APRIL 20 — 25, 2024
Editions
APRIL 20 — 25, 2024
bid and view all lots online at www.waddingtons.ca
on view
Sunday, April 21 from 12 pm to 4 pm
Monday, April 22 from 10 am to 5 pm
Tuesday, April 23 from 10 am to 5 pm
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
director, canadian fine art
Liz Edwards le@waddingtons.ca 416-847-6193
specialist, canadian art
Gregory Humeniuk gh@waddingtons.ca 416-847-6190
consignment specialist, international art
Alicia Bojkov
amb@waddingtons.ca 416-847-6176
consignment specialist, canadian art
Kendra Popelas kp@waddingtons.ca 416-967-6027
front cover
Lot 131
DAVID HOCKNEY
PAPER POOLS, POOL MADE WITH PAPER AND BLUE INK FOR BOOK, 1980 [T. 269; M.C.A.T. 234]
front inside cover
Lot 39
MARY PRATT JELLY, 1978
back inside cover Lot 37
DAVID ALEXANDER COLVILLE BLACK CAT, 1996
back cover Lot 140
KEITH HARING PLATE 4, FROM “POP SHOP I,” 1987
WILLIAM KURELEK, RCA (1927-1977)
UKRAINIAN CHRISTMAS EVE FEAST, 1973
lithograph in black on paper, the full sheet signed lower left and editioned “O.S. 2,” aside from the edition of 25; printed by Don Holman, Open Studio, Toronto, with blindstamps
12 x 8 in — 30.5 x 20.3 cm
PROVENANCE:
Open Studio Print Archive, Toronto, ON
$800 — 1,200
2
WILLIAM KURELEK, RCA (1927-1977)
I’M BEAUTIFUL, 1976
lithograph in sepia on paper, with full margins
signed and editioned “OS 2” to margin, aside from the edition of 100; printed by Don Holman, Open Studio, Toronto, with blindstamps; published by Isaacs Gallery, Toronto sheet 19.5 x 17 in — 49.5 x 43.2 cm
PROVENANCE:
Open Studio Print Archive, Toronto, ON
$800 — 1,200
GORDON APPELBE SMITH, RCA (1919-2020)
MOUNTAINS, 1977
stone lithograph in black on wove paper, with full margins signed, titled, dated, and numbered 49/50; printed by Don Holman and Otis Tamasauskas, Open Studio, Toronto sheet 30 x 41 in — 76.2 x 104.1 cm
PROVENANCE:
Open Studio Print Archive, Toronto, ON $1,200 — 1,800
4
HAROLD KLUNDER, RCA (B. 1943)
ELDERSLIE, 1979
lithograph in black on wove paper, with full margins signed, titled, dated “79,” and editioned “3/3 state proof - o/s imp.”; printed by Nick Novak and Don Holman, Open Studio, Toronto sheet 29.25 x 40.25 in — 74.3 x 102.2 cm
PROVENANCE:
Open Studio Print Archive, Toronto, ON $1,500 — 2,500
HAROLD KLUNDER, RCA (B. 1943)
IVORY COAST, 1979
lithograph in colours on wove paper, with full margins
signed, titled, dated “79,” and editioned “o.s. proof,” aside from the edition of 10; printed by Nick Novak and Don Holman, Open Studio, Toronto
33.25 x 24 in — 84.5 x 61 cm
PROVENANCE:
Open Studio Print Archive, Toronto, ON $1,000 — 1,500
6
ERICA RUTHERFORD (1923-2008)
TRELLIS, 1980
screenprint in colours on wove paper, with full margins
signed, titled, dated “’80,” and numbered 27/100 to margin
sheet 21 x 27.5 in — 53.3 x 69.9 cm
PROVENANCE:
Open Studio Print Archive, Toronto, ON $350 — 450
7
SUZY LAKE, RCA (B. 1947)
THE GARDENER, 2004
photoplate lithograph and etching in colours on wove paper, with full margins signed, titled, dated “’04,” and numbered 8/25 to margin sheet 30 x 22 in — 76.2 x 55.9 cm
PROVENANCE:
Open Studio Print Archive, Toronto, ON $1,500 — 2,500
8
JOHN MASSEY (B. 1950)
BLACK EYE, 1988-89
lithograph and screenprint in colours on paper, the full sheet signed and numbered 40/40 28 x 26 in — 71.1 x 66 cm
PROVENANCE:
Open Studio Print Archive, Toronto, ON $1,000 — 1,500
AA BRONSON, OC, RCA (B. 1946)
RED HANKIE #1, 2004
screenprint in colours on wove paper, the full sheet
signed, titled, dated, and numbered 8/25 sheet 22 x 30 in — 55.9 x 76.2 cm
PROVENANCE:
Open Studio Print Archive, Toronto, ON $4,000 — 5,000
10
SPRING HURLBUT (B. 1952)
DON’T GIVE ME ANY OF YOUR LIP, 2015 lithograph and screenprint in colours on wove paper, the full sheet
signed, titled, dated, and numbered 2/5 sheet 22 x 30 in — 55.9 x 76.2 cm
PROVENANCE:
Open Studio Print Archive, Toronto, ON $3,000 — 4,000
11
MICAH LEXIER (B. 1960)
THE OSCILLOSCOPE DRAWINGS
(COMPLETE BOX SET OF 10 PRINTS), 2020 photopolymer prints on Japanese Kozuke paper, in a screenprinted aluminum portfolio box
each initialed, dated, numbered 4/25, and inscribed “o.s.”
each 11 x 17 in — 27.9 x 43.2 cm
PROVENANCE:
Open Studio Print Archive, Toronto, ON
$2,000 — 3,000
12
JAMES EDWARD HERVEY (J.E.H.)
MACDONALD, RCA (1873-1932)
STORMY SKIES (GEORGIAN BAY), 1915-1972 etching in black on wove paper, with full margins printed by David Blackwood in 1972, signed in pencil by Thoreau MacDonald
2.4 x 3 in — 6 x 7.5 cm
PROVENANCE:
Private Collection, Quebec
$350 — 450
WALTER JOSEPH PHILLIPS, RCA (1884-1963)
A WINNIPEG STREET, SNOWBOUND [BOULET 104], 1927
colour woodcut on Japan paper monogrammed in print; signed to lower right margin in pencil, and numbered 28 to left margin in pencil; from an edition of 250 4.75 x 6.5 in — 12.1 x 16.5 cm
PROVENANCE:
Westbridge Fine Art Auction House, Vancouver, BC, 30 Sep 2012, lot 2 Private Collection, British Columbia
LITERATURE:
Roger Boulet, Walter J. Phillips: The Complete Graphic Works, 1981, reproduced p. 277.
Roger Boulet, The Tranquility and the Turbulence, 1981.
$400 — 600
14
WALTER JOSEPH PHILLIPS, RCA (1884-1963)
THE WATERFRONT, ALERT BAY, 1928 [BOULET, 113]
colour woodcut on Goyu paper signed with initials in the plate lower left, signed in pencil to margin; printed in an edition of 300
image 6.25 x 8.75 in — 15.9 x 22.2 cm; sheet 7.1 x 9.8 in — 18 x 25 cm
PROVENANCE:
Private Collection, United States
LITERATURE:
Roger Boulet, Walter J. Phillips: The Complete Graphic Works, 1981, reproduced p. 295.
Roger Boulet, The Tranquility and the Turbulence, 1981, reproduced p. 98.
$800 — 1,200
15
ALFRED JOSEPH CASSON, OSA, PRCA (1898-1992)
FLOWERS IN A RED BOWL; DELPHINIUMS AND DAISIES, CA.1930 two screenprints in colours on paper, with full margins
each print signed in the plate; printed by Sampson-Matthews Ltd., Toronto
10.8 x 9.1 in — 27.4 x 23 cm;
10.6 x 8.8 in — 26.8 x 22.4 cm
PROVENANCE:
Private Collection, Quebec $400 — 600
16
JACK HAMILTON BUSH, OSA, ARCA (1909-1977)
GREEN LOOP, FROM “THE SUITE OF FIVE,” 1971 screenprint in colours on wove paper, the full sheet
signed, dated, and numbered III/XV artist’s proof aside from the edition of 100 24.5 x 32 in — 62.2 x 81.3 cm
PROVENANCE:
Private Collection, Toronto, ON $2,500 — 3,500
JACK HAMILTON BUSH, OSA, ARCA (1909-1977)
LOW SPREAD, 1974
screenprint in colours on wove paper, with full margins
signed, dated, and numbered 9/100 lower left margin, there were also 25 artist’s proofs numbered in Roman 25.5 x 34.25 in — 64.8 x 87 cm
PROVENANCE:
Private Collection, Toronto, ON $5,000 — 7,000
18
JEAN PAUL RIOPELLE, RCA (1923-2002)
FEUILLES VI, 1967
[YSEULT RIOPELLE 1967.10EST.LI]
lithograph in colours on lana paper, with full margins
signed and numbered 16/75 to margin
31.5 x 47.2 in — 80 x 120 cm
PROVENANCE:
Private Collection, Westmount, QC
LITERATURE:
Yseult Riopelle, “Jean Paul Riopelle: Catalogue raisonné des estampes”, (Montreal: 2005) 22; illustrated pages 23 & 148, catalogue #1967.10EST.LI
$2,500 — 3,500
19
JEAN PAUL RIOPELLE, RCA (1923-2002)
POULE FAISANE, 1968
[YSEULT RIOPELLE 1968.08EST.GR]
etching in black on Mandeure
chiffon paper
signed and numbered 23/75 to margin; printed and published by Atelier Arte, Maeght, Paris
image 17.6 x 13.7 in — 44.8 x 34.8 cm
PROVENANCE:
Private Collection, Ontario
See website for full catalogue details.
