Modern, Post-War & Contemporary Art | April 15 - 20, 2023

Modern, Post-War & Contemporary Art

APRIL 15 — 20, 2023

Modern, Post-War & Contemporary Art

APRIL 15 — 20, 2023

bid and view all lots online at www.waddingtons.ca

on view

Sunday, April 16 from 12pm to 4pm Monday, April 17 from 10am to 5pm Tuesday, April 18 from 10am to 5pm

preview held at 275 King Street East, 2nd Floor Toronto, ON M5A 1K2

tel: 416-504-9100

toll free: 1-877-504-5700

director, international art

Goulven Le Morvan glm@waddingtons.ca

438-528-8489

administrator, international art Mary McMaster internationalart@waddingtons.ca

416-504-9100 x 6202

front cover

Lot 12

HENRI LE SIDANER

PETITE PLACE AU SOLEIL

COUCHANT, 1901 [DETAIL]

front inside cover

Lot 18

FÉLIX ZIEM

CAMPANILE DE SAN MARCO

back inside cover

Lot 67

KATRIN KORFMANN

BLUE, ONE MINUTE, 2001-2004

back cover Lot 64

WEI JA

SU SHI, 2002 [DETAIL]

CARLOS GRETHE (1864-1913), GERMAN

ENGLISCHER FISHERHAFEN oil on canvas; signed lower right; signed and titled verso 16 x 23.5 in — 43 x 62.3 cm

PROVENANCE:

Private Collection, Toronto, ON $800 — 1,200

WILLEM DE ZWART (1862-1931), DUTCH

WOMAN CARRYING ITEMS OUT TO A BOATMAN, CIRCA 1900-1905 gouache on paper; signed lower left sheet 12.1 x 18.6 in — 30.7 x 47.2 cm

PROVENANCE:

Private Collection, Toronto, ON $1,500 — 2,500

DIETZ EDZARD (1893-1963), GERMAN

PORTRAIT OF A YOUNG LADY oil on canvas; signed lower left 28.7 x 23.6 in — 72.8 x 60 cm

PROVENANCE:

Private Collection, Montreal, QC

EXHIBITED:

Galerie Valentin, Montreal, QC; Galerie de Bellefeuille, Westmount, QC; Dominion Gallery, Montreal, QC; Galerie d’art Cosner, Ritz Carlton, Montreal, QC

$2,000 — 3,000

4

JOSEPH HENDERSON (1832-1908), SCOTTISH

UNTITLED

oil on canvas; signed lower right 12 x 18 in — 30.5 x 45.7 cm

PROVENANCE:

Private Collection, Oregon, USA

$1,200 — 1,800

ALFRED FONTVILLE DE BREANSKI JR. (1877-1955), BRITISH

EVENING IN THE WEST HIGHLANDS oil on canvas; signed 28 x 42 in — 71 x 106.6 cm

PROVENANCE:

Private Collection, Ontario

$6,000 — 8,000

HERMANN DAVID SALOMON CORRODI (1844-1905), ITALIAN SUNSET, ADRIATIC SEA oil on canvas; signed lower left 30.3 x 61.4 in — 77 x 156 cm

PROVENANCE: Private Collection, Toronto, ON $7,000 — $9,000

SIR GEORGE CLAUSEN (1852-1944), BRITISH

The following is an excerpt from Kenneth McConkey, “George Clausen & the Picture of English Rural Life.”

“Clausen was re-examining the work of Cézanne, but the hoped-for ending to an age of feverish ‘experimentation’ was a pipedream. Drawing and observational skills, for the members of his art teacher audience, remained an agreed and essential part of general education but those charged with nurturing the young needed a wider perspective. They should for instance consider the messages given in children’s toys; there was no innocence in “the reign of the golliwog and other ugly toys that had an evil influence.”

If there was an element of scepticism about the many roads art was taking, the painter had a valid argument in claiming that the advent of cinema was more consequential than modern movements in painting. He must have recalled that in his youth popular paintings in the Royal Academy were cordoned off and guarded by a policeman to keep the throng at bay. Those crowds were now packing the picture houses and the summer exhibition had become a social fixture for Jazz Age debutantes, along with Ascot and Henley. Having always despised colonial exploitation, he abhorred the golliwog. Yet in art matters while recognizing increasingly that he was “one of the old-fashioned crowd,” he was not afraid to express his views and at times came perilously close to being labelled reactionary.

