic print, the full sheet; signed, titled, dated and numbered 87/100 on label verso, matted in presentation case and accompanied by the book, published

by Distanz, Berlin 15 x 21.1 in — 38 x 53.5 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $2,200 — 2,500

132 CANDIDA HÖFER (B. 1944), GERMAN TEATRO DEGOLLADO GUADALAJARA III, 2015

chromogenic print in colours on Fujichrome Professional paper, the full sheet; signed and numbered 23/100 image 11.8 x 15.4 in — 30 x 39.2 cm; sheet 15.2 x 18.5 in — 38.7 x 47 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $3,000 — 4,000

133 SHEPARD FAIREY (B. 1970), AMERICAN SF FIRE ESCAPE, 2011

screenprint in colours on wove paper, with full margins; signed, dated and numbered 382/450; published by Obey Giant, Los Angeles sheet 24.2 x 18.1 in — 61.5 x 46 cm PROVENANCE:

Private Collection, Toronto, ON $$600 — $800

134 BERNAR VENET (B. 1941), FRENCH RANDOM COMBINATION OF INDETERMINATE LINES, 2019

complete portfolio of six etchings with aquatint and polymer engraving in colours on Somerset paper, with full margins; each signed, titled and numbered 9/50; published by World House Editions, Middlebury and Pied Art Club, London 27 x 35.8 in — 68.5 x 91 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $25,000 — 35,000

135 JOANA VASCONCELOS (B. 1971), PORTUGUESE VITRAIL 2, 2014

pigment print in colours on wove paper, with full margins; signed, titled, dated and numbered 4/25; published by Adamson Edition, Washington 44.2 x 43.7 in — 112.3 x 111 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $5,000 — 7,000

136 JOANA VASCONCELOS (B. 1971), PORTUGUESE PANDORA 1, 2014

pigment print in colours on Epson Exhibition paper, with full margins; signed, monogrammed, titled, dated and numbered 3/25 44 x 33.5 in — 111.7 x 85.1 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $2,200 — 2,500

137 TACITA DEAN (B. 1965), BRITISH AN ORGANISED WHOLE, FROM THE “TATE 21 YEARS” PRINT PORTFOLIO, 2021

screenprint in colours, on Somerset radiant white satin 410g paper, with full margins; signed, dated and numbered 19/125 verso 23.6 x 29.9 in — 60 x 76 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $1,500 — 2,500

138 JEFF KOONS (B. 1940), AMERICAN COUPE PLATES, SET OF 3: TULIPS, LIPS, PLAY-DOH, 2015

glazed porcelain in colours; digitally signed and numbered 805/2500 (Tulips), 1036/2500 (Lips) and 894/2500 (Play-Doh); published by Bernardaud Manufacture de Porcelaine, France, with original boxes each diameter 12.2 in — 31 cm PROVENANCE:

Private Collection, Switzerland NOTE:

Please note: this lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

Contact our Specialist for more information. $1,500 — 2,500

Buying at Waddington’s All lots will be offered and sold subject to the Conditions of Sale which appear in this catalogue as well as any Glossary and posted or oral announcements. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any announcements or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s™ (auctioneer) and the consignor (seller) of the lot. Description or photographs of lots are not warranties and each lot is sold “as is” in accordance with the Conditions of Sale.

condition of lots

All of the items are to be considered, unless otherwise noted in the catalogue description or condition report, in good condition. The definition of “good” when used in reference to condition, describes an object as having had no major damage or repair but as with the nature of the material, may show minor surface wear, discolouration etc., which indicates the acceptable wear that the piece may acquire with age. If you are particular about minor flaws, you should have our staff answer any questions before bidding. Sizes are approximate. Frames on artwork are not included as part of purchase or condition. It is the sole responsibility of the bidder to inquire as to the condition of a lot before bidding.

Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale.

buyer’s premium

Waddington’s charges a buyer’s premium of 20% on the hammer price. Buyer’s premium and applicable Canadian taxes are added to the hammer price. Taxes are exempt for any items directly shipped from our premises out of Canada.