$1,500 — 2,500
20
JEAN PAUL RIOPELLE, RCA (1923-2002)
LIED À ÉMILE NELLIGAN (PLATE NO. 5), 1979 [YSEULT RIOPELLE 2005, 1979.02EEST.LI.ALB]
lithograph on wove paper, with full margins signed and numbered 53/75, there were also 15 hors de commerce numbered in Roman 22 x 30 in — 55.9 x 76.2 cm
PROVENANCE:
Private Collection, Toronto, ON
LITERATURE:
Yseult Riopelle, “Jean Paul Riopelle:
Catalogue raisonné des estampes” (Montreal: Hibou Éditeurs; Moudon / Paris: Acatos Pubishing / Scanwell SA, 2005), 258 (another example repro. col.), no. 1979.02EEST.LI.ALB.
$900 — 1,200
21
ALFRED PELLAN, RCA (1906-1988)
POLYCHROMÉE -M-, 1972
screenprint in colours on wove paper signed, titled, dated, and numbered 16/100; printed by La Guilde Graphique, Montreal
34.5 x 22.5 in — 87.6 x 57.2 cm
PROVENANCE:
Private Collection, British Columbia
$600 — 800
22
GORDON APPELBE SMITH, RCA (1919-1920)
BLUE OVER ORANGE, 1965
screenprint in black on wove paper, the full sheet
signed to margin lower right, signed in the plate lower right, titled, and numbered 1/35 to margin lower left
sight 11.5 x 17.75 in — 29.2 x 45.1 cm; sheet 13 x 19.75 in — 33 x 50.2 cm
PROVENANCE:
Gallery Pascal, Toronto, ON Collection of Frank Newfeld, Oakville, ON $400 — 600
23
GUIDO MOLINARI (1933-2004)
UNTITLED (NOIR-BLANC), 1956/1967 screenprint on wove paper, with full margins signed, dated “1956/67,” and numbered 62/90 to margin sheet 27 x 27 in — 68.6 x 68.6 cm
PROVENANCE:
Wynick/Tuck Gallery, Toronto, ON Private Collection, Toronto, ON $1,200 — 1,500
24
MICHAEL SNOW (1928–2023)
PROJECTION, 1970
photolithograph in black and blue on paper, the full sheet signed, dated “’70,” and numbered 19/50 19.7 x 23.6 in — 50 x 60 cm
PROVENANCE:
Private Collection, Montreal, QC $1,000 — 1,500
25
MICHAEL SNOW, RCA (1928-2023)
UNTITLED (A SCORE FOR SOPRANOS), 1982
screenprint in colours on Arches 88 paper, with full margins signed, dated “’82,” and editioned “Printer’s Proof 2/2”; aside from the edition of 40; printed by Jerry Shiner at The Art Printer, Toronto, with blindstamp
29 x 22.25 in — 73.7 x 56.5 cm
PROVENANCE:
The Art Printer, Toronto, ON Private Collection, Toronto, ON $600 — 800
26
KOSSO
ELOUL (1920-1995)
ELUSIVE, 1970
lithograph in colours on wove paper, the full sheet signed, titled, dated, “70,” and numbered 95/100 lower right
27.5 x 20 in — 69.9 x 50.8 cm
PROVENANCE:
Private Collection, Toronto, ON $400 — 600
27
RITA LETENDRE, RCA (1928-2021)
NOGA, 1980
screenprint in colours on Somerset paper, the full sheet
signed, titled, dated “80,” and editioned “Studio Proof 2/2”; printed by Jerry Shiner at The Art Printer, Toronto, with blindstamp
20 x 28 in — 50.8 x 71.1 cm
PROVENANCE:
The Art Printer, Toronto, ON Private Collection, Toronto, ON $500 — 700
28
RITA LETENDRE, RCA (1928-2021)
JOUR DE MAI, 1981
screenprint in colours on Somerset paper, the full sheet
signed, titled, dated “81,” and editioned “Studio Proof I/II”; aside from the edition of 100; printed by Jerry Shiner at The Art Printer, Toronto, with blindstamp
19.7 x 27.6 in — 50 x 70 cm
PROVENANCE:
The Art Printer, Toronto, ON Private Collection, Toronto, ON $500 — 700
29
WILLIAM PEREHUDOFF, RCA
(1918-2013)
TWO WORKS FROM “PRINCE ALBERT NATIONAL PARK; WASKESIU LAKE,” 1985
1.
Prince Albert National Park; Waskesiu Lake (original study), 1985 acrylic on paper
signed by the artist in ink verso and inscribed with the artist’s address
22.6 x 30 in — 57.4 x 76.2 cm
2.
Prince Albert National Park; Waskesiu Lake, 1985
screenprint in colours on Arches paper, with full margins
signed, dated “85,” and editioned “3/3 Printer’s Proof,” aside from the edition of 100; printed by Jerry Shiner at The Art Printer, Toronto, blindstamp
29.5 x 37 in — 74.9 x 94 cm
PROVENANCE:
The Art Printer, Toronto, ON
$1,500 — 2,000
30
WILLIAM PEREHUDOFF, RCA (1919-2013)
UNTITLED
(BLUE, YELLOW, GREEN, ORANGE), CA. 1985
screenprint in colours on Arches 88, the full sheet
signed and editioned “Bon a tirer”; printed by Jerry Shiner at The Art Printer, Toronto, with blindstamp
30.13 x 22.5 in — 76.5 x 57.2 cm
PROVENANCE:
The Art Printer, Toronto, ON Private Collection, Toronto, ON $500 — 700
31
NORVAL MORRISSEAU, CM, RCA (1932-2007)
THE ART OF NORVAL MORRISSEAU, 1979 five screenprints in colours on wove paper, the full sheets complete portfolio including “The Dawn,” “Shaman Conjouring Speech,” “Composition with Loons,” “Young Gulls Watching,” and “Shaman and Apprentice”; each signed and numbered 305/350 and inscribed with the letters “A,B,C,D,E” verso; together with calfskin bound book “The Art of Norval Morrisseau” by Lister Sinclair and Jack Pollock, Toronto/New York: Methuen, 1979; all contained in a wood and linen case with calfskin straps sheets 24 x 18 in — 61 x 45.7 cm
PROVENANCE:
A.H. Wilkens, Toronto, ON, Mar 23 2023, lot 3051
Private Collection, Toronto, ON
$2,000 — 3,000
32
DAVID BOLDUC (1945-2010); CLAUDE BREEZE (B. 1938); GRAHAM COUGHTRY (1931-1999); HAROLD KLUNDER (B. 1943); PAUL SLOGGETT (B. 1950), AND JAN WINTON (B. CA. 1950)
TORONTO: CITY SEEN PORTFOLIO (SUITE OF 6), 1984
screenprints in colours on white Arches 88 paper, with full margins
each signed and editioned “Bon à tirer,” aside from the edition of 30; includes signed cover page with introduction and original poem by bpNichol (1944-1988); printed by Jerry Shiner at The Art Printer, Toronto
each sheet 29.13 x 22.5 in — 74 x 57.2 cm
PROVENANCE:
The Art Printer, Toronto, ON $600 — 800
33
GERSHON ISKOWITZ, RCA (1919-1988)
UNTITLED (ABSTRACT), 1978 & “GERSHON
ISKOWITZ: PAINTER OF LIGHT,” 1982 watercolour and limited edition folio Watercolour and limited edition book (with grey box cover and publisher’s original packing) FORMER: signed and dated “‘78” lower right; LATTER: signed by artist on frontispiece and by author on i. Numbered 51 from an edition of 100; published by Merritt Publishing Company Limited, Toronto and Vancouver; Text by Adele Freedman, 1982 sheet 13 x 22 in — 33 x 55.9 cm; folio 12.5 x 11 x 1 in — 31.8 x 27.9 x 2.5 cm
PROVENANCE:
Gallery Moos, Toronto, ON Private Collection, Ontario
$1,000 — 2,000
34
HAROLD KLUNDER (B. 1943)
BRONZE AGE I (MAGDALENIAN), 1983 screenprint in colours on wove paper, with full margins
signed, titled, dated “83,” and numbered 10/20; printed by Jerry Shiner at The Art Printer, Toronto, with blindstamp 29 x 22 in — 73.7 x 55.9 cm
PROVENANCE:
The Art Printer, Toronto, ON Private Collection, Toronto, ON
$500 — 700
35
HAROLD KLUNDER (B. 1943)
BRONZE AGE II, 1983
screenprint in colours on wove paper, with full margins
signed, titled, dated “’83,” and numbered 10/20; printed by Jerry Shiner at The Art Printer, Toronto, with blindstamp 29 x 22 in — 73.7 x 55.9 cm
PROVENANCE:
The Art Printer, Toronto, ON Private Collection, Toronto, ON $500 — 700
36
EDWARD JOHN (TED) BARTRAM (1938-2019)
GNEISS GESTURES #2, 1996
etching in colours on wove paper signed, titled “Gnesiss [sic] Gestures #2,” dated “/96,” and numbered “VE 2/15” to margin
sight 25 x 36.5 in — 63.5 x 92.7 cm; plate 23.75 x 35.25 in — 60.3 x 89.5 cm
PROVENANCE:
Mira Godard Gallery, Toronto, ON Private Collection, Waterloo, ON $600 — 800
37
DAVID ALEXANDER (ALEX) COLVILLE (1920-2013)
BLACK CAT, 1996
screenprint in colours on wove paper signed, dated, and numbered 50/70 lower right margin
14.25 x 14.25 in — 36.2 x 36.2 cm
PROVENANCE:
Fog Forest Gallery, Sackville, NB Private Collection, New Brunswick
LITERATURE:
Tom Smart, “Alex Colville: Return,” (Halifax: Art Gallery of Nova Scotia, 2003) reproduced 82, listed 143.
$7,000 — 9,000
38
DAVID ALEXANDER (ALEX) COLVILLE (1920-2013)
WILLOW, 2002
screenprint in colours on wove paper signed, dated “02,” and numbered 68/70 lower right margin
27.5 x 17 in — 69.9 x 43.2 cm
PROVENANCE:
Fog Forest Gallery, Sackville, NB Private Collection, New Brunswick
LITERATURE:
Tom Smart, “Alex Colville: Return,” (Halifax: Art Gallery of Nova Scotia, 2003) reproduced 109.