Invited by Tonks to criticize the Summer Compositions at the Slade his voice was weak, and according to one impatient student, “he toddled round from one picture to the next, solidly criticizing each one, to our unutterable boredom. Students in their twenties did not want to hear about the Old Masters from an octogenarian.”

At the end of 1929, another of those stalwarts from the days of Clausen’s youth, Henry Herbert La Thangue, died in a Hampstead nursing home after having fallen into a melancholic state on receiving the dreadful news that a number of his pictures had gone down with the ship carrying them to an exhibition in New Zealand. Although he could be mischievous and misanthropic, La Thangue had been an important early influence on Clausen, even at times when they were not in regular contact.

At the turn of the century he started to explore the hill villages of Provence and Liguria and increasingly drew his subject matter from these, so that by the 1920s there were no new paintings of the cider orchards of West Sussex. But latterly, even on the Mediterranean shores, La Thangue found it difficult to escape modern vulgarity, and in his declining years he felt that these regions were being damaged irreversibly by the motor car.”

8

SIR GEORGE CLAUSEN (1852-1944), BRITISH

OLD ESSEX IN NOVEMBER oil on canvas; signed and titled verso 25 x 29.9 in — 63.5 x 75.9 cm

PROVENANCE: Private Collection, Ontario

LITERATURE:

Kenneth McConkey, “George Clausen & the Picture of English Rural Life,” Fine Art Society, London, 2013, p. 192.

$45,000 — 50,000

JACQUES MARTIN-FERRIÈRES (1891-1972), FRENCH

VASE DE FLEURS, 1941 oil on plywood; signed and dated lower left 25.6 x 23 in — 65.6 x 59.2 cm

PROVENANCE:

Sotheby’s, New York, NY, Impressionist and Modern Art, Part II, May 14, 1997, lot 463; Loudmer S.C.P., Paris, France, Importants Tableaux Modernes, October 19, 1997, lot 141; Renée Foutouhi Fine Art, New York, NY, June 4, 1999; Private Collection, Toronto, ON, purchased from the above

$6,000 — 8,000

10

BELA IVANYI GRUNWALD (1867-1940), HUNGARIAN FLOWERS IN BLUE VASE oil on canvas; signed lower right 23.2 x 19.3 in — 59 x 49 cm

PROVENANCE: Private Collection, Ontario $7,000 — 9,000

oil

23.6

PROVENANCE:

Private Collection, Yellowknife, NT

$2,000 — 3,000

BELA IVANY GRUNWALD (1867-1940), HUNGARIAN

BY THE LAKE

on canvas; signed lower right

x 31.7 in — 60 x 80.5 cm

HENRI LE SIDANER (1862-1939), FRENCH

PETITE PLACE AU SOLEIL COUCHANT, 1901

We would like to thank Mr. Yann Farinaux-Le Sidaner for his certification and his analysis on the painting.

“He [Le Sidaner] was uniquely concerned with discovering and noting the traces of life in the landscapes of houses, small squares, promenades and abandoned gardens, which have been his preferred subject.” (Gabriel Mourey, The Work of Le Sidaner, The Studio, 1901).

On his return from Bruges in May 1900, Le Sidaner met Rodin in Paris at a banquet given in his honour: “Why are you travelling so far?” asks the sculptor, who advised his young comrade to go and visit the Oise region. The latter was convinced, and settled in midsummer in Beauvais: “It is an enchanted country, by this extraordinary autumn,” he writes to his friends, “I work and I am happy, having discovered a nice refuge in provincial life, warm and quiet and pretty.”

In Bruges, through the contemplation of sleepy towns, the artist found the direction his art would take. During the year spent in Beauvais, he affirmed his views on Intimism, by way of these evocative landscapes where the human figure has essentially no place. His Beauvais paintings, presented at the Salons of 1901, were met with acclaim: “It’s the Maeterlinck of painting,” wrote Charles Saulnier.

On April 21, back in Beauvais the day after the “little” opening of the Salon de la Nationale, Le Sidaner drew a small courtyard at sunset. The work is a tribute to the nobility of its buildings, as well as to the statue of Doctor Ernest Gérard, the town’s former mayor, sculpted by Henri-Léon Gréber (who would sculpt the bust of the painter shortly thereafter). On April 24, he painted a study on panel and the next day began the final canvas in his studio, adding in the silhouettes of a patrol of soldiers in front of the statue.