A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer’s premium, except for purchases exported from Canada. In the case where purchases are shipped out of the province of Ontario, the HST or GST is charged based on the tax status of that province.

payment

Payment for purchases must be by cash, INTERAC direct debit (CDN clients in person only), certified cheque (U.S. & Overseas not applicable), bank draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000).

all transactions are conducted in canadian dollars (cad)

Selling at Waddington’s shipping

The auctioneers will not undertake packing or shipping. The purchaser must designate and arrange for the services of an independent shipper and be responsible for all shipping and insurance expenses. The auctioneers will, upon request, provide names of professional packers and shippers but will not be held responsible for the service or have any liability for providing this information. Reliable preauction estimates of shipping costs of lots offered in this sale may be obtained from: PakShip 905-470-6874 / 416-293-8225 / 905-470-6875 taurus@pakship.ca / www.pakship.ca Safer Shipping Inc. 416-299-3367 / 416-299-9750 perry@safershipping.ca / www.safershipping.ca

removal of purchases

Purchases must be paid for within 48 hours of the date of the sale, and removed from premises within 10 days of the date of sale (see Conditions of Sale, conditions 8 to 15). Clients are advised that packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.

cites

Restrictions exist regarding the import and export of species protected under CITES (Convention on International Trade in Endangered Species).

This includes but is not limited to items made of or containing bone (whalebone etc.), ivory, tortoise shell, seal skin, rhinoceros horn and any other animal part and is strictly controlled or forbidden by most countries.

Please review your country’s laws before bidding on pieces made of or containing these restricted items. It is the sole responsibility of the buyer to inquire about and obtain the proper permits for artwork purchased that may contain restricted materials, if such permit can be obtained.

Please contact the department for further assistance. Failure to obtain necessary import/ export permits will not void any sale.

All Narwhal Tusks must have a Marine Harvest Number or a Marine and Mammal Transport number to be sold at Waddington’s.

For more information please visit: www.cites.org

insurance

A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.

auction advice

For auction advice on paintings, drawings, prints, jewellery, and various forms of decorative arts and other collectibles, please contact us via email or telephone.

We are pleased to review emails containing photographs and information on your pieces in order to provide auction estimates for you to consider.

For collections with a variety of objects, please contact our Appraisals and Consignments department (consignments@waddingtons.ca).

For department-specific inquiries, please contact the specialist and/or department directly. All contact information can be found at www.waddingtons.ca.

Our offices are located in Toronto and Vancouver, but our specialists occasionally travel to major Canadian cities to meet with prospective consignors. To receive more information on Valuation Days across Canada or to arrange an appointment, please contact our Toronto office (416-504-9100).

Please note that property typically arrives at Waddington’s at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items. Consignors will receive a contract to sign, setting forth terms and fees for our services.

Conditions of Sale 1. Each lot sold is subject to a premium of 20% of the successful bid price of each lot as part of the purchase price.

2. Unless exempted by law, the buyer is required to pay Ontario Retail Sales Tax and Federal Goods and Services Tax on the total purchase price including the buyer’s premium.

3. The auctioneer reserves the right to withdraw any lot from sale at any time, to divide any lot or to combine any two or more lots at his sole discretion, all without notice.

4. The auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion. The auctioneer reserves the right not to accept and not to reject any bid. Without limitation, any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance over the previous bid may not be recognized.

5. Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor. The auctioneer may bid, or direct an employee to bid, on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant to the instructions of prospective purchasers not in attendance at the sale.

6 The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from the sale, or to re-offer it at the same or a subsequent sale. The auctioneer’s decision in all cases shall be final.

7. Immediately after the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the auctioneer with respect to payment of the whole or any part of the purchase price requested by the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without re-offering the item for sale.

8. The buyer shall pay for all lots within 48 hours from the date of the sale, after which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale. The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale, after which storage charges may be incurred.

9. Each lot purchased, unless the sale is cancelled as above, shall be held by the auctioneer at his premises or at a public warehouse at the sole risk of the buyer until fully paid for and taken away.

10. All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted online and/or announced via email prior to the time of sale. While the auctioneer has endeavored not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made.

Some lots are of an age and/or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid and to bid accordingly.

11. Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000).

12. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for: (a) any deficiency in price between the r e-sale amount and the amount to have been paid by the original buyer (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer.

13. It is the responsibility of the buyer to make all arrangements for insuring, packing and removing the property purchased and any assistance by the auctioneer or his servants, agents or contractors, in packing or removal shall be rendered as a courtesy and without any liability to them.

14. The auctioneer acts solely as agent for the consignor and makes no representation as to any attribute of, title to, or restriction affecting the articles consigned for sale. Without limitation, the buyer understands that any item bought may be affected by the provisions of the Cultural Property Export Act (Canada).

15. The auctioneer reserves the right to refuse admission to the sale or to refuse to recognize any or all bids from any particular person or persons at any auction.

Waddington’s 275 King Street East, Second Floor Toronto, Ontario M5A 1K2

tel: 416-504-9100 toll free: 1-877-504-5700 www.waddingtons.ca