$6,000 — 8,000
39
MARY PRATT, RCA (1935-2018)
JELLY, 1978
lithograph in 14 colours on wove paper, with full margins
signed, dated, and numbered 13/43 to margin; printed by St. Michael’s Printshop, St. John’s
7 x 8.5 in — 17.8 x 21.6 cm
PROVENANCE:
Acquired directly from the artist
Wynick/Tuck Gallery, Toronto, ON
Private Collection, Toronto, ON
$1,500 — 2,000
40
CHRISTOPHER PRATT, ARCA (1935-2022)
ABOVE GANDER LAKE, 1997
lithograph in brush and crayon and screenprint in colours on wove paper signed, titled, dated “Dec. 1997,” and numbered 51/65 to margin
17 x 18 in — 43.2 x 45.7 cm
PROVENANCE:
Fog Forest Gallery, Sackville, NB
Private Collection, New Brunswick
$3,000 — 5,000
41
JOHN HARTMAN, RCA (B. 1950)
BURNSIDE, 1998
drypoint and etching in colours on wove paper
signed, titled, dated “’98,” and editioned “AP” for artist’s proof
image 3 x 7.25 in — 7.6 x 18.4 cm
PROVENANCE:
Private Collection, Toronto, ON
$700 — 900
42
JOHN HARTMAN, RCA (B. 1950)
SANDY COVE AND EASTPOINT FROM SANDY COVE HEAD, 1998
drypoint and etching in colours on wove paper
signed, titled, dated, and editioned “AP” for artist’s proof
image 4 x 6.5 in — 10.2 x 16.5 cm
PROVENANCE:
Private Collection, Toronto, ON
$700 — 900
43
JOHN HARTMAN, RCA (B. 1950)
TRAYTOWN, ON THE LOUIL HILLS, 1998 drypoint and etching in colours on wove paper signed, titled, dated “’98,” and editioned “AP” for artist’s proof
4.25 x 4 in — 10.8 x 10.2 cm
PROVENANCE:
Private Collection, Toronto, ON $700 — 900
44
TED HARRISON, RCA (1926-2015)
WINTER DAY, 1987
screenprint in colours on Arches 88 paper signed, dated “87,” titled, and numbered 120/150 to margin, there are also 15 artist’s proofs, 2 printer’s proofs and 2 hors de commerce proofs; printed by Michael DeCourcey and published by Wingate Arts Ltd., Yukon 11.5 x 18.27 in — 29.2 x 46.4 cm
PROVENANCE:
Private Collection, Toronto, ON $400 — 600
45
JOSEPH
YVON FAFARD, R.C.A (1942-2019)
ALBERT, 1988
lithograph in colours on wove paper, with full margins signed, titled, dated, and numbered 25/100 sheet 24 x 20 in — 61 x 50.8 cm
PROVENANCE:
Private Collection, British Columbia
$800 — 1,200
46
SANDRA
CHEVRIER (B. 1983)
LA CAGE ET LE BATTEMENT DU COEUR
NOIR, 2015
screenprint in colours with hand-finished collage on 300 gsm Somerset paper signed and numbered 2/150; printed by GraffitiPrints, Newcastle, with blindstamp, published by Galerie C.O.A., Montreal sheet 28.7 x 21.3 in — 73 x 54 cm
PROVENANCE:
Private Collection, Toronto, ON
$1,200 — 1,500
47
JASON BOYD KINSELLA (B. 1969)
CARLOS, 2023
archival pigment print on Somerset Photo Satin 300gsm paper, with full margins signed and numbered 84/90; printed and published by Unit London 31.5 x 27 in — 80 x 68.7 cm
PROVENANCE:
Private Collection, Toronto, ON $1,750 — 2,000
48
FRANCINE SIMONIN (1936-2020)
LES CHAISES, 1987
lithograph in black on wove paper signed, titled, dated “87,” and editioned “E/E” 13 x 18.1 in — 33 x 46 cm
PROVENANCE:
Galerie Marcel Pelletier, Montreal, QC Private Collection, Montreal, QC $150 — 250
LAWRENCE PAUL YUXWELUPTUN (B. 1957)
THE TREE, 2021
etching on paper
signed, titled, dated, and numbered 21/100 to margin
10.75 x 7.25 in — 27.3 x 18.4 cm
PROVENANCE: Private Collection, Toronto, ON
$200 — 300
50
LAWRENCE PAUL YUXWELUPTUN (B. 1957)
NIGHT WALKER, 2021
etching on paper
signed, titled, dated, and numbered 21/100 to margin
10 x 7 in — 25.4 x 17.8 cm
PROVENANCE: Private Collection, Toronto, ON $250 — 350
51
ALBRECHT DÜRER (1471-1528), GERMAN
ABDUCTION OF PROSERPINE ON A UNICORN, 1516-1876 [B. 72, M 67]
photogravure on laid paper, watermark, with small margins; printed by Charles Amand-Duran ca. 1876, with red ink stamp verso sheet 12.6 x 8.7 in — 32 x 22 cm
PROVENANCE:
Private Collection, Ontario
LITERATURE:
Bartsch 72.
Meder 67.
$400 — 600
52
FRANCISCO JOSÉ DE GOYA Y LUCIENTES (1746-1828), SPANISH
THE LITTLE PRISONER, 1810-1867 [H. 26]
etching and burin in black on laid paper, with full margins; 1st edition, 1867, printed by Imprimerie Delâtre, Paris, inscribed lower right, published by La Gazette des Beaux Arts, Paris, inscribed lower left image 9.3 x 6.5 in — 23.5 x 16.4 cm
PROVENANCE:
Private Collection, Ontario
LITERATURE:
Harris 26: “1. First Edition. [...] Other impressions on a thinner laid paper without watermark, and less heavily inked, may have been made for sale separately.”
$400 — 600
53
FRANCISCO JOSÉ DE GOYA Y LUCIENTES (1746-1828), SPANISH
CAIDA DE UN PICADOR DE SU CABALLO DEBAJO DEL TORO, PLATE 26, FROM “LA TAUROMAQUIA,” 1815-1905 [H. 229] etching, burnished aquatint, and drypoint in sepia on laid MBM watermarked paper, with full margins; from the fourth edition of 1905, edition of 100, numbered to top right corner, without the title; printed by Pérez Agua at the Calcografia, published by Ricardo de los Ríos 9.4 x 13.9 in — 24 x 35.2 cm
PROVENANCE:
Private Collection, Quebec
LITERATURE:
Harris 229: “This edition is the best after the first. It is very well printed but the impressions are sometimes over-inked.”
$1,000 — 1,500
54
FRANCISCO JOSÉ DE GOYA Y LUCIENTES (1746-1828), SPANISH
LOS DESASTRES DE LA GUERRA, CA 1810-1820 [D. 121-199;H. 122-200]
etchings with burnished aquatint, drypoint, and engraving on strong wove paper; 6 etchings probably from the 3rd edition of 1903, from an edition of 100, each print titled and numbered; published by the Real Academia de Nobles Artes de San Fernando, Madrid
Plate 2: Rightly or wrongly, Con razon ó sin ella, 33 x 24 cm
Plate 30, Ravages of war, Estragos de la guerra, 33 x 24 cm
Plate 59, What is the use of a cup?, De qué sirve una taza?, 33.5 x 24 cm
Plate 66, Strange devotion!, Extraña devocion!, 33 x 24
Plate 79, Truth has died’, Murió la verdad, 33 x 24 cm
Plate 80, Will she rise again?, Si resucitará?, 33 x 24 cm
LITERATURE:
Delteil 121, 149, 178, 185, 198, 199. Harris 122, 150, 179, 186, 199, 200.
$1,500 — 2,500
55
FRANCISCO JOSÉ DE GOYA Y LUCIENTES (1746-1828), SPANISH
LOS CAPRICHOS, CA. 1855-1878
[D. 40-111; H. 38-109]
etching and burnished aquatint on wove paper, with full margins; 18 etchings and burnished aquatints, mostly from the 2nd/3rd editions of 1878, edition of approximately 65 proofs; except for plate 46 from the 2nd edition of 1855, this 2nd edition is of a very small number; each print titled and numbered; published by the Real Academia de Nobles Artes de San Fernando, Madrid
PROVENANCE:
Craddock & Barnard, London, UK
Private Collection, Calgary, AB, acquired from the above in the 1980s
LITERATURE:
Delteil 40, 56, 57, 58, 62, 71, 79, 81, 83, 87, 91, 93, 95, 96, 100, 106, 108, 111.
Harris 38, 54, 55, 56, 61, 69, 77, 79, 81, 85, 88, 91, 93, 94, 98, 104, 106, 109.
$3,000 — 4,000
56
FRANCISCO JOSÉ DE GOYA Y LUCIENTES (1746-1828), SPANISH
LOS DISPARATES, 1877
[D. 220-223; H. 266-269]
etching burnished aquatint and drypoint on laid paper, with full margins; suite of 4 plates: “Que guerrero,” “Otras leyes por el pueblo,” “Una reina del circo,” “Lluvia de toros”; for the series “Proverbios”; each print titled in Spanish and French, with the mention “Goya inv. et sc.,” printed by François Liénard, Paris, inscribed lower right, published by revue l’Art, Paris, inscribed lower left sheet 11.4 x 16.9 in — 29 x 43 cm
PROVENANCE:
Craddock & Barnard, London, UK
Private Collection, Calgary, AB, acquired from the above in the 1980s
LITERATURE:
Delteil 220, 221, 222, 223.
Harris 266, 267, 268, 269.
$1,500 — 2,500
57
THÉOPHILE STEINLEN (1859-1923), FRENCH
ASSOCIATION DE MALFAITEURS, 1897 [C. 202] lithograph in black on wove paper, with full margins; signed, a proof aside from the edition of 50; published by Kleinmann, blindstamp
13.1 x 10.6 in — 33.4 x 26.9 cm
PROVENANCE:
Private Collection, Quebec
LITERATURE:
Crauzat 202.