Sick with the flu and bedridden for four days, Le Sidaner completed his canvas on May 8, 9 and 23, delivering it on June 2 to his dealer, Georges Petit, with whom he was under contract, for the price of 500 francs.

« Il se soucie uniquement de découvrir et de noter les traces de la vie dans les paysages de maisons, de petites places, de promenades et de jardins abandonnés dont il a fait l’objet de sa prédilection. » (Gabriel Mourey, L’œuvre de Le Sidaner, The Studio, 1901).

A son retour de Bruges en mai 1900, Le Sidaner rencontre Rodin à Paris, au banquet donné en son honneur : « Pourquoi vous en aller si loin ? », lui dit le statuaire qui conseille à son jeune camarade d’aller visiter l’Oise. Ce dernier se laisse convaincre et s’installe au milieu de l’été à Beauvais : « C’est un pays enchanté, par cet extraordinaire automne, écrit-il à ses amis, je travaille et je suis content ayant découvert une bonne retraite dans une vie de province un peu tiède et tranquille et jolie. » »

A Bruges, l’artiste avait trouvé la direction de son art dans la contemplation des villes endormies. Au cours de l’année passée à Beauvais, il affirme sa conception de l’intimisme par des paysages d’évocation où la figure humaine n’a pratiquement plus sa place. Ses toiles beauvaisiennes présentées aux Salons de 1901 connaissent le succès : « C’est le Maeterlinck de la peinture », écrit Charles Saulnier.

Le 21 avril, de retour à Beauvais au lendemain du « petit » vernissage du Salon de la Nationale, Le Sidaner dessine le motif de Petite place au soleil couchant. L’œuvre est un hommage à la noblesse de ses bâtisses, ainsi qu’à la statue du docteur Ernest Gérard, son ancien maire, sculptée par Henri-Léon Gréber (qui bientôt réalisera le buste du peintre.) Le 24, il peint une étude sur panneau et, le lendemain, débute sa toile dans son atelier en ajoutant les silhouettes d’une patrouille de soldats devant la statue. Grippé et alité 4 jours, Le Sidaner termine sa toile les 8, 9 et 23 mai, et la livre le 2 juin au prix de 500 francs, à son marchand Georges Petit avec qui il est sous contrat.”

HENRI LE SIDANER (1862-1939), FRENCH

PETITE PLACE AU SOLEIL COUCHANT, 1901 oil on canvas; signed lower left 19.7 x 31.5 in — 61 x 83 cm

PROVENANCE:

Galerie Georges Petit, Paris, France; Private Collection, Vancouver, BC, acquired from the above by descent

LITERATURE:

A certificate of authenticity written by Mr. Yann Farinaux-Le Sidaner will be delivered to the buyer. This painting will be reproduced under the number “LS 579” in the addendum of the Catalogue Raisonné, “Le Sidaner-L’œuvre peint et gravé,” prepared by Mr. Yann Farinaux-Le Sidaner.

$100,000 — 150,000

13

FRANÇOIS GALL (1912-1987), FRENCH/HUNGARIAN PLACE DU TERTRE, PARIS oil on canvas; signed lower right; titled to gallery label verso 8 x 10 in — 20.3 x 25.4 cm

PROVENANCE: Dominion Gallery, Montreal, QC; Private Collection, Montreal, QC $1,800 — 2,500

JULES PASCIN (1885-1930), FRENCH

STANDING NUDE

watercolour and mixed media on paper laid down on card; signed sight 13 x 9.1 in — 35.3 x 25.3 cm

PROVENANCE:

Fraser Brothers Auction, Montreal, QC; Private Collection, Toronto, ON

$1,500 — 2,500

AUGUSTE RODIN

HÉLÈNE DE HINDENBURG JOUANT AU PIANO À ARDENZA, 1902

We would like to thank Mrs. Buley-Uribe who confirmed the authenticity of the work and for her analysis of this drawing.

“This drawing by Rodin is part of a small series of sketches he made of the young German aristocrat Hélène de Nostitz, born Hindenburg, at the age of 23. Rodin befriended her and her mother, Baroness Sophie de Hindenburg, when they both went to Paris and visited his retrospective exhibition at the Pavillon de l’Alma during the Universal Exhibition of 1900. The admiration was mutual and immediate, so much so that the following year they invited the artist to join them at their secondary home in Ardenza, near Livorno in Italy. The details of their activities and excursions along the Tuscan coast are fairly well known (visits to churches and museums), thanks to their correspondence, which is preserved in the archives of the Musée Rodin. After their walks, they would rest in the “salon blanc” (white living room) of Villa Margherita. Hélène would play the piano and her mother would sing old tunes.