$600 — 800
58
JAMES JACQUES JOSEPH TISSOT (1836-1902), FRENCH
AT THE WINDOW, 1875 [W. 9] etching and drypoint in black on wove paper, with wide margins; from an unnumbered and unsigned edition of 25, bearing a signature in pencil by another hand
7.5 x 4.3 in — 19 x 10.8 cm
PROVENANCE:
Private Collection, Quebec
LITERATURE:
Wentworth 9.
$2,000 — 3,000
59
JAMES JACQUES JOSEPH TISSOT (1836-1902), FRENCH
AUBERGE DES TROIS-CORBEAUX, 1877 etching in black on wove paper
plate 8 x 11.5 in — 20.3 x 29.2 cm
PROVENANCE:
Private Collection, British Columbia
LITERATURE:
Wentworth 29.
$400 — 500
60
HENRI DE TOULOUSE LAUTREC (1864-1901), FRENCH
REINE DE JOIE PAR VICTOR JOZE
CHEZ TOUS LES LIBRAIRES, 1892 [DELTEIL, 342; ADHÉMAR, 5; ADRIANI, 5]
lithograph in colours on thin paper laid on linen; signed in plate; printed by Edw. Ancourt & Cie, Paris
sheet 53.9 x 36.5 in — 136.8 x 92.6 cm
PROVENANCE:
Estate of Grover Burgis
Private Collection, Toronto, ON Private Collection, Israel
$8,000 — 12,000
61
LOUIS LEGRAND (1863-1951), FRENCH
LA PEDICULTURE, 1905
drypoint etching on laid paper, with full margins; signed and numbered 4/30 to margin; published by Gustave Pellet, with Pellet & Legrand watermark
17.3 x 12.2 in — 44 x 31 cm
PROVENANCE:
Private Collection, Toronto, ON
$300 — 500
62
PIERRE-AUGUSTE RENOIR (1841-1919), FRENCH
LE FLEUVE SCAMANDRE, (1ÈRE PLANCHE), CA. 1900 [D. 24]
etching and soft ground etching in black on cream wove paper, with full margins; stamped-signed lower right; from the edition of 1,000 for the unpublished edition of Ambroise Vollard’s “Tableaux, pastels et dessins de Pierre-Auguste Renoir”
sheet 13 x 9.6 in — 33 x 24.5 cm
PROVENANCE:
Private Collection, Florida, USA
LITERATURE:
Delteil 24.
$600 — 800
63
HENRI RIVIERE (1864-1951), FRENCH
UN MATIN BRUMEUX À MORFAT, FROM “LE BEAU PAYS DE BRETAGNE,” 1915
lithograph in colours on wove paper, with full margins; signed in plate; titled in pencil to margin; from the edition of 500 unsigned impressions, aside from the numbered and signed edition of 100 9.1 x 13.8 in — 23 x 35 cm
PROVENANCE:
Private Collection, Quebec
LITERATURE:
Fields p. 88.
$600 — 800
64
AFTER GEORGES BRAQUE (1882-1963), FRENCH
VERRE ET JOURNAL, 1963 [V. 1050]
lithograph in colours on wove paper, with full margins; numbered 150/300, bearing a signature in pencil by another hand; published by Maeght, Paris, blindstamp sheet 14 x 18.3 in — 35.5 x 46.5 cm
PROVENANCE:
Private Collection, Toronto, ON
LITERATURE:
Vallier 1050.
$400 — 600
65
JACQUES
VILLON (1875-1963), FRENCH
NATURE MORTE AUX NOIX, 1929 [G.&P. 232]
etching, drypoint, and roulette in black on paper, with full margins; signed and numbered 15/50
11 x 15 in — 27.9 x 38.1 cm
PROVENANCE:
Moos Gallery, Toronto, ON Private Collection, Toronto, ON
LITERATURE:
Ginestet & Pouillon 323.
$600 — 800
66
SONIA
DELAUNAY (1885-1979), FRENCH
POLYPHONIE, 1971
lithograph in colours on Arches paper, with full margins; signed and numbered 149/150; there were also 25 artist’s proofs sheet 21.9 x 29.8 in — 55.5 x 75.6 cm
PROVENANCE:
Galerie Jourdan, Montreal, QC Private Collection, Montreal, QC
$3,000 — 4,000
67
SERGE POLIAKOFF (1900-1969), FRENCH/RUSSIAN
COMPOSITION ROUGE ET BLEUE, 1969 [S. 68] lithograph in colours on paper, with full margins; signed and numbered 73/75; printed by Mourlot, Paris, published by XXe siècle, Paris
20.9 x 18.1 in — 53 x 46 cm
PROVENANCE:
Private Collection, Montreal, QC
LITERATURE:
Schneider 68.
$2,000 — 3,000
68
MARC CHAGALL (1887-1985), FRENCH/BELARUSIAN
QUAI DE LA TOURNELLE, FROM “REGARD SUR PARIS,” 1960 [M. 351; C. BOOKS 53] lithograph in colours on Arches paper, the full sheet; from the edition of 180, there was also a signed and numbered edition of 25 with margins and an edition of 30 unsigned without the central fold, this proof is with the central fold on the double page as issued; printed by Sorlier, Paris and published by André Sauret, Paris sheet 15.4 x 23.5 in — 39 x 59.7 cm
PROVENANCE:
Odon Wagner Gallery, Toronto, ON S.P. Family Collection, Toronto, ON
LITERATURE:
Mourlot 351.
Cramer Books 53.
$3,000 — 4,000
MARC CHAGALL (1887-1985), FRENCH/BELARUSIAN
THE JERUSALEM WINDOWS, 1961 [M. 365-6; C. BOOKS 49]; DERRIERE LE MIROIR NO. 225, OCTOBER 1977
two books with lithographs in colours; 1)
The Jerusalem Windows, folio, (33 x 26 cm), hardcover, bound, first edition with the text in English by Jean Leymarie; printed by Mourlot Frères, published by André Sauret, Monte Carlo in 1962; complete with the two lithographs in colours on wove paper, the full sheets, from the edition of unknown size 2) Derrière le Miroir, folio, (28 x 38 cm), text in French by Aimé Maeght; published by Maeght, Paris, complete with the original double page lithograph in colours, from an edition of approximately 2500 13 x 10 in — 33 x 25.5 cm; 15 x 11 in — 38 x 28 cm;
PROVENANCE:
Private Collection, Ontario
LITERATURE:
Mourlot 365-6.<br>Cramer books 49.
$550 — 750
70
AFTER MARC CHAGALL (1887-1985), FRENCH/BELARUSIAN
THE TRIBE OF ZEBULON, FROM “TWELVE MAQUETTES OF STAINED GLASS WINDOWS FOR JERUSALEM,” 1964 [CS. 16] lithograph in colours on Arches paper, with full margins; signed and numbered 117/150, there was also an edition of 75 numbered in Roman; printed by Charles Sorlier and published by Mourlot, Paris sheet 29.3 x 20.8 in — 74.4 x 52.9 cm
PROVENANCE:
Private Collection, Toronto, ON
LITERATURE:
Sorlier 16.
$7,000 — 9,000
71
AFTER MARC CHAGALL (1887-1985), FRENCH/BELARUSIAN
LA TRIBU DE SIMEON, FROM “THE TWELVE MAQUETTES OF STAINED GLASS WINDOWS FOR JERUSALEM,” 1967 [CS. 313]
lithograph in colours on Arches wove paper, watermark, with full margins; signed and numbered in Roman XLVII/LXXV, aside from the edition of 150, there were also 25 artist’s proofs; printed by Charles Sorlier, Paris and published by Mourlot, Paris sheet 29.1 x 20.7 in — 74 x 52.5 cm
PROVENANCE:
Galerie Raphael, Frankfurt, Germany S.P. Family Collection, Toronto, ON
LITERATURE:
Sorlier 13.
$4,000 — 6,000
72
PABLO PICASSO (1881-1973), SPANISH
DORA MAAR AU COLLIER, 1937 [B. 300; BA. 628]
drypoint and etching in black on Arches laid paper, with full margins; stamped, signed, and numbered 36/50, there were also 15 artist’s proofs numbered in Roman; printed by Frélaut, Paris in 1961 and published by Galerie Louise Leiris, Paris in 1980 sheet 20.7 x 16.3 in — 52.5 x 41.3 cm
PROVENANCE:
Odon Wagner Gallery, Toronto, ON S.P. Family Collection, Toronto, ON
LITERATURE:
Bloch 300.
Baer 628.
$7,000 — 9,000
PABLO PICASSO (1881-1973), SPANISH
INES AND HER CHILD, 1947 [M. 61; B. 415] lithograph in black on Arches paper; inscribed “61,” “M 61,” and “6/6 FM” in pencil verso; from Mourlot’s only state, Mourlot calls for five proofs aside the signed and numbered edition of 50 sheet 26 x 19.5 in — 65.7 x 49.9 cm
PROVENANCE:
Christie’s, New York, 28 Apr 2003, lot 52 Odon Wagner Gallery, Toronto, ON S.P. Family Collection, Toronto, ON
LITERATURE:
Mourlot 61. Bloch 415.
$10,000 — 15,000
75
PABLO PICASSO (1881-1973), SPANISH AU CIRQUE L’ECUYERE BRUNE, 1967 [B. 1452; BA. 1488]
etching in black on wove paper, with full margins; stamped-signed and numbered 12/50 sheet 14.9 x 18.5 in — 37.8 x 47 cm
PROVENANCE:
Private Collection, Toronto, ON
LITERATURE:
Bloch 1452.
Baer 1488.
$2,200 — 2,800
76
PABLO PICASSO (1881-1973), SPANISH
DRESSAGE AU CIRQUE, AVEC, AU PREMIER PLAN, ECUYÈRE, MAGICIEN, FAUCONNIER ET LA COLOMBE DE NOÉ, FROM “LA SERIE 156,” 1970 [B. 1891; BA. 1897]
etching in black on BFK Rives paper, with full margins; stamped-signed and numbered 45/50, there were also 15 artist’s proofs; published by Galerie Louise Leiris, Paris sheet 19.8 x 25.6 in — 50.2 x 65.1 cm
PROVENANCE:
Christie’s, New York, 26 Apr 2011, lot 132 Odon Wagner Gallery, Toronto, ON S.P. Family Collection, Toronto, ON
LITERATURE:
Bloch 1891. Baer 1897.
$4,000 — 6,000
77
AFTER PABLO PICASSO (1881-1960), SPANISH
NATURE MORTE AU CRÂNE, CA. 1960
aquatint in colours on Arches wove paper, with full margins; signed and numbered 91/150; printed and published by Lacourière, Paris, blindstamp sheet 22.2 x 30.1 in — 56.5 x 76.5 cm
PROVENANCE:
Galerie Raphael, Frankfurt, Germany
S.P. Family Collection, Toronto, ON $12,000 — 18,000
78
JOAN MIRÓ (1893-1983), SPANISH
MIRÓ, 1959-61, 1961
[D. 292, M. 286, C. BOOKS 69]
exhibition catalogue with lithograph in colours on wove paper, the full sheet; exhibition catalogue for the eponymous exhibition “Miró, 1959-61” at the Pierre Matisse Gallery, New York, 1961; folio (31 x 24 cm), text by Yvon Taillandier in French and English; published by Pierre Matisse, New York, 1961, only two lithographs in colours on double page including the cover, there was also a deluxe edition of 50 12.2 x 9.4 in — 31 x 24 cm
PROVENANCE:
Private Collection, Ontario
LITERATURE:
Dupin 292.
Mourlot 286.
Cramer books 69.
$200 — 300
79
JOAN MIRÓ (1893-1983), SPANISH
UNTITLED (SCULPTURES), 1974 [M. 950]
lithograph in colours on wove paper, the full sheet; signed in the plate, from an unnumbered edition; printed and published by Maeght, Paris
21.7 x 29.5 in — 55 x 75 cm
PROVENANCE:
Private Collection, Toronto, ON
LITERATURE:
Maeght 950.
$300 — 500
80
JOAN MIRÓ (1893-1983), SPANISH
QUERELLE D’AMOUREUX, I, FROM “ALLEGRO VIVACE,” 1981 [M. 1233]
lithograph in colours on Arches paper, the full sheet; signed and numbered 27/100; printed by Daniel Lelong, Paris and published by Atelier Lelong, Paris
35.1 x 23.8 in — 89.2 x 60.5 cm
PROVENANCE:
Galerie Raphael, Frankfurt, Germany
S.P. Family Collection, Toronto, ON
LITERATURE:
Maeght 1233.
$5,000 — 7,000
81
YVES KLEIN (1928-1962), FRENCH
ANTHROPOMETRIE, ANT 83, 1960-2001 lithograph in colours on BFK Rives paper, the full sheet; signed in ink by Madame Rotraut Klein-Moquay and numbered 188/200 in pencil verso; published by Editions T.A.T. Arts, Paris
24 x 35.4 in — 61 x 90 cm
PROVENANCE:
Private Collection, Montreal, QC
$2,000 — 3,000
82
YVES KLEIN (1928-1962), FRENCH
ANTHROPOMETRIE, ANT 148, 1960-2001 screenprint in colours on wove paper, the full sheet; stamp-signed verso, from an edition of 200; printed by Atelier Eric Linard, published by Éditions T.A.T Arts à Paris
38.6 x 25.6 in — 98 x 65 cm
PROVENANCE:
Private Collection, Montreal, QC
$2,000 — 3,000
83
SAM FRANCIS (1923-1994), AMERICAN SF-79; SF-80, TWO WORKS FROM “AN OTHER SET - Y, PASADENA BOX,” 1964 [L. 66, SF-79, SF-80]
lithographs in unique colour variants on Koshi rice paper, the full sheet; signed and editioned “e*** state” and “trial proof,” aside from the numbered edition of 100; printed by Joseph Press, Los Angeles, published by the Pasadena Art Museum
15.7 x 22.8 in — 40 x 58 cm
PROVENANCE:
Private Collection, Europe
LITERATURE:
Lembark 66.
$4,000 — 6,000
84
SAM FRANCIS (1923-1994), AMERICAN SF-75; SF-75, TWO WORKS FROM “AN OTHER SET - Y, PASADENA BOX”, 1964 [L. 66, SF-75]
lithographs in unique colour variants on Koshi rice paper, the full sheet; each signed and editioned “artist proof” and “experimental proof,” aside from the numbered edition of 100; printed by Joseph Press, Los Angeles; published by the Pasadena Art Museum
15.7 x 22.8 in — 40 x 58 cm
PROVENANCE:
Private Collection, Europe
LITERATURE:
Lembark 66.
$4,000 — 6,000
85
SAM FRANCIS (1923-1994), AMERICAN UNTITLED, FROM “PORTFOLIO 9,” 1967 [L. 87, SF-61]
lithograph in colours on BFK Rives paper, the full sheet; signed and editioned “trial proof,” aside from the edition of 100; published and printed by Hollander’s Workshop, New York
31.1 x 19.3 in — 43 x 56 cm
PROVENANCE:
Private Collection, Europe
LITERATURE:
Lembark 87.
$2,500 — 3,500
86
SAM FRANCIS (1923-1994), AMERICAN UNTITLED, 1972 [SF-128C]
lithograph in colours on BFK Rives paper, the full sheet; unique colour variant signed and numbered 5/16; published by The Litho Shop, Inc, Santa Monica, blindstamp, printed by Hitoshi Takatsuki, Susan Titelman, Keith Kirts, and Keiko Yoshimura at the Litho Shop, Santa Monica 31.1 x 19.3 in — 79 x 49 cm
PROVENANCE:
Private Collection, Europe
LITERATURE:
SF-128C
$4,000 — 6,000
87
SAM FRANCIS (1923-1994), AMERICAN TURN, 1972 [L. S10]
screenprint in colours on Arjomari paper, with full margins; signed and editioned “AP II,” one of nine artist’s proofs aside from the edition of 70; published and printed by Gemini G.E.L., Los Angeles 28 x 35 in — 71 x 89 cm
PROVENANCE: Private Collection, Europe
LITERATURE:
Lembark S10.
$2,500 — 3,500
88
SAM FRANCIS (1923-1994), AMERICAN CONCERT HALL SET II, 1977 [L. 224; SF-231] lithograph in colours on BFK Rives paper, with full margins; signed and editioned “AP,” there were also 8 artist’s proofs and 1 bon à tirer; printed by The Litho Shop Inc., Santa Monica, blindstamp, published by Louisiana Museum of Modern Art, Denmark 26.9 x 16 in — 68.4 x 40.6 cm
PROVENANCE: Private Collection, Europe
LITERATURE:
Lembark 224.
$1,800 — 2,200
89
SAM FRANCIS (1923-1994), AMERICAN UNTITLED, 1986 [L. 271, SF-271]
lithograph in colours on BFK Rives vellum paper, the full sheet; signed and numbered 32/55, there were also 1 bon à tirer and 4 artist’s proofs; published by The Litho Shop, Inc, Santa Monica, printed by George Page, Santa Monica
PROVENANCE: Private Collection, Europe
LITERATURE:
Lembark 271.
$3,500 — 4,500
90
SAM FRANCIS (1923-1994), AMERICAN UNTITLED, 1991 [SFE-080]
sugar lift aquatint and etching on BFK Rives wove paper, with full margins; signed and numbered 11/19; published by The Litho Shop, Santa Monica, printed by Jacob Samuel, Santa Monica
35.8 x 17.9 in — 91 x 45.4 cm
PROVENANCE:
Private Collection, Europe
$4,000 — 5,000
91
FRITZ GLARNER (1899-1972), SWISS/AMERICAN
COLOR DRAWING FOR RELATIONAL PAINTING, 1963
lithograph in colours on wove paper, with full margins; signed, dated “1963,” and numbered 25/35; published by Universal Limited Art Editions, West Islip, blindstamp
sheet 31.9 x 22.4 in — 81 x 57 cm
PROVENANCE:
Private Collection, Toronto, ON $1,000 — 1,500
92
MARIA HELENA VIERA DA SILVA (1908-1990), FRENCH/PORTUGUESE RUA (LA RUE), 1953
lithograph in colours on wove paper; signed, dated “53,” and editioned “ep. d’artiste” for artist’s proof
sight 23 x 18.7 in — 58.3 x 47.5 cm
PROVENANCE:
Private Collection, Montreal, QC $400 — 600
93
EDUARD WIIRALT (1898-1954), ESTONIAN
EESTI NEIU, 1942 etching and aquatint on paper, with full margins; signed, dated, and editioned “Proovitrükk” for trial proof; inscribed “Aquatinta” to lower margin image 15.6 x 12.8 in — 39.5 x 32.5 cm
PROVENANCE:
Private Collection, New York Private Collection, Ontario
$1,000 — 1,500
94
MARYLYN HAMILTON-GIEROW (B. 1936), SWEDISH
UNTITLED (EMACIATED), 1959 etching on paper, with full margins; signed, dated “59,” and numbered “2/15 ex” plate 34 x 49 in — 86.4 x 124.5 cm
PROVENANCE:
Private Collection, Toronto, ON $200 — 400
95
ANTHONY GROSS (1905-1984), BRITISH LES MAMELONS (ROUNDED HILLS), 1962 etching in black on wove paper, with full margins; signed, titled, and numbered 21/50; the 1st state of the print, etching in black on wove paper, signed, editioned “1st state, I/I,” and titled “Imaginary Landscapes, Rounded Hills, Mamelons” to frame verso
image 14.8 x 19.5 in — 37.5 x 49.5 cm
PROVENANCE:
Private Collection, Toronto, ON $300 — 500
96
ALF OLSSON (B. 1925), SWEDISH ÅSKVÄDER; MOLNREVAN, 1965 etchings and aquatints on paper; signed, titled, dated “65,” and numbered 15/30 and 5/30, respectively
sight 11.2 x 15 in — 28.5 x 38 cm; sight 28.5 x 38 in — 72.4 x 96.5 cm
PROVENANCE:
Private Collection, Toronto, ON $400 — 600
97
SIR
TERRY FROST (1915-2003), BRITISH
SUSPENDED RED, YELLOW, AND BLACK, 1987 [K. 92]
screenprint in colours on wove paper, the full sheet; signed, dated “87”, and numbered 31/75; printed and published by the Royal College of Art, London
31 x 23.25 in — 78.7 x 59.1 cm
PROVENANCE:
Private Collection, British Columbia
LITERATURE:
Kemp 92.