In November 1902, the invitation was renewed. It was during this second stay that Rodin began to model a bust of Hélène, and the series of sketches can probably also be dated to this time. These are fluid drawings, made on the spot, with pen and brown ink, sometimes on the same sheet of paper, a little like the quick drawings Rodin had made a few decades earlier after Victor Hugo. For the artist, it is a question of retaining above all the movement. This view of Hélène in profile, playing the piano, was cut out and separated from its original sheet, now in a private collection. It shows head studies – preparatory studies for her bust – as well as another silhouette of her sitting to the left.”

“Ce dessin appartient à une petite série de croquis réalisés par Rodin d’après une jeune aristocrate allemande, Hélène de Nostitz, née Hindenburg, âgée de 23 ans. Rodin se lia d’amitié avec elle et avec sa mère, la baronne Sophie de Hindenburg, lorsqu’elles se rendirent à Paris toutes deux et visitèrent son exposition rétrospective au pavillon de l’Alma, pendant l’Exposition universelle de 1900. L’admiration fut mutuelle et immédiate, au point qu’elles invitèrent l’artiste l’année suivante à les rejoindre dans leur résidence secondaire à Ardenza, près de Livourne en Italie. On connaît assez bien le détail de leurs activités et de leurs excursions sur la côte toscane (visites d’églises, de musées), grâce à leur correspondance conservée aux archives du musée Rodin. Après les promenades, ils se reposaient dansle « salon blanc » de la villa Margherita. Hélène se mettait au piano et sa mère chantait des airs anciens. En novembre 1902, l’invitation fut renouvelée. C’est lors de ce deuxième séjour que Rodin commença à modeler un buste d’Hélène, et l’on peut sans doute dater la série de croquis également de ce moment-là. Il s’agit de dessins fluides, réalisés sur le vif, à la plume et à l’encre brune, parfois sur une même feuille, un peu à la manière des dessins rapides que Rodin avait réalisés quelques décennies plus tôt d’après Victor Hugo. Il s’agit pour l’artiste de retenir surtout le mouvement. Cette vue d’Hélène de profil, jouant au piano, fut découpée et séparée de sa feuille d’origine conservée aujourd’hui dans une collection privée. On y voit des études de tête – études préparatoires à son buste — ainsi qu’une autre silhouette d’elle assise vers la gauche.”

AUGUSTE RODIN (1840-1917), FRENCH

HÉLÈNE DE HINDENBURG JOUANT AU

PIANO À ARDENZA, 1902 ink on wove paper; from a cut sheet of the sketch “Six esquisses de Hélène de Hindenburg”

4.9 x 3.1 in — 12.5 x 8 cm

PROVENANCE:

Collection of Hélène de Nostitz, Europe; Private Collection, Europe; Private Collection, Vancouver, BC, acquired by descent

$4,000 — 6,000

16

MAURICE CANNING WILKS (1911-1984), IRISH

LOW TIDE, ROCKPORT, CUSHENDUN, CO. ANTRIM

oil on canvas; signed lower left; titled on stretcher

16.1 ins x 20.1 ins; 40.8 cms x 51 cms

PROVENANCE:

William Rodman and Co. Ltd., Belfast, Northern Ireland; Private Collection, Ontario

$1,800 — 2,200

17

GEORGE GOODWIN KILBURNE (1839-1924), BRITISH

THE DOCTOR’S VISIT

watercolour on board; signed; titled to label verso

14.6 x 21.3 in — 37 x 54.2 cm

PROVENANCE:

Private Collection, London, UK; Private Collection, Montreal, QC; Private Collection, Toronto, ON

$3,000 — 4,000

FÉLIX ZIEM (1821-1911), FRENCH

CAMPANILE DE SAN MARCO oil on panel; signed 22.4 x 30.3 in — 56.8 x 77 cm

PROVENANCE: Private Collection, Ontario

$35,000 — 45,000

EDWARD SEAGO (1910-1974), BRITISH WINTER FLOODING, LUDHAM MARSHES oil on hardboard; signed lower left 26.1 x 36.1 in — 66.2 x 91.7 cm

PROVENANCE:

P. & D. Colnaghi & Co., London, UK; Private Collection, Ottawa, ON $36,000 — 40,000

EDWARD SEAGO (1910-1974), BRITISH FLOODED MARSH

oil on hardboard; titled verso

26.1 x 36.2 in — 66.3 x 91.9 cm

PROVENANCE:

P. & D. Colnaghi & Co., London, UK; Private Collection, Ottawa, ON

$36,000 — 40,000

21

EDWARD SEAGO (1910-1974), BRITISH COTTAGES NEAR NEATISTEAD, NORFOLK oil on hardboard; signed lower left; titled to gallery label verso 20 x 26 in — 50.8 x 66 cm

PROVENANCE:

Frost and Reed, London, UK, gallery label verso; W. Russell Button Gallery, Chicago, IL; Doyle, New York, NY, 15 November 1990, lot 106; Paul Harris Art Selections Ltd., Glasgow, Scotland; Private Collection, Ontario; Private Collection, Toronto, ON

$12 000 — 18,000

FEDERICO CASTELLÓN (1914-1971), AMERICAN

PORTRAIT OF A WOMAN, CIRCA 1935 mixed media on paper; signed in black pencil lower right

9.3 x 6.9 in — 23.6 x 17.5 cm

PROVENANCE: Private Collection, Toronto, ON $900 — 1,200

23

FEDERICO

CASTELLÓN (1914-1971), AMERICAN

MOTHER AND CHILD, CIRCA 1935 mixed media on paper; signed top left corner

14.3 x 9.1 in — 36.2 x 23.1 cm

PROVENANCE:

Private Collection, Ontario

$900 — 1,200

24

CECIL KENNEDY (1905-1997), BRITISH MORNING GLORIES, ROSES AND DAFFODILS

oil on panel; signed lower left 20 x 16 in — 50.8 x 40.6 cm

PROVENANCE:

Private Collection, London, UK

$2,500 — 3,500

ACHILLE-ÉMILE OTHON FRIESZ (1879-1949), FRENCH

STUDY OF A FISHERMAN

crayon on paper; signed sheet 10.4 x 7.6 in — 27.2 x 20.3 cm

PROVENANCE:

Estate of the artist, Honfleur, France; Kaspar Gallery, Toronto, ON; Private Collection, Toronto, ON

$300 — 400

ADOLPHE GIRALDON (1855-1935) & JOSÉ-MARIA DE HEREDIA (1842-1905), FRENCH

HORTORUM DEUS

mixed media on paper; signed by both artists

sheet 12.6 x 9.4 in — 32 x 23.8 cm

PROVENANCE:

Private Collection, Ontario

$1,300 — 1,500

27

SEATED NUDE; STANDING NUDE ink and gouache on handmade paper; the first, relief stamp top right corner, a sketch verso; the second, signed and dated 1925 sheet 15.4 x 11.3 in — 39 x 28.8 cm; sheet 15.7 x 11.4 in — 39.8 x 29 cm

PROVENANCE:

Private Collection, Ontario

$500 — 700

EDNA CLARKE HALL (1879-1979), BRITISH

28

SEAN KEATING (1889-1977), IRISH

PORTRAIT OF TWO MEN charcoal on paper; signed sheet 10.6 x 12.5 in — 27 x 31.7 cm

PROVENANCE:

Private Collection, Nova Scotia

$2,000 — $3,000

KOFI ANTUBAM, FROM A PRIVATE COLLECTION

29

UNKNOWN

PORTRAIT OF KOFI ANTUBAM

gelatin silver print

9.3 x 6.8 in — 23.7 x 17.2 cm

PROVENANCE:

Private Collection, Toronto, ON

$400 — $600

KOFI ANTUBAM (1922-1964), GHANAIAN

FAMILY

pastel on paper; signed; graphite sketches verso

sheet 22.3 x 15 in — 56.7 x 38.2 cm

PROVENANCE:

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

31

KOFI ANTUBAM (1922-1964), GHANAIAN

NO. 5, AKAN BOYS PEALING (SIC) THE CORN (MAIZE), 1949 ink on paper; signed and dated “Feb. 1949”; titled verso, a pen and ink sketch verso

sheet 15.1 x 11.1 in — 38.4 x 28.2 cm

PROVENANCE:

Private Collection, Toronto, ON $400 — $600

KOFI ANTUBAM (1922-1964), GHANAIAN

NO. 16, SASABONSAM (AKAN DEMON COMES TO THE HOUSE), 1949 watercolour and ink on paper; signed and dated “June 1949”; titled verso sheet 15 x 11.1 in — 38 x 28.3 cm