$2,000 — 3,000
98
PAUL
JENKINS (1907-1984), AMERICAN
SEEING VOICE, WELSH HEART, 1965
lithograph in colours on wove paper, the full sheet; signed and numbered 17/30; printed by Mourlot, Paris, published by Galerie Karl Flinker, Paris
15.7 x 10.6 in — 40 x 27 cm
PROVENANCE:
Private Collection, Ontario
$500 — 700
99
PAUL JENKINS (1923-2012), AMERICAN UNTITLED, 1971
lithograph in unique colours on wove paper, the full sheet; signed, dated “71” and editioned “Trial Proof”
24 x 19 in — 61 x 48.3 cm
PROVENANCE:
Tupperware Brands Corporate Collection, Orlando, FL
Private Collection, British Columbia
$600 — 800
100
HELEN FRANKENTHALER (1928-2011), AMERICAN FRANKENTHALER (PAINTED BOOK COVER), 1971
acrylic on canvas-bound book, with plexiglass display case; signed to spine; signed and numbered 7 to title page; from a series of 62 unique painted covers; text by Barbara Rose; designed by Robert Motherwell; published by Harry N. Abrams, New York, 1972
11 x 11.5 in — 27.9 x 29.2 cm
PROVENANCE:
David Mirvish Books on Art, Toronto, ON Private Collection, Ontario
EXHIBITED:
Helen Frankenthaler: Sixty-Two Painted Book Covers, Metropolitan Museum of Art, New York, May-October 1973.
LITERATURE:
Helen Frankenthaler: Sixty-Two Painted Book Covers (exh. cat.) (New York: Metropolitan Museum of Art, Toronto:
David Mirvish Books on Art), cover, repro.
$15,000 — 25,000
101
HELEN FRANKENTHALER (1928-2011), AMERICAN
ALASKA, 1989
mixografía in colours on hand-made paper, the full sheet; signed, dated “89,” and numbered 49/50, there were also 13 artist’s proofs; published by Mixografía, Los Angeles
48 x 37 in — 121.9 x 94 cm
PROVENANCE:
Gallery One, Toronto, ON Private Collection, Toronto, ON
$10,000 — 15,000
102
HELEN FRANKENTHALER (1928-2011), AMERICAN
SOUTHERN EXPOSURE, 2005
screenprint in colours on wove paper, the full sheet; signed, dated, and numbered 10/128; printed by Brand X Editions, with inkstamp verso; published by Lincoln Center for the Performing Arts, Inc., New York
sheet 30.5 x 37.1 in — 77.5 x 94.2 cm
PROVENANCE:
Private Collection, Ontario
$10,000 — 15,000
103
JAMES COIGNARD (1925-2008), FRENCH
DES RECLUS, 1974 [S. 201]
etching in colours with carborundum on vergé Moulin de Larroque paper, with full margins; signed and numbered IX/XV, aside from the edition of 75; published by Editions Nouvelles, Paris
26.5 x 21.5 in — 67.3 x 54.6 cm
PROVENANCE:
Private Collection, British Columbia
LITERATURE:
Sonet 201.
$200 — 300
104
FRIEDEL DZUBAS (1915-1994), AMERICAN
ABC, 1984
screenprint in colours on Arches 88 paper, with full margins; signed, titled, dated, and editioned “Bon à tirer”; from an unreleased edition; printed by Jerry Shiner at The Art Printer, Toronto, with blindstamp
22.5 x 29 in — 57.2 x 73.7 cm
PROVENANCE:
The Art Printer, Toronto, ON $1,000 — 2,000
105
FRIEDEL DZUBAS (1915-1994), AMERICAN
AFTERTHOUGHT, 1984
screenprint in colours on Arches 88 paper, with full margins; signed, titled, dated, and editioned “Bon à tirer”; from an unreleased edition; printed by Jerry Shiner at The Art Printer, Toronto, with blindstamp
22.3 x 29.13 in — 56.6 x 74 cm
PROVENANCE:
The Art Printer, Toronto, ON $1,000 — 2,000
106
FRIEDEL DZUBAS (1915-1994), AMERICAN
NIGHTSTAR, 1984
screenprint in colours on Arches 88 wove paper, with full margins; signed, titled, and numbered 81/90; printed by Jerry Shiner at The Art Printer, Toronto, with blindstamp
sheet 32.3 x 19.1 in — 82 x 48.5 cm
PROVENANCE:
The Art Printer, Toronto, ON $1,000 — 2,000
107
BRIDGET RILEY (B. 1931), BRITISH
TWO BLUES, 2003 [S. 52]
screenprint in colours on wove paper, with full margins; signed, titled, dated “’03,” and numbered 136/250; published by Artisan Editions, Hove, UK
sheet 21.5 x 21 in — 54.6 x 53.4 cm
PROVENANCE:
Private Collection, Hong Kong
LITERATURE:
Schubert 52.
$6,000 — 8,000
108
VICTOR VASERELY (1906-1997), HUNGARIAN/FRENCH
UNTITLED, 1965
embossed print with silver foil paper, with full margins; signed and numbered 19/125 14.25 x 9.5 in — 36.2 x 24.1 cm
PROVENANCE:
Pollock Gallery, Toronto, ON Private Collection, London, ON By descent to Private Collection, Toronto, ON $500 — 700
109
VICTOR VASARELY (1906-1977), HUNGARIAN/FRENCH
ALOM YELLOW/VIOLET, 1975
BASF Luran on aluminum, the full panel; signed in black felt pen; signed in ink to label verso, dated “September 75,” and numbered 4/4 in blue felt pen to label verso; published by Pyra AG Éditeur, Zurich
37.7 x 37.7 in — 95.8 x 95.8 cm
PROVENANCE:
Private Collection, Montreal, QC
$12,000 — 18,000
110
VICTOR VASARELY (1906-1997), HUNGARIAN/FRENCH
RADAU, 1986
screenprint in colours on wove paper; signed and numbered 217/300 22 x 17.3 in — 56 x 44 cm
PROVENANCE:
Private Collection, Toronto, ON $300 — 400
111
YAACOV AGAM (B. 1928), ISRAELI
UNTITLED, CA. 1970
agamograph in colours, with full margins; signed and numbered 29/99 in ink sheet 15 x 14 in — 38.1 x 35.6 cm
PROVENANCE:
Private Collection, British Columbia
$200 — 300
112
KARL GERSTNER (1930-2017), SWISS
UNTITLED, CA. 1970
screenprint on wove paper, the full page; signed and numbered 132 to stamp verso, from an edition of 135 and 10 artist’s proofs; published by Galerie Lüpke, Frankfurt sheet 20 x 20 in — 50.8 x 50.8 cm
PROVENANCE:
Private Collection, British Columbia
$200 — 300
113
GETULIO ALVIANI (1939-2018), ITALIAN UNTITLED screenprint on wove paper, with full margins; signed and numbered 129/175 sheet 19.7 x 19.7 in — 50 x 50 cm
PROVENANCE:
Private Collection, British Columbia $200 — 300
114
RICHARD ANUSZKIEWICZ (1930-2020), AMERICAN
SYMPHONY IN RED, 1965 screenprint in colours on wove paper, the full sheet; signed, dated, and numbered 28/50 sheet 21.75 x 21.75 in — 55.2 x 55.2 cm
PROVENANCE:
The Vincent Price Collection, Denver, CO Wright Auctions, Chicago, IL, 16 May 2004, lot 292 Private Collection, Montreal, QC
EXHIBITED:
Pontiac Creative Arts Center, Pontiac, MI, Nov 1971.
$800 — 1,200
115
GENE DAVIS (1920–1985), AMERICAN YANKEE DOODLE, 1969
screenprint in colours on wove paper, the full sheet; signed and numbered 3/144, there were also 18 hors de commerce; printed by Fine Creations, Inc., New York and published by HKL, Ltd., New York and Boston
78.7 x 33.9 in — 200 x 86 cm
PROVENANCE:
Private Collection, Montreal, QC
$7,000 — 8,000
116
JEAN DUBUFFET (1901-1985), FRENCH
AS-TU CUEILLI LA FLEUR DE BARBE, 1960 [W. 774]
collotype in colours on Arches paper laid onto board, with full margins; from the edition of approximately 400; printed by Duval, Paris for the exhibition at the Galerie Daniel Cordier, Paris, April 27 to May 31, 1960
25.5 x 19.8 in — 64.7 x 50.2 cm
PROVENANCE:
Private Collection, Toronto, ON
LITERATURE:
Webel 774.
$300 — 400
117
KAREL APPEL (1921-2006), DUTCH
TÊTES PARTOUT, CA. 1960
lithograph on wove paper, with full margins; signed and editioned “epreuve d’artiste”; aside from the edition of 99 sheet 22.3 x 29.9 in — 56.7 x 76 cm
PROVENANCE:
Galerie Agnès Lefort, Montreal, QC Private Collection, Montreal, QC
$300 — 400
118
KAREL APPEL (1921-2006), DUTCH
UNTITLED, CA. 1975
lithograph in colours on wove paper; signed and editioned “e.a” for artist’s proof, aside from the edition of 190 sight 14 x 21 in — 35.6 x 53.3 cm
PROVENANCE: Private Collection, British Columbia
$300 — 500
119
KAREL APPEL (1921-2006), DUTCH RED FACE, CA. 1975
lithograph in colours on paper; signed and numbered 71/75; titled to gallery label verso
26 x 20 in — 66 x 50.8 cm
PROVENANCE:
Damkar-Burton Gallery, Toronto, ON Private Collection, Ontario
EXHIBITED:
Chosen Ones, North Bay Arts Centre, North Bay, ON, 18 Mar - 17 Apr 1993.
$400 — 600
120
LARRY RIVERS (1923-2002), AMERICAN FACE OF CLARICE I, 1961
lithograph in black on Arches paper, with full margins; signed, titled “I,” dated “61,” and numbered 15/15; published by Universal Limited Art Editions, West Islip, blindstamp
image 33 x 33.5 in — 83.8 x 85.1 cm
PROVENANCE:
Private Collection, Toronto, ON
$800 — 1,200
121
GEORGE SEGAL (1924-2000), AMERICAN TELEPHONE BOOTH, PLATE 15 FROM “THE INTERNATIONAL AVANT-GARDE, VOL. V; AMERICA DISCOVERED,” 1962
etching in black on wove paper, with full margins; signed, dated “62,” and numbered 24/60; printed by Atelier Georges Leblanc, Paris and published by Galleria Schwarz, Milan
sheet 10 x 7.5 in — 25.4 x 19.1 cm
PROVENANCE:
Private Collection, Toronto, ON $400 — 600
122
ROBERT INDIANA (1928-2018), AMERICAN ERR123, 1963
photogravure and etching on wove paper; signed, titled, dated, and numbered 10/60 to margin, there were also 25 proofs numbered in Roman and 15 artist’s proofs; published by Galleria Schwarz, Milan sheet 7 x 7.5 in — 17.8 x 19.1 cm
PROVENANCE:
Private Collection, Toronto, ON $1,000 — 1,500
123
ROY LICHTENSTEIN (1923-1997), AMERICAN
TEMPLE (CASTELLI MAILER), 1964 [C. II.3] offset lithograph in colours, the full sheet; with the folds as issued, from an edition of unknown size; published by Leo Castelli Gallery, New York for the exhibition
Landscapes, 24 Oct - 19 Nov 1964
22.8 x 16.9 in — 58 x 43 cm
PROVENANCE:
Dunkelman Gallery, Toronto, ON Private Collection, Toronto, ON
EXHIBITED:
Landscapes, Leo Castelli Gallery, New York, 24 Oct - 19 Nov 1964.
LITERATURE:
Corlett II.3.
$1,000 — 1,500
124
ANDY WARHOL (1928-1987), AMERICAN
ANDY WARHOL: THE THIRTEEN MOST WANTED MEN (DOSSIER NO. 2357), 1967 screenprint in black and white on paper, the full sheet; original screenprint of John Joseph H, accompanied by the staplebound exhibition catalog containing six loose sheets with text, from the edition of unknown size; printed by Andy Warhol and published by Galerie Ileana Sonnabend, Paris
8.3 x 6.7 in — 21 x 17 cm
PROVENANCE:
Galerie Ileana Sonnabend, Paris, France Private Collection, Toronto, ON
$2,000 — 3,000
125
ROBERT RAUSCHENBERG (1925-2008), AMERICAN
FEATURES #77, FROM “CURRENTS,” 1970 [F. 148]
screenprint in colours on Aqua B 844 paper, with full margins; signed, dated “70,” and numbered 9/50; printed by Styria Studios, Glendale and co-published by Dayton’s Gallery 12, Minneapolis, and Castelli Graphics, New York sheet 40 x 40 in — 101.6 x 101.6 cm
PROVENANCE:
Private Collection, Toronto, ON
LITERATURE:
Foster 148.
$1,500 — 2,500
126
CLAES OLDENBURG (1929-2022), SWEDISH/AMERICAN
SOFT TOILET #1, 1972
lithograph in colours on Angoumois paper, with full margins; signed and numbered 31/75; printed and published by Gemini G.E.L., Los Angeles, blindstamp sheet 21 x 15.5 in — 53.3 x 39.4 cm
PROVENANCE:
Dunkelman Gallery, Toronto, ON Private Collection, Toronto, ON
LITERATURE:
Gemini G.E.L. 414.
Richard Axsom and David Platzker 93.
$800 — 1,200
127
ALEX KATZ (B. 1927), AMERICAN DAY LILY II, 1969 [M. 24]
lithograph in colours on Arches paper, the full sheet; signed and numbered 33/90; co-published by Brooke Alexander, Inc. and Fischbach Gallery, New York
20.8 x 27.9 in — 52.8 x 70.8 cm
PROVENANCE:
Suzanne F. Silvers Contemporary Graphics, Montreal, QC
Private Collection, Montreal, QC, acquired from the above in 1973
LITERATURE:
Maravell 24.
$6,000 — 8,000
128
BEN SHAHN (1898-1969), AMERICAN MANY MEN FROM “THE RILKE
PORTFOLIO: FOR THE SAKE OF A SINGLE VERSE,” 1968
lithograph in colours on paper, the full sheet; printed by Atelier Mourlot, New York
22.25 x 17.75 in — 55.9 x 43.2 cm
PROVENANCE:
Private Collection, Toronto, ON $450 — 700
129
SALVADOR DALÍ (1904-1989), SPANISH
COUPLE NUS, FROM “NUDES” PORTFOLIO, 1970 [F. 70-8 E]
lithograph in sepia on watermarked BFK Rives paper, full margins
signed and numbered in Roman LXXIII/CXX; printed by Atelier Desjobert, Paris
20.5 x 25.6 in — 52 x 65 cm
PROVENANCE:
Private Collection, Ontario
LITERATURE:
Field 70-8 E.
$600 — 800
130
DAVID HOCKNEY (B. 1937), BRITISH YVES-MARIE
HERVÉ, 1974
[S.A.C. 159; M.C.A.T. 156]
lithograph on BFK Rives buff paper, the full sheet; signed, dated “74” and editioned “working proof,” aside from the edition of 75, there were also 24 artist’s proofs; published by Petersburg Press, Ltd., New York
29.75 x 22 in — 75.6 x 55.9 cm
PROVENANCE:
Private Collection, London, ON By descent to Private Collection, Toronto, ON
LITERATURE:
Scottish Arts Council 159. Museum of Contemporary Art, Tokyo 156.
$3,000 — 4,000
131
DAVID HOCKNEY (B. 1937), BRITISH PAPER POOLS, POOL MADE WITH PAPER AND BLUE INK FOR BOOK, 1980 [T. 269; M.C.A.T. 234]
lithograph in colours on wove paper, the full sheet; signed, dated “80”, and numbered 483/1000, there were also 100 artist’s proofs; published by Tyler Graphics Ltd., Mount Kisco, New York, blindstamp; complete with the book “Paper Pools,” with the original card slipcase, both stamp-numbered 483, the book signed in blue ink on the justification page sheet 10.5 x 9 in — 26.7 x 22.9 cm; book 11 x 9.4 in — 27.9 x 24 cm
PROVENANCE:
Private Collection, Toronto, ON
LITERATURE:
Tyler Graphics 269. Museum of Contemporary Art Tokyo 234. $50,000 — 60,000
132
ATTRIBUTED TO PAUL MAXWELL (1925-2015), AMERICAN UNTITLED
stencil casting on wove paper 7 x 5 in — 17.8 x 12.7 cm
PROVENANCE:
Private Collection, British Columbia $200 — 300
133
BRICE MARDEN (1938-2023), AMERICAN GULF, FROM “NEW YORK” 10/69, 1969 [L. 16]
lithograph in colours on BFK Rives paper; signed, dated “69,” and numbered 73/100, there were also 10 artist’s proofs; printed by Chiron Press, New York, published by Tanglewood Press, Inc., New York 13.5 x 20 in — 34.3 x 50.8 cm
PROVENANCE:
Private Collection, British Columbia
LITERATURE:
Lewison 16.
$4,000 — 6,000
134
SOL LEWITT (1928-2007), AMERICAN PLATE 6, SCRIBBLES PRINTED IN FOUR DIRECTIONS USING FOUR COLORS, 1971 [K. 1971.07]
etching in colours on BFK Rives paper, with full margins; signed and numbered 2/25; from an edition of 8, there were also 7 artist’s proofs lettered A-G, at least 3 trial proofs numbered TP 1 - TP 3; printed by Kathan Brown at Crown Point Press, Berkeley, published by Parasol Press, New York and the Wadsworth Atheneum Museum of Art, Hartford sheet 15 x 15 in — 38.1 x 38.1 cm
PROVENANCE:
Private Collection, Toronto, ON
LITERATURE:
Krakow 1971.07: “Edition numbers 1,2,3 and 4 are numbered 1/25 - 4/25 but the plates started to break down so edition numbers 5, 6, 7 and 8 were numbered 5/8 - 8/8.”
$2,500 — 3,500
135
MEL BOCHNER (B. 1940); BARRY LE VA (B. 1941); SOL LEWITT (1928-2007); ROBERT MANGOLD (B. 1937), AMERICAN 4 X 4 X 4, PORTFOLIO OF FOUR WORKS, 1990 complete portfolio of four screenprints in colours on paper, the full sheets; each signed and numbered 25/100, the Le Va dated, the Bochner dated “1968/1990,” there were also 15 artist’s proofs; printed by Watanabe Studio, Brooklyn and published by Parasol Press, Ltd., New York
48 x 48 in — 121.9 x 121.9 cm
PROVENANCE:
Private Collection, Toronto, ON $8,500 — 10,500
136
ANDRÉ BRASILIER (B. 1929), FRENCH
CAVALIER DANS LES DUNES, 1974 lithograph in colours on wove paper, with full margins; signed and editioned “Epreuve d’artiste 19/25”
30 x 21.5 in — 76.2 x 54.6 cm
PROVENANCE:
Private Collection, British Columbia
LITERATURE:
Le Pichon 81.