PROVENANCE: Private Collection, Toronto, ON $800 — $1,200

33

KOFI ANTUBAM (1922-1964), GHANAIAN

NO. 3, AN AKAN MOTHER CLEANS HER DAUGHTER’S TEETH, 1949 ink on paper; signed, titled and dated “Feb. 1949” verso sheet 15.2 x 11.1 in — 38.5 x 28.2 cm

PROVENANCE:

Private Collection, Toronto, ON $400 — $600

KOFI ANTUBAM (1922-1964), GHANAIAN

NO. 15, AKAN BOYS RETURN FROM THE SUGAR CANE FARM

watercolour on paper; signed and dated “June 1949”; titled verso

sheet 15.2 x 11.1 in — 38.5 x 28.3 cm

PROVENANCE:

Private Collection, Toronto, ON $800 — $1,200

35

KOFI ANTUBAM (1922-1964), GHANAIAN

NO. 9, AKAN GIRLS LEARN TO COOK THROUGH PLAY

ink on paper; signed and dated “July 1949”; titled verso, watercolour and graphite sketches verso

sheet 15.1 x 11.1 in — 38.3 x 28.1 cm

PROVENANCE:

Private Collection, Toronto, ON $400 — $600

KOFI ANTUBAM (1922-1964), GHANAIAN

NO. 15, TEACHING THE CHILD TO CRAWL IN AKAN HOME, 1949 watercolour and ink on paper; signed, titled and dated “May 1949” verso sheet 15.1 x 11.1 in — 38.4 x 28.1 cm

PROVENANCE:

Private Collection, Toronto, ON $800 — $1,200

37

KOFI ANTUBAM (1922-1964), GHANAIAN

NO. 8, AKAN GIRLS AT THE KITCHEN, 1949 ink on paper; signed and dated “July 1949”; titled verso, a graphite drawing verso sheet 15.2 x 11.1 in — 38.5 x 28.1 cm

PROVENANCE:

Private Collection, Toronto, ON $400 — $600

KOFI ANTUBAM (1922-1964), GHANAIAN

CHILDREN AT A TABLE, 1949 watercolour and ink on paper; signed and dated sheet 15.2 x 11.1 in — 38.5 x 28.3 cm

PROVENANCE:

Private Collection, Toronto, ON $800 — $1,200

39

KOFI ANTUBAM (1922-1964), GHANAIAN

NO. 7, AN AKAN MOTHER AT THE KITCHEN WITH HER DAUGHTER, 1949 ink on paper; signed and dated “June 1949”; titled verso, a graphite sketch verso sheet 15.1 x 11.1 in — 38.3 x 28.3 cm

PROVENANCE:

Private Collection, Toronto, ON $400 — $600

40

KOFI ANTUBAM (1922-1964), GHANAIAN

NO. 6, AKAN GIRLS CRACK THE COCONUTS, 1949 ink on paper; signed and dated “June 1949”; titled verso sheet 15.1 x 11 in — 38.4 x 28 cm

PROVENANCE: Private Collection, Toronto, ON $400 — $600

41

KOFI ANTUBAM (1922-1964), GHANAIAN

NO. 11, AN AKAN MOTHER WITH HER DAUGHTERS IN THE YARD, 1949 watercolour and ink on paper; signed and dated “April 1949”; titled verso, a graphite drawing verso sheet 15.2 x 11.5 in — 38.7 x 29.2 cm

PROVENANCE:

Private Collection, Toronto, ON $800 — $1,200

PRANAS DOMSAITIS (1880-1965), SOUTH AFRICAN

THREE FIGURES II, 1951 oil on hardboard; signed, titled and dated verso

17.2 x 13.3 in — 43.7 x 33.8 cm

PROVENANCE: Private Collection, Ontario

$1,500 — 2,000

43

PRANAS DOMSAITIS (1880-1965), SOUTH AFRICAN

THREE NATIVE WOMEN, 1951 oil on board; signed, titled and dated verso; an unfinished painting verso

22 x 13.9 in — 56 x 35.3 cm

PROVENANCE: Private Collection, Ontario

EXHIBITED: Lithuanian Institute of Fine Arts

$1,500 — 2,000

44

PRANAS DOMSAITIS (1880-1965), SOUTH AFRICAN

TWO FIGURES, 1951 oil on hardboard; signed and dated verso; an unfinished painting verso