$300 — 400
137
MIHAIL CHEMIAKIN (B. 1943), RUSSIAN/AMERICAN
THE RED CENTAUR, 1978; MEMORIES OF CHILDHOOD, CARNIVALS OF ST. PETERSBURG, 1983
lithographs in colours on Arches paper; signed and numbered “E.A. 14/25” for artist’s proofs, aside from the edition of 225; signed and numbered 188/300 each 29.9 x 21.3 in — 76 x 54 cm
PROVENANCE:
Private Collection, Toronto, ON $600 — 1,000
138
LEROY
NEIMAN (1921-2012), AMERICAN CHATEAU HUNT, 1979
screenprint in colours on wove paper, with full margins; signed and numbered 177/300; published by Styria Studio, New York
32 x 44.5 in — 81.3 x 113 cm
PROVENANCE:
Private Collection, Ontario $300 — 400
139
MARINO MARINI (1901-1980), ITALIAN
SIX PLATES (I, II, IV, V, VII, VIII), FROM “MARINO FROM SHAKESPEARE I,” 1978 [G. 349-356]
six etchings and aquatints in colours on wove paper; each signed and editioned “P.A.” for artist’s proofs, each one from the 12 artist’s proofs, aside from the edition of 75, there were also 50 numbered in Roman; printed by Labyrinth, Florence and published by ZWR, London 29.5 x 22 in — 75 x 56 cm
PROVENANCE:
Odon Wagner Gallery, Toronto, ON S.P. Family Collection, Toronto, ON
LITERATURE:
Guastalla 349-356.
$5,000 — 7,000
140
KEITH HARING (1958-1990), AMERICAN PLATE 4, FROM “POP SHOP I,” 1987
screenprint in colours on Coventry Rag paper, with full margins; signed, dated “87,” and numbered 176/200, there were also 30 artist’s proofs; published by Martin Lawrence Limited Editions, New York 30.5 x 38.1 in — 77.5 x 96.8 cm
PROVENANCE:
Private Collection, New Brunswick
LITERATURE:
Littman p. 83.
$20,000 — 30,000
141
ROVER THOMAS (1926-1998)
DURBA GORGE, 1997
screenprint in colours on Magnani print paper
signed, titled, and numbered 44/99 24.75 x 32.25 in — 62.9 x 81.9 cm
PROVENANCE: Private Collection, British Columbia
$2,000 — 3,000
142
DEVORAH BOXER (B. 1935), AMERICAN SKI PACKAGE
etching and drypoint in black on wove paper, with full margins; signed, titled, and numbered 8/25 sheet 63 x 16 in — 168 x 40.6 cm
PROVENANCE: Private Collection, Toronto, ON $500 — 700
143
CHRISTOPHER WOOL (B. 1955), AMERICAN
UNTITLED, 1998
etching in black on wove paper, with full margins; signed, dated “1998,” and numbered 17/45; printed by Jacob Samuel and published by Lapis Press, Culver City
24.75 x 19.75 in — 62.9 x 50.2 cm
PROVENANCE:
Private Collection, Montreal, QC
$5,000 — 7,000
144
KIKI SMITH (B. 1954), GERMAN/AMERICAN
THE SYBIL, 2004
offset lithograph in colours on Zerkall Book Vellum, the full sheet; signed, dated, and numbered 122/250; printed by GM Printing; published by Kiki Smith and Printed Matter, Inc.
12.2 x 18.5 in — 31 x 47 cm
PROVENANCE:
Private Collection, Toronto, ON
$700 — 900
145
SELF PORTRAITS, 1983
illustrated book with thirty lithographs in black on paper; thirty lithographs including the cover, from the edition of 300; printed by Ercolano, Naples, published by Lucio Amelio, Naples each page 16.6 x 13.1 in — 42.1 x 33.4 cm
PROVENANCE:
Private Collection, Montreal, QC
$200 — 300
146
SCHOOL ENTRANCE CEREMONY, 2022 archival pigment print and screenprint in colours on wove paper, the full sheet; signed and numbered 42/100; published by Kaikai Kiki, Ltd., Tokyo sheet 19.7 x 19.7 in — 50 x 50 cm
PROVENANCE:
Private Collection, Hong Kong
$800 — 1,200
JAMES BROWN (1951-2020), AMERICAN
TAKASHI MURAKAMI (B. 1962), JAPANESE
147
WEI XING (B. 1988), CHINESE
HATE THIS WORLD, 2022
mixed media print on wove paper, with full margins; signed and numbered 2/15; published by Waluso Gallery
16.5 x 19.7 in — 42 x 50 cm
PROVENANCE:
Private Collection, Toronto, ON
$300 — 500
148
YAYOI KUSAMA (B. 1929), JAPANESE
PUMPKINS, YELLOW AND RED, 2016
two lacquered cast resin sculptures; each stamped with the artist’s name to the base, offered in their original box; published by Benesse Holdings, Inc., Naoshima, Japan
4.02 x 3 x 3 in — 10.2 x 7.6 x 7.6 cm
PROVENANCE:
Private Collection, Toronto, ON
$1,300 — 1,500
149
YAYOI
KUSAMA (B. 1929), JAPANESE
PUMPKIN, RED, NAOSHIMA, 2019
lacquered cast resin sculpture; stamped signature and titled to underside
“Naoshima © Yayoi Kusama,” contained in the original deep green box; published by Benesse Holdings, Inc., Naoshima, Japan
3.3 x 5.3 x 5.3 in — 8.4 x 13.5 x 13.5 cm
PROVENANCE:
Private Collection, Toronto, ON
$600 — 800
150
JEFF KOONS (B. 1955), AMERICAN BALLOON RABBIT (VIOLET), 2019
Limoges porcelain with chromatic coating in violet; stamp-signed, dated, and numbered 746/999 on the underside; contained in original styrofoam-lined presentation box with original plastic stand; published by Bernardaud, Limoges, France
11.5 x 5.5 x 8.3 in — 29.2 x 13.9 x 21 cm
PROVENANCE:
Private Collection, Europe
LITERATURE:
A certificate of authenticity will be delivered to the buyer.
$8,000 — 12,000
151
DAMIEN HIRST (B. 1965), BRITISH 4088, AND I DIED THIS YEAR, FROM THE “CURRENCY” SERIES, 2016 enamel paint on handmade paper; signed, titled, dated, and numbered 4088 verso, from the edition of 10,000, each work unique; with artist’s blindstamp, microdot, hallmark and hologram verso; published by HENI Editions, London sheet 7.9 x 11.8 in — 20 x 30 cm
PROVENANCE:
HENI Editions, London, UK
Private Collection, Toronto, ON $12,000 — 18,000
152
DAMIEN HIRST (B. 1965), BRITISH
KEUKENHOF (VEIL), H4-8, 2020 diasec-mounted giclée print in colours on aluminum panel, the full panel; signed to label and numbered 71/75 verso; published by HENI Editions, London, contained within original HENI card packaging 36.2 x 49.6 in — 92 x 126 cm
PROVENANCE:
HENI Editions, London, UK
Private Collection, Toronto, ON $10,000 — 15,000
153
YOSHITOMO NARA (B. 1959), JAPANESE
SLIGHT FEVER; JOLIE THE LITTLE THINKER; HAZY HUMID DAY, 2021
offset lithographs in colours on wove paper, the full sheets; three exhibition posters:
Slight Fever: printed “© Yoshimoto Nara” lower right
43.3 × 47.2 in Jolie the Little Thinker: printed “Yuz Museum” top left corner, printed “Yoshimoto Nara, Jolie The Little Thinker, 2011; Collection of Yuz Foundation
© Yoshimoto Nara” lower right
28.7 × 20.3 in Hazy Humid Day: printed “© Yoshimoto Nara” lower right
28.7 × 20.3 in
PROVENANCE:
Private Collection, Colorado, USA
$1,500 — 2,500
154
MARTIN WHATSON (B. 1984), NORWEGIAN
PASSE, 2019
screenprint in colours on 300 gsm Somerset Satin Paper; signed and numbered 266/295; printed and published by GraffitiPrints, Newcastle, blindstamp
31.5 x 22 in — 80 x 56 cm
PROVENANCE:
Private Collection, Toronto, ON
$2,500 — 3,000
155
CONOR HARRINGTON (B. 1980), IRISH
HOT AIR, I DO DECLARE, 2021
archival pigment print with screenprint and gloss varnish on Somerset Enhanced Satin 330gsm paper; signed and numbered 17/150; published by HungryBoy Books, London
36.6 x 43.3 in — 93 x 110 cm
PROVENANCE:
Private Collection, Toronto, ON
$1,200 — 1,500
156
THE CONNOR BROTHERS (B. 1968), BRITISH
WHAT MATTERS IN LIFE, 2021
giclée print in colours with screenprint varnish on wove paper, with full margins; signed, dated ‘’21,” and numbered 83/150; published by Clarendon Fine Art, London
29.9 x 46.9 in — 76 x 119 cm
PROVENANCE:
Private Collection, Toronto, ON
$1,600 — 1,800
THE CONNOR BROTHERS (B. 1968), BRITISH
TELL HIM I WAS TOO FUCKING BUSYOR VICE VERSA, 2021 giclée print in colours with screenprint varnish on wove paper, with full margins; signed, dated “21,” and numbered 143/150; published by Clarendon Fine Art, London 47 x 30 in — 119.4 x 76.2 cm
PROVENANCE:
Private Collection, Toronto, ON $1,600 — 1,800
APRIL 20 — 25, 2024
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 23% on the hammer price up to and including $25,000 CAD. Hammer prices in excess of $25,000 CAD will be charged a buyer’s premium of 20%. Buyer’s premium and applicable Canadian taxes are added to the hammer price.
A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer’s premium except for any items directly shipped from our premises out of 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; E-Transfer; Wire 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
Selling
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.
With specialists located at our head office in Toronto as well as in Vancouver and Montreal, we are pleased to meet with prospective consignors across the country. For more information on consigning to our auctions, please contact us at consignments@waddingtons.ca.
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 is subject to a premium of 23% on the hammer price up to and including $25,000 CAD. Hammer prices in excess of $25,000 CAD will be charged a buyer’s premium of 20%. Buyer’s premium and applicable Canadian taxes are added to the hammer price.
2. Unless exempted by law, the buyer is required to pay Federal Good 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 client in person only); certified cheque (U.S. & Overseas not applicable); bank draft; E-Transfer; Wire Transfer (fee applies); 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 re-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.