22 x 16.4 in — 56 x 41.6 cm

PROVENANCE: Private Collection, Ontario

EXHIBITED: Lithuanian Institute of Fine Arts

$1,500 — 2,500

PRANAS DOMSAITIS (1880-1965), SOUTH AFRICAN

THREE FIGURES, 1953

oil on hardboard; signed and dated verso

25.6 x 17.1 in — 65 x 43.5 cm

PROVENANCE:

Private Collection, Ontario

$2,000 — 2,500

PRANAS DOMSAITIS (1880-1965), SOUTH AFRICAN

KAROO AT NIGHT, 1961

oil on cardboard; signed, titled and dated verso; an unfinished painting verso

19.7 x 19.7 in — 50 x 50 cm

PROVENANCE: Private Collection, Ontario

$1,500 — 2,500

PRANAS DOMSAITIS (1880-1965), SOUTH AFRICAN

KAROO GAMTOVAIZDIS, ALIEJUS oil on hardboard; signed

12.2 x 20.4 in — 31 x 51.7 cm

PROVENANCE:

Private Collection, Ontario

$1,800 — 2,000

ANATOLY TIMOFEEVICH ZVEREV (1931-1986), RUSSIAN

HOUSES AND RAIL FENCE, CIRCA 1950-1960 oil on paper board

10.4 x 14.6 in — 26.6 x 37.2 cm

PROVENANCE:

Private Collection, Toronto, ON, acquired from George Costakis in 1957 in Moscow, USSR while posted to the Embassy of Canada as a military attaché (RCAF); By descent to the present Private Collection

$1,500 — 2,000

ANATOLY TIMOFEEVICH ZVEREV (1931-1986), RUSSIAN

LANDSCAPE WITH BLACK TREES, CIRCA 1950-1960

oil on paper board

14.5 x 18.75 in — 36.8 x 47.6 cm

PROVENANCE:

Private Collection, Toronto, ON, acquired from George Costakis in 1957 in Moscow, USSR while posted to the Embassy of Canada as a military attaché (RCAF); By descent to the present Private Collection

$1,800 — 2,200

50

ANATOLY TIMOFEEVICH ZVEREV (1931-1986), RUSSIAN

PORTRAIT, CIRCA 1950-1960

gouache on paper; another painting verso 13 ins x 10 ins; 21.7 cms x 26.5 cms

PROVENANCE:

Private Collection, Toronto, ON, acquired from George Costakis in 1957 in Moscow, USSR while posted to the Embassy of Canada as a military attaché (RCAF); By descent to the present Private Collection

$700 — 900

51

EREN EYÜBOĞLU (1913-1985), ROMANIAN

STREET SCENE oil on hardboard; signed lower left 23 x 58.2 in — 58.4 x 147.9 cm

PROVENANCE: Private Collection, USA

$3,000 — 5,000

52

JUAN RIMSA (1903-1978), LITHUANIAN PORTRAIT OF A WOMAN oil on paper; signed 19.7 x 14.9 in — 50.1 x 37.8 cm

PROVENANCE: Private Collection, Ontario

$1,000 — 1,500

53

JUAN RIMSA (1903-1978), LITHUANIAN SEATED WOMEN

oil on canvas; signed 37 x 33.2 in — 94 x 84.3 cm

PROVENANCE: Private Collection, Ontario

$3,000 — 4,000

54

VYTAUTAS VALIUS (1930-2004), LITHUANIAN ABSTRACT, 1988

acrylic on card; signed and dated; titled indistinctly verso

34 x 26.1 in — 86.3 x 66.3 cm

PROVENANCE: Private Collection, Ontario

$800 — 1,200

55

JUAN RIMSA (1903-1978), LITHUANIAN GROUP OF WOMEN gouache on paper; signed sheet 19.5 x 15.8 in — 49.5 x 40.2 cm

PROVENANCE: Private Collection, Ontario

$1,000 — 1,500

56

WIKTOR KORECKI (1890-1980), POLISH COUNTRY STREAM oil on canvas; signed 15.2 x 31.1 in — 38.5 x 80 cm

PROVENANCE: Private Collection, Ontario

$1,200 — 1,800

ANTOINE BLANCHARD (1910-1988), FRENCH

PARIS, BOULEVARD DES CAPUCINES oil on canvas; signed lower left 39.5 x 30.7 in — 100.4 x 78 cm

PROVENANCE:

Private Collection, Ontario

$3,000 — 5,000

JOHN CLYMER (1907-1989), AMERICAN/CANADIAN

JOURNEY TROUGH THE ROCKIES, CIRCA 1946

oil on canvas; signed lower right 30 x 31 in — 76.2 x 78.7 cm

PROVENANCE:

Private Collection, USA, acquired during employment with the Alco Corporation; Private Collection, Toronto, ON

$7,000 — 9,000

59

JOHN CUNNINGHAM (1926-1998), SCOTTISH

STRATHAVEN LANDSCAPE oil on canvas; signed; an unfinished painting verso

30 x 50 in — 76.2 x 127 cm

PROVENANCE: Private Collection, Ontario

EXHIBITED: Royal Scottish Academy Exhibition, 1962 (label verso)

$1,0,000 — $15,000

PIERRE ALECHINSKY (B. 1927) AND JEAN TARDIEU (1903-1995), BELGIAN EXEMPLAIRE 7, CIRCA 1985 ink on printed bearer bond paper; signed by Pierre Alechinsky lower left and by Jean Tardieu lower right sheet 8.9 x 12.5 in — 22.6 x 31.8 cm

PROVENANCE:

Private Collection, Quebec

$500 — 600

61

MARK KOSTABI (B. 1960), AMERICAN UNTITLED; LOVE STRIKE, 1985 felt marker on paper; the first, signed and dated; the second, signed and titled verso each sheet 12 x 9 in — 30.6 x 23 cm

PROVENANCE:

Private Collection, Ontario

$600 — 800

LEONARDO NIERMAN (B. 1932), MEXICAN COMPOSITION

ink and watercolour on paper; signed lower left 15 x 11.1 in — 38.2 x 28.2 cm

PROVENANCE:

Private Collection, Toronto, ON

$500 — 700 63

DOROTHY NAPANGARDI ROBINSON (1956-2013), AUSTRALIAN SUMMER PROFUSION

acrylic on canvas; signed “Dorothy” verso 19.9 x 15.9 in — 50.5 x 40.5 cm

PROVENANCE:

Gallery Gondwana, Australia; Private Collection, Toronto, ON

LITERATURE:

A certificate of authenticity signed by Roslyn Premont from the Gallery Gondwana Fine Art, Australia will be delivered to the buyer.

$2,000 — $3,000

WEI JIA (B. 1957) 韋佳, CHINESE/AMERICAN

SU SHI, 2002

oil on canvas; signed and dated lower left; signed, titled and dated verso

52 x 52 in — 132.1 x 132.1 cm

PROVENANCE:

Schmidt Dean Gallery, Philadelphia, PA; Private Collection, Montreal, QC, acquired from the above

$20,000 — 30,000

KENZO OKADA (1902-1982), AMERICAN/JAPANESE

UNTITLED

oil on canvas; signed lower left 36 x 29 in — 92 x 71.5 cm

PROVENANCE:

Private Collection, Florida, USA

$18,000 — 22,000

VAL BERTOIA (B. 1949), AMERICAN #B 2308 (93 RODS OF SOUND), 2020 sound sculpture constructed of 93 beryllium-copper rods silvered to brass; titled “B 2308” on the plinth of the base; contained in the original box 22 x 6 x 5 in — 55.9 x 15.2 x 12.7 cm

PROVENANCE: Private Collection, Pennsylvania, USA

LITERATURE:

A certificate of authenticity from the Val Bertoia Studio will be delivered to the buyer.

$2,000 — 3,000

KATRIN KORFMANN (B. 1972), GERMAN

BLUE, ONE MINUTE, 2001-2004 inkjet print on endura trans within a steel and aluminum lightbox; numbered “Edition 3/3” on gallery label verso

34.1 x 50.4 in — 86.5 x 128 cm

PROVENANCE:

Carl Berg Gallery, Los Angeles, CA; Private Collection, Montreal, QC

EXHIBITED:

Carl Berg Gallery, Los Angeles, CA

$6,500 — 7,500

CESAR J. SANTANDER (B. 1947), SPANISH

HORSE AND RIDER TOY, 1982 oil on panel; signed, titled and dated “May 1982” verso

28.1 x 35.2 in — 71.4 x 89.4 cm

PROVENANCE: Private Collection, Ontario

$3,000 — 4,000

69

ALAIN GENEAU (B. 1935), FRENCH

PEARS AND GLASS oil on canvas; signed 10.8 x 13.8 in — 27.4 x 35 cm

PROVENANCE: Private Collection, Toronto, ON $800 — 1,200

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)

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.